In this article, Carter tells the weaving tale of the globalization of art and the interplay between eastern and western contemporary art. Carter sketches out the history of contemporary art in China with a keen eye towards the interplay between Chinese artists and the various western influences over time, such as the 16th century Jesuit artists, Impressionism, Cubism, Fauvism, and Dada to name a few. This history is marked by a ubiquitous tension as Chinese artists (...) incorporated western innovations into their work, while also maintaining the poetic and literary foundation of Chinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on the Chinese are world, Carter discusses the tenuous boundaries upon which Chinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effect Chinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapes Chinese art. In navigating this boundary, Carter explains how Chinese artists find mediate appealing to a global audience while maintaining their Chinese roots. Carter concludes this essay by considering the economic success of Chinese art in the west and drawing attention to the negotiations still taking place today between local culture/global culture, tradition/innovation and authenticity/market appeal. (shrink)

Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of (...) the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century. (shrink)

The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply (...) influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy. (shrink)

As a response to the problems of language in Chinese modern and avant-garde art from 1988 to 1998, early video art reclaimed the independence of language from social reality and political influence and established it on the basis of the time phenomenon. By comparing the category of time in the Western philosophical tradition and in Chinese traditional thought, we find that the “immediacy” of Zen provides a hermeneutical approach to the nature of language as a reflective medium, (...) closely related to the silent experience. In line with the three basic principles of transcendental Zen, video media purifies body language into the immaterial language in three ways – through disembodied video movement, the de-objectified video image, and discontinuous video narrative. (shrink)

The current piano curriculum, according to conventional wisdom, is a product of the western music education system, which accords Chinese traditional culture with less importance. Most of the methods and tools used in today's collegiate piano programs are Western-based, often ignoring traditional musical traditions. However, it is widely acknowledged that piano music plays a key role in the culture of music and that it is closely related to traditional culture and art. Examining the impact of Chinese (...) traditional philosophy on collegiate piano instruction and performance is the main objective of the present research. The study makes use of an empirical method by conducting a survey and gathering information using a questionnaire. 174 students from six Chinese institutions participated in the current research. Students were split into two groups as a result of the training methodology. 87 students in the experimental group studied using a previously developed curriculum to advance Chinese traditional music culture, whereas 87 students in the control group took piano lessons using the standard curriculum. We used the student’s t-test and Chi-square test for statistical analysis. Since it demonstrates how traditional Chinese philosophy is successfully promoted in educational contexts, the present study is significant from both an academic and a practical standpoint. (shrink)

When art develops to a certain extent, it is bound to be mixed with traces of religion, and art influenced by religion occupies an important position in the entire history of art development. Looking at the development history of Chinese and Western painting art, we can find that there are indeed many connections between religion and art. The spiritual transmission of religion is carried out using intuition through painting art, and its vital role is reflected in the long (...) history of human civilization. This paper studies the relationship between the philosophical fusion of the original aesthetics of Chinese and Western religious painting and contemporary painting by studying the development and characteristics of religious painting in China and the West. This paper studies the differences between Chinese and Western religious doctrines and how religious figure painting embodies divinity and secularized humanity in terms of painting methods and forms of expression. The study of the philosophical fusion of the original aesthetics of Chinese and Western religious paintings and its influence on contemporary paintings fills the gap in this aspect. (shrink)

The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development (...) of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art. (shrink)

Philosophy is, generally speaking, divorced from real life, and therefore, monotonous and rigid. But the author maintains that philosophy must be poetic. He advocates philosophy with beautiful features. Western postmodern art is closely related to real life, so art becomes life-oriented and vitalized. Philosophy may be inspired by Western postmodern art as follows: It should philosophize about life; philosophers may use reason to argue for an art-oriented realm of life and achieve a philosophy featuring beauty. Traditional Western (...) philosophy is typical of pursuit of abstract concepts and ideals and an estrangement from the sensible world and life. To make philosophy achieve artistic beauty, we must bring to an end traditional Western philosophy. With the end of old philosophy, a new philosophy came into being with the name of “post-philosophy”. One of the features of “post-philosophy” is the union of philosophy and poetry, which is no other than making philosophy achieve artistic beauty. The union of philosophy and poetry is also an important feature of most of traditional Chinese philosophy. Traditional Chinese philosophy ,especially, that of Daoism is similar to Western post-modern art. Both of them stress the realm of life and uphold the beauty of life, mind and spirit. Since the middle of the last century, under the influence of traditional Western philosophy, Chinese philosophy lost its traditional beauty. To keep this beauty, we need to go further and understand philosophy as a discipline to upgrade the realm of life. The beauty of life realm comes before the beauty of philosophy. Therefore, Chinese philosophy needs to become life-oriented like postmodern art. Inheriting and developing Daoism philosophy while absorbing the philosophy of life shown through postmodern art, seems to be a good way for us to enhance the realm of life and pursue the beauty of philosophy. (shrink)

