What is the aesthetic ideal? How is the aesthetic ideal formed? What's the point? Please talk about your understanding and experience in real life.

Aesthetic ideal: Aesthetic ideal is an ideal at first, but it is different from the concept of general ideal. It is the concept of a good life and a good person formed after people have certain aesthetic experience and habits. It is formed on the basis of social practice under certain historical conditions, and develops and changes with the development of society.

It refers to the highest state of beauty that people yearn for and pursue. It is produced on the basis of aesthetic experience and is a high generalization of this experience. Aesthetic ideal comes from social practice, and all human social activities, in a certain sense, are the process of constantly understanding reality, generating ideals and realizing them. People's aesthetic ideal is produced in this process. As the crystallization and sublimation of aesthetic experience, aesthetic ideal is different from general social ideals and concepts. It has empirical image characteristics and can be concealed or replaced by illogical concepts. However, in order to fully express the aesthetic ideal, and make it "materialized" and become something acceptable to anyone, it can only be accomplished by the art of reflecting reality through the prism of aesthetic ideal. The reflection of art works on reality is a kind of cognition based on aesthetic ideal, so it is higher, more concentrated and more typical than the beauty of reality. The artist's aesthetic ideal generally determines the tendency, artistic method, content and form of artistic works.

Aesthetic ideal is relative and changeable. It is formed on the basis of social practice under certain historical conditions and changes with the development of society.

Aesthetic ideal shows not only the intuitive interest of individuals, but also the practice of aesthetic relationship between the whole social group and social class, so the experience of aesthetic perception and experience it summarizes is deeper, more conscious and wider than aesthetic interest, and it clearly shows the historical and rational requirements of a certain era and class. This makes the aesthetic ideal closely related to certain world outlook, social system and realistic requirements. It is produced and developed under the influence of various social factors, and is ultimately determined by certain social and material living conditions.

In class society, there are obvious differences in aesthetic ideals. Every era and class has its own aesthetic ideal, thus forming the aesthetic taste and fashion of a certain era. Aesthetic ideal also has historical inheritance and the same sex. The aesthetic ideal of each era is produced from the long historical development of human aesthetic consciousness, and there are traces of history. Due to the historical formation of a nation's life, there are significant differences in the aesthetic ideals of all ethnic groups, forming a distinctive national style and characteristics that are different from other ethnic groups. But at the same time, the aesthetic ideals of all ethnic groups inevitably have the objective requirements of * * * and the contents of all mankind. Aesthetic ideal permeates the sense of beauty and dominates the aesthetic taste, fashion and trend of a nation, a certain era and a certain class.

Aesthetic ideal unifies the ideal and reality, and the purpose and means to realize the ideal, which is a powerful spiritual driving force for human practical activities. It can be used to measure and evaluate beauty and ugliness, truth and falsehood, good and evil in life and art, guide people to face up to and expose contradictions in reality, and inspire people to fight for a better future without fear of difficulties.

On aesthetics

Www.8dou.net cold grass.

This paper aims to talk about literary aesthetics. Before that, I want to talk about imagination and literary imagination.

Imagination and reality are always a contradiction. People will imagine what is not in reality (or what is not in personal real life) to make up for the lack of reality. Give a simple example. I am poor and dream of getting rich (not a joke, but a fact). So I often indulge in all kinds of happiness brought by money and take it as my direction and motivation. That kind of happiness undoubtedly belongs only to my imagination, not to the fact-if it is a fact, if I am addicted to it, it is not imagination, but aftertaste. Of course, I don't have what others don't have. Getting rich is an imaginary thing for me, and it may be a fact for some people. In an era when individuals accumulate wealth rapidly, there are of course many people who get rich. Out of envy and jealousy, I moved out the reality of others as my own imagination, hoping that I can follow their example and live a rich life. On the other hand, the happiness that money brings to people can only be imagined in my experience, not reality.

