Beyond the Four Seasons

Name: Beyond the Four Seasons
ISBN: 9787301343623

Zhu LiangzhiPeking University Press · ChinaAug 2025

4.4

Word count: 292K words
Chapters: 109
ISBN: 9787301343623

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Summary

Chinese art prizes the creation of a realm of life and pursues meaning beyond form, seeking to express an unchanging spirit within changing appearances; transcending temporality is one of the paths artists value most. The phrase “beyond the four seasons” may be called the soul of Chinese art and the essential aspect behind the intrinsic differences between Chinese and Western art. In transcending time, Chinese art conveys a distinctive sense of history, of life, and of the cosmos. This new book by Professor Zhu Liangzhi approaches the development of Chinese art and the formation of its core ideas chiefly through time and history.

Professor Zhu’s previous books with this press include Zhenshui Wuxiang, which chiefly discusses “natural charm”; Nanhua Shiliu Guan, which traces the development of literati painting through “true nature”; and Yihua Yi Shijie, which considers traditional artistic ideas around “quantity”; Beyond the Four Seasons explores the question of “time” in traditional art. These are all basic questions he raised in Fifteen Lectures on Chinese Aesthetics, and these books refine them further. The questions are also internally connected, presenting from different angles the implications of the “aesthetics of life transcendence” that concerns him.

Editor's review

Zhu Liangzhi's new book approaches Chinese art through the lens of "time," treating "beyond the four seasons" as the soul of Chinese art. It explores how Chinese art expresses an unchanging spirit amid changing appearances, and how, in transcending time, it conveys a distinctive sense of history, of life, and of the cosmos, thereby distinguishing the inner differences between Chinese and Western art. It follows in the same vein as the author's earlier works Zhenshui Wuxiang, Sixteen Views of Southern Painting, and One Flower, One World, which center respectively on natural charm, true nature, and measure and time, together refining the basic questions posed in Fifteen Lectures on Chinese Aesthetics and pointing toward the "aesthetics of life transcendence" that concerns him. It is best read not as a general survey of art history but slowly and closely, with specific works or ideas in mind, following the thread of time to appreciate Chinese art's emphasis on aesthetic flavor and the realm of life. For readers familiar with discussions of Chinese aesthetics, this book offers a line of thinking that links several core questions together.

Who it's for

A good fit for

Readers interested in Chinese aesthetics and Chinese artistic concepts
University students and teachers studying art history, aesthetics, or literary theory
Readers who have read other works by Zhu Liangzhi and wish to continue his line of inquiry
Enthusiasts who like to think about traditional art from the perspective of time and the realm of life

Not a good fit for

Beginners looking for a general introduction to Chinese art history or an illustrated catalog of works
Readers seeking light leisure reading who are unaccustomed to theoretical reflection
Professionals needing specific period-based textual research or art market information

Reading tips

Read the introduction first to grasp the core thread of "transcending time," then move into the chapters.
Choose a traditional painting or calligraphy work you know and compare it with the book's ideas as you read.
Read alongside Fifteen Lectures on Chinese Aesthetics to clarify the origins of the author's basic questions.
After each chapter, summarize the main points in your own words to avoid staying at the level of concepts.

About the publisher

Peking University Press China · Founded in 1979

Peking University Press is a comprehensive university press whose publishing areas cover classical literature, popular science, social culture, world history, Western philosophy, and culture. Its catalogue contains 6,031 titles, with representative books including A Dream of Red Mansions, Relativity: The Special and General Theory (15th Edition) (with Einstein's classic papers on unified field theory and other topics), Elements, Conics, The Aristocratic Families of the Eastern Jin, The Philosophy of Mythology (Volume I), The Philosophy of Mythology (Volume II), and The Origin of Continents and Oceans. Representative authors include Cao Xueqin, Zhou Ruchang, Albert Einstein, Euclid, Apollonius, Tian Yuqing, Schelling, and Xian Gang. The press has developed distinctive strengths in classical Chinese literature and in the translation of Western philosophical classics, while also covering scientific classics and social and cultural studies. As public information is limited, this description is based only on the books in the catalogue and offers no further extrapolation.

