“Ziran” zhi bian: Su Shi de youxian yu buxiu “自然”之辯：蘇軾的有限與不朽
Beijing: Sanlian chubanshe 三聯出版社. 1st print: October 2018; 2nd print: August 2019
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This is the Chinese version of Dialectics of Spontaneity (Leiden: Brill, 2015), translated and adapted by myself. In comparison to the English version, not only that numerous bigger or smaller changes are made in regard to the Chinese linguistic, cultural, and academic context, but that a full chapter (Chapter 3) has been added into the book, since I deem its discussion more relevant to the Chinese than to the English readers. I am glad to say that this book has been included into Sanlian’s “Editor’s Pick” series and has since a print run of 10,000 copies.
Dialectics of Spontaneity: The Aesthetics and Ethics of Su Shi (1037-1101)
Leiden: Brill. Print: July 2015; Ebook: May 2020.
Open Access: https://brill.com/view/title/31700
Su Shi is a household name in China and is broadly known to Western readers familiar with premodern East Asian culture. He has influenced Chinese, Japanese, and Korean poetry, art, and aesthetics, aside from Confucianism and Chan/Zen Buddhism. Given his immense influence, he is one of the few Chinese poets who have attracted particular attention in English scholarship. Given the extensive extant scholarship on Su Shi, my book aims to bring Chinese studies into dialogues with other academic fields by constructing a system of hermeneutics and engaging in contemporary discussions on aesthetics and ethics. My book has been inspired by a broad range of disciplines, from German aesthetics to Asian religions. Yet ultimately, my investigation is based on the close reading of Su Shi’s writing.
The Introduction contextualizes the issue of “spontaneous art” as well as its related notion “artistic genius” in the history of Western and Chinese aesthetics; it further points to the conventional relation between aesthetics and ethics. My investigation shows the oxymoronic nature of the notion “spontaneous art,” yet this notion nevertheless has acquired exegetical power to explain artistic excellence. Su Shi was often seen as a spontaneous genius, even though, as my discussion shows, this received portrait might have grown out of a palimpsest of reception history.
Following the Introduction, each of the five chapters examines one aspect related to aesthetic or ethical spontaneity. The “aesthetics chapters” consist of Chapters 1 to 3, with the first two chapters on the aesthetics of art and Chapter 3 on nature aesthetics. On the former issue, Chapter 1 deals with the question of the artist, and Chapter 2, that of the artwork. If the theoretical paradigm of these “aesthetics chapters” appears atemporal, the “ethics chapters” locate the discussion in historical time and place. They explore Su Shi’s attempts at the transformation of the self and of the physical body to completely “return into nature,” a return conditioned by cultural paradigms and liturgies. In all these explorations, the aesthetic and ethical spontaneity is found to be in the “Middle Way”: in the unimpeded resignation to necessity on the road toward absolute freedom and enlightenment.
