Zhu Guangqian (1897 ~ 1986) is a modern aesthetician and literary theorist. Pen names Meng Shi and Meng Shi. Tongcheng, Anhui. Born in September 1897. 19 16 was admitted to the Chinese Department of Wuchang Normal School, and entered the University of Hong Kong the following year, focusing on pedagogy. 1922 After graduation, he taught at Chinese Academy in Shanghai and chunhui middle school in Shangyu, Zhejiang, and founded Lida Academy in Shanghai with Kuang Hu, Zhu Ziqing, Ye Shengtao, Feng Zikai and others to organize Ming Kai Bookstore and General Magazine (later renamed middle school students). 1925 studied at the university of Edinburgh, England, graduated from 1929, transferred to the university of London, and registered at the university of Paris, France, and then entered the university of Strasbourg, France, where he obtained his doctorate in literature with his thesis "Tragic Psychology". /kloc-returned to China in the autumn of 0/933, and taught in Peking University, Sichuan University and Wuhan University successively. He served as Dean of College of Arts of Sichuan University, Provost of Wuhan University and Acting Dean of Peking University College of Arts. After the founding of People's Republic of China (PRC), Zhu Guangqian served as Professor Peking University, member of the Second, Third, Fourth and Fifth China People's Political Consultative Conference, member of the Third and Fourth Central Committee of the Democratic League, president of China Aesthetics Society, executive director of China Foreign Literature Society, academician of China Academy of Social Sciences and honorary professor of Hong Kong.
Zhu Guangqian was born in a scholarly family, was trained by the imperial court, and was familiar with classics. Later, I accidentally read Liang Qichao's Collected Works of Drinking Ice Room, which inspired Zhu Guangqian to a new world. He "began to yearn for' new learning'" and "became interested in novels and plays" (from How I Learn Chinese). During his study abroad, he was widely exposed to modern western culture, and his main interests were literature, psychology and philosophy. When he found that aesthetics was the same clue of these disciplines, he finally embarked on the road of aesthetic research.
Psychology of Literature and Art and Poetics are the representative works of Zhu Guangqian 1933 before he returned to China. The former is the first specialized book that systematically introduces and expounds the psychology of literature and art in China, which is of pioneering significance in this field. The book not only provides a lot of ideological materials in the history of western aesthetics, but also introduces Croce's intuition theory, Blau's distance theory, Lipps's empathy theory, Gullers's inner imitation theory and other schools of thought. It also summarizes some principles of literary criticism and applies them to the analysis of literary phenomena, thus broadening the horizons and ideas of literary research and having a great influence on the academic and literary circles at that time. On Beauty, a popular reading adapted from Psychology of Literature and Art, is widely spread among young readers. From the perspective of establishing poetics, On Poetry covers a wide range of basic theoretical issues such as the origin, nature and characteristics of poetry. Starting with the analysis of specific poems, this paper focuses on the rhythm and rhythm of China's poems. And from the influence of Han Fu, the translation of Buddhist scriptures and the input of Sanskrit, this paper discusses why China's poetry has embarked on the road of law. The writing of On Poetry contains the purpose of promoting the creation of new poetry. Zhu Guangqian believes that there was an urgent need to study two issues at that time: "One is how much the inherent tradition can be followed, and the other is how much the external influence can be accepted." The correct solution of these two problems plays an important role in promoting the development of new poetry. Therefore, he adopted the research method of comparative literature, making a vertical comparison from a historical perspective and a horizontal comparison from Chinese and foreign poems, that is, interpreting China's classical poems with western poetics and confirming western poetics with China's poetics.
After Zhu Guangqian returned to China from 65438 to 0933, he continued to study aesthetics and literature after teaching. Mainly combined with the reality of the new literature movement, writing papers and book reviews. These articles were included in Meng Chao (later slightly added and deleted, renamed Me and Literature and Literature, etc.). At the same time, he also strengthened his contact with writers. At the beginning of 1936, some poets and scholars in Beiping, such as Liang, Zhu Ziqing, Feng Zhi, Yu Pingbo, Bian, He Qifang, Shen Congwen, Li Jianwu and Cao, were invited to form a "poetry reading meeting". In May of the same year, together with Hu Shi, Gu Jiegang, Luo Changpei, wu shichang and Shen Congwen. In, China Folk Song Society was founded. 1937 In May, Literature magazine was founded, with Zhu Guangqian as editor-in-chief. In the preface, he put forward the slogan of "free growth and free discussion". This publication became the main position of "Beijing School" writers and had a great influence in the literary and art circles at that time. At this stage, on the one hand, Zhu Guangqian's literary theory research clearly expressed his opposition to detective, pornography, shady, romantic and slogan dogma, and his creative attitude of "moaning without illness", "glib", "seeking common ground while reserving differences", "baking in winter" and "painting with powder"; On the other hand, it advocates that literature and art should keep a "distance" from life, advocate "calmness and detachment" and admire "silence". The thought of "governing by doing nothing" in his past aesthetic works, "One must have the spirit of being born to do the cause of joining the WTO", has been further developed.
