On the basis of Mr. Li Zehou's "Practical Theory" on the Confucian aesthetic concept of "intrinsic teleology"

Confucianism has always focused on interpersonal relationships or group-self relations and moral ethics, and human relations should be considered first. This may be related to Chinese view of the world, adopting a teleological point of view, which is the basic attitude of Chinese thought, and the concept of purpose makes Chinese interest tend to the aspect of moral values and less devoted to the discussion of intellectual and methodological issues. Therefore, in the treatment of literature and art, more teleological views are also adopted. However, behind Confucius, the so-called "Confucianism is divided into eight", Zi Zhang, Zi Si, Yan Shi, Mencius, Xun Zi, etc., there must be differences, if in fact, what is the original meaning of Confucius? More specifically, the original Confucian ethical philosophy represented by Confucius uses moderation as a mechanism to seek the dual harmony of human order and social order, which derives the aesthetic concept of neutral beauty and related literary categories, and forms a consensus on beauty and goodness, literature and quality, and love and reason, which is the basic concept of literary and artistic aesthetics. So, what is the relationship between Confucius's concept of literary and artistic aesthetics and the teleological interpretation angle?

I. Two views of Confucius's original intention

Zigong once called Confucius: "The master's articles can be obtained and heard; the master's words and the heavenly way cannot be obtained and heard." Zhu Xi's commentary reads: "Articles, those who see virtue are outside, and those who are mighty and righteous are also; those who are sexual, the heavenly truths that people receive; the heavenly ones, the nature of heavenly reason, are actually one reason." The articles of the Master of Speech are seen every day, because the scholars hear about it; as for sex and the Way of Heaven, the Master rarely says it, and the scholars have unheard of it. Gai Shengmen Sect is not waiting, zi gongzhi is the first to smell it, and sigh its beauty also. Regarding the "Articles of the Master", Chen Zhaoying believes: "Zhu Xi's annotations are still very precise, on the one hand, pointing out the relationship between the article and morality, on the other hand, pointing out that the article is an explicit form. The Confucian emphasis on 'wen' is originally related to its practical spirit, because the 'article' is a kind of manifestation, no matter what the content, essence, and depth of emotion, only when it is published as an article can it be conveyed, that is, the article is something that can be obtained and smelled, and something that can make the 'unobtainable smell' appear. This involves the relationship between 'text' and 'quality'. "Not only poetry has a problem of literature and quality, but politics also has a problem of literature and quality. Wei Yi and Wen Ci are both Confucius articles, which mean that the so-called Confucian articles originally refer to political performance; at the same time, it also shows that Wei Yi is a beautiful thing, the words are also beautiful things, and the objects of the two kinds of things are articles. It can be seen that the Master's articles refer to both the expression of politics and the display of moral life, and they all pay attention to the decorative function of words. The three are unified in the holistic concept of "politeness".

Confucius combined politics, morality, and literature into one, and pursued the holistic realm of "neutralization". The reason for the division of the four disciplines of Confucius May be due to the principles and methods of teaching according to aptitude, learning without hesitation, etc., and step-by-step education. As for his own highest ideal, he aspires to "perfection." This can be seen from the artistic social life picture of "I and Dianye": "Twilight spring people, spring clothes are completed, crowns are five or six, children are six or seven, bathing in Yi, wind is dancing, and singing and returning." (Analects of Advanced) "The artistic depiction and desire for the world of Datong is also the common ideal of Confucius's original Confucianism, which embodies a kind of gentleman's feelings, benevolent feelings and saintly feelings that make future generations admire, and this deep affection is reflected in the pursuit of restoring the lile royal government."

