Abstract: Why is aesthetics a festival of life? The problem of beauty has several levels. Who put forward the theory that "beauty lies in relationship"? What is his reason? Was there a proposition that "beauty lies in relationship" in ancient China? What is the "relationship" that forms the root of beauty? What is the content of the system as a beautiful relationship? This paper makes an in-depth analysis and discussion on these issues.

Keywords: aesthetics; Beauty lies in relationships; A festival of life

Aesthetics has become a very common word now, because we appreciate it every day. When we open books and read novels, we are enjoying beauty. When we went into the cinema to see the film, we were enjoying the beauty. We turn on the TV and watch TV plays, which is aesthetic. We come to Xiangshan, see peach blossoms in spring and red leaves in autumn, which is aesthetic. When we come to the street garden, it is also aesthetic to look at the green trees and red flowers. Even at home, it is aesthetic to look at the pictures of calendars on the wall. But do we cherish this moment? Do you realize that you are aesthetic? I tell you, aesthetics is a procedure of life. This is a precious moment in life. We should slowly appreciate the aesthetic time in this life.

Why is aesthetics a festival of life? First of all, we need to know what the concept of festivals is. Festival is a concept of space-time relationship. So what are the characteristics of this space-time relationship? Festivals mean the difference from non-festivals, which means entering a novel world from the secular. Festivals have at least several characteristics: 1) Life cannot be without festivals. There is no country without festivals. Festivals are folk customs. Folk custom is the spiritual and cultural heritage of the nation. People are folk animals as well as cultural animals. Therefore, festivals are indispensable for people. Things as indispensable as air and water. People can't stand it without festivals. So people should create all kinds of festivals. 2) Another feature of the festival is the sense of atmosphere. When people are in festivals, they enter an atmosphere of excitement and joy, even ecstasy. This is another world, a world beyond utility. 3) The third, or most important, feature of a festival is its spiritual freedom, its deconstruction of the formality, repression, eternity and invariance of the ready-made world, and its affirmation of variability and incompleteness. If non-festivals are ruled by the authorities, then festivals belong to another world, to the carnival of civilians, and the spirit of freedom rules everything. You can foul. Can be out of line. Can be perverted. You can reverse it. You can ignore the rules of grade. You can cancel all the hard rules. This is a utopian world, an artistic world beyond time and space. Because festivals are such a space-time relationship, which is particularly conducive to the presentation of beauty, thus becoming the space-time relationship that forms the root of beauty. In a festive atmosphere, people are in a state of excitement, ecstasy and devotion. They are the most sensitive to objects, the most emotional and imaginative, and the least utilitarian. Therefore, in the time and space of festivals, they have the best conditions to form the root of beauty. From this perspective, we regard aesthetic comprehension as a festival of life. If we look at China's ancient poems, we will find that there are many poems describing festivals. Wang Anshi's "January 1st": "With the sound of firecrackers, the one-year-old was removed, and the spring breeze send warm entered Tu Su. Thousands of families always change new peaches for old ones every day. " You have said for a long time that aesthetics is the festival of life. So what is "aesthetics"?

What is beauty is an old and young question. There are all kinds of answers since ancient times, but there is still no answer that everyone agrees with. The question of "what is beauty" has three meanings: the first is the aesthetic object, such as the scenic beauty of Huangshan, West Lake and Guilin, which only refers to the object of beauty; The second level, aesthetic quality, such as symmetry, harmony, order, rhythm, melody, diversity and unity, golden section beauty and so on. , only refers to the quality of beauty; The third level, the essence of beauty, what is beauty? At this time, what we are asking is, where is the root of beauty? This is a philosophical discussion of the essence of beauty. For example, answering beauty is objective; Beauty is subjective; Beauty is the unity of subjective and objective; Beauty is a judgment without utility; Beauty is evaluation; Beauty is a symbol of freedom; Beauty is the unity of truth, goodness and beauty; Beauty is the perceptual manifestation of ideas; Beauty is a humanized nature; Beauty is relationship; Wait a minute. In short, this third level is the philosophical exploration of beauty. What we are going to discuss today is the third level.

