Zhuangzi's aesthetic thought paper is original, thank you.

Zhuangzi is the core of aesthetic thought.

Zhuangzi is an important representative of hundred schools of thought in the pre-Qin period. Brilliant, knowledgeable and unconventional, he has his own unique insights and understanding of real life and has built his own complete ideological system. Reading "Zhuangzi" contains Zhuangzi's lofty nature and opposes man-made. At the same time, it is the core of his aesthetic thought to achieve "natural beauty", "virtual beauty" and "materialized beauty" with the spiritual realm of "insufficient words", which has obvious literary characteristics and also shows the most idealistic aesthetic thought.

Keywords Zhuangzi's aesthetic core

Zhuangzi consists of thirty-three articles, which are divided into three parts: internal, external and miscellaneous. Zhuangzi shows Zhuangzi's thought of disdaining wealth, power and fame, trying to maintain an independent personality in troubled times and pursuing carefree spiritual freedom, and his "Heaven and earth coexist with me, and everything is one with me." Spiritual realm. Zhuangzi worships nature, advocates simplicity as beauty, and at the same time soars in the "nowhere" spiritually, transcends the limitation of time and space, and enters the realm of "forgetting" with no past and present and no life and death beyond consciousness. Zhuangzi's moral life is actually an artistic life, which has something in common with the artist's mental state. The expression of this philosophical thought has obvious literary characteristics and also shows the most idealized aesthetic thought.

one

Natural beauty has always been a difficult problem in academic circles, especially the thought of natural beauty in Zhuangzi, which is still inconclusive. Some people in academic circles think that Zhuangzi has no natural beauty. On the grounds that Zhuangzi was born in troubled times and the core of Zhuangzi's outlook on life is "whole life" and "health preservation", they think that Zhuangzi has neither time nor pleasure to pay attention to the beauty and ugliness of nature. Others deny the existence of Zhuangzi's thought of natural beauty through "harmony of all things" and "there is a way in ugly things" in The Theory of Everything, and suggest that beauty is not advocated and appreciated by Zhuangzi. Scholars who acknowledge the existence of natural beauty in Zhuangzi mostly discuss it from the perspective of natural spirit, but ignore the discovery and description of natural scenery beauty in Zhuangzi. I think this is not objective and accurate enough. In view of the important position of natural beauty in China's aesthetics, I think it is necessary to re-examine and interpret natural beauty, especially the thought of natural beauty contained in the text of Zhuangzi. Zhuangzi inherited and developed Laozi's thought of "doing nothing without doing anything", and thought that "doing nothing naturally in heaven" could not be changed by human power. Therefore, he put forward that "no one can destroy the sky, and no one can destroy life with reason", and advocated respecting the laws of objective things themselves, rather than changing them with people's subjective wishes. Zhuangzi's naturalistic philosophy is embodied in the book Zhuangzi, which forms the aesthetic thoughts of "simplicity is beauty" and "respecting nature and attaching importance to truth". Zhuangzi believes that beauty lies in nature, and any artificial art is the destruction of natural beauty. In the Theory of Everything, he explained the beauty of nature by comparing the voices of heaven, earth and human beings: "The voice of the earth makes people know everything, while the voice of human beings is better than bamboo", "The rich in heaven boast of all kinds of differences and make themselves salty, and those who are angry are evil!" Folk music refers to people playing with silk and bamboo bands, which is artificial and belongs to inferior sound; Earth sound is the sound made by the wind blowing through the hole in nature, which can be formed by the size of the wind and the different shapes of the hole, and it is not the most beautiful; Only nature is a natural sound, which is made by many people and does not depend on any external force.

The beauty of heaven and earth. Zhuangzi inadvertently revealed his thought of "great beauty" in The Journey to the West, and specifically discussed "doing nothing in heaven": "There is great beauty in heaven and earth, and there is nothing to say, and there are laws in all seasons, and everything is rational and nothing to say. Sage, the beauty of the original heaven and earth, the principle of all things, is the principle of inaction, the great sage does not do it, and the view of heaven and earth is also. " Zhuangzi advocated that saints should imitate the state of natural inaction of all things in the world, and achieve "no words", "no discussion" and "no words", so as to govern by doing nothing. At the same time, in the article "Autumn Water", Zhuangzi has a meaningful description of "the great beauty of heaven and earth": "When autumn water comes, a hundred rivers fill the river, and the river flows heavily, and two ... Hebo begins to look at his face and look at the sea and sigh:' There is a cloud in the wild: I call it also. ..... but not empty ... "Zhuangzi used Hebo as a metaphor for promising little knowledge, and Beihai as a metaphor for inaction. Hebo's shame in seeing the North Sea triggered the following idea of the integration of all things in the North Sea, praising the infinity of" great beauty "and poking fun at" little beauty ",and skillfully combining the feelings of the aesthetic subject with the majestic momentum of the aesthetic object.

