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tality of aesthetics of fuzziness in artistic creation. In ancient Greece, sculptors already noticed the aesthetics of the whole. When they sculptured eyes, they did not aim for the vivid resemblance to the true eyes. Instead of eyeballs, they only carved two blind eyes in order to show the spirit of the eyes. Through this way, the sculptures are meaningful and suggestive, which can launch audience's imagination to grasp the character's spirit. If the eyeballs had been carved conspicuously, the aesthetics in other parts would have been destroyed, and the oneness of fuzzy aesthetics would also have been undermined. On the contrary, if part of the aesthetics is damaged, the whole effect of fuzzy aesthetics will not get lost. The famous sculpture of Venus is a good example. Although she has mutilated arms, we can still sense the aesthetics hidden in the whole sculpture.
2.1.2.3 Inter-permeability of Fuzzy Aesthetics
Inter-permeability refers to the permeability and transition of medium. It breaks the gaps between different objects, which makes them blend with and penetrate into each other. Thereby it produces aesthetics of variety and complication. Inter-permeability reflects many sides of one thing and multiplicity in multi-leveled connections. Hegel, the renowned German philosopher, has once pointed out that from Kant’s view, we find this truth: those, which are considered separated from each other in our ideology, in fact, is inseparable. It is aesthetics that removes it, because the opposites in aesthetics, such as universal and particular, ends and means, concepts and objects, etc. are completely interpretable. (王明居, 1998)
Artists, in order to stir up a stronger sense of aesthetics feelings, have also noticed the inter-permeability of fuzzy aesthetics, especially in poetry. The poet employs various images and rhetoric techniques, which activates many senses of the reader. The inter-permeation of senses make aesthetics experience fuzzy and uncertain.
In fact, poetry not only has the characteristic of inter-permeation, but also has the other two characteristics analyzed above. Because poetry, especially classic Chinese poetry bears the features of fuzzy aesthetics. In the next part, the author will concentrate on the analysis of aesthetics of fuzziness in classic Chinese poetry.
2.2 The Manifestation of Fuzzy Aesthetics in Classical Chinese Poetry
It is one of Hegel's major theses that art must be understood as a unity of form and content and analyzed in terms of them. According to Hegel, the major philosophical influence on modem aesthetics, the main task of aesthetics, should reside in the study of various forms of art and of the spiritual content peculiar to each. Form and content exist as a harmonious whole in the artistic work of poetry, and are inseparable to each other. Artistic form is basically determined by content. Content is the primary and essential condition of its corresponding form. But content is not the only condition, for artistic form is also determined by the particular capability of the expressive tool. It is known to all that poetry is such a literary genre that has most compact, condensed forms. Aesthetics of poetry is conveyed by form and content. In this thesis, form is understood as the artistic embodiment of phonetic features (form in sound) and syntactic features (form in syntax) 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。