Beauty in Deep Emotion

Li, Zehou

doi:10.21313/hawaii/9780824833077.003.0004

Cited by 6 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The essence of art focuses more on the appearance of intangible things, transcends the shackles of external secular standards, and pursues things at the spiritual, emotional and spiritual level, thus forming a natural, simple, and mysterious flavor. The highest realm of art is to linger around, like and like [2]. Taoist aesthetic thought pays more attention to beauty, aesthetics and the naturalness, super utilitarianism and emotional infection of art.…”

Section: The Relationship Between Taoist Aesthetic Thought and Artmentioning

confidence: 99%

“…Similar to Chinese philosophy, Chinese aesthetics focuses more on function, relationship and rhythm than on objects and entities. The aesthetic relationship emphasized by Taoism is internal, spiritual and substantive beauty, and is a non cognitive law of artistic creation [2]. "Tao" is the meta category of Laozi's philosophy and aesthetics, with "loftiness" and "ultimate" [4].…”

Section: The Relationship Between Taoist Aesthetic Thought and Artmentioning

confidence: 99%

“…Words are valuable, but meanings are. The world values words, but words are not words (Zhuangzi • Tiandao) In these seemingly mysterious sayings, it has more grasped the basic characteristics of art, aesthetics and creation than Confucianism and any other school: image is greater than thought; Imagination is more important than concept; Great as clumsy, unable to express one's meaning; To use one's will without confusion is to concentrate on God [2]. The Twenty fifth Chapter of Laozi says that "man follows the earth, the earth follows the heaven, the heaven follows the Tao, and the Tao follows the nature", and Zhuangzi's Theory of Unification of Things says that "heaven and earth live side by side with me, and all things and I are one".…”

Section: The Relationship Between Taoist Aesthetic Thought and Artmentioning

confidence: 99%

See 2 more Smart Citations

Interpreting Chang Yu’s Painting with Taoist Aesthetics

Yan¹

2023

Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022)

View full text Add to dashboard Cite

When Chang Yu was young, he studied Chinese painting with his father. Later, he came into contact with Western Fauvism and Post Impressionism, forming Chang Yu's artistic style of integration of China and the West. In addition, Chang Yu insisted on his own way in art and pursued spiritual freedom. He experienced ups and downs in his life, thus forming a unique Chinese and Western artistic style. Aesthetically, under the principle of "Tao follows nature", Taoist aesthetic thoughts represented by Laozi and Zhuangzi pay more attention to beauty and aesthetics and the natural, super utilitarian and emotional appeal of their art, forming an aesthetic thought that advocates nature and pursues aesthetic freedom. In academic research, there are some studies between Taoist aesthetics and traditional landscape painting, while there is not much research between Taoist aesthetics and Chang Yu's paintings. In a sense, Taoist aesthetic thought is consistent with Chang Yu's painting, which plays a supporting role. Taoist aesthetic thought provides spiritual value for his paintings. At the same time, Chang Yu's paintings better show Taoist thought. This article will explore how to interpret Chang Yu's painting with Taoist aesthetic ideas by combining image analysis, literature research and comparative research. In order to deepen the relationship between Taoist aesthetic thought and art, at the same time, through the perspective of Taoist aesthetic thought to look at the painting of the integration of China and the West, it better explains that art has no borders, and verifies that art has certain similarities. Taoist aesthetic thought is also a concentrated reflection of literature, culture, philosophy and religion, strengthening the intersection and integration of disciplines.

show abstract

Section: The Relationship Between Taoist Aesthetic Thought and Artmentioning

confidence: 99%

Section: The Relationship Between Taoist Aesthetic Thought and Artmentioning

confidence: 99%

Section: The Relationship Between Taoist Aesthetic Thought and Artmentioning

confidence: 99%

See 1 more Smart Citation

Interpreting Chang Yu’s Painting with Taoist Aesthetics

Yan¹

2023

Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022)

View full text Add to dashboard Cite

show abstract

“…17 The contention between these schools of thought led to an upsurge in aesthetics. Despite 11 Cai Yi, New Aesthetics (Chongqing: Qunyi Press), 1948. its distinct color of class struggle and political ideological struggle, the debate about aesthetics was unprecedented in China, which is why the academic circles still call it "the 1950's Great Debate on Aesthetics" or "four schools of Chinese aesthetics" and give it other academic honorary titles, which almost hide the political and ideological struggle dominated by the leftist thought.…”

Section: The Bustle Of Zhuyimentioning

confidence: 99%

The Bustle and the Absence of Zhuyi: The Example of Chinese Aesthetics

Jian-jiang¹

2017

Art+Media

View full text Add to dashboard Cite

Abstract:Compared with the rapid development of Chinese economy, which is the leading one in the world, modern philosophy and aesthetics in China are in a position that is subordinate to the West. In contemporary Chinese aesthetics, for instance, there have occurred heated discussions and a craze for aesthetics as well as various rampant Zhuyi in the 1950s and 1980s. However, the debate of Zhuyi in the 1950s was described as politicized and of a low level. The bustle of Zhuyi in the 1980s bore witness to all kinds of doctrines and -isms in Western philosophy and aesthetics that also found their way into China, although Chinese philosophers and aestheticians remained merely spectators to these processes. A closer look can disclose the reasons behind the absence of Zhuyi in Chinese philosophy and reveals the roles played by aesthetics and the humanities as a whole in the earlier bustle of Zhuyi. There are subjective and objective reasons for the weakness of Chinese academic power. There exists a severe imbalance between underdeveloped Chinese philosophy and aesthetics and the developed economy. Eliminating the imbalance is essential for China to pursue development further, but the emergence of a new balance is not possible without the establishment of Zhuyi and schools.

show abstract

“…This is a characteristic that beauty and aesthetics have in common. 5 Hereby Li argues that beauty lies in "significant form" instead of ordinary form. The significant form is natural form that possesses a socially defined content or sociality.…”

Section: Art As Sedimentationmentioning

confidence: 99%

Art as Sedimentation

Wang

2010

Journal of Chinese Philosophy

View full text Add to dashboard Cite

Beauty in Deep Emotion

Cited by 6 publications

References 0 publications

Interpreting Chang Yu’s Painting with Taoist Aesthetics

Interpreting Chang Yu’s Painting with Taoist Aesthetics

The Bustle and the Absence of Zhuyi: The Example of Chinese Aesthetics

Art as Sedimentation

Contact Info

Product

Resources

About