Chong, Kim-Chong. The Concept of Zhen 真 in the Zhuangzi
2011, Philosophy East and West 61(2): 324-346.
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Added by: Simon Fokt, Contributed by: Ian James Kidd
Abstract: The term zhen in the Zhuangzi is commonly associated with the zhen ren or the "true person," who is described, for example, as capable of going through fire and water unharmed. Some scholars take this as typifying a mystical element in the Zhuangzi. This essay investigates the various meanings and uses of zhen in the Zhuangzi and reaches a broader understanding of the zhen ren in various contexts.Comment : Excellent on the concept of 'zhen' (authenticity, naturalness) in Daoism. Long but clearly written. Very useful for explaining the character of Daoist ethics.Chung-Yuan Chang. Immeasurable potentialities of creativity2011, In Chung-Yuan Chang (ed.). Creativity and Taoism: A Study of Chinese Philosophy, Art, and Poetry. London & Philadelphia: Singing Dragon.-
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Added by: Meilin Chinn
Summary: A study of the Taoist (Daoist) concept of creativity as a non-instrumental process in which all things create themselves. Chang argues for the foundational place of this understanding of self-emergent creativity in the aesthetics of Chinese art.Comment : Can be used as both an introduction to Daoism and to Chinese aesthetics.Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Coomaraswamy, Ananda K.. Samvega, ‘Aesthetic Shock’1943, Harvard Journal of Asiatic Studies 7(3): 174-179.-
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Added by: Meilin Chinn
Summary: An explication of the Pali aesthetic term samvega as the state of shock and wonder at a work of art that occurs when the implications of its aesthetic qualities are experienced. Despite being an emotion, Coomaraswamy associates samvega with disinterested aesthetic contemplation.Comment : This text would work well in a focused study of Indian aesthetics, as well in a cross-cultural study of disinterest in aesthetics.Dehejia, Harsha V., Makarand Paranjape (eds.). Saundarya: The Perception and Practice of Beauty in India.2003, Samvad India Foundation.-
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Added by: Meilin Chinn
Publisher's Note: A peculiar feature of the classical aesthetic thought in India has been the emphasis on the art experience as a special state of being, defined not so much by saundarya or beauty as by ananda or beatitude. Yet, saundarya has been a crucial ingredient in the aesthetic experience, prevalent not only in traditional art objects but also in articles of daily life. The discourse of saundarya, as distinct from its experience, was however conducted by or on behalf of the cultivated aesthete and was carried out within the ambit of classical thought. In contrast, modernity, understood not merely as modernisation but as a departure from traditional modes of thinking and behavior, has opened new vistas of human experience and creativity, some of them in total opposition to traditional aesthetic norms. But even as modernity opens new discourses and initiates fresh debates on saundarya, we are reminded that the experience of beauty is a primal need, not easily overcome or substituted by another Can a renewed quest for an understanding the perception and practice of saundarya in India ensure that it is not relegated to the status of an archaic relic or curio, but restored as one of the bindus or foci of our lives?This volume, perhaps the first of its kind, is a unique contribution to the history of Indian aesthetic analysis. Its eminent contributors, ranging from aestheticians, linguistics, philosophers, historians, literary critics, art collectors, curators, performing artists, painters, and musicians of the highest calibre, are drawn from across three continents and diverse countries. Profusely illustrated, this visual and textual treat on the craft and culture of beauty in India, promises to be a collector's item.Comment : Wide-ranging volume on the concept of beauty (saundarya) in both traditional and modern Indian aesthetics. Includes essays on the ontology, expression, politics, and embodiment of beauty. This text is appropriate for a focused course or module on Indian or Asian aesthetics in which the students have some introduction to Indian philosophy and art.Related reading:
- K. Krishnamoorthy, Indian Theories of Beauty. Bangalore: Indian Institute of World Culture, 1981 (Transaction No. 53).
Related reading:
- K. Krishnamoorthy, Indian Theories of Beauty. Bangalore: Indian Institute of World Culture, 1981 (Transaction No. 53).
