The aesthetic spirit in Paik Nam June’s video art, TV Buddha, originated in the aesthetics of Zen Buddhism, and the parameters that established Paik’s aesthetic comprised the indigenous Eastern aesthetic idea of dongjing 動靜. Yi 逸 is the paramount aesthetic in Zen Buddhism, suggesting the transcendence of preexisting tracks and conventions. Paik’s behavioral music, to which he was dedicated before pioneering video art in earnest, was related to yi in terms of the complete aspects of forms, themes, (...) and so on, evidently under the influence of avant-garde musical composer John Cage. The Zen Buddhist aesthetic—and Paik’s artistic motto—is to capture the essence of the self and the world through the destruction of stereotypes. Paik’s artistic uniqueness lies in his attempts to combine his traditional culture and spirit—the culture and ideas of Korea and Eastern Asia—with cutting-edge technology. The hallmark of Paik’s video art can be understood as a suggestion of philosophical subjects guided by the interrelation between a graphical presentation on a TV screen and the whole installation setup. The philosophical subject in TV Buddha is Zen Buddhist meditation symbolized in the structure of dongjing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路) by Bret W. Davis (review)Steve G. LoftsBret W. Davis, Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路)There is no shortage of books on Zen from almost every imaginable angle. And so, what makes Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路) by Bret (...) W. Davis unique enough to take up and read, and even re-read? And who should read it? The answers to these questions depend on who you are and what you are looking for. If you are simply curious about what Zen philosophy and practice is or is not, a student, a professor looking for a textbook on Zen Buddhism for your course, or a practitioner seeking to deepen your understanding of what it is that you are practicing, then you will almost certainly enjoy and profit greatly from this book. Davis brings to the page over thirty years of active engagement with Zen Buddhism as a practitioner, teacher of philosophy and Zen Buddhism, and scholar. Davis provides his reader with an accessible, comprehensive, and well-documented introduction to the teachings and practices of Zen Buddhism. What makes this introduction stand out and be particularly effective is that Davis provides us with a scholarly and philosophical account of Zen Buddhism that is animated by his personal experience as a long-term practitioner in Japan at the Rinzai Zen monastery of Shōkokuji and as a teacher and director of the Heart of Zen Meditation Group at Loyola University Maryland. However, as the Japanese subtitle of this work, 禅道の千路, makes clear, there are “a thousand paths of the way of Zen,” and Davis is careful to show us the paths he has traveled while leaving it to the reader to find their own paths along the way.In the course of the book’s twenty-four chapters, Davis provides his reader with a clear account and philosophical interpretation of [End Page 159] the core teachings of Buddhism (the four noble truths, impermanence, the no-self doctrine, co-origination and interconnection of the one and the many, nirvana and samsara, the great death, and so on), always relating his theoretical explanations to the concrete perspective of the practice of Zen Buddhism. His account of Zen Buddhism situates it in the historical tradition of Buddhism as it was transplanted from India to China, from China to Japan, and today from Japan to other places in the world. Davis connects these teachings to the practice of Zen, providing readers with a concrete and firsthand introduction to such Zen practices as zazen (seated meditation), kinhin (walking meditation), sanzen (interviews with a teacher), koān work, and samu (meditative work), and to the Zen practice of cultivating naturalness (jinen) in and through such art forms as karate and flower arrangement (ikebana), the Japanese aesthetics of “cut-continuance” and wabi-sabi, as well as Zen-inspired gardens, painting, and music. The book also explores a number of classical and contemporary philosophical issues from the standpoint of Zen Buddhism: the problem of the one and the many, the ethical relation to the other, the problem of evil, the nature of love, freedom and determinacy, what is God, our relation to nature, and so on. Finally, the presentation of the core teachings of Zen Buddhism and the discussion of philosophical issues is undertaken in and through an intercultural and interreligious dialogue in which the similarities and dissimilarities between different cultural and faith traditions are explored and used to help illustrate the unique standpoint of Zen Buddhism. One can mention here Chapter 12 titled “Dying to Live: Zen, Pure Land Buddhism, and Christianity.” This synoptic view of Zen Buddhism is presented in an elegant, personal style that is clear, concise, and expresses a genuine passion and spirit of openness. In copious endnotes, Davis has also provided the reader with a wealth of material for further study that has been judiciously selected from good English translations of readings in the classical works as well as contemporary scholarship. Finally, with an eye to the use of this text in a classroom or in study groups, Davis has... (shrink)

Combining anthropological descriptions with historical criticism, Cox situates the Zen arts within contemporary critical discourses.

[About the book] Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. (...) The subjects addressed include the influence of Upanişadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

This article engages bell hooks's concept of “radical black subjectivity” through the lens of the Buddhist doctrine of no‐self. Relying on the Zen theorist Dōgen and on resources from Japanese aesthetics, I argue that non‐attachment to the self clarifies hooks's claim that radical subjectivity unites our capacity for critical resistance with our capacity to appreciate beauty. I frame this argument in terms of hooks's concern that postmodernist identity critiques dismiss the identity claims of disempowered peoples. On the one hand, (...) identity critique has an emotional component, as it involves questioning the self and possibly letting go of aspects of that self in which a person has inevitably made emotional investments. On the other hand, it has an aesthetic component, as it opens a space for the creative crafting and recrafting of identity. Japanese aesthetics emphasizes that all aesthetic appreciation is accompanied by feelings of mournfulness, for the object of aesthetic appreciation is transient. Linking hooks's liberatory aesthetics with the resources of the Japanese tradition suggests that mournfulness in the face of self‐loss necessarily accompanies all instances of critical resistance. Thus non‐attachment becomes a useful framework in which to understand both the emotional and aesthetic components of empowered identity critique. (shrink)

