měi xué shì yǐ duì měi de běn zhì jí qí yì yì de yán jiū wéi zhù tí de xué kē。 měi xué shì zhé xué de yī gè fēn zhī。 yán jiū de zhù yào duì xiàng shì yì shù， dàn bù yán jiū yì shù zhōng de jù tǐ biǎo xiàn wèn tí， ér shì yán jiū yì shù zhōng de zhé xué wèn tí， yīn cǐ bèi chēng wéi “ měi de yì shù de zhé xué ”。 měi xué de jī běn wèn tí yòu měi de běn zhì、 shěn měi yì shí tóng shěn měi duì xiàng de guān xì děng。
cí yǔ lái yuán
měi xué yī cí lái yuán yú xī là yǔ aesthesis。 zuì chū de yì yì shì“ duì gǎn guān de gǎn shòu”。 yóu dé guó zhé xué jiā yà lì shān dà · gē tè lì bù · bào mǔ jiā dēng shǒu cì shǐ yòng de。 tā de《 měi xué（ Aesthetica）》 yī shū de chū bǎn biāo zhì liǎo měi xué zuò wéi yī mén dú lì xué kē de chǎn shēng。
zhí dào 19 shì jì， měi xué zài chuán tǒng gǔ diǎn yì shù de gài niàn zhōng tōng cháng bèi bèi dìng yì wéi yán jiū“ měi” (Schönheit) de xué shuō。 xiàn dài zhé xué jiāng měi xué dìng yì wéi rèn shí yì shù， kē xué， shè jì hé zhé xué zhōng rèn zhī gǎn jué de lǐ lùn hé zhé xué。 yī gè kè tǐ de měi xué jià zhí bìng bù shì jiǎn dān de bèi dìng yì wéi“ měi” hé“ chǒu”， ér shì qù rèn shí kè tǐ de lèi xíng hé běn zhì。
fā zhǎn lì shǐ
měi xué zuò wéi dú lì de xué kē shì cóng dé guó shí bā shì jì de bào mǔ jiā dēng kāi shǐ de， dàn tā de chǎn shēng jiàn lì zài zì gǔ xī là yǐ lái lì dài sī xiǎng jiā guān yú měi de lǐ lùn tàn tǎo zhī shàng， shì yǐ wǎng měi xué lǐ lùn de tǐ xì huà、 kē xué huà。 ér gǔ xī là yǐ lái de měi xué lǐ lùn tàn tǎo yòu jiàn lì zài rén men shěn měi xīn shǎng hé shěn měi chuàng zào huó dòng jī chǔ zhī shàng， shì rén men shěn měi huó dòng de zhé xué fǎn sī。 yīn cǐ， wǒ men yào liǎo jiě měi xué jiù bì xū huí dào tā de yuán tóu qù， kāi shǐ yī cì měi de lǚ xíng。
kǎo gǔ xué hé yì shù shǐ gào sù wǒ men： rén lèi zì tuō lí dòng wù yǐ lái jiù kāi shǐ liǎo shěn měi xīn shǎng hé shěn měi chuàng zào huó dòng。 jiù shí qì shí dài de shān dǐng dòng rén， jiù yòng shí zhū、 shòu yá、 hǎi hān ké děng rǎn shàng hóng、 huáng、 lǜ děng gè zhǒng bù tóng de yán sè pèi dài zài shēn shàng。 bù jǐn yuán shǐ rén de zhuāng shì pǐn néng jiàn chū rén lèi zhè zhǒng zǎo qī de shěn měi huó dòng， yóu qí yuán shǐ yì shù gèng shì jí zhōng fǎn yìng liǎo rén lèi zǎo qī shěn měi huó dòng。 jù wén zì jìzǎi hé liú xià de tú 'àn tuī cè， yuán shǐ yì shù yòu shī gē、 wǔ dǎo、 yīnyuè děng， dàn xiàn yǐ dàng rán wú cún。 wéi dòng xué bì huà yǔ táo qì shì wǒ men jīn tiān suǒ néng jiàn dào de zuì zǎo de liǎng xiàng yuán shǐ yì shù jì lù。 qián zhě zhù yào yǐ gè zhǒng dòng wù wéi tí cái， shēng dòng xì zhì， sè cǎi xuàn lì。 hòu zhě bù jǐn zào xíng yōu měi、 tú 'àn fēng fù， ér qiě sè cǎi duì bǐ xiān míng。
rén men zǒng shì xiān yòu liǎo mǒu zhǒng shēng huó、 mǒu zhǒng xiàn xiàng， ěr hòu cái kāi shǐ sī kǎo、 tàn tǎo， bìng zài sī kǎo、 tàn tǎo de jī chǔ shàng jiàn lì xiāng yìng de xué kē。 duì rén lèi zǎo qī shěn měi xiàn xiàng de sī kǎo、 tàn tǎo shǐ yú gǔ xī là。 nà shí de bì dá gē lā sī、 hè lā kè lǐ tè、 sū gé lā dǐ、 bólātú、 yà lǐ shì duō dé děng dà zhé xué jiādōu cānyù liǎo měi de tàn tǎo hé zhēng lùn。 dàn tā men guān yú měi de guān diǎn、 jiàn jiě cháng cháng hé tā men guān yú zhēn、 shàn de rèn shí hùn zài yī qǐ， chéng wéi tā men zhé xué sī xiǎng、 dào dé sī xiǎng、 shén xué sī xiǎng yǐ jí zhèng zhì sī xiǎng hé wén yì sī xiǎng de fù yōng。 lìng wài， dāng shí yě méi yòu yī bù měi xué zhuān zhù。 sī xiǎng jiā men de měi xué guān diǎn jiā zá zài zhèng zhì、 zhé xué、 zōng jiào、 dào dé、 yì shù shèn zhì shǐ chuán、 shū zhá、 pī zhù děng lùn zhù zhōng。 rén men hái méi yòu cóng nà xiē hùn zá jiāo zhì de sī xiǎng tǐ xì zhōng wéi měi xué xún zhǎo chū yī gè dú lì、 tè shū de yán jiū duì xiàng。 zhè zhǒng zhuàng kuàng yī zhí yán xù dào 18 shì jì zhōng yè yǐ qián。
18 shì jì yǐ hòu， suí zhe 'ōu zhōu gōng yè gé mìng de fā zhǎn， zì rán kē xué、 zhé xué、 lún lǐ xué、 xīn lǐ xué hé wén yì xué děng jìn dài xué kē jìn rù liǎo zhú bù xíng chéng hé fā zhǎn de shí qī。 yóu qí shì yǔ měi xué mìqiè xiāng guān de zhé xué， zì jìn dài yǐ lái fā shēng liǎo rèn shí lùn zhuànxiàng， wéi měi xué xué kē de jiàn lì tí gōng liǎo bì yào de lì shǐ tiáo jiàn。 zhèng shì zài zhè yàng de lì shǐ tiáo jiàn xià， bào mǔ jiā dēng zài zì jǐ de zhé xué tǐ xì zhōng， dì yī cì bǎ měi xué hé luó ji xué qū fēn kāi lái。 zài yán gé guī dìng liǎo luó ji xué de yán jiū duì xiàng shì xíng chéng gài niàn hé jìn xíng tuī lǐ de chōu xiàng sī wéi de tóng shí， yě gěi měi xué guī dìng liǎo zì jǐ dú tè de yán jiū duì xiàng。 bìng xiě chū liǎo měi xué zhuān zhù， chū bù xíng chéng liǎo měi xué xué kē de jī běn kuàng jià yǐ jí tàn tǎo liǎo měi xué de yī xiē jī běn wèn tí。 gù cǐ， měi xué xué kē dàn shēng， ér bào mǔ jiā dēng yě yīn cǐ chéng wéi měi xué zhī fù。
