The Aesthetic Annotation Of Zeng-dian Tradition About Chen Bai-sha

Song-Ming Confucianism pay attention to exploring the nature and mind of the subject, pursue the pleasure of mind, and maintain achieving the pleasure level through the culture of the mind, in order to get aesthetic transcendence of the unification of the mind of the subject and the natural of the universe. In Lingnan, Chen Bai-Sha is the important Neo-Confucianism representatives of Mind after Cheng-Zhu Daoism of the Song-Yuan dynasties, who inherited upwards Lian-Luo's theory and opening up the doctrine of Wang-Yang Ming. His theory takes nature as the tenet and self-complacent as the method, holds naturalism on Ontology, and believes that Tao is the inner basis of perpetual existence and movement of every thing. The Subject conforms to the situation that all thing in universe varies naturally, in this way he achieves his aim according to the pace of the universe while not be constrained by substance. So his heart fills with pleasure and this is so-call Contentment. All above is Chen Bai-Sha's proposition of Le-Gan (the feeling of pleasure).He sums up in one sentence that the nature's pleasure is the real pleasure.In the theory of realm, his speech and activity expressed a spirit and a realm of leisure, freedom, easiness and no obstruct. He highly praised the Zeng-dian Style of Yuyi Wuyu, longed for the pleasure of Zeng-dian. Actually Zeng-dian tradition stands for the aesthetic sentiment that the subject fuses itself into the nature and the mind transcend the mundane, which is different from the Kong-Yan Le-Chu, While both are the two important propositions of Neo-Confucianism. In fact, as the basic problem of Neo-Confucianism, the meaning of realm of the contention about ontology with effort (Gong-fu) is the contention about awe and free, or caution and joy. This is the inner logic of Neo-Confucianism in Ming Dynasty. Chen Bai-Sha followed the easy style like Zeng dian, Zhou Dun-Yi, Shao Kang-Jie, Cheng Hao, which differs from the rigorous features of Cheng-Zhu Confucianism. He lived in countryside and left his mind in the landscape to achieve his own joy. He was plain and outspoken, disdained fame and fortune similar to Tao Yuan-Ming. He was leisure and happy, who took the spring as Ren like Shao Kang-Jie.Although Chen Bai-Sha didn't focus on writing, he originated a fresh and elegance poetry genre which was called mountain body instead of the Taiwan form, of which the style was riches and honorary. This new style of poetry boosted the person's temperament, emphasized on the ontological status of the subject's emotion of poetry, and lifted the spirit of the subject, just like a wind breezing into the intellectual world which was dull and silence since the early Ming.The rhythm and jump of life is evident in Chen Bai-Sha Mind theory everywhere, which highlights the aesthetic transcendence of the unification of the subject and the substance, and a spirit of life of mutualism. So we can say it's the "moving" philosophy ultimately. Wu-Yu Style therefore is not only a Confucianism proposition of the Confucian happy theory tradition, but also an aesthetic category of the Chinese life Aesthetics.