Aesthetic China How to Aesthetic Art and Literature and Art Chinese Civilization

In artistic activities, artists express and convey their aesthetic consciousness and ideals through artistic creation; the public obtains beauty through art appreciation and meets their own aesthetic needs. Art, a special social ideology, affects people's mental outlook, thoughts and emotions through the entire process of artistic activities, and ultimately has a multifaceted role and influence on social life.

Through the practice of artistic creation, the natural beauty in real life is summarized and refined, and the beauty is concentratedly expressed in works of art. In the history of aesthetics, aestheticians have different understandings of artistic beauty due to their different philosophical viewpoints. Starting from objective idealism, Hegel believed that artistic beauty is the beauty in the advanced stage of development over the years and is the advanced form of beauty; he advocated that artistic beauty is higher than natural beauty, and declared that artistic beauty is the real beauty, which is "produced by the soul." Just as the beauty of regeneration, the mind and its products are higher than nature and its phenomena, so is the beauty of art higher than the beauty of nature.” Chernyshevsky criticized Hegel from the perspective of metaphysical materialism, advocating that natural beauty is higher than artistic beauty, and believed that "the beauty in objective reality is completely beautiful." "Artistic creation is inferior to the beauty in reality." Art is only a pale and inaccurate reflection of life. Marxist aesthetics believes that artistic beauty is the main object of aesthetic research, and art cannot be separated from image. Therefore, artistic beauty is mainly the beauty of artistic image. Like artistic image, it also originates from real life and has the same characteristics as the image in real life. It has characteristics such as vividness and richness, but it is also different from real life like artistic images. It is the crystallization of human aesthetic activities created by art and is a typical summary of real life. Therefore, the beauty in real life is more concentrated and typical.

Like other major issues in aesthetics, the classification of beauty is also an issue that has not been standardized in the history of aesthetics. What is common in Chinese aesthetics textbooks is the classification based on the nature of aesthetic objects themselves, such as natural beauty, social beauty, artistic beauty, formal beauty, etc. The biggest flaw of this classification is that it turns the classification of "beauty" into a mechanical classification of "beautiful things". It does not and cannot reveal the different generating characteristics and laws of beauty itself. Therefore, it does not help the understanding of objective beauty. Analysis and grasp. This is related to traditional aesthetics’ mechanical understanding of the nature of beauty. From the perspective of systemic aesthetics, beauty cannot exist independently from the aesthetic relationship system①. Beauty is only the systematic quality of the object in the aesthetic relationship. In reality, apart from the specific aesthetic correspondence and aesthetic subject, apart from the specific aesthetic distance and aesthetic environment, the object has no beauty or not; beauty is by no means an inherent natural quality or social functional quality of the object. Therefore, the classification of beauty cannot be separated from the aesthetic system. Of course, if we set the human subject as the aesthetic subject based on the principle of scientific abstraction, and at the same time "suspend" the various elements of the aesthetic system - aesthetic distance and environment, etc., the aesthetic value or beauty of the object or objective factors ② will still be It can be relatively determined, analyzed, studied and classified. But obviously, this abstract classification of beauty is by no means based on the characteristics and properties of the object itself, but on the properties generated by aesthetic relationships. ③Based on this, I divide beauty into three categories: pre-cultural beauty, cultural beauty and composite beauty. The author believes that this new classification method will not only help standardize the discipline of aesthetics, but also help us deepen our understanding of aesthetics and artistic phenomena.

1

The subject in the aesthetic system is human beings, and human life is subject to "dual relationships: on the one hand, natural relationships, on the other hand, social relationships." ④The dual nature of human life essence makes the generation of aesthetic relationships divided into two categories with different natures, namely, pre-cultural aesthetic relationships and cultural aesthetic relationships. The so-called pre-cultural aesthetic relationship is the aesthetic relationship established by the object due to the isomorphism or satisfaction of the subject's physical, physiological, psychological structure or needs; the so-called cultural aesthetic relationship is the cultural and social value factors contained in the object that form the subject's consciousness. The aesthetic relationship established by grasping and affirming. Since in most cases, these two types of aesthetic factors exist in realistic aesthetic relationships, a third category is formed, namely, composite aesthetic relationships. What these three types of aesthetic relationships generate are pre-cultural beauty, cultural beauty and composite beauty.

