The Theoretical Approach of Indigenization of Chinese Protestant Theology in the First Half of the 20th Century

2021 ◽  
Vol 21 ◽  
pp. 25-37
Author(s):  
Anze LI
Keyword(s):  
20Th Century ◽  
Chinese Culture ◽  
Christian Theology ◽  
Historical Experience ◽  
Chinese Thought ◽  
Chinese Traditional Culture ◽  
Modern Chinese ◽  
Chinese Characteristics ◽  
Thought Pattern ◽  
Unity Of God

From the early 20th century, Chinese “Indigenous Theology” served as the main line in the development of Chinese Protestant theology. It represents an important orientation in the communications between Chinese and Western culture as well as the development of modern Chinese thought. Chinese Indigenous Theology was the theoretical result of the combination of Chinese and Western religious spirit and thought, with a strong background of traditional Chinese culture. Its main purpose was to interpret and develop modern Chinese Protestant thought within the frame of Chinese traditional culture, mainly Confucianism, and to construct a native Christian theology with Chinese characteristics. As will become obvious, the theoretical construction of Indigenous Theology caused Western Protestant theology, with its fundamental spirit of "Dichotomy between God and Man" and its thought pattern of “External Transcendence”, to Chinese Indigenous Theology, grounded on a "Unity of God and Man" and a “Internal Transcendence”. However, due to excessive adherence to the historical experience of Indigenization, modern Chinese Protestant theology came to lack a sufficient response to and discussion of the issues of modernization and universalization. In this paper, both the theoretical achievements and the shortcomings of Chinese Indigenous Theology will be summarized and reviewed carefully.

Innovation Elements in Traditional Chinese Culture

2021 ◽  
pp. 383-394
Author(s):  
Jin Chen ◽  
Qingqian Wu
Keyword(s):  
Chinese Culture ◽  
Social Darwinism ◽  
Late Qing Dynasty ◽  
Late Qing ◽  
Chinese Traditional Culture ◽  
Spiritual World ◽  
Chinese Characteristics ◽  
Innovation Modes ◽  
Traditional Chinese Culture ◽  
Chinese Intellectuals

The conflict between traditional Chinese culture and Western cultures has long been one between an archaic, outdated culture and a modern, new culture. Traditional Chinese culture is deemed synonymous with backwardness, decrepitude, and decadence and doomed with the passage of time, particularly since social Darwinism swept across the late Qing Dynasty and captured the spiritual world of Chinese intellectuals. Despite differences in culture types, both traditional Chinese culture and Western culture contribute to innovative buildup. It is of great significance to deeply explore the innovative factors in traditional Chinese culture and to explore both the modernization road and innovation modes with Chinese characteristics. This chapter analyzes and explores the innovative factors and values in Chinese traditional culture from the aspects of traditional modes of thinking, traditional ideas and beliefs, traditional organizations and institutions, and traditional implementations and technologies.

‘... Call the Mute Artifacts to Speech’: New Essays on the History of Archeology

2018 ◽  
pp. 1274-1279
Author(s):  
Elena V. Olimpieva ◽  
Keyword(s):  
20Th Century ◽  
Comparative Method ◽  
Early 20Th Century ◽  
Historical Overview ◽  
Historical Experience ◽  
Historical Material ◽  
Manuscript Tradition ◽  
History Of ◽  
Publication Practices ◽  
Controversial Nature

The article reviews O. A. Shashkova’s ‘... Call the Mute Artifacts to Speech.’ Essays on the History of Archaeography of the 15th - Early 20th Century. Wide array of sources and broad geographical frameworks allow Shashkova to present emergence and development of Russian and European archaeography from the 15th to early 20th century intelligibly enough for educational purposes. A whole chapter is devoted to the manuscript tradition and publishing of sources before Gutenberg. When considering the formation of archaeographical tradition, the author uses comparative method. O. A. Shashkova offers a historical overview and analyzes theoretical and practical issues of archaeography. The reviewer notes the significance of the chosen topic due to a need to reconsider the development of publishing in light of modern views on archaeography and to make it accessible to students and non-professionals. She notes traditional academic approach of O. A. Shashkova to presentation of the development publication practices. The review considers the possibility of using the ‘Essays...’ in studying the history of archaeography and offers possible directions for a broader consideration of historical experience, in particular, of Novikov’s publication projects. The review notes the controversial nature of the author’s approach to systematization of her large historical material in order to consider issues concerning the study of archaeographical practices. It stresses that coverage of issues of development of methods of preparation of publications separately from its historical and practical aspects hinders successful mastering of the material by an untrained reader. It concludes that the publication has high practical value for specialists in archaeography and students.

