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Process Ontology in an Eastern Perspective, with Special Reference to Zhuangzi

Author(s): Desislava Damyanova / Language(s): English Issue: 2/2016

The transience of being in the Chinese context—and specifically within Daoist texts—has been the subject of scholarly attention both as a philosophical theme and as a social phenomenon. Dao is the mystery that makes nature “the way it is.” It can mean process, pattern, or existence. Eastern thinkers tend to find truth in every perspective, pursuing the middle way, and they stress mutual dependence—Zhuangzi’s “equality of things,” the “axis of Dao,” etc. The Chinese sages tend to harbor an optimistic outlook that, however opposed divergent views may appear, in the end they are bound to harmonize and complement one another. Humans can unite themselves with the way they live. There are three threads at work in Zhuangzi’s thought: (1) The principle of equality: all things are equal or have relative parity. Each has its own merit, even that which seems deformed or useless to humans. (2) The principle of difference: each thing is unique and exists in itself in accordance with the Dao. (3) The principle of transformation. The only constant is that myriad beings are always transforming and becoming.

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Tarp Pasaulio Tylos Ir Tuštumos

Author(s): Algis Mickunas / Language(s): Lithuanian Issue: 80/2014

The review of: „The Phenomen of Emptiness. – Spread of Emptiness in Daoism, Phenomenological Philosophy, Chinese and Western Aesthetic and Art“ by Agnieška Juzefovič; Vilnius: Technika, 2014. p. – 272 p. ISBN 978-609-457-479-5 The notice contains the review of the monograph by Agnieška Juzefovič The Phenomen of Emptiness. Spread of Emptiness in Daoism, Phenomenological Philosophy, Chinese and Western Aesthetic and Art. The reviewed book is an excellent example of comparing civilizations in the context of arts – specifically the visual arts of two distinct trends of thought: Phenomenology and Daoism. The author manages to link two very distinct traditions and historical periods by way of disclosing a common phenomenon – that of emptiness – and its diverse readings, forming a unique logic of sameness and difference. While the comparisons are complex, involving methodological and even theoretical debates, one thing is clear: the text presents the phenomenon of emptiness and the artistic diversity of the two traditions and unfolds an appropriate method suggested by the visual arts and their theoretical components. In this sense, there is no a priori imposition of one tradition on another that would be counter to fruitful investigation. The author is specifically keen to maintain that emptiness is not some sort of metaphysical postulate which „explains“ all events and their artistic depictions; rather, the artistic depictions yield the all pervasive presence of emptiness in the arts and theories both of Daoism and phenomenology. It is made clear that the latter has done a credible job in showing that the very horizon of any given thing, action, pronouncement is structured mostly by empty or unfulfilled possibilities. It is to the credit of the author that she does not overstate her case by hastily transgressing the subject matter of her investigations. In this sense, the text is groundbreaking and most revealing the contact between two distinct civilizations. Obviously, there are numerous suggestions for further research which – we hope – the author will pursue.

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Andrius Rudamina (Andrzej Rudomina) Ir Giulio Aleni Religijų Dialoge: Žmogaus Kūno Samprata Krikščionybėje Ir Konfucianizme

Author(s): Loreta Poškaitė / Language(s): Lithuanian Issue: 77/2013

The paper aims to reveal the differences in the treatment of the human body in Christianity and Confucianism, as they became evident in the spread of Christianity in 16th-17th century China. It will stress the influence of Chinese metaphysical and cosmological ideas in the Confucian understanding of human body, which, as will be argued, became the basis of the whole program of self-cultivation, on the one hand, but a seriuos problem for the Christian missionaries in their popularization of their doctrine in China, on the other hand. The investigation is based on the comparative analysis of Confucian texts and the „Diary of Oral Admonitions“ (Kouduo richao 口鐸日抄), written by Li Jiubao and translated into English by Erik Zurcher. It records the conversations between the famous Jesuit Giulio Aleni, as well as Lithuanian Jesuit Andrius Rudamina, with Chinese converts and those interested in Christian doctrine. The paper will discuss some Chinese concepts related to the understanding of the body (such as vital energy qi, five agents wuxing, spirit shen, heart mind xin, human nature xing) and their relations, in oder to reveal the main points of disagreement as well as possible ways to resolve the differences of its understanding in two religions.

