Discussions about the essence and features of traditional Chinese culture.

Yan Tsun PhD in Cultural Studies Postgraduate student; Department of Cultural Studies and Socio-Cultural Activities; Ural Federal University named after the first President of Russia B.N. Yeltsin 620062, Russia, Sverdlovsk region, Yekaterinburg, Kirovsky district, Mira St., 19 1270494103@qq.com

Culture is a set of achievements in society in the field of production, social and spiritual development and is defined as "a complex that includes knowledge, beliefs, art, morality, laws, customs, as well as other abilities and skills acquired by a person as a member of society" ^{[1, p. 343]}. Culture determines the development of a society, the potential of its creative forces and the presence of material and spiritual values in it.

In the process of existence, culture develops "mechanisms for the preservation, reproduction and transmission, as well as the renewal of socially significant experience" ^{[2, p. 49]}. This makes the culture traditional, which implies following a certain canon. Traditional culture is ethnically specific, it influences the formation of a national picture of the world.

Traditional Chinese culture is based on the spiritual heritage underlying the national cultural memory and identity and contributing to the self-preservation of the nation. In modern China, the influence of the Convention on the Protection of Intangible Cultural Heritage, adopted by UNESCO in 2003, is widespread. China's national system for the protection of this heritage involves the identification, documentation and preservation of facts of Chinese traditional culture.

However, in addition to the intangible cultural heritage, the traditional culture of China includes objects of material culture, which are also assessed as heritage. The word "legacy" in Chinese literally means "bequeathed wealth." Material culture is the embodiment of spiritual culture, representing the wealth bequeathed by the ancestors, which has a material embodiment. The list includes architectural structures, objects of traditional crafts and decorative and applied arts, some technologies and inventions, clothing and jewelry, traditional musical instruments, etc.

According to Chinese cultural critic Yi Junqing, modern Chinese culture is layered: enriched by the ideas of Marxist ideology, it includes not only substantive and spiritual layers, but also institutional, inspired by the regime and ideology. However, the modern culture of China retains an amazing unity, the inseparability of all its components, which naturally comes from traditional Chinese culture ^[3].

Researchers, tracing the retrospective of Chinese traditional culture, also call this unity the "continuity gene" ^{[4, p. 2]}, which allows it to preserve its identity for such a long time and resist destructive processes encroaching on its integrity and autochthonicity.

At the same time, there is no consensus in the Chinese research field about what the essence and features of traditional Chinese culture are. The issue of defining China's traditional culture is controversial in two aspects: structural and historical.

Speaking about the structure of traditional national culture, Chinese scientists agree on its typical organization, namely, the presence of a core that concentrates the axiological component, norms and standards of the national worldview, and a periphery responsible for the dynamics and variability of socio-historical circumstances. Thus, Zhdao Honen and Li Baoshi, pointing to the synchronous development of traditional Chinese culture, note that its core remains relatively static, but moves along an infinite time axis, and its periphery is influenced by new ideas, through the prism of which traditions are reinterpreted ^[5].

The question of which elements are included in the structure of traditional Chinese culture remains controversial. Often, in the research of Chinese scientists, the spiritual and ideological foundations of traditional culture are considered through the prism of philosophy and religion, and the elements of culture include spiritual and material heritage (calligraphy, crafts, fine and non-figurative arts, literature, as well as ceremonies, traditions, etc.).

At the same time, as evidenced by the historical and artistic works of China that make up its traditional cultural canon, the national worldview of the Chinese has a complex genesis and goes back to the spiritual and value core of Chinese culture, called "Sanjiao" (literally "three teachings": Confucianism, Taoism, Buddhism. In line with their spiritual life, the Chinese develop their own spiritual and material culture, which gradually acquires features of regularity, preserves and reproduces itself, becoming traditional.

In other words, the spiritual life of the Chinese, nurtured on the philosophical concepts of the three teachings, influenced the preservation and development of China's cultural traditions. In this regard, it is natural to say that the structure of Chinese traditional culture includes not only tangible and intangible cultural heritage, but also religious and philosophical teachings that underpin this culture and their conceptual ideas.

These include the main concept of the Taoist doctrine, the path of the Tao, which points to the formation of the material world. Tao is "primary in relation to Heaven and Earth, independently and unchangeably, it is the great and boundless origin of all things, absorbing the unattainable past and future" ^[6].

