CC BY
1№ 1(127)
UNIVERSUM:
ФИЛОЛОГИЯ И ИСКУССТВОВЕДЕНИЕ
январь, 2025 г.
PAPERS IN ENGLISH
ART CRITICISM
THEORY AND ART HISTORY
ANCIENT AND TYPICAL TATTOO ART
Tom Fly
PhD from Graduate University Of Mongolian, Mongolia, Ulaanbaatar E-mail: 1353593198@qq. com
ДРЕВНЕЕ И ТИПИЧНОЕ ИСКУССТВО ТАТУИРОВКИ
Флай Том
д-р философии, Монгольская аспирантура, Монголия, г.Улан - Батор
ABSTRACT
Ancient typical art should be understood as the result of art. The symbolic mode of expression is the prerequisite for ancient typical art, so ancient typical art develops from the process of the development of symbolic modes of expression [2, p. 486]. Content and form that are fully suitable for content achieve independent and complete unity, thus forming a free whole, which is the center of art. What provides content and form for ancient typical art is the ideal, and ancient typical art achieves true art according to the concept of art through appropriate modes of expression [2, p. 477]. This can be understood as the gradual stabilization and maturity of ancient typical art in human civilization development, and humans gradually tend towards rationality, which does not conform to the intrinsic conditions of symbolic art, and is also the requirement distinguishing symbolic art from ancient typical art. It is conceivable that tattooing for the subject is a matter of "sweet after bitterness," otherwise the subject would not endure the "needle-like pain" inflicted on their body, which must have its own direct reasons and intended meanings, and can achieve completeness and unity in both the intrinsic content and external form of art.
АННОТАЦИЯ
Символическое выражение является предпосылкой древнего типичного искусства, поэтому древнее типичное искусство развивается в процессе развития символического выражения [2, p. 486]. Содержание и форма, полностью соответствующие содержанию, достигают самостоятельного и полного единства и, таким образом, формируют свободное целое, которое является центром искусства. Идеал заключается в том, чтобы обеспечить содержание и форму древнего типичного искусства, которое реализует истинное искусство в соответствии с концепцией искусства с помощью соответствующих выражений [2, p. 477]. Это можно понять как постепенную стабилизацию и зрелость древнего типичного искусства в развитии человеческой цивилизации, постепенное продвижение человечества к разуму, что не соответствует внутренним условиям символического искусства, а также требованиям символического искусства, отличающего его от древнего типичного искусства. Можно себе представить, что татуировка субъекта - это проблема « горькой постсладкой», иначе субъект не сможет выдержать физическую « иглоукалывающуюся боль», которая должна иметь свою прямую причину и смысл намерения, что может обеспечить целостность и единство как в самом искусстве, так и во внешней форме.
Keywords: ancient classic art, tattoo, absolute mind, rationality.
Ключевые слова: древнее классическое искусство, татуировки, абсолютный разум, рациональность.
Section 1 Classical Art
Ancient typical art should be understood as the result of art. The symbolic mode of expression is the prerequisite for ancient typical art, so ancient typical art
develops from the process of the development of symbolic modes of expression [2, p. 486]. Content and form that are fully suitable for content achieve independent and complete unity, thus forming a free whole, which is the center of art. What provides content and form for
Библиографическое описание: Fly T. ANCIENT AND TYPICAL TATTOO ART // Universum: филология и искусствоведение : электрон. научн. журн. 2025. 1(127). URL: https://7universum.com/ru/philology/archive/item/19099
UNIVERSUM:
ФИЛОЛОГИЯ И ИСКУССТВОВЕДЕНИЕ
ancient typical art is the ideal, and ancient typical art achieves true art according to the concept of art through appropriate modes of expression [2, p. 477]. This can be understood as the gradual stabilization and maturity of ancient typical art in human civilization development, and humans gradually tend towards rationality, which does not conform to the intrinsic conditions of symbolic art, and is also the requirement distinguishing symbolic art from ancient typical art. It is conceivable that tattooing for the subject is a matter of "sweet after bitterness," otherwise the subject would not endure the "needle-like pain" inflicted on their body, which must have its own direct reasons and intended meanings, and can achieve completeness and unity in both the intrinsic content and external form of art.
