A Study Of The Aesthetic Category "Ge" In The Tang Dynasty

Maternal "Ge" was an important criterion and principle for aesthetic theory in the Tang Dynasty,forming an aesthetic evaluation system with "Pin" and "Ge" as the mother category.Although there have been certain achievements in the study of the aesthetic category of "style" in the Tang Dynasty,most of them are confined to the field of poetic style,often scattered in a certain family or period of time,while the study of calligraphy and painting style is rare.The reason lies in the fact that the academic community pays more attention to literary theory in the Wei,Jin,Ming,and Qing dynasties than to the Tang and Song dynasties,and there are few works on the theory of Yu Ge.In particular,there is a serious lack of research methods that can be used for reference in calligraphy and painting,resulting in a lack of research on the aesthetic category of Ge,which separates the study of poetic style,calligraphy style,and painting style.On the basis of summarizing the previous research results,this article uses the methods of textual scrutiny,summary,and case study to comb the evolution of aesthetic category patterns in literary theory,calligraphy theory,and painting theory in the Tang Dynasty,and pays attention to the changes and differences of their subcategories.It clarifies the theoretical progress of aesthetic category "patterns" from format to meaning,and attempts to contribute its own strength to the huge study of category patterns.The thesis is divided into four chapters,in brief: The first chapter discusses the cultural origin of the aesthetic category "Ge" in the Tang Dynasty,including the concept of character appreciation in the Wei and Jin Dynasties,the theory of Xie He’s "six laws" in the field of literary criticism,and the three philosophical theories of Confucianism,Taoism,and Buddhism,clarifying the historical and cultural background they provided for the aesthetic category "Ge" theory in the Tang Dynasty.The second chapter discusses the confirmation and development of the category of "Ge" in the Tang Dynasty,including two aspects: poetic style and calligraphy and painting style,sorting out its theoretical changes in different periods of the Tang Dynasty,focusing on the theoretical evolution from techniques to art.The third chapter discusses the aesthetic style and features of "style" in detail,mainly from two aspects.One is to explore the aesthetic similarities between poetic style and calligraphy and painting style,and analyze the aesthetic phenomena presented by poetic style and calligraphy and painting style in the same era from the perspective of image,nature,and style;The second is to divide the aesthetic levels of the grid,noting that not only the calligraphy and painting grid has levels of energy,subtlety,divinity,and elegance,but also the poetic grid has three levels,from standard French style to artistic quality,and then to artistic style.The sub category connotation of each level of grid is discussed separately,with emphasis on theoretical thinking,and their respective characteristics summarized.At the same time,I have also noticed the relationship between the levels of the grid between different texts,such as the comparison between the "natural" grid in Zhang Yanyuan’s "Records of Famous Paintings of the Past Dynasties" and the "Yi" grid in Zhu Jingxuan’s "Records of Famous Paintings of the Tang Dynasty".Although both of them are based on the "natural" grid,there are also slight differences among them,to identify similarities and differences.The fourth chapter shows the influence of the category of "ge" in the Tang Dynasty on the aesthetics of the Song Dynasty,and discusses it in two aspects.First,the poetic discourse of the Song Dynasty is an inheritance of the poetic style of the Tang Dynasty,mainly focusing on the connotation of "ge" as a standard,a method,and a style.It can be seen that the category of "ge" in the poetic style did not disappear in the poetic discourse of the Song Dynasty,on the contrary,it promoted the evolution of the theory of poetic discourse from law to meaning;The second is to explore the impact of Tang style on the aesthetics of painting in the Song Dynasty,which is reflected in the fact that literati painting in the Song Dynasty took "Yi style" as the highest aesthetic standard,discussed its inheritance of the aesthetic thought of "Yi style" in the Tang Dynasty,and clarified the two transformations of "Yi style" in the Song Dynasty,presenting its aesthetic characteristics.