审美观念

My paper firstly turns on the time of Kaogongji, puts it in axes-age and sums up the characters from our ancient art design which it starts from the analyzing of "Qi" and "Wu".So we can draw our research clue and orientation: manufacture whose core is "Li";And then we will make particularly aesthetic analyse about the text.We will make it clear about the realations between " Li" and "Qi", concept and res, taste and res , and my paper will tell of three part:conceptual design—age idea" s effect on Kaogongji" s taste;human design—human spirit in Kaogongji" s art design;imitate design—accouterment" s taste of Kaogongji. In the text ,I will also tell of the following problems:Li and Kaogongji" s design idea, like-six idea and Kaogongji" s taste ideal, nature-human and Kaogongji s zoology idea.

本论文首先切入《考工记》的时间定位问题，把它放在轴心时代的大背景下，之后从"器"和"物"二字的文字学分析出发，对我国古代艺术设计的总体特征进行了概括，进而以此背景审视《考工记》一书的工艺美学思想，确定本文对该书的研究思路和定位，即以"礼"为核心的器物制造；然后具体进入文本进行细致的美学视角的分析，为廓清"礼"与"器"、观念与器物、审美风尚与器物等关系理顺思路，论文分别从观念化设计——时代观念对《考工记》审美取向的影响、人机化设计——《考工记》艺术设计的人文精神、仿生设计——《考工记》中装饰物的审美追求这三个大方面进行研究，涉及到礼制文化与《考工记》的审美设计理念、"尚六意识"与《考工记》的审美理想、"天人合一"与《考工记》的审美生态观等诸多问题。

The basic connotation of the"aesthetic utilitarianism"is that aesthetics has an intrinsic function to surpass the desire of secular utilitarian purposes, and that the employment of aesthetic education makes it possible to liberate and sublimate the basic instinct and emotion of the fellow countrymen through the "detachedness"and"universality"of aesthetics, with a view to repelling the material and selfish desires and to formulate in time a complete character and a noble morality.

审美功利主义"是吸收了西方"审美无利害性观念和中国古代儒家、道家的思想，又结合当时所面临的启蒙问题而形成的。

Aesthetic perceiver and creator stand outsider character\'s life-word and make use of extra-view to draw the outline of the whole life of the character. The concept of other, exteriority, and extra-view drive from the thought of "form is outline", which is the formation of Bakhtin\'s aesthetic creative theory.

他者—外位—超视原则是巴赫金审美创造理论的基本原则，这一原则来自于"形式即边缘"的观念，本文以"形式即边缘"这一观念为中心，从以下三个方面考察巴赫金的审美创造理论：一、形式即边缘的哲学基础。

The human nature in literature, although have a great deal of connections , because the writers individual character makings and artistic idea , aesthetic ideal , aesthetic and interesting infiltration with the realistic human nature , already obviously different from the realistic human naturing has strong subjective color.

文学中的人性，虽与现实人性有着诸多的联系，但由于作家的个性气质和艺术观念、审美理想、审美趣味的渗透，已经明显区别于现实人性而带有强烈主观色彩。

Prajna Buddhism , as a new influence factor, has promoted the development of language and literature thoughts, and aesthetic consciousness greatly.

般若佛教作为新变因素对此期语言文学观念及审美意识发展的影响深远，它直接使得中古审美经验进入&顿悟、直观&的阶段。

One thing is sure, is that they do not support or even oppose the idea of substituting art, and associated with this is that they recognize the value or the value added of the fine arts. They are not esthetes, but firmly believe that art must have an aesthetic quality--in their eyes all the so-called ideas, even the most valuable concepts of art must be achieved through the aesthetic of the intermediary, even though they may oppose the concept of contemporary art's tendency to suppress the technology, but they do not flaunt technological supremacy. They acknowledge and accept the meaning of art, but they also convey the concept of artistic value in way they try to select a relatively moderate path, neutral, and not too left or right, but also East and West, ancient and modern, not avant-garde nor stale, either extremes must be avoided. And to be able to do this, we've reached the limits of a teacher's role, going beyond these expectations is not very realistic, as the less moderate we get, the further we are from a teacher's identity.

有一点可以肯定，那就是他们不赞成甚至反对以观念代替艺术，与此相关联的是他们承认甚至看重技术对於艺术的价值，他们都不是唯美主义者，但坚信审美是艺术必须具备的品质，在他们眼里一切所谓观念，即使是最有价值的观念在艺术中都必须经由审美的中介加以实现，虽然他们反对观念至上，反对当代艺术中蔑视以至讨伐技术的倾向，但他们并不标榜技术至上；他们承认并接受观念对於艺术的意义，但他们同时看重传达观念的方式，他们试图选择的是一条相对中庸的道路，不偏不倚，不左不右，亦中亦西，有古有今，前卫亦无不可，极端则须避免，能够做到这些，已经是作为教师的角色选择的极限，超越这些范畴的期待已经不很现实了，而远离这些范畴的选择又似乎有违於教师的身份。

The collective memory of perfect young forms changes subtly, and leads to the much-worshiped youth aesthetics of the 21st century. It not only influences art creations greatly, but more profoundly influences an entire generation's appreciation of beauty.

动漫时代这种对青春不老的形像的集体记忆，在潜移默化当中，形成了21世纪新世代所崇尚的青春美学，不仅在创作上形成巨大的影响，更深刻地影响了整个时代普罗大众的审美观念。

Not simply the traditional aquarium fish industry, grass, stone, wood, sand and so used in aquarium, but the ecological balance of the professionalization of the direction of the development of aesthetic aquarium design, in a full grasp of the human race, living habits, work environment, the basis of aesthetic ideas developed will not only have the traditional aquarium fish color,±, Qishi, Shen Mu integration features, the product itself does not account for more space (ultra-thin design), the water-free, non-polluting, such as unique features, contains artistic, ornamental , leisure, practical, suitable for different groups of people in different countries decorative needs.

不是简单将传统水族行业鱼、草、石、木、砂等应用于水族，而是从生态美观平衡专业化方向开发设计水族，在充分掌握人类种族、生活习性、工作环境、审美观念的基础上开发出不仅具有传统水族将彩鱼、碧草、奇石、沉木融合的特点，产品本身更具有不占空间，免换水，无污染等独一无二特点，蕴含艺术性、观赏性、休闲性、实用性，适合不同国家不同人群的装饰生活需要。

But thou, contracted to thine own bright eyes,Feed'st thy light's flame with self-substantial fuel,Making a famine where abundance lies

作者将这一泊来诗体与中国传统诗歌审美观念相结合，创作出了一种适合中国普通读者欣赏习惯的十四行诗样式。

It expresses the original consciousness of life and comes from the instinct impulse.

对自然生命力的崇拜与对神灵的崇拜，在他们的审美观念中常常结合在一起。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。