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 painting-especially a landscape painting-replete 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 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. 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 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 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 Kant's aesthetics.
Xiaoyan Hu is lecturer in art theory at Southeast University in Nanjing, China.
List of Illustrations Preface Acknowledgements Chronology Introduction Part I: The Notion of Qiyun in the Sixth to Fourteenth Centuries Chapter 1. The Notion of Qiyun in Xie He's First Law of Chinese Painting Chapter 2. The Thread of Qiyun: A Shared Legacy in 10th to 14th Century Landscape Painting Part II: The Art of Genius: An Examination of Qiyun Aesthetics from a Kantian Perspective Chapter 3. The Master of Qiyun: Genius As an Innate Mental Talent of Idea-Giving Chapter 4. Spontaneity of Qiyun: Genius as the Innate Mental Talent of Rule-Giving Chapter 5. The Impossibility of Teaching Qiyun: The Exemplary Originality of Genius in Yipin Chapter 6. Genius as a Pure and Lofty Mind I: Aesthetic Autonomy and Balanced Human Nature Chapter 7. Genius as a Pure and Lofty Mind II: Moral Cultivation of the Kindred Mind Conclusion References About the Author
"In this volume, Xiaoyan Hu treats us to two books in one: first, an informed study of the Chinese aesthetic concept of qiyun (which she translates as "spirit consonance"), from its origins in figure painting to later applications in landscape painting; then, an equally informed comparison of qiyun aesthetics with that of Kant, with special attention to the idea of "genius" in the Third Critique. Hu anticipates a doubtful reader's obvious question (Is Kant the right philosopher for such a comparison?) with thoughtful responses. No, Chinese aesthetics is not Kantian, but Kant turns out to be surprisingly good to think with."--Paul R. Goldin, University of Pennsylvania "This learned book seeks to answer some key questions revolving around qiyun (spiritual consonance), an important but elusive concept in Chinese art criticism. Employing a comparative approach informed by ideas of Western aesthetics, especially those of Kant and Schiller, Dr. Xiaoyan Hu has made admirable contributions to understanding Chinese and Western aesthetics. Well-researched and thoughtfully argued, it is indispensable for anyone interested in Chinese aesthetics and comparative studies of art."--Ming Dong Gu, University of Texas at Dallas
