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Typological Features of Chinese Culture in the Ming Dynasty (1398-1644)
487 stylistics of this cultural type correlated traditional symbols with everyday objects. Symbolic values were alien to the folk artist; archaic character was expressed in the practice of human sacrifice, which existed until the 17 th
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2. Classical culture, which gave paramount importance to the act of stylisation, produced standard forms in which such cultural practices were manifested. The main values of the ancient Chinese literary tradition were related to this approach, including Confucianism and ancestral cults. 36
Paradoxically, the element of game in Chinese art also refers to this cultural type as a sign of symbolic existence. 3. Esoteric tradition brought about a merging of symbolic and naturalistic aspects of the artistic image, which often found expression in calligraphy and painting. In social terms, this cultural type was the foundation of the development of the literati (wenren). 37
The unity of the cultural tradition of China during the Ming Dynasty was based on the premise of the symbolic nature of cultural forms. Correlative thinking allowed the coexistence of classical culture and archaic forms of popular culture, such that Confucian scholar-officials did not descend into intolerance, instead perceiving folk customs as being an inescapable and socially necessary illusion. 38 Art, in this context, was considered to be of profound value, because it allowed the individual to break through from the world of illusions to the fundamental principles of being. The application of functional methodology to this situation allows us, on the one hand, to describe the theoretical achievements of Far Eastern art and philosophical reflection through the basic structures of Western philosophical language and, on the other, to use these achievements in contemporary artistic practices.
(Abstract) The article deals with the typology of Chinese culture during the Ming Dynasty (1398- 1644). Study of the cultural complex of this period is important because Chinese tradition, characterised by cultivation of a symbolic world view, had entered its final stage, but still had not yet been subject to conscious “conservation” by the authorities. In the Ming
35 http://cul.sohu.com/20061023/n245950878.shtml, accessed 30 March 2014. 36 Chang 2007, р. 318-319. 37 Huang 1995, p. 29. 38 Wang 2012, p. XXVIII-XXIX. www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro
R. K. Bazhanova, D. E. Martynov, Y. A. Martynova
488 Dynasty, spiritual and artistic synthesis, cultivated by a symbolic world view, reached perfection but also showed signs of stagnation, which became determinative in the following centuries. The obliteration of symbolic reality and the replacement of a symbolic world view by a naturalistic one characterises the development of Chinsese cultural process in the Modern age. This study of symbolic reality is based on functionalistic methodology, which proposes that the roots of symbolism can be found in the premises of human activity, which correspond to the history of sociality as a set of moments of experience. The Universe in the Chinese tradition has organic integrity; a man is equal to the cosmic forces of heaven and earth and occupies a central place among them. Chinese behavioural norms operate according to specific limitations: every deed and action of the individual is evaluated in terms of etiquette and morality. Thus naturalism, vitalism, holism, humanism and ethical imperative form the philosophical and cultural foundations of the Chinese world view. From this it follows that a correlated - rather than a cause-and-effect - principle is typical of Chinese culture, capturing the relationship between phenomena, revealing their likeness or kinship. A condition of attribution to a particular type means belonging to the positive or negative sphere of being (yang-yin), to one or another archetype. From this follows the idea of transformation, providing a basis for further specialisation and complexity within the artistic experience.
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