The Orphan of Zhao" exemplifies a quintessential Chinese tragedy that encapsulates the values of loyalty and kindness, deeply rooted in Chinese cultural and philosophical traditions. This study embarks on an exploration of the ethnic and cultural nuances of this tragedy, contrasting it with Western dramatic forms to elucidate divergent philosophical foundations and religious influences. Central to this analysis is the comparison of cultural backgrounds, thematic focus, value systems, structural compositions, and narrative techniques that distinguish Chinese (...) tragedies from their Western counterparts. The distinctions between Chinese and Western dramatic tragedies are profoundly influenced by their respective cultural and historical milieus—Confucianism in China and Christianity in the West. These foundational beliefs shape the narrative structures and stylistic expressions of tragedies in each culture. For instance, Chinese tragedies typically employ a retributive justice framework reflective of Confucian ethics, whereas Western tragedies often explore dramatic conflicts and moral confrontations rooted in Christian theological themes. The Orphan of Zhao" not only showcases the characteristics of Chinese tragic narratives but also bridges understandings with Western dramatic forms, thereby serving as a fertile ground for cultural exchange and deeper mutual appreciation. Through a detailed examination of "The Orphan of Zhao" and its comparative analysis with Western tragedies, this paper illuminates the universal themes of tragedy while highlighting distinct philosophical and religious dimensions. Such comparative studies enrich our comprehension of global tragic expressions and inspire contemporary theatrical writing across cultures. In essence, "The Orphan of Zhao" offers a distinctive lens through which to view the interplay between tragedy and the philosophical and religious contexts that shape it. By dissecting the similarities and differences in tragic storytelling across cultures, this study contributes valuable insights to the ongoing discourse on the role of philosophy and religion in the arts, enhancing our understanding of how tragedies can transcend cultural boundaries yet remain deeply rooted in their ethnic and philosophical origins. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Is "Chinese Philosophy" a Proper Name?A Response to Rein RaudCarine DefoortIn the preface to his Outline of the History of Chinese Philosophy, Hu Shi wrote: "Today, the two main branches of philosophy meet and influence each other. Whether or not in fifty years or one hundred a sort of world philosophy will finally arise cannot yet be ascertained."1 Although uncertain, Hu was still hopeful, since he believed (...) that the two major traditions of modern world philosophy, founded in Europe and China, had finally met. That was in 1919. Now, almost a century later, we can respond to Hu's speculation with relative certainty: a world philosophy has not arisen and is not on the rise. In fact, the situation is much worse: Chinese ancient thought is not even considered "philosophy" by most Western specialists in the field.For Feng Youlan, Hu's contemporary, this lack of recognition had become a major frustration by the end of his life. Feng earnestly felt that "parts of classical Chinese philosophy have a contribution to make to the elevating of man's spiritual sphere and in solving universal problems in human life."2 But on the last page of the last volume of his New Edition of the History of Chinese Philosophy, completed a few weeks before his death in November 1990, Feng concluded that Western philosophers had not even begun to consider ancient Chinese thought to be worthy of their attention: "Chinese traditional philosophy has always been regarded as a part of sinological studies and is considered as having no relation to philosophy."3 Feng's sentiment is still widely shared today; for instance, in the Yearbook of Chinese Philosophy for 2001, Zheng Jiadong remarks that "in the West, especially in Europe, the legitimacy of 'Chinese philosophy' has always been questioned; 'Chinese philosophy' [End Page 625] has to a large extent been considered a strange thing of questionable antecedents."4 Others confirm that "Chinese thinking has been all but excluded from the discipline of philosophy in Western seats of learning."5Indeed, various eminent European philosophers, such as Kant, Hegel, Husserl, Heidegger, and, more recently, Jacques Derrida on his visit to Shanghai in 2001,6 have proclaimed that ancient Chinese thought is not really philosophy. Kant, for example, stated that "Philosophy is not to be found in the whole Orient.... Their teacher Confucius teaches in his writings nothing outside a moral doctrine designed for the princes."7 Even sinology scholars sometimes wonder whether ancient Chinese thought ought to be labeled "philosophy."8 But more powerful than such explicit rejections of the legitimacy of "Chinese philosophy," which are nowadays relatively rare, is the dominant and implicit Western (especially European) view, embedded in the organization of academic conferences, journals, university curricula (as Feng Youlan remarked), and bookstores, that ancient China did not have philosophy. The average European bookstore, for instance, does not display the Laozi or Yijing on the "philosophy" shelf, but rather among various types of wisdom or practical knowledge, between Celtic myths, herbal medicine, and the art of astrology. However unobtrusive, this organizational given reveals more clearly and influentially than any contemporary scholar explicitly states, that the name "Chinese philosophy" for the Chinese masters and some Classics is not proper—or, to put it in ancient Chinese terms: this ming 名 is not zheng 正.9The twenty-first century, however, has seen strong indications of change, not in the sense that "Chinese philosophy" is now being generally accepted as one of the two main branches of world philosophy, as Hu Shi had hoped, but in the sense that the debate has been reopened, both in China and in the West. In China, the appropriateness of the label "Chinese philosophy" for ancient Chinese thought was questioned by some leading scholars in the first part of the twentieth century. But in the last decade the matter has been experienced as a crisis and challenge, and has been discussed much more broadly and vividly by Chinese academia: conferences are being dedicated to the question of the "legitimacy of 'Chinese philosophy"' (Zhongguo zhexue hefaxing 中国哲学的合法性), newspapers report on it, and some journals devote whole forums to it.10 About one hundred articles or chapters related... (shrink)

