The book aims to describe the history of Chan (Japanese Zen) School thought from the standpoint of social history. Chan, a school of East Asian Buddhism, was influential on all levels of societies in the region because of its intellectual and aesthetic appeal. In China, Chan infiltrated all levels of society, mainly because it engaged with society and formed the mainstream of Buddhism from the tenth or eleventh centuries through to the twentieth century. This book, taking a critical stance, examines (...) the entire history of Chan thought and practice from the viewpoint of a modern Chinese scholar, not a practitioner, but an intellectual historian who places ideological developments in social contexts. The author suggests that core elements of Chan have their origins in Daoist philosophers, especially Zhuangzi, and not in Indian Buddhist concepts. Covering the period from the sixth century into the twentieth century, it deals with Chan interactions with neo-Confucianism, Quanzhen Daoism, and Gongyang new text philology, as well as with literature and scholarship, its fusion with Pure Land Buddhism, and its syncretic tendencies. Chan’s exchanges with emperors from the Song, Yuan, Ming, and Qing Dynasty, as well as the motives of some loyalists of the Ming Dynasty for joining Chan after the fall of the Ming, are described. The book concludes with an examination of the views of Chan of Hu Shi, D.T. Suzuki, and the scholar-monk Yinshun. (shrink)

For centuries, westerners have referred to China's numerous traditions of spiritual expression as "religious"--a word born of western thought that cannot completely characterize the passionate writing that fills the pages of this pathbreaking anthology. The first of its kind in well over thirty years, this text offers the student of Chinese ritual and cosmology the broadest range of primary sources from antiquity to the modern era. Readings are arranged chronologically and cover such concepts as Taoism, Confucianism, Buddhism, and even (...) communism. A large number of the selections concern the role of the female in Chinese religion, and are either by or about women. Through invocations, poetry, drama, philosophical texts, religious treatises, and modern fiction, students hear the voices of numerous Chinese masters expounding on the movements and traditions that inspired them: the mysterious Tao-te ching of Lao Tzu, cloaked in the mists of deepest antiquity; the Analects of stately, reverent Confucius; "Nailing a Stick into Empty Space," from The Recorded Conversations of Ch'an Master I-hsuan, and many others, including the work of Mencius, Pan Chao, Han Shan, Chang Tsai, Wang Yang-ming, Lu Hsun, and Mao Tse-tung. Fully one third of the translations are new, and each reading is preceded by an introduction that explains its importance and salient features. Complete with a helpful chronology of dynasties and list of possible video sources, this remarkable volume collects under one cover the most significant and influential works of China's dynamic spiritual tradition, making a fundamental contribution to courses in Chinese religion, literature, and history. (shrink)

In the Chinese tradition, the relationship between art and philosophy is conceptually explored in terms of the relationship between dao and wen, which may respectively be viewed as representing philosophy and art. Over history, discourses on dao 道 and wen 文 are central to studies of Chinese literature, art, culture, and civilization. But just as dao holds a range of ideas in Chinese philosophy, wen is also one of the most complex terms in Chinese tradition, (...) whose denotations and connotations are multifaceted and open to interpretations. This article argues that the elusive nature of wen can be understood adequately from the perspective of language philosophy and aesthetics via its relationship to the metaphysical principle of the Dao. By examining the discourses on wen and dao, this article advances a thesis with three interrelated ideas: wen as manifestations of the Tao is an instance of “humanized nature”; the birth of wen marked the beginning of reflections on literature and art, hence inaugurating aesthetics in the Chinese tradition; and the early discourses on wen have determined the distinctiveness of Chinese aesthetic consciousness. (shrink)

Wenqi 文氣 (literary pneuma) is a foundational idea in Chinese aesthetics. It has remained elusive since its initial formulation, however. This is so largely because previous scholars did not examine its ontological and epistemological conditions in analytic terms, still less explore its implications in a conceptual framework of artistic creation. Here, it is proposed to explore its general as well as specific implications against the larger background of Chinese intellectual thought and in relation to contemporary theories of (...) class='Hi'>literature and aesthetics. Through a philosophical inquiry, wenqi is here reconceived as an integration of the primal energy of the universe, the creative energy of human beings, and the totalizing force that animates an artistic work. Wenqi is viewed not as a substance or a product but as a creative and shaping force that flows from the writer into his writing, gives it a distinct shape, and makes it different from any other writing. The theory of wenqi is a system of aesthetic principles that govern the creative and shaping force operating in the space of three intertwined entities: the macrocosm of the universe including human society, the microcosm of the writer, and the microcosm of his writing. (shrink)

: Eastern Learning, which is an important part of modern new learning, refers to the Western natural science and socio-political thought that was assimilated by Japan from the end of 19th century to the beginning of 20th century. From the end of Ming Dynasty to the period before and after the revolution of 1911, China’s intake of new learning went through four stages. In the first three stages, a large number of Western books translated into Chinese were also (...) introduced into Japan, which became the basic literature and language medium of Japanese Dutch studies, English Studies and later the whole foreign studies. At the beginning of the 20th century, exiles, students studying in Japan and Japanese teachers introduced Eastern Learning into China, which had a profound impact on China’s modernization process. Eastern Learning is a new learning system with East Asian characteristics constructed by China and Japan in the process of Western Learning spreading to the East. (shrink)

