In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 64-76 [Access article in PDF] The Sign System in Chinese Landscape Paintings Cliff G. Mcmahon Paintings emerge from a culture field and must be interpreted in relation to the net of culture. A given culture will be implicated by the sign system used by the painter. Everyone agrees that in Chinese landscape paintings, the most important cultural bond is to ancient Chinese (...) Taoism, and to a lesser degree, to Confucianism. Obviously, then, the key for these landscapes is an alert understanding of Taoism, and the primary source is the book the Tao Tê Ching.Some of the most crucial elements in Taoist beliefs are often ignored in the analysis of the Taoist landscapes, and this deserves more attention. The core of Taoism lies in a philosophic and religious guess, and the guess is made as an effort to reach a high-order explanatory theory of the origin of the universe, the structure of the universe, and the best path for human life. The guess of the ancient Chinese sages goes something like this: The universe is created by an Ultimate One whose nature remains mysterious, beyond the power of words, an Absolute pervaded by the spirit of motherhood, and thus moved to the acts of creation, using two agents of creation. These two agents are invisible but real forces that operate by the tension of polarity, the dynamic interplay of negative and positive energies, much like male and female forces. The female power is called Yin, the male power Yang. The female power is seen wherever there is fluidity, softness, openness, receiving, emptiness, or darkness. The male power is at work in hardness, assertiveness, force, and light. Everything that is made is a blending of the Yin and Yang polarities, and the dynamism and flux of reality is based on the tendency of Yin and Yang to advance and retreat, the tendency of one to become the other, just as summer changes into winter, and day changes into night. In order for a man to be complete, he must learn to put on the way of woman, to be receptive. This is a very intelligent principle. [End Page 64] When we take in all our impressions of nature, and take in all the books we have read, we are in the receptive mode. The Yin female principle of emptiness has a priority over Yang in that there must be an empty space before any concrete thing comes to occupy the space. The Yin female force is seen in the low and quiet valley, and in the fluid receptivity of water. Yang is in the bold assertive mountains and in the hardness of stone. Yin appears in the graceful and flexible bending of bamboo, while Yang is in the hardness and strength of bamboo. Since Yin is associated with water, all forms of cloud and mist are symbols of Yin. Yang is action, Yin is wisdom.One of the most important aspects of Taoism is the principle that the mysterious Absolute One has permeated all of reality and serves the good of all creatures in every passing minute, asking nothing in return and offering no favoritism to any age or any group. This is obviously a sophisticated and intelligent principle for a theology. On this point, Taoism is superior to Buddhism, Christianity, and Islam. Christianity might have taken a similar stand in that the gospel of John declares that the eternal logos dwells in all created things in a timeless manner, and was fully embedded in the world before the coming of the historical Jesus, but so far, Christians have almost totally ignored the opening lines of John.This philosophic core of Taoist belief compares to the great Western idea that Godhead creates by the use of cosmic agents. In the gospel of John, the logos is the agent. In chapter eight of Proverbs, Wisdom is the agent. In Plotinus, Nous is the agent. In Heraclitus, the polarities of love and hate are this agent. Sometimes the idea of cosmic agent is used to protect... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 64-76 [Access article in PDF] The Sign System in Chinese Landscape Paintings Cliff G. Mcmahon Paintings emerge from a culture field and must be interpreted in relation to the net of culture. A given culture will be implicated by the sign system used by the painter. Everyone agrees that in Chinese landscape paintings, the most important cultural bond is to ancient Chinese (...) Taoism, and to a lesser degree, to Confucianism. Obviously, then, the key for these landscapes is an alert understanding of Taoism, and the primary source is the book the Tao Tê Ching.Some of the most crucial elements in Taoist beliefs are often ignored in the analysis of the Taoist landscapes, and this deserves more attention. The core of Taoism lies in a philosophic and religious guess, and the guess is made as an effort to reach a high-order explanatory theory of the origin of the universe, the structure of the universe, and the best path for human life. The guess of the ancient Chinese sages goes something like this: The universe is created by an Ultimate One whose nature remains mysterious, beyond the power of words, an Absolute pervaded by the spirit of motherhood, and thus moved to the acts of creation, using two agents of creation. These two agents are invisible but real forces that operate by the tension of polarity, the dynamic interplay of negative and positive energies, much like male and female forces. The female power is called Yin, the male power Yang. The female power is seen wherever there is fluidity, softness, openness, receiving, emptiness, or darkness. The male power is at work in hardness, assertiveness, force, and light. Everything that is made is a blending of the Yin and Yang polarities, and the dynamism and flux of reality is based on the tendency of Yin and Yang to advance and retreat, the tendency of one to become the other, just as summer changes into winter, and day changes into night. In order for a man to be complete, he must learn to put on the way of woman, to be receptive. This is a very intelligent principle. [End Page 64] When we take in all our impressions of nature, and take in all the books we have read, we are in the receptive mode. The Yin female principle of emptiness has a priority over Yang in that there must be an empty space before any concrete thing comes to occupy the space. The Yin female force is seen in the low and quiet valley, and in the fluid receptivity of water. Yang is in the bold assertive mountains and in the hardness of stone. Yin appears in the graceful and flexible bending of bamboo, while Yang is in the hardness and strength of bamboo. Since Yin is associated with water, all forms of cloud and mist are symbols of Yin. Yang is action, Yin is wisdom.One of the most important aspects of Taoism is the principle that the mysterious Absolute One has permeated all of reality and serves the good of all creatures in every passing minute, asking nothing in return and offering no favoritism to any age or any group. This is obviously a sophisticated and intelligent principle for a theology. On this point, Taoism is superior to Buddhism, Christianity, and Islam. Christianity might have taken a similar stand in that the gospel of John declares that the eternal logos dwells in all created things in a timeless manner, and was fully embedded in the world before the coming of the historical Jesus, but so far, Christians have almost totally ignored the opening lines of John.This philosophic core of Taoist belief compares to the great Western idea that Godhead creates by the use of cosmic agents. In the gospel of John, the logos is the agent. In chapter eight of Proverbs, Wisdom is the agent. In Plotinus, Nous is the agent. In Heraclitus, the polarities of love and hate are this agent. Sometimes the idea of cosmic agent is used to protect... (shrink)

