Abstract

As part of the wider theoretical framework of Zha Changping’s so-called world-picture logic, “world relational aesthetics” constitutes a theoretical system for critiquing pioneering contemporary Chinese art. Against the backdrop of the Western history of aesthetics, this paper attempts a categorization of world relational aesthetics in terms of its methodology and theory, treating it as a continuation in the tradition of theological aesthetics that offers unique insight into China’s pioneering art.