This title provides a systematic examination of the philosophy of Chinese art, exploring the peculiarity of artistic forms and distinctive conceptions and artistic principles of Chinese art which are grounded in the life awareness of the ancient Chinese and interconnect with the Chinese philosophy of life. Synthesizing Chinese theories of art with Western philosophical systems, the book is organized into five parts: (1) the subject, the actor who creates, appreciates, and criticizes artistic works; (2) ontological aspects, that is, the artwork per se and the dynamic process of creation; (3) aesthetic traits, the organic whole constituted by rhythm, meter, the principle of harmony, and space-time awareness; (4) artistic representation, which is manifested in the rhythm of vital energy, momentum of genre, vigour of style, and taste and inclination; and (5) the evolution of Chinese art. Based on this structural thread, the author looks into the interwoven relationship between the philosophy of Chinese art and ancient Chinese thought in terms of the spirit of life, nature–human relations, and ontological awareness of human-centredness. The book will appeal to scholars, students, and general readers interested in aesthetics, art theory, art philosophy, Chinese art, and ancient Chinese culture.
This title provides a systematic examination of the philosophy of Chinese art, exploring the peculiarity of artistic forms and distinctive conceptions and artistic principles of Chinese art which are grounded in the life awareness of the ancient Chinese and interconnect with the Chinese philosophy of life. Synthesizing Chinese theories of art with Western philosophical systems, the book is organized into five parts: (1) the subject, the actor who creates, appreciates, and criticizes artistic works; (2) ontological aspects, that is, the artwork per se and the dynamic process of creation; (3) aesthetic traits, the organic whole constituted by rhythm, meter, the principle of harmony, and space-time awareness; (4) artistic representation, which is manifested in the rhythm of vital energy, momentum of genre, vigour of style, and taste and inclination; and (5) the evolution of Chinese art. Based on this structural thread, the author looks into the interwoven relationship between the philosophy of Chinese art and ancient Chinese thought in terms of the spirit of life, nature–human relations, and ontological awareness of human-centredness. The book will appeal to scholars, students, and general readers interested in aesthetics, art theory, art philosophy, Chinese art, and ancient Chinese culture.
This book explores the aesthetic consciousness of the Shang Dynasty and its influence on Chinese aesthetic development and contemporary aesthetic creation. The Shang Dynasty is the first era in China with authentic historical documentation. Its artifacts and inscriptions have great aesthetic value and serve as vivid and rich records of aesthetic concepts. By examining the production and use of pottery, jade, bronze, and oracle bone inscriptions, the book sheds light on the functions of these creations as media for conveying emotions driven by human nature. By discussing how the Shang script was invented and used, the author explores the significant role it played in the development of the aesthetic consciousness of the Chinese ancients. Based on surviving documents, including the hexagrams in the Book of Changes, the Pan Geng in the Book of Documents, and the Shang Songs in the Book of Songs, he further examines the poetic characteristics of Shang literature, recognizing it as both historically and literarily significant. The title is essential reading for scholars, students, and general readers interested in Chinese aesthetics, ancient Chinese civilization, culture, and art.
This book examines aesthetic issues based on humanities principles and creates a theory of Chinese aesthetics from a global perspective by applying China’s traditional and cultural history to a Western theoretical framework. In particular, this book emphasizes the shared features of Confucianism, Daoism, and Buddhism, namely the unity of heaven and men, unity of nature and society, and the materialization of human feelings and humanization of material things. It also highlights the dominant role of humans in the aesthetic relationship between human and object, while placing imagery in a focal position.
This book examines the development of wartime culture in the city of Guilin, Guangxi Province, in southwestern China during a major part of the country’s war of resistance against Japanese invasion between 1938 and 1944. This study challenges existing historiography on China’s wartime culture at three levels. First, the Guangxi warlord group played a crucial role in maintaining regional security, providing a liberalized political environment for wartime cultural activities and facilitating wartime nationalist–communist relations at both local and national levels. Second, wartime culture was more literary than political and it reflected a powerful intellectual vigor that was an indispensable component of China’s war efforts. Intellectuals of different social and political backgrounds were their own “organic” selves feeling no pressure to come to intellectual consensus in literary production. Third, wartime culture was characterized by the active participation of many international groups, political organizations, and foreign individuals. The literary works produced in Guilin between 1938 and 1944 clearly reflected a combination of Chinese national and international anti-fascist and anti-military sentiment. Chinese literary masterpieces were translated into different foreign languages and noted foreign literature and political works were introduced to Chinese audiences through various cultural and political exchange programs in the city.