Zen master Dōgen 道元, the founder of the Sōtō sect in medieval Japan, is often referred to as the leading classical philosopher in Japanese history and one of the foremost exponents of Mahayana Buddhist thought. His essays, sermons and poems on numerous Buddhist topics included in his main text, the Shōbōgenzō 正法眼蔵, reflect an approach to religious experience based on a more philosophical analysis of topics such as time and temporality, impermanence and momentariness, the universality of Buddha-nature and naturalism, and (...) the role of language and emotions in the experience of enlightenment, as well as practical matters such as ethics and the precepts or meditation and daily activity, than is generally found in the writings of most thinkers in the Japanese Zen school. The single main element in Dōgen’s unique approach to Buddhist theory and practice is his emphasis on the multiple meanings of “impermanence” in personal experience and as the basis for Buddhist metaphysics. In particular, he emphasizes the radical impermanence of each and every phenomenon and the need to attain spiritual realization by acknowledging and identifying, rather than resisting or denying, the ephemeral nature of reality. The notion of impermanence or the transiency of all aspects of human and natural existence has always been a fundamental feature of the Buddhist teaching since the sermons of the Buddha dealing with the doctrines of anātman and anitya regarding the insubstantial, selfless nature of things. However, Dōgen repeatedly cautions against any subtle tendency to view ultimate reality––nirvāṇa or the universal “Buddha-nature” ––as an eternal realm separable from, or independent of, impermanence. Instead, he stresses that a full, unimpeded, and perpetually renewed experience of impermanence and of the unity of “being-time” is the touchstone and framework of every aspect of Buddhist meditative training and spiritual realization. Other key doctrines related to this are the “spontaneous here-and-now manifestation of Zen enlightenment”, the “eternal moment of meditation”, the “immediacy of awakening”, and “impermanence-Buddha-nature”. In addition to looking at Dōgen’s poetic writings on aesthetic experience, later writings on karma and supernaturalism will be briefly examined for their contributions to his philosophical discussions of mystical awareness and the issues of commitment and responsibility involved in authentic religious practice. (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)

In lieu of an abstract, here is a brief excerpt of the content:Original Dwelling Place: Zen EssaysRobert E. GossOriginal Dwelling Place: Zen Essays. By Robert Aitken. Upland, California: Counterpoint, 1996. 241 pp.Robert Aitken narrates his over forty-year journey into Zen, elucidating not only his spiritual journey but also reflecting the Americanization of Zen Buddhism. He was introduced to Zen Buddhism during World War II as an internee in a camp for enemy civilians in Kobe, Japan. Original Dwelling Place (...) is Aitken’s ninth book to explore a series of topics that accent his personal journey into Zen. He has gathered a series of essays about the texts and lineage teachers with whom he studied over the years. In the opening section, entitled “Ancestors,” he pays homage to the masters [End Page 212] who influenced his own Zen practice. He writes, “All of my guides have passed away, but they are alive in my mind and body” (p. 5). The book reflects his continuing bond with those deceased teachers who exercised a vital presence and environmental influence within his life. He shares some stories, personal insights, and legacies of some of his guides, such as Nyogen Senzaki, Soen Roshi, Blyth Sensei, and D. T. Suzuki. I found his essay on the legacy of Dwight Goddard filling in many personal details of a pioneer Western Buddhist who significantly contributed to the Americanization of Buddhism. In many ways, Aitken’s own spiritual development and Original Dwelling Place recapitulate the Americanization of Zen Buddhism, providing some important insights into that process of Buddhist acculturation.Yet Aitken does not limit his guides to twentieth-century ones. He brings alive the classical discourses and relates them to contemporary life. Throughout his essays, I was struck by how alive and dynamic Aitken’s Mahayana contemplative vision and practice are. There is a spirit of “contemplative action” that collapses the duality of meditative practice and living that discovers the truth dynamically within a matrix of open living. As a Christian practitioner of Ignatian spirituality, I found many parallels to the Jesuit ideal of being “contemplative in action.” Aitken’s essays elucidate an ongoing dynamic dialectic that fluctuates between meditative reflection and the world of experience—reminding me at times of the contemplative Trappist monk, Thomas Merton, and at other times of the Jesuit poet-activist, Daniel Berrigan.The reader garners an aesthetic sense that classical Zen texts have been an integral part of his journey and have provided him with a platform to reflect on topics such as marriage, death, the use of money, sexuality, and Zen practice. Some of his essays have a meditative quality, drawing the reader into an web of intertextuality and experience where Zen teachers and Western poets engage in a contemplative path of pleasure expressed in awareness of the everyday dewdrop world. There were moments that I envisioned reading a particular essay on retreat, for they had a meditative quality that reminded me of some the writings of Thomas Merton. Like Merton, Robert Aitken does not merely probe meditative experience but attempts to interrogate the everyday experiences of Western Buddhists from meditative awareness. Most Japanese Buddhists, he notes, are married within Shinto ceremonies, and Western Buddhists have resurrected old Buddhist marriage ceremonies seldom used by Japanese practitioners. Western Buddhist marriage ceremonies, Aitken notes, are a relatively new tradition that often blends ceremonies from The Book of Common Prayer with Buddhist rituals. He ends his short essay on marriage with final reflections on how marriage and family form a little sangha.In “Death: A Zen Buddhist Perspective,” Aitken breaks new ground by noting how Buddhists face the fact of death and find solace in impermanence. He quotes the Japanese haiku poet, Isa Kobayashi (1763–1827), grieving at the loss of his baby daughter:The dewdrop world is the dewdrop world, and yet—and yet(p. 124). [End Page 213]Isa looks desperately for something to give him hope but only finds comfort in his grief. Aitken points out that within grief is emancipation and that bereavement can be a good teacher. He develops some reflections on a highly underdeveloped topic within Buddhism: grieving and the transformation of grief into solace.Aitken writes on political revolution and the matters of ethics. He addresses... (shrink)

The thesis of this work is that in both modern Japanese philosophy and American pragmatism there has been a paradigm shift from a monological concept of self as an isolated "I" to a dialogical concept of the social self as an "I-Thou relation," including a communication model of self as individual-society interaction. It is also shown for both traditions all aesthetic, moral, and religious values are a function of the social self arising through communicative interaction between the individual and society. (...) However, at the same time this work critically examines major ideological conflicts arising between the social self theories of modern Japanese philosophy and American pragmatism with respect to such problems as individualism versus collectivism, freedom versus determinism, liberalism versus communitarianism, and relativism versus objectivism. (shrink)

In recent years, contemplative practices of meditation have become increasingly mainstream in American culture, part of a phenomenon that scholars call “Buddhist modernism.” Connecting the embodied practice of meditation with the embodied practice of democracy in everyday life, this essay puts the radical democratic theory of Jacques Rancière into conversation with the Zen writings of Shunryu Suzuki and Thomas Merton. I show how meditation can be understood as an aesthetic practice that cultivates modes of experience, perception, thinking, and feeling that (...) further radical democratic projects at the most fundamental level. Reading the landscape of Buddhist modernism to draw out democratic possibilities, we can understand contemplative practices like meditation as a form of political theorizing in a vernacular register. Buddhist modernism works as a practice of everyday life that ordinary users can employ to get through their days with more awareness and attentiveness, to reclaim and reauthorize their experience, and to generate more care and compassion in ways that enable, enact, and extend the project of democracy itself. (shrink)

