The Study Of Xunzi's Philosophy Aesthetics

In order to clearly discuss the aesthetics of Xunzi,This article takes first an overall view,after partial enlargement,and then from an external perspective.The so-called overall view refers to grasping the overall outline of Xunzi's aesthetics from the macroscopic perspective by studying the relationship between Xunzi's philosophy and aesthetics.It is the first chapter;the so-called partial enlargement refers to the detailed discussion of separate viewpoints of Xunzi's aesthetic thoughts.They are Chapters 2to 6;The so-called Viewed from an external perspective refers to the study of Xunzi's philosophical aesthetics from the perspective of Marxist theory,and reveals the profoundness of Xunzi's aesthetics and its significance to contemporary social aesthetics.The first chapter examines the relationship between Xunzi's philosophy and aesthetics.The first section clarifies the internal relations between Xunzi's philosophical viewpoints.The philosophical foundation of Xunzi is “distinction between heaven and man.” “distinction between heaven and man” makes Xunzi looks outwards for the laws for all,which inevitably makes Xunzi pay attention to experience observation,on the basis of which,Xunzi concludes evil of human nature and that artificial is good which promoting Xunzi's use of "ritual" as a means to correct the evil of human nature.In addition,the evil of human nature theory also makes Xunzi pay attention to the beauty of sensuality,which has led to the emphasis on the production of material wealth,and the importance attached to the production of material wealth has made Xunzi aware of the great significance of the social division of labor for social production,thus forming the idea of ??“group” and “partition.”second section discusses the relationship between Xunzi's philosophy and Confucianism,Taoism,and Legalist.The third section explains Xunzi's thought about“nature”.Xunzi's “nature” has three meanings: physicality nature,human nature and evil of human nature.The human nature and the evil of human nature are two concepts with different connotations: the human nature refers to natural generating,and there is no distinction between good and evil,and the evil of human nature is a conclusion drawn on the basis of the experience observation,referring to the consequences of excessive pursuit of desire to satisfy people,and not referring to human nature.The fourth section discusses the internal relations between Xunzi'sphilosophy and aesthetics.The philosophy of Xunzi transitions to aesthetics through“harmony”: First,“harmony between nature and artificial” produce beauty.Harmony between nature and artificial of material produces beauty of decoration and beauty symbol of virtue.Harmony between nature and artificial of human results in the beauty of personality;second,the relationship between beauty and “harmony” of social politics,in this question Xunzi carries out aesthetic education through "ritual" and “Yue”.The “ritual” is external to people,this makes important of “learning”which involves these questions: ritual being the unity of truth,goodness,and beauty,the relationship between “stripes and colors” and beauty,the whole and pure realm of learning,and the quiet generated by total empty and high focus.“Yue” are related to Xunzi's concept of “Yue” and the relationship between “Yue” and morality;third.The relationship between social production “harmony” and beauty,Xunzi affirms the material wealth created by the social division of labor and the physiological satisfy brought by material,and thus the importance of the human beauty caused by the satisfy,which forming Xuezi's harmonious aesthetics.The second chapter discusses Xunzi's aesthetic thought from the perspective of Xunzi's thought of “nature”.The first section discusses the relationship between decorative beauty,beauty symbol of virtue,and personality beauty.The second section discusses the relationship between senses,heart and beauty.Xunzi believes that the beauty of sensuality is a physiological pleasure,but at the same time it can be transformed into aesthetic pleasure by two methods: training of “ritual” and touching function of “Yue”.The third chapter detailed elaborates Xunzi's aesthetic thought from the perspective of Xunzi's thought about “ritual”.The first section discusses the “ritual” as a unity of truth,goodness and beauty.In this question,if one holds a philosophical view of the unity of thinking and being or tends towards unity,one will think that truth,goodness,and beauty can be unified,and vice versa.The second section discusses the relationship between “stripes and colors” and beauty.Xunzi's “stripes and colors” is an external symbol based on physiological pleasure.It can be transformed into“beauty” only by going through the process of skill training and the quiet generated by total empty and high focus.The third section discusses the beauty generated by whole and pure which generated by skill learning and training.It developed from Chuang-tzu's idea of ??“truth from skill training”,but Xunzi emphasizes the arduous process of the skill training.The fourth section discusses the quiet generatedby total empty and high focus,which developed from Laozi and Chuang-tzu's ideal of empty quiet.Laozi and Zhuang-tzu seek to eliminate interference of rational consciousness and desire to beauty,while Xunzi affirms the effect of both on aesthetic creation.The fourth chapter discusses Xunzi's thoughts about “Yue”.The first section discusses Xunzi's concept of “Yue”.The emotion expressed by Xunzi's “Yue” is only a social happiness.It does not include negative emotions such as anger,grief and personal senses.The second section discusses the relationship between Xunzi's “Yue”.and morality.From the perspective of integrated musical play thinking(rather than from a single musical thinking),we can accurately clarify the relationship between“Yue” and morality.The fifth chapter discusses Xunzi's harmonious aesthetics from the idea of “group”and “separation”.The first section discuss that the division of labor in society brings about material prosperity,which encourages Xunzi to affirm people's desires and rational consciousness of human.Both contributed to Xunzi's harmonious aesthetics The second section specifically explains harmonious aesthetics in comparison with Confucius' s “learning without being obscene”.The sixth chapter examines Xunzi's philosophy and aesthetics from the perspective of Marxist theory,revealing the profoundness of Xunzi's aesthetics and its significance and enlightenment to contemporary social aesthetics.The first section discusses the fit of Xunzi's thoughts with Marxist thoughts: “the distinction between heaven and man” is in harmony with dialectical materialism;Xunzi's attach to experience observation is in conformity with the views of practice;“evil of human nature” is in harmony with the theory of alienation;The harmonious aesthetics coincides with the theory of human freedom and comprehensive development,that is,both embody the beauty based on the satisfaction of desire.The second section discusses the significance and enlightenment of Xunzi's aesthetics to current social aesthetics.The combination of productive forces and the development of science and technology has had a great influence on the aesthetics of art: one is to promote the development of artistic categories(such as movies),and the other is to promote the development of artistic style towards entertainment and popularization.The new artistic aesthetic is greatly influenced by scientific consciousness.Xunzi's quiet generated by total empty and high focus inspected the significance of human's rational wisdom for aesthetic creation,which provided insightful ideas for thinking about newartistic categories and their aesthetic characteristics.The aesthetic entertainment and popularization make the current social aesthetics based on physiological stimulation.Xunzi's harmonious aesthetic examines the aesthetics based on physiological satisfaction and its connection with social governance.This provides insightful ideas for how to guide entertainment culture and popular culture.