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"Aesthetics, Chinese."
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Reimer through Confucian Lenses: Resonances with Classical Chinese Aesthetics
In this paper, I compare all three editions of Bennett Reimer's A Philosophy of Music Education with early Chinese philosophy, in particular, classical Chinese aesthetics. I structure my analysis around a quartet of interrelated themes: aesthetic education, education of feeling, aesthetic experience, and ethics and aesthetics. This paper suggests that Reimer's philosophical writings have some degree of transcultural applicability beyond Western thought, counterpointing criticisms that his philosophy is narrow, ethnocentric, and culturally limited. It also serves as a plausible point of departure towards a transcultural theory of aesthetics for music education relevant to the pluralistic and globalized world in which we live.
Journal Article
The Ideals of Facial Beauty Among Chinese Aesthetic Practitioners: Results from a Large National Survey
As the demand for cosmetic procedures increases, the importance of patient-centred care in this field becomes more prominent. The aesthetic practitioners’ ideals of beauty, in addition to their knowledge and perception of patients’ ideals of beauty and expectations, are important during doctor–patient communication. These are important in strengthening practices of patient-centred communication and treatment. This study was conducted to investigate ideals of facial beauty among Chinese aesthetic practitioners. A questionnaire with simple sketches of facial features was given to aesthetic practitioners in Chinese cosmetology hospitals and clinics to assess aesthetic practitioners’ ideals of beauty and their preferences for facial shapes, facial profile, nose and lip shape, jaw angle, and chin shape. A total of 596 surveys were completed. This survey revealed that Chinese aesthetic practitioners preferred a heart/inverted triangular facial shape with a reduced lower face height, a straight and small nose, as well as lips that are full medially and taper off laterally with well-defined borders and Cupid’s bow. An obtuse jaw angle for women and a square well-defined jaw angle for men, and a round and pointy chin for both women and men were the most preferred. A majority (66.7%) of the respondents said they would have plastic surgery. However, if given the choice 82.9% indicated they would opt for non-surgical procedures. Finally, a clear majority (90.5%) believed that being beautiful would improve their daily life. The results were then compared to a similar previous study in which the same ideals of beauty were investigated among Chinese laypersons. This information will help the aesthetic professionals to understand their patient’s requests and expectations better and therefore aid in offering and providing treatments that are in line.
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Journal Article
Zhu Guangqian and Benedetto Croce on aesthetic thought : with a translation of the Wenyi xinlixue (The psychology of art and literature)
\"In Zhu Guangqian and Benedetto Croce on Aesthetic Thought, Mario Sabattini analyses Croce's influence on the aesthetic thought of Zhu Guangqian. Zhu Guangqian is one of the most representative figures of contemporary Chinese aesthetics. Since the '30s, he had an active role in China both on the literary and philosophical scenes, and, through his writings, he exerted an important influence in the moulding of numerous generations of intellectuals. Some of his works have been widely read, and they still provoke considerable interest in China, on the mainland as well as in Taiwan and Hong Kong. The volume also presents a revised translation of Zhu Guangqian's Wenyi xinlixue (Psychology of Art and Literature)\"-- Provided by publisher.
Book
Confucius on the Relationship of Beauty and Goodness
The ideology about the relation between goodness and beauty for Confucius and the early Confucians is the continuation of the aesthetic tradition long before Confucius’s time, which sees more value in Yuejiao, namely, music/beauty education, than in Lijiao, Moral education. No doubt Confucius’s aesthetic idea is featured as the juxtaposition of Li and Yue, goodness and beauty. But we must not forget that Confucius, taking himself as a preserver of the sages’ tradition, personally values Yue (music/beauty) over Li (ritual/moral). It is in this context that we argue that taking the unity of beauty and goodness as a Confucian aesthetic feature is a misinterpretation of his teaching and is poles apart from the ancient Chinese aesthetic tradition and from Confucius’ aesthetics.
Journal Article
