Historicity of aesthetic form. First of all, aesthetic form is the product of a specific historical, social and cultural development stage. Secondly, the specific connotation of aesthetic form is constantly evolving in historical development. The essence of China's early aesthetic form is poetic and musical; The essence of early western aesthetic forms is dramatic and sculptural. Aesthetic form and religion: the gestation of western aesthetic form is linked with religious consciousness from the beginning, paying attention to the inquiry of the ultimate value of life; China's aesthetic culture has the characteristics of secularization and is unofficial with religion. Aesthetic form and philosophy: the formation and development of western aesthetic form is restricted and influenced by the change of philosophical thought as a whole; China's philosophy of life has remained unchanged for thousands of years. The idea of "neutralization" is an ontology, an aesthetic ideal and a basic aesthetic form in philosophy.
There are six main types of aesthetic forms: beauty and sublimity, tragedy and comedy; Ugly and absurd.
3。 What are the main theories about sublimity and beauty in the history of aesthetics? What are their characteristics?
A: First, about the theory of sublimity. In the history of western aesthetics, Pythagoras in ancient Greece was the first to involve lofty content. For the first time, Ron Girnus explicitly discussed sublimity and elegance as two kinds of beauty that can be juxtaposed. Kant: truly regards sublimity as an aesthetic form, and thinks that there are two types of sublimity, namely mathematical sublimity and mechanical sublimity. Schiller: This paper mainly discusses the sublime essence from the artistic point of view. Hegel: Inherited Kant's thought of "human theory", affirmed the view that sublimity comes from people's inner feelings, and agreed with Schiller's view that beauty and sublimity should exist in the unity of content and form. Lyotard: Based on the post-modern theory, this paper explains the sublime.
Second, the theory of beauty. In the history of western aesthetics, the discussion of beauty has always been clarified by the discussion of sublimity. In ancient Greece and Rome, beauty and beauty were equated; Pythagoras school thinks that the most beautiful figures are spherical and round; Plato believes that beauty can "cause pleasure without pain" and is a single, pure and absolute beauty; Aristotle: "The highest form of beauty is order, symmetry and certainty"; Cicero in ancient Rome put forward two kinds of beauty: beauty and majesty.
3. lofty characteristics. First, the beauty of majestic power; Second, the high-spirited beauty of social value realization; Third, the beauty of resolute and strong character; Fourth, the beauty of majesty.
Four beautiful features. First, beauty is the true expression of detached and elegant life realm; Second, the external formal characteristics of the coordination between beauty and elegance; Third, it is the content of harmony; Fourthly, it is a refreshing, pleasant and light aesthetic experience.
4。 What are the main theories about tragedy and comedy in the history of aesthetics? What are their characteristics?
A: The theory of tragedy. Tragedy theory originated from the tragic art Aristotle: in the history of western aesthetics, Aristotle (poetics) really laid the foundation of tragedy theory. Hegel: put forward the theory of "contradiction and conflict" of tragedy. His greatest contribution to aesthetic theory lies in the analysis of tragic phenomena by dialectical thinking. People think that tragedy stems from the division of ideas. He saw that both sides of this tragic conflict were reasonable and one-sided. Nietzsche believes that the tragedy is related to two spirits of ancient Greece, namely Apollo spirit and Dionysus spirit. The sun god represents the dreamy state and static state of plastic arts; Dionysus represents the state of intoxication and the excitement of music art, and Kierkegaard, the father of western existentialism, put forward a new subjective thought, affirming the transcendence of tragedy.
Second, comedy theory. Plato was the first person to discuss comedy in western aesthetic theory. Kant discussed the principle of comedy from the psychological effect of comedy. Hegel reveals the causes of comedy in the comparison between tragedy and comedy from the viewpoint of contradiction and conflict, which is more profound and more in line with the essence of comedy. Marne: I think comedy is essentially a conflict between two social forces. It is the negation of the old things by the new things after they have won or are about to win, so that "mankind can bid farewell to the past happily." Bakhtin, who put forward the famous thought of "carnival", believes that carnival culture and grotesque style related to comedy culture have the function of deconstructing ideology and social order.
Third, the characteristics of tragedy. First, tragedy shows the affirmation of the value of life existence through the negative experience of life existence; Secondly, the aesthetic conflict of tragedy embodies the conflict and transcendence between man and nature, society and itself; Thirdly, the emotional experience of tragedy is a deep experience of life practice.
The characteristics of comedy. First, comedy contains profound social reality content, which is manifested in the form of confusion with reality; Secondly, comedy is characterized by disharmony and absurdity. Thirdly, the emotional form of comedy is mainly laughter.
5。 On the characteristics of ugliness and absurdity as aesthetic forms and the fundamental reasons why they become special aesthetic forms.
A: An ugly feature. First, the emotional feeling caused by ugliness is still an aesthetic feeling. Different from real antipathy, experience and observation. Secondly, as an ugly aesthetic form, it is deformed, chaotic and gives people vicious stimulation. Ugliness in works of art is more beautiful, thought-provoking and enlightening.
Second, the absurd characteristics. First, absurdity is the understanding of human meaningless existence (rootless and powerless existence). Second, the symbolic meaning of absurd aesthetic images (the absurdity of existence and the absurdity of reality). Third, absurdity has grotesque manifestations (abstract, distorted and other deformation techniques, blind and at a loss).
The fundamental reason why three ugliness has become a special aesthetic form. 1, general reason. In the practice of aesthetic life, people can possess their own essence relatively comprehensively and freely (aesthetic activities themselves must include the discovery, appreciation and creation of beauty and the exposure, whipping and rejection of ugliness). In the process of beauty, beauty does not exist in the real world as the result of materialization, but is constantly formed and developed in aesthetic practice. Without aesthetic activity, aesthetic subject or aesthetic object, there is no beauty or ugliness. 2. Specific reasons. ① Aesthetic activities, aesthetic subjects and aesthetic objects all have certain limitations, and ugliness will inevitably enter aesthetic practice together with beauty. Beauty, as a special objectification and perceptual manifestation of life realm, is different or relative from ugliness from the perspective of ontology, but ugliness can also be expressed as a life realm in a specific sense. As the most important part of life practice, labor is also a very important creativity and driving force for the formation and development of aesthetic forms. Up to now, great changes have taken place in western philosophy and aesthetics, and all subsequent philosophy and aesthetics have laid the ideological foundation for ugliness to enter the aesthetic field with dignity. ⑤ As the main aesthetic practice, major aesthetic achievement and important aesthetic object of human beings, art has changed beyond recognition. It not only contains a lot of description and creation of ugliness in artistic creation, but also shows the trend of replacing beauty with ugliness, which objectively lays a realistic foundation for ugliness to form a special aesthetic form.