Literary imagination also belongs to human imagination, which is an eternal contradiction like reality. The imagination of literature may depend on realistic scenes, but it will not be satisfied with reality. In fact, literary imagination tries to establish an ideal world corresponding to reality by sublating reality. This world belongs to the category of human spirit. So many people who love literature say that literature is their spiritual paradise. Generations of writers have made unremitting efforts to surpass their own reality and built a literary world with their imagination. The essence of the literary world based on literary imagination is the transcendence of reality.

Literary imagination is different from other human imaginations. The biggest difference is the non-utility of literary imagination. Literary imagination transcends utility, has distinct spiritual temperament and is the pure spiritual pursuit of human beings. The general imagination of human beings often has secular desires, while the imagination of literature is similar to what people often say, so Freud called it "daydreaming". Freud's metaphor is not derogatory, but exaggerates the deviation between literature and reality.

Secular people think that literary imagination is unrealistic, but an era without dreams is not a healthy era, even if that dream belongs to fantasy.

The real society is full of utilitarianism. Utilitarianism is not only the motive force of human beings and life, but also the bondage of human freedom. If you take utilitarian content as your goal, it means that you agree that it is your life value. You think that once it is realized, life is meaningful and life is valuable. Choosing utilitarian goals means giving up other values of life, such as freedom. Things in the world, gains and losses complement each other. If you want to pursue fame and fortune, you must sacrifice many meaningful things.

I have an opinion, whether it conforms to the objective facts or not, but I firmly believe that it is very useful to mankind:

The yearning for freedom is the innate nature of human beings. Freedom is the most precious value of human life, so it is also the most precious value of individuals. If you choose utilitarianism, it means that you are willing to accept its bondage to you, and it also means that you have given up more precious freedom. In human vocabulary, freedom and bondage are always antonyms, and their meanings can be found from each other-what is freedom? Freedom is to get rid of bondage; What is bondage? Binding does not set people free. Utilitarianism and freedom can only be one of them in life.

I'd rather my views conform to reality than beautify human beings.

As I said before, literary imagination and reality are a pair of eternal contradictions. The focus of contradiction is ultimately utilitarian or not. Literature is essentially non-utilitarian, while reality is essentially utilitarian. They represent human's desire to transcend reality and secular life respectively. The significance of literature lies in getting rid of the shackles of reality, transcending reality and expressing human's eternal pursuit of freedom. The meanings of a series of words such as "getting rid of the bondage of reality", "surpassing reality" and "pursuing freedom and eternity" are continuous and progressive, in which "getting rid of the bondage of reality" is the premise of "surpassing reality" and "pursuing freedom and eternity" is the motive force and result of "surpassing reality". They are indispensable, and the meaning expressed by peeling off any one of them is incomplete.

Of course, there is also utilitarian literature in the world. Literature impresses people with images and emotions. Therefore, some people take advantage of this and let it serve their own utilitarianism. And literature just has this function, which can meet his needs. Literature can be utilitarian, which is proved by the experience of socialist literature. Socialist literature is divided into classes, and literature can be divided into proletarian literature, bourgeois literature or literature of any other class. Literature is actually pan-human, and it is utilitarian to classify pan-human literature. Literature can be utilitarian, but utilitarianism does not mean literature. Facts have proved that those highly utilitarian literary works, although they may have a certain sensational effect at that time, cannot stand the test of time and cannot exist for a long time in the long history of literature. So far, there is no classic work in human history that is both very utilitarian and has been passed down through the ages. Literature is fundamentally super-utilitarian, and utilitarianism is not real literature.

Literature has many attributes, among which aesthetics is the best embodiment of its super-utility. I say this for two reasons.

First, literature creates beauty. The ultimate goal of literary works must be to bring beautiful enjoyment to readers. Aesthetics is the most basic attribute of literature and has universal significance in literary works. It is impossible for readers to read real literary works without aesthetic feeling, and the original intention of readers to read any literary works is to enjoy beauty in all likelihood.

