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Journal articles on the topic 'Taoist Aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Hung, Yung-Shan, and Shih-Fen Yeh. "The Aesthetics of Curriculum and Taoism." International Journal of Chinese Education 2, no. 1 (2013): 54–69. http://dx.doi.org/10.1163/22125868-12340013.

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Abstract Inspired by the understanding of curriculum as aesthetic text, study on the aesthetics of curriculum has attracted more and more interests in Taiwan. Based on the cultural lens of Taoism, this article aims to explore the theory and implementation of aesthetics of curriculum in a case study. The study found the aesthetics of Taoism in the curriculum can be understood from the aesthetics of relation, and the aesthetics of simplicity and plainness, which lead to the reconstruction of the way of “Being” in education. The aesthetics of curriculum from a Taoist perspective sheds important l

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2

Chen, Wangheng, Jun Qi, and Pingting Hao. "On Chinese Aesthetics: Interpretative Encounter between Taoism and Confucianism." Culture and Dialogue 6, no. 1 (September 7, 2018): 61–76. http://dx.doi.org/10.1163/24683949-12340042.

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Abstract Chinese aesthetics mainly derives from Confucianism and Taoism. This essay attempts to revisit the main theories that run through Confucian and Taoist aesthetics in order to make them comprehensible within a broader global context. Aesthetics in Confucianism pertains to fields as various as literature, art, music and the natural environment. It holds the idea of ren 仁 (human-heartedness) as the essential attribute of beauty. In comparison, Taoist aesthetics emphasizes the centrality of tao 道 (way), which transpires through naturalness, and, as such, considers natural forms to offer th

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3

Zhen, Zhen, Kai Jin, Xi Zhen, and Ming Meng. "Study on the Campus Public Art under the Influence of Taoist Aesthetics." Applied Mechanics and Materials 99-100 (September 2011): 1331–34. http://dx.doi.org/10.4028/www.scientific.net/amm.99-100.1331.

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This paper investigates the connotation of Taoist aesthetics and applies it to the creation of public art on campus so as to help the campus take on cultural and aesthetics connotation. It also points out that with the influence of Taoist aesthetics public art on campus is of rich aesthetic connotation, which mainly consists of the harmony between man and nature, harmony and coexistence and the beauty of harmony.

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4

Yang, Rong, and Xiaoming Yang. "A Study on Cultural Characteristics of Taoist Clothing." Asian Social Science 16, no. 4 (March 31, 2020): 70. http://dx.doi.org/10.5539/ass.v16n4p70.

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Dress and personal adornment of Taoism, also short for Taoist Clothing. Its refers to the type of clothing with &lsquo;Tao&rsquo; as the core concept. Taoist clothing as a kind of religious symbolic clothing, it can be described as a typical carrier of Chinese traditional culture (especially the Han nationality), which contains Chinese traditional religion, philosophy, aesthetics and technology. By studying the history, form and cultural symbols of Taoist clothing has important significance for help us to deeply understand Chinese traditional costume culture and to discover the valuabl

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5

Ma, Shan. "The treatment of Taoist terms in Chinese-English dictionaries: a study based on Frame Semantics." Lexicographica 36, no. 1 (November 25, 2020): 89–107. http://dx.doi.org/10.1515/lex-2020-0005.

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AbstractThis study argues for a frame semantic approach to the treatment of Taoist terms, which are Chinese culture-specific. It takes three Taoist aesthetic terms 虚(xu), 无(wu) and 静(jing) as a case study to explore how Chinese-English dictionaries can make use of semantic frames in the treatment of Taoist terms. As the study shows, a Taoist-aesthetics frame can be constructed in comparison with the Aestheticsframe in FrameNet. When treating Taoist terms, the core frame element “Entity” facilitates the meaning explanation by making the terms more intelligible. The non-core frame element “Circu

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6

罗, 美云. "Taoist Ecological Aesthetics and Its Modern Value." Advances in Social Sciences 10, no. 08 (2021): 2086–91. http://dx.doi.org/10.12677/ass.2021.108289.

