China's extensive and profound traditional culture.

Gorgeous in the View of China Traditional Culture

Abstract: Gorgeous beauty is a special form of beauty, neither graceful nor gorgeous, but an independent aesthetic form. Influenced by the concept of combining rigidity with softness in China's traditional culture, modern aesthetic research only recognizes two forms of beauty, while belittling or even denying its independent status and value. This is the result of the influence of Confucianism, Taoism, Mohism and France. The pursuit of gorgeous beauty permeates religion, ethics and daily social life, and manifests itself as a unique aesthetic psychology and habit.

As a cultural phenomenon, aesthetic activities have distinct national characteristics. The aesthetic psychological characteristics of each nation will be manifested in daily life, literary creation and artistic activities, and will be explained and proved in its cultural customs, ideas and ideologies. Taylor's authoritative definition of culture: "Culture or civilization, in its broad ethnological sense, is a complex whole including knowledge, belief, art, morality, law, customs and the abilities and habits acquired by anyone as a member of society" [1]. As a kind of "ability and habit", aesthetics should naturally be related to knowledge, belief, morality, customs and other cultures.

The special feeling of the form of beauty is an important connotation of each nation's aesthetic concept, which not only shows each nation's special values of beauty, but also condenses its cultural values and national cultural psychological characteristics, which is the result of the historical development of national culture. This special feeling of the form of beauty can be reflected in the creative style of national art, as well as in all aspects of social life such as daily customs, lifestyles, aesthetic tastes and even religious beliefs.

Rich color, as a common aesthetic feeling in daily life, is a compliment to natural scenery, social life phenomena and literary creation, but it is excluded from the basic form of beauty in aesthetic theory. Is this a theoretical negligence or a conceptual prejudice? This paper attempts to analyze it from the perspective of cultural values.

The Way of Yin and Yang and the Classification of Beauty Forms

The category of beauty is the category of meaning. The definition of the category of beauty in aesthetic theory not only summarizes the universal characteristics of beauty in nature and social life, but also reflects people's value judgment on the beauty attribute of things. In China's traditional culture, judging the value of beauty is not only to evaluate the value relationship between artistic works and appreciation subjects from the perspective of artistic appreciation, nor is it only based on the perception of the ultra-utilitarian "purposeful form" of aesthetic objects, but to infiltrate aesthetic activities into all fields of social life and define the "purposeful form" of beauty as a natural and universal law, thus establishing an aesthetic with universal significance.

Taoism believes that "Tao" is the origin of all things in the universe and the fundamental principle that conforms to the laws of nature; Confucianism regards "Tao" as a political and ethical principle to regulate social relations and a moral criterion to govern society. Taoism is natural while Confucianism is a famous religion. From Confucian classics in Han dynasty to metaphysics in Wei and Jin dynasties, Taoism and Confucianism gradually merged, forming a complementary way of thinking between Confucianism and Taoism. The most important influence of this way of thinking in the field of aesthetics lies in attaching social beauty and moral beauty to natural beauty, thus establishing a principle of dividing the basic forms of beauty with pan-aesthetic characteristics.

The analysis of the external forms of pluralistic beauty is brought into Tao's ideological system, so that the study of the form of beauty is based on the theory of China's traditional culture, and the form of beauty is brought into the perceptual form of Tao's binary opposition. This is how the two forms of female beauty and masculine beauty are divided. China's classical philosophy holds that "one yin and one yang is the Tao", and everything in the world-Gan and Kun, heaven and earth, Yin and Yang, rigidity and softness, etc. -there is a binary opposition. The Book of Changes: "Yin and Yang combine virtue with rigidity and softness, and the world's writings are also based on the virtue of gods" (under the copula), "the concept makes divination from the change of Yin and Yang.