Bodies in China uses Chinese philosophy to reframe Western scholarship on gender, body, and aesthetics. Does Confucianism rule out the capacity of women as moral subjects and hence as aesthetic subjects? Do forms of Chinese philosophy contribute or correspond to patriarchal Confucian culture? Can Chinese philosophy provide alternative perspectives for Western feminist scholars? The first section considers theoretical and philosophical discussions of Western traditions and how the ideas offered by Confucians and Daoists can provide alternative body ontologies (...) for critical feminist practices. The second section reviews female aesthetical representations ranging from The Book of Songs to the work of the controversial body artist He Chengyao. The third section traces changing perceptions of femininity from imperial to its current cosmopolitan era using a range of case studies including Ming dynasty literature, Hong Kong women's fashion in the 1960s, and the 2008 Summer Olympics in Beijing. Overall, this book discusses new conceptual models that feminist scholars are using to displace dualism and emancipate notions of the body from Cartesian models and metaphors. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism and SpiritualismA Narrative Study of the Exploration of Self through the Practice of Chinese CalligraphyMing-Tak Hue (bio)IntroductionCalligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a (...) nation, and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy is still popular in Chinese society and is frequently used in different forms of publication, such as banners and newspapers; however, it is becoming more popular for these publications to be created mechanically or in electronic form with computers rather than by hand. In the context of schooling, a similar phenomenon can be seen. Many teachers in Hong Kong, as elsewhere, are concerned that fewer and fewer students have the chance to write with a pen and enjoy the beauty of writing, as the use of computers and different types of electronic devices for writing become more popular with the general public.The aim of this article is to examine the meaning of the practice of Chinese calligraphy from a cultural perspective and to draw school practitioners' attention to the importance of calligraphy education in the promotion of the whole-person growth of students and of multicultural education. Relevant literature on Western and Chinese calligraphy will be reviewed. Then an explanation will be given on how a narrative approach to the personal experience method and textual analysis were adopted for the data analysis. The article argues that calligraphy serves more than a utilitarian function. It [End Page 18] has also been used as an aesthetic practice and spiritual discipline. Hence, it is suggested that the calligraphy of brushwork is not only delightful to the eye but also an inspiration to the spirit. It is a practice of mindfulness for promoting self-reflection and self-cultivation, which leads calligraphy practitioners to reflect in their mind and heart, and so brings them into a harmonious relationship with others and the natural world.Literature ReviewIn Western societies for the last one hundred years, calligraphy has been rediscovered and relearned.1 Knight pointed out that the heritage and traditions of calligraphy have not been properly addressed and inherited in Western societies. Uyehara further suggested that calligraphy had been basically restudied and relearned in Europe and the United States up until the end of World War II. Edward Johnston (1872-1944) could be the most influential scholar who attempted to rediscover the art of Western calligraphy, lettering, and illuminating. In his study of ancient inscriptions and old manuscripts, three essential qualities of calligraphy were identified: "legibility," "beauty," and "character."2 When creating a piece of artwork, calligraphers have to ensure the legibility of the letter forms, the mastery of the skills of creating beautiful writing, and the readability of their works. As he explained,To make good letters and to arrange them well. To make good letters is not necessarily to "design" them—they have been designed long ago—but it is to take the best letters we can find, and to acquire them and make them our own. To arrange letters well requires no great art, but it requires a working knowledge of letter-forms and of the reasonable methods of grouping these forms to suit every circumstance.3Similarly, Knight highlighted the essential qualities of "legibility" and "beauty." Further, he stressed that the "creativity" of calligraphy should be imposed upon the tradition and cultural heritage of ancient manuscripts. As he said,[M]any of the conventions we use today in letter design and typography were established during the manuscript age. To know the classic work of this period is to know more about the ground we stand upon. If we grasp the... (shrink)

Seng Zhao and his collection of treatises, the Zhao lun, have enjoyed a particularly high reputation in the history of Chinese Buddhism. One of these treatises, The Immutability of Things, employs the Madhyamaka argumentative method of negating dualistic concepts to demonstrate that, while "immutability" and "mutability" coexist as the states of phenomenal things, neither possesses independent self-nature. More than a thousand years after this text was written, Zhencheng's intense criticism of it provoked fierce reactions among a host of renowned (...) scholar-monks. This paper explores Zhencheng's main points as well as the perspectives and motives of his principal adversaries in order to shed light on the nature of philosophical discourse during the late Ming dynasty. (shrink)

The call for "doing right things on behalf of Heaven" made by Sung Chiang, the hero of the Chinese novel Shui hu [Water Margin], has long been welcomed by some people. They think that a right thing should be defined as the "revolutionary course" or the "reason" by which rebellions can be justified and that "doing right things on behalf of Heaven" is an antigovernment slogan. They are wrong. As has been clearly demonstrated in Shui hu, right things refer (...) to the Confucian-Mencian doctrine and Neo-Confucianism in the Sung and Ming dynasties. Hanging out the white flag of reactionary Neo-Confucianism, Sung Chiang carries out the capitulationist line and buries the peasant uprising. (shrink)