The so-called cultural beauty is the beauty discussed in traditional aesthetics, that is, the beauty generated by "the objectification of human essential power", the cultural aesthetic value materialized and expressed in the object. The cultural aesthetic relationship occurs in the long evolutionary process of the separation between humans and animals, and is generated in the process of the formation of human species consciousness and species consciousness and the free creation of "labor" that embodies species consciousness; cultural aesthetics not only accompanies the human species essence It is generated from generation to generation, and embodies the cultural characteristics of human beings. Animals can instinctively seek advantages and avoid disadvantages, and build nests, but they cannot, like humans, take advantage of the situation, turn disadvantages into advantages, and actively create a newer and more beautiful living environment for themselves. Therefore, animals do not have "culture" and do not There will be no interest in the "culture" contained in the object - the "Yangguan" ruins in Gansu, even birds are unwilling to inhabit. But for humans, the cultural relics created by our ancestors are incomparable to any exquisite construction in nature and the animal world, and they are the most beautiful existence in the world. This is the charm of "Yangguan" culture - it condenses the history of Chinese civilization for thousands of years, and it awakens the nostalgia for the past passed down from generation to generation by Chinese literati. Cultural aesthetics is the "patent" of human beings and is also the essential component of aesthetics.

The so-called pre-cultural beauty refers to the aesthetic value obtained by the object by satisfying the potential instinctive needs of the subject. Of course, this kind of pre-cultural beauty can only be obtained under the condition that the human aesthetic system exists as a whole. Because strictly speaking, if we only stay at the physical, physiological, and psychological levels, there is no subject-object relationship or aesthetic relationship, but only the adaptive relationship between animals and nature. Animals and nature are directly identical. There is no objective relationship between them, let alone an "aesthetic relationship" in which they enjoy experiencing their own potential and instincts. Dielianhua is definitely not aesthetic; a female monkey falling in love with another male monkey is certainly not aesthetic either. However, in the long process of human beings from passively adapting to nature to actively transforming nature, they continue to transform their own sensory structures and develop "ears with a sense of music and eyes that can feel the beauty of form", while enriching and developing their own feelings, making them "become "Human enjoyment", ⑤ thereby raising human instinctive potential needs from the level of passive and adaptable animals to the level of active and active humans, and acquiring aesthetic properties with the generation of cultural aesthetic relationships that affirm their own essential power. , making the pre-cultural animalistic adaptation relationship an integral part of the human aesthetic system. ⑥ Therefore, with the same love for colors and flowers, people's love for flowers has become an elegant aesthetic activity; although they are "same clan" as monkeys, people's relationship with the opposite sex has aesthetic significance, even as the Bulgarian scholar Vasilev put it Yes, human sexual instinct is the root of life that provides invisible nectar for colorful beauty. ⑦

What is reflected here is the principle of system integrity: before the system as a whole is generated, the constituent elements or subsystems themselves cannot obtain system attributes; but after the system is generated, the elements or subsystems of the system cannot obtain system attributes. The system acquires system properties as a component of the system. Therefore, although from the perspective of the natural history of biological generation, human pre-cultural relationships are generated first, and cultural relationships are generated first, from the perspective of the history of human culture, pre-cultural aesthetic relationships can only exist after the cultural aesthetic relationships occur. Because only the generation of cultural aesthetics means the establishment of the human aesthetic system, pre-cultural aesthetic relationships can exist relatively independently as an organic part of the human aesthetic system.

