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Journal articles on the topic 'Western aesthetics'

Author: Grafiati

Published: 3 June 2025

Last updated: 1 August 2025

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1

Zhang, Jiang, and Ita Wang. "Chinese and Western Aesthetic Realization in Traditional Chinese Instrumental Performance: Perspectives of Scholars and Students." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 11 (2024): e003075. https://doi.org/10.47405/mjssh.v9i11.3075.

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Chinese and Western music aesthetics arise from two different cultural backgrounds. While previous research has explored the evolution and interaction of Chinese and Western aesthetics, their specific impact on Traditional Chinese Instrumental Performance (TCIP) has been overlooked. This study investigates the intersection of Chinese and Western music aesthetics in TCIP, focusing on the perspectives of music scholars and students. To address this gap, the study employed narrative inquiry with music scholars (n=4) and semi-structured interviews with music major students (n=8). It explores how C

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2

Lu, Minwen. "Briefly Describe the Historical Evolution of Western Aesthetic Thought — Take Zhu Guangqian’s History of Western Aesthetics as a Reference." Art and Society 2, no. 6 (2023): 22–30. http://dx.doi.org/10.56397/as.2023.12.04.

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Zhu Guangqian’s History of Western Aesthetics provides a valuable framework for understanding the historical evolution of Western aesthetic thought. It illustrates how various philosophers, artists, and movements have shaped and reshaped our understanding of beauty, art, and the role of aesthetics in Western culture.

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Zhang, Jiang, and Ita Wang. "Comparative Study on Chinese and Western Aesthetics in Music Performance." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 5 (2025): e003386. https://doi.org/10.47405/mjssh.v10i5.3386.

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This study conducts a comparative analysis of Chinese and Western aesthetic principles in music performance, focusing on Confucian and Taoist aesthetic concepts (He, Qing, Qi) and Western notions of autonomy and heteronomy. Through qualitative content analysis of 61 scholarly texts, the research examines how these philosophies shape performance practices. Findings reveal that Confucian aesthetics emphasizes He as a tool for moral education and social cohesion, requiring performers to balance technical precision with ethical expression. Taoist aesthetics prioritizes spontaneity and natural flow

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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.

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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concer

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卢, 菁. "Conceptus and Aesthetic Contemplation in Early Classical Western Aesthetics." Advances in Philosophy 12, no. 08 (2023): 1499–505. http://dx.doi.org/10.12677/acpp.2023.128252.

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Dirgualam, Oki, Dadang Suganda, Buky Wibawa, and Kunto Sufianto. "ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER." Paradigma: Jurnal Kajian Budaya 11, no. 1 (2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.

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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a des

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He, Jie. "Exploring the Similarities, Differences and Integration of Eastern and Western Aesthetics." Journal of Education and Educational Research 12, no. 2 (2025): 130–33. https://doi.org/10.54097/qfh8qq27.

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Against the backdrop of accelerating globalization, it is of great significance to conduct in - depth research on the similarities, differences, and integration of Eastern and Western aesthetics. This paper traces back the development histories of Eastern and Western aesthetics. Western aesthetics originated from ancient Greece and Rome and has shown a diversified trend after going through the Middle Ages, the Renaissance, the Enlightenment, and into the modern era. Eastern aesthetics is represented by China and Japan. Chinese aesthetics originated in the pre - Qin period and has developed thr

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John, Eileen. "Can Aesthetics Be Global?" Royal Institute of Philosophy Supplement 93 (May 2023): 209–30. http://dx.doi.org/10.1017/s1358246123000061.

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AbstractPhilosophical aesthetics is to some extent beholden to what I will call personal aesthetics. By personal aesthetics, I mean the phenomena of individual aesthetic sensitivity: how each of us discerns and responds to elements of experience. I take that sensitivity to be finely woven into feeling to some degree at home in the world. There is something extremely local, and in a certain sense unreflective, about personal aesthetics – it is hard to notice one's own, historically specific aesthetic formation. Philosophical aesthetics, meanwhile, aspires to understand aesthetic life in a more

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ZHAO, Xiaoran. "The evolution and development of "slow film" aesthetics in China: time, meditation and poetic expression." Region - Educational Research and Reviews 6, no. 9 (2024): 97. https://doi.org/10.32629/rerr.v6i9.2845.

