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Intro -- Contents -- 1 Foreword: The Essence and Structure of Traditional Chinese Aesthetics -- 2 The Forms of Traditional Chinese Aesthetic Spirit -- The Sensual Spirit of Traditional Chinese Aesthetics -- The Graphemic Explanation of "Flavor/Wei" as Synonymous with "Beauty/Mei" -- The Development of the Theory of Wei Mei [Flavor as Beauty] -- Explaining the Theory of Wei Mei [Flavor as Beauty] -- The Veneration of Wen in Traditional Chinese Aesthetics -- The Grammatology of Wen -- The Beauty of Diversified Forms -- The Variation of Wen -- The Reverence for Wen in the Chinese Aesthetic Tradition -- The Subjective Spirit of Traditional Chinese Aesthetics -- "Mind" as Beauty -- Material Beauty, Artistic Beauty, and Aesthetic Subjectivity -- "Beauty Is of the Mind" and Its Cultural Foundation -- The Moral Spirit of Traditional Chinese Aesthetics -- "Kindness Is the Essence of Beauty" -- Mencius: "Moral Fulfillment Is Beauty Itself" -- Xunzi: "What Ever Is Imperfect and Unrefined Does Not Deserve the Name of 'Beauty'" -- Laozi: "The Great Music has the Faintest Notes/The Great Form Is Without Shape" -- Zhuangzi: "The Perfect Enjoyment Is to Be Without Enjoyment" -- Guan Zhong: Nature's Beauty Lies in Its Virtue -- Han Fei Zi: "To Reside in the Essence Rather Than on the Surface" -- Mo Zi: Beauty Is "Impartial Caring" and "Benefiting the People" -- Buddhism: Beauty Lies in Nirvana -- The Nature-Following Spirit in Traditional Chinese Aesthetics -- The Aesthetic Object Must Suit Human Nature -- An Object's Natural State Creates Beauty -- 3 The Confucian Spirit of Traditional Chinese Aesthetics -- Confucians on the Spirit of "Virtue Comparison" in Natural Beauty -- Confucius on "Virtue Comparison" -- Mencius on "Virtue Comparison" -- Xunzi on "Virtue Comparison" -- Dong Zhongshu [ 仲 ] on "Virtue Comparison" -- Liu Xiang [刘向] on "Virtue Comparison".
Xu Shen [ 慎] on "Virtue Comparison" -- Li E, Wang Tong, Bai Juyi on "Virtue Comparison" -- Song Confucians on "Virtue Comparison" -- Natural Beauty as the Embodiment of Morality -- Confucians on the Spirit of "Moral Integrity" in Personality Beauty -- The Origin and Meaning of "Moral Integrity" -- The Connotation of Fenggu as a Category of Confucian Personal Character -- The Relationship Between Fenggu as Artistic Beauty and as Personality Beauty -- Confucians on the Spirit of Zhonghe [Balanced Harmony] in Social Beauty -- The Most Valuable Function of Observing Ritual Propriety Is to Achieve Harmony [礼之用, 和为 ] -- The Realistic Manifestations of the Beauty of "Harmony" -- Music and Poetry: The Propeller of Zhonghe Beauty -- Confucians on the Spirit of "Regulation" [jiezhi] in Emotional Beauty -- On Music [Yue Lun 乐 ] and The Book of Music: The Source of Treating "Restraining Feelings" as Beauty -- From the Han Dynasty to the Six Dynasties: From "No Emotion" to "Unrestrained Emotion" -- From the Tang and Song Dynasties to the Late Ming and Early Qing Dynasties: From "Restraining Feelings" to "Eliminating Emotions" to "Indulging in Emotions" and to "Restraining Feelings" -- The New Expression of Treating "Restraining Feelings" as Beauty in the Late Qing Dynasty -- Confucians on the Connotation of "Pensiveness and Concerns" [沉 chenyu] in Artistic and Inner Beauty -- The Origin and History of "Pensiveness and Concerns" -- Three Connotations of "Pensiveness and Concerns": Loyalty and Honesty, Indignation, and Implicitness -- Confucians on the Requirement of "Being Purposive" [zhongdi 中的] in the Beauty of the Literary Form -- The Proposal of "Zhong Di Wei Gong" 中的为工 and Its Relationship with the Saying "Ci Da Er Yi" 已 -- Confucius on "Wording Is Beautiful When It Expresses Meaning".
Han Yu on "There Is No Distinction Between Difficult and Easy in Articles, but only the Right Expression" -- Su Shi on "Choosing Forms According to the Objects" -- Representation Forms of "Beauty in Fitting the Purpose" -- 4 The Taoist Spirit of Traditional Chinese Aesthetics -- Beauty in Nonexistence: Taoist Thought on the Ultimate Beauty -- Laozi: "Great Sound Is Imperceptible, and Great Image Is Without Form" -- Zhuangzi: "Great Beauty Is Speechless" and "Ultimate Happiness Is Non-Happiness" -- Master Lv's Spring and Autumn Annals -- Huainanzi: "Zero-Taste Is Tasteful Enough" -- Metaphysics: To Tame Existence with Nonexistence, and to Govern Many by Few -- Expressions of the Beauty of "Nonexistence" -- The Limitation of Experiential Beauty -- Beauty Lies in the Concept of Subtlety: Taoist Aesthetics Through Interconnectedness -- That Which Is Divine and Untraceable Is Called "Miao" -- Exploring the Profoundness of Xuan [Mystery] -- Exploring the Profoundness of Yuan [Distant] -- The Profundity of the Footloose and the Ancient -- Seeing Richness in "Blandness": The Taoist Ideal of Beauty -- Laozi and Zhuangzi on Blandness -- Han Dynasty After the Early Period: The Loss of "Plain Taste" -- Neo-Daoism: Finding Beauty in Detachment and Emotional Calmness -- Tao Yuanming: Founding Father in the Poetics of Blandness -- Tang Dynasty: Pastoral Poetry and Ink-wash Landscape Painting -- Song Dynasty: On the Beauty of Blandness and Detachment -- Ming and Qing Dynasties: "Extreme Brilliance Returned to Simplicity" -- Overall Understanding of the Beauty of Blandness -- Softness as Beauty: The Taoist Life Philosophy on Retreat as Advance -- The Beauty of "Softness," "Weakness," "Femininity," and "Smallness" -- The Beauty of "Lower," "Base," and "Foolishness" -- The Art of Retreat -- Nature as Beauty: The Unconsciousness of Taoist Aesthetic.