II

One of the important reasons why traditional aesthetics does not divide pre-cultural aesthetics and cultural aesthetics is that there is no difference between the two on the surface. They are both subject and object. Correspondence structure. It is difficult to see the difference between one person admiring a flower and another admiring a stone axe. However, if you take a closer look, you will find that there are significant differences in the subject and object factors and their mutual structural motivations in these two aesthetic relationships.

In pre-cultural aesthetics, aesthetic relationships are established by the image form of objects, such as "flowers" stimulating the subject's physiological and psychological mechanisms and satisfying the subject's potential or instinctive needs. Whether an individual can establish a pre-cultural aesthetic relationship with an object depends entirely on whether the subject's physiological and psychological mechanisms are sound, and on whether the object's image form can attract or arouse the subject's favor. If the subject's physiological and psychological functions are incomplete, such as color blindness and deafness, then any gorgeous flowers or harmonious melodies will have no beautiful charm on him; if the object image is ugly and unbalanced, such as blindness and lameness, then it will not have any beautiful charm on any healthy subject. It will produce the charm of beauty. In this purely precultural aesthetic relationship, any rational concept of beauty is meaningless. Even if people praise him, color-blind people are indifferent to flowers; even if a blind man has outstanding character, his external image cannot make people praise him. This shows that in pre-cultural aesthetics, the reason why humans have different choices of likes and dislikes and feelings of beauty and ugliness about objects can only be found from the history of human animal evolution; human pre-cultural aesthetic ability does not require cultural accomplishment. Or acquired through aesthetic education, the corresponding aesthetic feeling is not essentially different from the animal pleasure generating mechanism. Of course, generally speaking, pure pre-cultural aesthetics does not dominate actual aesthetics. The so-called "meaningful forms" in art contain rich cultural factors and do not belong to pure pre-cultural aesthetics.

Pure cultural aesthetics is the opposite of pre-cultural aesthetics. Its aesthetic relationship transcends the physiological and psychological sensory levels and has nothing to do with human potential and instinctive needs. It is purely based on the subject's cultural consciousness and rational awareness to realize the object, such as "stone axe" Constructed based on the inherent cultural and social values. Whether an individual can establish a cultural aesthetic relationship with a cultural object depends entirely on the subject's cultural literacy and social awareness, and on whether the cultural factors contained in the object have sufficient value for the subject. If the subject lacks the necessary cultural and scientific accomplishments and is illiterate, then any cultural relics with cultural and scientific value will have no aesthetic appeal to him; similarly, if the object does not contain rich cultural value, such as ordinary visible stones, , then they will not have an aesthetic appeal to cultural subjects. In this purely cultural aesthetic relationship, the external image of the object has no direct meaning. Fake antiques and counterfeit cultural relics, even if they have a gorgeous or simple appearance, but once experts verify that they are fakes, their cultural beauty will disappear immediately. This shows that in cultural aesthetics, the reason why humans have aesthetic interest in cultural objects can only be found from the consciousness of human nature; human cultural aesthetic ability is not innate but depends on cultural cultivation. Or acquired through aesthetic cultural education, the corresponding aesthetic feeling is essentially a sense of human pride or a sense of pleasure full of human consciousness.

Relatively speaking, pure cultural aesthetics are even rarer in real-life aesthetics. Even the rusty Warring States weapons and the ruined Great Wall of the Qin Dynasty always have a certain perceptual charm more or less, which cannot be ignored. Belongs to pure cultural aesthetics.

