Spontaneous Expression and Spontaneous Improvisation ‒ What Contemporary Improvising Artists Can Learn from Chinese Artists-Philosophers

Author(s): Rafał Mazur / Language(s): English Issue: 1/2014

Spontaneous expression is a unique method of artistic creation that emerged from within a circle of Chinese Confucian scholar-philosophers for whom artistic creation comple-mented their philosophical activities. Free improvisation is a new phenomenon of the European art scene. It is typified by spontaneous, often ad hoc creation, without prior preparation of the act or the object. I want to illustrate the similarities in the strategies of creation between ‘spontaneous expression’ and ‘free improvisation’ and the extent to which the philosophical foundations and resulting strategies of the former can be used in the latter, demonstrating the philosophical basis for this artistic discipline. I will primarily consider the mind of the creator, and justify the thesis that the state of mind, or mental attitude, necessary for the practice of spontaneous expression could be useful in the de-velopment of the practice of free improvisation in contemporary art (European art here would be inaccurate). A ‘method without method’ built on the basis of Chinese philosophy can help generate a strategy to develop and improve the skills of improvisation among contemporary European artists and contribute to the development of a contemporary philosophy of free improvisation. It is my opinion that these are fields that lie fallow. This would be an attempt to adapt the strategy of creation borne of original Chinese philosophy to contemporary artistic activities and aesthetic studies: a kind of transcultural bridge.

The Image of the World in Yijing 易经 – an Attempt to Identify the Intellectual Context Proper to Chinese Philosophy

Author(s): Anna Iwona WÓJCIK / Language(s): English Issue: 1/2014

Before we think about reality, before we talk about it or remain silent, first we have some of the most basic images. What do philosophers brought up in the given cul-ture have in mind when they use the term ‘reality’? In this article I attempt to iden-tify and elaborate the intellectual context proper to Chinese (especially Confucian and Daoist) philosophical culture, by presenting its most general features. How deep must we probe to find the internal network of sense that is the basis of Confucian, and Daoist images of reality? What we are looking for can be found by trying to think in a context that is broader than the merely linguistic context. This broader context is that provided by philosophical understanding of the terms: ‘world,’ ‘individual being,’ ‘thing,’ ‘truth,’ ‘wisdom.’

