Aesthetic Ideas Research Articles

The Value of the Diamond Sutra to the Aesthetics of Modern China

The aesthetic ideology in the Diamond Sutra and its value of it for modern Chinese society is empty in current research and is open to further discussion. Excavating the embodiment of the teachings of mindfulness in life, living, nature, and almsgiving in the Diamond Sutra is a step toward studying the aesthetic ideas in the Diamond Sutra. Mindfulness in Diamond Sutra is the way to correctly observe the outward world and thus correctly observe the inward self. In addition to righteousness, the Diamond Sutra also implies the dharma of seeing reality, which is the dharma of Vipassana. Chinese-localized Vipassana has long become the most popular Buddhist teaching in modern Chinese society because of its compatibility with traditional Chinese culture. For modern Chinese society, the way to change the status quo may be to shift from practicing the Chineseized Vipassana that focuses on inward reflection to practicing the original mindfulness method of the Diamond Sutra.

Kant’s (Moderate) Musical Antiformalism: A Reply to Sousa

I thank Tiago Sousa for his thoughtful comments on Young (2020, 2021). I am grateful for the opportunity to revisit Kant’s thoughts on music, which I think I understand better now that I have read and responded to Sousa’s rejoinder. Before the end of this paper, I will concede what I take to be Sousa’s main point, namely, that there is a continuum from formalism to antiformalism concerning music and that Kant’s position is not at the strong antiformalist end of the spectrum. I must also concede that I was wrong when I said that Kant’s views on music are consistent. Before I make any concessions, however, I will argue that, even if Kant believes that instrumental music stimulates few aesthetic ideas, he was not a formalist in anything like the modern sense of the word. Evidence is available for the view that Kant believed that music is valuable as patterns of sound, evidence that neither Sousa nor Reiter (2021) marshals. I may seem to be making my case more difficult by drawing attention to this evidence, but bear with me and all will be revealed. The evidence to which I refer is found in passages from Observations on the Feeling of the Beautiful and Sublime and other early writings (Kant 2011). In a remark from circa 1769, Kant writes that “Architecture (in the general sense) (the art of horticulture, etc.) is a discipline, likewise music. For in the former it is a matter of pleasing relations in the division of space, in the latter with regard to time” (311). In another remark, from either 1769 or 1770, Kant writes that the “arts are either formative or imitative. The latter are painting and sculpture. They concern either merely the form or also the material” (319). In this passage, Kant does not mention music. He identifies architecture, landscape gardening and some others as formative arts, but he would likely have included music among the formative arts since in the previous passage he associates architecture, horticulture and music. He also states that the “object pleases immediately in the intuition if its form fits with the law of coordination among appearances and facilitates sensible clarity and magnitude. Like symmetry in buildings and harmony in music” (131).

“Negative Capability”: Imagination in Ode to a Nightingale

Keats was one of the most famous English Romantic poets of the 19th century. Although he had a difficult life and died young, Keats still produced many unsurpassed works in his short life, and even today, his achievements shine like a star in the world of poetry. In addition to his poetic achievements, Keats also put forward many aesthetic ideas, and this essay will focus on the concept of “Negative Capability”, which requires that the poet should extinguish his inherent consciousness and empty himself, and be comfortable in difficult situations and negative emotions and not be anxious to find answers and reasons, which is the best way to release his imagination. The “Negative Capacity” is one of Keats’s most widely known aesthetic theories, which fully reflects his profound thoughts on truth and beauty and his pursuit of the capacity to be a poet. In order to analyze and deconstruct this concept more specifically, this paper will take Ode to a Nightingale as an example and explore the deeper meaning and application of “Negative Capability” while analyzing the poem. This paper concludes that Keats’s pursuit of “Negative Capability” is perfectly reflected in Ode to a Nightingale - he lets his imagination go free by emptying himself and uses a lot of rhetorical techniques to show his lament for the fickleness of life and his pursuit of eternal joy. The ode to the nightingale is a perfect embodiment of this.

Ronald Egan’s Research on the History of the Northern Song Ci Poetry from a Gender Perspective

Ronald C. Egan, a renowned American sinologist, is best known for his accurate English translations, exquisite readings, and innovative perspectives on the aesthetic ideas and pursuits of ci poets such as Ouyang Xiu, Su Shi, and Li Qingzhao, as well as the scholar-official group of the Northern Song dynasty. However, through his longitudinal study of specific ci poets, he also shows a unique understanding of the development and evolution of ci lyric poetry in the Northern Song. An integrated analysis of Egan’s scattered articles on Northern Song ci poetry indicates that gender is key to his understanding of the evolution of ci in the Northern Song. On this basis, Egan has conducted in-depth research on three aspects: the gender perspective of the lyrical protagonists described by ci poets; changes in the form, content, and patterns of writing ci poetry; and new phenomena in ci criticism. His research further enriches the details of the evolution of Northern Song ci poetry and expands its historical research horizon.

