Wei Aesthetic Cultural Development Paradigm Research

The theme of this article will try to interpret the developmental paradigm of aesthetic culture in the Wei, Jin ,Northern and Southern Dynasty, which concentrates on the mainstream and basic track presented by the aesthetic culture in a systemic,logistic, and orderly form of evolution during that period , that is , the article is to make the developmental logic (paradigm ) of aesthetic culture inherent in the historical phenomena emerge via the interpretation and explanation.According to the conception, the word of "aesthetic culture" mainly refers to a general category about beauty ,aesthetic perception and art which is stated from a cultural view , and also to the summation of all the aesthetic activities and phenomena between the activities which are perceptual and physical ,and the ones which are rational and spiritual . This conception includes four levels— academic,ideaistic .and conceptual language of aesthetics;experienced. textual and formal art creation;fashionable ,consuetudinary, and characteristic modern interests;technical, instrumental, and formative cultural production.These four levels constitute the whole system of the aesthetic culture and separately develop the systematic aesthetic cultural studies of their own."Developmental paradigm", is a conception which has consulted the formal theory from the American scientific philosopher,T, Coen. The word "paradigm", which can also be translated as form or criterion, mainly refers to a directive common belief established by some scientific society or community,and to a series of ideastic patterns and paradigms shared by these members which state the common basic theories, ideas and methods , and provide them with the common structure of solutions,.Thus ,this common belief and shared pattern will play a decisive role in the scientific study. In this case, the conception of paradigm mainly concerns a basic,general and shared theoretical structure,system ,thinking way or method. In terms of the paradigm theory, the development and evolution of science is also a kind of paradigm conversion, namely, a process of replacing one paradigm with another. In fact, the advance of this theory is to explain the historical process and evolutive pattern of the science.Making use of its academic standpoints and methods such as intergrated understanding, systematic analysis,macroscopical interpretation ,logistic advance and orderly description, we could try to accomplish the work of uncovering the general structure and basic trend of the aesthetic culture in the Wei, Jin ,Northern and Southern Dynasty, Therefore, the so -called developmental paradigm of the aesthetic culture in the Wei, Jin ,Northern and SouthernDynasty, is also the basic structure and main track displayed in a regular and orderly developmental paradigm of the aesthetic culture in that period.The advance of this thesis is based on two points.First, up to now, the study of aesthetic characteristics and its rules about literature, art, techniques,fashion ,thoughts,and culture, has been presented by the following aspects: laying particular stress on microcosmic materiality and lack of macroscopical collectivity in the cognitive area; laying particular stress on local individual and lack of entire system in the academic standpoint; laying particular stress on social content and lack of aesthetic form in the keystone of explanation;laying particular stress on ethicalism and lack of historicalism in the judge of crietrion; laying particular stress on the description of appearance and lack of grasp of rule,etc. These characteristics have their own merits and their contribution to the academic study cannot be ignored However, the shortages of them appear very sharp. One main problem lies in failing to know and explaining the objects in a entire, systematic, exact and objective way and grasping and describing the essential characteristics and inherent rules of the aesthetic cultural development at that time. Another shortage is that, in the process ,changes,chaos,complexities appeared ranging from politics to culture, area to peoples, and life to art. Undoubtedly, the phenomenon had brought great difficulties to the entire grasp and logostic expression of the aesthetic culture . However, essentially, behind the appearance of the chaos, complexity, and changes, the developmental venation or evolutive trend is impenetrated in them, and it is that point that make up the mainstream of the development of aesthetic culture in the Wei, Jin ,Northern and Southern Dynasty, which provides our study with the historical foundation and academic probability.The basic thought and content was mainly unfolded in two great levels: the context and connotation of the developmental paradigm of aesthetic culture.By and large,the level of context of the developmental paradigm in the aesthetic culture consists of two areas.The social realistic factors of the context which regulate and limit the developmental paradigm of the aesthetic culture in this period contain four parts. First, feodal social form in the character of typical lairdly anorial economics of lautarky based on the social economics. Second, the collapse of traditional value and the rebirth of endocentric consciousness caused by the inclement politics, chaotic manners and morals of the time, and the existent crisis in the realistic environment. Third, the appearance of the new social magistral strength which replaced the status of hereditary nobles in the Qin and Han Dynasty. Fourth , the counterwork of the Southern and Northern Dynasty, which is another special factor in this realistic social background. As to the aesthetic culture, this phenomena provide not only thehistorical social stage full of probabilities, but also the historic chances and resources for the new combination between the Southern and Northern Dynasty on a higher level.The factors of idealistic and cultural context which regulate and limite the development of the aesthetic cultural paradigm was presented mainly by the following basic fluctuant styles. First, the retreat of the Confucian doctrine and the success of the Metaphysics ; Second, the success of the Buddhism after its superiority to the Metaphysics. Finally, the revival of the Confucian doctrine and its harmony with the spirits from the Metaphysics and the Buddhism.The connotation of the aesthetic cultural developmental paradigm could be generalized by three factors: general tokens, ten characteristics and three main forms. The general tokens and the ten characteristics make up the logistic connotation of the aesthetic culture in this period, while the three forms are the specifically lengthways extension of it.1 ^ The general token of the aesthetic cultural paradigm in the Wei, Jin ,Northern and Southern Dynasty may be explained by the word " great transition " from Mr. Zong Baihua. The general basic connotation of the "great transition" means that, from now on, the modality of ancient aesthetic culture has changed from the stage of spontaneity to that of consciousness. The so-called consciousness means the consciousness of beauty has get rid of the rational value system of consummation and made for disillusionment, division and independence.In other words, the noumenon, the quality of the aesthetic culture (self-discipline), and the transcendence have been realized. The ultimate reason for the consciousness of the aesthetic culture is the consciousness of the human beings.2% The ten great characteristics of the paradigm of aesthetic culture in the Wei, Jin, Northern and Southern Dynasty: the idea of individuation; the style of selfhood beauty; the thought of sensibility; the enjoyable aesthetics; the prominence of natural beauty; the creation of artistic beauty; the consciousness of modal beauty; the narration of vision; the fashion of sensibility; the principle of mean.3 n The three great paradigms of the aesthetic culture in the Wei, Jin, Northern and Southern Dynasty are the objects which we will stress in this article. Whether it is the general token or the ten great characteristics, the final analysis will be a historical stage extending in a lognitudinal way . Therefore, from the dynamic point, the aesthetic culture of the Wei, Jin, Northern and Southern Dynasty was presented in the following three paradigms.A.The developmental paradigm using selfhood transcendence as the topic word which corresponds with the developing stage (the connection between Wei and Jin). The basic connotation of it has three levels. First, it takes the selfhood transcendence as the general idea. Second, it is in the structure of contradictory collision between sensibility and ration. Finally,it incorporates the aesthetic cultural interest.