However, the aesthetic characteristics of the unity of finiteness and infinity, certainty and uncertainty of literary language have been explained more concretely than before. Liu Xie also saw that the content of poetry is not the classic of Tao and reason, but the emotion associated with reason, ambition and qi, and its form is not the ordinary word, but the combination of word and "image" and "text". The relationship between them is: "What people love, what they have learned" Obedience is a rational latitude. It will become a weft after correction, and then it will be smooth. "They complement each other and form a perfect art that combines quality and literature. And this unity is achieved through "thinking" in the creative process. " "Shensi" is Liu Xie's further exploration of thinking in images after prose. Liu Xie saw that it was essentially a kind of free imagination activity, and made a vivid description of it, saying: "The thinking of literature is also far away, so it is silent and thoughtful, thinking for thousands of years;" "Sad and moved, see through Wan Li. Between chanting, breathing the sound of pearls and jade; Before, the color of the storm. " In his view, although "Shensi" is dominated by acceptance, it is not defined by concepts like abstract logical thinking, but "Shensi lies in the mind and ambition is the key", which is combined with things, images and words and always moves in perceptual images, accompanied by the experience and free expression of the subject's emotions. The book says, "Philip Burkart. Wantu is actually cute, the rules are empty, and the lettering is invisible; Climbing mountains is very emotional, and watching the sea is also very emotional. How much I have, I will go hand in hand with the wind and cloud. " It is believed that language and literature not only reproduce the physical appearance of the object, but also express the emotion, reason, ambition and spirit of the subject. Therefore, Liu Xie focuses on the classification of literary styles from the perspective of "style", that is, the so-called "different talents and different feelings, complicated style". Liu Xie also attached great importance to the form of literature. From the perspective of language and literature, this paper summarizes the laws of formal beauty such as balance, symmetry and unity of change. Liu Xianyin's Calligraphy
Confucian doctrine of the mean is the keynote that runs through the book Wen Xin Diao Long. The main aesthetic categories put forward by Liu Xie are all in pairs. Although the contradictory side is dominant, he emphasizes both sides, not one side. In this paper, we put forward the principle of "only compromise", which is observed in the discussion of Tao and Wen, emotion and mining, truth and strangeness, China and reality, emotion and ambition, wind and bone, concealment and beauty, and embodies the classical aesthetic ideal of harmonious unity of various artistic factors. Liu Xie especially emphasized the masculine beauty associated with Confucianism, showing a tendency to try to correct the style of writing. His exposition on "the character of wind" embodies this point and has an important influence on later generations. Although Wen Xin Diao Long takes Confucianism as its core and is influenced by Taoism and Buddhism, it is Confucianism that constitutes its literary thought program and core. It does not deny the authenticity of the existence of the material world, but believes that there is an innate "Tao" or "God" outside the objective real world. This "Tao" or "God" is the intangible and final basis that determines all changes in the objective world. Liu Xie believes that "the original Tao is based on the use of rules and regulations, and the study of spiritual principles" ("the original Tao") is the fundamental principle for saints to write classics. "Shinto" language "Hey? Opinion? Xun: "The saints use Shinto, and the world is smooth. Of course, the supernatural and personified "God" and its acting emperor in reality are regarded as the supreme authority. According to this point of view, Wen Xin Diao Long not only further developed Xunzi's thoughts of "the original way", "the classics" and "seeking the saints" since Yang Xiong, but also penetrated into all important aspects of Wen Xin Diao Long, which became the fundamental basis for his argument, and stained his theory with a layer of Confucian classics and brought many limitations. For example, he thinks that all kinds of articles are classic "branches". At that time, there were practical articles on various topics, but the emerging novels were ignored. However, when discussing the specific literary creation activities, Wen Xin Diao Long abandoned the abstract preaching of scholars and showed a simple materialistic literary view. Moreover, he put forward incisive and original opinions on a series of problems such as literary creation and criticism, the characteristics and laws of literature, and was full of originality. Therefore, it occupies a very important position in the history of China's literary theory criticism.
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