Антисоветская этика и эстетика фильма М. Захарова «Убить дракона» в дискуссиях на цифровых площадках

The study of the temporal transformation of attitudes to the ethical and aesthetic values of the Perestroika era in post-Soviet Russia is proposed through the analysis of the modern audience reception of its film products. Feature films are defined as a source of information about the dominant meanings of the era when they were created. The main attention in this article will be paid to the ethical and aesthetic components of the film "To Kill the Dragon" (directed by M. Zakharov), which was released on Soviet screens in 1988, as well as its reading by Russians in the 21st century. The present research contributes to understanding the nature of the modern perception of ethical and aesthetic ideas, important during the period of Perestroika and encoded in M. Zakharov's film script. The study of the factors of critical (and insufficient) attention to the film now contributes to understanding the relevance of the period of Perestroika for understanding the processes of the 21st century. As a result of the analysis of the modern reception of Mark Zakharov's film in the media space (in particular, in the form of reviews on the Kinopoisk, reviews of Yandex and others), three strategies of audience comment were identified: philosophical, film critical and political science. The analysis of the modern reception of Mark Zakharov's film allows us to conclude not only about its relevance in the 21st century, but also to identify factors that make it difficult to perceive it positively. The film disgusts young viewers with its aesthetics, and experienced ones with its opportunism. The free interpretation of the play by Evgeny Schwartz, the director's departure from the spirit and letter of the original source in our time has become much more sharply criticized. Viewers are upset by Mark Zakharov's lack of a direct forecast of the development of history after the victory over the Dictatorship of the Dragon.

A review of aesthetics research in tourism: Launching the Annals of Tourism Research Curated Collection on beauty and aesthetics in tourism

This systematic literature review identifies major trends that guided tourism research on beauty and aesthetics, critiques its current state, and proposes directions to advance tourism theory and practice. The review categorizes 39 studies into five themes corralled into two meta-themes: Consuming aesthetic value (Aesthetic Judgement & Experiences, Effects of Tourism Aesthetics, Tourism Aesthetics & Sustainability) and Producing aesthetic value (Foundational Issues in Aesthetics Management, Management of Destination Aesthetics). Proposed future research directions include challenging West European aesthetic ideas, considering the perspectives of destination residents, and expanding research to aesthetic categories beyond the beautiful. The article also launches the Annals of Tourism Research Curated Collection on Beauty & Aesthetics in Tourism. The Collection contains all past articles published in Annals of Tourism Research on the topic, and continues to grow as new articles are added.

Warum Kant ein ästhetischer Kognitivist der schönen Kunst ist

In the present paper, it is shown that Kant in his theory of fine art from the Critique of Aes thetic Judgment proves to be a proponent of aesthetic cognitivism, according to which art is, first, a source of non-trivial knowledge and, second, this knowledge also has aesthetic relevance. This issue has been raised several times in the recent research literature, but has not been substantiated, or only briefly. Central to this is Kant's conception of aesthetic ideas, with which fine art symbolizes intellectual ideas of various genesis and with which his theory of art acquires a content-aesthetic dimension. Discussing recent research literature, an interpretation for the conception of aesthetic ideas and the accompanying expressive dimension of fine art is offered in a first part. Based on this, it will be shown in a second part that Kant hereby proves to be a representative of aesthetic cognitivism; this is shown by the fact that his theory of art confirms both criteria of aesthetic cognitivism.

Aesthetic Ideas in Japanese Classical Literature in the New Media Era

With the rapid development of new media technology, people's reading and cultural consumption methods are also undergoing tremendous changes. However, under the background of this change, Japanese classical literature, as a traditional cultural form, still has rich aesthetic concepts and cultural values. From the perspective of aesthetics, this article discusses the aesthetic concepts in Japanese classical literature in the new media era, aiming to reveal its inspiration and value to contemporary culture.

