Relevant bibliographies by topics / Taoist Aesthetics

Academic literature on the topic 'Taoist Aesthetics'

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Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Taoist Aesthetics"

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Hung, Yung-Shan, and Shih-Fen Yeh. "The Aesthetics of Curriculum and Taoism." International Journal of Chinese Education 2, no. 1 (2013): 54–69. http://dx.doi.org/10.1163/22125868-12340013.

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Abstract Inspired by the understanding of curriculum as aesthetic text, study on the aesthetics of curriculum has attracted more and more interests in Taiwan. Based on the cultural lens of Taoism, this article aims to explore the theory and implementation of aesthetics of curriculum in a case study. The study found the aesthetics of Taoism in the curriculum can be understood from the aesthetics of relation, and the aesthetics of simplicity and plainness, which lead to the reconstruction of the way of “Being” in education. The aesthetics of curriculum from a Taoist perspective sheds important light on educational reform. In the era of globalization, we should reconsider the implications of curriculum by looking back on and reviving our culture.
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Chen, Wangheng, Jun Qi, and Pingting Hao. "On Chinese Aesthetics: Interpretative Encounter between Taoism and Confucianism." Culture and Dialogue 6, no. 1 (September 7, 2018): 61–76. http://dx.doi.org/10.1163/24683949-12340042.

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Abstract Chinese aesthetics mainly derives from Confucianism and Taoism. This essay attempts to revisit the main theories that run through Confucian and Taoist aesthetics in order to make them comprehensible within a broader global context. Aesthetics in Confucianism pertains to fields as various as literature, art, music and the natural environment. It holds the idea of ren 仁 (human-heartedness) as the essential attribute of beauty. In comparison, Taoist aesthetics emphasizes the centrality of tao 道 (way), which transpires through naturalness, and, as such, considers natural forms to offer the highest degree of beauty. In order to understand variations of representation and interpretation in Confucian and Taoist aesthetics, the essay discusses accordingly the three fundamentals of Chinese aesthetics: beauty, feeling of beauty, and artistic image. This comparative study will hopefully bring to light differences and similarities between two traditions, which may also resonate within the wider context of modern global aesthetics.
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Zhen, Zhen, Kai Jin, Xi Zhen, and Ming Meng. "Study on the Campus Public Art under the Influence of Taoist Aesthetics." Applied Mechanics and Materials 99-100 (September 2011): 1331–34. http://dx.doi.org/10.4028/www.scientific.net/amm.99-100.1331.

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This paper investigates the connotation of Taoist aesthetics and applies it to the creation of public art on campus so as to help the campus take on cultural and aesthetics connotation. It also points out that with the influence of Taoist aesthetics public art on campus is of rich aesthetic connotation, which mainly consists of the harmony between man and nature, harmony and coexistence and the beauty of harmony.
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Yang, Rong, and Xiaoming Yang. "A Study on Cultural Characteristics of Taoist Clothing." Asian Social Science 16, no. 4 (March 31, 2020): 70. http://dx.doi.org/10.5539/ass.v16n4p70.

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Dress and personal adornment of Taoism, also short for Taoist Clothing. Its refers to the type of clothing with ‘Tao’ as the core concept. Taoist clothing as a kind of religious symbolic clothing, it can be described as a typical carrier of Chinese traditional culture (especially the Han nationality), which contains Chinese traditional religion, philosophy, aesthetics and technology. By studying the history, form and cultural symbols of Taoist clothing has important significance for help us to deeply understand Chinese traditional costume culture and to discover the valuable cultural elements contained in them.
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Ma, Shan. "The treatment of Taoist terms in Chinese-English dictionaries: a study based on Frame Semantics." Lexicographica 36, no. 1 (November 25, 2020): 89–107. http://dx.doi.org/10.1515/lex-2020-0005.