Laozi and Zhuangzi on the Beauty of Nature -- Negation of Natural Beauty in the Han Dynasty -- Transcending the Constraints of Social Norms and Following the Natural Way -- The Southern Dynasties: Natural Ingenuity Is Like Lotus Emerging from Water -- Tang and Song Dynasties: "Natural Beauty Supersedes Elaborate Embellishment" -- Ming and Qing Dynasties: "Beauty Lies in Human Nature" -- "Vitality" as Beauty: Taoism on the Beauty of Life -- Laozi's and Zhuangzi's Views on "Health Preservation" and "Nurturing Life" -- The Book of Changes on Life -- Neo-Daoism on Nurturing Life -- Discussion on "Eternal Life" in Taoist Religion -- The Fundamental Qi as the Original Force of All Things -- Art Is Beautiful Because of the Vital Qi -- 5 The Buddhist Spirit of Traditional Chinese Aesthetics -- "Form Is Empty": Buddhist Negation of Sensual Beauty -- "Whatever Is Dependently Co-Arising, That Is Explained as Emptiness" -- "Beautiful Appearances and Lustful Sounds Are All Sources of Suffering" -- "Women's Beauty Is Like a Bag Full of Filth, Causing Only Suffering" -- The Practice of the "Patikulamanasikaraya" That Regards Beauty as Repulsive -- "Nirvāṇa and Pure Land": Buddhist Affirmation of Essential Beauty -- The Beauty of "Nirvāṇa" and the Beauty of Buddha-Dharma -- The First Aesthetic Symbolic of Nirvāṇa: The Beauty of Emptiness and Tranquility -- The First Aesthetic Symbol of Nirvāṇa: The Beauty of Death -- The Beauty of the Subjective "Buddha-Nature" and the Aesthetic Approach of Comprehending "Wondrous Enlightenment" -- The Incarnations of Enlightened "Nirvāṇa": The Beauty of Buddhas, Bodhisattvas, and Arhats -- "Nirvāṇa Is Called 'Sweet Dew'": Buddhist Assertion of Gustatory Beauty -- "The Taste of the Food in One's Mouth Is Like Taking Medicine in Sickness" -- "Nirvāṇa Is Called 'Sweet Dew'".
"Attaining Great Nirvāṇa from Prajnaparamita Is Like Obtaining Ghee" -- "The Dharmakaya Has No Mark": Buddhist Idea of the Beauty of Language -- "The Practice of Mahayana Has No Words or Sign" -- The Form of the "Incarnated Body" and the Beauty of Teaching via Images -- "Teaching via Words": The Beauty of Bianwen -- "Brightness Is the Most Respectable": Buddhist Preference for Brightness -- The Ugliness of "Avijja" -- Buddhas and Bodhisattvas's "Wisdom Light" and "Body Light" -- "Buddha Lands" and "Complete Brightness" -- The Forms of "External Brightness": Sun, Moon, Lamps, Gold, Mirror, and Pearls -- "Round and Complete Perfection": Buddhist Emphasis on the Beauty of Roundness "Form Is Round" -- "Buddhist Truth Is Round" -- "Wisdom Is Round": "Round Awakening," "Round Understanding," "Round Illumination," "Round Permeation" -- "Dharma Is Round and Complete" -- "Ten Is the Perfect Number": Buddhist Devotion to Perfection -- Du Shun: "Harmonization of Principles and Practices," "One" and "Many" Are Indivisible -- Zhi Yan: "One in Ten, Ten in One" -- Fa Zang: "Ten" as the "Compete Number" That "Displays Boundless Meanings" -- Cheng Guan: "To Create a Harmonious Display, One Must Often Mention Ten" -- "The Purity of Dharma Sounds": Buddhist Likings for Auditory Beauty -- "Using Sound for Buddhist Practices," "Bowing to Pure Music" -- "Buddhist Music Is Subtle and Delightful" -- "Fragrant Incense Fills the Air": Buddhist Fondness for Olfactory Beauty -- "Fragrance" Is a Worldly Pleasure and Desires for It Should Be Eliminated -- "Fragrance Serves the Buddha" and "Fragrant Smell Permeates Everywhere" -- "Lotus Is the Best": Buddhist Acknowledgment of Secular Beauty -- "Only by Seeing the Pure Lotus Can One Know the Untainted Mind" -- "Innumerable Lotus Blossoms Surrounding the World" -- "Entering the Lotus Womb and Experiencing All Joys".
"Seven Treasures Integrated": Buddhist Thought on Utilitarian Beauty.
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Chinese aesthetics in a global context / / Zhirong Zhu
