This essay focuses on a point in Henri Focillon's interpretation of the aesthetics of Japanese art. Focillon fastens very precisely on a deep difference which exists in the understanding of the idea of aesthetic contemplation in the Western and Eastern traditions. Western traditional analyses of contemplation presuppose and embody assumptions about the ontologicalultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. In particular, the idea that the absolute is fully manifested (...) in each phenomenal individual is absent from Western aesthetics. Focillon grasped this, and his views are contrasted with those of Bergson, and confirmed by those of the eminent Japanese philosopher Nishida Kitaro, who was his contemporary. (shrink)

Focillon fastens exactly on a deep difference in the understanding of aesthetic contemplation in the Western and Eastern traditions. Western analyses presuppose and embody assumptions about the ontological ultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. Focillon grasped this, and his views are contrasted with those of Bergson, as well as being confirmed by his contemporary, the eminent Japanese philosopher Nishida.

The aesthetic spirit in Paik Nam June’s video art, TV Buddha, originated in the aesthetics of Zen Buddhism, and the parameters that established Paik’s aesthetic comprised the indigenous Eastern aesthetic idea of dongjing 動靜. Yi 逸 is the paramount aesthetic in Zen Buddhism, suggesting the transcendence of preexisting tracks and conventions. Paik’s behavioral music, to which he was dedicated before pioneering video art in earnest, was related to yi in terms of the complete aspects of forms, themes, and so (...) on, evidently under the influence of avant-garde musical composer John Cage. The Zen Buddhist aesthetic—and Paik’s artistic motto—is to capture the essence of the self and the world through the destruction of stereotypes. Paik’s artistic uniqueness lies in his attempts to combine his traditional culture and spirit—the culture and ideas of Korea and Eastern Asia—with cutting-edge technology. The hallmark of Paik’s video art can be understood as a suggestion of philosophical subjects guided by the interrelation between a graphical presentation on a TV screen and the whole installation setup. The philosophical subject in TV Buddha is Zen Buddhist meditation symbolized in the structure of dongjing. (shrink)

During the past few decades a growing interest in what is often called the ‘Kyoto School’ of philosophy has evidenced itself here and there in the West, especially in discussions of comparative religious thought and in the pages of journals which are sensitive, in the post-colonial world, to the value of giving attention to contemporary thought that originates outside the Anglo-American and continental contexts. What has made the so-called Kyoto School especially interesting is the fact that those thinkers identified with (...) it obviously possess a wide acquaintance with Western thought but also have a programme of clarifying points at which they, as Japanese philosophers, find Western philosophy either in sum or in its parts inadequate or objectionable. Moreover, inasmuch as the philosophers of the Kyoto School have deliberately reached back into the Mahayana Buddhist component in Japanese civilization in order to find terms, perspectives, and even foundations for their own analyses and constructions, Western students of comparative religion and comparative thought have in the study of this school a unique aperture for observing how a group of thinkers, while sharing modernity and its problems with us, reates both of these to a religious tradition which is in many ways strikingly different from that of the West. (shrink)

This article engages bell hooks's concept of “radical black subjectivity” through the lens of the Buddhist doctrine of no‐self. Relying on the Zen theorist Dōgen and on resources from Japanese aesthetics, I argue that non‐attachment to the self clarifies hooks's claim that radical subjectivity unites our capacity for critical resistance with our capacity to appreciate beauty. I frame this argument in terms of hooks's concern that postmodernist identity critiques dismiss the identity claims of disempowered peoples. On the one (...) hand, identity critique has an emotional component, as it involves questioning the self and possibly letting go of aspects of that self in which a person has inevitably made emotional investments. On the other hand, it has an aesthetic component, as it opens a space for the creative crafting and recrafting of identity. Japanese aesthetics emphasizes that all aesthetic appreciation is accompanied by feelings of mournfulness, for the object of aesthetic appreciation is transient. Linking hooks's liberatory aesthetics with the resources of the Japanese tradition suggests that mournfulness in the face of self‐loss necessarily accompanies all instances of critical resistance. Thus non‐attachment becomes a useful framework in which to understand both the emotional and aesthetic components of empowered identity critique. (shrink)

In this article, I propose a new theory of “Buddhist para-charisma” by analyzing the case of an iconoclastic monk in Vietnam. My argument draws from 20 months of ethnographic research conducted in Ho Chi Minh City between 2015 and 2019. During fieldwork, I was introduced to a highly respected monk with the extraordinary capacity to read minds and perceive karmic obstacles in the lives of his lay and monastic followers. This monk was unique for openly consuming meat and alcohol, (...) wearing lay clothing, and using insults while preaching. These behaviors had the deliberate effect of creating an uncomfortable, tense environment among his visitors. Later, the nun who introduced us explained that his harsh language and adversarial demeanor were a rare form of compassion that urged immediate awakening to Buddhist teachings. I compare this case with previously developed theories of Buddhist charisma and moral aesthetics. While past studies analyze Buddhist charisma through the moral aesthetics of physical beauty or affective responses of tranquility, gratitude, and awe, the theory of para-charisma shows how some monks can deliberately use repulsive behavior and negative affects to attract followers and advance spiritual goals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Martin Luther and Buddhism: The Aesthetics of SufferingPaul O. IngramMartin Luther and Buddhism: The Aesthetics of Suffering. By Paul S. Chung. Eugene, OR: Wipf and Stock Publishers, 2002. 434 pp.As a member of the Lutheran community (Evangelical Lutheran Church in America), I am struck by the fact that Lutheran theologians—referred to as "teaching theologians" when employed by Lutheran seminaries—seem little interested in religious pluralism in general (...) and interreligious dialogue in particular. There are important exceptions, of course, one being Donald Luck of Trinity Lutheran Seminary in Ohio. And the most intense and coherent dialogue between Christians and Muslims now taking place in the United States is located at Luther Seminary in St. Paul, Minnesota. But by and large, Lutheran theology seems unengaged with the realities of religious pluralism. Rather than dialogue, "missionology" is the focus of most Lutheran theological encounter with the world religions, which means that most Lutheran conversation with religious pluralism is best characterized as monologue.It's different for most Lutherans sitting in the pews of local congregations. Most lay persons understand that they must live their faith contextualized by their religiously plural neighborhoods. Lutheran laity are interested the religious practices and worldviews of their neighbors because they are in contact with their neighbors everyday. They desire to meet and know the religious "other" not as "other," but as fellow human beings seeking to live in community. My distinct impression, gained [End Page 235] from teaching adult education courses in local congregations (mostly Lutheran and other mainline denominations), is that Christian lay people are usually miles ahead of their pastors, denominational leaders, and teaching theologians in their encounter with the realities of religious pluralism and their desire for dialogue. For these reasons, Paul S. Chung's book, Martin Luther and Buddhism, is important, and I hope it will be the beginning of specifically Lutheran dialogue with the Buddhist tradition. Again, as a Lutheran, I can only say, "It's about time."Chung's goal is twofold: (1) engaging in critical dialogue with the theology of Martin Luther, and (2) Asian pluralistic theology of religions. Specifically, the author, himself a Korean Lutheran pastor and theologian, places Luther's theology of the Cross in dialogue with Buddhist understanding of suffering (duh.kha). His thesis is that what Christianity and Buddhism have in common is their understanding of suffering, albeit each tradition having different approaches and "solutions" to universal suffering. Accordingly, rereading Luther's theology of the Cross in dialogue with Buddhism's take on suffering, its causes, and its resolution is the center of Chung's hermeneutical approach to Luther.Surely, Chung is on the right track. Buddhism's focus on the experience of universal suffering and its resolution is one of its defining features. Chung's reason for placing Luther's theology of the Cross in dialogue with Buddhism lies mainly in the fact that Luther focused on the suffering of God on the cross incarnated in the suffering of the historical Jesus, which he placed in direct contrast to the "theology of glory" of medieval scholastic theology. Chung's claim is that Luther's understanding of divine suffering is a "liberation theology" that needs be contextualized by contemporary struggle for social, economic, ecological, and women's liberation from systemic structures of injustice. Because justice issues are not religion-specific, Luther's theology of the Cross in socially engaged dialogue with Buddhism should be a source of liberation for both Christians and Buddhists.Chung's work stands in a long line of Asian Christians seeking to translate Christian teachings and practices into the religious traditions foundational to Asian cultures, in Chung's case Korean Buddhism and, to some degree, Confucianism. One immediately thinks of Aloysius Pieris's dialogue with Buddhism in Sri Lanka, Seiichi Yagi and Masaaki Honda's appropriation of Mahayana doctrines in their attempts to relate Christian faith to Japanese cultural experience, or Raimundo Panikkar's interpretation of Christian faith through the lenses of Hinduism and Buddhism. All ofthese theologians note that Anglo-European intellectual and cultural traditions are not easily translatable into Asian cultural experience. Because Western forms of Christian tradition are foreign to Asian cultural values... (shrink)

The inheritance of dualism from Plato to Descartes, and since, has impoverished the human relation with nature, the world, other humans, and other species. The division of soul and body, and its counterpart of mind and body, gave us a world from which we believe ourselves to be separate from and superior to other species. This self-othering standpoint has had devastating consequences socially, politically, economically, and ecologically. This essay seeks to identify some resources in the Western tradition in phenomenology and (...) pragmatism that avoid this standpoint and bring them into conversation with some primary insights of Buddhist philosophy: interdependent arising, the not-self, and interbeing. By doing so, it is not only suggested that comparative conversations are not only useful in their own right, but they add dimensions to our experience in the world. Moreover, they offer avenues for living enriched lives in concert with the world without engaging in self-deceptive mental and comforting psychological activities of who and what we really are. (shrink)

Li Zehou's theory of sedimentation seeks to explain the uniqueness of the human species through its use of tools, both physical and cognitive, leading to cultures grounded in aesthetic taste and the prospect of suprabiological beings. However, the very sedimentation that constructs human culture can stagnate into obstructing sediment. Buddhist philosophy offers an epistemology of desedimentation that avoids attachment to cultural sediment without summarily rejecting its potential usefulness. More specifically, Buddhist “wisdom embracing all species” allows us to recognize (...) our interconnection (pratītya-samutpāda) with nature by transcending anthropocentrism, and opening more effective strategies for dealing with ecological challenges. (shrink)

Several Buddhist schools in India, China and Japan concentrate on the interrelationships between waking and dreaming consciousness. In Eastern philosophy, reality can be seen as a dream and an obscure 'reality beyond' can be considered as real. In spite of the overwhelming Platonic-Aristotelian-Freudian influence existent in Western culture, some Western thinkers and artists - Valéry, Baudelaire, and Schnitzler, for example - have been fascinated by a kind of 'simple presence' contained in dreams. I show that this has consequences for (...) a philosophy of space. According to the authors discussed, the dreamer and the player recognize that human space always means the entire cosmos. (shrink)

The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, (...) to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 170-174 [Access article in PDF] A Buddhist History of the West: Studies In Lack. By David R. Loy. Albany: State University of New York Press, 2002. 244 pp. The religious and philosophical situation of our time seems polarized between resurgent fundamentalisms and a cosmopolitan awareness bridging heretofore separated traditions. Even a few decades ago the notion of a dialogue between East and West (...) was a novelty in which demarcated traditions and cultures (say the Buddhist East and the Christian West) experimented with attempts to find a common language to speakacross the boundaries between their respective identities. In such a context,"Western Buddhists" were those pilgrims of the counterculture who "went East" in search of some civilizational and spiritual other; the West, abjected to the realm of soulless scientism or outdated religious authoritarianism, was left behind. The situation is different at the beginning of the twenty-first Christian century. The dialectical complexities, both inwardly in the soul or mind of seekers, and outwardly in the strange twists of contemporary history, emerge to forbid any simple assessments of what can be left behind or indeed what the use can be of what seekers have found in the "non-West." People of Western background begin to realize and consciously address the [End Page 170] karmic-historical presuppositions of their search, which continue to constitute a kind of historical unconscious to the formulation of any possible "Western Buddhisms." Meanwhile, while fundamentalists of many backgrounds posit "clashes of civilizations" that assume an absoluteness of traditional distinctions, cosmopolitans realize that, for all the particularity of their respective starting points, the global situation is inextricably a shared one. In such a context, what canWestern Buddhist intellectuals, cognizant of their own starting points but having learned some things along the Way that are perhaps of universal relevance, speak to our common condition?The "Buddhist History of the West" that David Loy provides is less a historical narrative of the events constitutive of the societies descending from Greco-Roman civilization through European epochs and American empire into the age of globalization than a form of psychoanalytic anamnesis of those societies' cultural constructions of reality. Loy's psychoanalytic interpretive frame is composed of Buddhist insight into the human mind's deep-seated grasping for solidity and certainty in the face of a reality fundamentally characterized by impermanence and ungroundedness (the "Lack" of the subtitle, our simultaneous awareness of death, impermanence, andontological emptiness and the ego's wish for eternal selfhood in an endless but impossibly fulfilling world). Loy's Buddhism is combined with the existential psychology of Ernest Becker and the revisionist Freudianism of Norman O. Brown called on as Western resources for the spiritual therapeutics "the West" seems to need as it enters the third Christian millennium both triumphant and in despair of any meaning to accompany its economic and pop-cultural hegemony.Seven anamnestic chapters take us through twenty-five hundred years of Western cultural constructions, from the Greek and Roman philosophical inquiries into Freedom, a kind of origin-tale of Humanism seen as a "religious" (religion for Loy being the way humans attempt to answer the problem of Lack as if to ground our groundlessness) vision of meaning as the development of human capacities for rational thought, through the intertwining of classical and Christian constructions in medieval and Renaissance periods, through the Protestant Reformation into the political and ideological space of modernity, culminating in a vision of the globalizing West as purveying a "Religion of the Market," an ironically meaningless (centered on the symbolic code for Value—Money—as a displacement of Value itself) system of meaning. This last, our contemporary situation, would perhaps be simply a problem of aesthetic tastelessness (American pop culture performing the dissolution of all surviving traditional sacred orders following the description of capitalism by Marx as causing "all that is sacred" to "melt into air") were it not for the massive social injustice and environmental devastation it structurally produces. Loy's therapeutic vision, following the Buddhist deconstruction of the demarcated "self" and Becker and Brown's cultural-historical or collective... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian-Science Dialogue at the BoundariesPaul O. IngramMuch of the discussion in current science-religion dialogue focuses on "limit" or "boundary" questions.1 In the natural sciences, boundary questions are questions that arise in scientific research that cannot be answered by scientific methods. Boundary questions arise because of (1) the intentional limit of scientific methods of investigation to extremely narrow bits of physical processes while ignoring wider bodies of experience, as (...) well as (2) the resulting incompetence of scientific methods when applied to aesthetic, moral, and religious experiences. Furthermore, scientific theoretical constructions are intentionally falsifiable. Often scientific theories themselves require further theoretical explanation. For example, Isaac Newton (1642-1727) proposed a theory of gravity as a general explanation of the motion of terrestrial objects—such as falling objects like apples—and of the orbits of planets in the solar system. But Newton was unable to offer an explanatory theory of gravity itself and was deeply troubled by the notion of "action at a distance," which he believed was intrinsically impossible. Albert Einstein's (1879-1955) general theory of relativity, although maintaining Newton's three laws of motion, fills in this gap in Newton's theory by explaining gravity as the warping of space occupied by objects such as planets, stars, and galaxies rather than action at a distance.In other words, boundary questions create methodological and conceptual constraints that often lead to deeper knowledge of the universe's physical structures. At the same time, boundary questions also tend to engender metaphysical questions along with scientific questions. For example, standard Big Bang theory about the origins of the universe imposes a temporal boundary that constrains what cosmologists can know about the universe. Why is there a universe at all? The standard response is that cosmologists can describe how the universe originated with a high degree of probability, but are ignorant, or at least agnostic, about why the universe exists. Here, a boundary question generated by the application of scientific methods in cosmology generates a metaphysical question cosmology is incapable of answering. Whenever this happens, an opening is created for science-religion dialogue in general, and a science-Buddhist-Christian "trilogue" in particular.But boundary questions are not limited to the natural sciences. Religious questions [End Page 165] incapable of solution through the application of theological or philosophical methods arise at the boundaries engendered by what Joseph Campbell (1904-1987) called "the universals of human experience," meaning experiences all human beings undergo no matter what their cultural or religious environments might be. For example, the experience of suffering raises the theodicy problem for classical Christian theism. How can a loving, omnipotent creator of the universe permit unmerited suffering? Here, the assertion of God's creative power and love creates a boundary question that cannot be resolved apart from rethinking the nature of God, as in process theology.Anxiety and confrontation with death, as well as experiences of beauty, joy, hunger, fear, hope, and anger, and the need for community are also examples of universals of human experience. Buddhists and Christians theoretically interpret the meaning of such experiences according to their particular texts, doctrinal formulations, and practice traditions. Similarly, the work done by scientists is influenced by their cultural contexts, although on a shorter-term basis than is the case with religions. As in the natural sciences, religious constructs are also theory laden, so that neither Christian theology nor Buddhist philosophy can claim complete knowledge. What, exactly, is the nature of God? What, exactly, is Awakening? The standard Christian and Buddhist responses are that God or Awakening are ultimately beyond human thought because both transcend anything human beings can imagine them to be, or not to be.Still, boundary constraints do not imply that significant and reliable knowledge is impossible in the sciences or in Buddhist or Christian thought. To conclude that scientists, Buddhists, or Christians cannot achieve complete knowledge via scientific method, the practice of Buddhist philosophy, or the practice of Christian theological reflection because of boundary constraints does not imply that the sciences have not amassed an incredible body of reliable knowledge about physical reality, or that Buddhists and Christians have not accumulated large bodies of reliable knowledge... (shrink)

Many Japanese American Buddhist families in the San Jose, California area observe a series of late life celebrations in honor of their elders. The sixty-first, the seven-tieth, the seventy-seventh, and eighty-eighth birthdays are celebrated with special flourish. These celebrations mark milestones in life and underscore the respect and gratitude elders are accorded by the family and community. At these gatherings the talk among family and guests invariably turns to the life of the elder and they wonder how the elder (...) was able to survive and even flourish amid the hard- ships and setbacks during his or her long life. Indeed, long-lived elders do seem to have a presence of being that can only come from many years of living. The idea of kyogai, “one's station in life,” is especially revered in the elder. Ordinarily, kyogai refers to one's place in society. Kyogai also suggests the spiritual maturity of being able to live with equanimity and ease in a transient and interdependent world. For Shiryu Morita, a leading Japanese sho-artist or calligrapher and student of Buddhist thought and practice, kyogai is both a spiritual and an aesthetic quality. I reflect on Morita's notion of kyogai within the context of the Buddha's attitude toward aging and elders. I offer my reflections as a Buddholo- gist interested in elder ethics and as a Buddhist priest concerned with caring for and empowering elders. I begin with a description of the Buddha's attitude toward aging and elders outlined in the Sutta-Nipata, an early Buddhist document. The “Salla Sutta” in the Sutta-Nipata outlines the Buddha's attitude toward old age, elders and elder tasks. Old age is linked to the question of death and the unease of living in a transient world, in the passages cited below.1. (shrink)

Huayan Buddhist philosophers and John Dewey share a perspective on emptiness or dependent origination. This article compares Dewey's local, contextual, and relational metaphysics with Huayan thinkers’ use of the metaphor of Indra's jewel net to extend their relational metaphysics to an infinite extent. Huayan thinkers base their ethics of compassion on the recognition of the infinite relatedness of all things. Dewey prefers constructing social institutions that foster experiences that are reliably aesthetically unified. This dispute is significant because pragmatism and (...) Buddhism both provide promising ethical positions based on the understanding of persons as temporally limited and relational. (shrink)

Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. The subjects addressed (...) include the influence of UpaniÅÿadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

Thailand has a rich history of using aesthetics as a means of communication. This is seen not only in the communication of basic ideas, but aesthetics are also used to communicate the cultural values of the nation. Aesthetical images in Thailand have the tendency to dwell both in the realm of the mundane and the supernatural, in the daily and the esoteric. Historically, many faith traditions have used aesthetics as an effective form of communication, including Buddhism, Brahmanism, (...) as well as other local expressions of deities across the country. Art plays a large role in the daily communication of religious values and concepts. -/- While Christianity has a rather long history in Thailand, the large-scale impact that Christianity, and specifically Protestantism, has had is rather minimal. There can be a myriad of reasons for this, but one potential possibility is Christianity’s lack of an aesthetical engagement upon and within Thai culture. This potentially is not an issue of only the Protestant church in Thailand but also stems from some of the western Christian roots throughout its faith tradition. One finds a chasm between aesthetical practices and faith from the Heidelberg Confession, in which Christians became so worried about the ramifications of idol worship, that they threw out the proverbial ‘baby with the bathwater’ and basically condemned the use of icons and other forms of art in western Protestantism. -/- Therefore, this paper will examine the relationship between Thai culture and Christianity, trying to remove the western biases in Christianity and will attempt to suggest new ways that the Thai Christian Church may develop organic, indigenous Thai art, that can be used as a more effective means of communication. If Christianity wants to effectively convey its concepts into Thai culture, it must value aesthetics as a means of communication. Is it possible that Christianity could not only communicate a more effective message in Thailand, but also that Christianity could experience a more robust self-analyzation of its core concepts through Thai aesthetics? Therefore, one needs to explore the ways that Christianity may be able to better understand itself through current Thai aesthetical practices. These concepts will be explored to develop a more robust and organic way of communicating the Christian concepts through a Thai paradigm. (shrink)

In South Asia, the period between 1100 and 1300 CE was a particularly prolific time for theorists from India's three main indigenous religions - Hinduism, Buddhism, and Jainism - to articulate their views on the face-to-face gift encounter. Their gift theories shaped a cosmopolitan sensibility that shared ethical and aesthetic values that reached across regional, sectarian, and religious boundaries. This book explores the ethical and social implications of unilateral gifts of esteem, offering a perceptive guide to the uniquely South Asian (...) contributors to theoretical work on the gift. (shrink)

This paper puts forward Wabi-Sabi aesthetics as one possible philosophical anchor for museum exhibits that focus less on beauty as perfection and more on beauty that reveals the imperfect nature of life and serves as a guide to joyful living. There is a growing trend in contemporary museums to feature not the usual paintings and sculptures, but crafts traditionally looked upon as objects for the hobbyist, not the artist. The mixed reactions from the art world show that this new (...) practice requires a philosophy of beauty that, to begin with, did not look for the beautiful in that which is perfect as inspired by the Platonic ideals. The philosophy of Wabi-Sabis founded on the metaphysics of Buddhism, is here offered as one such foundation, questioning the idea of beauty and art, and blurring the distinctions between art and lift, as well as between art and crafts. (shrink)

I approach Murasaki Shikibu’s marvelous literary pearl The Tale of Genji (Genji Monogatari) as analogous to glistening orbs that “come out of the disease of suffering oysters,” the suffering being the death of her beloved husband Fujiwara no Nobutaka (950?–1001). In addition to drawing evidence from the novel itself, I have relied on Murasaki’s lesser-known Poetic Memoirs and Diary that offer important insights into her state of mind and circumspect literary style. The Lotus Sūtra is the key that unlocks Murasaki’s (...) philosophical intent, with its use of parables and poems to provoke deeper understandings of Buddhism and personal realizations. The Buddhist principle of impermanence (Sanskrit anitya; Japanese mujōkan) serves as both the aesthetic of aware and an unavoidable fact that residents of the Heian court (like those in the Lotus Sūtra’s Burning House) choose to ignore or escape by reveling in superficial pursuits of beauty and political power. Various characters in the novel attempt to follow the path to the epistemological awakening the author Murasaki sought for herself. (shrink)

This article explores the profound influence of Zen Buddhism on the formation of Japanese aesthetics, focusing on key concepts such as simplicity (kanso), naturalness (shibumi), and impermanence (mujo). Zen realism, characterized by the acceptance of reality without subjective embellishments, is examined as a foundational principle that shaped not only Japanese cultural identity but also a universal aesthetic language. The study highlights the philosophical tenets of Zen, including the principles of «non-duality» (fuju) and «direct intuition» (jikan), which guide the perception (...) of reality as it is and foster a unique artistic and cultural worldview.Relevance: In the context of globalization and cultural exchange, the Zen-inspired Japanese approach to aesthetics offers valuable insights into contemporary issues of sustainability, mindfulness, and design thinking. The enduring appeal of Japanese minimalism in modern art, architecture, and design underscores the universality and adaptability of Zen principles, making this topic highly pertinent for cross-cultural studies and global artistic dialogues.Objective: The purpose of this study is to investigate how Zen Buddhist values influenced the development of Japanese aesthetics and contributed to creating a universal artistic and philosophical framework.Tasks: To achieve this objective, the article:- Analyzes the philosophical underpinnings of Zen realism in shaping the perception of reality.- Explores the aesthetic principles of simplicity (kanso), naturalness (shibumi), and impermanence (mujo) in traditional and modern Japanese art.- Examines the impact of Zen-inspired aesthetics on contemporary global design and architecture.The study demonstrates that the pursuit of simplicity, rooted in Zen practice, transcends cultural boundaries and has become a universal language in the realms of art and design. Examples include Tadao Ando’s architecture, which embodies harmony between light, space, and void, and the minimalist design philosophy of brands like Muji, which resonates globally. The analysis also underlines the role of Zen aesthetics in fostering ecological awareness and a deeper connection to the present moment, aligning with contemporary global challenges.The article concludes by emphasizing the potential of Zen-inspired aesthetics to serve as a universal cultural category, capable of bridging diverse traditions and promoting cross-cultural dialogue. Future research directions include examining Zen principles as a framework for addressing ecological, social, and philosophical issues in an increasingly interconnected world. (shrink)

This chapter will introduce everyday aesthetics and conceptions of happiness, explore their interconnections, and indicate some ways they might relate to depression. I introduce the main claims and concerns of everyday aesthetics and illustrate these with examples from the Indian, Chinese, and Japanese philosophical traditions. I then consider two popular accounts of happiness – ‘hedonic’ and ‘life-satisfaction’ theories – and offer an alternative phenomenological account of happiness. Aesthetic appreciation and agency and happiness, it is argued, depend on a (...) phenomenologically fundamental capacity to experience different kinds of significant possibility. It is the loss or disruption of that capacity which characterises experiences of depression. (shrink)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of (...) suchordinary aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.

[About the book] Comparative aesthetics is the branch of philosophy which compares the aesthetic concepts and practices of different cultures. The way in which the various cultures of the world conceive of the aesthetic dimension of life in general and art in particular is revelatory of profound attitudes and beliefs which themselves make up an important part of the culture in question. This anthology consists of entirely new essays by some of the leading, internationally recognised scholars in the field. (...) The subjects addressed include the influence of Upanişadic thought on the classic Indian tradition in aesthetics and the way in which that tradition continues to have relevance to issues discussed today; how Buddhist thought in general and Zen in particular shape aesthetic attitudes in Japanese culture; how Confucianism affected not only the morality but also the classical aesthetics of China; how different ideas of the self and of human nature affect artistic training and practice in different cultures; how feminism can draw inspiration from classic non-European lines of thought in the area of aesthetics, and how different attitudes to nature underpin a whole range of aesthetic beliefs and attitudes in western and eastern thought. These ideas reveal both deep differences and deep similarities between east and west. No-one seeking to understand the cultures discussed in these essays can ignore their aesthetic dimension, which often holds the key to understanding the deepest motives which have formed them. (shrink)

This article outlines a genealogical profile of an elusive doctrinal concept that, after being discussed in several Mahāyāna sutras, had a significant impact on East Asian Buddhist traditions. This notion is known as ‘playful samādhi’, in Chinese youxi sanmei 遊戲三昧, which translates to Sanskrit vikrīḍita samādhi. The compound youxi 遊戲 (‘playful’ – ‘at play’) was cited in Chinese sutras and Buddhist documents, in renowned and widely diffused collections of gongans/kōans 公案, was expounded and commented on by Dōgen Zenji (...) 道元禅師 (1200–1253) in its Japanese version yuge 遊戲 and was explored by modern scholars and interpreters as Ryōsuke Ōhashi 大橋良介 and Wu Rujun 吳汝均, who compares youxi 遊戲 with Schiller’s Spieltrieb. Given the significance of ‘playful samādhi’ across different epochs and cultures, I believe a clarification of the term is especially needed. Furthermore, explicit reference to contemporary scholarship on play studies can help uncover its philosophical implications, shedding new light on a complex notion that defies a univocal interpretation and reunites in its semantic field both the aesthetic and religious dimensions. (shrink)

In comparative studies, Confucian teaching and learning have multiple meanings. On the one hand, they refer to contemporary educational practices and contexts in Asian countries and regions such as mainland China, Hong Kong, Taiwan, Japan, South Korea, and Singapore. Comparative researchers contend that Confucian heritage Culture, a mixed and blended cultural tradition of Confucianism, Taoism, and Buddhism, has heavily influenced these countries and regions.1 As a result, their educational practices and contexts are different from those in Western countries.2 One indication (...) of this point is that, although teachers in Confucian teaching and learning environments conduct lectures, the learning tasks are... (shrink)

With the expression apophatic aesthetics, Amador Vega names different cases of twentieth-century hermeneutics of negativity that show a spiritual debt to negative theology and in particular to the major mystical trends of Medieval Europe. Our aim here is to explore how this category applies to the artistic work created by the contemporary artists Arakawa and Gins. However, our focus is not on the debt of these artists to apophatism in the Christian tradition but in Buddhism, especially in Zen. Through (...) an analysis of various artworks, the article intends to determine the reminiscences of the evocation of emptiness in Zen-related arts. By so doing, despite the lack of continuity with tradition, it seems possible to uncover certain links with Japanese classic aesthetics. At the same time, since emptiness is a notion revisited in modern Japanese thought, the paper raises the question of its role as an ascetic way of thought, capable of avoiding conceptual limitations and thus opening new paths to philosophy. In this sense, insofar as thinkers well known as critics of modernity, such as Lyotard, Danto, or Taylor, have dialogued with Arakawa and Gins's artistic proposal, a connection between certain aspects of Japanese philosophy and so-called postmodern thought is suggested. (shrink)

The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony _(chanoyu), _has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings might (...) have been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft. (shrink)

This paper will look at Kant’s views of the aesthetic experience, in relationship to Buddhist philosophical and political discussions of art and social organization. The primary focus in Kantian literature explores the relationship between free and dependent beauty, as well as Kant’s paradox of taste. The central argument of the Kantian portion is going to navigate the paradox of taste via Graham Priest’s epistemic and conceptual distinction pertaining to the limits of thought. Secondly, I shall contextualize the debate with (...) similar argumentation found in medieval Tibetan literature, by thinkers such as Tsongkhapa and Drakpa Gyaltsen. Lastly, I shall look at the political and artistic state of affairs in Yuan and Ming Dynasties and assert the applicability of both Kantian and Tibetan discussions of effibility in the context of Tibetan poetry and Thangkas. (shrink)

Already translated into six languages, Francois Jullien's In Praise of Blandness hasbecome a classic. Appearing for the first time in English, this groundbreaking work of philosophy,anthropology, aesthetics, and sinology is certain to stir readers to think and experience what mayat first seem impossible: the richness of a bland sound, a bland meaning, a bland painting, a blandpoem. In presenting the value of blandness through as many concrete examples and original texts aspossible, Jullien allows the undifferentiated foundation of all things (...) -- blandness itself -- toappear. After completing this book, readers will reevaluate those familiar Western lines of thoughtwhere blandness is associated with a lack -- the undesirable absence of particular, definingqualities.Jullien traces the elusive appearance and crucial value of blandness from its beginningsin the Daoist and Confucian traditions to its integration into literary and visual aesthetics in thelate-medieval period and beyond. Gradually developing into a positive quality in Chinese aestheticand ethical traditions, the bland comprises the harmonious and unnameable union of all potentialvalues, embodying a reality whose very essence is change and providing an infinite opening into thebreadth of human expression and taste.More than just a cultural history, In Praise of Blandnessinvites those both familiar and unfamiliar with Chinese culture to explore the resonances of thebland in literary, philosophical, and religious texts and to witness how all currents of Chinesethought -- Confucianism, Daoism, Buddhism -- converge in harmonious accord. (shrink)

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate these exotic (...) literary materials with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature. (shrink)

ABSTRACTIn this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the...

In this essay, I explore the nature of the logical analysis of Buddhist thought that Graham Priest has offered in his book The Fifth Corner of Four (5of4). The paper traces the development of a logical value in- troduced in 5of4, which Priest has called e. The paper points out that certain criticisms I have made earlier still stand, but focuses on a recon- ceptualization of 5of4 in which these arguments carry less weight. This new perspective on the book, (...) inspired by a response to my arguments by Priest himself, sees the logical analysis of Buddhism as aiming more for an allegorical, suggestive and aesthethic endeavour, rather a purely analytical one. I illustrate this view by focusing on the Ox herding pictures, as interpreted by Priest and Ueda Shizuteru, and I compare it to ideas in the discussion around Critical Buddhism. (shrink)

Kant's epistemology and the Buddhist philosophy are an idealism. But these two different philosophies have in themselves the contradictory element, namely the element of the outer sense of bodies and of the inner mind. Although Kant's transcendental idealism and the school Vijnanavadin (唯識學派) acknowledge only the representations and the consciousnesses., the mind need to be affected by the outer part. In Kant's theoretical philosophy the outer sense of bodies plays an alien role. It stands outside the subject. In spite (...) of this, the subject have to relate itself to the outer element. And in the Buddhism, in order to have consciousnesses, the subject have to be transformed from the fundamental ground, the Alayavijnana (第8 識). But the Alyavijnana need to have a certain moment in order to be transformed. In my paper I have concentrated myself on the problem of relation of the mind to the matter. I have tried to see into the way in which these two philosophies develop this relation. Moreover I am also interested in the problem in relation to the theoretical, practical, and aesthetical fields. (shrink)

Tragic Beauty in Whitehead and Japanese Aesthetics evolved from a paper Steve Odin delivered at the 1984 Conference for the International Society of Process Philosophy at Nanzan University in Nagoya, Japan. This book will be intriguing and stimulating not only to those scholars who engage in Whitehead studies but also to those who are concerned with the development of an East–West dialogue on aesthetics and aesthetic education. In this volume, Odin compares Alfred North Whitehead's axiological process metaphysics, including (...) his concept of aesthetic experience and a doctrine of beauty, with the aesthetics of Zen Buddhism and offers readers a fresh cross-cultural understanding of Whitehead's process philosophy.In... (shrink)

Cho Jihoon’s aesthetics is based on the Confucian literati’s spirit, choesado, and on the Buddhist idea of non-duality. He presented the theory of meot, meaning taste originally, as a Korean-specific aesthetic category in his Study of Meot, where he synthesized the previously discussed theories of other scholars into twelve elements. Discussing the formal characteristics of works that have the aesthetic quality of meot, he took unrefinedness as basic, and cited diversity, eurhythmy, and curvature as its subtraits. Discussing the (...) compositional power or method of expression that provokes meot, he took hyperstandard as basic, and the subtraits include maturity, distortion, and playfulness. Furthermore, he discussed meot as an emotion or idea that Koreans live with, where the most basic one is otiosity (impracticality), and assimilation, moderation, and optimism are its subtraits. Finally, he identified meot as the ultimate aesthetic state with pungryu, a lifestyle in harmony with Nature, which is originated from the ancient Silla period. (shrink)

In Nancy Sherman's discussion of the history of empathy, she notes that it was the English translation of the German Einfühlung - originally a term in aesthetics - which translates literally as "feeling one's way into another." According to Sherman's analysis, the main idea in these early usages of empathy in Western psychological contexts "is that of resonating' with another, where this often involves role taking, inner imitation, and a projection of the self into the objects of perception" (Sherman (...) 1998, 83). There is a deep recognition in Indo-Tibetan ethics of the moral significance of one's ability to "resonate" or "feel one's way into another" and no shortage of ethical practices of role taking, "inner imitation," and projecting of the self into objects of perception. These practices transition from the egocentric to an orientation sensitive to the needs of others is a major part of the Mahayana Buddhist conception of moral development, as is apparent in the ideal of bodhicitta (see Section 3). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chinese Aesthetics in a Global Context by Zhirong ZhuYiping Zhang (bio)Chinese Aesthetics in a Global Context. By Zhirong Zhu 朱志榮. Translated by Xurong Kong. Singapore: Springer Nature, 2022. Pp. xi + 327. eBook €85.59, isbn 978-981-16-7749-6. Zhirong Zhu's Chinese Aesthetics in a Global Context (hereafter Chinese Aesthetics) is a translation of the author's Chinese book, which was originally published by East China Normal University (...) Press in June 2012. This book explores aesthetic issues in Chinese culture and traditions, including underlying humanistic values, with Western theories as a reference point. The current state of philosophy in China cannot be narrated without contemporary theories of aesthetics in the Western world. Buddhism, Daoism, and Confucianism played a long and unique intellectual role in China's history, and this book highlights their positive contributions. For instance, the author's two important themes are the connection of society with nature and the integration of humans with nature. Through a clear and elegant philosophical account of Chinese society, Zhu constructed a Chinese aesthetic theory within a global context and with a global perspective. As Kang Liu points out in the foreword, aesthetics became a phenomenon in China in the late 19th century, when Chinese society incorporated Western knowledge and entered the modern world, whereas aesthetics was part of the enlightenment period of Europe from the 17th to the 18th century. A major paradigm shift occurred in China, which began in 1978 with the start of the Reform and Opening-up. In the 1980s, as Liu further notes, the aesthetic fever testifies to intellectuals' universalism after decades of self-imposed isolation. Most importantly, Liu explains that emancipation gave rise to intellectuals theorizing on thinkers from Hayek to Sartre, from Bakhtin to Derrida, as well as through novels, films, and poems. This paradigm shift gave rise to a decade of reflection on culture or culture fever. Globalization marked a new era for China, with mass translations of foreign literature, theories, arts, and most importantly, comparative literature. It was during this time that aesthetics emerged and a political allegorical mode of inquiry, which defined aesthetic studies around the world of academics and intellectuals, emerged in China as a universal value. Without a doubt, Chinese Aesthetics is an important book, providing an in-depth and comprehensive account of Chinese aesthetics in a global context. [End Page 1]In the 25-page introduction (Chapter 1), made up of four sections, the author discusses the origins of aesthetic theory, offers an evaluation of modern Chinese aesthetics research, and proposes the establishment of Chinese aesthetics with a global perspective. The introduction further outlines the characteristics of aesthetics, as well as the contents and research methods of aesthetic theory. Perhaps "Establishing Chinese Aesthetics with a Global Perspective" is the most interesting part of the introduction. It discusses both Chinese tradition and contemporary Chinese culture. The author notes, for instance, that in ancient China the aesthetic experience was described as miaowu 妙悟 or "wondrous enlightenment." This understanding of the contingency and suddenness of wondrous enlightenment has formed a long-standing and profound tradition, which is richer and deeper than Western intuition theory (p. 9). Zhu aims to contextualise aesthetic theory as, firstly, an expression of diversity and national consciousness. Secondly, it should reflect both historical and contemporary consciousness. Thirdly, in aesthetic theory, history and logic should be promoted in a unified way. Fourthly, aesthetic theory should unify evidence and speculation. Chapter 2, "Aesthetic Activity," discusses the origins, nature, psychology, and characteristics of aesthetic activities. Art, for instance, is a higher-level aesthetic activity and beauty is of a lower level. As Zhu explains, aesthetic activity is but one activity among various activities in the globalized space. It is a process that starts with childhood and continues to maturity. As society evolves and advances, these two human developmental stages further advance the subject's spirit. Throughout the subject's entire life, the process of self-construction occurs and is an activity of spiritual enjoyment. There is an important continuity between Chapters 2 and 3, on the "Aesthetic Object." For the aesthetic activity to be completed, the aesthetic image needs to be created. This image is created through the... (shrink)

While various groups argue about the cause of America’s ongoing gun crisis, any feasible solution must address the historical roots of taṇhā (thirst) that fuel America’s gun culture. Killers often identify themselves as outsiders, and many have been marginalized and bullied. Gun supporters perceive themselves as free and independent spirits, latter day Minuteman stalwartly defending the Constitution. Gun sellers, seemingly devoid of compassion, assume that like any savvy businessperson they are simply supplying what people demand. Buddhist epistemology exposes the (...) delusory ātman at the core of our misidentifications as individuals and groups. When interconnectedness (pratītyasamutpāda) goes unrealized, ignorance disconnects us from the reality of Laṅkāvatāra Sūtra Suchness (tathāta), with devastating consequences. Buddhist texts such as the Awakening of Faith in the Mahāyāna and the Laṅkāvatāra Sūtra analyze the process by which deluded identities evolve along with consciousness, allowing us to deconstruct and realistically realign them. (shrink)