After the founding of the People's Republic of China, Zhu Guangqian mainly engaged in aesthetic research, trying to guide his academic research with Marxism, and put forward unique opinions on a series of major aesthetic theoretical issues, becoming a representative of an important school in the aesthetic field. In addition, he devoted himself to the translation of western aesthetic masterpieces and made fruitful efforts in criticizing and inheriting aesthetic heritage. His History of Western Aesthetics is China's first book that systematically discusses the history of western aesthetics.
Zhu Guangqian's academic spirit;
First, self-dissection and constant criticism.
In the aesthetic criticism and debate in the 1950s and 1960s, Zhu Guangqian had the courage to dissect himself, and severely criticized the idealistic aesthetic thought, especially the idealism he advocated. As a famous professor with outstanding achievements, his behavior is really commendable. After that, he constantly criticized himself and put forward new ideas and questions, which is a model for scholars.
Second, be pragmatic and have a correct style of study. By criticizing idealism, Zhu Guangqian realized that he used to "beat around the bush" and later began to learn the original works of Marxism-Leninism. Nearly sixty years old, he began to teach himself Russian, and made a comparative study of various texts (Chinese, German, Russian, French and English), and achieved a series of new achievements. He advocates independent thinking and never listens to other people's advice. In his later years, "On Beautiful Writing" and "Aesthetic Collection" are the concrete manifestations of his academic spirit.
Third, "Three Principles" and selfless spirit. Zhu Guangqian believes in "three ones", that is, this body. At this time, here: "What this body should do and can do, you have to take it from this body, and don't push the responsibility to others." "What should be done and can be done at this time must be done at this time and cannot be put off until the future." "What should be done and can be done here (my position, my environment) must be done here, not shirked to another imaginary position." This is the embodiment of Zhu Guangqian's academic spirit, not empty talk, focusing on the present and down-to-earth
Zong Baihua (1897- 1986) was originally named Mu Kui Bohua. Philosopher, aesthete and poet. A native of Yushan Town, Changshu, Jiangsu. 19 16 entered Tongji university to study pre-medicine. 19 19 was selected as a reviewer by China Juvenile Institute, an influential cultural group during the May 4th Movement, and became the main contributor of China Juvenile Monthly, actively participating in the new culture movement. In August of the same year, he was hired as the editor and editor-in-chief of Deng Xue, a Shanghai current affairs news supplement. Injected fresh blood into philosophy, aesthetics and new literature and art for Deng Xue, making it one of the four famous supplements in the May 4th Movement. At this time, he discovered and cultivated the poet Guo Moruo. From 65438 to 0920, he went to Germany to study, and studied philosophy and aesthetics at Frankfurt University and Berlin University successively. 1925 After returning to China, he taught in universities in Nanjing and Beijing. He used to be a consultant of China Aesthetics Society and a director of China Philosophy Society. Zong Baihua is the forerunner and pioneer of modern aesthetics in China, and he is known as "a generation of aesthetic masters who integrate Chinese and Western art theories". He is the author of The Complete Works of Zong, Aesthetic Walking, Artistic Conception and other aesthetic prose collections. He lived in/kloc-0 and died in Beijing on February 20th, 986 at the age of 90.
Anyone who loves beauty in China, and anyone who loves China's art, should read this book-Aesthetic Walking. This book is the masterpiece of Zong Baihua, a late generation of aesthetic master, and the only aesthetic work before his death. Almost brought together the most essential aesthetic chapters in his life. Its words and expressions are elegant and poetic, and it is China's aesthetic classic and must-read book.
Reading this book is an artistic enjoyment in itself. With his lyrical brushwork and love for beauty, the author leads readers to appreciate the hearts of great Chinese and western artists and those romantic people. When we come back from a walk, we will find that our hearts have been sublimated and purified.
Mr. Zong Baihua feels everything in the world as an artist and shapes it with flowing words. The book written in this way is not only an artistic theory, but also a way of life. Such a master who is born in traditional culture, full of artistic spirituality and poetry, and has won the essence of China's aesthetics, may never be able to reappear in the roar of the increasingly powerful modern machine when he walks. However, in the increasingly tense alienated world, how to maintain poetry and yearning for life is not a worldwide problem that modern people should pay attention to? And "Aesthetic Walking" can just give us inspiration in this respect.
China's Aesthetic Classics
Introduction to aesthetics needs reading.
Aesthetic Walking is the first collection and publication of Zong Baihua's aesthetic papers. The articles in this collection were written in 1920 at the earliest and 1979 at the latest. It is really a more detailed collection of works about art in Zong Baihua's life. He didn't build any aesthetic system, but taught us how to appreciate works of art and how to establish an aesthetic attitude until he formed an artistic personality, which is the spirit of China's artistic beauty.
Zong Baihua once sat in silence for an hour in front of the original Mona Lisa. He often visits various art exhibitions in China with great interest, and even though he is old, he still takes pains. The articles collected by this connoisseur have accurately grasped the essence of art, especially the characteristics of China's art. The author uses his consistent viewpoint to guide us to appreciate China's poems, paintings and music, especially China's calligraphy. China people's feelings of sadness and joy can be expressed by calligraphy, just like poetry and music, which is not achieved by other ethnic groups.
