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Added by: Meilin ChinnPublisher's Note: This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.
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, Contributed by: I Xuan ChongAbstract: The use of the character wang 忘 (forgetting) in the Zhuangzi 莊子 has been widely recognized in traditional and contemporary Chinese scholarship, but its meaning remains unclear. This article reviews some notable studies in Sinophone academia concerning the notion of wang in the Zhuangzi. The studies, though not necessarily focused on wang, shed light on different aspects of the concept, including its relation to self-cultivation, aesthetics, ethics, and ontology. While some scholars see wang as a form of elimination, others stress its relation to other concepts such as shi 適 (fitting). The relation of these two concepts, however, is not yet clear. There are also debates over what makes wang possible, with some linking it to dao 道 and some directing our attention to our daily experience. Despite the limited attention paid to wang to date, the studies reviewed show that it is a crucial aspect of Zhuangzian philosophy and deserves further study.
Comment: A state of the field report primarily covering Chinese publications on an important topic in the Zhuangzi. A useful overview for those who want to dig deeper into that topic. Prior konwledge of Zhuangzi's philosophy can be helpful.
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Added by: Meilin ChinnSummary: The controversial essay in which Xi Kang offered a distinct counterargument to the orthodox Confucian view that music contains and transfers emotions between musicians and listeners. Xi Kang crafts a series of arguments against the presence of emotions and images in music and contends that the widespread belief to the contrary leads to the misuse of music for political and moral agendas.
Comment: This text is best used in a course on aesthetics (especially philosophy of music) and/or Chinese philosophy. A basic understanding of Daoism is helpful.
Related reading:
- Essay on Music. Ruan Ji. In Reed Andrew Criddle's "Rectifying Lasciviousness through Mystical Learning: An Exposition and Translation of Ruan Ji’s Essay on Music." Asian Music 38(2), 2007.
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Added by: Laura JimenezSummary: In this paper Tao Jiang examines Taixu's effort to revitalize Buddhism through an engagement with modern science. The main argument offered by Jiang is that a nonsubstantive view of the world is in fundamental agreement with many cutting-edge scientific theories and, therefore, Buddhism can indeed offer a new perspective in the debate between the practices of modern science and their social critics.
Comment: Good introductory paper to Chinese philosophy of science. The topic is highly specific and specialised, making this paper useful in postgraduate courses or, as the itself poses no difficulty of comprehension for more junior students, in specialised undergraduate classes.
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, Contributed by: I Xuan ChongAbstract: This chapter - taken from the first edition of An Introduction to Chinese Philosophy - presents a comprehensive introduction to key ideas and arguments in early Daoist philosophy.
Comment: This introductory chapter offers a reliable and accessible interpretation of the Laozi.
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, Contributed by: Quentin PharrPublisher’s Note: In May of this year I had the opportunity to give several talks on the topic of nihilism. Initially I intended to focus on the three themes of Nietzsche, Dostoevsky, and Buddhism. When I was twenty, the figures of Nietzsche and Dostoevsky burned a lasting impression deep into my soul-as I suppose they may still do to many young people even today-and the tremors I experienced at that time have continued to make my heart tremble ever since. The final theme, of Buddhist "emptiness," came to capture my interest more gradually. The connections among these three topics are not merely arbitrary or external. The nihilism that Dostoevsky plumbed so deeply has important connections with that of Nietzsche, as a number of critics have pointed out; and Nietzsche considers what he calls European nihilism to be the European form of Buddhism. Even though there may be in Nietzsche a radical misunderstanding of the spirit of Buddhism, the fact that he considered it in relation to nihilism shows how well attuned he was to the real issue. It was considerations such as these that inclined me toward these three themes in my discussion of nihilism.
Comment: This text is an excellent overview of both some of the themes within Nishitani's work as well as European conceptions of nihilism and its overcoming. In general, some appreciation of Nietzsche and aspects of Buddhism will help students navigate this book. But, it is largely expository, so it will often inform readers of what they need in the course of reading. This text will primarily be for students who are looking for an overall perspective on nihilism - especially, a Japanese one.