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AbstractThis study argues for a frame semantic approach to the treatment of Taoist terms, which are Chinese culture-specific. It takes three Taoist aesthetic terms 虚(xu), 无(wu) and 静(jing) as a case study to explore how Chinese-English dictionaries can make use of semantic frames in the treatment of Taoist terms. As the study shows, a Taoist-aesthetics frame can be constructed in comparison with the Aestheticsframe in FrameNet. When treating Taoist terms, the core frame element “Entity” facilitates the meaning explanation by making the terms more intelligible. The non-core frame element “Circumstances” should be highlighted as it helps the dictionary to provide a more accurate definition of Taoist terms.
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罗, 美云. "Taoist Ecological Aesthetics and Its Modern Value." Advances in Social Sciences 10, no. 08 (2021): 2086–91. http://dx.doi.org/10.12677/ass.2021.108289.

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Pajin, Dušan. "Environmental Aesthetics and Chinese Gardens." Dialogue and Universalism 7, no. 3 (1997): 51–65. http://dx.doi.org/10.5840/du199773/46.

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Analysis of Chinese landscape design offered a challenge to test the concepts of environmental aesthetics developed in the West. With comparative approach we improved our understanding of art and environment, and of different strategies (inspired by Taoist, and/or Buddhist concepts) in designing forms of Chinese gardens. In order to describe the "hidden" symbohsm of Chinese landscape design we applied various concepts and metaphors: completeness, large and small, mirror and mirroring, garden as entrance and separate reality, disclosure and concealment, and returning to the source.
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Łabędzka, Izabella. "Gao Xingjian’s Dialogue with Literary and Visual Traditions." Porównania 26 (June 15, 2020): 331–43. http://dx.doi.org/10.14746/por.2020.1.19.

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The paper is devoted to the contemporary Chinese prose and drama writer, painter,stage director and author of experimental art films, Gao Xingjian. My aim is topresent his innovative solutions in the field of different arts and media. I try toanalyze his works in a broad context of Eastern and Western culture and to showthe flexibility with which he crosses the narrow borders of arts, makes use of therich heritage of his native traditional culture, Chinese Taoist philosophy with itsprocessual understanding of reality. I also point at his interest in the aesthetics ofemptiness and artistic minimalism.
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Ghim Lian Chew, Phyllis. "The Great Tao." Journal of Baha’i Studies 4, no. 2 (1991): 11–39. http://dx.doi.org/10.31581/jbs-4.2.2(1991).

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Very little is known of the similarities shared by the Great Tao as conceived in the immortal Taoist canon, the Tao-te ching, and the nature of God and the teachings of God's messengers as expounded by Bahá’u’lláh and ‘Abdu’l-Bahá. This article focuses on the Great Tao of the ancient Chinese people, a Tao whose eternal spirit has seeped into the very heart of Chinese tradition, culture, and way of life for centuries, and which is manifest in various aspects of Chinese thought and life as well as in the more apparent aesthetics of calligraphy, painting, and poetry. This article compares the similarities of the spiritual insights of the Tao-te ching with that of other major religions, notably the Bahá’í Faith, and argues that no understanding of the Chinese mind and spirit can be complete without a perusal of some of the main spiritual tenets of this imperishable canon. It must be noted that this article is concerned with the original philosophy of Tao and not with what is today popularly known as the "Taoist religion," an invention only loosely connected with the spiritual insights of the Tao-te ching.
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Canário, Tiago. "On the problem of defining manga: A study about the influence of Taoism and Zen Buddhism on manga aesthetics." ALTERNATIVE FRANCOPHONE 1, no. 10 (September 22, 2016): 81–99. http://dx.doi.org/10.29173/af28220.

