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Indijos Geostrateginio Vaidmens Rytų Azijoje Kultūrinės Prielaidos

Author(s): Konstantinas Andrijauskas / Language(s): Lithuanian / Issue: 86/2016

The article aims to assess the main culturally relevant premises that have prepared the soil for India’s current projection of influence into the East Asian region. Based on the assumption that geographical position is a principal factor of cultural influence diffusion, thus justifying a certain state’s developing role in the international system, this article deals with the geographical and historical layers of India’s participation in the cultural processes of its eastern neighbourhood and provides a summary of its contemporary connections with East Asia. The article reveals that India’s traditional localization within South Asia/Indian subcontinent has distorted and simplified its geo-strategic position, especially towards its eastern neighbourhood. Due especially to its cultural heritage and contemporary ideational appeal, India can reasonably claim a larger diplomatic, economic and security role in the eastern and particularly southeastern part of Asia.

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Indu Tradicinës Estetikos Teorinës Ir Praktinës Prielaidos

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 54/2008

The article discusses the theoretical and practical preconditions of Hindu traditional aesthetics. In the first part, focusing attention on the interaction between the aesthetics and mythology, religion and metaphysics, it exposes the positive influence of mythology, religion and metaphysics upon the development of aesthetics. In the next part, it considers the relations of Hindu aesthetics with art. The analysis of the definite aesthetical phenomena shows the essential interdependence of the both. Finally, the peculiarities of the concepts of pulchritude and art in Hindu aesthetics are concisely discussed.

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Indų Tradicinés Estetikos Teorinés Ir Praktinés Prielaidos

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 55/2008

The article discusses the theoretical and practical preconditions of Hindu traditional aesthetics. In the first part, focusing attention on the interaction between the aesthetics and mythology, religion and metaphysics, it exposes the positive influence of mythology, religion and metaphysics upon the development of aesthetics. In the next part, it considers the relations of Hindu aesthetics with art. The analysis of the definite aesthetical phenomena shows the essential interdependence of the both. Finally, the peculiarities of the concepts of pulchritude and art in Hindu aesthetics are concisely discussed.

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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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Interaction between Traditional Chinese Philosophical and Art-Historical Aesthetics

Author(s): Antanas Andrijauskas / Language(s): English / Issue: 99/2019

The focus of the article is the exposition of peculiarities and role of the two main trends of traditional Chinese aesthetic thought, philosophical and art-historical. It starts with a discussion of the main typological features of the most influential trends of philosophical aesthetics (Daoism, Confucianism, Chan). Later the attention is transferred to another art-critical aesthetic tradition (represented by Zong Bing, Xie He, Du Fu, Su Shi, Mi Fu, Guo Xi, Zhang Yanyuan, Shitao, Wang Kai etc.) that was born in the 4th century. It opposed philosophical aesthetics and was associated with development of different art forms in the country. This trend derived not from the abstract world of philosophical ideas but from the theoretical generalization of specific artistic practices. Particular attention is devoted not only to interaction between the ideas of these two most influential trends, but also to exposure of their role in the history Chinese aesthetic thought.

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Japonų Estetinių Kate Gorijų „Wabi“ Ir „Sabi“ Sklaida Kamakuros Epochoje

Author(s): Lina Gotautė / Language(s): Lithuanian / Issue: 87/2016

The article is intended to review the categories of wabi and sabi in the Kamakura period (1185–1333). It discusses the context of medieval feudal Japan and the resulting conditions for the formation of samurai-influenced Zen Buddhism ideas as well as the concept of wabi and sabi categories. The concept of beauty based on asceticism, simplicity, charm of ancient patina and realistic portrayal is analyzed with the help of concrete works of poetry, sculpture, painting and architecture that saw the daylight in the Kamakura Period and acquired common aspects of Zen Buddhism and wabi-sabi aesthetic features, which perfectly represent the aspects of the worldview of the Kamakura Period and the creation of aesthetic experience around oneself. Since the Kamakura aesthetics Period is described as it is manifested in everyday life of the people of various social strata and visible in everyday objects, historical realities as well as the environment accessible to different people, it brings itself closer to the medieval man in Japan, but at the same time it does not lose its relevance in the era of current global society, when in the light of wabi-sabi criteria it is possible to discover the essential differences not only applicable to the feudal period, but also within the comparison of nowadays East and West, differences in thinking traditions, similarities and the coexistence of aesthetic traditions.