When we compare pre-cultural aesthetics and cultural aesthetics, the characteristic differences between them can be seen more clearly: From an object perspective, pre-cultural aesthetics focuses on external image forms. For example, the image form of "flower" has relatively independent aesthetic meaning; cultural aesthetics focuses on the inner essential content. For example, the image form of "stone axe" does not have independent aesthetic meaning. From the perspective of the subject, what was activated in pre-cultural aesthetics was mainly the senses, the subject's perceptual intuition of "flowers"; what was activated in cultural aesthetics was mainly consciousness, which was the subject's rational response to the "stone axe". Although the rational response of human beings to certain value factors in cultural aesthetics (such as the response to humanistic and humanistic values) has been repeated tens of billions of times in the generation process of "categories" and turned into a cultural instinct or social conscience, Accumulated into a group cultural unconsciousness, this rational response will also appear as a perceptual intuition and an aesthetic intuition, but this is only a superficial similarity. Here, an obvious reason for the division is that in pre-cultural aesthetics, the likes and dislikes of the subject cannot be analyzed and explained with rational concepts except for being attributed to the subject's potential instinctive structure. In cultural aesthetics, this relationship cannot be explained. The causes and conditions for its establishment can be explained with the help of rational concepts. For example, we do not need a reason to appreciate flowers, and the biological "purposiveness" analysis of flowers can even be harmful to the appreciation of flowers; but we need a reason to appreciate stone axes, and the archaeological "purposiveness" analysis of stone axes Definitely good for the appreciation of stone axes. And this reflects the different characteristics of the two types of aesthetic relationships: in pre-cultural aesthetics, the aesthetic value of the object directly exists in its perceptual image, and the subject's entry into the aesthetic role is often a perceptual and intuitive reaction process without rational judgment. Therefore, Pre-cultural aesthetics include direct aesthetics, irrational aesthetics, passive aesthetics, unmediated aesthetics, and image aesthetics; in cultural aesthetics, the aesthetic value of an object lies in the cultural and social value contained in its structure, and is not directly identical with its perceptual image. The subject must rationally confirm the existence of cultural and social values ??and be attracted by them before entering the aesthetic role. Therefore, cultural aesthetics is indirect aesthetics, rational aesthetics, active aesthetics, mediated aesthetics, and implicit aesthetics.

As for this difference between the two types of aesthetics of different natures, the sages in the history of aesthetics have already touched on it. For example, the famous eighteenth-century British esthetician Hutcheson’s so-called absolute beauty and relative beauty are actually trying to summarize the different characteristics of pre-cultural aesthetics and cultural aesthetics: the former refers to the certain properties of things themselves that make people feel beautiful, while the latter is caused by The beauty felt through the association of ideas. ⑧Kant’s division between pure beauty (free beauty) and dependent beauty: “The former is the inherent beauty of the thing itself, but the latter depends on a concept”, ⑨ is also an approximate division. However, since "beauty" in traditional aesthetics is a unified concept, it is impossible to give this division a scientific basis from the analysis of the internal structure of aesthetic relationships. Therefore, subjective judgments can only be made based on experience or a priori theory to make this division. This subjective division not only fails to reveal the inherent laws of aesthetic phenomena, but also makes aesthetic theory fall into confusion or paradox.

Three

Based on the nature of aesthetics, distinguishing between cultural aesthetics and pre-cultural aesthetics is crucial to our understanding of aesthetic phenomena, especially the generation of some so-called "natural beauty" and "formal beauty" Regularity is very important.

A major misunderstanding of traditional aesthetics is to elevate all low-level aesthetic phenomena to the cultural level for interpretation, and attribute all natural beauty to the "objectification of human essential power". For example, to explain the beauty of the moon, one must first think of it as a "white jade plate" and then attribute the "white jade plate" to the creation of workers, and finally let the moon be indirectly "humanized". The result of this is to complicate simple problems and make the laws of beauty confusing and difficult to grasp. When discussing the understanding of human physiological structure and function, Darwin once said that if necessary, "we have to descend to the lowest rungs on the evolutionary ladder of mammals." ⑩ The same is true for the explanation of many pre-cultural aesthetic phenomena. , when we lower it to the lower levels of human structure, it is actually very simple: the so-called beauty of the moon lies in its clear brilliance that is pleasing to the eye in the night and suitable for human potential needs; and a full moon also has the most visual A simple and easy-to-accept form - circle. This is why people who are not familiar with Tang poetry and lack humanistic cultivation also appreciate the beauty of the moon. A similar situation exists with the beauty of flowers. Due to Plekhanov's citation, Grosse's book "The Origin of Art" about the fact that primitive tribesmen are indifferent to flowers is widely known: they "never decorated themselves with flowers, although they lived in a land full of flowers." place". (11) From this, it is easy to conclude that the beauty of flowers comes from labor, which makes the beauty of flowers have the attribute of cultural beauty. In fact, this is also an illusion caused by confusing aesthetic genesis and aesthetic ontology. From a genetic perspective, the fact that humans appreciate flowers does indeed occur in the labor practice of humanizing nature, but humans’ tendency to love and appreciate flowers is something that animals have already inherited from their ancestors during the evolution of the species. What is inherited and naturally possessed is only a potential that has been temporarily dormant due to the difficulty of survival during the long process of becoming a human being.