In the mainstream of Taoism, such important categories as yin-yang (阴阳, the dichotomous unity of light and dark, heavenly and earthly, masculine and feminine principles), Wu Xing (五行, the doctrine of the five elements that form the basis of the world and ensure world order) and taizzi (太极, the idea of primary cosmogenesis, which received graphic an expression having, among other things, an apotropaic function) ^{[7, pp. 83-84]}. These categories have become permanent elements of the Chinese worldview, leading to a desire for self-knowledge and a balance between human and natural.

The core of Confucianism‒ "ren" (仁, humanity), summarizes Confucian ethics and defines the rules of conduct for a wise man ^{[8, p. 1346]}. Following ren implies friendly and wise social interaction. The Confucian doctrine of filial piety "zixiao" (子孝), formulated in the treatise "Xiao Jing" and representing the "moral obligation and norm of behavior of the younger" is inextricably linked with it ^{[9, p. 136]}.

Filial piety in modern realities has turned from an ethical principle into a value guideline, but continues to be perceived as an element of traditional Chinese culture.

In line with Confucianism, which adopted the Taoist category of Wu Xing, the idea of five virtues arose, which correspond to symbolic elements: humanity ‒ wood, justice ‒ metal, etiquette ("ritual") ‒ fire, prudence ‒ water, sincerity ‒ earth. Following the five virtues brought a person closer to the correct world order, and then became part of the spiritual experience of the nation, which is expressed in "fostering in a person a high sense of responsibility for oneself and society, techniques of higher inner self-control" ^{[10, p. 127]}.

Buddhist teaching, which spread in China in the form of Chan Buddhism, influenced the perception of life. Chan Buddhism addressed the spiritual essence of man and contemplation, demanded to follow the circumstances, not to bind oneself to things and events, following the path of finding true nature.

The conglomerate of the three Sanjiao teachings today appears to be a single whole and is implemented in everyday individual household and spiritual, as well as social life: "within the framework of personal life, a Chinese professes Taoism, but when it comes to social norms of behavior, he becomes a Confucian. Faced with the troubles and adversities of life, the Chinese turn to Mahayana Buddhism" ^{[11, p. 255]}.

Until the middle of the 19th century, the significant ideas of these religious and philosophical teachings intersected with each other. Confucianism has always been the titular one, drawing cosmogonic ideas from Taoism, and taking epistemological and ontological issues from Buddhism. In the XI century . This led to the formation of neo-Confucian ideas ^[12].

Mou Zongsan, Tang Junyi, and Liang Shuming, apologists of neo-Confucianism, in their writings proclaimed Confucian dogmas to be the core of traditional Chinese culture. Thus, Mou Zongsan noted that morality is inherent in man, which means that Confucianism focuses on the mundane and is easily implemented in life, and therefore is firmly fixed in the Chinese worldview ^[13]. Tang Junyi, mindful of the concept of ren, expressed the idea that Chinese traditional culture is superhumanized, which allows it to preserve its own heritage ^[14]. Liang Shuming, defining Chinese culture as Messianic, compared it with the cultural experience of all mankind. He also pointed out the ability of Chinese culture to assimilate, the ability to "conquer with virtue", which in the modern world is called "soft power" ^[15].

The traditional period in the chronological development of Chinese culture ends in the 19th and early 20th centuries, when there comes a period of decline and crisis, mass Westernization and criticism of traditional culture. At the same time, after the implementation of the Policy of Reform and Openness in the 1970s, China began to return to its cultural roots, and traditional culture gradually began to be perceived as an important part of national identity. During this time, for example, some traditional holidays were rehabilitated and popularized, which later became part of the intangible cultural heritage of China (Chinese New Year today has an important, symbolic significance for cultural representatives). Interest in the rich heritage of Chinese classical literature and traditional arts was revived.

As noted above, in the structure of traditional Chinese culture we include the spiritual and material heritage, cultivated on the basis of the ideas of religious and philosophical teachings. China's spiritual and material heritage is immensely great. The most striking elements that mark the traditional culture of China as ethnically specific include calligraphy, martial arts, and decorative and applied arts. These arts perfectly reflect the close relationship between the material and the spiritual, have a syncretic character and a spiritual and ideological basis.

Calligraphy is based on the Taoist idea of the natural beauty of nature and the liberation of human nature ^{[16, p. 51]}. Calligraphy is an artistic interpretation and representation of the graphemes of Chinese characters, as well as the practice of concentration and self-mastery. One of the first calligraphers mentioned in the literature was Wang Xizhi, who created a technique for depicting a hieroglyph with the meaning "eternity", by implementing which one can achieve mastery in the art of calligraphy.

Depending on the correct application of the rules of brush application (泚笔, "qi-bi"), guidance (信笔, "xing-bi"), separation (手,, "show-bi"), holding (执笔法, "jae-bi-fa") The image of the hieroglyph may change. However, the order of the features remains unchanged, since each hieroglyph depicted re-implements cosmogenesis, while correlating with the Chinese system of eight trigrams.

Chinese martial arts are fighting techniques based on the religious and philosophical foundations of Taoism, Buddhism, Confucianism, and even Islam. Due to this, each combat technique is endowed with a certain meaning, and combat becomes an art.

There are many martial arts, including kung fu, Bak Mei, Wing chun, Liuheb Faquan, Baguazhang, and others. Despite the variety of techniques, all Chinese martial arts are based on the Taoist concept of "Tai chi" (great redistribution), the fundamental principle of all things, which makes it possible to use the cosmological ideas of the doctrine of the five elements and the eight trigrams in combat. This makes combat a spiritual practice of understanding the universe.

Today, Chinese martial arts are attracted by their syncretism, being one of the examples of "soft power" ^[17].

Chinese decorative and applied art is represented by a wide variety of types, materials and techniques. Unlike handicraft and household activities, as a result of which products suitable for life are created, Chinese decorative and applied art gives materials and techniques a symbolic meaning that grows out of the spiritual and ideological foundations of Chinese spiritual life.

The products made of jade, bronze, porcelain, silk, etc. are impressive to the imagination. In the Taoist tradition, jade was a stone symbolizing eternal life and perfection. Moreover, jade was the stone of the first emperor even during the period of mythological consciousness, which is expressed by homonymy in the language, and in Chinese culture generates a special attitude: jade is a typically Chinese stone, reminiscent of roots, clan, traditions.

The wide range of jade colors today is an echo of ritual and etiquette codes and worldviews about the world system, in which colors had a symbolic character and denoted hierarchy in society.

Silk is of no less interest. The etymology of China, the birthplace of sericulture, is associated with this material. Silk, like jade, has been known since the time of Huang di, whose wife was considered the patroness of the art of silk weaving ^{[18, p. 284]}.

The name of the Silk road was given to the caravan road that led from East Asia to the Mediterranean countries, and today the "silk Road" is called the economic program of joint projects of international cooperation. Silk has become one of the main cultural symbols of China, its constant attribute.

Various types of decorative and applied arts in China are considered one of the clearest evidences of its rich spiritual and material heritage. Objects created from a wide variety of materials have not only material value: They keep the secret of special master techniques passed down from generation to generation, and seal the Chinese worldview.

Of course, this is only a small fraction of China's spiritual and material heritage, reflecting the unity and syncretism of traditional Chinese culture. The structure of this culture should include all elements of the intangible cultural heritage of the country and objects of material culture based on the spiritual and ideological ideas of the nation.

Earlier, we mentioned that the controversial nature of the issue of defining traditional Chinese culture in China is realized not only in a structural, but also in a historical aspect. The question arises as to whether traditional Chinese culture has a chronological framework. As already mentioned, the traditional period is considered to be the time from the formation of China, characterized by its strong mythological foundation, until the 19th century, when dynastic China began to decline.

Prior to this period, Chinese culture had a powerful spiritual and ideological basis, transmitting and developing the ideas of Confucianism, which preserved, one way or another, the cosmogonic ideas of Taoism and the epistemological and ontological ideas of Buddhism.

In many ways, this was supported by the tradition that had developed over many centuries of China's existence to compile the history of the previous dynasty, interpreting it not only as a chronicle, but also as a period that consolidated the influence of Confucianism. The history of the previous dynasty was also necessary in order to learn from the mistakes that occurred during that period.

In the 18th century, the canon of historiographical monuments of Chinese culture, called "24 dynastic histories", was approved. This includes chronicles of pre-dynastic China and the history of dynasties up to the Ming Dynasty. Referring to these historical works, one can note the importance of the ideas that developed during the Confucian period.