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Tarpkultūrinė Komunikacija: Rytų Azijos Dailės Poveikis Ir Fenomenologinių Idėjų Sklaida Postimpresionizmo Estetikoje

Author(s): Agnieška Juzefovič / Language(s): Lithuanian Issue: 71/2012

The author analyzes specific topic of cross-cultural communication between modernist painters of late XIX-early XX centuries and East Asian aesthetic, unveil Oriental influences in works of chosen European painters. Many Impressionist and Post-Impressionist painters were attracted with Japanese prints, collected them and created various graphic work as well as the oil paintings that in their composition, color, and imagery were directly influenced by Japanese ukiyo-e prints. In this paper the main attention is focused toward the works of Cezanne and van Gogh whose apart quite superficial influence of colorful prints also has something common with much more subtle Chinese and Japanese ink painting and aesthetic of Daoism. The author argues that tradition of Daoism as well as Chinese and Japanese ink landscape painting helps to understand direct, pre-reflective look, perceiving a depth of surrounding world and things as they present themselves that could be seen on the artworks of Cezanne and van Gogh. Typical for those painters overpassing of various preconceptions, suspending of traditional viewpoint and ability to get astonished by simple and rude beauty of nature caused that phenomenological philosophers as Heidegger and Merleau-Ponty get interested and thoroughly analyzed their artworks.

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Meninės Išraiškos Samprata Klasikinėje Ir XX A. Pr. Kinų Literatūros Estetikoje: Tradicija Ir Naujovės

Author(s): Loreta Poškaitė / Language(s): Lithuanian Issue: 65/2010

The peculiarities of the expressionistic aspects and of the artist‘s self-expression was in the center of classical as well as of XXth century Chinese theories of literature. The article deals with the notion of literature, its origins and artistic self-expression in traditional China, and how it was transformed in XXth century by the reformers of the literature and by the theory of the May 4th movement for China‘s modernization. The investigation is concentrated on the concept of emotion (qing), its treatment in early China in classical theories and aesthetics until the XXth century. The analysis aims to prove the thesis about the inseparability of the artist from the world and art work (literature) in the creative process, which has remained in the XXth century. This inseparability has influenced the importation of Western theories of realism, romanticism and aetheticism as well as the notions of individualism and subjectivity in Chinese theories of literature.

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Does Buddhism have much to offer in terms of reduction in global CO2 emissions? A panel data analysis

Author(s): Jungho Suh / Language(s): English Issue: 2/2013

The primary intent of this paper is to statistically test whether Buddhist countries tend to contribute to global warming mitigation in comparison with other religious groups of countries. A sample of 160 countries were classified into seven groups coded as ‘Buddhist’, ‘Hindu’, ‘Muslim’, ‘Catholic’, ‘Protestant’, ‘Christian mixed’ and ‘None of the above’. This study modeled the religious heritage of a nation into the IPAT equation (Environmental Impact = Population × Affluence × Technology), religion being as a cultural proxy of the technology factor. ‘Buddhist’ countries were found likely to emit lower CO2 compared with ‘Protestant’ and ‘Christian mixed’ countries, although likely to emit higher CO2 compared than ‘Hindu’, ‘Muslim’ and ‘Catholic’ countries, all other factors being held equal. The relatively low group effect of ‘Buddhist’ countries on CO2 emissions can be interpreted to support the argument that teaching Buddhist economics and ecology could be a useful ingredient to curb ever-increasing global CO2 emissions. Thus, further study is warranted as to how teachings from Buddhism can translate into lower CO2 emissions.

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TWO CHINESE BUDDHIST TEXTS WRITTEN BY UIGHURS

Author(s): Kōichi Kitsudō / Language(s): English Issue: 3/2011

In the Mongol period, the Uighurs who settled around the Turfan region not only translated Chinese Buddhist works into the Uighur language, but also directly copied them in Chinese characters or composed original works with the combination of arbitrary quotations from Chinese works. The Insadi-Sūtra is such a work in question. The author of this paper succeeded in identifying two Chinese Buddhist texts written by Uighurs. They will help us better understand the background in which these Uighur–Chinese mixed texts came about.

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Kategoria pustki w światopoglądzie powieści Mały palec Buddy Wiktora Pielewina

Author(s): Ewa Pańkowska / Language(s): Polish Issue: 14/2014

Victor Pelevin’s novel Buddha’s Little Finger (known in Russia as Chapayev and Void), first published in 1996, is the subject of an analysis in this article. The book is set in two different times: after the October Revolution and in modern Russia (Moscow in the nineties of the 20th century). The novel is written as a first-person narrative of Pyotr Void. In the post-revolutionary period Pyotr unexpectedly finds himself in the midst of the 1918–1919 civil war in Russia, serving as a commissar to the legendary Bolshevik commander Vasily Ivanovich Chapayev. In Moscow in the 1990s Pyotr is a patient of a psychiatric hospital. Pelevin is creating alternative personalities of true people. In Pelevin’s version the legendary Red Army commander Vasily Chapayev is the philosopher, the expert of Buddhism, after all he appears as Buddha’s reincarnation. Legendary Pet’ka, a batman of the red commander, an infantile enthusiast of the revolution, is transforming into Pyotr Void, a poet-modernist. The main purpose of the paper is to present some philosophical truth (“Pelevin’s philosophical theory”) based on assumptions of solipsism, sending to Immanuel Kant’s views, but also referring to Buddhism (in particular to Zen Buddhism), above of all to the Buddhist concept of emptiness – “sunyata” which refers to the absence of inherent existence in all phenomena.