Traditional Chinese landscape painting serves as a profound cultural and spiritual expression, reflecting the Chinese people's reverence for nature through symbolic representation, aesthetic philosophy, and artistic craftsmanship. Since its emergence during the Tang Dynasty, landscape painting evolved into a distinct art form characterized by spiritual contemplation and cultural symbolism. Its development through the Song, Yuan, Ming, and Qing dynasties led to the establishment of northern and southern schools, each with its unique techniques and philosophical underpinnings. In modern society, (...) technological advancements and the influence of Western art have posed new challenges and opportunities for landscape painting. This study explores the philosophical and spiritual dimensions of landscape elements in traditional Chinese art while examining innovative techniques that merge classical aesthetics with modern artistic expressions. Through analyzing the works of key landscape painters, the study highlights advancements in thematic representation, stylistic innovation, and symbolic meaning, offering insights into how traditional landscape painting can be revitalized in contemporary art while preserving its cultural and spiritual heritage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theorizing Chinese Masculinity: Society and Gender in ChinaKwai-Cheung LoTheorizing Chinese Masculinity: Society and Gender in China. By Kam Louie. Cam-bridge: Cambridge University Press, 2002. Pp. 239. Hardcover U.S. $60.00.In Theorizing Chinese Masculinity: Society and Gender in China Kam Louie offers us a very clear and concise analysis of the cultural models of Chinese masculinity from ancient imperial times to the present age of transnational (...) contact. Although academic works on Chinese masculinity are not totally absent, systematic and thorough historical surveys of this topic are still rare. While gender studies of China are predominantly on femininity or other women-related issues, man as a gendered category has long escaped serious academic attention. Louie's book could be considered a pioneering effort to provide a rather comprehensive study of this subject. Besides describing in detail the historical development of the male image from premodern to contemporary times, Louie also focuses on the ways in which Chinese men have been represented under the Western gaze and how these representations have negotiated with the dominant Western culture.The fundamental structure of masculinity in China, according to Louie, operates according to the two poles of wen (literary attainment, cultural knowledge, the mental) and wu (martial valor, martial arts, the physical), which are far more complementary than antagonistic, although the wen polarity has always been prioritized over wu in the conventional Chinese mindset. wen maleness is exemplified by Confucius, the sage of the gentleman-scholar type, whereas Guan Yu, the God of War, represents the wu masculine ideal. These two archetypes of Chinese masculinity [End Page 497] converge in the stern observance of moral demands, self-restraint, and a resistance or even a misogynistic attitude to the faults associated with femininity (i.e., sexual pleasure, comfort, and loss of virility) in order to pursue lofty forms of justice and homosocial binding. The recent popularity of Hong Kong martial arts films in the West may help Western readers become accustomed to the traditional Chinese idea that the ideal balance of wen and wu places emphasis on strategy and learning as a means of avoiding the use of violence. Louie repeatedly asserts that, in the Chinese cultural context, all men by definition have some wen and/or some wu, thus negating a simplified dichotomy.The highest ideal of Chinese maleness is that of a single individual who can demonstrate at the highest level the cultural credentials and physical skills of wen and wu. That is to say, the great man who can hold a brush in his right hand and a sword or some other weapon in his left, demonstrating prowess in both kinds of effort. But in terms of their sex appeal, it is always the softer, cerebral, scholarly men of wen who are more attractive to Chinese women than their macho, brawny opposite. Other than analyzing the heterosexual relationships of Chinese manhood, Louie also provocatively suggests that brotherhood and passions between men are never simply homosocial but can have sexual implications. He supports this claim by making reference to many classical texts that depict men sleeping together, leading to strong emotional attachments and jealousy, as if they were in a romantic or erotic liaison. What distinguishes Louie's wen/wu duality from the conventional yin/yang binary opposition (which is also an artificial difference that defines the Chinese male in relation to Western men and reinforces the stereotype of a feminized Chinese masculinity) is that he believes his dyad of Chinese masculinity to be more resilient, flexible, and adaptable to historical change, hybridizing with Western culture while simultaneously exerting its own global influence on non-Chinese cultures.Covering a vast range of historical and contemporary materials and a variety of genres, from classical philosophy to traditional vernacular fiction (e.g., The Romance of the Three Kingdoms and The Water Margin), through Lao She's early twentieth-century novel The Two Mas, the subversive portrayals of men by modern Chinese women writers, to contemporary Hong Kong action cinema—all in a relatively slim volume—Louie is at his best, for example, when observing and depicting character, but he is not so good at analyzing his texts on a... (shrink)

Artistic creation is never a hermetic practice within which artists create something completely new without any reference to the past. Such a past, in anglophone literary criticism and aesthetics, is often delineated by the term tradition, while, in Chinese artistic criticism, it is specified by the term gu 古. Both tradition and gu imply that artistic practices, be they in Europe or East Asia, will inevitably encounter the past. What distinguishes these two terms is the different attitudes taken by (...) Chinese and Western artists and art theorists toward the past and the different values underlying these attitudes.In Western art theory and literary criticism, the influences of the past can be roughly divided into the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

