Straipsnyje aptariama, kaip Xu Fuguan interpretuoja keletą pagrindinių Zuangzi estetinės minties sąvokų. Xu nuomone, Zhuangzi estetinė mintis susijusi su estetiniu žmogaus gyvenimo būdu, kur grožis ...taikomas dao sričiai, kurioje žmonės gali išlaisvinti savo sielą ir džiaugtis „laisvu ir lengvu klajojimu“ (xiaoyaoyou 逍遙遊). Pasak Xu, tai yra aukščiausia ir gražiausia žmogaus egzistencijos sfera, įgaunanti išraišką mene. Zhuangzi sąvokas xinzhai心齋 ir zuowang 坐忘, kaip šio aukščiausio būties lygmens pasiekimo metodą, Xu laikė panašiomis į kai kurias XIX ir XX a. Vakarų fenomenologijos sąvokas. Nors Xu stengėsi atsargiai vesti paraleles tarp Vakarų filosofijos ir Zhuangzi mąstymo, jis manė esant jų panašumų, ypač klausimu, kodėl žmogaus sąmonė gali estetiškai suvokti pasaulį. Šio straipsnio tikslas yra atskleisti tokios lyginamosios prieigos, glūdinčios Xu estetinėje mintyje, metodologinius keblumus ir prieštaravimus.
Četudi Xu Fuguan (1903–1982) sodi med najpomembnejše predstavnike modernega konfucijanstva, je zunaj Kitajske še precej neraziskan. Vendar je njegov koncept »zaskrbljene zavesti« (youhuan yishi 憂患意識) ...izjemno pomemben ne samo za teoretsko razjasnitev posebnih značilnosti, ki določajo ideološko (in s tem tudi politično) strukturo antične kitajske družbe, temveč tudi za medkulturno nadgradnjo Jaspersove teorije »osnega obdobja«. Pričujoči članek namerava ta koncept predstaviti širšim akademskim krogom v Evropi; avtorica v njem hkrati izdela analizo njegove povezave z moderno konfucijansko hipotezo o odsotnosti zunanjega Boga (ali božanstev) v klasični kitajski kulturi.
The article explores the aesthetic theory of Shitao, an early Qing dynasty painter who belonged to the Individualist school of painting which advocated painting from subjective experience of life and ...learning from the Dao, thus following the aesthetic tradition of literati landscape painters. Shitao composed his own theory of painting and aesthetics in the work The Remarks on Painting (Huayulu 畫語錄), which was the result of his artistic practice and philosophical reflections collected throughout his life. The article delves into Shitao’s critique of the Traditionalist school of painting which prevailed in his time as the mainstream painting style, advocating imitation and repetition of the old masters. For Shitao and other Individualist painters, such an approach and attitude towards art led to creative stagnation and a departure from the aesthetic ideals of classical landscape painting. With their artistic and theoretical intervention, however, they managed to preserve, upgrade and bring to life new perspectives in artistic production and aesthetic theories. This paper presents Shitao’s defence of subjectivity as a vital catalyst for the rejuvenation of artistic perspectives and the restoration of Chinese art, thus providing an invaluable contribution to the discourse on artistic creativity and subjectivity.
The article examines the research methodology of Chinese intellectual history developed by the Modern Confucian Xu Fuguan 徐復觀 (1904–1982). His novel methodological approach differed significantly ...from the methodology advocated by Fu Sinian 傅斯年 (1896–1950), the founder of the Institute of History and Philology of Academia Sinica in 1928, who advocated a rigorous adoption of Western scientific methodology in historical research, based exclusively on a philological perspective. Fu Sinian’s methodological approach, however, prevailed among Chinese historians in mainland China in the first half of the 20th century and in Taiwan after 1949. Xu Fuguan was highly critical of such an approach, considering it inadequate and inappropriate because it did not allow for conceptual interpretations on the one hand, and disregarded the contextualization and historical development of concepts and meanings on the other. Xu’s methodology is based on the application of the hermeneutic circle, which Xu calls dynamic and structural holism from a comparative perspective. In his methodology, a method of seeking embodied experience (zhui tiyan de fangfa 追體驗的方法) and intersubjectivenes (zhuti jianxing 主題間性) play a crucial role as they enable actualization of and communication with ancient thinkers in present times. However, Xu’s methodological approaches are also strikingly similar to Gadamer’s method of the fusion of horizons and Schleiermacher’s hermeneutic circle, which begs the question whether his critique of Fu’s adoption of Western methods was not based upon hypocritical grounds.
The traditional Chinese society fostered positive affinity towards homo-erotic relationships, and in some parts of China even legal support until the 19th century. With the intrusion of the Western ...system of thought occurred a drastic turn came about, and this led to the criminalization and medicalization of homosexuality. The article deals with the socio-political process that led to the stigmatization of homosexuality, and with the consequences suffered by Chinese gays and lesbians. Their unenviable position improved in 1997 when the Communist Party of China decriminalized homosexuality, and in 2001 with its demedicalization, which was achieved by the Chinese gays and lesbians community, with the support of the academia.
Modernization of Beauty in China Téa Sernelj
Asian studies (Quezon City, Philippines),
05/2021, Letnik:
9, Številka:
2
Journal Article
Odprti dostop
The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the ...aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.
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 article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second ...generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a platform for modernization of Chinese culture on the one hand, and as a way to achieve the recognition of the West for the profound value of the Chinese intellectual tradition on the other. Fang Dongmei was one of the first representatives of this movement who was trained in Western and Chinese philosophy, and hence built his own philosophical theory on the encounter of both, while Xu Fuguan was one of the first who engaged in a dialogue with the West in the field of Chinese aesthetics. The present article illuminates the profound differences in their basic methods: while Fang Dongmei’s elaboration upon Chinese art and aesthetics is based on philosophical and poetic approaches, Xu Fuguan’s comprehension is grounded on philological, historical and cultural analyses. The author argues that such mutual differences between their ideas show their reciprocal complementarity, which in turn provides a more profound and clear understanding of the specific spirit of Chinese art.
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