The questions pursued in this essay are: What can philosophers today learn from a tradition of psychosomatic practice such as Zen Buddhism? How does such a tradition challenge the very methodology of our cerebral practice of philosophy? And finally: What would it mean to bring Western philosophy and the psychosomatic practice of Zen together, not necessarily to merge them into one, but at least to commute between them so that they may speak to and inform one another? In pursuing (...) these questions, it is demonstrated, we have much to learn from the Kyoto School of modern Japanese philosophy. The middle two sections of this essay explain how Nishida Kitarō and Nishitani Keiji challenged the disembodied methodology of Western philosophy by drawing on their psychosomatic practice of Zen. The final section of this essay critically compares and contrasts the psychosomatic practice of Zen with the pragmatist “somaesthetics” of Richard Shusterman. Shusterman himself pursued connections between his project and Zen practice, yet it will be argued that the guiding aims of his pragmatically and aesthetically orientated somaesthetics need to be distinguished from the primarily enlightening and liberative aims of the psychosomatic practice of Zen. (shrink)

When we compare a thinker as complex and many–sided as Søren Kierkegaard with a cultural phenomenon as significant as Zen Buddhism it is unlikely that we will be able to come up with any simple formula by which to summarize the results of the comparison. But the value of such comparative studies need not in any case lie in the conclusions we reach but in the intrinsic interest and importance of the material itself, in the questions and insights raised (...) by both similarities and dissimilarities. All this is still true if we confine the field of comparison to a very specific area, as here, where we are concerned with the relationship between art and religion in Kierkegaard and Zen. For this is of course no marginal issue: the distinction between the aesthetic and the religious is fundamental to the whole structure of Kierkegaard's authorship while the arts provde one of the main manifestations of the spirit of Zen. Our line of enquiry may be narrow but it takes us straight to the heart of the matter and the questions which it raises are crucial to the overall assessment of both Kierkegaard and Zen and of the relationship between them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 112-122 [Access article in PDF] Being in the Dry Zen Landscape Reading Zen In The Rocks — The Japanese Dry Landscape Garden, by François Berthier, trans. with a philosophical essay by Graham Parkes. Chicago: University of Chicago Press, 2000, 166 pp., $20.00. The austere simplicity of Zen rock gardens is also an allusive and elusive one, as the two enjoyable essays that (...) comprise Reading Zen in the Rocks — The Japanese Dry Landscape Garden eloquently indicate. More so than the phenomena they describe, these essays appeal to a wide audience, and they read easily, invitingly, and informatively. In this textual performance, the French art-historian, François Berthier, stands side-by-side with the Scottish philosopher of comparative East-West studies, Graham Parkes, to provide a textual and visual presentation that intends, via an appropriate complementarity of content, to introduce the karesansui (dry landscape) style of Japanese garden to the general reader. Parkes — a masterful and accomplished translator — renders into English, Berthier's 1989 work, Le jardin du Ryoanji — Lire le Zen dans les pierres [The Garden of Ryoanji — Reading Zen in the Rocks], and fills some philosophical gaps with his own equal-length [End Page 112] essay, "The Role of Rock in the Japanese Dry Landscape Garden." Though judiciously focused to achieve expository economy, the two essays jointly provide a handy introduction to the complicated artistic, philosophic, religious, and cultural phenomenon popularly known as the "Zen rock garden."As a distinguishing landscape-architectural feature of many Zen monasteries in Japan and abroad, the karesansui garden reinforces the contemplative religious atmosphere and, as the frequent photographs of meditating monks quietly positioned in their rock gardens tend to suggest, they guide the perceiver into the calm and earthy mentality typical of Zen Buddhism. Berthier notes, accordingly, that the gardens provide "an image of the [Buddhistically interpreted] universe in its most condensed form" in which people can discern their "true faces" (p. 6). Ideally, one could contemplate a Zen garden and, if one were equipped with the proper background in Zen training, be stimulated to experience a Zen Buddhist enlightenment.Such are the immediate expectations elicited from a book whose cover depicts a Zen monk contemplating an expanse of bare gravel, and which sets the title word "Zen" in large letters over the monk's back. It comes as a surprise, then, that there is far less pure Zen in these essays than one would anticipate from this English-language presentation of Berthier's book. In the French version, as can be seen above, the word "Zen" appears only in the book's subtitle, and the Zen-specific anticipations are more submerged as a result.It would be an overstatement to identify the phrase "Zen rock garden" as a misnomer, but Berthier and Parkes implicitly demonstrate that the karesansui style of Japanese garden is not an exclusively Zen phenomenon, but is intimately linked with Chinese Daoism, Shintoism, not to mention versions of Buddhism that historically precede, and are significantly different from, Zen Buddhism. Perhaps unintentionally, this book raises the question, "What measure of Zen, in fact, do the paradigmatic "Zen" rock gardens such as the garden at Ryoanji (c. 1500, in Kyoto, and the archetype of Japanese dry landscape gardens) embody?"We can approach this question by considering the meaning of the Japanese word, "karesansui," which Parkes translates accurately as "dry landscape." The title of the book announces that the subject is "the Japanese dry landscape garden," but it is important to recall (as one learns briefly in the final pages) the further linguistic resonances of the prefix "kare." What does not emerge through in the usual translation of "kare" as "dry," is the added association to the English term "withered," for one would translate, for instance, the Japanese terms "kare kusa," "kare ashi," "kare giku," and "kareha," as "withered grass," "withered reed," "withered chrysanthemums," and "withered leaves," respectively. The term "kareki" (bare tree), along with the others, also indicates how the prefixed "kare" suggests wintertime, withering, drying out, something that has... (shrink)

Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. The subjects addressed (...) include the influence of UpaniÅÿadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

This chapter will introduce everyday aesthetics and conceptions of happiness, explore their interconnections, and indicate some ways they might relate to depression. I introduce the main claims and concerns of everyday aesthetics and illustrate these with examples from the Indian, Chinese, and Japanese philosophical traditions. I then consider two popular accounts of happiness – ‘hedonic’ and ‘life-satisfaction’ theories – and offer an alternative phenomenological account of happiness. Aesthetic appreciation and agency and happiness, it is argued, depend on a (...) phenomenologically fundamental capacity to experience different kinds of significant possibility. It is the loss or disruption of that capacity which characterises experiences of depression. (shrink)

The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony _(chanoyu), _has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings (...) might have been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an (...) class='Hi'>aesthetics of imperfection, insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of (...) suchordinary aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

