Indian aesthetic thought has its own development path, and its basic categories and thought patterns are also different from those of the West and China.This paper attempts to briefly discuss these three aspects. Art practice precedes theory, and there were various works of art in India very early on.Psalms and witchcraft poetry date back to the first millennium BC, and music and dance no later than that.However, there is no chapter on art in the early literature and theory.Chapter 4 of the grammar of the Boni Sutra in the 4th century BC mentions "Dancer" and the names of the heroes in the "Dance Sutra" and the great epic, which shows that opera and epic have been popular and may have theories.The stigma lions of the stone inscriptions of Ashoka identified as belonging to King Ashoka in the 3rd century BC are still stunning ancient works of art.Alexander of ancient Greece conquered India in the 4th century BC, and cultural exchanges between India, ancient Persia and Greece should have started earlier than this.However, the earliest work on art in the existing literature is "On Dance", and the date cannot be pushed further than the period around AD.This situation has something to do with the way Indian literature circulates.Oral transmission is the main thing in India, and writing down came very late.Similarly, regarding the theory of literature, there was Poetry in BC, but no books remained.Post-AD writings on art include the poetry section in the undated Vulcan Purana.

It was not until the 7th century that there were only two monographs on poetry: "Poetry Zhuangyan" and "Poetry Mirror".The earliest work on art is the part on painting in the "Vishnu Shinu Supreme Dharma Purana". The age is not determined, and it may not be earlier than "Poetry Mirror".Judging from the "Yan Jing" in the Fourth and Fifth Dynasties, there were already many artistic activities in the city at that time; it listed "sixty-four arts", including painting and other skills.In the early AD, plastic and architectural art had developed considerably, and then cave statues and murals emerged.But art theory literature is far from being able to cooperate, only the continuous poetic theory has some connection with poetic works.Dramatic theory is not always in tune with extant plays.The situation has not improved much in the past thousand years despite the increase in art literature.The spread of Islam led to new styles of architecture and painting, but no new theories.There are different schools of music and dance in different places, and the theoretical elaboration is also insufficient.The theory held by modern painters still strives to conform to the ancient tradition, although the practice has changed greatly.This incompleteness of the literature and the lack of coordination between theory and practice is a feature worth noting.

On the other hand, historically, Western aesthetics has always been subordinate to philosophy, while Indian philosophy has a strong religious color and does not develop secular art theories.In fact, India's religions place equal emphasis on joining the world and being born out of the world, and religious propaganda places particular emphasis on art.At the same time, art is also combined with religion. "On Dance" also used the name of Brahma.Shiva is both an ascetic and a dancing god.In the classics of the older school of philosophy "Shanhe Theory", opera performances are also used as a metaphor.Yet philosophy and aesthetics have long been at odds.Those who talk about art focus on formal skills, while those who talk about philosophy don’t care about the beauty itself. Even before 1000 years, from the "Dance On" in the early AD to the "Yunguang" in the eighth and ninth centuries, although there was an aesthetic thought system, it did not get the philosophy. play.The situation has changed in the past one thousand years. Since Xinhu (Abinavagupta) in the 11th century established aesthetic monographs in the form of "Yun Guang Zhu" and "Wu Lun Zhu", the theory of "Yun" has developed.The various schools of Vedanta philosophy developed by Shankara in the 8th century and Ramanuja in the 12th century have become the philosophical basis of aesthetics until now.

Until the beginning of the 20th century, Westerners only regarded Indian artworks as antiques and did not regard Indian paintings as paintings, because they did not conform to Western perspective and anatomy.Later, Indian art was recognized, but aesthetics was not considered. At the end of the 19th century, only a few Sanskrit scholars introduced "On Dance", and began to pay attention to the aesthetic ideas in ancient Indian architecture and plastic arts.In the early 20s and 30s of the 20th century, Indian Gumaroswami worked in the Boston Museum in the United States and wrote many books, introducing Indian art and art theory to the West.The French sculptor Rodin once commented admiringly on the statue of Lord Shiva, and Guma Roswami explained the statue.But it seems that these efforts still failed to make Westerners understand Indian aesthetics; because those traditional aesthetic categories (or core terms) are not easy to explain in modern Indian languages, it is difficult to translate into another language; and the philosophy of aesthetics Thoughts (Vedanta's "non-dual theory") are always regarded by Westerners as mystical and difficult to understand; or explained by the philosophy of Kant, Hegel, etc., it is like the "Geyi" of the Jin Dynasty in China.