Thus, in the "Historical Notes" of Sima Qian (史记, "Shi Ji", 91 BC), describing the formation of China and its development, cultured people who are highly educated, impeccable in behavior, skilled and talented, skilled in polemics and various sciences, music, diplomacy, and military affairs are often mentioned. and so on. The historian also considers himself to be a cultured person, noting that "subsequent generations failed to achieve such success in shaping the state structure and in the development of culture" ^{[19, p. 65]}. Speaking about the criteria of culture, Sima Qian, in fact, described a Confucian wise man who was able to "separate and regulate the limits of humanity and duty" [Ibid., p. 245].

The historical chronicle of the early Han Dynasty (260 BC ‒ 20 AD) "The Book of Han" compiled by Ban Gu (汉书, "Han Shu", 82) has a complimentary character: this is a time when the Chinese nation already identifies itself as a separate ethnic unit and has a solid spiritual foundation, forming on Cultural traditions are based on this. The idea of the Messiahship of wise men is strong in the culture of this period, therefore, such a reflection is probably found.: "We get up early and go to bed late in order to encourage the men of the Celestial Empire to stick to their ways. Therefore, taking care of the elders and restoring filial piety and respect [for elders, We have] selected cultured and educated people with outstanding talent to participate in the affairs of government and meet the aspirations of the people" ^{[20, p. 230]}.

Self-respect and respect for one's own traditions are imbued with the "Records of the Three Kingdoms", the period 189-280, compiled by Chen Shou ("San guo zhi", 289). The historian examines the culture and traditions of other countries and peoples through the prism of Chinese civilization, perceived as the crown of creation. Therefore, many peoples with whom military and political affairs are conducted are called "Eastern barbarians" by him. According to Chen Shou, the consciousness of these peoples is still mythological, they do not have culture, but rather customs and habits. Thus, describing Goguryeo (the early feudal Korean state), Chen Shou notes that "the people of this country love songs and dances, so crowds of men and women gather late at night in the villages of the center of the country, sing and play together," and states that "customs [in Goguryeo] are depraved" ^[21].

In contrast, the developed traditions of the Chinese and the Confucian ethical complex, which imposes strict requirements on morality, portray the Chinese nation as highly developed and spiritually rich.

The following historical works, paying much attention to historical and cultural events and achievements in the field of literature, art, music, etc., also glorify Confucianism, on the foundation of which the military, political, economic and cultural life of the country is built. The exception, perhaps, is the "History of the Late Han", the dynasty that followed the Han (25-200), compiled by Fan Ye (后汉书, "Hou Han Shu", 445). This historical work describes the fall of the dynasty, while "entire layers of the country's social and state life are missing," namely law, culture and economics. The narrative mainly focuses on the disintegration of the ruling elite, peasant uprisings, and the rise of military leaders ^[22].

Thus, the traditional culture of China, from the point of view of the historical aspect, is a culture chronologically limited to the Manchurian dynasty of the Qing Empire (1644-1912). During this period, ideas about traditions were based on Confucian doctrine, forming a conglomerate with Taoist and Buddhist ideas and practices. Each subsequent generation strove to achieve harmony in government and in life, trying to learn from the mistakes of their predecessors. During this period, China's richest material heritage was created and its intangible heritage was developed.

With the change of the political vector, the idea of tradition also changes. Western interest in China was intrusive: after the Opium Wars and the extensive influence of Western culture in various spheres of China's socio-cultural life, traditional Chinese culture began to be systematically emasculated. In addition, on May 4, 1919, inspired by the experience of the USSR, the anti-imperialist movement began in China. It "contributed to the emergence and development of new progressive traditions that retain special significance" for the entire nation ^{[23, p. 32]}. A period of active borrowing of Western ideas, including into culture, has begun. The apologists of this trend were Hu Shi, Yan Fu, Liang Qi-Chao, and others. Although this period was quite short, it can be said that a new vision of the tradition began to take shape.: active acquaintance with Western culture, accelerated study of everything that was inaccessible in the conditions of indigenous Chinese culture.

