This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

China is currently afflicted by enormous environmental problems. This book, drawing on ancient and modern Chinese environmental thinking, considers what it is that makes an environment a desirable place for living. The book emphasises ideas of beauty, and discusses how these ideas can be applied in natural, agricultural and urban environments in order to produce desirable environments. The book argues that environment is both a product of nature and of human beings, and as such is potentially alterable by culture. (...) The book explores the three aspects of environmental beauty whereby such alteration might be beneficially made: integrated and holistic; ecological and man-made; and authentic and everyday. (shrink)

This book presents the foundations of classical Chinese aesthetic discourse--roughly from the Bronze Age to the early Middle Ages--with the following animating questions: What is art? Why do we produce it? How do we judge it? The arts that garnered the most theoretical attention during this time period were music, poetry, calligraphy, and painting, and the book considers the reasons why these four were privileged. Whereas modern artists most likely consider themselves musicians or poets or calligraphers or painters or (...) sculptors or architects, the pre-modern authors who produced the literature that established Chinese aesthetics prided themselves on being wenren, "cultured people," conversant with all forms of art and learning. Other comparisons with Western theories and works of art are presented at due junctures. Key Features Addresses Chinese aesthetic discourse on its own terms Provides comparisons of key concepts and theories with examples from Western sources Includes more coverage of primary sources than any other English-language book on the subject Each chapter opens with a helpful summary, highlighting the chapter's key themes. (shrink)

Infra-white : an impossible beginning -- Color and white, the blank canvas : the reverse reconstruction of non-dimension -- Remnant and white, color and blankness, qi and white -- Empty and white, empty-empty-substance-substance, the empty room filled with light -- The white layout of the 'Woodcutter fighting for the path' : the ethics of remnant yielding.

Biopolitical aesthetics and the Chinese body as surplus -- Chinese whispers : Frankenstein, the sleeping lion, and the emergence of a biopolitical aesthetics -- Souvenirs of the organ trade : the diasporic body in contemporary Chinese literature and art -- Organ economics: transplant, class, and witness from made in Hong Kong to the eye -- Still life : recovering (Chinese) ethnicity in the body worlds and beyond -- All rights preserved : intellectual property and the plastinated (...) cadaver exhibits. (shrink)

This essay argues for the primacy of aesthetic resources, which use appeals to the senses and emotions more than interpersonal negotiation or empirical reasoning, in contemporary Chinese political communication. Chinese officials and citizens create politically acceptable utterances by assembling existing aesthetic resources in particular orders. This strategy has partly been forced on the party state by its internally contradictory history and has partly resulted from the use of advertising and marketing techniques. Excessive reliance on aesthetic resources, and the (...) miscellaneous and inconsistent nature of the resources chosen, may prove to be a political weakness for the party state. (shrink)

Resumen: La concepción estética en la pintura tradicional china es un concepto esencial en el antiguo pensamiento estético chino y sirve como criterio estético supremo perseguido en la creación pictórica clásica. Los artistas utilizan obras únicas para mostrar la concepción estética en la pintura tradicional china, destacando así los rasgos distintivos de la pintura china. Este artículo realiza un análisis genealógico de la concepción artística en la pintura tradicional china y lo combina con símbolos culturales específicos para su interpretación, con (...) el objetivo de desvelar las ideas filosóficas y los conceptos culturales concentrados en la pintura tradicional china. (shrink)

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 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. 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. (shrink)

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, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity.". (shrink)

This book is a collection of translations of recent work by contemporary Chinese aestheticians. Because of the relative isolation of China until recently, little is known of this rich and ongoing aesthetics tradition in China. Although some of the articles are concerned with the traditional ancient Chinese theories of art and beauty, many are inspired by Western aesthetics, including Marxism, and all are involved in cross-cultural comparisons of Chinese and Western aesthetic traditions.

Michael A. PetersBeijing Normal UniversityThe ancient concept of ‘self-cultivation’ with its roots in Confucianism and Hellenistic philosophy can also be utilised as tool for understanding the prac...

As a general concept, aesthetic education and art education are connected; to a certain extent, the two can be taken as one or two sides of the same coin. However, the specific questions involved are how they are connected and how to connect them in teaching practice. To answer these questions, I define aesthetic education as more general and theoretical and define art education as less general and more practical, that is, teaching students to read art works. Exploring the answers (...) to the first question, this essay offers an examination of an important aesthetic concept in Chinese art theory, inscape, and relates it to the teaching of how to read Chinese landscape painting. On the one hand, this aesthetic concept... (shrink)

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 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.

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes (...) toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...

In China creativity is construed as an ethico‐aesthetic practice in which signifying acts of self‐presentation (yi) are evaluated as to their efficacy in fostering harmonious relations of social exchange within specific historical occasions. To say this is to call attention to the performative dimension of aesthetic creativity; to recognize, beyond its constative meaning, the force of an expressive act to produce effects that profoundly affect its recipients.

Journal of Chinese Philosophy, EarlyView.