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As a unique film aesthetics, slow film has experienced the process of development from introduction, imitation to localization. By sorting out the changing trajectory of slow film aesthetics in China, this paper focuses on the three core dimensions of time, meditation and poetic expression, and discusses how Chinese slow films absorb and draw on Western aesthetics while combining Chinese philosophy and aesthetic tradition, to form a unique aesthetic style with Chinese characteristics.

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Khanam, Bushra. "Harmonizing Beauty: A Comparative Study of Western and Indian Approaches to Aesthetics." International Journal for Research in Applied Science and Engineering Technology 13, no. 1 (2025): 446–51. https://doi.org/10.22214/ijraset.2025.66290.

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Aesthetics is an intricate field of philosophical inquiry that attempts to define and explore the nature of beauty, art, and taste. Within Western and Indian intellectual traditions, aesthetic theories have evolved to serve different cultural, philosophical, and spiritual functions. This paper offers a comparative study of Western and Indian aesthetic discourses, tracing their foundational theories, key philosophical perspectives, and how they have informed artistic practice. From the Western emphasis on reason, representation, and mimesis, to the Indian focus on emotional engagement and trans

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Rojas, Carlos, and Liu Kang. "Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Contemporaries." Chinese Literature: Essays, Articles, Reviews (CLEAR) 23 (December 2001): 164. http://dx.doi.org/10.2307/495509.

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12

Sartwell, Crispin. "Cure for Kant: Art as Experience as One of the Four Fundamental Texts in Aesthetics." Journal of Aesthetic Education 58, no. 4 (2024): 73–85. http://dx.doi.org/10.5406/15437809.58.4.07.

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Abstract The article argues that Dewey's Art as Experience is one of just four foundational texts in Western aesthetics, which break down into two oppositions: Plato's Republic versus Aristotle's Poetics and Kant's Critique of Judgment versus Art as Experience. It points out that Dewey's book, after decades of neglect, has helped give rise to a number of rich aesthetic subdisciplines, including everyday aesthetics, environmental aesthetics, somaesthetics, and political aesthetics.

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Auger, Emily. "Inuit Woman Artists and Western Aesthetics." Dialogue and Universalism 7, no. 3 (1997): 179–86. http://dx.doi.org/10.5840/du199773/418.

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Inuit artists espouse aesthetic values which are indicative of the degree of their involvement with the western art world and of the non-artistic cultural values which they wish to convey and perpetuate in their own communities. It is in this latter expression that Inuit aesthetics may be studied as a conveyor of Inuit rather than non-Inuit culture. In this paper, the statements made by Inuit woman artists from the Keewatin district are analysed with reference to the values associated with contemporary mainstream fine art and the artists' own assertions regarding the importance of non-artistic

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Turenko, Vitalii. "SPECIFICS OF DEVELOPMENT OF AESTHETICS STUDIES: BETWEEN SOVIET AND CHINESE MARXISM." Bulletin of Taras Shevchenko National University of Kyiv. Philosophy, no. 7 (2022): 56–60. http://dx.doi.org/10.17721/2523-4064.2022/7-10/11.

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The article reveals the features of the formation and functioning of aesthetic research in such two areas of Marxism as Soviet and Chinese. The study identified three key stages in the development of aesthetics in Soviet Marxism – the pre-war (the 1920s and 1930s), late Stalinism and the Khrushchev thaw, and the late period (1970-1980s). It should be noted that in the context of Soviet Marxism, the key tasks were that aesthetics becomes influential and in-demand science, included in the program of "technical progress" and "education of the builder of communism", important ideological, aestheti

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Mirra, Federica. "Water calligraphy: A living aesthetics in China’s south-western cities." Journal of Contemporary Chinese Art 11, no. 1 (2024): 51–74. http://dx.doi.org/10.1386/jcca_00094_1.