The Place of Politics in I. Kant’s Structure of Pure Reason

Kant’s political philosophy is usually seen as a coherent part of his philosophical system. However, politics is not an integral part of his conception of pure reason. The aim of the article is to find the place of politics in Kant’s structure of pure reason. The paper attempts to provide an answer to the question why Kant did not undertake an investigation of politics as a part of his analysis of the structure of pure reason. It is argued that the central place of the problem of metaphysics was the cause behind this neglect. Transcendental dialectic in Critique of Pure Reason is the place where for the first time principles of the analysis of political ideas are presented. However, Kant did not see that with his transcendental dialectics he entered the realm of politics, he did not put forward an analysis of the nature of political ideas. The place of politics in Kant’s structure of pure reason can be determined by paying close attention to three main factors – conception of transcendental ideas, the primacy of practical reason and aesthetic ideas. Kant did not provide a unified account of these three elements, which are necessary to understand the place of politics in the structure of pure reason.

A Study on the Expression of Three Colors - Black, Red, and Yellow and Related Aesthetic Ideas of the Yi People

China is steeped in a long history and splendid culture, where minority cultures add brilliance to traditional Chinese culture like bright pearls. For example, the culture of the Yi people showcases the richness of Chinese minority cultures, and at the same time, it is of special significance to traditional culture. From the perspective of the three-color culture (referring to black, red, and yellow) peculiar to the Yi people, this paper will analyze the features of the three-color culture and the colors, and study the unique aesthetic ideas of the three-color culture in the long history to demonstrate the Yi people’s color-favored customs and connotations of traditional culture.This paper consists of two important parts. First, it describes the traditional color culture of the Yi people and the features of these colors. The Yi people have a long history of the reverence for colors and a deep cultural heritage, which is a product of cultural accumulation. The Yi people have their unique understanding of colors, which comes from their life and nature. The reverence for and the worship of black, red, and yellow also has a long history and reasons. The features of these three colors unique to the Yi people reflect the culture of the Yi people and their emotions, embodying the unique color culture of the Yi people. Second, it studies the aesthetic ideas of the color culture of the Yi people, which is the focus of this paper. It analyzes and studies the aesthetic principles, styles, and ideas of the color culture of the Yi people deeply through centering on their costumes, lacquerware, and unique dance poems. With unique styles, the costumes of the Yi people are varied in colors, mainly using black, red, and yellow. Such use of colors creates a stark contrast, highlighting the characteristics of the Yi ethnic group’s costumes and its ethnic features. The lacquerware of the Yi people is an expression of their unique aesthetic understanding of the use of three colors and the area of colors used. The color rhythms demonstrated with the help of a symmetric and harmonious application of colors is an important feature of the Yi ethnic group’s lacquerware. The dance poem is a unique way to display the three-color culture of the Yi ethnic group. The black, red, and yellow are interpreted through three chapters by using the simplest colors to match the dance, creating a stark contrast that not only demonstrates the unique color culture of the Yi people, but also highlights the characteristics of the Yi people and their aesthetic ideas. Therefore, the research on the Yi ethnic group’s color culture starts from three colors including black, red, and yellow, and explores the history of the culture as well as the characteristics of the Yi people, aiming to help people deepen their understanding of the color culture and the color-favored psychology of the Yi nationality, and the unique aesthetic ideas of this group. And this can further help us identify the special value of the Yi ethnic group’s color culture and promote the spreading of the color culture of ethnic minorities.In the context of the times, the colors used by ethnic minorities all demonstrate their own ethnic characteristics, and it relates to people’s life and emotions, and nature. Therefore, it can be said that the choice of colors not only reflects one’s aesthetic appreciation but also embodies the desire for life and a recognized culture.

British Formalist Aesthetics and Its Literary Writing Practice

British Formalist Aesthetics and Its Literary Writing Practice

Петербургский Виссарион эпохи fin de siècle

The art historian Alessandro Giovanardi has recently published a monograph on one of the important representatives of the Russian religious-philosophical renaissance of the beginning of 20th century – Vladimir Nikolayevich Zabugin. This volume, written in Italian, aims to provide a comprehensive overview of Zabugin's intellectual biography, philosophical and aesthetic ideas and opens up a completely unknown corpus of the author’s works as well as the history of the reception of his heritage. The monograph underlines the contribution of Vladimir Zabugin in Italian and European humanitarian culture and defines his heritage as a rare synthesis of the finest erudition and Christian spirituality.