Up to now, China's painting has not completely shaken off the influence of the spirit of European philosophy or a fundamental change in the way of viewing. The spirit of the unity of subject and object in ancient China philosophy influenced the formation and development of China's paintings. Since China Art Institute introduced figurative expressionism, a new art, into the contemporary art education system of China, it has shown its unique value in professional theory and practical skills. It not only (...) provides new opportunities for reforming contemporary art education in China but also adds a new development direction for contemporary oil painting art in China. This article attempts to reveal the existence and artistic concept of violence in contemporary Chinese oil painting through the description and analysis of painting images and artists' emotional expression, combined with interviews with artists. Based on the development of contemporary Chinese society, the rise of new literary and artistic trends, and the influence of western painting, this paper analyses the historical causes of violence in contemporary Chinese oil painting, and examines the value of contemporary Chinese oil painting in terms of aesthetics and sociology. Therefore, establishing cultural core values is still the indispensable spiritual power of contemporary artists' artistic creation. (shrink)

Confucianism is an important theoretical support of the Chinese national spirit. It started with the Confucian school founded by Confucius, and after the continuous enrichment and creation of Confucianism, it gradually formed an important guiding ideology covering people, people and society, people and nature, etc., which had a far-reaching impact on politics, economy, literature, social life and other fields. In the 1980s, the stable social environment brought by the reform and opening up provided a good external condition for the (...) development of dulcimer art in China. The increasing communication between Chinese and western cultures and ideas has brought new ideas for the development of dulcimer art in China. Yangqin, in the form of "singing, dancing and telling stories", shows the living state and ideal pursuit of literati in Yuan Dynasty by shaping specific events and characters, thus being regarded as a "living fossil" that reflects the social outlook of Yuan Dynasty. There is no doubt that the culture of Chinese dulcimer is based on Chinese traditional culture. It has obvious characteristics of the cultural orientation of Confucianism and Taoism, and is also the result of the interaction between Chinese and Western cultural trends. This cultural orientation will definitely involve the future development trend of Chinese dulcimer culture and will have a profound impact on Chinese dulcimer culture in the 21st century. (shrink)

ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers (...) employ this vocabulary, for the vocabulary of contemporary art history, developed in the West, now is the language of academic art history everywhere. We know that we are distorting our descriptions of this Chinese art, even though we don't know how to “get it right.” In the history of European painting from Cimabue to the present, it would be hard to find any Western paintings that could be confused with any art made in China, so the frequent reliance of scholars upon such comparisons seems problematic. Of course, in the near future this situation might change. Perhaps in fifty years, as China becomes more prosperous, art history will become a hybrid discipline. At that point, the situation, which Elkins analyzes, will be reversed. But such a change is a long way in the future. (shrink)

The lotus, celebrated for its cultural symbolism and aesthetic allure, has been a recurring muse for flower and bird painters in Chinese art history. This article explores lotus paintings during the Ming and Qing dynasties, pivotal periods of ideological liberation and societal complexities. Traditional lotus artworks across dynasties have woven a rich tapestry in Chinese painting. Focusing on the lotus, the article intricately combines symbolic meanings and historical contexts, unraveling the flower's intrinsic artistic essence. It sheds light on (...) the evolving aesthetic qualities within lotus depictions, using this exploration as a lens to understand cross-cultural exchanges and clashes between Chinese and Western influences. Emphasizing the inherent artistic will of lotus-themed painting, the research delves into the nuanced development and aesthetic significance of this genre. By elucidating the beauty expressed in the evolution of lotus images, the study provides valuable insights with contemporary relevance. It highlights the symbolic significance of the lotus in Ming and Qing China, incorporating concrete examples of renowned lotus paintings and artists. This comprehensive approach aims to enhance reader-friendly comprehension and explicitly articulates the contribution of these findings to current artistic practices. The research not only deepens our understanding of lotus culture but also serves as a reference for contemporary lotus-themed creative endeavors, connecting historical expressions with modern artistic sensibilities. (shrink)

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese (...) art and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. (shrink)

Chinese calligraphy is a potent tool for intercultural communication in addition to being an art form, especially with its graceful brushstrokes and flowing letters. Chinese calligraphy, a blend of artistic and aesthetic beauty, enables intercultural exchange and reveals the intricacies of Chinese writing, fostering understanding and appreciation among different cultures. The aim of the research is to investigate the function and influence of Chinese calligraphy in fostering cross- cultural communication. This research evaluated the aesthetic assessments of (...) different Chinese calligraphy scripts on Chinese participants and non-Chinese international students from East Asia, Europe, and Latin America. This research explores how calligraphy brings down linguistic boundaries and promotes intercultural understanding and appreciation through a thorough examination of calligraphic styles, methods, and historical settings. The study explores calligraphy's use in modern contexts, including its use in art exhibits, classrooms, and online forums, and finds that it can improve identification and cross-cultural communication. The findings show Chinese calligraphy's continuing significance in a world growing more interconnected by offering insights into how it affects cross-cultural relationships. The study contributes to the conversation on identity, cultural legacy, and the transformational potential of art in promoting cross-cultural communication. (shrink)

