Did Chinese mysticism vanish after its first appearance in ancient Taoist philosophy, to surface only after a thousand years had passed, when the Chinese had adapted Buddhism to their own culture? This first integrated survey of the mystical dimension of Taoism disputes the commonly accepted idea of such a hiatus. Covering the period from the Daode jing to the end of the Tang, Livia Kohn reveals an often misunderstood Chinese mystical tradition that continued through the ages. (...) Influenced by but ultimately independent of Buddhism, it took forms more various than the quietistic withdrawal of Laozi or the sudden enlightenment of the Chan Buddhists. On the basis of a new theoretical evaluation of mysticism, this study analyzes the relationship between philosophical and religious Taoism and between Buddhism and the native Chinese tradition. Kohn shows how the quietistic and socially oriented Daode jing was combined with the ecstatic and individualistic mysticism of the Zhuangzi, with immortality beliefs and practices, and with Buddhist insight meditation, mind analysis, and doctrines of karma and retribution. She goes on to demonstrate that Chinese mysticism, a complex synthesis by the late Six Dynasties, reached its zenith in the Tang, laying the foundations for later developments in the Song traditions of Inner Alchemy, Chan Buddhism, and Neo-Confucianism. (shrink)

The formation and development of any architectural form and system has its own historical and cultural background. The ancient Chinese architectural system has a long history and characteristics inseparable from the historical development of Chinese traditional philosophy. Chinese philosophy, as a theory of human self-consciousness, does not give knowledge, but mainly gives ideas and ways of thinking for the needs of human self-development; At the same time, ancient Chinese architecture became a physical object reflecting the idea (...) of traditional Chinese philosophy. Therefore, in order to explore ancient Chinese architecture, it is necessary to analyze and study it from the point of view of traditional Chinese philosophy. Like Confucius' thoughts on etiquette, the idea of the "doctrine of the middle" and the concept of hierarchical division; These ideas had a profound influence on ancient Chinese architecture, including urban planning, traditional dwellings, the environment, Lao Tzu's desire for harmony and unity between man and nature, worship of the gods, etc., as well as the theory that emerged later "Feng Shui", etc. temple space and garden architecture in the south of the Yangtze River. This article is devoted to the analysis of the influence of Confucianism and Taoism on the general principle of designing spaces of ancient Chinese architecture. The article selects some typical examples of ancient Chinese architecture for analysis. The following principles are manifested in the design of spaces of Chinese architecture under the influence of Confucianism and Taoism: moderation of living space; the principle of symmetry, balance and coordination; architectural hierarchy formed on the basis of the needs of "rituals"; integration of architecture and the environment; design of spaces according to "Feng Shui". (shrink)

In an era in which a conflicting relationship exists between humans and nature, ways of solv­ing environmental problems need to be introduced into people’s thinking about what to do, what lifestyle we should accept, and what kind of people we should become to support our environmental protection work using better justifications. Traditional Chinese Confucianism and Taoism can exert a profound ideological, philosophical, and spiritual influence on how people judge the meaning and value of their lives. Regarding how humans face (...) the natural environment and how they perceive the meaning and value of human lives, Chinese Con­fucianists and Taoists who possess profound wisdom and great benevolence have provided unique philosophical views. The philosophical views and thinking of Chinese Confucianism and Taoism provide links to the environmental crises that humans encounter today. (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.

Ancestor worship is a diffusive religion. Different nationalities may have different ideas about ancestors, but ancestor worship plays the same role. In the development of modern society, Ancestor worship still plays an important role in the demand for human psychology, the shaping of individuals, the stable development of families, and the cohesion of ethnic groups. The development and inheritance basis of ancestor worship is closely related to Chinese religion and culture, and the integration of the two has also promoted (...) the continuous inheritance and development of Chinese religion and culture. At the same time, ancestor worship is also the concrete manifestation of filial piety advocated by Confucianism and Taoism in Chinese traditional culture. By analyzing the basis of the formation of ancestor worship and its inheritance characteristics, this paper discusses the important role of ancestor worship in Chinses religion and culture and further discusses the influence of Confucianism and Taoism on the inheritance of ancestor worship by combining the relationship between filial piety and ancestor worship in Confucianism and Taoism. (shrink)

