In recent years, Practice Ontology Aesthetics takes shape in academic discussion and argument. The introduction of Practice Ontology Aesthetics occurred in the course of introspection of Practice Aesthetics in modem C...In recent years, Practice Ontology Aesthetics takes shape in academic discussion and argument. The introduction of Practice Ontology Aesthetics occurred in the course of introspection of Practice Aesthetics in modem China, in which the existence dimension in Marxist concept of practice was of great significance to breaking the theoretical limitation of present Practice Aesthetics. Therefore, in terms of the distinctive context of Chinese contemporary aesthetics, the introduction of Practice Ontology Aesthetics from the theoretical perspective of Marxist existentialism offers a possible way to break the current aesthetics and represents a multiple academic pursuit of Marxist, Chinese and modem aesthetics.展开更多
In the past 40 years, Chinese research in the field of philosophical aesthetics has made great progress in basic research and academic contributions. The Chinese approach to the ontology of contemporary aesthetics has...In the past 40 years, Chinese research in the field of philosophical aesthetics has made great progress in basic research and academic contributions. The Chinese approach to the ontology of contemporary aesthetics has played the most important role in this historical transition. A shifting paradigm of the ontology of aesthetics-from the concept of “practice” （shijian 實踐） to the concept of“living” （shenghuo 生活）-is assisting to integrate Chinese aesthetics into the context of globalization, and Chinese and global. “Aesthetics” is Aesthetica, it is also is a Juexue 觉学 Chinese context. the future of Chinese aesthetics is both not just Ganxue 感学 in the sense of that is closer to the sense of Aisthetik in展开更多
As a concrete carrier of China’s outstanding traditional culture,intangible cultural heritage(ICH)visual symbols hold dual values of formal aesthetics and cultural expression,and serve as a core resource for construc...As a concrete carrier of China’s outstanding traditional culture,intangible cultural heritage(ICH)visual symbols hold dual values of formal aesthetics and cultural expression,and serve as a core resource for constructing aesthetic education with regional characteristics.Hainan’s ICH items,such as Li brocade,Li pottery,and coconut carving,have fostered highly recognizable visual symbols like the Hercules pattern,frog pattern,and Gangong bird pattern.These symbols embody the craftsmanship wisdom and aesthetic ideals of the Li ethnic ancestors,providing unique resources for localized aesthetic education.Taking Hainan’s ICH as a case study,this paper addresses the existing problems in integrating ICH visual symbols into aesthetic education-including superficiality,formalism,and insufficient exploration of regional connotations.It defines the connotative scope and aesthetic education value of ICH visual symbols,analyzes their transformation logic and core principles,and ultimately offers a referential paradigm for local ICH-oriented aesthetic education.展开更多
文摘In recent years, Practice Ontology Aesthetics takes shape in academic discussion and argument. The introduction of Practice Ontology Aesthetics occurred in the course of introspection of Practice Aesthetics in modem China, in which the existence dimension in Marxist concept of practice was of great significance to breaking the theoretical limitation of present Practice Aesthetics. Therefore, in terms of the distinctive context of Chinese contemporary aesthetics, the introduction of Practice Ontology Aesthetics from the theoretical perspective of Marxist existentialism offers a possible way to break the current aesthetics and represents a multiple academic pursuit of Marxist, Chinese and modem aesthetics.
文摘In the past 40 years, Chinese research in the field of philosophical aesthetics has made great progress in basic research and academic contributions. The Chinese approach to the ontology of contemporary aesthetics has played the most important role in this historical transition. A shifting paradigm of the ontology of aesthetics-from the concept of “practice” （shijian 實踐） to the concept of“living” （shenghuo 生活）-is assisting to integrate Chinese aesthetics into the context of globalization, and Chinese and global. “Aesthetics” is Aesthetica, it is also is a Juexue 觉学 Chinese context. the future of Chinese aesthetics is both not just Ganxue 感学 in the sense of that is closer to the sense of Aisthetik in
文摘As a concrete carrier of China’s outstanding traditional culture,intangible cultural heritage(ICH)visual symbols hold dual values of formal aesthetics and cultural expression,and serve as a core resource for constructing aesthetic education with regional characteristics.Hainan’s ICH items,such as Li brocade,Li pottery,and coconut carving,have fostered highly recognizable visual symbols like the Hercules pattern,frog pattern,and Gangong bird pattern.These symbols embody the craftsmanship wisdom and aesthetic ideals of the Li ethnic ancestors,providing unique resources for localized aesthetic education.Taking Hainan’s ICH as a case study,this paper addresses the existing problems in integrating ICH visual symbols into aesthetic education-including superficiality,formalism,and insufficient exploration of regional connotations.It defines the connotative scope and aesthetic education value of ICH visual symbols,analyzes their transformation logic and core principles,and ultimately offers a referential paradigm for local ICH-oriented aesthetic education.
