Chinese Aesthetic Culture
|Kod przedmiotu:||WF.IO-MON-49B||Kod Erasmus / ISCED:||(brak danych) / (brak danych)|
|Nazwa przedmiotu:||Chinese Aesthetic Culture|
|Punkty ECTS i inne:||2.00|
Zajęcia w cyklu "Semestr letni 2018/2019" (zakończony)
|Okres:||2019-02-23 - 2019-06-14||
zobacz plan zajęć
Wykład, 30 godzin, 60 miejsc więcej informacji
|Prowadzący grup:||Zhang Zhuo|
|Lista studentów:||(nie masz dostępu)|
|Zaliczenie:||Przedmiot - Zaliczenie|
Wykład w języku chińskim
|Forma i warunki zaliczenia:||
Zaliczenie na podstawie obecności na wykładach (możliwe 2 nieobecności w semestrze).
Multimedia courseware display combines audio-visual and video materials to complete the appreciation, evaluation and discussion related to the teaching content. The class hours used are included in the classroom teaching.
|Bilans punktów ECTS:||
Chinese aesthetic culture has a long history, including many aspects, which can be viewed from different angles. In the order of art system, our special lecture will focus on the most representative art categories in the history of Chinese aesthetic culture, including poetry, painting and calligraphy, music, dance, architecture and other aesthetic cultural phenomena. It mainly outlines several representative types of Chinese traditional aesthetic culture: Confucianism, Taoism, Buddhism and scholar-style aesthetic culture. Through a survey of the aesthetic characteristics and artistic laws of these aesthetic objects, the general appearance and aesthetic taste of Chinese traditional aesthetic culture are roughly outlined, so that students can get a macro grasp of the aesthetic cultural phenomena such as life style, concept and belief, and aesthetic fashion of Chinese people. In the process of explaining each topic, specific cases will be used, and attention should be paid to the connection and infiltration between the contents of each topic.
Lecture 1-4 On the Beauty of Poetry
This paper introduces the changes in the understanding of the function of poetry in China since the pre-Qin, Wei and Qin Dynasties to the Tang Dynasty. This paper interprets the aesthetic features and evaluation criteria of Chinese classical poetry. Through expounding some famous poems or classic fragments, this paper expounds the aesthetic characteristics, formation mechanism , and deep-seated philosophical essence of "artistic conception" in Chinese classical poetry.
Lecture 5-7 On the Beauty of Calligraphy and Painting
Chinese Calligraphy is an ancient Chinese character writing art, with unique visual charm - the text itself has the meaning of pictures. This paper introduces the homology between Chinese calligraphy and painting: the same "shape" source and the same "spirit" source. The beauty of Chinese calligraphy lies in the technique of writing, layout and artistic conception. The beauty of Chinese painting lies in its brushwork, composition and charm , which reveals the aesthetic attitude of Chinese literati landscape painting and the interest of life.
Lecture 8-9 On the Beauty of Music
This paper introduces the concept of "music" in ancient China, the relationship between "rites" and "music", and the important educational function of music. Confucius' opinions on music in pre-Qin Dynasty and Ji Kang's different opinions in Wei and Jin Dynasties. The core of Chinese music is the aesthetic purport and ideal realm of "harmony".
Lecture 10-11 On the Beauty of Dance
Combining with the appreciation of specific dance works, this paper introduces the characteristics of Chinese classical dance, which are implicit, soft and dynamic. It covers its unique aesthetic features of poetry and painting, and its profound cultural connotations. At the same time, as a multi-ethnic nation, China has many minorities who are good at singing and dancing, with various forms and their own characteristics. Uighur ethnic group in Northwest China and the Dai nationality living in Yunnan as examples, this paper introduces the representative characteristics of Chinese folk dances.
Lecture 12-15 On the Beauty of Palace & Gardens
Chinese traditional national architecture focuses on group combination, in which the capital architecture is mainly represented by the imperial palace. The imperial palaces of Ming and Qing dynasties in China are the essence of ancient Chinese Palace architecture. The layout and structure of the palace mainly embodies Confucian ethical and political thought and system. Different from the solemn and magnificent temperament of palace architecture, under the guidance of Taoist aesthetic culture, Chinese scholars regard landscape pastoral as their spiritual home, and private gardens in the south of the Yangtze River as the representative of Chinese classical gardening art, aiming at the pursuit of fresh, elegant, naive and natural interest, showing a wild interest of returning to the mountains and forests. Taking Suzhou Humble Administration Garden as an example, it has become a landscape space with unique Chinese cultural spirit both in the construction of the aesthetic space and in the formation of the poem-like mood.
1. Liu Xie, The literary Mind and the Carving of Dragons《文心雕龙》, Zhong Hua Book Company, 2012.6
2. Liu Xizai, Artistic Conception《艺概》, Zhong Hua Book Company, 2009.5
3. Wang Guowei, Poetic Remarks in the Human World《人间词话》, Translation of Tu Jingyi, Beijing Language and Culture University Press, 2016.10
4. Jicheng, Garden Governance《园冶》, Jiangsu Literature and Art Publishing House, 2015.8
5. Zong Baihua, Aesthetic Walk 《美学散步》, Shanghai People's Publishing House, 1981.3
6. Ye Lang, Outline of the History of Chinese Aesthetics《中国美学史大纲》, Shanghai People's Publishing House, 1985.11
7. Ye William, Chinese Poetics《中国诗学》, People's Literature Publishing House, 2006.7
8. Zhu Liangzhi, Ten Lectures on Chinese Art: Breeze -ruffled Lotus at Quyuan Garden《中国艺术论十讲：曲院风荷》, Anhui Education Publishing House, 2008.3
9. Zong Baihua, Art Realm《艺境》, Commercial Press, 2011.12
Właścicielem praw autorskich jest Uniwersytet Jagielloński w Krakowie.