During the period of China's administration, Mao Zedong pursued a policy of destroying "feudal remnants." The most traumatic event for traditional Chinese culture was the Cultural Revolution (1966-1976), when representatives of the intellectual elite who promoted the ideas of "revisionism" were persecuted, and cultural monuments and traditions were forgotten. At the same time, new ideas about tradition began to form again. The traditions of communist teaching were put at the forefront.

Revolution became the main theme of creativity, and a new "revolutionary" culture was established, fueled by Marxist ideology. Its most prominent representative was Li Dazhao, one of the founders of the Chinese Communist Party. His works, in which he boldly expressed hope for the birth of a new China, had a profound impact on the development of Chinese culture and social ideological values.

During this period, a long period of Reform and Openness Policies began, implemented under Deng Xiaoping. A guideline was taken on "building a socialist culture with Chinese characteristics (Chinese specifics)" ^{[24, p. 33]}. As if returning to the Taoist concept of harmony, the Chinese compromise by creating a new cultural model that takes into account both the achievements of Western civilization and the best traditions of Chinese culture. During this period, China turns to its origins, to its cultural roots, and begins to ask questions about its national identity. Therefore, forgotten traditions are beginning to enjoy popularity. It can be said that this period continues to this day, since the state policy for the protection of China's intangible cultural heritage insists not only on its preservation, rehabilitation and popularization, but also on its integration with the achievements and traditions of other national cultures.

The modern period, dating back to the beginning of the 21st century, is marked by contradictory processes. On the one hand, traditional Chinese culture is being cultivated today, which was formed before the 19th century and enriched in subsequent historical periods. In addition, China's prestige is being strengthened not only domestically, but also internationally. The State supports projects aimed at preserving tangible and intangible cultural heritage, such as the restoration of historical monuments and the promotion of Chinese language and culture through Confucius institutes. It can be said that the cultural capital gathered by China is extremely rich structurally and historically.

On the other hand, modern China, with its culture, actively opposes globalization and popular culture, which has strengthened with the development of Internet technologies. Chinese films, music, literature, and traditional arts and practices (calligraphy, martial arts, tea ceremony, etc.) are becoming an integral part of the global cultural landscape. The Chinese use Internet technologies for cultural expansion, using the tool of "soft power" - the ability to assimilate into other cultures and attract interest through their own cultural heritage. heritage. Based on this, we can say that today the idea of tradition is also undergoing changes: on the one hand, it is a way to assert itself in the world, strengthen global influence, on the other ‒ a way to overcome the crisis of national identity and preserve cultural heritage.

Modern Chinese culture is returning to the Confucian idea of wisdom: it is not just ancient, historically ancient, materially and spiritually rich, it is wise, which has managed to preserve its own gene, continuity, but at the same time deepen, become more multifaceted and dynamic. Modern Chinese culture honors traditions and is informed by the experience of innovation and integration of cultural achievements of other civilizations. It is permeable, but at the same time stable. In the field of world culture, Chinese culture today manifests the idea of nonviolent unification, friendship and non-interference.

In summary, it should be said that the discussions about the essence and features of Chinese traditional culture caused by globalization processes lie in the plane of structural and historical aspects.

The structure of traditional Chinese culture includes three significant components: spiritual and ideological foundations, intangible cultural heritage and objects of material culture, representing the material embodiment of the spiritual life of the Chinese.

A retrospective analysis of the understanding of traditions in Chinese culture shows that for a significant period, Chinese civilization was characterized as Confucian, so traditions focused on the ethics of Confucianism and the desire to achieve harmony by becoming a wise man. The end of the 19th-20th centuries was an era of rapid changes for China, including regarding how tradition is understood in culture. The period of Westernization broke the isolation of Chinese culture: an active acquaintance with the achievements of Western culture began. The Marxist period, which is ambiguous for traditional Chinese culture, on the one hand, designated some of its elements as remnants of the feudal past, and on the other, introduced new elements and gave hope for building a fundamentally new state.

The policy of reform and openness has become a new milestone in the history of traditional Chinese culture and understanding of traditions: the Chinese no longer sought the past, but also did not rush the future, they began to be more aware of their own heritage, expressing respect for the achievements of other civilizations. Today, traditional Chinese culture seems to be experiencing a rebirth, it is actively popularized by the media and appreciated by cultural speakers as a tool of "soft power" that allows nonviolently strengthening global influence and at the same time answering questions about national identity, consolidating traditional culture in national cultural memory.