Tea Sernelj
University of Ljubljana, Department of Asian and African Studies, Graduate Student
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The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese... more
The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a platform for modernization of Chinese culture on the one hand, and as a way to achieve the recognition of the West for the profound value of the Chinese intellectual tradition on the other. Fang Dongmei was one of the first representatives of this movement who was trained in Western and Chinese philosophy, and hence built his own philosophical theory on the encounter of both, while Xu Fuguan wa...
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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic... more
The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.
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This monograph deals with the critical analysis of Xu Fuguan’s aesthetic theory. Xu (1904−1982) is one of the central representatives of the second generation of the Taiwanese theoretical current of Modern Confucianism. The research was... more
This monograph deals with the critical analysis of Xu Fuguan’s aesthetic theory. Xu (1904−1982) is one of the central representatives of the second generation of the Taiwanese theoretical current of Modern Confucianism. The research was mainly focused on his fundamental contributions to the philosophy of this current, especially regarding his reinterpretations and re-evaluations of the basic axiological concepts of original Confucian and Daoist aesthetics. It also deals with questions linked to his attempts to preserve, systematize and modernize traditional Chinese aesthetics. Xu Fuguan’s theory of Chinese ideational tradition is defined by the paradigm of the traditional connection between ethics and aesthetics, the study also explored the importance of the mutually complementary interaction between Confucianism and Daoism in Xu’s theory of aesthetics. Through the analysis of certain crucial fragments derived from the classical works of these two intellectual currents, the study also verified the presumption according to which both currents are instrumental for the consolidation of specifically Chinese aesthetics, albeit each of them in its unique way: while Confucianism contributed axiological elements to the inner coherence of traditional aesthetic discourses, Daoism endowed it with the important aspect of holistic vitality.
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Straipsnyje aptariama, kaip Xu Fuguan interpretuoja keletą pagrindinių Zuangzi estetinės minties sąvokų. Xu nuomone, Zhuangzi estetinė mintis susijusi su estetiniu žmogaus gyvenimo būdu, kur grožis taikomas dao sričiai, kurioje žmonės... more
Straipsnyje aptariama, kaip Xu Fuguan interpretuoja keletą pagrindinių Zuangzi estetinės minties sąvokų. Xu nuomone, Zhuangzi estetinė mintis susijusi su estetiniu žmogaus gyvenimo būdu, kur grožis taikomas dao sričiai, kurioje žmonės gali išlaisvinti savo sielą ir džiaugtis „laisvu ir lengvu klajojimu“ (xiaoyaoyou 逍遙遊). Pasak Xu, tai yra aukščiausia ir gražiausia žmogaus egzistencijos sfera, įgaunanti išraišką mene. Zhuangzi sąvokas xinzhai心齋 ir zuowang 坐忘, kaip šio aukščiausio būties lygmens pasiekimo metodą, Xu laikė panašiomis į kai kurias XIX ir XX a. Vakarų fenomenologijos sąvokas. Nors Xu stengėsi atsargiai vesti paraleles tarp Vakarų filosofijos ir Zhuangzi mąstymo, jis manė esant jų panašumų, ypač klausimu, kodėl žmogaus sąmonė gali estetiškai suvokti pasaulį. Šio straipsnio tikslas yra atskleisti tokios lyginamosios prieigos, glūdinčios Xu estetinėje mintyje, metodologinius keblumus ir prieštaravimus.
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The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by... more
The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English a...
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Avtorica v članku podaja kontrastivno analizo Li Zehoujevega koncepta sedimentacije in koncepta arhetipov C. G. Junga. Članek najprej podrobno predstavi koncept sedimentacije in pokaže, zakaj pri njem ne gre samo za estetski, temveč tudi... more
Avtorica v članku podaja kontrastivno analizo Li Zehoujevega koncepta sedimentacije in koncepta arhetipov C. G. Junga. Članek najprej podrobno predstavi koncept sedimentacije in pokaže, zakaj pri njem ne gre samo za estetski, temveč tudi za kulturno-psihološki pojem. Na osnovi tovrstne predstavitve Lijeve konceptualizacije in teoretskih osnov sedimentacije avtorica kritično primerja ta pojem z Jungovimi arhetipi. Članek nazorno prikaže, da so razlike med obema konceptoma zelo daljnosežne, saj nakazujejo splošno oziroma paradigmatsko razliko med referenčnima okviroma prevladujočih zahodnih diskurzov na eni in specifično kitajske teorije na drugi strani.
