I.Book Structure and Essential Argument

The book is comprised of ten chapters. The first chapter is on the introduction of the correlation betweenYi JingandYi Zhuan. The second chapter is on the positioning of the aesthetic implication ofYi Jing. The third chapter is on the quintessence of the aesthetic ideology ofYi Zhuan. The fourth chapter is on the argument of the “Ming Mei” ofZhou Yi. The fifth chapter is onZhou Yiand aesthetic contemplation of Chinese aesthetics. The sixth chapter is onZhou Yiand “Sadness as Beauty” of Chinese Poetry. The seventh chapter is on the origin of “Wen (Aritcle)” and the “Wen (Aritcle)” ofZhou Yi.The eighth chapter is onYi ZhuanandWen Xin Diao Long. The ninth chapter is on “Yi Dao Yin Yang” and “ Qiyun”. The tenth chapter is onZhou Yiand “Xiang” ideology.

The book inspects and corrects the paradigm of “SeparatingYi JingfromYi Zhuan” which was proposed by the Yigupai (the Doubting Antiquity School) during the past 100 years, and restores the relationship betweenYi JingandYi ZhuanofZhou Yitochallenge the concept of “absolute opposite” relation betweenYi JingandYi Zhuan. The book emphasizes on “consistency” and is aimed to break a new ground in tems of the understanding and the research paradigm of the relationship betweenYi JingandYi Zhuan. With such proposition, the book first lay the foundation of the aesthetic implication ofYi Jingon the “Han Zhang (Beauty Included)”, “Li Ming Zhi Mei(Beauty of the Sunlight” and “You Huan(Hardships)”. From the perspective of hermeneutics, the book then analyzes the interrelation and consistency betweenYi JingandYi Zhuan.Through which, the book can delve into deeply the stylisticrhetoric of the text ofYi Zhuanas well as its influence on the “Chun Wen” of the later ages. Besides, the aesthetic contemplation of “Fu Yang”, the aesthetic value of “Yin Yang Qi Yun”, “Xiang” ideology and the influence onWen Xin Diao Long-theaesthetics of the later six dynasties can also be illustrated side by side.

II. Primary Innovation and Academic Significance

The book is dedicated to bridge the research paradigm of “SeparatingYi JingandYi Zhuan” resulting from the Yigupai during the past 100 years and restores the “consistency” of the philosophical aesthetics ofZhou Yi.In this way, the book not only offers a thorough introspection and stern criticism in a comprehensive way to the elementary studies on the Yi-ology in modern times, but also blazes the trail for the development of the new hermeneutics of Yi-ology. The book is of great importance and value to the establishment of the new research paradigm of the Yi-ology during the new historical stage. The book has put forward novel ideas and argument. From the consistent hermeneutic correlation betweenYi JingandYi Zhuanto the positioning of “Han Zhang( Beauty Included)” in terms of the aesthetics ofYi Jing; to the ‘Yan-Xiang-Yi’ three elements’ interaction in endless circles; andto the origin of “Sadness as Beauty” of Chinese literature from Yi-ology. From the aesthetic formation of “Ming Wen Zhi Mei” and “Ming Dong Zhi Mei” withYi Jingas the trailblazer; to the nourishment of the aesthetic contemplation of Chinese “Fu Yang Zhi Guan” by the view of the universe inYi JingandYi Zhuan; and to theYi JingandYi Zhuanas the principle of Chinese “Chong Wen”. From the view that “Feng Gu” inWen Xin Diao Longshall date back to “Qian Yang Gang Jian” inYi Zhuanand even to the classical music and dancing culture in the West Zhou Dynasty, to the aesthetic transference from “Qi Yun (运)” to “Qi Yun (韵)” determined by the “Yin Yang Zhi Qi” inYi Zhuanand “Qi’ universe theory in the Han Dynasty, and to theZhou Yiand the elements of Chinese philosophical aesthetics such as the “Non-substance”,“Flowing round without stopping”, “The lives of living beings go on without end”, “Flowing and changing” and “Inner experience”, etc., that develop the “Xiang” ideology. Besides, the book also contributes to the history of Yi-ology as well as other areas such as traditional philosophy, aesthetics and art theory, etc. The book has tapped the core issues of the aesthetics ofYi JingandYi ZhuanofZhou Yiin a comprehensive and thorough manner. With full and accurate research and ample theories, the book brings in new harvest in the history of Yi-ology and the aesthetics of Yi-ology. The research methods such as the comprehensive application of reception aesthetics, philosophical hermeneutics, anthropology,archaeology and the art history help push the Yi-ology as well aesthetics into a broader world. The understanding of the cultural value ofZhou Yithus relates more to modernity.

The book has a widespread impact and is well received by distinguished journals and official media such asPeople’s Daily,Du Shu(《读书》) and Xinhua Net, etc.