Mr. Xu Fuguan analyzed this in the article "Exploring the Artistic Spirit of Confucius by Music", saying that the music inherited and developed by Confucius "art for life" has never denied the beauty as the nature of art, and he has always called for the unity of beauty and goodness, and the unity of nature in the highest realm, and in this unity, benevolence and pleasure complement each other; however, art alone is not enough to achieve this realm, because "art is one of the important means of cultivation in life; and the attainment of the highest realm of art, But it is still to be completed by the personality itself. Confucius's life may have been very depressed in the eyes of the people of the time, but in the eyes of Confucian disciples, it was an artistic life, and such a life was obviously achieved through the infinite cultivation of "going down to school", and the cultivation was extremely broad, and political deeds, moral cultivation, artistic achievements, etc., were gathered in a perfect personality. Xu Fuguan believes that the "literature" in the four disciplines refers to classical learning, and "speech" develops into what is later called literature, because in Confucius's time, people expressed their thoughts and feelings mainly through speech, not the literature or articles of later generations. It can be seen from this that the Confucius articles, or even the literature in the four disciplines of Confucius, do not refer to the literature or articles of later generations, and the so-called literature or articles of later generations are also developed from the "speech" section. Benevolence is morality, and music is art. Confucius fused the perfection of art with the perfection of morality (benevolence), because the normal nature of music and the essence of benevolence have their natural similarities; the normal nature of music can be summed up by a word "he". Confucianism is art for life, and can also integrate art into life, the joy of Kong Yan or the benevolence of Kong Yan, that is, the presentation of Kong Yan's pure artistic spirit.

However, people excavated teleology based on this, which was used to deduce confucius's literary and artistic aesthetic thought. The idea that Confucius's literary aesthetics are "practical theories" is deeply rooted. For example, several representative opinions of "practical theory". First, Mr. Liu Ruoyu said that Confucius's literary and artistic thought was an early practical concept: "Practical theory is based on the concept that literature is the means to achieve political, social, moral, or educational ends; because it is praised by Confucianism, it is the most influential in traditional Chinese criticism." He added: "In short, we consider Confucius's concept of literature to be primarily practical, even if he also noticed the emotional effects and aesthetic qualities of literature, which, for him, were inferior to the moral and social functions of literature. After analyzing the situation of Confucius's interpretation of poetry, Liu Ruoyu analyzed the practical views of the "Great Preface to Poetry" and said that it contained some strong practical declarations, on the one hand, because it defined the political function of poetry from the perspective of the ruler, on the other hand, because it described the political function of poetry from the perspective of its subjects, and then said that later Generations of Confucian practical theory critics basically did not develop a different theory. Liu Ruoyu's remarks capture the practical end of Confucius's aesthetics, and also point out that Confucianism takes into account human disposition in literary works when writing poetry, but in his eyes, Confucius's true view is that "literature is a means of cultivating or regulating the disposition of readers."

Mr. Li Zehou held the same view. Although he believes that the love ontology is the core of the music culture, the so-called "love ontology" is based on "love" as the ultimate reality and foundation of life. "Practical reason is more likely than some religions to adjust the relationship between reason and reason, to limit irrational emotions so that they do not pose a great obstacle to the acceptance of new things," he said. Practical rationality pays more attention to absorbing historical experience to serve the practical interests of social life. "Summarizing the substrate of Chinese aesthetics with musical culture is Mr. Li Zehou's insight. However, emphasizing the shaping of musical culture by practical reason is a structural principle or creative principle that adjusts to the relationship between reason and reason, which obviously refers to Confucian aesthetics as a practical theory, that is, teleology. In fact, when comparing the similarities and differences between the Confucian and Taoist views of art, he said that Confucianism emphasized the artificial production and external utilitarianism of art, and Taoism highlighted nature, that is, the independence of beauty and art; Confucianism, with its narrow and practical utilitarian framework, often caused binding, damage and destruction of art and aesthetics, and Taoism gave this framework and bondage a powerful impact, liberation and negation. In fact, he also used "practical theory" to encompass the foundation of Confucian literary and artistic aesthetics. Another example is Mr. Shi Youzhong, who believes that Confucianism often confuses moral issues with literary and artistic issues, that Confucius's heavy literary thought cannot resist his practical motives, and that his "subjective aesthetic experience" of smelling Shao Le and not knowing the taste of meat in March "failed to change his attitude toward literature and art" (that is, practical theory); similarly, the successor Xunzi was also conservative, and "Xunzi was born from the focus on social behavior and social harmony, but it is of literary value." This view positions Confucian literary aesthetics as a practical theory, even more biased than Liu Ruoyu, because his understanding of the "text" in Confucius's eyes is obviously what people call pure literature today, and he does not know the fullness of the meaning of the "Confucius article".