The Age of Reason is marked by the invention of writing symbols, marking the beginning of human rationality. In China, it started with the invention of oracle bone script. Artists during the Renaissance reflected the influence of Neo-Platonism, with "reason" as the highest pursuit in art. The period of Rationalism was based on rationalist and empiricist theories, offering new interpretations of traditional aesthetics, exploring new aesthetic propositions and perspectives, and transforming research models, elevating Western aesthetics to a new historical dimension.
The expression of the ancient type, in its essential form, is no longer a strictly symbolic means, although certain symbolic elements sometimes still play an incidental role. The ancient type of artistic form is not merely a superficial personification depicted through the flesh, for the entire spirit that constitutes the content of artistic works emerges from the flesh and is entirely unified with it. Since ancient type art grasps freedom of spirituality as concrete personality and recognizes this personality directly from the phenomena of the flesh, it often suffers from anthropomorphism [2, p. 480]. From an artistic perspective alone, ancient type art is indeed quite anthropomorphic; if viewed from a higher religious perspective, its anthropomorphism is insufficient [2, p. 481].
1. Ancient typical art and its aesthetic religion cannot satisfy the depths of the spirit; no matter how concrete it may be, it remains abstract to the spirit, for it has not yet undergone the movement from contradiction to reconciliation by an infinite subject, but only a certain free individual feels a harmonious state undisturbed in its actual existence, a calmness in its real existence, a happiness, a sense of satisfaction and greatness towards oneself, an eternal solemnity and blessing, an attitude that does not lose composure even in disaster and pain1.
Section 2 The idea of beauty
Hegelian philosophy reaches the road to truly and effectively know the world. Thus, postmodern philosophy is left with only dialectical logic, that is, knowledge that has gained universality. Hegel's dialectical logic makes the "idea of beauty" directly implement itself on humans when transforming into concrete
январь, 2025 г.
reality, embodied in the most abundant practical activities of human artistic creation and appreciation. Although the "idea of beauty" is essentially idealistic, it also possesses a function of self-negation, preventing itself from always remaining in the "shadow kingdom" of concepts. Therefore, it inevitably moves from abstract concepts to concrete reality, which is manifested through human activities. In the processes of artistic creation and appreciation, humans recognize the "idea of beauty," thus the "idea of beauty" returns to itself as a concrete concept, thereby completing its own realization process. The idea of beauty is an inevitable outcome of the development of human aesthetic concepts and represents the pinnacle of human aesthetic consciousness.
In Kant's view, the aesthetic idea is both a model for artistic appreciation and the goal of artistic creation [6, p. 121]. Tattoo art has always been a realistic and intuitive sensory image with rich content, thus its external manifestation is sensory, while the rational component is the thought that the subject wants to express. Therefore, tattoos are beautiful.
In the aesthetic concept, the appearance strives infinitely to approach the rational idea, becoming the sensory appearance of the rational idea with a high degree of completeness and perfection [4, p. 122]. Compared to the symbolic art of the mythological, that is, the art exemplified by tattooing, people in the rational era can largely ensure that the content and form of art conform to unified laws. Even though there are certain commonalities between the rational era and the mythological.
The aesthetic concept is the most perfect sensory manifestation of the rational concept, it either endows eternal and infinite rational concepts with sensory images or endows concepts in experience with a highly ideal sensory appearance, enabling people to ascend from the sensory world to the supersensuous world, achieving aesthetic transcendence and freedom [4, p. 123].
Hegel repeatedly emphasizes that art is about manifesting the free essence of human spirit, which is autonomous and self-determining, through sensory images, while in symbolic art, humans have not yet become aware of their own freedom. Although humans have begun to vaguely recognize that they differ from nature, due to their relatively low level of cognitive development at this stage, they do not seek the basis for this distinction from within themselves but rather from objective phenomena outside of themselves, which does not conform to the definition of human free will. That is to say, the meaning that constitutes the content of art remains unclear, and thus the corresponding artistic forms can only be "forced" or distorted [7, p. 1213]. It is worth noting that only after understanding and analyzing the intrinsic requirements of symbolic art can we better study the intrinsic requirements of classical art.