Fragmentary and incomplete literature, poor coordination between theory and practice, the separation and fusion of aesthetics and philosophy, and the difficulty of interpreting specific traditional terminology, these are the data conditions on which we discuss Indian aesthetics.Perhaps because of these, no comprehensive history of Indian aesthetics has been seen so far. It is of course not easy to explore the development of aesthetic thought for thousands of years under the circumstances that the literature and cultural relics are not comprehensive enough, the ethnic groups and languages ​​are complex, and the historical period is still unclear.The economic foundation and class relationship background of each era are unclear, and the age, region, and life of the documents and authors are mostly lacking information.Therefore, one cannot make judgments on the specific historical issues in Indian culture like the West, which has clear historical boundaries, nor can it talk about the age and life experience like China.According to the existing main original materials, it can only be roughly divided into four periods: the first period from 1,000 BC until the appearance of "On Dance" at about the beginning of AD; The second period is before the emergence of the theory of protection, the third period is from the 11th century to the 19th century, and the fourth period is the 20th century.This is not the same as or contradictory to the periodization of the history of Indian philosophy.If divided in this way, we can roughly see the historical path of its development from the characteristics of aesthetic thoughts in each period.

General discourse tends to emphasize consistency in historical development.For example, the "feeling" and "taste" proposed in "Dance Theory", as well as the general name "solemn" of poetic theory, can be traced back to the earliest "Veda" era.Many later rhetorical forms and sayings are also found in the Atharva Veda, the earliest collection of witchcraft poetry.About a thousand years after "Yunguang", although there are different theories such as "quyu", the main discussions are "feeling", "taste" and "rhyme". Under the influence of Western aesthetics in the 20th century, Indian aesthetic theorists such as the poet Rabindranath Tagore and his nephew, the painter Abanindronath Tagore (Abanin Tagore, 1871-1951) and others still adhered to the tradition and added Part of the theory of Western aesthetics.According to these modern and contemporary explanations, then Indian aesthetics has always been the system of Vedanta philosophy, from the main early "Upanishads" to the two Tagores, which is "consistent", and even Buddhist literature and art are not out. its scope.Of course, this is not the full situation. This is the view of modern Indians who take ancient scriptures as their sources and absorb Western philosophy and aesthetics.

In fact, history has developed, it has been different, and it has not always been consistent. The first period is characterized by the great development of artwork creation, but no systematization of aesthetic thinking, and no complete theory in the existing literature.Among the "Six Vedic Branches" of teaching Vedic classics, there is a discipline of poetry, but no books of that time have been handed down.During the rise of various sects of philosophy in the 6th century BC, there was no systematic discussion of art in the literature.For example, Buddhism prohibits monks from appreciating entertainment such as music and dancing when practicing Buddhism, and says that it requires believers to dislike the body. However, it uses a variety of artistic means in publicity, and even uses poetry to promote the Buddha's quotations, and also talks and sings stories, plays, and develops plastic arts. , building towers, statues.Theoretically, it's not that Buddha doesn't talk about beauty.He said that everything is bitter, not that everything is ugly.He still admits that the fragrance of flowers is beauty ("Dhamma Sutra"), but emphasizes that the true highest beauty is the "Nirvana" that transcends retribution and life and death.Although this is propaganda, it is also the precursor of an important aesthetic thought (the taste of silence) in the third issue.This situation is worth noting.This shows the monks' view of beauty.It would be inaccurate to think that the literature of this period was the product of the monopoly of culture by priests, shamans, and monks, and that it was completely devoid of aesthetics.

In later aesthetic theory, the germs of many ideas and terms can be traced as far back as the Vedic literature.When discussing the mysterious meaning of "Vatican", the "Partridge Upanishad" has already proposed the germination of an important aesthetic thought from the third issue until now: "This is taste. Those who have taste are happy." Although the original meaning is not necessarily like the later As explained, but the "taste" and "joy" in this philosophical language cannot but be the basis for the classic origin of later aesthetic quotations.Therefore, we should think that there have been sprouts of aesthetic thought in this long period.The study of artistic skills has also developed greatly; however, this is the teaching of artists, and it is passed on by word of mouth just like the literature at that time.The case of grammar is an example.After the condensed "Boni Sutra" came out, all previous grammar books were lost.The same is true for other specialized documents.Only those who were divided into sects, and passed on to each other, preserved a part of different rhyme books.There is a similar situation in the pre-Qin scriptures in China.Only in this way can we explain why such a comprehensive summary of the great work "On Dance" suddenly appeared at the beginning of AD.

