From ancient Greece and Rome to Renaissance, from pre-Qin and Han Dynasties to modern Wang Guowei, Chinese and western ideological aesthetics are still in the form of "pre-aesthetics". The main characteristics of aesthetic thought at this stage are: some basic questions, concepts and categories about aesthetics are put forward preliminarily and piecemeal, and some incomplete answers are given; Thinking about beauty is often directly related to people's philosophical and ethical grasp of social life, and "beauty" and "goodness" are often confused. That is to say, when people think about beauty, including the essence of beauty and the social function of art, they do not completely get rid of the form of intuitive experience, nor do they strictly get rid of the thinking of philosophy, morality, religion and art theory, nor do they form their own unique object range and make independent and systematic answers to questions.
Specifically, in the pre-Qin and Han Dynasties, China ancient Tessa mainly paid attention to people's emotional stance and discussed various issues of human aesthetics from the philosophical and ethical levels. At that time, hundred schools of thought, such as Confucianism, Taoism, Legalism and Mohism, all contained many aesthetic thoughts that are still valuable today. For example, in ancient books such as Zuozhuan, Guoyu and Shangshu, there are ideas of beauty such as "five flavors", "five colors" and "five tones", as well as "harmlessness is beauty" and "harmony is beauty", among which Confucianism emphasizes the social function of beauty and art; Confucius' poetic theory of "Xing, Guan, Qun and Complain", the principle of "Neutralization", the concept of "perfection" of "being happy without lewdness" and "being sad without hurting", and Mencius' proposition of "fullness is beauty" all reflect the distinctive social and ethical tendency of Confucian aesthetic thought. Taoism emphasizes the transcendence and natural simplicity of art and aesthetics from the attitude of "carefree" and "inaction". Laozi's view on the interdependence of beauty and goodness, and Zhuangzi's aesthetic realm theory of "emptiness and quietness", "materialization" and "things can swim with their own heart" have all had an important influence on the history of China's aesthetic thought.
Before Wei-Jin Dynasty and modern Wang Guowei, China's aesthetic thought was further developed and enriched. People have turned their attention to the fields of poetry, painting, music, dance, opera, calligraphy and craft, and put forward China's unique aesthetic categories, such as imagery, verve and artistic conception, which make aesthetic thinking more refined. Especially, most of the aesthetic thinkers at that time were poets, painters or calligraphers at the same time, so their aesthetic thinking was often directly related to the actual artistic experience, which effectively promoted the aesthetic thinking from the issue of "beauty" and "goodness" to the issue of aesthetic and artistic characteristics, and deepened the combination of intuitive perception form and classical rational spirit in China's ancient aesthetic thought.
The origin of western aesthetics is mainly based on the pursuit of the essence of things and the efforts to unify various artistic definitions. Ancient Greek scholars made a lot of speculations about "what is beauty" and "how beautiful things come into being". For example, Pythagoras regards the harmonious relationship of quantity as the basis of artistic (musical) beauty and advocates that beauty is "harmony and proportion". Plato and Aristotle, in particular, discussed the essence of beauty to some extent. For example, Plato put forward a very important opinion in his series of dialogues, that is, the scope of beauty is very wide, and the body, mind, behavior and system are all beautiful. However, when discussing the essence of beauty, we should not pursue what is "beauty", but should explore the essence that leads to all beauty ("beauty itself"). In his Poetics and other works, Aristotle deeply analyzed the artistic characteristics and roots of tragedy, put forward the famous theory of imitation and purification, and combined the idea that "beauty is harmony" with people's understanding of biological organisms at that time, thus becoming the first aesthetician with his own independent theoretical system in the history of western aesthetics.
In the Middle Ages, under the guidance of Christian theology, aesthetics completely attributed the glory of aesthetics to God at the expense of suppressing the richness of human nature. "The Christian God has replaced the supreme goodness and rationality. God is wisdom, kindness and the highest beauty, and is the source of natural beauty higher than the creator's meditation ladder". This aesthetic ideal centered on God was violently impacted by the people-oriented Renaissance. Since then, under the impetus of French classicism aesthetics, British empiricism aesthetics, Diderot's "beauty lies in relationship" and Lessing's "unity of poetry and painting", western aesthetics has become increasingly rich, laying the necessary theoretical foundation for the formal establishment of aesthetics.