This paper considers the process of how the image of Mount Sumeru, the axis mundi of the Indian Buddhist cosmology, was transmitted from the Indo-Iranian cultural sphere to the Chinese cultural sphere in the fifth and sixth centuries. The research focus is mainly on the representations of Mt. Sumeru in the wall paintings of two monumental Buddhist sites from this period, the Kizil Grottoes (Kucha) and the Mogao Grottoes (Dunhuang), with reference to a relevant image in the Yungang Grottoes (Datong). (...) As the monks of Kucha were in direct intellectual contact with contemporaneous India via the Sanskrit language, it is a purely Indian Buddhist cosmological worldview that is reflected in early Kizil paintings. In Dunhuang, on the other hand, the earliest-extant Sumeru representation clearly shows the visual syncretism of Buddhist and Taoist cosmologies. These visual symbols of the “World” are composites of multiple historical factors, such as languages, geopolitical situation of regional powers, and ideological trends of the regions. (shrink)

The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of (...) nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art. (shrink)

This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even (...) believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking. (shrink)

Grasping. Avarice. Covetousness. Miserliness. Insatiable cupidity. Overreaching ambition. Desire spun out of control. The deadly sin of Greed goes by many names, appears in many guises, and wreaks havoc on individuals and nations alike. In this lively and generous book, Phyllis A. Tickle argues that Greed is "the Matriarch of the Deadly Clan," the ultimate source of Pride, Envy, Sloth, Gluttony, Lust, and Anger. She shows that the major faiths, from Hinduism and Taoism to Buddhism and Christianity regard Greed as (...) the greatest calamity humans can indulge in, engendering further sins and eviscerating all virtues. As the Sikh holy book Adi Granth asks: "Where there is greed, what love can there be?" Tickle takes a long view of Greed, from St. Paul to the present, focusing particularly on changing imaginative representations of Greed in Western literature and art. Looking at such works as the Psychomachia, or "Soul Battle" of the fifth-century poet Aurelius Clemens Prudentius, the paintings of Peter Bruegel and Hieronymous Bosch, the 1987 film Wall Street, and the contemporary Italian artist Mario Donizetti, Tickle shows how our perceptions have evolved from the medieval understanding of Greed as a spiritual enemy to a nineteenth-century sociological construct to an early twentieth-century psychological deficiency, and finally to a new view, powerfully articulated in Donizetti's mystical paintings, of Greed as both tragic and beautiful. Engaging, witty, brilliantly insightful, Greed explores the full range of this deadly sin's subtle, chameleon-like qualities, and the enormous destructive power it wields, evidenced all too clearly in the world today. (shrink)

A luxury, keep-sake edition of an ancient Chinese scripture This ancient text, fundamental to Taoism, has become a source of inspiration and guidance for millions in modern society. It's focus on attunement, rather than mindless striving, offers an alternative to command-and-control leadership and a different way of seeing personal success – a position that has led to this ancient Chinese text becoming an internationally bestselling personal development guide. Now the text has been given a makeover and this deluxe, gift edition (...) is set to become the market leader, following in the footsteps of the other bestselling Capstone Classic editions. Includes: Paints a picture of a person in full attunement Illustrates how fulfillment and peace, without struggle, can deliver to us what we need and desire An alternative way to view personal success A new introduction by Tom Butler Bowdon, the classic personal development expert. (shrink)

The appearance of the screen as a social and cultural phenomenon is closely related to the idea of the daily life of the Chinese, which includes folklore, as well as cultural and folk traditions. The paintings, the plot of which is a screen, reflect a unique Chinese aesthetic concept and the author's view of life and values. In addition, the properties of the screen can be studied from different angles: from a practical piece of furniture to an abstract art form. (...) The focus of this article is the images of the screen in the pictorial art of China. The purpose of the study is to identify the cultural and philosophical meanings behind these images. The novelty of the research is connected with the chosen perspective: such a complex phenomenon of Chinese culture as a screen is viewed through the prism and in close connection with the traditions of Chinese pictorial art. In the course of the study, a conclusion was made about the manifestation of religious-philosophical, ideological, moral and aesthetic ideas of the Chinese in the images of the screen. In addition, the educational role of these images, which carry an educational function, is determined. A special contribution of the author can be called the identification of Confucian and Taoist ideas symbolically embodied in the images of the screen in Chinese painting. In general, the screen in this work is considered as a key to understanding of the deep meanings of traditional painting. (shrink)

The classic text on balance, inner calm, and the cultivation of tranquillity using the age-old techniques of Zen masters • Reveals the psychosomatic underpinnings of Zen, Taoism, and other Eastern traditions • Provides an alternative to the “chest out-belly in” postural attitude of the West • Includes translations of the wisdom teachings of three Japanese masters • Shows how the theory and practice of Hara helps us find our essential self When we speak of an individual’s state, we are actually (...) referring to something that transcends the duality of body and soul, something that reflects the entirety of a person’s being. Because each of us is a unity of body and soul, there is no psychic structure or inner tension that is not reflected outwardly in the form and order of the body. When we find the physical center of the body we also find the psychological center of the soul. According to Zen masters, by correcting posture and breathing to balance this center, one can cultivate inner tranquillity and balance: the state called Hara. In Hara, Karlfried Graf Dürckheim shows the Western world how to overcome the physical and spiritual decay of modern life by adopting the age-old techniques of Japanese Zen masters. By leaving behind the “chest out–belly in” posture and attitude of the West and adopting the belly-centered posture and attitude of Hara, individuals can live a calm, grounded, and more balanced life. Included in this classic text are vital life force practices and translations of the wisdom teachings of three Japanese Zen masters. This book also explores how the practice of Hara emphasizes empirical learning and the cultivation of self-knowledge through the perfection of arts such as painting and archery. (shrink)

