Key Concepts in Chinese Thought and Culture – serie

This Key Concepts pivot discusses the significance of the ancient Chinese concept of xìng or ‘Association’ in defining Chinese civilization and thought through the centuries. An approach unique to literary creation in China, xìng highlights the importance Chinese civilization sets by the integration of intellect, emotion and will into a highly consistent concept across its personal and public spheres. The book explores how the concept has been a widely used creative technique even in the earliest collections of Chinese poems, using metaphor and symbolism to set the scene and indicate thoughts and emotions invested in the vehicle of metaphor, as well as its impact on Chinese literature and philosophy as a domain of multiple meanings in classical Chinese aesthetics.

This Key Concepts pivot examines the fundamental Chinese ideas of ‘Civilization’ and ‘culture’, considering their extensive influence both over Chinese society and East Asian societies. The pivot analyses the traditional connotations of those two concepts and their evolution in the Sino-Western exchanges as well as their renewed interpretation and application by contemporary Chinese scholars. It analyses how the years 1840-1900 which mark a period of major transition in China challenged these concepts, and highlights how the pursuit of innovation and international perspective gave birth to new values ​​and paradigm shifts, and culminated in the May Fourth New Culture Movement. Considering the underlying humanistic ideas in the key concepts of traditional Chinese civilisation and culture, this pivot contributes to this series of Chinese Key Concept by offering a unique analysis of the conceptual evolutions brought about by the change of values in 21st century China.

This Key Concepts pivot considers the fundamental Chinese cultural ideal of harmony (hé/和). Historically originating from Confucianism, the concept of harmony sits at the heart of Chinese traditional culture, which is characteristically morality-based and harmony-conscious due to the central role of pragmatic reason and wisdom nurtured through Confucianism, Daoism, Mohism, Legalism and other schools of thought. This pivot delineates the rationale of the Chinese philosophy of harmony and its implications for modern social practices worldwide. It notably reexamines the relevance of hé beyond the realm of philosophy, and how this concept can impact on modern day human relations, amongst individuals and families as well as on a wider societal scale. It explores how hé can affect perspectives on political interaction, international relations and human conflict, as well as the interaction between man and nature. Addressing the inevitable tension between theory and practice, this bookargues for the very real relevance of hé in 21st century cultural, social, political and economic spheres in China and beyond.

This Key Concepts pivot discusses the contemporary relevance of the ancient Chinese concept of Tianxia or ‘All-Under-Heaven’ and argues the case for a new global political philosophy. ‘All-under-heaven’ is a conceptualization of the world as the composition of three realms: the physical, psychological and political, which places inclusivity and harmony at the heart of a global world view above other considerations, transcending the notion of nation state. In a highly interconnected and globalized world, the idea of Tianxia can offer a new 21st century vision of international relations and world order, based on a harmonized global organization defined by the “all-inclusiveness principle.”  Promoting the ontology of co-existence and relational rationality hand in hand with rational risk aversion in a globalized world, this pivot makes the case that Tianxia could offer a new vision for contemporary world order, redefining the universality and legitimacy ofpolitics.

This Key Concept pivot explores the trajectory of the semantic generation and evolution of two core concepts of ancient Chinese Confucianism, ‘Zhong’ (middle) and ‘Zhongyong’ (golden mean). In the pre-Qin period, Confucius advocated ‘middle line’ and ‘golden mean’ as the highest standards for gentlemanly behaviour and culture.  In The Doctrine of the Mean the Confucian classic of the late Warring States Period, ‘middle’ obtained the ontological meaning of ‘great fundamental virtues of the world’, due to the influence of Taoism and Yinyang School. It became not only the norm of human behaviours, but also the law governing the operation of heaven and earth. Since then, idealist Confucian scholars of the Song and Ming dynasties have developed the meaning of ‘middle’ from the perspective of the relationships between heaven and man, a fundamental norm of Confucian ethics.

This Key Concept pivot explores the trajectory of the semantic generation and evolution of two core concepts of ancient Chinese Confucianism, ‘Zhong’ (middle) and ‘Zhongyong’ (golden mean). In the pre-Qin period, Confucius advocated ‘middle line’ and ‘golden mean’ as the highest standards for gentlemanly behaviour and culture.  In The Doctrine of the Mean the Confucian classic of the late Warring States Period, ‘middle’ obtained the ontological meaning of ‘great fundamental virtues of the world’, due to the influence of Taoism and Yinyang School. It became not only the norm of human behaviours, but also the law governing the operation of heaven and earth. Since then, idealist Confucian scholars of the Song and Ming dynasties have developed the meaning of ‘middle’ from the perspective of the relationships between heaven and man, a fundamental norm of Confucian ethics.