Natural and simple beauty. Advocating natural beauty means advocating simple beauty, because simplicity is the natural state of everything. Zhuangzi said: "Carving is both cutting and returning to simplicity." Shang Pu must advocate "conforming to nature" and oppose carving. However, Zhuangzi does not completely deny the beauty of things' appearance, but only opposes man-made destruction that goes against the natural nature of things. He pointed out: "Simplicity is not incomplete, this is sacrifice! If the white jade is not destroyed, it will be embarrassing! " Zhuangzi and his later scholars also put forward the theory that "Heaven is more valuable than truth" in The Fisherman. As for "heaven", Zhuangzi thinks that "inaction is heaven", while "truth" and "reason" are naturally influenced by heaven. "Zhuangzi Fisherman" further said that it is "true and sincere. Not refined and sincere, not moving. ..... If the truth is inside and God is outside, it is true. " Simple and scary.

two

"Virtual quietness" and "materialization" theory; Laozi first put forward the idea of "being empty, being quiet and believing" in Tao Te Ching. Zhuangzi inherited and developed Laozi's theory of "emptiness and quietness", and believed that emptiness and quietness was a necessary psychological state for entering the Taoist realm. "Master Zhuangzi" said: "If you have a broken limb, you will know it. If you leave your shape, you will be in harmony with Datong. This is called sitting and forgetting. " Zhuangzi's "sitting and forgetting" is "virtual silence", which makes people forget all existence, forget their own existence, abandon all knowledge and reach the realm of unity with Tao. Zhuangzi believes that the quietness can only be achieved on the basis of "abandoning learning and wisdom". However, only when emptiness and quietness are achieved can we have the most comprehensive and profound understanding of the objective world, take aesthetic photos freely, prosper artistic creativity and create works that are completely consistent with the nature. Zhuangzi's theory of "emptiness and quietness" has a great influence on later generations, and writers and literary theorists of later generations are more or less influenced by Zhuangzi's theory of "emptiness and quietness". Materialization theory: Zhuangzi's materialization theory is related to his theory of emptiness and quietness. Zhuangzi believes that "virtual quietness" is a way and method to know Tao, and it is a mental state that must be possessed when entering the realm of Tao. As far as the creative subject is concerned, it is necessary to have a "virtual and quiet" mental state, which is the key to whether or not to create natural art, from the relationship between the creative subject and the creative object. Must reach the state of materialization. What is materialization? In Zhuangzi's view, after people enter a state of virtual quietness, they will forget everything, even themselves, and will no longer be bound and restricted by their own sensory organs, thus achieving "complete enlightenment". As a creator, the subject person seems to no longer exist, and the combination of the subject's "nature" and the object's "nature" is to enter the realm of "materialization", which is called "harmony with heaven" The creation in this state is naturally completely consistent with nature. In the field of health care, Zhuangzi explained that quietism can make people comfortable and happy, not disturbed by troubles, and thus live longer. Aesthetically, it explains the beauty of silence, that is, the beauty of inaction, the beauty of simplicity, and the so-called one and three, three and one. "Bo zhi, the solution of the fallacy of the heart, to virtue, the way to plug. Your wealth is strict, fame and fortune are six, and Zhi Bo is also; Tolerance of color, reason, qi and meaning is also wrong; Evil desires, emotions, joys and sorrows are also tired; " Attending here mainly expounds the theory of health preservation, and lists 24 factors that puzzle, erode and destroy people's authenticity. To sum up, there are actually three items: "Zhi Bo" (disturbing the will), "misunderstanding the mind" (binding the mind), "tired morality" (dragging down virtue) and "blocking the road". Only by removing their moral interference and fatigue, can we restore their natural nature of emptiness and achieve the purpose required by health aesthetics.