The philosophical, religious, and sociopolitical teachings of Confucianism have played a central role in East Asian culture for many centuries. This book presents a selection of passages from leading Chinese thinkers of the later Ming dynasty (sixteenth-seventeenth centuries), a peak period of Confucian creativity influenced by Buddhism and Taoism. Chosen for their practical interest and universal appeal, the passages are concerned with how to develop the personality, conduct social relations, and order society. In contrast to the common misconception (...) of Confucianism as a formalistic ideology linked to authoritarian political regimes, these passages emphasize the cultivation of spiritual qualities as a means of operating harmoniously and successfully in the world. (shrink)

In classical Chinese wu 吾 is commonly employed as the first-person pronoun, similar to wo 我 that retains its use in modern Chinese. Although these two words are usually understood as stylistic variants of “I,” “me,” and “myself,” Chinese scholars of the Zhuangzi 莊子 have long been aware of the possible differences in their semantics, especially in the philosophical context of discussing the relation between the self and the person, as evinced by their occurrences in the much-discussed (...) line “Now I have lost myself” in the chapter “Discussion on Making All Things Equal”. In this essay, I first provide an exegesis of the proffered explanations of the semantical differences between wu and wo as an introduction to two ways of understanding them in the Zhuangzi literature, viz. the single-reference view and the double-reference view. Then I shall argue against these two views in favor of the no-reference view, meaning that both pronouns in “Now I have lost myself” do not function referentially, given the peculiarity of the verb “lose.” I believe the no-reference view has not been explicitly articulated and defended in the literature, although some scholars who want to read the no-self view into the Zhuangzi might have implied it. My argument is supported by a close reading of the targeted passage in the Zhuangzi, premised on the assumption that the part on the “piping of Heaven” immediately following the discussion of losing oneself is an indirect explanation rather than a digression. My explanation is framed within a similar discussion of “I” by the British philosopher Elizabeth Anscombe. This comparative interpretation, I believe, not only provides the grounds for understanding Zhuangzi’s ideal of attaining the state where “the ten thousand things are one with me,” but also demonstrates how metaphysics and the philosophy of language are two interwoven threads in Zhuangzi’s reasoning. (shrink)

Literary pneuma is a foundational idea in Chinese literary thought and the theory of literary pneuma one of the major aesthetic theories in Chinese literature and art. Since its first appearance, however, this aesthetic has remained an elusive concept despite its central importance. This article adopts an interdisciplinary approach to examine major statements of wenqi in Chinese thought in relation to similar ideas in modern philosophy, aesthetics, psychoanalysis, and literary criticism. It attempts to understand its rationale, (...) locate its conceptual groundings, and reconceptualize it into an aesthetic theory for our time. (shrink)

This is a book of guidance rooted in the wisdom of ancient China. Bestselling author Deng Ming-Dao provides key poetic lines that distill the essence of Taoism, organizing them in the form of a journey. The material here is drawn from a variety of sources, including, the Yijing, 300 Tang Poems, and the full text of the Daodejing. As Deng Ming-Dao notes, "We walk the Way each day. We don't know what's ahead, and so it's helpful to have (...) the wisdom of others to guide us. They have left us a message to encourage us. They have spoken of the joys, griefs, and purity that we should embrace. Like good pathfinders, they give us direction and prepare us for what we might encounter. They let us walk for ourselves. We have a wonderful companion for the journey." This profound collection of ancient wisdom is the resource for those looking for daily sustenance and guidance on the path of life. -- inside front cover. (shrink)

