Abstract

The view that aesthetics is central to human conduct and social order derives from the cosmology articulated in the classical corpus. This led several modern Chinese thinkers to articulate how some notion of the aesthetic has been central to Chinese culture and society. Roger Ames and David Hall’s work might be considered as a continuation of this New Confucian project, since their account of the classic Chinese tradition as an aesthetic tradition also starts from recognition of some kind of comprehensive unity between humans and the world. Their approach, however, holds out the promise of avoiding metaphysical or causal problems facing these earlier accounts, where attempts to link a world of processual transformation directly with human emotion must explain casually how such correlation could arise. Hall and Ames, however, emphasize a different conception of aesthetic. In their account, this unity is understood not in terms of metaphysical or causal connection, but through aesthetic judgment. This conception utilizes a Whiteheadian metaphysical framework, whereby the holistic cosmology is now understood as giving rise not to emotions but to an aesthetic order. Building on Roger Ames’ creative reinvigoration of Confucian thought through an appreciation of the role of the aesthetic in the Confucian tradition, we might consider an additional Confucian sense of “aesthetic” that also contributes to social order: the practical concern to create aesthetic goods within everyday social life. This account also draws on Whitehead for relevant conceptual resources, while incorporating the Deweyan instrumentalism of Professor Ames’ later work.