Explaining the form of beauty directly with the form of "Tao" began in Yao Nai in Qing Dynasty. As an ancient prose writer, Yao Nai used China's traditional philosophy to explain the binary opposition of the form of beauty: "When you hear the way of heaven and earth, Yin and Yang are both rigid and soft. The writer is an elite of heaven and earth, and the yin and yang are both rigid and soft. " "Since philosophers are descendants, that is a person who has no prejudice in writing. Those who get the beauty of masculinity are eloquent, as long as the wind comes out of the valley, the mountains are high and the cliffs are steep, and the water is as big as chi; Its light is like the sun, like fire, like gold and iron; This is also for people, such as Gao Feng's foresight, such as the monarch and the people, such as encouraging thousands of warriors to fight. Those who get it from feminine beauty are like the rising sun, the breeze, the clouds, the clouds, the winding streams in the secluded forest, the rippling ripples, the brilliance of pearls and jadeites, and the sound of swans. In people, it is as they sigh, as they think, as they like, as they are sad. Seeing his writing style and satirizing his voice is a special case of the writer's temperament and modeling. " (Fu Luxuan) used the concepts of Yin and Yang, rigidity and softness in China's ancient philosophy to explain the difference of literary creation style, vividly described the state of literary style with rich metaphors, and showed a unique perspective of studying the form of beauty on the theoretical background of China's traditional culture, which made the study of the form of beauty have distinct national characteristics. However, Yao Nai's bias is also shown here. He explained the form of beauty in the form of "Tao", which not only ignored the colorful perceptual forms of beauty, but also analyzed people's personality modality in the context of male-centered beauty and masculine beauty. It seems that he only paid attention to two kinds of people at the center of social power: heroes and celebrities outside the world. If we analyze it from the perspective of a natural person, we should at least talk about what women should belong to. It can be said for sure that the beauty of women is beyond the two forms of masculinity and femininity. Therefore, it is obviously imperfect and unscientific to take Yao Nai's exposition as the basis for classifying the forms of beauty. Even at this end, we can see that only using China's traditional theory of combining rigidity with softness as the basis for the classification of beauty forms is bound to be biased and stretched.

In the study of the formal classification of beauty, China's modern aesthetic theory not only accepted the influence of China's traditional culture, but also integrated the category theory of beauty of western aesthetic theory. China's classical aesthetics' exposition of the form of beauty can be traced back to Mencius' proposition that "fullness is beauty, and fullness is greatness" (to which Mencius devoted himself). This aesthetic proposition makes it easy for modern aestheticians to associate the concepts of "beauty" and "greatness" with the basic categories of "beauty" and "sublimity" in western aesthetics, thus making a direct comparison. Although Mencius said "big" not only contains the content of "sublime" in modern aesthetics, but also has the meaning of gorgeous colors and brilliant weather. Just as Confucius praised Yao, "Huan Hu has an article" ("The Analects of Confucius Taber") contains the meaning of praising Yao's radiant appearance and broad and brilliant spirit, which can not be summarized by ordinary beauty, but belongs to that kind of radiant and radiant. However, because modern aesthetics generally only classifies beauty, beauty and sublimity, the latter meaning of "greatness" is often ignored.

When China introduced western aesthetic thoughts in his early days, he embodied such thinking characteristics. Wang Guowei said in "The Position of Antiques in Aesthetics": "All beauty is formal beauty. As far as beauty itself is concerned, all beauty lies in the symmetry, change and harmony of form. Although Hande (according to Kant) called the magnificent object intangible, this intangible form can evoke magnificent feelings, so it is called one of the forms. " [3] Based on Kant's theory quoted above, Wang Guowei proposed: "The difference between aesthetics and beauty is also divided into two types, namely beauty and magnificence. Since Buck and Hand's book, scholars have almost regarded this as an accurate classification. " [4] I think this is the initial naming of the basic form of beauty in China's modern aesthetic theory. Since then, the study of aesthetic theory has divided the two forms of beauty into graceful and magnificent from the dichotomy of yin and yang.