Tragic Beauty in Whitehead and Japanese Aesthetics evolved from a paper Steve Odin delivered at the 1984 Conference for the International Society of Process Philosophy at Nanzan University in Nagoya, Japan. This book will be intriguing and stimulating not only to those scholars who engage in Whitehead studies but also to those who are concerned with the development of an East–West dialogue on aesthetics and aesthetic education. In this volume, Odin compares Alfred North Whitehead's axiological process metaphysics, including (...) his concept of aesthetic experience and a doctrine of beauty, with the aesthetics of Zen Buddhism and offers readers a fresh cross-cultural understanding of Whitehead's process philosophy.In... (shrink)

With the expression apophatic aesthetics, Amador Vega names different cases of twentieth-century hermeneutics of negativity that show a spiritual debt to negative theology and in particular to the major mystical trends of Medieval Europe. Our aim here is to explore how this category applies to the artistic work created by the contemporary artists Arakawa and Gins. However, our focus is not on the debt of these artists to apophatism in the Christian tradition but in Buddhism, especially in Zen. (...) Through an analysis of various artworks, the article intends to determine the reminiscences of the evocation of emptiness in Zen-related arts. By so doing, despite the lack of continuity with tradition, it seems possible to uncover certain links with Japanese classic aesthetics. At the same time, since emptiness is a notion revisited in modern Japanese thought, the paper raises the question of its role as an ascetic way of thought, capable of avoiding conceptual limitations and thus opening new paths to philosophy. In this sense, insofar as thinkers well known as critics of modernity, such as Lyotard, Danto, or Taylor, have dialogued with Arakawa and Gins's artistic proposal, a connection between certain aspects of Japanese philosophy and so-called postmodern thought is suggested. (shrink)

Comparative environmental philosophy is valuable in many ways. Perhaps it is most valuable because it reveals some of the foundational assumptions that run so deep in the poles of comparison that they might otherwise have gone unnoticed. These revelations may invite us to challenge those assumptions that have led to the kind of thinking responsible for much of the environmental degradation that we see today. Japanese Environmental Philosophy gathers papers focused on the environmental problems of the twenty-first century. Drawing from (...) Japanese philosophical traditions they investigate our relationships with other humans, nonhuman animals, and the environment. The heart of the book consists of chapters written by fifteen top scholars from Japan, the United States, Europe, and Australia. The essays cover a broad range of topics drawn from various strains of Japanese thought—including Zen Buddhism, Shintoism, the Kyoto school, and Japanese philosophy of art and aesthetics—as well as from traditional Japanese culture and the contemporary science of planning for natural disasters. These articles demonstrate that Japanese scientific, philosophical, religious, and cultural traditions can provide meaningful insight to address the current global environmental crisis. (shrink)

Zen Buddhism as it has been discovered by the West in our time emerges as one of the great challenges to Western philosophy, psychology, and religion. The present volume, composed of the work of D. T. Suzuki, Zen's chief exponent in English, and presented to Western readers by William Barrett, is intended to introduce the general reader to the history and spirit of Zen.

Zen Buddhism is a form of Mahāyāna Buddhism that originated in China and is strongly focused on meditation. It is characteristically sceptical towards language and distrustful of conceptual thought, which explains why Zen Buddhist sayings are so enigmatic and succinct. But despite Zen Buddhism’s hostility towards theory and discourse, it is possible to reflect philosophically on Zen Buddhism and bring out its philosophical insights. In this short book, Byung-Chul Han seeks to unfold the philosophical force inherent (...) in Zen Buddhism, delving into the foundations of Far Eastern thought to which Zen Buddhism is indebted. Han does this comparatively by confronting and contrasting the insights of Zen Buddhism with the philosophies of Plato, Leibniz, Fichte, Hegel, Schopenhauer, Nietzsche, Kierkegaard, Heidegger and others, showing that Zen Buddhism and Western philosophy have very different ways of understanding religion, subjectivity, emptiness, friendliness and death. This important work by one of the most widely read philosophers and cultural theorists of our time will be of great value to anyone interested in comparative philosophy and religion. (shrink)

An accessible introduction to Zen Buddhist moral philosophy.

I focus on the religio-aesthetic concept of nature in Japanese Buddhism as a valuable complement to environmental philosophy in the West and develop an explicit comparison of the Japanese Buddhist concept of nature and the ecological world view of Aldo Leopold. I discuss the profound current of ecological thought running through the Kegon, Tendai, Shingon, Zen, Pure Land, and Nichiren Buddhist traditions as weIl as modem Japanese philosophy as represented by Nishida Kitarö and Watsuji Tetsurö. In this context, I (...) present the Japanese concept of nature as an aesthetic continuum of interdependent events based on a field paradigm of reality. I show how the Japanese concept of nature entails an extension of ethics to include the relation between humans and the land. I argue that in both the Japanese Buddhist concept of nature and the thought of Aldo Leopold there is a hierarchy of normative values which grounds the land ethic in aland aesthetic. I also clarify the soteric concept of nature in Japanese Buddhism by which the natural environment becomes the ultimate locus of salvation for all sentient beings. In this way, I argue that the Japanese Buddhist concept of nature represents a fundamental shift from the egocentric to an ecocentric position-i.e., a de-anthropocentric standpoint which is nature-centered as opposed to human-centered. (shrink)

