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  1. Calligraphy as a Symbol System.Matteo Ravasio, Jiachen Liu & Ye Zhu - forthcoming - Philosophy East and West.
    We apply to the art of calligraphy some of the semiotic concepts developed by Nelson Goodman. While this framework cannot describe everything that is interesting and valuable about specific calligraphic traditions, we argue that it can nonetheless elegantly capture some distinctive features of calligraphy and of its position among other major art forms.
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  2. Seeing Through the Aesthetic Worldview.Andrew Lambert - 2021 - In Ian Sullivan & Joshua Mason (ed.), One Corner of the Square: Essays on the Philosophy of Roger T. Ames. Honolulu, HI, USA: pp. pp141-150.
    An examination of Hall and Ames’s claim that the classical Confucian tradition be understood as constituting an aesthetic order. Some have argued that this claim is simply false. However, this claim should be understood not in terms of its literal truth or falsity, but in terms of its usefulness and suggestiveness. It is a general description that can guide inquiry into early Chinese thought. In what follows, I locate Hall and Ames’s “aesthetic order” within a broader interpretive lineage that understands (...)
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  3. Seeing Through the Aesthetic Worldview.Andrew Lambert - 2021 - In Ian M. Sullivan & Joshua Mason (eds.), One corner of the square: essays on the philosophy of Roger T. Ames. Honolulu: University of Hawaiʻi Press. pp. 141-150.
    The view that aesthetics is central to human conduct and social order derives from the cosmology articulated in the classical corpus. This led several modern Chinese thinkers to articulate how some notion of the aesthetic has been central to Chinese culture and society. Roger Ames and David Hall’s work might be considered as a continuation of this New Confucian project, since their account of the classic Chinese tradition as an aesthetic tradition also starts from recognition of some kind of comprehensive (...)
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  4. Li Zehou's aesthetics as a form of cognition.Rafal Banka (ed.) - 2018
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  5. Issues of Contemporary Art and Aesthetics in Chinese Context.Eva Kit Wah Man - 2015 - Berlin: Springer Berlin Heidelberg.
    This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to (...)
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  6. Fine Aphorisms, Proverbs & Philosophical Quotes.Yoji K. Gondor (ed.) - 2014 - Sintesi Point Publishing.
    This is a small collection of proverbs with some philosophical content. I also included here are some of my favorite philosophical quotes. The quotes were collected during many years from my personal reading. I am sure that the reader will identify and enjoy proverbs and some quotes that are new and unique to this publication. A printed copy available at amazon.com. Feedback: [email protected] .
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  7. Generativities: Western Philosophy, Chinese Painting, and the Yijing.Eric S. Nelson - 2013 - Orbis Idearum 1 (1):97–104.
    Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted as co-relational (...)
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  8. Observance of Forms: An Aesthetic Analysis of Analects 6.25.Tae-Seung Lim - 2012 - Dao: A Journal of Comparative Philosophy 11 (2):147-162.
    This essay analyzes how the zhengming 正名 theory of Confucius is linked to the problem of “observances of form” in light of the methodology of Confucian aesthetics. This essay argues that the “name-shape” combination in the zhengming paradigm is ultimately connected with the “name-role” combination. The “name-shape” paradigm continuously maintains and strengthens the “name-role” paradigm. However, the “name-shape” paradigm itself ultimately becomes more meaningful than the “name-role” paradigm. This is because the aesthetic structure that appears peculiar in the Analects constitutes (...)
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  9. Stones from Other Mountains: Chinese Painting Studies in Postwar America – Edited and Introduced by Jason C. Kuo.Kuang-Ming Wu - 2011 - Journal of Chinese Philosophy 38 (3):499-501.
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  10. Eifring, Halvor, ed., love and emotions in traditional chinese literature.Paul R. Goldin - 2010 - Dao: A Journal of Comparative Philosophy 9 (2):237-240.
  11. Jiang, Wenye 江文也, A Discourse on Confucius’s Music 孔子的樂論. Translated from 上代支那正樂考—孔子の音樂論 by Yang Rubin 楊儒賓: Taibei 臺北: Center of Publication of Taiwan University 臺灣大學出版中心, 2004, 10+172 pages.Huaiyu Wang - 2010 - Dao: A Journal of Comparative Philosophy 9 (1):115-119.
    Jiang, Wenye 江文也, A Discourse on Confucius’s Music 孔子的樂論. Translated from 上代支那正樂考—孔子の音樂論 by Y ang Rubin 楊儒賓 Content Type Journal Article DOI 10.1007/s11712-009-9148-3 Authors Huaiyu Wang, Georgia College & State University Department of History, Geography, and Philosophy Campus Box 47 Milledgeville GA 31061 USA Journal Dao Online ISSN 1569-7274 Print ISSN 1540-3009 Journal Volume Volume 9 Journal Issue Volume 9, Number 1.
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  12. Art as sedimentation.Keping Wang - 2010 - Journal of Chinese Philosophy 37 (1):131-138.
