Classical Aesthetic Foundations and Cultural Influence of Kunqu Opera: Material and Spiritual Interpretation

Lyui Qianhao ORCID: 0009-0000-6995-1304 Postgraduate student; Department of Arts; Lomonosov Moscow State University 125009, Russia, Moscow, Bolshaya Nikitskaya str., 3, building 1 1663545909@qq.com

Introduction

Kunqu opera is one of the oldest genres of traditional Chinese musical drama. It originated in the Ming Dynasty and has had a significant impact on the development of Chinese art over the centuries. Kunqu Opera is an important element of China's cultural identity, reflecting its cultural diversity and evolution.

In recent years, interest in Chinese opera, especially the kunqiu style, has increased significantly in the scientific community. This reflects both internal cultural processes and global trends in the field of art and cultural exchange. Kunqu opera's research covers a wide range of topics, including its history, musical structure, lyrics, performance practice, and cultural significance.

Many Chinese studies have been conducted in the field of Kunqu opera studies, among which are the works of Jin Yao ^[1], Ding Rong ^[2], Liu Yang ^[3]. These scholars examine cultural differences, including national psychology and philosophical foundations that shape dramatic thinking in China and other countries. These works highlight the complex cultural mechanisms that influence the perception of drama and opera as genres of art.

Other researchers such as Wang Ke, Zhang Huifang ^[4] and Liu Jun ^[5] have raised issues of cultural conflicts and barriers to understanding Chinese opera abroad. Their research focuses on communication mechanisms, economic factors, and barriers that hinder successful exchange between cultures. Hu Lin ^[6] and He Suixian ^[7] other researchers have studied cultural exchanges through the prism of specific cases, such as the opera The Peony Arbor, but have not always taken into account the complex mechanisms of intercultural communication.

Research on the integration of kunqu opera into related art forms makes a significant contribution to the understanding of this art form. In particular, Zhang Kexuan's research ^[8] explores the use of elements of traditional Chinese culture in modern design products such as perfume brands. This study highlights how traditional aesthetics can be effectively integrated into modern creative expressions, contributing to the creation of new products based on a deep understanding of the cultural context.

As for the study of kunqiu opera in Russia, it seems to be rather narrow, especially in the context of broader studies of Chinese culture and theater. At the moment, the main researchers of this topic remain T. B. Budaeva ^[9] and Z. A. Radzhabova ^[10], whose works lay the foundation for further understanding of kunqiu and its influence on other genres of Chinese theater, such as the Beijing opera.

Despite a significant amount of research in this area, there are certain gaps that emphasize the relevance of our research. Firstly, most works focus on certain aspects of kunqiu opera, but often do not sufficiently take into account the diversity of its material and spiritual interpretations. Research is often limited to specific types of opera without a thorough analysis of its historical context and impact on modern society. Secondly, the existing literature tends to fragment: research focuses on individual cultural aspects without a systematic analysis. For example, discussing the successes or failures of the kunqiu opera in intercultural communication is not always related to its aesthetic and cultural foundations. This creates the need for a more integrated approach that could combine artistic, cultural and commercial components.

Thus, this article provides an opportunity to study the history of the creation and evolution of the Kunqu opera, its artistic aspects and its inseparable connection with the classical Chinese aesthetic tradition. The novelty of the research is manifested in the analysis of the interaction of "materiality" and "object form" in the productions of Kunqu opera, as well as in the study of its connection with classical Chinese aesthetics. The work highlights the dual nature of the stage objects used in opera, which act as instruments, intermediaries and carriers of cultural knowledge. Moreover, considering that kunqiu is not only a theater, but also a unique cultural tradition, the study of this genre requires an interdisciplinary approach, including elements of musicology, cultural studies and history. Research conducted in this area could significantly enrich our understanding not only of kunqiu, but also of Chinese culture itself as a whole.

To achieve the purpose of this study, it is necessary to solve the following tasks:

● To determine the manifestation of "materiality" and "object form" in the productions of the Kunqiu opera. This includes an analysis of how physical objects and stage elements affect the perception and interpretation of a theatrical work.

● To explore the relationship between Kunqu opera and classical Chinese aesthetics. The task is to identify the aesthetic elements that are present in Kunqu opera, and their influence on the formation of cultural and artistic traditions of China.

● To evaluate the influence of kunqiu opera on cultural identity. This includes a description of the historical path of Kunqu opera and the formation of cultural centripetal forces.