bào mǔ jiā dēng（ A.G.Baumgarten1714-1762） shì dé guó pǔ lǔ shì hā lì dà xué de zhé xué jiào shòu。 tā guān yú měi xué de zhù yào guān diǎn jí zhōng zài liǎng gè fāng miàn： yī shì tā bǎ měi xué guī dìng wéi yán jiū rén gǎn xìng rèn shí de xué kē。 bào mǔ jiā dēng rèn wéi rén de xīn lǐ huó dòng fēn zhī、 qíng、 yì sān fāng miàn。 yán jiū zhī huò rén de lǐ xìng rèn shí yòu luó ji xué， yán jiū rén de yì zhì yòu lún lǐ xué， ér yán jiū rén de qíng gǎn jí xiāng dāng yú rén gǎn xìng rèn shí zé yīngyǒu "Aesthetic"。 "Aesthetic" yī cí lái zì xī là wén， yì sī shì " gǎn xìng xué "， hòu lái fān yì chéng hàn yǔ jiù chéng liǎo " měi xué "。 1750 nián bào mǔ jiā dēng zhèng shì yòng "Aesthetic" lái chēng hū tā yán jiū rén de gǎn xìng rèn shí de yī bù zhuān zhù。 tā de zhè bù zhù zuò jiù bèi dāng zuò lì shǐ shàng de dì yī bù měi xué zhuān zhù。 èr shì bào mǔ jiā dēng rèn wéi： " měi xué duì xiàng jiù shì gǎn xìng rèn shí de wán shàn "。
měi xué hé yǐ yǔ gǎn xìng rèn shí xiāng guān？ bào mǔ jiā dēng de lǎo shī de lǎo shī、 dé guó zhé xué jiā lāi bù ní cí duì cǐ yòu yī duàn shēng dòng de jiě shì， tā shuō： huà jiā hé qí tā yì shù jiā men duì yú shénme hǎo hé shénme bù hǎo， jìn guǎn hěn qīng chǔ dì yì shí dào， què wǎng wǎng bù néng tì tā men de zhè zhǒng shěn měi qù wèi zhǎo chū lǐ yóu， rú guǒ yòu rén wèn dào tā men， tā men jiù huì huí dá shuō， tā men bù huān xǐ de nà zhǒng zuò pǐn quē fá yī diǎn " wǒ shuō bù chū lái de shénme "。
zhī dào zuò pǐn měi huò bù měi， què shuō bù chū gè zhōng yuán yóu， zài lāi bù ní cí hé bào mǔ jiā dēng kàn lái jiù shǔ yú yī zhǒng mó hú de、 hùn luàn de gǎn xìng rèn shí。
bào mǔ jiā dēng zhī hòu， měi xué de fā zhǎn jīng lì liǎo dé guó gǔ diǎn měi xué、 mǎ kè sī zhù yì měi xué、 xī fāng jìn xiàn dài měi xué sān gè zhòng yào jiē duàn。
zài dé guó gǔ diǎn měi xué jiē duàn， kāng dé hé hēi gé 'ěr duì měi xué zhuó yòu gòng xiàn， xíng chéng liǎo měi xué xué kē chǎn shēng yǐ lái dì yī gè， yě shì xī fāng měi xué shǐ shàng de dì sān gè gāo fēng。 kāng dé yǐ tā de sān dà pī pàn zhù chēng yú shì， zài《 pàn duàn lì pī pàn》 zhōng， kāng dé tí chū bìng lùn zhèng liǎo yī xì liè měi xué gēn běn wèn tí， xíng chéng liǎo jiào wéi wán zhěng de měi xué lǐ lùn tǐ xì。 kāng dé zhī hòu， hēi gé 'ěr bǎ dé guó gǔ diǎn měi xué tuī dào liǎo dǐng fēng， chéng wéi dé guó gǔ diǎn měi xué yǐ jí mǎ kè sī zhù yì měi xué yǐ qián de xī fāng gè měi xué sī cháo de jí dà chéng zhě。
mǎ kè sī suī bù céng xiě yòu zhuān mén de měi xué zhù zuò， dàn tā zài qí tā xǔ duō zhù zuò zhōng lùn jí liǎo dà liàng de měi xué wèn tí， yóu qí shì tā bǎ shí yàn de guān diǎn yǐn rù měi xué yán jiū， cóng 'ér bǎ guān yú měi de tàn tǎo jiàn lì zài zhù kè tǐ biàn zhèng tǒng yī de jī chǔ shàng， wéi měi xué yán jiū tí gōng liǎo yī zhǒng quán xīn de sī lù。
19 shì jì zhōng yè yǐ hòu， měi xué fā zhǎn liú pài fēn chéng， dàn zǒng de lái shuō yòu yī zhòng yào qīng xiàng， jí zhú jiàn tuō lí liǎo " měi shì shénme " de chún zhé xué tǎo lùn， ér cè zhòng yú " zài měi gǎn jīng yàn zhōng wǒ men de xīn lǐ huó dòng rú hé " zhè zhǒng shěn měi xīn lǐ de miáo shù， bǎ měi xué zhú jiàn biàn chéng yī zhǒng jīng yàn miáo shù kē xué。 zhè biàn shì měi xué shǐ shàng suǒ shuō de yóu " zì shàng 'ér xià " xiàng " zì xià 'ér shàng " de lì shǐ zhuǎn xíng。 20 shì jì de měi xué gèng shì xíng chéng yī gǔ qiáng liè de fǎn chuán tǒng cháo liú。 tā yī fāng miàn shì duì chuán tǒng xíng 'ér shàng xué de fǎn pàn hé duì jīng yàn shí zhèng fāng fǎ de zhāng yáng， lìng yī fāng miàn shì duì lǐ xìng zhù yì de fǎn pàn hé duì rén de fēi lǐ xìng de zhāng yáng， bìng zài cǐ jī chǔ shàng zhú bù xíng chéng liǎo kē xué zhù yì měi xué yǔ rén běn zhù yì měi xué liǎng dà sī cháo。 jìn xiàn dài xī fāng měi xué de zhù yào dài biǎo rén wù hé měi xué sī cháo yòu dé guó fèi xī nà de " shí yàn měi xué "、 yīng guó bèi 'ěr de " yòu yì wèi de xíng shì "、 měi guó dù wēi de " jīng yàn měi xué "、 yì dà lì kè luó qí de " xíng xiàng zhí jué shuō "、 yīng guó bù luò de " xīn lǐ jù lí shuō "、 dé guó lǐ pǔ sī de " yí qíng shuō "、 fú luò yī dé de " lǐ bǐ duō " lǐ lùn yǐ jí hòu lái de fēn xī měi xué、 xiàn xiàng xué měi xué、 cún zài zhù yì měi xué、 jiē shòu měi xué děng děng。
