| "Nature" is an important aesthetic concept in the history of Chinese classical aesthetics.Its spiritual essence is pleasant and free,and it goes beyond the secular aesthetic realm.The emergence of natural aesthetic concept has had a far-reaching impact in the field of Chinese classical culture and art.As the peak period of Chinese classical poetry art,the Tang Dynasty generally pursues the aesthetic ideal of taking nature as the highest,which is the influence of natural aesthetic concept on artistic aesthetics.At the same time,the aesthetic trend of the times is bound to be reflected in the theory of cultural criticism.Therefore,as a poetry criticism theory work summarizing the whole poetry art of the Tang Dynasty at the end of the Tang Dynasty,its criticism concept is also affected by the natural aesthetic concept,which is reflected in the discussion of the origin of poetry,the main body of poetry creation,poetry composition and language,which is the combination of poetic wisdom and aesthetic concept.Firstly,it combs the basic meaning of "nature" in the natural aesthetic concept of "twenty four poems",and clarifies that the natural aesthetic concept of "twenty four poems" takes "the way of nature" as the origin of poetry and "nature" as the internal aesthetic pursuit of poetry on the basis of inheriting the philosophical view of Taoist natural inaction.Secondly,on the basis of critically inheriting the Taoist concept of natural inaction,the Twenty-four Poetic Styles achieves the discovery of the subjective person from the discussion of the creative subject.It not only emphasizes that the creative subject should keep the false and true of emotion and the emptiness and inaction of heart,but also hides the exposure of the subject personality and the awakening of individual life consciousness.Moreover,under the aesthetic concept of advocating "nature",the Twenty-four Poetic Styles believes that the composition of poetry in the process of creation should not only be careful,but also be warped.If it is too careful,it is easy to stagnate,and warping can bring flexibility to the poetry,so that the poetry appears natural and lively.At the same time,it also believes that the poetic language should pursue implicitly and concisely,so as to make the poetry full of charm and artistic appeal.Finally,through the comparative research vision,it is found that while inheriting the previous poetics theory of the Tang Dynasty,the natural aesthetic concept of the Twenty-four Poetic Styles is a powerful refutation to the utilitarian poetry criticism in the Pre-Qin and Han Dynasties,a deepening of the aesthetic Poetics Criticism Theory of the Wei and Jin Dynasties,and a refutation and correction to the hedonism and gorgeous poetry style gradually rising in the late Tang Dynasty,which has affected the "plain" proposed by the later Song Dynasty "Dilution" and other aesthetic concepts.Based on the above research and analysis of the natural aesthetic concept of the Twenty-four Poetic Styles,it can be seen that the poetic wisdom of the Twenty-four Poetic Styles is contained in the natural aesthetic concept.The perfect combination of natural aesthetic concept and poetics is reflected in the Twenty-four Poetic Styles,which also establishes the unique position of the Twenty-four Poetic Styles in the history of Chinese literary criticism.Because the Tang Dynasty is a historical period connecting the preceding and the following in the history of ancient Chinese criticism theory,there has never been a poetic theory work as profound and delicate as the Twenty-four Poetic Styles,which penetrates the aesthetic ideal of advocating "nature" through the specific discussion of the origin of poetry,the aesthetic pursuit of poetry,the subject of poetry creation and the process of poetry creation,and then deeply affects the value orientation of literary aesthetics in later generations. |
