This article deals with Li Tongxuan's explication of the Avata asaka-s tra in terms of the Sinification of Buddhism. While the affirmation of the present human condition is shared by other Chinese Huayan masters as well, this attitude is most evident in Li Tongxuan's explication of the scripture where the Chinese symbolisms such as yin-yang and five phases are amply employed. For him, every scriptural description on ordinary objects and names, especially directions, had profound religious implications. In order (...) to reveal these meanings in a lively and concrete language, the lay exegete Li Tongxuan freely alluded to the non-Buddhist ideas when elucidating or justifying the scriptural phrases. Although his interpretation sometimes resulted in a forced one, his intuitive adoption of the indigenous philosophy served to illumine the vision that an ordinary human condition is the foundation of the ultimate realization. (shrink)

Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the (...) goal of testing whether phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning. (shrink)

A gourd is a sort of pumpkin whose shell is frequently used to keep food and water. Gourds are also used as kitchen utensils, musical instruments or decoration. This paper draws attention to the time framework in gourd image representations, which symbolize universality and immortality as well as the positive notions of regeneration and emptiness. By analyzing the artistic expressions in the form of gourd representations reflected in literature and art, this paper reveals the complex notion of time in (...) class='Hi'>Chinese civilization. (shrink)

As a traditional clothing symbol that is unique to the Chinese nation, the dragon symbol combines the distinctive features of the Chinese nation, reflecting the depth of mental changes and the historical context of Chinese culture. The image of the dragon has formed a kind of dragon pattern as a certain set of ideas about the culture that encoded all its changes. Therefore, in national clothing the dragon image has been one of the most favorite patterns for (...) thousands of years. With the interweaving of world cultures and the deepening of the concept of clothing design, the dragon pattern will incorporate fresh elements of Western culture while maintaining the essence of traditional Chinese culture, and show a new design image through the utilization of various innovative ideas and design methods. The following methods were used for the study: literature review, field research, analysis of design cases, analysis of fashion trends. Using these methods, the specifics of using dragon designs in the fashion industry in different seasons and years are analyzed, and the trend of their evolution in the field of high fashion is studied. In the article we analyzed modern trends of clothing design and gave their characteristics. The results of the study showed that even in modern youth fashion this national symbol is actively used, which indicates that the patterns and images of the dragon have real applicability and wide prospects of application in modern fashion design. Modern clothing design provides a rich cultural heritage for modern clothing to retain the characteristics of civilization on the basis of continuous innovation. The use of dragon motifs in modern clothing not only meets the aesthetic concepts of modern people, but also adds vitality to clothing design. (shrink)

The research conducted in this article is aimed at analyzing color symbols in Russian, French and Chinese linguistic cultures using the analysis of phraseology and proverbs. The research methodology is based on a comparative analysis of phraseological units and proverbs containing color components in these languages. In the course of the study, both common and unique features in the color symbolism of each of the linguistic cultures under consideration were identified. Through a comparative analysis of phraseology and proverbs (...) in different languages, it was possible to better understand how color embodies cultural norms, worldview and historical contexts in each nation. This allowed us to see which aspects of color are particularly significant for each culture and what associations and symbolic meanings are associated with them. Special attention is paid to the analysis of differences and similarities in the interpretation of color in the idiomatic expressions of each language. This allows us to understand which cultural and historical factors form unique views and ideas about color in each of the linguistic cultures under consideration. The study also highlights that the interpretation of color symbols in idiomatic expressions depends on the cultural and historical contexts of each language. Idioms are a reflection of the collective consciousness and worldview of the people, and the study of color phenomena in idioms helps to better understand national identity and linguistic evolution. In addition, the study found that the red color can acquire different meanings and connotations in different languages, despite common dictionary definitions. This indicates that the use and attitude towards the color red depends on the cultural and historical characteristics of each language group. The scientific novelty of the work lies in the fact that it combines linguistic analysis with the analysis of cultural characteristics and uses the methodology of synergetic symbolism. This approach allows us to understand how the interaction of different colors creates new symbolic meanings and associations specific to each culture. (shrink)

Among all forms of city planning, the grid plan appears, historically, to be the most measurable and recognizable system of civic geography. This paper will explore how and why different social groups have been able to define the symbolism of the grid to suit their own political purposes and how governments and patrons have utilized the grid as the spatial manifestation for their political ideologies. This paper will be based on case studies of cities operating under very dissimilar political (...) systems, i.e., the cities of ancient China and the city of Chicago in the Unites States. I argue that the American grid plan focuses on its peripheries, and that the expansive instinct of the American grid was effective in building a coherent American nation, transcending regional and class divisions. By contrast, the Chinese grid plan emphasizes the center, and the practices of urban planning in ancient China symbolized the evaluative tactics of the elite. (shrink)

This book considers the Chinese conception of beauty from a historical perspective with regard to its significant relation to human personality and human existence. It examines the etymological implications of the pictographic character mei, the totemic symbolism of beauty, the ferocious beauty of the bronzeware. Further on, it proceeds to look into the conceptual progression of beauty in such main schools of thought as Confucianism, Daoism and Chan Buddhism. Then, it goes on to illustrate through art and literature (...) the leading principles of equilibriumharmony, spontaneous naturalness, subtle void and synthetic possibilities. It also offers a discussion of modern change and transcultural creation conducted with particular reference to the theory of the poetic state par excellence and that of art as sedimentation. (shrink)