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The present article deals with Xu Fuguan’s analysis and interpretation of some of the central concepts of Zhuangzi’s philosophy, which constitute his aesthetic thought. In Xu’s view, Zhuangzi’s aesthetic thought relates to the aesthetic... more
The present article deals with Xu Fuguan’s analysis and interpretation of some of the central concepts of Zhuangzi’s philosophy, which constitute his aesthetic thought. In Xu’s view, Zhuangzi’s aesthetic thought relates to the aesthetic way of human life, where beauty applies to the realm of dao in which human beings are able to liberate their spirit and enjoy a way of life denoted as “free and easy wandering” (xiaoyaoyou 逍遙遊). In Xu’s view, this is the highest and the most beautiful sphere of human existence, and is as such expressed in art. Xu found in Zhuangzi’s concepts of xinzhai心齋and zuowang 坐忘, as methods for achieving this highest level of being, some similarities with certain concepts of late 19th and early 20th century Western phenomenology. Although Xu was trying to be careful in drawing parallels between certain Western philosophies and Zhuangzi’s thought, he believed that there is some resemblance between them, especially regarding the question of why and in which way h...
Confucian Renovation and the Manifesto to Re-Evaluate Chinese Culture as
Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The... more
Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted i...
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Obdobje, ki se je pričelo vzporedno z aktivnim odpiranjem Kitajske navzven in z ekonomsko liberalizacijo v notranjosti države, lahko označimo kot obdobje sodobne refleksije kitajske idejne tradicije in hkratne kritične evalvacije... more
Obdobje, ki se je pričelo vzporedno z aktivnim odpiranjem Kitajske navzven in z ekonomsko liberalizacijo v notranjosti države, lahko označimo kot obdobje sodobne refleksije kitajske idejne tradicije in hkratne kritične evalvacije najvplivnejših struj tujih miselnosti. Le-ta se kažejo tudi na področju, kjer se snujejo zametki aktualnih ideologij. Članek poskuša v tem kontekstu osvetliti ideološko in družbeno funkcijo umetnosti in kulture. V tem okviru je estetika po eni strani služila kot latentni upor proti v družbi prevladujočemu pragmatizmu in kot manifestno zavzemanje za lepoto, oziroma kot vrsta čustvene emancipacije, po drugi pa kot diskurz, ki je bil na Kitajskem vseskozi tesno povezan s politiko ter z možnostjo reinterpretacije oziroma nadgradnje marksističnih teorij.
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The article investigates the political views of one of the most prominent representatives of the so-called second generation of Modern Confucianism, Xu Fuguan. It reveals his unique position within this intellectual movement. Even though... more
The article investigates the political views of one of the most prominent representatives of the so-called second generation of Modern Confucianism, Xu Fuguan. It reveals his unique position within this intellectual movement. Even though all other adherents of Modern Confucianism were focused upon metaphysics and ontology rather than political theory, Xu believed that these lines of thought could not contribute enough to solving the various urgent social and political problems of modern China. In this regard, the present article focuses upon a critical analysis of Xu’s critique of the Chinese Communist Party. The author presents and evaluates his critique mainly with regard to his search for a resolution of the problematic and chaotic political and social situation of China during the first half of the 20th century. In conclusion, the author provides a critical evaluation of Xu’s social democratic thought and particularly of his attitude towards the Chinese Communist Party.
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Članek se ukvarja s Xu Fuguanovo analizo in interpretacijo nekaterih osrednjih konceptov Zhuangzijeve filozofije, ki predstavljajo njegovo estetiko. Po Xuju se Zhuangzijeva estetika nanaša na estetski način bivanja človeka, pri čemer se... more
Članek se ukvarja s Xu Fuguanovo analizo in interpretacijo nekaterih osrednjih konceptov Zhuangzijeve filozofije, ki predstavljajo njegovo estetiko. Po Xuju se Zhuangzijeva estetika nanaša na estetski način bivanja človeka, pri čemer se lepota aplicira v sfero daota, v kateri so ljudje zmožni osvoboditi svojega duha in uživati način življenja, ki ga Zhuangzi označuje kot »svobodno in lahkotno tavanje« (xiaoyaoyou 逍遙遊). Po Xujevem mnenju je to najvišja in najlepša sfera človeškega bivanja in je kot taka izražena v umetnosti. Xu je v Zhuangzijevih konceptih postenja srčne zavesti (xinzhai 心齋) in sedenja v pozabi (zuowang 坐忘) kot dveh metodah za doseganje tega najvišjega nivoja bivanja videl nekatere podobnosti z določenimi koncepti zahodne fenomenologije devetnajstega in zgodnjega dvajsetega stoletja. Čeprav je bil Xu Fuguan pri orisu vzporednic med zahodno in Zhuangzijevo filozofijo zelo previden, je bil mnenja, da med njimi obstaja določena podobnost, še posebej pri vprašanju, zakaj...