Dōgen. Dōgen 道元 (1200–1253)2011, In James W. Heisig, Thomas P. Kasulis and John C. Maraldo (eds.) Japanese Philosophy. A Sourcebook. Honolulu: University of Hawai’i Press, pp. 141-162-
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Added by: Björn FreterAbstract:
In Japanese religious history, Dōgen (1200–1253) is revered as the founder of the Japanese school of Sōtō Zen Buddhism. Tradition says he was born of an aristocratic family, orphaned, and at the age of twelve joined the Tendai Buddhist monastic community on Mt Hiei in northeastern Kyoto. In search of an ideal teacher, he soon wandered off from the central community on the mountain and ended up in a small temple in eastern Kyoto, Kennin-ji.Comment (from this Blueprint): Excerpts from Shōbōgenzō (Repository of the Eye for the Truth), the major philosophical work of Dōgen (1200–1253), founder of the Japanese school of Sōtō Zen Buddhism allowing to deepen his philosophical understanding of nature.Eva Kit Wah Man. Issues of Contemporary Art and Aesthetics in Chinese Context2015, Berlin, Heidelberg: Springer Berlin Heidelberg.-
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Added by: Meilin Chinn
Publisher's Note: This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.Comment : A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.Related reading:
- Li Zehou. The Chinese Aesthetic Tradition. Honolulu: University of Hawai‘i Press, 2009. A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.
Related reading:
Hong‐ki Lam. The State of the Field Report IX: Contemporary Chinese Studies of Zhuangzian Wang (Forgetting)2023, Dao: A Journal of Comparative Philosophy 22, 297–317-
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, Contributed by: I Xuan ChongAbstract:
The use of the character wang 忘 (forgetting) in the Zhuangzi 莊子 has been widely recognized in traditional and contemporary Chinese scholarship, but its meaning remains unclear. This article reviews some notable studies in Sinophone academia concerning the notion of wang in the Zhuangzi. The studies, though not necessarily focused on wang, shed light on different aspects of the concept, including its relation to self-cultivation, aesthetics, ethics, and ontology. While some scholars see wang as a form of elimination, others stress its relation to other concepts such as shi 適 (fitting). The relation of these two concepts, however, is not yet clear. There are also debates over what makes wang possible, with some linking it to dao 道 and some directing our attention to our daily experience. Despite the limited attention paid to wang to date, the studies reviewed show that it is a crucial aspect of Zhuangzian philosophy and deserves further study.Comment : A state of the field report primarily covering Chinese publications on an important topic in the Zhuangzi. A useful overview for those who want to dig deeper into that topic. Prior konwledge of Zhuangzi's philosophy can be helpful.Hsi K'ang. Music Has Neither Grief Nor Joy1983, In Philosophy and Argumentation in Third-Century China. Princeton: Princeton University Press-
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Added by: Meilin Chinn
Summary: The controversial essay in which Xi Kang offered a distinct counterargument to the orthodox Confucian view that music contains and transfers emotions between musicians and listeners. Xi Kang crafts a series of arguments against the presence of emotions and images in music and contends that the widespread belief to the contrary leads to the misuse of music for political and moral agendas.Comment : This text is best used in a course on aesthetics (especially philosophy of music) and/or Chinese philosophy. A basic understanding of Daoism is helpful.Related reading:
- Essay on Music. Ruan Ji. In Reed Andrew Criddle's "Rectifying Lasciviousness through Mystical Learning: An Exposition and Translation of Ruan Ji’s Essay on Music." Asian Music 38(2), 2007.
Related reading:
- Essay on Music. Ruan Ji. In Reed Andrew Criddle's "Rectifying Lasciviousness through Mystical Learning: An Exposition and Translation of Ruan Ji’s Essay on Music." Asian Music 38(2), 2007.
Jiang, Tao. A buddhist scheme for engaging modern science: The case of taixu2002, Journal of Chinese Philosophy 29(4): 533-552.-
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Added by: Laura Jimenez
Summary: In this paper Tao Jiang examines Taixu's effort to revitalize Buddhism through an engagement with modern science. The main argument offered by Jiang is that a nonsubstantive view of the world is in fundamental agreement with many cutting-edge scientific theories and, therefore, Buddhism can indeed offer a new perspective in the debate between the practices of modern science and their social critics.Comment : Good introductory paper to Chinese philosophy of science. The topic is highly specific and specialised, making this paper useful in postgraduate courses or, as the itself poses no difficulty of comprehension for more junior students, in specialised undergraduate classes.Karyn Lai. “Early Daoist Philosophy: Dao, Language and Society”.2008, Chapter 6. In An Introduction to Chinese Philosophy. Cambridge University Press, 93-110.-
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, Contributed by: I Xuan ChongAbstract:
This chapter - taken from the first edition of An Introduction to Chinese Philosophy - presents a comprehensive introduction to key ideas and arguments in early Daoist philosophy.Comment : This introductory chapter offers a reliable and accessible interpretation of the Laozi.Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
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