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Japonų Estetinių Kategorijų „Wabi“ Ir „Sabi“ Sklaida Kamakuros Epochoje

Author(s): Lina Gotautė / Language(s): Lithuanian / Issue: 88/2016

The article is intended to review the categories of wabi and sabi in the Kamakura period (1185–1333). It discusses the context of medieval feudal Japan and the resulting conditions for the formation of samurai-influenced Zen Buddhism ideas as well as the concept of wabi and sabi categories. The concept of beauty based on asceticism, simplicity, charm of ancient patina and realistic portrayal is analyzed with the help of concrete works of poetry, sculpture, painting and architecture that saw the daylight in the Kamakura Period and acquired common aspects of Zen Buddhism and wabi-sabi aesthetic features, which perfectly represent the aspects of the worldview of the Kamakura Period and the creation of aesthetic experience around oneself. Since the Kamakura aesthetics Period is described as it is manifested in everyday life of the people of various social strata and visible in everyday objects, historical realities as well as the environment accessible to different people, it brings itself closer to the medieval man in Japan, but at the same time it does not lose its relevance in the era of current global society, when in the light of wabi-sabi criteria it is possible to discover the essential differences not only applicable to the feudal period, but also within the comparison of nowadays East and West, differences in thinking traditions, similarities and the coexistence of aesthetic traditions.

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Ką Reiškia Mokytis Pagal Konfucijaus Knygą Apmąstymai Ir Pašnekesiai

Author(s): Julius Vaitkevičius / Language(s): Lithuanian / Issue: 87/2016

This article is dedicated to the most important theme in the Confucian classics. It ultimately defines the very essence of Confucianism. The paper analyzes the true meaning of learning and studying in the Confucian line of thought through the prism of life, experience, self-perfection and joy of learning. It also links the Confucian concept of “learning and studying“ to thoughts and traditions in Lithuanian culture drawing the conclusion that the joy of learning is capable of building the bridge that can connect our nations and help us better understand the nature of the world and ourselves. The deeper analysis of 学 “xue“ reveals that learning and studying is not just about going to school, listening to teachers, reading or reciting books, or getting a better job. It is also about improving the quality of life helping one to become a better person, a happier person, a more knowledgeable person who is deeply aware of himself and his surroundings. That is the ultimate goal of Confucianism.

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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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KİNTSUGİ: YARA İZLERİNİN GÜZELLİĞİ

Author(s): Ece KANIŞKAN / Language(s): Turkish / Issue: 21/2018

If we try to understand the concept of Japan's philosophy, which is especially taken from Zen Buddhist approach, we understand how the defects are great virtue. Their aims are to make defects and signs of time, be more apparent instead of removing them. This transformation plays a role in the emergence of the art of tamiri kintsugi with a valuable metal such as gold. This art has been used for centuries. Today, however, the intended use is not only for the repair of a broken part.This study was carried out by qualitative research methods through the literature survey, and the history of the kintsugi technique, the application of the technique and some examples from the artists who use contemporary ceramics arts are considered, considering that the unique style of Japanese culture and its reflection on art will contribute to the art.

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Kinų Estetinių Kategorijų Savitumo Ieškojimai

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 81/2014

This article is the continuation of the text on Chinese aesthetics, published in the Logos 79 (pp. 74–84) and Logos 80 (pp. 65–2). From general theoretical consideration concerning the influence of Chinese idiographic script on aesthetic categories it goes to the detailed analysis of separate categories as well as entire their system. At the beginning, it concentrates attention on the peculiarities of the system of Chinese aesthetic categories which determines the explanation of organic and holistic world view, unity of ideal and real principles, influence of various systems of classification. Further, it discusses the naturalness, simplicity, purity, spirit, and spontaneity of such aesthetic categories as Emptiness, Dao, qi, yin and yang. The author of the article is the most interested in the category of „blandness“. He tries to explicate its peculiarity as well as the forms of its expression in monochromic paintings.

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Kinų Estetiškumo Samprata Ir Vaizduojamosios Dailės Traktatų Savitumas

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 80/2014

This paper explores various aspects of traditional Chinese aesthetics and the specific features of its inherent concepts. It focuses on the ancient mythical sources of the aesthetics; analyzes in detail the development of its concepts in classical Confucianism, Taoism and Chan writings; concisely describes specifics of all major trends of Chinese aesthetic approaches to the aesthetic nature of art and the fundamental cognitive problems; reveals the theoretical and methodological art criticism and aesthetic approaches to the phenomena of artistic differences; highlights the relations between aesthetic concepts of art criticism and actual needs of artistic practice; on the basis of comparative analysis it examines the peculiarities of Chinese art of calligraphy and painting described in various treatises.

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Kinų Estetiškumo Samprata Ir Vaizduojamosios Dailės Traktatų Savitumas

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 79/2014

This paper explores various aspects of traditional Chinese aesthetics and the specific features of its inherent concepts. It focuses on the ancient mythical sources of the aesthetics; analyzes in detail the development of its concepts in classical Confucianism, Taoism and Chan writings; concisely describes specifics of all major trends of Chinese aesthetic approaches to the aesthetic nature of art and the fundamental cognitive problems; reveals the theoretical and methodological art criticism and aesthetic approaches to the phenomena of artistic differences; highlights the relations between aesthetic concepts of art criticism and actual needs of artistic practice; on the basis of comparative analysis it examines the peculiarities of Chinese art of calligraphy and painting described in various treatises.

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Kinų Meno Samprata , Meno Metodas , Dailės Mokyklos Ir Dailės Kryptys

Author(s): Antanas Andrijauskas / Language(s): Lithuanian / Issue: 83/2015

The article utilizes a comparative method: to the analyze the Chinese concept of art and the peculiarities of traditional Chinese philosophy of art; to summarize the results of Western inquirers in the field; to highlight the peculiarities of its concepts as the offsprings of the cooperation of art and cultural space; to explicate the heterogeneity of Chinese art concept; to discuss the methods, styles, schools and trends in Chinese music, poetry, calligraphy, painting; to explain how traditional Chinese artist creates, teaches and establishes his own school; to inquire into the various external and internal factors which influence the development of the main Chinese art schools and trends.

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Klasikinės Kinų Ir Vakarų Estetikos Lyginimo Problemos

Author(s): Loreta Poškaitė / Language(s): Lithuanian / Issue: 88/2016

The article critically examines too generalized treatment of Chinese and Western aesthetics in their comparative studies, which, according to the author, is one of the biggest obstacles in the more nuanced and better understanding of the differences and similarities between those two traditions. The article aims to clarify and discuss the examples of such generalizations and the problems of the comparisons between Classical Western and Chinese aesthetics implied by them. In the first part, the main „narratives“ of Chinese and Western aesthetics are discussed, namely, the one of „expression“ and „imitation“ accordingly, with the particular attention to their treatment by some sinologists, as well as the sources of those narratives in the philosophical ideas of every aesthetic tradition. The second part analyses the impact of those philosophical ideas to the treatment of the relation between reality and art in Chinese and Western theories of art, as it was presented in the comparative studies by Western and Chinese scholars. The final part critically examines the problems of the interpretation and understanding of the meaning of the most important aesthetic concepts in Chinese and Western aesthetics.

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Klasikinės Kinų Ir Vakarų Estetikos Lyginimo Problemos

Author(s): Loreta Poškaitė / Language(s): Lithuanian / Issue: 87/2016

The article critically examines too generalized treatment of Chinese and Western aesthetics in their comparative studies, which, according to the author, is one of the biggest obstacles in the more nuanced and better understanding of the differences and similarities between those two traditions. The article aims to clarify and discuss the examples of such generalizations and the problems of the comparisons between Classical Western and Chinese aesthetics implied by them. In the first part, the main „narratives“ of Chinese and Western aesthetics are discussed, namely, the one of „expression“ and „imitation“ accordingly, with the particular attention to their treatment by some sinologists, as well as the sources of those narratives in the philosophical ideas of every aesthetic tradition. The second part analyses the impact of those philosophical ideas to the treatment of the relation between reality and art in Chinese and Western theories of art, as it was presented in the comparative studies by Western and Chinese scholars. The final part critically examines the problems of the interpretation and understanding of the meaning of the most important aesthetic concepts in Chinese and Western aesthetics.