版权信息
引言
甲编瞬间即永恒
第一章永恒在何处
一、永恒在生生
二、无生即长生
三、天趣即不朽
四、一朝风月下
五、茶熟香温时
结语
第二章抹去瞬间
一、无时
二、有时
三、此时
四、及时
结语
第三章时间的突围
一、赵州功夫：做性灵的主宰
二、乾坤透视：引出生命的天光
三、红炉点雪：由外到内的切入
四、透关手段：由内到外的突围
结语
第四章真性的“秀”出
一、古秀
二、枯秀
三、隐秀
结语
乙编时间的秩序
第五章不入四时之节
一、耻春
二、销夏
三、眷秋
四、必冬
结语
第六章时序的错置
一、四时并呈
二、寒暑失序
三、铁石面目
四、生物互变
五、乱入苍茫
结语
第七章时间方向的消失
一、复：见无舒卷的往还
二、住：定与不定的绸缪
三、通：不“待时”的通会
四、逆：逆入真性的腾挪
五、新：到者方知
结语
第八章桃花源时间
一、由张岱“桃源历”谈起
二、幻中天国
三、静中活泼
四、朴中人事
五、心中仙源
结语
丙编历史的回声
第九章演“古意”
一、两种古意
二、古外求古
三、意与古会
四、复活古心
结语
第十章说“沧桑”
一、五百年的眼光
二、听回声
三、照古镜
四、望苔影
五、悲断碣
六、抚血皴
结语
第十一章品“包浆”
一、包浆的概念
二、手泽的绵延
三、光色的闪现
四、生命的“原浆”
结语
第十二章论“时史”
一、不入时趋
二、不落时品
三、不到人境
四、谱千年之调
结语
丁编盎然的古趣
第十三章古雅
一、古雅
二、文雅
三、典雅
四、风雅
结语
第十四章高古
一、“高古”的概念
二、无有极者
三、涕泪千古
四、声希味淡
结语
第十五章忘时之物
一、听松
二、玩菊
三、引桐
四、问梅
结语
第十六章无劫山川
一、无山与有山
二、假山与真山
三、象征和示现
四、永恒和无劫
结语
主要参考文献
后记

FAQ

Can someone without a background in aesthetics understand this book?

You can try, but patience is needed. The book discusses the formation of core concepts in Chinese art from the perspective of time and history and is a fairly academic work. It is advisable to read the introduction first to build an overall framework, understand concepts in connection with specific works, and supplement with basic readings in Chinese aesthetics if necessary; this will make it smoother.

What is the relationship between this book and the author's other works?

According to the source material, The True Water Has No Fragrance discusses natural charm; Sixteen Views of Southern Painting traces true nature in literati painting; One Flower, One World reflects on measure; and this book explores the question of time in traditional art. All of them refine the basic questions the author raised in Fifteen Lectures on Chinese Aesthetics and together present the meaning of "aesthetics of life transcendence."

Does this book mainly cover Chinese art history or aesthetic concepts?

The emphasis is on aesthetic concepts. The author starts from time and history to discuss the development of Chinese art and the formation of core concepts and to analyze the internal differences between Chinese and Western art, rather than surveying art history by dynasty. Readers should approach it with conceptual reflection, not expect a catalog of works or a historical overview.

What background knowledge is needed before reading this book?

It is best to have a basic impression of traditional Chinese painting and calligraphy and some familiarity with common concepts in aesthetic discussion. If you have read the questions the author raised in Fifteen Lectures on Chinese Aesthetics, it will be easier to enter this book's line of thought. Without that background, browse the introduction and table of contents first to see which chapters are closest to your interests.

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About the author

Zhu Liangzhi Author · China · 1955

Zhu Liangzhi was born in Chuzhou, Anhui Province, in 1955. He is a professor and doctoral supervisor in the Department of Philosophy at Peking University, director of the university's Center for Aesthetics and Aesthetic Education, and former dean of the School of Literature at Anhui Normal University. He has long engaged in research on traditional Chinese aesthetics and the philosophy of art, and is the author of more than twenty books, including The Life Spirit of Chinese Art, Studies on Shitao, Studies on Bada Shanren, Sixteen Views of Southern Painting, and True Water Has No Fragrance. His writings center on Chinese painting and calligraphy, literati art, and lived experience, often moving from specific works to the philosophical meanings and aesthetic sensibilities behind artistic form. His style combines scholarly depth with readability. The collection includes nineteen of his works, spanning art theory, general aesthetics, literary appreciation, and social culture; these range from specialized monographs for researchers to accessible books on aesthetic education for general readers, forming a natural bridge between academic inquiry and public education in the arts.