This book explores the aesthetic consciousness of the Shang Dynasty and its influence on Chinese aesthetic development and contemporary aesthetic creation. The Shang Dynasty is the first era in China with authentic historical documentation. Its artifacts and inscriptions have great aesthetic value and serve as vivid and rich records of aesthetic concepts. By examining the production and use of pottery, jade, bronze, and oracle bone inscriptions, the book sheds light on the functions of these creations as media for conveying emotions driven by human nature. By discussing how the Shang script was invented and used, the author explores the significant role it played in the development of the aesthetic consciousness of the Chinese ancients. Based on surviving documents, including the hexagrams in the Book of Changes, the Pan Geng in the Book of Documents, and the Shang Songs in the Book of Songs, he further examines the poetic characteristics of Shang literature, recognizing it as both historically and literarily significant. The title is essential reading for scholars, students, and general readers interested in Chinese aesthetics, ancient Chinese civilization, culture, and art.

This book introduces traditional and modern aesthetics and arts, comparing the similarities and differences between traditional and modern Chinese aesthetics. It also explores the aesthetic implications of traditional Chinese paintings, and discusses the development of aesthetics throughout history, as well as the changes and improvements in Chinese aesthetics in the context of globalization.

This is an open access book. 2023 9th International Conference on Humanities and Social Science Research (ICHSSR 2023) will be held on April 21-23, 2022 in Beijing, China. Except that, ICHSSR 2023 is to bring together innovative academics and industrial experts in the field of Humanities and Social Science Research to a common forum. We will discuss and study about EDUCATION , SOCIAL SCIENCES AND HUMANITIES, INTERDISCIPLINARY STUDIES and other fields. ICHSSR 2022 also aims to provide a platform for experts, scholars, engineers, technicians and technical R & D personnel to share scientific research achievements and cutting-edge technologies, understand academic development trends, expand research ideas, strengthen academic research and discussion, and promote the industrialization cooperation of academic achievements. The conference sincerely invites experts, scholars, business people and other relevant personnel from universities, scientific research institutions at home and abroad to attend and exchange! The conference will be held every year to make it an ideal platform for people to share views and experiences in financial innovation and economic development and related areas.

Many Chinese philosophic concepts derive from an ancient cosmology. This work is the first reconstructions of the mythic thought of the Shang Dynasty (ca. 1700- 1100 B.C.) which laid the foundation for later Chinese patterns of thought. Allan regards the myth, cosmology, divination, sacrificial ritual, and art of the Shang as different manifestations of a common religious system and each is examined in turn, building up a coherent and consistent picture. Although primarily concerned with the Shang, this work also describes the manner in which Shang thought was transformed in the later textual tradition.

Metamorphic Imagery in Ancient Chinese Art and Religion demonstrates that the concept of metamorphism was central to ancient Chinese religious belief and practices from at least the late Neolithic period through the Warring States Period of the Zhou dynasty. Central to the authors' argument is the ubiquitous motif in early Chinese figurative art, the metamorphic power mask. While the motif underwent stylistic variation over time, its formal properties remained stable, underscoring the image’s ongoing religious centrality. It symbolized the metamorphosis, through the phenomenon of death, of royal personages from living humans to deceased ancestors who required worship and sacrificial offerings. Treated with deference and respect, the royal ancestors lent support to their living descendants, ratifying and upholding their rule; neglected, they became dangerous, even malevolent. Employing a multidisciplinary approach that integrates archaeologically recovered objects with literary evidence from oracle bone and bronze inscriptions to canonical texts, all situated in the appropriate historical context, the study presents detailed analyses of form and style, and of change over time, observing the importance of relationality and the dynamic between imagery, materials, and affects. This book is a significant publication in the field of early China studies, presenting an integrated conception of ancient art and religion that surpasses any other work now available.

This book is a collection of insightful writings on aesthetics and Chinese and Western art by ZONG Baihua, one of the most esteemed scholars of aesthetics in China. The 22 essays in the book dive deep into a variety of topics, including the aesthetic theory and aesthetic thoughts in ancient China and the West, history of Chinese art, Western classical art, and art theory, as well as Chinese poetics. The book explores different types of art in the Chinese and Western culture, ranging from the painting, Chinese calligraphy, sculpture, ancient architecture, and music to Chinese classic and modern poetry. Taking a comparative approach, the author expounds on the key elements of traditional Chinese aesthetic thinking and artistic conception and also elucidates the art theory in ancient Greek and Kant’s aesthetics. Presented in an engaging way and written in poetic prose, this title will be a must-read for both academic and general readers interested in aesthetics, Chinese ancient art, and art theory.

Li Zehou (b. 1930) has been an influential thinker in China since the 1950s. Before moving to the U.S. in the wake of the Tiananmen Square protests of 1989, Li published works on Kant and traditional and contemporary Chinese philosophy. The present volume, a translation of his Huaxia meixue (1989), is considered among Li’s most significant works. Apart from its value as an introduction to the philosophy of one of contemporary China’s foremost intellectuals, The Chinese Aesthetic Tradition fills an important gap in the literature of Chinese aesthetics in English. It presents Li’s synthesis of the entire trajectory of Chinese aesthetic thought, from ancient times to the early modern period, incorporating pre-Confucian and Confucian ideas, Daoism, Chan Buddhism, and the influence of Western philosophy during the late-imperial period. As one of China’s As one of China's major contemporary philosophers and preeminent authority on Kant, Li is uniquely positioned to observe this trajectory and make it intelligible to today’s readers. The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity."