On Chinese Ancient Aesthetics Category " Old "

"Lao"is a meaningful and sharp-cut characteristic aesthetic category. But the research of the Chinese classical aesthetic category of"lao"is superficial. The ancients'sentences about"lao"are dispersive and many researchers nowadays haven't studied"lao"systematically. In the Project of building contemporary aesthetics with Chinese characteristics , we must research it thoroughly and systemically, investigate the evolution track and the laws of the meaning, analyze its internal structure and exterior characteristics, study the relationship between"lao"and Confucianism and Taoism.In this paper , the research methods are the unity of historical and logical methods. Firstly, research the developing and evolving process of lao's meaning. Secondly, textile how it extended into the field of aesthetics. Thirdly, explore its internal and external features with Du Fu and Du Fu'poems."lao"is a word that has much internal tension. It has rich connotations and its meanings involve multiple dimensions, even toward opposite directions. Both Confucianism and Taoism have made a great impact on"lao". Not only Confucius but also Chuang Tzu thought"lao"meant the skills reached the acme of perfection.As an aesthetic category,"lao"sprouted before the Sui and Tang Dynasties.Ancient Chinese logical thinking ability is weak, Ancient Chinese aesthetics categories were often originally concepts of other fields, then were lent to the aesthetic fields, developing into aesthetics categories. As an aesthetic category ,"lao"had the same process as"feng","gu","yun","qi","wei". It rose in the Sui and Tang Dynasties, Initially launched in poetry, calligraphy and painting areas; Some critics began to define"la"make preliminary study;"laocheng"began to appear. It further developed in the Song and Yuan Dynasties. It was widely used in calligraphy, painting, and verse areas;"laojian,"laocang","laola","gelao","laozhong","yulao"began to appear; Some critics began to probe the relations between the age and literary style .It ripened during the Ming and Qing Dynasties."laocheng","laojing","hunla"","canglao","jianlao","laola"and other important related categories in this period gradually ripened or further established; Critics further analyzed the relations between the creator and literary styles. Some critics further probe the relations between"lao"and"shao", the relations between"lao"and"nen".The style of"lao"is closely associated with a man who is open-minded, sentimental, talented and professional. The creator must have experienced many vicissitudes of life and become more firm as he grows old, so he is understanding and considerate and able to follow what the heart desires. He learns from others and refines upon the wording and phrasing and other skills.The style of"Lao"returns to nature. It is vigorous but not rude. It is peculiar and prominent but not grotesque or fantastic in shape or appearance. It is simple but not narrow. It is ripen but not fluent. The proponents are Liu Songnian, Ma Yuan, Xia Gui and so on in the field of painting. The important representatives in the the kingdom of poetry are Du Fu, Huang Tingjian, Chen Shidao and so forth.