Although some scholars have collected the aesthetic materials of this issue, it is a pity that they always search for the source according to the later aesthetic categories and models, instead of investigating the aesthetics at that time, so the results are limited.Now I can only make a general opinion: the aesthetic ideas at this time mainly came from the artists.They affirm the existence of the beauty of objective reality, and recognize the beauty of human subjective emotion.As for the moral evaluation of beauty, it is not something that artists are very concerned about.Artists pay attention to skills and art, which leads to "On Dance", which can also be seen from the artwork.

In the second period, not only the artistic development, but also more literature, but as soon as the integrated works are published, the scattered precursors will be lost, but the context is still visible.This is a period of great development of Indian aesthetic thought.Judging from the "Kanagawa" in the fourth and fifth centuries, the development of cities promoted the prosperity of art and the systematization of art theory. "On Dance" comprehensively summarizes opera and related arts.In terms of theory, it discusses the relationship between drama and reality, the purpose, effect and educational significance of drama, the basic factors of drama and their interrelationships, how drama conveys its unified sentiment to the audience through performance, and so on.It recognizes that real life is the basis and source of drama, and drama should fully reflect reality and imitate real life.It believes that drama should have a unified basic mood ("feeling" and "taste"), and everything must be combined with this and serve this purpose.Its analysis of "taste" and "feeling" established the basic categories of Indian aesthetics until today. "On Dance" regards drama as a comprehensive art, and believes that it includes all arts, and other arts are only one aspect. "On Dance" is actually a general theory of art.

The oldest literature on the systematization of poetic theory is now only a part of the "Vulcan Purana" with an unknown age, and "Poetic Solemnity" and "Poetry Mirror" in the seventh century.These books are actually handbooks for poets, just as "On Dance" is for entertainers.These poetic theories are called "decoration" (modification), and they believe that poetry is composed of language and is a series of words expressing a certain meaning. Because they focus on the "shape" of poetry, they talk about rhetorical classification.Poetry requires that the semantics of words are consistent, that is, the form and content are consistent. "Shi Jing" was introduced to Tibet and has a Tibetan translation. At about the same time as these two books, an orthodox sect of philosophy developed that originally explained the Vedas and rituals.In order to respect the status of "Veda" and oppose Buddhism's denial of "Veda" eternity with "impermanence", a new exploration of language has been made.Philosophical explanations have appeared in linguistics, analyzing the different meanings contained in "sound" (words).The "Yunguang" in the eighth and nineteenth centuries developed this language theory in the theory of poetry, and put forward the new aesthetic category of "rhyme", which is simply an implication and a hint.This had a great influence later on. The theory of plastic arts, there is a formula for painting "six branches", which appears in the 13th century commentary of Kamajing, but the source may be in this period.Among them, only six basic factors of painting are proposed.The earliest surviving text on the theory of painting is part of the Vishnu Supreme Purana.The date of the book is unknown, probably around the 8th century.This part of the literature is called "Painting Classics".It clearly stated the consistent relationship between painting and dance: "If there is no theory of dance, it is difficult to understand the theory of painting. "Lun" does not necessarily refer to a book, but can also refer to a study; and "dance" can refer to a comprehensive art of singing and dancing, that is, opera.This relationship can be seen from the grotto murals and sculptures in India.The murals in Dunhuang Grottoes in my country are obviously influenced by India, and dancing poses are also an important part of the paintings.Indian painters have been to China, and some people think that there are also creations of Chinese artists in the art of Ajanta Caves in India.In order to understand the earliest surviving painting theory in India, you may wish to quote a few verses in the "Painting Classics", the literal translation is as follows: The last three stanzas in the poem divide it into three grades: those who only have the shape resembling the image in the mirror are called "has entered" (has been pierced); , called "Wei Ru" (not pierced); if you can get "taste" such as "erotic love" as soon as you see it, it is called "taste painting" (tasteful painting).The words "cloud and clothing" in the first verse quoted have two meanings.This