In a word, emphasizing the unity of truth, goodness and beauty, especially the unity of beauty and goodness, is a basically consistent ideological tendency in the form of "pre-aesthetics" between China and the West. Aristotle believes that "beauty is a kind of goodness, and it causes pleasure precisely because it is good". Confucius said, "Quality is better than literature, and literature is better than quality." Gentle and honest, then a gentleman "; (3) Mencius said that "wealth is beauty, wealth is great, greatness is holiness, and holiness is god"; ④ Xunzi's beauty ontology of "quintessence of the country" and "water jade is better than virtue", which emphasizes the consistency and harmony between beauty and goodness. This shows that in the early development of human thought, the proposition and discussion of aesthetic problems are not only closely related to the politics, ethics and life ideals of the society at that time, but also an important part of the whole early human thought.
(B) the establishment and maturity of aesthetics
At this stage, the main feature of aesthetic development is that "aesthetics" as an independent theoretical discipline has been formally established and matured in German classical aesthetics, and the systematic and morphological theoretical construction has been completed.
1735, the German philosopher A.G.Baumgarten put forward the research object of the philosophy of poetry for the first time in "Reflections on the Philosophy of Poetry", and called the philosophy of this kind of poetry "sensibility" with the word "Estestik" in Greek (German for sthetik, English for aesthetics). It is believed that poetry, as a "perfect perceptual speech" (that is, the cognition and expression of "perfect" perceptual representation), is a "sensible thing" and the object of poetry philosophy or poetry art, "the philosophical investigation of poetry is the science that guides perceptual speech to perfection" and poetry art is "the science about the perfect expression of perceptual representation".
However, although Baum Tong Jia called the philosophy of poetry "sensibility" at this time, he didn't formally name aesthetics after it. It was not until 1750 that he published a Latin monograph devoted to perceptual knowledge (namely, the first volume of Aesthetics), entitled "sthetik", that aesthetics was born as an independent discipline, and Baum Tong Jia was praised as "the father of aesthetics" by later generations.
From Baum Tong Jia, we found that, firstly, aesthetics was originally put forward as an epistemology opposite to logic. Baum Tong Jia pointed out that human psychology is divided into three layers: knowledge, emotion and meaning. Logic studies knowledge or rational knowledge, and ethics studies will. At present, there is no corresponding science to study human emotions (chaotic perceptual knowledge), so a new science needs to be established to make up for this loophole. This is the meaning of his opening statement in "Aesthetics is the Science of Perceptual Cognition", thus preliminarily defining the object and scope of aesthetics. On this basis, Baum Tong Jia constructed an aesthetic framework including theoretical aesthetics and practical aesthetics. The former includes enlightenment (general rules about things and thinking), methodology (general rules about well-organized arrangements) and semantics (general rules about the means of expression of things that are thought and arranged in a beautiful way), involving the general rules about the theme, thought, structure and language expression of poetry or art, with the central goal of realizing beauty-practical aesthetics to study how to apply the general rules in individual cases. Although this system framework is basically artistic, it has important enlightenment for later aesthetic research. Secondly, aesthetics studies the part of human cognition with aesthetic attributes. Baum Tong Jia believes that perceptual knowledge includes three aspects: first, the natural endowment of thinking in a beautiful way in the mind, that is, people's low-level cognitive ability and corresponding endowment (sensibility, fantasy, memory, deliberation, interest, creative ability, foresight and premonition, ability to express appearances, etc.) and high-level cognitive ability (such as intellectuality and rationality) and natural aesthetic temperament (such as emotional ability); The second is aesthetic training, that is, the cultivation of aesthetic ability; The third is aesthetic theory and aesthetic guidance. The so-called "perfection of perceptual knowledge" and the realization of beauty are a comprehensive activity process with low-level cognitive ability as the core and intertwined with various psychological factors, aesthetic concepts and aesthetic skills. In this way, aesthetics (perceptual science) proposed as epistemology is also a science that studies art and beauty. The purpose of aesthetics is the perfection of perceptual knowledge itself, and this perfection is beauty. As the result of perceptual knowledge, beauty is the perfection of "the sum of appearances", poetry, "the art of beauty" and "the art of freedom".
As the successor of mainland rationalism, Baum Tong Jia's main contribution lies in finding an appropriate name for aesthetics from the division of human psychological structure, so that human aesthetic thinking finally has its own clear object after long-term development. While following the division of perceptual knowledge and rational knowledge in traditional philosophy, he paid due attention to perceptual knowledge, emphasized the independent cognitive value of aesthetic research, inspired his fellow villagers Kant, Schelling, Schiller, Hegel and others, and finally constructed a German classical aesthetics with rich content and complete system at a higher level.
