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Статті в журналах з теми "Chinese philosophy and aesthetics"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 7 лютого 2022

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1

Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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  This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.  

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2

Ka-Pok-Tam, Andrew. "On the Limitations of Lao Sze Kwang’s “Trichotomy of the Self” in His Interpretation of Kierkegaard." Kierkegaard Studies Yearbook 26, no. 1 (August 11, 2021): 523–45. http://dx.doi.org/10.1515/kierke-2021-0022.

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Abstract In 1959, Lao Sze-Kwang (1927 – 2012), a well-known Chinese Kantian philosopher and author of the New Edition of the History of Chinese Philosophy, published On Existentialist Philosophy introducing existential philosophers to Chinese readers. This paper argues that Lao misinterpreted Kierkegaard’s ultimate philosophical quest of “how to become a Christian” as a question of ‘virtue completion,’ because he failed to recognize and acknowledge Kierkegaard’s distinction between aesthetic, moral and religious passion. By describing and clarifying Lao’s misinterpretation, the paper then argues that Lao’s trichotomy of the self fails to give due credit to the independence of religiousness from morality and aesthetics in Kierkegaard’s thought.

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3

Cheng, Chung-Ying. "Beauty and Aesthetics in Chinese Philosophy." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 3–5. http://dx.doi.org/10.1163/15406253-0470102003.

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4

CHENG, CHUNG‐YING. "PREFACE: BEAUTY AND AESTHETICS IN CHINESE PHILOSOPHY." Journal of Chinese Philosophy 47, no. 1-2 (March 2020): 3–5. http://dx.doi.org/10.1111/1540-6253.12398.

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5

Park, So‐Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (June 18, 2019): 31–48. http://dx.doi.org/10.1111/1540-6253.12350.

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6

Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.

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7

Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.

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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.

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8

Sernelj, Téa. "Different Approaches to Chinese Aesthetics." Asian Studies 8, no. 3 (September 22, 2020): 161–82. http://dx.doi.org/10.4312/as.2020.8.3.161-182.

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The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a platform for modernization of Chinese culture on the one hand, and as a way to achieve the recognition of the West for the profound value of the Chinese intellectual tradition on the other. Fang Dongmei was one of the first representatives of this movement who was trained in Western and Chinese philosophy, and hence built his own philosophical theory on the encounter of both, while Xu Fuguan was one of the first who engaged in a dialogue with the West in the field of Chinese aesthetics. The present article illuminates the profound differences in their basic methods: while Fang Dongmei’s elaboration upon Chinese art and aesthetics is based on philosophical and poetic approaches, Xu Fuguan’s comprehension is grounded on philological, historical and cultural analyses. The author argues that such mutual differences between their ideas show their reciprocal complementarity, which in turn provides a more profound and clear understanding of the specific spirit of Chinese art.

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9

Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

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10

Arnheim, R. "ANCIENT CHINESE AESTHETICS AND ITS MODERNITY." British Journal of Aesthetics 37, no. 2 (April 1, 1997): 155–57. http://dx.doi.org/10.1093/bjaesthetics/37.2.155.

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11

Park, So-Jeong. "Chinese Aesthetics in the Contemporary World." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 6–11. http://dx.doi.org/10.1163/15406253-0470102004.

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12

Journal of Chinese Philosophy, Editors. "Chinese Aesthetics in the Contemporary World." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 1–2. http://dx.doi.org/10.1163/15406253-0470102002.

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13

Jianjiang, Wang. "The Bustle and the Absence of Zhuyi: The Example of Chinese Aesthetics." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 93. http://dx.doi.org/10.25038/am.v0i13.188.

