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Confucian ethics—the construction of political aesthetics and contemporary aesthetic education theory
Author: Yu Kailiang
Source: “Capital Teachers’ Major Science News. Social Science Edition” 2019 Issue 3
Content summary:Confucian “beauty and good relationship” presents Confucian unique understanding of the term “beauty”. The beauty of the complex form of Confucianism’s “unity of beauty and goodness” differs from the single dimension of modern aesthetics, but a classical ethics with “morality and goodness” built-in – political aesthetics. In the contemporary aesthetic domain, this ethics-political aesthetics still has theoretical usefulness and justity. Taking ethics-political aesthetics as a reference can eliminate the aesthetic education theory dilemma brought by the modern aesthetic system, and give a more reasonable answer to the nature of contemporary aesthetic education and the position of aesthetic education and moral education.
Keywords: The unity of beauty and goodness/ethics—politicsPurchase NetworkAesthetics/Aesthetics/Morical Education
Title notes:This result was supported by the “Special Fund for the Construction of a World-class Major in Central Colleges and Universities” of the 2019 “Central College Construction” of World-class Majors (Schools) and Feature Development Guidance Funds”.
Confucian philosophy, as a “self-centered” life philosophy, is to realize a fantasy moral character and a tyrannical society formed by this moral character. Therefore, Zhang Li, the beauty of beauty and morality, beauty and politics, has always been in his educational philosophy. Under the contemporary context of related aesthetics, exploring the Confucian ethics “unity of beauty and goodness” with rich and evident aesthetic education, political aesthetics is not only conducive to building Chinese aesthetics and spreading Chinese aesthetic energy, but also providing useful theoretical resources for contemporary aesthetic education theory.
1. Confucian “beauty-good relationship” discussion and classical ethics-political aesthetics
In the history of Chinese and Western aesthetics, aesthetics and morality, politics or “beauty-good relationship” have always been in a complicated state. Generally speaking, the form of differences between beauty and good is favored by classical aesthetics and arts in Chinese and Western countries, while the form of differences between beauty and good is favored by modern aesthetics and arts in modern aesthetics and arts. Since Chinese philosophy is established on the humanitarian view of the world where the subject and the object are inseparable from the unity of humanity, the Confucianism “beauty and good relations”Compared with the classical aesthetic theory in the East, it also has its own unique characteristics.
In the discussion of Eastern classical aesthetics and art, the disagreement between beauty and good can be said to have been a long time. Sucrates once said: “If anything can well realize its purpose in function, it will be both good and beautiful, otherwise it will be both evil and ugly.” ① Plague developed from the perspective of politics and morality. In his “Fantasy Country”, the flag-stealer clearly issued an order to expel guests to most artists, asking that besides the poems of God and the praise of wonderful people, other poets who can defeat morality will ask him to go to the city-state next to them and then prohibit them from entering the country. This similar utilitarian view of the American appraisal is also found in Chinese traditional aesthetics and arts. Out of the need for academic interpretation, Confucianism in Han Dynasty grafted moral and political commentary on the extremely brilliant “People Three Hundred” in Chinese civilization, causing some chapters in the originally emotional “People Romance: The Style” to be rigidly reformed into moral political education and science books and influenced nearly two thousand years. This kind of view of the differences between good and good is actually a way to govern and enslave art with morality and politics. It regards morality and politics as the internal goal of aesthetics, and its focus is on morality and politics rather than aesthetics, so it is more concentrated in theory.
However, Confucianism’s treatment of “beautiful and good relations” is not the same as protecting network dcard. Especially in the pre-Qin Confucianism, the “beauty and good relationship” has its own rich and profound connotation. “The Speech·Bayi” says: “Zi Qi’s “Shao” is ‘so beautiful, and is as good as it is’. For Wu, 心变‘so beautiful, not as good as it is’.” Here, Confucius’s “beauty” and Baocai Sweetheart Network “Good” is divided and believes that “beauty” has its own independent value. The meaning of “beauty” in this sentence refers more to the beauty of external emotions. In Confucius’ view, the more outstanding performance of “Shao” than “Wu” is not because of the artistic externality, but because of the content of “Shao” (singing merits, etiquette education) is more moral and politically valuable than the content of “Wu” (describing merits and rectifying reputations and killings). Moreover, it is precisely this kind of morality and political value that brings the aesthetic experience of “Shao” far beyond “Wu”‘s “Liu”. Similarly,”The Book of Songs·Yongye” says Confucius: “There is no sycophant of reading, but the beauty of the Song Dynasty. It is difficult to avoid the present world.” According to Yang Bojun’s annotation, Confucius mocked the “beauty” of external sentiment. ② In particular, Confucius rejected the “Zheng Voice” which has extremely beautiful appearance and emotions: “Let the voice be far away from flatterers. If the voice is lustful, the flatterers will be in danger.” (“Speech: The Spiritual Lord”) On the one hand, it determines the beauty of external emotions, and on the other hand, it rejects the beauty of external emotions. The interpretation of Confucius’ two opposite justice is: Confucius’ understanding of “beauty” is not limited to a simple emotional outlook or a sensible sentimentalism, but a kind of emotional beauty that contains moral and political content. “Wu” LeBaojia Club “not doing good” is just saying that “good” is not done, rather than saying that there is no moral content or is completely deviating from the gift. “The Book of Songs·Wiling Gong” Confucius said: “The “Shao” and “The Book of Songs” are “The Book of Songs”. “The Book of Songs” are called “Wu”. “Lecture Notes·Bin Mouche Pian” specifically describes Confucius’ evaluation of the moral character and political content of “Wu”. From this we can see that Confucius understood the basic vernacular meaning of “what is beauty” as a combination of external emotions and morality and political content. It is a kind of beauty that is consistent with content and emotions, and morality and political content can enhance the beauty of personal experience. In Confucius’ view, if the beauty of external emotions has certain moral and political connotations, then the beauty of external emotions is worthy of appreciation; on the contrary, if there is only the beauty of external emotions without any moral or political connotations or perhaps the connotations of anti-quality, then the beauty of external emotions is miserable and difficult to be appreciated. ③This kind of understanding of “beauty” and “emotionalism” in itself contains good morals and political content and can enhance personal experience is different from the beauty of the single dimensions such as “rational learning”, “emotional learning”, “non-utilitarianism”, and “self-discipline theory” mentioned in the current aesthetics. It is a classical and comprehensive combination of beauty and goodness based on the basis of beauty and goodness (there must be good in beauty, and there is beauty only when there is goodness). A kind of “big beauty” or ethics formed by “the unity of beauty and goodness” is the meaning of Confucius’s verbal meaning of “beauty”.
It can be said that Confucius’ multi-regional argument for beauty is developed around the principle of “unity of beauty and goodness”. “The poem “Three hundred, in one sentence, it says: ‘Thoughts are not evil in thought’.” (“Theory·Wu Zheng”) This is the beauty of poetry: the combination of emotions without evil in thought and evil in thought; “What is the gift of a person who is not kind? What
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