yán jiū duì xiàng
jìn guǎn bào mǔ jiā dēng zài lì shǐ shàng dì yī cì míng què liǎo měi xué de yán jiū duì xiàng， dàn tā de yì jiàn bìng méi yòu zài xué shù jiè huò dé yī zhì xiǎng yìng。 bào mǔ jiā dēng zhī hòu，“ měi xué jiū jìng yán jiū shénme” yī zhí shì yī gè yǐn qǐ rè liè zhēng yì de wèn tí。 dàn qì jīn wéi zhǐ jī běn xíng chéng liǎo sān zhǒng qīng xiàng xìng de yì jiàn：
dì yī zhǒng yì jiàn rèn wéi， měi xué de yán jiū duì xiàng jiù shì měi běn shēn。 zài chí zhè zhǒng yì jiàn de rén kàn lái， měi xué yào tǎo lùn de wèn tí bù shì jù tǐ de měi de shì wù， ér shì suǒ yòu měi de shì wù suǒ gòng tóng jù yòu de nà gè měi běn shēn， nà gè shǐ yī qiē měi de shì wù zhī suǒ yǐ měi de gēn běn yuán yīn。
dì 'èr zhǒng yì jiàn rèn wéi， měi xué de yán jiū duì xiàng shì yì shù， měi xué jiù shì yì shù de zhé xué。 zhè gè guān diǎn zài xī fāng měi xué shǐ shàng dé dào liǎo xiāng dāng yī pī měi xué jiā de rèn tóng。
dì sān zhǒng yì jiàn rèn wéi， měi xué de yán jiū duì xiàng shì shěn měi jīng yàn hé shěn měi xīn lǐ。 zhè zhǒng yì jiàn shì suí zhe １ ９ shì jì xīn lǐ xué de xīng qǐ， zhù zhāng yòng xīn lǐ xué de guān diǎn hé fāng fǎ lái jiě shì hé yán jiū yī qiē shěn měi xiàn xiàng， bǎ shěn měi xīn lǐ hé shěn měi jīng yàn zhì yú měi xué yán jiū de zhōng xīn。
zǒng zhī， yǐ shàng guān yú měi xué yán jiū duì xiàng de gè zhǒng yì jiàn suī dōuyòu qí yī dìng de dào lǐ， dàn yì yòu gè zì de quē xiàn， yīn 'ér dū nán yǐ qǔ dé xué shù jiè de gōng rèn。 wǒ men jī běn qīng xiàng yú dì yī zhǒng yì jiàn， yīn wéi yǐ měi běn shēn zuò wéi měi xué de yán jiū duì xiàng yī lái bǐ jiào fú hé měi xué xué kē de xìng zhì； èr lái wú lùn shì yì shù hái shì shěn měi jīng yàn de jiě shì， dōuyòu lài yú měi běn shēn de jiě shì。 dàn chuán tǒng sī biàn měi xué bǎ duì měi běn shēn de yán jiū zhì yú zhù kè duì zhì de sī wéi mó shì zhōng， tào yòng jì shù lǐ xìng de fāng fǎ， zhè shì wǒ men suǒ bù néng zàn tóng de。 qí zuì zhōng jiēguǒ zhǐ huì xiàng xiàn dài xī fāng měi xué nà yàng dǎo zhì měi xué xué kē běn shēn de wēi jī hé xiāo jiě。
dāng dài de guó jì měi xué yán jiū gèng qīng xiàng yú yì shù yán jiū， shèn zhì jiāng měi xué chēng zuò yì shù zhé xué， yīn wéi duì dāng dài de yì shù bù néng jìn xíng yán jiū huò chǎn shì， shì yàn zhèng dāng dài de měi xué de yòu xiào xìng de biāo zhì zhī yī， tè bié shì dāng dài yì shù de xíng xíng sè sè yǐ jīng wán quán bù shì chuán tǒng de měi xué hán yì suǒ néng dìng yì。“ měi” yǐ bù shì dāng dài měi xué de zuò hé xīn gài niàn， zhè shì měi xué xū yào zhù yì de， fǒu zé jiāng yòu shēng jī de měi xué yán jiū yǐn xiàng wén zì yóu xì。
yǔ qí tā xué kē guān xì
měi xué yǔ zhé xué：
zài yǔ měi xué xiāng guān de xué kē zhōng， měi xué yǔ zhé xué de guān xì zuì wéi mìqiè。 měi xué běn shēn jiù shì yī mén zhé xué xìng zhì de xué kē。 zhè shì yīn wéi :
měi xué de jī běn wèn tí jiù shì yī gè zhé xué sī biàn xìng zhì de wèn tí。 rèn hé lǐ lùn de xíng chéng jí qí xìng zhì qǔ jué yú tā de tí wèn yǐ jí tí wèn fāng shì。 měi xué chǎn shēng yú bólātú zhī wèn： " měi shì shénme？ " zhè lǐ suǒ wèn de měi， bù shì jù tǐ de měi de shì wù， ér shì shǐ yī qiē měi de shì wù zhī suǒ yǐ měi de gēn běn yuán yīn。 zhè zhǒng bǎ rén de zhù yì lì cóng zá rán fēn chén de gǎn xìng xiàn xiàng yǐn xiàng tǒng shè yī qiē de chōu xiàng de běn zhì， cóng biàn dòng bù jū de měi de shì wù yǐn xiàng héng jiǔ bù biàn de měi běn shēn， xiǎn rán shì zūn xún liǎo gǔ xī là xíng 'ér shàng de zhé xué chuán tǒng。 tóng shí， měi xué xué kē tǐ xì de gòu jiàn yě shēn shòu dāng shí zhé xué de yǐng xiǎng， qí xué kē kuàng jià、 lǐ lùn fàn shì yǐ jí sī wéi fāng shì dū dài yòu tóng shí dài de zhé xué yìn jì。 lìng wài hái yòu yī gè yòu yì sī de xiàn xiàng， lì shǐ shàng de dà měi xué jiā jīhū dōushì dà zhé xué jiā， ér jiào shǎo shì wén xué jiā huò yì shù jiā。 zuì hòu， xī fāng xiàn dài měi xué yǔ zhé xué de fù zá guān xì yě cóng lìng yī gè fāng miàn zhèng míng liǎo měi xué yǔ zhé xué nán yǐ fēn gē de guān xì。 biǎo miàn kàn xī fāng xiàn dài měi xué jù chì zhé xué， dàn tā suǒ jù chì de qí shí zhǐ shì xī fāng chuán tǒng zhé xué， tā suǒ yǐ fù de réng shì xī fāng xiàn dài zhé xué。