This article considers the meaning of the ancient Chinese magic square Luoshu. It is known that this square is the most ancient of this type of squares. The importance of the magic square in the philosophical tradition and in the whole culture of China is large. The ancient understanding of number differs from the modern one by its dual character, combining the features of philosophical symbolism and mathematical constructions. Unfortunately, modern interpretations of the Luoshu as well as other (...) numerical constructions preserved by the Chinese tradition are too often limited to a superficial statement of their symbolic, “numerological” nature, ignoring the effects of the mathematical structure represented by them. At the same time, some scholars strongly emphasize the intuitive aspects of numerology, which do not presuppose accuracy. On the contrary, Leibniz saw in the Chinese binary system of thinking the beginning of an exact universal language. The author, appealing to the concept of A.A. Krushinskiy, analyzes the arithmetic laws of the structure of the square. The article shows that the magic square Luoshu is not a numbers game. Without any doubt, its main meaning lies in the application of arithmetic. Chinese magic square is an illustrative implementation of one of the main features of Chinese language and traditional thinking – its rational and mathematical basis. The Luoshu square is a vivid example of visual constructivism in the Chinese style of thinking. By means of the magic square’s scheme, the procedure of generalization that is a basis of concepts formation is carried out. This procedure uses a mathematical magic square algorithm based on the numerical codes of the five elements. The quinary spontaneous symbolism is rooted in the Chinese traditional culture of thinking and life order. (shrink)

The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research (...) is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 14.1 (2004) 47-54 [Access article in PDF] Ethical Guidelines for Human Embryonic Stem Cell Research*(A Recommended Manuscript) Adopted on 16 October 2001Revised on 20 August 2002 Ethics Committee of the Chinese National Human Genome Center at Shanghai, Shanghai 201203 Human embryonic stem cell (ES) research is a great project in the frontier of biomedical science for the twenty-first century. Be- cause the research (...) involves the use of human embryos, it triggers serious debate on ethical issues. Opponents consider the embryo to be an early form of human life that should be respected and not destroyed. However, the majority of scientists support embryonic stem cell research, believing that it offers good prospects for the treatment of diseases that have remained incurable until now and so will benefit humankind. The Ethics Committee of the Department of Ethical, Legal, and Social Implications of the Chinese National Human Genome Center at Shanghai seriously discussed the ethical debate initiated by embryonic stem cell research. We concluded that we should support the scientists of our country in actively carrying out human embryonic stem cell research for the noble cause of "medicine being a beneficent art." For the healthy and orderly development of human embryonic stem cell research in our country, we put forward the following recommended Ethical Guidelines for Human Embryonic Stem Cell Research as a reference for leaders, administrative departments, and related scientists. Preface Article 1. Human embryonic stem cells are the primitive cells that play the main role in the growth and development of a human body. These [End Page 47] primitive cells have the potential for infinite proliferation, self-renewal, and multi-directional differentiation. If scientists can discover the mechanism of differentiation of human embryonic stem cells, it will be possible to induce differentiation of human embryonic stem cells to form various types of human cells for clinical cell therapy. If human embryonic stem cell research can be integrated with modern biomedical engineering techniques, it also will be possible to make repair and replacement of human tissues and organs a reality. Article 2. There are two ways to classify human embryonic stem cells. One way is to classify them according to their potential for differentiation. There could be three kinds of stem cells: totipotent stem cells, pluripotent stem cells, and unipotent stem cells.A totipotent stem cell has the potential to develop into a whole individual. It can differentiate into the more than 200 cell types in the whole body, construct any tissue or organ of the body, and finally develop into a whole individual. The fertilized egg and the cleavage cells at the very early stage of embryonic development are totipotent stem cells.A pluripotent stem cell has the potential to differentiate into many cell types derived from the three embryonic layers. However, it has lost the capacity to develop into a complete organism.A unipotent stem cell is derived from the further differentiation of the pluripotent stem cell. It can differentiate only into one cell type such as a hematopoietic stem cell, neural stem cell, and others.The other way is to classify human stem cells according to their source. There could be two kinds of human stem cells: embryonic stem cells and tissue stem cells (also called adult stem cells). The former involves experimentation with embryos, which has serious ethical implications. Ethical issues associated with the latter are mainly expressed in the various opinions regarding the allocation of health resources. Article 3. Human embryonic stem cells are the group of cells called the blastocyst inner cell mass during the early stage of embryonic development. They are the main source of totipotent stem cells, and hence the focal and hot point in stem cell research. Studies on the clinical application of embryonic stem cells probably will involve use of the somatic cell nucleus transfer (SCNT) technique, which destroys the early human embryo. At present, the ethical and moral debate is very serious in human embryonic stem cell research regarding whether the research will develop... (shrink)

