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All-round development of the Tang Dynasty society provided an objective background for the formation of tea culture. This paper points out that the composition and diffusion of tea culture at that time reproduced the triple attributes contained in the taste of tea. The first is the overt attribute, the physical attribute of the tea taste in tea drinking, embodied in the functional value of the tea. The second is the implicit attribute, also the spiritual attribute of tea, which endows tea with spiritual connotation in tea-tasting practice. In tasting tea, people can appreciate tea’s aesthetic value, cultivate their character and have connection with nature through the medium of tea. The third is the social attribute. Different groups developed different tea-tasting manners according to their own needs, which formed the grouping characteristic and market norms, reflecting the social connotation of the nationality, class and economic development of the Tang Dynasty. [ABSTRACT FROM AUTHOR]

Su Shi is a great master of Chinese traditional culture, who kept his enthusiasm for the real life, forming his unique aesthetic view of daily life. In daily tea drinking, Su Shi kept an aesthetic attitude of appreciating everything, advocating the elegance of daily tea drinking and combining tea with Zen, incense and the four treasures of the study (brush, ink, paper and ink stone) to manifest the temperament of educated people and his pursuit of leisure life. Su Shi experienced huge survival difficulties after being relegated in his life. However, he always kept enthusiasm and love for the world thanks to his poetic attitudes towards life. [ABSTRACT FROM AUTHOR]

The silky images in Tang poetry are delicate, flexible, and elegant, and are “significant forms” corresponding to the poet’s specific emotions. They are important aesthetic objects in the study of Tang poetry. The paper studies the silky images in Tang poems by focusing on “female needlework images”, “fishing line images”, and slim grass images. from the perspective of “line”, a core elements of formal aesthetics. The study reveals its corresponding beauty and meaning through analysis of the flowing and undulating lines in Tang poetry, and explores the value orientation, aesthetic psychology of the Tang people, as well as the aesthetic customs, social features and historical development track of the Tang Dynasty etc., providing multiple perspectives for the study of Tang poetry. [ABSTRACT FROM AUTHOR]

After the outbreak of the Pacific War, Mao Dun transferred from Hong Kong to Guilin. Jiehou Shiyi（劫后拾遗） is his first work after arriving in Guilin, which has special symbolic significance. It is recognized as a news style from a literary style. In this paper, the author believes that the naming of "sketch-styled novel" can not only pertinently summarize the stylistic aesthetics of the novel, but also effectively explain the underlying causes of the stylistic anxiety. As the development form of the "sketch-styled novel" in the 1940 s, the novel is not only a literary vein that was popular in the 1920 s and 1930 s, but also a product of the revival of "sketch-style" in the context of the Resistance against Japanese Aggression era and the birth of new aesthetic quality. [ABSTRACT FROM AUTHOR]

An object image is the beginning of the creation of all literature,especially poetry and Fu. In The Literary Mind and The Carving of Dragons( 文心雕龙),Liu Xie concluded that it could summarize the spirit and describe everything. He also incisively analyzed the way how object images were presented. In this paper,the author studies the present state of the "thing without knowledge"in the sense organ of the "thing with mind"by analyzing how writers and artists choose,place feelings on and make word and meaning communication. On the other hand,he explores the origin of"image"and the rules of image’s formation,thus to restore the writers and artist’s aesthetic view of the object. [ABSTRACT FROM AUTHOR]

The eighty-three characters in part "犬"of Shuo Wen Jie Zi show the ancient people’s thoughts on animal, diet, society and aesthetics. In this paper, those characters are analyzed in terms of the shape, meaning, semantics and culture. [ABSTRACT FROM AUTHOR]

【Objective】The purpose of this paper is to further improve the product value evaluation system of the flower derivatives market,and provide some reference suggestions for the design,production,evaluation and pricing of flower derivatives in the future.【Method】Using 20 art dry flower works from Kunming Flower Derivatives Market as experimental materials,AHP method and SBE method were used to evaluate the samples,then Kendall’s.W Concord Coefficient Test was evaluated for the two evaluation results to establish the value evaluation system model of art dry flowers.【Result】The ecological value of the art dry flower value system had a higher contribution rate(0.5282),followed by the aesthetic value(0.2000) and the human value(0.1886),and in the Kendall’s W synergy coefficient test the W value was 0.999,the significance was 0.006<0.01,which showed that the two evaluation results had high consistency,and the evaluation model had certain reliability.【Conclusion】As a more detailed evaluation method,AHP method could establish the evaluation system model of the required evaluator more accurately,and the SBE method was more convenient and quicker.The combination of the two evaluation methods could make the overall evaluation system more reliability.The results of this study could provide a reference for the design,production,evaluation and pricing of flower derivatives in the future. [ABSTRACT FROM AUTHOR]

Yu Hua's novel ``Being Alive' was adapted into a movie. Due to the differences in artistic media, the narrative strategies of novels and movies are different. The main performance is: movie narration highlights the meaning of the times, explains the relationship between the times and the subject, and reflects the subject in real life The power of life transformation; novel narration focuses on the meaning of individual life, retrospectively reconstructs the subject's experience, and has a philosophical meaning that transcends time and space. Whether it is a novel or a movie, they both write the same theme-"Living". The two are independent and complementary to each other. They have an intertextual meaning. They realize the dialogue between different views of art and life, and provide multiple interpretations of life aesthetics. path. [ABSTRACT FROM AUTHOR]

Chinese calligraphy is a very distinctive semiotic and artistic phenomenon. It seems to be neither figurative nor abstract; it consists of characters that express meanings which are ideal, but at the same time it is composed of perceptible forms which call for the viewer's full attention to their individualities; phenomenology draws a sharp contrast between "expression" and "indication," but calligraphy seems to be both at once. The ambiguity of Chinese calligraphy makes it a perplexing theme for traditional aesthetic theories. In this paper, I analyze calligraphy from a phenomenological approach. My analysis is divided into two parts. The first part is a static and structural analysis. I describe the “noetic-noematic" correlation of the calligraphic experience, contrasting it with similar art forms as well as with writing in general. In the second part, I analyze the phenomenon of calligraphy dynamically and genetically. The construction of the meaning of calligraphy will be traced back to the unity of calligraphic actions on both temporal and historical levels. It will be shown that the genesis of calligraphic art is a movement aimed at the emancipation of the "gestural meaning" embodied in the phenomenon of writing. [ABSTRACT FROM AUTHOR]

The aim of this paper is to expound the symbolic formula of The Story of the Stone and the Chinese aesthetic thought behind it. It introduces the essence and symbolic form of Chinese myth of Poetry and Painting. This paper gives specific paradigm to show how Cao Xueqin uses symbolic mode in his work The Story of the Stone. [ABSTRACT FROM AUTHOR]