This Key Concepts pivot explores the aesthetic concept of ‘imaginative contemplation.’ Drawing on key literature to provide a comprehensive and systematic study of the term, the book offers a unique analysis and definition of the connotations of the term, describing its aesthetic mentality and examining the issue of imaginative contemplation versus imagination in artistic creative thinking, especially as regards the characteristics of contingent thinking in aesthetics. It focuses on drawing parallels between imaginative contemplation and aesthetic emotions, aesthetic rationality, and artistic expression as well as aesthetic form. Examining the relationship between imaginative contemplation and the aesthetic configuration, the book provides a valuable introduction to aesthetic theory in Chinese philosophy and art.

This Key Concepts pivot explores the aesthetic concept of ‘imaginative contemplation.’ Drawing on key literature to provide a comprehensive and systematic study of the term, the book offers a unique analysis and definition of the connotations of the term, describing its aesthetic mentality and examining the issue of imaginative contemplation versus imagination in artistic creative thinking, especially as regards the characteristics of contingent thinking in aesthetics. It focuses on drawing parallels between imaginative contemplation and aesthetic emotions, aesthetic rationality, and artistic expression as well as aesthetic form. Examining the relationship between imaginative contemplation and the aesthetic configuration, the book provides a valuable introduction to aesthetic theory in Chinese philosophy and art.

This pivot focuses on “the concept of edification” in a bid to systematically expound its connotative structure and logical evolution. It is divided into ten chapters, embracing various issues, such as human nature as the foundation of edification, the development of edification and cultivation, the evolution of edification and the resultant life based on ritual and music, the political orientation and ultimate care of edification, and the nurturing of social edification, in an effort to offer a panoramic view of the intellectual features of Confucianism, and consequently a profound reflection on the cultural consciousness of contemporary China. The book is expected to satisfy the needs for a better understanding of edification as a Confucian concept, and the conceptual features of Chinese philosophy, or rather, Confucianism.

This pivot focuses on “the concept of edification” in a bid to systematically expound its connotative structure and logical evolution. It is divided into ten chapters, embracing various issues, such as human nature as the foundation of edification, the development of edification and cultivation, the evolution of edification and the resultant life based on ritual and music, the political orientation and ultimate care of edification, and the nurturing of social edification, in an effort to offer a panoramic view of the intellectual features of Confucianism, and consequently a profound reflection on the cultural consciousness of contemporary China. The book is expected to satisfy the needs for a better understanding of edification as a Confucian concept, and the conceptual features of Chinese philosophy, or rather, Confucianism.

This book challenges the long-prevailing interpretation of China’s legal tradition as “virtue given priority over penalty,” arguing that this proposition is a projection of modern Western rule-of-law discourse and fails to accurately reveal the structure of traditional Chinese legal thought. The author introduces the concept of “virtue as foundation, penalty as function”—framing “virtue” as the bedrock of ruling legitimacy, moral education, and social self-governance, while “penalty” serves as a necessary tool for upholding order. It offers a novel theoretical framework for scholars and interested readers worldwide to re-examine China’s legal heritage and its embedded governance wisdom.

This book is one of the first to give a systematic account of shuyuan in English. Shuyuan (Classical Academies), as a type of higher education institution in ancient China, were closely related to the philosophical thoughts, social atmosphere, and humanistic cultivation in those times when they were prevalent, thus proving to be a worthy subject of study. This book collects and sorts out relevant historical materials, so as to explore the social environment where shuyuan were established, introduces a group of ancient scholars with strong personalities, reexamine their cultural heritage, and builds a bridge connecting modern and ancient thoughts.

This book presents the concept of Fenggu, one of the most important aesthetic categories of ancient China. As an inspiring aesthetic principle, it once encapsulated the particularities of various types of artistic creation and played an important role in traditional artistic creation and theoretic critique. The present volume aims to systematically elaborate on its etymological origin, connotations and generation, its great role in overcoming the tendency of creative stereotypes, its logical positioning in the ancient aesthetic system and its profound connection with traditional culture, via comprehensive analysis of a rich repository of original materials, in combination with calligraphy, painting, and poetry criticism. The theoretical character of traditional aesthetics has been derived from agglomeration of Fenggu with other several important categories of paradigm significance. Therefore, its investigation can offer insights into the organic rhythm of the development of ancient aesthetic thought and consequently lay a solid foundation for the construction of ancient art history and aesthetic history.