1 'Anthropomorphism is the depiction of things other than people (including gods) as people
UNIVERSUM:
ФИЛОЛОГИЯ И ИСКУССТВОВЕДЕНИЕ
Section 3. Tattoo is an artistic practice of self-awareness
Socrates proposed "know thyself," just as the rationalist Descartes pointed out "I think, therefore I am." Autonomous consciousness and free consciousness are important contents of subject consciousness. Therefore, the understanding of the self should be a cognitive activity that unifies the self as a spiritual entity with the existence of entities. The development of human aesthetic consciousness, or aesthetic concepts, to this stage is the fundamental manifestation of humanity distinguishing itself from other things.
Body - the subject has always been constructing a world of its own, construction is practice. To deduce the possibilities of world generation, one must inevitably imitate concrete actions [5, p. 9-230]. Art, at its core, belongs to a body-centered exchange system, because the body is both the carrier of mental activities and the entity of bodily activities. The primitive people exerted great effort in creating various images, fundamentally aiming to perform witchcraft. The body is the author -purpose - center of this process: rituals are performed by the body, hunting is a bodily practice, painting is a bodily creation, and food meets the needs of the body. The true meaning of practice: practice cannot be entirely undertaken by mental activities; its subject can only be the real body - without hands, feet, and torso, humans cannot reorganize the material forms of nature, and thus there is no practice; only through real activities can humans truly change the world; the activity that changes the world is practice.
(1) Spiritual entities in tattoo art
Body tattooing art, as an objectively real entity, represents the ultimate unity of existence and essence. Here, body tattoos are confined to this entity of artistic existence. That is to say, people's initial understanding aims to clarify the hidden essence behind phenomena in order to obtain an ultimate answer. This aligns with the intrinsic requirements of symbolic art. In this process of exploration, it is hoped that the answer will have the most universal certainty. Initially, people's answers were "water," "fire," "air," and other natural substances, essentially treating symbolic art as the origin of artistic development. People regarded "entities" as the essence of all concrete phenomena and things. That is, within the realm of essentialism, the essence of all things and phenomena can be attributed to some entity [7, p. 12-55]. Just as people's curiosity about tattoos initially led them to misunderstand or even resist them, understanding the meaning of tattoos requires delving beyond their surface appearance.
"Entity" manifests differently across different ethnicities, cultures, philosophical ideas, and stages of cognition. Just as the development of human aesthetic concepts, the progression of art history, and the varying artistic messages conveyed by tattoos in different historical periods demonstrate. Since entity is the origin of all things and phenomena, once determined, it encompasses all contingencies and particulars. It is precisely because entity represents itself through contingency that it does not signify anything else. Therefore, while entity
январь, 2025 г.
is embedded within contingency, it is not simply equivalent to contingency. Given that entity encompasses various contingencies, in this sense, entity possesses absolute creativity, as "entity" transplants the possible into reality, manifesting its creative power through reality and its content [7, p. 55-57]. In other words, tattoos are merely individual examples within the system of art and do not represent art itself. However, as an art form, tattoos are a contingency within the entity of art, thus they can also be understood as part of art.