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Compared with the rapid development of Chinese economy, which is the leading one in the world, modern philosophy and aesthetics in China are in a position that is subordinate to the West. In contemporary Chinese aesthetics, for instance, there have occurred heated discussions and a craze for aesthetics as well as various rampant Zhuyi in the 1950s and 1980s. However, the debate of Zhuyi in the 1950s was described as politicized and of a low level. The bustle of Zhuyi in the 1980s bore witness to all kinds of doctrines and -isms in Western philosophy and aesthetics that also found their way into China, although Chinese philosophers and aestheticians remained merely spectators to these processes. A closer look can disclose the reasons behind the absence of Zhuyi in Chinese philosophy and reveals the roles played by aesthetics and the humanities as a whole in the earlier bustle of Zhuyi. There are subjective and objective reasons for the weakness of Chinese academic power. There exists a severe imbalance between underdeveloped Chinese philosophy and aesthetics and the developed economy. Eliminating the imbalance is essential for China to pursue development further, but the emergence of a new balance is not possible without the establishment of Zhuyi and schools. Reprinted from Filozofski vestnik 37, 1 (2016): 157–78.Published online: September 15, 2017How to cite this article: Jianjiang, Wang. "The Bustle and the Absence of Zhuyi: The Example of Chinese Aesthetics." AM Journal of Art and Media Studies 13 (2017): 93-110. doi: 10.25038/am.v0i13.188

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14

Wawrytko, Sandra A. "Aesthetics of Attentional Networks: Chinese Harmony and Greek Dualism." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 12–30. http://dx.doi.org/10.1163/15406253-0470102005.

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Two forms of perception rise in aesthetic experience, corresponding to two complementary attentional networks in the bilateral brain identified by neuroscientists. Not all cultures have valued these perceptions equally. Traditional Chinese culture adheres to the Hybrid Brain model that integrates the stimulus-driven and task-driven modes of attention, as demonstrated by its positive assessment of emotions in human nature, sensuousness in Nature, and the nondualism of humans within Nature. In contrast, the dualistic aesthetics of ancient Greek culture espouses a hierarchical privileging of task-driven attention, characterized by a mistrust of emotion, a deep-seated fear of Nature, and an egocentric/anthropocentric perspective.

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15

MAN, EVA K. W. "CHINESE PHILOSOPHY AND THE SUGGESTION OF A MATRIARCHAL AESTHETICS." Journal of Chinese Philosophy 23, no. 4 (December 1996): 453–66. http://dx.doi.org/10.1111/j.1540-6253.1996.tb00492.x.

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16

Man, Eva K. W. "Chinese Philosophy and the Suggestion of a Matriarchal Aesthetics." Journal of Chinese Philosophy 23, no. 4 (February 10, 1996): 453–66. http://dx.doi.org/10.1163/15406253-02304003.

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17

Simpson, Garret Pagenstecher, Zhu Liyuan, and Gene Blocker. "Asian Thought and Culture: Contemporary Chinese Aesthetics." Philosophy East and West 47, no. 2 (April 1997): 272. http://dx.doi.org/10.2307/1399881.

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18

Zhu, Chunshen. "CHINESE PUZZLES: THE PRACTICAL AESTHETICS OF TRANSLATION." British Journal of Aesthetics 32, no. 1 (1992): 59–71. http://dx.doi.org/10.1093/bjaesthetics/32.1.59.

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19

PARK, SO‐JEONG. "INTRODUCTION: CHINESE AESTHETICS IN THE CONTEMPORARY WORLD." Journal of Chinese Philosophy 47, no. 1-2 (March 2020): 6–11. http://dx.doi.org/10.1111/1540-6253.12397.

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20

Liu, Yuedi. "The Paradigm of the Wild, Cultural Diversity, and Chinese Environmentalism." Environmental Ethics 42, no. 3 (2020): 223–35. http://dx.doi.org/10.5840/enviroethics202042322.

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The so-called “Paradigm of the Wild” means either environmental ethics or environmental aesthetics has gone wild. According to Holmes Rolston, III, “philosophy has gone wild.” Chinese traditional environmentalism takes another anthropocosmic way, and it has a global applicability in cultural diversity. The dichotomy of “nature-culture” is already out of date, and humans have to face the new relation of humanized-nature today. From the perspective of “ethics and aesthetics” in Chinese Confucianism, a different passageway between environmental ethics and environmental aesthetics can be shaped.

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21

Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (May 7, 2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.

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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.

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22

Meijun, Fan. "Ecological Consciousness in Traditional Chinese Aesthetics." Educational Philosophy and Theory 33, no. 2 (January 2001): 267–70. http://dx.doi.org/10.1111/j.1469-5812.2001.tb00268.x.