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7

Pajin, Dušan. "Environmental Aesthetics and Chinese Gardens." Dialogue and Universalism 7, no. 3 (1997): 51–65. http://dx.doi.org/10.5840/du199773/46.

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Analysis of Chinese landscape design offered a challenge to test the concepts of environmental aesthetics developed in the West. With comparative approach we improved our understanding of art and environment, and of different strategies (inspired by Taoist, and/or Buddhist concepts) in designing forms of Chinese gardens. In order to describe the "hidden" symbohsm of Chinese landscape design we applied various concepts and metaphors: completeness, large and small, mirror and mirroring, garden as entrance and separate reality, disclosure and concealment, and returning to the source.

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8

Łabędzka, Izabella. "Gao Xingjian’s Dialogue with Literary and Visual Traditions." Porównania 26 (June 15, 2020): 331–43. http://dx.doi.org/10.14746/por.2020.1.19.

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The paper is devoted to the contemporary Chinese prose and drama writer, painter,stage director and author of experimental art films, Gao Xingjian. My aim is topresent his innovative solutions in the field of different arts and media. I try toanalyze his works in a broad context of Eastern and Western culture and to showthe flexibility with which he crosses the narrow borders of arts, makes use of therich heritage of his native traditional culture, Chinese Taoist philosophy with itsprocessual understanding of reality. I also point at his interest in the aesthetics ofemptiness and artistic mini

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9

Ghim Lian Chew, Phyllis. "The Great Tao." Journal of Baha’i Studies 4, no. 2 (1991): 11–39. http://dx.doi.org/10.31581/jbs-4.2.2(1991).

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Very little is known of the similarities shared by the Great Tao as conceived in the immortal Taoist canon, the Tao-te ching, and the nature of God and the teachings of God's messengers as expounded by Bahá’u’lláh and ‘Abdu’l-Bahá. This article focuses on the Great Tao of the ancient Chinese people, a Tao whose eternal spirit has seeped into the very heart of Chinese tradition, culture, and way of life for centuries, and which is manifest in various aspects of Chinese thought and life as well as in the more apparent aesthetics of calligraphy, painting, and poetry. This article compares the sim

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10

Canário, Tiago. "On the problem of defining manga: A study about the influence of Taoism and Zen Buddhism on manga aesthetics." ALTERNATIVE FRANCOPHONE 1, no. 10 (September 22, 2016): 81–99. http://dx.doi.org/10.29173/af28220.

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Since the expansion of Japanese comic books throughout western countries, the so-called “manga style” has get attention from audiences and theorists. But how can we identify such Japaneseness? Trying to fulfill readers` interests, books have been published under the how-to-draw-manga label, usually highlighting the visual composition of characters, from clothes to facial expressions to hairstyle. From the academic perspective, particularities of page layout have been also considered since Pierre Fresnault-Deruelle`s idea of tabularity. Such structuralist perspective is also echoed by contempor

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11

Prygoda, Tamila, and Ivan Donets. "Jazz, zen, event as bordering phenomena modern culture." Grani 23, no. 11 (November 25, 2020): 25–33. http://dx.doi.org/10.15421/172098.

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The purpose of the article is a culturological and philosophical understanding of the borderline phenomena of modern culture that arise on the border of different traditions, life strategies, cultural and artistic spheres. The relevance of the study is associated with the methodological and existential need to comprehend some phenomena on the border in the conditions of postmodern culture (intercultural inter-borrowing, ideological crisis, methodological pluralism, consumer society, ethical and aesthetic disorientation, scientism and non-scientific practice of knowledge and experience, etc.),

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12

Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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&nbsp; This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthe

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13

THOMPSON, KIRILL O. "TAOIST CULTURAL REALITY: THE HARMONY OF AESTHETIC ORDER." Journal of Chinese Philosophy 17, no. 2 (June 1990): 175–85. http://dx.doi.org/10.1111/j.1540-6253.1990.tb00407.x.

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14

Thompson, Kirill O. "Taoist Cultural Reality: the Harmony of Aesthetic Order." Journal of Chinese Philosophy 17, no. 2 (February 1, 1990): 175–85. http://dx.doi.org/10.1163/15406253-01702003.

