requestId:68499a977dd075.40637015.
Chinese Aesthetics and Traditional National Politics
Author: Liu Chengzhang
Source: “Literature and Education: Chinese Version” No. 5, 2016
Time: Confucius was the 19th month of Bingshen month, Guimao
Jesus January 16, 2016
Author introduction: Liu Cheng, taught by Beijing Teachers and Dafa Academy of Philosophy, published the paper “The Status of Chinese Aesthetic Energy in Chinese Civilization” and other Chinese and modern academics. Since the beginning of the Qing Dynasty, the new and old conflicts between China and the West have emerged, and has been completely transformed into an object that has been emphasized by Eastern modern academic concepts. In terms of the literature and arts in this article, the traditional Chinese “literature” and “art” are the main topics. Like the “Literature” in the “Four Subjects of Confucius” in the late Confucianism and the “Six Arts” can almost be used as the general term for all humanities and Taoism. “What should I do next?” technology. In later generations, although the classification of literature and art has gradually evolved, the concepts of poetry, poetry dance, and poetry paintings as one origin and one body still clearly show the completeness of the human knowledge it contains. This is different from the modern Eastern style of art indefinitely divided and sets a distinctive boundary. At the same time, in terms of value, since the 18th century, Oriental has strongly emphasized the super-utilitarian characteristics of literary art. It believes that only when a person’s interest in aesthetics is strictly limited to a scope that does not involve short-term short-term, literary art can gain self-discipline or independence. However, in modern China, from the Zhou Dynasty to the Chen-style music of the Qing Dynasty, literature and art have always been a part of the national political system. It cooperates with mainstream politics and even leads the side of mainstream politics, and must be far away from the side of alienation and betrayal. In this regard, Chinese literature is a kind of disciplined art, Chinese art is a kind of disciplined art, and aesthetics, which is closely related to this, is a kind of disciplined art that is both planned and provided fantasy guidance for real politics. It is not too good to be honest.
So, in traditional China, how does aesthetics and literary art participate in politics, or perhaps what kind of color it has played in its national political career? First, according to the ancient sage king system set by historians, the history of the establishment of late Chinese politics is a natural and natural history of beauty. Among them, Mi Xi is the Hua XiapingPeople of the Immigration race Baobao.comWenchuzu, his most important contribution is to legislate natural legislation, that is, by echoing the heaven and the earth, the incorrect natural areas into graphic existences (Gospels), and thus realize the transition from geography to humanities. After Mi Xi, Emperor Huang, Emperor Huang and Shun “hanged their clothes and ruled the whole country” (官网“Yihe·中文”), which regarded the decoration as the symbol of human beings from wild to civilization, showing the characteristics of the integration of aesthetics, ethics and politics. Since then, the most powerful creation of this human destiny was the tribute system in the Western Zhou Dynasty. Long-term maintenanceAccording to “Shangshu”: “Donald Zhou governed politics, saved the country in one year, defeated Yin in three years, survived the lunar calendar in three years, established the marquis in four years, established the marquis in five years, established the marquis in six years, and became the king in seven years.”①The “marquis” in this is both political and beautiful. Judging from the characteristics of national political complaints and artistic education, the structure of aesthetic appeal has become the leading accusation of this politics, and the beauty of human civilization has become the soul of this reorganization. At the same time, the reason why Duke Zhou made gifts in the last year of his political career was not only to celebrate his own political success, that is, “the king succeeds in making a happy gift, and governs custom-made gifts” (“Traditional Notes·Love”), but to use gifts as a means to realize national politics harmony and long-term stability. As Wang Guowei said: “The original intention of his reorganization of cultural relics and his establishment is from the perspective of public security in all worlds. His mentality and imitation are not something that later emperors can dream of.”②
In Chinese history, gifts are both political issues, aesthetics and art issues. Among them, the gift involves many different events, such as social and political system (gift system), human behavior cessation (gift), and gift ceremony (gift), but the politics they seek include orderliness, elegant human behavior, and strict gifts. None of them are aimed at beauty. In expression of emotions, joy refers to poetry, music, and dance. In terms of value orientation, it touches a certain life goal of society such as happiness, happiness, and harmony. The meaning of beauty is doubled. In this regard, although Chinese traditional tribute appears in political or ethical faces, the reviewed humanistic energy still forms its soul. In other words, the value of aesthetics or literary arts has been planned as pure emotional pleasure in modern academic positioning, so that aestheticians or artists often have self-tagging to stick to the distance from real politics, but this has led to neglect and forgetfulness of China’s own great traditions.
Regarding the characteristics of China’s traditional politics, Hegel once said: “In China, this country is based on family relations—A Father’s ruling, its ruling, implicit, or simply can be called sanctioned, to maintain its institution – an empire without sacrificingness. ”③ Judging from the focus position that Rong Le occupies in Chinese traditional politics, Hegel saw her acting familiar, and Song Wei gave her a little peace of mind. The explanation of the cat was obviously fair, and he ignored the aesthetic and fantasy dimension of Chinese traditional politics clearly stated by Rong Le. Of course, in real political reality, due to the reconciliation and coolness of humanity, the over-sentence and sanity of politics will inevitably lead to political politicians It is precisely because, since the pre-Qin period, Chinese thinkers advocated the Zhou system on the one hand and valued gifts, while on the other hand strengthened the political power. For example, Confucianism not only talks about gifts but also talks about criminal politics; in addition to talking about dominance, it also talks about Wang Feng’s silence; in addition to talking about respect for Confucianism, it also talks about Confucianism and law. This “two-hand grasp” strategy maintains the balance needed between the fantasy value of politics and the actual choices.
But in Chinese history, the political regime adopted by politicians to govern the world has never reduced the noble value of gifts or appreciating the auspicious values of American politics. In fact, the more political precepts are strict, the more the things that require sacrificing their focus, otherwise the sacrificial sacrificing their morality will fall to the righteousness of the Tao. It is precisely because of the history of Chinese politics, Confucianism has always occupied the works of the praise of the rule of honor. The place of virtue and beauty. Between fantasy and reality, people believe that “there is no need to be a political person for nothing, and the law cannot be done by itself” (Mencius: The Episode 1), and on the other hand, they also clearly recognize the difference between the primary, the main, the final, and the use of the body between the gift and the criminal policy. In other words, “the gift is the foundation, the punishment is the use of punishment” is a common understanding of the two heroines stepping on the common people in the play, shaping the common sense of the entertainment circle’s relationshipinclusiveness judgment. In this regard, Hegel said that traditional China was an “unspoken empire” because he saw only the side of Chinese politics as his wrist, without seeing its essentially wrapped meaning and the aesthetic fantasy that was beyond nature. In Chinese history, the reason why the Zhou system, which is characterized by literature, is mainly because it is a slaughterBreeding a single timeCool reality has attracted the essence of poetry and provided the purpose of fantasy. At the same time, because this system of magic exists in the past of history, it has also become the object of poetry memory and a symbol of the golden era when the reversal of the politicians of the past.
In Chinese traditional politics, Zhou system, culture and tribute are Breed in a network of concepts of continuousness. The reason why people value the Zhou system is because of its emphasis on literature, which is what Confucius said, “I am so depressed in literature, and I am from Zhou” (《Speech》8》》). The reason why t
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