Chinese And Western Aesthetics Aesthetic Theory Of Types - Kant Aesthetic Dialogue With The Chinese Classical Aesthetics

By means of parallel comparison and through screen analysis on the historical data of the concepts of Chinese classical aesthetic modes and through the re- interpretation of the concepts of Kant抯 aesthetic modes, this thesis brings to light the parts of what are in harmony between the two aesthetic modes in the process of mutual approximation. and identification with the purpose to make a dialog between. the aesthetic modes of Chinese classical aesthetics and Kant抯 aesthetics. Based on the 搉earsighted comparison?of the concepts between the two aesthetic modes made by heretofore scholars, the author emphasizes an organic and complete comparison. In view of this, the comparison focuses on the following two aspects: firstly, by sorting out the two important aesthetic categories of 搎i?(spirit and morale) and 搚un?charm and grace) of Chinese classical aesthetics, the author sums up his ideas on the three inter-linked aesthetic modes梠ntology of qi, ontology of yun, and proposition of qi- yun vivification, which respectively represents beauty of firmness, beauty of gentleness and beauty of firmness and gentleness. Therefore, the author finds the correspondents of the hereinabove modes in Kant抯 aesthetic modes�'oncepts of the sublime, of the beautiful and of the ideal of beauty. Secondly, in terms of the outstanding characteristics of subjectivity and experience that the Chinese classical aesthetic modes and Kant抯 aesthetic modes possess in common, this thesis analyzes mental function and mental status of aesthetic subject and reveals spiritual root and mental mechanism of aesthetic activities as well. The two vital mental functions in Kant抯 aesthetic modes are practical rationality and aesthetic judgment (appreciation) while the two corresponding mental functions in Chinese aesthetic modes are 搝hi? (essence of spirit) and 搈iaowu?(aesthetic comprehension). In aesthetic behavior, practical rationality and zhi are rioumena of mind, of which practical rationality is the root for senses of beauty and sublimity and zhi is the origin of qi and yun, while appreciation and miaowu are functions of mind, both of which are experience abilities of aesthetic perception for different modes. In the theoretical framework, the author makes a comparison between the five pairs of categories梡ractical rationality and zhi, appreciation and miaoyu, concept of the sublime and ontology of qi, concept of the beautiful and ontology of yun, concept of the ideal of beauty and qi-yun vivification. And the five pairs of categories are of mutual reflection and mutual interpretation, aiming at seeking common grounds while reserving differences.