So, what are the reasons why they misunderstand the Confucian concept of literary aesthetics? Chen Zhaoying pointed out that the disadvantage is that it "lacks an intrinsic teleological point of view, fails to grasp the organic interaction between aesthetics and practicality, and Liu Shi and Liu Shi oppose aesthetics and practicality everywhere." The so-called "use" of literature is only the realization of the intrinsic purpose of literature, and if we mistakenly think that the "use" of literature is only the purpose of carrying out other entities external to literature, we will make literature a tool for a certain external purpose. Xu Fuguan believes that the artisticization of morality is the goal of Confucian ethics, the moralization of art is the main purpose of Confucian aesthetics, and the integration of politics, religion, morality, and literature and art into an organic life whole in accordance with the principle of "intrinsic teleology" is actually an aesthetic picture of life. Xu Fuguan further believes that Confucianism is art for life, and can also integrate art into life, and the joy of Kong Yan or the benevolence of Kong Yan, that is, the presentation of Kong Yan's pure artistic spirit, this is the sincere literary and artistic aesthetic concept of Confucius.

Second, the aesthetic core of "inner teleology"

In fact, Wang Guowei as early as the article "Confucius's Beauty And Education Doctrine" looked at Confucius's Confucian literary and artistic aesthetics with "inner teleology", and he believed that Confucius took his disciples to learn etiquette under the tree, talked about nongshan, swam in the dance, sighed on the river, and each of them embodied the aesthetic idea of "inner teleology", that is, "Confucius's teaching, in addition to poetry, especially let people play with natural beauty." Wang Guowei carefully examined Confucius's exclamation of "I and Dianye", "From this point of view, those who cultivate their aesthetic feelings can know it on a daily basis." In Wang Guowei's view, Confucius expected a high degree of unity between man and the realm, "to think of all things as one, I am the universe, and the universe is me." This personality realm is similar to shao yong's posture of "reflection" in the Song Dynasty, or Schopenhauer's "desireless self" and Schiller's "beautiful heart" in the West. By extension, "If one person is like this, he will enter the Holy Land; if society is like this, he will become the kingdom of Huaxu." Confucius taught people to appreciate and experience the natural beauty of heaven and earth, and look forward to the unity of the aesthetic realm and the moral realm. Xun Zi's "Happy Walk and Zhi Qing", Shao Zi's "Reflection", Schopenhauer's "Desireless Self", etc., can all be confirmed by Confucius's aesthetic practice. Schiller's "beautiful heart" is also quite in line with Confucius's spiritual realm of "doing what the heart desires and not exceeding the rules". Although Wang Guowei did not use the term "inner teleology" to describe Confucius's aesthetic education thought, it was actually an "intrinsic teleological" position. Therefore, Wang Guowei's article on Confucius's literary and artistic aesthetic thought "liberates the almost conclusive Confucius pragmatic aesthetic thought from the dimension of political and religious ethics, gives a purely super-utilitarian meaning, and expounds that Confucius's aesthetic thought pursues a pure moral realm of 'starting with aesthetic education and ending with aesthetic education'."

