Abstract

"Non-Western thought" and "Alternative" way of thinking, although in the "cultural studies" within the day attention, and has launched the idea and application, but in Western Sinology context, especially in the aesthetic domain, or the Western way of thinking model as a thinking and research guidelines. More seriously, the Western Han borrowed ideas and is based on theoretical standard used since the nineteenth century to the future, change is not large systems; this domain with other Western thinking different. The first Western scholar is concerned, such as Lotus convenient than direct rate to admit he was not interested in Chinese thought itself, mainly borrowed order to rethink the future of Western philosophy, especially the hope臘philosophy. Like China or Chinese culture, not less contemporary knowledge, if they borrowed directly submitted to Western systems of thought to discuss the future of traditional Chinese philosophy. Their contribution is also great. Second, the art historian is concerned, especially the United States art historian, they are usually in their own future critiques Western standards has nothing to do with their traditional Chinese works; they even deny that these works of their own standards for traditional tasting. To avoid repeating the mistakes of the former two, the author will be based on their many years of experience in the future to explore these with the "philosophy of reflection" on the aesthetics of the methodological issues. Author of the study of Chinese painting and calligraphy theory for many years, has been engaged in graphic arts creative activities in their research process, although also subject to prior art and aesthetics impact, but noted that previous studies theory of defects, it has been to try different angle from these studies establish research methods differ, so the author will talk about the subject and content regardless of its research and explain the choice of research methods. Including how to rethink Chinese aesthetics in the West; research areas and problems; and how to solve these problems with the establishing of the method. Although in the field of cultural studies, thinking from elsewhere or non-Western conceptions are taken in consideration, in Western sinology, and especially in the domain of aesthetics, the main thought referred to still generally remains the one of the West. Even more seriously , this theoretical thought referred to in aesthetic sinology is nevertheless deeply rooted on representations that have been established during the Nineteenth Century and that didn't evolve much since then, by contrast with other fields of thought in the West. This paper questions the methodological choices I personally had to deal with to "translate" Chinese aesthetics in French, particularly in calligraphy and painting, and the way I tried to differentiate from this dominant thought in Chinese aesthetic sinology. The paper also matters with the consequences concerning its comprehension and its explanation . It is more specifically relevant to the question of two seemingly contradictions, if seen from Western aesthetics theory. One is about studying an art's theory while practicing it at the same time. The other is about talking from the practicing point of view and though to resort to other methods than the ones established by the Western theoretical tradition, although writing in French and using also Western analysis tools. All this can seem to be non scientific. This paper tries to explain how these contradictions may be solved and may help establish a research method which aim is innovative and respects the studied object