The present chapter sketches the adoption of logic in late nineteenth and early twentieth century China. Addressing both conceptual and institutional aspects of this process, it contextualizes the raising interest in the discipline among Qing scholars and Republican intellectuals. Arranged largely chronologically, it delineates the successive periods in the reception of major works of and intellectual trends in the field. It introduces the most influential scholars promoting a public discourse on logic in the final years of the empire, but also (...) the ever more professional agents who participated in the ensuing establishment of a modern institutional framework for studies in logic like universities, departments of logic, academic societies, journals etc. While at the beginning, these people were mostly no trained logicians, progress in the establishment of academic logic in the 1930s provided the conditions for the formation of the first Chinese specialists in the field who were often internationally trained and soon to engage in cutting-edge research. In some contrast, academic discourse on logic well into the 1930s was dominated by exaggerated social and political expectations, not least due to the successive influence on intellectuals of inductionist scientism in the first decades of the twentieth century, of an inflated pragmatist notion of logic in the 1920s, and of an overly simplistic “antiformalist” notion of logic propagated by (vulgar-)Marxist historical dialecticians in the 1930s. The arrival of scientific logic also went in tandem with a renewed interest in studies in the traditional Buddhist “science of reasons” (yinming, hetuvidyā, “Buddhist logic”) and spurred the search for contributions to the field of logic in the record of inherited Chinese literature, a development which soon led to the common acceptance of the existence of genuinely Chinese traditions of logic. It is eventually a peculiarity of the Chinese reception of logic that since around 1920, less than two decades after the first modern translations of textbooks on traditional syllogistics, the visit of Bertrand Russell – one of the fathers of mathematical logic – fueled the spread of this new approach to logic which has eventually changed its face for good. Designed as a historical survey, this chapter is a general account on the major contributions to the field by Chinese scholars of the time and has to forego detailed discussions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Universal "One"Toward a Common Conceptual Basis for Chinese and Western StudiesMing Dong GuIn the world today, rapid globalization has drastically shrunk the geographical distance between the East and the West and greatly facilitated exchanges between different cultures and traditions. In the comparative studies of Eastern and Western literatures and cultures, however, an opposite trend characterized by the anxiety of cultural relativism prevails. It has been aptly reduced (...) to this claim: "[T]he East and the West are so distinctly different that ways of thinking and expression cannot be made intelligible from one to the other, and therefore the knowledge of one must be kept apart from that of the other" [Longxi Zhang xvii]. The viability of comparative studies, as is recognized, rests on the fundamental notion that two cultural objects juxtaposed for comparison should share some common ground, or that a valid frame of reference be applicable to both of them. In the comparative studies of Chinese and Western traditions, because these traditions are recognized as founded on different and often unique ontological premises and epistemological assumptions, it is difficult to locate a common conceptual entry point for a two-way dialogue, let alone a common conceptual basis undergirded by Chinese and Western philosophical thought, to establish a viable paradigm of comparison. The current absence of such a conceptual basis in the international context of globalization, which calls for dialogues between different cultures and traditions, cannot but force us to ask: is there a Chinese philosophical concept that signifies, as another Western philosophical concept does, the ontological and epistemological conditions of human existence, one that can be used as a conceptual premise upon which to build a bridge across the divide between the Chinese and Western traditions?Undaunted by the seemingly unbridgeable gap between Chinese and Western traditions, some scholars have made valiant efforts to locate a common conceptual ground. Following the lead of Qian Zhongshu, a Chinese erudite of the twentieth century, some scholars have also noted that the Dao (Tao) in Chinese philosophical thought and Logos in Western philosophical thought are remarkably comparable [Qian 408]. The compatibility of the Dao and Logos, however, has been problematized by other scholars, who argue that the differences between the Dao and Logos are more profound than their apparent similarities. James J. Y. Liu, for example, questions the universality of logocentrism as claimed by Longxi Zhang in both the Dao and Logos: "Zhang's comparison of dao to logos fails to take into account an important difference: in the West, logos is identified with God, but Lao Zi took great pains to say that dao is not the true name of the ultimate" [Liu 25]. Moreover, while in Lao Zi's conception, the Dao is a [End Page 86] feminine concept, the Western Logos, through its emphasis on presence, is obviously masculine in nature. More significantly, the pairing of the Chinese concept of Dao with the Western concept of Logos as a conceptual common ground has a fundamentally incommensurable point: namely, while the former is predicated on a fundamentally monistic view of the universe as a spontaneously self-generating entity, the latter, like Plato's Idea, is founded on a dualistic view of the universe as constituted by one world of essence and another of appearances, created by a powerful personal god.To establish a model for cross cultural studies, it is of little value to simply juxtapose a Chinese concept and a Western concept and find their similarities. In comparative studies, we need to find a conceptual model based on the pairing of similar concepts from different traditions that may yield promises of paradigms and methodologies. For this reason, my exploration is not concerned with the question of whether it is viable to pair the Dao and Logos together. I am more concerned with another question: Is it possible to build a conceptual and methodological model based on the near commensurability between the Dao and Logos? Some scholars suggest that the striking similarity invites and encourages further exploration. But in which direction or directions should we pursue the subject further? In my view, previous scholars' preliminary explorations have been promising, but too narrowly focused on the local... (shrink)

Wang Yangming (1472-1529) and his School of Mind dominated the intellectual world of sixteenth-century Ming China (1368-1644), and his Confucian philosophy has since remained an essential component of East Asian philosophical discourse. Yet, the volume of publications on him in the Western-language literature has consistently paled in comparison to the volume of scholarship on classical Chinese philosophy, modern Chinese philosophy, Buddhism, and Daoism. Studying Wang Yangming: History of a Sinological Field explains the history of writing in (...) the West about the famed Ming dynasty scholar-official. From eighteenth-century French Jesuit books to English-language publications in 2020, this book provides a historical overview and summary of a literature published by scholars attempting to grapple with one of the most influential Confucians in the history of China, East Asia, and the world. (shrink)

This book starts with the classification of the main views of different thinkers after the study of the original materials, which covers all the thinkers’ thoughts and conceptions. A major objective of this book is to reveal the ideas of the philosophers. Key ideological opinions are stated with the former discussion of exact questions and further clarification of their philosophical meaning, which enables the readers to better understand the meaning and value of the philosophical thoughts. Since the logic and history (...) are in accordance with each other, a frame of conception is formed then. Then, the author clearly explains the logical relationship in the frame mentioned before, as well as the formation of the key concepts and their relationship. (shrink)

This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...

This paper focuses on the change of the meaning of “gospel” in Chinese context since the 17th Century. In the late Ming dynasty, Catholic missionaries were the first to translate “gospel” into Chinese with their writings about the Bible. Then the term became intermingled with traditional Chinese belief of seeking blessings. After the ban on Christianity imposed by the Emperor Yong Zheng, Chinese Catholics hid their faith and disguised it as Buddhism, Taoism and folk religions. (...) At the end of the 19th century, “gospel” was connected to colonialism and became a trigger for Sino-Western conflict. The critique of and hostility toward the term abruptly arose. In the 20th century, “gospel” turned into a new concept, which went beyond its religious connotation and gradually referred to all kinds of “good news”. (shrink)

This paper analyzes how space is metaphorized in some Chan poems, and it investigates how space metaphor contributes to Chan culture. It concentrates onorientational metaphors, metaphor associated with an upward or/and a downward orientation. Orientational metaphors tend to be grounded in dichotomized thought, e.g., “GOOD IS UP” vs. “BAD IS DOWN”, “DIVINE IS UP” vs. “MORTAL IS DOWN”, etc. This paper will demonstrate that in some Chan poems, orientational metaphors do not function this way. Instead, what is foregrounded is the (...) kind of spatial relationship created by opposite orientations, namely, the broad, ever-extending space. To demonstrate how this metaphorical understanding of space is achieved, this paper addresses three particular space-related issues: (1) how certain entities representing dimensional space serve to function as a cognitive metaphor that is common in Chan poetry as a genre; (2) how up-down orientations can interact and form a metaphorical pattern in a text; and (3) how spatial image schemas (e.g., VERTICALITY, NEAR-FAR, PATH, CENTER-PERIPHERY, CONTAINER, etc.) can be identified, interact with one another, and underpin the pattern of metaphor communicating the idea of that broad, ever-extending, imaginal space. All in all, this study aims to demonstrate how space metaphor, as a signifying force, functions in Chan poems and how suchmetaphor represents Chinese Chan culture. (shrink)

本书共分八章,主要内容包括建构宇宙模式、初创中的分歧、本体论的完成、认知的主体性、顺应生命意题、情的普遍意义、意志主宰生命、历史性的总结。.

本書圍繞吳與弼哲學思想對陳獻章、王守仁的影響，及崇仁學派在整個明代哲學史所處的地位，展現崇仁學派儒家學者的理氣觀、心性論與道德修養論，凸顯十五世紀明代哲學史的真實面貌與內在理路，為理解陽明心學的興起提 供一種新的分析路徑。.

Monstrosity and Chinese Cultural Identity: Xenophobia and the Reimagination of Foreignness in Vernacular Literature since the Song Dynasty. By isaac Yue. Amherst, NY: Cambria Press, 2020. Pp. xii + 199. $110 ; $40.

ObjectivesAcupuncture therapy has been used for cognitive impairment-related diseases, however, there are still few studies on the overall trend of acupuncture therapy on cognitive impairment based on bibliometric analysis. The purpose of this study was to explore the research trend of the impact of acupuncture on cognitive impairment in the past 15 years, analyze the research trends and hotspots, and provide new ideas and theoretical basis for future research directions.MethodsFrom the Web of Science Core Collection, the relevant literature on (...) the treatment of cognitive impairment with acupuncture from 2007 to 2022 was retrieved. Then, based on the CiteSpace and VOSviewer software of the Java platform, the cooperation between countries and institutions in this field, the co-citation of journals and documents, and the cooperation between authors and authors, etc. were analyzed. In addition, the co-occurrence and burst analysis of keywords are also carried out, and a visual knowledge map is drawn.ResultsAs of August 08, 2022, a total of 394 records related to the treatment of cognitive impairment with acupuncture were identified. The analysis results show: The number and rate of annual publications have steadily increased, with some fluctuations from year to year. The countries that contribute the most to this field are China and the USA. Among them, Beijing University of Chinese Medicine and Capital Medical University are tied for first place in terms of the number of published papers. Tao Jing is the most prolific author and the number one cited author.ConclusionsThe number of publications on acupuncture for cognitive impairment is expected to increase rapidly in future research, suggesting a bright future for the field. Future research hotspots will focus on pain, injury, protocol, diagnosis, guidelines, etc. It is also necessary to strengthen cross-regional and cross-country cooperation among various academic groups. (shrink)

Traditional Chinese landscape painting serves as a profound cultural and spiritual expression, reflecting the Chinese people's reverence for nature through symbolic representation, aesthetic philosophy, and artistic craftsmanship. Since its emergence during the Tang Dynasty, landscape painting evolved into a distinct art form characterized by spiritual contemplation and cultural symbolism. Its development through the Song, Yuan, Ming, and Qing dynasties led to the establishment of northern and southern schools, each with its unique techniques and philosophical underpinnings. In modern (...) society, technological advancements and the influence of Western art have posed new challenges and opportunities for landscape painting. This study explores the philosophical and spiritual dimensions of landscape elements in traditional Chinese art while examining innovative techniques that merge classical aesthetics with modern artistic expressions. Through analyzing the works of key landscape painters, the study highlights advancements in thematic representation, stylistic innovation, and symbolic meaning, offering insights into how traditional landscape painting can be revitalized in contemporary art while preserving its cultural and spiritual heritage. (shrink)