Confucius's literary and artistic aesthetics are endowed with a purely super-utilitarian meaning, and politics, religion, morality, and literature and art are integrated into an organic life whole according to the principle of "intrinsic teleology", which is actually an aesthetic picture of life. Confucius's primitive Confucians often used the metaphor of organic life as a metaphor to illustrate the relationship between individual factors in the work, and the organic life body was concerned with internal teleology, not external teleology. At its core, Confucius Confucianism is the study of benevolence, which focuses on the problems of life. "Yi Chuan" is called "the great virtue of heaven and earth", Yang Xiong is said to be "the precious life of heaven and earth", these two words can be said to be a concentrated summary of the spirit of life Chinese, heaven and earth are based on biology, the fundamental spirit of heaven and earth is the continuous incarnation of life, and the creation of life is the noblest virtue in the universe. The process of life, such as spring, summer, autumn, harvest, and winter, is a process of order and order, thus providing an important paradigm for the moral order of the world; in this way, the proposition of "being born is benevolent" has become the logical structure of the Confucian philosophy of life, which reflects the efforts of Confucianism to build a moral order. So how do art and morality merge into the course of life? Zhu Liangzhi said: "Life is the nature of all things, and art, as the most vivid form of life in the universe, naturally regards life as the highest goal of artistic expression. In the same way, life is the nature of art. However, 'life is benevolence' as a philosophical proposition embodies the Confucian aesthetic concept of life, which is an important influencing force for the emergence and development of the chinese artistic spirit of life. This Confucian aesthetic concept of "being born to be benevolent" is precisely in line with "inner teleology" and is presented through the moral personality. In this sense, the beauty of Confucianism is precisely the perceptual embodiment of the moral personality, which seems to echo Hegel's statement that "beauty is the perceptual manifestation of ideas." Confucianism is a kind of anthropology, an anthropology based on the ethics and morality of a patriarchal society. Confucian literary and artistic aesthetics takes "people" as the starting point and "people" as the destination, based on people, in people's ethical personality, and the perceptual manifestation of ethical personality is the beauty of Confucianism. What is the "Master's Article"? That is, the perceptual presentation of the personality charm that internalizes ethics and the beauty of life and integrates them into real life is the aesthetic presentation of the practical spirit.

Confucianism affirms the creativity of the Heavenly Dao, filling the universe, flowing and changing, and all things from it; at the same time, it emphasizes the intrinsic value of human nature, which is full of wisdom and promotion, carries forward and expands, and is wonderful and cosmic order, and is harmonious with morality. Therefore, Fang Dongmei summarized the three principles of Confucian metaphysics in "The Universe and the Individual in Chinese Metaphysics": one is the principle of bypass, that is, the deductive system that integrates from beginning to end, which means that life flows in a big way, penetrates the heavens and the earth, and participates in the creativity of time itself, and finally reaches the state of perfection; the second is the principle of sex, that is, the principle of the life of the people of heaven and earth, which means that for Confucianism, spiritual contract and enlightenment are enough to make people have a sense of sublime moral value; the intrinsic value of all things under the world and sentient beings. It also embraces deep empathy, thus producing the same sense of the same origin of heaven and earth with the same root and all things; the third is the principle of chemical cultivation, that is, the process of realizing the value of life. According to these three principles, the Confucian ethical personality combines morality and aesthetics, implicitly combining "inner teleology", reflecting the Confucian aesthetic view of life. Fang Dongmei described this style of ethical personality: the typical Confucian personality, majestic, the mountain is raised, like a masterpiece of an absolutely beautiful art statue, completed through various noble life cultivation kung fu; its life is solid and brilliant, the emperor is four masters, from relatives and alienation, from the distant, that is, a kind of sage weather to touch people's hearts; this kind of life charm can inspire people to the upward opportunity, and under the call of the same emotion, see the sages and think together, a kind of admiration and longing, spontaneously born, hair is intolerable, and beyond, and it is beyond recognition, and it is widespread. Then it can create a cultural realm of ethical virtue. Like a masterpiece of beautiful art statues, the Confucian personality is typical, which shows that Confucian Confucianism regards cosmic life as a Taihe realm full of pure beauty, so it pays special attention to artistic value, and pays attention to artistic value from the perspective of "inner teleology". This just suggests that the artistry and sociality of literature together constitute the whole of organic life, and also confirms a sentence in Xu Fuguan's "The Personality and Social Problems of Poetry in Traditional Literary Thought": "Morality and art, in their most fundamental places, are often harmonious and inseparable." "The Typical Confucian Personality described by Fang Dongmei dissolves all nature, prompts all things to be born, is rigid and full of circumference, and makes people feel full of admiration and longing for Joy and cannot help themselves." Inspired by this, human beings are more energetic, invigorating their vitality, stimulating the storms of life, and once they are transformed into external forms, they become artistic treasures"; "In other words, only those who swim in art and understand its beauty can realize the Tao, cultivate the Tao, and become a perfect person." It can be seen that the description and admiration of the model of ethical personality reflects people's efforts to reverse "external teleology" and replace it with "inner teleology", which is a new interpretation of Confucian ethical aesthetics.