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Inner and Outer Worlds: On the Nature of Things, Matter, and the Mind in the Gōngsūn LóngzǏ

Author(s): Lisa Indraccolo / Language(s): English Issue: Suppl./2016

The present study provides an overview of the narrative of cognition as described in a largely understudied Classical Chinese philosophical text, the Gōngsūn Lóngzî, drawing meaningful comparisons with other works traditionally associated with the Logicians’ (míngjiā) trend of thought. The Gōngsūn Lóngz especially provides a substantial contribution to our understanding of knowledge construction processes in early China. According to the text, the mind has the ability to operate distinctions. It breaks reality down into meaningful, manageable units, and classifies these units according to appropriate categories. As will be shown, such ability is not only necessary for the individual to cognize the world, but also sufficient to ensure univocal correspondence between names and actualities.

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HIRİSTİYAN TESLİSİ İLE HİNT TRİMURTİSİNİN KARŞILAŞTIRMALI OLARAK DEĞERLENDİRİLMESİ

Author(s): Dönüş Saritaş / Language(s): Turkish Issue: 43/2019

In this study the concept of trinity, father, son and holy spirit, which are considered as Three Elements of Christianity, will be compared with “Brahma, Shiva and Vishnu”, the Indian Trinity, which co-symbolizes the Christian Trinity and the Pantheon of Hinduism. Trinity means trilogy. Accordingly, in the Christian faith Jesus Christ is a God. He was born without a father. Trinity of God means that Jesus and the Spirit are Incorporated in the same person. According to the Indian Trimurtis, Brahma, Shiva and Vishnu are the holy trinity of God. These three coexist with three heads in one body and form one God. Brahma signifies the so-called creator, Vishnu the protector and Shiva the destroying power. According to this understanding, Manu is a man just like Jesus Christ, and it is God Brahma who created him. God Vishnu descended to the earth in order to teach people how an exemplary person should be. This politheistic belief in incarnation is called “Avatara.. In this study, these two beliefs and cultures will be compared, in particular, the Trinity Concept. However, the disagreement between a single God which cannot be considered higher than himself and the incarnation of more than one God in the same body will be discussed. The similarities and differences between Christian and Indian Trinity will be manifested. This problem will be explained within the framework of the concepts that make up the dynamics of these approaches. In addition, in order to clarify the subject, monotheism in general, in particular the concept of monotheism in Islam, will be clarified to make ambiguous points comprehensible by comparing with the Trilogy.

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A Celebration of the Wild. On Earth Democracy and the Ethics of Civil Disobedience in Gary Snyder’s Writing

Author(s): Monika Kocot / Language(s): English Issue: 1/2020

The article attempts to shed light upon the evolution of Gary Snyder’s “mountains-and-rivers” philosophy of living/writing (from the Buddhist anarchism of the 1960s to his peace-promoting practice of the Wild), and focuses on the link between the ethics of civil disobedience, deep ecology, and deep “mind-ecology.” Jason M. Wirth’s seminal study titled Mountains, Rivers, and the Great Earth: Reading Gary Snyder and Dōgen in an Age of Ecological Crisis provides an interesting point of reference. The author places emphasis on Snyder’s philosophical fascination with Taoism as well as Ch’an and Zen Buddhism, and tries to show how these philosophical traditions inform his theory and practice of the Wild.

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Розвиток фортепіанного мистецтва у Китаї