Ancient Chinese philosophical conceptions of intelligence differ markedly from those in the ancient Western tradition, and also from contemporary Western conceptions. Understanding these ancient Chinese conceptions of intelligence may help us better understand how a very important culture—Chinese culture—influences people's thinking and behavior, and may also help us broaden, deepen, as well as re-examine our own conceptions of intelligence. This article reviews two ancient Chinese conceptions of intelligence–the Confucian and Taoist– and discusses their ramifications (...) for current thinking about intelligence and its role in the world. 2012 APA, all rights reserved). (shrink)

The article is devoted to the analysis of the influence of the ancient Chinese philosophy of Taiji on artistic creativity and the development of the internal evolution of artistic culture. Taoist philosophy of nature and Confucian ethics synthesized the philosophical core of the traditional Chinese worldview with its emphasis on the simplicity and naturalness of the world order, and formed the fundamental principles of Taiji. Fundamental to Taiji, the concept of Yin and Yang emphasizes the dual nature (...) of the existence of movement and variability as a balance of opposing forces of development. The Taiji philosophy of dialectical development is supplemented by the idea of ​​the genesis of renewal energy - Qi. The main research method is the method of revitalizing traditional systems on a new intellectual basis. The method of diachronic analysis of the social situation that influenced the development of Chinese neorealism in art was used. As a result of the study, the functional significance of the influence of the principles and philosophical ideas of taiji on the evolution of neorealism is described. Using the example of the work of Chinese neorealist artists Xin Dongwan and Zheng Yi, the authors come to the conclusion that there are three driving factors of artistic motivation for creativity: internal, external and subjective. The basic principles of Taiji philosophy and ethics, such as: the naturalness of change without the use of force (Wu Wei), change as the only constant in the existence of the world and its stability, gentleness - help develop the creative power of renewal. The idea is shown that in the ancient Chinese philosophical heritage, Confucianism and Taoism became two full-fledged directions, functionally complementing each other in explaining differences in cultural, political, philosophical and social environments. (shrink)

Paucy' s unhappiness soon earned her the nickname of No-Smile Beauty. The King issued a formal announcement to the nation: Whoever could make ...

The Zhuangzi is one of China's greatest literary and philosophical masterpieces, yet its complexities make it a challenging read. This English translation leads you confidently through the comic scenes and virtuoso writing style, introducing all the little stories Zhuangzi invented and unpicking its philosophy through close commentaries and helpful asides. In Graziani's translation, the co-founder of Daoism emerges as a remarkable thinker. It is a must-read for anyone coming to Chinese philosophy or the Zhuangzi for the first time, and (...) one that reminds us of the importance of thinking beyond our limited, everyday perspectives. (shrink)

This second volume in a series of Source Books in Asian Philosophy contains selections and in several cases complete works, from the writings of Chinese philosophers from Confucian humanism to contemporary communism. Chan maintains a balance between modern, medieval, and ancient thinkers as well as between Confucianism, Taoism, and Buddhism. Chan has prefaced each of the 44 chapters with a brief introduction discussing the historical background and relative influence of a school, and has interspersed interpretive comments throughout the texts. (...) Also included are chronological tables of dynasties and philosophers, an appendix on translating Chinese philosophical terms, and a glossary of Chinese characters.--K. P. F. (shrink)

In order to highlight the significance of the book I'm reviewing here, let me recount a recent academic experience: A conference on the Zhuangzi is hosted by a leading scholar in the field with the sponsorship of a major university in mainland China. Several prominent scholars present papers focusing on various different passages of the text. The addresses cover the mystical, the performative, the epistemological, the ethical and several other facets of Zhuangzian thought. Yet one topic is conspicuous by its (...) absence: the political. Not a single paper addresses this matter. Romain Graziani's book effectively rectifies this situation by perceptively showing how Zhuangzian thought ran counter to many of the political... (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)