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

Via a hermeneutics focused on Chinese numerology and concentric arrangements, the book offers a novel construal of the textual universe proper to early China writings. The author lays bare distinguishable patterns of textual composition while relating them to corresponding patterns of thinking. He differentiates rhetorical variants through detailed studies of the Zhuangzi's Inner chapters, the Laozi, the Analects, and the Huainanzi. The philosophical depth and relevance of the Chinese ancient worldview appear in a fresh light when one unearths (...) the patterns into which its content is embedded. The focus on textual patterns and rhetorical arrangements also facilitates the reading of Chinese classics alongside other traditions. The book will be a valuable reference for scholars and graduate students studying Chinese literary criticism, Chinese philosophy, and comparative philosophy. (shrink)

Ananda K. Coomaraswamy (1877-1947) was a pioneer in Indian art history and in the cultural confrontation of East and West. Finding a universal tradition in past cultures ranging from the Hellenic and Christian to the Indian, Islamic and Chinese, Coomaraswamy collated his ideas and symbols of ancient wisdom into essays. THE DOOR IN THE SKY is a collection of his writings on myth drawn from his METAPHYSICS and TRADITIONAL ART AND SYMBOLISM.

The progressive dominance of historical-critical methods in the reading of ancient Chinese classics has led scholars to privilege micro levels of textual analysis. Consequently, the question as to whether laws of composition could be identified in this corpus has often been ignored, or considered irrelevant. Working on Chinese number symbolism as well as on rules governing “ring composition” in other cultural contexts, this article aims at fashioning anew the question of the possibility of an ancient Chinese (...) “structural rhetoric” and at envisioning the patterns that might have governed it. It specifically applies the approach it propounds to Huainanzi 淮南子, showing how numerology frames its structure and argument, the text being built after the image of the “roundness” of the Way and of the Ruler. It then endeavors to apply these results to the unearthing of “inter-structural” patterns that would help us to locate Huainanzi, Lüshi Chunqiu 呂氏春秋, the versions at hand of Zhuangzi 莊子, Lunyu 論語, or yet Laozi 老子 into a textual universe that shares correlated rhetorical features. (shrink)

An examination of the earliest creation traditions and symbols of China and their similarities to those of other ancient cultures Reveals the deep parallels between early Chinese words and those of other ancient creation traditions such as the hieroglyphics of ancient Egypt Explores the 8 stages of creation in Taoism and the cosmological origins of Chinese ancestor worship, the zodiac, the mandala, and the I Ching Provides further evidence that the cosmology of all ancient cultures arose from a (...) single now-lost source Building on his extensive research into the sacred symbols and creation myths of the Dogon of Africa and those of ancient Egypt, India, and Tibet, Laird Scranton investigates the myths, symbols, and traditions of prehistoric China, providing further evidence that the cosmology of all ancient cultures arose from a single now-lost source. Scranton explores the fundamental similarities between the language that defined ancient Chinese cosmology and that of other creation traditions, revealing the connections between the phonetic structure of the words, their glyphs, and their use. He demonstrates striking parallels between the earliest systems of writing in China and the hieroglyphs of ancient Egypt. He examines the 8 levels of creation in Taoism and the cosmological origins of Chinese ancestor worship, mythical emperors, the zodiac, the mandala, and the I Ching. He details the fundamental principles of land-use in ancient China in relation to the symbolism of a Buddhist stupa and the Dogon granary, ritual shrines that are also the central symbol of other creation traditions. Understanding the true meanings of these symbol complexes also reveals the sophisticated scientific understanding of these ancient cultures, for these creation symbols directly correlate with our modern understanding of atoms and the energetic makeup of matter. In exploring Chinese cosmological traditions, Scranton sheds new light on the contention that the sacred knowledge of the ancients is the legacy of an earlier culture who gave primitive humanity the tools they needed to birth the first known civilizations. (shrink)

The two mythical tales from the Samguk yusa, “Lady Suro” and “Monk Hyet’ong Defeats the Dragon” reveal the little-known evil character of the Korean dragons. The second story presents a particular scene of a confrontation between a hero and a malicious dragon; this story leads us to reflect on the question of the symbolism of evil embodied by the Dragon who has a vengeful character. The dragon symbol and its semantic variations were constructed specifically within the singular Korean context (...) and cannot be limited to Chinese Buddhist heritage. (shrink)

Previous studies have shown that Chinese speakers and non-Chinese speakers exhibit different patterns of cross-modal congruence for the lexical tones of Mandarin Chinese, depending on which features of the pitch they attend to. But is this pattern of language-specific listening a conscious cultural strategy or an automatic processing effect? If automatic, does it also apply when the same pitch contours no longer sound like speech? Implicit Association Tests (IATs) provide an indirect measure of cross-modal association. In a (...) series of IAT studies, conducted with participants with three kinds of language backgrounds (Chinese-dominant bilinguals, Chinese balanced bilinguals, and English speakers with no Chinese experience) we find language-specific congruence effects for Mandarin lexical tones but not for matched sine-wave stimuli. That is, for linguistic stimuli, non-Chinese speakers show advantages for pitch-height congruence (high-pointy, low-curvy); no congruence effects were found for Chinese speakers. For non-linguistic stimuli, all participant groups showed advantages for pitch-height congruence. The present findings suggest that non-lexical tone congruence (high-pointy, low-curvy) is a basic congruence pattern, and the acquisition of a language with lexical tone can alter this perception. (shrink)