Discussion and results

Currently, there are two main cognitive trends towards the "immateriality" of intangible cultural heritage: the first is the tendency towards "immaterialization"; the second is the tendency towards "pan-materialization". Literally, the word "intangible" in the intangible cultural heritage causes ambiguity, considering that the intangible cultural heritage has no material manifestation, but in fact the skills and techniques embedded in the intangible cultural heritage cannot be specifically represented without substance as a carrierp^{[11, p. 62]}. Since its creation in the era of the dynasty The Ming (1368-1644) kunqu opera has become an unsurpassed classical symbol of traditional Chinese performing arts, one might even say, the quintessence of Chinese culture as a whole. UNESCO considers kunqiu to be on the list of oral and intangible heritage ^{[12, p.165]}. Although kunqu art is classified as an intangible cultural heritage, it should be recognized that it is based on a material basis, which distinguishes it from the oral spiritual cultural heritage, which has no textual or other tangible form. In the kunqiu opera performance system, the "materiality" and "subject form" of the narrative are important components ^{[13, p. 1]}.

Chinese kunqiu researchers believe that the object form within the framework of this art manifests itself in three ways: in the form of tools, intermediaries and carriers. First of all, instruments as objects are presented in kunqiu opera in a dual way. On the one hand, they demonstrate the characteristics of material objects, and on the other, they are used in theatrical performance as symbols and metaphors ^{[3, p. 138]}. In Chinese Kunqu opera, scenic elements and objects play an important role in creating atmosphere and conveying the plot. Various objects are used as props, such as oars, swords, umbrellas, fans, scrolls, and other objects that can symbolize various aspects of the plot ^{[14, p. 59]}. The bright and detailed costumes of the actors not only identify their characters, but also reflect the social status and character, the mood of the hero. All of them are made by hand, which is also the material form of kunqiu ^{[15, p. 93]}. The stage space is used to create a certain atmosphere and convey the plot. The design elements can range from minimalistic to complex designs that help visualize various scenes and actions. Instruments such as the Qu di (wind instrument) and Pipa (string instrument) not only accompany the performance, but also become part of the narrative, creating an emotional background.

In Kunqu opera, the actors act as intermediaries between the work and the audience. On the one hand, they are the creators of the play, embodying the characters and developing the plot. On the other hand, actors serve as a material means to immerse the audience in a certain aesthetic state. The audience perceives the actors objectly within the framework of their roles and set decorations. In Kunqu opera performances, professional performers create complex combinations using elements of classical Chinese choreography, circus and martial arts. These elements enhance the expressiveness of the performance and help immerse the audience in the aesthetic world of kunqiu opera ^{[10, p. 124]}. The actor's body itself can also be considered as a material form. The movements, gestures, and choreography of the actors add a physical component to the performance, creating a bond between the actor and the audience. This interaction can be perceived as the "material existence" of classical Chinese aesthetics. Actors' costumes are an important part of their material form and help convey the character of the character. They also reflect cultural and aesthetic values, allowing actors to express the spiritual aspects of their roles through visual elements.

The theater stage as an object seems empty, but it can also be considered as a material platform for the performance of kunqiu opera, for the unfolding of its plot. While space provides a narrative field for the performance of the Kunqiu opera, it also participates in conveying the plot of the play as an element of the narrative. The stage serves as a physical performance space where the actors interact with the props and with each other. This creates a material basis for theatrical action, allowing the audience to perceive what is happening as a real event. The elements of scenic design and the location of objects help to convey the plot and emotions, creating a context for the actions of the characters. Through their performance on stage, the actors overcome the boundaries between the material and the spiritual. The stage becomes a place where physical actions and emotional experiences combine, creating a deep aesthetic impact on the audience. Thus, the theater stage at Kunqu Opera not only supports the material structure of the performance, but also serves as a carrier of deep aesthetics reflecting traditional Chinese values and philosophical ideas.

An instrument, an intermediary and a carrier – these three main elements of "material expression" in the art of kunqiu opera create a fantasy reality – a combination of real and aesthetic images in the context of traditional Chinese art ^{[3, pp. 139-142]}. For example, when the character Pan Bizheng travels in a small boat in the Kunqu opera "The Legend of the Jade Hairpin" ["The Legend of the Jade Hairpin" is a traditional piece of the Kunqu opera written by the writer Gao Lian from the Ming Dynasty. The play tells the story of a Taoist nun, Chen Miaochang, and a scholar, Pan Bizheng, who, overcoming the limitations of feudal rituals and Taoist puritanical precepts, fall in love and marry.The oars in the hands of an old fisherman operating a boat create a kind of "fantasy boat" on the stage. An actor in the role of an old fisherman holding an oar on stage follows the rhythm of the music to simulate the rowing process. At this time, a boat involuntarily appears in the minds of the audience as an "object-association": after seeing an oar, the viewer will think of a boat. The paddle is a "spiritual" prop, endowed with a deeper meaning, a continuation of the aesthetics of the body in stage movement. "Artistic creation was interpreted in China as participation in the beginningless and endless self-transformation of the enlightened spirit, as an active participation in the Path (Tao) of the universe. The subject of aesthetic vision in China is the symbolic, "heavenly" depth of experience, internally realized, but always absent" [16, p. 68].