Secondly, people's aesthetics itself is beyond utility. Aesthetics is a kind of behavior, with subject and object. Aesthetic behavior is the communication between subject and object. Some people say that aesthetics needs distance, and only by keeping a certain distance from the object can the subject enter the aesthetic state. This is a good point. The reason why the aesthetic subject should keep a certain distance from the aesthetic object is to weaken the utilitarian view he may hold on it. Without utilitarian view, he can really enter the aesthetic state. The Manchu banquet described in the novel is different from the Manchu banquet in the hotel. The Manchu banquet in the novel can't satisfy your appetite. To you, they are two different "tastes".

Aesthetics is the content of pure spirit. Human feelings are sublimated through aesthetics. Only when literature has aesthetics can it infect people. The significance of aesthetics in literature cannot be underestimated. I think it is the core content of literature and lays the fundamental significance of literature. The utilitarian content of literary works can't bring readers real aesthetic feelings; However, any real literary work, no matter what the author's original intention is, and no matter how the theorists comment, it is impossible not to bring readers beautiful enjoyment.

There are many definitions of beauty in ancient and modern China and abroad. It is a matter for aestheticians to talk about what beauty is and whether beauty is subjective or objective. Within the scope of literature, it may be more meaningful to understand what is aesthetics than what is beauty, although aesthetics cannot be separated from beauty, and theoretically the latter is more meaningful than the former.

Looking at literature dynamically, it consists of two processes, one is creation and the other is reading. Both the creation process and the reading process of a work are related to the individual, the former is inseparable from the author and the latter is inseparable from the reader, and the individual plays a leading role in it. Literature is a human behavior. Without people, there is no literature. The same is true of aesthetics, which is also the subject behavior of human beings and the subject's feeling of aesthetic objects. Without human beings, there would be no aesthetics. Within the scope of literature, there can be no beauty divorced from aesthetics. The author expresses his aesthetic feelings in his works, and the readers get aesthetic feelings from the contents of the works.

As I said before, if you want to enter the aesthetic state, you must keep a certain distance between the subject and object of aesthetics, which I have a deep understanding of.

I like traveling. Every once in a while, I always go out for a walk, go out of the city, see the mountains and rivers, and see the town customs. I often sit alone on the top of the mountain or by the sea, facing the endless nature, lost in thought, sitting for hours at a time. I have been to many places. Traveling makes me happy. On the way to travel, I can always forget the secular life I am living, treat the people, things and things I see with the eyes of tourists, and regard them as my appreciation objects. It is undoubtedly an aesthetic experience.

Later, an abnormal situation was discovered. Every time I go home and walk out of the station, facing the city where I live, I always feel like a lifetime ago, even if I left yesterday or even this morning; I have lived in that city for many years and I know it all too well. Many of its remote paths are clearly imprinted in my mind-but it happened that at the moment I stepped out of the station, it was both familiar and strange to me, and my heart was full of inexplicable excitement. It will take some time for this feeling to disappear.

A strange feeling, isn't it? Many people may have had similar feelings. I wonder what it is. Finally, I came to the conclusion that when I got off the train, I was still immersed in the mood of traveling, so I took that city as my next tourist spot. It is psychological inertia that has led to the change of my mentality. Traveling, crossing different places and constantly changing my spatial position, I have a spatial distance from that city, so I have lengthened the distance in time. So, when I saw it again, I had the illusion of isolation and people became excited. In fact, it is aesthetics. Aesthetics due to the distance of time, just like our memories of the past, has become an aesthetic content regardless of sadness or joy because of the time gap.

I stayed in the north for nearly a month, and when I came back, my face was dark and covered with dust. Many tourists gathered at the station, holding a sign that said "Accommodation". One of them met me and thought I was new here. He asked me if I wanted a hotel. I'm surprised and happy. I didn't expect a local to become a foreigner only one month after leaving home. It was an episode in my life. It has been many years, but it impressed me deeply. Looking back now, it seems to have its symbolic significance: I just got off the train, and I continued my sightseeing status both in appearance and mentality, keeping a considerable distance from the city.

