Historically, the Han people had a subtle and docile character and a feminine aesthetic

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In the past month or two, like every China, I have shared the glory and joy of writer Mo Yan winning the Nobel Prize for Literature, and have also tried to get closer to the literary world of this writer who has gone from Gaomi, Shandong Province to the world. In my opinion, there are too many memories and gratitude for his mother, hometown, and earth in Mo Yan's literary world. During this award, Mo Yan's speech "Storyteller" delivered at the Swedish Academy was similar summary, telling the story of mother, hometown, and earth. In these stories, mother has been integrated with hometown, and earth, and hometown and earth are also symbols of mother. As Mo Yan said: "My mother is part of the earth. What I say when I stand on the earth is what I say to my mother." The tribute to the trinity of mother, hometown and earth has been sublimated into a kind of maternal worship, or a kind of maternal worship in Mo Yan's novels.

Coincidentally. During this period, Professor Yi Pingce, who happened to be a native of Gaomi, Shandong Province, presented a new book "Modern Anthropological Research on the Nationality of China Aesthetic Culture"(hereinafter referred to as "Yi Zhue"), which provides a new interpretation of China aesthetic culture. Interpretation demonstrates a refreshing point. In his view, compared with Western aesthetic culture, the personality temperament of China aesthetic culture is more flexible. If expressed by the concept of gender, it is more feminine. There is no doubt that this view is invisible. For thousands of years, China society has been a patriarchal society, always emphasizing the superiority of men and women, and regards this difference between men and women as the cornerstone for maintaining social order and ethical discipline. For example, the beginning of the Book of Changes Xi Ci says: "The sky is immortal and the earth is low, and the world is settled." That is to say, Qian is heaven, Kun is earth; heaven corresponds to male objects, male objects, father, husband, earth corresponds to female objects, mother, and woman; heaven is respect, earth is humble, Qian is noble, Kun is humble. The inference of the Book of Changes on the Way of Heaven and Earth not only uses the laws of nature to compare human physiological laws, but also pushes this analogy to social politics and ethics, making social politics and ethics an inevitable extension and final result of the laws of nature and physiology. The Book of Changes: "There is heaven and earth, then there are all things. If there are all things, then there are men and women. If there are men and women, then there are couples. If there are couples, then there are fathers and sons. If there are fathers and sons, then there are monarch and minister. If there are monarch and minister, then there are upper and lower. If there are upper and lower, then there are etiquette and righteousness." This makes the social order and ethical discipline in which men are superior to women a self-evident axiom, and this axiom also seems natural and unchangeable in China's aesthetic culture.

However, Professor Yi Pingce vigorously promoted and promoted the feminine and feminine side of China's aesthetic culture, and wrote an article on overturning this thousand-year-old case. To this end, the instrument refines seven steps of basic research ideas: First, first, it summarizes the most basic and distinctive national identities, characteristics, personalities, tendencies, etc. of China's aesthetic culture, which is the basis and main basis of the book; Second, according to the perspectives of cultural anthropology and modern psychology, the national characteristics of China's aesthetic culture are analyzed and identified in a personalized and psychological manner; Third, describe the expression of the special personality temperament of China aesthetic culture from many aspects of China culture; fourth, find the historical causes of the special personality temperament of China aesthetic culture from the way of survival, production methods and their stipulated cultural origins; fifth, explore the actual causes of China aesthetic culture from the patriarchal cultural system and the gender cultural model under its influence; sixth, the in-depth interpretation of classic cultural thoughts; Seventh, it discusses the inherent road map of China's special cultural formation mode and personality cultivation mechanism to penetrate and influence aesthetic culture. The above steps constitute the seven chapters of the instrument.

