The urgent need, connotation and characteristics of Japanese traditional aesthetics

Mona Lisa is the unity of concreteness and abstraction.

The aesthetic value of Mona Lisa is that it fully embodies the humanistic thought of the Renaissance. According to modern aesthetic standards, the Mona Lisa can only be considered dignified at best, and she really doesn't want to be regarded as "beautiful". Because one thing cannot be ignored: Mona Lisa has no eyebrows. In ancient Japan, there was a bad custom that women should shave their eyebrows and dye their teeth, but in Europe, women without eyebrows may be very different. Some people even think that Mona Lisa is Da? Self-portrait of old Mr. Finch. Therefore, in any case, it is far-fetched to say that Mona Lisa is a beauty.

From the picture of the whole painting, whether it is the main body, Ms. Mona Lisa or the pastoral scenery in the background. Without exception, they silently interpret abstract images in concrete form. In fact, aesthetic appreciation is more restricted by aesthetic experience. Everyone is in his own specific atmosphere of the times, has his own cultural and historical traditions and unique circumstances, so everyone's understanding of art ontology will be branded with his own personality and existence. During the Renaissance, artists advocated human spirit, and their contents, whether painting, sculpture, music or drama, gradually deviated from the scope of God. Even Raphael's Virgin Mary is based on the mother of the world. In this era of advocating the supremacy of mankind and strict religious laws, it is undoubtedly a great progress to openly take people as the leading role in works. So the Mona Lisa was endowed with deeper ideological connotation. That is to say, when the aesthetic subject participates in the activities of cognition and experience, it cannot simply stay on the surface of appreciation, but must have certain subjectivity, which is an indispensable "pre-structure" for understanding artistic works. It is precisely because of the subjectivity contained in this "pre-structure" that aesthetic subjects have a creative understanding, or a different understanding of beauty. No matter what kind of objects we are looking at from the aesthetic point of view, whether it is expressive natural objects or works of art, we can imagine and feel a feeling in a detached way suitable for aesthetic photos. This is a special process of imagining a feeling, and in this imagination process, nature is subjective. For example, two people are looking at the same farm. Maybe one of them thinks it's calm, and the other thinks it's lively. For the former viewer, he may see the shape of hills and lush vegetation, while the latter viewer may see busy workers. This different landscape outline caused them different associations and produced different feelings. They are so different because they have different psychological experiences. This coincides with Santayana's statement, that is, the so-called "apperception" function-that is, the aesthetic subject imagines the object according to previous experience.

As far as the painting Mona Lisa is concerned, it is: Mona Lisa's serene and confident manner represents a spiritual outlook of human existence and progress. The pastoral scenery behind it shows the infinite beauty and tranquility of the world. These two aspects are enough to embody the abstract consciousness that the painter wants to express-human beings, the primates of all things.

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