In order to get aesthetic feeling, the distance between subject and object is best inseparable, too far to see clearly, too close to utility. Of course, distance does not necessarily represent aesthetics. Distance is the premise of aesthetics, not the process, not the result. The aesthetic significance does not come from the distance between subject and object, but from the communication between subject and object. Keep your distance and let the subject better examine the object. Once the subject enters the aesthetic state, the previous sense of distance naturally disappears and eventually blends with the object. Before entering the aesthetic state, the subject and the object must keep a distance, and after entering the aesthetic state, there is no distance between them. The existence of distance makes the aesthetic subject no longer utilitarian to the aesthetic object on the level of "things", while the disappearance of distance makes the aesthetic subject transcend the level of "things" and integrate with the aesthetic object in spirit.

Li Baiyou's two poems, "Sitting on Jingting Mountain, I can never get tired of watching it", describe the aesthetic state of forgetting things and me. There is a spatial distance between the poet and Jingting Mountain. He is not its owner, nor can he bring any material benefits. He looked at it from a distance. After a long time, it seemed to move in his eyes. He stared at each other as long as he did. At this moment, he can't feel the distance between each other. This mountain is this man, this man is this mountain, and the spirit of the mountain is the spirit of man.

Liu Zongyuan wrote in the article "Travel Notes at the Beginning of the Western Mountain Banquet": Frustrated in his career, he was demoted to Yongzhou and tried to relieve his mood by traveling around the mountains; By chance, he saw the western hills. After he climbed to the top of the Western Hills, his vision and mind were suddenly enlightened. The surrounding scenery spread to the horizon at his feet. The western hills stand tall and majestic, and he got lost in them and forgot the time to go home. Liu Zongyuan described his mood at that time like this: "The time of being angry is too long, but it is too short;" Yang Yang swims with the Creator, but he doesn't know how poor he is. " "The mind is condensed and released, blending with everything." At the end of the article, Liu Zongyuan deeply realized that although he had been to many landscapes in the past, they were not real tours. He didn't understand the significance of tourist landscape until he visited the western hills, so he named this article "Start".

Liu Wen's description can be used as an example for any aesthetic work when it comes to aesthetics. The article describes the influence of reality on his mood, and how he got rid of the shadow of reality by visiting the western hills, and finally surpassed reality. His mind, spirit and nature (here nature is the author's aesthetic object) are integrated into one, and in the aesthetic state of selflessness, he achieves the freedom of mind and human beings. This is a spiritual journey. The towering western hills symbolize his spiritual demeanor and personality pursuit.

Confucianism and Taoism are two schools of thought that have the greatest influence on China people, and constitute the spiritual pillar of China people. They originated in the era of a hundred schools of thought contending more than two thousand years ago, and it is impossible for them to have no influence on China literature for more than two thousand years. Confucian outlook on life has entered the WTO, which naturally affects the outlook on literature. The Analects of Confucius? Yang Huo has a saying: "Confucius said: Why can't boys learn poetry? Poetry can be appreciated, observed, grouped and resented. Your father is far away, and you know the names of birds, animals and plants better. " It can be seen that the Confucian literary view has distinct social utility. On the contrary, the Taoist outlook on life was born. It advocates returning to simplicity. Returning to simplicity means transcending secular life, which coincides with human aesthetic attitude.

On the surface, Taoism seems to pay far less attention to literature than Confucianism. Confucian classics, such as The Analects of Confucius, have some sentences or paragraphs that directly talk about literature, but in Taoist classics, such as Laozi or Zhuangzi, the relevant contents rarely appear, even if there are, they are only fragmentary and often negative. Facing the same object, one is eager to interfere with it and let it serve itself, while the other is indifferent, unhurried and tepid, and maintains a close relationship with it. These two attitudes reflect the difference between the two literary views from one side, namely, utilitarianism and non-utilitarianism. If literature itself is regarded as an aesthetic object, then the attitude of Taoism towards it seems to be more in line with its original intention, that is, Taoism treats aesthetic literature with an aesthetic attitude. The influence of Taoism on China literature lies not in its theoretical guidance, but in its spirit. "Tao can be Tao, very Tao." Talking about how literature is meaningful may be far from its true meaning. The key is to forget the fish, forget the words, forget the fish and forget the meaning.