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23

WAWRYTKO, SANDRA A. "AESTHETICS OF ATTENTIONAL NETWORKS: CHINESE HARMONY AND GREEK DUALISM." Journal of Chinese Philosophy 47, no. 1-2 (March 2020): 12–30. http://dx.doi.org/10.1111/1540-6253.12402.

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24

Liu, Chengji. "The body and its image in classical Chinese aesthetics." Frontiers of Philosophy in China 3, no. 4 (October 28, 2008): 577–94. http://dx.doi.org/10.1007/s11466-008-0036-4.

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25

Ženko, Ernest. "Lessons in Equality: From Ignorant Schoolmaster to Chinese Aesthetics." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 149. http://dx.doi.org/10.25038/am.v0i13.192.

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The postponement of equality is not only a recurring topic in Jacques Rancière’s writings, but also the most defining feature of modern Chinese aesthetics. Particularly in the period after 1980’s, when the country opened its doors to Western ideas, Chinese aesthetics extensively played a subordinate role in an imbalanced knowledge transfer, in which structural inequality was only reinforced. Aesthetics in China plays an important role and is expected not only to interpret literature and art, but also to help building a harmonious society within globalized world. This is the reason why some commentators – Wang Jianjiang being one of them – point out that it is of utmost importance to eliminate this imbalance and develop proper Chinese aesthetics. Since the key issue in this development is the problem of inequality, an approach developed by Jacques Rancière, “the philosopher of equality”, is proposed. Even though Rancière wrote extensively about literature, art and aesthetics, in order to confront the problem of Chinese aesthetics, it seems that a different approach, found in his repertoire, could prove to be more fruitful. In 1987, he published a book titled The Ignorant Schoolmaster, which contributed to his ongoing philosophical emancipatory project, and focused on inequality and its conditions in the realm of education. The Ignorant Schoolmaster, nonetheless, stretches far beyond the walls of classroom or even educational system, and brings to the fore political implications that cluster around the fundamental core of Rancière's political philosophy: the definition of politics as the verification of the presupposition of the equality of intelligence. Equality cannot be postponed as a goal to be only attained in the future and, therefore, has to be considered as a premise of egalitarian politics that needs to operate as a presupposition. Article received: May 21, 2017; Article accepted: May 28, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Ženko, Ernest. "Lessons in Equality: From Ignorant Schoolmaster to Chinese Aesthetics." AM Journal of Art and Media Studies 13 (2017): 149-162. doi: 10.25038/am.v0i13.192

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26

Zehou, Li. "A Few Questions Concerning the History of Chinese Aesthetics (Excerpts)." Contemporary Chinese Thought 31, no. 2 (December 1999): 66–76. http://dx.doi.org/10.2753/csp1097-1467310266.

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27

Fan, Minghua. "The significance of Xuwu 虚无 (Nothingness) in Chinese aesthetics". Frontiers of Philosophy in China 5, № 4 (грудень 2010): 560–74. http://dx.doi.org/10.1007/s11466-010-0115-1.

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28

Wawrytko, Sandra A. "Sedimentation in Chinese Aesthetics and Epistemology: A Buddhist Expansion of Confucian Philosophy." Journal of Chinese Philosophy 40, no. 3-4 (September 2013): 473–92. http://dx.doi.org/10.1111/1540-6253.12045.

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29

Wawrytko, Sandra A. "Sedimentation in Chinese Aesthetics and Epistemology: A Buddhist Expansion of Confucian Philosophy." Journal of Chinese Philosophy 40, no. 3-4 (March 2, 2013): 473–92. http://dx.doi.org/10.1163/15406253-0400304009.

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Li Zehou’s theory of sedimentation seeks to explain the uniqueness of the human species through its use of tools, both physical and cognitive, leading to cultures grounded in aesthetic taste and the prospect of suprabiological beings. However, the very sedimentation that constructs human culture can stagnate into obstructing sediment. Buddhist philosophy offers an epistemology of desedimentation that avoids attachment to cultural sediment without summarily rejecting its potential usefulness. More specifically, Buddhist “wisdom embracing all species” allows us to recognize our interconnection (pratītya-samutpāda) with nature by transcending anthropocentrism, and opening more effective strategies for dealing with ecological challenges.