Once labor practice re-liberates these human potentials, it will exist as a pre-cultural aesthetic need, and accordingly, the beauty of flowers will also exist. Therefore, when modern people appreciate flowers, they don’t need to think about labor, harvests, fruits, etc. On the contrary, those flowers cultivated and loved by humans are almost all “flowers” ??but not real.

In fact, many visual or auditory formal elements that constitute the basis of human aesthetics also mostly belong to this type of pre-cultural aesthetic phenomena. For example, "symmetry". The important position of "symmetry" in formal beauty is unshakable. The so-called "anti-symmetry" and "asymmetry" are still based on the existence of "symmetry". But the most fundamental reason why people affirm the beauty of "symmetry" is the symmetry of their own structure. Plekhanov had already guessed this: What is the "source" of the law of symmetry? It is probably the structure of the human body and the structure of the animal body: only the bodies of the disabled and deformed are asymmetrical, and they are always asymmetrical. It must produce an unpleasant impression on a person of normal physique. Therefore, the ability to appreciate symmetry is also naturally given to us." (12) We might as well make this fantasy. If the human body, especially the human eyes, are not horizontally symmetrical, such as facing up and down or with two eyes squeezed to one side like a flounder, then humans will definitely not be interested in "symmetry." "There is such a persistent preference. Another example is the "golden section". The law of the "golden section" is a mysterious law that is ubiquitous in nature. As far as the visual "golden section" rectangle is concerned, the reason why it is a good figure that people are willing to accept, and is almost everywhere from the shape of ordinary books to various architectural structures, is that it corresponds to the structure of human's static visual field. If people had a wide visual field up and down and a narrow visual field left and right, this horizontal golden section graphic would never be so popular. This structural "vibration" phenomenon also exists in the human auditory system. For example, the reason why "monotonous" sound of a single frequency or the "noise" composed of messy frequencies is unpleasant, and the reason why harmonious music makes hearing pleasant, are all related to the physical structure and acoustic properties of the human ear. Some research materials show that the reason why a bel canto singer's voice is pleasant to the ear is because the loud sound emitted from the "primary ringing area" of the vocal cords can enter the "optimal audible area" of the human auditory organ, making the sound bright and loud. (13) Therefore, the so-called "bel canto singing method" is essentially a singing method in which singers consciously train their vocal instruments according to acoustic rules.

This pre-cultural aesthetic law is generated due to the adaptation or isomorphism of the object to the subject's sensory structure. If expressed in a popular way, you can borrow a sentence from Edison: "Perhaps it is not that this piece of material is better than another piece of material. It has more real beauty and ugliness, because if we humans were constructed differently, what we now detest might make us like it.” (14) Diderot, as a materialist aesthetician, also discovered and emphasized this. A seemingly simple truth that is often overlooked. He clearly pointed out that the structure and arrangement of beautiful object relations "is only for possible creatures whose physical and mental structures are like ours, because, for other creatures, it may be neither beautiful nor ugly, or even It’s ugly”. (15) Although we can perceive or discover the physiological instincts and potential needs caused by the physical or physiological structural constraints of our own bodies, this structural relationship itself is obviously beyond our ability to detect or change, and it cannot be controlled by us. Subjective will is transferable, and doesn’t this lay the solid foundation for objective beauty theory or materialist beauty theory?