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Since the expansion of Japanese comic books throughout western countries, the so-called “manga style” has get attention from audiences and theorists. But how can we identify such Japaneseness? Trying to fulfill readers` interests, books have been published under the how-to-draw-manga label, usually highlighting the visual composition of characters, from clothes to facial expressions to hairstyle. From the academic perspective, particularities of page layout have been also considered since Pierre Fresnault-Deruelle`s idea of tabularity. Such structuralist perspective is also echoed by contemporary scholars such as Benoît Peeters and Thierry Groensteen. Investigations on what is called the “grammar of mangas” were also proposed by Neil Cohn or Scott McCloud (or at least based on his contributions). But what are they referring to by “manga”? Artists from all around the world translate mangas into transnational experiences. This study proposes a wider understanding of the manga narrative style and its particular aesthetic influence on readers. The study focuses on the Asian philosophies of Tao and Buddhism, identifying how their ideals are articulated to promote reader’s immersion in the narrative. The article investigates the visual representations of the Taoist idea of vacuum and the Zen idea of trivia, which characterize the visual and narrative fluidity of manga – especially those whose stories are based on everyday life.
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Dissertations / Theses on the topic "Taoist Aesthetics"

1

Yeh, Yi-Lan Art College of Fine Arts UNSW. "Dancing brush: an exploration of Taoist aesthetics." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42906.

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Dancing Brush video installation is dedicated to legendary Taiwanese dancer Tsai Jui-Yue (1921-2005) in the memory of her suffering, creativity and faith in life. This work reveals the true meaning of Chinese scroll paintings as an infinity of time and space. It draws on the notion of mobility as expounded in the I Ching or Book of Changes. Dancing Brush creates a modern cityscape where the principal of Taoism, ancient Chinese landscape painting, and calligraphy meet new media aesthetics. The focus of this thesis is to reassess media arts practice and aesthetics via the traditions of Chinese Taoist aesthetics. The research was conducted in three dimensions: ??non-linear aesthetics?? in Chinese arts as the new media art form, ??unity of emptiness and fullness?? as the animation principle, and ??subtraction aesthetics?? as the principle of creativity. I propose Dancing Brush video installation as a presentation of ??aesthetics of wandering contemplation??. The work suggests a feature of Chinese moving image aesthetics as a ??spatial montage?? form of media arts. I applied the Taoist ??decreative-creative process?? as the creative method in which the ??decreative?? process leads to the ??creative??. The ??decreative-creative process?? is based on the Taoist teachings of zi-ran (spontaneity) and wu-wei (non-action). I interpret it as ??subtraction aesthetics: less is more??. The process is to eliminate interferences with restricted narrative format and visual effects, then to receive the immediate presentation of things as pure materials. Through the subtracting process, it gains not less but more. Kong Bai (emptiness or formless) in Chinese art is the result of subtraction aesthetics. It reveals the creative principle derived from the Taoist idea of ??usefulness of useless??. The ??subtracting process?? in creating animation is to bring ??unknown?? to life. The ??image beyond image?? is the product of ??unity of emptiness and full?? where Chinese artistic realm yi-jing is created.
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2

Li, Pei. "Sui Tang wu dai dao jiao mei xue si xiang yan jiu." Chengdu Shi : Sichuan chu ban ji tuan Ba Shu shu she, 2005.

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Wang, Serena. "The Aesthetics of Silence in the Works of Federico Mompou, Chou Wen Chung, and George Crumb." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195060.

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Li, Xijia, and 李錫佳. "Taoist Aesthetics and Art Spirit." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/19101938795794868697.

