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Chinese Aesthetics

Chinese Aesthetics

Copyright: © 2020 |Pages: 47
ISBN13: 9781799817024|ISBN10: 1799817024|ISBN13 Softcover: 9781799817031|EISBN13: 9781799817048
DOI: 10.4018/978-1-7998-1702-4.ch002
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MLA

Jie Wu. "Chinese Aesthetics." New Aesthetic Thought, Methodology, and Structure of Systemic Philosophy, IGI Global, 2020, pp.26-72. https://doi.org/10.4018/978-1-7998-1702-4.ch002

APA

J. Wu (2020). Chinese Aesthetics. IGI Global. https://doi.org/10.4018/978-1-7998-1702-4.ch002

Chicago

Jie Wu. "Chinese Aesthetics." In New Aesthetic Thought, Methodology, and Structure of Systemic Philosophy. Hershey, PA: IGI Global, 2020. https://doi.org/10.4018/978-1-7998-1702-4.ch002

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Abstract

This chapter studies the development and basic ideas of Chinese aesthetics by reviewing the history of aesthetic perspective from the Han Dynasty; the Wei, Jin, and Southern and Northern Dynasties; the Tang Dynasty; the Five Dynasties; the Song and Yuan Dynasties; and the Ming and Qing Dynasties. The ancient Chinese artists pursued the artistic conception of beauty, namely, the integration of mind and objects, sentiments, and scenes, and the fusion of subjective emotions and objective landscape. Nevertheless, this conception overlooks the function of practice, the intermediary between mind and objects. Actually, there are three fundamental elements: emotion (first feeling) of aesthetic subjects; artistic conception sensed through the painting brush in practice (perception); poetry, books, songs, and paintings as artistic finished products (containing essence and sentiments). It is the combination, conformity, and harmonious co-existence of these three essentials (namely subject–practice–object) that constitute the art system aesthetics or design aesthetics.

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