The Japanese arts (dō) provide a rigorous, ritual-like set of structures which involve moral and aesthetic training, as well as providing techniques for body-mind synchronization (constituting as such: meditation-in-action). The article explores the links between the Japanese arts and Zen Buddhist ideals (particularly Sōtō Zen) of enlightenment being nothing other than the consistent practice of one's art. Japanese archery (kyudō) will be highlighted to illustrate this, as will the Japanese lifelong learning philosophy (shugyō). The article concludes by bringing into contrast (...) two very different notions of what spiritual development consists in, one of which is highly conservative with respect to its traditions (per the Japanese arts), and the other which explicitly characterizes spiritual development as a process of renewing one's tradition as one practices it (per Margaret Masterman and Richard Sennett). It is suggested that, for better or worse, maintaining the extreme purity of one's practices is unrealistic in today's profoundly interconnected world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nishida and Western PhilosophyAmos YongNishida and Western Philosophy. By Robert Wilkinson. Aldershot, UK: Ashgate, 2009. vii + 175 pp.Robert Wilkinson is a comparative philosopher who teaches at Open University in Edinburgh and has worked for years in the areas of comparative philosophy of mind and comparative aesthetics. This book should be read as part of a larger discussion of the philosophy of Nishida Kitarō (1870–1945), which began (...) with Keiji Nishitani (Nishida Kitarō, trans. S. Yamamoto and J. W. Heisig, University of California Press, 1991) and continues with Robert E. Carter (The Nothingness Beyond God: An Introduction to the Philosophy of Nishida Kitaro, Paragon House, 1997) and Robert J.Wargo (The Logic of Nothingness: A Study of Nishida Kitarō, University of Hawai‘i Press, 2005), among others. Going beyond his predecessors, however—even though it is unfortunate that Wilkinson does not interact much with them explicitly—Nishida and Western Philosophy prosecutes a clear even if perhaps controversial thesis: that in the end, Nishida’s philosophy of self-contradictory identity was, as a natural outgrowth of his Buddhist and Zen experience of satori (awakening), fundamentally incommensurable with the philosophy of identity that has characterized the major trajectory of the Western philosophical tradition.There are four chapters to the book (besides the introduction and then the summary and conclusions). The first focuses on Nishida’s starting point, the Zen Buddhist experience of enlightenment regarding the ultimate emptiness (mu), which albeit a difficult term to translate can be understood at least in part as referring to the nonduality, or even the interrelatedness, of all reality. Nishida’s work can be seen as a lifelong quest to formalize this experiential insight systematically in dialogue with the Western philosophical tradition. In a sense, this can be understood as a spirituality in search of a metaphysic, and given the emergence of Japan on the world stage at the beginning of the twentieth century, it is not surprising that up-and-coming Japanese philosophers like Nishida sought to legitimate their own insights in the Western idiom. But precisely for the same reason, however, Nishida rarely appealed to Asian sources, even within the Buddhist tradition, especially in his earlier work.Chapter 2 explicates Nishida’s early philosophy of pure experience, particularly as summarized in his Inquiry into the Good (1911; English translation: Yale University Press, 1990). The major dialogue partner at this point was William James and his notion of radical empiricism, which provided Nishida with Western conceptual resources to think through the primordial base from out of which conscious experience emerged. Thus did pure experience point to the nondual dimension of consciousness before the split between subject and object. Nishida never repudiated his Jamesian connection, although his ongoing work pushed him further and deeper into the metaphysical and ontological dimensions of consciousness that eventually left behind James’s more psychologically driven formulations.Next Wilkinson turns to Nishida’s second major book, Intuition and Reflection in [End Page 231] Self-Consciousness (1917; English translation: State University of New York Press, 1987), and focuses primarily on the Japanese philosopher’s interactions with the Neo-Kantian school of philosophy, Fichte, and Bergson. Each of these provided specific resources for this stage of Nishida’s philosophical project. The Neo-Kantians helped him to think about how the noumena-phenomena and fact-value distinctions contrasted with his own philosophical intuitions regarding their primordial unity in historicity. Fichte enabled the forging of a philosophy of action-consciousness, which promised to go beyond the subject-object distinction, even if in the end (for Nishida), the Fichtean ego remained “trapped” within the logic of identity rather than becoming “delivered” by or within the Zen logic of no-thingness. Bergson, meanwhile, was attractive precisely because of his dynamic (rather than static) philosophy of elan vital or conscious becoming even if Nishida was already discerning at this time that the Bergsonian elan both presumed an ontological togetherness that succumbed to the Western logic of identity on the one hand, and was not sufficiently attentive to the contrary of becoming—death, or the lapsing back into no-thingness—which was a prominent feature of historical reality on the other hand. Yet these Western interlocutors... (shrink)

This book is the first to engage Zen Buddhism philosophically on crucial issues from a perspective that is informed by the traditions of western philosophy and religion. It focuses on one renowned Zen master, Huang Po, whose recorded sayings exemplify the spirit of the 'golden age' of Zen in medieval China, and on the transmission of these writings to the West. The author makes a bold attempt to articulate a post-romantic understanding of Zen applicable to contemporary world culture. While (...) deeply sympathetic to the Zen tradition, he raises serious questions about the kinds of claims that can be made on its behalf. (shrink)

The true man without any rank.--Two dimensions of ego consciousness.--Sense and nonsense in Zen Buddhism.--The philosophical problem of articulation.--Thinking and a-thinking through kōan.--The interior and exterior in Zen.--The elimination of color in Far Eastern art and photography.

In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that areaimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism’s use of the koan, an aesthetic object that can be seen as evoking a given experience from its auditors for the purpose of reaching understanding on a point that the teacher wishes to make. I argue that such a reading of art as evocative (...) can be merged with hypothetical intentionalism insofar as it recognizes a certain orientation on the part of the auditor to approach art in a certain way. In the case of koans and other artworks, the approach is one of considering what claim an author may want to convey through the auditor’s experience of the artwork. (shrink)