měi xué yǔ lún lǐ xué：
měi xué yǔ lún lǐ xué de guān xì shì yóu měi yǔ shàn de guān xì suǒ jué dìng de。 zhēn shàn měi shì rén shēng suǒ xiàng wǎng de lǐ xiǎng jìng jiè， qí zhōng quē yī bù kě。
cóng lì shǐ shàng kàn， fán shì měi de duì xiàng zài lún lǐ xué yì yì shàng yì shì shàn de， zhè yóu qí biǎo xiàn zài shè huì měi lǐng yù lǐ。 shè huì měi de nèi róng zài mǒu zhǒng yì yì shàng lái shuō jiù shì yǐ měi de xíng shì lái biǎo xiàn shàn。
měi yǔ shàn jìn guǎn lián xì mìqiè， dàn bìng fēi kě yǐ děng tóng， měi bìng bù jiù shì shàn。 pì rú yǔ guǒ xiǎo shuō《 bā lí shèng mǔ yuàn》 zhōng de qiāo zhōng rén， wài biǎo chǒu lòu， dàn nèi xīn shàn liáng。 měi de shì wù gèng cè zhòng yú rén jīng shén de yú yuè， yīn 'ér jù yòu chāo gōng lì xìng， ér shàn de duì xiàng yǔ rén de gōng lì mùdì wǎng wǎng zhí jiē xiāng lián。
měi xué yǔ xīn lǐ xué：
liú xié shuō： " dēng shān zé qíng mǎn yú shān， guān hǎi zé yì yì yú hǎi "；
yīng guó shī rén jì cí shuō： " měi shì yī zhǒng yǒng héng de yú kuài "；
měi guó měi xué jiā sāng tǎ yé nà shuō： " měi shì zài kuài gǎn de kè guān huà zhōng xíng chéng de， měi shì kè guān huà liǎo de kuài gǎn "；
zài rén men de shěn měi huó dòng zhōng zǒng shì bàn suí zhe gè zhǒng xīn lǐ huó dòng -- qíng gǎn、 yú yuè、 xiǎng xiàng děng。 lǐ bái de shī： " hán shān yī dài shāng xīn bì "， qí zhōng " hán "、 " shāng xīn "， jiù bù shì chún kè guān de mó xiě， ér shì xīn qíng de biǎo dá。 zài mǒu zhǒng yì yì shàng wǒ men shèn zhì kě yǐ shuō， měi de fā shēng lí bù kāi rén xīn lǐ yīn sù de cānyù。 yīn 'ér měi xué yǔ xīn lǐ xué mìqiè xiāng guān。
19 shì jì yǐ lái xī fāng měi xué duì shěn měi tǐ yàn hé xīn lǐ gōng néng de qiáng diào， gè xīn lǐ xué liú pài duì měi xué yán jiū de yǐng xiǎng， zài mǒu zhǒng chéng dù shàng yě shuō míng liǎo měi xué yán jiū duì xīn lǐ xué de yǐ lài。
měi xué yǔ wén yì xué：
měi xué yǔ wén yì xué yòu zhe gòng tóng de yán jiū duì xiàng， jí wén xué yì shù。 yīn cǐ， tā men yán jiū de wèn tí cháng cháng huì yòu mǒu xiē jiāo cuò， pì rú wén xué yì shù zuò pǐn zhōng suǒ biǎo xiàn chū lái de shěn měi yì shí、 shěn měi lǐ xiǎng、 shěn měi chuàng zào hé shěn měi xīn shǎng de yī bān guī lǜ děng jì shì měi xué yòu shì wén yì xué suǒ yào yán jiū de wèn tí。
dàn měi xué xiāng duì yǔ wén yì xué 'ér yán， gèng dài yòu yī bān xìng， tā tàn tǎo wén xué yì shù de běn yuán， wéi hòu zhě tí gōng lǐ lùn fàn shì hé sī wéi fāng shì。 ér wén yì xué zé gèng duō de guān zhù jù tǐ de wén xué yì shù jīng yàn hé xiàn xiàng， tā kě yǐ wéi měi xué yán jiū tí gōng fēng fù de jīng yàn cái liào。
yán jiū rèn wù
měi xué de yán jiū rèn wù chú liǎo tā zuò wéi yī mén xué kē， yìng jiē shì hé chǎn míng shěn měi xiàn xiàng， bāng zhù rén men liǎo jiě měi、 měi de xīn shǎng hé měi de chuàng zào de yī bān tè zhēng hé guī lǜ， jìn yī bù wán shàn hé fā zhǎn měi xué xué kē běn shēn， bìng cóng 'ér tí gāo rén de shěn měi xīn shǎng néng lì wài， zhēn duì dāng jīn shè huì， tā yóu qí hái yào tí gāo rén de jīng shén， cù shǐ rén shēng shěn měi huà， yì jí hǎi dé gé 'ěr suǒ shuō de " shī yì dì qī jū "。 měi xué shì yī mén chāo shì sú gōng lì de xué wèn， tā fǎn yìng liǎo rén de zhōng jí guān huái hé zhuī qiú。 dàn tā yòu yǔ zhé xué bù tóng， tā bǎ zhè zhǒng zhōng jí guān huái hé zhuī qiú róng rù shī yì zhī zhōng， yòng shēng dòng gǎn rén de xíng xiàng qù dǎ dòng rén de qíng gǎn， yīn 'ér tā gèng yì bèi rén suǒ jiē shòu。 dāng jīn jì shù wén míng hé shāng yè wén míng， bài jīn zhù yì、 wù zhì zhù yì hé xiǎng lè zhù yì shèng xíng， shǐ rén jīng shén rì yì qièjìn xíng 'ér xià 'ér shū lí xíng 'ér shàng， zhè wú lùn yú shè huì hái shì yú rén běn shēn dōushì lìng rén dān yōu de。 měi xué kě yǐ tí gāo rén de jīng shén， shǐ rén chāo tuō shì sú de píng yōng hé bǐ lòu， cóng 'ér " shī yì dì qī jū zài dà dì shàng "。
yán jiū fāng fǎ
měi xué yán jiū de fāng fǎ shì duō yuán de。 jì kě yǐ cǎi qǔ zhé xué sī biàn de fāng fǎ， yě kě yǐ jiè jiàn dāng jīn qí tā xiāng guān xué kē de yán jiū fāng fǎ， bǐ rú jīng yàn miáo shù hé xīn lǐ fēn xī de fāng fǎ、 rén lèi xué hé shè huì xué de fāng fǎ、 yǔ yán xué hé wén huà xué de fāng fǎ děng。
měi de běn zhì
měi shì shénme？