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Članek obravnava Xu Fuguanovo analizo in interpretacijo koncepta qiyun shengdong 气韵 生动, ki velja za enega od najpomembnejših, najbolj temeljnih in hkrati najtežje dojemljivih konceptov v kitajski estetiki in umetnosti. Nastal je v obdobju... more
Članek obravnava Xu Fuguanovo analizo in interpretacijo koncepta qiyun shengdong 气韵 生动, ki velja za enega od najpomembnejših, najbolj temeljnih in hkrati najtežje dojemljivih konceptov v kitajski estetiki in umetnosti. Nastal je v obdobju Wei Jin (220–420 n. št.), ki je eno od najbolj ustvarjalnih in prelomnih obdobij na področju kitajske estetike in umetnosti. Njegova kompleksnost se izraža tako v literarnih delih, slikarstvu, kaligrafiji in glasbi, kot tudi v literarni teoriji ter teoriji slikarstva, pri čemer se qi nanaša na zunanje značilnosti umetniškega dela, medtem ko izraža yun notranje značilnosti, ki so del človeške notranjosti oziroma človeškega duha, medtem ko shengdong pomeni manifestacijo, delovanje in zlitje obeh konceptov v umetniškem delu.Avtorica najprej predstavi Xu Fuguanovo interpretacijo in jo prikaže v kontekstu sodobnih debat o kitajski estetiki. V nadaljevanju se osredotoči na njegovo filološko in historično analizo semantičnega ter filozofskega razvoja obra...
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The present article deals with the philosophical theory and epistemological methodology of the Modern Confucian Xu Fuguan (1903–1982), a significant Taiwanese philosopher of the 20th century whose theoretical contributions are in the... more
The present article deals with the philosophical theory and epistemological methodology of the Modern Confucian Xu Fuguan (1903–1982), a significant Taiwanese philosopher of the 20th century whose theoretical contributions are in the center of academic interests in China and Taiwan, though almost completely unexplored in the West. The article’s main focus is on Xu’s interpretation of the concepts of bodily recognition and the creative potential qi that are forming the basis of the unification of body and mind as a fundamental method of traditional Chinese perception of reality. For Xu Fuguan, this unification represented the proper way to achieve the awareness of the Moral Self and to thoroughly act in accordance with humanness (ren).
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U članku se ispituje sadržaj i značenje kineskog estetskog koncepta shensi i njegov odnos prema pojmu najvišeg estetskog područja (jingjie). Duhovnu kontemplaciju ili umjetničku uobrazilju (shensi) temeljito je istražio Liu Xie (465. –... more
U članku se ispituje sadržaj i značenje kineskog estetskog koncepta shensi i njegov odnos prema pojmu najvišeg estetskog područja (jingjie). Duhovnu kontemplaciju ili umjetničku uobrazilju (shensi) temeljito je istražio Liu Xie (465. – 522.) u svom teorijskom radu o književnom pisanju Književni um i rezbarenje zmajeva u 6. stoljeću. Ovo je djelo prva sustavna teorija umjetničkog stvaralaštva u klasičnoj kineskoj estetici. Međutim, estetsku teoriju jingjie-ja prvi je istražio Wang Changling (698. – 756.) tijekom dinastije Tang, ali ju je dalje razvio Wang Guowei (1877. – 1927.) na pragu 20. stoljeća, što se smatra početkom modernizacije kineske estetike. Članak detaljno istražuje oba koncepta i argumentira da je shensi zapravo estetska metoda koja vodi do postizanja najviše estetičke sfere (jingjie) kada se uspješno primjenjuje i pojavljuje u umjetničkom procesu i samom umjetničkom djelu.Keywords