Xu Fuguan was explaining Confucius's aesthetic concept of literature and art, and perhaps most supported this action. In fact, the crowd thinks the same thing. For example, on the issue of Confucius's handling of the relationship between art and moral indoctrination, his views are quite consistent with the internal teleology, which is reflected in his works such as "The Spirit of Chinese Art", which has been introduced earlier. Tu Weiming pointed out this point at the beginning of his article "The Concept of Man in Mencius Thought: An Exploration of Chinese Aesthetics", saying: "Mr. Xu Fuguan pointed out in his book The Spirit of Chinese Art that both Confucians and Taoists were convinced that self-cultivation was the basis of artistic creative activity, which is contrary to the antiquated view that the fundamental purpose of art helps to improve the moral and spiritual individuality. It proposes an idea of what art is, rather than what its function should be. "Xu Fuguan also noticed that the moral subjectivity established in Confucius's thought was also full of profound aesthetic content." Tu Weiming also made a simple explanation, that is, the advocates of this view (such as Xu Fuguan) were convinced that the expression of pure subjectivity depended on the radical transformation of the self. They try to achieve this transformation in various ways, such as establishing the will, emptying the mind, tempering emotions, maintaining the general body, etc. Because the deep subjectivity is concentrated in the "big book" of the universe, it makes the different life forms harmonious, makes human beings and nature harmonious, so that the difference between the subject and the object tends to disappear.

Chen Zhaoying even introduced Xu Fuguan's views on the aesthetic concept of Confucius literature and art in a tone of approval, reminding readers to note that Xu Fuguan believes that an artist's concern for society, politics and morality is developed by "benevolence", and the development of benevolence is a natural process, just like a plant seed, whose intrinsic purpose is to take root, sprout, blossom, and bear fruit; the reason why Xu Fuguan has such a statement is based on his understanding of Confucian liturgical music, that is, Confucius's poetry is Confucius's music teaching. She also particularly grasped that Xu Fuguan's use of the word "internalization" to repeatedly state that the sociality of thesis science is not external to the works and writers, so the sociality of Xu Fuguan thesis is also based on internal teleology. Indeed, Xu Fuguan's "The Personality and Social Problems of Poetry in Traditional Literary Thought" explains Kong Yingda's "Mao Shi Zhengyi" words such as "the meaning of a country", "the heart of the world" and "one's own heart", and finally deduces: "A great poet, his spirit always envelops the whole world and the country, and condenses the sorrows and sorrows of the world and the country into the heart of the poet, so as to form the poet's sorrow and sorrow, and then carry his own flesh and blood to express it, so that the reader can follow the poet's sorrow and sorrow, and follow the poet's happiness. The feelings of the author and the feelings of the reader are fused together through the works. In this explanation, Xu Fuguan mentions the process and situation of social "internalization" and the formation of personality. Xu Fuguan's understanding is that the personality of great poets is social, condensed in outstanding works, which is also the literary view of pre-Qin Confucianism. So, what is the root cause of the unity of the two? Xu Fuguan believes that the root of unity lies in the "righteousness of temperament", and the way is naturally to cultivate moral consciousness and break through the barrier between personality and society. Just as some people impose practical theories on confucian literary and artistic aesthetics, some argue that Confucian morality constrains the development of literature. This view is very common and popular. Xu Fuguan refuted this in the article "The Problem of Personality Cultivation in Literature of the Two Schools of Confucianism and Taoism", holding that cultivation and morality can be internalized into the author's heart, and "heart" and "morality" are one, "then the benevolence and courage that come from morality deepen and expand the object and motivation of feelings, can see what people can't see, what people can't feel, and what people dare not say, this can only improve and develop the quality and frontier of literary works, what is the constraint to speak?" "Therefore, the truly classical and great works of ancient and modern China and abroad do not hang the sign of moral norms, but there must be some profound moral meaning in them as the vitality of their agitation.