Known in Chinese as Hua-yen and in Japanese as Kegon-kyo, the Avatamsaka Sutra, or Flower Ornament Scripture, is held in the highest regard and studied by Buddhists of all traditions. Through its structure and symbolism, as well as through its concisely stated principles, it conveys a vast range of Buddhist teachings. This one-volume edition contains Thomas Cleary's definitive translation of all thirty-nine books of the sutra, along with an introduction, a glossary, and Cleary's translation of Li Tongxuan's seventh-century (...) guide to the final book, the Gandavyuha, "Entry into the Realm of Reality.". (shrink)

This essay explores the Chinese imagination and “logic” that construct both literal and figurative ways of ascending to heaven from the mythic or imaginary facts to the pragmatic and spiritual practice. Many Taoist philosophers and alchemists draw on figurative language and allegories to demonstrate abstract notions and wisdom. This figurative mediation is reminiscent of Plato’s approach in staging Socrates as a “teller of myth”. The present study thus resorts to the theory of the imaginary to better illuminate the underlying (...) symbolism and the universal imaginary in Chinese texts and thought. The Taoist imagination of celestial ascension evolves from the mythic figures, to the rhetorical figures of metaphysics, through to theoretical and literary alchemy. This imaginary actualization is possible through the spatial and temporal passages offered by mountain caves and animal rides. Cet article explore l’imaginaire et la « logique » qui construisent dans la pensée chinoise les moyens littéraux et figuratifs de monter au ciel, depuis les faits mythiques ou imaginaires jusqu’à la pratique spirituelle et pragmatique. De nombreux philosophes et alchimistes taoïstes s’appuient sur le langage figuratif et allégorique pour rendre compte de notions abstraites et de la sagesse. Cette médiation figurative n’est pas sans rappeler l’approche de Platon qui représente Socrate comme un « conteur de mythe ». La présente étude recourt ainsi à la théorie de l’imaginaire pour mieux éclairer le symbolisme sous-jacent et l’imaginaire universel dans les textes et la pensée chinoise. L’imagination taoïste de l’ascension céleste évolue à partir des figures mythiques, jusqu’aux figures rhétoriques de la métaphysique, via l’alchimie théorique et littéraire. Cette actualisation imaginaire est rendue possible par les passages spatio-temporels offerts par les grottes montagneuses et les montures animales. (shrink)

In The Philosophy of Change, the distinguished scholar of Chinese philosophy Chung-ying Cheng advances our understanding of the Yijing by analyzing its philosophy in comparison to Western philosophical traditions. Cheng focuses on critically comparing philosophies of science, religion, and metaphysics in Leibniz, Whitehead, Neville, and Cobb alongside classical Chinese views on reality, divinity, knowledge, and morality. The book begins and ends with questions related to the character of Chinese metaphysical traditions, which contrast with the mainline metaphysical traditions (...) found in Western Europe and North America. Cheng argues throughout the book that the philosophical underpinnings of basic concepts in Chinese culture are ultimately rooted in key claims found within the Yijing 易經 and one of its standard commentaries, the Yizhuan 易傳. The book serves as a complementary volume to the author's previous book, The Primary Way: Philosophy of the Yijing, which lays out a comprehensive and systematic philosophy based on the symbolism and text of the classical document and its traditional commentaries. (shrink)

Military metaphors are pervasive in biomedicine, including HIV research. Rooted in the mind set that regards pathogens as enemies to be defeated, terms such as “shock and kill” have become widely accepted idioms within HIV cure research. Such language and symbolism must be critically examined as they may be especially problematic when used to express scientific ideas within emerging health-related fields. In this article, philosophical analysis and an interdisciplinary literature review utilizing key texts from sociology, anthropology, history, and (...) class='Hi'>Chinese and African studies were conducted to investigate the current proliferation of military metaphors. We found the use of these metaphors to be ironic, unfortunate, and unnecessary. To overcome military metaphors we propose to give them less aggressive meanings, and/or replace them with more peaceful metaphors. Building on previous authors' work, we argue for the increased use of “journey” metaphors as meaningful, cross-culturally app... (shrink)