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30

Erjavec, Aleš. "International aesthetics and its congresses." SAJ - Serbian Architectural Journal 11, no. 2 (2019): 263–72. http://dx.doi.org/10.5937/saj1902263e.

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In recent decades international congresses of aesthetics have been and remain the most visible and influential aesthetics gatherings in the world. At such congresses their participants strengthen their identification with aesthetics and separate themselves from it at the same time: they cover the broad and undefined territory called 'theory'. By taking place in different geographical and thereby specific cultural and historical localities, aesthetics congresses not only bring together foreign participants, but also bring domestic audiences into contact with global authors, themes, issues and methods. The themes, issues and methods mediated through art and philosophy help make aesthetics a relevant theoretic activity. This is true concerning some noteworthy recent events: the rise and decline of postmodernism; the reintegration of the former Eastern Europe into global culture; and a similar but also profoundly different transformation of aesthetics in China, where a new revival of aesthetics, often with Chinese colours, is intensively present. These are, I would claim, three historic events that have emerged in aesthetics over the past three decades. They are still with us today and thus remain crucial to understanding our reality. Exceptions exist too, proving that novel philosophical aesthetic theories are rare today but not impossible; such as that of Jacques Rancière, for example. These will be some of the main issues of this paper.

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31

Jianjiang, Wang. "‘Quadrilateral’ in Philosophy and Bie-modernism (Comments on Aleš Erjavec’s “Zhuyi: From Absence to Bustle? Some Comments on Wang Jianjiang's Article ‘The Bustle and the Absence of Zhuyi’”)." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 123. http://dx.doi.org/10.25038/am.v0i13.190.

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Aleš Erjavec proposed the global philosophical quadrilateral, giving Chinese philosophy, aesthetics, and humanities an expectation. However, the realization of this expectation hinges on the question whether Chinese philosophy as well as aesthetics and the humanities can rid themselves of the staggering level of ‘voice’ and develop their ‘speech’. To make ‘speech’, any nation should have its own idea, theory and Zhuyi. How to overcome the embarrassment that ‘quadrilateral’ expectation implies? Time spatialization and four-phase development theories of the Bie-modern, and great leap forward pause theory have provided an answer. The quadrilateral expectation as shown by Aleš Erjavec, is encountering the antagonism between ‘cosmopolitanism’ and ‘nationalism’. The key to resolving this antagonism is ‘my’ original achievement consisting of ‘Chinese traditional philosophy, Western philosophy, Marxism and I (myself)’. Bie-modernism is a Zhuyi of self-regulation, self-renewal and self-transcendence and of their practical implementation. Article received: May 21, 2017; Article accepted: May 24, 2017; Original scholarly paperHow to cite this article: Jianjiang, Wang. "‘Quadrilateral’ in Philosophy and Bie-modernism (Comments on Aleš Erjavec’s “Zhuyi: From Absence to Bustle? Some Comments on Wang Jianjiang's Article ‘The Bustle and the Absence of Zhuyi’”)." AM Journal of Art and Media Studies 13 (2017): 123-142. doi: 10.25038/am.v0i13.190

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32

Xu, Jianping. "A transition of Chinese humanism and aesthetics from rationalism to irrationalism." Frontiers of Philosophy in China 3, no. 2 (May 29, 2008): 229–53. http://dx.doi.org/10.1007/s11466-008-0015-9.

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33

Liu, Qingping. "The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century." Frontiers of Philosophy in China 1, no. 1 (January 2006): 33–40. http://dx.doi.org/10.1007/s11466-005-0007-y.

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34

Fuyarchuk, Andrew. "Gadamer and the Yijing’s Language of Nature: Hermeneutics and Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 3-4 (March 3, 2020): 174–92. http://dx.doi.org/10.1163/15406253-0470304005.

