One of the finest private collections of Indian, Himalayan and Southeast Asian art in America is owned by James and Marilynn Alsdorf. This catalogue provides an opportunity for individuals other than scholars and specialists to view the works of art.

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Asian Art:The Study of Montien Boonma in the Undergraduate Education ClassroomMary Ann Maslak (bio)John Dewey, in his Experience and Nature, expounds on the developmental nature of human experience premised on the concept of qualitative propinquity—the integration and harmonization with the environment exemplifies the essence of experience. This principal line of reasoning shapes his fundamental argument in Art as Experience, one of Dewey's most significant educational (...) works used today.1 In it he argues that the roots of experience lie in the commonplace occurrences in the course of human life. The integration of the meaning and value drawn from previous and present circumstances results in an "experience," which, in turn, constitutes a foundation of learning for the individual. Dewey's ideas are not only appropriate but also useful in the field of education. In what ways may future teachers experience art? How does the experiential process of examining art contribute to future teachers' pedagogical tools that can be used to incorporate art into the elementary school classroom?This article demonstrates how an experiential study of a work of art in an undergraduate education course—part of the St. John's University/Lincoln Center Institute for the Arts in Education (LCIAE) Higher Education Collaborative program in New York City—contributes to the pedagogical repertoire of process-based learning for teachers and their future students. The article begins by providing a theoretical background for the work, followed by the definitions of three concepts that are pertinent to this piece: aesthetic education, the experiential approach to learning, and process-based instruction.2 The article then focuses on the specific aims of the university's arts course, the LCIAE Partnership Program, and data and analyses from the process-based aesthetic learning for the students enrolled in the course. It ends with conclusions about aesthetic education. [End Page 67]Theoretical BackgroundAssuming the sociocultural nature of learning suggested by Dewey demands consideration of the layers of experience, it is necessary to discern the learners' emerging thoughts in light of various experiences. As a teacher, I subscribe to this belief and wanted to note how I could employ scaffolding practices to the aesthetic education learning experience for my undergraduate students. I aimed to accomplish this goal by scaffolding aesthetic experiences for students from their personal points of understanding, the university's classroom setting, and the context of museum exhibitions.Scaffolding instruction has a lengthy and persuasive history that provided the underpinning for my approach to the course.3 The intent of scaffolding is to help a learner undertake a task or goal that is beyond the learner's present level.4 Effective scaffolding encompasses a number of key features within cognitive and emotional domains.5 Cognitive elements include (1) selecting challenging activities for students; (2) monitoring their efforts; (3) using guiding questions to develop self-regulation; and (4) using indirect questioning strategies to extend and enhance the learning experience. Emotional support includes (1) structuring experiences to discourage frustration and encourage confidence; and (2) creating an atmosphere of comfort. While not all these features are applicable to scaffolding activities in an art education course of a university's teacher education program, I was mindful of their importance in structuring this course.Given that this course was my undergraduate students' initial exposure to aesthetic education, scaffolding served as an appropriate systematic pedagogical approach. In the words of Maxine Greene, aesthetic education is an intentional experience "designed to nurture appreciative, reflective, cultural, participatory engagements with the arts" by enabling the student to observe, analyze, and interpret meaning.6 In other words, it is the interactive study of the nature and expression of beauty. It seeks to enhance perception and affect, cognitive development, and personal growth by assuming that works of art provide an inexhaustible resource for exploration and reflection by the learner and an understanding based on the cultural context in which the artwork was created. Greene's philosophy, developed from the work of Dewey, posits that understanding a work of art is based on the active connection to and association with the piece. Therefore, the approach to its study is of the utmost importance.The experiential approach to learning is a... (shrink)

Modernism is often implicitly known and understood from the “Western modernist” perspective and history. The wide recognition of the Western modernist canon as centre and universal displaces the contribution and significance of the non-Western world in the modern movement. Within Asia, the modernisms that arose from various nations in the region had subtly different notions of culture, identity, nationhood, and modernity, although almost every Asian country was related in one way or another to the history of Western imperialism. Using (...) a comparative analysis, this article examines modernism in twentieth-century Asia from a multicultural viewpoint, and bringing into picture the place of Asia in the history of modernism. (shrink)

Modernism is often implicitly known and understood from the “Western modernist” perspective and history. The wide recognition of the Western modernist canon as centre and universal displaces the contribution and significance of the non-Western world in the modern movement. Within Asia, the modernisms that arose from various nations in the region had subtly different notions of culture, identity, nationhood, and modernity, although almost every Asian country was related in one way or another to the history of Western imperialism. Using (...) a comparative analysis, this article examines modernism in twentieth-century Asia from a multicultural viewpoint, and bringing into picture the place of Asia in the history of modernism. (shrink)

By demonstrating that many of the concepts and styles associated with Modernism were actually derived directly from cultures such as Japan, China, Korea, India, Egypt, Assyria, West Africa, and the Pacific Islands, this book provides an entirely new way of looking at the evolution of Modernist art and literature in the West.

This paper discusses the impact of East Asian philosophical ideas on the origins and development of martial arts. The article argues that the ideas of Daoist philosophy were developed into ‘soft styles’ or ‘internal schools’ that are based on the doctrine of ‘wuwei’ (action through non-action, effortless action) which follows the path of Yin. These styles are in opposition to ‘external’ or ‘hard styles’ of martial arts that follow the path of Yang. Daoist philosophy of ‘ziran’ (naturalness, spontaneity) influenced (...) ‘animal’ or ‘imitation styles’ and the paradigm of natural, unplanned, and unforced combat movements. The influence of Buddhism on martial arts is found in techniques of mental tranquillity training for the extreme conditions of combat. The work also shows the significance of Confucianism for the formation of a code of honor for warriors, which includes the ethics of duty and respect. (shrink)

The first book to focus on the intersection of Western philosophy and the Asian martial arts, _Striking Beauty_ comparatively studies the historical and philosophical traditions of martial arts practice and their ethical value in the modern world. Expanding Western philosophy's global outlook, the book forces a theoretical reckoning with the concerns of Chinese philosophy and the aesthetic and technical dimensions of martial arts practice. _Striking Beauty_ explains the relationship between Asian martial arts and the Chinese philosophical traditions of (...) Confucianism, Buddhism, and Daoism, in addition to Sunzi's _Art of War_. It connects martial arts practice to the Western concepts of mind-body dualism and materialism, sports aesthetics, and the ethics of violence. The work ameliorates Western philosophy's hostility toward the body, emphasizing the pleasure of watching and engaging in martial arts, along with their beauty and the ethical problem of their violence. (shrink)

Martial-arts practice is not quite anything else: it is like sport, but is not sport; it constantly refers to and as it were cohabits with violence, but is not violent; it is dance-like but not dance. It shares a common athleticism with sports and dance, yet stands apart from both, especially through its paradoxical commitment to the external value of being an instrument of violence. My discussion seeks to illuminate martial arts practice by systematic contrast to games of sport and (...) works of performance art, especially dance. (shrink)

Striking Beauty: A Philosophical Look at the Asian Martial Arts by Barry Allen is the first English-language book to engage in a systematic investigation of the philosophical underpinnings of the Asian martial arts. In doing so, it aims to construct the Asian martial arts, specifically the Chinese martial traditions, as a field for comparative philosophy, wherein the investigation of Chinese philosophy through the martial traditions can provide illumination into Western questions of aesthetics, ethics, self-hood, and intentionality. Barry (...) Allen's own devotion to the study of the martial arts informs his philosophical investigations: rather than treat the Chinese martial and philosophical traditions as valuable only... (shrink)

In this paper, I approach the trolley problem from a different angle, and align the perspective with non-Western models of philosophy as instruction for life. I argue that the trolley problem is an...

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedThe Ambitions of Curiosity: Understanding the World in Ancient Greece and China. By G.E.R. Lloyd. Cambridge: Cambridge University Press, 2002. Pp. xvi + 175. Price not given.The Art of the Han Essay: Wang Fu's Ch'ien-Fu Lun. By Anne Behnke Kinney. Tempe: Center for Asian Studies, Arizona State University, 1990. Pp. xi + 154. Paper $10.00.The Autobiography of Jamgön Kongtrul: A Gem of Many Colors. By Jamgön Kongtrul (...) Lodrön Thayé and translated by Richard Barron (Chökyi Nyima). Ithaca, New York: Snow Lion Publications, 2003. Pp. xxii + 549. Price not given.Awesome Nightfall: The Life, Times, and Poetry of Saigyō. By William R. LaFleur. Boston: Wisdom Publications, 2003. Pp. xiii + 173. Paper $14.95.Becoming the Compassion Buddha: Tantric Mahamudra for Everyday Life. By Lama Thubten Yeshe, edited by Robina Courtin, and foreword by Geshe Lhundub Sopa. Boston: Wisdom Publications, 2003. Pp. xi + 194. Paper $14.95.Between Two Worlds East and West: An Autobiography. By J. N. Mohanty. New Delhi: Oxford University Press, 2002. Pp. ix + 134. Hardcover RS 525.00.The Chinese Face of Jesus Christ. Edited by Roman Malek, S.V.D. Sankt Augustin, Germany: Institut Monumenta Serica and China-Zentrum; and Nettetal, Germany: Steyler Verlag, 2002. Pp. 391. EUR 40.00.Chinese Medicine in Contemporary China: Plurality and Synthesis. By Volker Scheid. Durham and London: Duke University Press, 2002. Pp. xiv + 407. Hardcover $69.95. Paper $23.95.Confucian Feminist: Memoirs of Zeng Baosun (1893-1978). Translated and adapted by Thomas L. Kennedy. Philadelphia: American Philosophical Society, 2002. Pp. xxi + 170. Price not given.Consciousness Studies: Cross-Cultural Perspectives. By K. Ramakrishna Rao. Jefferson (North Carolina) and London: McFarland and Company, 2002. Pp. 367. Hardcover $65.00.Constituting Communities: Theravāda Buddhism and the Religious Cultures of South and Southeast Asia. Edited by John Clifford Holt, Jacob N. Kinnard, and Jonathan S. Walters. Albany: State University of New York Press, 2003. Pp. viii + 224. Hardcover $65.50. Paper $21.95.Developments in Indian Philosophy from Eighteenth Century Onwards: Classical and Western. By Daya Krishna. Volume X Part 1 of History of Science, Philosophy and Culture in Indian Civilization, edited by D. P. Chattopadhyaya. New [End Page 110] Delhi: Centre for Studies in Civilizations, 2001. Pp. xxiii + 417. Hardcover RS 1200.East and West: Identità e dialogo interculturale. By Giangiorgio Pasqualotto. Venezia: Marsilo Editori, 2003. Pp. 210. EUR 16.00.Effortless Action: Wu-wei as Conceptual Metaphor and Spiritual Ideal in Early China. By Edward Slingerland. New York: Oxford University Press, 2003. Pp. xii + 352. Price not given.Encountering Kā lī: In the Margins, at the Center, in the West. Edited by Rachel Fell McDermott and Jeffrey J. Kripal. Berkeley and Los Angeles: University of California Press, 2003. Pp. xviii + 321. Hardcover $55.00, £37.95. Paper $21.95, £15.95.Encyclopedia of Chinese Philosophy. Edited by Antonio S. Cua. New York and London: Routledge, 2003. Pp. xx + 1020. Hardcover $150.00.Essays on Indian Philosophy. By J. N. Mohanty and edited by Purushottama Bilimoria. New Delhi: Oxford University Press, 2002. Pp. xxxvii + 347. Paper RS 525.00.Faith, Humor, and Paradox. By Ignacio L. Götz. Westport, Connecticut: Praeger Publishers, 2002. Pp. 136. Hardcover $61.95.Four Illusions: Candrakīrti's Advice for Travelers on the Bodhisattva Path. Translated by Karen C. Lang. New York: Oxford University Press, 2003. Pp. xv + 240. Price not given.The Great Awakening: A Buddhist Social Theory. By David R. Loy. Boston: Wisdom Publications, 2003. Pp. 223. Paper $16.95.The Hidden History of The Tibetan Book of the Dead. By Bryan J. Cuevas. New York: Oxford University Press, 2003. Pp. xi + 328. Price not given.Huang Di nei jing su wen: Nature, Knowledge, Imagery in an Ancient Chinese Medical Text. By Paul U. Unschuld. Berkeley and Los Angeles: University of California Press, 2003. Pp. xii + 520. Hardcover $75.00, £52.00.In Dewey's Wake: Unfinished Work of Pragmatic Reconstruction. Edited by William J. Gavin. Albany: State University of New York Press, 2003. Pp. vi + 249. Hardcover $71.50. Paper $23.95.Knowledge and Freedom in Indian Philosophy. By Tara Chatterjea. Lanham, Maryland: Lexington Books, 2002. Pp. xvi + 159. Hardcover... (shrink)

This book opens up philosophical spaces for comparative discussions of education across ‘East and West’. It develops an intercultural dialogue by exploring the Anglo-American traditions of educational trans-/formation and European constructions of Bildung, alongside East Asian traditions of trans-/formation and development. Comparatively little research has been done in this area, and many questions concerning the commensurability of North American, European and East Asian pedagogies remain. Despite this dearth of theoretical research, there is ample evidence of continued interest in (...) (self-)formation through various East Asian practices, from martial arts to health and spiritual practices (e.g. Aikido, Tai Chi, Yoga, mindfulness etc.), suggesting that these ‘traditional’ practices and pedagogical relations have something important to offer, despite their marginal standing in educational discourse. This book will appeal to all researchers and students of comparative education studies with an interest in issues of interpretation and translation between different traditions and cultures. (shrink)

After noting some conditions of historical and contemporary context that favor a dialogue between pragmatism and East‐Asian thought, which could help generate a new international philosophical perspective, this essay focuses on several themes that pragmatism shares with classical Chinese philosophy. Among the interrelated themes explored are the primacy of practice, the emphasis on pluralism, context, and flux, a recognition of fallibilism, an appreciation of the powers of art for individual, social, and political reconstruction, the pursuit of perfectionist self‐cultivation in (...) the art of living, and the crucial role of embodiment in this melioristic pursuit. The last section defends this somaesthetic emphasis against some likely criticisms and closes with an example of how occidental and East‐Asian somatic thinking can be productively integrated. (shrink)

The first major study since the 1930s of the relationship between American Transcendentalism and Asian religions, and the first comprehensive work to include post-Civil War Transcendentalists like Samuel Johnson, this book is encyclopedic in scope. Beginning with the inception of Transcendentalist Orientalism in Europe, Versluis covers the entire history of American Transcendentalism into the twentieth century, and the profound influence of Orientalism on the movement--including its analogues and influences in world religious dialogue. He examines what he calls "positive Orientalism," (...) which recognizes the value and perennial truths in Asian religions and cultures, not only in the writings of major figures like Thoreau and Emerson, but also in contemporary popular magazines. Versluis's exploration of the impact of Transcendentalism on the twentieth-century study of comparative religions has ramifications for the study of religious history, comparative religion, literature, politics, history, and art history. (shrink)

Journal of Chinese Philosophy, EarlyView.

The now-global phenomenon of Asian martial arts traces back to something that began in China. The idea the Chinese communicated was the dual cultivation of the spiritual and the martial, each perfected in the other, with the proof of perfection being an effortless mastery of violence. I look at one phase of the interaction between Asian martial arts and Chinese thought, with a reading of the Zhuangzi 莊子 and the Daodejing 道德經 from a martial arts perspective. I do (...) not claim that the authors knew about martial arts. It was not Daoist masters who took up martial arts, but martial arts masters who, at a specific time, turned to Daoism to explain the significance of their art. Today, though, Daoist concepts are ubiquitous in martial arts literature, and a reading of these classics from a martial arts perspective shows how they lend themselves to philosophical thinking about this practice. (shrink)

Bergson’s philosophy marked a turning point in Western understanding of time by differentiating quantitative time—apprehended by intelligence—from qualitative time—duration, embedded in consciousne...

While the artistic traditions of the various countries of East, Southeast and South Asia display distinctive aesthetic features, this volume examines the qualities of each area, and seeks commonalities that define the aesthetics of a broader Asian civilization. Contributors includes specialists in philosophy, literature, art history, religion and the comparative study of cultures. Some of them are writing from within their own cultural traditions while others approach their subjects as outside observers. The book is divided into five sections, dealing (...) with Japanese, Korean, Chinese, Indian and Southeast Asian aesthetics. Individual chapters provide in-depth investigations of specific traditions, embracing both classical as well as modern aesthetic forms. The author suggest that Japanese culture is characterized by an openness to diverse cultural influences, Korean culture by "peninsularity," Chinese culture by parallels with the West, Indian culture by "rasa", and Southeast Asian culture by dilemmas of modernization. The volume as a whole integrates these studies, clarifying essential elements of each aesthetic culture and drawing on this material to characterize an Asian civilization that transcends individual countries and cultures. (shrink)

This paper addresses a need to re-examine the mind-body dualism established since Descartes. Descartes' dualism has been regarded by modern philosophers as an extremely insufficient solution to the problem of mind and body, from which is derived a long opposition in modern epistomology between idealism and empiricism. This dualism, bifurcating the region of spirit and matter, and the dichotomous models of thinking based on this dualism, have long dominated the world of modern philosophy and science. The paper examines states of (...) conscious experience from an East Asian perspective allowing analysis on achieved supernormal consciousness rather than a focus on “normal” or “subnormal.” The nature of the “transformation” of human consciousness will be studied both philosophically, as a transformation from “provisional” dualism to non-dualism, and neurophysiologically. The theoretical structure of the transformation will, in part, be examined through the model provided by a Japanese medieval Zen master, Takuan Sôhô. Then, to verify Takuan's theoretical explanation, toposcopic analysis of electroencephalographs will be presented of the performance of individuals practicing the martial arts technique of tôate. (shrink)

On May 18, 1958, Martin Heidegger led a one-day colloquium in Freiburg on the topic of “Art and Thinking” together with Shin’ichi Hisamatsu, the Japanese philosopher and Buddhist scholar. The protocol of the colloquium, published in volume 16 of Heidegger’s Gesamtausgabe, presents a conversation among the colloquium participants about art in the East Asian world. In this conversation, Heidegger is particularly interested in hearing from Hisamatsu about the conception of art present in the East Asian world prior to (...) the introduction of Western aesthetic concepts and about the relationship between form and formlessness in East Asian aesthetics. The conversation allows Hisamatsu to clarify for the participants what he takes to be the most essential features of Zen art and how these features compare with those found in modern Western abstract art. (shrink)

Guiding you through the topics that shape aesthetics, this introduction explores the truth, meaning, taste, aesthetic merit and the role of perception. Each chapter offers a wealth of examples from Asia, including Sonny Liew's The Art of Charlie Chan Hock Chye, Tan Tai Yong, Kueh Appreciation Day and dragon kiln pottery. They deal with controversies and address central questions, such as: When are artworks considered dangerous? Why does Socrates recommend the banishment of the poets? What are the problems and challenges (...) posed by forgery? Here is a creative and accessible introduction that inspires a love for art and aesthetics. (shrink)

Machine generated contents note: INTRODUCTION 1 -- Focus of the Sections and Sub-sections 1 -- East Asian Internet Resources 1 -- A Note on Using the Index 2 -- GENERAL WORKS ON PHILOSOPHY& RELIGION IN ASIA 5 -- BUDDHISM 37 -- Primary Sources 37 -- Buddhist Ethics 38 -- Buddhism and Judeo-Christianity 52 -- Zen Buddhism 69 -- Other Works on Buddhism 76 -- CONFUCIANISM 95 -- Chinese and Confucian Classics 95 -- Translations of the Four Books 95 -- (...) Translations of other Chinese Classics 97 -- Secondary Works on Confucianism and/or the Chinese Classics --00 -- Neo-Confucianism 136 -- Confucian Ethics 150 -- Works on Confucianism and Judeo-Christianity 172 -- TAOISM 191 -- Primary Sources in Translation 191 -- Secondary Works on Chuang-tzu, Lao-tse and/or Taoism192 -- Taoism and Judaeo-Christianity 205 -- CHINESE/ CONFUCIAN UNDERSTANDING OF RELIGION 209 -- BUSINESS & ECONOMIC ETHICS IN ASIA 223 -- General, Miscellaneous, and/or Background Material 223 -- Business & Economic Ethics: China 225 -- Business & Economic Ethics: Japan 226 -- Business & Economic Ethics: Korea 228 -- HUMAN RIGHTS IN THE EAST ASIAN CONTEXT 231 -- ASIAN WOMEN'S PHILOSOPHY &THEOLOGY 247 SELECTED COUNTRIES OF EAST ASIA 2. -- CHINA2 -- China and Christianity2 -- Jesuit Approach to Evangelization in China2( -- Other Works on China and Roman Catholicism2 -- China and Protestantism2 -- Other Works on China and Christianity28 -- Other Works on Chinese Culture and Philosophy 29 -- JA PA N 32 -- Buddhism in Japan32 -- Shintoism and Confucianism in Japan 33 -- Christianity in Japan33, -- Other Works on Japanese Culture, Philosophy and Religion34' -- KOREA35! -- Buddhism in Korea 35! -- Christianity in Korea 36' -- Confucianism and Christianity in Korea 36: -- General Works on Christianity in Korea 36E -- Korea and Catholicism 38C -- Korean-American Christianity 390 -- Confucianism in Korea 394 -- M injung Theology 404 -- Women's Issues and Feminist Theology in Korea 423 -- Shamanism in Korea 432 -- Other Works on Korea, Including General Works on Religion --437 -- EAST ASIAN INTERNET RESOURCES 455 -- SUBJECT-AREA WEB-SITES 455 -- MISCELLANEOUS PHILOSOPHICAL/RELIGIOUS -- STUDIES SITES456 -- EAST ASIAN ART, GEOGRAPHY, HISTORY, AND/OR -- CULTURE SITES 466 -- OTHER ASIAN INTEREST WEB-SITES 471 -- CHINA471 -- JAPAN 480 -- KOREA 481 -- SINGAPORE 486 -- DISCUSSIONAND/OR NEWS GROUPS 486 -- ONLINE (ELECTRONIC) JOURNALS AND NEWSLETTERS488 -- EAST ASIAN ENGLISH-LANGUAGE NEWSPAPERS 494 -- LIBRARIES AND/OR UNIVERSITY WEB-PAGES496 -- SEARCH ENGINES 501 -- INDEX 503. (shrink)

This article examines the Asian storytelling model ‘Kishotenketsu’, identifying its similarities with, and differences from, the classical Western model of dramaturgical plot construction. The ‘Kishotenketsu’ structure is used in poetry, literature, documentation, scientific research dissertations, music, and video game design. The article examines the application of this model in feature films. From the directing point of view, researchers have studied films with different artistic trends and from different production countries and discovered scripting and directing techniques having the elements of (...) the Asian model. Through the comparative analysis of the world films with those from Kazakhstan, this study attempted to reveal the use of the ‘Kishotenketsu’ model and its separate elements in the process of making films by prominent filmmakers in the past and the present from different countries. The films were studied in the context of screenwriting, visual storytelling, and editing. The study found that the ‘Kishotenketsu’ model is found in Kazakh cinematography in the direction of Art cinemas. The authors believe that ‘Kishotenketsu’ model will add more artistic value to the Kazakh cinema, allowing filmmakers to diversify unconventional ways of storytelling and filmmaking in the genres of both auteurs’ cinema and commercial cinema. (shrink)

Martial arts and philosophy have always gone hand in hand, as well as fist in throat. Philosophical argument is closely paralleled with hand-to-hand combat. And all of today’s Asian martial arts were developed to embody and apply philosophical ideas. In his interview with Bodidharma, Graham Priest brings out aspects of Buddhist philosophy behind Shaolin Kung-Fu — how fighting monks are seeking Buddhahood, not brawls. But as Scott Farrell’s chapter reveals, Eastern martial arts have no monopoly on philosophical traditions: Western (...) chivalry is an education in and living revival of Aristotelian ethical theories. Several chapters look at ethical problems raised by the fighting arts. How can the sweaty and brutal be exquisitely beautiful? Every chapter is easily understandable by readers new to martial arts or new to philosophy. (shrink)

Comparative philosophy is an important site for the study of non-Western philosophical traditions, but it has long been associated with “East-West” dialogue. Comparative Studies in Asian and Latin American Philosophies shifts this trajectory to focus on cross-cultural conversations across Asia and Latin America. A team of international contributors discuss subjects ranging from Orientalism in early Latin American studies of Asian thought to liberatory politics in today's globalized world. They bring together resources including Latin American feminism, Aztec teachings on (...) ethics, Buddhist critiques of essentialism, and Confucian morality. Chapters address topics such as educational reform, the social practices surrounding breastfeeding, martial arts as political resistance, and the construction of race and identity. Together the essays reflect the philosophical diversity of Asia and Latin America while foregrounding their shared concerns on issues of Eurocentrism and coloniality. By bringing these critical perspectives to bear on the theories and methods of cross-cultural philosophy, Comparative Studies in Asian and Latin American Philosophies offers new insights into the nature and practice of philosophical comparison. (shrink)

As a philosophical scholar of phenomenology, literature, art, and philosophy of the social sciences and humanities, John O’Neill’s (1933–2022) writings are translated into Chinese. As a sociological translator of Maurice Merleau-Ponty (1908–1961), O’Neill’s five phenomenal bodies culminate in the communicative body as an intermingling of material and spiritual relations. I distill by own version of three phenomenal bodies that I call the East Asian communicative body. This essay traces the communicative body through horizontal and vertical phenomenology on the way (...) to Merleau-Ponty’s brief interaction with Chinese philosophy. (shrink)

Aesthetic medicine merges art and medical sciences, focusing on the modification and enhancement of physical appearance through surgical and non-surgical procedures. While it is not globally recognized as a medical specialty, aesthetic medicine has become a cornerstone of medical tourism in several Asian countries, including India, Malaysia, Singapore, South Korea, and Thailand. Despite its popularity, there is notable gap in literature concerning its ethical and regulatory perspective. This study aims to provide a comprehensive analysis of existing regulations and ethical (...) considerations in aesthetic medicine within the context of the selected Asian countries. Given the field’s growth and its potential impact on both domestic and international health practices, this study is significant for healthcare providers, policymakers, and consumers alike. By identifying areas for improvement in current regulatory frameworks, the paper advocates for further examination to ensure that stakeholder rights and well-being are adequately protected. (shrink)

This study explores the transhuman from an East Asian perspective. In terms of cognitive science, mathematics, and theology, we define the transhuman system as characterized by transcendence, extension by compactification, and samtaegeuk. Compactification is conceptualized here in mathematical terms, as adding one or more elements so that a system becomes more complete—as one might join both ends of a line, and thereby create a circle. We assert that the East Asian transhuman could be defined as a three-point compactification: (...) as an extension of biophysical objects and events such as robots, cyborgs, and environments ; as an extension of culture, science, and art ; and as an extension of the interaction between the human and Cosmic Absolute such as in religions. Such a notion of the Transhuman might be associated with God, but any description of God, the Absolute Infinite, will apply to something less than God. (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and (...) west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

This volume explores the deeply interwoven connection of education, art and nature in the context of East Asia. With contributions from authors in South Korea, Japan and Taiwan, the book considers unnoticed but significant themes involved in the interplay of nature, art, and education. It manifests how nature and art can educate, and how education and nature play the role of art. The chapters explore a range of themes relevant to East Asian characteristics, including skill acquisition, Japanese calendar arts (...) and ritual of feelings, garden architecture, the ritualised body, collaborative poetry art, translational language between humans and nature, the Confucian classical Six Arts, the artistic embodiment of the Kyoto School, and the heritage art based education in Korea. The authors examine these themes in novel ways to bring to light the relevance of the East Asian insights to the contemporary global world. This book is an outstanding resource to all researchers, scholars, and students interested in educational aesthetics, philosophy of education, East Asian studies, comparative education and intercultural education. (shrink)

"[A] positive contribution to the discourse on aesthetics from a cross-cultural perspective. It should be required reading for any academic who teaches and writes on aesthetics and the philosophy of art... There is much to be inspired by, and to learn from."- The Journal of Aesthetics and Art Criticism The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose (...) work defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics. (shrink)

This chapter contains sections titled: The Kantian Gate Dating as Flow and Cultivated Spontaneity.

My topic concerns the martial arts – or at least the East Asian martial arts, such as karatedo, taekwondo, kendo, wushu. To what extent what I have to say applies to other martial arts, such as boxing, silat, capoeira, I leave as an open question. I will illustrate much of what I have to say with reference to karatedo, since that is the art with which I am most familiar; but I am sure that matters are much the same (...) with other East Asian martial arts. (shrink)

This book introduces traditional and modern aesthetics and arts, comparing the similarities and differences between traditional and modern Chinese aesthetics. It also explores the aesthetic implications of traditional Chinese paintings, and discusses the development of aesthetics throughout history, as well as the changes and improvements in Chinese aesthetics in the context of globalization.

In lieu of an abstract, here is a brief excerpt of the content:Art as a Political Act:Expression of Cultural Identity, Self-Identity, and Gender by Suk Nam Yun and Yong Soon MinHwa Young Choi Caruso (bio)IntroductionA number of artists of color, including Asian American women, are creating art from the basis of their lived experiences. Within minority groups searching for their cultural identity, establishing self-identity is an important process. For various psychological and sociological reasons, artists seem inspired to seek deeper (...) meaning and a broader participation in cultural work.1 Asian American women artists, in particular, are currently making art as a means of exploring self-identity, cultural identity, and gender issues. Korean/Korean American minority women artists are creating art as a reaction to their cultural upbringing, which questions issues of identity, gender, ethnicity, politics, cultural, and socioeconomic status. These contemporary artists are breaking away from traditional cultural expectations and overcoming social barriers as artists, women, and Koreans/Korean Americans. With the growing public awareness of women's consciousness and sense of self as women in Korea and as an ethnic minority in America, these artists are redefining their identity. Despite the traditional patriarchal Confucian hierarchy; lack of social, institutional, and political support; and stereotypic gender, cultural, and socioeconomic status expectations for women, a few have stepped out of their traditional roles as women and have become successful artists in Korea and America.The artworks of these artists are worthy of investigation because they appear to be a culturally, socially, and politically motivated artistic expression of the complex multifaceted Korean/Korean American life experiences as women and as Korean immigrant members of a cultural (ethnic) minority in American society. Therefore, two main research questions can be posed: [End Page 71]• Given that art can be constructed out of layers of different experiences and influences, to what extent do the dimensions of cultural identity, self-identity, and gender interweave and contribute to the function of art as a political act for Korean/Korean American women artists?• How do Korean/Korean American cultural, social, and female experiences influence the artistic expression of Korean/Korean American women artists?In order to answer these questions, I selected case study methodology2 and adapted elements of interpretive biography,3 and narrative approaches as developed by Wallace and Gruber.4 According to Denzin,5 interpretive biography involves the collection and analysis of personal experiences, life documents, stories, accounts, and narratives that describe turning-point moments in individuals' lives. Denzin argues that personal experiences and personal stories are derived from a larger cultural, ideological, and historical context. The intent of the biographical project is to problematize the social, economic, cultural, structural, and historical forces that shape, distort, and otherwise alter lived experiences.By using narrative case study methods, I explore elements of self-identity formation, cultural identity, gender issues, personal thoughts, artistic expression, meaning of artworks, professional achievement, and life circumstances. I examine each participant's life in the Korean and American historical, cultural, social, and political environments. I interpret participants' outer lives (what they do) and inner lives (feelings, thoughts, inner self) to capture their deep, profound life experiences. I examine salient themes of their art expression and how the role of art and artistic activity is a part of political, cultural, social, and feminist activism. I further investigate their professional activities in order to identify the multiple roles that contribute to personal and professional identity formation.For the purpose of this study, I selected the contemporary Korean woman artist Suk Nam Yun and the contemporary Korean American woman artist Yong Soon Min as primary participants. These two women artists, despite many social and cultural barriers, chose to become artists; feminists; and social, cultural, and political activists; in addition to fulfilling traditional Korean family and domestic roles. Yun and Min are regarded as the leading contemporary Korean/Korean American women artists whose artworks deal with issues of cultural, social, feminist, political, and hybrid identity and art as political activism.Lippard acknowledges that visual images play an increasingly important role in society.6 Art that connects everyday experience with social critique and creative expression becomes a vital means of reflecting upon the nature of society and social existence.7 Artworks can function as... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Zen and the Art of DeathMaja Milcinski*When reflecting on immortality, longevity, death, and suicide, or taking into consideration some of the central concepts of the Sino-Japanese philosophical tradition, such as impermanence (Chinese: wuchang; Japanese: mujo), we see that the philosophical methods developed in the Graeco-Judeo-Christian tradition might not be very suitable. On the other hand it is instructive to contrast them with the similar themes developed in the Graeco-Judeo-Christian (...) tradition, since these problems present a challenge for a redefinition of philosophy, which has traditionally regarded itself as a European (and in an even less acceptable variation as a Western) phenomenon. As such the very borders of philosophical discourse known in European history as philosophia are today being reconsidered. Although the notion of philosophy (love of wisdom) is distinctly Greek in origin, this does not mean that Asia failed to cultivate activities similar to that. The absence of this notion in China and Japan does not necessarily imply a lack of the cultivation of wisdom within their traditions. Could this mean that, paradoxically, the “philo-“ limits this complex activity primarily to rationally mastered undertakings?By rethinking the history of philosophy as a single narrative, one might come closer to the movements related to the levels of consciousness that were activated in philosophical undertakings in various Asian philosophical schools. In this regard Japanese and Chinese Buddhist philosophical traditions might be instructive since, through the various stages of their development, they have attempted to put the inexpressible into words. The awareness of the insufficiency of words resulted in many original solutions. In the Song dynasty, for instance, China produced a variety of diagrams (tu), by which philosophers and practitioners represented their theories. These formulations, often arose on the basis of meditation techniques and could not therefore be fully transmitted by means of language alone. The illustration of the nine-step process (known in [End Page 385] Japan as kuso) is one such representation, and it is taken here as a point of departure for approaching the concept of impermanence and death in the Japanese philosophical context.One possible means of approaching the discussed topic is to contrast it with the ways in which impermanence, particularly with the phenomenon of death as one of its aspects, has been perceived in the European tradition. It would be naive to generalize and stress the impression that fear of death is much more central and influential in the Euro-American life style than in the Asian one, since it is rooted in human biological and subconscious mechanisms. This paper, however, tries to point at the subtle difference which exists in the spiritual realm.Europe and ImpermanenceThe European Middle Ages developed the so-called ars moriendi, the art of dying. It was this tradition which produced sayings such as “My Lord, it is a great art to die well, and one to be learned by men in health” 1 and the many variations of the dance of death (danse macabre). This awareness of human mortality was also spread by texts, of which the following inspired thought is characteristic: “The one who has not learned how to die, will die against his will. Learn how to die and you will know how to live, since nobody will learn how to live, who has not learned how to die. He shall be y-cleped a wretch that cannot live and dare not die.” 2 These undertakings, however, did not succeed in building any kind of permanent discipline in Europeans connected with the idea of impermanence and death. Rather, it left them caught up in the dizziness of everyday life. The ars moriendi vanished from their consciousness and only became manifest when actual circumstances provoked it, if indeed at all, since often at the moment of impending death people are completely terrified in the light of the prospect of losing their Ego. Although in Christianity there is a tradition of seeing death as a new beginning, some Christians remain skeptical of this “new beginning.” Beginning of what? Is it an illusion of “heaven,” a reflection of this world without suffering and frustrations? In this respect the ars moriendi was cultivating something else: impermanence... (shrink)

Over the last three decades, the art market has undergone a remarkable transformation. Before the 1990s, artworks were sold with hardly any concern about whether they had been stolen or looted, whereas now any reputable gallery or auction house checks the “provenance” of any substantial work before sale. This transformation reflects interlocking changes in law, norms, and institutions. New York’s and more broadly the United States’ assertion of jurisdiction and application of U.S. substantive law has destabilized title to stolen and (...) looted goods worldwide because American statutes of limitations generally provide weaker protection for those who possess stolen or looted goods even in good faith. Application of American law has had a profound effect, especially for the high end of the market, because European or Asian investors who purchase art outside of the U.S. may eventually want to sell or display their works in the U.S. Defective title under American law thus affects prices worldwide. The tightening and broader application of American law reflects both longstanding legal principles and changes in social norms towards the redress of historical wrongs, most notably prominent campaigns relating to art confiscated or sold under duress in Nazi Germany. New institutions, most importantly searchable databases recording stolen and looted art such as the Art Loss Register, are also changing perceptions about minimum standards for good faith purchase, which in turn affects both social norms and court cases. These new norms, induced by both legal changes and better information, have influenced the market even for less valuable art, for which sale or display in the U.S. is not a relevant consideration and for which the threat of costly legal action is not credible. The fact that social and institutionalized norms play an important role in protecting original owners is probably good, because norms and institutions can be effective even where law is not and often do so at lower cost. (shrink)