The subject of the study is the color meaning in the film of the famous Chinese director Zhang Yimou "Hero", the conceptual understanding of color as the main semantic element of the artistic solution. The object of research is the techniques of visual solutions in cinema. The perception of color in the culture of different peoples differs in certain nuances and depends on many factors, including national traditions and historically established stereotypes. Films by Chinese, Korean, and Japanese filmmakers (...) are interesting from the point of view of color solutions, as they differ in artistic originality and often offer the Russian audience an extraordinary semantic solution of the idea not only at the level of comprehension of the content, but also at the level of a specific color palette. The author similarly examines the color symbolism of Zhang Yimou's film "Hero". The conceptual content of the visual-figurative series, the originality of the coloristic solution of the film is comprehended. The scientific novelty of the article lies in the study of the color symbolism of Zhang Yimou's film "Hero" in the aspect of the correlation between the perception of the coloristic solution of the visual series and the conceptual content of the film. The author comes to the conclusion that despite the ambivalence of perception of a particular color in visual art, the coloristic solution is predetermined by the conceptual content of each episode, so color becomes the leading semantic concept of Zhang Yimou's film "Hero". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Knowing the EastPatti M. MarxsenKnowing the East. By Paul Claudel. Translated by James Lawler. Princeton, NJ: Princeton University Press, 2004. 136 pp.Fifty years after his death, Paul Claudel (1868–1955) is remembered for many things. Not only was he a major twentieth-century poet and playwright, he was an astute observer of Dutch, Spanish, and Japanese art. Not only was he the brother of sculptor Camille Claudel, he was a (...) diplomat who lived for nearly twenty years in Asia, including a stint as the French ambassador to Japan (1921–1927). When he was elected as a member of the Académie Française in 1946 at nearly 80 years of age he quipped, "For an academic, that is puberty." He died at 87, having lived large in two centuries and on three continents.Following an adolescence marked with indifference toward religion, Claudel experienced a profound conversion to Catholicism during a Christmas night service at Notre Dame Cathedral in Paris at the age of 18. With Christianity at the center of his universe and under the influence of Symbolist poets Rimbaud and Mallarmé, he developed a response to the world that was at once poetic and spiritual. Through his poetry, plays, and essays, he insisted on a fundamental unity between matter and spirit, a harmonious and vast universe into which the human mind could enter. And, at least for him, the point of entry was the portal of the Church. He struggled at times, but never lost sight of his faith. For all this, he is often credited with the revival of French Catholicism in the wake of WWI. After all, if Paul Claudel could take religion seriously and find meaning in it, pourquoi pas the rest of us?The facts of his extraordinary biography form a peculiar background to the recent translation by James Lawler of Claudel's collection of prose poems titled Knowing [End Page 229] the East. First published in 1946 as Connaissance de l'est, these sixty-one texts were written between 1895 and 1905 during Claudel's first visits to China and Japan as a young vice-consul stationed in Shanghai. He was twenty-six and still finding his poetic voice. And though his stance in the world is decidedly Christian, the content of this intriguing work reveals an inner dialogue with Buddhist ideas of interconnection, harmony, the ongoing quest for a higher life condition, and the overwhelming impact of nature in the lives of mere humans.In "Pagoda," Claudel describes a seven-story Chinese pagoda as it "amplifies and multiplies the roof, exaggerates the horned corners that rise with an elegant surge, and turns their curves upward to the sky." This form that "does away with walls" and concentrates on the uplifting roof creates a space where "Buddha, Prince of Peace, dwells inside with all the gods." In this architecture he reads a structuring of physical and spiritual space, a kind of never ending upward movement divided into "the seven mystical heavens." The culminating effect is the heavenly achievement of the unknowable. And so, after going as far as he can go into the world of the spirit, he ends this prose poem with an abrupt return to temporal reality. "I have no more to say of the Pagoda. I do not know its name."Elsewhere, in "The Wanderer," he turns his sense of awe toward nature. "Every tree has its personality, every small beast its role, every voice its part in the symphony," he writes. "As one understands music, so I understand nature, like a detailed narrative of proper names; as my walk and the day advance, so does the elaboration of the doctrine." The "doctrine," it seems, is the idea of dependent origination, the interrelation of all life that springs from a single source. In the last line, he states, "I understand the world's harmony. When will I grasp its melody?"In "The Temple of Consciousness" Claudel climbs "the black rock's vertical wall, and only at this late afternoon hour do I know myself to be on the right track." Below, he observes golden rice fields. Ahead there is an "old stairway overlaid with hoary moss... (shrink)

This article examines the reasons early Confucians offer to support the belief that clothing is formative of its wearer’s character, as well as the arguments other early Chinese texts raise to object to it. It focuses on early Confucian discourses about three representative items of clothing, including the cap used in the coming-of-age ceremony, the accessories made by jade, and a style of clothing named shenyi 深衣. These cases demonstrate that, in early Confucian thought, clothing is said to be (...) able to shape the wearer’s character by registering in the wearer its moral symbolism with both psychological-cognitive and bodily means. While this emphasis on symbolism also invites objections that undermine the normative status early Confucians want to ascribe to a specific style of clothing, their discourses still enrich the current understanding of Confucian self-cultivation, in terms of both its method and goals. (shrink)