Wang Guangyi, one of the stars of the new wave of Chinese art, has artistically addressed major philosophical trends in Western philosophy while drawing on Taoism, Marxism and Maoism. By bringing together a team of experts in the philosophy of art to discuss his work, The Philosophy and Art of Wang Guangyi presents the first philosophical exploration of Wang's art, his thought and his analysis of Chinese society. -/- From his use of words in images to his reference to the (...) classics of Western painting, contributors set Wang's work against key questions in contemporary art. As well as answering what makes the language of pop art successful, they examine whether art and its history have come to an end, as Hegel posited, and if it is possible or even necessary to rework a new narrative for the history of contemporary art. The Philosophy and Art of Wang Guangyi marks an important contribution to understanding the background, work and ideas of a 21st-century political artist outside the West. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and beautifully illustrated (...) history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and beautifully illustrated (...) history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

This paper attempts to engage with theoretical discourses to address these intersections of gender, body, and space in the forefront of contemporary Chinese visual artists’ radical performances. From Cui Xiuwen’s scandalous video installation Lady’s of the female bathroom in Tianshang Renjian Hotel to Ma Liuming’s iconic androgynous walk on the Great Wall, contemporary Chinese visual/performance artists have challenged the limits and borders of body as art in radically experimental ways. Feminist art has been liberated from female painting in the post-socialist (...) era, and gender hierarchy and norms have been more profoundly critiqued in these performative events. Pressed by the post-socialist political conditions, market economy, the influence of western art in the era of late capitalism, and the Confucian-Taoist tradition, the Chinese artists have embarked on an experimental journey, attempting to articulate a newness of their complicated lived experiences and to call for social and political transformations. (shrink)

Writing, or calligraphy, in China is strongly influenced by ancient techniques of making art. Chinese characters have evolved from the patterns of bronze drawings, and China’s earliest hieroglyphs usually retain the traces of their origin in paintings. These paintings usually recorded daily life, and the related Chinese characters have evolved from these with general, simplified and abstract features. The composition that makes Chinese characters is a manifestation of ancient Chinese philosophy, of which Confucianism, Taoism and Buddhism are the three key (...) strands. They have affected Chinese culture and aesthetics in all dynasties. Chinese philosophy emphasizes the integration of individuals in their surrounding environment. The art of ancient China consequently combines skills that relate to the artificial, or constructed, and to natural patterns. Chinese characters make a perfect example of this. The article/presentation will outline the research that I have so far undertaken on the relation between Chinese calligraphy and architectural space, between writing and constructing environments. It will also present some experimental design research that aims at developing from the above-mentioned basic research new architectural typologies that are contemporary, resonant and sensitive to the Chinese context. (shrink)

ABSTRACT Western creativity is usually entrusted to the human imagination, regarded as a mental power capable of envisioning eternally original artefacts, while in the East creativity is entrusted to nature-in-the human, what Taoist philosophy calls qi, a spiritual power capable of reflecting the passing changes of nature in paintings, poems, and other forms of art. It is the intention of this paper to explore and elucidate these differences between the Western and Eastern conceptualizations of creativity, ending with a suggestion (...) of one feature they may have in common. (shrink)

Chinese traditional costume is one of the important carriers of Chinese culture. The process of the emergence and development of the culture of traditional Chinese costume also reflects the cultural background and evolution of ancient Chinese society. In the context of the strengthening of the Chinese economy, the inheritance and development of Chinese clothing culture is of great importance for modern society. The epochs of Wei, Jin, Southern and Northern dynasties are a period of Chinese history marked by frequent wars, (...) ethnic integration and convergence of various ideas. Against this background, there was a weakening of the Confucian "ritual" style, followed by the spread of the teachings of Xuan Xue, Buddhism and Taoism, and a freer, down-to-earth, elegant clothing culture appeared. This article consists of the following three parts: Diversity of social background; Artistic forms of costume culture of the Wei-Jin eras; Modern trends in the development of clothing culture. Based, among other things, on such material as the scroll painting "The Fairy of the Lo River" by the artist Gu Kaizhi of the Eastern Jin Dynasty, this article analyzes the influence of the teachings of Xuan-xue, Buddhism and Taoism on the costume of the Wei and Jin dynasties, illustrates the direction of development of modern Chinese costume culture, and continued the path for the development of clothing culture with Chinese specifics. (shrink)

