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The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

author:What a coincidence to talk about history

The original intention of Confucianism was to serve the ruling class through alternative interpretations of Confucianism. Driven by this strong utilitarian purpose, the author's creative intention is to outline and construct an ideal world different from real society and social life.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The creation of this ideal world is ultimately presented as a rich aesthetic world. This aesthetic world has diverse features, such as the grotesqueness of myths and legends; the mysteries of the spatially geographical world; Because the absurdity, bizarre, and contrary to common sense, myths and legends are a grotesque phenomenon.

But it is also an aesthetic phenomenon. The myths and legends in the teachings can be divided into two categories: "saint myths" and "fairy legends".

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

"Myths of saints" are myths about the birth, creation, and founding of saints. "Immortal Legend" is a myth about the living customs and behavioral characteristics of some people with special functions. The myths of saints include the myth of sensibility, the myth of Furui Mandate of Heaven, and the myth of war.

The grotesqueness of myths and legends

The grotesqueness of the myth is mainly manifested as the grotesqueness of the ideological foundation, the grotesque of the theme content, and the grotesque of the manifestation, and the grotesqueness of these three aspects constitute the overall grotesqueness of the myth. First, the grotesqueness of the ideological foundation. The myth of the Fangshi Confucian students is driven by the subjective creation of social utilitarian purposes, which is a decision made by the force of reason.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

However, the creation of the specific content of the myth is an illusory, poetic, rich and mysterious story world formed under the guidance of primitive witchcraft thinking and poetic wisdom, combined with many ideological factors such as heaven and man induction, yin and yang five elements, and square art legends.

This world is a world of possibilities formed by combining rationality and irrationality, poetry and thought, truth and falsehood, society and culture, aesthetic and non-aesthetic. It does not have some inevitable, regular, and single law of thought, it is a combination of many, mixed, and irregular thoughts. As part of the Han Dynasty, and as part of many myths and legends, the myth of the Weiwei must present a grotesque nature.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

Second, the grotesqueness of the subject content. The myths of Zhenwei are divided into two categories: "saint myths" and "fairy myths", both of which are inseparable from the grand narrative background created by Zhenwei, and are both social wedding clothes and serve feudal rule.

On the surface, the myth of the saint is a myth about the birth and ordination of the saint, and it is a sanctification of the identity of the saint, but its purpose is to "correct the name" and "rational order" of the rulers of the current reality, and dress up their social practice activities.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

Although the myth of immortals depicts many otherworldly wonderlands, showing all kinds of gifted, free and lively immortals, the essence is a reflection of the hearts of people under the oppression of feudal rule, their yearning for a happy, free and comfortable life, and their pursuit of wealth, health, beauty and other desires.

The myth of sophistication shows extraordinary reason, extraordinary people, and extraordinary events, but it points to common sense, ordinary people, and ordinary events, showing the grotesque nature of its thematic content.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

Third, the grotesque form of expression. Although mythical is a myth, it is different from literary mythology. It does not have a long enough text length, often short and concise, as short as five or six words, no more than seven or eight lines long; It doesn't have a title, but it has a theme; The same story has different narratives. Mythology is as much like history as it is biography; It is both a static narrative of wild historical legends and a defamiliarized expression of life experience.

Exaggeration, imagination, metaphor, symbolism and other rhetorical methods create a large number of rich myths. The mythical world is a poetic world with a grotesque atmosphere, but also a transcendent world. On the one hand, it reflects all the abysses and fears of real life with its grotesqueness, but on the other hand, it illuminates existence with divine brilliance and leads people forward.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The minds of people in feudal oppression and class struggle are torn and bound by real life, and the sense of deprivation of various reasonable and legitimate desires makes them fall into the pain of physical and mental imbalance.