Goldin thus begins the book by asking the basic question "What are we reading?" while also considering why it has been so rarely asked. Yet far from denigrating Chinese philosophy, he argues that liberating these texts from the mythic idea that they are the product of a single great mind only improves our understanding and appreciation. By no means does a text require single and undisputed authorship to be meaningful; nor is historicism the only legitimate interpretive stance. The first (...) chapter takes up a hallmark of Chinese philosophy that demands a Western reader's cognizance: its preference for non-deductive argumentation. Chinese philosophy is an art he demonstrates, more than it is a rigorous logical method. Then comes the core of the book, eight chapters devoted to the eight philosophical texts divided into three parts: Philosophy of Heaven, Philosophy of the Way, and Two Titans at the End of an Age.. (shrink)

The writers of the Huainanzi 淮南子 show that emotions are based on resonance. In this ancient Chinese text, emotional expressions are considered natural phenomena; however, at the same time, they are sometimes evaluated negatively. It states that sometimes, not only emotions stemming from desires but also emotional expressions in daily lives must be controlled. This is due to the following prescriptions stemming from the art of rulership: (1) a ruler must clearly and distinctly recognize a situation. Emotional expressions lose (...) the Quintessential Spirit (jingshen 精神), which mediates the recognition of the situation; and (2) the intention must not be revealed to the ruler’s vassals. The concept of heart (xin 心) in the Huainanzi, on the foundation called the “theory of cultivation” of Daoism, is influenced by the art of rulership from Legalism. (shrink)

It is necessary to explore the significance of innovation and entrepreneurship to Chinese art education. The organization and operation mechanism of innovation and entrepreneurship education is studied according to the current situation of IEE in Chinese art colleges and universities. The IEE system of art colleges and universities is optimized, and a new teaching model of IEE with the characteristics is explored. In addition, the research methods are theoretical analysis, comparative analysis, and empirical analysis. The objects are students (...) from some domestic art academies. The influence of innovation and entrepreneurship on the modern art teaching model is explored. It mainly investigates the awareness and needs of college students’ innovation and entrepreneurship, the professional knowledge of students participating in related activities, the transformation of achievements, and the system and management of IEE. Based on this, a new teaching model of innovation and entrepreneurship is proposed. The six dimensions of creativity, initiative, interest, ideation, independence, and concentration of students in this model are evaluated. The results show that the spirit of innovation and entrepreneurship has a significant role in improving the contemporary art education model on these six dimensions. It is found that this spirit is vital for the development of contemporary art education. In art education, the application of entrepreneurship improves students’ thinking and practical ability. And this spirit is an important part of the construction of contemporary art education. (shrink)

The idea of “just war” is not alien to Chinese thought. The term “yi zhan” (usually translated as “just war” or “righteous war” in English) is used in Mencius, was renewed by Mao Zedong, and is still being used in China today (zhengyi zhanzheng). The best place to start exploring this Chinese idea is in the enormous Art of War corpus in premodern China, of which the Seven Military Classics is the best representative. This set of treatises served (...) as the military bible in imperial China from 1078 CE. Ideas analogous to ius ad bellum and ius in bello can be found in these texts. These norms are present in these military texts, elaborated in subsequent commentaries, understood as a matter of fact in Chinese political history, and recently and briefly acknowledged by a few Chinese military scholars in the mainland and in Taiwan. This Chinese just war ethics has its distinctiveness vis-à-vis James Turner Johnson's articulation of the Western classic view. It differs from Johnson's claims that military lethal violence is intrinsically morally neutral and that last resort is not a primary consideration in deciding for war. Contemporary Chinese People's Liberation Army (PLA) military publications show that the PLA understands the general idea of just war, but they acknowledge only the ad bellum part, not the in bello components. (shrink)

This paper considers Western approaches at different time periods to Chinese landscape painting, with a focus on the eleventh century Chinese painter Guo Xi’s Essay on landscape painting. First, brief information will be given about the artist and his work. A brief scrutiny of a review published in 1936 will show how the Essay became influential in the West. Later publications, which appeared in 1969, 2007, and 2009 respectively, will show some changes in Western approaches to (...) Chinese landscape painting, revealing the main rhetoric of their times along with changing debates and approaches within Western art history. (shrink)

Man has to face the unknown future anytime and anywhere. For this reason, he needs to believe in the truth beyond himself. Otherwise, society will decline, decay, and never come back. Similarly, human beings are always faced with social conflicts everywhere. For this reason, he needs a legal system. Otherwise, society will disintegrate and fall apart. However, from the constitutional text, there is no uniform title and standard definition of freedom of religious belief in all countries. Countries in the west (...) are called religious freedom, while China adopts the concept of freedom of religious belief. This article will further analyze the different influences of Chinese and western religions on the law. It is worth pointing out that the living environment of law in the west is not as good as Chinese people think, and the authority of law and people's belief in law are gradually drifting away. Based on the basic theory of freedom of religious belief, this paper analyzes the different influences of Chinese and western religions on the law, analyzes the present situation and demands for legal protection of freedom of religious belief in contemporary China, and tries to put forward feasible solutions. (shrink)