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Although their value-judgments diverge, neo-Confucian and American continental philosophers agree that Gadamer’s hermeneutics is anti-foundationalist. Neither side, however, has asked why he frequently appeals to standards of harmony, or why he models the art of medicine on the order of nature. These indicate a commitment to trans-historical foundation of One and many that forms the basis for comparisons with Chinese aesthetics in the Yijing tradition. These foundations are grounded in Gadamer’s reading of Plato and shape his onto-dialogical interpretive method. In contrast to Whitehead, Gadamer cements the One and many in practical life by removing the contradiction through a transformation in human ethos.

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35

Chen, Wang-heng, and Xin-yu Chen. "The Re-Enchantment of Wilderness and Urban Aesthetics." Environmental Ethics 42, no. 3 (2020): 213–21. http://dx.doi.org/10.5840/enviroethics202042321.

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According to the essence of industrial civilization, wilderness is bound to disenchantment. However, in the ecological civilization era, based on the demands of ecological balance, we must reserve a certain degree of wilderness in urban environment. Therefore, we need to bring back enchantment to aesthetic appreciation of wilderness. On the surface, the re-enchantment of wilderness seems to be a regression of agricultural civilization; however, in fact, it is a transcendental development of agricultural civilization. In recent years, there have been some deviations in the application of “garden urbanism” and “landscape urbanism” have existed in contemporary Chinese urban landscaping. To some extent, the recovery of wilderness is a major mission in Chinese urban construction.

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36

Tan, Fu Wei. "The Ecological Characteristics of Chinese Traditional Architecture." Applied Mechanics and Materials 672-674 (October 2014): 1793–96. http://dx.doi.org/10.4028/www.scientific.net/amm.672-674.1793.

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There are many rich and plain ecological thoughts in Chinese traditional architecture commonly. The traditional buildings are well adapted to local geographical features, whether natural or cultural morphology. Affecting of traditional philosophy and ecological ideology, there are enough ecological spirits from the settlement pattern, architecture form, the construction method. Through the research of the ecological environment and ecological aesthetics of traditional architecture, people can look for a sustainable development of the environment for human survival way.

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37

Ivanhoe, Philip J. "Jullien, Francois, In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics." Dao 7, no. 3 (August 15, 2008): 335–38. http://dx.doi.org/10.1007/s11712-008-9078-5.

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38

Fuyarchuk, Andrew. "GADAMER AND THE YIJING 'S LANGUAGE OF NATURE: HERMENEUTICS AND CHINESE AESTHETICS." Journal of Chinese Philosophy 47, no. 3-4 (September 2020): 174–92. http://dx.doi.org/10.1111/1540-6253.12396.

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39

Sernelj, Téa. "The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong." Asian Studies 9, no. 1 (January 8, 2021): 159–80. http://dx.doi.org/10.4312/as.2021.9.1.159-180.

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Анотація:

The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.

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40

Sernelj, Téa. "The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong." Asian Studies 9, no. 1 (January 8, 2021): 159–80. http://dx.doi.org/10.4312/as.2021.9.1.159-180.

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Анотація:

The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.

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41

Ames, Roger T., Li Zehou, and Gong Lizeng. "The Path of Beauty: A Study of Chinese Aesthetics." Journal of Aesthetics and Art Criticism 55, no. 1 (1997): 77. http://dx.doi.org/10.2307/431616.

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42

Liu, Yu. "The Possibility of a Different Theodicy: The Chinese ‘Sharawadgi’ and Shaftesbury's Aesthetics and Ethics." Southern Journal of Philosophy 42, no. 2 (June 2004): 213–36. http://dx.doi.org/10.1111/j.2041-6962.2004.tb00997.x.

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43

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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44

AMES, ROGER T. "Zehou Li, The Path of Beauty: A Study of Chinese Aesthetics." Journal of Aesthetics and Art Criticism 55, no. 1 (December 1, 1997): 77–78. http://dx.doi.org/10.1111/1540_6245.jaac55.1.0077.

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45

GU, MING DONG. "Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics." Journal of Aesthetics and Art Criticism 74, no. 2 (April 2016): 151–63. http://dx.doi.org/10.1111/jaac.12268.

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46

Wong, Wayne. "Nothingness in motion: Theorizing Bruce Lee’s action aesthetics." Global Media and China 4, no. 3 (September 2019): 362–80. http://dx.doi.org/10.1177/2059436419871386.

