Based on comparative philosophical methodology, this paper presents a new hermeneutic method for interpreting Chinese (especially ancient Chinese) texts. It first introduces the rich tradition of ...Chinese hermeneutics and then analyses its possible dialogues with European hermeneutic methods, especially Gadamer’s “fusion of horizons”. It identifies some methodological problems inherent in this method and, on this basis, proposes the application of a new hermeneutic method that may be more suitable for the interpretation of traditional Chinese metaphysical and literary texts. It is based on the traditional philosophical-aesthetic notion of jingjie 境界. The author preliminarily refers to this method as a “fusion of aesthetic realms”.
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.
Traditional Chinese philosophy has always paid much attention to the cultivation of one’s body and mind, speeches and behaviors. The contemporary rise of philosophical practice, especially in the ...context of philosophical counseling, presents an opportunity to integrate the rich legacy of Confucian self-cultivation. This paper endeavors to delineate the practical applications of Confucian principles in philosophical counseling, with special emphasis on the actionable concepts of “gongfu” and “jingjie” and their synthesis in the “unity of knowledge and action”. Through a series of illustrative examples and proposed session outlines, we offer a vivid portrayal of how Confucian thought can be operationalized within a counseling framework to address the existential and ethical dilemmas faced by individuals in ancient and modern times. We argue that the nuanced understanding and practical implementation of these Confucian concepts can significantly enhance the efficacy of philosophical counseling. Additionally, we outline the requisite qualifications for becoming a Confucian philosophical counselor, suggesting a certification process that ensures counselors are both philosophically adept and exemplars of moral cultivation. Thus, this paper not only expounds on the theoretical underpinnings of Confucian thought in philosophical practice but also provides a clear blueprint for its application in contemporary settings.
Objectives : Not many studies have been done on the mechanism of the Gangeum or Gangpyoeum method which treats the Soyang Exterior Pattern, nor on which collective or individual roles the Gangeum ...medicinals play. Therefore in this study, four medicinals categorized as Gangpyoeum which are Jingjie, Fangfeng, Qianghuo, Duhuo, were analyzed in terms of their individual and collective effects.
Methods : Content analysis based on the verses in the Donguisusebowon, and medicinal analysis on contents from the Donguibogam, Bencaogangmu, and Benjingshuzheng were carried out followed by a medicinal combination analysis using the InSAm 1.1 program.
Results : The four medicinals Jingjie, Fangfeng, Qianghuo, Duhuo had the common effect of normalizing the Wei qi, allowing for unobstructed Qi flow to prevent production of dampness and phlegm, which ultimately lowers Yin降陰, gangeum and helps to preserve the Kidney Yin Qi. Jingjie works at the highest position of the upper body; Fangfeng, the most basic medicinal of the Soyangin pattern, works mostly at the upper body although it defends the entire body from wind-dampness. Qianghuo and Duhuo are more or less similar. The difference is that Qianghuo mostly pulls Yang qi upwards while eliminating pathological byproducts, and Duhuo stabilizes the lower body that pulls Wei qi upwards.
Conclusions : Analysis on the relationship between Gangpyoeum of the Soyangin pattern and Wei qi, the individual and collective effects of the four Gangpyoeum medicinals were carried out. Further research on other major Soyangin medicinals, along with those of other constitution patterns is anticipated.
This essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western ...aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre. Cet article s'intéresse à la façon dont Wang Guowei a intégré l'histoire du théâtre au canon littéraire chinois moderne. L'auteur étudie comment Wang élabora sa vision de la littérature en s'inspirant de l'esthétique occidentale pour expliquer l'impulsion créatrice en art à l'aide des notions de loisir et de jeu, et des notions chinoises sur la genèse de la littérature pour expliquer la psychologie de la création littéraire. Soucieux de fonder la valeur littéraire du théâtre chinois, Wang appliqua ces idées aux premiers dramaturges de l'époque Yuan, affirmant qu'il s'agissait là d'une littérature élaborée suivant les normes esthétiques et créatrices appropriées et incarnant la valeur de "naturel" qui était à ses yeux l'étalon universel de la qualité littéraire. En composant une histoire critique et savante des origines et de la nature du théâtre chinois, Wang plaçait ce dernier sur le même plan que les autres genres littéraires, nés sous les dynasties précédentes. Par là même il lui conférait un statut nouveau, créant du même coup une nouvelle discipline de recherche. Le théâtre était devenu un genre littéraire établi.
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.
