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Xiaoyan Hu
The Aesthetics of Qiyun and Genius
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2326311The Aesthetics of Qiyun and Geniushttps://www.gandhi.com.mx/the-aesthetics-of-qiyun-and-genius-9781793641571/phttps://gandhi.vtexassets.com/arquivos/ids/3815231/eec4eb82-7cde-475d-80f9-b427680fe4a0.jpg?v=63886734272220000020232248MXNBloomsbury PublishingInStock/Ebooks/<p>In The Aesthetics of Qiyun and Genius: Spirit Consonance in Chinese Landscape Painting and Some Kantian Echoes, Xiaoyan Hu provides an interpretation of the notion of qiyun, or spirit consonance, in Chinese painting, and considers why creating a paintingespecially a landscape paintingreplete with qiyun is regarded as an art of genius, where genius is an innate mental talent. Through a comparison of the role of this innate mental disposition in the aesthetics of qiyun and Kants account of artistic genius, the book addresses an important feature of the Chinese aesthetic tradition, one that evades the aesthetic universality assumed by a Kantian lens.<br />Drawing on the views of influential sixth to fourteenth-century theorists and art historians and connoisseurs, the first part explains and discusses qiyun and its conceptual development from a notion mainly applied to figure painting to one that also plays an enduring role in the aesthetics of landscape painting. In the light of Kants account of genius, the second part examines a range of issues regarding the role of the mind in creating a painting replete with qiyun and the impossibility of teaching qiyun. Through this comparison with Kant, Hu demystifies the uniqueness of qiyun aesthetics and also illuminates some limitations in Kants aesthetics.</p><p>The publication of this work was supported by the Fundamental Research Funds for the Central Universities (project no: 3213042202A1).</p>...2262421The Aesthetics of Qiyun and Genius20232248https://www.gandhi.com.mx/the-aesthetics-of-qiyun-and-genius-9781793641571/phttps://gandhi.vtexassets.com/arquivos/ids/3815231/eec4eb82-7cde-475d-80f9-b427680fe4a0.jpg?v=638867342722200000InStockMXN99999DIEbook20219781793641571_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_<p>In <em>The Aesthetics of</em> Qiyun <em>and Genius: Spirit Consonance in Chinese Landscape Painting and Some Kantian Echoes</em>, Xiaoyan Hu provides an interpretation of the notion of <em>qiyun</em>, or spirit consonance, in Chinese painting, and considers why creating a painting—especially a landscape painting—replete with <em>qiyun</em> is regarded as an art of genius, where genius is an innate mental talent. Through a comparison of the role of this innate mental disposition in the aesthetics of <em>qiyun</em> and Kant’s account of artistic genius, the book addresses an important feature of the Chinese aesthetic tradition, one that evades the aesthetic universality assumed by a Kantian lens.</p><p>Drawing on the views of influential sixth to fourteenth-century theorists and art historians and connoisseurs, the first part explains and discusses <em>qiyun</em> and its conceptual development from a notion mainly applied to figure painting to one that also plays an enduring role in the aesthetics of landscape painting. In the light of Kant’s account of genius, the second part examines a range of issues regarding the role of the mind in creating a painting replete with <em>qiyun</em> and the impossibility of teaching <em>qiyun</em>. Through this comparison with Kant, Hu demystifies the uniqueness of <em>qiyun</em> aesthetics and also illuminates some limitations in Kant’s aesthetics.</p>(*_*)9781793641571_<p>In The Aesthetics of Qiyun and Genius: Spirit Consonance in Chinese Landscape Painting and Some Kantian Echoes, Xiaoyan Hu provides an interpretation of the notion of qiyun, or spirit consonance, in Chinese painting, and considers why creating a paintingespecially a landscape paintingreplete with qiyun is regarded as an art of genius, where genius is an innate mental talent. Through a comparison of the role of this innate mental disposition in the aesthetics of qiyun and Kants account of artistic genius, the book addresses an important feature of the Chinese aesthetic tradition, one that evades the aesthetic universality assumed by a Kantian lens.</p><p>Drawing on the views of influential sixth to fourteenth-century theorists and art historians and connoisseurs, the first part explains and discusses qiyun and its conceptual development from a notion mainly applied to figure painting to one that also plays an enduring role in the aesthetics of landscape painting. In the light of Kants account of genius, the second part examines a range of issues regarding the role of the mind in creating a painting replete with qiyun and the impossibility of teaching qiyun. Through this comparison with Kant, Hu demystifies the uniqueness of qiyun aesthetics and also illuminates some limitations in Kants aesthetics.</p><p>The publication of this work was supported by the Fundamental Research Funds for the Central Universities (project no: 3213042202A1).</p>...(*_*)9781793641571_<p>In The Aesthetics of Qiyun and Genius: Spirit Consonance in Chinese Landscape Painting and Some Kantian Echoes, Xiaoyan Hu provides an interpretation of the notion of qiyun, or spirit consonance, in Chinese painting, and considers why creating a paintingespecially a landscape paintingreplete with qiyun is regarded as an art of genius, where genius is an innate mental talent. Through a comparison of the role of this innate mental disposition in the aesthetics of qiyun and Kants account of artistic genius, the book addresses an important feature of the Chinese aesthetic tradition, one that evades the aesthetic universality assumed by a Kantian lens.<br />Drawing on the views of influential sixth to fourteenth-century theorists and art historians and connoisseurs, the first part explains and discusses qiyun and its conceptual development from a notion mainly applied to figure painting to one that also plays an enduring role in the aesthetics of landscape painting. In the light of Kants account of genius, the second part examines a range of issues regarding the role of the mind in creating a painting replete with qiyun and the impossibility of teaching qiyun. Through this comparison with Kant, Hu demystifies the uniqueness of qiyun aesthetics and also illuminates some limitations in Kants aesthetics.</p><p>The publication of this work was supported by the Fundamental Research Funds for the Central Universities (project no: 3213042202A1).</p>...9781793641571_Lexington Books(*_*)9781793641571_Bloomsbury Publishinglibro_electonico_c1811982-6311-3c5f-8102-eb68743ae702_9781793641571;9781793641571_9781793641571Xiaoyan HuInglésMéxicoBloomsbury Publishinghttps://getbook.kobo.com/koboid-prod-public/rowman_academic-epub-75745b5c-6b22-4ec1-9764-6297a8b1d8dc.epub2021-08-10T00:00:00+00:00