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15

Thompson, Kirill O. "Taoist Cultural Reality: the Harmony of Aesthetic Order." Journal of Chinese Philosophy 17, no. 1 (February 1, 1990): 175–85. http://dx.doi.org/10.1163/15406253-01701003.

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16

Kim Young-Kun. "Philosophical Taoism and Kant's the Aesthetic." Sogang Journal of Philosophy 20, no. ll (February 2010): 5–36. http://dx.doi.org/10.17325/sgjp.2010.20..5.

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17

Teschner, George, and Alessandro Tomasi. "Technological Paradigm in Ancient Taoism." Techné: Research in Philosophy and Technology 13, no. 3 (2009): 190–205. http://dx.doi.org/10.5840/techne200913322.

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Heidegger, Winner, and Ellul's critiques of Western technology focus on a notion of efficiency that subordinates to itself all non-instrumental values. An alternative conception of efficiency is proposed based on the Taoist theory of non-action (wu-wei). The ancient Taoist text, The Chuang Tzu, reveals a type of efficiency that is effective, resourceful, and entrepreneurial. It is a form of action which has an intimate rather than alienated relation to technology, and which is sensitive to the ethical and aesthetic values that Heidegger and Ellul claim are excluded from the Western conception

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18

Yang, Jung Won, and Mi Suk Lee. "A Study on the Aesthetic Sense in Chinese Minimalism Fashion -Focusing on the ‘Do’ Aesthetics of the Taoism-." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 27, no. 2 (June 30, 2021): 233–46. http://dx.doi.org/10.18208/ksdc.2021.27.2.233.

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19

Liu, Rain. "Research on the Application of "Simple Aesthetics" Design Concept in Contemporary Interior Design under the Background of Eastern and Western Culture." Journal of Building Technology 2, no. 1 (July 23, 2020): 13. http://dx.doi.org/10.32629/jbt.v2i1.133.

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By analyzing the philosophical thoughts of "Great Truths Are All Simple" of Eastern Taoism and the design philosophy of "Less is More" born of Western modernism, the design concept of "simple aesthetics" was proposed.And from the five aspects of form, color, material, detail, attitude, and combing the application of the "simple aesthetics" design concept in the interior design under the fusion of Eastern and Western cultural backgrounds, it is concluded that the "simple aesthetics" design concept meets the needs of the times and artistic aesthetics, the positive meaning of the human spirit.

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20

Jung, Hojin, and Hosup Kan. "Taoistic Fashion Aesthetics in Art Deco Fashion." Journal of the Korean Society of Costume 69, no. 1 (January 31, 2019): 127–40. http://dx.doi.org/10.7233/jksc.2019.69.1.127.

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21

Yan, Yang. "Laozi’s Aesthetic Education Philosophy on Self-Education." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 225–28. http://dx.doi.org/10.26689/jcer.v5i8.2484.

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The article deduces the concept of self-education that had been advocated by Laozi, the founder of Taoism, in his philosophy on aesthetic education. From the perspective of his philosophical thoughts, this article analyzes the inspiration and inheritance of “aesthetic” in the Chinese traditional culture based on the concept of self-education, discusses the similarities between the concept of self-education and beauty, as well as explores the internal relationship between self-education and aesthetic feeling so that the enlightenment and value of the concept of self-education in aesthetic educa

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22

Han, Yoon-Sook. "A Taoist Aesthetic Study on 'Joseon-esque style' in the Late Joseon Dynasty." Korean Thought and Culture 92 (March 31, 2018): 253–78. http://dx.doi.org/10.31037/ktac.92.10.

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23

Yang, XiaoMing, and XiangMin Hu. "The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes." Asian Social Science 16, no. 3 (February 27, 2020): 43. http://dx.doi.org/10.5539/ass.v16n3p43.

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The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the pro

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24

Jeong, Jeongok. "A Study on the Taoistic Aesthetics of Literati Paintings." Korean Society for Science of Eastern Art, no. 32 (August 30, 2016): 317–31. http://dx.doi.org/10.19078/ea.2016.32.12.

