Ye Lang  : On the Spirit of Chinese Aesthetics

Aesthetics, as a vital component of culture, explores the relationship between humanity and the world from an aesthetic perspective. Its purpose is to enhance society, enrich everyday life, enliven the human experience, and cultivate the self by fostering an aesthetic appreciation of this relationship. President Xi Jinping has emphasized the importance of carrying forward the spirit of Chinese aesthetics. This represents both a new proposition and a new task for the creative transformation and development of the best of traditional Chinese culture. In this new historical context, it offers crucial guidance for strengthening cultural confidence, upholding a Chinese cultural stance, preserving the legacy of Chinese civilization, demonstrating the distinct character of Chinese aesthetics, and nurturing the people’s sense of beauty and values.

I. Beauty does not proclaim itself; it is revealed through human appreciation

Chinese aesthetics holds a fundamental ontological view: beauty exists neither as a tangible, external entity nor as a purely subjective experience. Rather, beauty is a perceived visual realm that comes into being through the dynamic interplay of inner emotion and external reality during aesthetic engagement. Therefore, beauty is inseparable from human aesthetic activity and the creative workings of the human mind.

The Tang Dynasty thinker Liu Zongyuan (773-819) proposed that for natural scenery to become an object of aesthetic appreciation and to be perceived as beautiful, human aesthetic activity is a necessity. Beauty requires the presence of human consciousness to discover it, awaken it, and illuminate it, transforming it from a mere physical entity into an image-world—a sensuous, meaningful realm shaped by emotion and imagination. External things, in and of themselves, cannot be beautiful, as “beauty does not proclaim itself.” This aesthetic experience is both an act of creation and a form of communion. Just as the Ming Dynasty philosopher Wang Yangming (1472-1529) put it, it is the joyful resonance and seamless flow between the benevolent human heart and all things in the world.

The well-known verse by Du Fu (712-770) of the Tang Dynasty, “The moon is brightest in my homeland” speaks to this idea. In his essay named after this verse, scholar Ji Xianlin (1911-2009) recalls having visited nearly 30 countries and seen countless moons, all of them extraordinarily beautiful. Yet each time he looked up at a foreign moon, he would immediately think of the small moon above the reed pond in his native Shandong and its shimmering reflection in the water. By comparison, no matter how striking those other moons, they could never equal the little moon of his hometown. Ji’s words, of course, were not about any physical difference in the moon itself, but about a difference in the image-world. The small moon in his heart was suffused with deep longing and boundless affection for home—“with recollection, melancholy, nostalgia, and regret.” It had become a sensuous world where feeling and scene were intertwined, rich in enduring meaning and beauty.

Dance performances from China Media Group’s Spring Festival Gala in recent years: Poetic Dance: The Journey of a Legendary Landscape Painting (upper left), Stepping Stones (upper right), Koi Fish (lower left), and Joy on the Tree Branches (lower right). As an art form, dance is endowed with a unique aesthetic value. Such performances exemplify the profound historical and cultural heritage of the Chinese nation, serving as a splendid showcase for Chinese aesthetics. CHINA MEDIA GROUP

Aesthetician Zong Baihua (1897-1986) said, “All beauty flows from the wellspring of the heart, and without its reflection, beauty cannot exist.” In Chinese aesthetics, the “heart” is the source of the light that illuminates beauty. This “heart” is not a concrete entity, but the most ethereal of presences. It is precisely upon this empty and luminous “heart” that all things in the universe appear as they truly are, revealed and made visible. Therefore, Chinese aesthetics holds that the essence of beauty lies in the image-world. Aesthetic activity, then, involves constructing this interwoven image-world of feeling and scene beyond the physical world. This image-world, as the object of aesthetic appreciation, is what we commonly refer to as beauty in its broader sense.

This aesthetic view that “beauty does not proclaim itself; it is revealed through human appreciation” emphasizes the creative power of the mind and the pursuit of life’s meaning. This concept has had at least two profound effects: First, it encourages people to recognize the deep connection between aesthetic and artistic activities and the experience of life, valuing both the mind’s creativity and spiritual depth. Second, it inspires individuals to pursue cultivation of the soul, illuminating a life that is richer in meaning, value, and emotional resonance.