The Homeobox (Hox) genes essentially define body regions in all animals including humans – responsible for determining two arms, two legs, one nose and so on. This gene is shared by all living beings – from the snail to the elephant to humans – and it can now be manipulated into transforming certain parts of the body into others. We have observed such transformations, such as that of an amputated antenna into a limb, as far back as 1901, termed neomorphosis (...) (Morgan 1901), and it has only recently re-emerged as an area of scientific study. Spontaneous transformations and induced regenerations are fascinating research topics that are fast becoming a reality; some scientists are postulating that it may be possible that the hox gene could be central to limb regeneration in the future. This article will present the Hox Zodiac project, which attempts to introduce this subject and push the ideas further into speculation of mutation (i.e. humans and animals) into creatures that may resemble the mythical beings we know as fiction. The starting point of this wheel of life is the Chinese zodiac, consisting of twelve animals that are associated with humans. In the process of development, it became interesting to note that half of the animals on the wheel are those used in the lab – rat, pig, monkey, dog, sheep and rabbit. The ox, tiger, horse, snake and rooster are considered mythical and the dragon could easily fall into the category of a genetically modified creature that is to re-emerge in the future. Since medical and scientific testing on humans is strictly forbidden, scientists have virtually shifted to animals for all such studies. Thus, everything that is used on our bodies and minds is directly related to the animal kingdom. The pig heart and rat mind are symbols for the paradox of science that uses animals in ways that are at once disconnected while subconsciously connecting us more than ever by using research results in medical and food products we consume. Although the controversy of using animals in labs is widely known and often violently opposed, the artist in the lab questions how this research impacts our collective consciousness, especially with the growing trend of brain-computer interfaces and particularly synthetic telepathy. This relationship of the human to the metaphorical meaning of the animal kingdom brought to mind Jung’s research on metaphors, symbolism and archetypes, which became central to the Hox Zodiac. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Physiognomy in Ming China: Fortune and the Body by Xing WangWenbin Wang (bio)Physiognomy in Ming China: Fortune and the Body. By Xing Wang. Leiden: Brill, 2020. Pp. x+ 325. Hardcover €114.00, ISBN 978-90-04-42954-3.Physiognomy (xiangshu 相術) as a technique of fortune-telling via the observation of the body has a long history in China and is still a living tradition. As a part of the traditional Chinese technological repertoire (...) of "Techniques and Methods" (fangshu 方術), records of performing physiognomy date back to the Spring and Autumn period (8th-5th centuries B.C.) (p. 31). According to Lisa Raphals, physiognomy was a crucial part of early Chinese philosophical discussion of the body, cosmology and human existence.1 Yet Wang Xing argues that despite its long history, our knowledge of Chinese physiognomy before the Ming dynasty is rather limited due to the small amount of pre-Ming physiognomy manuscripts still in existence. Chinese physiognomy as we know it today is largely based on its predecessors in late imperial China, and it was during the late Ming that most of the well-known extant physiognomy manuals were produced (p. 34). In contrast, the paucity of academic surveys of Ming physiognomy means that when it comes to scholarly examination of Chinese physiognomic texts and academic representation of physiognomic theories, misinterpretation often occurs. Wang is particularly critical of an early academic work on Chinese physiognomy by American anthropologist William Lessa, who made many dubious and broad assertions about the origin and characteristics of Chinese physiognomy (p. 15).2 In this context, Wang's Physiognomy in Ming China: Fortune and the Body is the first monograph in the English-speaking world primarily dedicated to the study of Chinese physiognomy in the Ming dynasty, including its social, textual, intellectual and technological history. It is also the first work in English that comprehensively introduces the history of Chinese physiognomy in early to late imperial China.Wang's investigation of this topic is two-fold. On the one hand he tackles physiognomy manuals and records of physiognomy practice from a historical perspective. Wang uses a very famous Ming physiognomic "encyclopedia," The Compendium of Divine Physiognomy (Shenxiang quanbian 神相全編), as the main text in his discussion of physiognomic knowledge, as well as a large amount of anecdotal writings from the Song to Ming periods. On the other hand, Wang consciously draws links between Chinese physiognomic theories and modern Western philosophical and anthropological debates on the body, symbolism and phenomenology. To push forward this conversation, Wang establishes a unique [End Page 1] framework for interpreting the conceptualization of the body, fortune and the cosmos in Ming physiognomic texts: the "homological" body on which time is "spatialized," discussed further below. It is this second facet of the argument that could most intrigue and inspire scholars of Chinese philosophy like myself. As Marta Hanson comments, Wang's work is an excellent example of how Chinese technical as well as cosmological works could problematize and challenge modern Euro-American academic theorizations of Asian culture and how professional sinological study could contribute to salient modern intellectual debates.3 When reading Wang's book, readers should always bear in mind his intention to bring together Ming physiognomic theories with broader contemporary philosophical discourse.Apart from the introduction, there are seven chapters in the book. The first two chapters serve as the historical section of the discussion (although historical analysis is also an indispensable part of later chapters). Chapter 1 provides readers with an overall background to physiognomy in China, especially its categorization as a form of elite knowledge in traditional catalogues, the development of core physiognomic theories and concepts in relation to traditional Chinese cosmology and medical theories, and the textual history of Ming physiognomy manuals. Beyond providing general information, in my view the author here makes three outstanding points: the first is that what we know as Chinese physiognomy is actually not merely a technique of human body divination, but also a method of predicting human future via observing the whole material world. Wang mentions a very important branch of physiognomy in historical catalogues called "physiognomy of things" (xiangwu 相物) (p. 27), in which anything from a horse... (shrink)