IV

However, it should be emphasized again that although pre-cultural aesthetics and cultural aesthetics can be clearly distinguished in terms of their nature and characteristics, in real aesthetics, pure Both pre-cultural aesthetics and cultural aesthetics of form are rare. The so-called formal beauty mentioned above is only the aesthetic factors that constitute the object. Since most of the objects faced by human beings are "humanized" objects, they all contain corresponding social and cultural factors. Even purely natural objects such as the moon and the sun are often dyed with humanistic colors; because the objects created by human beings The vast majority of social and cultural objects have a "material" body and are expressed in a certain image structure. Even pure cultural objects such as text symbols have some natural form without exception; at the same time, because human beings, as the subject, It is itself the unity of sensibility and rationality, senses and consciousness. Any perceptual response is under rational supervision, and any rational response needs to be expressed perceptually. Therefore, as long as the aesthetic subject "discovers" the existence of cultural connotations from former cultural objects, "enlightenment" "As long as the aesthetic subject is attracted by some perceptual charm or form of the cultural object image, pre-cultural aesthetics will immediately appear." This is why composite beauty usually has the advantage.

The characteristics of composite aesthetics are also a summary of the characteristics of pre-cultural and cultural aesthetics: the aesthetic object is the unity of image form and essential content; the "all-round" mobilization of the aesthetic subject's sensory sensibility and consciousness and rationality; the relationship between subject and object Structure has both directness and indirection, "mediation" and no "mediation", and so on. In reality, the most typical embodiment of composite beauty is artistic beauty. Artistic beauty consists of the beauty of artistic content and the beauty of artistic expression. In the composition of artistic content, there are not only the images and appearances of the universe taken in by the reflector, but also the pre-cultural aesthetic value factors, the social moral ethics contained in the realistic image, and the cultural aesthetic value factors, and its composite beauty features are outstanding. .

However, since this kind of composite beauty is only a concentrated reproduction or expression of the composite beauty factors that exist in reality, it is not the essential component of artistic beauty after all. The essence of artistic beauty lies in the expressive beauty of art. To borrow a commonly used saying: The essence of art lies not in "what to express" but in "how to express it", that is, the artist's artistic creation. Below, we will focus on this to make some examples.

Although the art media in different art categories are different, the symbol systems are different, and the aesthetic characteristics of art and culture are also different, all types of artists must rely on special art media and art symbols to adapt to pre-cultural aesthetic form factors (color , musical sound, symmetry, balance, etc.) are fully explored and used so that the works not only have rich perceptual forms, but also create rich artistic images and convey rich cultural and social information. For example, modern Chinese painters not only use seven methods of ink (Huang Binhong), but also use seven colors to create vivid animation scrolls with beautiful mountains and rivers and hundreds of flowers blooming; the paintings not only have the traditional brush and ink taste, but also the symphony of color and ink, full of The modern atmosphere embodies the painter's elegant taste and philosophical meaning. Obviously, it is in the operation of artistic media, the use of artistic language, and the form of artistic expression that the wisdom of the creator is reflected, the talent of the artist is shown, and the cultural aesthetic value of the artwork is generated. The so-called expert's way of looking at art works is the secret of the artist's use of skills to make things difficult with ease and ease, flexibility, freedom, boldness and originality in the creation of the image, that is, how to achieve "the difficult to become beautiful"①. Just like appreciating Chinese paintings, there are infinite mysteries behind each stroke, every hill, every valley, every flower and every leaf of the painter. Some of them may even allow people to see the artist’s decades of pen and ink skills, and see hundreds of Chinese literati’s paintings. Years of inheritance. But for ordinary viewers, color is color and image is image. Their eyes are blocked by the artistic image body composed of natural material media. Their attention is attracted by the perceptual charm of art. Therefore, what they see is What I appreciate mainly is the pre-cultural aesthetic value of art and its content of punishing good and encouraging evil. The so-called layman's "viewing" is the composition of the artistic image or form, whether it is novel, whether it is good-looking, whether it is exciting, whether it can attract people to win, and whether it has a happy ending of retribution for good and evil, etc. They cannot understand, or are not interested at all, the difficult techniques used by the artists behind the images and the rich connotations contained in them. Therefore, the reason why it is difficult to unify the standards of experts and laymen in art evaluation is that the two have different focuses and standards, and the levels of artistic beauty they focus on appreciating are different: one focuses on cultural beauty, and the other focuses on pre-cultural beauty.