II. Finding beauty in the mundane 

Chinese aesthetics extends beyond the arts, also permeating the everyday lives of ordinary people. This poeticization of daily life can be traced back as far as the time of Confucius. Over thousands of years, the Chinese people’s way of life, reflected in their clothing, food, dwellings, and customs, has embodied a tranquil, harmonious, optimistic, and open-hearted inner world. It also carries a deep sense of aesthetic appreciation.

A prime example is the Northern Song Dynasty painting Along the River During the Qingming Festival, which captures the aesthetic world of ordinary people in 12th-century China. Employing a realistic approach, the painting portrays real people and real life with such vivid detail that it feels as if you are standing in the capital city of Bianjing yourself—seeing the Bianhe River, boats, the rainbow bridge, livestock, streets, taverns, and market stalls. It conveys a sense of contentment and aesthetic appreciation for a stable life, a fondness for seemingly trivial things, and a lively, carefree atmosphere. The ordinary people and everyday scenes in the painting require no embellishment, exaggeration, or idealization. Their natural, unadorned state is itself a source of joy. The painting vividly presents the lives of ordinary people through art, revealing the genuine beauty of human existence. 

Take, for example, the leisurely lifestyle of ordinary Beijing residents, which reflects the distinctive character of the ancient capital—refined, measured, and unhurried. It is infused with the unique “Beijing vibe” and “Beijing charm.” People drink wine, savor tea, fly kites, listen to Peking Opera, mold clay figurines, and paint with melted sugar; their zestful days are never short on contentment. Many enjoy raising pigeons and crafting intricate pigeon whistles. As folklorist Wang Shixiang (1914-2009) once observed, the sound of pigeon whistles drifting through the sky has become an integral part of Beijing life, a symbol of the city itself. “It is the delight of Beijing—who knows how many times it has stirred people from sleep, drawn their eyes to the sky, and brought joy to both adults and children.” This is an aesthetic world that belongs to the people of Beijing.

The aesthetic world portrayed in Along the River During the Qingming Festival, like the leisurely life of today’s Beijing residents, shows that the Chinese people, even in the most ordinary, humble moments of daily life, have long sought to cultivate a sense of beauty. This pursuit of beauty is intertwined with their pursuit of life: to live meaningfully and pleasurably. It is precisely this deep yearning for both life and beauty that has enabled the Chinese nation to endure hardships and persevere through history. This is a reflection of the Chinese aesthetic spirit and a testament to the enduring vitality of the Chinese nation. To recognize this is crucial for understanding the national character of the Chinese people.

III. The vitality of all living things is the most remarkable sight

Chinese aesthetics offers a distinctive approach to the appreciation of natural beauty. It holds that the vitality of all living things is most remarkable. Humanity and nature are seen as one, all part of a vast, living whole.

At its core, traditional Chinese philosophy is a philosophy of life—one that embodies the vitality of growing trees and grasses and the continuous creation of existence. Ancient Chinese philosophers believed that Heaven and Earth adhere to the principle of life, recognizing it as the fundamental law of the universe. In this view, life itself is benevolence, and life itself is goodness. The Confucian ideal of “ren” (benevolence) goes beyond love for family and fellow humans—it calls for extending love to all beings in nature. This reflects a simple yet profound ecological outlook deeply rooted in traditional Chinese culture.

Traditional Chinese philosophy views the natural world, including humanity, as a great living whole. All beings in nature are infused with vibrant life and vitality, which are seen as the worthiest objects of contemplation. Through this act of contemplation, one experiences a state of unity between the self and all living beings. As the Song Dynasty thinker Cheng Hao (1032-1085) put it, “The vitality of all living things is the most remarkable sight.” Observing the dynamic life of nature is not merely an external experience, but a shared resonance between the self and all beings in nature.

A letter written by Qing Dynasty painter Zheng Banqiao (1693-1766) expresses the traditional Chinese view of nature in detail. In it, he wrote that all living creatures under heaven, even the tiniest ants and insects, are cherished and loved. Because of this belief, he opposed keeping birds in cages. Zheng saw humans and all creatures as part of one interconnected whole. In his view, humans are not the masters of nature, but equals among all creatures. He further wrote that those who truly love birds should plant more trees, creating a natural homeland for them. In the early morning, when the trees are filled with birdsong, the birds are happy, and so are the people. This, he said, is what it means for all beings to follow their natural way. In such harmony, humans, who are but one kind among the myriad beings, can experience genuine joy and the highest sense of beauty.