Author(s): Marina Olegovna Antoshko / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to study the problem of the development of piano art in China. The methodology of the research is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to study the expediency of the problem of the development of piano art in China, studying the historical origins of this problem. For the first time, the historical names of the figures who directly influenced the development of piano art in China, which clarified the cultural traditions of the East. Conclusions. On the basis of the study of the problem concerning piano art in China, they discovered the processes of development of his and distinctive culture. Identify the names of the well-known teachers and musicians in China that have influenced the development and development of the country's art. Identify the influence of philosophy on thinking and understanding of piano art. The system of thinking of modern piano art is based on ancient Chinese philosophy. The musical culture of China is in constant search for the nature of sound, timbre palette, form, combining national motives. Through the combination of national features, country philosophy, religious tendencies, elements of vocal and instrumental folklore, theater and composition and piano culture, China's musical piano culture has become well-known in the world. The technique of piano playing is based on strict classical methods and national consciousness, which have been etched in the centuries. It was the Vietnamese school and the Yuege educational system that formed the basis for the development of Chinese musical culture. Thus, a great influence on the development of music education was made by: Shen Shingong - one of the first piano teachers, Jeng Jimin, who founded the music school in Shanghai, Lee Shutong - taught singing and piano at the Shanghai Women's School and Nanjing Higher School. An important role in the formation of piano art was played by Din Shande, who combined Western and Eastern motifs on the example of his works. These issues are interesting and require further study by scientists.

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Narracja autobiograficzna i języki dobra

Author(s): David Parker / Language(s): Polish Issue: 1/2021

Dobro jest suwerenne, twierdzi Iris Murdoch – w tym sensie, że podejmowanie decyzji etycznych wynika ze „struktur wartości” tworzonych wokół nas w ciągłym procesie uwagi moralnej skupionej na realiach codziennego życia. Ale w jakim stopniu można takie ujęcie dobra traktować poważnie? Starożytni filozofowie, zwłaszcza Platon, uznawali struktury wartości za rzeczywistość metafizyczną nieodłączną od wszechświata, nowożytny sceptycyzm jednak solidnie nadwyrężył to stanowisko.

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Feng Shui Cosmology and Philosophy in Native Americans’ Worldview

Author(s): Sergii Rudenko,Yaroslav Sobolievskyi,Changming Zhang / Language(s): English Issue: 27/2021

In studying the characteristics of cultures, literature and philosophies of different civilisations, scholars inevitably wish to search for similar and different features inherent in particular societies. When this desire is completely justified, then certain questions remain that require additional reflection. For instance, studying the cosmological and natural-philosophical ideas inherent in Ancient China and among Native Americans, scholars face the difficult task of logically substantiating the possibility of studying these two diametrically opposed cultures together. This article is based on a general overview of cosmological and philosophical views in Ancient China and among Native Americans. The authors reveal an important principle that significantly distinguishes “non-Western” cultures and manifests itself in ethnocentrism and harmonization of the relationship between humans and nature (Feng shui). The article gives a logical basis for research and attempts to answer the question of whether Feng shui practice is a science or a religion. To this end, the legacy of Yang Yunsong, one of the founders of the teachings of Feng shui, a Chinese sage of the Tang era from Guangdong province, was studied. The authors suggest that Yang Yunsong’s cosmology, geomancy, and Feng shui practice have much in common with the worldview of indigenous peoples around the world, particularly the Native Americans.

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Philosophy of Vitality, Mortality, and Immortality in the Theories of Hryhoriy Skovoroda and Confucius

Author(s): Oksana Anatoliyivna Kovtun,Svitlana Pechenizka-Gubareva / Language(s): English Issue: 26/2021

The research reflects the philosophy of vitality, mortality, and immortality, based on the mystical life and theories of Hryhoriy Skovoroda and Confucius. What connects these two philosophers from different epochs and parts of the world? What makes them always stay interesting for each new generation? And what are their ideas still provoking plenty of interpretations? Dealing with real philosophy, there are always more questions than answers. We can never be sure whether the true ideas of the teachings of the philosophers of such high level were revealed or stayed mysterious secrets for the next generations. But we hope to analyze the tips, given by the great minds, to find out someday the clues to the actual problems for humankind of any century: What is the sense of life? Where can we find happiness? Is it possible to predict death? Are there any possibilities for becoming immortal? This study is focused on investigating the possible answers to all these questions, using modern discoveries of American scientists and the clues left for us in the legacy of the philosophers beyond time and space: Hryhoriy Skovoroda and Confucius.

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Avalokiteśvara in Tibetan Buddhist art of the Later spread (Tib. phyi dar) of the Dharma. Image classification proposal, part 1.

Author(s): Joanna Grela / Language(s): English Issue: 2/2020

According to traditional Buddhist narratives and popular beliefs, Tibetans are a people chosen by Avalokiteśvara. Therefore, his worship and multitude, as well as diversity of his images are quite common both in temples and public areas. Unlike the widespread analyses where the Bodhisattva has been treated as a peaceful tutelary deity, and classifications of its images have been based on morphological features (i.e. the number of hands, heads, etc.) or by artistic styles and techniques. This paper proposes another approach by grounding images in Tantric Buddhism models used locally. In the first part of the article, the images of Avalokiteshvara are inscribed in the body-speech-mind models as well as the external, secret and the first of the three internal aspects of the Three Refuges, also known as the Three Jewels, which covers a much wider set of iconographic material than usually considered.