The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in transition,” the essays reveal (...) novel modes of doing philosophy as a way of boundary crossing that takes transition not only as an object of inquiry, but also as a method of philosophical practice itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAt the Eleventh Hour: The Biography of Swami Rama. By Pandit Rajmani Tigunait, Ph.D. Honesdale, Pennsylvania: Himalayan Institute Press, 2002. Pp. 427. Hardcover $18.95.Awakening and Insight: Zen Buddhism and Psychotherapy. Edited by Polly Young Eisendrath and Shoji Muramoto. Hove, England: Brunner-Routledge, 2002. Pp. xii + 275. Paper $24.95.Beyond Metaphysics Revisited: Krishnamurti and Western Philosophy. By J. Richard Wingerter. Lanham, Maryland: University Press of America, 2002. Pp. vii (...) + 391. Hardcover $71.00.Bhāmatī and Vivaraṇa Schools of Advaita Vedānta: A Critical Approach. By Pulasth Soobah Roodurmun, foreword by V. N. Jha, and edited by Kanshi Ram. New Delhi: Motilal Banarsidass Publishers, 2002. Pp. xv + 297. Price not given.A Bibliography of Ananda Kentish Coomaraswamy. By James S. Crouch. New Delhi: Indira Gandhi National Centre for the Arts and Manohar Publishers and Distributors, 2002. Pp. 430. Price not given.Crisis Theory and World Order: Heideggerian Reflections. By Norman K. Swazo. Albany: State University of New York Press, 2002. Pp. x + 289. Hardcover $78.50. Paper $26.95.Devotional Literature in South Asia: Current Research 1997-2000: Proceedings of the Eighth International Conference on Early Literature in New Indo-Aryan Languages, Leuven, 23-26 August 2000. Edited by Winand M. Callewaert and Dieter Taillieu. New Delhi: Manohar Publishers and Distributors, 2002. Pp. xxii + 324. Price not given.Dharma Bell and Dhāraṇī Pillar: Li Po's Buddhist Inscriptions. By Paul W. Kroll. Kyoto: Italian School of East Asian Studies, 2001. Pp. viii + 95. Price not given.Essays on the Moral Philosophy of Mengzi. Edited, with introduction, by Xiusheng Liu and Philip J. Ivanhoe. Indianapolis and Cambridge: Hackett Publishing Company, 2002. Pp. xiv + 249. Hardcover $39.95. Paper $16.95. Professional price $12.95.Ethical Questions: East and West. Edited by Bina Gupta. Lanham, Maryland: Rowman and Littlefield Publishers, 2002. Pp. vi + 279. Hardcover $70.00. Paper $26.95.Ethical Relativism and Universalism. By Saral Jhingran. New Delhi: Motilal Banarsidass Publishers, 2001. Pp. xiv + 385. Price not given.Genius-In Their Own Words: The Intellectual Journeys of Seven Great 20th Century [End Page 431] Thinkers. Edited and with introduction by David Ramsay Steele, foreword by Arthur C. Danto. Chicago and La Salle: Open Court, 2002. Pp. xxii + 366. Paper $24.95.The Hatha Yoga Pradipika. The original Sanskrit by Svatmarama, an English translation by Brian Dana Akers. Woodstock, New York: YogaVidya.com, 2002. Pp. xii + 115. Hardcover $19.95. Paper $11.95.Human Rights and Chinese Thought: A Cross-Cultural Inquiry. By Stephen C. Angle. New York: Cambridge University Press, 2002. Pp. xviii + 285. Hardcover $65.00. Paper $23.00.Indestructible Truth: The Living Spirituality of Tibetan Buddhism. By Reginald A. Ray. Boston and London: Shambhala Publications, 2002. Pp. x + 495. Paper $17.95.Introduction to Eastern Thought. By Marietta Stepaniants. Edited by James Behuniak and translated by Rommela Kohanovskaya. Lanham, Maryland: AltaMira Press, a division of Rowman and Littlefield Publishers, 2002. Pp. xiv + 293. Hardcover $69.00. Paper $24.95.Jainism and Ecology: Nonviolence in the Web of Life. Edited by Christopher Key Chapple. Cambridge: Harvard University Press for the Center for the Study of World Religions, 2002. Pp. xliv + 252. Hardcover $32.95. Paper $22.95.Mediating the Power of Buddhas: Ritual in the Mañjuśrīmūlakalpa. By Glenn Wallis. Albany: State University of New York Press, 2002. Pp. xiii + 263. Hardcover $86.50. Paper $29.95.Methodology in Religious Studies: The Interface with Women's Studies. Edited by Arvind Sharma. Albany: State University of New York Press, 2002. Pp. xi + 253. Hardcover $78.50. Paper $26.95.Persons and Valuable Worlds: A Global Philosophy. By Eliot Deutsch. Lanham, Maryland: Rowman and Littlefield Publishers, 2002. Pp. x + 309. Hardcover $80.00. Paper $34.95.Philosophy and Art in Gurdjieff's Beelzebub: A Modern Sufi Odyssey. By Anna T. Challenger. Amsterdam and New York: Editions Rodopi B.V., 2002. Pp. xi + 145. Paper EUR 27,00, U.S. $25.00.The Pratyabhijñā Philosophy. By G. V. Tagare. New Delhi: Motilal Banarsidass Publishers, 2002. Pp. xii + 165. Price not given.Reflections on Reality: The Three Natures and Non-Natures in the Mind-Only School: Dynamic Responses to ong-ka-a's The... (shrink)

RESUMO Hans-Georg Gadamer retomou e elevou a atividade hermenêutica ao status de filosofia. Uma das suas idiossincrasias consiste em entrelaçar, no seu discurso, experiências de ordem ética, política, metafísica e estética. A hermenêutica filosófica pauta-se pela prática do diálogo sobre questões relativas ao pensar e à conduta humana. O presente artigo tem por meta realizar um exercício dialógico entre o projeto filosófico de Gadamer e o pensamento oriental - mais especificamente, o budismo zen da tradição da escola de Kyoto, representada (...) pelo pensamento de Nishida Kitarō. Nossa reflexão será articulada sobre quatro momentos distintos, mas que devem ser tomados dialeticamente: inicialmente, apresentaremos um quadro geral, indicando o estado da questão da hermenêutica gadameriana relativo ao pensamento oriental; a seguir, sustentaremos as semelhanças sobre o modo de proceder de ambas, sua metodologia dialética; posteriormente, aprofundaremos a noção fundamental de experiência e as proximidades que permeiam as perspectivas de ambas as tradições; enfim, como implicação das reflexões precedentes, sustentaremos a hipótese de um saber intuitivo enquanto experiência e ação intuitivas. Ao final, apontaremos algumas conclusões instauradas a partir desse exercício dialógico para a prática filosófica. ABSTRACT Hans-Georg Gadamer has taken over and raised hermeneutic activity to philosophy status. One of his idiosyncrasies is weaving, in his speech, ethical, political metaphysical and aesthetic experiences. Philosophical hermeneutics is guided by the practice of the dialogue on issues related to thinking and human behavior. This paper aims to perform a dialogic exercise between Gadamer's philosophical project and the Eastern thought-more specifically, the Zen Buddhism of Kyoto school tradition, represented by Nishida Kitarō's thought. Our reflection will be divided into four distinct moments that should be taken dialectally: first, we will present a general framework mentioning the status quaestionis of Gadamer's hermeneutics concerning Eastern thought; then, we will maintain the similarities on how the way to proceed in both, its dialectical methodology; subsequently, we will go deeper into the fundamental notion of experience and the proximities that permeate the perspective of both traditions; finally, as implication of foregoing reflections, we will maintain the hypothesis of an intuitive knowledge as intuitive experience and action. In order to conclude, we will consider some conclusions instituted from that dialogical exercise towards philosophical practice. (shrink)

