Face-to-face analysis of why Chinese traditional aesthetics attach importance to Dige

People with a wide pavilion have flesh and bones, and they are born together. Not only are the bones wide, but the jaws cannot be thin. The pavilion in the phase represents old age. Modern people are very utilitarian to life. For the sake of temporary aesthetic distortion, The youthful scenery in just a few years has sharpened his pavilion sharply and thinly.

It seems that in the decades of life, I am willing to give up old age, but also to fight for 20 years of youth. However, Dige is not that simple, otherwise its status in traditional culture will not surpass the eyebrows, ears, and nose.

Because a person may not have a smooth childhood, may not have the ability of genius, he may have six relatives who are powerless, and friends may be difficult to help, or he may be helpless in middle-aged wandering, lonely for half his life, but as long as you stop well, the flesh and bones of the underground pavilion are generous. No blackness, no acne, you may be able to gain a peaceful old age by accumulating yin virtue.

Why is old age so important? Because the curse of the Chinese is to curse death but not life, and curse life is also the next generation, and the evaluation of a person in a place is when the coffin is built, it depends on whether the evening scene is good or not. Okay, this life has been denied, at least because of the lack of morality, and the good evening scene, even if the first half of his life is down, he will win respect, even if he is dead, he can give a bad luck.

The Chinese evening scene is also a ready-made living teaching material for future generations, and it is very important for the reproduction and development of an ethnic group. The characteristic of the evening scene is not only to live well, but also to live long, and to be able to play its due role. It works, so when you are old, you can cross praise every ten years, and when you are ninety years old, you can still be worshipped by people like a god.

Nowadays, the respect for the elderly is not enough. According to the Western understanding, old age is the rhythm of waiting to die. That is a kind of worship of adventure. In China, it is not acceptable because the spirit of adventure is never admired in Chinese wisdom. In China’s geographic characteristics, there is no need to take risks. Even if you are seeking wealth and wealth, the purpose of seeking is not to allow future generations to take risks.

If the western environment is not adventurous, the ethnic group may have disappeared long ago, but those who were born in China to take risks are stupid representatives. It is even more stupid to ignore the future. If you lose the Dige, your younger generation can only be inferior to the next generation.

The traditional Chinese aesthetic is more feminine

For a period of time, the editor, like every Chinese, has shared the glory and joy of the writer Mo Yan winning the Nobel Prize in Literature, and has also tried to get closer to the literary world of this writer from Gaomi, Shandong to the world. In the editor's opinion, there are too many memories and gratitudes for his mother, hometown, and the earth in Mo Yan's literary world. During this time, Mo Yan's speech "The Storyteller" delivered at the Swedish Academy is similar to the summary, which is about The stories of mother, hometown, and earth. In these stories, mother, hometown and earth have been integrated, and hometown and earth are the symbols of mother. As Mo Yan said: "My mother is a part of the earth, and I stand The narration on the earth is the narration to the mother." The tribute to the trinity of mother, hometown, and earth has been sublimated into a kind of maternal worship in Mo Yan's novels, or just a kind of mother worship.

Coincidentally. During this period, Professor Yipingce, who happened to be also a member of Gaomi in Shandong, gifted a new book "Modern Anthropological Research on the Nationality of Chinese Aesthetic Culture" (hereinafter referred to as "Yizhu"), which is a new book for Chinese aesthetic culture. The interpretation of, demonstrates a refreshing point of view. In his view, in general, compared with Western aesthetic culture, the personality of Chinese aesthetic culture tends to be flexible. If expressed by the concept of gender, it is biased. For feminization. There is no doubt that this view is unknown. For thousands of years, Chinese society has belonged to a patriarchal society. It has always emphasized the inferiority of men and women, and regarded this distinction between men and women as the cornerstone of maintaining social order and ethics. For example, at the beginning of "Zhou Yi • Ci Ci", it said: "Heaven is respected and earth is inferior, and the universe is determined." That is to say, dry is the sky, kun is the earth; the sky corresponds to the sun, the male, the father, the husband, and the earth corresponds to the yin. , For women, for mothers, for women; heaven is respect, earth is humble, work is expensive, kun is cheap. The inferences in the Zhouyi on the Tao of the Universe not only use the laws of nature as an analogy to the laws of human physiology, but also push this analogy to social politics and ethics, making social politics and ethics an inevitable extension and final result of the laws of nature and physiology. . The Preface of Zhouyi says: "There are heaven and earth, then everything, there are all things and then there are men and women, there are men and women and then there are couples, there are couples and then there are fathers and sons, there are fathers and sons and then there are emperors and ministers, there are emperors and ministers then up and down, there are up and down and then courtesy and righteousness. Something is wrong.” This makes the social order and ethical discipline of male superiority and female inferiority a self-evident axiom, and this axiom also appears natural and unchangeable in Chinese aesthetic culture.

