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- Have you missed prior issues of Min erva.Antiquity Falsified,Chinese Rock Art &Discovering Ancient Myths -1990 -Minerva 1.No categoriesExport citation
Bookmark - The Problem of Meaning in EarlyChinese Ritual Bronzes.Graham Hutt,Rosemary E. Scott,William Watson &Percival David Foundation ofChinese Art -1971
- Part III:Chinese Aesthetics. Introduction: From the Classical to the Modern / Gao Jianping ; Several Inspirations from TraditionalChinese Aesthetics / Ye Lang ; The Theoretical Significance of Painting as Performance / Gao Jianping ; A Study in the Onto-Aesthetics of Beauty and Art: Fullness (chongshi) and Emptiness (kongling) as Two Polarities inChinese Aesthetics / Cheng Chung-ying ; On the Modernisation ofChinese Aesthetics.Peng Feng &Reflections on Avant-Garde Theory in A.Chinese-Western Cross-Cultural Context -2010 - In Ken'ichi Sasaki,Asian Aesthetics. Singapore: National Univeristy of Singapore Press.Export citation Bookmark
- Self-cultivation through art:Chinese calligraphy and the body.Ruyu Hung -2024 -Educational Philosophy and Theory 56 (7):621-625.
- Ethical Guidelines for Human Embryonic Stem Cell Research (A Recommended Manuscript).Chinese National Human Genome Center at Shanghai Ethics Committee -2004 -Kennedy Institute of Ethics Journal 14 (1):47-54.In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 14.1 (2004) 47-54 [Access article in PDF] Ethical Guidelines for Human Embryonic Stem Cell Research*(A Recommended Manuscript) Adopted on 16 October 2001Revised on 20 August 2002 Ethics Committee of theChinese National Human Genome Center at Shanghai, Shanghai 201203 Human embryonic stem cell (ES) research is a great project in the frontier of biomedical science for the twenty-first century. Be- cause the research (...) involves the use of human embryos, it triggers serious debate on ethical issues. Opponents consider the embryo to be an early form of human life that should be respected and not destroyed. However, the majority of scientists support embryonic stem cell research, believing that it offers good prospects for the treatment of diseases that have remained incurable until now and so will benefit humankind. The Ethics Committee of the Department of Ethical, Legal, and Social Implications of theChinese National Human Genome Center at Shanghai seriously discussed the ethical debate initiated by embryonic stem cell research. We concluded that we should support the scientists of our country in actively carrying out human embryonic stem cell research for the noble cause of "medicine being a beneficent art." For the healthy and orderly development of human embryonic stem cell research in our country, we put forward the following recommended Ethical Guidelines for Human Embryonic Stem Cell Research as a reference for leaders, administrative departments, and related scientists. Preface Article 1. Human embryonic stem cells are the primitive cells that play the main role in the growth and development of a human body. These [End Page 47] primitive cells have the potential for infinite proliferation, self-renewal, and multi-directional differentiation. If scientists can discover the mechanism of differentiation of human embryonic stem cells, it will be possible to induce differentiation of human embryonic stem cells to form various types of human cells for clinical cell therapy. If human embryonic stem cell research can be integrated with modern biomedical engineering techniques, it also will be possible to make repair and replacement of human tissues and organs a reality. Article 2. There are two ways to classify human embryonic stem cells. One way is to classify them according to their potential for differentiation. There could be three kinds of stem cells: totipotent stem cells, pluripotent stem cells, and unipotent stem cells.A totipotent stem cell has the potential to develop into a whole individual. It can differentiate into the more than 200 cell types in the whole body, construct any tissue or organ of the body, and finally develop into a whole individual. The fertilized egg and the cleavage cells at the very early stage of embryonic development are totipotent stem cells.A pluripotent stem cell has the potential to differentiate into many cell types derived from the three embryonic layers. However, it has lost the capacity to develop into a complete organism.A unipotent stem cell is derived from the further differentiation of the pluripotent stem cell. It can differentiate only into one cell type such as a hematopoietic stem cell, neural stem cell, and others.The other way is to classify human stem cells according to their source. There could be two kinds of human stem cells: embryonic stem cells and tissue stem cells (also called adult stem cells). The former involves experimentation with embryos, which has serious ethical implications. Ethical issues associated with the latter are mainly expressed in the various opinions regarding the allocation of health resources. Article 3. Human embryonic stem cells are the group of cells called the blastocyst inner cell mass during the early stage of embryonic development. They are the main source of totipotent stem cells, and hence the focal and hot point in stem cell research. Studies on the clinical application of embryonic stem cells probably will involve use of the somatic cell nucleus transfer (SCNT) technique, which destroys the early human embryo. At present, the ethical and moral debate is very serious in human embryonic stem cell research regarding whether the research will develop... (shrink)
- Chinese aesthetics: the ordering of literature, the arts, and the universe in the Six Dynasties.Zongqi Cai (ed.) -2004 - Honolulu: University of Hawai'i Press.This singular work presents the most comprehensive and nuanced studies available in any Western language ofChinese aesthetic thought and practice during the ...