The article is devoted to the correlations of Buddhism with Confucianism and Taoism in Wei (221-265) and both Jin (265-420) periods. The philosophical principles of these three doctrines, their general and peculiarities in three doctrines philosophical principles which defined the forming in China own Buddhist schools have been showed there. The new view to the correlations between Buddhism and Taoism has been showed, the new conception that the correlations between Buddhism and Taoism in period of Wei are the correlations of (...) Prajna-paramita and liu jia qi zong. It is showed, that also Confucianism in periods of Wei and Jin saved its political and social positions in Chinese society and deeply influenced on the forming Buddhism on the earliest period of its spreading in China. (shrink)

ABSTRACT The research purpose is to investigate the influence of Confucianism, Taoism and Buddhism on Chinese folklore vocals and their elements in modern music. The research methodology is based on descriptive, comparative, interpretative and statistical analysis (Spearman’s rank correlation coefficient). The analysis of the folk vocals of each thematic group among 110 folk songs of the Shi Jing supports the argument that Confucianism, Taoism and Buddhism had the greatest influence on the vocals. During the analysis, it was determined that (...) folk songs about love (0.942) and songs themed around nature (0.917) exhibit the most pronounced influence on their potential utilisation in the performance of popular compositions. The findings indicated that 75% of the folk vocal compositions with nature-related themes demonstrated discernible influences from Buddhism. The research findings have enabled the identification of exemplary renditions of the folkloric composition ‘Czo-yui’ from the ‘Book of Changes’, adeptly adapted to contemporary motifs, which were achieved at a notably high level within respondent groups #1 (7.2), #4 (7.4) and #5 (7.1). These commendable outcomes are attributed to the preservation of harmonious tonality, precise intonation and artistic expression during the performance process. (shrink)

This article examines the impact of traditional Chinese culture on organ donation from the perspective of Confucianism, Buddhism, and Taoism. In each of these cultural systems, it appears that there are some particular sayings or remarks that are often taken in modern Chinese society to be contrary to organ donation, especially cadaveric organ donation. However, this article argues that the central concerns of Buddhism, Confucianism, and Taoism are “great love,” “ren,” and “dao,” which can be reasonably interpreted to (...) support organ donation. The author understands that each cultural system, in order to play its cultural function, must have its central concerns as well as relevant ritual practices (li) that incarnate its religious and ethical commitments. That is, each plays a general cultural role, which influences organ donation in particular not merely through abstract or general ethical principles and teachings, but through a combination of ethical teachings and the forming of particular ritual practices. This article contends that the primary reason Chinese individuals fail to donate sufficient cadaveric organs for transplantation is not because particular remarks or sayings from each of these systems appear to conflict with donation. Neither is it that the central concerns of these systems cannot support cadaveric donation. Rather, it is that modern Chinese individuals have failed to develop and secure relevant ritual practices that support the central concerns of organ transplantation. The article concludes that in order to promote more donations, there is a need to form relevant ritual practices supporting organ donation in conformity with the central concerns of these cultural systems. (shrink)

Confucianism is an important theoretical support of the Chinese national spirit. It started with the Confucian school founded by Confucius. After the continuous enrichment and creation of Confucianism, it gradually formed an important guiding ideology covering people, people, society, people and nature, which had a far-reaching impact on politics, economy, literature, social life, and other fields. In the 1980s, the stable social environment brought by the reform and opening up provided a good external condition for developing dulcimer art in (...) China. The increasing communication between Chinese and western cultures and ideas has brought new ideas for developing dulcimer art in China. Yangqin, in the form of "singing, dancing and telling stories,” shows the living state and ideal pursuit of literati in the Yuan Dynasty by shaping specific events and characters, thus being regarded as a "living fossil" that reflects the social outlook of the Yuan Dynasty. There is no doubt that the culture of Chinese dulcimer is based on Chinese traditional culture. It has obvious characteristics of the cultural orientation of Confucianism and Taoism and is also the result of the interaction between Chinese and Western cultural trends. This cultural orientation will involve the future development trend of Chinese dulcimer culture and will profoundly impact Chinese dulcimer culture in the 21st century. (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)