verse reminds us immediately of "Cao Yi comes out of the water, and Wu belt is the wind." The second stanza says that if we can combine a sleeping person with consciousness and mind (the two words in the original text have the same source, the latter comes from the former) and a person who is unconscious, A dead person with a heart can draw the difference, and can also draw the difference between low and high, that is, can show three-dimensional on the plane, this is a "painter", that is, a painter who is proficient in painting.In addition to the painters mentioned in these two sections, the third type is those who can paint a living life, and his paintings are "wonderful products" (those with wonderful appearance, with beautiful characteristics). There are three kinds of paintings, "not entered" and "taste painting", with "taste" as the highest.As a result, the artistic standards of music, dance, poetry, drama, and painting were unified.All art requires "taste", which is exactly the aesthetic system of "On Dance". It can be said that the second phase is the development of the first phase.The aesthetic ideology system has been established, and the theories of various arts are interlinked.At this time, although it has been required to link the development of philosophy with the development of philosophy, it still takes reality as the main body, and there is no mysticism that transcends reality.It can be said that from the "Dancing Theory" that specifically analyzes "emotion" and "taste", to "Rhythm" that emphasizes implication, and "Painting Classics" that focuses on plastic art theory, none of them focus on subjective aesthetics. On the surface, the third issue still continued to explain the basic aesthetic categories of the past, with slight differences, for example, "quyu" (clever wording) was used instead of "rhyme"; but in essence, the previous issue turned to the opposite.The aesthetic point of view has shifted from focusing on the skills of creation and the essence and spirit of artworks to the aesthetic feeling of the appreciator, that is, the spiritual feeling. Both sides should echo, that is to say, the aesthetics including both subjective and objective aspects occupy an important position.Appreciators must first have "taste" in their hearts before they can appreciate the "taste" endowed by the creator.What we pay attention to is not only the problem of artworks, but also the problem of the spiritual enjoyment of both creators and appreciators. The center has shifted from objects to people, and the spiritual realm has become the core. The main works of this period are "Yunguang Zhu" and "Wu Lun Zhu" by Xinhu (Abinava Gupta) from the 10th to the 11th centuries.Although it is called Notes, it is actually a specialized work.Xinhu's theory of explaining "rhyme" and "taste" was highly praised later, especially by modern people, so another period can be drawn from him. Xinhu's theory mainly puts forward "happiness" (Ananda) to solve "ignorance" as the highest principle.This is a spiritual realm.The "taste" and "rhythm" of a work of art must be able to make people reach the realm of "joy", that is, "both things and I die", and the unity of subject and object.This can explain why "terror" and "disgust" can also be included in "taste".Xinhu believes that the highest state of art is consistent with the highest state reached by "yoga" practitioners.That is to say, we must abandon our individuality, and unite man with the universe, man and God, and "the Brahman and the self are one."This universe, as a great god, is embodied and is Shiva, the great free god.He is the embodiment of "power" and the source of "power".He is an ascetic and a dancing god.He and his wife lived in the snow-capped mountains and created two kinds of dances, rigid and soft.His "eight shapes" (earth, water, fire, wind, sky, mind, sense, self) show the eight "flavors" of art.His symbol is the most common stone pillar (linga) in all of India.At the root of the new theory is the belief of this sect, the so-called Kasmira (Kashmiri) mysticism.This place, in the northwest corner of India, has historically been a focal point of contact between the various cultures of Central and South Asia.This mystical sect is in turn associated with the "Ri" sect popular in Eastern India (Bengal) who worships the avatars of Shiva's wives Avatar and Kali.Generally collectively referred to as mysticism, including the "tantra" introduced into Tibet. The aesthetic theory and practice of this period is not limited to the Taizizai sect, but the popular beliefs in eastern and northern India are all over the sky. Some sects of Vishnu and its incarnations, Hetian and Rama, have also emerged among the folk parade poets. Many works have been recited by the people.The common spirit of these sects is to seek the unity of man and God, but they focus on "pious faith".Those who worship Heitian even use the love between the shepherd boy Heitian and the shepherd girl as the theme of their poems and dances.Therefore, the wife of Vishnu, the