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This article examines the popular practice of water calligraphy (dishu) across Changsha, Guiyang and Chongqing to demonstrate its aesthetic potential. Specifically, it suggests that dishu can be interpreted as a new expression of calligraphy and an exemplary case of living aesthetics. To demonstrate this, this article discusses the author’s on-site observations and conversations with water calligraphers alongside the longstanding aesthetic principles of traditional calligraphy and the experimental works by Wang Dongling (b. 1945) and Song Dong (b. 1966). Moreover, by adopting a socio-geographi

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Pang, Xiangyi. "The Aesthetic Code: Aesthetic Process Theory from the Perspective of Information." Information Theories and Applications 32, no. 2 (2025): 117–26. https://doi.org/10.54521/ijita32-02-p02.

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This paper examines the aesthetic process through the lens of information philosophy, seeking to innovate traditional aesthetic theory. Western aesthetics has been shaped by a subject-object dualism that overlooks the informational nature of beauty. Chinese aesthetics, with its "unity of heaven and humanity," similarly lacks a detailed analysis of the informational aspects of the aesthetic process, resulting in a lingering mystique. The philosophy of information offers a new framework, distinguishing between natural, self-oriented, and regenerated information, which forms the basis for underst

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Yuhang, Chen Yuhang, and Iarîna Savițkaia Baraghin. "EXPLORING THE AESTHETIC CONCEPT OF 'YIJING' IN SHANGHAI SCHOOL OIL PAINTING." Review of Artistic Education 30 (May 30, 2025): 293–97. https://doi.org/10.35218/rae-2025-0040.

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Abstract: This paper centers on the core concept of yijing in traditional Chinese aesthetics, exploring its manifestation in Shanghai School oil paintings and its unique role in the fusion of Eastern and Western art. Shanghai School artists, while adopting Western painting techniques, preserved the aesthetic of yijing rooted in Chinese tradition, creating a modern oil painting style characterized by the lively spirit Vivid Spirit of Chinese painting. This paper examines aspects such as composition, color use, and the interplay between emptiness and substance within Shanghai School oil painting

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Chen, Tina Mai. "Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Contemporaries (review)." China Review International 10, no. 1 (2003): 213–15. http://dx.doi.org/10.1353/cri.2004.0015.

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Liu, ChunXiu. "Differences and Integration of Chinese and Western Urban Garden Architectural Aesthetics." American Journal of Arts and Human Science 3, no. 2 (2024): 56–63. http://dx.doi.org/10.54536/ajahs.v3i2.2756.

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From the perspective of Chinese and Western urban aesthetics, the article studied 15 existing scientific literature sources in terms of building types, building scale, gardening art, the relationship between gardens and architecture, the aesthetic style of castles and buildings, artistic origins, and aesthetic tastes. Using the classification and comparative analysis method, the artistic characteristics of Chinese and Western classical gardens were compared, the reasons for the differences in the artistic characteristics of Chinese and Western classical gardens were analyzed, and it was pointe

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Zhang, Xiayi. "The Differences between Traditional Chinese Clothing Aesthetics and Western Clothing Aesthetics." Arts Studies and Criticism 5, no. 1 (2024): 1. http://dx.doi.org/10.32629/asc.v5i1.1852.

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There are significant differences between traditional Chinese clothing aesthetics and Western clothing aesthetics in terms of materials and design styles, colors and patterns, as well as cutting and dressing styles. Traditional Chinese clothing focuses on natural materials, details, and craftsmanship, and emphasizes overall balance. While Western clothing tends to various kinds of materials, personality traits, and fashion trends, they pursue uniqueness and innovation more. In terms of colors and patterns, traditional Chinese clothing prefers bright colors and traditional patterns, emphasizing

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21

O, Michaela. "Dividual Film Aesthetics." Philosophy International Journal 6, no. 2 (2023): 1–6. http://dx.doi.org/10.23880/phij-16000294.

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The term “dividual” aims to present a critical view of the Western conception of persons and artworks as individuals. It is used in Euro-American anthropology in order to analyze the practical and ethical interferences between single persons and communities mainly in non-Western cultures. It is also used by Gilles Deleuze in Cinema 1. The Movement-Image in order to describe the aesthetic and self-affective character of films: since the filmic images cannot be temporarily fixed and individualized, he calls them “dividual”, much like contemporary plurivocal musical compositions. He reads their a

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Arke, Pia. "Ethno-Aesthetics (Excerpt)." TURBA 3, no. 2 (2024): 31–32. https://doi.org/10.3167/turba.2024.030204.