In the basic construction stage, China's modern aesthetic theory has compared the morphological classification of "beauty" and "sublime" in western aesthetics with the classification of feminine beauty and masculine beauty in China's traditional aesthetics, thus establishing a conceptual correspondence. As early as the 1940s, Mr. Zhu Guangqian put forward the concepts of "rigid beauty" and "feminine beauty" from the general aesthetic point of view in "Psychology of Literature and Art" published by 194 1, and described different moods when feeling majestic and beautiful. Since then, Mr. Cai Yi has put forward a pair of aesthetic categories of "majestic beauty and graceful beauty" in the New Aesthetics published by 1947. Wang Chaowen's Introduction to Aesthetics holds that: "In the history of aesthetics, people have long noticed the difference between sublime and beauty (beauty in a narrow sense). Mencius in China during the Warring States period once distinguished between "beauty" and "greatness". Later literary and painting theories vividly described the difference between the two and clearly put forward the concepts of masculine beauty and feminine beauty. " [5] Yang Xin and Gan Lin wrote "Aesthetic Principles" and said: "Beauty and sublimity are two different forms of beauty, that is, two different types of beauty. ..... China's traditional aesthetics are also divided into masculine beauty and feminine beauty. " [6] In this way, in China's modern aesthetic theory, two conceptual systems have been formed: one is beauty, elegance, feminine beauty, graceful beauty, and the other is sublime (including Mencius' "big"), magnificent, masculine beauty and unrestrained beauty. The same set of concepts is equivalent in aesthetic concept, and the relationship between the two sets of concepts constitutes unity of opposites. The pair of categories of beauty and sublimity in western aesthetics are newly interpreted from the perspective of China's traditional culture, forming two basic forms of natural beauty and social beauty.

In fact, the "sublime" of western aesthetics and the "masculine beauty" of China's traditional aesthetics are not exactly the same. Kant's explanation of "sublime" is: "It experienced an instantaneous interruption of vitality, followed by a stronger injection of vitality, and a feeling of sublime was produced. Its touch is not a game, but seems to be serious in imaginary activities. Therefore, sublimity cannot be combined with charming charm, and the mood is not only attracted, but also repeatedly rejected. " [7] and for the lofty nature, Kant made this description:

Towering and drooping rocks threaten people, clouds piled up on the horizon thunder and lightning, volcanoes raging, hurricanes bringing the ruins it destroyed, endless oceans, roaring waves, rapids of high waterfalls, and so on. Compared with them, our ability to resist them is too small. But if we find ourselves in a safe zone, the more terrible the scene, the more attractive it will be to us. We call these objects sublime because they improve our spiritual strength beyond the usual scale, and let us find another resistance ability in our hearts, which gives us the courage to compete with the illusion of omnipotent power of nature. [ 8 ]

But if we compare Yao Nai's further development of "masculine beauty" and "feminine beauty" with Kant's exposition, we can see the difference between them:

Yin and Yang are rigid and soft, but they should not be neglected. One will die, the rigid one will be violent, and the soft one will be decadent and dark, which has nothing to do with words. ..... The grandeur and honest and frank of writing will be more expensive than the gentleness. It is not easy to get Xu Wan's talent. However, it is particularly rare to care about the talents in the world. ("Fu Lu chooses Shu Fei")

Starting from the Confucian poetry teaching of "gentleness and gentleness", Yao Nai did not emphasize the frightening side of masculine beauty, so he opposed "strong and arrogant", that is, he emphasized masculine beauty to a frightening degree, while advocating "gentleness and gentleness", that is, he tried to achieve the realm of strictness but not firmness, arrogance but not arrogance. However, following the concepts of female beauty and masculine beauty to interpret the beauty and sublimity in western aesthetics is more in line with our philosophical methods and thinking habits, so it has become a conventional explanation of modern aesthetic theory.