Hegel believed: a substance has an important deter-minacy, that is, a substance must reach the point where it can recognize itself and negate itself in order to possess subjectivity, such a substance is a "living substance". Art itself is an objective non-living object, but in the process of human rational thinking, it possesses artistic vitality. "Living substance," only when it establishes its own movement, or rather, only when it acts as an intermediary between itself and its own transformation, does it truly become a real existence. In other words, this existence is truly the subject. That is to say, in the process of appreciating things, humans have already demonstrated the existence of art as a "living substance". Just as Hamlet has a thousand different opinions among a thousand people. Therefore, Hamlet is also "alive". Substance as the subject is purely simple negation, only thus is it the process of a single thing splitting into two or the process of establishing opposition, and this process is merely the non-differentiation and negation of such distinctions and opposites, such a substance reaches Hegel's concept of subjectivity, which is the important conclusion that "substance itself is subject" [7, p. 57-58]. Tattoo art, as a substance, produces different aesthetic effects in different people's aesthetic perspectives, meaning that people will have different aesthetic psychological responses to the results of tattooing as an artistic act. This aesthetic effect depends on people's understanding of tattoo art itself. Insufficient cognition means that people's aesthetic cognition is at the symbolic art stage, cognitive rationality is at the archetypal art stage, excessive cognition leads to an aesthetic attitude of "nonchalance" towards appreciating tattoo art, thus entering the romantic art stage. Simply put, whether people have gained a general understanding of tattoo art.
Hegel believed: the substantial characteristics of spirit in symbolic art are embodied in the content of artistic expression, and the images used to represent this spirit are also direct external representations of natural objects. The understanding of tattoo art during this period could only be interpreted within the realm of rationality, thus people at this stage already possessed the ability to study the "origin of art" or the meta-problem of art. Symbolic art is the visual expression of this concept.
Now, when people stand on the basis of the existing artistic interpretation capabilities of the rational era to study tattoo art, its content has become extremely rich and colorful. And tattoo art has evolved from the mysterious and blind worship of the magical age to the rational worship of pantheism in the rational era. Tattoo art has
UNIVERSUM:
ФИЛОЛОГИЯ И ИСКУССТВОВЕДЕНИЕ
gradually been constructed by people from the original single "spiritual entity" into a diversified artistic complex.
(2) The absolute spirit in tattoo art
The origin and state of the absolute spirit determine the origin and state of art, the "universality and inherent essence of ideas" of the absolute spirit constitute the content of art, and the form of "direct contemplation" constitutes the form of artistic expression. The purpose of art is to make the content "presented in the mind" through the form of "direct contemplation". This is also the concrete manifestation of the assertion that "beauty is the sensuous manifestation of ideas" under the state of artistic origin.
Hegel believed: symbolic art or Eastern aesthetics are still in the early stages of human art, where art primarily served religion, and the artistic expressions of deities reflect a nation's overall level and developmental status of its understanding of the world. Some nations' deities are still natural deities, some are in the transitional stage from natural deities to personal deities, and others are purely personal deities. From the perspective of the overall development of human aesthetic concepts, the ancient typical art period achieved a complete unity of content and form, leading to a large number of religious arts in the Middle Ages, such as religious architecture and religious paintings. The characteristics of these deities actually indicate the state and stage of spiritual development, so this deity must continuously evolve from natural deities to personal deities, only reaching the stage of personal deities does the deity possess pure spirituality. As mentioned in Chapter One, primitive art and religion were initially inseparable, meaning they had not yet attained the purely spiritual state of personal deities.
The concept that constitutes the content of symbolic art itself has flaws, therefore the manifestation of this concept in symbolic art can only express a tendency or possibility, and cannot be embodied as explicit stipulations [7, p. 42]. Thus, during the symbolic art stage, the content that constitutes art has not yet reached the stage of unifying content and form, that is, the absolute spiritual stage of art has not yet been realized, but also signify the low level of human cognitive abilities. The origin of symbolic art can be analyzed from the characteristics manifested by human cognition at its starting point [7, p. 43-44].
Hegel believed: art manifests the "Absolute Spirit" through sensuous images. This mode of cognition belongs to a lower stage, as it regards pure speculative cognition, i.e., philosophical cognition, as the highest realm. In terms of its domain and ultimate goal, art is the same as religion and philosophy.
What Hegel refers to as the "Absolute Spirit," "God," and "Absolute Object of Consciousness" here actually all point to the ultimate truth - the Absolute Spirit. Because the Absolute Spirit encompasses three stages: art, religion, and philosophy, together forming the ultimate understanding of the "Absolute." In the "Age of the mythological," the primordial question about the origin of art was already discussed, indicating that during this period of great sprouting and development of human civilization, whether it be art, religion,
январь, 2025 г.
or philosophy, they were all at the same stage, thus there was religion in art and philosophy, and similarly, there was art in religion and philosophy. However, it was only in the "Age of Reason" that this internal connection became clearer, and through the external form of art, the content was made more direct and clear.