The seemingly grotesque myth can activate the mind blocked by social struggles with its own mythological beauty, impact the emotional world that is increasingly dull due to livelihood, and let people's body and mind be unbound in the mythical world, and their emotions can be cultivated. In the mythical world, people do not have the real life, old age, sickness, death, and all kinds of troubles and pains, jump out of the limitations and imperfections of reality, and tend to be true, good, and beautiful in spirit, and tend to absolute freedom and perfection. This mythical world, which can make people achieve spiritual transcendence, is generated by the grotesqueness of the myth.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The illusory nature of auspicious and calamity

A large number of auspicious and catastrophic phenomena are described in the weiwei, which are regarded as the manifestation of the specific image of heaven and man induction, and these phenomena are generally presented as an illusory structural pattern, behind the phenomenon is the relationship structure of "heaven and man", which is the fusion of human heart and divine will, and the specific perceptual image of auspicious disaster is the image with divine brilliance and theological significance generated by the fusion of natural objects and subjective emotions. The so-called "auspicious rui" is "auspicious sign."

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

Under the condition of national stability, extraordinary astronomical phenomena and rare animals and plants will emerge one after another, such as manna fall, liquan out, yellow dragon xian, unicorn zhi, phoenix tour and other auspicious phenomena. There are two main situations in the "heavenly descending auspicious rui": First, the holy king is ordained. The appearance of the holy king will be foreshadowed by "auspicious rui", and the holy king is a virtuous person who will also become a king. Second, the king has virtue. The virtues of kings can also influence the arrival of auspicious rui.

If the Son of Heaven has good virtues, there will be feedback from heaven, and this feedback is auspicious from heaven.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The concrete perceptual image of auspicious calamity is an image with divine brilliance and theological significance produced by the fusion of natural objects and subjective emotions. This kind of perceptual image is no longer an objective object, but an aesthetic image with an illusory temperament.

In the weiwei, the emotional image of Xiangrui is usually manifested as "dragon", "phoenix", "turtle", "unicorn", "cloud", "ganlin", "liquan", etc., and the image of disasters is manifested as "violent wind", "heavy rain", "earthquake", "locust", "eclipse", "rainbow sun" and so on. Whether it is auspicious or calamitous, these sensual images are not simple natural objects, but representatives of divine will, intermediaries of communication between heaven and man, and these images shine with the brilliance of heavenly gods.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The human mind encounters these sensual images, and through the contemplation of these sensual images, the divine will hidden behind these images is revealed and revealed in these openly visible intermediaries. People see the brilliance of the heavenly gods in the phenomenon, feel the power of the heavenly gods, the heart and the divine consciousness are connected, the heavens and people are one, and in the fusion of subject and object, the phenomenon has meaning, is endowed with aesthetic interest, and becomes an object with theological color and interest.

The image of auspicious calamity is an illusory image, a representation of the will and power of the heavenly gods in the mysterious realm. In the weiwei, the sense of heaven and man is the natural law and rational rule of the Han people's living world, which is the truth of their history.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The mysterious and vast heaven has absolute power, although people can sense the sky, but the sky still poses a potential threat to people with overwhelming power, and people are psychologically subjected to an invisible sense of constraint and oppression. Heaven can both protect and hurt people.

The brilliance and power of heaven are displayed to people through auspicious and calamitous phenomena, these images do not appear casually, they are under the unity of heaven, they are a supernatural and super-objective existence, and once they appear, they represent some kind of action of providence on the human world. In the world with heavenly and human induction as the rational rule, the Han people are in the safe field, although the heavens are awe-inspiring, but people can overcome the heavens with the rational rules of "heaven and man induction", and obtain a stronger sense of vitality and existence, as if people and heaven have the same height and strength, reaching the realm of the unity of heaven and man.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The heavenly auspicious rui is the combination of the divine will and strength and the practical activities of man, and the pleasure and freedom obtained by man after overcoming threats through his practical power and grasping the hidden divine will of these sensual images.

