Abstract

Straipsnyje aptariama, kaip Xu Fuguan interpretuoja keletą pagrindinių Zuangzi estetinės minties sąvokų. Xu nuomone, Zhuangzi estetinė mintis susijusi su estetiniu žmogaus gyvenimo būdu, kur grožis taikomas dao sričiai, kurioje žmonės gali išlaisvinti savo sielą ir džiaugtis „laisvu ir lengvu klajojimu“ (xiaoyaoyou 逍遙遊). Pasak Xu, tai yra aukščiausia ir gražiausia žmogaus egzistencijos sfera, įgaunanti išraišką mene. Zhuangzi sąvokas xinzhai心齋 ir zuowang 坐忘, kaip šio aukščiausio būties lygmens pasiekimo metodą, Xu laikė panašiomis į kai kurias XIX ir XX a. Vakarų fenomenologijos sąvokas. Nors Xu stengėsi atsargiai vesti paraleles tarp Vakarų filosofijos ir Zhuangzi mąstymo, jis manė esant jų panašumų, ypač klausimu, kodėl žmogaus sąmonė gali estetiškai suvokti pasaulį. Šio straipsnio tikslas yra atskleisti tokios lyginamosios prieigos, glūdinčios Xu estetinėje mintyje, metodologinius keblumus ir prieštaravimus.

Highlights

  • Xu Fuguan was a member of the so-called second generation of Modern Confucians, the intellectual current of the new Confucian revival in 20th century China, who was trying to provide a suitable ideational platform for Chinese modernization

  • Since the ideas underlying such modernization came from the West, the second generation of Modern Confucians were trying to revitalize traditional Chinese thought by means of new influences borrowed from Western systems (Rošker 2014: 68)

  • Aesthetic judgement should be bare of any interests or intentions, for we take pleasure in something because we judge it as being beautiful, rather than judging it beautiful because we find it pleasurable

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Summary

Introduction

Xu Fuguan was a member of the so-called second generation of Modern Confucians, the intellectual current of the new Confucian revival in 20th century China, who was trying to provide a suitable ideational platform for Chinese modernization. In Xu’s opinion this highest spirit of art, namely the unity with dao, is the fundamental basis and the precondition for creating any artwork, because Zhuangzi’s experience of dao connects directly to its realization within the performance of a skill or life activity itself.

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