A Study On The Category Of Yi In Chinese Classical Aesthetics

The category of "Yi" with its unique aesthetic character and abundant aesthetic connotation occupies a place in the vast Chinese classical aesthetic category system.This paper insists on analyzing and exploring the aesthetic category of "Yi" through the unification of history and logic as well as diachronic and synchronic research ideas.Make full use of the rich ancient aesthetic resources to better grasp the aesthetic implication and spiritual core of the category of "Yi";By demonstrating the compatibility between the category of "Yi" and Heidegger’s theory of "Man,poetically dwelling",it connects the theoretical dialogue between Chinese and foreign philosophies and aesthetics,so that the spirit of "Yi" can be understood,inherited and blooming in the modern society,and constructs and harmonizes the reality,aesthetic life and attitude of contemporary people.Based on the exegetical meaning of "Yi",this paper explores the origin of "Yi" and its unique aesthetic value which distinguishes it from other words.This paper sums up the evolution process of the "Yi" category into five historical stages,so as to find the development context of the "Yi" category and view its various attitudes in the complex and changeable history."Yi" originated from the hermit thought of the Pre-qin and Han dynasties.It originally existed as a kind of life attitude and spiritual realm,but it has not been transformed into,or is changing to the aesthetic category.By the time of Wei and Jin dynasties,"Yi" began to change from personality spirit to artistic spirit,and its conscious and extensive use in the field of art appreciation and literature also indicated that "Yi" had evolved into a mature aesthetic category,reflecting its unique aesthetic meaning.In the Sui and Tang dynasties,the combination of Confucianism,Taoism,Buddhism and the three religions and the cultural situation made the aesthetic connotation of the category of "Yi" enriched and deepened,especially in the late Tang dynasty,the concept of "Yi" laid the theoretical foundation for the "Yi mei" in the early Song dynasty.Song and Yuan period,the "Yi" become a kind of aesthetic character,"delineate simply and shape possessed" and "mark sketchily" promote "Yi" into the highest standard of art tasting,at the same time "Yi" as the Song dynasty literary intelligentsia high-minded personality pursuit and spiritual quality.Further development during the Ming and Qing dynasties,the "Yi" gradually falling after reaching the theoretical peak,then the character get generalization of ills,and finally disappear in the aesthetic view of people.The category of "Yi" is the unity of natural aesthetics,life aesthetics and art aesthetics.On the one hand,the category of "Yi" has the typical characteristics of detached from the free and unrestrained,unrestrained,uncut and simple nature,which reflects the exploration of the universe,life and beauty of ancient Chinese.On the other hand,due to the social and cultural background of each dynasty,the category of "Yi" in each historical development stage shows the unique aesthetic form of the period,which is difficult to be confused,specifically manifested in the four sub-categories of "Chao Yi","Piao Yi","Qing Yi" and "Fang Yi",which clearly outlines the ideal aesthetic style of "Yi" in the minds of ancient literati.The modern interpretation of the category of "Yi" has been rarely involved.The theory of "man,poetically dwelling" by the German philosopher Heidegger is compared with the category of "Yi",and the aesthetic value and practical significance of the category of "Yi" in modern times are further explored by analyzing their common thinking and logic retrieval,which is also the highlight of this paper.Based on the analysis and discussion of the pastoral life of Tao Yuanming and Li Ziqi,two ancient and modern poetic habitants,this paper expounds the positive aesthetic significance and social value of the spirit of "Yi" to individuals.