Gaoertai’s Art View

GaoErtai is the representative of Subjective aesthetics in Chinese aesthetics history in the20th century. Recently, GaoErtai and his theory gradually lost the popularity, while his status in aesthetics history will not be eliminated. Last year, his memoirs LOOK FOR MY HOME got republished, and more and more people began to pay close attention to him. There are many researches on GaoErtai’s aesthetics theory, but neither research on his Art view, nor careful contrast of GaoErtai’s art view and Susanne K.Langer’s.In the first chapter, the GaoErtai’s art view is divided into three stages. The first one is the accumulation period, from the1950s to1962. During these years, he finished studies in school and primacy accumulation on articles. Meanwhile, he published his first theory article—On Beauty. What’s more, we can understand GaoErtai’s behavior through his pointing against teaching methods of Soviet. The second period is the mature of his article view, from the1960s to1990. During this period, he published both theory types--On beauty and Beauty Is the Symbol of Freedom. The third period is the completing on article view, which started since1990. During these years, GaoErtai put forward some opinions based on his experience in America. So his theory on article is a rounded and perfected system.In the second chapter, GaoErtai’s definite Art views which matured during the period from the1960s to the1990s are analyzed in details. The author focuses on GaoErtai’s specified individual concepts in this period, including his analysis on perceptual power, his discussion on the awareness of unexpected development and several formulations about "the power". In this period, GaoErtai perfected his theories and discussion. Meanwhile, due to the1980s’import of the western aesthetics theories, GaoErtai acknowledged Susanne K.Langer and the influence from Susanne K.Langer’s on his own can be easily found, so another chapter is made to compare the two’s art views so that we can clearly and thoroughly unfold the essence of GaoErtai’s art view and the theoretical meanings.In the third chapter, the comparisons between GaoErtai’s and Susanne K.Langer’s art views are made, which starts with the respective definitions of the two and presents us with the emotional connotation, the emotional manifestation and the classification of art. In the end, the author gives the conclusion on the role of GaoErtai’s art view in his aesthetics thinking as well as the systematic completeness and distinct value of his art view. The thesis presents GaoErtai’s the complete system of his art views and some other penetrating judgments.