The Grotesque Art Of The Hongfo Ghost Novels In The Six Dynasties

Grotesque is a kind of aesthetic category from the West. The two basic elements of the grotesque are horror, nausea and funny, the basic principles are not coordinated and abnormal, and the common methods of expression are exaggeration, distortion and distortion. Since the 19th century, the eerie aesthetic category gradually into people’s sight, after the development of more than two centuries, western scholars of grotesque art forms, aesthetic connotation and aesthetic value of research has become more mature. During this period, the performance of the grotesque art works appeared in large numbers in the west, and in the field of literature is a fantastic novel.Although the study of the grotesque art didn’t begin until 1830s, the origin of the grotesque art was very early. The grotesque art in the West comes from the underground cave paintings found by archaeologists before and after 1480:the paintings on the Nero Golden Palace. Compared to the west, China’s grotesque can be traced back to the ancient art of modeling. Specifically, it should be derived from the performance of the ancient totem and magic ritual pottery and bronze decorations. Chinese art is much earlier than the cave paintings in Europe, but the study of grotesque aesthetics began in the West. Today, China’s research on grotesque art is still not beyond the west, and there are a lot of problems, such as the grotesque,ugly, absurd, and funny are confused.The author attempts to study the Hongfo novel as the research object. On the basis of previous studies of the grotesque novels (including Western grotesque stories and other Chinese dynasties weird fiction), through access to the original information such as text, analysis the grotesque art of the Hongfo Zhiguai fictions comprehensively. It related to the relationship between the grotesque and religion, the grotesque classification, the grotesque form of expression and the grotesque aesthetic significance and value, and so on.This paper is divided into three parts:introduction, body and conclusion. The introduction part mainly describes the relevant research achievements, research status and research methods of Six Dynasties novel grotesque art. The main body is divided into three parts:the first chapter is the first part, including the origin and development of the grotesque in China and its relationship with religion. As to the Six Dynasties, China grotesque art can be divided into three periods:ancient times, grotesque art start time; Qin and Han Dynasties weird art development period; The Six Dynasties, the first climax of grotesque art. In this period, there are many new features in the grotesque Art:Mystery novels embody the weird art of Six Dynasties; The literary nature of the grotesque novel is also greatly enhanced; The development of Hognfo novels reflects the combination of folk culture and Buddhist Scripture banter.The second chapter and the third chapter are the second parts of this paper. The second chapter analyzes the contents and forms of the development of grotesque art of the Six Dynasties Hongfo Novels. First of all the weird art of Six Dynasties Hongfo novels were classified, mainly divided into the image grotesque, the plot grotesque and the environment grotesque. Image grotesque mainly includes two levels:one is the deformation of the human body, the another one is mental abnormality. The plot grotesque includes revive, comeuppance, hell, the strange dreams and so on. The environment grotesque mainly analyzes the environment of the earth and the language environment in the content. The third chapter analyzes the grotesque form elements, including the grotesque form characteristic, the principle and the method of narration.The fourth chapter is the third part of this paper, focuses on the analysis of the aesthetic features and function of grotesque art of Hongfo mystery novels. According to the reader’s emotional experience and novel creation goal, it can be divided into two aspects:one is to enable the reader to produce mixed melting and a mixture of diverse aesthetic feeling; the second is to play to exhort the sentient beings and promote the social function of Buddhism.