Simplicity is beauty: an aesthetic concept opposite to floweriness

In the traditional culture of China, simplicity is a basic concept of life and also a basic aesthetic concept. Simplicity, freshness and naturalness have become the highest form of beauty. This aesthetic view has its rationality. On the premise of emphasizing "literature carries Tao", advocating the simplicity and clarity of literary and artistic expression means can better reflect the practical value of literature. However, if we emphasize this aesthetic form to the only degree and deny the rationality of other aesthetic forms, it will violate the law of diversity of literary and artistic expressions.

From ancient times to the Spring and Autumn Period, due to the low level of productivity, the general concept emphasized meeting people's most basic living needs and opposed the pursuit of luxury. Ordinary people not only can't enjoy the enjoyment beyond the development level of productive forces and their social status, but also are emperors, and they should not blindly pursue pleasure. "Song of the Five Sons in Shangshu": "There is a training: lack of color inside, lack of birds outside. Sweet wine likes music, and Yu Jun carves walls. One is here, not dead or not dead. " Simply equate gorgeous beauty with extravagant desire for life, and even think that the pursuit of gorgeous beauty is the fundamental reason for the decline and demise of a country. "On the Chu Language of Mandarin": "The husband is also beautiful, up and down, inside and outside, big and small, far and near are harmless, so it is beautiful. If it is beautiful in the eyes, it will be embarrassing if it is reduced to financial use. Is to gather people's interests and self-styled barren people. What is Hu Mei's behavior? " This is the most basic economic and political reason for advocating simplicity and beauty. At the same time, the traditional aesthetics has brought the appreciation and admiration of beauty into the field of moral evaluation of political style, which has become a super-aesthetic standard with universal significance.

Simplicity, as a form of beauty, is put forward under such a premise. The word "Jane" comes from Laozi: "Simple, selfish, and less desire." Faced with the changes of the times, Lao Tzu showed extreme hatred for the infinite desire and extravagant lifestyle of the slave owners' ruling class, hoping to return to the ancient society of "small country with few people", so he put forward some extreme opinions, such as "abandoning wisdom and benefiting the people a hundred times; Desperate, the people are filial; He thinks that only these negative measures are not enough, and puts forward "modesty, less selfish desires" as the principle of governing the country. Therefore, Laozi is extremely opposed to the exquisite beauty of literature and art: "All five colors are blind; Five tones are not deaf; Five flavors are refreshing; Galloping and hunting is maddening; Rare goods are an obstacle. A saint of the stomach, not a saint of purpose. So go there and take this. "In his view, as long as a person can eat his stomach ("for his stomach "), he doesn't need to consider visual desire ("for his eyes "). That beautiful color is not only a kind of destruction to people's psychology, but also a terrible corrosive agent to the whole society. Regarding the relationship between beauty and truth, Lao Tzu thinks that "words are not beautiful, but beautiful words are not believed", and true and credible words are not beautiful and beautiful words are not credible. In this case, artistic creation can only simply describe and reproduce the objective reality without artistic embellishment, which is exactly the promotion and implementation of Laozi's political ideal of "doing nothing" and social ideal of "being clumsy is clever" in the field of artistic creation.

On the whole, Zhuangzi's aesthetic ideal is to pursue grand beauty, among which "Wandering Away" and "Autumn Water" both show great momentum, but when discussing the form of beauty, he emphasizes simplicity, naturalness and simplicity, which makes his aesthetic thoughts obviously consistent with those of Laozi. "Zhuangzi Heaven": "The husband is quiet and quiet, and doing nothing alone is the foundation of all things. ..... quiet and holy, moving and king, doing nothing and respecting, simple and the world can't compete with it. " "Zhuangzi Deliberately": "If a husband is not deliberately high, he will have no righteousness in practice, no fame in governing the country, no rivers and seas in idleness, no guidance in life, and he will forget everything and all the beauty will follow. The way of heaven and earth, the virtue of saints. Therefore, the husband is lonely and inaction, this world is peaceful, and the quality of virtue is also. " All these statements show that Zhuangzi regards simplicity and nature as the highest form of beauty, which is the highest beauty in line with the way of heaven and earth. Based on this ideal state of beauty, Zhuangzi felt the pain of gorgeous beauty. Zhuangzi said in his thumb, "Parallel bright, disorderly five colors, obscene articles, blue and yellow?" And leaving Zhu is the same. "Zhuangzi Heaven and Earth": "In addition, there are five reasons for the husband's sexlessness: First, the five colors confuse the eyes and make the eyes unclear; Second, the five tones are noisy, which makes the ears ineffective; Three days and five smelly noses, trapped in the middle; The four flavors are turbid, which makes the mouth sharp and refreshing; Five, fun and slippery, let sex fly. All five are harmful. " Especially in "Zhuangzi", he, like Laozi, also showed a deep hatred for gorgeous beauty: "Therefore, it is forbidden to abandon knowledge, and only thieves are obedient; Jade destroys pearls, and thieves can't afford it; Burning symbols break the seal, while the people are simple; The struggle is balanced, but the people do not dispute; People can discuss the laws that violate the world's sacredness. If you disrupt the six methods, you will never hear the instrument, which will open your ears and make everyone in the world full of wisdom; Destroy the article, scatter five picks, glue away from the eye of Zhu, and contain it at the beginning of the world; Destroy the hook and abandon the rules and regulations, work hard and complain, and the world has its own ingenuity. Therefore, being smart is clumsy. " This passage can be regarded as an interpretation and development of the thought of "abandoning wisdom and not being stupid" in Laozi, and its position of rejecting gorgeous beauty is completely consistent with Laozi.

Advocating nature, plainness, simplicity was originally the essence of Laozi and Zhuangzi's aesthetic thought, but in the pre-Qin period, many thinkers from other schools also joined in the sharp criticism of gorgeous beauty, which easily formed a relatively stable aesthetic thought tradition. From the standpoint of the lower class, Mohism put forward the idea of "being unhappy": "Confucius and Mozi are unhappy because of the sound of bells, drums, harps and gongs; Don't carve the color of China's article, thinking it is not beautiful; Not the taste of frying, but unwilling; If you don't live in the wild (space) on the high platform, you will feel uneasy. Although you know its safety, your mouth knows its sweetness, your eyes know its beauty, and your ears know its joy, the senior high school entrance examination is not about the holy king, and the next degree is not about the interests of the whole people. So Mozi said,' be happy but not do it.' "(Mozi Le Fei Merchants) Legalists' critical attitude towards gorgeous beauty is more acute. Han Feizi believes that the purpose of decoration is to cover up the essence of ugliness: "A husband judges feelings by their appearance, and feelings are evil; Those who have to decorate but don't judge by quality will also lose their quality. Why do you say it? Harmonious jade, not decorated with gorgeous; The pearls after Sui Dynasty are not decorated with silver and yellow. Its quality is beautiful, and things are not enough to decorate it. Husbands and objects are decorated, and then travelers, which is not beautiful. " ("Everything is done to get rid of the old") He not only regards the gorgeous appearance as an "ugly" decoration, but also, like Laozi, Zhuangzi and Mozi, associates the pursuit of gorgeous beauty with the national luck and the people's hearts: "Yao Chan is the world, Yu Shun collects it, makes money for eating utensils, cuts off mountains and trees, paints ink on it, and loses the palace as a eating utensil, which the princes think. Shun Zen was handed down to the world, jade was used as a sacrificial vessel and dyed with ink. Zhu painted it with silk as wormwood, which had a good relationship with Jiang and was decorated with it. The country refused to accept the extravagant wind. Xia Houshi didn't have it, and the Yin people were influenced by it, taking it as a way to build nine rows, carve utensils, carve carvings, chalk walls and engrave inscriptions, which wasted time, but the country did not accept it. Gentlemen know the article, but few people want to be impressed, so I am frugal. " Moreover, the Confucian aesthetic thought has already included the idea of "saving money" and the idea of "keeping your word" (The Analects of Confucius Wei Linggong). This not only increases the Confucianism and Taoism, but also increases the Mohism and Legalism. The aesthetic thoughts of these four schools have merged in many aspects, such as simplicity, naturalness, plainness, simplicity and practicality, which strengthened the position of simplicity as beauty in China's aesthetic tradition, and gorgeous beauty became the target of public criticism.