First, Diderot's theory of "beauty lies in relationship"

The "beauty is relationship" we are discussing today was formally put forward by18th century French enlightenment thinker Diderot (T1713 ~1784) in his paper "Philosophical Research on the Origin and Essence of Beauty". He believes that among the * * * attributes of all beautiful things, he said: "In short, because of this nature, beauty occurs, increases, changes, withers and disappears endlessly." [1](P 128) So what is this "nature"? Diderot replied that this nature is "the concept of relationship". So he concluded that beauty is a relationship. In his words: "No matter what the relationship is, what constitutes beauty is the relationship". He cited an example from a literary work to demonstrate his view that "beauty is a relationship". French playwright Gao Naiyi wrote a play about a battle that took place in Rome more than 600 BC. In this battle, the three Horace brothers fought against the enemy for the honor of their motherland. As a result, two brothers died and one pretended to run away. Horace's daughter hurried back to report the situation to her father, Old Horace, saying that when her two dead brothers fled, Old Horace was thoughtful, and then angrily said to her daughter, "He will die" (some translated as "let him die"), meaning to defend the motherland and let the remaining sons die. Diderot said: If a person knows nothing about Gao Naiyi's plays and has no idea about old Horace's answer, if I ask him what you think of the sentence "He will die", then the person I asked doesn't know what this sentence is about, can't guess whether it is a phrase or a complete sentence, and doesn't know the relationship between this sentence and the whole article. If I tell him that this is a question that a soldier should do in battle, then he will feel that the person who answers this question has the courage to think that life is not always better than death in battle, and he will begin to be interested in this sentence; If I go further, it will be a battle related to the honor of my motherland. The old man has three sons, two of whom died in the battle, and his only remaining son is also on the run. This sentence was said by the old man to his daughter, so this sentence "He will die" made the listener feel awe-inspiring and beautiful. Diderot said: "The answer that is neither beautiful nor ugly died, but it became more beautiful because I gradually exposed its relationship with the environment, and finally became a wonderful word." What Diderot obviously means is that the relationship between this sentence and this environment determines the beauty of this sentence: if this sentence is placed in another environment or in another playwright's script, this sentence may become unattractive and even become a gag. In his cultural works, Diderot listed the situation of objects and various relationships. For example, Diderot said, "There are some relationships that we think are basic, such as the relationship between men, women and children. We say that a child is beautiful, even though he is short; But a handsome man must be absolutely tall; We don't ask much of this nature of women. A short woman is more beautiful than a short man. Therefore, we consider our existence not only according to ourselves, but also according to their natural position in the great whole. " [2](P 138)

In the history of western aesthetics, Diderot's theory of "beauty is relationship" has always occupied an important position. The rationality of this theory lies in that beautiful things are not investigated in isolation, but in various relationships, especially in various social relationships, which reminds us not only of the relativity of beauty, but also of the sociality of beauty. This perspective of Diderot's study of beauty is still an integral part of truth today, and it still deserves our serious consideration.

Second, the proposition of "beauty lies in relationship" in ancient China.

However, up to now, no aesthetician (at least I haven't found it) has investigated whether the similar proposition "Beauty is Relationship" was put forward in ancient China, or whether it had its ideological bud. I found that "beauty is relationship", as an aesthetic proposition and ideological sprout, was written in China as early as 369-286 BC in Zhuang Zhou's Zhuangzi? This idea has sprouted in Tian Yun. This is the story of "The Beauty of Stone Chai": "You are sad when you are sick in your heart." The ugly people inside are beautiful and fascinated by it. When the rich see it, they will stay at home; The poor man saw it and left with his wife. He is beautiful, but I don't know why he is beautiful. "The so-called beauty is frown is beauty. The beauty poems of Yue State in the Spring and Autumn Period have beautiful eyebrows and beautiful eyes. Ugly people don't know this is a special relationship combination, but they also frown at history as usual. As a result, ugliness adds ugliness and scares away neighbors. This includes the idea that "beauty lies in relationship".