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, Contributed by: I Xuan ChongAbstract: The issue of human nature or xing 性 was a major philosophical topic of the mid- and late-Warring States period of ancient China. It was famously discussed, for example, in the Mencius. Zhuangzi 莊子 lived around the same time as Mencius and one might expect that he, too, would have discussed it. Surprisingly, the term xing is absent from the Inner Chapters of the Zhuangzi. There have been different responses to this, namely, that Zhuangzi: used different terms equivalent to xing; believed that human nature is bad (despite not mentioning xing); was deliberately silent on xing as an oblique way of criticizing others such as Mencius. I review these claims and pro- vide an analysis of how xing was mainly conceptualized during the Warring States period in essentialist terms. I shall read Zhuangzi’s philosophy as transcending this conceptual framework. Instead of a theory of human nature, Zhuangzi provides sto- ries and descriptions of the different facets of human behavior and their psychologi- cal and other complexities. These often have an epistemic focus that stand indepen- dently of any theory of human nature.
Comment: A useful discussion of Zhuangzi's views about human nature. Best read together with Wai Wai CHIU's "The Debate over Xing in the Outer Chapters of the Zhuangzi". Prior knowledge of the Zhuangzi is helpful.
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Added by: Chris Blake-TurnerSummary: Selections from the Analects of Kongzi (Confucius), a foundational text in Chinese philosophy. It is split into twenty books recounting things that the Master (Kongzi) and his disciples said and did. Much of the rest of Chinese philosophy owes a debt, more or less explicit, to this work. Kongzi seeks the cultivation of virtue through ritual, so that worthy persons will occupy positions of power and influence. Society will thereby return to some of the splendor of the bygone ages of the legendary Three Sovereigns and Five Emperors, as well as the more recent Xia, Shang, and Western Zhou dynasties.
Comment: The selections are best read in their entirety, as the work is holistic and difficult to interpret piecemeal. (So reading the whole text is better still!) It's helpful to stress Kongzi's particularism, as this makes sense of seemingly contradictory pronouncements he makes in different contexts. But if you're looking to incorporate some Classical Chinese philosophy in a course without space for the whole thing, the selections from Book One include many key Confucian themes: ritual, the ideal of a junzi or gentleman, virtue, filial piety, and the appeal to tradition. Either way, it's probably wise to give students some historical context to help understand the appeal of harking back to older traditions.
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Added by: Meilin ChinnSummary: One of the most important and creative works in modern Japanese aesthetics. Kuki develops a description of a uniquely Japanese sense of taste (iki) that brings together characteristics of the geisha, samurai, and Buddhist priest.
Comment: Best used by a reader with at least an introductory knowledge of Japanese aesthetics. Could be used comparatively with work on disinterest in western Aesthetics, e.g., Kant.
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Added by: Meilin ChinnAbstract: Aesthetic emotions are reputed to be irrational, but, aesthetic emotions as mental phenomena bear complex relations to rationality. Emotions give us knowledge about the world. The aesthetic consciousness of Korean is the internal roots of the Korean's mentality. The aesthetic consciousness and the mentality are inseparably related to each other. The aesthetic consciousness as the analogy of reason, in the context of A.G. Baumgarten plays a role to extend the logical world. Aesthetic rationality is the common sense or the communicative rationality of it. For the argument of universality we discuss the problem of aesthetic rationality. Since the modern aesthetics, the problem of aesthetic rationality came on the stage of aesthetics. Shamanism as the deep-rooted element of Korean mentality is the most authentic cultural legacy of Koreans. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. As a peculiar color consciousness, Korean monochrome is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention. If we are to consider Korean contemporary art from an international perspective, we must define what it means to be Korean, i.e. our cultural habits and artistic elements hidden in the artist's unconsciousness. In this age of multiculturalism, the new interpretation on tradition makes it possible to merge the Korean art with the world stage. The extension of aesthetic emotion through experimentation shows us the change of aesthetic consciousness as a new possibility of interpretation.
Comment: Kim argues for aesthetic rationality, as a kind of aesthetic consciousness, at the heart of Korean identity. He traces its unique cultural legacy in Korean shamanism, Buddhism, Confucianism, and Daoism in order to account for the characteristic vitality and spontaneity in Korean art. This text is appropriate for an aesthetics course. It does not require a background in Korean philosophy, but at least an introductory knowledge of aesthetics would be beneficial.
