Research Of "kong" On Chinese Classical Aesthetics

Chinese Classical Aesthetics "Kong" areas initially produced in Taoism，and bythe influence of Buddhism and Confucianism, Confucianism, Buddhism and Taoismtogether. In the course of its development, met with " Nihility"," Quiet"," QingDynasty"," Light" in areas such as interacting with each other, resulting in a "staticempty","empty","empty","ethereal" and other sub-areas had a huge impact in poetry,painting, architecture, music and other fields. The paper is divided into five parts. Thefirst part is an introduction. The second part of the meaning and historicaldevelopment of the "Kong" to sort out. The third and fourth part is the key chapters.The third part of the contents of the "Kong" areas of multi-dimensional development,that part is cut from a different perspective, through the empty static such as " Null thestatic ","Nonentity"," Kong of Qing Dynasty "," Ethereal "in the aesthetic psychology,the beauty of life, the word rhyme beauty, the beauty of artistic conception of artdeparture study. The fourth part is "Kong" areas included in the AestheticConnotations, mainly to expand the presence and influence in Chinese classicalaesthetics concrete poetry, painting, architecture, music, and drama and other artforms analyzed and discussed. This section summarizes the virtual and real,"Kong"in Chinese classical aesthetics Apprehension Seiitsu art style and the pursuit of theultimate goal of the Chinese nation aesthetic:" Heaven and Man ",the aestheticpinnacle of the realm of the pursuit. The fifth part is the conclusion.