Things don't stop there. Two thousand years before Diderot, that is, from 179 BC to 122 BC, Liu An, the grandson of Emperor Gaozu, presided over the compilation of Huai Nan Zi? Xun Lin said: "Bad (face+blessing) is in the cheek, and ugly is in the face." Embroidery thinks that the dress is decent, and it is ridiculous. [2](P 12 16) What we are actually talking about here is the concept of "relationship". A dimple grows on the cheek, which constitutes a beautiful relationship. If it grows on the forehead, it is an ugly relationship. Ordinary people's normal dimples are beautiful because they form an indescribable dynamic relationship with their cheeks. The root of beauty lies in the relationship between objects. Huainanzi? The training of repair service also said, "Today's husband is a beauty in the world. If you turn it into a rotting mouse, covered with (worm+stomach) skin, wearing leopard fur and carrying a dead snake, then the people who wear cloth and clothes will look around and cover their noses. Try to make it graceful, straight-cut, erect ears, wear tin, drag ten thousand, wear jade rings on a white background, take a step, be confused, watch the cage, laugh at it, watch it, scratch your mouth, show your strange teeth, and shake it (face+rigidity), but although you are a prince, [2](P 1363) If their external decoration is different from their own performance and relationship with themselves, then they are ugly in the former case and beautiful in the latter case. We can't say that both Zhuangzi and Huainanzi have written any systematic theories, but we put forward "Beauty is a relationship" as a proposition and drew a preliminary conclusion that beauty changes with the change of relationship. You know, what Zhuangzi and Liu An wrote was more than 2,000 years earlier than that demonstrated by Diderot.

That's not all. About before Diderot 1000, Liu Zongyuan (773~8 19) in the Tang Dynasty wrote an article "The Story of Liu Zhongcheng Retreating the Horse from the Mountain", in which he first described his impression of swimming with friends, and then turned to say: "The beauty of a husband is not self-beauty, but varies from person to person." Lanting also, without suffering from the right army, packed bamboo branches and was destroyed in an empty mountain. [3] This means that beautiful things themselves will not be beautiful, and the scenery is just an external thing, that is, the "thing in it" in philosophy. Only by connecting with people and forming a certain relationship can beauty be revealed. Just like the Lanting scenery in Huiji Mountain, if you don't meet Wang Xizhi who wrote Preface to Lanting to praise the scenery there, then the scenery of "clearing bamboo" there will be buried by the empty mountain. Things must be connected with people, and a certain relationship must be established with people before they can be beautiful. Without relationship with people, there is no beauty. It's important to say "good for everyone". "Zhang" means display, which can also be extended to "awakening" and "discovery". In the absence of people, the most beautiful scenery was later discovered, and it stayed in a state of deep sleep and lifeless. French writer Sartre said in the article "Why Write": "It is we who connect this tree with this corner of the sky; It is we who unite this star, this crescent moon and this gloomy river, which have been silent for thousands of years, in a landscape. It is the speed of our cars and planes that organizes the huge volume of the earth. ..... This kind of landscape, if we abandon it, it will lose its witness and stagnate in a state of eternal obscurity. At least there is stagnation; No one so crazy would believe that it would disappear. What disappears is ourselves, and the earth will remain paralyzed until another consciousness wakes it up. " [4] Sartre and Liu Zongyuan said that their propositions are very similar in meaning. The so-called "beauty is not self-beauty, but because of people", which is what Sartre said. We woke up the paralyzed world; The so-called "Lanting also, if the right army does not attack it, the clear waves will surge and the weeds will disappear in the empty mountains", which is what Sartre said. "If we give up this landscape, we will lose witnesses and stay in an eternal state of obscurity. "It can be said that" beauty is not self-beauty, but because of people "is China's ancient theory that" beauty is relationship ". If in Zhuangzi and Huai Nan Zi, the relationship is limited to the object itself, then in Liu Zongyuan's book, the relationship has been extended to the subject and the object. The so-called "beauty is not self-beauty, but shines from people." The first four words are about the object, and the last four words are about the subject and the object need to establish a fit relationship with the subject before beauty can be presented. Things don't stop there. Cao Xueqin, a novelist of Qing Dynasty who was almost contemporary with Diderot, had the same idea in A Dream of Red Mansions. Jia Baoyu's Criticism of "Xiang Tao Village" Scene. There is no pulse in the back mountain, and it is passive near the water. The tower of Wuyin Temple is very high, and there is no bridge leading to the city, so it looks spectacular standing alone.

