The Aesthetic Implication Of Wang Fu-zhi's "Xing

Wang Fu-zhi is a very important person in traditional Chinese aesthetics history, but he has been ignored by research world. One reason is that he lived in an isolated place and couldn't have touch with the outside world. The other reason is the researchers of Wang Fu-zhi haven't given him a objective evaluation, and regarded Wang Fu-zhi as a literator or a philosopher, rather than a person mainly studying aesthetics. If we want to make a huge progress on the Wang Fu-zhi's aesthetics ideas, we must put them together. In the current global cultural circumstances, the emphasizing on Wang Fu-zhi will be significant to traditional Chinese aesthetics.Wang Fu-zhi aimed at the summary of the traditional Chinese aesthetics. He used "Xing" to start his work. This thesis will show the course of Wang Fu-zhi's activities. There are three chapters in this thesis.The first chapter talks about the responsibilities and duties what Wang Fu-zhi must burden. In the respect of time order, "Xing" is the most basic concept of traditional Chinese aesthetics. From the beginning, "Xing" had been thought as one of literary forms among "Fu, Bi, Xing", and then, it became one method to make poems, because it can enlighten people's "good nature", which is benefit to society. Logically, "Xing" has been divided to three main parts. As the methods of making poems, many people thought they were very important, for "Fu, Bi, Xing" can do good to society and people's mind. As the relation between "I" and "the world", which is a key word of traditional Chinese philosophy, "Xing" can turn to "the relation between feeling and scene", which is a very important part of Chinese poem creation. Meanwhile, "Xing" also play a important role hi "Yi Jing". So, we can say, "Xing" is the main concept of traditional Chinese aesthetic.The second chapter analyses "Xing" of Wang Fu-zhi aesthetics. There are two meanings of "Xing". Firstly, Wang Fu-zhi renewed the relation between "Xing" and "Qing"(feeling) and built his ontology of poem. He also summarized two main lines of Confucian aesthetics, which are "the poem expressing the will" and "the poem expressing the feeling". They had been separated for a long time. Wang Fu-zhi also solved problem which the late Ming Dynasty aesthetics couldn't do. Secondly, WangFu-zhi used "Xing Hui" to express "the intermingling of feeling and scene", just like what western aestheticians call "aesthetic experience". "Xing Hui " also can be equivalent to "intuition of aesthetic", Wang Fu-zhi used "Xian Liang", which was borrowed from Dhyana, to stabilize the philosophical basis of "Xing Hui". So, Wang Fu-zhi also linked the relation between "Confucian aesthetics" and "Dhyana aesthetics".The third chapter demonstrates how Wang Fu-zhi transcended the "interminglingof the feeling and scene" to "Yi Jing"------the core of traditional Chinese aesthetics.Because the "intermingling of the feeling and scene" can only create aesthetic image, which is a substantial state in literary work, which is not the ideal of traditional Chinese aesthetics. It must be unproved to "Yi Jing", which is the forging of the ideological and practical, the meaning implied in the language and the unity of form and spirit, etc. So, Wang Fu-zhi also summarized the pure aestheticism of traditional Chinese aesthetics.