Based on Baum Tong Jia's aesthetics, Kant and Hegel devoted themselves to solving the problem of harmonious and free unity of sensibility and rationality, and developed their own theoretical systems, making unique contributions to the discipline construction and development of aesthetics. Kant's aesthetics focuses on people's perceptual cognitive ability and subjective psychological function, and profoundly puts forward the problem of "aesthetic judgment", which not only gives aesthetic judgment (that is, aesthetic psychological mechanism) a combined and orderly expression, but also makes a metaphysical exploration of beauty (emotional representation) in the process of analyzing aesthetic psychological mechanism, which promotes art metaphysics, thus constructing an aesthetic system of transcendental philosophy with aesthetic judgment as the core. In this way, in Kant's view, aesthetics is no longer an empty theoretical framework, but a rigorous system with rich content, clear objects and a series of conceptual categories.
Hegel focuses on the product of perceptual cognitive ability, and its counterparts-poetry (art) and art history. In his view, beauty is the perceptual expression of ideas, and art, as an absolute concept, is the perceptual image expression of the subject's spiritual concept and the highest form of beauty. Hegel took the idea or ideal of beauty as the starting point and center, and the logic of the idea of beauty and the perceptual presentation of history (that is, art types and schools) as the basic objects and contents, and established a huge and rigorous art philosophy (aesthetics) system. Its greatest contribution is to endow aesthetics with logic and history, and lead aesthetics from paying attention to psychological research to paying attention to historical research.
(C) the road of modern aesthetics
/kloc-After the middle of the 0/9th century, with the end of German classical philosophy, the birth of Marxist aesthetics and the rise of modern western aesthetics, aesthetics has entered a new stage of development in the West.
Ma and En's aesthetic contribution is not a concrete analysis of aesthetic and artistic phenomena, but a profound exposition of the universal law of human aesthetics from the perspective of philosophical anthropology. In particular, their exposition of social existence and social consciousness, economic base and superstructure, material production and spiritual production provides new ideas and methods for answering aesthetic questions from the perspective of social history. Marx himself intended to write an aesthetic monograph. It is said that he wrote "Aesthetics" in the New American Encyclopedia. However, Ma and En's aesthetic thoughts are mainly scattered in many of their other works. The Outline of Feuerbach, Criticism of Political Economy, Das Kapital, German Ideology and some letters on literary issues all contain wonderful aesthetic judgments. 1844 Economic and Philosophical Manuscripts fully embodies the essence of Marxist aesthetics, such as the law of beauty, the humanization of nature, alienated labor, and the creation and essence of beauty. Marx put forward that "labor creates beauty" and "man also builds according to the law of beauty", affirming that beauty comes from the material production activities of human beings to transform nature, which provides a certain theoretical basis for exploring the root and essence of beauty. As for Ma and En's methods of analyzing works and artistic phenomena from the perspective of ideological theory when commenting on La Salle's drama "Flantz von Bauhinia Root" and Marx's discussion on the eternal charm of ancient Greek mythology, it also fully embodies the distinctive ideological characteristics of Marxist aesthetics.
Modern western aesthetics coexisting with Marxist aesthetics generally embodies the rebellion against traditional metaphysical philosophy and aesthetics represented by Hegel, and the transformation of humanism and scientism constitutes the main line of the development of modern western aesthetics. Its main features can be summarized as follows:
First, there are many ideological theories and theoretical schools in modern western aesthetics. Among them, modern humanistic aesthetics, led by Schopenhauer and Nietzsche's voluntarism, Croce's expressionism aesthetics, Bergson's intuitionism aesthetics, Ingarden's and Mikel Dufrenne's phenomenology aesthetics, Heidegger's and Sartre's existentialism aesthetics are all concentrated manifestations. Modern scientism aesthetics is based on subjective empiricism and logical positivism, which includes naturalism aesthetics represented by Santayana and Thomas Monroe, formalism aesthetics represented by Bell, pragmatism aesthetics represented by Dewey, semantics aesthetics represented by Richards, analytical aesthetics represented by Wittgenstein and others, Gestalt psychological aesthetics represented by arnheim and structuralism aesthetics represented by Levi-Strauss and Barthes. Wait a minute.
