Rytų Azijos tradicinė estetika ir meno teorija

LTMonografija yra trilogijos „Estetikos ir meno filosofijos idėjų istorija: Rytai–Vakarai“, skirtos visuotinės estetikos, meno filosofijos ir meno teorijos idėjų analizei, antroji knyga. Šį veikalą galima traktuoti kaip daugiau nei tris dešimtmečius jo autoriaus darytų komparatyvistinių Rytų Azijos tradicinės estetinės minties ir meno teorijos tyrinėjimų konceptualią sintezę. Tai tarpdalykinis humanitarinės krypties veikalas, aprėpiantis visus pagrindinius kinų ir japonų tradicinės estetikos ir meno teorijos raidos etapus plačioje lyginamosios analizės perspektyvoje. Monografijos adresatas yra dvejopas: profesionalioji akademinė auditorija ir visuomeninė aplinka, kūrybinė inteligentija, menininkai. Ji gali būti naudinga aukštųjų mokyklų dėstytojams, studentams, kultūros darbuotojams, visiems, besidomintiems aktualiomis humanistikos, kultūros, estetikos ir meno istorijos problemomis. [Anotacija knygoje]

ENChinese aesthetics is an uncommonly distinctive cultural phenomenon created by the spiritual values of a great civilization. China is where many fundamental ideas formed that determined the main features of Far Eastern aesthetics and art. When we compare the aesthetics of China with that of other great Eastern civilizations, we can distinguish some characteristic features. First of all, Chinese and Indian aesthetic theories are connected by a sustained continuity of ideas determined by equally rich unbroken traditions in the development of spiritual culture. On the other hand, unlike India, where normative aesthetic treatises on poetry and dramatic art are dominant, in China – because of the visual-associative apprehension of reality characteristic of a pictographic culture – aesthetic works on painting and calligraphy stand out. In Korea and Japan aesthetic thought, like the entire culture of these countries, is more sensitive to external influences, experiences more transformations, and more easily adopts innovations. In China, however, we can see the incomparably stronger influence of aesthetic and artistic traditions formed over centuries.The cultural, aesthetic, and artistic strata, movements, themes, and leitmotifs that crystallized in China obeyed, as it were, a law of undulating change. Here, traditionalism, the search for something new, and the constant remining of the cultural lodes of the past always progressed together. The cultural tradition was open, plastic, and dynamic, strong enough to adapt to the needs of the day, and capable of integrating not only new forms, themes, and motifs but also entire socially important strata of spiritual culture. In this way, the cultural, aesthetic, and artistic tradition of the Chinese became, by absorbing new content in every period, ever richer and more multilayered. It was naturally self-regulating. For this reason, meaningful progress in Chinese aesthetics and art primarily demanded that the bearers of this culture achieve self-awareness in tradition, adapt this tradition, and guarantee its further continuity and transmission. The cult of traditionalism dominates Confucian aesthetics. Even those who follow Daoist and Chan aesthetic concepts and outwardly negate traditionalism unconsciously form traditions of their own based on other ideas and ideals. [...]. [From the publication]