Just as in the "Age of the mythological," humans would use direct natural flora and fauna as the subject matter for artistic creation, but this form of artistic expression was quite vague, meaning that people at that time were not entirely clear about the precise artistic content their works should convey. In the Age of Reason, however, the sources of human artistic themes became more diverse and richer, and the content presented in artworks became more specific and comprehensive.
Hegel believed: art is the creative activity of human beings, people will not be content with merely "glimpse the absolute" in simple natural phenomena and express this absoluteness through images. It is precisely in this sense that all naive worship of natural things, i.e., the worship of nature and fetishistic customs, are not yet art [7, p. 49]. In fact, the worship referred to by Hegel here only pertains to the logical relationship of art theory, and not to the already formed works of art in reality.
Hegel believed: the origin state of absolute spirit is represented through sensory images as the initial art, through appearances as the initial religion, and through concepts as the initial philosophy, each of which corresponds to the absolute spirit at this stage. Therefore, the initial form of symbolic art is the image expression of the origin state of absolute spirit, and the development process of symbolic art based on absolute spirit can clearly define its position in Hegel's aesthetic system, which is what Hegel referred to as "it should only be regarded as the pre-art of art" [7, p. 50]. It must be pointed out here that the specific discussion of symbolic art in classical art is due to symbolic art being an essential prerequisite for classical art.
(3) The sublimity of rationality in tattoo art
At the initial stage of aesthetic events, both the subject and object of aesthetics are still two opposing sides, belonging to two independent entities, and what achieves the unity of subject and object is aesthetic psychology. Is beauty art worthy as an object of scientific research? In all activities, beauty and art indeed decorate everything inside and outside more clearly, alleviating the seriousness of life and disputes over reality, and tattoo art and other artistic behaviors have similar effects. Beauty is content-rich and form-rich. Content and form are unified, and beauty is only beautiful when they are unified, directly manifested in a certain form. The unity of content and form in art is achieved by aesthetic psychology, which is psychological distance. The definition "beauty is the sensory manifestation of the idea" actually aims to reflect the unity of human spirit and the natural world, or the unity of subject and object. As a unity of subject and object, tattooing can be well explained by the formula ® in the "intrinsic formation of aesthetic concepts," that is, tattooing as an image intuition is beauty, tattooing is the object, beauty is generated in the subject, thus beauty = tattooing = beauty. Therefore, tattoo art also conforms to the concept of beauty,
UNIVERSUM:
ФИЛОЛОГИЯ И ИСКУССТВОВЕДЕНИЕ
that is, tattoo art is an artistic form generated according to the subjective consciousness and objective requirements of the subject.
In fact, as the result of artistic works, there is no content; what truly constitutes the content or forms the content of an artistic work is the freedom of human spirit. Whether it is the creation of artistic works or their appreciation. Compared to the primitive period when there was no distinction between subject and object and individuals had not yet recognized their own freedom, rational humans have achieved complete independence in discovering and understanding the world and the individual.
The process of tattooing is also the process of aesthetic experience. In the sublime experience , it is a great mood and spiritual realm that brings pain to pleasure. In the sublime aesthetic, as one of the variants, after people feel obstructed, rejected, insignificant, powerless, and pricked, they immediately experience attraction, pleasure, elevation of mood, and a more intense outburst of vitality, thereby achieving the height of power of the object, Because during the process of getting a tattoo, people may experience pain. as if they have gained the power of the object, achieving identity and resonance in essence with the subject and object. In this identity and resonance, one might even feel oneself within the object, unaware of what is self and what is not [8, p. 6-106]. According to Hegel, only spiritual things are infinite. If this spiritual thing is to manifest itself as infinite, it must not be bound by nature; otherwise, it is not infinite. "Only when recognizing that God is essentially pure spirit, formless, and opposed to nature can the spirit completely free itself from sensory objects and natural states, that is, from finite existence". That is to say, it is precisely because of the infinity of human spirit that a sense of sublimity arises, which means that individuals can generate infinite mental freedom towards tattoo patterns attached to their bodies and skin, thus producing a profound aesthetic experience from within.