Secondly, modern humanistic aesthetics advocates the decisive role of the subject in aesthetic activities, explains the essence of artistic creation and artistic acceptance with irrational factors, and pursues the absolute freedom and transcendence of aesthetics. Both expressionism and intuitionism regard subjective intuition as the central concept of aesthetics. "Empathy", "psychological distance" and various theories of "aesthetic attitude" regard the super-utilitarian aesthetic view of the subject as the essence and decisive factor of aesthetic activities; Existentialism emphasizes the study of subjective imagination function; Psychoanalytic aesthetics regards people's unconscious activities as the source of artistic creation and aesthetics. In this way, the focus of western aesthetic research since ancient Greece has shifted from aesthetic object to aesthetic subject, which embodies modern people's deeper consciousness of discovery, pursuit and exploration of "self"
Thirdly, in 1876, Fechner, the founder of German experimental psychological aesthetics, proposed in Introduction to Aesthetics that aesthetics should proceed from perceptual experience and take the road of induction and experiment. It is on the basis of empiricism and logical positivism that modern scientism aesthetics develops empirical description, theoretical deduction and general generalization of specific aesthetic experience or artistic facts. For example, semantic aesthetics advocates that the discussion of aesthetic judgment should be based on the scientific analysis of words, sentences and meanings of works. Arnheim used Gestalt principle to analyze the relationship between art and visual perception, and revealed the similarity or sameness between objective things and subjective psychological structure, that is, the law of "heterogeneity and isomorphism".
Fourthly, modern western aesthetics has basically divorced from the traditional speculative form, suspended the speculative question about the essence of beauty, and turned to empirical art philosophy, especially aesthetic psychology, seeking to solve specific empirical problems about art and aesthetics. This is particularly prominent in the aesthetics of scientism. Naturalism, pragmatism, semantics, analytical philosophy, semiotics and other aesthetic schools all establish aesthetic psychology, art philosophy, art psychology or generalized art science on the basis of experience description from different angles.
Fifth, modern western aesthetics focuses on aesthetics-art, and attaches importance to the study of the essence, characteristics, laws and composition of art. Except for analytical aesthetics, most aesthetic schools try to explain the ontology of art according to their own positions. A series of topics, such as the relationship between artistic noumenon and the psychological function and activities of the creative subject, the role of irrational factors in artistic creation, and the internal logic and structural relationship of the "text" of artistic works, have been extensively and deeply studied, forming a diversified methodological landscape and greatly expanding the modern vision of aesthetics.
In the modern development of China's aesthetics, the most noteworthy things are: firstly, absorbing and drawing lessons from western aesthetic achievements. At the beginning of the 20th century, Wang Guowei took the lead in introducing the western term "aesthetics" from Japan, explaining China's art with the theories of Kant, Schopenhauer and Nietzsche, and creating the modern aesthetics discipline in China. Under the influence of Kant and Schiller, Cai Yuanpei advocated "replacing religion with aesthetic education" and spread the social influence of aesthetics through the institutionalization of aesthetic education in education. In the 1920s and 1930s, Zhu Guangqian's Talking about Beauty, Tragic Psychology, Literary Psychology and Lu Cheng's Introduction to Aesthetics made full use of the research results of western aesthetics and psychology at that time, and analyzed aesthetic experience and aesthetic objects. Until the end of the 20th century, China's aesthetic research continued the theoretical process of "takenism". It is through the introduction and reference of western aesthetics that China's aesthetic thought has shifted from perceptual experience to more conscious theoretical speculation and modern construction of aesthetics. Secondly, through the mutual reference and comparison of Chinese and Western aesthetic thoughts, modern aestheticians in China have made fruitful attempts and explorations for the modern reconstruction of traditional aesthetics. Zhu Guangqian's On Poetry, Zong Baihua's The Birth of China's Artistic Conception and Qian Zhongshu's On Art have made great contributions to grasping the unique aesthetic realm of China's art and carrying forward China's aesthetic spirit. Thirdly, Marxist aesthetics has been spread and studied in China. In the 1940s, the works of Zhou Yang, Cai Yi and others reflected the efforts of modern China scholars to consciously apply Marxist philosophy (especially its epistemology) to construct China's new aesthetics. Since the founding of People's Republic of China (PRC) in 1949, Marxism, as a social ideology, has produced immeasurable significance to the development of China's aesthetics.
