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In the paper I trace the histories of four terms. All four words were originally translated from western languages or Russian, but have attained new meanings in China. The first is the "principle of the Party literature," an expression made by V. I. Lenin, which remained influential in China for a very long time. The change in its translation to the "principle of Party publication" eventually became a part of the ideological liberation of the early 1980s. The second is "imaged thought." This term enabled Chinese literature to separate itself from the political ideology after the Cultural Revolution. The third is "subjectivity," a term originally translated as zhuguanxing, and then as zhutixing, which in the ears of Chinese philosophers substantially changed from a term with a negative sense, to one with a positive sense, and which paved the way for a philosophical revolution in China. The fourth is "ontology". The Chinese mixed the ontology criticized by Kant with the doctrine of noumena implied by Kant's philosophy, with ontology thus gaining its special meanings in Chinese philosophy and aesthetics. By presenting the histories of four terms, the author attempts to demonstrate how one and the same term can be ascribed different meanings in different cultures, and how it undergoes specific changes and historical transformations.

This paper is devoted to the discussion of Chinese aesthetics in the last two decades. In the early 1980s, there was an "aesthetic craze" in China, which endeavoured to develop the autonomy of art by breaking away from the art in the service of politics during the period of Cultural Revolution (1966-1976). This "craze" declined in the late 1980s, when people switched to the study of classic Chinese aesthetics in order to find their own cultural identity. During the early 1990s, when some scholars are interested in cultural studies, aesthetics in its narrow sense disappeared in China. In the late 1990s and the turn of the centuries, there was a sign of the revival of aesthetics. Many aestheticians tried hard to develop their studies in various fields, such as to combine aesthetics with contemporary cultural studies and to follow the new development of Western aesthetics, but, more importantly, to establish a Chinese aesthetics in the context of the development of world aesthetics. ; Šiame straipsnyje aptariama kinų estetikos raida per paskutiniuosius du dešimtmečius. 9-ojo dešimtmečio pradžioje (nuo 1980 m.) kinų estetikoje išryškėjo vadinamoji "estetikos mada", sutelkus i pastangas meno autonomiškumui įteisinti ir taip išlaisvinusi ji nuo tarnavimo politiniams tikslams - vaidmens, kuris buvo jam suteiktas Kultūrinės revoliucijos laikotarpiu (1966-1976). Ši "estetikos mada" atslūgo 9-ojo dešimtmečio pabaigoje, kai buvo susidomėta klasikine kinų estetika ir jos kultūrinio tapatumo paieškomis. Pradedant 1990 metais, siejamais su estetikos atgimimu, jos studijos buvo plėtojamos įvairiomis kryptimis. Dauguma estetikos specialistų bando ją sieti su šiuolaikiniais kultūros tyrinėjimais, derintis prie naujų Vakarų estetikos krypčių. Tačiau vienas svarbiausių šiuolaikinės kinų estetikos tikslų yra integruoti ją į pasaulinės estetikos tyrinėjimų lauką.