Ancient Greek scholars discussed beauty and divided it into "sublimity" and "beauty". "Sublime" and "beauty" belong to the style of aesthetic content. The connotation of beauty is inclusive. Personally, I think that all the beauty in human eyes contains beauty. Mountains and rivers, vegetation, sun, moon and stars, pursuit of personality, pursuit of ideals, beauty of human nature, and great sadness and joy in the world-in literary works, "Chengjiang is as quiet as practicing" is beautiful, "there is Wu in the east and Chu in the south, and I can see the endless drifting of heaven and earth" is beautiful, "I am good at nurturing my noble spirit" is beautiful, "I can't bend my rights, I can't move my poverty, and I can't get rich."

Chen Ziang is on the tower of Youzhou;

No one can see the ancient wisdom of the ancient king, only those wise men who can't see the afterlife can see it. Only the boundless universe, boundless, can't stop the tears full of sadness.

A few words, writing scenery, chanting ancient customs and interweaving feelings create a poetic realm far away in time and space, which has enduring charm because of the contrast of the poet's image.

Su Shi described a clear and ethereal world in Qian Chi Bi Fu, which can wash away all kinds of troubles in the world;

Not long after, the moon rose from Dongshan and hovered between the Big Dipper and the cow. Milky white fog across the river, clear water. Let the boat float on the boundless river and cross the boundless river. Vast as the wind in Feng Xu, I don't know where it ends; Floating like an independent world, feathering into a fairy.

The world often discusses truth, goodness and beauty as three different objects, which is inappropriate because they are not logically juxtaposed. There is beauty in truth, and so is goodness. They blend in with each other. Truth, goodness and beauty are the beautiful contents that human beings strive for, so they can all be the aesthetic objects of human beings. The core of literature is aesthetics, but it is impossible for literature not to pay attention to the truth, goodness and beauty in the world, so it is impossible for truth, goodness and beauty not to become the content of literary aesthetics. True writers and literary works in the true sense have always embraced truth, goodness and beauty with beauty. Beauty is both true and good.

Science advocates truth and literature advocates beauty. Some people regard the two as the difference between science and literature, but they are not. Real science also has beauty, but how can real literature ignore truth? Literature also advocates truth. But the truth advocated by literature is different from the truth of physics, from the truth of details, from the truth of appearances, but from the inner truth of things. The inner truth of things is the great truth of the world and the universe. Revealing the inner truth of things and the truth of life in heaven and earth is aesthetic. Kafka's novels express truth by distorting reality, which has become a classic of literary aesthetics.

Literature can't reveal the truth without image, it grasps the truth through image. Literature abandons logical and meticulous reasoning and perceives objects by intuition. Logical reasoning and intuitive perception are two different means and ways of thinking used by science and literature to reveal the truth of things. This is the difference between literature and science. Different ways of thinking feel different truths, one is aesthetic truth and the other is scientific truth. Of course, science can also enter the aesthetic state by revealing the laws of things. Chen Shengshen said that he likes math because of its beauty. If scientists can enter the aesthetic state, it is the highest state.

The same is true of the relationship between goodness and beauty. There is beauty in goodness, but not all beauty. Goodness belongs to the category of morality and involves all aspects of social life. The antonym of good is evil. In our language habits, we always associate goodness with beauty. It seems that with goodness, there is beauty. There is a word in Chinese called "beauty". It seems that beauty is good, and good is also beautiful. Beauty and goodness are inseparable. Language is a form of human thinking, and the habit of language is also the habit of human thinking. In our thinking habits, beauty and goodness are inseparable.