This book interprets the typical Chinese concepts of fengjian (feudalism) and jingji (economy) by reviewing the mistranslation and mismatching of concepts from ancient to modern times and from a Western language to Chinese and exploring Chinese and Western acculturation, which is in line with Mr. Chen Yinque’s theory—”To interpret a Chinese character is to write a history of culture”. In the coordinates of time and space for the transformation of Chinese concepts from ancient to modern times and their translation from Western languages, this book explores the generation and evolution of Chinese concepts; using the semantic window of Chinese characters, the book reviews the historical and cultural connotations of the semantic changes and the history of the long-lasting culture of Chinese characters. This volume moves from reviewing the semantic changes of fengjian and jingji to elaborating concepts of thought; it makes the study of the history of terms and concepts the study of the history of culture and thought; it analyzes words as part of cultural history to welcome the era of cultural and historical research with a focus on words.This book is both scholarly and readable, satisfying both the academic needs of specialized researchers and the cultural curiosity of those with secondary education or above.

This book interprets the typical Chinese concepts of fengjian (feudalism) and jingji (economy) by reviewing the mistranslation and mismatching of concepts from ancient to modern times and from a Western language to Chinese and exploring Chinese and Western acculturation, which is in line with Mr. Chen Yinque’s theory—”To interpret a Chinese character is to write a history of culture”. In the coordinates of time and space for the transformation of Chinese concepts from ancient to modern times and their translation from Western languages, this book explores the generation and evolution of Chinese concepts; using the semantic window of Chinese characters, the book reviews the historical and cultural connotations of the semantic changes and the history of the long-lasting culture of Chinese characters. This volume moves from reviewing the semantic changes of fengjian and jingji to elaborating concepts of thought; it makes the study of the history of terms and concepts the study of the history of culture and thought; it analyzes words as part of cultural history to welcome the era of cultural and historical research with a focus on words.This book is both scholarly and readable, satisfying both the academic needs of specialized researchers and the cultural curiosity of those with secondary education or above.

This book traces the origin and evolvement of two Chinese characters “wenxue”(literature) by using the methods of conceptual history and historical and cultural semantics, and by taking the evolution and changes of the concept of the these two characters and their interpretations in the west as a window, and re-examining the contemporary morphology of concept evolution in the historical context of concept generation and development to discover the historical and cultural connotations hidden behind the characters, so as to embark on a vivid journey to explore the history of literary thought, discipline and culture.  The entire book is woven with the concept of “literature” at its core. Following the author's analysis and interpretation, an interlocking and orderly network of description of ancient and modern, Chinese and foreign unfolds. In this context, the chapters are progressive and mutually responsive, forming an organic whole which is connectedat the beginning and the end. For those readers who are trying to understand how Chinese “wenxue” evolved from one of the “four disciplines of Confucius” into a modern discipline and concept, this book will provide the most detailed, in-depth, and vivid historical picture.

This book traces the origin and evolvement of two Chinese characters “wenxue”(literature) by using the methods of conceptual history and historical and cultural semantics, and by taking the evolution and changes of the concept of the these two characters and their interpretations in the west as a window, and re-examining the contemporary morphology of concept evolution in the historical context of concept generation and development to discover the historical and cultural connotations hidden behind the characters, so as to embark on a vivid journey to explore the history of literary thought, discipline and culture.  The entire book is woven with the concept of “literature” at its core. Following the author's analysis and interpretation, an interlocking and orderly network of description of ancient and modern, Chinese and foreign unfolds. In this context, the chapters are progressive and mutually responsive, forming an organic whole which is connectedat the beginning and the end. For those readers who are trying to understand how Chinese “wenxue” evolved from one of the “four disciplines of Confucius” into a modern discipline and concept, this book will provide the most detailed, in-depth, and vivid historical picture.

This book interprets the concepts, philosophies and cultural traditions of lunli (roughly construed as “relationships and rationality”) from the perspective and domain of ‘dialogue civilization.’ On the conceptual level, it expounds the common reference and different tenets of the Chinese lunli and the Western “ethic”, exploring the characteristics of lunli and "ethic" in civilization history, considering notably the difference between unification of family and state and division of the two at the embryonic stage of civilization. The book draws on the lunli-oriented culture and religion-based culture to demonstrate the difference between Chinese lunli and Western “ethic” in their respective top design and ultimate care, by exploring the issue “What the world would be like, if there were no lunli” for the Chinese and “What the world would be like, if there were no God” for westerners. Since lunli is the most prominent feature of “being Chinese”, or the most symbolic and interpretative Chinese cultural concept, this pivot provides a key introduction for Western readers not only to the concept itself, but also to modern day Chinese culture.