Second, the status quo of aesthetics
Before 1950s, in the process of disintegration of old aesthetics, the work of various schools of modern aesthetics was mainly to find a new theoretical fulcrum for themselves to rebuild the aesthetic system. This reflects the construction intention of modernist culture.
However, after the 1960s, as the western society entered the post-industrial era, the cultural thought of postmodernism turned to anti-depth, anti-centralism and anti-system. As revealed by the American philosopher R.M.Rorty, philosophy, as the arbiter of eternal (ontological) or cognitive (epistemological) problems raised by science, morality, religion and art, has ended in the post-modern process, and it is absurd to stick to the so-called "first principle" and "eternal philosophical problems" in human thought and artistic practice. ⑾ In the field of aesthetics, this post-modern thinking logic is mainly embodied in the post-analytical aesthetics guided by Wittgenstein's thought in the later period, the deconstructive aesthetics represented by J Derrida, the hermeneutic aesthetics represented by H G Gadamer and the western Marxism represented by H Marcuse and T Adorno. While criticizing the deep mode of modernist culture from different angles, they are logical from the absolute theoretical source.
Although humanism and scientism continue to exist in the process of post-modern aesthetics, their interior has undergone drastic changes: on the humanistic route, the transition from "structure" to "deconstruction" fully embodies the post-modern characteristics of aesthetics-structuralism once emphasized the existence of the dominant "structure" behind the text, while deconstruction had to cancel all the "centers" and dissolve all the "structures". Structuralism emphasizes the internal study of works, while hermeneutic aesthetics and reception theory shift their focus to readers and reception process, emphasizing the uncertainty, relativity and polysemy of the meaning of this paper, which shows the uniqueness of aesthetics. On the scientific route, analytical aesthetics once started with language analysis, opposed the discussion of the essence of fixed beauty and moved towards the cancellation of aesthetics. Post-analytical aesthetics pays attention to artistic ontology, replaces cancellation with eclecticism, and moves towards the construction direction of aesthetics.
In addition, within western Marxism, Frankfurt School held high the banner of social criticism and put forward the theory of "anti-art"; Their criticism of the concept of "wholeness" in Lukacs' aesthetics reflects a tendency to oppose the fatalistic understanding of essence and inevitability. On the basis of criticizing and absorbing various theories, contemporary Marxist aestheticians in Britain and America have also pushed Marxist aesthetics to a new "post-modern" stage and enhanced the ideological vitality of Marxist aesthetics in the contemporary era.
In the postmodern cultural landscape, aesthetics has become a fragment without the essence of beauty. Although there are still many problems in this kind of aesthetics (anti-aesthetics) which is completely different from the previous aesthetic form, it helps aesthetics to further combine aesthetic problems with people's pursuit of a reasonable life in a more open cultural space while overcoming the aristocratic attitude and passivity of aesthetics.
Why is aesthetics a humanities subject? What is its specific connotation?
First, aesthetics is different from natural science and social science in research methods and topics.
Natural science relies on scientific rationality to explore the essence behind objective natural phenomena, thus providing sufficient material conditions for human beings to obtain greater happiness in life. Aesthetics focuses on the spiritual world of people who play a leading role in aesthetic activities. However, people's spiritual activities, especially the introspection experience of the soul, are irrational, illogical and uncertain, which cannot be accurately achieved by scientific reason. Therefore, aesthetic research can not only be divorced from perceptual form, but also always retain some fuzziness, experience and ambiguity in interpretation.
Social science pays attention to the analysis, prediction and control of human behavior value through the study of social order, economic laws, laws and regulations, political system, etc. , discusses the restrictive side of civilization to human beings. Aesthetics studies artistic aesthetic activities that cultivate people's temperament and purify people's hearts, as well as various emotional symbols that play a role in interpersonal communication. This paper discusses the relationship between civilization and human spiritual practice and the possibility of human seeking spiritual freedom. For example, in ancient China, the reason why the daughter-in-law was abandoned by her mother-in-law was not opposed by public opinion, because it conformed to the so-called "seven fruits" law. It is the task of social science to explore the origin, content and form of this patriarchal system. The Yuefu folk song Peacock Flying Southeast praises the love between Liu Lanzhi and Jiao Zhongqing, and the aesthetic realm created by the work, in which the specific emotion of pursuing freedom is publicized, which is what aesthetics should study.