"Heaven" says: "Those who cherish the Tao in the world have books. Books are not words, words are expensive. What is valuable in a language is what it means. You can't say what you want, but the world is precious. Then the knower doesn't speak, the speaker doesn't know, and the world knows it! " Zhuangzi said that "those who obey the will" are Tao, and language can use "various names" to express things, but without "various names", Tao cannot be expressed. Although Zhuangzi's exposition of "unspeakable" is about the relationship between Tao and words, it has great enlightenment and influence on the beauty of literature and art. The art of literary language has no literature without language; But there is another problem, that is, the most exquisite, beautiful and charming things in literature are often beyond words. The beauty in literature is those microseconds of interest, complex emotions, lofty realm, long lasting appeal and so on.

three

The article "Zhuangzi Foreign Things" said: "The person who weaves the basket is too deep in the fish and forgets the basket; The hoof was on the rabbit, and he got the rabbit, but he forgot that the hoof speaker was so concerned that he forgot to say something proudly. "In Zhuangzi's view, words can't do their best, that is, words can't do their best. He said: "What is precious in language is meaning. "You can't say what you want." Zhuangzi emphasized the limitations of language and pointed out that it is impossible to fully express people's complex thinking. This understanding conforms to the actual situation of people's cognitive practice to a certain extent, but it also has the limitations of stars. However, Zhuangzi's theory of "smug forgetting words", which is based on incomplete words, has a far-reaching influence on literary and artistic creation. Literary works require meaning and aftertaste, and often require twice the result with half the effort, pursuing "the purport beyond the taste" and "the implication beyond the words". Zhuangzi's theory of "forgetting words with pride" just reveals the mystery of the relationship between words and meaning in literary creation. This has a great influence on literary theory and literary criticism. After Wei and Jin Dynasties, literary theory was directly introduced, which formed the tradition that China ancient literature paid attention to "implication" and laid a theoretical foundation for the emergence and development of artistic conception theory. In Tian Yun, Zhuangzi also discusses the characteristics of "nature": "Listen to its sound but not its sound, but not its shape, which fills the world and wraps the six poles." Guo Xiang's note: "This is the joy without happiness, and happiness is the best." In fact, this is the "big voice and great hope" advocated by Laozi. It means opposing the destruction or replacement of American natural voice with one-sided and limited vocal music. The article "Zhuangzi Foreign Things" said: "People who are beggars are too deep in the fish and forget the fish; Hooves are such in rabbits, he got rabbits but forgot hooves; The speaker was so concerned that he forgot to say it proudly. " Put forward the so-called "smug forgetting words" theory. In Zhuangzi's view, words can't do their best, that is, words can't do their best. Zhuangzi emphasized the limitations of language and pointed out that language can't fully express people's complex thinking. This understanding conforms to the actual situation of people's cognitive practice to a certain extent, but it also has the limitations of stars. However, Zhuangzi's theory of "smug forgetting words" based on incomplete words has a far-reaching influence on literary and artistic creation. Literary works require meaning and aftertaste, and often require twice the result with half the effort, pursuing "meaning beyond taste" and "meaning". Zhuangzi's theory of "forgetting words with pride" just reveals the mystery of the relationship between words and meaning in literary creation. This has a great influence on literary theory and literary criticism. After Wei and Jin Dynasties, literary theory was directly introduced, which formed the tradition that China ancient literature paid attention to "implication" and laid a theoretical foundation for the emergence and development of artistic conception theory.

In a word, Zhuangzi's aesthetic thought has a great influence on later generations. His pursuit of beauty and life is always an upward process. Only by emphasizing the freedom of individual life can beauty and ugliness, good and evil, joy and sadness rise to the natural realm. Paying attention to self, the complete harmony between human nature and life is the essence of Zhuangzi's aesthetic thought that he wants to leave to future generations.

refer to

1. Chen Yinque. Research on Zhuang Xue's literary view. Doctoral thesis of Fudan University, 1993.

2. On Cao Chuji and Zhuangzi. First edition. Guangdong People's Publishing House, 1987.

3. Liu Shaojin. Zhuangzi and China's aesthetics. First edition. Guangdong Higher Education Press, 1989.

3. Zhuangzi, Chen Guying. First edition. Sanlian Bookstore, 1999.

4. Zhang. Zhuangzi said. First edition. Shanghai People's Publishing House, 1992.

5. Wang Xiaoyu A New Interpretation of Zhuang Zitong's Zhuangzi Neipian. First edition. Yuelu Bookstore, 1983.

6. celebrate the handle. The indifference of mind and the discovery of beauty —— On the emptiness and quietness of aesthetics