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  1. The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics 8:247–268.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...)
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  2. The Dialectic of Consciousness and Unconsciousness in Spontaneity of Genius: A Comparison between Classical Chinese Aesthetics and Kantian Ideas.Xiaoyan Hu - 2017 - Proceedings of the European Society for Aesthetics 9:246–274.
    This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...)
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  3. (1 other version)The Moral Dimension of Qiyun Aesthetics and Some Resonances with Kant and Schiller.Xiaoyan Hu - 2021 - Estetika : The European Journal of Aesthetics 2 (LVIII/XIV):129-143.
    In this paper, I suggest that the notion of qiyun (qi: spirit; yun: consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience, and work. By projecting Kant’s and Schiller’s conceptions of aesthetic autonomy and the moral relevance of art onto the qiyun-focused context, we see that the reflection on parallels (...)
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  4. Beyond Representation: Reconsidering Loehr's Periodisation of Chinese Painting.Xiaoyan Hu - 2017 - Proceedings of ICA 2016 ‘Aesthetics and Mass Culture’ (E-Book), 2016.
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  5. The Moral Dimension of Qiyun Aesthetics and Some Kantian Resonances.Xiaoyan Hu - 2019 - Proceedings of the European Society for Aesthetics 11:339–374.
    In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection on (...)
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