Fragment of the opera "The Legend of the Jade Hairpin" (fig. 1)

This is a kind of spiritual transcendence based on the "materiality" performed by Kunqiu opera. It is important for establishing aesthetic and psychological unity between the actors on stage and the audience. In theatrical productions, actors need to deeply understand the emotional states of their characters and show them realistically with the help of their acting skills. This emotional exchange is not only the actor's understanding and interpretation of the role, but also a bridge of emotional exchange between the actor and the audience, through which the actor is able to establish emotional resonance and connection with the audience through emotional expression [1-7, p. 16]. Such an exchange of spiritual content and aesthetic imagination is difficult to achieve, as it requires an extremely long period of time before it can form and operate in a complex system of performing arts. But once such an exchange is formed, the aesthetic impact is extremely profound. Kunqiu opera is one of such art forms, which to this day transcends its physical shell. The performance of opera is in some way considered as a "form of material existence" of classical Chinese aesthetics. Kunqu opera accurately expresses the essence of classical aesthetics of China — truth, goodness, beauty and lyricism.

Chen Wanheng, professor and aesthetics theorist at Wuhan University, notes: "Some ethnic groups are good at analysis, preferring to extract the true, good and beautiful from life experience, while others are good at synthesis, preferring to recognize the true, good and beautiful in complex relations of things" [1-8, p. 94]. In his three main works, The Critique of Pure Reason, the Critique of Practical Reason, and the Critique of the Faculty of Judgment, Kant distinguishes between the true, the good, and the beautiful. This is a different understanding of truth, goodness and beauty between East and West. In the Chinese worldview, there is no strict boundary between these three concepts, and, more importantly, they can transform into each other. This worldview originates in Confucianism and Taoism, the main beliefs popular in China. The careful interpretation of truth, goodness, and beauty in the "Chinese spiritual world" is a narrative layer that deserves special mention. "The unity of truth, goodness and beauty in classical Chinese aesthetics is actually also the unity of emotion and will, sensuality and rationality. This unity appeals to the sensual principle for the integration of rationality, fills dry moralism with emotions, which allows classical Chinese aesthetics to overcome the dominance of rationality and the omnipotence of reason and thus overcome the subject-object split" [1-9, p. 59] This cycle of Chinese philosophical thinking can be perceived as a logical and self-referential approach, as well as as a perfect action which, ultimately, points to one of the highest expressions of classical Chinese aesthetics — lyricism.

"The glory of Chinese literature does not lie in the epic; it lies elsewhere, in the lyrical tradition" p^{[20, p. 35]}. Chinese researcher Chen Shixiang highlighted the characteristics of the Chinese lyrical tradition through a comparison of Eastern and Western literature. The entire history of Chinese culture and art is permeated with lyricism. Literature, as the forerunner of theatrical and opera art, often set aesthetic trends both in ancient times and continues to do so in modern times. His famous statement, based on the study of the history of Chinese culture and art, is a generalization of aesthetic principles, which allows for a better understanding of how traditional Chinese literature and art can be perceived in a modern globalized context. Gao Yugong's deep and multifaceted interpretation has shown that the Chinese lyrical tradition encompasses expressions and characteristics of various art forms — music, calligraphy, painting, and metrical poetry — throughout different eras ^{[21, p. 69]}. Currently, the semantic aspects of the lyrical tradition continue to expand and are often mentioned in studies on Chinese culture and aesthetics. This is especially noticeable in the kunqiu opera. Tang Xianzu's work "The Peony Arbor" deeply touches the audience not only with its intricate plot, beautiful lyrics and powerful artistic power. It describes the inability to control one's fate and love in the feudal era. The narrative goes beyond the story of two young people, Du Lingyan and Liu Mengmei. It reflects the fate of millions of people at that time. Tang Xianzu sought to glorify "true love", as well as satirically reveal the contradictions between people's "true love" and social ethical norms ^{[2, p. 138]}. Kunqiu's opera "The Peony Arbor" reflects the general aesthetic characteristics of Chinese opera, a creative trend guided by the aesthetic principle of "Shangxu" [One of the fundamental concepts of Chinese philosophy, it implies a disembodied and ethereal experience of mood and aesthetic character.], and the spiritual tradition of poetic lyricism, permeated by "Zhonghe" [The fundamental concept of Chinese philosophy, meaning maintaining a state of calm, peace and tranquility, is one of the highest aspirations of Confucianism.] culture and music ^{[1, p. 16]}. The performances of the Kunqu opera become a realistic expression of the abstract classical aesthetics of China, providing a "material" basis for a better understanding of the spiritual implications. The essence of the Chinese classical aesthetics of truth, goodness, beauty and lyricism was also conveyed to the audience in the visible form of Kunqu opera.