İbn Miskeveyh’de Estetiğin Tezâhürleri

Author(s): Ramazan Turan / Language(s): Turkish Issue: 2/2017

It cannot be said that Ibn Miskawayh (d. 421/1030) who lived in the 11th century, systematically addressed the fundamental issues of aesthetics and philosophy of art. But he dealt with aesthetic experience and beauty as a problem. He regards the basic characters of the aesthetic experience as unity. The unity is the nature of the divine and purpose of seeking harmony, proportion and rhythm in the physical world is to approach this unity. According to him, the beauty is an objective concept and the thing that is beautiful is determined in the triangle of soul-nature-matter. What makes something beautiful is the harmony between the soul that reflects the divine and the sufficiency of the substance which has an ability to take it. When the artist processes the appropriate thing for the soul on the matter then the completeness arises. The completeness is the product of the relationship between theory and practice, each of them completes the other. Ibn Miskawayh also analyzes music and poetry in his work, and he thinks that music is the closest experience to reach the divine. The experience which is obtained through music is more influential than any other arts. In his view, music is related to the unity and the cosmic order. He has a prudent approach to poetry because he draws attention to the fact that the poetry uses tricks which irritate direct the soul.Summary: The aim of this study is to examine the aesthetics experience and beauty expressions in the Ibn Miskawayh’s (d. 421/1030) thought. He dealt with aesthetic experience and beauty as a problem. He mentions two kinds of beauty perception: the first one is temporary and partial beauty, the other one is general beauty perception. The temporary and partial beauty sense is individual, there is no objective criterion. But the general beauty sense is mentioned as an objective and the real beauty. According to him, the forms are seen beautifully by people is a result of the completeness and harmony between elements. Ibn Miskawayh's view of aesthetic experience arises in four aspects. The first is triangle of soul-nature-matter where the nature is the front namely the dimension in which nature is effective when we have to determine the aesthetic harmony between matter and soul. The intervention of the artist at this dimension has no effect. Beauty, unity and harmony are determined by the ability of material to take shape and the model taken from the soul. The more the resulting product represents the soul, the more its impact on the perceiving. This is the effect on objects that appear as beauty, flaw, ugliness, and that perceive visually.In the second dimension, which is the triangle of soul-nature-matter, the artist takes place between nature and material, where the artist is more active. Artist composes a matter while performing art. The aesthetic formation of the artist's product, in the first place, is the representation of the nature and even the soul forms. If the artist reflects the forms of the soul in his work and he imitates its forms, the product which is obtained becomes better. At that moment the artist enjoys his art, takes pleasure and feels special feelings.The other dimension is the aesthetic experience that is obtained by avoiding the effects of nature, which is only about music. According to him, the pleasure of music is more effective than the others and it is like pleasures of the divine world. A person who is competent to receive the divine goes beyond physical pleasures by the influence of music. But on the contrary, there are also some voices that affect the person in the negative and that disturb the soul.Forth, the material dimension. Although the source of the principles that enable the aesthetic experience base on in the divine world, the material has an effect on this experience. In other words, in the formation of this experience, the ability of the material to take the form of soul must be perfect. He explains this by giving examples of the wax and seal. According to this, if the wax is not competent enough to receive, for example dry, wet, solid or melted, the seal cannot take that form even if it is competent to give a copy, the wax cannot take it. Therefore, it must be free from imperfections.According to him, the reasons why we perceive something beautiful are the balance, harmony, rhythm, and conformity in colors and measure. These criteria are different for every artistic experience. Moderation and balance are related to visual experience; harmony and rhythm are related to music; hardness, softness, loudness is related to sound and meter is related to literature. All of these arise when the forms are that appropriate to what they received from. That is, there should be a proportion among soul, nature, artist and matter. There is no need for proportions if there is a unity but if there is no unity then we need for proportions that catch it. In addition, his emphasis on unity seems to reflect New Platonist influences as well as being a reflection of the principle of the Tawḥid of Islam.He draws attention to the fact that the unity must exist in literary arts, in poetry and literature should have a single measure and it must obey it until it is finished. In his opinion, if the order is established in literary arts, that is, if the place is not filled unnecessarily thing and put the words appropriate to the meaning, it is not pleasant to audience.According to him, if there is practice and experience in performing art then it becomes the art. If only the theoretical knowledge is taken into account and is not constantly supported by work and practice, it is not possible to talk about the artistic skill. According to him, the artist is also an expert in art. Hence, the harmony of the theoretical and the practical field provides the best excellence, while the route that leads to excellence determines the purpose of that thing in its nature.He explains the influence of music on souls in terms of the unity and the harmonic ratio. According to him, there is important relation between music and the order of the universe. According to him the divine order and harmony are the gifts of the Supreme Creator. There is only the man, who is intelligent, strives to reach divine order, which is the ultimate goal. This view is close to the tradition that represented by Ikhwān aṣ-Ṣafā.While Ibn Miskawayh has given place to poems in his works, he draws attention not only to its positive aspects but also to its negative effect. He does not reject poetry, but draws attention to the need for children to be taught poems about good habits supported by historical information. Also, they should be kept away from worthless poems which their subject is love and lovers and from the thought that the poets are fine-hearted persons. From this point, his opinions refer to the Platonic view, but Ibn Miskawayh’s concern about poetry is pure ethical concern.

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.

THE ROLE OF PHILOSOPHY IN TWENTY-FIRST CENTURY AFRICA: ACRITIQUE OF BODUNRIN

Author(s): Sunday Olaoluwa Dada / Language(s): English Issue: 3/2018

Philosophy in general and African Philosophy in particular is rocked by the crisis of relevance and is being called upon to justify the huge investment in it by the government. This paper attempts to examine the contribution that philosophers can make to the development of African countries given the fact that the continent suffers from the problem of development. The paper is a counter discourse to that of scholars like Bodunrin who thinks that philosophy cannot help in dealing with our present social, moral, religious and economic problems. The paper argues that the professionalization of philosophy which has led to it being treated as a theoretical inquiry does not preclude the capacity of philosophers to reason about the practical problem in the society with a view to solving them. It examines some of the ways by which African philosophers can contribute to social development in Africa such as the development of an ideology, the critique of African values and colonial legacies and the readiness to participate in practical matters so as to translate ideas and theories to social reality. The paper suggests that if philosophers are to be able to be involved in practical matters, there is the need for multi-disciplinary training for them. It concludes by suggesting a philosophy of praxis for Africa.