Many studies have linked idealized body image on social media to negative psychological well-being among young females. However, social media influencers’ imagery has not attracted much research attention in either the Western or the Asian context. This study aimed to experimentally investigate the impact of high versus low popular social media influencer images on young Chinese females’ body satisfaction and mood. The participants were 420 female RED users who were randomly assigned to three groups: the influencer-high group ; (...) the influencer-low group ; or a control set of nature images. The results revealed that the groups exposed to influencer imagery had lower body satisfaction and more negative mood than the control group. Notably, this comparison showed no significant difference between the low-influencer and high-influencer groups in body satisfaction and mood. Additionally, this effect was moderated by individuals’ self-discrepancy between personal ideals and their own bodies. That is, exposure to idealized body images does not always produce harmful effects. For those with lower self-discrepancy, idealized body posts somewhat positively affected their body satisfaction. The current research contributes to the media effect literature by providing critical new insights into the study of body image in the context of China. (shrink)

Art and philosophy are the two major elements of the human world. The existence of art and philosophy can expand the spiritual world of human beings to a greater extent and enrich their spiritual life, thus supporting the construction of the material world. And music, as an aural art, has also been given a philosophical meaning in the evolution of history because of its birth and development. Therefore, when studying music, one should first study the history of music. The philosophy (...) of music history education is not only profound and contains world culture and philosophy, but also carries history and economy. Music history education is also a vivid art form of philosophy, where teachers create an artistic beauty to attract students and achieve the purpose of imparting knowledge by optimizing their educational philosophy. To develop the philosophy of education to its fullest extent, teachers must adhere to the concepts associated with the philosophy of art. To explain this process in greater depth, this paper provides a brief review of the aesthetic philosophy and historical evolution of Chinese. (shrink)

Culture influences what we attend to, encode, remember and think about. Easterners are said to attend more to the relationship between focal objects and their context while Westerners disentangle focal objects from their context. Simply put, Easterners process information holistically and Westerners analytically. Psychosocial factors, like Fear of Isolation, have been proposed as a possible mechanism for cultural differences in terms of information processing. While East vs. West cultural differences are well researched, the monolithic notion that all Westerners process (...) information analytically was questioned in the research presented below. In this paper, we present a study conducted with two Western cultures and one Eastern where we induced the chronic psychosocial factor: Fear of Isolation, and measured its influence on information processing. We found that Italian participants processed information more holistically than us Americans, and that Italians were more similar to Chinese than us Americans. (shrink)

This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...

Unlike in Western countries, scholars and the Chinese government pay less attention to the role of extracurricular activities in fostering children’s cognitive and non-cognitive well-being. Accordingly, essential ECAs such as visual arts programs are serviced by expensive privately owned schools, creating social injustice. The primary aim of the current study is to examine whether children benefit from ECAs if parental support and guidance for managing time spent on ECAs and academics exist based on the threshold model. The study (...) comprised over 2,400 primary school students in one Chinese province and considered the SES of the area. Surprisingly, the present study’s findings illustrate that contemporary Chinese parents differ from traditionally aggressive and overbearing parents who do not value their children’s interests. However, the current study finding suggested that children’s participation in out-of-school visual art activities doesn’t have a substantial value in promoting children’s academic performance in the face of genuine interest and supportive parenting, which negates the threshold model. (shrink)