It can be seen that China put forward the proposition and theory of "beauty lies in relationship" very early, and made a preliminary summary. Although it is put forward in the form of examples and made a theoretical judgment in the form of point-to-point, its significance should still be valued by us.

Third, the root of beauty is a complex "relationship" system.

I think after fully evaluating Zhuangzi, Liu An, Liu Zongyuan and Diderot, we should also see their shortcomings. They put forward the general proposition that "beauty is a kind of relationship", and made a good analysis from the relationship between beauty and things, beauty and human environment. However, there is far from systematic research on how many kinds of relationships are needed for the composition of beauty, what are the contents of these relationships and what are the connections between them. I think it is necessary to discuss the theory of "beauty lies in relationship" again.

If we start from the concept of "relationship" to prompt the essence of beauty, then we should see that "relationship" of "beauty" is a complex system, or the root of beauty is a complex system of "relationship".

So, what is the "relationship" that constitutes the root of beauty? It is not easy to answer this question. Beauty is one of human activities, and its realization is a creation of human beings and a creation of multi-level overall relations. Multi-level overall relationship is the root of beauty. It can be said that the root of beauty, if analyzed, has at least three levels, which are formed by the relationship of three levels:

First, the discipline level.

Subjectively, the root of beauty lies in the awakening of human nature, the deepening of human practice, the full activity of various psychological mechanisms and the formation of human aesthetic ability. Beauty is first of all the relationship with people. If a thing has nothing to do with people, then beauty cannot be formed. The establishment of various relationships with people mentioned here should be explained from four aspects: the awakening of human nature:

First of all, beauty is closely related to the awakening of human nature. Without the awakening of humanity, there can be no beauty. It can be said that beauty is the development of human nature. From thousands of years of practical activities, people have become people and people with human psychology. For example, primitive people only had sexual desire and activity, just like ordinary animals. However, after long-term social practice, people transform themselves bit by bit, and finally turn instinctive sexual desire into love with spiritual character. This is the difference between people and animals. Desire becomes human desire. Feelings become human feelings. Human psychology has finally matured. The human consciousness has finally awakened. Human beings have all the basic physical and mental strength of human beings. Under this condition, under the initiative of human psychology, nature (including external nature and human nature) is because people embody human nature, human consciousness and all essential forces in aesthetic activities, and regard nature as the object of human beings, thus establishing the mechanism of activities. For example, Lu Ji's "Wen Fu" says: "Sad leaves fall in the golden autumn, and joy is in the fragrant spring." Here, the description of the depression in autumn and the vitality of spring itself, taking the scenery in the Spring and Autumn as the object, is the result of the subject's emotional consciousness activities. And "sadness" and "happiness" are the expressions of a poet's psychological state. Including the experience, understanding, association and imagination of natural objects. These two short sentences are the representation of people's overall spiritual activities. It can be seen that under the influence of people's psychology, a relationship has been established between people's essential strength and natural objects, and the day when this relationship is established is also the time when people's objective spiritual activities are launched. We say that beauty is a spiritual activity of human beings, because in aesthetic activities, people regard external nature and humanity as the confirmation of their own essential strength. Aesthetic activities need to establish the relationship between subject and object. Similarly, spring scenery exists objectively, but if I can't grasp its beauty for various reasons, then spring scenery can't be our object, and the poetic relationship between me and spring scenery can't be established, so I can't appreciate it, let alone describe it in words, and aesthetic activities can't be formed. Whether the peach blossom in spring, the red leaves in autumn, the pine and cypress, the morning glow, the sunset, the moon, the spring water, the Biyun Temple, the reclining Buddha Temple, the Huangye Village, the cherry blossom ditch and the glazed pagoda in Beijing can become our aesthetic objects depends on the poetic relationship between people and these things. Without this poetic relationship, there would be no "objectification of human nature", and of course there would be no beauty.

