Abstract
In view of its method and content, the defining characteristic of Chinese aesthetics is the integration and assimilation of the historical into the modern as a result of East-West cultural transformation. Moreover, it is bestowed with a crucial role of political enlightenment against the background of sociocultural change in China then. Historically, there have emerged five main paradigms regarding modern Chinese aesthetics in its development from infancy to maturity over a span of a hundred years. Each of the paradigms has its own focus of interest and exerts influence upon the others. The five paradigms include the fragmentary elaboration based on translation and introduction, systematic disciplinary construction through relevant transplantation, theoretical incorporation via creative reformation due to the East-West interaction, the model of interdisciplinary and comprehensive art education with focus on the efficiency of applied sciences, and cross-cultural considerations by means of inquiry into distinct cultural origins.
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Notes
- 1.
Wang Guowei, “Guoxue congkan xu” [Preface to the Journal on Chinese Studies], in Wang Guowei Wenji [Collected Works of Wang Guowei] (Beijing: Zhongguo Wenshi Press, 1997), Vol. 4, pp. 366–367.
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Zong Baihua, “Zhongguo xue wen jia—gou tong—tiao he” [Chinese Scholars: Communication and Reconciliation], in Shishi ri bao [Current Events Daily], Nov 27, 1919.
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Zhang Dainian, et al., “Zhongguo benwei wenhua jianshe xuanyan” [Declaration on the Construction of Chinese Indigenous Culture], in Zhang Dainian wenji [Collected Works of Zhang Dainian] (Beijing: Tsinghua University Press, 1989), Vol. 1, p. 265; also see Fu Changzhen, “Wenhua yu zhexue de zhenghe: lun Zhang Dainian xiansheng zaoqi de wenhua zhexueguan” [A Synthesis Between Culture and Philosophy: The Early Philosophic View of Mr. Zhang Dainian], in Xuehai [The Journal for Scholars], No. 1, 2001, pp. 136–137.
- 4.
Edward Sapir, “Conceptual Categories in Premiere Languages,” in Science, No. 74, 1931, p. 578; also see Carol R. Ember and Melvin Ember, Cultural Anthropology (New Jersey: Prentice Hall, 1985); see Chinese version, 1988, pp. 136–137.
- 5.
Zhu Guangqian, Wenyi xinlixue [Psychology of Literature and Art] (Shanghai: Kaiming Bookshop, 1936).
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Zhu Guangqian, Tan mei [Letters on Beauty] (Shanghai: Kaiming Bookshop, 1932).
- 7.
Zhu Guangqian, Shi lun [A Study of Chinese Poetics] (Chongqing: Guomin Books Press, 1943); revised version (Beijing: Zhonghua Book Company, 1948).
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Mou Zongsan, Zhongxi zhexue zhi huitong shisi jiang [Fourteen Lectures on the Transformation Between Chinese and Western Philosophies] (Shanghai: Shanghai Guji Press, 1998), pp. 5–6.
- 9.
Teng Shouyao, Yishu yu chuangshen [Art and Generative Wisdom] (Xi’an: Shaanxi shifan daxue chubanshe, 2002), pp. 47, 50, 337–338.
- 10.
Albert W. Levi and Ralph A. Smith, Art Education: A Critical Necessity (Urbana and Chicago: University of Illinois Press, 1991), p. xi.
- 11.
Ibid., pp. xiv–xv.
- 12.
Fang Dongmei, Fang Dongmei xinruxue lunzhu jiyao [Thomé Fang’s Selected Writings on Modern Confucianism] (eds. Jiang Baoguo and Zhou Yazhou, Beijing: Zhongguo Guangbo Dianshi Press, 1993).
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Wang, K. (2019). Between Chinese and Western Aesthetics. In: Chinese Culture of Intelligence. Palgrave Macmillan, Singapore. https://doi.org/10.1007/978-981-13-3173-2_14
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DOI: https://doi.org/10.1007/978-981-13-3173-2_14
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