auspicious goddess, is originally the god of wealth, and also the goddess of beauty and art under the name of "Sili". The above also applies to the western and southern regions. The poems in this issue pursue form, and also focus on "eroticism", and explain it with religious feelings.Since this cannot be explained in words, it can only be expressed and achieved by images, feelings, and beliefs, so it is considered mysticism.In fact, this is still different from the medieval mysticism in the West. The philosophical origin of this kind of aesthetic thought that both inherits and denies the previous period is the philosophical theory of Shankara in the 8th and 9th centuries and Ramanu Pavilion in the 12th century.Both advocate idealist monism, both of which are called the "non-duality" of the Vedanta school, but one is "pure non-duality" and the other is "extraordinary non-duality", that is, the unity of the individual and the whole (man and god) ) still differ.The main works of the two are their respective Annotations to the Brahma Sutra.The opening chapter of Shankara said: The opposition between you and me (objective and subjective) is as obvious as light and darkness, how can they be one?Then explain it so that the opposite becomes a unity.He advocated the death of both things and me, the subject and the object disappear, and the two are one.From this period until modern times, the dominant philosophical and aesthetic theories in India have taken this point as their starting point and destination.Not only "scenario blending", but also the requirement of unity.The spiritual realm of this unity is "joy". The monadic authenticity of Advaita is characterized by three words: Truth (real existence, unchanging, eternal), Heart (spirit), and Joy (joy, the highest bliss). The socio-historical roots of this intellectual change can be traced.From the 8th century, Arabs who believed in Islam began to enter the Indian subcontinent. After the 10th century, followers of Islam gradually established a dynasty in northern India, and established the Mughal Empire from the 16th century to the 19th century.In art, they opposed idols, destroyed temples, and introduced heavily ornamented Persian architectural styles (such as the Taj Mahal).Linguistically, the status of Sanskrit as an elegant language was overthrown and Persian was replaced, finally producing the northern Mandarin and its literature based on the language of the capital Delhi.Folk language and literature flourished everywhere, and the status of folk artists changed drastically.The Sanskrit (Elegant Language) poets attached to the city and the court in the previous period were compared by these folk poets.In addition to large-scale mural paintings, small portable single-sheet portrait paintings developed in the north.The Sufi mysticism among Persian poets and the rhythm and style of Persian poetry were also introduced into India.Therefore, there have been great changes and developments in all aspects of Indian art in this issue.The aesthetic theory we are talking about mainly comes from the interpretation of folk art and the resolution of contradictions in the ideological world.The question of two and one (there are two in one or one in two), the question of divergence and unity (unity in divergence), has been the most acute ideological question, and it has continued until the period of British rule, and even into the 20th century India. After independence. Aesthetic thinking has shifted from emphasizing reality to emphasizing spirit. An obvious sign is that the great gods worshiped have changed.In the previous issue, Brahma, the god with four faces facing all directions, had a high status and was the first to be sung. "On Dance" and "Poetry Mirror" are the same.Only the hymn in front of "Rhyme Light" praises Vishnu.Brahma is the god of creation, and his daughter Biancai Tiannv is the goddess of literature and art.Artists who recognize the world of reality and the world of sense perception work with these two, of course, as their patron saints.By the third period, Brahma's status has been reduced.The goddess of eloquence was still praised at the beginning of the great epic, but at this time, her brilliance was greatly reduced, and she gave way to the goddess of auspiciousness.The actual function of the deity is a symbol of life and desire.The transformation of gods not only marks the transformation of the objects of worship of the upper-level protectors, but also the transformation of life, thoughts, and feelings. The third issue should have ended in 1857, when the Mughal Empire collapsed, the Indian national uprising failed, and the Queen of England proclaimed herself to be the Queen of India.Modern aesthetics began to appear in the late 19th and early 20th centuries. The fourth issue is characterized by the emergence of new thinkers and artists in India under the impact of Western philosophy, aesthetics, science, and especially Christianity following Islam.There is of course a nationalist background here.Therefore, sticking