Andrew Joseph Lambert

To understand the details of LI Zehou’s work, it is helpful to first locate it within the social and historical contexts to which Li was responding. Specifically, his work can be understood as a contribution to the struggle to establish the intellectual foundations of a Chinese modernity. As China transitioned away from the long-lived dynastic system that had ended early in the twentieth century, there was intense debate in China about what forms of social and political order should take its place. Marxism emerged as the governing ideology after the Communist revolution, but this did not settle the outstanding social questions. In the period of liberalization that followed Mao’s death, intellectuals like LI Zehou emerged and found a new role. Instead of being tasked with providing justifications for state policy and the ruling ideology, they were free, to some extent, to explore new ideas that could inform policy and popular consciousness. LI Zehou duly became one of the most active and widely read of Chinese thinkers during the 1980s and 1990s, offering a humanistic vision of Chinese society. What made LI Zehou’s contribution distinctive was the willingness to draw from all these disparate frameworks, in an attempt to synthesize them into a unified system of thought.

Li Zehou’s work can be understood as an account of a Chinese modernity, a vision for Chinese society that seeks to integrate three distinct philosophical approaches. These are Chinese history and culture, which Li understands as largely Confucian; Marxism, which has exerted such influence on a modernizing China; and Western learning more generally, as expressed by figures such as Immanuel Kant and Sigmund Freud. Li also frequently expresses the hope that a Chinese modernity will be one in which the importance of the individual is recognized, and rights and freedoms upheld (e.g., 2006, p. 182). But this stance raises an important question: how are individuality and freedom understood in Li’s philosophical system? In this paper, I want to examine what resources Li offers to help us conceptualize their place in a modernity with Chinese characteristics. Confucian culture is often regarded as authoritarian and hierarchical, less interested than more liberal traditions in an ideal such as freedom. So how does freedom relate to the Confucian root of Chinese culture, as construed by Li? In this paper I explore how Li Zehou’s study of Confucian aesthetics can deliver a novel conception of freedom, one grounded in Confucian thinking about personal cultivation, and aimed at the free creation of delight (樂).

An examination of Hall and Ames’s claim that the classical Confucian tradition be understood as constituting an aesthetic order. Some have argued that this claim is simply false. However, this claim should be understood not in terms of its literal truth or falsity, but in terms of its usefulness and suggestiveness. It is a general description that can guide inquiry into early Chinese thought. In what follows, I locate Hall and Ames’s “aesthetic order” within a broader interpretive lineage that understands the Chinese tradition as an aesthetic tradition. I show how conceptions of “aesthetic” evolve within that lineage, how Hall and Ames built upon earlier New Confucians, and how their work might be extended further.