However, Professor Yipingce vigorously promoted and promoted the feminine and feminine side of Chinese aesthetic culture, and wrote an essay to reverse the verdict of this thousand-year-old public case. To this end, the ritual has extracted seven steps of basic research ideas: First, first, make an overview of the most basic and most distinctive national identity, characteristics, personality, and tendencies of Chinese aesthetic culture. This is the basis and basis of the whole book. The main basis; second, according to the viewpoints of cultural anthropology and modern psychology, to personalize and psychologically analyze and identify the national characteristics of Chinese aesthetic culture; third, describe the special personality of Chinese aesthetic culture from many aspects of Chinese culture The expression of temperament; fourth, to search for the historical causes of the special personality temperament of Chinese aesthetic culture from the origin of survival, production methods and the cultural origin; fifth, to explore China from the patriarchal cultural system and the gender cultural model under its influence The realistic cause of aesthetic culture; sixth, the deep interpretation of classical cultural thought; seventh, discuss the internal road map of China's special cultural structure and personality cultivation mechanism to infiltrate and influence aesthetic culture. The above steps also constitute the seven chapters of the ritual.

It is the second chapter that combines the five national characteristics of Chinese aesthetic culture, including the aesthetic category, artistic concept, aesthetic ideal, cultural fashion, and thinking mode, to reveal the main theme of the book. One is to use a large number of empirical materials and anthropological theories to show that the Han nationality has an introverted, implicit, docile, and delicate character, which constitutes the traditional resources and humanistic foundation of Chinese aesthetic culture that emphasizes grace and favors femininity. The second is that the Han people pay attention to "holding the dual purpose" and focus on "holding the middle to achieve harmony", which is in harmony with women's cognitive style and consistent with women's way of thinking using the left and right hemispheres of the brain. Third, according to gender psychology, men often tend to separate and oppose "reason" and "desire", while women more often combine "reason" and "desire" into a single "emotion", which is the mainstay of Chinese aesthetic culture. "Emotion" theory reflects more feminine temperament. Fourth, Chinese aesthetic culture generally does not seek the ultimate goal and absolute destination of life from the metaphysical world, but seeks the value and meaning of life in the human life and secular reality on this shore, showing a feminine Human feelings. Fifth, if Western aesthetic culture is inclined to rational abstraction and conceptual thinking in the way of thinking, and therefore has more masculine characteristics, then Chinese aesthetic culture focuses on introspection and understanding, and emphasizes a non-conceptual, non-extroverted, and non-analytic The intuitive way of thinking is very similar to female thinking characteristics.

To affirm the feminization of Chinese aesthetic culture from the above-mentioned many angles, in the final analysis, we have to encounter a huge paradox, that is, in the long-term patriarchal society that emphasizes "male superiority and inferiority", "three principles and five permanence", it is precisely in the orthodox and obvious. The marginal area of the sexual and official political ethics system, in the central area of the ultimate homeland consciousness and human ethics, has always retained the hidden authority of female culture. The existence of such a hidden and special cultural element effectively changes the cultural structure of a patriarchal society, ensuring it not only guarantees the political and ethical order of the patriarchal society, but also continues the female personality formed in the matrilineal society. Primitive and natural rights, as a result of mutual restraint, resistance, and regulation, present a unique cultural pattern of Chinese patriarchal society. The mystery lies in the deep-rooted "motherhood worship" of the Chinese. Yi Zhu pointed out that the "worship of motherhood" as we understand it is not entirely a term in the religious sense, nor is it completely equivalent to primitive beliefs related to reproductive worship, nor is it completely equivalent to similar concepts in psychoanalysis. A sense of cultural affiliation and piety that Chinese people generally converge is a deep-rooted and long-standing cultural complex of the Chinese nation. Yizhu believes that there are probably very few people in the world who worship mothers like our Chinese. We Chinese people always like to compare it to mothers who sing and praise the most noble, greatest, and most sacred things: the earth is a mother. The hometown is the mother, the people are the mother, the motherland is the mother, and so on.