zhè shì lái zì bólātú de fā wèn。 zhèng shì zhè yī wèn， kāi qǐ liǎo quán bù měi xué de lì shǐ， tā zuò wéi měi xué de jī běn lǐ lùn wèn tí， jī lì zhe lì dài měi xué jiā、 zhé xué men jìn xíng bù xiè de nǔ lì。
xī fāng měi xué shǐ shàng guān yú měi de běn zhì tàn tǎo：
1. cóng jīng shén fāng miàn tàn tǎo měi de běn zhì
cóng kè guān jīng shén fāng miàn de tàn tǎo： bólātú、 pǔ luó dīng、 hēi gé 'ěr
cóng zhù guān jīng shén fāng miàn de tàn tǎo： xiū mò、 kāng dé、 yī xiē xiàn dài měi xué jiā
2. cóng wù zhì fāng miàn tàn tǎo měi de běn zhì： yà lǐ shì duō dé、 hé jiā sī、 bó kè
3. cóng jīng shén hé wù zhì tǒng yī fāng miàn tàn tǎo měi de běn zhì： dí dé luó、 chē 'ěr ní xuě fū sī jī
zhōng guó gǔ dài guān yú měi de běn zhì de tàn tǎo：
zhōng guó gǔ dài duì zhè gè wèn tí de tàn tǎo gèng duō de shì tōng guò duì“ dào”、“ qì”、“ miào” de tàn tǎo 'ér fǎn yìng chū lái， yǔ xī fāng qiáng liè de sī biàn tè xìng xiāng bǐ， zhōng guó gǔ dài měi xué sī xiǎng gèng qiáng diào yǔ zhòu běn shēn de yì yùn hé rén de jīng shén jìng jiè。
rú：“ bǐ dé shuō”， jí cóng bù tóng jiǎo dù lián xiǎng hé xiǎng xiàng zì rán shì wù yǔ rén zhī jiān xíng zhuàng、 xí xìng de xiāng sì。 bǎ zì rán rén gé huà、 dào dé huà， rén de tè xìng kè guān huà、 zì rán huà。
zǐ gòng wèn yuē：“ jūn zǐ jiàn dà shuǐ bǐ guān yān， hé yě？” kǒng zǐ yuē：“ fū shuǐ zhě， jūn zǐ bǐ dé yān。 biàn yǔ 'ér wú sī， sì dé； suǒ jí zhě shēng， sì rén； qí liú bēi xià jù jù jiē xún qí lǐ， sì yì； qiǎn zhě liú xíng， shēn zhě bù cè， sì zhì； qí fù bǎi rèn zhī gǔ bù yí， sì yǒng； mián ruò 'ér wēi dá， sì chá； shòu 'è bù ràng， sì bāo； méng bù qīng yǐ rù， xiān jié yǐ chū， sì shàn huà； zhì liàng bì píng， sì zhèng， yíng bù qiú gài， sì dù； qí wàn zhé bì dōng， sì yì： shì yǐ jūn zǐ jiàn dà shuǐ guān yān 'ěr yě。”
zǐ yuē：“ zhī zhě lè shuǐ， rén zhě lè shān； zhī zhě dòng， rén zhě jìng； zhī zhě lè， rén zhě shòu。”
“ měi shì zì rán de yī zhǒng zuì dà de mì mì， wǒ men kě yǐ kàn dào hé gǎn jué dào tā de suǒ yòu xiào guǒ， dàn shì yī zhǒng pǔ biàn 'ér qīng chǔ de yì jiàn： tā zài běn zhì shàng hái shǔ yú wèi bèi fā xiàn de zhēn lǐ。”
wèn tí： měi de běn zhì wèn tí shì fǒu shì yī gè wèn tí？ shì！ yìng rú hé tàn tǎo？ bù shì？ shì fǒu kě yǐ qǔ xiāo？
měi de tè xìng
yī、 xíng xiàng xìng
1. shī gē zhōng xíng xiàng de shuò zào：
chán zào lín yù jìng， niǎo míng shān gèng yōu。
dà mò gū yān zhí， cháng hé luò rì yuán。
gēnglán jìng， yè sè shuāi， yuè míng rú shuǐ jìn lóu tái， tòu chū liǎo qī fēng yī pài。
2. diāo sù zuò pǐn：《 lā 'ào kǒng》 děng
3. huì huà zuò pǐn：《 méng nà lì suō》 děng
4. yīnyuè zuò pǐn：《 tián yuán》、《 rú gē de xíng bǎn》 děng
5. xiǎo shuō：《 hóng lóu mèng》、《 xī yóu jì》、《 jiā》、《 chūn》、《 qiū》 děng
6. xì jù：《 hā mǔ léi tè》、《 chá huā nǚ》、《 qū yuán》、《 rì chū》 děng
7. zì rán kē xué lǐ lùn de měi：
gōng shì， gài niàn、 lǐ lùn děng de měi zài hé chù？（ lǐ zhèng dào děng duì měi de tǎo lùn）
tā men bì xū tā men suǒ miáo huì de shì jiè tú jǐng， bìng qiě wéi rén suǒ gǎn zhī， fāng kě chéng wéi měi de duì xiàng。（ zhào xīn shān yòu guān lùn shuō）
èr、 gǎn rǎn xìng
měi zhí jiē sù zhū rén de qíng gǎn， huò xǐ 'ài、 huò jī dòng、 huò chóng jìng， shǐ rén zài jīng shén shàng huò dé yī zhōng jí dà de yú yuè hé mǎn zú：
pèi lè shī lǎng sòng： [ xiōng yá lì ] péi duō fěi《 wǒ yuàn yì shì jī liú》
[ é guó ] xī méng nuò fū：《 děng zhe wǒ bā …》
yīnyuè piàn duàn： bèi duō fēn《 yīng xióng》 jiāo xiǎng qū， chái kě fū sī jī《 liù yuè chuán gē》
měi de dōng xī zhī suǒ yǐ jù yòu qiáng liè de gǎn rǎn lì， jiù zài yú tā tǐ xiàn liǎo rén de dōng xī， yóu qí shì tǐ xiàn liǎo rén de qíng gǎn shēng huó。
sān、 kè guān xìng
yī qiē měi de shì wù dū jù yòu kè guān wù xìng yīn sù， zhè xiē wù xìng yīn sù zài yǐn qǐ rén de shěn měi yú yuè fāng miàn qǐ zhe zhì guān zhòng yào de zuò yòng。 tā jué dìng liǎo rén men zhī suǒ yǐ xuǎn zé zhè gè shì wù， ér bù shì nà gè shì wù zuò wéi měi de duì xiàng。
měi de tè zhēng
měi shì rén de shè huì shí jiàn de chǎn wù， shì rén de běn zhì de duì xiàng huà， shì zhēn yǔ shàn de nèi róng tóng hé xié de xíng shì xiāng tǒng yī de， fēng fù dú tè de， néng yǐn qǐ rén de yú yuè xīn qíng de shēng huó xíng xiàng。 yī bān shuō lái， měi jù yòu xià liè jǐ gè xiāng hù lián xì， bù kě fēn gē de tè zhēng：
（ yī） kè guān xìng yǔ shè huì xìng de tǒng yī；
（ èr） xíng xiàng xìng yǔ lǐ zhì xìng de tǒng yī；
（ sān） zhēn shí xìng yǔ gōng lì xìng de tǒng yī；
（ sì） nèi róng měi yǔ xíng shì měi de tǒng yī。