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25

Królak, Joanna. "„Wykształcony wbrew swej woli” – motyw biblioteki w „Zbyt głośnej samotności“ Bohumila Hrabala." Prace Filologiczne. Literaturoznawstwo, no. 8(11) cz.2 (June 30, 2019): 181–93. http://dx.doi.org/10.32798/pflit.76.

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The article deals with an reinterpretation of the motif of the library and librarian in the novel Too Loud a Solitude by Bohumil Hrabal. The library in this piece is not a repository of knowledge, but a collection of waste paper, just garbage pile for books. The protagonist, digging in this trash of culture, is trying to commit an act of artistic creation through the destruction of books. His reading strategies allow him to take on various figures − a Taoist scholar, Sisyphus, Faust, etc. A key reading for him, however, turns out to be Schopenhauer, from whom he learns that it is love and comp

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26

Skvortsova, Elena L. "Traditional Motives in the Aesthetic Views of the 20th Century Japanese PhilosophersKuki Shuzo, Karaki Junzo, Kato Shinro." Voprosy Filosofii, no. 2 (2021): 175–86. http://dx.doi.org/10.21146/0042-8744-2021-2-175-186.

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The article is devoted to the views of three Japanese philosophers of the 20th century with their example we are convinced the relevance of the traditional worldview in contemporary Japan. Since the Meiji period, Western philosophy and aesthetic theories have constantly influenced the views of Japanese thinkers, but up to this day, traditionalism plays an important role in Japanese thought. This also applies to the emphasis on corporality, human incarnation – the Buddhist position on “the unity of flesh and mind” (shin-jin – itchinyo) and the uncertainty fluidity of all forms of existence o

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27

Murashkin, Mykhailo G. "The phenomenon of self-sufficiency of the mystical-aesthetic experience: a place in understanding the similarity of Christianity, Taoism, religion of ancient Ukrainians and modern mysticism." Ukrainian Religious Studies, no. 38 (February 14, 2006): 85–98. http://dx.doi.org/10.32420/2006.38.1726.

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The problem statement is that the understanding of the fullness as a certain state of consciousness is inherent not only in Christianity. An analysis of recent research on the subject involves the consideration of emptiness as fullness in Chinese mysticism. In view of this, the purpose of the article is to highlight the phenomenon of self-sufficiency and finding the similarity of Christianity, Taoism, the religion of ancient Ukrainians and modern mysticism.

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28

Lin, Lidan. "Merging ‘the Zephyrs of Purgatory’ and ‘Old [Chinese] K’in Music’: The Modernist as Mystic Purist in Beckett’s Dream of Fair to Middling Women." Literature and Theology 34, no. 3 (May 6, 2020): 281–303. http://dx.doi.org/10.1093/litthe/fraa007.

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Abstract This article explores the global influences of Chinese mysticism latent in Chinese K’in music and Christian mysticism on Beckett’s composition of Dream of Fair to Middling Women. I argue that Beckett’s portrayal of Belacqua as a mystic purist is the direct result of his creative appropriation of K’in music, Taoism, and Christian mysticism on the one hand, and his equally creative appropriation of the modernist legacy of inner fiction exemplified by the fiction of Proust and Joyce on the other. By revealing the hybrid roots of Belacqua’s mystic quest, this essay presents a compelling c

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29

Li, Ying, and Hui Fang Li. "Su Shi’s “Transforming into Bamboos” and John Keats’ “Negative Capability”: A Comparative Study." International Journal of Culture and History 8, no. 1 (May 14, 2021): 128. http://dx.doi.org/10.5296/ijch.v8i1.18507.

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The seemingly identical artistic terms put forward respectively by the Chinese poet Su Shi and English poet John Keats, “Transforming into Bamboos” and “Negative Capability” contain significant differences due to their distinct cultural context and the poets’ personal experience. Firstly, their subjective mentalities are different. Rather than the total repression of human faculties and the Taoist world-weary attitude, Su Shi advocates an initiative subject, a fully charged mind with a deep humanistic concern; while for Keats, a state of passiveness and receptiveness overwhelms the exercise of

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30

Kim, soon seob. "A Study on Painting Aesthetics of the Correlation between Ni Zan (倪瓚)’s Secluded (隱逸) Life and Taoism". Journal of The Studies of Taoism and Culture 52 (31 травня 2020): 161–89. http://dx.doi.org/10.38113/jstc.2020.05.52.161.