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So, Western appropriation and marginalization of the alien is constantly at work. You may want to stress that postcolonialism is an intellectual invention combining postmodernism and anti-colonialism in a way that conceals the continuation of colonialism by other forms of suppression and exploitation of the Third World. However, this is not an insight that in itself will transcend the regime of Western intellectualism from which it has sprung.

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Saito, Yuriko. "Everyday aesthetics and world-making." Contrastes. Revista Internacional de Filosofía 25, no. 3 (2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.

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The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This po

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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and

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Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.

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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the pr

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Niblock, Howard, and Edward Lippman. "A History of Western Musical Aesthetics." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 219. http://dx.doi.org/10.2307/431558.

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Musgrave, Michael, and Edward Lippman. "A History of Western Musical Aesthetics." Notes 51, no. 1 (1994): 97. http://dx.doi.org/10.2307/899184.

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Pizà, Antoni, and Edward Lippman. "A History of Western Musical Aesthetics." Cahiers de musiques traditionnelles 7 (1994): 247. http://dx.doi.org/10.2307/40240204.

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Murphy, Jennifer M., and Sidi M. Omar. "Aesthetics of Resistance in Western Sahara." Peace Review 25, no. 3 (2013): 349–58. http://dx.doi.org/10.1080/10402659.2013.816553.

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Hamilton, Andy, and Roger Scruton. "The Aesthetics of Western Art Music." Philosophical Books 40, no. 3 (1999): 145–59. http://dx.doi.org/10.1111/1468-0149.00149.

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Li, Jieqiong. "Aesthetic appreciation of animals in China: a vision out of Western Aesthetics." Asian Philosophy 31, no. 2 (2021): 160–77. http://dx.doi.org/10.1080/09552367.2021.1886632.

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Zhang, Chao. "Understanding of the relationship between natural emotion and artistic aesthetics in Huainanzi." Advances in Economics and Management Research 1, no. 2 (2022): 181. http://dx.doi.org/10.56028/aemr.1.2.181.

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"Huainanzi" is a work edited by the Huainan king Liu An in the early Western Han Dynasty, and it is also called "Huainan Honglie". There are many discourses on the relationship between emotion and artistic aesthetics in the book, which have been related to the nature of artistic generation, creative process, and aesthetic appreciation. They are systematic.“Huainanzi” puts forward some profound and important viewpoints around emotion and art, such as a deep understanding of natural emotions, Fen zhong ying wai" "Zhong you ben zhu" "Jun xing zhe" . Such propositions are elaborated in-depth in th

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Zhang, Chao. "Understanding of the relationship between natural emotion and artistic aesthetics in Huainanzi." Advances in Economics and Management Research 2, no. 1 (2022): 181. http://dx.doi.org/10.56028/aemr.2.1.181.

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"Huainanzi" is a work edited by the Huainan king Liu An in the early Western Han Dynasty, and it is also called "Huainan Honglie". There are many discourses on the relationship between emotion and artistic aesthetics in the book, which have been related to the nature of artistic generation, creative process, and aesthetic appreciation. They are systematic.“Huainanzi” puts forward some profound and important viewpoints around emotion and art, such as a deep understanding of natural emotions, Fen zhong ying wai" "Zhong you ben zhu" "Jun xing zhe" . Such propositions are elaborated in-depth in th

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Qing, Wang. "Practice of Contemporary Dance Education under the Visual Threshold of Modern Chinese Aesthetic Education—Starting from “Aesthetic Education Brochure”." World Journal of Educational Research 10, no. 6 (2023): p251. http://dx.doi.org/10.22158/wjer.v10n6p251.