xiàn dài měi xué gài shù
zì cóng yòu liǎo rén lèi shè huì， měi jiù kāi shǐ méng yá， jì 'ér chǎn shēng、 fā zhǎn， lì jīng jǐ shí wàn nián。
cóng yuán gǔ rén de dāo shāng jiàn hén、 ní tǔ wén shēn、 shòu pí guǒ shēn， dào jǐng bù guà mǎn liǎo bèi ké、 shòu chǐ， tóu shàng chā mǎn liǎo yě jī líng， dū biǎo míng rén men shì zài shēng chǎn láo dòng hé shè huì shí jiàn zhōng chuàng zào liǎo měi。 wéi yuán shǐ bù luò de zhuāng shù。
gǔ xī là bèi rèn wéi shì xī fāng gǔ dài měi xué sī xiǎng de zhòng yào fā yuán dì zhī yī。 měi xué jiā bólātú（ Platon， gōng yuán qián 427 yī gōng yuán qián 347 nián） zài《 dà xī bì 'ā sī》 wén zhāng zhōng jiǎng shù liǎo yī gè guān yú měi de gù shì， zhè shì rén lèi zuì zǎo kāi shǐ yòng wén zì jìzǎi guān yú duì měi de sī kǎo。
gù shì dà yuē fā shēng zài 2400 nián qián。 dà zhé xué jiā sū gé lā dǐ xiàng guǐ biàn jiā xī bì 'ā sī fānàn shuō：“ zhǐ yào lǎo tiān yǔn xǔ， nǐ lǎng sòng dà zuò shí wǒ yī dìng xǐ 'ěr gōng tīng。 bù guò wǒ yào xiàng nǐ qǐng jiào， shénme shì měi？ shénme yòu shì chǒu？” xī bì 'ā sī xiǎn dé yòu xiē 'ào màn， zì míng dé yì dì shuō：“ zhè gè wèn tí tài xiǎo liǎo， jiǎn zhí shì wēi bù zú dào， bǐ zhè gè nán dé duō de wèn tí wǒdōu kě yǐ jiào nǐ， wǒ kě yǐ jiào nǐ bǎ yī qiē fǎn bó zhě dōubù fàng zài yǎn lǐ。” sū gé lā dǐ zhuāng zuò hěn gāo xīng：“ nà me hái shì xiān xiàng nǐ qǐng jiào měi dào dǐ shì shénme？” xī bì 'ā sī yòu xiē wàng hū suǒ yǐ， sì hū zài jiào xùn rén：“ wǒ lái gào sù nǐ shénme shì měi， qǐng nǐ jì zhù liǎo， měi jiù shì yī wèi piào liàng de xiǎo jiě。” sū gé lā dǐ yòu xiē kū xiào bù dé， dàn què zhuāng chū zàn tóng de yàng zǐ shuō：“ tài měi miào liǎo。 kě shì wǒ de lùn dí rú guǒ wèn， fán shì měi de dōng xī zhī suǒ yǐ měi， shì fǒu yòu yī gè měi běn shēn de cún zài， cái chēng nà xiē dōng xī wéi měi ní？ rú guǒ wǒ huí dá shuō， yī gè nián qīng piào liàng xiǎo jiě de měi， jiù shì shǐ yī qiē dōng xī dū wéi qí měi de。 zhè yàng kě yǐ má？” xī bì 'ā sī dá dào：“ tā gǎn fǒu rèn piào liàng xiǎo jiě de měi má？” sū gé lā dǐ jìn yī bù jiǎ wèn dào：“ nà me， yī pǐ piào liàng de mǔ mǎ， yī bǎ piào liàng de shù qín， yī gè měi de tānɡ guàn bù yě shì měi de má？” xī bì 'ā sī xiǎn dé yòu xiē zhāo jià bù zhù liǎo：“ tài bù xiàng huà liǎo， zěn me néng zài tán zhèng jīng huà tí shí， tí chū zhè xiē cū lǔ de wèn tí！” hái dū nāng zhe shuō：“ piào liàng de mǔ mǎ hái shì bù rú nián qīng de xiǎo jiě měi。” sū gé lā dǐ zhuā zhù huà tóu， qióng zhuī bùshě：“ zuì měi lì de nián qīng xiǎo jiě yǔ nǚ shén xiāng bǐ bù yě shì chǒu de má？” xī bì 'ā sī xiàng xiè liǎo qì de pí qiú。
Aesthetics is the essence of beauty and significance of the theme of the subjects. Aesthetics is a branch of philosophy. The main object of art, but not the specific performance of art, but the philosophical problem of art, it is called "America's art philosophy." Basic issues of aesthetics essence of beauty, aesthetic sense of the relationship with the aesthetic object.
Source term
The term aesthetics comes from the Greek aesthesis. The original meaning is "to look and feel the feelings." By the German philosopher Alexander 戈特利布鲍 Mujia Deng for the first time use. His "aesthetic (Aesthetica)" marks the publication of the book as an independent discipline aesthetic production.
Until the 19th century, Aesthetics in the traditional concept of classical art is usually defined as of "America" (Schönheit) doctrine. Modern Philosophy will be defined as awareness of aesthetic art, science, design and philosophy of cognitive theory and the philosophy of feeling. The aesthetic value of an object is not simply defined as "beautiful" and "ugly", but to understand the type and nature of the object.
History
Aesthetics as an independent discipline is from the German of the eighteenth century Baomujiadeng start, but it has been produced based on ancient Greece, ancient thinkers on the theory of the United States above the aesthetic theory of the system is in the past, and science. The ancient Greek aesthetic theory since the study also established in people's aesthetic appreciation and creative activities on the basis of aesthetic, aesthetic activities for people philosophical reflection. Therefore, we must understand the aesthetic must be returned to its source to begin a U.S. trip.