The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence (...) of music making. Music qua music has been a part of human expression for at least some forty-thousand years and it could well be speculated that the making of music accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts".Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins, we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos. This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological". Jung drew on a much wider cross-cultural experiential and intellectual base than Freud. His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness. Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Integrating Christ and the Saints into Buddhist Ritual:The Christian Homa of Yogi ChenRichard K. PayneConcern with dual belonging reflects the increasing religious pluralism of European and American societies. This pluralism has included both an increasing variety of religious traditions from outside the monotheistic mainstream of Abrahamic religions as well as new movements and sects within that mainstream. Awareness that religious pluralism is a reality and that many people have (...) come to see this pluralism as offering viable religious alternatives has fostered much reflection, both scholarly and popular. This increasing variety of religions present in Europe and America results from broader social trends. Discussion of these broader social trends, however, lies outside the scope of this essay, which is an examination of the utility of the concept of dual belonging for the sociology of religion.1Dual belonging (also known as double belonging, multiple religious belonging, and so on) becomes a specifically religious issue against the background of theological responses to the reality of religious pluralism. These theological responses include, first, the comparative theology of the nineteenth and early twentieth centuries, then theology of religions as developed in the middle to late twentieth century, and then the “new” comparative theology2 that has developed from the end of the twentieth into the present century.3 Another dimension that has influenced the discussion of dual belonging has been the efforts of Buddhist-Christian dialogue.4 The concern on the part of religious authorities, theologians, and, one should add, parents has been not just that “they” are now “here,” but that awareness of other religions also creates the opportunity for them to be actively embraced as viable alternatives to more familiar, mainstream religious traditions.5 While conversion has been one of the motivating concerns, another can perhaps be described as the fear of impurity. As Meredith B. McGuire has noted, in contrast to “the Western image of a religion as a unitary, organizationally defined, and relatively stable set of collective beliefs and practices” stands the reality that “extensive religious blending and within-group religious heterogeneity are the norm, rather than the exception.”6 This reality conflicts [End Page 37] with legitimating rhetorics of purity and authenticity, and constitutes a challenge to the authority of those who claim the right to define and defend what they hold as the pure and authentic.yogi chen and religiously hybrid practiceThe discourse regarding dual belonging has largely focused on Christians residing in the cultural West, where they are members of the dominant society and dominant religious culture, but who also identify with Buddhism.7 This reflects the predominant role played by theological concerns in the creation and application of the category of dual belonging. Thus it seems appropriate that Wendy Cadge has asked whether the concept and its cognates can be employed as a “descriptive term for understanding issues of religious globalization and their expression at the level of individual religious commitment.” In order to answer this question, the concept of dual belonging needs to be evaluated, testing whether it is applicable to those who are not members of the demographic that has largely been the subject of study so far. Here we reverse the lens to look at someone who is both not originally a Christian, but who integrates Christian symbolism into his practice, and not part of the dominant culture, an immigrant, a minority both socially and religiously. This instance allows us to examine the category for wider application than to those to whom it has been applied to date.8 Our test case will be a Chinese Buddhist teacher known as Yogi Chen.Yogi Chen (1906–1987) was a Chinese practitioner of esoteric Buddhism who immigrated to the United States in 1972 and practiced in the San Francisco Bay Area for the last decade and a half of his life. Like many modern Chinese teachers, he claimed to bring together all of the teachings and practices of the Theravada, Mahayana, and Vajrayana strains of Buddhism. In addition to practicing in retreat in Hunan, he also studied and practiced with the expatriate Tibetan community in India. During the final period of his life, as an immigrant in the United States, he... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:I Am Food: The Mass in Planetary PerspectiveMaria Reis HabitoI Am Food: The Mass in Planetary Perspective. By Roger Corless. Eugene, OR: Wipf and Stock, 2004. 104 pp.In this timely reprint of I Am Food: The Mass in Planetary Perspective (originally published by Crossroad in 1981), the late Roger Corless demonstrates the potential for spiritual and intellectual creativity contained within a stance of dual religious belonging. Corless passed (...) away in January 2007, but this book remains as a way for us to know him and to appreciate, as he did, the possibilities for spiritual revitalization and transformation that may be generated at the intersection and interpenetration of Christian and Buddhist traditions.Corless was raised as a Protestant but as a teenager became deeply engaged with the study of world religions and claimed Buddhism in particular as his own. Eventually he would become a scholar of Chinese Buddhism and a practitioner within the Gelugpa lineage of Tibetan Buddhism. At the same time, however, that the young Corless was being drawn to Buddhism, his connection to his Christian faith was also deepening; his profound experiences of the loving power of God could not be denied even if Christianity's theism could not be easily reconciled with Buddhism's doctrine of emptiness. Instead of leaving one religion for the other, he deepened his engagement with both. He did not seek to synthesize or reconcile Christianity and Buddhism but rather held these traditions together in a dynamic, creative tension and lived each one fully in its turn. When asked about his religious affiliation, Corless would respond playfully that he was "a Buddhist on Mondays, Wednesdays, and Fridays, a Christian on Tuesdays, Thursdays, and Saturday, and a Gaia worshipper on Sundays." In I Am Food, however, Corless shows us that on some Sundays, specifically at the celebration of the Mass, he was both Christian and Buddhist at the same time. The great contribution of this book is in its offering of a fresh and transformative approach to the Mass through the application of the symbolic structures of Tibetan Buddhist mandala visualization as a template for active participation in the communion ritual. [End Page 161]Corless's focus in this book is the ritual of the Mass as celebrated within the Roman Catholic tradition. His conversion from Anglicanism to Catholicism occurred much to his "own surprise," prompted by his discovery in Catholicism of "a curious growing center which had great power and potential." This center "brought together many insights which I had picked up from other religions, and moved them to a new synthesis. This synthesis was concentrated in the oddly named 'Mass' " (p. 13). I Am Food offers a scholarly and personal meditation on the meaning, symbolism, and power contained in this central ritual of Catholicism. This project is signaled in the grammatically awkward but intriguing title of the book's first chapter, "Why Is the Mass?" Corless knows that many routine churchgoers never think or dare to ask this question, and the few who do ask it rarely find satisfactory answers. His book seeks to encourage such questioning among those who are in search of a personal religious experience "away from the dullness of minimalist routine" (p. 34). His very lively, humorous, and slightly irreverent style is intended to take the boredom out of the Mass, providing a very personal and original guide to it, different from the series of "excellent, but ultimately claustrophobic, devotional books on 'the spiritual meaning of the Mass'" (p. 13).Among Christian writings that were influential for his understanding of the Mass, Corless names The Mass in Slow Motion (1948) by Ronald Knox, which attempts to describe the inner meaning of the Mass, and Pierre Teilhard de Chardin's Hymn of the Universe (1965), which describes a vision of the world as sacrament and celebrates Mass as a cosmic event. While Teilhard de Chardin inspires Corless's "planetary perspective" on the Mass, Nicholas Casabilas's A Commentary on the Divine Liturgy (1978) sharpens the focus on "the mystical significance of each and every act of the priest and people" (p. 13).Corless argues that what makes the Mass seem stifling is the notion of... (shrink)

