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The purpose of this book is to systematize traditional Chinese aesthetic thought, reveal its internal logic, and carry out a dialogue with modern Western aesthetics, so as to rebuild the Chinese aesthetic system. Chinese aesthetics embodies the concept of inter-subjectivity, which has modern significance. It is based on the idea of unity between heaven and humanity, viewing aesthetic as the communication between the self-subject and the world-subject, in contrast to the Western aesthetic epistemology that regards aesthetic as the sensory perception of the subject toward the object. Additionally, the methodology of intuitive perception is another characteristic of Chinese aesthetics that holds modern significance. Chinese aesthetics emphasizes the emotionality of aesthetics from the perspective of value theory, distinguishing itself from the epistemological tradition of Western aesthetics. It differs from Western consciousness aesthetics, as it embodies corporeality, representing aesthetics of experience that integrates body and mind. It posits that aesthetic is not purely a spiritual activity, nor is it a form of 'contemplation,' but rather an experience that integrates body and mind, and an idealized way of life. Therefore, aesthetic can nurture temperament and poeticize life. Furthermore, in Chinese aesthetics, it is emphasized that aesthetics serves as a mode of experiencing the Way. The Way is discovered through aesthetic intuition and emotional experiences, and it is actualized through imagery, thereby laying the groundwork for an aesthetic phenomenology. The reinterpretation and reconstruction of Chinese aesthetics is a product of the dialogue between Chinese and Western aesthetics. Since its publication, this book has garnered widespread attention and acclaim from the academic community in China. It embodies professor Yang's Transcendental Aesthetic view with Inter-subjectivity, bridging ancient and modern perspectives, and fostering communication between Chinese and Western Aesthetics.
The purpose of this book is to systematize traditional Chinese aesthetic thought, reveal its internal logic, and carry out a dialogue with modern Western aesthetics, so as to rebuild the Chinese aesthetic system. Chinese aesthetics embodies the concept of inter-subjectivity, which has modern significance. It is based on the idea of unity between heaven and humanity, viewing aesthetic as the communication between the self-subject and the world-subject, in contrast to the Western aesthetic epistemology that regards aesthetic as the sensory perception of the subject toward the object. Additionally, the methodology of intuitive perception is another characteristic of Chinese aesthetics that holds modern significance. Chinese aesthetics emphasizes the emotionality of aesthetics from the perspective of value theory, distinguishing itself from the epistemological tradition of Western aesthetics. It differs from Western consciousness aesthetics, as it embodies corporeality, representing aesthetics of experience that integrates body and mind. It posits that aesthetic is not purely a spiritual activity, nor is it a form of 'contemplation,' but rather an experience that integrates body and mind, and an idealized way of life. Therefore, aesthetic can nurture temperament and poeticize life. Furthermore, in Chinese aesthetics, it is emphasized that aesthetics serves as a mode of experiencing the Way. The Way is discovered through aesthetic intuition and emotional experiences, and it is actualized through imagery, thereby laying the groundwork for an aesthetic phenomenology. The reinterpretation and reconstruction of Chinese aesthetics is a product of the dialogue between Chinese and Western aesthetics. Since its publication, this book has garnered widespread attention and acclaim from the academic community in China. It embodies professor Yang's Transcendental Aesthetic view with Inter-subjectivity, bridging ancient and modern perspectives, and fostering communication between Chinese and Western Aesthetics.