Secondly, the root of beauty is more closely related to human practice. In the process of transforming nature and social practice, human beings have mastered the law of the development of things, thus obtaining the "truth". As the main body, human beings apply these laws to the cause of creating human happiness and achieve the expected purpose, which produces goodness. Beauty comes into being when truth and goodness reach a consistent and harmonious relationship, that is, the so-called unified relationship between "purposiveness" and "regularity". A fruit grower living in a scenic mountain area, walking around his fruitful orchard, can not help but smile, while dismissing the surrounding beauty. That's because the orchard is his actual work, which has a close relationship with him, and it contains his planning, sweat, hard work, hope and happiness. The surrounding scenery may alienate him, so he appreciates his "work" more. A child walked by the lake, picked up a stone and threw it at the water. He looked forward to his "work", and sure enough, the lake rippled. He smiled when he saw his masterpiece. This is aesthetics. This is the result of children's practical activities. Human practice is undoubtedly an important source of beauty.

Third, the root of beauty is closely related to the activities of all psychological mechanisms as the subject. These psychological mechanisms include attention, perception, memory, representation, association, emotion, imagination and understanding. Only when all these psychological mechanisms are in an extremely active state can his objects, including people, things, scenes, things and the forms of expressing them, be regarded as a whole relationship structure and become the subject's experience object. Moreover, the subject's mind should be in an unimpeded state of freedom at this moment, and the real psychological experience can be realized. The action of the subject is the motive force of aesthetics. If the subject has no "aesthetic" desire and requirement, and has no positive psychological function, the root of beauty will be absent. For example, the first layer of literary aesthetics is the subjective psychological layer. For example, we read the ancient poem "Step out of the East Gate of the City" in the Han Dynasty: "Step out of the East Gate of the City and look at the hometown road. The old friend left here in the snowstorm the day before yesterday. ..... "First of all, we should have the desire and demand for appreciation, and then we should devote ourselves wholeheartedly, mobilize our emotions, imagination and understanding, and concentrate on the picture and poetry provided by this poem. We seem to feel that in the snowstorm the day before yesterday, we saw our friends off at the east gate of the city, watching their backs go away and get smaller and smaller, and finally there was only an empty road left, which unconsciously reminded us of our homesickness. Without the full active state of the subject's wishes, demands, attitudes and various psychological mechanisms, it is impossible to establish a poetic relationship with the pictures provided by poetry, and it is difficult to form the source of beauty.

Fourthly, on the subject level, the presentation of beauty is closely related to the aesthetic ability of the subject. To appreciate music, you must have a sense of music. If you don't have music ears, no matter how good the music is, it doesn't mean anything to him. Similarly, appreciation of painting should also have a vision of painting. The aesthetic ability of the subject is also one of the sources of beauty.

Second, the object level.

The root of beauty is not only the condition and relationship of the subject, but also the condition and relationship of the object. Aesthetic "beauty" refers to the real things or things presented in literary and artistic works, and is the object of "examination" The objects are very complicated, not only beautiful, but also ugly, as well as lofty, humble, sad, happy and so on. Therefore, aesthetics includes not only aesthetics (beautiful beauty), but also ugliness, loftiness, humbleness, sadness and joy, which are collectively called aesthetics.