Why is the number seven lucky--even holy--in almost every culture? Why do we speak of the four corners of the earth? Why do cats have nine lives? From literature to folklore to private superstitions, numbers play a conspicuous role in our daily lives. But in this fascinating book, Annemarie Schimmel shows that numbers have been filled with mystery and meaning since the earliest times, and across every society. In The Mystery of Numbers Annemarie Schimmel conducts an illuminating tour of the (...) mysteries attributed to numbers over the centuries. She begins with an informative and often surprising introduction to the origins of number systems: pre-Roman Europeans, for example, may have had one based on twenty, not ten, while the Mayans had a system more sophisticated than our own. Schimmel also reveals how our fascination with numbers has led to a rich cross-fertilization of mathematical knowledge: "Arabic" numerals, for instance, were picked up by Europe from the Arabs, who had earlier adopted them from Indian sources. But the heart of the book is an engrossing guide to the symbolism of numbers. Number symbolism, she shows, has deep roots in Western culture, from the philosophy of the Pythagoreans and Platonists, to the religious mysticism of the Cabala and the Islamic Brethren of Purity, to Kepler's belief that the laws of planetary motion should be mathematically elegant, to the unlucky thirteen. After exploring the sources of number symbolism, Schimmel examines individual numbers ranging from one to ten thousand, discussing the meanings they have had for Judaic, Christian, and Islamic traditions, with examples from Indian, Chinese, and Native American cultures as well. Two, for instance, has widely been seen as a number of contradiction and polarity, a number of discord and antithesis. And six, according to ancient and neo-platonic thinking, is the most perfect number because it is both the sum and the product of its parts. Using examples ranging from the Bible to the Mayans to Shakespeare, she shows how numbers have been considered feminine and masculine, holy and evil, lucky and unlucky. A highly respected scholar of Islamic culture, Annemarie Schimmel draws on her vast knowledge to paint a rich, cross-cultural portrait of the many meanings of numbers. Engaging and accessible, her account uncovers the roots of a phenomenon we all feel every Friday the thirteenth. (shrink)

The symbol of the heart is at the core of traditional Chinese psychology and culture, according to author Heyong Shen. In this latest volume arising from the popular Fay Lecture Series, sponsored by the Jung Center, Houston, the noted Chinese analyst, scholar, and educator discusses Jungian analysis in China and explores what the historical Chinese emphasis on the heart can add to Western understandings of modern depth psychology. C.G. Jung had a profound personal interest in Chinese (...) culture and wrote extensively on Chinese philosophy and symbolism. In his foreword to Richard Wilhelm's translation of the I Ching, the ancient Chinese oracle and book of wisdom, Jung referred to Chinese logograms as readable archetypes. Continuing this theme, Shen states in his prologue, "Most of the basic psychological terms in Chinese characters are formed originally with the image of the heart and contain deep meaning for the understanding of depth psychology and Jungian analysis... The Chinese characters for 'thinking,' 'emotion,' 'will,' and 'intention' are all combined with the image of the heart, as are the characters for 'love,' 'hate,' 'compassion,' 'virtue,' 'listening,' 'healing,' and for 'wise,' 'wisdom,' and 'enlightenment.'" The heart serves as the foundation. Drawing from centuries-deep wells of Chinese, Buddhist, and Confucian thought as well as an intimate understanding of the development of Jung's theories, Shen offers a valuable reminder of the many commonalities among humans from all nations as they seek greater levels of self-awareness. (shrink)

There is a problematic dichotomy of nature/power in Western ecological politics. In this article, we try to argue for a new type of ecological politics, based on Chinese Taoism, especially the idea of Zhuangzi, that can integrate humanity, nature, and power. Zhuangzi’s idea of “play with nature” constitutes a new kind of play-style view of nature. This view not only emphasizes the freedom and pleasure in everyday human practices with nature, but also proposes a way to deconstruct the rigid (...) authority, symbolism, and ideology surrounding these practices. It thereby opens up an ecological politics with a play-style position, which can break down the mind’s fixations that are disciplined by power, of encountering situations as they emerge, and living with nature in a sincere and joyful manner. (shrink)