to tradition to explain and resisting or absorbing new knowledge are the main characteristics.Philosophical Foundations puts more emphasis on Vedanta's Advaita than in the previous issue.The comprehensive Bhagavad Gita (song of the gods) is particularly popular.This poem, which may have originated in the early AD, originally belonged to the great epic "Mahabharata" and then became a single-line holy book, which has become popular all over the world.Modern Indian aesthetic thought is closely related to the comprehensive thought here. The aesthetic thought of this issue belongs to the whole scope of thought of modern India, it is difficult to summarize it separately, and can only be briefly mentioned. Judging from the situation in the above four periods, Indian aesthetic thought has not formed a complete system and passed down in the thousand years before BC; Skill analysis and basic theory summary of dramas. "On Dance" first declares in the first chapter that "drama is the expression of all situations in the three worlds". "Drama has a variety of emotions, uses various situations as content, imitates life in the world, and imparts useful lessons based on the actions of the upper, middle, and lower classes... For those who suffer, the suffering Those who are tired, those who suffer from sorrow, and all kinds of suffering people, give peace in time." "This kind of human nature, which is joyful and painful, with physical performances, is called drama." humanity and reality.Poetic theory also focuses on being a poet, paying attention to the "form", "words and meaning" of poetry, as well as style, "virtue" and "disease".It was not until the eighth and ninth centuries that "Yunguang" put forward the suggestive "rhyme", but it was still derived from the meaning of the word.Although the poems quoted in the theory of poetry emphasize "amorous feelings", it has not yet been regarded as the highest. "Emotion", "taste" and "rhyme" do not pay attention to abstract meanings.After the 10th century, the social and ideological situation changed greatly. Aesthetics was connected with the pressing issues of philosophy and religion at that time, resulting in the pursuit of mysterious and ineffable "joy" that was divorced from reality, and further required that both subjective and objective aspects be integrated from creation to appreciation. into one.Then the seemingly irreconcilable passion and asceticism, humanity and divinity, became one.Theories of idealism and mysticism have entered into art theories that are not divorced from the human world, and the aesthetic explanation of folk art has also been overshadowed by religion.There is a unique phenomenon in Indian philosophy. The realistic "law, benefit, and desire" and the unrealistic "liberation" are listed as the "four major goals" of life, and a person's life is also divided into "four major stages" to match. "Liberation" must be born before being born.Joy, the spirit of pure joy and happiness, becomes the highest state of life and art.Art appreciation has the same spiritual state as practicing meditation.This has become the main thread of Indian aesthetic thought for nearly a thousand years.In the 20th century, Western irrational philosophical thoughts and Western interpretations of Indian philosophy in the philosophical language of Kant and Hegel all had an impact.Against the backdrop of nationalism as the mainstream of thought, the philosophy of "Advait"—the unity of differences and the unity of contradictions—became popular and became the basis of aesthetics.The paintings created by the painter can be like western modernists, but he uses the traditional Indian philosophical terminology when he talks about the theory.The development of Indian aesthetic thought in the past two or three thousand years seems to be starting from reality and moving more and more towards surrealism.And this reflects the realistic requirements and trends of historical development.The surreal language conceals the real content.Therefore, we cannot seek to understand India's aesthetic thought and artistic creation in isolation from social changes. It is a feature of the history of Indian aesthetics that non-repetitive content is often added to repeated terms.This is different from the West, and not quite the same as China.China is not so used to putting new wine in old bottles, while India tends to be like this in all aspects (for example, the five principles of international relations are called "pancasila", that is, the "five precepts" of Buddhism).There is no general name for such words, so let's call them basic categories.Talking about Indian aesthetics is inseparable from these, and talking about these is almost all about aesthetics.Here are just a few main categories as examples, with a little explanation: "solemn", "feeling", "taste", "rhyme", "eroticism", and "similar" The first refers to poetic theory or literary theory, and the last one is dedicated to In painting or plastic arts (not the "similar" in the Chinese translation of "Yinming").As for "happiness" was originally a philosophical term; there are others such as "virtue", "disease", "quyu", "color", "phase", "quantity", etc., as well as "beauty" with more than one word and a broad meaning. "Not to mention it. "Majestic" is an old translation of Chinese Buddhism, which means adornment, which has a different meaning from modern Chinese. The "Poetry Zhuangyan" in the 7th century used this word as the title of the book on poetry, and later "Zhuangyan" became the general name of literary skills and theories.This shows that form is the main rhyme aesthetic thought.The classification and arrangement of various rhetorical formats is most of the content of poetry theory.Modern times also talk about aesthetics in the name of "solemnity". The word "love" comes from "existence", and when it becomes a noun, it can also come from "making existence". The seventh chapter of "On Dance" explains: Because these "emotions" affect, infect, and infuse the audience and listeners with the meaning of poetry with language, body and inner performance, they are called "emotions" (to make existence).It also pointed out that the rhyme source of this word can also have the meaning of being filled, affected, infected, and made.This is the traditional Indian etymological interpretation method, but it can be seen that the original meaning of "feeling" in "Dancing Theory" refers to the creation and performance of art, and the "feeling" in the poet's heart affects the other party, and what is conveyed is called "Affection".The current Chinese translation of "feeling" can also have meanings such as "scene" and "mood", and it does not specifically refer to emotion. "Qing" has "bieqing", which refers to the specific and distinguishable; "suiqing", which refers to the transmission to the other party.It is further divided into "normal emotion", that is, "fixed emotion", with 8 types, "unfixed emotion", with 33 types, and "emotion" performed in the heart, with a total of 49 types in 3 categories.The above is the original meaning stipulated in "Wu Lun"; it has been developed later, and it has become something shared by both the performer and the receiver.Later, the meaning of "feeling" was broader. Although it was juxtaposed with "taste", it was already in a subordinate position.In modern language, this word, as a common word, mostly refers to feelings, characters, etc. "Taste" is a common word. It originally meant "juice" and "taste" in "Veda". touch) one. "On Dance" initially endows it with the important meaning of art theory, which is elaborated in the sixth chapter, which analyzes comprehensive art drama. "Flavor" refers to something that permeates everything. "Taste" is produced from "the combination of different feelings, random feelings and uncertain feelings", "just as taste is produced from the combination of some different condiments, vegetables and other items", and also pointed out that "taste" has the meaning of "to be tasted" . The relationship between "taste" and "feeling" is mutual connection, and "taste" comes from "feeling". "Taste" is divided into eight types: "eroticism, humor, compassion, violence, heroism, horror, disgust, and strangeness".The ninth "taste" - "silence (calm)" was added later. The relationship between "taste" and "feeling" has been debated for a long time, and the meanings of the two have also been explained in various ways; but from the perspective of "Wu Lun", it was originally based on a specific analysis, focusing on the creation through performance to influence the other party's whole. process, to extract and classify the content of thought and emotion composed of all partial components, and to determine the relationship.This aesthetic system starts from reality and comes down to practice, and has no mystical philosophical meaning. "Yun" originally refers to sound, and is generally not used. The word used for sound is "sheng". "Sound" is not only one of the five sense objects, but also a "word" in language.This word, which also refers to sound, is now translated into "Yun" in Chinese, which has the same meaning as the original text, but it does not have the meaning of "Ye Yun".It was "Yunguang" who first proposed this word as a term.It states at the beginning of the first chapter that "the soul (individuality) of poetry is rhyme"; and then refute it with various objections, explaining that this has long been used in poetry but no one has revealed it, and is "the poetic secret of all true poets" .The focus of poetry is meaning, and there are two types of word meaning: "literal meaning" and "understanding (implied) meaning".The soul of poetry lies in the latter, just as the beauty of a woman is something different from her limbs.The implied meaning in the poem can be quite different from the literal meaning.The "comprehension of meaning" based on "taste" or "feeling" is the main one, and it breaks through it through the literal meaning.This kind of poem that mainly implies meaning is called "rhyme", which is the beauty of poetry.This theory was later developed