Embodied Perception and Harmonious Unity： Aesthetic Experience in Merleau-Ponty's Theory of Painting and Chinese Song Dynasty Landscapes  

作　　者：Jia Chen 

机构地区：[1]School of Philosophy, Fudan University, 220 Handan Road, Shanghai 200433,People's Republic of China

出　　处：《Fudan Journal of the Humanities and Social Sciences》2016年第2期303-324,共22页复旦人文社会科学论丛（英文版）

摘　　要：This paper explores embodied perception and its relation to aesthetic experience based on French phenomenologist Maurice Merleau-Ponty＇s philosophy of painting. The discussion draws cases from both Western art, post-impressionist Paul Cezanne （1839-1906） and non-Western art, Chinese landscape paintings from the Northern Song Dynasty （960-1127）. As I argue, their general vision for the primacy of embodiment in perception is similar; artists in both practices aim at a balance between representing visible forms of nature and interpreting their invisible, yet deeper meanings for human existence. Further, I will argue, a focus on Chinese aesthetic thought helps us recognize the aesthetics of moral existence and hence contributes significantly to self-cultivation. Influenced by Chinese philosophical traditions, Chinese landscape paintings, compared with Cezanne＇s works, exemplify more strongly the indispensable role of the human body and indicate more explicitly a link between embodiment and moral ethics. The latter suggestion of the moral underpinnings in aesthetic perception and experience is particularly significant since Merleau-Ponty has not elaborated upon this point in any explicit manner.

关 键 词：Aesthetic experience EMBODIMENT PERCEPTION MERLEAU-PONTY Chinese landscape painting 

分 类 号：TP391[自动化与计算机技术—计算机应用技术] B83-0[自动化与计算机技术—计算机科学与技术]