Diese Arbeit stellt einen neuartigen Ansatz vor, die symbolischen Strukturen, die der traditionellen chinesischen Tuschmalerei zugrunde liegen, zu verstehen und im interkulturellen Kontext zu ...vermitteln. Lichen Zhang nimmt damit eine substantielle Erweiterung von Ernst Cassirers Konzeption des menschlichen Geistes als einem universellen symbolischen Netzwerk vor und beweist stringent die Anwendbarkeit des symbolphilosophischen Konzepts auf die bildende Kunst. Das Buch stellt mit eindrucksvollen Bildbeispielen die weitreichenden Konsequenzen dieses neuen Blickwinkels anhand der traditionellen chinesischen Tuschmalerei dar. So wird der Einfluss, den chinesische Philosophien, Ethik, Religion, Gesellschaft und frühe Naturwissenschaften über die Jahrhunderte hinweg auf die Kunst hatten, durch systematische Aufarbeitung als Objektivierung einer geistigen Aktivität offenbar.
The aesthetics of Chinese costume is the crystallization of traditional Chinese artistry and at the same time is not without dregs, such as the suppression of its subjectivity, restraint of human ...body and segregation of different social classes. In contemporary China, Chinese costume keeps changing with the aesthetic needs of the time. Under such circumstances, filtration, screening and sublation have become the basic methods to inherit and carry forward the essence of traditional Chinese costume. It is contemporary Chinese people’s due responsibility to demonstrate the spirit of Chinese aesthetics via dressing, take the initiative to spread such a spirit, and showcase the unique charm of Chinese aesthetics by the light of nature.
The paper examines the construction of China’s country image in the opening ceremony of the 2022 Beijing Winter Olympic Games. It demonstrates how a country that has no winter sports tradition used ...the mega-event to showcase its national narrative and to promote winter sports industries. A semiotic framework is developed to model China’s country image as evaluative attributes and to elucidate how they are constructed through linguistic and visual resources in the theater, livestream, and video inserts. The analysis shows that the ceremony was narrated around four major themes—the world’s China, People’s China, the aesthetic China, and the modernized China. Instead of revealing a changeless, nostalgic and mythical China that speaks to a Western orientalistic imagination, these four themes work together to reshape a modern China identity, which brings the contrasting values of globalism, nationalism, Chinese traditional aesthetics, and neoliberalism into a coherent artistic performance. The characteristics of nation branding discourse reflect China’s urban regeneration policies on the one hand, and public diplomacies during the COVID-19 pandemic on the other.
Full text
Available for:
FSPLJ, NUK, OILJ, SAZU, UKNU, UL, UM, UPUK
The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese ...aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.
U članku se ispituje sadržaj i značenje kineskog estetskog koncepta shensi i njegov odnos prema pojmu najvišeg estetskog područja (jingjie). Duhovnu kontemplaciju ili umjetničku uobrazilju (shensi) ...temeljito je istražio Liu Xie (465. – 522.) u svom teorijskom radu o književnom pisanju Književni um i rezbarenje zmajeva u 6. stoljeću. Ovo je djelo prva sustavna teorija umjetničkog stvaralaštva u klasičnoj kineskoj estetici. Međutim, estetsku teoriju jingjie-ja prvi je istražio Wang Changling (698. – 756.) tijekom dinastije Tang, ali ju je dalje razvio Wang Guowei (1877. – 1927.) na pragu 20. stoljeća, što se smatra početkom modernizacije kineske estetike. Članak detaljno istražuje oba koncepta i argumentira da je shensi zapravo estetska metoda koja vodi do postizanja najviše estetičke sfere (jingjie) kada se uspješno primjenjuje i pojavljuje u umjetničkom procesu i samom umjetničkom djelu.Keywords
Cet article examine le contenu et la signification du concept esthétique chinois shensi et son rapport au concept de la plus haute sphère esthétique (jingjie). La contemplation spirituelle, ou l’imagination artistique (shensi), a été rigoureusement étudiée par Liu Xie (465 – 522) dans son travail théorique sur l’écriture littéraire Le Cœur de la littérature et la Sculpture des dragons au VIème siècle. Cette œuvre constitue la première théorie systématique de la création artistique dans l’esthétique classique chinoise. Cependant, la théorie esthétique du jingjie a été pour la première fois étudiée par Wang Changling (698 – 756) durant la dynastie Tang, mais a été plus tard développée par Wang Guowei (1877 – 1927) à l’aube du XXème siècle, ce qui est considéré comme le début de la modernisation de l’esthétique chinoise. Cet article visite de manière détaillée les deux concepts et soutient que le shensi est, en réalité, une méthode esthétique qui mène à la réalisation de la plus haute sphère esthétique (jingjie) lorsque son application est menée à bien, et qu’elle se manifeste dans le processus artistique et dans l’œuvre artistique même.
Der Artikel untersucht den Inhalt und die Bedeutung des chinesischen ästhetischen Begriffs shensi und dessen Beziehung zur Notion der höchsten ästhetischen Sphäre jingjie. Spirituelle Kontemplation oder künstlerische Einbildungskraft (shensi) wurde von Liu Xie (465–522) im 6. Jahrhundert in seiner theoretischen Arbeit zum literarischen Schreiben, Wenxin Diaolong: Das literarische Schaffen ist wie das Schnitzen eines Drachen, profund erforscht. Dieses Werk ist die erste systematische Theorie des künstlerischen Schaffens in der klassischen chinesischen Ästhetik. Der ästhetischen Theorie des jingjie ist allerdings Wang Changling (698–756) während der Tang-Dynastie als Erster auf den Grund gegangen; sie wurde aber von Wang Guowei (1877–1927) an der Schwelle zum 20. Jahrhundert weiterentwickelt, die als Beginn der Modernisierung der chinesischen Ästhetik angesehen wird. Der Artikel exploriert beide Konzepte im Detail und argumentiert, dass shensi tatsächlich die ästhetische Methode ist, die zum Erreichen der höchsten ästhetischen Sphäre (jingjie) führt, wenn sie erfolgreich angewendet und im künstlerischen Prozess sowie im Kunstwerk selbst manifestiert wird.
The article examines the content and meaning of the Chinese aesthetic concept of shensi and its relation to the notion of the highest aesthetic realm (jingjie). Spiritual contemplation or artistic imagination (shensi) was thoroughly explored by Liu Xie (465 – 522) in his theoretical work on literary writing The Literary Mind and the Carving of Dragons in the 6th century. This work is the first systematic theory of artistic production in classical Chinese aesthetics. The aesthetic theory of jingjie, however, was first explored by Wang Changling (698 – 756) in the Tang Dynasty, but further developed by Wang Guowei (1877 – 1927) on the threshold of the 20th century, which is considered the beginning of the modernisation of Chinese aesthetics. The article explores both concepts in detail and argues that shensi is actually the aesthetic method that leads to the attainment of the highest aesthetic realm (jingjie) when successfully applied and manifested in the artistic process and in the artwork itself.
The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese ...aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.
The aesthetic appreciation of animals in China is different from that in the West. In this paper, I identify these differences by tracing the various definitions of the word 'animal' in Chinese, and ...by illustrating the special aesthetic values advocated within Chinese aesthetics. Further, I argue that, when animals are aesthetically appreciated against the background of Chinese culture, they may be viewed as both physical and spiritual objects, and as symbolizing the harmony between humanity and nature. At the same time, many Chinese animal images are shaped and appreciated in an ever-changing and interdependent pattern. I conclude by noting differences between China and the West in the aesthetic appreciation of animals with respect to the importance of physical attractiveness, the roles of interaction and imagination, and the aesthetic context of appreciation.
Full text
Available for:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
9.
Mario’s Studio Xian, Zhou
Rivista di estetica,
12/2018, Volume:
69, Issue:
69
Journal Article
Peer reviewed
Open access
In this short tribute to Mario Perniola, Zhou Xian remembers his friendship with the Italian aesthetician. Zhou, one of the most prominent art theorists in China, discusses his friendship with ...Perniola and the significance of their relationship both at a personal and intellectual level. After describing in a touching way their first encounter in Rome, which started in Perniola’s studio, Zhou celebrates the innovative character of Perniola’s aesthetic theorizing, and in particular his interest in Chinese contemporary aesthetics.
Zhu Guangqian's Life and Philosophy. An Introduction is Mario Sabattini's last uncompleted work dedicated to the work of Zhu Guangqian, one of the most representative figures of contemporary Chinese ...aesthetics.
PDF
