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Briefly describe what is sublime and what are its aesthetic characteristics. ...
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Boda's body
2009-12-11ta received more than 8 14 likes.
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Sublime is a noble spirit of sacrifice that is outstanding in spirit, intelligence or morality.
Sublime is also called magnificence.
It mainly refers to the object with its rough and broad perceptual posture, strong material and spiritual strength and majestic momentum, which gives people a shock of the soul, and then is strongly encouraged and encouraged, which makes people feel admired and admired, thus enhancing and expanding people's spiritual realm.
As far as the aesthetic object is concerned, sublimity has great power, which is manifested in personality and moral behavior, the appearance of natural things, the form and style of artistic works and so on. As far as aesthetic experience is concerned, it makes the subject shocked, with a sense of solemnity or awe, and even accompanied by some degree of fear or pain. Compared with other aesthetic categories, sublime and tragedy are similar, both of which are accompanied by great emotional ups and downs. The sublimity of the initiative of the practice subject is manifested in the great power of personality and prior behavior. The sublimity in the field of practical objectification is manifested in the powerful power of natural things. I Kant once divided them into two categories: mathematical (quantitative, volumetric, spatial, static) and mechanical (strength, energy, power and dynamic). In fact, they often blend and coexist. Works of art can integrate these two aspects, with the sublimity of personality and soul as the content and the sublimity of objects and scenes as the form, so that the shocking force is more condensed and concentrated.
In Europe, the earliest reference to the sublime is 1 century Romanos's On the Sublime. The author thinks that sublimity is "the echo of great mind", which has five aspects: solemn and great thoughts, passionate feelings, rhetorical decoration, elegant wording and dignified structure, and takes the ocean, Nile, Danube and Rhine as examples to illustrate it. In the history of western aesthetics, the first person to strictly distinguish between sublime and beautiful is E. Burke of Britain. Other aestheticians in Britain do not recognize the role of fear and pain in sublime experience, and think that sublime feeling is caused by greatness. In China's traditional aesthetics, sublime or magnificent is often expressed by "grandeur". It focuses on the subject and social value, not the object and natural representation. Mencius called the beauty of personality he emphasized "integrity". In the evaluation of individual personality, he put forward six grades: goodness, faithfulness, beauty, greatness, holiness and divinity, and mentioned that "fullness is beauty, and fullness is greatness". What he called "big" is more vivid and intense than ordinary beauty in degree, broader and grander in scope, and it is a magnificent beauty. Compared with the concepts in western traditional aesthetics, this lofty concept has different emphases, but if this character is associated with related experiences, the object world involved also contains factors that cause suffering. Or close to the lofty characteristics discussed in western aesthetics.
In social life, "those who embody the progressive forces that promote historical progress and their representatives!" It is the lofty origin of society "in class society! Sublime is the invincible force of the just cause of the advanced class and the expression of its essence. "In the process of tortuous struggle! Enough to explain the actual or potential strength of the practice subject and the inevitability of ultimate victory! The sublimity of art is the reflection of sublimity in reality! The sublimity in art mostly reflects the achievements of heroes in social life! Works of art embody sublimity in various forms! In drama, film and literature, which mainly show the action conflict of characters, # sublime is the most common and concentrated reflection, and $ tragedy and ode # are the most prominent and common types! It is sublime in plastic arts and music. Although limited by the stillness of the artistic image and the uncertainty of the content of the expression concept, its artistic expression methods and means are still rich and colorful!
Answered on 2009-12-11.
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What are the main characteristics of sublime beauty?
Different from the beauty that gives people the pleasure of harmony between man and nature, the sense of sublimity comes from the conflict between man and nature and the disharmony between sensibility and rationality. Under the condition of being controlled by external nature and own nature (lust), people have neither freedom nor spiritual consciousness. The external resistance to the violent natural forces of survival and development and the internal resistance to the wild lust have formed the unique spiritual characteristics of people's conscious pursuit of truth, goodness and beauty, that is, the process of people's self-generation in practice, the formation process of people's free and conscious quasi-essence, and the lofty process. Therefore, sublimity is the spiritual pleasure gained by resisting nature with manpower, beast with human nature, and challenging and fighting, and it is a symbol of the great spiritual strength of the subject of practice. The original myth of conquering natural forces by imagination, in which the image of flying freely and consciously practicing the will is displayed, is the initial portrayal of lofty spirit. The discussion of sublime aesthetics is the consciousness of human's essential strength sublimated from the reflection of human spirit on itself.
Anonymous user
Answer on 2016-01-16.