This paper considers the process of how the image of Mount Sumeru, the axis mundi of the Indian Buddhist cosmology, was transmitted from the Indo-Iranian cultural sphere to the Chinese cultural sphere in the fifth and sixth centuries. The research focus is mainly on the representations of Mt. Sumeru in the wall paintings of two monumental Buddhist sites from this period, the Kizil Grottoes (Kucha) and the Mogao Grottoes (Dunhuang), with reference to a relevant image in the Yungang Grottoes (Datong). (...) As the monks of Kucha were in direct intellectual contact with contemporaneous India via the Sanskrit language, it is a purely Indian Buddhist cosmological worldview that is reflected in early Kizil paintings. In Dunhuang, on the other hand, the earliest-extant Sumeru representation clearly shows the visual syncretism of Buddhist and Taoist cosmologies. These visual symbols of the “World” are composites of multiple historical factors, such as languages, geopolitical situation of regional powers, and ideological trends of the regions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Opening a Mountain: Kōans of the Zen MastersDale S. WrightOpening a Mountain: Kōans of the Zen Masters. By Steven Heine. Oxford: Oxford University Press, 2002. Pp. xiv + 200. Hardcover $25.00. Paper $17.95.On the beautifully designed cover of Steven Heine's Opening a Mountain: Kōans of the Zen Masters, we gaze at one of the masterworks of Chinese painting, Kuo Hsi's Early Spring, painted in the late eleventh century (...) at what may have been the pinnacle of the Chinese Zen monastic tradition. Allowing our eyes to wander up, down, and across this truly great work, we spot the curved roof of a Buddhist monastery gorgeously nestled in a rugged valley halfway up a towering, mist-covered mountain. No image could more adequately capture the mystique that Chinese Zen monasticism attained in that era and has continued to cultivate into the modern period. Steven Heine's new book masterfully communicates the aura of Zen in those times by highlighting a segment of kōan literature that features the work of Zen masters in "opening a mountain." While it is clear that the mountain in this phrase is really a Zen monastery, and that this phrase became a standard way to refer to the initiation of a new monastery, Heine unravels this act of opening by detailing the enormously interesting historical/cultural tradition behind it.Long before the emergence of the Zen or even the Buddhist tradition in China, mountains symbolized numinous, spiritual power. Early Taoists had already used the image of the mountain as a metaphor of mysterious, otherworldly reality. Chinese [End Page 194] popular tradition pictured the deities residing at these far-off and little-known elevations. Buddhists continued to capitalize on images like this until literature valorizing the T'ang and Sung dynasty Zen masters brought them to their current cultural position. Climbing a mountain, and dwelling there, required the utmost mental and spiritual discipline. Residing in that lofty sphere, one attained a vision of the world that in its depth and breadth trumped any understanding that could be attained in the world below. The mountain recluse and the enigmatic Zen master who drew disciples into remote mountainous regions for mental or spiritual training is by now one of the best known, most powerful images in the world. It is quite understandable that the great Zen masters would "open" their monastic training centers in the kind of setting depicted in Heine's reconstruction of the idea of the mountain in Chinese history.What Heine's analysis makes clear, though, is that there is much more to the act of "opening" than we have hitherto assumed. Prior to the movement of Buddhist monasteries into these remote areas there existed a largely oral tradition concerning enigmatic mountain recluses who, like the legendary Taoist Lao-tzu, had withdrawn from the world in the quest for profound spiritual vision. Popular images of these visionaries were widespread throughout China in the medieval period, and no parallel to them existed in the staid, scholarly world of Buddhist monasticism. The movement of monastic Buddhism into that domain, therefore, necessitated a conflict and melding of images, and the terms in which this ideological battle would take place would not be derived from the rarified philosophical and textual traditions that had made Buddhism so impressive to earlier generations of Chinese converts. Instead, Zen masters would compete for popular recognition in south-central China in terms that were familiar to the residents of that area, namely of magical powers, demons, local deities, and the visions, apparitions, and exorcisms that supported that premodern metaphysical world.The innovation of Opening a Mountain is that, while not denying what Heine calls the "conventional understanding" of the kōan tradition, which has been communicated in largely modern, demythologized, psychological images, the book undertakes the study of kōan literature by being particularly attentive to these clear representations of the extent to which Zen was born and cultivated in a premodern world. Opening new territory in Zen kōan studies, Heine works his way back into the medieval Chinese mentality that would have set the context for the emergence of the kōan tradition... (shrink)

