An Aesthetic Study Of "Abnormal Person" In Zhuangzi

Chinese aesthetic thought began in the pre-Qin dynasty,and the aesthetic concepts of the hundred schools of thought,especially Taoism,are rich and far-reaching.The Taoists believed that "no one can compete with the world for beauty through simplicity",stating that true beauty is not external artificial pomp and splendor,but rather a natural truthfulness,tranquility and freedom.Taoism was the first to see freedom from external inevitability as fundamental to the attainment of beauty.In order to realize this,Zhuangzi created a series of "freaks" in a deconstructive manner,criticizing the commonplace aesthetics of form,and thus highlighting the beauty of nature and virtue.In The Great Master,it is said,"A monstrous man is a man who is like heaven." The term "monstrous man" is constructed on the core ideological category of heaven and man,which is the core of Zhuangzi’s thinking."This article begins by analyzing the inner meaning of heaven and man,to introduce the term "monstrous man",and to classify and analyze the many images of "monstrous man".The paper begins with an analysis of the deeper meaning of heaven and man,and the many images of the"monstrous man",one by one,and explores the aesthetic ideas contained therein to explain why the "monstrous man" has become the subject of the paper.The introductory section briefly classifies and elaborates on the current state of research on the aesthetic thought of Zhuangzi and the image of the "freak" in Zhuangzi.The second chapter summarizes the images of the "monstrous man" that appear in Zhuangzi’s book and analyses each of the three major themes contained in them,namely,"’constant mind’ viewing all things"," virtue’ lies in being at peace with one’s life",and "virtue has its length but form is forgotten".The three Concepts On this basis,the historical background and philosophical basis of the image of the "monstrous man" are analyzed.Zhuangzi was living in a world where there was no morality and where misfortune was a major concern,and many of the images of the ’monstrous man’ had their origins in the harsh penal system of the time.In this chaotic world,Zhuangzi knew that it was impossible to save the world,so retreating to his own body and preserving his life became the only theme.Zhuangzi constructs the image of the ’monstrous man’,dividing the body from the form,and we gain a deeper understanding of ’monstrous in man’ and ’comparable to heaven’,that is,not to be obsessed with one’s own standards,good or bad,which are one-sided.We should look at things at the level of the Tao,and see them as one,so that we can transcend worldly confrontations and reach a state of freedom without waiting.This deeper meaning in the image of the "monstrous man" is Zhuangzi’s expectation of harmony with all things and peace of mind,and a way of settling down in his life when he has no choice but to be in a deformed environment.The third chapter illuminates the inner aesthetic meaning of the image of the"monstrous man" in Zhuangzi.Through the natural and simple beauty contained in the images of the "monstrous man",the concept of virtue that is different from the norm,the super-utilitarian aesthetic attitude and the intentional representation of the spirit of freedom,Zhuangzi realizes that the inner heavenly beauty of the human spirit can override the external physical ugliness of the world,and that the connotations carried therein are in great conflict with traditional values.The connotations of this are in great conflict with traditional values.The image of the "monstrous man" is a subversion of traditional aesthetic concepts.Through the image of the "monstrous man",the aesthetic meaning of "simplicity","truthfulness" and "unity of things",which transcends the mundane and the physical beauty and returns to the inner "The final chapter is an exploration of the aesthetic significance of the ’deformed man’,which is a reflection of the beauty of the world beyond the physical form and the beauty of heaven within the physical form.The final chapter is an exposition of the aesthetic implications of the image of the"monstrous man",starting with Zhuangzi’s concept of mind and body,which differs from the secular tradition in that Zhuangzi divides man into two parts: body and mind,discarding the mundane things represented by the form,breaking the barrier of"becoming mind" and finally "The mind is then divided into two parts: the body and the mind.It breaks away from the notion of beauty and ugliness in the mundane sense and seeks the "beauty of the Way of Heaven" within the "monstrous man",so that the image of the "monstrous man" breaks the framework of the traditional notion of beauty and ugliness and brings out the "beauty beyond the body"."The image of the ’monstrous man’ breaks the framework of the traditional concept of beauty and ugliness,dissolving the mundane notion of ’outside the body’ and exploring the ideas contained within the’body’."Since then,every ’monstrous’ figure has become an abbreviation for ’Tao’.Zhuangzi’s reverse aesthetic thinking has given birth to a myriad of possibilities for Chinese aesthetics,and later generations have used this as a starting point to create a myriad of ’ugly’ images in poetry,literature,architecture,painting and other works,the inner spirit of which is as thought-provoking as that of the ’monstrous man’.The spirit within is as thought-provoking as that of the "monstrous man".In summary,this essay brings together all the fragmented images of "freaks" in Zhuangzi,taking Zhuangzi’s philosophical thought as the starting point to analyze the aesthetic and philosophical implications of each image,and combining them with each other to explore the inner meaning and transcendence of Zhuangzi’s thought.