Model of the world through the prism of genre in the drama “The Life of Man” by L.N.Andreyev and the principles of medieval mystery

The article examines the specifics of the genre of the drama “The Life of Man” by L.N.Andreyev. The study shows how the author transforms the medieval mystery genre to implement philosophical and aesthetic ideas. The main method of research is comparative-historical. “The Life of Man” is considered in the historical and literary aspect, which includes a comparison with artistic phenomena similar in genre. The article presents the results of a systematic analysis of the content and structural parameters of the genre: type of content, spatial-temporal organization, genre motivations, associative background, composition, main acting persons and conflict. The results obtained allow us to conclude that the fundamental elements of the medieval mystery genre are preserved in the drama “The Life of Man”: framing the action with the speech of the herald, the absence of external dramatic action, simultaneity, the conventionality of stage time and space, epicness of time and space, the combination of mystical and realistic, mythologicality. Mystery and “The Life of Man” are also united by a tendency towards cyclization. Andreyev constructs a new experimental synthetic form using elements of ancient tragedy (prologue, chorus), reinterpreting the schematicity and simplicity of folk theater, taking into account modern trends in world drama. At the same time, the mystery is the dominant genre. In “The Life of Man” the conflict is transferred to the consciousness of the hero, but his individuality is erased, this is the conflict in the consciousness of a man as a representative of the genus.

Entre forma e conteúdo: a generalização afetiva na arte

Abstract This article continues Vygotsky’s efforts in investigating the social genesis of affective generalization in artistic creative and reception process proposed in On the problem of the psychology of the actor’s creative work. Affective generalization abstracts emotions and feelings from the individual to the social plane and from the mundane to the hyper-generalized level. Based on an examination of Vygotsky’s aesthetic ideas, we introduced Chinese philosopher Defeng Wang’s work in philosophy of art under the existential approach. Finally, we propose to adopt the cultural psychology of semiotic mediation as a framework to capture this dynamic process.

Philosophical and aesthetic meaning of the image / title of O. Dovzhenko’s film story “Enchanted Desna”

The Subject of the study is the philosophical and aesthetic aspect of the title of the film story “Enchanted Desna”. The purpose is to find out the author’s intention, clarify the problem and idea of the work based on deciphering its title. The established interpretations of “Enchanted Desna” in Dovzhenko studies need to be revised. The widespread understanding of this text in a populist way contradicts or at least does not include the interpretive possibilities provided by the author’s poetics. The need for its re-reading in the context of today makes the study relevant. Linguistic, aesthetic-typological, comparative, and phenomenological methods were used in the research. The novelty of the research lies in the original interpretation of the key image of the famous work. The Results. The starting point in the interpretation of Dovzhenko’s title is the semantics of the passive participle “enchanted” in connection with the image of the mirror and the motive of self-discovery. This story cannot be adequately understood outside the context of H. Skovoroda’s philosophical heritage. Indirectly through Skovoroda, Dovzhenko learns and develops Plato’s aesthetic ideas and the concept of calokagatia. He modernizes the ancient idea of beauty in the realm of creativity. Knowledge turns out to be identical to self-knowledge, the discovery of beauty is its creation. In accordance with the latest utopias, man is assigned the role of demiurge. If we take into account that beauty in this concept is identical to truth, then man (humanity) is also recognized as the creator of truth. Dovzhenko’s new humanism was nourished by the atmosphere of national Renaissance, Marxist and Nietzschean ideas. It is claimed that the central problem of the film story is the role of art in the formation of personality. “Enchanted Desna” is an image of art that immerses the soul in the processes of purification, personalization, self-knowledge and knowledge of the world, comprehension / creation of beauty-truth. The artist’s mission was to awaken in each person their alternative self, or, according to Skovoroda, the inner man with the help of art. In the future, it is necessary to find other versions of the image of the mirror of self-recognition in Ukrainian and foreign writers and to trace the influence of the magnum opus of the novelist Dovzhenko in the 60s.

Мода: эстетические и социальные функции

The unity and interrelation of aesthetic and social components of fashion from the standpoint of philosophy is emphasized. The boundaries of the concept of «fashion» are clarified from the point of view of modern science, in relation to which its aesthetic and social functions were analyzed – fashion in the broad sense of the word, in other words, not only vestigial – related to the style of clothing. An excursion into the history of fashion as a marker of social inequality and an indicator of social inequality with attention to the gender aspect of this issue is carried out. The modern problems of the interpenetration of aesthetic and social as fashion changes are touched upon. Much attention is paid to sources related to the Internet, mass media, advertising. It is concluded that in the context of fashion, aesthetics helps society and individuals to build a particular system of views, while society, through certain value attitudes, acquires certain aesthetic ideas.

ПУБЛИКА И ЗРИТЕЛИ СОВЕТСКИХ ПРАЗДНИКОВ 1920-1930-Х ГГ.