What is quite impressive is the second chapter, which combines the five national characteristics of China's aesthetic culture, including aesthetic paradigm, artistic concept, aesthetic ideal, cultural fashion, and way of thinking, to reveal the main theme of the book. The first is to use a large number of empirical materials and anthropological theories to illustrate that the Han nation has an introverted, implicit, docile and delicate character, which constitutes the traditional resources and humanistic foundation of China's aesthetic culture that focuses on beauty and femininity. Second, the Han people emphasize "dual-use" and "maintaining the middle to achieve harmony", which is in harmony with women's cognitive style and consistent with women's thinking style using the left and right hemispheres of the brain. Third, according to gender psychology, men often prefer the separation and opposition of "reason" and "desire," while women more integrate "reason" and "desire" into "emotion", so that the main "emotion" theory in China's aesthetic culture reflects more feminized temperament. Fourth, China's aesthetic culture generally does not seek the ultimate goal and absolute destination of life from the metaphysical world, but seeks the value of life and the meaning of life in the human life and secular reality on this side, showing a kind of feminized human feelings. Fifth, if Western aesthetic culture is biased towards rational abstraction and conceptual thinking in terms of thinking, and therefore has more masculine characteristics, then China's aesthetic culture focuses on introspection and understanding, and emphasizes a non-conceptual, non-extroversion, and non-analytical intuitive thinking style is very similar to the thinking characteristics of women.

Affirming the feminine temperament of China's aesthetic culture from the above-mentioned perspectives, in the final analysis, we still have to touch on a huge paradox, that is, in a long-term patriarchal society that emphasizes "men are superior to women" and "three cardinal principles and five constants", it is precisely on the margins of the orthodox, explicit, and official political and ethical systems, in the central area of the ultimate sense of homeland and the emotion of human ethics, but the hidden authority of female culture has always been retained. The existence of such a hidden and special cultural element effectively changes the cultural structure of the patriarchal society, making it not only ensure the political and ethical order of the patriarchal society, but also continue the primitive and natural rights of female personality formed in matriarchal society., thus presenting a unique cultural pattern of the patriarchal society in China as a result of mutual containment, confrontation and regulation. The secret lies in the deep-rooted "maternal worship" of China people. Yi pointed out that the "maternal worship" as we understand it is not entirely a religious term, nor is it entirely equivalent to the original beliefs related to reproductive worship, nor is it entirely equivalent to similar concepts in psychoanalysis. It is a sense of cultural subordination and piety that China people generally converge. It is a deep-rooted and long-standing cultural complex of the Chinese nation. Yi Zhu believes that there are probably few nations in the world who worship mothers as much as we China. When we sing praises and praise the noblest, greatest and most sacred things, we China always like to compare it to mothers: the earth is the mother, the hometown is the mother, the people is the mother, the motherland is the mother, and so on.

Because of this, the fifth chapter of the book fully displays and deeply analyzes the image of mothers in the imaginary world of China's aesthetic culture. Speaking of literature, since the Book of Songs, there have been poems like "Kai Feng" that praise "Mother's labor" and "Mother's holy goodness". In the poem,"Having seven sons, don't comfort the mother's heart" The feeling of affection for the mother has also become a literary theme that lasts forever. In addition to poetry, there are countless images of loving mothers that have always been created in ancient China novels and operas. There are also countless wonderful chapters in which literati and literati have recorded their mother's touching deeds through events, deeds, sacrifices, epitaph, etc. This kind of expression of "maternal worship" has continued to modern writers since the May Fourth Movement, such as Lu Xun, Guo Moruo, Bing Xin, Ai Qing, Hu Shi, Lao She, Zheng Zhenduo, Zou Taofen, etc., all of whom are famous for praising maternal love. This tradition continues to contemporary writers, and there are countless wonderful examples. Yi's book specifically mentions Mo Yan. In the novel "Fat Breasts and Fat Butts" titled "This Book is Dedicated to Mother's Spirit in Heaven" on the title page, Mo Yan used affectionate pen and ink to sing about his mother's incomparable beauty and incomparable sacred image. The instrument captures this information: Shangguan Lu looked at the changing sea of history with a calm and solemn smile like the earth, and completely dispelled the sanctimonious patriarchy cultural authority on the historical stage with his own silent indifference. Mo Yan expressed one of his consistent thoughts in his speech at the Swedish Academy. He said that the book "Fat Breast and Fat Butts" is "actually dedicated to the mothers of the world. This is my arrogant ambition, just like I hope to make the small 'Gaomi Northeast Township' written as a microcosm of China and even the world." It can be seen that the "maternal worship" or "mother worship" he promotes has surpassed the small "Gaomi Northeast Township" and has universal significance. This coincides with Professor Yi Pingce's conclusion that "China's aesthetic culture is a kind of feminine and feminine culture."

Original title: "Worship of Motherhood: The Feminist Personality of China's Aesthetic Culture"

Source: Guangming. com