Summary: The earliest extant Chinese treatise on music. The Yue Ji presents largely Confucian ideas on the connections between music, self-cultivation, proper governance, and the realization of natural patterns. Human character is described as a musical progression with ties to the transformation of sound into a kind of music that is distinguished by its relationship to virtue. The exact identity of the author(s) is debated, and it is believed to have been compiled from various sources no later than the middle of the Western Han dynasty (206BCE-24CE).
Li Yu’s Theory of Drama: A Moderate Moralism
Abstract: This essay presents an interpretation of Li Yu’s theory of drama that takes it to be a moderate moralism that is different from Confucian radical moralism, Daoist radical autonomism, and the moderate autonomism of fiction. In addition to practical considerations, Li Yu’s moderate moralism of drama is based on his awareness of the ontological difference between drama and music, poetry, and fiction. Drama was seen by Li Yu as a synthetic art that includes music, poetry, and fiction. If radical autonomism is appropriate for the evaluation of music, radical moralism for poetry and prose, and moderate autonomism for fiction, then moderate moralism would be most appropriate in the evaluation of drama.
Issues of Contemporary Art and Aesthetics in Chinese Context
Publisher’s Note: This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.
Abhinavabhāratī
Summary: Abhinavagupta’s famed commentary on Bharatamuni’s treatise on drama, the Nāṭyaśāstra, in which he details aesthetic expression and experience according to a theory of rasa, or aesthetic relish. Abhinavagupta’s theory is the most influential account of how the rasas or aesthetic emotions transcend the bounds of the spectator and artwork in a three-part process including depersonalization, universalization, and identification.
Clarifying the Images (Ming xiang)
Summary: From Wang Bi’s (226-249) seminal commentary on the Yi Jing (I Ching) or Classic of Changes. Bi catalogues and explains the relationship between images, ideas, language, and meaning. A key text that continues to be of importance in Chinese aesthetics, philosophy of language, and hermeneutics.
Ownerless Emotions in Rasa-Aesthetics
Summary: Chakrabarti explores the possibilities of rasa theory via the question of whose emotion is experienced when an audience relishes a work of art. Chakrabarti argues for the existence of a “centerless non-singular subjectivity” according to which the special emotions savored in aesthetic experience do not have specific owners. These personless sentiments indicate an ethical relationship between aesthetic imagination and moral unselfishness.
The Chinese Aesthetic Tradition
Publisher’s Note: The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the “art of living.” Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define “humanity.”
Zeami: Performance Notes
Publisher’s Note: Zeami (1363-1443), Japan’s most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English. Zeami: Performance Notes presents the full range of Zeami’s critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami’s instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater.
Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami’s critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami’s manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami’s diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.
Validity in Interpretation: Some Indian Views
Summary: An outline of the theory of interpretation within the language philosophies of ancient India. Chari organizes this extensive history according to topics such as verbal autonomy, intention, unity of meaning, polysemy, contextualism, and interpretation.
Music Has Neither Grief Nor Joy
Summary: The controversial essay in which Xi Kang offered a distinct counterargument to the orthodox Confucian view that music contains and transfers emotions between musicians and listeners. Xi Kang crafts a series of arguments against the presence of emotions and images in music and contends that the widespread belief to the contrary leads to the misuse of music for political and moral agendas.