Contemporary Chinese Aesthetics
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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.
of fmding harmony in conflict and could not create an ideal world for their spiritual sustenance. Because of the 22 Contemporary Chinese Aesthetics thinness of their religious sentiment, they lacked "sustained effort," that is, they were content to live at their ease in the real world without making an endeavor to seek spiritual sustenance and consolation in an ideal world. Compared to Chinese poets in general, Qu Yuan, Yuan Ji and Li Bai were to some degree more capable of lifting their gaze
beauty of personality, and the beauty of environment are all related to revolutionary struggle. To sum up, the sense of beauty evoked by various kinds and types of beauty comprises very complicated psychological phenomena; almost all psychological phenomena with positive significance can become psychological elements of the sense of beauty. Sometimes even psychologically negative phenomena can serve as a contrast to the appreciation of beauty, for instance, in the hatred for what is ugly. Of
culture-admitting, in effect, that his people could claim none of those intellectual giants who make a culture great. So, initially, there is no alternative but for the culture initiating the investigation to use its own concepts to judge the culture under investigation. Because of European military, economic, scientific and technological hegemony during the 18th and 19th centuries, it was Europeans who judged Chinese (and Indian) cultures by comparing them to their own European standards. Later,
something which did not begin until the very end of the 19th century. Once these modified "alien" styles become stabilized, that is, widely distributed throughout the country, regularly passed on through the education system from generation to generation, slowly evolving in a systematic fashion, we can legitimately speak of British, American or Chinese philosophy-or aesthetics. The challenge of Western thought has been the single most important influence on Chinese thought since the beginning of
fame. The man of rank will sacrifice his life for his family. The sage will sacrifice his life for the world. The pursuits and ambitions of these men differ, but the injury to their natures and the sacrifice of their lives amount to the same thing.... Boyi died for fame below Mount Shouyang. Robber Zhi died for gain on Eastern Mound. Their deaths were not the same, but the injury to their lives and natures was in each case the same.... Today superior men endanger their bodies and throw away their