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31

Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X &ndash; XVII centuries and Japanese woodblock printing of the XVII &ndash; XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of f

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32

Yang, Zhiyi. "Return to an Inner Utopia." T’oung Pao 99, no. 4-5 (2013): 329–78. http://dx.doi.org/10.1163/15685322-9945p0004.

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This article examines Su Shi’s systematic matching of Tao Qian’s poetry during his last periods of exile to the far south. Su understood the aesthetic features of Tao’s poetry as having an ethical dimension. Through emulation of Tao Qian, Su Shi reinterpreted his exile to be a result of his natural inclinations, just like Tao’s reclusion, and even as a felicitous condition for his “return” to an original state of authenticity and spontaneity. By assuming certain agency for his suffering, Su Shi claimed control over his fate and reasserted his freedom of choice. Meanwhile, his poetry betrays a

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33

Maszewski, Zbigniew. "“An Inner Comprehension of the Pueblo Indian’s Point of View”: Carl Gustav Jung’s 1925 Visit to Taos, New Mexico." Text Matters, no. 5 (November 17, 2015): 177–88. http://dx.doi.org/10.1515/texmat-2015-0013.

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Carl Jung paid a short visit to Taos, New Mexico, in January 1925. A brief account of his stay at the Pueblo appeared in Memories, Dreams, Reflections, edited by Aniela Jaffe in 1963. Remembering his conversations with Mountain Lake (Antonio Mirabal), Jung wrote of the confrontation between the “European consciousness,” or the “European thought,” with the Indian “unconscious.” My article provides a reading of Jung’s text as a meeting ground of the aesthetic, emotional, visionary and of the analytical, rational, explanatory. Like many other European and Anglo-American visitors to Taos Pueblo, J

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34

Antoshko, Marina. "THEATRICAL LIFE IN CHINA." Young Scientist 11, no. 87 (2020). http://dx.doi.org/10.32839/2304-5809/2020-11-87-71.

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Based on the study of the problem of Chinese theater and musical art of the country, the original culture of the people is revealed. The problem of studying the worldview system of ancient China as the basis for the emergence of musical tradition has interested many scholars, because it influenced the cultural life of the East. Philosophical views influenced both theatrical life and the musical art of the country. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention was paid to education, especially aesthetics, in C

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35

Hennoste, Tiit. "Kirjandus kui vastupanu Nõukogude Eestis Teise maailmasõja järgsel perioodil." Ajalooline Ajakiri. The Estonian Historical Journal, no. 2/3 (May 27, 2019). http://dx.doi.org/10.12697/aa.2018.2-3.06.

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Abstract: Literature as resistance in Soviet Estonia in the post-World War II period The theme of this article is the resistance that took place in Soviet Estonian literature, literary criticism and literary studies in the post-Second World War period. The article accentuates that different modes and objectives of resistance were central in different periods. Literary resistance is divided into four groups according to the nature of the pressure and the aims of resistance: first, ideological resistance to Soviet ideology in the name of literature that is free of ideology, or in the

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36

Brown, Malcolm David. "Doubt as Methodology and Object in the Phenomenology of Religion." M/C Journal 14, no. 1 (January 24, 2011). http://dx.doi.org/10.5204/mcj.334.

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Photograph by Gonzalo Echeverria (2010)“I must plunge again and again in the water of doubt” (Wittgenstein 1e). The Holy Grail in the phenomenology of religion (and, to a lesser extent, the sociology of religion) is a definition of religion that actually works, but, so far, this seems to have been elusive. Classical definitions of religion—substantive (e.g. Tylor) and functionalist (e.g. Durkheim)—fail, in part because they attempt to be in three places at once, as it were: they attempt to distinguish religion from non-religion; they attempt to capture what religions have in common; and they a

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