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< D D The Somatic Arts in China and their Conceptual Basis in Ritual
Abstract Brian J. Bruya [bbruya@emich.edu] Eastern Michigan University
Although the fine arts of China are traditionally linked to the Confucian literati, aesthetic theory associated with these arts is couched in a terminology often thought to stem from philosophical Daoism. In this paper, I demonstrate that the naturalness definitive of many Chinese fine arts has its theoretical genesis not in Daoism but in Confucianism. In historical accounts o f C h i n e s e a r t , t h e S i x A r t s ( l i u y i mQ݅) , r i t u a l p r o p r i e t y ( l i y) , m u s i c ( y u e j) , a r c h e r y ( s h e \) , c h a r i o t e e r i n g ( y u _/ ) , c a l l i g r a p h y ( s h u f) , a n d c a l c u l a t i o n ( s h u xe) ) o f e a r l y C h i n a a r e u s u a l l y n o t e d o n l y i n p a s s i n g . E v e n m o r e r a r e l y i s i t m e n t i o n e d that a common feature among them is an important somatic element. I argue that this somatic element, which became crucial in later aesthetic development, especially in the brush arts of painting and calligraphy, was a core criterion in the judgment of successfully executed ritual propriety, which at its aesthetic apex is identified by its naturalness, or effortlessness (ziran 6q o r w u w e i !q2r) . T h e b u l k o f t h e p a p e r w i l l b e d e v o t e d t o : 1 ) u n d e r s t a n d i n g t h e a e s t h e t i c s o f r i t u a l p r o p r i e t y ; 2 ) d e l i n e a t i n g t h e c o n c e p t o f n a t u r a l n e s s i n a n a e s t h e t i c c o n t e x t ; 3 ) d e l i n e a t i n g t h e c a t e g o r y " s o m a t i c a r t " w i t h r e s p e c t t o C h i n e s e a r t ; a > @
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