This article attempts to consider the audience as a specific community of spectators, listeners, and visitors of various performances at the stage of its formation in the early Soviet period. Numerous means were used to form the ability to perceive and understand the language of arts, aesthetic ideas and social attitudes; among which public holidays were the most effective. The festive culture of the first decades of Soviet government was focused on the active citizens’ mass participation in the events. The public was not supposed to remain indifferent to the holidays held by the state, primarily revolutionary ones. The roles of the spectator and the actor/participant of theatrical festive performances united in the space of festive culture. The task of Soviet citizens’ ideological upbringing meant their involvement in mass action. Active participation was supposed to foster a sense of collectivism, to form social identity and spiritual values. The state and public organizations’ study of the festive audience composition and spectator interest contributed to the development of methodological recommendations for holding festive events. The article discusses the techniques and methods of studying the audience in the festive practice of social construction of a “new” person in the 1920s–1930s.

Research on the Influence of the Aesthetics of Traditional Chinese Painting on Contemporary Oil Painting Landscape Creation

The aesthetic ideas and expression methods of traditional Chinese landscape painting influence all aspects of contemporary oil painting landscape creation. It not only guides oil painting creators to pay attention to environmental issues, return to nature, and explore cultural connotations, but also reminds oil painting creators to pursue both form and spirit and profound artistic effects while expressing nature. The uniqueness of oil painting creation is highlighted, and the artistic value is enhanced. This article analyzes the aesthetic expression of contemporary oil painting landscape creation and the similarities and differences between traditional Chinese painting and contemporary oil painting landscape painting. Based on refining the aesthetic values in traditional Chinese painting, it studies the impact of traditional Chinese painting aesthetics on contemporary oil painting landscape creation, providing reference for related research.

The Image of African Art in Europe. The First Collections and the Reliability of Sources

More than a hundred years have passed since the “discovery” of African art in Europe, it would not be superfluous to ask questions: how was the selection of the source base of research carried out, and that, in fact, all this time, starting from the mid-10-s. of the last the last century, studied Africanist art history? According to most critics and art historians, African sculptures and masks served as an inspiration for Picasso, Braque, Léger and other French artists, the founders of the early avant-garde. One of his “fathers”, Paul Guillaume, even claimed that the discovery of African art played for Europe in the 20th century the same role as the discovery of antiquity for the Renaissance [Laude, 1966, p. 38]. But how reliable is the source base on the basis of which African art critics have made and continue to draw sometimes very far-reaching theoretical conclusions, and how justified are these conclusions? On the one hand, the selection of monuments in the first collections of African art was completely random; they took what they "liked"; on the other hand, they liked exactly what corresponded to the aesthetic ideas of their time — and at the beginning of the 20th century. the avant-garde quickly came into fashion, and after the choice was made, subsequent collecting was necessarily guided by the tastes of Vlaminck, Braque or Picasso. According to the author, throughout the history of Africanist art history, most of the research was carried out on an artificially narrowed source base, the nature of which was predetermined by the choice of the first collectors. The criteria for selecting things in the first collections were formed by European culture and aesthetics. Even when all available artefacts were collected, those that did not fit the idea of what African art “should” be were rejected and not exhibited. But it was the first collections that became the source base on which the studies of African art were built, and it was then that ultimately predetermined the idea of it. As a result, African art works provide more information about the aesthetic preferences of Europeans than Africans.

Всеобщность эстетического отношения к миру – творческий принцип Н.И. Киященко

The article is devoted to the discussion of the philosophical and methodological potential of one of the fruitful ideas of N.I. Kiyashchenko – the principle of the universality of a person’s aesthetic attitude to the world. In contrast to the rather widespread Hegelian point of view, according to which the aesthetic attitude to the world is limited mainly to the sphere of art, he, relying on the ac­tivity approach developed in Russian philosophy, insisted on the presence and essential role of the aesthetic attitude to the world in all spheres of human life and society in general. Through out Kiyashchenko’s creative life, this interpreta­tion of the role of the aesthetic acted as a connecting thematic line that united the diversity of scientific interests and conceptual incarnations of both himself and his fellow specialists in various fields and directions of research of the modern culture. The team headed by Kiyashchenko discussed the aesthetic aspects of un­derstanding both humanitarian and natural reality (including such fields of sci­ence as genetics, synergetics, neuroscience, etc.). The result of this collective work was a series of works associated, according to the plan of N.I. Kiya­shchenko, with the transformation of modern aesthetic ideas in their concep­tual expression. And in essence, these works represent the ideological heritage of Nikolai Ivanovich Kiyashchenko.