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Lure of the Supreme Joy
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In this book, Xin Conan-Wu presents a radically revisionist argument on Zhu Xi’s (1130–1200) Neo-Confucian philosophy of education. Via analyses of unfamiliar landscapes and the poems of the White-...
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28 February 2024

In this book, Xin Conan-Wu presents a radically revisionist argument on Zhu Xi’s (1130–1200) Neo-Confucian philosophy of education. Via analyses of unfamiliar landscapes and the poems of the White-Deer Grotto Academy, Yuelu Academy, and Wuyi Retreat, Conan-Wu argues that when praxis speaks for orthodoxy, the eclipsed pedagogue casts a liberal light on the enshrined philosopher.
Neo-Confucian senses of the gaze and place engendered Zhu Xi’s natural pedagogy and mapped the environment of his academies. This book cross-examines the textual traces and their innate vision, the physical sites and their transhistorical milieux, the Eight Views and Nine Bends and their afterlives in China and Korea. It unfurls an academy education, mutually reinforced by classical learning and self-cultivation, and sustained by a lure of the Supreme Joy of Confucian sagehood.
Neo-Confucian senses of the gaze and place engendered Zhu Xi’s natural pedagogy and mapped the environment of his academies. This book cross-examines the textual traces and their innate vision, the physical sites and their transhistorical milieux, the Eight Views and Nine Bends and their afterlives in China and Korea. It unfurls an academy education, mutually reinforced by classical learning and self-cultivation, and sustained by a lure of the Supreme Joy of Confucian sagehood.
Price: $132.00
Pages: 276
Publisher: Brill
Imprint: Brill
Series: Sinica Leidensia
Publication Date:
28 February 2024
ISBN: 9789004693227
Format: Hardcover
Xin Conan-Wu (吳欣), Ph.D. (2008), University of Bristol, is Margaret Hamilton Associate Professor of Art History at William & Mary. She has published English and Chinese monographs, articles and edited volumes on landscape in ancient China and the contemporary world, including “Garden Art” in A Companion to Chinese Art (Wiley, 2015).