INTRODUCTION: Philosophy is the unique science which considers all other sciences in systematically unity (Kant). The classical anthropology (Platon, Aristoteles, Descartes, Hume, Kant, etc.) considers the human and his "spheres" (biological, psychological, logical, philosophical, theological) and his interdependence with nature and society. A philosophical theology investigates spiritual phenomena, described by religions and parapsychology in context of ethics, epistemology (incl. metaphysics), aesthetics. A theological anthropology should consider these phenomena multidimensional in context of a holisticscience, i.e. physico- (Kant), bio- (Lüke), psycho-, (...) logico-, philosophical theology, etc. [Lit.: Neu, Michailov: Integralanthropology. In: Proc. 21st World Congr. Philos. Istanbul. Press FISP 280‐281, 2003; Theol. Anthrop. In: Book: New Pathways for Eur. Bioethics. Ed.: Eur. Ass. Med. Ethics, Leuven, p. 53/60, 2006; Med. Ethics, 21st Ann. Conf. EACME (Ed.) Zürich, p. 53, 2007]. CONCEPTION: Regrettably philosophical theology is reduced to nearly philosophical and theological ethics: Both ethics in the future should realize a common scientific integrated ethics based on philosophy, theology, and psychology incl. of great cultures - Brahmanism, Buddhism, Christianism-Mosaism, Confucianism, and Mohammedanism. The present moral philosophy is very pluralistic: Many views concerningnormative and metaethics (deontology, axiology), also relativism, absolutism (incl. utilitarism), noncognitivism are present. A similar situation exists in moral theology: Not only in context of philosophy (consequentialism, justice, protectionism), but more - of theology are existent contradictionary differences concerning ethics in the great religions (related to God, Spirit/Soul, reincarnation, etc.). A future philosophical theology needs a renewal of its scientific theoretical andexperimental fundamentals (controlled observations: criterion for intersubjectivity) concerning theological anthropology incl. not only occidental epistemology (metaphysics, scientific theory, etc.), but also oriental - esp. Brahmanistic and Buddhist (self realization by Yoga, Tibetan, Zen Buddhism) and scientific evaluation of spiritual phenomena by biophysics, physiology, psychology and formal (Aristoteles, Gautama), real, transcendental (Kant), metaphysical (Hegel) normal logic. Areconsideration of application of philosophy of arts, esp. aesthetics in philosophical theology is also necessary (incl. inspirations in music/Bach, Beethoven, Händel, painting/Leonardo da Vinci, sculpture/Michelangelo). CONCLUSION: Scientific and political support for a renovation of theological anthropology and philosophical theology could help essentially for a realization of UNO-Agenda 21 for better total (incl. spiritual) health and peaceful world. (shrink)

Disc 1. Life's great questions: Asian perspectives ; The Vedas and Upanishads: the beginning -- Disc 2. Mahavira and Jainism: extreme nonviolence ; The Buddha: the middle way -- Disc 3. The Bhagavad Gita: the way of action ; Confucius: in praise of sage-kings -- Disc 4. Laozi and Daoism: the way of nature ; The Hundred Schools of preimperial China -- Disc 5. Mencius and Xunzi: Confucius's successors ; Sunzi and Han Feizi: strategy and legalism -- Disc 6. Zarathustra (...) and Mani: dualistic religion ; Kautilya and Ashoka: Buddhism and empire -- Disc 7. Ishvarakrishna and Patanjali: Yoga ; Nagarjuna and Vasubandhu: Buddhist theories -- Disc 8. Sima Qian and Ban Zhao: history and women ; Dong Zhongshu and Ge Hong: eclecticism -- Disc 9. Xuanzang and Chinese Buddhism ; Prince Shotoku, Lady Murasaki, Sei Shonagon -- Disc 10. Saicho to Nichiren: Japanese Buddhism ; Shankara, Ramanuja, Madhva: Hindu Vedanta -- Disc 11. Al-Biruni: Islam in India ; Nanak and Sirhindi: Sikhism and Sufism -- Disc 12. Han Yu to Zhu Xi: Neo-Confucianism ; Wang Yangming: The study of heart-mind -- Disc 13. Dogen and Hakuin: Zen Buddhism ; Zeami and Sen no Rikyu: Japanese aesthetics -- Disc 14. Wonhyo to King Sejong: Korean philosophy ; Padmasambhava to Tsongkhapa: Tibetan ideas -- Disc 15. Science and technology in premodern Asia ; Muhammad Iqbal and Rabindranath Tagore -- Disc 16. Mohandas Gandhi: Satyagraha, or soul-force ; Fukuzawa Yukichi and Han Yongun -- Disc 17. Kang Youwei and Hu Shi ; Sun Yat-sen and Mao Zedong -- Disc 18. Modern legacies ; East and West. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

This article presents a new approach to Japanese Zen Buddhism, alternative to its traditional views, which lack exact definitions of the relation between the meditator and the Buddha’s ultimate cause, dharma. To this end, I offer a comparative analysis between Zen Buddhist and Christian views of causality from the medieval to early modern periods. Through this, human causation with dharma in the Zen Buddhist meditations can be better defined and understood. Despite differences between religious traditions in deliberating human causal (...) accounts, there are parallel ways of thinking and practicing between Christian and Buddhist meditators. Firstly, I reconstruct three sorts of Christian scholastic theories of creaturely causality: conservationism, occasionalism, and concurrentism. Secondly, Zen Buddhist doctrines are introduced by placing particular emphasis on dharma as causal agency. Focusing on the Japanese Zen practice of meditation, finally I expound two theories of human causality: Sōtō Zen quasi-occasionalism following Master Dōgen’s teaching of enlightenment, and Rinzai Zen quasi-concurrentism given the meditator’s interactive kōan practice. Hence, my comparative analysis explains why religious beings are causally active, passive, or interactive in relation to the first agency, God or dharma, whereby systematically establishing alternative definitions of human causality in Zen Buddhism. (shrink)

Following the lead of daisetz t. Suzuki, The authors of almost all english-Language commentaries on zen buddhism are in general agreement that zen is not a philosophy. The primary purpose of this paper is to show how and why this view is fundamentally mistaken and that the continued espousal of it is counterproductive for furthering an understanding of any facet of zen, Philosophical or otherwise.