Because of the particularity of this research method and theme, it is inevitable that aesthetics belongs to the humanities field.
Secondly, as a humanistic phenomenon, human aesthetic activity itself determines the attribution of aesthetics.
In aesthetic activities, the shape, color, sound and taste of the aesthetic object, as well as the aesthetic subject's grasp of the life characteristics reflected and symbolized by the object form, certainly have their natural laws to be found, but these are only the premise and foundation of people's aesthetic activities, not the decisive factors to distinguish aesthetic activities from non-aesthetic activities. The key to aesthetic activities lies in the cultural-psychological structure of human beings created by humanistic factors (social, ethnic, historical and cultural traditions), which plays an active role in the aesthetic process: in aesthetic activities, the subject does not passively reflect the objective object, but remoulds it with his own emotions and imagination in the process of understanding the object. For example, the phenomenon and level of aesthetic activities in a certain period reflect the historical process of human civilization in a certain period. Another example is that a person who feels sad and a person who is proud of the spring breeze will feel completely different about the world, and the aesthetic images created by the object and "I" in their respective minds are also completely different. In daily life, expressing the enthusiasm of love with red roses, expressing the purity of love with white wedding dresses and symbolizing the eternity of love with diamonds all reflect the role of humanistic factors in people's hearts.
Just as all phenomena in nature should be explained by the existence of nature itself, all phenomena in the field of social history should be explained by social existence, and all phenomena in the field of humanities should be specifically explained by human existence and activities. Without the existence and activities of human beings, the discussion of beauty will come to an absurd conclusion: either beauty exists before human beings or it is endowed in advance-this endowed person is the so-called concept, god, god or free nature independent of human beings and human activities. In fact, no matter the specific aesthetic object, the aesthetic attribute of things or the essence of beauty, it is neither a substantive thing nor a prefabricated thing outside human activities, but the value produced by human creative activities.
Therefore, it is in line with the essence of aesthetic activity as a humanistic phenomenon to locate aesthetics in the humanities.
Thirdly, the pursuit and construction of human value system is the consistent nature of aesthetics and other humanities.
Human aesthetic activity is basically an activity aimed at transcending limited life to obtain ultimate meaning and value. In aesthetic activities, man appears as a complete life, which not only transcends the limited experience world, but also transcends the limited life; Aesthetics makes one-sided and incomplete people become comprehensive and complete people. This is precisely the direction of humanistic activities.
Construction of humanistic care for human value system. Aesthetics takes aesthetic activities as the object, which is to trace back and construct the value system of human aesthetics through aesthetics, a special field of humanistic activities. Only in aesthetics, this kind of aesthetic value is neither the actual value of the object itself nor the natural material characteristics of the object, but is established in the process of spiritual interaction between the aesthetic subject and the object: on the one hand, the aesthetic object itself has spiritual value that can meet people's emotional needs and is presented in its perceptual form; On the other hand, through the understanding of the spiritual value of the object, we can promote the positive spiritual activities of the aesthetic subject, give free play to the spiritual creativity of the subject, and enter the realm of freedom. In this sense, we say that aesthetic value is the spiritual connection between subject and object and the result formed through aesthetic activities, which not only includes the object value, but also embodies the subject activity and its related values; It is not only the realization of the value potential of the object, but also the proof of the subject's spiritual ability and desire. We compare the value of running horse written by Xu Beihong with that of a real horse, not the economic value (material existence form) of their respective textures, but through the emotional image and expression of running horse created by the artist and the creative spirit embodied by the artist, to confirm people's own emotions and life spirit and obtain an aesthetic value that touches the soul.
Since it is value, it needs a valuable measure. What is this scale? Both China and the West have cultural traditions of "man is the yardstick of all things" and "only man is the spirit of all things". The yardstick of aesthetic value must reflect the purposeful requirements of human mind at the psychological and social and historical levels, which are created by natural environment, social life and people's conscious awareness of them. In aesthetic activities, the subject consciously uses aesthetic standards to measure the aesthetic value of the object in an instant, and then produces certain judgments.
The deep concern for human value shows that aesthetics is as theoretical as other humanities.
Generally speaking, aesthetics is a humanistic discipline that takes human aesthetics as its own special field, takes aesthetic activities as the specific research object, and traces and constructs the human aesthetic value system by exploring the spiritual world of people who play a leading role in aesthetic activities.