The form of moral realization can change, but the basic spirit of morality must be inherent in human nature and must be needed by individuals and groups. Therefore, the problem of the degeneration of literature cannot be imposed on the Confucian moral teachings. Therefore, when commenting on "The Problem of Personality Cultivation of Confucian and Taoist Thought in Literature", some people said that this article pointed out that the significance of Confucianism to the personality cultivation of literary scholars lies in the transformation and elevation of their entire life into a Confucian moral and rational life, and then have unlimited responsibility for society, politics and life. From this, can we speculate that the infinite responsibility of the confucian life of moral personality and moral rationality advocated by Confucius may be one of the important reasons why it has been misunderstood for a long time?

3. The problem of "intrinsic teleology"

This raises a question. According to Xu Fuguan, benevolence is morality and music is art; Confucianism integrates the perfection of art with the perfection of morality (benevolence); in the highest state of its integration, morality enriches the content of art, and art promotes and stabilizes the power of morality. The ideal state of "returning to benevolence under heaven" is, in its negative aspect, the dissolution of various opposing natures; in its positive aspect, it is the harmonious unity of various heterogeneous qualities. However, benevolence and pleasure, morality and art, although the two have achieved harmony and unity according to "inner teleology", after all, they are still two things, and they cannot be the same thing, because the same thing does not matter whether it is unified or not. Is this a loss of artistic subjectivity? Cheng Fuwang said that Confucianism regards ethics as being rich in subjectivity, and ethical culture, behind the illusion of seemingly being rich in subjectivity, is actually contrary to human subjectivity; for example, the aesthetic idea of "the unity of heaven and man" is highly praised by people, and is praised as the unity of regularity and purposefulness, but law and purpose are always two things, so who will accommodate whom? How does human subjectivity play out? What is the point of purpose? The "unity of heaven and man" seems to make people sublimate into heaven and expand into heaven, and it seems to be the full expansion of human subjectivity, which is essentially the engulfment of man by heaven and the disappearance of man to heaven. In the same way, we can suspect that the antagonistic nature of benevolence and pleasure, morality and art, has dissolved, and all kinds of heterogeneity have been harmoniously unified, so who will accommodate whom? The so-called "unity with things" and "the world returns to benevolence", the final orientation of Confucian literary and artistic aesthetics is obvious.

In fact, Xu Fuguan is aware of this problem, and he believes that this kind of integration can only be an instantaneous feeling of a very small number of people, and it is difficult to expect in the ordinary life of ordinary people; although happiness and benevolence can be conceived with each other, there is a difference after all. Therefore, the realm of returning to the world through self-denial and retribution may be the same as the realm of happiness; however, "the process of its work may also be irrelevant to happiness." And the return of the world to benevolence must contain a sense of responsibility of 'the disciples of the Wufei people and who is with', which is not rejected by art, but it must not be borne by art. "The morality of poetry is the morality revealed by the place where poetry is founded; Confucius's view of literature that art for life is actually a literary view that comes from the thoroughness of literature to the place of roots. Fundamentally speaking, the realm of happiness is internalized in the realm of "the world is returned to ren", but unfortunately this realm is extremely rare in real life. The pursuit of this realm leads people into the process of cultivation and creates a Confucian feeling of moral idealism. Art can express the Sense of Historical Responsibility of Confucians, but it cannot be obliterated by the sense of historical responsibility, the independence is lost, and the subjectivity of art is gone.

The end of the fusion of morality and art is that art ceases to exist; what about the fusion of politics and art? It's pretty much the same. Confucian politics emphasizes indoctrination, and liturgy is the specific content of indoctrination. Unfortunately, the corresponding political and social environment no longer exists, Xu Fuguan said: "The indoctrination effect of liturgical music is to let the people complete their personality with their own strength and achieve social (custom) harmony." From this, we can understand how the rule of Li Le has become an eternal nostalgia for Confucianism in politics. It is also possible to understand why Confucius said in the Analects, 'Not the Son of Heaven, do not discuss etiquette, do not make music', and why Han Confucianism advocated so much that 'the rule of the rule is accomplished, and the music of the liturgy is the prosperity'. Because they are not allowed to make rituals and pleasures, they have the effect of anti-education, which fundamentally stains people. Chen Zhaoying repeatedly reminds readers that the assertion that "the rule of lilly is the eternal nostalgia of Confucianism in politics" is a moving interpretation of Xu Fuguan. The moving thing is that it reveals the transformation and decline of the spirit of Confucius art, although helpless, it is due to the times. The rule of liturgy from Yao Shun to Zhou Gong was the ideal politics of Confucius's mind, which in Confucius's time felt that it was a paradise that would never return, and after Confucius, it was even more of an "eternal nostalgia". "In modern language, the 'rule of ritual music' is an aestheticized society, where the highest realm of politics is not only the attainment of democracy, freedom, equality, and justice, but the realm of beauty, in which the positive values in the above-mentioned political fields are not obtained by effort in the norms of the legal system, but are naturally attained in the cultivation of beauty." The people complete their personality with their own strength, thus achieving social harmony, and the political ideal of Confucianism has become an unattainable dream due to the changes of the times. In an inappropriate social environment, still emphasizing the rule of liturgy, still emphasizing the harmony between morality and art, emphasizing that morality has become something that people can enjoy in the perceptual life and become part of the perceptual life, it is no wonder that traditional Confucianism has always been accused of being stained with the strong color of pan-moralism and playing a binding role in the development of art. There is a reason for this, and there are historical facts.