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, Contributed by: I Xuan ChongPublisher’s Note: The Laozi is a key text in Daoism/Taosim (a school in Classical Chinese Philosophy), and is also the single most frequently translated Chinese classic. This is a bilingual edition of a standard translation.
Comment: This is a highly influential and still excellent English translation of the Laozi. It is essential reading on Daoism.
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, Contributed by: I Xuan ChongPublisher’s Note: The Laozi is a key text in Daoism/Taoism (a school in Classical Chinese Philosophy), and is also the single most frequently translated Chinese classic. This edition features a translation "as interpreted by Wang Bi" (a highly influential ancient commentator). This approach aligns closely with common practice in the Chinese-speaking world.
Comment: This is essential primary reading on Daoism that is sensitive to the Laozi's ancient reception.
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Added by: Meilin ChinnPublisher's Note: The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity."
Comment: Li’s synthesis of Chinese aesthetic thought from ancient to early modern times. Li incorporates pre-Confucian, Confucian, Daoist, and Chan Buddhist ideas to discuss art and the central role of aesthetics in Chinese culture and philosophy. Government, self-cultivation and realization, and ethics are all approached here as aesthetic activities. This text is well-suited to an aesthetics or Chinese philosophy course in which there is some introduction to key philosophical concepts from Chinese philosophy. It provides excellent material for cross-cultural aesthetics.
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, Contributed by: Quentin PharrPublisher’s Note: Harmony is a concept essential to Confucianism and to the way of life of past and present people in East Asia. Integrating methods of textual exegesis, historical investigation, comparative analysis, and philosophical argumentation, this book presents a comprehensive treatment of the Confucian philosophy of harmony. The book traces the roots of the concept to antiquity, examines its subsequent development, and explicates its theoretical and practical significance for the contemporary world. It argues that, contrary to a common view in the West, Confucian harmony is not mere agreement but has to be achieved and maintained with creative tension. Under the influence of a Weberian reading of Confucianism as "adjustment" to a world with an underlying fixed cosmic order, Confucian harmony has been systematically misinterpreted in the West as presupposing an invariable grand scheme of things that pre-exists in the world to which humanity has to conform. The book shows that Confucian harmony is a dynamic, generative process, which seeks to balance and reconcile differences and conflicts through creativity. Illuminating one of the most important concepts in Chinese philosophy and intellectual history, this book is of interest to students of Chinese studies, history and philosophy in general and eastern philosophy in particular.
Comment: This text is the single best introduction and overview of the Confucian conception of harmony (hē), and how it compares with ancient Roman and Greek conceptions of the same. This text is best read with some familiarity of various Confucian texts and commentators. But, the author is quite generous to readers in explaining the background of whatever is under discussion. In general, this text is probably best as a further reading for students who are also reading Confucian texts, but it also stands up as an introductory and specialized overview of its subject matter as well.
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag UidhirAbstract: A long and scholarly piece by Eva Kitt Wah Man covers the history of Chinese conventions governing female 'beauty' from Confucius through Maoism to the present day. Classical manuals provide highly specific requirements forc ourtesans and concubines. The shrunken, pulpy appendages produced by foot-binding practiceswere regarded as the most sexually stimulating features of the female body. In 1949, following the inauguration of the Communist regime, women were expected to shun ornament and make-up, to have short hair, wear party uniforms, and to look as much like men as possible. The ideal for the contemporary Chinese woman is quite a lot like the ideal for the courtesan of tradition, but the de-tails are drawn from western fashion magazines. Wah believes that such liberation, although it has its advantages, is mainly nominal and fosters confusion. She writes: 'Although Chinese women today are developing new self-confidence, they do not seem to be aware of the fact that one can be-come a slave of the fashion industry, which merely repeats the bodily constraints of past times in a new form' (p. 194). [review by Mary Mothersill, 2001 - Journal of Aesthetics and Art Criticism 59 (2):211-214.] Feminist Review volume 75, pages145-147, 2003)
Comment:
Comment: A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.
Related reading: