Korean art and music have a long history, but aesthetic research on them has only been around for a little over a hundred years. Critiques and discourses on traditional arts such as poetry, calligraphy, and painting can be traced back to the Joseon or even Goryeo dynasties, but the modern discussion on the common features of Korean aesthetics was conducted much later than that in Western Europe, where the field of aesthetics was established in the mid to late eighteenth century. Early aestheticists who tried to explain aesthetic consciousness in Korean culture and art converged on the concept of Jayeon, which can be translated provisionally as “nature,” seemingly diverging from western aesthetics’ focus on the concept of “beauty.” Jayeon shares the same Chinese characters as ziran (自然), an early Daoist concept, but jayeon in a Korean aesthetic context does not appear to be limited to the connotation of its Chinese origin. This article unpacks the different ways in which jayeon captures the key characteristics of Korean art and aesthetics.
{"title":"Korean Aesthetic Ideals: “Jayeon”","authors":"So-jeong Park","doi":"10.1093/jaac/kpac028","DOIUrl":"https://doi.org/10.1093/jaac/kpac028","url":null,"abstract":"\u0000 Korean art and music have a long history, but aesthetic research on them has only been around for a little over a hundred years. Critiques and discourses on traditional arts such as poetry, calligraphy, and painting can be traced back to the Joseon or even Goryeo dynasties, but the modern discussion on the common features of Korean aesthetics was conducted much later than that in Western Europe, where the field of aesthetics was established in the mid to late eighteenth century. Early aestheticists who tried to explain aesthetic consciousness in Korean culture and art converged on the concept of Jayeon, which can be translated provisionally as “nature,” seemingly diverging from western aesthetics’ focus on the concept of “beauty.” Jayeon shares the same Chinese characters as ziran (自然), an early Daoist concept, but jayeon in a Korean aesthetic context does not appear to be limited to the connotation of its Chinese origin. This article unpacks the different ways in which jayeon captures the key characteristics of Korean art and aesthetics.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127340735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction to the Symposium on Korean Aesthetics: The Beginning is Half","authors":"Hannah H Kim","doi":"10.1093/jaac/kpac033","DOIUrl":"https://doi.org/10.1093/jaac/kpac033","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122718908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to Ted Nannicelli, ethical disputes about art today often concern not the controversial attitudes expressed by the works but the ways in which they have been created, that is, as well as interpretation-oriented ethical criticism of art, we find production-oriented ethical criticism. The main question that I explore in this article is: are the interpretation- and production-oriented approaches to ethical art criticism essentially disconnected or can there be a connection between them? I argue that in the disjunctivist view, the two approaches are disconnected, for ethical flaws in the production of artworks are never conditioned by ethical flaws in the attitudes expressed by those works and vice versa. I show that disjunctivism is mistaken and defend what I call contextual conjunctivism. In this view, the two approaches can be connected since attitudinal ethical flaws in artworks can indeed cause ethical flaws in their production and vice versa depending on context. I support this view using several examples of controversies about contemporary art.
{"title":"Ethical Flaws in Artworks: An Argument for Contextual Conjunctivism","authors":"T. Koblížek","doi":"10.1093/jaac/kpac035","DOIUrl":"https://doi.org/10.1093/jaac/kpac035","url":null,"abstract":"\u0000 According to Ted Nannicelli, ethical disputes about art today often concern not the controversial attitudes expressed by the works but the ways in which they have been created, that is, as well as interpretation-oriented ethical criticism of art, we find production-oriented ethical criticism. The main question that I explore in this article is: are the interpretation- and production-oriented approaches to ethical art criticism essentially disconnected or can there be a connection between them? I argue that in the disjunctivist view, the two approaches are disconnected, for ethical flaws in the production of artworks are never conditioned by ethical flaws in the attitudes expressed by those works and vice versa. I show that disjunctivism is mistaken and defend what I call contextual conjunctivism. In this view, the two approaches can be connected since attitudinal ethical flaws in artworks can indeed cause ethical flaws in their production and vice versa depending on context. I support this view using several examples of controversies about contemporary art.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121510581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What distinguishes middle, low, and high art? In this article, I give an ameliorative analysis of these concepts. On what I call the Capacity View, the distinction between low, middle, and high art depends on the relation between an artwork’s perceiver (specifically her aesthetic responsive capacities) and the perceived artwork. Though the Capacity View may not align perfectly with folk usage, the view is worth our attention due to three attractive upshots. First, it explains how an artwork’s status level can be elevated or lowered over time and why biases can lead to mistaken judgments about such statuses. Second, it sheds light on the idea of cultural inheritance and why certain forms of aesthetic deference may be justified. Finally, it explains how high, middle, and low art each make distinctive contributions to the good life.
{"title":"Rethinking Low, Middle, and High Art","authors":"Ting Cho Lau","doi":"10.1093/jaac/kpac034","DOIUrl":"https://doi.org/10.1093/jaac/kpac034","url":null,"abstract":"\u0000 What distinguishes middle, low, and high art? In this article, I give an ameliorative analysis of these concepts. On what I call the Capacity View, the distinction between low, middle, and high art depends on the relation between an artwork’s perceiver (specifically her aesthetic responsive capacities) and the perceived artwork. Though the Capacity View may not align perfectly with folk usage, the view is worth our attention due to three attractive upshots. First, it explains how an artwork’s status level can be elevated or lowered over time and why biases can lead to mistaken judgments about such statuses. Second, it sheds light on the idea of cultural inheritance and why certain forms of aesthetic deference may be justified. Finally, it explains how high, middle, and low art each make distinctive contributions to the good life.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114730796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Drawing the Line: What to Do with the Work of Immoral Artists from Museums to the Movies","authors":"D. Matravers","doi":"10.1093/jaac/kpac023","DOIUrl":"https://doi.org/10.1093/jaac/kpac023","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"214 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115126548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Image in the Making: Digital Innovation and the Visual Arts","authors":"Laure Blanc-Benon","doi":"10.1093/jaac/kpac025","DOIUrl":"https://doi.org/10.1093/jaac/kpac025","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132719181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Politics of Perception and the Aesthetics of Social Change","authors":"Stefan Bird-Pollan","doi":"10.1093/jaac/kpac024","DOIUrl":"https://doi.org/10.1093/jaac/kpac024","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121156899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this essay, I discuss Korean artists’ multi-layered, internal motives for engaging in artistic practices: their artistic devotion derives from their desires for moral self-cultivation, self-enjoyment, and self-forgetting. I speculate that these tendencies were intensified in Korean cultural traditions by distinctive sociopolitical circumstances of the Joseon period under the dominance of Neo-Confucianism, such as a fixed social hierarchy and Sino-centrist perspectives. This interpretation provides a useful lens for better understanding contemporary Korean artistic practices in both the fine and popular arts.
{"title":"Artistic Motives in Korean Art Traditions: Self-Cultivation, Self-Enjoyment, and Self-Forgetting","authors":"Dobin Choi","doi":"10.1093/jaac/kpac032","DOIUrl":"https://doi.org/10.1093/jaac/kpac032","url":null,"abstract":"\u0000 In this essay, I discuss Korean artists’ multi-layered, internal motives for engaging in artistic practices: their artistic devotion derives from their desires for moral self-cultivation, self-enjoyment, and self-forgetting. I speculate that these tendencies were intensified in Korean cultural traditions by distinctive sociopolitical circumstances of the Joseon period under the dominance of Neo-Confucianism, such as a fixed social hierarchy and Sino-centrist perspectives. This interpretation provides a useful lens for better understanding contemporary Korean artistic practices in both the fine and popular arts.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"11 3-4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128487621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A metaphor is an effective way to show how something is to be conceived. In this article, I look at two Neo-Confucian Korean philosophical contexts—the Four-Seven debate and Book of the Imperial Pivot—and suggest that metaphors are philosophically expedient in two further contexts: when both intellect and emotion must be addressed; and when the aim of philosophizing is to produce behavioral change. Because Neo-Confucians had a conception of the mind that closely connected it to the heart (心 xin), metaphor’s empathy-inducing and perspective-giving capacities made it an especially helpful mode of philosophizing in the history of Korean philosophy.
{"title":"Metaphors in Neo-Confucian Korean philosophy","authors":"Hannah H Kim","doi":"10.1093/jaac/kpac030","DOIUrl":"https://doi.org/10.1093/jaac/kpac030","url":null,"abstract":"\u0000 A metaphor is an effective way to show how something is to be conceived. In this article, I look at two Neo-Confucian Korean philosophical contexts—the Four-Seven debate and Book of the Imperial Pivot—and suggest that metaphors are philosophically expedient in two further contexts: when both intellect and emotion must be addressed; and when the aim of philosophizing is to produce behavioral change. Because Neo-Confucians had a conception of the mind that closely connected it to the heart (心 xin), metaphor’s empathy-inducing and perspective-giving capacities made it an especially helpful mode of philosophizing in the history of Korean philosophy.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122149790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use (1) existing artworks, (2) memory aids, and (3) music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research.
{"title":"Making Space for Creativity: Niche Construction and the Artist’s Studio","authors":"Jussi A. Saarinen, Joel Krueger","doi":"10.1093/jaac/kpac021","DOIUrl":"https://doi.org/10.1093/jaac/kpac021","url":null,"abstract":"\u0000 It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use (1) existing artworks, (2) memory aids, and (3) music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125709930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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