Heidegger scholars have sometimes assumed that Heidegger’s experience of thinking was unprecedented and that the peculiarity of his idiom was related to the novelty of that experience. Reinhard May’s study suggests that Heidegger’s thought is fundamentally indebted to his early familiarity with Zen Buddhist ideas and to his reading of Taoist classics, including the Tao te Ching of Lao Tse and the works of Chuang Zu, in German translations Heidegger knew by Victor von Strauss, Martin Buber and Richard Wilhelm, (...) and, later, to his contact with Chinese and Japanese philosophers studying in Germany with Rickert, Husserl and Heidegger himself. Many European artists and intellectuals were engrossed by East Asian ideas, of course, but May’s conclusion is that Heidegger was in a sense a Taoist philosopher, and that the peculiarities of his philosophy are the same as those which inhere in East Asian philosophy, which prizes silence and rejects the hegemony of Western logic. While Heidegger’s appreciation for East Asian philosophy and his influence on modern Japanese thinkers have been noted often enough, the suggestion that the heart of Heidegger’s thought was profoundly oriented in the early 1920s by Taoist and Zen Buddhist ideas is provocative. The translator, Graham Parkes, who has supplemented his translation with an essay detailing Heidegger’s contact with Japanese philosophers, was among the first to suggest a deeper connection between Heidegger and East Asian philosophy in a series of essays he edited on Heidegger and Asian Thought, which includes contributions by Japanese and Chinese philosophers who knew Heidegger and were in contact with him for many years. (shrink)

The current piano curriculum, according to conventional wisdom, is a product of the western music education system, which accords Chinese traditional culture with less importance. Most of the methods and tools used in today's collegiate piano programs are Western-based, often ignoring traditional musical traditions. However, it is widely acknowledged that piano music plays a key role in the culture of music and that it is closely related to traditional culture and art. Examining the impact of Chinese traditional philosophy (...) on collegiate piano instruction and performance is the main objective of the present research. The study makes use of an empirical method by conducting a survey and gathering information using a questionnaire. 174 students from six Chinese institutions participated in the current research. Students were split into two groups as a result of the training methodology. 87 students in the experimental group studied using a previously developed curriculum to advance Chinese traditional music culture, whereas 87 students in the control group took piano lessons using the standard curriculum. We used the student’s t-test and Chi-square test for statistical analysis. Since it demonstrates how traditional Chinese philosophy is successfully promoted in educational contexts, the present study is significant from both an academic and a practical standpoint. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Is "Chinese Philosophy" a Proper Name?A Response to Rein RaudCarine DefoortIn the preface to his Outline of the History of Chinese Philosophy, Hu Shi wrote: "Today, the two main branches of philosophy meet and influence each other. Whether or not in fifty years or one hundred a sort of world philosophy will finally arise cannot yet be ascertained."1 Although uncertain, Hu was still hopeful, since he believed (...) that the two major traditions of modern world philosophy, founded in Europe and China, had finally met. That was in 1919. Now, almost a century later, we can respond to Hu's speculation with relative certainty: a world philosophy has not arisen and is not on the rise. In fact, the situation is much worse: Chinese ancient thought is not even considered "philosophy" by most Western specialists in the field.For Feng Youlan, Hu's contemporary, this lack of recognition had become a major frustration by the end of his life. Feng earnestly felt that "parts of classical Chinese philosophy have a contribution to make to the elevating of man's spiritual sphere and in solving universal problems in human life."2 But on the last page of the last volume of his New Edition of the History of Chinese Philosophy, completed a few weeks before his death in November 1990, Feng concluded that Western philosophers had not even begun to consider ancient Chinese thought to be worthy of their attention: "Chinese traditional philosophy has always been regarded as a part of sinological studies and is considered as having no relation to philosophy."3 Feng's sentiment is still widely shared today; for instance, in the Yearbook of Chinese Philosophy for 2001, Zheng Jiadong remarks that "in the West, especially in Europe, the legitimacy of 'Chinese philosophy' has always been questioned; 'Chinese philosophy' [End Page 625] has to a large extent been considered a strange thing of questionable antecedents."4 Others confirm that "Chinese thinking has been all but excluded from the discipline of philosophy in Western seats of learning."5Indeed, various eminent European philosophers, such as Kant, Hegel, Husserl, Heidegger, and, more recently, Jacques Derrida on his visit to Shanghai in 2001,6 have proclaimed that ancient Chinese thought is not really philosophy. Kant, for example, stated that "Philosophy is not to be found in the whole Orient.... Their teacher Confucius teaches in his writings nothing outside a moral doctrine designed for the princes."7 Even sinology scholars sometimes wonder whether ancient Chinese thought ought to be labeled "philosophy."8 But more powerful than such explicit rejections of the legitimacy of "Chinese philosophy," which are nowadays relatively rare, is the dominant and implicit Western (especially European) view, embedded in the organization of academic conferences, journals, university curricula (as Feng Youlan remarked), and bookstores, that ancient China did not have philosophy. The average European bookstore, for instance, does not display the Laozi or Yijing on the "philosophy" shelf, but rather among various types of wisdom or practical knowledge, between Celtic myths, herbal medicine, and the art of astrology. However unobtrusive, this organizational given reveals more clearly and influentially than any contemporary scholar explicitly states, that the name "Chinese philosophy" for the Chinese masters and some Classics is not proper—or, to put it in ancient Chinese terms: this ming 名 is not zheng 正.9The twenty-first century, however, has seen strong indications of change, not in the sense that "Chinese philosophy" is now being generally accepted as one of the two main branches of world philosophy, as Hu Shi had hoped, but in the sense that the debate has been reopened, both in China and in the West. In China, the appropriateness of the label "Chinese philosophy" for ancient Chinese thought was questioned by some leading scholars in the first part of the twentieth century. But in the last decade the matter has been experienced as a crisis and challenge, and has been discussed much more broadly and vividly by Chinese academia: conferences are being dedicated to the question of the "legitimacy of 'Chinese philosophy"' (Zhongguo zhexue hefaxing 中国哲学的合法性), newspapers report on it, and some journals devote whole forums to it.10 About one hundred articles or chapters related... (shrink)