The Qing dynasty scholar Wang Guowei 王國維 (1877–1927) has received little recognition in the English-speaking world, and even less in the philosophical community. Raised to be a Ruist (or Confucian) scholar official, he gave up this path to pursue the study of the “new learning” (xīnxué 新學) from the West and became enamored with German aesthetic philosophy, especially the works of Kant, Schiller, Schopenhauer and Nietzsche. However, by the start of the modern Republic period in China, Wang had denounced all (...) his previous research interests and dedicated himself to “old learning” (jiùxué 舊學), fearing for the future of China’s traditions and cultures. Taking Wang Guowei as a case study, my dissertation functions as an exercise in decolonial philosophy, highlighting the impacts of coloniality on his thinking while attempting to revitalize his theories from the perspective of decoloniality. -/- The Introduction sets up this case study by clarifying the points laid out in the title: Who is Wang Guowei, what is coloniality, and why is this case study “philosophical?” To begin, it details the specifics of Wang’s life and explaining his approach to comparative thinking, which became a target of criticism for later Chinese thinkers, including Qian Zhongshu. Next, it offers an overview of the concept of coloniality, referring to thinkers such as Aníbal Quijano, Maria Lugones, Walter Mignolo and Nelson Maldonado-Torres. From this point, this chapter moves into the literature on colonialism in China, emphasizing Anne Reinhart’s understanding of China’s situation as one of “semi-colonialism.” To end, it briefly outlines the earliest and latest periods of Wang’s life, in order to bookend my own discussion, which focuses on the period after he became invested in new learning and before he abandoned it for old learning. -/- Part I centers on Wang’s philosophical essays, all of which were published in the journal Education World between 1903 and 1908. Chapter 1 focuses on Wang’s earliest writings on “philosophy” (zhéxué 哲學), wherein he aims to properly introduce this imported discipline to his peers and make them aware of its value. Chapter 2 concentrates on the earliest of Wang’s major philosophical influences: Kant and Schopenhauer. Although Wang was attracted to Kant’s demarcation of the limits of reason, he could not accept his reimagining of the demands of reason as regulative principles. And while he sympathized with Schopenhauer’s criticisms of Kantian philosophy, he eventually came to regard metaphysical pessimism and the will to life as flawed theories. Chapter 3 deals with the two thinkers who shaped Wang’s views the most in his later philosophical essays: Nietzsche and Schiller. After rejecting Schopenhauer’s metaphysics, Wang came under the influence of Nietzsche and adopted a psychophysiological worldview. However, even though he accepted Nietzsche’s conception of the will to power, he could not accept Nietzsche’s view of overcoming. For Wang, consolation is all we can hope for in this life, and the best means to attain it is through the creation and appreciation of art, which prompts him to look to Schiller and his doctrine of aesthetic education. -/- Part II revolves around Wang’s mature aesthetic writings, specifically his Remarks on Lyrics in the Human World (1908–1909), a work in the “remarks on lyrics” (cíhuà 詞話) genre of literary criticism, which he published just before the Qing dynasty fell in 1911. Under the influence of decoloniality, Chapter 4 examines this work through the lens of praxis, highlighting the specifics of the traditional “remarks on lyrics” genre. After discussing the unique praxical features of this work, Chapter 5 analyzes it through the lens of theory, discussing its most significant ideas, such as its reimagining of the beautiful and the sublime, and the concept of “poetic worlds” (jìngjiè 境界). -/- The Conclusion examines everything discussed in Chapters 1 through 5 from the perspective of coloniality. It begins by determining how, and to what extent, colonial modernity impacted Wang’s thinking, in terms of both theory and praxis. It then provides some ways in which Wang’s theories and practices can contribute to the development of intellectual “worlds otherwise.” Beyond this, it aims to demonstrate how investigating the scholarly endeavors of non-Western thinkers caught in confluence of tradition and modernity can give us glimpses of alternatives to our modern intellectual and ontological modalities, thereby furthering the movement of decoloniality. (shrink)

In China, political philosophy is still a comparatively new academic discipline. While there is no such phrase as "political philosophy" in ancient Chinese texts, there are elements within them that could be considered part of that field. Central questions of Chinese ancient political philosophy include the legitimacy of the source of political power, the foundation of moral rationality for the use of political power, and the purpose of political activities. This book explores the ideas of rights, the foundations (...) of law, transference of power, democracy and other topic as debated in ancient times. Focusing on important political thinkers in Chinese history, such as Kongzi, Laozi, Xu Fuguan, Liang Qichao and Li Dazhao, the book explains characteristics that are particular to China, such as the system of abdication, the general will of the people, and the society of Great Harmony. While making comparisons between Chinese and Western political philosophy, the book also discusses how to establish a Chinese modern state and how to promote Chinese culture today so that it can influence more and more people around the world. The book will be a valuable reference for scholars of Chinese philosophy, political philosophy and Chinese culture. (shrink)

Every philosophical mode has a unique conceptual system. Qi has consistently been a fundamental part of ancient Chinese philosophy, and its significance is obvious. Guided by the idea of re-evaluating all values, Yan Fu, who was deeply influenced by Western philosophy and logic, used reverse analogical interpretation to present a new explanation of the traditional Chinese concept of qi. Qi thus evolved into basic physical particles. Yan’s philosophical effort has great significance: The logical ambiguity that had haunted (...) qi was overcome. However, qi gradually evolved into a particular existence as it was Westernized. It completely lost its internal flavor as indigenous Chinese philosophy. Its previous philosophical abstraction and universality diminished and at the same time it was not Westernized into the pure concept of Hegel’s philosophy. (shrink)

The article discusses the features of interaction and mutual influence of the art of woodcut of China and the USSR. Chinese woodcut and Soviet engraving reveal the greatest mutual influence and rich genre palette in the middle of the XX century. Chinese woodcut gave a creative impulse, enriched the visual possibilities, brought new ideas to the Soviet art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, (...) it seems relevant to identify common features of Chinese woodcut and Soviet engraving of the mid-20th century, as well as to identify differences in the development of this art form in the two countries. The article analyzes the works of famous woodcuts of two countries: Chen Yanqiao, Yang Han, Qi Baishi, V. A. Favorsky, A. A. Ushin. As a result of the analysis, the common features of Chinese woodcut and Soviet engraving of the mid-20th century were revealed, for example, similar plots and themes, as well as a special dynamic, lively and pulsating rhythm of the works. In addition, differences in the development of this type of art in both countries have been established, largely due to the preservation of their own national style by graphic artists. It is claimed that Soviet graphics contributed to the variety of Chinese woodcuts. In turn, Soviet artists adopted the subtleties of filigree technique from Chinese woodcuts. (shrink)