Because of this, the fifth chapter of Yi Zhu fully displays and deeply analyzes the image of mother in the imaginary world of Chinese aesthetic culture. As far as literature is concerned, since the "Book of Songs", there have been poems like "Kay Feng" that extol the "mother's labor" and "the mother's holy virtue". In the poem, "there are seven sons, don't comfort the mother's heart". The gratitude of the mother has also become a continuous literary proposition. In addition to poetry, there are countless images of loving mothers that have always been portrayed in ancient Chinese novels and operas. There are also countless wonderful chapters in which literati and inscribed stories, deeds, memorials, epitaphs and other touching stories of mothers are described. This kind of "worship of motherhood" has continued to modern writers since the May Fourth Movement, such as Lu Xun, Guo Moruo, Bing Xin, Ai Qing, Hu Shi, Lao She, Zheng Zhenduo, Zou Taofen, etc., all of which are famous for praising maternal love. This tradition has continued to contemporary writers, and the wonderful examples are endless. Yi Zhu specifically mentioned Mo Yan. In the novel "Full Breasts and Fat Buttocks" on the title page with the words "I would like to dedicate this book to my mother", Mo Yan sings the incomparably beautiful and incomparably sacred mother with his pen and ink full of affection. Image. Yizhu captured this message: Shangguan Lu looked at the vicissitudes of history with earth-like calm and solemn smile, and with his own speechless indifference, he completely dispelled the moral authority of the patriarchal culture on the historical stage. Mo Yan expressed one of his consistent thoughts in a speech at the Swedish Academy. He said that the book "Breasts and Fat Buttocks" is "actually dedicated to mothers all over the world. This is my arrogant ambition. The small "Northeast Township of Gaomi" is written as a microcosm of China and the world." It can be seen that the "worship of motherhood" or "worship of motherhood" he promoted has surpassed the small "Northeast Township of Gaomi" and has universal significance. This coincides with the conclusion that "Chinese aesthetic culture is a feminine and feminine culture" that Professor Yipingce has conducted over many years of research.

Good looks are a natural blessing, which will be cultivated by the day after tomorrow.

Any blessing has its inevitable cause, just as wealth comes from charity, and honor comes from humility, and a beautiful face comes from a gentle and kind temperament. After a person reaches middle age, he will show his appearance caused by the influence of his character in the world.

Most generous people have a blessed face, while those with a soft temperament have a soft and beautiful face. People with extraordinarily rude personality always have a fierce look; many middle-aged and elderly women with poor conduct tend to have a mean look on their faces. This is the so-called haughty look and kefu look. In fact, it is not the appearance of birth, but the projection of long-term cultivation of mind and behavior on the face. These appearances also indicate their future destiny.

Xiangshu is also a kind of experience accumulation, which is born from the heart, from the face to the heart, and from the heart to know the future.

So what are the causes of appearance in childhood, adolescence and youth? Appearance characteristics are related to the genetic factors of parents, face shape and body shape are related to the innate temperament received, and the degree of beauty is caused by the habit brought by the previous life. The first half of a person's life is under the influence of the previous life, and the second half of his life is more under the influence of the first half of his life. Therefore, after middle age, people have to be responsible for their own faces.

Compassion is also a particularly important factor. People who are more caring often exude a kind of extraordinary brilliance from the inside out, which makes people more and more pleasing to the eye, and more and more like to come into contact with them. People who are too selfish, cunning, and caress are very impatient, even ugly. Even if you are lucky enough to have a good appearance, some unpleasant features will gradually appear on your face, such as a lack of amiable face, just a "first glance", a little more contact will be unattractive.

Please believe that your appearance can be changed gradually, especially a beautiful appearance will exude a kind of attraction from the inside out, making the viewer admire it unconsciously. In many cases, beauty is born from the heart of the person who sees it. This is the truth that "beauty appears in the eyes of a lover". Therefore, if you want to be beautiful, you must first be spiritual!

Those who are willing to suffer will not suffer.

Those who can suffer, the popularity is bound to be good, and those who are good will naturally have more opportunities. It is enough to seize one or two opportunities in a person's life!

People who love to take advantage of it cannot take advantage of it after all. They pick up a grass and lose a forest.

Look at those smart people who go to the bathroom as soon as they pay the bill or can't get out their wallets for a long time. Basically, they have nothing to do.

Small-minded people have a big deal.

When a friend gathers, the person who does not leave himself and his family in three words is the reincarnation of a snail, with a hollow and selfish heart. Only his own business was in his mind, and other things gradually became irrelevant to him.

Only by cherishing fate can the fate continue.

On the way of life, we will meet a lot of people. In fact, we can get together only if we are destined. Most of our relatives are friends in the previous life, and most of our friends are relatives in the previous life. Most of the troubles you bring to you are those who hurt you in the previous life. So remember!! Be kind to your relatives, care about your friends, and forgive those who hurt you. This is cause and effect.

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