Exploring the Origins of the Chinese Traditional Aesthetic System

Author: Cao Lihua
Editor-in-Chief: Ye Mingfen
Publisher:
Publish Date: 1999-01-01
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Content Summary
This book summarizes a national-style Chinese aesthetic construction system based on the internal structure of the development of traditional Chinese aesthetic thought and by referring to the development patterns of Western aesthetic thought. It proposes the view that "The Literary Mind and the Carving of Dragons marks the formation of the traditional Chinese aesthetic system." After the Northern and Southern Dynasties, the aesthetic system of Chinese category arts gradually improved, completing the development process from "top-down" to "bottom-up" in traditional Chinese aesthetics.
Excerpt:
Chapter on the Consciousness of Personality Aesthetics
Section Confucius's "Ren" Aesthetics
Confucius (551–479 BC), styled Zhongni, was a native of Zouyi in the state of Lu (now Qufu, Shandong). He was an educator, thinker, and statesman of the late Spring and Autumn period and the founder of the Confucian school. He was a great founder of Chinese cultural heritage and had a profound influence on the formation of the Chinese national spirit. The development of social and artistic beauty in China for over 2,000 years has been closely related to Confucius's aesthetic thought. Seriously studying and exploring Confucius's aesthetic thought is highly beneficial for establishing an aesthetic system that is "loved and welcomed by the Chinese people."
There are two difficulties in studying Confucius's aesthetic thought: First, due to the division of the periodization of ancient Chinese history, it is difficult to evaluate Confucius's historical status. Some argue that Confucius's basic stance was to adapt to the trend of social change at the time and that he sought to establish a new system to serve as a ligament for the emerging feudal society. Others believe that Confucius represented the thoughts of the scholar class, serving as a strong advocate for the emerging landlord class and the new family system. Still others argue that Confucius represented the interests of the old aristocratic slave-owners. The author tends to agree with the basic views in Guo Moruo's "Ten Critiques," and the analysis of the structure of Confucius's aesthetic thought in this book is also based on this foundation. Second, our study of Confucius's aesthetic thought system is mainly based on the unstructured "Analects," which is merely a record of conversations between Confucius and his disciples, with most of it consisting of fragmented remarks. This introduces a significant degree of subjectivity into the research. How to identify its system within the unstructured "Analects" is indeed challenging. However, this is precisely what we need to explore further. At the same time, we believe that the focus of Confucius's aesthetic thought should be on social beauty rather than artistic beauty. In other words, when Confucius discusses beauty, he is primarily referring to the beauty of personality in the real society, rather than artistic creation or appreciation. The artistic beauty mentioned by Confucius in the "Analects" can, in a sense, also be seen as an organic part of social beauty. This situation also exists in the history of Western aesthetics. Socrates is an example; he pointed out that the standard of beauty is based on the utility to people from a social perspective, closely linking beauty and goodness. This is an inevitable process in the development of aesthetic thought. Of course, in ancient China, viewing beauty from a social perspective was not started by Confucius. There are many examples of this in the "Zuo Zhuan," "Guoyu," and "Shangshu." However, Confucius was the first to systematically discuss social beauty. Below, we will preliminarily explore the structure of Confucius's aesthetic thought from four levels.
1. The Aesthetic Connotation of "Ren"
What is "Ren"? "Ren" first appeared in the "Jinteng" chapter of the "Shangshu": "Yu ren ru kao neng" (Sun Xingyan explained: "Yu" was originally "Dan," and "kao neng" was originally "qiao neng," meaning "Ren" follows the skillful ability"). It refers to a beautiful virtue. This character has not been found in oracle bone script or bronze inscriptions. Thus, "Ren" is a new term of the Spring and Autumn period. Although the character was not created by Confucius, he comprehensively and profoundly elaborated on the essence of "Ren," which appeared 109 times in the "Analects." Due to differing views on the periodization of ancient Chinese history, there are different evaluations of Confucius's historical status, and consequently, different interpretations of the essence of "Ren." Most people now believe that "Ren" has a positive aspect and should be fundamentally affirmed. However, where does the positive affirmation of "Ren" come from? There are two influential views: One holds that although Confucius upheld the Zhou rites, what is more important is that his "Ren" school clearly preserved and promoted the primitive humanistic and altruistic spirit that still existed in the early slave society and the clan commune era.