Xu Fuguan (1904-1982) is one of the central representatives of the second generation of Taiwanese Modern Confucianism. This book focuses primarily on his fundamental contributions to the philosophy ...of this intellectual current, particularly his reinterpretations and reevaluations of the basic axiological concepts of the original Confucian and Daoist aesthetics. It also addresses issues related to his attempts to preserve, systematize, and modernize traditional Chinese aesthetics. Xu Fuguan's theory of the Chinese ideational tradition is defined by the paradigm of the traditional link between ethics and aesthetics. The book highlights the importance of the complementary interaction between Confucianism and Daoism in Xu's theory. In his interpretation of Chinese aesthetics, Xu also incorporated a comparative perspective and contrasted it with Western aesthetics. However, the book shows that his analysis of Western aesthetics is too generalized and therefore problematic. These difficulties are also manifested in Xu's superficial understanding of modern Western art and culture. Nevertheless, this does not detract from the great relevance of his studies of traditional Chinese aesthetics. Xu Fuguan's central theoretical contributions, such as the concept of concerned consciousness, the concept of qiyun shengdong, and the systematic explanation of the axiological foundations of Chinese aesthetics presented and analyzed in this book, are among the most important philosophical innovations elaborated by Modern Confucian theory. These novel approaches are also interesting from the perspective of global theoretical discourses, as they reveal important, culturally conditioned differences between traditional Western and traditional Chinese philosophy in terms of their respective ways of perceiving and interpreting reality.
Članek obravnava Xu Fuguanovo analizo in interpretacijo koncepta qiyun shengdong 气韵 生动, ki velja za enega od najpomembnejših, najbolj temeljnih in hkrati najtežje dojemljivih konceptov v kitajski ...estetiki in umetnosti. Nastal je v obdobju Wei Jin (220–420 n. št.), ki je eno od najbolj ustvarjalnih in prelomnih obdobij na področju kitajske estetike in umetnosti. Njegova kompleksnost se izraža tako v literarnih delih, slikarstvu, kaligrafiji in glasbi, kot tudi v literarni teoriji ter teoriji slikarstva, pri čemer se qi nanaša na zunanje značilnosti umetniškega dela, medtem ko izraža yun notranje značilnosti, ki so del človeške notranjosti oziroma človeškega duha, medtem ko shengdong pomeni manifestacijo, delovanje in zlitje obeh konceptov v umetniškem delu.Avtorica najprej predstavi Xu Fuguanovo interpretacijo in jo prikaže v kontekstu sodobnih debat o kitajski estetiki. V nadaljevanju se osredotoči na njegovo filološko in historično analizo semantičnega ter filozofskega razvoja obravnavanega koncepta in na koncu poda kritično evalvacijo njegove študije v kontekstu ponovnega ovrednotenja osnov klasične kitajske estetike.
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.
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.
Članek prouči estetsko teorijo slikarja Shitaota iz zgodnjega obdobja dinastije Qing, ki je pripadal struji individualističnega slikarstva. Ta zagovarja slikarstvo, ki izhaja iz subjektivnih izkušenj življenja in učenja od Daota, s čimer sledi estetski tradiciji krajinskega slikarstva literatov. Shitao je ustvaril lastno teorijo slikarstva in estetike v delu Zapisi o slikarstvu (Huayulu 畫語錄), ki predstavlja rezultat njegove vseživljenjske umetniške prakse in filozofskih razmišljanj. Članek se osredotoča na Shitaovo kritiko tradicionalistične struje slikarstva, ki je kot glavni slog slikarstva prevladovala v njegovem času in temeljila na doslednem posnemanju starih mojstrov. Za Shitaota in druge individualistične slikarje je takšen pristop in odnos do umetnosti vodil v ustvarjalno stagnacijo in odmik od estetskih idej klasičnega krajinskega slikarstva. S svojim umetniškim in teoretskim posredovanjem so individualistični slikarji uspeli ohraniti, nadgraditi in oživeti nove perspektive v umetniški produkciji in estetskih teorijah. Članek predstavi Shitaovo zagovarjanje subjektivnosti kot ključne pobudnice v produkciji novih umetniških perspektiv in obnovitvi kitajske umetnosti, ki predstavlja neprecenljiv prispevek k razpravi o umetniški ustvarjalnosti in subjektivnosti.
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 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 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 specifics of the Chinese containment measures of the COVID-19 pandemic and their social consequences at the beginning of 2021. The author analyses empirical psychological ...research results on distress and anxiety of people in times of the first wave of the COVID-19 pandemic in China, and explores to what degree the individual feelings of anxiety in contemporary China are conditioned by the traditionally prevailing absence of faith in higher transcendent forces on the one hand, and social isolation on the other. It proceeds from Xu Fuguan’s interpretation of the origins of a traditional Chinese concept of “concerned consciousness” (youhuan yishi 憂患意識). The author shows that this concept can be compared to the feeling of anxiety, but highlights important differences which separate it from the anxiety as developed and understood in the framework of modern Western philosophy. The paper aims to provide some preliminary answers to the questions of whether and in what way such a traditional feeling of anxiety in the sense of a “concerned consciousness” manifested itself in the period of social isolation that was implemented as a part of the government measures for the COVID-19 pandemic in China. These questions are being investigated through an analysis of philosophical studies on concerned consciousness on the on hand, and a contemporary case study on the other. The results show that the specifically Chinese kind of anxiety, which is rooted in concerned consciousness, is tightly linked to the relational nature of Chinese ethics and the corresponding understanding of individual identity. In addition, it is connected with the traditional understanding of human destiny, which is not fatalistic or determinist, but rather based on autonomous decisions based on the social responsibilities of a free human self.
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