Taiji – sport, meditation, martial art , health preservation, way of enlightenment and philosophy of life – is one the best-known signs for recognizing Chinese Daoism. The following article wishes to explain the influence of classical philosophical Taoism notions such as dao , qi and wuwei and their application on Taiji principles practiced today world wide. Arising from tradition of an early Daoism those notions are the core of its fundamental books and forming material of Daoistic philosophy, which has (...) managed, despite its exposure to great historical changes and religious influences during the thousands of years, to preserve its autonomy owing to the application of those axioms. Regularly practicing Taiji with the aim of mens sana in corpore sano and appreciating the rules of principles dao, qi and wuwei directly result in suppleness, strength and composure of body and spirit and carries us to higher levels of consciousness in which we are able to achieve the unity of physical and mental perfection. In this manner Taiji as ”sport” gains its complete, transcendent dimension. (shrink)

What Is Taoism? traces, in nontechnical language, the history of the development of this often baffling doctrine. Creel shows that there has not been one "Taoism," but at least three, in some respects incompatible and often antagonistic.

Drawing on several issues and methods in Western philosophy, from analytical philosophy to semiotics and hermeneutics, the author throws new light on the ancient Zhuangzi text. Engaging Daoism and contemporary Western philosophical logic, and drawing on new developments in our understanding of early Chinese culture, Coutinho challenges the interpretation of Zhuangzi as either a skeptic or a relativist, and instead seeks to explore his philosophy as emphasizing the ineradicable vagueness of language, thought and reality. This new interpretation of the (...) Zhuangzi offers an important development in the understanding of Daoist philosophy, describing a world in flux in which things themselves are vague and inconsistent, and tries to show us a Way (a Dao) to negotiate through the shadows of a "chaotic" world. (shrink)