- AncientChinese Philosophy and the formation of ModernChinese Piano Art.Irina Aleksandrovna Zhernosenko &Tszyayui Lun -forthcoming -Philosophy and Culture (Russian Journal).The article examines the influence of ancientChinese philosophical concepts on the formation of modern piano art in China. AncientChinese 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 modernChinese piano creativity, deeply (...) influenced the form and cultural connotation ofChinese 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 traditionalChinese 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 theChinese 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 ancientChinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence ofChinese philosophy on music, to clearly show that the basic postulates of ancientChinese philosophy have been encoded in the basis of traditionalChinese music since ancient times, and in the twentieth century they were the basis of modernChinese 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 classicalChinese 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 modernChinese music and classicalChinese philosophy. (shrink)
- The Art ofChinese Philosophy: Eight Classical Texts and How to Read Them.Paul Rakita Goldin -2020 - Princeton: Princeton University Press.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 denigratingChinese 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 ofChinese 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 art of war corpus andchinese just war ethics past and present.Ping-Cheung Lo -2012 -Journal of Religious Ethics 40 (3):404-446.The idea of “just war” is not alien toChinese 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 thisChinese 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 inChinese political history, and recently and briefly acknowledged by a fewChinese military scholars in the mainland and in Taiwan. ThisChinese 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. ContemporaryChinese 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)
- Gendered Bodies in ContemporaryChinese Art.Mary Bittner Wiseman -2013 - In Peg Brand Weiser,Beauty Unlimited. Indiana University Press. pp. 385-405.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 contemporaryChinese 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 theChinese (...) naked body from the Western nude. (shrink)
- Chinese art: How different could it be from western painting?David Carrier -2012 -History and Theory 51 (1):116-122.ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary onChinese 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 knowChinese. Even bilingual specialists or nativeChinese 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 thisChinese 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)
- "Chinese Elements" as the Core of the Creative Art Education.Qian Chuxi -2012 -Journal of Aesthetic Education (Misc) 1:012.
- Chinese Architecture and the Beaux-Arts.Tony Atkin,Peter J. Carroll,Yung Ho Chang,Jeffrey W. Cody,Kerry Sizheng Fan,Fu Chao-Ching,Gu Daqing,Seng Kuan,Delin Lai &Xing Ruan -2013 -Philosophy East and West 63 (2).
- The Art of Rulership: A Study in AncientChinese Political Thought.Roger T. Ames -1988 -Philosophy East and West 38 (2):197-200.
