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作为一个美学概念,“丑”通常与“美”相对,普遍存在于自然、社会和艺术领域,是一种特殊的审美对象,它能够唤起人们一种否定性的审美体验。这种认识古已有之,但由于儒家“不语怪力乱神”的中和美学的长期影响,中国古代文论并没有给予“丑”充分的关注。正如鲁迅所言:“世间实在还有写不进小说里去的人。倘若进去,而又逼真,这小说便被毁坏。”“譬如画家,他画蛇,画鳄鱼,画龟,画果子壳,画字纸篓,画垃圾堆,但没有谁画毛毛虫,画癞头疮,画鼻涕,画大便,就是一样的道理。”这多少能表明中国的艺术家对丑的描摹是有所限制的。
As an aesthetic concept, “ugliness ” is usually opposed to “beauty ”. It exists universally in the fields of nature, society and art. It is a special aesthetic object that can arouse people’s negative aesthetic experience. However, due to the long-term influence of Confucianism and neutral aesthetics of Confucianism, ancient Chinese literary theory did not give sufficient attention to “ugly”. As Lu Xun put it, “There are really people in the world who can not write in novels, and if they get in and they are realistic, the novel is destroyed.” “For example, an artist paints a snake, draws a crocodile, Painting fruit baskets, drawing paper baskets, trash dumping, but no one who painted caterpillars, painted boils head sore, painting the nose, painting the stool, is the same reason. ”This can show how many Chinese artists describe the ugly Limited.