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Schiller’s aesthetic thought has always been a link and important presence in the development of German classical aesthetics. He not only critically inherited Kant’s aesthetic thought to discuss beauty with subjective and rational empiricism, but also inspired Schelling, Hegel and other western aesthetic masters to understand beauty; In addition, his thought of “aesthetic education” was founded for the first time when Western aesthetics was in the ascendant. As Chinese esthetician Zhou Xian states in his introduction, “The pursuit of this complete humanity is the most powerful appeal of the Bo

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Fordham, Douglas. "Costume Dramas: British Art at the Court of the Marathas." Representations 101, no. 1 (2008): 57–85. http://dx.doi.org/10.1525/rep.2008.101.1.57.

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Arriving at the Maratha court of Poona in the 1790s, British artists struggled to integrate metropolitan aesthetics into the business of imperial expansion. "Costume" lay at the heart of this conflict, pitting an aesthetic concept against an early ethnographic tool of the East India Company. By focusing on British representations of the Maratha durbar, this essay argues that "costume" tested the ideological limits of Western aesthetics and imperial representation at the turn of the century.

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Dhakal, Lekha Nath. "Black Art: An Aesthetic Transformation for Freedom and Justice." KMC Research Journal 3, no. 3 (2019): 91–99. http://dx.doi.org/10.3126/kmcrj.v3i3.35716.

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This paper attempts to explore African Americans’ world view and its roots in Black Aesthetics. It also reveals that Black art is an aesthetic transformation of African Americans for freedom and an expectation of a higher level of life. Supporters of Black Aesthetics appealed to black artists to establish a new standard of judgment and beauty based on African myths, spirituality, belief systems and music in opposition to Western aesthetic. However, the Black Aesthetics had its origins in those first artistic resonances of black slaves in the form of spirituals, coded singing and signifying, an

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Jenkins, Chris. "Assimilation and Integration in Classical Music Education." Action, Criticism, and Theory for Music Education 21, no. 2 (2022): 156–81. http://dx.doi.org/10.22176/act21.2.156.

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Conservatories and orchestras based in the US have attempted to become more diverse by increasing their recruitment of students of color. This approach, however, fails to acknowledge that the aesthetic environments of these institutions, having been designed by and for a White majority, require these students to assimilate into environments that may be aesthetically foreign. This article argues that culturally situated aesthetic differences are key to understanding the lack of diversity within classical music. Because the aesthetics of western classical music do not broadly appeal to communiti

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Turenko, V. E., and N. V. Yarmolitska. "SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 24–28. http://dx.doi.org/10.17721/ucs.2021.1(8).05.

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The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and th

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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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Awad, Milind E. "Social Postulation of Dalit Aesthetics." Current Research Journal of Social Sciences and Humanities 7, no. 1 (2024): 56–60. http://dx.doi.org/10.12944/crjssh.7.1.06.

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This article formulates the conceptual basis of Dalit aesthetics emerging from the experience and materiality of Dalit life. This article departs from the mainstream idea of aesthetics in Indian and Western philosophical traditions. It contextualizes the concept of peripheral aesthetics, which emerges from cultural production from below the social strata. This article complicates the dominant notion of aesthetics as beauty, taste, and art and locates the idea of aesthetics in moral and ethical domains. Aesthetics is often thought of as one branch of philosophy, sometimes a secondary branch of

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Wang, Xinyue. "The Moon and Its Emotions: A Comparative Study of the Symbol of "Moon" in Chinese and Western Poetry." Communications in Humanities Research 53, no. 1 (2025): 73–80. https://doi.org/10.54254/2753-7064/2025.21767.

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In both Chinese and Western poetry, the moon serves as an important carrier for expressing universal human emotions, often symbolizing longing, loneliness, and other feelings. Due to differences in cultural traditions and aesthetic orientations, there are significant disparities in the connotations, aesthetic layers, and artistic expressions of the moon imagery between Chinese and Western poetry. Chinese poetry tends to use the moon to express inner emotions and philosophical reflections, while Western poetry focuses more on the moons natural attributes and objective representations. A compara

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Johnson, Jonathan W., and Robert R. Clewis. "The Sublime Extends to Chinese Aesthetics." Philosophy East and West 75, no. 1 (2025): 163–88. https://doi.org/10.1353/pew.2025.a949590.