Of course, beauty and goodness are not different manifestations of the same thing. Good is good, and beauty is beauty. They have different connotations. Of course, goodness includes beauty, but it is not all beauty. Goodness belongs to the general moral principles of human society, such as friendship, affection, integrity, honesty, kindness and nobility. It contains beauty and belongs to the beauty of human nature. Morality also has its relativity, and different times and nations have different moral norms. Ancient Greece advocated bodybuilding, and athletes participating in the Olympic Games had to be naked. In Islamic countries, nudity is considered immoral and will become ugly. In ancient China, the concept of "Jun Jun, minister, father and son" was a moral principle to maintain the feudal social order, which lasted for thousands of years, but in the eyes of modern people, it was the source of evil that caused inequality between people.

The difference between beauty and goodness is only whether they are utilitarian or not. Goodness is a kind of value, which is undoubtedly utilitarian. If it goes beyond utility, it can be transformed into an aesthetic object. Therefore, as the pursuit of life, the value of "who has never died in life since ancient times, keeping a pure heart shining in history" belongs to goodness, while the value of "knowing that pines and cypresses wither after cold" is beauty; "Waiting for the beginning, cleaning up the old mountains and rivers, facing the sky" is good, while "Castle Peak is full of loyalty, why did it die of wearing boots" is full of tragic beauty of life.

Beauty is inclusive, and what really touches people should be the content that embodies the aesthetic spirit of human beings. This sentence sounds like beating around the bush, but it's not. The content of beauty may exist before aesthetics, but the value of beauty can only appear after aesthetics. In other words, the connotation of beauty is only valuable if it becomes an aesthetic object.

Aesthetics is of great significance to mankind. Without aesthetic pleasure, it is difficult to imagine the meaning of life. Of course, pleasure is not an aesthetic purpose, it is just an aesthetic effect. Moreover, the aesthetic effect is not all pleasure, ugliness does not bring pleasure, but it can also become aesthetic content. Quasimodo in Les Miserables and a series of physically disabled characters in Zhuangzi's prose are all aesthetic contents of literary works. "Thriller" is a term often used by ancient Greek scholars when talking about tragic aesthetics. People's "thriller" and relaxed pleasure are exactly two completely different feelings. Therefore, people's aesthetics should have other meanings besides bringing people spiritual pleasure. If I have to answer what is the real meaning of aesthetics, or give it a simple definition, then I will say:

Aesthetics is the innate spiritual pursuit of human beings. Among them, it embodies human's desire to transcend reality and yearning for freedom.

Liezi went against the wind, was kind and kind, and returned in ten days and five days.

The mountain that was photographed in the past is inhabited by gods. Skin is like ice and snow, like a virgin; Don't eat grains, suck the wind and drink dew; Ride the cloud to descend the dragon and travel around the world; Its spirit is condensed, so that things are not defective, but the years are ripe. ..... People, virtue, will be one with all things. There is chaos in the world. What's the harm? What's the harm? People also, things don't hurt people; Immersed in the sky without being submerged; In the drought, the stone flowed, and the earth mountain burned but not hot. It is soil and chaff that cast pottery into Yao and Shun. Who wants to treat things as things!

Zhuangzi? Free walk

The author uses mythical characters to express his interest beyond things and his eternal pursuit of life. There are other pursuits in life, such as what Yao Shun, an ideal figure of Confucianism, did, but compared with the immortals on the mountain, they are just dirt and chaff.

Longing for unfettered freedom is the eternal pursuit of mankind. Transcendence and freedom embody the spiritual characteristics of human aesthetics and their metaphysical significance. Aesthetics idealizes reality and always looks forward to the realization of ideals. On the other hand, in the process of human history, the efforts made by generation after generation to get rid of the shackles of reality and their yearning for a better future not only promoted the progress of human society, but also endowed human spiritual significance-a spirit eager to surpass reality, which itself became the spiritual outlook of real human beings. Transcendence and freedom are eternal spiritual pursuits handed down from generation to generation. The content of beauty, when it becomes the object of human observation, can always show human desire to transcend reality and yearn for freedom. Only in this way can we move people. Similar performance is more or less, hidden or obvious, but it can't be without it. Of course, the towering Western Hills existed before Liu Zongyuan, but it has aesthetic value only if it becomes the embodiment of personality in Liu Zongyuan's eyes.