In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that are aimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism's use of the kōan, an aesthetic object that can be seen as evoking a given experience from its auditors for the purpose of reaching understanding on a point that the teacher wishes to make. I argue that such a reading of art as (...) evocative can be merged with hypothetical intentionalism insofar as it recognizes a certain orientation on the part of the auditor to approach art in a certain way. In the case of kōans and other artworks, the approach is one of considering what claim an author may want to convey through the auditor's experience of the artwork. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and telecommunications technology, and (...) cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Formless SelfNewman Robert GlassThe Formless Self. By Joan Stambaugh. Albany: State University of New York Press, 1999. 174 pp.For the past seven years I have been deeply involved in a worldwide experiment in global education. Students in the Comparative Religion and Culture (CRC) Program study the world's great religions for ten-week terms in each of East Asia, South Asia, and the Middle East, totaling one academic year (...) in all. Recent programming has taken place in Taiwan, Thailand, India, Nepal, and Turkey, with stops in Rome and Athens. Students have met with Buddhist and Christian teachers in Kyoto, Sojiji, Eiheiji, Taiwan, Bangkok, Chiang Mai, Bylakuppe, Dharmsala, Jerusalem, Rome, Athens, Ankara, and Istanbul. As part of their academic work, students write responses to each encounter and engage in term-end and year-end reflections on their own work. The program brings to light, in a very powerful way, some of the fundamental questions in cross-cultural study and interreligious dialogue. How do we come to understand a religion or culture other than our own? In analyzing their own work, students find themselves using terms from a Jain teacher's talk in Sravanabelagola to frame their response to the Dalai Lama's talk in New Delhi, and terms from the Dalai Lama's talk to understand and respond to the audience with the Pope in Rome. As the students become more sophisticated in understanding issues in interpretation, new questions are posed: How many people (other than ourselves) do we unknowingly bring to understanding an encounter with an other? When we use the Dalai Lama's talk in interpreting the Pope, does this enlarge our understanding of Catholicism, diminish or distort the Pope's message, or create something new altogether? What do we gain and what do we lose?Joan Stambaugh's The Formless Self is "an attempt to present Eastern ideas, or at least oneWestern interpretation of Eastern ideas, toWestern readers in a meaningful way" (p. x). The most referenced names in the index are Heidegger, Nietzsche, Plato, Keirkegaard, Descartes, and Meister Eckhart. These, then, are the key figures Stambaugh brings with her as she enters into conversation with the three Buddhist thinkers Dogen, Hisamatsu, and Nishitani. The latter two figures are themselves well known for their conversations withWestern thinkers. Stambaugh's book is best located within the larger body of work within and about the Kyoto School, that school of Japanese philosophy identified primarily with Nishida Kitaro, Tanabe Hajime, and Nishitani Keiji, and more recently with Abe Masao. In the United States, this school of philosophy reached its zenith of popularity in the late 1980s, culminating in an American Academy of Religion (AAR) award to Abe Masao's Zen and Western Thought and a series of annual AAR dialogues between Abe and John Cobb. Abe's presence hovers over Stambaugh's book as well, from an acknowledgment in the preface (p. x) to a reference in the index that seems to encompass the whole book. The Formless Self is a good short introduction to key beginning texts [End Page 300] in this larger field: Dogen's Genjokoan, the Hisamatsu-Tillich dialogues, and Nishitani's Religion and Nothingness.Stambaugh has in print translations of a substantial number of Heidegger's texts, including a recent translation of Being and Time. As might be expected, she seems to have a special affinity for Dogen's Uji (Being-Time; see especially pp. 31-40), and makes a creative contribution to the different understandings of these difficult concepts. Stambaugh also makes a brave attempt to work with Dogen's discussions of fire turning to ashes, fish in water, and mountains walking/ranging (pp. 39-48) in a productive way. Stambaugh's middle section on Hisamatsu may be the best place to begin, centering as it does on the dialogues with the Protestant theologian Paul Tillich. In 1957, the Zen Buddhist teacher and scholar Shin'inchi Hisamatsu was a visiting professor at Harvard lecturing on his recently published book Zen and the Fine Arts. Though Tillich's aesthetic approach to "ultimacy" made for a fine series of dialogues with Hisamatsu, the numerous difficulties in the dialogue serve as a warning... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Who Hears?A Zen Buddhist PerspectiveRobert AitkenWestern psychologists and neurologists have attempted to use their concepts to explain East Asian religions for more than seventy-five years. Carl Jung (1875–1961) wrote a long foreword to Richard Wilhelm's The Secret of the Golden Flower back in 1931, which gave many readers in Europe and the Americas their first glimpse of philosophical Daoism.1 A generation later, Erich Fromm's conversations with D. T. Suzuki (...) were recorded in Zen Buddhism and Psychoanalysis.2 In our own time, the Dalai Lama's collaborative work with neuroscientists and psychologists has received widespread attention,3 while academia has given James H. Austin's Zen and the Brain hearty approval.4The process of mutual understanding between Western scientists and teachers of East Asian religion is still incomplete, however, and in earlier times it had barely begun. I remember my amusement back in the 1970s, watching a video of monks trailing streams of wires attached to biofeedback instruments while they were walking formally and solemnly. Even in those early days it was apparent to me that for all their academic credentials, the scholars had started with an ignorance of the subject of their study. They were successful in measuring something in the brain relating to a samādhi condition, but while the monks may have grounded themselves more or less in a settled practice, who is to measure their appreciation of the mejiro chirping in the camellia bush just outside? Great masters of Zen, Zhaozhou, and Deshan and their successors did not talk about being settled, any more than neuroanataomists discuss the importance of the alphabet.The chirping of the mejiro might have reminded the monks of a case, a case that would lie in a dimension even further from the world of wires and dials. "Who is the master of hearing that sound?"5 This was the gist of a question by Bassui Tokushō Zenji—a question that became a public case, one kōan among many other kōans that have not been studied by science. It is time for such a study.My directory of Chinese kōans holds more than 5,500 neatly framed traditional stories set forth to guide the student.6 The modern Zen teacher is conversant with some 550 of these kōans, a number that is sufficient if... if.... There are several caveats. If the teacher treats kōans as historical artifacts, then the stories are no [End Page 89] longer kōans, and the teaching is perniciously misleading. Sometimes the teacher has gone only part way in kōan study. The great house of conventional wisdom has fallen, but he or she doesn't know it is ruined and holds forth in the old explanatory way. Sometimes the teacher has completed the long course of study, but elects to pontificate from within the wreckage of the old manor. Finally there are those who abandon the ruins completely for practice on the open road. Here is my gāthā pointing to that way:Stepping forth on the open road,I vow with all beingsTo distinguish the voices of birds,And make good use of my time.Bassui Zenji's kōan "Who is the master of hearing that sound?" could be paraphrased here at the Pālolo Zen Center as "Who is hearing that thrush singing on the railing outside?" If, in the days before I retired, a student were to respond, "I hear the thrush," I would not have approved. Bassui would not have approved. Intimacy would be missing, and intimacy is the Dao. Intimacy is the way of all the Buddhas. There is no Zen without intimacy; intimacy with what? Both the self and the thrush. That was Bassui's intention, you can be sure.Fayan met Dizang while on pilgrimage. Dizang asked, "What are you up to these days?"Fayan said, "I'm going around one pilgrimage, wherever my feet will carry me."Dizang asked, "What to you expect from pilgrimage?"Fayan said, "I don't know."Dizang said, "Not knowing is most intimate." Fayan underwent great realization. 7Zen Buddhism stresses intimacy, while in... (shrink)