The term 'Taoism of Clarified Tenuity' designates a new branch of religious Taoism developed since the 13/14th century by priests of the long-established Heavenly Masters Taoism. They claimed to continue Taoist exorcist traditions that since the Sung-period especially flourished because emperor Sung Hui-tsung (r. 1100?1126) appreciated the exorcism of 'Taoism of the Divine Empyrean' and 'Five Thunders rituals'. The purpose of the exorcist rituals was the expulsion of demoniac molestations, relief from droughts and inundations, and the healing of illnesses. (...) Outstanding priests rationalized the exorcist practice, using theories of a meditative self-cultivation which peaked in the transformation into a Thunder divinity. The priest adopted a divine 'alter ego' for the time of the ritual. 'Taoism of Clarified Tenuity' developed on the basis of these traditions and embraced regionally different religious habits. It adopted and adapted older cults, partly including Buddhist-Tantric practices. Leading priests of 'Clarified Tenuity' presented theoretical essays, discussing the requirements of the personal cultivation of the Taoist to be a worthy performer of exorcism who was entitled to write and use amulets. The amulet was the essential ritual tool. However, the amulets of 'Clarified Tenuity' were remarkably different from the older 'Thunder' amulets of the Sung era. Also, the new branch adopted different attitudes concerning ritual practices such as the transformation into a divinity.0The book features developments of the more recent Taoist history and presents content and intention of 'Taoism of Clarified Tenuity'. The selected canonical texts also show that the priests of 'Clarified Tenuity' insisted on a clear distinction between exorcism in Heavenly Masters Taoism and shamanism that they disavowed. The book presents and analyses several 'Great Rituals' of 'Clarified Tenuity' and features elements of religious Taoism that today can still be traced. (shrink)

In this deeply learned work, Toshihiko Izutsu compares the metaphysical and mystical thought-systems of Sufism and Taoism and discovers that, although historically unrelated, the two share features and patterns which prove fruitful for a transhistorical dialogue. His original and suggestive approach opens new doors in the study of comparative philosophy and mysticism. Izutsu begins with Ibn 'Arabi, analyzing and isolating the major ontological concepts of this most challenging of Islamic thinkers. Then, in the second part of the book, Izutsu turns (...) his attention to an analysis of parallel concepts of two great Taoist thinkers, Lao-tzu and Chuang-tzu. Only after laying bare the fundamental structure of each world view does Izutsu embark, in the final section of the book, upon a comparative analysis. Only thus, he argues, can he be sure to avoid easy and superficial comparisons. Izutsu maintains that both the Sufi and Taoist world views are based on two pivots--the Absolute Man and the Perfect Man--with a whole system of oncological thought being developed between these two pivots. Izutsu discusses similarities in these ontological systems and advances the hypothesis that certain patterns of mystical and metaphysical thought may be shared even by systems with no apparent historical connection. This second edition of Sufism and Taoism is the first published in the United States. The original edition, published in English and in Japan, was prized by the few English-speaking scholars who knew of it as a model in the field of comparative philosophy. Making available in English much new material on both sides of its comparison, Sufism and Taoism richly fulfills Izutsu's motivating desire "to open a new vista in the domain of comparative philosophy.". (shrink)