Aesthetic Ideal and Historical Generation of Art

Column > aesthetic mirror

Author: Tan Haozhe Published: June 2, 2003 10: 32: 5 1 hits: 1640.

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1

Aesthetic ideal is the generalization and sublimation of people's social aesthetic experience, and also the reflection of social aesthetic needs and interests. Therefore, aesthetic ideal and various social ideals and values are interrelated and influenced each other. Aesthetic ideal exists in people's subjective consciousness, has the universality of aesthetics, and is the highest scale and standard for people to identify and create in aesthetic activities. At the same time, it is deeply rooted in social life, is the product of social and historical practice, and develops continuously under the influence of social and historical practice. Therefore, the aesthetic ideal is not an absolute eternal thing, and there is no unified aesthetic ideal in any historical period, any social group or class. Not only people in different times have different aesthetic ideals, but also people of different classes and groups in the same time often have great differences in aesthetic ideals. Because it is difficult for people to fully express and feel aesthetic ideals in real life as in artistic creation and appreciation, art plays an important role in the objectification and realization of aesthetic ideals. The unity of aesthetic ideal and reality is first fully manifested in art.

2

Historically, most of the aesthetic ideals before Marxism only stayed in the artistic stage. Art is regarded as the materialized form of aesthetic ideal and the most important tool of aesthetic education. This is particularly evident in German classical aesthetics. German classical aestheticians all think that "aesthetics has the nature of liberation". However, whether Kant, Schiller, Schelling or Hegel, they all limit aesthetics to or mainly to the field of art. In their logic, the liberation of aesthetics is based on aesthetic freedom, which is based on the separation of aesthetic activities from scientific understanding and moral practice. However, Marx and Engels did not limit people's aesthetic activities to artistic activities or spiritual labor like previous aestheticians, but believed that aesthetics involved all human activities, and building objects according to the laws of beauty was one of the fundamental signs of human activities. Therefore, Marx and Engels' aesthetic ideal is not a general artistic ideal, nor an aesthetic ideal built in spiritual space, but regards aesthetics as a product of human history, and aesthetic activities are an integral part of the whole human activities. In other words, the aesthetic ideals of Marx and Engels are closely related to their social ideals. The connection between aesthetic ideal and social ideal is ideal practicality, that is, in social practice, aesthetic ideal has social significance, social ideal has aesthetic significance, and social significance and aesthetic significance are dialectical unity.

three

We know that nature is originally opposed to human beings, and it is a completely unfamiliar, infinitely powerful and uncontrollable force. The relationship between man and it is exactly the same as that of animals, and people obey its power like livestock. Therefore, this is a pure animal-like natural consciousness. Therefore, before human production and human appearance, nothing existed alone as beauty. Goethe said: "We don't know that there is a world without interpersonal relationships, and we don't want to have art without the imprint of such relationships." Chinese translation of Goethe's aphorisms and thoughts, China Social Sciences Press, 1982, pp. 93-94. This is a wonderful and profound sentence. Marx also said something similar in his manuscript: "However, abstract, isolated and separated nature is meaningless to people." Marx: 1844 Economic and Philosophical Manuscripts, translated by Liu Pikun, p. 13 1 p. Based on this, we can say that beauty and beauty consciousness do not exist without the relationship between man and nature and society formed by practical activities. Only when productive labor and "humanized nature" are regarded as human's "creation" or labor can nature have aesthetic attributes and beauty appear. Therefore, beauty lies not in other places, but in the labor process of "objectification of human beings" and in the "humanized nature" in the primitive stage of human history. Beauty and goodness are the same, as are the aesthetic relationship and practical relationship between man and nature. The polished stone knives, axes, carving sticks and their decorations used by primitive people for labor are both useful and beautiful; Hunting people's prey and cultivating people's agricultural products are not only life-sustaining means of subsistence, but also pleasing aesthetic objects.