Why aesthetics associated with the perceptual knowledge? Baomujiadeng teacher's teacher, the German philosopher Leibniz there is a vivid interpretation of this, he said: painters and other artists as to what good and what is not good, though very well aware that they often can not This aesthetic interest for them to find reasons, if someone asked them, they replied that the kind of work they do not lack a little joy, "I can not tell what."
Know the work the United States or the United States, but could not say why, in Leibniz and Baomujiadeng seems to belong to a vague, confused perceptions.
Baomujiadeng, the aesthetics of the development experience of the German classical aesthetics, Marxist aesthetics, aesthetics of modern western three important stages.
Stage in the German classical aesthetics, Kant and Hegel on the aesthetic contributions Zhuo formed Aesthetics since the first and third in the history of Western Aesthetics peak. Kant in his criticism of the three known to the world, in the "Critique of Judgement," in Kant's aesthetics proposed and demonstrated a number of fundamental issues, formed a relatively complete system of aesthetic theory. After Kant, Hegel, the German classical aesthetics pushed to the peak, a German classical aesthetics and Western Marxist aesthetics before a master of the aesthetic trends of thought.
Although not specifically Marxist aesthetics has written books, but many of his other works discussed in a number of aesthetic problems, particularly his introduction of the experiment the Guandian aesthetic Yanjiu, so the study of beauty in the Subject and Object Syndrome Tong Yi Jian Li's Ji Chu on the aesthetics provides a new way of thinking.
After the middle of the 19th century, aesthetic development of genres, but in general there is an important trend that is gradually detached from the "Beauty is what" pure philosophical discussion, which focused on "in aesthetic experience how our mental activities," such aesthetic psychological description, the description of aesthetic experience has gradually become a science. This is what the history of aesthetics from the "top down" to "bottom-up" historical transformation. 20th-century aesthetics is the formation of a strong tide of the anti-tradition. On the one hand is the traditional experience of metaphysical rebellion and empirical methods of publicity, on the other hand is a rationalist who rebel and non-rational unassuming, and gradually formed the basis of scientific aesthetics and humanism Aesthetic two thoughts. Modern Western Aesthetics and aesthetic thought the main representatives of German Fechner's "experimental aesthetics", the British Bell's "significant form", the United States Dewey's "aesthetic experience", the Italian Croce's "image of Intuition" , UK "Psychological Distance", the German Lipps's "Empathy", Freud's "libido" theory and the subsequent analysis of aesthetics, phenomenological aesthetics, existentialism, aesthetics, aesthetics accepted and so on.
Study
Although Baomujiadeng first time in history a clear object of study of aesthetics, but his comments did not get the same response in the academic community. Baomujiadeng, the "aesthetics of what exactly" has been a subject of lively controversy. But so far basically three kinds of tendentious comments:
The first view, the aesthetic of the object is beautiful in itself. In the eyes of holding this view, aesthetic issues to be discussed is not a specific thing of beauty, but all the beautiful things in common with the the United States itself, all the beautiful things that make the underlying causes of why the United States.
The second view, aesthetic object of study is art, aesthetics is the philosophy of art. This view has been in the history of Western Aesthetics recognition of a considerable number of aestheticians.
A third view, aesthetic object of study is the aesthetic experience and aesthetic psychology. This view is the rise of psychology as the 19th century, advocating the views and methods of psychology and research to explain all aesthetic phenomena, psychological and aesthetic experience aesthetic placed in the center of aesthetics.
In short, the above study on the aesthetics of various comments may have their certain sense, but also their shortcomings, and therefore are difficult to obtain academic recognition. We prefer the first view of basic, due to the U.S. itself as an aesthetic object of study to compare the aesthetic nature of the subject; Second, whether the interpretation of art or aesthetic experience, will depend on the interpretation of beauty itself. However, the traditional speculative aesthetics to put the United States own research subject and object confrontational mode of thinking, to use technical rational approach, which we can not agree. The end result will be as modern Western aesthetics as the crisis led to existentialism and digestion.
Contemporary International Art Aesthetics more likely, and even called the art of aesthetic philosophy, because contemporary art can not be studied or explained, is to verify the validity of contemporary aesthetic one of the symbols of all kinds of contemporary art in particular has been entirely beyond the traditional definition of aesthetic meaning. "United States" is not the core concept of contemporary aesthetics as it is aesthetic needs attention, otherwise there will be the aesthetics of life to lead a game of words.
Relationship with other disciplines
Aesthetics and Philosophy:
In the relevant disciplines and aesthetics, aesthetics and philosophy most closely. Aesthetics itself is a philosophical nature of the subject. This is because:
The basic problem is an aesthetic philosophy of speculative nature. The formation and nature of any theory depends on its questions and questions are asked. Aesthetics in Plato asked: "What the United States?" Here to ask the United States, not the specific things of beauty, but to make all the beautiful things the root causes of why the United States. This man's attention from the complex natural phenomenon of the numerous lead Tongshe emotional nature of all the abstract, from the changeable things of beauty to lead the United States itself remained unchanged, clearly following the ancient Greek metaphysical tradition. Meanwhile, Aesthetics System also popular at that time the influence of philosophy, the academic framework, theoretical paradigms and ways of thinking all marks with a contemporary philosophy. There is also an interesting phenomenon in the history of almost all major aestheticians great philosopher, and less is the writers or artists. Finally, modern Western aesthetics and philosophy from the other aspects of the complex relationship proved difficult to separate aesthetics and philosophy of the relationship. Face of modern Western aesthetics reject philosophy, but it is only rejected the traditional Western philosophy, it is still attached to modern Western philosophy.
Aesthetics and Ethics:
The relationship between aesthetics and ethics is a good relationship with the U.S. determined. That truth is the ideal life by the state, which are indispensable.
Historically, all objects of beauty is a good sense of ethics, which the United States, particularly in the social field performance. Social content in a sense the U.S. is to the United States to show good form.
Despite the close ties the United States and good, but not to the same, the U.S. is not that good. For example, Hugo novel "Notre Dame de Paris" in the bell ringer, looks ugly, but all good. More focused on things of beauty spirit of the people's pleasure, so super utilitarian nature of the good and the people of Gong Li Duixiang Mudewangwang Zhijiexianglian.
Aesthetics and Psychology:
Liu Xie wrote: "Man on the mountain climbers will love watching the sea is intended to overflow in the sea";
English poet John Keats said: "America is a kind of eternal pleasure";
U.S. esthetician Santayana said: "Beauty is pleasure objectified in the form of, the objective of beauty is a pleasure";
Activities in people's aesthetic is always accompanied by a variety of mental activity - the emotions, joy, imagination, etc.. Li Bai's poem: "Han Shan Bi along the sad", where "cold", "sad", the copy is not purely objective, but rather the expression of feelings. In a sense we can even say that the U.S. can not do without the occurrence of psychological factors were involved. Which is closely related to aesthetics and psychology.
19th century Western aesthetic and psychological functions of the aesthetic experience of stress, the psychological impact of schools on the aesthetics, to some extent illustrates the aesthetics of the psychology of dependence.
Aesthetics and Literature:
Aesthetics and Literature with a common object of study, namely the literary arts. Therefore, they have some of the problems are often staggered, such as literary and artistic works shown aesthetic consciousness, aesthetic ideal, aesthetic creation and aesthetic appreciation of both the general rules of aesthetics such as art school is to be examined.
However, the relative and Literature in terms of aesthetics, but also with the general, it is the origin of art and literature, for the latter to provide a theoretical model and way of thinking. The literature and art are more concerned about the specific experience and phenomena of literature and art, it can provide a wealth of experience in aesthetic research material.
Research Task
Research Methods
Aesthetic Research is diverse. Speculative philosophy can be taken either way, you can also learn from other disciplines of today's research methods, such as description of experience and psychological analysis, methods of anthropology and sociology, linguistics and cultural studies of methods.
Essence of Beauty
What is the United States?
This is from Plato's questions. It is this question, open all the history of aesthetics, as the basic theory of aesthetics, inspired ancient aestheticians, philosophy for their tireless efforts.
The history of Western Aesthetics on the nature of the United States:
1. From the spirit of the essence of beauty
From an objective spirit of: Plato, Pu Luoding, Hegel
Of the subjective mental: Hume, Kant, some modern esthetician
2. From the material of the essence of beauty: Aristotle, Hogarth, stroke grams
3. From the spiritual and material harmonization of the essence of beauty: Diderot, Chernyshevsky
Ancient China on the nature of the United States:
Ancient China on the issue of more through the "Road", "qi" and "magic" of which reflected the strong speculative characteristics with the West, the Chinese ancient aesthetics more emphasis on the meaning and the universe itself the spiritual realm.
Such as: "Peter said," that is, from different angles and imagination association between natural things and the shape of similar habits. Personification of the natural, moral-based, objective characteristics of people, naturalization.
Zi Gong asked: "Gentlemen, see the flood than the concept of Yan, Why?" Confucius said: "Cardiff were water, the gentleman Peter Yan. Times and selfless, like Germany; clinics and those students, like Jen; the flow of dirty sentence through its management are arrogant, like justice; light were popular, deep are unexpected, like Chile; the valley to go 100 yards without doubt, like Yong; Cotton weak and micro-tat, like the police; be evil not to, like package; unclear to enter Mongolia, Xian Jie to out like Shanhua; to volume will be flat, like now, not for profit takes, like degree; its 10,000 will pack the East, like Italian: flood outlook is based on a gentleman see also Yan Er . "
Confucius said: "Some are water, Others Mountain; the wise move, benevolent static; Knowing music, different people have different life."
"Beauty is one of the greatest secrets of nature, we can see and feel all of its effects, but a common and clear opinion: it still belongs to the undiscovered nature of truth."
Issues: the nature of the question whether the U.S. is a problem? Yes! How to Investigate? Not? Can I cancel?
Characteristics of the United States
First, the image of
1. Poetry New Moon made in the image:
Chanzao forest the more quiet, more secluded mountain birds.
Straight Solitary desert, river down the yen.
More Lanna quiet, bad night, month out, such as flooding towers, showing the Qifeng faction.
2. Sculpture: "Laocoon" and so on
3. Paintings: "Mona Lisa", etc.
4.'s Work: "Pastoral," "Andante Cantabile", etc.
5. Fiction: "Dream of Red Mansions", "Journey to the West", "home", "Spring", "Autumn", etc.
6. Theatre: "Hamlet," "La Traviata", "Qu Yuan", "Sunrise", etc.
7. Natural Theory of beauty:
Formulas, concepts, theories, etc. where the United States? (Lee and other discussions of the United States)
They must view the world they portrayed, and the man perceived to be recognized as a beautiful object. (Zhao Xinshan the discourse)
Second, infectious
U.S. direct access to people's feelings, or love, or excitement, or reverence, people get in the spirit of one great pleasure and satisfaction:
Poem Recital: [Hungary] Petofi "I do a torrent"
[Russia] Simonov: "Wait for me ..."
Music clip: Beethoven's "heroic" symphony, Tchaikovsky "June Barcarolle"
The reason why what the United States has a strong appeal, is that he embodies the people's things, especially the expression of human emotional life.
Third, objectivity
All that beauty has an objective physical factors, these physical factors in the cause of people's aesthetic pleasure plays a crucial role. It determines why people choose this thing, not that things as objects of beauty.
The Features
Beauty is a product of human social practice is the object of human nature, the content is true and the good form with the harmonious unity, rich and unique, and can lead to people feeling the joy of life image. In general, the United States have several interrelated and inseparable features:
(A) objectivity and social unity;
(B) image of the unity of nature and reason;
(C) the unity of truth and utility;
(D) the content of the unity of beauty and formal beauty.
Overview of modern aesthetics
Ever since human society, the United States began to sprout, then, development, after hundreds of years.
From the original ancient wounds Jianhen, earth tattoos, animal skins wrapped in a simple, to the neck covered with shells, animal teeth, his head was filled with pheasant feathers, all show that people in the productive labor and social practice of the United States . For the primitive tribal clothing.
Ancient Greece is considered important in Western aesthetics birthplace of the ancient one. Esthetician Plato (Platon, a BC 347 BC 427 BC) in the "big Aspen," the article tells a story about the United States, which is the earliest human written records began thinking about the United States.
Story took place at about 2400 years ago. Great philosopher Socrates to the Sophists Aspen to speak: "As long as God allows, you recite loudly, I must have ears. But I would like to ask you, what is beauty? What is ugly?" Hippias Williams looks a little arrogant, smug and said: "This issue is too small, almost negligible, the problem is much more difficult than that I can teach you, I can teach you everything rebut many excuses." sukla Bottom pretend very pleased: "So first you ask the United States in the end or what?" Aspen some carried away, it seems that people in the lesson: "I'll tell you what is the United States, please remember, the United States is a beautiful young lady. "Socrates, some almost to tears, but they pretended to agree by saying:" fantastic. but my opponent if you ask, any reason why the United States what the United States, whether there is a presence of the United States itself, only that those things for the U.S.? If I said, a young and beautiful lady of the United States, is to make all things for their beauty. Is that OK? "Aspen replied:" He dare you deny the beauty of a beautiful woman? "Socrates leave further asked:" So, a beautiful mare, a beautiful harp, a beautiful soup pot is beautiful is not it? "Aspen looks a little Zhaojiabuzhu: the" too more like it, and how can talk about serious topics, all these rude questions! "also murmured:" a beautiful young mare is still not as good as Miss America. "Socrates seize the thread of her conversation, pursued:" The most beautiful young lady is not ugly, compared with the Goddess it? "Aspen like a deflated balloon.
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