Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. The subjects addressed include the influence of Upanişadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them.

This collection presents twenty-seven new essays in Japanese aesthetics by leading experts in the field. Beginning with an extended foreword by the renowned scholar and artist Stephen Addiss and a comprehensive introduction that surveys the history of Japanese aesthetics and the ways in which it is similar to and different from Western aesthetics, this groundbreaking work brings together a large variety of disciplinary perspectives—including philosophy, literature, and cultural politics—to shed light on the artistic and aesthetic traditions of Japan and the central themes in Japanese art and aesthetics. Contributors explore topics from the philosophical groundings for Japanese aesthetics and the Japanese aesthetics of imperfection and insufficiency to the Japanese love of and respect for nature and the paradoxical ability of Japanese art and culture to absorb enormous amounts of foreign influence and yet maintain its own unique identity. New Essays in Japanese Aesthetics will appeal not only to a wide range of humanities scholars but also to graduate and undergraduate students of Japanese aesthetics, art, philosophy, literature, culture, and civilization. Masterfully articulating the contributors’ Japanese-aesthetical concerns and their application to Japanese arts (including literature, theater, film, drawing, painting, calligraphy, ceramics, crafts, music, fashion, comics, cooking, packaging, gardening, landscape architecture, flower arrangement, the martial arts, and the tea ceremony), these engaging and penetrating essays will also appealto nonacademic professionals and general audiences. This seminal work will be essential reading for anyone interested in gaining a deeper understanding of Japanese aesthetics.

Available for the first time in English, Li Zehou's philosophical aesthetics interpret the historical origins and evolution of aesthetic experience and their significance to the intellectual, emotional, and spiritual growth of human beings. Although LI's ideas have been debated in China for more than two decades, his conversations with Jane Cauvel will now allow Western students and philosophers to re-encounter Chinese and Western conceptions of aesthetics, and the way art shapes indiciduals, societies, technology, and the future of humankind.

Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which cultures conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology of essays by internationally recognised scholars in this field brings into one volume some of the most important research in comparative aesthetics, from classic early essays to previously unpublished contemporary pieces. Ranging across cultures and time periods as diverse as ancient Greece, India and China and the modern West and Japan, the essays reveal both similarities and deep differences between the aesthetic traditions concerned. In the course of these expositions and comparisons there emerges the general conclusion that no culture can be fully grasped if its aesthetic ideas are not understood.

We cannot live a full life unless we know who we are, unless we know the essence of our being. The sciences, which have been immensely helpful in the way in which we live our lives, have been helpless when it comes to telling us how our life should be lived and what its meaning is. Accepting any philosophical or religious belief, on the other hand, limits our freedom to learn directly from personal knowledge of reality, as any preconceived ideas do not only alter its perception, but limit the spectrum of possibilities to which our reason can be applied. To those who do not surrender their right to decide for themselves what reality is, life offers a unique opportunity to apply their insights both in the worlds within and without and either validates or disproves their findings. If they are true to themselves, the continuous feeedback life offers will reveal to them unique characterics of our mind, which are otherwise limited by its own beliefs.

Bridging the gap between cognition and culture, this handbook explores both social scientific and humanities approaches to understanding the physical processes of religious life, tradition, practice, and belief. It reflects the cultural turn within the study of religion and puts theory to the fore, moving beyond traditional theological, philosophical, and ethnographic understandings of the aesthetics of religion. Editors Anne Koch and Katharina Wilkens bring together research in cultural studies, cognitive studies, material religion, religion and the arts, and epistemology. Questions of identity, gender, ethnicity, and postcolonialism are discussed throughout. Key topics include materiality, embodiment, performance, popular/vernacular art and space to move beyond a sensory understanding of aesthetics. Emerging areas of research are covered, including secular aesthetics and the aesthetic of spirits. This is an important contribution to theory and method in the study of religion, and is grounded in research that has been taking place in Europe over the past 20 years. Case studies are drawn from around the world with contributions from scholars based in Europe, the USA, and Australia. The book is illustrated with over 40 color images and features a foreword from Birgit Meyer.

​This book gathers research and writings that reflect on traditional and current global issues related to art and aesthetics, gender perspectives, body theories, knowledge and learning. It illustrates these core dimensions, which are bringing together philosophy, tradition and cultural studies and laying the groundwork for comparative research and dialogues between aesthetics, Chinese philosophies, Western feminist studies and cross-cultural thought. Pursuing an interdisciplinary approach, the book also integrates philosophical enquiries with cultural anthropology and contextual studies. As implied in the title, the main methodologies are cross-cultural and comparative studies, which touch on performances in art and aesthetics, social existence and education, and show that philosophical enquiries, aesthetical representation and gender politics are simultaneously historical, living and contextual. The book gathers a wealth of cross-cultural reflections on philosophical aesthetics, gender existence and cultural traditions. The critical thinking within will benefit undergraduates, postgraduates and researchers in the area of comparative philosophies. It blends academic rigor with personal reflection, which is a critical practice in feminist philosophy itself.