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Added by: Meilin Chinn
Summary: The earliest extant Chinese treatise on music. The Yue Ji presents largely Confucian ideas on the connections between music, self-cultivation, proper governance, and the realization of natural patterns. Human character is described as a musical progression with ties to the transformation of sound into a kind of music that is distinguished by its relationship to virtue. The exact identity of the author(s) is debated, and it is believed to have been compiled from various sources no later than the middle of the Western Han dynasty (206BCE-24CE).Peng Feng. Li Yu’s Theory of Drama: A Moderate Moralism2016, Philosophy East and West 66(1): 73-91.-
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Abstract: This essay presents an interpretation of Li Yu’s theory of drama that takes it to be a moderate moralism that is different from Confucian radical moralism, Daoist radical autonomism, and the moderate autonomism of fiction. In addition to practical considerations, Li Yu’s moderate moralism of drama is based on his awareness of the ontological difference between drama and music, poetry, and fiction. Drama was seen by Li Yu as a synthetic art that includes music, poetry, and fiction. If radical autonomism is appropriate for the evaluation of music, radical moralism for poetry and prose, and moderate autonomism for fiction, then moderate moralism would be most appropriate in the evaluation of drama.Comment: Peng gives an account of the development of Chinese drama according to a contrast between Confucian moralism, in which morality controls aesthetics, and Daoist autonomism, in which aesthetics are autonomous from morality. He argues for an understanding of Li Yu’s theory of drama as a moderate moralism that evaluates drama according to a possible, yet contingent and unnecessary relation between moral and aesthetic virtue. This text is appropriate for a course on aesthetics and/or Chinese philosophy. It is particularly useful in discussions of the relationship between ethics and aesthetics.
Eva Kit Wah Man. Issues of Contemporary Art and Aesthetics in Chinese Context2015, Berlin, Heidelberg: Springer Berlin Heidelberg.-
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Publisher'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.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:
- Li Zehou. The Chinese Aesthetic Tradition. Honolulu: University of Hawai‘i Press, 2009. 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:
Abhinavagupta. Abhinavabhāratī2006, In M.M. Ghosh (ed.) Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation.Delhi: New Bharatiya Book Corporation.-
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Summary: Abhinavagupta’s famed commentary on Bharatamuni’s treatise on drama, the Nāṭyaśāstra, in which he details aesthetic expression and experience according to a theory of rasa, or aesthetic relish. Abhinavagupta’s theory is the most influential account of how the rasas or aesthetic emotions transcend the bounds of the spectator and artwork in a three-part process including depersonalization, universalization, and identification.Comment: This text is appropriate for an in-depth study of Indian aesthetics. It requires an at least an introductory background in Indian philosophy to be accessible.
Chakrabarti, Arindam. Ownerless Emotions in Rasa-Aesthetics2011, In Ken-ichi Sasaki (ed.). Asian Aesthetics. National Univeristy of Singapore Press.-
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Summary: Chakrabarti explores the possibilities of rasa theory via the question of whose emotion is experienced when an audience relishes a work of art. Chakrabarti argues for the existence of a “centerless non-singular subjectivity” according to which the special emotions savored in aesthetic experience do not have specific owners. These personless sentiments indicate an ethical relationship between aesthetic imagination and moral unselfishness.Comment: This text could serve as both an overview of rasa theory in Indian aesthetics, as a basis for comparative work in cross-cultural aesthetics, as well as comparative philosophy.
Related reading:
- Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
Related reading:
- Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
Li Zehou. The Chinese Aesthetic Tradition2009, Honolulu: University of Hawai'i Press-
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Publisher'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.
Chari, V.K.. Validity in Interpretation: Some Indian Views1978, Journal of Aesthetics and Art Criticism 36(3): 329-340.-
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Summary: An outline of the theory of interpretation within the language philosophies of ancient India. Chari organizes this extensive history according to topics such as verbal autonomy, intention, unity of meaning, polysemy, contextualism, and interpretation.Comment: This text is appropriate for discussions of language and meaning in aesthetics, as well as philosophy of language.
Yuriko Saito. The Moral Dimension of Japanese Aesthetics2007, Journal of Aesthetics and Art Criticism 65(1): 85–97.-
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Summary: Saito presents the moral dimension of Japanese aesthetics in terms of two design principles: respect for the quintessential, innate characteristics of things and honor and responsiveness to human needs. She analyzes the sensitivity to objects and people at work in a wide range of Japanese arts and crafts, including garden design, haiku, painting, pottery, and food, emphasizing that the cultivation of a moral attitude toward things is often practiced through aesthetic means.Comment: This text is appropriate for a course on Japanese aesthetics and/or philosophy. It would work well in a cross-cultural discussion of everyday aesthetics and the relationship between ethics and aesthetics.
Chung-Yuan Chang. Immeasurable potentialities of creativity2011, In Chung-Yuan Chang (ed.). Creativity and Taoism: A Study of Chinese Philosophy, Art, and Poetry. London & Philadelphia: Singing Dragon.-
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Summary: A study of the Taoist (Daoist) concept of creativity as a non-instrumental process in which all things create themselves. Chang argues for the foundational place of this understanding of self-emergent creativity in the aesthetics of Chinese art.Comment: Can be used as both an introduction to Daoism and to Chinese aesthetics.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Kuki Shūzō. The Structure of Iki2004, In Hiroshi Nara (ed.). The Structure of Detachment: The Aesthetic Vision of Kuki Sh?z?. Univeristy of Hawai'i Press.-
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Summary: 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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Author(s) Unknown. Yue Ji 樂記—Record of Music: Introduction, Translation, Notes, and Commentary
1995, Asian Music 26(2): 1-96.
Comment: This text is appropriate for an aesthetics (especially philosophy of music) and/or Chinese philosophy course. It is best accessed by a reader with a basic understanding of early Chinese philosophy (especially Confucianism).