Ideologiczne podstawy maoistowskiego nacjonalizmu

Author(s): Joanna Wardęga / Language(s): Polish Issue: 1/2010

Idea demokracji konsocjonalnej w regionie Azji i Pacyfiku

Author(s): Adam W. Jelonek / Language(s): Polish Issue: 1/2010

Budowanie demokracji w Afryce: wizja George’a Carewa

Author(s): Krzysztof Trzciński / Language(s): Polish Issue: 1/2010

Śaṅkarasvāmin Nyāyapraveśája, avagy egy buddhista logikai kézikönyv a hatodik századból

Author(s): Sándor Pajor / Language(s): Hungarian Issue: 3/2018

This paper presents the Nyāya-praveśa (Introduction to Logic), a work by Dignāga’s pupil, Śaṅkarasvāmin, who lived in the middle of the sixth century AD. The Nyāya-praveśa is a brief treatise on Buddhist logic perhaps written for beginner students. With its help they could learn the fundamentals of reasoning and the different fallacies one can make in reasoning. The article contains a full Hungarian translation and an introduction with some remarks on the question of authorship.

THE ART REPRESENTATION OF HINDU-BALI PHILOSOPHY TO STRENGTHEN LOCAL WISDOM APPRECIATION ON CONTEMPORARY ARTWORK OF BALINESE DIASPORA PAINTERS IN YOGYAKARTA

Author(s): I Gede Arya Sucitra,Lasiyo Lasiyo,Sindung Tjahyadi / Language(s): English Issue: 2/2021

Balinese diaspora painter art creativity will not be separated from the bond of Balinese culture's noble values, especially aesthetic rules derived from Hinduism. The picture of Balinese diaspora painter paintings in Yogyakarta is loaded with the deposition of Hindu aesthetics, philosophical issues of Balinese locality values, contemporary art, to globalisation. This research investigates the content of Hinduism cosmology philosophy and the visual art representation of Balinese diaspora painters in Yogyakarta as part of the transformation of Balinese visual art aesthetics. Method of presentation of works with “mental representation system” and “visual language (sign)”. The three main rules of Hinduism aesthetics analyse the representation of painting, namely, truth (Satyam), chastity (Shivam) and beauty (Sundaram). This study found that the Balinese diaspora painters with traditional experience raise selfawareness of "a renewed thought, clashed" between understanding Bali's local wisdom with Javanese culture and gradually affecting their conceptual map representation of art in the contemporary art world. In conclusion, Balinese painter diaspora creative process is very pervasive aesthetic, cultural capital, term of Hindu-Balinese philosophy in the expression of symbolisation of artwork. They realised the importance of the philosophy of local Balinese traditions as fundamental conceptions of Hinduism aesthetics in everyday art creativity.

От критическо мислене в трансцендентализма през трансценденталното съзнание в будизма към практикуване на метафизика

Author(s): Ivan Kamburov / Language(s): English,Bulgarian Issue: 1/2023

The article presents the critical grounds for philosophizing in the Hinayana and Mahayana Buddhist schools in relation to Immanuel Kant’s transcendental philosophy. We develop the thesis that, in all three cases, the philosophical reflection takes place through the integration of the theory of the psyche and the theories of objects. Kant’s antinomies are compared with the metaphysical questions that Buddha has left unanswered. Against this background, the question of the transcendental subject as pure consciousness is discussed in Kant’s perspective and in Buddhism. Three models of transcendental philosophy are formulated: classical, non-classical, and post-classical.

Етическите принципи в класическата йога на Патанджали като универсален онтологичен фундамент

Author(s): Rumyana Toleva / Language(s): English,Bulgarian Issue: 1/2024

This article aims to present the classical yoga philosophy ethical foundations as a universal ontological fundament. The ethical principles expounded by Patanjali in Yoga Sutra are explored in two aspects of existence – in their dynamic applicability related to human social life and in their stability as a universal spiritual basis for manifestation of the various forms of existence. Patanjali’s ethics is set forth in its interrelation with the metaphysical, epistemological, and soteriological aspects of his study, the utmost purpose of which is complete termination of human suffering through transcendence of the phenomenal world. The article emphasizes the practical aspect of yoga ethics as an essential part of the yoga philosophy and as optional means for overcoming the contemporary challenges in the modern world of distorted human values.