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  13. Aesthetics and Morality in Kant and Confucius. A Second Step.Christian Helmut Wenzel - 2010 - In Stephen R. Palmquist (ed.), Cultivating Personhood: Kant and Asian Philosophy. Walter de Gruyter. pp. 321-332.
    In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not find such (...)
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  14. The Chan Interpretations of Wang Wei’s Poetry: A Critical Review. By Yang Jingqing.Kyle David Anderson - 2009 - Journal of Chinese Philosophy 36 (1):180-183.
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  15. Philosophical reflection and visual art in traditional China.Stephen J. Goldberg - 2009 - In David Edward Jones & Ellen R. Klein (eds.), Asian Texts, Asian Contexts: Encounters with Asian Philosophies and Religions. State University of New York Press.
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  16. Dewey and taoism: Teleology and art.Crispin Sartwell - 2009 - Journal of Aesthetic Education 43 (1):pp. 30-40.
  17. Pragmatist aesthetics and confucianism.Richard Shusterman - 2009 - Journal of Aesthetic Education 43 (1):pp. 18-29.
  18. Mozi versus Xunzi on music.Keping Wang - 2009 - Journal of Chinese Philosophy 36 (4):653-665.
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  19. Aesthetic judgment: The power of the mind in understanding confucianism. [REVIEW]Xialing Xie - 2009 - Frontiers of Philosophy in China 4 (1):38-51.
    Mou Zongsan incorrectly uses Kant’s practical reason to interpret Confucianism. The saying that “what is it that we have in common in our minds? It is the li 理 (principles) and the yi 义 (righteousness)” reveals how Mencius explains the origin of li and yi through a theory of common sense. In “the li and the yi please our minds, just as the flesh of beef and mutton and pork please our mouths,” “please” is used twice, proving aesthetic judgment is (...)
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  20. The Chinese Aesthetic Tradition.Li Zehou - 2009 - Honolulu: University of Hawai‘i Press.
    The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, (...)
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  21. The boundaries of beauty in pre-Qin confucian aesthetics.Qian Zhang - 2009 - Frontiers of Philosophy in China 4 (1):52-63.
    “Beauty” is a very important concept in Pre-Qin Confucian aesthetics. Pre-Qin Confucian aesthetics generally had two viewpoints when defining beauty: Negatively, by stressing that “beauty” in the aesthetic sense was not “good”; and positively, by stressing two factors: one, that beauty was related to “feeling” which was not an animal instinct, the other was that “beauty” was a special texture with a particular meaning. “Beauty” in Pre-Qin Confucian aesthetics may be defined as “texture (or form)” capable of communicating feeling or (...)
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  22. The Chan Interpretations of Wang Wei’s Poetry: A Critical Review. By Yang Jingqing.Kyle David Anderson - 2008 - Journal of Chinese Philosophy 35 (3):540-543.
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  23. Shaping the lotus sutra: Buddhist visual culture in medieval china – by Eugene Y. Wang.An-yi Pan - 2008 - Journal of Chinese Philosophy 35 (1):182–185.
  24. An exegetic study of the So-called proposition of confucian aesthetics.Yi Wang & Xiaowei Fu - 2008 - Journal of Aesthetic Education 42 (1):80-89.
    In lieu of an abstract, here is a brief excerpt of the content:An Exegetic Study of the So-Called Proposition of Confucian AestheticsWang Yi (bio) and Xiaowei FuSince Wang Guowei and Cai Yuanpei introduced the concepts of aesthetics and aesthetic education, respectively, to China in the early twentieth century, there has been a strong tendency in many of the aesthetic discussions to examine ancient texts and materials using modern concepts of aesthetics. In particular, sentences with the character-word mei1 are often sought (...)
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  25. Comments on the Poetry (Shilun) and the Poetry.Li Xueqin - 2008 - Contemporary Chinese Thought 39 (4):18-29.
  26. Jing (景): A phenomenological reflection on chinese landscape and Qing (情).Hui Zou - 2008 - Journal of Chinese Philosophy 35 (2):353-368.
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  27. Confucius's aesthetic concept of noble man: Beyond moralism.Ha Poong Kim - 2006 - Asian Philosophy 16 (2):111 – 121.
    The prevailing interpretation of ren (humanness) in the Analects is ethical. One consequence of this interpretation is the one-dimensional image of the Confucian junzi (noble man) as a rigid moralist, a fastidious observer of li (ritual). But there are numerous passages in the Analects that resist such a one-sided representation of the junzi, especially Confucius's remarks related to the (Book of) Songs and music. My basic thesis is that Confucius's concept of junji is aesthetic. This is implied by his notion (...)
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  28. Beauty in Kant and confucius: A first step.Christian Helmut Wenzel - 2006 - Journal of Chinese Philosophy 33 (1):95–107.
  29. Placing artworks—placing ourselves.Joseph Margolis - 2004 - Journal of Chinese Philosophy 31 (1):1–16.
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  30. Truth, beauty, and the social function of art.Tom Rockmore - 2004 - Journal of Chinese Philosophy 31 (1):17–32.
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  31. Confucian moral cultivation : Some parallels with musical training.Karyn Lai - 2003 - In Kim Chong Chong, Sor-Hoon Tan & C. L. Ten (eds.), The Moral Circle and the Self: Chinese and Western Approaches. Open Court.
  32. Aesthetic commonalities in the ethics of daoism and stoicism.Earle J. Coleman - 2002 - Journal of Chinese Philosophy 29 (3):385–395.
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  33. Exploring the logical space in the patterns of classical chinese mathematical art.Jinmei Yuan - 2002 - Journal of Chinese Philosophy 29 (4):519–531.
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  34. Wu-Wei: Lao-zi, Zhuang-zi and the aesthetic judgement.Rui Zhu - 2002 - Asian Philosophy 12 (1):53 – 63.
    The concept of wu-wei (nonaction) has undergone significant changes from Lao-zi to Zhuang-zi. This paper will argue that, while wu-wei in Lao-zi is a utilitarian principle, wu-wei of Zhuan-zi represents an aesthetic world-view. The aesthetic nature of the Daoist nonaction will be illustrated through Kant's concept of 'purposiveness without purpose'.
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  35. In Quest of harmony: Plato and confucius on poetry.Zong-qi Cai - 1999 - Philosophy East and West 49 (3):317-345.
    How Plato and Confucius formulate their views on poetry in light of their overriding concerns with harmony is examined here. Both acknowledge the educational value of poetry in similar terms and set up similar moral-aesthetic standards. Both rank poetry lower than other objects of learning because they find poetic harmony to be less significant than intellectual or moral harmonies. But both take note of the transforming aesthetic experience afforded by poetry in certain circumstances, and identify this experience of the attainment (...)
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  36. Experience as art.Sor-Hoon Tan - 1999 - Asian Philosophy 9 (2):107 – 122.
    Chinese philosophy views experience as intrinsically aesthetic. This world view could be elucidated through a consideration of John Dewey's aesthetics and features of Chinese art. Dewey's philosophy of art starts with an understanding of experience as 'live processes' of living creatures interacting with their environment. Such processes are autopoietic in being self-sustaining, ever-changing, capable of increasing complexity, capable of generating novelty, direction and progress on its own. Its autopoietic character is a precondition of the aesthetic in the process of experience. (...)
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  37. A philosophical perspective of contemporary chinese conceptual art.John Zijianc Ding - 1998 - Journal of Chinese Philosophy 26 (4):445-468.
  38. Chinese poetry and symbolism.Paul Groarke - 1998 - Journal of Chinese Philosophy 26 (4):489-512.
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  39. The aesthetic in confucianism examined from three viewpoints.Gang Xu - 1998 - Journal of Chinese Philosophy 26 (4):425-444.
  40. Chinese philosophy and the suggestion of a matriarchal aesthetics.Eva K. W. Man - 1996 - Journal of Chinese Philosophy 23 (4):453-466.
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  41. Confucian Ethics of the Axial Age: A Reconstruction under the Aspect of the Breakthrough Toward Postconventional Thinking by Heiner Roetz. Albany: State University of New York Press, 1993. Pp. xiii+373. $59.50 cloth, 519.95 paper.Kwong-Loi Shun - 1995 - Journal of Chinese Philosophy 22 (3):351-362.
  42. Confucius and country music.Crispin Sartwell - 1993 - Philosophy East and West 43 (2):243-254.
  43. The beautiful, the ugly, and the Tao.Earle J. Coleman - 1991 - Journal of Chinese Philosophy 18 (2):213-226.
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  44. Taoist cultural reality: The harmony of aesthetic order.Kirill O. Thompson - 1990 - Journal of Chinese Philosophy 17 (2):175-185.
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  45. Understanding the Chinese Mind: The Philosophical Roots.Robert Elliott Allinson (ed.) - 1989 - New York: Oxford University Press.
    Professor Kenneth Inada, State University of New York at Buffalo, writes: "There is no ordinary volume. It is a well crafted work containing brilliant reactions to traditional Chinese philosophical thought." -/- Ninian Smart, President, American Academy of Religion, Rowney Chair of Philosophy, The University of California, Santa Barbara, in a review of Understanding the Chinese Mind in Philosophy, East and West, writes: "This is an important book ... Robert E. Allinson is to be congratulated on putting together this thoughtful and (...)
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  46. Taoist philosophy and its influence on Tang naturalist poetry.Masato Mitsuda - 1988 - Journal of Chinese Philosophy 15 (2):199-215.
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  47. The Taoist Vision. A Study of T’ao Yuan-Ming’s Nature Poetry.Angela Jung Palandri - 1988 - Journal of Chinese Philosophy 15 (2):97-121.
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  48. Taoism and modern chinese poetry.Michelle Yeh - 1988 - Journal of Chinese Philosophy 15 (2):173-197.
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  49. Taoist themes in Yuan drama (with emphasis on the plays of ma Chih-Yuan).Shiao-Ling Yu - 1988 - Journal of Chinese Philosophy 15 (2):123-149.
  50. Theme and tradition in aesthetics.James J. Fletcher - 1980 - Journal of Chinese Philosophy 7 (1):37-43.
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