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Klasikinio Daoizmo Mąstytojų Laozi Ir Zhuangzi Prado Energijos Interpretacija

Author(s): Julius Vaitkevičius / Language(s): Lithuanian / Issue: 70/2012

The focus of this article is to provide a philosophical analysis of the concept of primordial energy 氣qì as discussed in “Laozi” and “Zhuangzi”, the fundamental texts of the so-called classical period of Chinese daoist philosophy. Basing his arguments on the ideas presented in these texts, the author discusses the peculiarities of the concept of primordial energy 氣qì, and its significance in classical daoist philosophy, as well as its role forming the Chinese philosophical understanding of human being and the surrounding nature. The focus of the discussion gradually shifts to the analysis of the features and functions of the concept of primordial energy 氣qì idea in daoist philosophical tradition, exploring the reasons why Western thinkers often tend to compare the Chinese concept of primordial energy to Western concepts of matter and energy.

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Klasyfikacja doktryn buddyjskich według Zongmiego a istota religii

Author(s): Kamil Nowak / Language(s): Polish / Issue: 2/2017

In the paper the system of doctrinal classification (pànjiào 判教) created by the Buddhist scholar of the Chinese Tang Dynasty (618–907) Guifeng Zongmi (Guīfēng Zōngmì 圭峰宗密, 780–841) has been analyzed. The paper consists of two parts. In the first part the author describes Zongmi’s doctrinal classification, focusing on the process of the deconstruction of consecutive Buddhist doctrines. In the second part the author compares particular doctrines with the most important theories on the essence of religion. The comparison aims at revealing the limitations of those theories, when applied to the understanding of the religious systems, based on the gradual attaining of gnosis, such as the system of panjiao. In the conclusion the author suggests the creation of a synthesis of the enlisted concepts of religious studies, based on the synthesis of the Buddhist doctrines combined within the panjiao system.

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Konfucianizmo Ir Krikščionybės Doktrininės Analogijos Ir Skirtumai Tarpreliginio Dialogo Perspektyvoje

Author(s): Romualdas Dulskis / Language(s): Lithuanian / Issue: 80/2014

Confucianism, a system rich in humanistic values and teachings for living a noble life, is an invaluable partner for Christianity in interreligious as well as intercultural dialogue. We have arrived at a time for Confucianism to be understood not as a “pagan“ opponent to the Christian Weltanschauung, but rather as a precursor and partner in creating a more humane world and revealing the essential mission of man. In the course of analyzing the possibilities of Confucian and Christian dialogue, two important aspects of Christian teachings become evident. Firstly, to what extent Christian doctrine is unique and to what extent it conveys a common religious human quest and, secondly, comparing both teachings helps to lead to a clearer perception of where lies the essence of Christian love and salvation. Confucianism does not operate within such concepts as Revelation or a Saviour, both of which are basic to Christianity. The ultimate Confucian goals of the individual and society are outlined in ways more characteristic to Chinese thinking, – humaneness, harmony, the Heavenly Principle. In Confucianism one of the central concepts, the will of Heaven, conveys the relationship between humanity and the Supreme Being. It can be said that in Confucian will of Heaven a certain Divine Revelation is manifested in a way that leads humanity toward its ultimate goal.

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Konfucianizmo Ir Krikščionybės Doktrininės Analogijos Ir Skirtumai Tarpreliginio Dialogo Perspektyvoje

Author(s): Romualdas Dulskis / Language(s): Lithuanian / Issue: 78/2014

Confucianism, a system rich in humanistic values and teachings for living a noble life, is an invaluable partner for Christianity in interreligious as well as intercultural dialogue. We have arrived at a time for Confucianism to be understood not as a “pagan“ opponent to the Christian Weltanschauung, but rather as a precursor and partner in creating a more humane world and revealing the essential mission of man. In the course of analyzing the possibilities of Confucian and Christian dialogue, two important aspects of Christian teachings become evident. Firstly, to what extent Christian doctrine is unique and to what extent it conveys a common religious human quest and, secondly, comparing both teachings helps to lead to a clearer perception of where lies the essence of Christian love and salvation. Confucianism does not operate within such concepts as Revelation or a Saviour, both of which are basic to Christianity. The ultimate Confucian goals of the individual and society are outlined in ways more characteristic to Chinese thinking, – humaneness, harmony, the Heavenly Principle. In Confucianism one of the central concepts, the will of Heaven, conveys the relationship between humanity and the Supreme Being. It can be said that in Confucian will of Heaven a certain Divine Revelation is manifested in a way that leads humanity toward its ultimate goal.

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