For example, like building. Architects' aesthetic standards for new buildings certainly include the building's viewing and use functions, but their main focus is on the building's language style, the building's internal structure and external environment treatment, and the use of new materials and new technologies in the building. , as well as the coordination and unity of the building’s ornamental function and architectural language style. For the public, they don’t understand these standards, and they never even want to understand them. They only judge the building based on whether it looks good, whether it is novel, or even whether it is large in size. How can this be consistent with the standards of experts? Like a movie. Film is the most popular but also the most technical art. Screenwriting, directing, acting, photography, art, costumes, props, stunts, makeup, lighting, sound, composition, performance, dubbing, recording, editing, etc. Which department does not have its own set of technical requirements? Which department's technical level does not affect the overall artistic effect of the movie? Just like editing, if you don't perform or act, you can "cut" with just "shearing force" to create a thrilling picture effect! But how many viewers know the technical formal rules in many categories, that is, their aesthetic significance? For example, how many viewers can understand the unique narrative rules of a film, which are composed of film language such as shot scene, movement, angle, and composition? What the public pays attention to is the entertainment function of the movie: whether the plot is tense, exciting, and touching, whether the star is beautiful, sexy, young, etc. Sometimes, a film that satisfies the audience's needs can be made with almost no effort, just by weaving a harrowing story from a desperate place and adding a few famous movie stars - as the popular films of Hong Kong and Taiwan can attest. Of course, there are movies that are both popular and popular, but that requires the director to take into account two types of objects and two different aesthetic laws, so that the work has rich and complex beauty, which is of course difficult to achieve.

In fact, in classical art, what artists pursue is the composite beauty that is highly harmonious and unified between pre-cultural beauty and cultural beauty. The focus of artists’ artistic innovation is to give people harmonious enjoyment from the senses to the soul. Famous classical artists creatively explore, discover or apply human artistic potential, almost reaching an astonishing level of perfection, and use this near-perfect art form to express mankind's common pursuit of truth, goodness and beauty. Da Vinci's "Mona Lisa" and Beethoven's symphonies are the pinnacle of human classical art. The conscious separation of pre-cultural beauty and cultural beauty in art mainly comes from modernism; modernism's anti-tradition and anti-harmony is to reduce the proportion of pre-cultural beauty and strengthen the cultural and social value connotation of art. Those ugly and fragmented visual images are meant to stimulate the audience's vision and shock their hearts; those difficult and mysterious literary works are meant to prevent readers from instinctively liking and reading smoothly, but to ponder and understand them over and over again, so that critics can only You can read and comment on it during the day, and lie down at night to read "pre-modern" or post-modern popular novels to rest your brain.

As a backlash, or as a product of the electronic industrial age, postmodernism's "mass culture" or "audience culture" (16) focuses on the pre-cultural level of art, mass-producing art that lacks ideological depth specifically to please the masses, There are no nutritious, puffed and soft cultural fast food to satisfy the sensory needs of the public. Some young scholars call this the "sensualization of happiness", which is very vivid and cuts to the essence. (17) How to prevent this "audience culture" from harming the true aesthetic culture and how to improve the artistic taste of this "culture" that can "civilize" the public are important topics in contemporary "aesthetic culture" research. If deduced logically or historically, facing the 21st century, I think we should usher in a new "post-postmodern" or "neo-neoclassical" art that pursues harmony and compound beauty.