This article explores the crises and debates surrounding the management of imperial family matters, especially succession, under the Ming Dynasty as an approach to understanding the limits of imperial power and the nature of literati discourse on the imperium. Ming officials and members of the literati community became passionately engaged in the debates on imperial family decisions, regarding the moral order of the imperial family as a key feature of their prerogatives over imperial power. This prerogative was based (...) upon claims to Neo-Confucian moral authority. Over the course of the dynasty, these claims grew increasingly widespread and increasingly vociferous. (shrink)

It was a common practice of the Chinese official historiographers to employ pseudo-historical, semi-fictional source materials alongside the factual, ascertainable data in their narratives for prescribed political or didactic purposes despite their commitment to the time-honored principles of truth and objectivity in the Confucian-oriented traditional historiography. The intrusion of these non-historical elements in the imperial historical records illustrates, therefore, the adaptability of the source materials representing the popular tradition of the masses for the uses of the great tradition, and (...) the propensity of the reciprocal exchanges between the expressions of the Confucian literati and the less cultured populace in historical compositions. Drawing on a textual analysis of the T'ai-tsu shih-lu, the reign chronicle of the Ming founder Chu Yüan-chang, who rose from a humble peasant to the imperial throne in 1368, this essay examines the historical circumstances and historiographical devices by which the factual records were commingled with the non-historical materials in the accounts of the dynasty founding. It shows how the historiographers synthesized the pseudo-historical expressions in the popular tradition with the deliberately fabricated falsehoods of their own doing to conjure up an inflated portrait of the Ming founder, transforming him from an illiterate, beggar mendicant monk and rebel leader into the topoi of a righteous hero, dynasty founder and exemplar ruler in traditional official historiography. It also shows that apart from the historiographers' penchant for conformity to the established conventions, the exaggerated portrait of the Ming founder in the T'ai-tsu shih-lu was a product of a historiographical revision undertaken on order of the third emperor Yung-lo, fourth son of T'ai-tsu, aiming at legitimizing his usurpation of the throne from his nephew the imperial successor Chien-wen in a palace rebellion of 1402. Lastly, it shows how the early Ming revision of the records of the rise of T'ai-tsu inspired a cycle of bizarre legends about the early years of the dynasty founding in later official and private writings, and how a case study of such historiographical process may add to our understanding of the continuous interactions between the expressions of the élite and mass heritages in the making of the Chinese intellectual and cultural traditions. (shrink)

This article offers a comparative study of the views of Alexis de Tocqueville and those of several Chinese thinkers of the late Ming dynasty (1368–1644)—primarily Gu Yanwu, Huang Zongxi, Wang Fuzhi—on the socio-political processes of centralization. My central claim is that their views of political centralization and of the decentralized polycentric society that preceded it in their respective countries exhibit a remarkable array of analogous structural features. More specifically, both Tocqueville and his Chinese counterparts perceive in centralization (...) an inherent unsustainability driven by its self-destructive nature: since the foundation and strength of statism depends on its social resources, the centralization of power inevitably results in the weakening of its own basis. I conclude that through their nuanced reinterpretation of self-interest, both parties advocate a “small-community-oriented communitarianism” instead of the increasingly centralized modern state. (shrink)

The lotus, celebrated for its cultural symbolism and aesthetic allure, has been a recurring muse for flower and bird painters in Chinese art history. This article explores lotus paintings during the Ming and Qing dynasties, pivotal periods of ideological liberation and societal complexities. Traditional lotus artworks across dynasties have woven a rich tapestry in Chinese painting. Focusing on the lotus, the article intricately combines symbolic meanings and historical contexts, unraveling the flower's intrinsic artistic essence. It sheds light (...) on the evolving aesthetic qualities within lotus depictions, using this exploration as a lens to understand cross-cultural exchanges and clashes between Chinese and Western influences. Emphasizing the inherent artistic will of lotus-themed painting, the research delves into the nuanced development and aesthetic significance of this genre. By elucidating the beauty expressed in the evolution of lotus images, the study provides valuable insights with contemporary relevance. It highlights the symbolic significance of the lotus in Ming and Qing China, incorporating concrete examples of renowned lotus paintings and artists. This comprehensive approach aims to enhance reader-friendly comprehension and explicitly articulates the contribution of these findings to current artistic practices. The research not only deepens our understanding of lotus culture but also serves as a reference for contemporary lotus-themed creative endeavors, connecting historical expressions with modern artistic sensibilities. (shrink)

This study delves into the porcelain calligraphy and painting of the Ming and Qing dynasties, aiming to uncover the spiritual and cultural narratives encapsulated in these artistic expressions. During these eras, marked by the zenith of Chinese porcelain artistry, the incorporation of religious motifs was not merely decorative but a profound reflection of the prevailing religious beliefs, cultural norms, and aesthetic inclinations of the time. This paper conducts a deep analysis of the religious elements manifested in Ming (...) and Qing dynasty porcelain artworks, exploring how these elements articulate religious devotion, mirror cultural practices, and influence artistic transformations. Through detailed appreciation and interpretation of three exemplary cases—Yongle blue and white entwined flowers, Jiajing blue and white road Fu Yunhe large plate, and a blue and white seawater river cliff pattern three-legged furnace—this study reveals how these works serve as conduits for spiritual reflection and cultural transmission. Each piece not only embodies the religious and philosophical zeitgeist of its era but also highlights the dynamic interplay between art and societal evolution, thus underscoring the multifaceted roles ancient religious art plays in perpetuating cultural heritage, enchanting viewers with its artistic allure, and reflecting broader social transformations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 133-134 [Access article in PDF] Book Review Buddhism in Taiwan: Religion and the State, 1660-1990 Buddhism in Taiwan: Religion and the State, 1660-1990. By Charles B.Jones. Honolulu: University of Hawaii Press, 1999. 233 pp. Charles Jones spent over three years living in Taiwan pursuing the research for this book and for journal articles about religion on the island. He is currently on the faculty of (...) the Department of Religion at the Catholic University of America. Jones primarily focuses on the history of Chinese Buddhism as an organized religion in Taiwan from the mid-1600s to the late 1980s. This is a much needed study as most literature on Chinese Buddhism is based on Mainland Chinese Buddhism. Only in the last decade has there been a shift to focus on Taiwan Buddhism as a separate entity rather than seeing it only as an extension of Mainland Chinese Buddhism.The book is nicely organized into three major historical eras. Part 1 is titled "The Ming and Qing Dynasty (1660-1895)." This section, only one chapter, mainly focuses on the arrival and early development of Buddhism in Taiwan. Part 2 is titled "The Japanese Colonial Period (1895-1945)." This section, two chapters, of course focuses on the advent of Japanese Buddhism on the island along with its impact on Taiwan's Buddhism. Part 3 is titled "From Retrocession to the Modern Period (1945-1990)." This is the largest section of the book, with four chapters. I found this section to be more detailed and interesting than the previous two sections. I will spend the remainder of this book review commenting on this last section.In part 3 of his book, Jones begins with a chapter on the retrocession (the period at the end of World War II when Japan was forced out of Taiwan) and the arrival of the Mainland Buddhist monks to Taiwan. This chapter shows the emergence of an organized Buddhism that started to develop under the oversight of the Buddhist Association of the Republic of China (BAROC), which had begun previous to World War II in Mainland China but relocated to Taiwan with the national government in 1949. Also of interest in this chapter is the discussion of the power struggles within Buddhism between a traditionalist faction led byYuanying, and a reformist faction led by Taixu. In the end, the struggle was resolved in favor of the traditionalists; this has led to Taiwan Buddhism tending to incline toward conservatism.Chapter five focuses entirely on the Buddhist Association of the Republic of China (BAROC). It is neatly organized into two major sections, "The early period, 1949-1960," and "The middle period, 1960-1986." In the early period section, Jones does a good job explaining the BAROC's organization, mission, and activities. Included as well is a small but fascinating discussion on "The vitality of the nun's order after 1952," in which Jones tries to answer the question of why nuns have increasingly come to predominate numerically over monks, a situation that exists only in Taiwan and Hong Kong.The second half of the chapter, "The middle period, 1960-1986," focuses on the leadership of the BAROC under Baisheng. From 1960, when Baisheng became president of BAROC, until his death in 1986, Baisheng remained a controlling presence in BAROC affairs, despite the fact that he did not hold the presidency continuously [End Page 133] during this period. Also in this section, Jones highlights the internationalism ofTaiwan Buddhism under the leadership of Baisheng, which was seen in the ordinations of foreign monks and in the involvement of BAROC in international Buddhism organizations. This chapter also covers the continual struggle to regain possession of Japanese-era temples.Chapter five ends with a section called "Criticisms of the BAROC." The largest criticism leveled against the BAROC was that it failed to become the unifying force for Taiwan Buddhism that it might have been, a problem related to its elitist attitude at the national level, where only a very small closed group of people had the actual decision... (shrink)

