Chapter 384: The Storm Arrives Bloody 3

"Haha." Xiang Yufeng smiled and looked at Zheng Lilong and said, "Three seniors, you have heard it too. Haha, I bought a lot of breakfast, let's go together."

Zheng Lilong looked at Xiang Yufeng, Lin Xiaoyu and others with a smile on his face, sighed depressedly and said, "Grandma, your dormitory is not a fucking human."

"Aren't you? Senior Zheng scolded people in the morning when he got old. OK, today I'm in a good mood and don't bother with you. Haha, two beasts are gone? Which garbage cleaner did a good thing? I have to give him a banner." Xiang Yufeng laughed.

Zheng Lilong glared at Xiang Yufeng, then picked up the bun in front of him, took a bite and said, "They really have nothing to do with you?"

"Student Zheng, you are such a slut. Are you upset? Have breakfast." Xiang Yufeng said with a blank look at Zheng Lilong.

Xiang Yufeng held it down with one hand, looked at Cheng Bingfan who was teaching on the podium, thinking about the figure who was drinking yesterday, who looked red with her face and didn't care about the image of her teacher at all, leaning in her arms and constantly talking drunkenly, Xiang Yufeng smiled slightly and said to himself: Teacher Cheng, it's quite cute.

"Xiang Yufeng, please combine classical literature and talk about the views of female aesthetics!" Cheng Bingfan looked at Xiang Yufeng with a chuckling, especially when he saw the bitter smile on Xiang Yufeng's face, Cheng Bingfan was so relieved: Boy, who made you smile evilly just now?

"Teacher Cheng, if I answer."

"If you can satisfy the teacher, the teacher will naturally not make things difficult for you anymore!"

"Okay!" Xiang Yufeng took a deep breath, calmed his thoughts, and his thinking was running quickly.

“Women’s pursuit of beauty has existed since ancient times!

Love for beauty is one of human instincts. The pursuit of beauty is also one of the driving forces for the continuous development of human society from low to high. During the Tang and Song dynasties, the description techniques of female beauty in literary works, based on inheriting the previous historical stages, finally formed a highly generalized and abstract aesthetic judgment model. The characteristics of this model are implicit, concise, clever, and invisible, and capture a dynamic beauty in specific life details. Liu Yuxi's "Spring Ci": "New makeup should be used to go down the red building, and the deep spring light is locked in the courtyard. Walking to the atrium, a few flowers, and dragonflies fly onto the jade to scratch their heads."

The beauty of a woman is written through the background of spatial backgrounds such as "Red Building" and "Deep Courtyard"; especially the last sentence, the person who implies that several flowers are like flowers, which leads to the mistake of dragonflies, and the description is extremely graceful. Bai Juyi even used "Looking back and smiling, with a hundred charming, the pink and beauties in the six palaces without color", "Three thousand beauties in the harem, and three thousand beloved in one body" to exaggerate the beauty of Yang Guifei. Wang Anshi's "Mingfei Song" describes Wang Zhaojun's beauty, which is "not a word, but all the charm", "lowing eyebrows and looking at the shadow without color, but the king is not self-control." Su Shi's "Shuoli Renxing" lyrics a painting by the painter Zhou Fang of the Tang Dynasty, "The back is not stretched out in the inner person", first describes it from the empty place, and imagines the beauty of the people in the painting: "If you teach me to look back, it is beautiful", and then imagines this beauty as a back view Du Fu saw from a distance at Qujiangtou, who wanted to fall into the sky, but it was very relevant.

It is another further development based on this basis. In the poetry, opera, legend, and even novels of the Ming and Qing dynasties, "sinking fish", "falling geese", "closing the moon" and "shaming flowers" are used directly to refer to the four beauties of ancient China, Xi Shi, Wang Zhaojun, Diao Chan and Yang Guifei. They almost omit all the concrete information of the aesthetic object. They are concise to the extreme, but they can give the aesthetic object the maximum capacity and living space. In the secret conjunction with the audience's aesthetic expectations, they have more popular and generalized significance.

It should be pointed out here that one of the most prominent features of this gradually formed and highly developed abstract aesthetic judgment model is that it often realizes the "price increase" of aesthetics by empathizing with the "third party" to show a strong aesthetic effect. The "third party" even surpasses the difference between "category". Previously, whether it is the "huoyang City, Confusing Cai" of the "Son of the East" in Song Yufu, or the "popular city" and "popular country" of "Madam Li" in Li Yannian's song, the "beauty" perceived are the same kind of "people"; and at this time, for natural objects such as "fish", "geese", "moon", "flowers", and "dragonflies", it is impossible to perceive the beauty of "people" from the logic of life. The so-called "Wang Gong Shi Shi, people are happy when they see it, and apes are sad when they see it", which shows the gradual improvement and maturity of this descriptive art.

In the earliest collection of poems in my country, there are many female images, such as quiet girls by the city, beautiful people under the moon, young girls in labor, married women, etc. Among them, the most representative description of the beauty of women is "Shuo Ren" in Wei Feng: "Hands are like tender croakers, skin is like cream, neck is like pineapples, teeth are like gourds, and eyebrows are like moths. The smile is graceful and beautiful eyes are waiting for." 1 describes the beauty of Zhuang Jiang, who is on her hands, skin, neck, teeth, forehead, eyebrows,

The objects and others have made a comprehensive description, referring to the objects in nature, the tender herbs in spring, the condensed oil, the larvae of the long beetle, the neatly arranged gourd grains, croakers, moths, etc. The "July" in the Fengfeng uses "the mulberry leaves are fertile; the mulberry leaves are falling, and the yellow leaves are falling" to compare the beauty of a girl's youth and the declining color after marriage. Among them, "the mulberry has not fallen" and "the mulberry has not fallen" are also natural plants.

Others, such as "the peach blossoms are young and bright", use bright peach blossoms to compare the face of a girl; "The moon rises and the people are bright", use the bright moon to compare the beautiful face of a woman; "There is a girl like jade", use jade to compare the girl; "There is a girl like a tumbler", use tea to compare the character of a woman, all of which are famous flowers and plants in nature.

Analysis of the characteristics and reasons for the description of female beauty in this period is mainly because this period is at the beginning of Chinese civilization. Due to the limitations of productivity development, people's understanding of nature and themselves is limited. People's thinking and people's experience and grasp of aesthetics are all stuck in the initial childhood, which is the worship and awe of nature. They can see and see what they see, and touch the various aspects. "Only nature", flowers, stones, grass, wood, birds, beasts, insects, fish, sun, moon, stars, and other things, as "Yi Chuan?Xici" says: "In ancient times, Baoshen was the king of the world. When they looked up, they looked at the image in the sky, and when they looked down, they looked at the law in the earth, and when they saw birds and beasts, they took the text of birds and beasts and the earth, and they took the body from the body, and far away they took the emotions of all things."
Chapter completed!