This deep care for all beings in the world, expressed as “cherishing all with heartfelt love,” and the attentiveness to the vitality of all living things in nature are distinctly reflected in ancient Chinese art. Traditional Chinese painters emphasized capturing the vitality of all living things in nature. The flowers, birds, insects, and fish they depicted are lively, spirited, and full of life. Through these images, they created an artistic world in which humans and all living things coexist as part of one interconnected life system.

Ancient Chinese literature also shares this perspective, depicting a world where each being follows its natural way and finds its proper place. Many poems from the Tang and Song dynasties overflow with gratitude toward nature, expressing the idea that nature not only provides the essentials for human life but also offers a source of aesthetic enjoyment.

IV. The pursuit of noble values in life 

Chinese aesthetics holds that aesthetic experience not only enriches a person's cultural character in various ways, but also nurtures higher spiritual aspirations and a more profound sense of purpose in life.

Philosopher Feng Youlan (1895-1990) regarded the concept of jingjie—a state of inner cultivation achieved over the course of life—as one of the most valuable elements of traditional Chinese philosophy. A person’s jingjie reflects their attitude toward life, including emotions, desires, aspirations, interests, ideals, and pursuits. It represents the totality of one’s inner world, shaped across one’s past, present, and future.

While it may appear that everyone shares the same world, in reality, each person lives in a world of their own. Feng offered an example: two individuals visiting the same famous mountain. One, a geologist, sees geological formations; the other, a historian, perceives traces of the past. Thus, though the object is the same, its significance differs for each of them. This illustrates that everyone possesses their own world, or in other words, their own jingjie. In this sense, the kind of jingjie one attains shapes the kind of life one leads. As people differ in their jingjie, so too does the meaning they find in the universe and in life itself.

An individual’s spiritual jingjie manifests as an internal psychological state—what the ancients called xiongjin (breadth of mind), huaibao (aspirations), and xionghuai (inner vision). Externally, it is expressed through one’s way of life and manner of conduct, which ancient thinkers described as one’s qixiang (presence or demeanor) and geju (scope of vision). While these qualities may appear abstract or intangible—difficult to see or touch—they are in fact objective realities that others can perceive.

A person’s jingjie is evident across three dimensions: daily living, career, and aesthetics. What one wears, eats, where one lives, and how one travels—even the smallest details of everyday living—can reflect their jingjie, revealing their state of mind, lifestyle, and cultural taste. Naturally, a person’s work and career also mirror their jingjie, reflecting the breadth of their mind and their demeanor. Aesthetically, a person’s artistic taste and pursuits, from their artistic hobbies to the way they dress, express their aesthetic values, worldview, and life aspirations. For artists, their works invariably reflect their jingjie. Tang Dynasty painter Yan Zhenqing’s Draft of a Requiem to My Nephew, written in the year of 758, is revered not only for its exceptional artistic merit, but also for the spirit it embodies—the moral integrity and readiness to sacrifice for righteousness that have been passed down through generations in Chinese culture. Traditional Chinese aesthetics has long upheld the belief that the character of an artwork is inseparable from the character of its creator; the quality of one’s poetry, calligraphy, or painting ultimately reflects the quality of one’s character.

In summation, while aesthetic activities can enhance one’s cultural character in various ways, their ultimate purpose is to inspire lofty spiritual aspirations and elevate one’s jingjie. Ancient Chinese thinkers consistently emphasized not only the importance of acquiring knowledge and skills but also, and perhaps more importantly, the need to broaden one’s mind and cultivate one’s demeanor. This means pursuing a higher spiritual calling, seeking a life of greater meaning, value, and aesthetic sensibility, and, ultimately, pursuing a life grounded in noble ideals.

Ye Lang is Senior Professor of Philosophy and Social Sciences and Boya Chair Professor at Peking University.

(Originally appeared in Qiushi Journal, Chinese edition, No. 9, 2025)

Source: English Edition of Qiushi Journal