Gorgeous cultural connotation

Although from a cultural point of view, people hold an exclusive attitude towards gorgeous beauty, in artistic creation and daily life, people often hold a dual position on different forms of beauty. As a kind of artistic beauty, beautiful words and colorful flowers, embroidered brocade will give people a sense of carving. People often scoff at the pursuit of such an aesthetic style in artistic creation, thinking that such a style is vulgar and a manifestation of "formalism". As an aesthetic form, "gorgeous" is usually called "gaudy". However, in daily social life, gorgeous also shows different pursuit of beauty, which has another cultural connotation.

From the language as a cultural symbol, we can see that many idioms are condensed with the aesthetic habits of the Chinese nation. For example, we often use colorful, colorful, gorgeous and spectacular idioms to express our appreciation of beautiful things, and even think that these idioms can be regarded as. This is because people regard this aesthetic form as a symbol of luxury external form, the most intuitive perceptual form of aristocratic status and wealth, and the most direct visual feature of enjoying the material life envied by ordinary people.

Gorgeous beauty, as a symbol of luxurious beauty, its dazzling external form is associated with noble status and rich wealth. "Luxury" is the appearance of "luxury" and the essence of "expensive". As Marx said: "Gold and silver are not only redundant and can be omitted in negative aspects, but also their aesthetic characteristics make them luxurious, decorative, gorgeous and conspicuous natural materials. In short, they become a positive form of surplus and wealth. " [9] To this end, Marx even found the etymological relationship between the names and colors of precious metals in various Germanic languages in India from the history of German.

This luxury can be manifested in three levels.

One is the fantasy of heaven, which is religious. Whether it is Buddhism or Taoism, whether it is "Buddha" or "immortal", it is decorated with colorful colors. "Buddha wants gold" is to dress the Buddha with brilliant gold. Fairy Hill Qiongge, Golden House Yuyu and Xiangyun are the highest realms of Buddha. The decorations on the Buddhist temples are also magnificent. Yang Xuanzhi's "Galand in Luoyang": "When Wei Emperor was arrested, he gained money, lived in a lonely house, believed in countless things, and his teachings were more prosperous. Princes and nobles abandoned elephants until late at night; Ordinary people and aristocratic families are relics if they give up their assets and wealth. So this is an argument. The pagoda is parallel to Luo, vying for the posture in the sky and the shadow in the mountain. Jindian is higher than GV, and A Fang of radio and television is as strong as others. It is not only embroidered with wooden clothes, but also covered with vermilion! " When he painted the splendor of Fayun Temple, he also wrote: "Buddhist temples and monasteries are all decorated with Hu. Sudan is dazzling and sparkling. Imitate the real content, like Luyuan in Liu Zhang's eyes; The divine light is magnificent, if King Kong is in Shuanglin. Within Galand, the fruits are lush, the grass is flourishing, and the grandmother is in court. " Moreover, the prayer flags in Buddhist temples, the robes of monks and even the tributes in front of Buddha statues are all colorful and dazzling, creating another luxurious and gorgeous ideal world completely different from the suffering world and giving believers a fantasy of simulating the happiness of heaven.

