The Moral Dimension of Qiyun Aesthetics and Some Resonances with Kant and Schiller
dc.contributor.author | Hu, Xiaoyan | |
dc.date.accessioned | 2023-09-25T14:15:34Z | |
dc.date.available | 2023-09-25T14:15:34Z | |
dc.date.issued | 2021-09-16 | |
dc.identifier.uri | http://hdl.handle.net/20.500.11956/183915 | |
dc.description.abstract | In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection on parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. | en |
dc.language.iso | en | |
dc.publisher | Helsinki University Press | en |
dc.publisher | Univerzita Karlova, Filozofická fakulta | cs |
dc.rights | This is an open-access article distributed under the terms of theCreative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. | en |
dc.rights.uri | http://creativecommons.org/licenses/by/4.0/ | |
dc.source.uri | https://estetikajournal.org | |
dc.subject | Qiyun | en |
dc.subject | shenhui (spiritual communion) | en |
dc.subject | Confucian doctrine of sincerity | en |
dc.subject | moral relevance of art | en |
dc.subject | Kant | en |
dc.subject | Schiller | en |
dc.title | The Moral Dimension of Qiyun Aesthetics and Some Resonances with Kant and Schiller | en |
dc.type | Vědecký článek | cs |
uk.abstract.en | In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection on parallels and differences between the two cultural traditions helps to better understand the moral dimension of qiyun aesthetics. | en |
dc.publisher.publicationPlace | Praha | cs |
dc.publisher.publicationPlace | Helsinki | en |
uk.internal-type | uk_publication | |
dc.identifier.doi | 10.33134/eeja.230 | |
dc.description.startPage | 129 | |
dc.description.endPage | 143 | |
dcterms.isPartOf.name | Estetika: The European Journal of Aesthetics | en |
dcterms.isPartOf.journalYear | 2021 | |
dcterms.isPartOf.journalVolume | 2021 | |
dcterms.isPartOf.journalIssue | 2 | |
dcterms.isPartOf.eissn | 2571-0915 |
Soubory tohoto záznamu
Tento záznam se objevuje v následujících sbírkách
-
Číslo 2 [7]
Issue 2
Kromě případů, kde je uvedeno jinak, licence tohoto záznamu je This is an open-access article distributed under the terms of theCreative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use,
distribution, and reproduction in any medium, provided the original author and source are credited.