On Bai-hua Zong's Realm Aesthetics from the Perspective of Lifelikeness

Philosophy and Culture 38 (5):53-69 (2011)
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Abstract

Zong is the most contemporary Chinese aestheticians can access the Western aesthetic theory, and to study traditional Chinese aesthetics, given the profound theoretical interpretation of the representative scholars, this article through the body on the Chinese Confucian philosophy, metaphysics, to explore how the depth Zong Baihua the core of Chinese art of life, thus building with Chinese national characteristics of aesthetic theory. The article attempts to "Lively" and "aesthetic mood" Proposition two major Chinese aesthetics discourse constructed by Zong's Vivid aesthetic mood. Zong Baihua, respectively, from the aesthetics of the text of school thinking process; "beauty" and "beauty" and the difference between the "aesthetic" Definition; Zong interpreted on the artistic beauty of: the aesthetic mood of the core proposition of "Lively" and were Chinese calligraphy art white examples and explanations of Vivid made ​​to expand the five for this discussion. As the one contemporary Chinese aesthetician who understood the theories of western aesthetics most, Bai-hua Zong was renowned for studying traditional Chinese aesthetics in the light of western aesthetics and bestowing it with profound theoretical interpretation. This paper is to inquire how Bai-hua Zong reached deep into the vital core of Chinese art through the organist metaphysics of Chinese Confucian philosophy and accordingly constmct the theories of aesthetics with Chinese characteristics. Here the two major theses of Chinese aesthetics, "lifelikeness" and "the realm aesthetics," are combined with the realm aesthetics of lifelikeness that was constructed by Bai-hua Zong. This paper is to proceed this argument along the five aspects as follows: the progress of Zong's aesthetics; the distinction between "beauty" and the "sense of beauty" as well as the definition of "aesthetics;" Zong's interpretation about the beauty of the realm; the central thesis of the realm aesthetics, lifelikeness; and Zong's exposition of lifelikeness as embodied in the art of calligraphy

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