: This paper focuses on how Chinese intellectuals discussed and researched rainbows in late Ming and early Qing Dynasty. Many of them considered the rainbow as a phenomenon that occurred under certain conditions of sunshine and raindrops, which could be described with terms related to qi of yin/yang. Some of them had the knowledge of duplicating rainbows by “spraying water opposite to the sun”. There were also popular conceptions that rainbow was a sign of salaciousness and rainbow could (...) siphon water, both of which had a long history in Chinese context. Scholars also discussed other phenomena similar to rainbow such as solar halo, lunar halo, parhelion and parselene. Those discussions were not held in wider society, yet they were the sign of how Chinese intellectuals rationalized their research into natural philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Physiognomy in Ming China: Fortune and the Body by Xing WangWenbin Wang (bio)Physiognomy in Ming China: Fortune and the Body. By Xing Wang. Leiden: Brill, 2020. Pp. x+ 325. Hardcover €114.00, ISBN 978-90-04-42954-3.Physiognomy (xiangshu 相術) as a technique of fortune-telling via the observation of the body has a long history in China and is still a living tradition. As a part of the traditional Chinese (...) technological repertoire of "Techniques and Methods" (fangshu 方術), records of performing physiognomy date back to the Spring and Autumn period (8th-5th centuries B.C.) (p. 31). According to Lisa Raphals, physiognomy was a crucial part of early Chinese philosophical discussion of the body, cosmology and human existence.1 Yet Wang Xing argues that despite its long history, our knowledge of Chinese physiognomy before the Ming dynasty is rather limited due to the small amount of pre-Ming physiognomy manuscripts still in existence. Chinese physiognomy as we know it today is largely based on its predecessors in late imperial China, and it was during the late Ming that most of the well-known extant physiognomy manuals were produced (p. 34). In contrast, the paucity of academic surveys of Ming physiognomy means that when it comes to scholarly examination of Chinese physiognomic texts and academic representation of physiognomic theories, misinterpretation often occurs. Wang is particularly critical of an early academic work on Chinese physiognomy by American anthropologist William Lessa, who made many dubious and broad assertions about the origin and characteristics of Chinese physiognomy (p. 15).2 In this context, Wang's Physiognomy in Ming China: Fortune and the Body is the first monograph in the English-speaking world primarily dedicated to the study of Chinese physiognomy in the Ming dynasty, including its social, textual, intellectual and technological history. It is also the first work in English that comprehensively introduces the history of Chinese physiognomy in early to late imperial China.Wang's investigation of this topic is two-fold. On the one hand he tackles physiognomy manuals and records of physiognomy practice from a historical perspective. Wang uses a very famous Ming physiognomic "encyclopedia," The Compendium of Divine Physiognomy (Shenxiang quanbian 神相全編), as the main text in his discussion of physiognomic knowledge, as well as a large amount of anecdotal writings from the Song to Ming periods. On the other hand, Wang consciously draws links between Chinese physiognomic theories and modern Western philosophical and anthropological debates on the body, symbolism and phenomenology. To push forward this conversation, Wang establishes a unique [End Page 1] framework for interpreting the conceptualization of the body, fortune and the cosmos in Ming physiognomic texts: the "homological" body on which time is "spatialized," discussed further below. It is this second facet of the argument that could most intrigue and inspire scholars of Chinese philosophy like myself. As Marta Hanson comments, Wang's work is an excellent example of how Chinese technical as well as cosmological works could problematize and challenge modern Euro-American academic theorizations of Asian culture and how professional sinological study could contribute to salient modern intellectual debates.3 When reading Wang's book, readers should always bear in mind his intention to bring together Ming physiognomic theories with broader contemporary philosophical discourse.Apart from the introduction, there are seven chapters in the book. The first two chapters serve as the historical section of the discussion (although historical analysis is also an indispensable part of later chapters). Chapter 1 provides readers with an overall background to physiognomy in China, especially its categorization as a form of elite knowledge in traditional catalogues, the development of core physiognomic theories and concepts in relation to traditional Chinese cosmology and medical theories, and the textual history of Ming physiognomy manuals. Beyond providing general information, in my view the author here makes three outstanding points: the first is that what we know as Chinese physiognomy is actually not merely a technique of human body divination, but also a method of predicting human future via observing the whole material world. Wang mentions a very important branch of physiognomy in historical catalogues called "physiognomy of things" (xiangwu 相物) (p. 27), in which anything from a horse... (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)

The lixue 理学 (learning of the Neo-Confucian principles) of the Qing Dynasty followed the tradition of lixue in the Song, Yuan and Ming dynasties, but it had its own characteristics. First, there was no primary direction and core train of ideas. Second, there was no creativity and the emphasis was made on ethics. Third, after the Opium War, the lixue of the Qing Dynasty was influenced by Western culture, partly resisting and partly integrating with the latter. Fourth, the tradition (...) of Neo-Confucianism of the Song Dynasty and the tradition of the Confucianism of the Han Dynasty co-existed and had disputes with each other, but also learned from each other. (shrink)

_This article makes the following comparative claims about the contributions of Song- and Ming-dynasty Chinese discourses to recent work in the related fields of new materialism and speculative realism: emerging trends in so-called new materialism can be understood through the Chinese study of _qi _, which can be translated as “lively material” or “vital stuff”; and the notion of “speculation” as this is used in recent speculative realism can be understood as the study of, engagement with, and (...) ultimate transformation by _li _, a term meaning “principle” or “structure.” However, the focus of the article is as much polemical as it is comparative. By arguing that these contemporary Western movements be categorized by Chinese schools, I challenge and reverse the tendency to subsume non-Western philosophies under Western categories and intervene in the academic practices that continue to define the “new” on Eurocentric models alone._. (shrink)