The Formal Beauty And The Aesthetic Modernity Of The Demiurgic Art And The Folk Arts And Crafts

This dissertation purports to focus on the aesthetic modernity from demiurgic art and the folk arts and crafts through tracing the formal beauty.The fashion of folk arts and crafts has its orderly ways determined by its special born character, for example the imago prototype, history background, culture aptitude, subsistence environment, subject matter, skill of invention, etc. Especially when we are seeking for the difference between eastern and western culture pattern in order to understand the even more essential principle of plastic arts, looking through the numerous and complicated diversity to find the difference in skill, style and form which are determined by culture atmosphere seemed very important. These kinds of principles are the culture orders of the folk arts and crafts and they have beyond the common art skill, frame or range. What we are looking for is a sort of culture spirit, a sort of inner nous, a superorganic aesthetic imago and a creative logic.The folk arts and crafts, as an organic composing of modernity, has made a stress on human spiritualism, instinct, sensibilities in the field of aesthetics and art, this made a direct affirmation to the human subjectivity from the view of life sensibility, withal, it include suspicions even negative to the modern science and technology civilization and progressing concept of nous. From the meaning of defending the human subjectivity on geist, the folk arts and crafts' aesthetic modernity is the power of modernity's self-identity; from the meaning of resisting the abuse of the rational part by geist principle, it is a dissident power in the entia of modernity.In Chapter 1, the paper tries to analyze the structure of the formal beauty of the folk arts and crafts. Probing into the visual order of points, lines, sides and colors in the folks handicrafts esthetically, especially from their different manage, unusual structure and their culture connotation, culture backgrounds, thus, perspective its internal art spirit from its art pattern.Chapter 2 expounds the beauty of labor (design) in the view of practical aesthetics; it makes out that the folk arts and crafts is not the same as other art in aesthetics views, it is an aesthetics creation consolidating substance practicability with spiritual aesthetic utility. The chapter also mentioned the relation between the folk arts and crafts, the up-to-date art and the society progress, thereby coming the aesthetic modernity of the folk arts and crafts: when more highbrow talk about send china to the way of aggiornamento by modern science, modern politics, modern jurisprudence and modern economics, there ought to have more and more humanist jump up from their ken to ponder the spirit appearance and condition of the china perceptual individual in the course of modernity.