In the primitive period, when humans were still struggling through the long journey from apes to humans, there was no concept of nobility, as people's attitude towards nature was one of reverence and worship [8, p. 6-105]. As mentioned in the chapter on the age of the mythological, human cognitive levels were relatively low, thus the understanding of beauty was limited to fear and reverence. Only when humans engaged in struggles with nature, continuously recognizing natural laws and utilizing these laws to transform nature, making it suitable for human survival, did they gain a domain that humans could directly control. Within this known domain, humans achieved self-being, obtaining a "safe place" from the boundless expanse of nature. The term "safe zone" has two meanings: one is the power of human practice, and the other is the safety and confidence of individuals in specific aesthetic contexts. In fact, the term 'safe place' here can be understood as humans having already grasped the laws of nature to a certain extent, that is, humans have emerged from blindness and ignorance towards natural phenomena, that is, humans have entered a higher stage of civilization. Only
январь, 2025 г.
then will terrifying things, although unknown and constantly harmful to humanity, be understood by the practical power of human beings as a "safe place" to protect themselves, with a certain ability to resist, and with concepts generated from practical activities that are consistent with their practical power. These incomprehensible terrifying things will gradually become not only terrifying but also sublime. Therefore, tattoos can not only increase an individual's sense of security, but also boost their confidence. Because in the era of the mythological, that is, primitive times, humans were unknown to nature, wizards, as intermediaries in communication with nature, could to some extent increase the sense of security for the entire tribal clan. The power of ethnic groups accumulates within individuals, and individuals specifically manifest the power of the class. Only through concrete aesthetics can the deep power of class be expressed, and only by examining the practical power of class can the deep roots of concrete aesthetics be revealed. When God acquires pure spirituality, the relationship between God and the phenomenal world becomes a relationship of negation and being negated. This means that no matter how rich or majestic the entire phenomenal world is, in terms of its relationship with entities, it is clearly placed in the negative aspect, created by God, belonging to God, and serving God. Therefore, the world is seen as a manifestation of God. However, the existence of limited things is intangible; in the presence of God, the created things are seen as fleeting and powerless, so God's integrity is also displayed in God's charity. It is God's integrity that shows the incompetence of this negative aspect through its own negative (negation) things. It also shows that only entities are capable" [7, p. 172]. Atheists' understanding of the spirit is scattered, which means that atheists' absolute understanding of the soul has not yet produced spiritual resonance. In symbolic art, it has been mentioned that it is precisely the inconsistency between the content and form of symbols that leads to the emergence of nobility. Therefore, tattoos should not use the skin of the human body as the basis for painting to a certain extent. Therefore, since ancient times, if the body is given to parents and tattoos are done on one's own body, it is unfilial to the parents. However, when tattoos appeared, it was a breakthrough in traditional ethical concepts and a moral sublimation of the subject of tattoos. At this time, tattoos and non tattoos cannot be reflected in filial piety. The characteristic of tattoo art is to understand and express the objectively existing things as real things, that is to say, to understand and express the suitability of things for their own and their own content. So the authenticity of tattoo art should not be just the hollow correctness that cannot be crossed by the so-called "imitation of nature", but rather the external factors must be coordinated and consistent with an internal factor, and this internal factor must also be coordinated and consistent with itself, so that it can truthfully manifest itself in external things. Because artistic ideals always require that the external form itself must conform to the soul. The answer to the question of whether tattoo art conforms to the soul is certain. Sublime is moving towards high school students. For the
UNIVERSUM:
ФИЛОЛОГИЯ И ИСКУССТВОВЕДЕНИЕ
subject of tattoos, the first thing is definitely pain. Because physical pain can make the tattoo subject feel inner pain, confusion, or guilt and be relieved. The pattern of a tattoo is not easily replaceable like clothing or other decorations. If you don't want to wash away the tattoo, it will remain on your skin forever, achieving eternity. The sense of eternity evokes a sense of nobility and sa-credness, thereby elevating one's spiritual strength and bringing redemption and comfort to one's inner self.