From the opening of trade with Britain in the 1850s, Japan occupied a unique and contradictory place in the Victorian imagination, regarded as both a rival empire and a cradle of exquisite beauty. Quaint, Exquisite explores the enduring impact of this dramatic encounter, showing how the rise of Japan led to a major transformation of Western aesthetics at the dawn of globalization. Drawing on philosophy, psychoanalysis, queer theory, textual criticism, and a wealth of in-depth archival research, Grace Lavery provides (...) a radical new genealogy of aesthetic experience in modernity. She argues that the global popularity of Japanese art in the late nineteenth century reflected an imagined universal standard of taste that Kant described as the "subjective universal" condition of aesthetic judgment. The book features illuminating cultural histories of Gilbert and Sullivan's Mikado, English derivations of the haiku, and retellings of the Madame Butterfly story, and sheds critical light on lesser-known figures such as Winnifred Eaton, an Anglo-Chinese novelist who wrote under the Japanese pseudonym Onoto Watanna, and Mikimoto Ryuzo, a Japanese enthusiast of the Victorian art critic John Ruskin. Lavery also explains the importance and symbolic power of such material objects as W. B. Yeats's prized katana sword and the "Japanese vellum" luxury editions of Oscar Wilde. Quaint, Exquisite provides essential insights into the modern understanding of beauty as a vehicle for both intimacy and violence, and the lasting influence of Japanese forms today on writers and artists such as Quentin Tarantino. (shrink)

This paper discusses Eastern European Marxists’ consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In (...) this paper, I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. (shrink)

This study analyses the influence and infection of traditional Chinese culture, starting from the cultural influence of ancient Chinese poetry and literature, and explores the impact and healing effect of traditional Chinese poetry and literature on college students’ psychological anxiety. Combining with traditional Chinese culture, it proposes intervention and treatment strategies for college students’ psychological anxiety. Through volunteer recruitment, 100 college students were recruited for comparative experiments, and the subjects were divided into an experimental group and (...) a control group. The experimental group participants regularly participate in Chinese ancient poetry and literature appreciation courses during the experimental period, and form an ancient poetry and literature learning group for discussion and learning. Research has found that psychological anxiety is a common psychological problem among contemporary college students, with most of them experiencing varying degrees of psychological anxiety. After the experiment, the number of patients with severe anxiety disorder decreased by 64.21%, while the number of patients with moderate anxiety disorder decreased by 57.36%. Under the artistic influence of traditional Chinese culture, the anxiety state of students with mental anxiety has been significantly improved, and the overall satisfaction score of students with treatment intervention plans is relatively high. Contribution: This study uses the profound historical heritage of Chinese ancient poetry and literature to help contemporary college students adjust their psychological state and reach the psychological adjustment under the infection of Chinese tradition culture. During the learning and appreciation of Chinese ancient poetry, literature and culture, students can comprehend the literature advancement in Chinese society, also influenced by the excellent traditional Chinese culture, for enhancing the humanistic quality and mental health level. The results of this study can be utilised by scholars in the field of the psychology of religion and public theology. (shrink)

Modernism is often implicitly known and understood from the “Western modernist” perspective and history. The wide recognition of the Western modernist canon as centre and universal displaces the contribution and significance of the non-Western world in the modern movement. Within Asia, the modernisms that arose from various nations in the region had subtly different notions of culture, identity, nationhood, and modernity, although almost every Asian country was related in one way or another to the history of (...) class='Hi'>Western imperialism. Using a comparative analysis, this article examines modernism in twentieth-century Asia from a multicultural viewpoint, and bringing into picture the place of Asia in the history of modernism. (shrink)

As a type of Chinese folk art, jianzhi paper carving expresses not only people's spiritual life, but also their aspirations for a better life. Chinese paper carving art is filled with simple life wisdom and good wishes, and the figurative symbols contain unique artistic value and national traits. However, in today's multifaceted development, the traditional art of paper carving with a thousand years of history is gradually fading away. Traditional folk art represented by paper cutting has also begun (...) to be introduced into new fields, not only in graphic design, but also in installation design of public spaces, showing its rich expressiveness and deep artistic value. This paper will examine the characteristics of traditional national paper carving, highlight cultural differences between Eastern and Western paper carving art, combine traditional folk art of paper carving with modern artistic expressions, analyse symbolic and emotional imagery and explore new ideas for the development and innovation of Chinese national art. (shrink)

Modernism is often implicitly known and understood from the “Western modernist” perspective and history. The wide recognition of the Western modernist canon as centre and universal displaces the contribution and significance of the non-Western world in the modern movement. Within Asia, the modernisms that arose from various nations in the region had subtly different notions of culture, identity, nationhood, and modernity, although almost every Asian country was related in one way or another to the history of (...) class='Hi'>Western imperialism. Using a comparative analysis, this article examines modernism in twentieth-century Asia from a multicultural viewpoint, and bringing into picture the place of Asia in the history of modernism. (shrink)

The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. the nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese (...) naked body from the Western nude. (shrink)