Abstract

In this paper, from the Introduction, landscape and cultural feelings of mutual relations, the image of landscape aesthetics in the United States, the landscape of the mysterious beauty of the four landscape aesthetic for celebrities how common Masaoki Department of Wei. In addition to the beauty of the landscape soothe their hearts of loss of life to create a flexible and thousands of fun, but more has its inherent aesthetic sense. The article pointed out that the flexibility of the human heart by the beauty of the landscape aesthetic Yun has issued three-state. Based on the first floor Meigan material view of things, that the landscape itself has a unique image of the image of the future appreciation of landscape beauty or natural beauty. Sub-layer system in my view of things, which is in the scenes, the glow of the aesthetic potential of the main build awareness of the possession of the rich and delicate feelings. This is a blend of human and natural, human feelings and ideas through the Stock to the Xing, than the role of empathy in projection in the mountains, the landscape of human culture and the humanities given the United States. The third layer system with metaphysical "Tao" mysterious beauty of the landscape view, that clarification of mind with authentic landscape and reaching for the mysterious beauty of smooth nervous. By the landscape pure natural beauty, the beauty of the landscape and human culture in the knowledge implicit in the silent road is really wonderful deeds mysterious landscape of the United States posed by the state of the United States may not be cut triple fission, and may also be among the mutual penetration, blending with oriented, with the aesthetic of the main different state of mind and have different combinations of landscape aesthetic of the Wei, Jin people, are difficult to put into words the call force, and with the subjective mood and objective situations of different and there are thousands of silk million縷of different intertwined. This paper is meant to explore how the aesthetics of landscapes became a graceful hobby shared by those unorthodox Wei-Jin intellectuals in light of four specific aspects: the foreword, the correlations between landscapes and humanistic concerns, the beauty of images in the aesthetics of landscapes and the Neo-taoist beauty of landscapes. Other than comforting those intellectuals' lost minds and providing various pleasures in life, the beauty of landscape also had its internal aesthetic meaning. It's pointed out in this article that there are three states of mind regarding the aesthetics of landscapes, which is inspired by one's internal sense of beauty. The first state of mind is to observe things as they are, that is, to admire the formal or natural beauty of landscapes through their unique images. The next state of mind is to observe things as I see them, that is, the powerful sentiments stored in the aesthetic subject's unconsciousness are evoked during the assimilation between scenery and feelings. This assimilation occurs between humanism and nature, as the humanistic feelings are empathetically projected onto the landscape by means of associating and conceiving so as to humanize and landscapes and bestow them with humanistic beauty. The third state of mind is to admire the beauty of landscapes through metaphysical Neo-taoism, that is, to see the landscapes with such a pure mind and tao that one can attain the beauty of letting the spirit unfold, the natural beauty of the purity of landscapes and the beauty of humanistic landscapes. The three aesthetic states of mind are not necessarily separated; they can infiltrate and assimilate one another, combining in different ways according to the change in the aesthetic subject's state of mind. For people in the Wei-Jin Northern and Southern Dynasties, the aesthetics of landscapes was indescribably appealing, and its elements interwove infinitely according to the differences in subjective states of mind and objective situations