Under the influence of the auspicious catastrophe, people "overcome" the threat, and after comprehending the will of God, a sense of sublimity will arise, which is manifested in the establishment of a home kingdom born for beauty, which is the intention of the authors of the Zhiwei Creation.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The establishment of a state that conforms to the will of heaven at the top, the will of the people at the bottom, and the rules of nature in the middle is a noble social undertaking that rulers should carry out after receiving the "mandate of heaven." The illusory nature of auspicious disasters is the illusion of the mind and divine will, and it is also the illusion of building an ideal world, and this illusory nature leads to its beauty only existing in the imaginary world constructed by the weiwei, and cannot be transformed into a vivid social beauty.

The mysterious nature of spatial geography constructs an ideal world with a mysterious spatial geography different from the real world. This world of spatial geography is the world of experience and transcendence, society and humanity, cognition and aesthetics. The construction of this spatial geographical world is based on the relationship between "heaven and man", in this structure, "man" and the environment in which man is always centered on it, and "heaven" and the world outside the sky are expressed as infinite generative.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

This geography from "me" to outside, from near and far, from reality to imagination. This spatial geography is first shown as the construction of heaven and earth, which is not a flat form, but a multidimensional structure, each space is different in size and distributed in different directions.

This description of "heaven" has gone beyond people's objective experience and belongs to the element of imagination, but it is the Han Dynasty's understanding of heaven represented by the authors of the sophistication, and this cognition is "real" for them, and in their hearts, heaven is originally like this.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

This is a historical, conceptual truth. Regarding the construction of the earth, the geography constructed by Zhao Wei is also a geography with social overtones. Kyushu takes the Central Plains as the core area, and the central area has a strong cultural atmosphere, and other states follow the example of the Central Region, live according to local terroir resources, make full use of regional resources, and give play to regional characteristics.

"Dahua travels the world" reflects that this spatial geography is centered on the area where people live, and the center extends outward, from a place rich in humanistic atmosphere to a barbaric and unreachable place.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

The heart of geography is the clearest, the most humanistic atmosphere, the more vast and abstract it is, and humanistic education is difficult to reach. Regarding the construction of orientation, he believes that the sky has four poles: east, west, south and north; The earth has a central and four positive four dimensions, the four are due north, due east, due south, due west, and the four dimensions are northeast, southeast, northwest and southwest. At the four poles of the sky, each has a Vajra Lux, and the commander of the army is 3,000 zhang.

The spatial geography world constructed by Zhenwei is a multi-dimensional world, including both space-time dimensions and mythological dimensions. This world is a real world in ideas, consisting of two parts, the knowable and the unknowable.

What is known is the surrounding world on which people live and move, and what is not known is the world that people cannot grasp or have not yet grasped, but people still believe that it is a real world. This is a reflection of the Han Dynasty's basic understanding of the world.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

Under the human-centered way of cognition, the heaven in the wisdom is manifested as "high" and "far" to people, and the sky is not a ready-made existence for people, but infinitely generative, as long as the imagination can reach, it can become the sky, there is still heaven outside the sky, there are people outside the people, the more "high" this formal expression is, the more it can tend to the infinite freedom of the spirit.

In the same way, the earth constructed by the wisdom can also give people the feeling of becoming infinite, but compared to the sky, it is limited, because people are too dependent on the earth, especially the land that is closely related to the existence of the self, and the urgency of survival of "heavy soil relocation" often binds people, and people easily do not set foot in unrelated areas other than "I" existence, although people know that there is a wider and more mysterious world there, but the survival of "I" has nothing to do with it, there is no need to worship it, just establish a "god of society" to repay his merits.

The aesthetic characteristics of the Han Dynasty originally contained so much? No wonder it has been studied repeatedly

But people don't stop there. He will closely explore the deep realm around the world around himself, and in this process, in addition to obtaining material satisfaction, people will also have a clearer understanding of the relationship between self and the earth, so as to obtain a sense of spiritual thickness and richness from the earth. Whether it is the height of the sky or the depth of the earth, the magic of spatial geography is fully displayed here.