In the author's opinion, the compilation of the history of western art should be based on the changes of architectural styles in the western era, while the architectural styles of China have not changed much, so it is impossible to distinguish the changes of painting and sculpture styles in different eras. However, since Yin Dynasty, the style of calligraphy has changed significantly, which can replace the position of architecture in the history of western art and spy out the characteristics of art in different times.
On the construction of China's national aesthetic system, Mr. Zong Baihua is the most pioneering, and we can get an interpretation from the application of a large number of concepts and discourses. For this reason, Feng Youlan once pointed out that Zong Baihua was the first person to establish China's aesthetic system.
—— Zou Qichang
The light of the traveler
The first time I met Mr. Zong Baihua was in the month when I first entered the university. At that time, I bought a book "An Overview of Contemporary China Aesthetics" by Zhao Shilin, from which I learned that Zong Baihua is one of the "five great aestheticians" in China, which is also called with Zhu Guangqian, Li Zehou, Cai Yi and Gao Ertai, and I learned that Zong Baihua's academic characteristics are: not building a system, paying attention to the direct perception of art, full of aura and wisdom. Later, I learned a little more and admired Zong Baihua's knowledge and character. But with the "westward shift" of learning interest, curiosity has also weakened a lot. Until three years ago, I read the figure of a lakeside rambler in Liu Xiaofeng's "Fear and Love of this Generation", and this figure became kind again.
The article about beauty in Aesthetic Walking vividly highlights a spirit of roaming in art and a gesture of pursuing artistic life. The articles are not arranged according to the time of writing and publication, but according to several major themes: self-reported ways of doing research, China's aesthetics, the characteristics of China's art and several monographs of western aesthetics. It may not be easy to grasp the changing track of Zong Baihua's aesthetic thought, but the aspects he focused on in academic research and his methods to deal with these academic problems can still be fully understood. However, there is still a mystery in my heart: Why did Zong Baihua, who was deeply influenced by German philosophy of life in his early years, devote himself to studying the ancient aesthetic spirit of China after returning from Europe? What is the turning point of this change? How did it happen? Perhaps only teachers can appreciate the urgency and pressure of the choice behind the change.
Compared with the aesthetics of ancient western Europe, China's ancient aesthetics is fragmented, not systematic enough and not philosophical enough. However, this does not mean that China's aesthetics does not have its own characteristics, but it means that it can be excavated without scratching its boots with the intervention of a special way. This special way is actually a call: the light of life. Zong Baihua's "aesthetic walk" may be precisely this kind of "life's induction to academics". There are two levels of scholarship. One is "knowledge", which can cover a wide range of fields and appear broad. This level can also become everyone, but it will eventually appear thin; The second level is "belief", that is, to promote learning to a belief that can lead practice. At this time, learning is no longer learning, but life, which will be very heavy. Everyone in this kind of learning is already an artist, such as Nietzsche.
As Liu Xiaofeng summed up: "As an aesthete, Zong Baihua's basic position is to explore the creation of making life a work of art ... In Zong Baihua's view, art is first of all a life problem, art is a outlook on life, and' artistic life' is a valuable and meaningful life."
The words that appear most frequently in Zong Baihua's Aesthetic Walk are: universe, life, art, beauty, soul, rhythm, melody, dance, musicalization and experience. These words not only illustrate the artistic perfection of China, but also reveal the life perfection of the enlightener. Wittgenstein said: To imagine a language is to imagine a life form. Similarly, imagining an art (not to mention "recognizing" this art, and art is also a "language form") means choosing a way of life.
Therefore, Zong Baihua chose a kind of "pure" China art, and also shaped an indifferent and enlightened lifestyle. Perhaps Zong Baihua wanted to experience the pleasure of China's art reaching perfection, and his choice was unique. However, the art in the world is rich and colorful, so life should also be diversified. Besides, there are other kinds of perfection in life. China's ancient aesthetics was lucky to meet Zong Baihua, because he learned Chinese and Western well, jumped out and plunged into it, and this macho man was deeply rooted. It is also in Zong Baihua's articles that all aspects of China's aesthetics have been refined and promoted to the extreme. It may have been discovered before him, but it is impossible to penetrate an extremely profound and sincere life consciousness like him, which may be due to his in-depth study of Schopenhauer and Nietzsche's philosophy of life.
China's philosophy, the spatial consciousness in China's poems and paintings, and the typical spirit in China's art are integrated into a trinity problem by Zong Baihua: the way of speaking "Yin and Yang" tends to the music field and permeates the dance of time rhythm calligraphy; In fact, they all embody a spirit: human consciousness, harmony between Tao and life, and harmony between individual life and infinite universe.
It can be said that Zong Baihua pushed China's experience aesthetics to the extreme, and it is difficult for later generations to be second to none. As an aesthetic enlightenment, he became a symbol of the beauty of Tao. But we should also use the light of the traveler to enter the vast world and continue to look for it.