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ROMANCE IN CHINESE MUSIC OF THE OPEN PERIOD: FROM ROMANCE TO KUNSTLIED AND ARTISTIC SONG

Author(s): Dongxuan Wu / Language(s): English Issue: 1/2021

The purpose of the article is to identify ways to form and develop the national Chinese art song "period of openness". The article reveals the ideas of the origin of the national romantic musical and poetic genre, features of the German Kunstlied, Chinese romance in the "period of openness" (from Romance to Kunstlied and artistic song). The interaction of traditional Chinese and Western European music systems, in which pentatonics are organically combined with classical-romantic harmony and uniform accentuation, is studied. The research methodology involves the application of a systematic approach, as well as methods of analytical, comparative, art, using which on the examples of Chinese art song "openness period" (composers Luo Zhongzhong, Li Inha, Lu Tsai-i) analyzes the process of assimilation of national traditions in chamber and vocal creativity of Chinese composers, which found expression in the accentuation of articulatory and phonetic features of the pronunciation of the verbal text, the folk throat manner of singing, the interpretation of the voice as a color paint. The regional specificity of Chinese romance is considered on the example of the songs "Returning to Mount Qingshan" by Zhang Lizhong, "You will like it" by Shi Xin. The scientific novelty of the work is to identify transformational changes in Chinese music of the twentieth century. based on the peculiarities of the refraction of European new compositional techniques (dodecaphony, serialism), which is reflected in the romances of Chinese composers "New Wave" or "national Chinese musical avant-garde" (Luo Zhongzhong, Chen Mingzhu, Zhu Jianyer). Conclusions. The study found that the "period of openness" for China was a time of reform and change in all spheres of life, including the art of music. The basis for the creation of a national romantic musical and poetic genre was the German Kunstlied, whose principles were in tune with the aesthetic foundations of classical Chinese art. Changes in creative concepts in Chinese music based on musicians' awareness of the possibility of a subjective approach to art. Their figurative and semantic kinship became the key to the formation and approval of the national-genre foundations of Chinese artistic song. The ways of spreading and popularizing Chinese art song in the context of the idea of the festival-competition movement are also determined.

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Lęk przed monizmem: Potworność, parapolityka i nowożytne źródła filozofii porównawczej

Author(s): Mateusz Janik / Language(s): Polish Issue: 37/2020

This text analysis the ways in which monism was depicted as a doctrine situated on the crossroads of European and Asian philosophical traditions. The depiction of monism as monstrous, characteristic of the mainstream of early modern European thought, is set against the wider context of parapolitical critique of the concept of sovereignty and the cosmic horror concept. This juxtaposition is founded on the simultaneous lecture of the entry “Spinoza” in Pierre Bayle’s An Historical and Critical Dictionary and Howard P. Lovecraft’s story The Call of Cthulhu. In the article’s conclusion the author argues that monism should be treated as one of the currents of collectively orientated political ontology. This ontology may provide a basis for a new model of comparative studies, centred around the concept of commons, and critical towards modern cognitive-political framework, sustaining and naturalising the primitive accumulation processes.

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RELIGION AND PHILOSOPHY AS A BASIS FOR KOREAN CULTURE COURSES AT UNIVERSITY LEVEL

Author(s): Ildze Šķestere / Language(s): English Issue: 2/2021

This paper will examine one case of building an introductory Korean culture course syllabus, at the outset focusing mainly on philosophical and religious concepts. By examining this case and looking at the success of the course like this in its initial stages, further suggestions will be made for its improvement and conclusions provided as to whether shifting the major focus on religion and philosophy would be worthwhile in a course of this kind.

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ZHONG YONG – KILKA UWAG O ZNACZENIU I TŁUMACZENIU TYTUŁU

Author(s): Katarzyna Pejda / Language(s): Polish Issue: 9/2021

Zhong Yong – one of the Four Books of Confucian philosophy – presents various and complicated concepts of early Chinese philosophy in the form of a guideline for people who aspire to become a sage. Zhong Yong’s ambiguity is obvious; not only the main idea of integrity or sincerity – cheng – but also the concepts of zhong and yong, which separately and together provide a perplexing problem for translators. The main aim of this article is to analyse the contents of these self-development guidelines, as well as to propose an interpretation of the two terms zhong and yong, and their meaning as a phrase. I argue that the traditional translation – the Doctrine of the Mean – is inaccurate, not only because it omits the meaning of yong, but because it also does not comply with the relativist- and context-oriented thought of Early Confucian masters.

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