For beauty, the most important feature of the objective layer is not the superficial beauty factors such as harmony, order, symmetry, balance, harmony, rhythm, diversity and unity, patchwork and golden section, but the overall structural relationship of the object. The overall structural relationship of objective objects is extremely important. Modern psychology and philosophy put forward the concept of gestalt, that is, the concept of overall relationship, which is translated into gestalt in Chinese. Ellen Firth, an Austrian, is a pioneer of gestalt psychology. He first put forward the concept of "gestalt". The object of beauty is closely related to the concept of gestalt. What is the concept of Gestalt? For example, Allen Faith said: I play a familiar tune, which consists of six 39 tones, but I use a familiar tune, which consists of six tones, but I use six tones to make changes in one way or another (such as tone sandhi, changing from C to B, or playing with other instruments, or greatly speeding up or slowing down the rhythm, etc.). In spite of this change, you still know this piece of music. There must be something more here than the sum of six tones, that is, the seventh thing, the gestalt nature of the original six tones. It is this seventh factor that enables us to know the modulation. [5] Allan Firth called the quality of gestalt "the seventh factor", which was obviously influenced by the elemental theory. In fact, "gestalt quality" is not the "seventh element", or it does not exist as an element. It is the overall structural relationship of six tones, or the gestalt structural relationship as a whole. For example, "565-3565-" in the first sentence of the song "Sea, Hometown" is not the sum of individual notes, but a kind of "meaning" and "implication" conveyed by the overall structural relationship. The objective object should have the structural relationship nature of gestalt. Whether there is a gestalt or not depends largely on whether it can form the root of beauty.

In my opinion, the characteristics of the object that constitutes the root of beauty do not exist in individual factors, but in the unique structural relationship formed by all factors. We assume that the first ones are "King's Landing" and "Commander-in-Chief". Literature as art can only become literature if it is used. Without it, literature becomes a pile of people, things, scenery and things. In this way, the artistic beauty of literature is just a gestalt of literature. My point is that the literary gestalt is closest to the words "implication", "unexpected rhyme", "scenery outside the scene" and "image outside the image" in our ancient poetry theory. The difference is that westerners didn't put forward this idea until 18~ 19 century, while Chinese ancients put forward this theory in the Tang Dynasty in the 7th ~ 8th century. Take a poem as an example. There are two poems in the article "Walking on the Good Morning", "The cock crows in Maodian and the frost on Banqiao is abandoned". This is a real poem, which has always been very popular. These two songs * * * describe six scenes, such as cock crow, Maodian, the moon, people's travel notes, Banqiao and first frost. Curiously, this poem consists of only six scenes, and there are no connected words. If we look at these six scenes in isolation, although there are words, images and intentions, they are meaningless. No one can regard them as poems. However, when these six scenes are integrated into the overall organizational structure of this poem through the poet's gestalt, we create a meaning that does not belong to these six individual scenes but belongs to the overall structure. This is the indescribable charm of the "wild land", which is already a holistic thing that is "greater than the sum of parts" and a "new quality". Well-known poems such as "a dead vine is a faint crow" and "a thin horse on the west wind ancient road" can all be explained in this way. Any real poem, novel, essay and script has this "gestalt quality", showing the characteristics of literary beauty, distinguishing art from non-art and literature from non-literature. Let me talk about another poem. Let's listen to the poem "cock crows, cock fights". What do you think of this poem? This is Du Fu's sentence, which comes from three famous poems of Qiangzhai. It is about his warm feelings and sincere praise for a quiet life after he went back to his hometown to see his long-lost wife and children after the An Shi Rebellion. Here Du Fu's poems exist as a whole relationship, not as an isolated sentence. Whether a poem is beautiful and meaningful does not depend on whether individual words are gorgeous, round and refined, such as "the monk knocks at the door on the moon". When it comes to Jia Dao's sentence "Birds lodge in trees by the pool, monks knock on the moon door" ("Li Ning lives in seclusion"), both Wang Fuzhi and Zhu Guangqian have had opinions. Professor Zhu Guangqian's view is that this temple gate was built when the monk himself went out. If he is the only monk in the temple, it will be more realistic to push him when he comes back, so as not to wake all the sleeping birds. I think Zhu Guangqian, as an aesthete, is well aware of the importance of the overall relationship, and his opinions deserve attention. This example can also show that although the gestalt of literature is not a specific factor of literature, it is much more important than the specific factor.

