In the realm of man's culture, among the things created by man, art should be beautiful; its primary essential characteristic should be that it be able to evoke a sense of beauty in the person, that by its beauty it be able to provide for the person the pleasure of the sense of beauty. This is a fact that no one can deny outright. However, saying that art should be beautiful is not the same as saying that all art is (...) beautiful. In fact, there is art which is beautiful and art which is not beautiful; and this too is a fact that no one can deny. (shrink)

Comrade Huang Yüeh-mien's article, "A Discussion of the Aesthetics of the Wealthy" [Lun shih-li che ti mei-hsüeh], which criticized my point of view in aesthetics, was published later than my self-criticism. Before he published it, he had presented it at a discussion meeting at Peking Teachers College. He let me read it only after he had submitted it to Literature [Wen-i pao] for publication. I wrote to the editor of Literature, Comrade K'ang Cho, saying that basically I accepted his criticisms (...) but that I wished to raise a number of points. I pointed out that the author's method of dealing with the problems of "empathy emotion," "forgetting self," and "inspiration" was not very different from the method that I had used before. I pointed out that "association of ideas" occupied an important position in his aesthetics — he seems to substitute "association of ideas of form" for "intuition of form." Furthermore, I stated that I did not think he had answered clearly the questions of whether "beauty exists in the mind or in the thing," of the relationship between beauty and sense of beauty, and of the difference between formal thought and abstract thought; and I said that I hoped he would give me more assistance with these questions. However, Comrade Huang Yüeh-mien for the most part ignored the points that I had raised and the questions to which I had sought answers, and he published in Literature the paper that he had presented at Peking Teachers College almost unaltered. Consequently, the questions that I raised concerning Comrade Huang Yüeh-mien's point of view in aesthetics remain unanswered. At that time I still felt that his point of view in aesthetics basically was materialistic, although there were some tendencies in it that raised doubts in my mind. This explains the fact that my judgments on idealist aesthetics remain to be improved. (shrink)

In Ai Ssu-ch'i is exemplified and substantiated the Soviet influence on the official definition of philosophy in the history of Communist Party of China, i.e., the assertion about and the method for knowledge of the world. Such a philosophical knowledge has as its formal object the most fundamental laws of the universe.In order to acquire such a genuine philosophical knowledge, one needs a desire to change the world and a proletarian point of view. For only by aiming at changing the (...) world is inevitability reflected; only in the proletarian viewpoint are the objective laws reflected. In order to substantiate these assertions, one has to point out that, first, man's thinking is determined by his social relations and, secondly, social relations are determined by practice. Since the proletariat is in the right kind of practice, it is both in the proper locus of social relations and, therefore, it perceives both inevitability and objectivity. Yet, due to man's subjective dynamism, it is possible for other classes to adopt the standpoint of the proletariat. (shrink)

Ai Ssu-ch'i is a little known but very important figure in the introduction of Marxism-Leninism into China. This first article provides a brief biography of Ai Ssu-ch'i as well as a detailed account of his activities as teacher, author and propagandist. Among his other services to the cause of Marxism-Leninism in China, one has to stress Ai Ssu-ch'i's systematic opposition to Yeh Ch'ing and to the non-Communist interpretation of Dr. Sun Yat-sen's Three Principles of the People. (cf.SST 10 (1970), 138–166.).

1. Sŏngnihak ŭi hwakchang kwa simhwa -- 2. Sŏngnihak ŭi pip'anjŏk sŏngch'al.