Confucius admired and passed on the ritual music, "Zi Xia resigned and discerned, and finally did not see the acceptance, and since then the liturgical music has been lost." "Han Xing, the musician has a system of clans, with the rhythm of ya music, the world is a great music official; but it can be ji its sonorous encouragement, but it cannot speak its righteousness." (Book of Han, vol. 22, Li Lezhi) The essence of the musical spirit of the unity of beauty and goodness that Confucius aspired to was replaced or lost, in vain as a rigid traditional form that had lost its vitality. Therefore, Xu Fuguan said: "The true artistic spirit of Confucianism has been lost since the end of the Warring States period. He started from the Confucian reasons himself, "Confucius's art for life is extremely thorough, and it can also integrate art into life." 'Finding Kong Yan Happy Place', this happy place is the benevolence of Kong Yan, that is, the presentation of Kong Yan's pure artistic spirit. And the arrival of this happy place, in Kong Yan, especially in Confucius, music is certainly one of its work processes; but after all, it is not the only work, nor is it the work that ordinary people can easily use. Therefore, Confucius put Le'an in the final stage of his work and said the phrase 'Success in Happiness'. That is to say, the direct path of personality cultivation and personality completion may not be taken from "happiness", but can also be completed in other work other than "happiness". Song Ru searched for the joy of Kong Yan, that is, the place where he found the benevolence of Kong Yan. As a result, the Song Ming Confucian "Main Jing", "Lord Respect", "Cun Tianli", "To the Conscience", etc., these tended to static cultivation kung fu, dissolved art and its spirit.

Therefore, Xu Fuguan lamented: "The rise of a Confucian does not have to mean the revival of Confucius's musical art. Chen Zhaoying believes that the reference to "the rise of a Confucian" is worthy of intrigue. For the development of Confucian literary and artistic aesthetics, Xu Fuguan is not really concerned with Confucianism as an "adjective", such as "Confucian", "Confucian" or "Confucian" aesthetic thought; but Confucianism, Confucianism as the "main word". When Confucianism becomes the "main word", it can have true subjectivity and initiative, and the artistic spirit of Confucianism can also become a force that can change customs and customs and change the world. Han Yu is an important figure who made "Confucianism" the "main word" and carried forward the spirit of Confucius's original Confucian art. Although the rise of a Confucian is not necessarily the revival of Confucius's literary and artistic aesthetics, the highest realm of art for life it presents, that is, the highest realm of complete harmony and unity of goodness and beauty, morality and literature according to "inner teleology", has always been the Confucian ideal after Confucius. They transformed this realm into the ideal of reconstructing moral poetics, and in the process, embodied the practical spirit of Hony. Among them, Han Yue of the Tang Dynasty contributed greatly, and if the spirit of Confucius and his protégés for the sake of human art was developed in the Tang Dynasty through the system of the Book of Poetry; then since the Tang Dynasty, it has developed through the genealogy of the ancient Literature Movement founded by Han Yu. Although his efforts eventually degenerated into a period of "nostalgia" and was excluded from the Confucian Taoist system by Zhu Xi, he eventually ranked an important position in the Confucian literary system.