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博士
中國文化大學
哲學系
100
Taoist Aesthetics and Art Spirit Abstracts: Taoist aesthetics is metaphysical aesthetics as the core, The philosophy of Lao TzuI is full of mysterious beauty of the nature of "creation" Meaning of the philosophy of Zhuangzi "change" and "Silence", undertake clear both in the space level, and each contact. Zhuangzi did not submit any aesthetic words, but by the Imitation of Nature discourse, expand the life of this really naive beauty. Aesthetic development so far has been 200 years, over the years to discuss the artistic spirit, often limited to the aesthetic experience conditions that stipulation, and art objects dilemma. In fact, art is the establishment of the Road Experience and the beauty of the practice of Taoism about the "loss" for the Road Day view, the spirit of the Road America one homogeneous material, whether it is the object of transcendent, or the main Oblivion said that "inaction "body and fixed" materialized the concept of life Change and the development of civilization, are with the world's image of the reconstruction of meaning. From the aesthetic problem awareness, expand the Taoist aesthetics and artistic spirit, in particular, advocate of the Taoist cosmogony, said gas on the form and spirit of the influence of ancient Chinese literary and artistic works. Found in the course of the study: Taoism advocates the patriarchal nature, wishes to remove, Oblivion, Emptiness, no effort, a wide range of works in the realm of poetry, painting and life; Chronicles works also continue to by Zhuangzi Heaven one concept the impact and heritage and transformation. Aesthetics of Taoism is the philosophy of life, filled with the infinite vitality of the Road, including the aesthetic and spiritual inherent practice, lurks the prototype of the mysteries of the universe. Through the works and aesthetics to re-examine the spirit of the modern mind, comfort and new powers. Keywords: mysterious beauty, Emptiness, the cosmogony said gas on the form of monotheism
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Chen, Chuan-chin, and 陳全金. "The Implications and Inheritance of the Painting Aesthetics in Taiwan Taoist Temples -Taking the Mazu Temple in the corner of Yanchao District, Kaohsiung City as an example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/24h2d8.

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碩士
樹德科技大學
經營管理研究所
107
Taiwan Taoism temple have beautifully decorative with shapes such as dragons, phoenix, tiger, unicorns, figures and other bright paintings. They are a symbol for avoiding unfortunate things and bring only good things also teach personal character through art of Taoism. The walls of the temple are decorated with several artistic works, it has considerable artistic value, and display local cultural characteristics. Taoism temples have murals and sculptures that create beautiful artistic aesthetics. Interview with the craftsman Xie Rongke, Mr. Zheng Fuju and Mr. Hung Yinglang said that those of craftsman are the best skills and artistic spirit that has been derived from ancestors. Among them, the finishing touch of longan is the highest level of painting. Dragon''s eye is a skill that requires the highest level of difficulty because it must be drawn so that visitors at any angle can be seen. There are many unpredictable artistic moods in the paintings. It is necessary to paint on the spot such as dragons, phoenix, lotus and historical generals. Li Yuping said in the book on the painting of Chin Mun Temple: painting is divided into the door god, mural painting and Liang Shu painting. This study was prepared by observation and interviews in the field, new painting project of new temple, the restoration of temple paintings for more then 50 years, the teaching of school painting, the teaching of community painting, the modern hand-painted technique etc. This art field must continue and be passed down. Keywords: Temple painting, symbolic meaning, facinating engineering, semantics, marketing
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Yang, Sheng-Chang, and 楊盛錩. "Aesthetics of Taoism- Creation of Signs, Symbols and Icons-." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/63064929386765398440.

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碩士
國立臺灣師範大學
美術學系在職進修碩士班
93
Fu-Lu, one of the Chinese culture specific witchcrafts, not only symbolizes the sacredness as well as holy spirits but also implies the indescribable Metaphysics. Over thousands of years being widely used by Taoist priests, Fu-Lu has had become a system of symbolic conventions. As the fundamental ground of the Fu-Lu system is the religious faith, it is believed that Fu-Lu can be used to cure the illnesses, to pray for good fortunes as well as wealth, to tranquilize disasters, and to dissolve malignant deities. Therefore, Fu-Lu is apparently a multifarious and mysterious symbolic convention system of Taoism. This symbolic convention system is mainly expressed through the calligraphy and the icon, implying strong beliefs of Taoism and carrying mysterious, unexplored, unknown and Metaphysical significations. Through investigating the icons and symbols of Fu-Lu, this paper explores the multifaceted aspects of the compositions of the Chinese Ink Paintings. Based on a series of artistic theories, I emphasize the notions, the conception, the styles and the techniques of creations of the Chinese Ink Paintings. Moreover, I reflect upon our own Taiwanese indigenous culture and its compatibility with the ideological trend worldwide on the basis of the three notions of Fu-Lu—the Sacredness of the Calligraphy, the Symbolism of the Icons, and the Psychic Telesthesia of the ritual of Fu-Lu. This paper attempts to reconstruct the new convention of messages from the descending Taiwanese indigenous culture. Furthermore, I make an effort to apply various media from the ink painting, water color painting, glue painting, to crayon painting as experimental techniques of expressions in order to develop a series of pleasurable, readable and absorbing creations of the Fu-Lu aesthetics.
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Yi, Tseng Shan, and 曾珊儀. "A study of Ecological Aesthetics with the theory of Taoism." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/95815185319279745536.