The problems of environmental ethics are so basic that the exploration of an alternative metaphysics or attendant ethical theory is not a sufficiently radical solution. In fact, the assumptions entailed in adefinition of systematic philosophy that gives us a tradition of metaphysics might themselves be the source of the current crisis. We might need to revision the responsibilities of the philosopher and think in terms of the artist rather than the “scientific of first principles.” Taoism proceeds from art rather than (...) science, and produces an ars contextualis: generalizations drawn from human experience in the most basic processes of making aperson, making a community and making a world. This idea of an “aesthetic cosmology” is one basis for redefining the nature of the relatedness that obtains between particular and world-between tao and te. (shrink)

. The seemingly disparate systems of philosophical Taoism and modern biological science are compared. A surprising degree of similarity is found in their views on death, reversion , complementary interactions of dichotomous systems, and the place of humans in the universe. The thesis is advanced that these similarities arise quite naturally, since both systems base their knowledge upon objective observation of natural phenomena. Substantial differences between the two systems are recognized and examined regarding verbal argument, machinery, and experimentation. The Taoists' (...) relationship to Chinese alchemy and the biologists' to technology are claimed to mitigate their attitudes toward experimentation. (shrink)

Blend classically beautiful illustrations with the wisdom of the ages to awaken your inner being as never before. Read this collection from cover to cover, and then concentrate on applying the different thoughts on your daily life. Start with first light, going with the flow, detachment, and harmony. Turn to a quote each day as a focus for meditations like these: Being a good listener spares one the burden of giving advice. Peace and knowledge will be yours!

Background: Chinese Taoist cognitive therapy (CTCT), a culture-oriented psychological therapy for Chinese mental well-being, has been proposed for decades. However, the evidence for its effects is unclear. This study aimed to systematically assess the effect of this therapy on symptoms of depression and anxiety in Chinese adults. Methods: Relevant studies were searched from major electronic databases through November 2018 without language limits. Several search terms used include “anxiety” OR “depression” AND “Taoism” OR “Daoism” OR “Chinese Taoist Cognitive Therapy”. (...) A total of 11 clinical trials focusing on CTCT were included in this meta-analysis. Random-effects meta-analytical models were conducted. Heterogeneity and publication bias were also explored. Results: Eight clinical trials for 580 subjects were included. The majority of these studies explored samples with depressive symptoms. Overall, CTCT significantly reduced depressive symptoms with a small positive effect (SMD = 0.16, 95% CI: -0.36-0.68). Medium-to-large effect sizes were observed across individuals with clinical or nonclinical depression and chronic physical diseases (SMD = 0.70, 95%CI: 0.27-1.13 and SMD = 0.72, 95%CI: 0.09-1.35, respectively). However, the effectiveness for anxiety symptoms remains debatable. Conclusions: Our findings hold promise that CTCT can help reduce depressive symptoms in Chinese adults, including patients with chronic physical diseases and clinical or nonclinical depression. Our findings may be generalized to Chinese communities in other countries. (shrink)

The problems of environmental ethics are so basic that the exploration of an alternative metaphysics or attendant ethical theory is not a sufficiently radical solution. In fact, the assumptions entailed in adefinition of systematic philosophy that gives us a tradition of metaphysics might themselves be the source of the current crisis. We might need to revision the responsibilities of the philosopher and think in terms of the artist rather than the “scientific of first principles.” Taoism proceeds from art rather than (...) science, and produces an ars contextualis: generalizations drawn from human experience in the most basic processes of making aperson, making a community and making a world. This idea of an “aesthetic cosmology” is one basis for redefining the nature of the relatedness that obtains between particular and world-between tao and te. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.

Presents volume thirteen of a fourteen-volume series on World Religions exploring the origins of Taoism in China, its central beliefs and restoration under China's religious freedom clause, rituals, sacred sites, and more.