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This article argues that Bruce Lee revolutionized kung fu cinema not only by increasing its authenticity and combativity but also by revealing its inherent connection to wuyi (武意), or martial ideation. Martial ideation refers to a specific negotiation of action and stasis in martial arts performance which contains a powerful overflow of emotion in tranquility. Since the early 1970s, Bruce Lee’s kung fu films have been labeled “chop-socky,” offering only fleeting visual and visceral pleasures. Subsequently, several studies explored the cultural significance and political implications of Lee’s films. However, not much attention has been paid to their aesthetic composition—in particular, how cinematic kung fu manifests Chinese aesthetics and philosophy on choreographic, cinematographic, and narrative levels. In Lee’s films, the concept of martial ideation is embodied in the Daoist notion of wu (nothingness), a metaphysical void that is invisible, nameless, and formless. Through a close reading of Laozi’s Daodejing (道德經), it is possible to discover two traits of nothingness—namely, reversal and return—which are characteristics of Lee’s representation of martial ideation. The former refers to a paradigmatic shift from concreteness to emptiness, while the latter makes such a shift reversible and perennial via the motif of circularity. The discussion focuses on films in which Lee’s creative influence is clearly discernible, such as Fist of Fury (1972), The Way of the Dragon (1972), and the surviving footage intended for The Game of Death featured in Bruce Lee: A Warrior’s Journey (2000). These films shed light on the complicated relationship between the cinematic (action and stasis), the martial (Jeet Kune Do), the aesthetic (ideation), and the philosophical (Daoism). The goal is to stimulate a more balanced discussion of Lee’s films both from the perspective of global action cinema and Chinese culture.

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47

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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48

Zhang, Ning. "The Role of Ancient Chinese Philosophy in the Designs of Chinese Buildings." Open House International 41, no. 3 (September 1, 2016): 81–85. http://dx.doi.org/10.1108/ohi-03-2016-b0014.

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Buildings are the condensation of the national, ethnic, or cultural identity. They are also the specific materialized form of the national social systems, folk customs, and ideologies. Architectural design and philosophy constitute an isomorphic relationship with each other. This study focuses on the Chinese traditional philosophy. Using Kuanzhai Alley in Chengdu as an example, philosophical expressions, such as “holistic thinking,” “group form layout,” “heaven and man,” “yin–yang and the five elements,” “ancient architecture design,” “good” aesthetic concepts, and “conformal”rationalism, are discussed from the aspects of the selection of the environment, spatial layout, architectural symbol, planning, and design significance. The traditional architectural forms and types are analyzed and interpreted based on the Chinese traditional philosophy. The role of the ancient Chinese philosophy in the Designs of Chinese Buildings is summarized. Traditional ideas on Chinese architecture should be recognized from the aspect of philosophy to propose a new design direction for developing modern Chinese architectural designs.

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49

Zhang, Ying. "Religion and Prison Art in Ming China (1368–1644)." Brill Research Perspectives in Religion and the Arts 3, no. 3 (April 23, 2020): 1–102. http://dx.doi.org/10.1163/24688878-12340009.

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Abstract Approaching the prison as a creative environment and imprisoned officials as creative subjects in Ming China (1368–1644), Ying Zhang introduces a few important themes at the intersection of premodern Chinese religion, poetry, and visual and material culture. The Ming is known for its extraordinary cultural and economic accomplishments in the increasingly globalized early modern world. For scholars of Chinese religion and art, this era crystallizes the essential and enduring characteristics in these two spheres. Drawing on scholarship on Chinese philosophy, religion, aesthetics, poetry, music, and visual and material culture, Zhang illustrates how the prisoners understood their environment as creative and engaged it creatively. She then offers a literature survey on the characteristics of premodern Chinese religion and art that helps situate the questions of “creative environment” and “creative subject” within multiple fields of scholarship.

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50

Mattice, Sarah. "Artistry as Methodology: Aesthetic Experience and Chinese Philosophy1." Philosophy Compass 8, no. 3 (February 12, 2013): 199–209. http://dx.doi.org/10.1111/phc3.12014.

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