For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the end (...) of the 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art. (shrink)

: Suggestiveness is a major theoretical category in Chinese aesthetic thought. Within the broader context of Chinese tradition, it is a product of the interpenetration of and exchanges between philosophical and artistic discourses. Despite its prevalence in Chinese aesthetic thought, suggestiveness has never been examined as an aesthetic category in its own right, nor have its implications been explored in relation to contemporary theories. This essay reexamines suggestiveness and its seminal ideas as an aesthetic category in (...) class='Hi'>Chinese tradition, exploring their relation to philosophical thought and reconceptualizing their implications in terms of the postmodern idea of literary openness. As a preliminary attempt to pioneer an approach to Chinese aesthetic theory that may emancipate it from intellectual stagnation and at the same time preserve its characteristic features, this essay also intends to inquire whether insights of Chinese aesthetics, often characterized as gems of "Oriental mysticism," can be understood in terms of reflective analysis and have a meaningful dialogue with contemporary Western literary thought. (shrink)

This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is, involving coordination between the mind and the hand. Third, appreciation of (...) Chinese calligraphy is identified with the process of reconstructing the calligrapher's creation of the work, which is analogous to Richard Wollheim's identifying criticism as retrieval. The last section examines the concept of qi and discusses what kind of aesthetic considerations encourage us to make a connection between Chinese calligraphy and abstract art. (shrink)

In his A Theory of Justice, John Rawls suggests that a society's notion of justice informs its distribution of rights, obligations, and goods. For him, "justice as fairness" ensures that the principles dictating this distribution be agreed upon fairly. I will argue that there is no exact parallel in the Chinese tradition to what Rawls is calling "justice as fairness." Instead, we see serving a similar purpose an emphasis on the regulation of harmonious processes within the body of society. (...) This can be seen in the use of the Chinese word zhi (ÖÎ) to refer both to governing and to healing. In this sense, Chinese ideas about justice seem to come closer to Plato than to Rawls. (shrink)

In ancient Chinese philosophy, yi 意 means both "intention" and "idea," which means, according to Edmund Ryden, that it can be voluntative or cognitive.1 As a widely used aesthetic category, yi has multiple dimensions in Chinese art theory. Stephen Owen, for example, summarized several common usages of yi in literary criticism: yi as "the clever interpretation of some material," as the act of giving relation to the sensory data, as "intention" or "will," and as "the way someone thinks (...) of things."2 In the area of Chinese calligraphy criticism, there are more than twenty aesthetic categories that contain the word yi, such as youyi 有意, wuyi 無意 (not being... (shrink)

The Problem of a Chinese Aesthetic calls for and applies a new model of comparative literature - one that, instead of taking for granted the commensurability of traditions and texts, gives incompatibility and contradiction their due. Exposing contemporary literary theory to the risks of ancient Chinese literature (and vice versa), this book considers a linked series of case studies. To what degree does the translation between languages and texts that we call comparative literature depend on allegory or translation (...) within a single text or language? The author offers an important, new perspective on the reading of the Shih-ching or Book of Odes and the question of allegory and metaphor in the Chinese poetic tradition. (shrink)

Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free state or way (Dao) of human life; the (...) most important thing for human beings is how to make their own lives and existence beautiful. Therefore, it puts forward some persuasive and valuable insights into beauty and art, thus playing an independent and constructive role in intercultural aesthetic dialogues of the twenty-first century. (shrink)

The article reveals the features of the formation and functioning of aesthetic research in such two areas of Marxism as Soviet and Chinese. The study identified three key stages in the development of aesthetics in Soviet Marxism – the pre-war (the 1920s and 1930s), late Stalinism and the Khrushchev thaw, and the late period (1970-1980s). It should be noted that in the context of Soviet Marxism, the key tasks were that aesthetics becomes influential and in-demand science, included in the (...) program of "technical progress" and "education of the builder of communism", important ideological, aesthetic, and applied field of philosophy. Therefore, in addition to the fact that purely ideological works were developed within the framework of aesthetic discourse, aesthetics itself in Soviet Marxism was able to develop thanks to contacts with semiotics, psychology, anthropology, cultural history, and sociology. Relying on a selective stream of translations of Western philosophies of art, Soviet aesthetics is beginning to resonate with global trends, which is facilitated by the unspoken consensus of the idea of aesthetics as a part of philosophical and humanitarian knowledge that has its own autonomy. Proved that in China culture and the cultural revolution are inextricably linked with the Marxist projects of critiquing capitalist modernity and building alternative modernity. Aesthetics and culture also were at the center of attention in Chinese Marxist circles. In this respect, the diverse practices and designs of Chinese Marxism are similar to those of Western Marxism or an equally distinct variety of Euro-American Marxist intellectual enterprises. Aesthetic Marxism in China had a dual mission – to criticize the internal contradictions of revolutionary hegemony and to offer a constructive vision of culture in a post-revolutionary society. This is the value of Chinese aesthetic Marxism, the implications of which go beyond China proper in the world of global cultural criticism. Moreover, being non-Western, Chinese aesthetic Marxism deliberately questioned the inherent Eurocentrism of Marxism. If this Eurocentrism is to be challenged and problematized, the questions posed by Chinese aesthetic Marxists cannot be ignored. (shrink)