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Abstract: A widespread view denies that there is a concept of the sublime in Chinese thought and philosophical aesthetics. This denial is a mistake. We examine texts and artworks that indicate that the experience of the sublime can be found in Chinese aesthetics and theories of art and aesthetic experience. To show this, we first present an overview of the sublime extracted from western writers: we describe the sublime experience’s structure, objects, and status as a mixed (but ultimately pleasant) experience. These themes are then taken as a guide for the analysis of Chinese terms relating to

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Cipriani, Gerald. "The Self-Overcoming of (Western) Postmodern Aesthetics." ESPES. The Slovak Journal of Aesthetics 9, no. 1 (2020): 16–25. https://doi.org/10.5281/zenodo.6331058.

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This essay explores the nihilistic nature of the idea of postmodern aesthetics in the Western world by highlighting its historical and cultural specificity in contrast with non-Western postmodernities, in particular in East Asia, and this in spite of their formal similarities. We then have to question the nature, possibility and implication of Western postmodern aesthetics overcoming itself within the context of globalisation.

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Fernández, Gómez Rosa. "Yanagi, Ceramics and the Craft Values of Korean Aesthetics." ESPES. The Slovak Journal of Aesthetics 11, no. 1 (2022): 18–26. https://doi.org/10.5281/zenodo.6622522.

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The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony (chanoyu), has played an important role in the development of Korean aesthetics in the_twentieth century. The art critic and philosopher Yanagi Sōetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities — such as naturalness, nonchalance, and simplicity — akin to praised values in Zen Buddhism. Yanagi’s pioneering writings might have been influential in the

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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.

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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japane

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Baudinette, Thomas. "Bachelor Japanists: Japanese Aesthetics and Western Masculinities." Japanese Studies 39, no. 1 (2019): 133–34. http://dx.doi.org/10.1080/10371397.2018.1557500.

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Blocker, H. Gene. "Non-Western Aesthetics as a Colonial Invention." Journal of Aesthetic Education 35, no. 4 (2001): 3. http://dx.doi.org/10.2307/3333782.

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Ivbulis, Viktors. "Only Western influence? The birth of literary Romantic aesthetics in Bengal." Acta Orientalia Vilnensia 9, no. 2 (2008): 145–57. http://dx.doi.org/10.15388/aov.2008.2.3703.

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University of LatviaMuch has been said about how fruitfully European aesthetics worked on the minds of Indian writers in the 19th century. For this reason Rabindranath Tagore (1861–1941), even before he turned twenty, in the eyes of some of his compatriots was already a Romanticist—‘the Shelley of Bengal’. Of course, he could not be Shelley because of the very different historical circumstances of India and England (in India at that time historically could not be born aesthetic rebels like Shelley). But what was implied in this assertion remains: in Bengali writing about Tagore and his embarka

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Kawalec, Anna. "What Philosophical Aesthetics Can Learn from Applied Anthropology." Symposion 7, no. 1 (2020): 41–53. http://dx.doi.org/10.5840/symposion2020714.

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Through a detailed case study of investigations on beauty, I demonstrate that a thoughtful consideration of empirical evidence can lead to the disclosure of the fundamental assumptions entrenched in a philosophical discipline. I present a contrastive examination of two empirically oriented approaches to art and beauty, namely, the anthropology of art and the anthropology of aesthetics. To capture these two different ways of interpreting the available evidence, I draw upon a debate between Alfred Gell and Jeremy Coote on the understanding of beauty and art in the Dinka community. Following Gell

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Pajin, Dusan. "Kashmiri aesthetics." Theoria, Beograd 67, no. 2 (2024): 179–91. http://dx.doi.org/10.2298/theo2402179p.

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Indian thinkers from the Kashmiri shaivist tradition, who lived between the 9th and llth c. in Kashmir, created a complex art theory. Their ideas were similar to the Byzantine, and the Western Middle-age tradition, but in many ways are particular, especially because they had a theory of taste. Certain type of rasa (aesthetic taste) fills a man with particular mood. But this emotional attitude that the art creates in man, is different the one in everyday life - it has a purifying (suddha) and unworldly (alaukika) effect. Therefore is the aesthetic pleasure (bhoga, or asvada), different then the

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