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How to understand the sublimity in aesthetic category
The negative aesthetic value of things. It is the content characteristic of ugliness to go against the social purpose, which is related to the negative moral value "evil" in the ethical field; Deviation from the objective law is the formal feature of ugliness, which is related to the negative cognitive value "error" in the cognitive field. The aesthetic experience caused by ugliness is a negative emotion, which causes the subject to have psychological reactions such as pain, depression, terror and disgust, and the subject holds a negative attitude towards it. As one of the aesthetic categories, ugliness and beauty are opposites. It is a negation and contrast of beauty, and it is also an integral part of other aesthetic categories such as sadness, joy, sublimity and absurdity. The aesthetic value of ugliness is a complex issue, which has been debated for a long time in the history of aesthetics. In the history of European aesthetics, the problem of ugliness was first discussed in Aristotle's Poetics. He studied why the pain caused by the object and the pleasure caused by the work can be unified in front of the artistic works depicting ugly real objects, and thought that this was because "the intellectual interest in knowing the object was required to be satisfied". The "tragedy paradox" initiated by Aristotle also involves the unity of opposites between reality ugliness and artistic beauty. His theory of ethical education and aesthetic psychology of "cultivating this emotion by arousing pity and fear" are put forward as answers to this paradox. In the Middle Ages, Augustine denied the real existence of ugliness from theology and metaphysics. He believes that beauty lies in form, and its negation is "invisible", but without form, nothing can exist, so ugliness does not exist. The opposite of beauty is not anything real, but just the lack of positive value. In order to reconcile the obvious contradiction between this argument and common sense, he put forward the concept of "value grade", which arranged the value of things into a long string from relative negation to relative affirmation. In the aesthetic theories of 16 and 17 centuries, the requirements for the form of beauty are very narrow, and it is considered that the form that does not conform to Gao Naiyi's "three unifications" and Diu Lei's "correct" anatomical proportion is ugliness. In the18th century, most people still think that beauty and ugliness are different poles. Aesthetics, as a self-disciplined and systematic discipline, was founded in the18th century, and it was the first time to clearly put forward the question of what is an exclusive aesthetic phenomenon. The answer to this question promoted the discussion of ugliness. Von schlegel (1797) put forward the theory of ugliness, which had a far-reaching impact on later generations. This leads to two concepts of "negation of aesthetic value": ① represented by W·T· Stace (1886 ~ 1967), he thinks that any sensory theme embodied in an object that can be grasped by feeling or imagination is aesthetic, so what belongs to his negation is the objects handled by some extrasensory intellectual activities, such as the concepts of science and philosophy. Those who hold this view suggest that extrasensory objects that do not belong to the aesthetic field should be called "unattractive" rather than "ugly", and that ugliness is a kind of beauty, and the pain caused by its feeling is moral rather than aesthetic, which is usually overcome by aesthetic pleasure from the whole object. (2) represented by B. Bao Sangkui, he thinks that any perceptual structure that can show its emotional characteristics to observers is aesthetic, and what belongs to its negative side is something that completely lacks emotional tone. People who hold this view believe that what is usually considered ugly is mostly caused by "the weakness of the observer", so it should be more appropriately called "difficult to be beautiful" They believe that any form has some kind of emotional expression, and since any emotional structure with emotional expression is aesthetic, any form will have aesthetic value; For a strong enough subject mind, there is no perceptual form without aesthetic value. Both of these viewpoints tend to distinguish ugliness from "the negation of aesthetic value". The essence of ugliness is that the object denies the actual effect of the subject with its form and appearance, arousing the emotion of the subject to deny the existence of the object. This negative dialectics of negation makes ugliness gain aesthetic value in the multi-level structure of spiritual products. The ugliness shown in artistic works can form aesthetic value. Works of art have multi-level structure, which can be divided into two categories: indirect layer and direct layer. Indirect layer is a form in which artistic works reappear and originally exist in social material life. The appearance of realistic ugliness in the indirect layer will not make artistic works ugly, but often becomes an indispensable part of artistic beauty. In this sense, the ugliness of reality has become an element of artistic beauty. The direct layer is the form of artistic works presenting themselves, which is established by means of expression. The ugly form of the direct layer will inevitably become artistic ugliness. For example, the creators of artistic works, whose aesthetic ideals are humble, whose aesthetic tastes are obscene, or whose expressive skills and means are poor, have all formed artistic ugliness, so they only have negative and negative significance. The definition of beauty itself is a restriction on beauty, just like the relationship between human consciousness, belief and doubt, beauty also needs to go through such a process. We need a basis for understanding before we can understand at this level. Different self-consciousness will have different feelings about beauty. The aesthetic feeling based on individual consciousness is the most important and only correct. The feeling of beauty is never the same, because we have different self-awareness; But beauty can be connected, because we are also part of the overall consciousness. The definition of beauty lies in the feeling, understanding and imagination of beauty. Beauty is an internal part of our consciousness and is based on the overall direction of consciousness.
Baidu netizen 775ea096cc3
Answered on 20 17-02- 19.
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