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Talented Aesthetics: The Sub-System Dimension of Mou Zongsan’s Life Aesthetics
Author: Zhang Jun (produced by Yuelu Book Academy, Hunan Major)
Source: “Philosophy” Issue 05, 2019
Time: Confucius was in the 2570s and June 14th of Ji Hai
Jewelry July 16, 2019
Abstract
Virtual Aesthetics and Talent Aesthetics are the two wings of Mou Zongsan’s life aesthetics. The former belongs to its metaphysical dimension, while the latter belongs to its sub-physical dimension. The two form the complete system of Mou Zong’s personality aesthetics. Therefore, talent aesthetics is an indispensable or lacking in the aesthetic system of life. “Talent” as an aesthetic model began in Wei Dynasty, and the talent aesthetics were discovered by Mou Zongsan. Only under the framework of the system of neo-Confucian philosophy of life can it be reduced to the system level of life aesthetics. “Talent” means the nature of talent, and its essence belongs to the nature of gas (“gasiness”), and its metaphysical basis is the theory of gasification of the universe. Talent or emotion is the result of the atmosphere and the beauty of the spirit cannot be separated from the energy. The talent concentrates the main visual dimensions of the natural life and life, presenting a variety of styles and spirits. The talent theory that uses the talent subject as the object of aesthetics is precisely the personality aesthetics that serves as the focus of life aesthetics.
The systematic and modernization of Confucian moral philosophy was formed under the promotion of contemporary neo-Confucianism in the 20th century. In contemporary neo-Confucianism, Mou Zongsan set the epigraph of morality and life on the basis of “infinite wisdom and mind”, and developed the “metaphysics of morality” of the physical essence, turning a new chapter in the creation of Confucian philosophy of virtue and life. For a long time, because he adhered to the Confucian morality-oriented tradition, valued morality and life, and ignored sexual desire, the three philosophical sects of Mou Zong are often regarded as a philosophical structure focusing on the moral integrity subject, and pay less attention to aesthetics and art. Therefore, the aesthetic community rarely regards it as a representative aesthetician in the 20th century China. However, Mou Zongsanjian’s metaphysics of morality based on the Confucian traditional mind and nature, in terms of its inherent essence, includes in-depth ethical aesthetics and is a model of modern reconstruction of Chinese ethical aesthetics. This is rarely noticed by researchers.
Mu Zongsan’s ethical aesthetic thinking focuses on his long article “The doubts and negotiations of the principle of complying with the principle of aims as the excess of the power of judging aesthetic judgment” written in his later years. [1] Recently, the system of Euclilin and his students has been developed and developed, and the theoretical framework of “ethics preservation aesthetics” has been gradually revealed. [2] Under this aesthetic framework, Mou Zongsan surpasses Kant’s “the unity of truth, beauty and goodness” with the “unity of truth, goodness and goodness”, and he holds a critical attitude towards the modern aesthetic and aesthetic theory that relies on natural desire and rational discussion. According to this aesthetic explanation, we must purify the beauty of life into the beauty of morality, sensibility, and life., there is a clear understanding of life aesthetics. After all, life as a practical subject is a unity of flesh and energy, rationality and sensibility, nature and morality. It is said that the beauty of life cannot be ignored as natural, rational and even lustful as it is, otherwise the meaning of life will not be trapped in abstraction and emptiness. The world of life presents a fusion of truth, goodness and beauty. Mou Zongsan and his subsequent commentators reminded the moral preservation meaning of the beauty of “unity” is of course in-depth, but from a metaphysical perspective, the beauty of “unity” (the beauty of formlessness) cannot be included in the beauty of “differential statement” (the beauty of formlessness), that is, there will be mutual integration into formlessness, and the phenomenon will be manifested in the body. Therefore, Mou Zongsan’s life aesthetics should not only be a single dimension of aesthetics in moral realm or ethics. In fact, this is the case. Mou Zongsan’s aesthetics of life is of course directed by moral body, but his aesthetic exploration of the natural erotic dimensions of life is actually quite extensive in works such as “Talent and Mystery”, but aesthetic researchers rarely notice it. It is impossible to understand that it is a course that has not been completed in the Chinese aesthetics community to sort out Mou Zongsan’s aesthetics from the perspective of life aesthetics. Therefore, this article will make a special difference in the shape of Mou Zongsan’s aesthetics (talent aesthetics) from the natural life and talent problems, and try to comprehensively summarize Mou Zongsan’s aesthetics structure in life, so as to supplement the shortcomings left by the emphasis on “ethics preservation aesthetics” (moral aesthetics).
