Eastern and Western creativity of tradition

Wang, Tsung-Juang; Chen, Qiduan

doi:10.1080/09552367.2021.1933735

Asian Philosophy

2021

DOI: 10.1080/09552367.2021.1933735

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Eastern and Western creativity of tradition

Tsung-Juang Wang

Qiduan Chen

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2024

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Cited by 3 publications

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“…A current literature gap concerns the philosophical dimension of creativity, particularly insights that are derived from Eastern traditions. To be sure, there is a growing collection of writings that examine philosophical issues that pertain to creativity (e.g., Berys & Matthew, 2018; Chung, 2022; Gaut, 2010; Klausen, 2010; Niu, 2013; Paul & Kaufman, 2014; Wang & Chen, 2021). Researchers have also reported on Eastern approaches to and influences on creativity (e.g., Carlile & Jordan, 2012; Kaufmann & Beghetto, 2009; Lubart, 2010; Morris & Leung, 2010; Ng, 2004; Rudowicz & Yue, 2000).…”

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“…To date, there is limited research on Daoist interpretations of creativity. A literature review shows less than a dozen of publications on the relationship between Daoism and creativity (Bracken, 1993; Chang, 2011; Chung, 2022; Hall, 1978; Niu, 2013; Niu & Sternberg, 2006; Wang, 2021; Wang & Chen, 2021; Yang, 2017), including one paper published in this journal (Kuo, 1996). Of these, most discussed Daoism in general terms and did not engage in a detailed exposition of philosophical concepts through a textual analysis of Daoist texts.…”

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Daoism, Novelty, and Usefulness: A Philosophical Exploration of Creativity

Tan

2022

Journal of Creative Behavior

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This paper elucidates a Daoist perspective of creativity by focusing on novelty and usefulness. Drawing on the thought of Zhuangzi, it is noted that he advocates original and unorthodox views by challenging social norms and traditional practices. He also questions the prevailing notions and assumptions concerning the usefulness and uselessness of things and people. To liberate humans from conventional commitment and judgment, Zhuangzi recommends two Daoist concepts. The first is "fasting of the heart-mind" (xin zhai) where a person empties oneself of preconceived ideas and practices. The second Daoist notion is "wandering" (you) where one responds to people, things, and situations in an open-minded, appreciative, playful, and spontaneous manner. There are three major implications arising from a Zhuangzian conception of creativity: it contributes to an existing literature gap on the philosophy of creativity, extends the research on Eastern formulations of creativity that hitherto have centered on Confucianism, and challenges and reconstructs the prevalent understandings and presuppositions concerning creativity and related terms.

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confidence: 99%

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confidence: 99%

Daoism, Novelty, and Usefulness: A Philosophical Exploration of Creativity

Tan

2022

Journal of Creative Behavior

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Bridging Cultural Perspectives: Developing a Sustainable Framework for the Comparative Aesthetic Evaluation of Eastern and Western Art

Wang,

Jiang,

Ning

et al. 2024

Sustainability

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Sustainability in art is crucial for fostering intercultural understanding and preserving cultural heritage, which is essential to promoting the Sustainable Development Goals (SDGs). In previous research on Western and Chinese art, studies typically focused on individual artists and summarized their aesthetic values, often suffering from a lack of comparative analysis, a unidimensional sensory perspective, and a deficiency in comprehensive aesthetic evaluation standards. Consequently, this study selected representative watercolor works from five master artists in Western and Chinese art history as an example, constructing a comprehensive aesthetic evaluation system focusing on composition, color, themes, and techniques. Beginning with the influence of aesthetic and non-aesthetic perspectives by natural experimental method, the research employs correlation analysis and structural equation modeling to analyze the functional relationships between evaluative factors, perspective forces, and the overall aesthetic appeal of the paintings. Furthermore, the study reveals the distinctions between Eastern and Western paintings through multi-group analysis. Key findings include the following: Evaluation factors have varying effects on the influence of aesthetic and non-aesthetic perspectives. All factors, except conceptual expression (X12), brushwork expressiveness (X14), and watercolor language (X16), positively impact the overall aesthetic appeal. In mediation effects, X16 positively mediates between the influence of aesthetic perspectives and the overall aesthetic appeal. Factors such as warm–cool relationship (X8), X12, emotional atmosphere (X11), X14, and X16 positively or negatively affect the relationship between non-aesthetic perspectives and the overall aesthetic appeal. Multi-group analysis reveals significant differences in the evaluation factors and mediation effects that influence the overall aesthetic appeal. This study demonstrates the relationship between evaluation factors from different perspectives and aesthetics, providing valuable insights into evaluating Eastern and Western art. This evaluation system is applicable to academic research and practice in cultural heritage preservation and evaluation and art education, facilitating a deeper understanding of artistic values and promoting cross-cultural exchanges.

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Daoist Creativity through Interconnectedness and Relational Dynamics in Pedagogy

Wang

2022

Philosophical Inquiry in Education

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Eastern and Western creativity of tradition

Cited by 3 publications

References 4 publications

Daoism, Novelty, and Usefulness: A Philosophical Exploration of Creativity

Daoism, Novelty, and Usefulness: A Philosophical Exploration of Creativity

Bridging Cultural Perspectives: Developing a Sustainable Framework for the Comparative Aesthetic Evaluation of Eastern and Western Art

Daoist Creativity through Interconnectedness and Relational Dynamics in Pedagogy

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