Paper Keywords Aesthetic Elements of Chinese Teachers' Textbooks

Aesthetic education plays a vital role in the formation of middle school students' humanistic quality. To cultivate students' correct aesthetic appreciation, Chinese teachers must grasp the aesthetic elements in middle school Chinese textbooks. This paper holds that from the artistic style, the aesthetic elements in middle school Chinese textbooks include bold beauty, symmetrical beauty, sad beauty, image beauty, soft beauty, foil beauty and fierce beauty.

There is no lack of beauty around us, but a lack of discovery. High-level and high-quality teachers are the basic guarantee for comprehensively promoting quality education and one of the basic conditions for improving students' aesthetic ability. As the implementer and subject of education, teachers should be good at guiding students to discover and feel beauty. This requires teachers to have certain aesthetic knowledge, run through the education of beauty from time to time in the teaching process, give full play to their intelligence, make full use of their personality strength, influence students, infect students, and cultivate students' beautiful ideals, beautiful behaviors and everything.

First of all, the beauty of boldness

Bold, that is, vigorous and powerful, magnificent. [Song] Yan Yu's Cang Shi Hua Bian: "There are nine kinds of poems: high, ancient, deep, far, long, healthy, elegant and sad." It can be seen that vigorous beauty has always been one of the aesthetic characteristics of literary works.

The beauty of "vigor" is a whole beauty, not a local beauty. As Laozi said, "The elephant is invisible when it is loud." Magnificent poetry and painting, like a group of vitality running freely, are integrated and inseparable, as Yan Yu said: "The weather is chaotic and it is impossible to extract words." For example, Wang Wei's To the Frontier fortress, in which "the desert is lonely and the long river sets the yen", describes the strange and magnificent scenery outside the Great Wall after entering the frontier fortress. The picture is open and the artistic conception is bold, which is called "the wonders of the ages" by his close friend Wang Guowei. The frontier desert is boundless, so the word "big" is used to highlight the roughness of the desert. In the vast desert, a wisp of solitary smoke on the beacon tower goes straight into the sky; The long river is like a belt, and the setting sun is extremely round. A word "solitary" describes the monotony of the landscape, and a word "straight" behind it shows its strength and perseverance. There are no mountains and trees in the desert, and the Yellow River flowing through it cannot express the poet's feelings unless a word "long" is used. The vastness of the desert, the straightness of the smoke, the length of the river and the circle of the sun are integrated into one, creating a magnificence that readers can't refuse and indulge.

Second, the beauty of symmetry.

When people discover the phenomena and laws of harmonious beauty between the universe and nature, they are always excited and admire "Heaven worships beauty". When you see beautiful works of art, you will feel happy. And this happy mood is often caused by symmetry.

Symmetry is an important aesthetic element and can be divided into structural symmetry, functional symmetry and decorative symmetry. For animals, structural symmetry is the need of survival and the result of evolution. In order to survive, the left and right structures must be symmetrical in order to run fast and fly fast. Functional symmetry is the function superimposed on the basis of structural symmetry, such as the three-dimensional sense and distance sense of left and right eye images, so that it can accurately capture food; The sound of the left and right ears is superimposed, so as to avoid the invading enemy.

Symmetry can be divided into virtual and real, and real symmetry can be discussed by physical symmetry operation: the same part of an object repeats regularly; Virtual symmetry is conceptual, such as left hand and right hand.

Third, the beauty of sadness.

The extreme of sadness is the works of Wei and Jin Dynasties. An important aesthetic feature of "Jian 'an style" is generosity and sadness, and one of the characteristics of this historical period is frequent regime change. From the Wei and Jin Dynasties to the Southern and Northern Dynasties, emperors and dynasties were constantly changing, and the upper classes of society were intrigued, and the political struggle was extremely cruel. Gentlemen and dignitaries are always involved in the upper political vortex, and celebrities are sent to the execution ground in batches. Yanhe, Ji Kang, Er Lu, Zhang Hua, Pan Yue, Guo Pu, Liu Kun, Xie Lingyun, Ye Fan ... these first-rate famous poets, writers and philosophers were all killed. It should be said that this is a rather amazing list, and these people are only representatives, far from complete. "Guangling is scattered in this world" and "Huating crane can't be heard again", leaving behind such a heartbreaking hearsay story. These nobles often live in such a prosperous and full of worries and are in an involuntary political struggle. "Always afraid of the Internet, once the worries and disasters merge" (making peace) and "worrying about the country and the people, often whistling and singing" (Ji Kang) are the feelings often revealed in their works. It is precisely because of the cruel political cleansing and the destruction of personal wealth that their lives lament endless worries and deep sadness, thus greatly increasing their weight. Their "worry about life" is also more serious because of this realistic political content. Therefore, whether it is to adapt to the environment, save lives, or to seek the spirit of mountains and rivers and rest in peace, emotions are actually in an extremely contradictory and complicated state because of the fear and terror of life. Although the exterior decoration looks down on the world, it is free and easy, but the heart is more strongly attached to life, which is very painful. This constitutes the tragic side of Wei and Jin works. Xiang Embroidery's Poem of Nostalgia ended at the beginning, but it expressed the pain and sorrow of cruel political persecution in a tortuous and strong way, and probably never had the sadness and sadness of Ruan Ji.

Influenced by it, the works in Tang and Song Dynasties even linked sadness with the fate of home country.

Fourth, the beauty of images.

The so-called grass and trees are always related to love. In the selection of middle school Chinese textbooks, birds, insects, fish and love affairs may all become carriers to express some thoughts or feelings. This carrier is the so-called image. As an aesthetic form, image usually refers to a method to express or imply rich and profound aesthetic artistic conception based on a unique and complete image system. Therefore, its basic characteristics should be: first, it has a unique and complete image system, not just a local or even isolated detail image; Secondly, it should be able to express or imply a profound and rich aesthetic mood beyond this image system. In other words, it can't just be a simple analogy and one-way metaphor of an image, but should have a vague philosophical connotation, which should be a deep integration of concreteness and abstraction.

The beauty of image lies in that it carries feelings and thoughts beyond itself, but it is not so straightforward to express them.

The beauty of the image lies in that it provides different space for each reader. The so-called "a thousand readers have a thousand Hamlets". Different readers may have different interpretations of the same image in their works due to different experiences, accomplishments and cultural backgrounds. So this image is getting better and better.

References:

Guo Shaoyu. Textual research on canglang's poems. People's Literature Publishing House, 1983.

[2] Cai Yuanpei. Selected Works of Cai Yuanpei's Aesthetics. Peking University Publishing House, 1983.

[3] Zhu Liyuan. Contemporary Western Literary Theory. China normal university press 1997 edition.

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