- Chinese Contemporary Art: The Challenges of Urbanization and Globalization.Curtis Carter,Disikate Ke &Huifang Shuai -unknown
- Chinese and Other Asian Modernisms: A Comparative View of Art-Historical Contexts in the Twentieth Century.Phyllis Teo -2010 -Asian Culture and History 2 (2):3-14.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 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)
- Avant Garde inChinese Art.Curtis Carter -unknownThe question that I propose to examine here is to what extent or in what sense there has been an avant-garde presence inChinese art. And in what sense is the avant-garde present in contemporaryChinese art connected to avant-garde in the west. Before examining the relevance of the avant-garde to developments inChinese art, it is necessary to provide a brief account of avant-garde in western art.No categories
- Globalization andChinese Contemporary Art: West to East, East to West.Curtis L. Carter -unknownIn 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 betweenChinese 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 asChinese artists incorporated western innovations (...) into their work, while also maintaining the poetic and literary foundation ofChinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on theChinese are world, Carter discusses the tenuous boundaries upon whichChinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effectChinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapesChinese art. In navigating this boundary, Carter explains howChinese artists find mediate appealing to a global audience while maintaining theirChinese roots. Carter concludes this essay by considering the economic success ofChinese 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)
- OverseasChinese Students of Modern Art Design and Sino-Foreign Communication in Art Design.Zheng Li-Jun -2010 -Journal of Aesthetic Education (Misc) 1:024.
- Subversive Strategies in ContemporaryChinese Art.Mary Wiseman &Liu Yuedi (eds.) -2011 - Brill.How contemporaryChinese art is creating “a philosophy of life, a philosophy of politics, and a natural philosophy,” as artist Qiu Zhijie says it must, is explored in this collection of essays by philosophers and art historians from America and China.
- The Art ofChinese Brush Painting: Ning Yeh's First Album: An Introduction to Fundamental Philosophy and Basic Subjects.Ning Yeh -1981 - N. Yeh.No categories
- Gardens and the Passion for the Infinite.Fine Arts Aesthetics International Society for Phenomenology &Anna-Teresa Tymieniecka -2003 - Springer Verlag.This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; theChinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)No categories
- Chinese landscape painting and the art of living.Marcello Ghilardi -2021 -Studi di Estetica 21.This article deals with theChinese ink painting tradition, as a paradigm in which art and life are coupled and intertwined. In fact, inChinese classical aesthetics, art and life do not produce a dramatic tension, but are inscribed in a common process of naturalness or spontaneity. The painter has to learn how the breath, or vital energy, that flows in every single image-phenomenon, can be enlivened by the brush strokes. Moreover, the paper builds a dialogue between the (...) European and theChinese main patterns. Showing alternately the continuity or the discontinuity between art and life, both traditions of thought display the possibility to learn a sort of “art of living”, through – and not despite – the dynamic de-coincidence that appears in the folds of human experience. (shrink)No categories
- Medicine is a humane art. The basic principles of professional ethics inChinese medicine.Daqing Zhang &Zhifan Cheng -2000 -Hastings Center Report 30 (4):S8.
- Daoism andChinese Martial Arts.Barry Allen -2014 -Dao: A Journal of Comparative Philosophy 13 (2):251-266.The now-global phenomenon of Asian martial arts traces back to something that began in China. The idea theChinese communicated was the dual cultivation of the spiritual and the martial, each perfected in the other, with the proof of perfection being an effortless mastery of violence. I look at one phase of the interaction between Asian martial arts andChinese thought, with a reading of the Zhuangzi 莊子 and the Daodejing 道德經 from a martial arts perspective. I do (...) not claim that the authors knew about martial arts. It was not Daoist masters who took up martial arts, but martial arts masters who, at a specific time, turned to Daoism to explain the significance of their art. Today, though, Daoist concepts are ubiquitous in martial arts literature, and a reading of these classics from a martial arts perspective shows how they lend themselves to philosophical thinking about this practice. (shrink)
- EarlyChinese Art and Its Possible Influence in the Pacific Basin.Donald F. McCallum &Noel Barnard -1979 -Journal of the American Oriental Society 99 (3):490.No categories
- A Comparative Study of the Philosophy ofChinese and Western Music History From the Perspective of Art Philosophy.Wei Wei,Mingxiao Liu,Yannan Zhu,Benkang Xie,Yang Shen &Guojian Chu -2023 -European Journal for Philosophy of Religion 15 (2):374-391.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 ofChinese. (shrink)
- Appreciating Nature and Art: Recent Western andChinese Perspectives.Glenn Parsons &Xin Zhang -2018 -Contemporary Aesthetics 16 (1).