The second is the symbol of power, at the practical level. Luxury in the real world is a symbol of power, identity and status, and its external performance is characterized by colorful. Under the feudal hierarchy, even the color of clothes was strictly regulated. "The Book of Rites": "The emperor is a dragon, the vassal is a vassal, the doctor is a doctor, and the scholar is metaphysics; The crown of the son of heaven, Zhu Lvzao, two out of ten, nine princes, seven doctors, five doctors and three scholars. This is also based on the text. ..... is a ceremony made by my late king, no more, no less, just its name. Therefore, it is a ceremony for a gentleman to go to prison, a ceremony for a gentleman to go to prison, and a busy gentleman to go to prison. Guan Zhong is a fool, the mountain is full of algae, and the gentleman thinks it is excessive. " On the contrary, as a symbol of power, identity and status, it can't be done without modification. According to "Dai Dai: Persuasion", Confucius said: "Wild! A gentleman can't learn to meet people or pretend. No decoration, no appearance, no disrespect, disrespect and rudeness. Those who are far away and have light decorate them; Those who are close to the Ming Dynasty are far from the Ming Dynasty. " If Confucius uses gorgeous decoration as a metaphor to show that personal cultural accomplishment is also the decoration of a person's appearance, then Xunzi directly discusses the relationship between luxurious decoration and the luxury desire of the ruling class: "Being a master is not beautiful enough for a nation", "It is necessary to carve and carve, and cover your eyes with articles" (Xunzi Guo Fu) After Emperor Gaozu Liu Bang proclaimed himself emperor, the newly appointed prime minister Xiao He presided over the construction of Weiyang Palace for him, and Liu Bang ". "How can we treat this palace too much?" Xiao He said, "Things change, so we can enter the palace. Moreover, the husband and son of heaven take the four seas as their home, and if they are not magnificent, they cannot be valued, nor can they add luster to future generations. "(Biography of Historical Records and High-impedance) Gross also thinks that" in a higher stage of civilization, body decoration has lost its original meaning. But beyond that, it has fulfilled a broader and more important position: to distinguish between different positions and classes. " [10] It can be seen that not only Confucianism advocates that the ruling class has the right to enjoy wealth, but also as a universal aesthetic principle, gorgeous beauty has become a decorative symbol of power, identity and status.

The third is the desire for wealth, which is at the folk level. On ceremonial occasions, whether it is a large celebration (such as a large commemorative meeting) or a small happy and festive occasion (such as marriage and birthday celebration, etc.). ), ethnic customs will show solemn and grand atmosphere with gorgeous colors, and render happy and festive colors. No matter the rich or the poor, they all hope to express their yearning for a rich life through gorgeous colors. Although the dragon robe worn by the emperor is golden, the daughters of ordinary people still wear red and green when they get married; The emperor's golden palace is resplendent and magnificent, and people's weddings can also be lit with red candles, which are colorful and bejeweled. This gorgeous, while showing the pursuit and preference for rich, strong and full colors, also shows people's yearning and longing for a rich life. Although this may only exist in a short fantasy, it also shows the life ideal of ordinary people in the aesthetic ideal. It's hard to imagine a solemn, warm and happy occasion, which can create such a festive atmosphere with simple colors. As far as national customs are concerned, different nationalities also have their own characteristics in costumes, costumes and makeup. For example, women of many ethnic minorities, such as Uygur, Tibetan, Miao, Yi, Jingpo and Naxi, all admire the richness and splendor of colors, especially the young girls who take part in dating. These aesthetic habits and admiration can explain the inner cultural implication of gorgeous.

Over the years, in the study of the form of beauty, the attitude of despising or even rejecting gorgeous beauty has affected our understanding of the diversity of beauty. Moreover, this pan-moral aesthetic standpoint compares the study of gorgeous beauty forms with the pursuit of luxurious life interest, which further restricts the broad vision and truth-seeking attitude of aesthetic research. Judging from the development of aesthetic research itself, it should be of practical significance to regard gorgeous beauty as an academic subject in the study of beauty form.