Hegel believed that "the sublime is generally an attempt to express infinity, and there is no object in the field of phenomena that can precisely express infinity. Infinity, precisely because it is extracted from the composite whole of objective things as an intangible and visible meaning, and becomes internal, according to its infinity, is inexpressible and transcends the forms of expression through finite things" [7, p. 132]. Hegel's "infinity" can be explained as the part of the inconsistency between the content and form of things, which is unknown, similar to "God. The existence of '' also gives rise to aesthetic emotions in religion, generating a sense of aesthetic nobility. Due to the universality and infinity of the sublime content, in Hegel's view, "it is generally narrower than in truly symbolic art, because symbolism only stays in the pursuit of spiritual things, and has a wider range of extension in the interaction between spirit and nature. It can be transformed from spirit into natural images or from nature into harmony with spirit" [7, p. 143].
Kant believed that the sublime does not exist within anything in nature, but rather within our hearts, when we can consciously perceive that we are transcending the nature within our hearts and the nature outside -when it affects us. Everything that triggers such emotions within us (the power of nature that excites us belongs to this category) is therefore called sublime (although not in its original meaning). And only under that premise, that the idea is within us and in relation to it, can we reach the idea of the sublime nature of that
январь, 2025 г.
object, which is not only because of its power in nature that excites our deep reverence, but also because we have internal functions to fearlessly judge it and think beyond it as our prescribed mission [3, p. 12-99]. Kant understood the sublime as the starting point of the sublime, that is, the subjective consciousness of talent. Compared to Hegel's view of the object as the object of aesthetic sublimity, Kant's notion of sublimity is a reflection of the true nature of human nature. Therefore, by combining Hegel and Kant's theory of the sublime, aesthetic sublimity can achieve unity between the aesthetic object and the aesthetic subject, and form the integrity of sublimity.
Summary
Grosse said, "The main purpose of primitive ethnic painting is for aesthetics; it is a decoration, not, as some people say, a primitive form of clothing. Therefore, it is completely reasonable for us to study painting (and tattoos) from an aesthetic perspective [1, p. 47]. Tattoos are also painting to a certain extent, and painting is the simplest form of active decoration, representing the most significant primitive form of decoration; The painting body is obviously causally related to certain fixed decorations. Therefore, taking "tattoos" as a clue, using aesthetic theories to study and explore the sociological, historical philosophical, literary, and aesthetic significance of the art of "tattoos".
It is reasonable to explore the sense of nobility generated in the aesthetic process in the symbolic art stage, that is, in the mythological stage, or in the rational era. Because in the era of the mythological, although it met the lofty aesthetic requirements in terms of aesthetic form, humans had not yet reached the level of aesthetic concepts for beauty. Therefore, in the rational era, the understanding of the sublime is clearer.
References:
1. Gross E. Cai Muhui [The Origin of Art]. - Beijing, 1984. - Pp. 47. [in German].
2. Hegel; Zhu Guangquan translation. Aesthetics [Moscow]. - Beijing: Foreign Language Teaching and Research Press, 2018.11. - 490 p. [in German].
3. Kant E. Criticism of the Court [translated by Zong Baihua]. - Beijing, 1963. -Pp. 12-99.
4. Theory of Western Literature. Western Literary Group. - Beijing, May 2015. - 130 p.
5. Wang Xiaohua. 'Introduction to Physical Aesthetics'. - Beijing, 2016. - Pp. 9-230.
6. Western Grammar. 'Writers' Group. [Western Literature]. - Beijing, 2015.
7. Yu Rui. Hegel's Theory of Symbolic Art. Wuhan, December 2010. - 172 p.
8. Zhang Fe (Ed.) Introduction to Aesthetics. - Beijing, 2009. - Pp. 6-105.