1. “Talent” and its metaphysical foundation
Previous people often describe “talent” and “nature”. The combination of “talent” and “nature” was first met by Wang Chong. In the chapter of “Name and Wisdom”, he said: “A man is wise and stupid, and has a clean character, and is of nature and talent.” (“Yuheng·Name and Wisdom”) Wang Chong’s humanistic theory is consistent with Gaozi, Xunzi, and Liu Xiang. His nature is “the reason for being born” [3], which belongs to the natural nature of human beings: “Nature is natural, good and bad.” (“Yuheng·Nature”) His talent is the talent in ordinary meaning, which is what Zhu Xi said, “Talent, material and quality are the ability of human beings” [4]. Therefore, Wang Chong used “wise and foolish things” to judge the fineness of talent and the beauty of nature by “clear character”. Talent is the real talent of human beings, and nature is the essence of human nature. Despite this, Wang Chong did not decompose the two into one concept. Therefore, the true development of the concept of “talent” is afraid that it can only be traced back to the notes of “Mencius” by Zhaoqi at the end of Donghan: “It is not the difference between talent and nature that the heavens descend, and the coldness of the heart, and the evil spirits are obsessed with it.” [5] Later, during the Wei Dynasty and the Southern and Northern Dynasties, Cao Pi implemented the “Nine-Rank Zhongzheng System” and first opened the famous and popular style. The clear and mysterious discussions and the literary and cultural style became the style of scholars and the talent and nature were prosperous. Yuan Wei (named Xiaoni), a famous celebrity who was a member of Ruan Ji and Ji Kang, wrote “Talent and Nature Review”. Now there is another chapter of “The Collection of Arts and Natures” in “The Collection of Arts and Natures”: “All things are born between the six communes, and there are beauty and evil. How are things beautiful? The origin of the air. How are things evil? What is evil? What is evil is what is used by the air”; “Those who are unworthy are the nature of human beings. Those who are unworthy are teachers, and those who are unworthy are wealth, and those who are teachers are materials. However, nature refers to their quality, and talents are known as their use.”[6]. The aesthetic application of talent and character theory in people’s objects is based on Liu Shao’s “People’s Records” as a milestone. At the same time, talent and character theory is also written by Integrity pipeline has entered the literary and artistic field as a criticism model. For example, Cao Pi’s “Dictionary·Speech” and Liu Jie’s “Wenxin Diaolong” all have the same qualities as the writer’s talent and temperament. Therefore, talent was already in the Wei Dynasty. It has become a very focused model in the field of character aesthetics and literary aesthetics. This is the reason why Mou Zongsan took out the concept of “talent” to summarize the life quality and energy style of the scholars of Wei Dynasty.
Despite “talent” as it has become an aesthetic model in the Wei Dynasty, it has become a rich aesthetic criticism. There is also a certain level of theoretical reflection, but it has not been developed into an aesthetic theory. It was not until Mou Zongsan’s book “Talent and Mystery” that the aesthetics of talent was discovered, and only under the framework of the system of neo-Confucian philosophy of life did it be destroyed to the height of life aesthetics.
Talented to Mou Zongsan, ” Talent nature” means the nature of talent, or “egality” – the nature of atmosphere. In essence, talent nature belongs to the nature of a certain atmosphere, but is different from the meaning of “egality” described by the Confucian Confucians of the Song Dynasty. In his opinion, although the “talent” and “nature” mentioned by Wang
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