Although Chinese Marxism—primarily represented by Maoism—is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism. Far (...) from being secondary considerations in Chinese Marxism, aesthetics and culture are in fact principal concerns. In this respect, such Marxists are similar to their Western counterparts, although Europeans have had little understanding of the Chinese experience. Liu traces the genealogy of aesthetic discourse in both modern China and the West since the era of classical German thought, showing where conceptual modifications and divergences have occurred in the two traditions. He examines the work of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists including Horkheimer, Adorno, Benjamin, and Marcuse. While stressing the diversity of Marxist positions within China as well as in the West, Liu explains how ideas of culture and aesthetics have offered a constructive vision for a postrevolutionary society and have affected a wide field of issues involving the problems of modernity. Forcefully argued and theoretically sophisticated, this book will appeal to students and scholars of contemporary Marxism, cultural studies, aesthetics, and modern Chinese culture, politics, and ideology. (shrink)

Many scholars interpret Chinese Aesthetics with the Kantian theory of genius because they seem to form a parallel: similar innate and spontaneous mental talents that exceed normal cognition and imagination generates beautiful arts with similar extraordinary qualities. I argue that projecting Kant’s genius to illuminate the creative power analogically, i.e., the carefree-wandering mind, is infeasible. The theory of genius assumes a critical project that stipulates a valuable way to exercise the power of judgment. Genius is only a postulated idea (...) for successfully making aesthetic judgments on artworks. In contrast, the carefree-wandering mind assumes a Daoist metaphysical-ethical theory centering on the idea of transformative self and the way to success. The carefree-wandering mind featuring Wu-Wei (無為) is the efficient cause that produces artworks with Qi-Yun (氣韵), namely, the expressive quality. Therefore, conceiving parallels between Kant and Chinese aesthetics is difficult. I conclude by proposing a potential similarity between Kant’s theory of genius and Chinese aesthetics: both draw our attention to the respective relations of each to nature. (shrink)

This book discusses qiyun aesthetics in Chinese painting formulated by leading sixth to fourteenth-century intellectual elite. In light of Kant’s account of artistic genius, it considers the role of the mind in creating a painting replete with qiyun, thereby both demystifying qiyun aesthetics and illuminating some limitations in Kant’s aesthetics.

Journal of Chinese Philosophy, EarlyView.

This book differentiates between and analyzes the Confucian, Taoist and Buddhist spirit in traditional Chinese aesthetics, explains the core characteristics and methods of traditional Chinese aesthetics, and conveys the author’s overall thinking on the spirit of traditional Chinese aesthetics. Given its scope, the book is of great value in terms of understanding and promoting China’s unique traditional culture.

Already translated into six languages, Francois Jullien's In Praise of Blandness hasbecome a classic. Appearing for the first time in English, this groundbreaking work of philosophy,anthropology, aesthetics, and sinology is certain to stir readers to think and experience what mayat first seem impossible: the richness of a bland sound, a bland meaning, a bland painting, a blandpoem. In presenting the value of blandness through as many concrete examples and original texts aspossible, Jullien allows the undifferentiated foundation of all things -- (...) blandness itself -- toappear. After completing this book, readers will reevaluate those familiar Western lines of thoughtwhere blandness is associated with a lack -- the undesirable absence of particular, definingqualities.Jullien traces the elusive appearance and crucial value of blandness from its beginningsin the Daoist and Confucian traditions to its integration into literary and visual aesthetics in thelate-medieval period and beyond. Gradually developing into a positive quality in Chinese aestheticand ethical traditions, the bland comprises the harmonious and unnameable union of all potentialvalues, embodying a reality whose very essence is change and providing an infinite opening into thebreadth of human expression and taste.More than just a cultural history, In Praise of Blandnessinvites those both familiar and unfamiliar with Chinese culture to explore the resonances of thebland in literary, philosophical, and religious texts and to witness how all currents of Chinesethought -- Confucianism, Daoism, Buddhism -- converge in harmonious accord. (shrink)

Ecological consciousness in traditional Chinese culture is a very important thought resource in the process of constructing ‘a postmodern worldview’.

Ecological consciousness in traditional Chinese culture is a very important thought resource in the process of constructing ‘a postmodern worldview’.

Journal of Chinese Philosophy, EarlyView.

Although aesthetics has been to some extent marginalized in western philosophy, within the Chinese philosophical tradition aesthetics plays a key role. This article explores Chinese aesthetics as a site of valuable resources for rethinking the ways in which we conceptualize philosophical activity. After introducing a few distinct features of the Chinese aesthetic tradition, the article examines aesthetic distance in terms of guan, he, and ying, Chinese conceptions of artists and participants, and aesthetic suggestiveness or the inexhaustibility (...) of a work of art, in order to suggest that the Chinese philosophical tradition might contribute its sense of connection between style or method of doing philosophy and aesthetics to a contemporary metaphor of philosophy as aesthetic experience. (shrink)