- The Impossible Nude:Chinese Art and Western Aesthetics.François Jullien -2007 - University of Chicago Press.
- Chinese and Other Asian Modernisms: A Comparative View of Art-Historical Contexts in the Twentieth Century.Teo Hwee Leng Phyllis -2010 -Asian Culture and History 2 (2):P3.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 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)
- Issues of Contemporary Art and Aesthetics inChinese Context.Eva Kit Wah Man -2015 - Berlin: Springer Berlin Heidelberg.This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also bringsChinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution (...) to the fields of art, comparative aesthetics and philosophy. (shrink)
- The Art ofChinese Poetry.Günther Debon,James J. Y. Liu &Gunther Debon -1963 -Journal of the American Oriental Society 83 (3):385.
- TraditionalChinese Aesthetic Approach to Arts.Ting He -2022 -Open Journal of Philosophy 12 (3):312-322.No categories
- TraditionalChinese Humor: A Study in Art and Literature.David R. Knechtges &Henry W. Wells -1973 -Journal of the American Oriental Society 93 (4):633.
- Development and study ofChinese folk art of paper cutting.Keying Wang -forthcoming -Philosophy and Culture (Russian Journal).As a type ofChinese 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 ofChinese national art. (shrink)No categories
- The Bloomsbury research handbook ofChinese aesthetics and philosophy of art.Marcello Ghilardi &Hans-Georg Moeller (eds.) -2021 - New York: Bloomsbury Academic.For anyone working in aesthetics interested in understanding the richness of theChinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces theChinese aesthetic tradition, exploring the import of the term aesthetics intoChinese thought via Japan around the end (...) of the 19th century. It looks back to early practices of art and craftsmanship, showing how the history ofChinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written byChinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of aChinese philosophy of art. (shrink)
- Themes ofChinese painting and their evolution in the process of development of pictorial art.Bin Yan -forthcoming -Philosophy and Culture (Russian Journal).In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions that interest (...) almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development ofChinese painting is a new perspective – the analysis of works based on the "theme". The results of the study revealed the main themes ofChinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development ofChinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China. (shrink)No categories
- Chinese Religious Art. By Patricia Eichenbaum Karetzky.Julia K. Murray -2021 -Journal of the American Oriental Society 137 (3).
- Literature, Arts, Science and Humanity:Chinese Philosophy as Contemporary Philosophy.Andrew Fuyarchuk -2025 -Journal of Chinese Philosophy 51 (2-3):95-98.The Western tradition of metaphysics has been criticized by Chung-ying Cheng on the grounds that it does not have any fruitful bearing on practice. This judgement, however, depends on a concept of metaphysics that Gadamer overturns with a Pythagorean-Platonic ontology. When this side of his philosophy is developed in tandem with Cheng’s onto-generative hermeneutics, in particular its doctrine of harmonization, new possibilities for self-understanding in relation to the grounds of existence are charted: The event of Being emerges from the reciprocity (...) of rhythm in a dialogue self-similar to the rhythms of nature grasped by Cheng in terms of yin and yang. This consolidates a cross-fertilization between Cheng and Gadamer on the trans-historical foundations of hermeneutics. (shrink)
- Arts Education in the People's Republic of China: Results of Interviews withChinese Musicians and Visual Artists.Kathryn Lowry -1988 -The Journal of Aesthetic Education 22 (1):89.
- Xu Bing and ContemporaryChinese Art: Cultural and Philosophical Reflections ed. by Hsingyuan Tsao and Roger T. Ames (review).Peggy Wang -2013 -Philosophy East and West 63 (3):446-448.Xu Bing ranks among the most recognized contemporaryChinese artists in the world today. His lifelong interest in word and image paired with his experiences as part of theChinese diaspora have made him the subject of numerous publications dedicated to exploring culture and communication. With Xu Bing and ContemporaryChinese Art, editors Hsingyuan Tsao and Roger T. Ames bring a welcome addition to this corpus. Compiling seven essays from scholars of art history and philosophy, this volume (...) in the SUNY series inChinese Philosophy and Culture offers a remarkable range of approaches for thinking about not only Xu Bing's work but also contemporary art and culture at large.In their introduction, the editors foreground .. (shrink)
- The Art ofChinese Philosophy: Eight Classical Texts and How to Read Them, written by Paul R. Goldin.Joel Baranowski -2021 -Journal of Chinese Philosophy 48 (2):235-237.