Economic growth and its relevant subjects have been given the first priority in the research agenda since China initiated economic reforms in 1978, while the topics of social protection and gender equality have been largely left at the periphery for a long period. This book is a collection of evidence-based studies conducted mainly in poor areas of rural China during the recent two decades. Based on individual interviews and sample data analyses, this book emphasizes the importance of cooperative organizations to poverty reduction, and puts forward that gender equality is closely related with sustainable development. In addition, it addresses the issues of food security and elimination of social exclusion - the key to bridging economic divide. It also studies social protection, including basic health protection system, nutrition and healthcare for children, old age security for landless farmers and rural migrant workers. By providing first-hand accounts of different vulnerable groups, such as the poor, women, migrant workers, ethnic minorities and small farmers, this book offers valuable insights into studies of contemporary Chinese society and economy.
Contemporary Chinese rural life is placed in sharp theoretical and practical focus in this book. State-of-the-art techniques and perspectives are combined to take the reader into Xiaocun, a small village on the east bank of the Dianchi Lake in Kunming City. In 2003, the author published the book Crime and Punishment: The Story of Xiaocun (1931–1997), which dealt with disputes, mediation and punishment in the village following the legal anthropology tradition. At that time, neither the villagers nor the author foresaw the vast changes that were to appear a few years later. Their main economic activity then was growing vegetables and flowers; urbanisation was tsunami-like in its speed and impact. Land requisition for urban development was so swift that five years later, in 2008, there was no farmland left. Instead, there were many landmark real estate and development projects. Xiaocun has become the centre of an enlarged Kunming City. Observers, including the Xiaocun residents, are unavoidably shocked at the changes to the physical landscape in the wake of its rapid urbanisation. This book, Topography of Politics in Rural China: The Story of Xiaocun, reports the author's revisits to the village starting in early 2007. In the past few years of research on this village, the author deeply felt that the problems that make people passionate are fully exposed through issues surrounding land and housing. Well written in narrative, this book tells the story of Xiaocun in this new century from the perspective of topography, exploring the peasantry and its relations to the state in more fundamental terms.
Despite the significant progress it had achieved in the past 60 years, especially in the past 30 years since Deng Xiaoping's reform initiatives in the late 1970s, China faces daunting challenges today. These challenges include, among others, a rigid political system that does not match economic vibrancy, uneven economic growth and widening income gap, a graying population, environmental degradation, potential social instability, ethnic tensions and separatist movement, poor international image, and military modernization. Based on papers originally presented at an international conference held at Bucknell University in Pennsylvania to mark the 60th anniversary of the People's Republic of China (PRC), this book provides an up-to-date, comprehensive, and authoritative assessment of the PRC's political, economic, social, ethnic, energy, security, military, diplomatic and other developments and challenges today. Contributed by scholars and experts in political science, international relations, economics, public administration, history, mass communication, psychology, and diplomacy, the book focuses on the efforts needed by China to grow in a sustainable manner and to become a respected global power. With each chapter addressing a different and yet an inter-related issue of the PRC's development, this book aims to make a significant contribution to the understanding of key challenges the country faces today as it strives to become a global power.
This book examines aesthetic issues based on humanities principles and creates a theory of Chinese aesthetics from a global perspective by applying China’s traditional and cultural history to a Western theoretical framework. In particular, this book emphasizes the shared features of Confucianism, Daoism, and Buddhism, namely the unity of heaven and men, unity of nature and society, and the materialization of human feelings and humanization of material things. It also highlights the dominant role of humans in the aesthetic relationship between human and object, while placing imagery in a focal position.
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