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

Although they were in part otherworldly mystics, the Taoists of ancient China were also keen observers of nature; in fact, they were important early Chinese scientists. I apply Taoist principles to some current ecological questions. The principles surveyed include reversion, the constancy of cyclical change, wu wei (“actionless activity”), and the procurement of power by abandoning the attempt to “take” it. On the basis of these principles, I argue that Taoists would have favored such contemporary options as passive solar (...) energy and organic fanning. (shrink)

What was the nature and degree of Eastern influence on Carl Jung's complex concept of "the Self"? It is argued that Chinese Taoism rather than Hinduism provided the fundamental formative influence on this central idea, especially as it is expressed through the I Ching. This influence came indirectly through the development of Jung's notion of "synchronicity," correlative parallels between the inner and the outer realms of experience.

A beautifully clear and accessible explanation of how to live a Taoist life--by reknowned Taoist master Eva Wong. Being Taoist is one of the most readable books on Taoist philosophy available. It shines a light on exactly what it takes to live a Taoist life. Taoist living rests on four pillars--the public, the domestic, the private, and the spirit lives. Not only do Taoists strive to live these four aspects fully and in a balanced (...) way, they also believe there is an outlook and an art to each of them. Eva Wong uses the teachings of Taoist masters (one for each pillar) to explain the essential concepts. She then gives voice to these texts--simplifying them, removing barriers to understanding, and making them completely accessible and relevant to the modern reader. Wong is a clear and enthusiastic guide to this intriguing spiritual Way, and she challenges us to stop, reflect, and ask ourselves: Do we balance the public, domestic, private, and spirit aspects in our lives? Do we emphasize some at the expense of the others? Do we ever think about unifying worldly and spiritual wisdom in our lives? (shrink)

There are many strains in Heidegger’s thought to which he often refers, but one that he never mentions, Taoism. Otto Pöggeler has noted that Heidegger’s engagement with Chinese philosophy, and in particular with the Tao Te Ching of Lao-tzu, exerted a decisive effect on the form and direction of his later thinking. With Reinhard May’s careful comparisons of passages from Heidegger’s major texts with translations of the Tao Te Ching and various Zen Buddhist texts, there is now general agreement on (...) Heidegger’s indebtedness to Chinese philosophy. The recurrent themes of his later lectures can all be found in Taoist texts. Often these are points on which he is labeled a mystic or an irrationalist and taken to task by his Western critics. This essay examines some key facets of his thought and compares his position to that of the Tao Te Ching so as to determine the extent to which Heidegger has departed from the Western tradition to become a Taoist. (shrink)

In the author’s previous contribution to this journal (Rosen 2015), a phenomenological string theory was proposed based on qualitative topology and hypercomplex numbers. The current paper takes this further by delving into the ancient Chinese origin of phenomenological string theory. First, we discover a connection between the Klein bottle, which is crucial to the theory, and the Ho-t’u, a Chinese number archetype central to Taoist cosmology. The two structures are seen to mirror each other in expressing the psychophysical (phenomenological) (...) action pattern at the heart of microphysics. But tackling the question of quantum gravity requires that a whole family of topological dimensions be brought into play. What we find in engaging with these structures is a closely related family of Taoist forebears that, in concert with their successors, provide a blueprint for cosmic evolution. Whereas conventional string theory accounts for the generation of nature’s fundamental forces via a notion of symmetry breaking that is essentially static and thus unable to explain cosmogony successfully, phenomenological/Taoist string theory entails the dialectical interplay of symmetry and asymmetry inherent in the principle of synsymmetry. This dynamic concept of cosmic change is elaborated on in the three concluding sections of the paper. Here, a detailed analysis of cosmogony is offered, first in terms of the theory of dimensional development and its Taoist (yin-yang) counterpart, then in terms of the evolution of the elemental force particles through cycles of expansion and contraction in a spiraling universe. The paper closes by considering the role of the analyst per se in the further evolution of the cosmos. (shrink)