Aesthetic utilitarianism: heritage of modern Chinese aesthetics

Abstract

The first half of the twentieth century saw the great work done by Chinese aestheticians, such as Wang Guowei, Cai Yuanpei and Zhu Guangqian, who dedicated themselves to the introduction of modern Western philosophical and aesthetic theories into the country, and to the ingenious inheritance of ancient Chinese traditions. The purpose of such endeavors was twofold: to reconstruct the Chinese ideology and culture, and to enlighten the mind and soul of the public. The direct consequence of such intellectual activities was the creation of “aesthetic utilitarianism” (审美功利主义), a theoretical framework that was neither a replica of the modern Western aestheticism nor a mimic of traditional Chinese political and moral utilitarianism. Instead, this theory, resulted from a seemingly “misreading” of the Western proposition of “aesthetic disinterestedness” in its application to the particular context of China at the time, propagated the innovative notion of “usefulness through uselessness” (无用之用). Its kernel was to cultivate the enlightenment potential of aesthetic disinterestedness, maximize the utilitarian functions of aesthetic appreciation, and, in the process, achieve the goal of refining morality, purifying sentiment, and salvaging life. Thus “usefulness through uselessness” provided a unique dialogic solution to seemingly oppositional conceptual frames of aesthetic disinterestedness and utilitarianism, and came to be an indispensable part of modern Chinese aesthetic traditions. Therefore, an in-depth understanding of this theoretical construct will not only be conducive to grasping localized characteristics of Chinese aesthetic principles and literary contemplations of the time, but also help gain a panoramic vision of modern Chinese aesthetic studies as a whole.