Secondly, the intermediary of historical and cultural accumulation.

The root of beauty still lies in the accumulation of history and culture. As we have pointed out before, beauty is not an isolated existence, it is related to human social practice. In this way, the social practice of predecessors will inevitably infiltrate beauty into the historical and cultural traditions of mankind and the nation. Look at the Great Wall and Terracotta Warriors. For today's people, to discover the beauty of the Great Wall and the Terracotta Warriors, we must also master the historical and cultural traditions. The more you master history and culture, the more beauty you may find. The deeper you understand history and culture, the deeper you will feel about beauty. If a foreigner who knows nothing about the Great Wall in Wan Li, China climbs the Badaling Great Wall with a tour group, he will never find anything more about beauty except admiring the ancient culture of China, the vastness of the Great Wall project and the steep mountains. However, a China scholar who has been studying the history of China for a long time, and a China scholar who specializes in the history and culture of the Great Wall, is extremely enthusiastic about his motherland. If he climbs the Great Wall, the beauty he enjoys is unimaginable to ordinary people. By the same token, a China person who doesn't know much about western history and culture won't feel anything when standing in front of the Louvre and Milo's Venus statue. Because historical and cultural knowledge, as a kind of rationality, penetrated into his perceptual and aesthetic moments. What we feel may not be understandable, but only when we understand it can we feel better. In this sense, we must also see the profound relationship between beauty and historical and cultural traditions. In fact, so is literature. China's literature comes from a specific cultural context. Without understanding the cultural context of China or China, it is difficult to appreciate the beauty of China's literature.

If the above four levels constitute a complete poetic relationship, then the root of beauty comes into being. If the complete relationship of the above four levels is missing, or some relationships are incompatible and poetic, then the root of beauty cannot be produced, and then beauty cannot be presented.

Some people may ask, can't the intermediary layer you mentioned, such as the subject's mentality, the specific time and space where the subject is located, and the accumulation of his cultural and historical knowledge, also be classified as the subject level? In this way, isn't that the theory that Mr. Zhu Guangqian's beauty is the unity of subjective and objective? We should understand this problem in this way. The subject level and object level mentioned above are based on the general perspective of "people", while the intermediary level mentioned later is not about ordinary people, but about an aesthetic individual. Therefore, when we talk about aesthetic relations, especially specific aesthetic situations, we must consider the intermediary layer. Without the middle layer, the relationship cannot be formed.

Conclusion: Aesthetics is a festival of life. The root of beauty lies in the systematic poetic relationship. Beauty is that the psychological subject observes, feels and judges the beauty of the object in a positive state and under the infiltration conditions of specific mood, time and space and history and culture. The presentation process of beauty is the creation process of multi-layer relationship. As a festival of life, aesthetics should be cherished by each of us.

References:

[1] Department of Aesthetics, Department of Philosophy, Peking University. On beauty and aesthetic feeling by western aestheticians [M] Beijing: Commercial Press,1980.128 ~130.

[2] Ning He. Interpretation of Huainan subset (II) [M]. Beijing: Zhonghua Book Company, 1998.

[3] Liu Zongyuan set (3) [M]? Beijing: Zhonghua Book Company, 1979.730.

[4] Sartre's literary essays [M]. Shi et al. Hefei: Anhui Literature and Art Publishing House, 1998.94.

[5][ America] Du? Schultz? History of modern psychology [M]. Beijing: People's Education Press, 198 1.287.