- Chinese Pictorial Art, as Viewed by the Connoisseur.James Cahill &R. H. van Gulik -1961 -Journal of the American Oriental Society 81 (4):448.No categories
- TheChinese on the Art of Painting: Translations and Comments.Shio Sakanishi,Osvald Sirén &Osvald Siren -1936 -Journal of the American Oriental Society 56 (4):531.
- Jizi: A Bridge BetweenChinese Traditional Art and the Present.Curtis Carter -unknown
- Text-image theory: comparative semiotic studies onChinese traditional literature and arts.Xianzhang Zhao -2021 - Roma: Aracne.
- TheChinese Aesthetic Tradition.Li Zehou -2009 - Honolulu: University of Hawai‘i Press.TheChinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to (...) it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures inChinese culture that define "humanity.". (shrink)
- The Art of Rulership: A Study of AncientChinese Political Thought. [REVIEW]Mark Wegierski -1996 -Review of Metaphysics 50 (2):383-383.This work contains a full, critical translation of Huai Nan Tzu, Book 9, Chu-shu, which is part of "an important compendium of knowledge and philosophical speculation... presented to theChinese court of Wu Ti during the first century of the Former Han ". Preceding the translation is a dense philosophical analysis of the treatise, and of its place in a painstakingly reconstructed history of ideas, particular to the development of China up to that date. China had already gone through (...) nearly two millennia of history. (shrink)
- Research on the Function and Influence ofChinese Calligraphy Art in Cross-Cultural Communication.Chang Qing Jia -2024 -European Journal for Philosophy of Religion 16 (4):198-219.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 ofChinese writing, fostering understanding and appreciation among different cultures. The aim of the research is to investigate the function and influence ofChinese calligraphy in fostering cross- cultural communication. This research evaluated the aesthetic assessments of (...) differentChinese calligraphy scripts onChinese 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 showChinese 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)
- Impact of Group Art Therapy Using TraditionalChinese Materials on Self-Efficacy and Social Function for Individuals Diagnosed With Schizophrenia.Jie Tong,Wei Yu,Xiwang Fan,Xirong Sun,Jie Zhang,Jiechun Zhang &Tingting Zhang -2021 -Frontiers in Psychology 11.The purpose of this study was to examine the effect of group art therapy using traditionalChinese materials on improving the self-efficacy and social function of individuals diagnosed with schizophrenia. In China, little research has been conducted on patients to measure the effectiveness of group art therapy, especially using traditionalChinese materials. To address this research gap, 104 individuals diagnosed with schizophrenia were tested in a group art therapy program that included 30 treatment sessions and used a wide (...) variety of materials, including traditionalChinese materials, such asChinese calligraphy, traditionalChinese painting,Chinese embroidery, andChinese beads. The effect of art therapy was analyzed using the General Self-Efficacy Scale and Scale of Social Skills for Psychiatric Inpatients. This study demonstrates that group art therapy using traditionalChinese materials can improve self-efficacy and social function, reducing social and life function problems, and promote the recovery of individuals diagnosed with schizophrenia. (shrink)
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David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Area Editors:
David Bourget
Gwen Bradford
Berit Brogaard
Margaret Cameron
David Chalmers
James Chase
Rafael De Clercq
Ezio Di Nucci
Esa Diaz-Leon
Barry Hallen
Hans Halvorson
Jonathan Ichikawa
Monte Johnson
Michelle Kosch
Øystein Linnebo
Paul Livingston
Brandon Look
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Matthew McGrath
Michiru Nagatsu
Susana Nuccetelli
Giuseppe Primiero
Jack Alan Reynolds
Darrell P. Rowbottom
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