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碩士
中國文化大學
哲學研究所
96
Environmental pollution is the most serious problem among all other kinds of pollution nowadays. Hence, we should face this problem and deal with it. Some experts should think about the relationship between the human and the environment, which concerns discussing environmentalology and ecology. Ecological Aesthetics contains some new points that study the aesthetic significance between ecosystem and ecological balance. The theories of Ecological Aesthetics focus on nature and human lives and they possess a keen relationship to Taoism. In comparison with Ecological Aesthetics and the theory of Taoism through its doctrinal contexts has been fully discussed. To preserve the only mother earth we live on is now the major issue for all human kind nowadays. It's also our responsibility to protect it from disastrous pollution.
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Books on the topic "Taoist Aesthetics"

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Dao jiao yu mei xue. Shenyang: Liaoning ren min chu ban she, 1989.

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Nan Song Jin Yuan shi qi de dao jiao mei xue si xiang. Chengdu Shi: Ba Shu shu she, 2009.

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Dan ran wu ji: Lao Zhuang ren sheng jing jie de shen mei sheng cheng. Beijing: Ren min chu ban she, 2006.

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Dao hua he yi: Shitao hui hua mei xue si xiang zhong de shi ren jing shen. Lanzhou Shi: Gansu ren min chu ban she, 2011.

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Der Klang des Dao: Das Phänomen einer "stillen Musik" in der daoistischen Philosophie sowie ihre Korrespondenzen in der abendländischen Musikästhetik. Sankt Augustin: Academia Verlag, 2008.

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Ru, Dao mei xue yu wen hua. Beijing: Zhongguo she hui ke xue chu ban she, 2002.

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Hopfgartner, Herbert. Der Klang des Dao: Das Phänomen einer "stillen Musik" in der daoistischen Philosophie sowie ihre Korrespondenzen in der abendländischen Musikästhetik. Sankt Augustin: Academia Verlag, 2008.

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Xiu yang, jing jie, shen mei: Ru Dao Shi xiu yang mei xue jie du. Beijing: Zhongguo she hui ke xue chu ban she, 2003.

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Yu, Zhao, and Li Lin, eds. Ru, shi, dao de sheng tai zhi hui yu yi shu su qiu. Beijing Shi: Ren min wen xue chu ban she, 2012.

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Ru dao fo: Mei xue si xiang yuan liu. Kunming Shi: Yunnan ren min chu ban she, 2004.

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Book chapters on the topic "Taoist Aesthetics"

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Chen, John Z. Ming, and Yuhua Ji. "“The Voyage That Never Ends:” Malcolm Lowry’s Taoist Aesthetics of Return/Renewal." In Canadian-Daoist Poetics, Ethics, and Aesthetics, 91–103. Berlin, Heidelberg: Springer Berlin Heidelberg, 2016. http://dx.doi.org/10.1007/978-3-662-47959-9_6.

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Whalen, Lachlan. "Introduction: Taoibh Amuigh agus Faoi Ghlas: The Counter-aesthetics of Republican Prison Writing." In Contemporary Irish Republican Prison Writing, 1–14. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230610064_1.

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