The historical origins of the Kyoto School of Philosophy of modern Japan, represented by Kitaro Nishida and Hajime Tanabe, may be derived from both the ancient Chinese idea of Change and the ancient Indian Upanishadic idea of the mutual identity of Brahman and Atman. The ancient Chinese idea of Change signifies change as well as non-change, and even their dialectical unification. Both origins are structured by the self-identity of the opposed in logic, and these historical prototypes have been (...) developed into the various forms of Confucian, Taoist, and Buddhist philosophy. The notion of Nothingness or Emptiness rather than Being has been set up as the fundamental principle. The principle of Nothingness as ultimate reality has been connected with the logic of self-identity of theopposed, and this is evident in Nishida’s concept of the self-identity in absolute contradistinction that is equivalent to the Place of Absolute Nothingness. Even though Nishida’s idea of Place is directly and explicitly influenced by the ancient Greek idea of Topos, it has indirectly and implicitly been affected by the traditional agricultural society as well, in which the land is regarded as the self-identical substratum despite the cyclic time of the four-seasons change. The ancient Chinese idea of Change also reflects the agricultural society in which the cyclic time plays an important role on the basis of the unchanging self-identical land as the underlying substratum. Nishida succeeds in establishing the new logical expression of Eastern traditional thought, deeply hidden in consciousness, in relation toWestern philosophy. The uniqueness of Nishida’s idea of Place may have its main source in the traditional agricultural background, and in this sense his way of thinking may be rural in character. On the other hand, Tanabe, though following Nishida at first, turns to making criticism of the mentor with the establishment of the triadic logic of species as the dialectic, which is characterized by the perpetual self-negating conversion in action. In contrast to Nishida, Tanabe represents the urban type of thinking, which is in pursuit of transforming in life. While Nishida’s idea of Absolute Nothingness has an affinity with the ancient Chinese philosopher Laotzu’s idea of Nothingness from and into which every entity comes and goes, Tanabe’s concept of Absolute Nothingness as the principle ofconversion is more closed to the Buddhist idea of sunyata, i.e., Emptiness, which is devoid of any substance in itself. As regards evil, the difference between them is obvious in that for Nishida evil and time or history disappear into the ultimate horizon or place of Nothingness with the tendency toward a kind of monism of goodness, whereas for Tanabe evil copes with goodness and retains its own status throughout, never being reduced to the opposed. Even if so, both of them, however, fail to construct a philosophy of history from the epochal or durational viewpoint, compared to Heidegger and Jaspers. (shrink)

This article offers a synthetic characterization of Chinese philosophy based on an analytical reconstruction of its main traditions and thinking. Three main traditions in Chinese philosophy, Confucianism, Taoism and Chinese Buddhism, are depicted and discussed, together with some comments on Chinese Marxism in the contemporary scene. Four characteristics of Chinese philosophy are presented: intrinsic humanism, concrete rationalism, organic naturalism, and a pragmatism of self?cultivation. It is clear from the discussion that these four characteristics are interrelated (...) and mutually supporting and thus should be better understood in the context of one another. Many open problems of philosophy, such as transcendence, evil, logic, and theoretical knowledge, are raised by an inquiry into Chinese philosophy. If Chinese philosophy serves to make us critically aware of these problems and to provide alternative ways of thinking, we are more than justified in presenting Chinese philosophy as a philosophy of universal concern and universal significance. (shrink)

• Sixteen collected essays examine Chinese Philosophy around 4 major topics • Furthers and deepens fundamental inquiries, including: What is philosophy? Is there more than one origin of philosophy? Have we embraced other traditions as well as integrated others into our own? How do we view Chinese philosophy in the multi-origins of the world philosophy and vice versa? • The second volume of the festschrift for celebrating the Journal of Chinese Philosophy’s 40th anniversary.

This comprehensive introductory textbook to early Chinese philosophy covers a range of philosophical traditions which arose during the Spring and Autumn and Warring States periods in China, including Confucianism, Mohism, Daoism, and Legalism. It considers concepts, themes and argumentative methods of early Chinese philosophy and follows the development of some ideas in subsequent periods, including the introduction of Buddhism into China. The book examines key issues and debates in early Chinese philosophy, cross-influences between its traditions and (...) interpretations by scholars up to the present day. The discussion draws upon both primary texts and secondary sources, and there are suggestions for further reading. This will be an invaluable guide for all who are interested in the foundations of Chinese philosophy and its richness and continuing relevance. (shrink)

In his treatise Han Fei Zi, the Chinese ancient thinker Han Fei proposes a governance structure that emphasizes the institutionalization of legal norms, judicious sovereign intervention, and ministerial obligations. These three core concepts of Han’s legal thinking are informed by both the Taoist law of Nature and the Confucian philosophy as is expounded by Xun Zi. Recognition of the Taoist and Confucian influences brings to light the ethical and normative dimensions of Han’s legal thought, dimensions that, (...) I propose, provide new insights into China’s legal and institutional reforms today. (shrink)