Heideggerio nihilizmo įveikos perspektyvos dialoge su Rytų Azijos mąstymo tradicijomis

Author(s): Tautvydas Vėželis / Language(s): Lithuanian Issue: 104/2023

The article analyzes the perspectives of overcoming nihilism (Verwindung) by discussing Heidegger’s relationship with East Asian traditions of thought (first of all, chan/zen and daoism). We can consider the emergence of Enframing (Gestell or Ge-stell) of the essence of modern technology defined by the philosopher as a diagnosis of the fulfillment of nihilism and the end of the Western tradition of thought. By revealing the problem of the end of the Western metaphysical tradition and its overcoming, the aim is to understand the possibilities of the emergence of a different way of thinking by looking at the horizon of post-metaphysical thinking. Heidegger’s dialogue with the sources of Eastern thought is a search for perspectives on overcoming nihilism (Verwindung), which is inseparable from the deepening of self, other and mutual understanding.

Освобождаване на енергията дзин

Author(s): Valeri Ivanov / Language(s): Bulgarian Issue: 1/2024

In the practice of Chinese martial arts, especially those that are concеdered “internal”, a particular quality of energy is frequently discussed. This quality is called “jin” (jing, ching). Some authors differentiate between thirty-six kinds of such energy, trained and mastered in practice, while also occasionally commenting on their real application. The main and unifying theme regarding such energetic practices is that of the “freeing” and “release” of this energy. This release represents a peak in the mastering of all other nuances of this kind of energy but it is also a necessary step toward subsequent, more subtle levels of energetic practice and technique. To a certain extent, jin energy is at the threshold that separates the mystical-spiritual from the practically applicable in the internal and frequently esoteric practice of martial tradition. The application of jin energy is today considered an extraordinary achievement in Chinese martial arts, regardless of the ideological hue or religious-philosophical thinking associated with it.

ODNOS PREMA NESAVRŠENOSTI U JAPANSKOJ ESTETICI: ANALIZA KONCEPTA WABI-SABI

Author(s): Dragan Ćalović / Language(s): Serbian Issue: 2/2024

The text analyzes the understanding of the concept of wabi-sabi in Japanese aesthetics. It is a complex concept that connects two, originally separate but connected principles - wabi, which refers to sympathy caused by pity; especially liking but also an emotional connection with worn out and dilapidated; feeling of loneliness and helplessness; and sabi, in the sense of special beauty that accompanies loneliness; a state of solitude or peace. The author accepts the assumption that impermanence can be seen as a central feature of the Infinite, from which the entire universe emerges, and hence wabi-sabi can be understood as an aesthetic category that most closely describes the sensory experience of its essence. To feel the impermanence means to sensibly approach the very spirit of cosmic change. In this sense, the process of feeling pleasure in the imperfect, faded or degraded, can be understood as a manifestation of the spirit that reveals the Tao.

Interpreting Aboriginal and Torres Strait Islander Art and Artefacts

Author(s): Janis (John) Ozolins / Language(s): English Issue: 2/2024

The artefacts of Aboriginal and Torres Strait Islanders, common with other ethnic peoples, have to be understood not simply as objects that can be described in terms of their physical characteristics and the use made of them, but also as objects that have cultural, historical and religious significance. It is crucial that we see artefacts not just starkly as having utilitarian purposes, but immersed in an Aboriginal world in which they will have different meanings, if not uses, for different Aboriginal communities. It is also important to realise that every Aboriginal community will have prohibitions on outsiders knowing certain things which are sacred to that community and which only designated members of the community can know. Unless individuals are members of that community, they will not be privy to their secret matters. This is to preserve the value of not only certain ceremonies and rituals, but also specific designs, totems and objects. This means that the significance of the artefacts considered below can only be partially understood since our ability to enter the world of a specific Aboriginal community is limited.

Artifacts in Cultural Identity and Spiritual Practice. Disjointedness of Traditional and Modern Artifacts, Symbols and Signs with Living Examples from Africa

Author(s): Ernest Beyaraza / Language(s): English Issue: 2/2024

Animals adapt to nature for survival. Man, instead, makes nature adapt to him. Animals change identity. Man changes skills and environment. In this process, man makes artifacts. Artifact is a derivative of Latin arte (skill) and factum (made) and means what is created through skill and not merely given by nature. Artifacts, therefore, reflect human success and pride. Indigenous people with familial heritage from their ethnic groups hand down the heritage from old to new generations. So, any people is identified with the heritage. In this heritage, artifacts identify both their producers and the environment. As such, artifacts are typical of certain peoples and places. They cover whatever is man-made. In changing environment, man creates a cultural order and superimposes the cultural on the natural order. Like artifacts, the cultural order mirrors both human ingenuity and natural reality. Cultural order suits human needs in the specific environment and so identifies both creative people and nature. Man and nature are not merely observable physical phenomena. Humanity combines physical, mental or intellectual and spiritual nature. This tripartite phenomenon is reflected in cultures. Nature, too, is not inanimate clay from which cultural objects are modelled - a typical mistake of naturalism and scientism. Man and nature are different entities but complement each other. There is a supra-natural reality beyond them. Thus, artifacts are made in reference to personal needs, natural dictates and spiritual roles. Artifacts also reflect human relations. Human contacts initiate a cross-fertilisation of ideas, concepts, perspectives, aspirations, practices, artifacts and other aspects of life. Globalisation through traditional migrations led to ancient civilisations. These are later destroyed by marauding gangs that culminate into imperialism, colonialism and modern globalization. Due to capitalism, the new forces undermine skills and usage of traditional artifacts. Economically, the artifacts are avoided to open markets for factory products. Mental colonisation turns victims against their artifacts as inferior, immoral and irreligious. Administrative colonisation uses force to ban cultural objects and traditions. Science and technology make local industrialisation produce foreign artifacts that hardly satisfy human, environmental and spiritual needs. Demand is addition of value to people´s raw materials, make money, and develop in all aspects of life, particularly jealously guarding Ubuntu. Knowledge and artifacts transfer serve foregn interests. Independence balances cultures and avoids domination.

"Ofo" in Cultural Identity and Spiritual Practice in Owa Culture

Author(s): Ikechukwu Monday Osebor / Language(s): English Issue: 2/2024

The Ofo is a cultural artifact deeply rooted in the traditions of the Owa people, part of the Ika-Igbo nation in Delta State, Nigeria. It represents personal accomplishment, power, and individual success, often associated with the male's personal deity or "Chi" (God). The Ofo is typically a wooden staff, carved from a specific type of tree believed to have spiritual significance, serving both spiritual and social functions. The wood is usually polished and may be adorned with symbols or decorations. It often features intricate carvings, including anthropomorphic figures, animals, or geometric patterns. These carvings are not merely decorative but hold symbolic meanings related to the owner's lineage, status, or spiritual beliefs. This symbolic image is, however, challenged by globalization, preservation of sacred objects, and cultural interpretation to make contemporary relevance pose several challenges. This study maintains that the teaching and learning of the ethics of artifacts in our schools would be educational tools, allowing people to learn about the moral protection of artifacts, aesthetic utility, and harms to the environment. The implementation of the ethics of artifacts would encourage the use of conservation and application of techniques to preserve and restore artifacts. This includes chemical treatments, environmental controls, and physical repairs to learn more about the sacred objects and their importance in our environment.

Landscapes of transcendence: The aniconic sacrality of mountain geographies

Author(s): Sanjeeva Guneratne,Rmku Rajapaksha,Faiz M.M.T. Marikar / Language(s): English Issue: 2/2024

This study presents a philosophical and theoretical overview of the process by which “geography and spiritual growth converge” in the construction of sacrality and experience of transcendence in the aniconic mountain sacredscapes of the world. Parallel concepts such as apophasis and archetypicality are explored in order to emphasise their points of convergence, It is supported by a literature review that explores the commonalities between Buddhist Insight Meditation, geophenomenology and major Western discourses on transcendence and the wilderness as a restorative landscape. In this fashion, common ontological and epistemological ground is sought against the backdrop of what is evidently a rapprochement between these traditions in the modern era. This paper, therefore, is an attempt at integrating South and Southeast Asian notions of sacrality with Western psychobiological perspectives. The outcome shows the challenges and possibilities for the resacralisation of mountain sacredscapes the world over.

ДАОИЗМЪТ КАТО ФИЛОСОФИЯ НА ЕЗИКА

Author(s): Antoaneta Nikolova / Language(s): Bulgarian,Chinese Issue: 1/2025

The paper aims to debate Daoism as a “philosophy of language.” It is based on the presumption that Chinese philosophy, especially Daoism, regards the world as the changeable, variable, volatile, and fluid flow of changes and transformations. Therefore, one of the critical questions in this philosophy is how we can name this changeable world. How could naming, which is a kind of fixation, grasp the fluidity of reality? To understand the Daoist vision of naming and how Daoists resolved the issue of naming the changeability, the article discusses the concepts of Dao and ming and their relation in the opening paragraph of Daodejing. The article argues that its usual interpretation, which is close to the ideas of apophatism, needs revision. Through the content and expression of its treatises, Taoism presents a philosophy of language that is in harmony with procedural thinking. It expresses reality's multivariate and multi-layered nature, the ever-renewing inexhaustibility of the possibilities for realizing what is happening and its naming.