scholarly journals Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan

Asian Studies ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Téa Sernelj
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
Modern Art ◽  
Chinese Modernity ◽  
Material Development ◽  
Modern Chinese ◽  
Chinese Aesthetics ◽  
Basic Approaches ◽  
Art And Society ◽  
The Individual

Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

scholarly journals The Belt and Road Policy and Traditional Chinese Culture

2019 ◽  
Vol 11 (2) ◽  
pp. 87
Author(s):  
Wei Zheng ◽  
Qing-Xiang Feng
Keyword(s):  
Chinese Culture ◽  
Policy Initiative ◽  
Xi Jinping ◽  
New Era ◽  
Chinese Characteristics ◽  
Traditional Chinese Culture ◽  
Belt And Road ◽  
National Congress ◽  
The Belt And Road ◽  
Major Decision

Since the 18th CPC national congress, the development of socialism with Chinese characteristics has entered into a new era. In the new context of development, Chinese President Xi Jinping has put forward the Belt and Road Policy. The Belt and Road Policy is not only a major decision for China to promote regional economic integration and international economic and trade exchanges, but also a project to spread traditional Chinese culture. The Belt and Road Policy initiative bears the mission of spreading the Chinese civilization and building a community with a shared future for humanity. It attempts to provide a set of Chinese solutions to the bottleneck of global development and demonstrates the cultural confidence of the CPC.

scholarly journals Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography

2018 ◽  
Vol 54 (2) ◽  
pp. 97-139
Author(s):  
Jānis Kudiņš
Keyword(s):  
20Th Century ◽  
Music History ◽  
Historical Experience ◽  
History Of

Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.

scholarly journals A „Nóra-jelenség” és az ibsenizmus szerepe a 20. századi kínai dráma fejlődésében

2018 ◽  
Vol 9 (2017/2) ◽  
Author(s):  
Blanka Nyirádi
Keyword(s):  
20Th Century ◽  
Pond Water ◽  
Vital Role ◽  
Chinese Society ◽  
Early 20Th Century ◽  
Cultural Reform ◽  
Literary Traditions ◽  
Modern Chinese ◽  
Key Factor ◽  
Chinese Intellectuals

The 19th-century Norwegian playwright, Henrik Ibsen had an unparalleled,posthumous impact on the development of modern Chinese drama. How isit possible that he could influence the literature of a country so remote inspace and so different in its literary traditions? History is a key factor in thisstory. Early 20th century China was at the threshold of taking radical measures in reforming its society, and she was badly in need of a supporting ideology. Ibsen was a thinker and dramatist who, by means of presenting acutesocial problems in his plays, deeply influenced the society of his age. Hedid so in a realistic way and with the help of a clear language, both of whichfactors extremely appealed to modern Chinese intellectuals. It can be stated that it was to a great extent through Ibsen’s plays, mostimportantly through Nora, that modern Chinese intellectuals discovered thelong-range possibilities lying in the adoption of Western dramatic form,namely, transforming minds. Nora stirred the pond water of Chinese society,and came to symbolize the rebellion of the ‘Free Individual’: something that had no precedent whatsoever in China but what has long been in theair. Modern Chinese playwrights began to imitate Ibsen with great fervour,resulting in the flourishing of the social problem play, featuring brave andmodern ‘Chinese Noras’. Although advanced thinkers soon had to realize thatthe ideas of Ibsen cannot simply be adopted but must first be modified to beable to credibly represent contemporary Chinese social, cultural and moralreality, the ‘Nora-phenomenon’ and Ibsenism played a vital role in setting offthe literary and cultural reform in early 20th-century China.

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