by Xin Nu and became an important aesthetic theory.But it is still easy to understand in "Rhyme Light", and there are not many mysterious meanings that are divorced from reality. (The original word "hint" also refers to consonants, and "rhyme" is interpreted as the final sound of the word, that is, the vowel.) The word "Yanqing" is translated into Chinese "Yanqing" in terms of the content it refers to, but the meaning and function are different. very different.In Chinese poetry, this is low-level, but in Indian poetry, it is high-level, and sometimes even becomes the main "taste".Of course, this can be said to be the work of literati Qingke attached to the nobles and rich, but it is not necessarily the case.After the 10th century, even monks compiled poetry anthologies (Tibet also has the Dalai Lama Tsangyang Gyatso who wrote love songs).When local folk poetry developed rapidly, poets who praised the love of the great god Vishnu as the incarnation of the shepherd boy Hetian and the shepherd girl paraded among the people and sang many love poems.This cannot be compared with Feng Menglong's "Mountain Song", but it is a bit like "Song of Solomon" in the "Old Testament", but the difference is that Indian poets combine devotion to God with love between men and women.It is said that there can be no desire in it.This is naturally extremely difficult for outsiders to understand.However, if one does not understand this point, it is often difficult to understand not only Indian poetry, but also literature, art, religion, philosophy, and culture.What some things say, or why they say that way, is hard to understand.This is not only in ancient times, but also in modern times.It is worth noting that not all the erotic poems quoted in the book on poetry are in elegant language (Sanskrit), but also in common language. The "Shepherd's Song" in the 12th century is in elegant language, and many later poems eulogizing emotions are in colloquial language.This is also the case in Persianized Delhi colloquial Urdu poetry.Such poems not only belong to the upper class of society, but are also popular among the people.How to explain it, I don’t care here, I only quote the words about "eroticism" in "Dancing Lun" to indicate the early saying: "It is based on men and women, and based on the best youth (period). It has two foundations: love and Acacia". "To be rich and happy, to depend on what you love, to enjoy seasons and garlands, to be related to men and women, it is called amorous feelings."This is listed at the top of the eight "flavors". "Like" The widely circulated "Six Branches" of painting comes from the "Sheng Ji Xiang Zhu" (about the 13th century) of "Yu Jing" and there is an explanation: "The shape is different from the quantity, the emotion is corresponding to the beauty, and the like is separated from the brush and ink. , are called the six branches of art.” The six terms in the six painting components or elements (the related terms are also terms, which can be counted separately) are: "shape" (the ancient Chinese translation of "color" is not color, but shape and phase), "quantity" (an ancient Chinese translation, here refers to the ratio of size, distance, and distance), "love" (same as the term in "Wu Lun"), "beauty" (referring to elegance, beauty, etc., as far as the etymology is concerned, it means "salty" or The solution has the meaning of "beautiful", and there are more commonly used American characters), "like" (similar, similar), "brush and ink" (one word with two meanings).Now it is necessary to single out "similar" because this originally refers to similarity, but there is a new interpretation in modern times, and it is believed to have a symbolic meaning. “大概一是由于唯心主义美学体系要求，二是因为印度的绘画和雕塑并不完全似真。英国艺术批评家罗斯金在1858年的演讲中说：“印度艺术是表现毫无意义的颜色、线条或则八只手臂怪物的歪曲形象。 ”现代印度解说指出“似”不是模仿而是创造，是表现本质，是现实的提高。阿巴宁·泰戈尔和古玛罗斯瓦米都做过说明，当然这未必是古代原意。如何解释那些象征性的程式化的雕像，那些“三曲折”的美？是“似”又不“似”。佛经及其他教派文献中有关造像的资料说，造神像之前要在心中先有完美的神像，虔信神在面前。神秘主义教派经典《阿笈摩》中说：“应先成神再祭神。 ”这些是将“似”说成对客观做主观创造以再现的依据吧？ 现代印度人常企图用一个公式总结他们的哲学（应说是现代吠檀多哲学），如“分歧中的统一”或“二中有一”、“一中有二”之类。本来应当取一部古书或一位现代人来试究其思想模式，但那需要专题研究。现在只就所见简略提出四点如下： （1）分析计数这从《梵书》就开了头，《波你尼经》语法有完整体系，佛教“阿毗达摩”最为典型，好像是分类词汇或索引。《舞论》的基本理论模式正是从各方面分析，分类排比；《诗镜》也一样，都可以排出系统表来。这是认为宇宙一切或所论的对象是有限的、可分析的，可以明确规定数量的，各部分之间的关系也是可以确定的。这可以说是一种机械论的模式，一直传了下来，不过近一千年来减弱了。 （2）综合同一这也是从《梵书》开始就有的。《森林书》、《奥义书》加以发展，《薄伽梵歌（神歌）》最为典型。这是用“同一”的方式使矛盾分歧归于一致。《韵光》将这一方式用于诗，但还不典型，因为还承认其他，只是将“韵”列为主要和上品，不过“韵”的解说开了先路。新护才建立、发展了“喜”以解“味”的理论，即这一模式。《奥义书》说的“你是它”是其渊源。 以上两个相反而又相成的哲学思想模式在七八世纪完成体系。一被称为前弥曼差派，一被称为后弥曼差派，即吠檀多派。两者都维护《吠陀》经典，其实都大有革新。美学思想显然受这两方面影响。 《韵光》是徘徊于二者之间的，以后有些诗论著作企图两者并用，其实这正表明综合的倾向越来越强烈。 （3）感觉的内和外印度哲学一向是承认感觉所得的知识的，列为逻辑和认识论的“量”的第一位“现量”。同时承认有在感觉对象之内而又超越感觉的东西。整体大于其部分的总和（可对照格式塔心理学说法）。艺术理论着重这一点，似又不似。如四臂的湿婆舞像，每一臂都是自然的。大梵天神像有四张脸，面向四方。毗湿奴神像有四臂。还有半男半女合一的神像。用形象语言表达抽象思想，极为常见。“色不异空，空不异色；色即是空，空即是色。”（）佛教哲学也有此模式（“色”不是颜色，“空”不是无，不是说同一）。文学中注重“艳情”，同时宣传“虔信”；既说是“喜”又说有“舍”（无感情）。这和前一模式有所不同，是要探寻既在外又在内的第三者，也许可以说是企图探索现象与本质的对立统一。 （4）“欲”的肯定和否定“欲”是一种冲动，是创造性的，以大梵天（更早是“生主”为象征。印度宗教哲学从来就肯定“欲”的存在，无论讲出世或人世都一样。对“欲”既肯定又否定，同对感觉一样。对这两者都要肯定其存在又否定其永恒究竟。这对美学有重大意义：肯定世界和人生而以否定为标帜。