More importantly, Kunqu opera plays an important role in increasing the national confidence of the current Chinese nation, strengthening the national cultural "soft power" and promoting cultural identity. After a long period of cultural accumulation, kunqiu opera embodies the way of thinking, aesthetics and philosophical concepts of the Chinese nation, has important cultural value and research significance ^{[4, p.34]}. General Secretary Xi Jinping has clearly stated that building a strong socialist culture is the foundation and prerequisite for achieving the great rejuvenation of the Chinese nation.The Twentieth National Congress of the Communist Party of China (CPC) once again clarified the place of cultural construction in the general scheme of socialism with Chinese characteristics in the new era and put forward the goal of building a strong socialist cultural power, indicating the direction and path of cultural construction and development of China in the new era, which mainly include the cultivation of basic values, the promotion of the beautiful traditional culture of China and strengthening the country's cultural soft power. This is necessary to achieve the great rejuvenation of the Chinese nation ^{[22, p. 58]}.The historical trajectory of kunqiu opera shows that it is not a small local genre. It originated in Kunshan (Suzhou, China) in the 14th century and, having spread to other regions of the country by the end of the 16th century, gradually took a central place on the Chinese theatrical stage, remaining the most important form of national opera to this day ^{[23, p.1118]}. Kunqiu is a fertile form for expressing creative intent. The script moves, musical accompaniment and stage design reflect the eternal human desire for "beauty" that goes beyond the materialistic interpretation of history. And the spirit of classical Chinese aesthetics — truth, goodness, beauty and lyricism — permeates every moment of the performance. The writers have completed the process of standardizing opera. This included writing lyrics, music, and performing songs. Standardization contributed to the improvement of the musical structure of kunqiu. As a result, the singing technique and rhythms developed into a full-fledged theoretical system, reaching a high degree of maturity in aesthetic performance. Thus, to a certain extent, Kunqu opera is one of the important components of national collective memory and an effective glue for promoting Chinese cultural identity. Back in the early 20th century, cultural conservatism, championed by some Chinese intellectuals, believed that the return of traditional theater, such as the Kunqu opera, was a way to find a source of spiritual security for our nation through its own cultural identity and thus overcome the sense of cultural anxiety and the "selflessness" of culture caused by globalization and the influence of Western culture. The purpose of "protecting the roots" of the Kunqu opera is to use this art form as a carrier of the national spirit to narrate significant Chinese stories and modern reality. By integrating kunqiu opera into a modern cultural context, it is possible to demonstrate its energetic vitality. This is the original intention of protecting and preserving this traditional art ^{[20, p. 25]}. Therefore, the popularization of Kunqu opera and Chinese classical aesthetics is an extremely urgent task for strengthening national cultural identity and shaping cultural discourse in the modern context of globalization.

Conclusion

The conducted research demonstrates that the modern understanding of classical Chinese aesthetics is associated with a special vision of reality, which is manifested in various traditional arts, among which kunqu opera occupies an important place. This opera has a solid artistic structure, and its spiritual core is based on the principle of the "ontology of beauty." The laws of classical Chinese aesthetics serve as the basis for artistic expression in kunqiu, creating "reobjectivization" — a combination of real existence and an aesthetic image. This leads to the creation of a universal impression in a cultural context. In addition, Kunqu opera and Chinese classical aesthetics help people better understand the charm of Chinese culture and art, playing an important role in shaping and strengthening China's national "soft power." The study of the Kunqiu opera in the context of classical Chinese aesthetics opens up broad prospects for further study. In addition, this study provides a theoretical basis for future comparative studies of Kunqiu opera with other traditional and modern theatrical forms both in China and abroad. This will allow us to identify unique features and general trends in the development of theatrical art.