| In the Northern Song Dynasty with especially dense atmosphere of believing in Taoism,the Taoist aesthetic significance is apparently identified by people. At that time, many non-Taoists, including the emperor, the minister, common literators and scholar-bureaucrats, all regard the Taoist aesthetic as a sort of fashion, which brings the suffusedly full-bodied Taoist color and hazy concern of Taoism to the aesthetic culture of the era. Sushi, who lived in the era which scholar-bureaucrats admire like a duck to water, is deeply edified by Confucianism in his youth. However, though he was ups and downs in the officialdom for a long time, his thought is still to long for freedom and Peripateticism. Thus, his Literature Aestheticses embodied the thought that was the blend of Confucianism and Buddhism and that was to finally return to Taoism.This paper begins to represent Sushi's scholar-bureaucrat aesthetic personality that was the blend of Confucianism and Buddhism and that was to finally return to Taoism. And then it approaches and unscrambles the concern of Taoism infiltrating into Sushi's literature aesthetics. The paper includes five chapters. Chapter 1 initiatively explores the reasons for the concern of Taoisom Sushi's literature aesthetics. Chapter 2 anatomys (analyzes) the basic tone of the view point of "becoming-beauty"with"holding oneself aloof from the world" Sushi's literature aesthetics. Chapter 3 discusses the consistency with cultivating "Taoism" and creating "arts", and gives the color of Taoism Sushi's literature aesthetics from the creation. Chapter 4 exhibits Sushi's nature and bluntness Taoist "unartificial arts"artistic skill from the viewport of skill. Chapter 5 presents that the unfolding unartiflcial,matter-of-fact aesthetic style from Sushi's literature and art embodied the concern of Taoism and signification that advocats "nature""wu-wei(having no effort)"and did not pay attention to carving that aesthetics and believed in Taoism's uppermost aesthetics. |
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