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Youngmin Kim. "The State of the Art: Korean Neo-Confucian Philosophy." 한국학논집 ll, no. 43 (June 2011): 131–58. http://dx.doi.org/10.18399/actako.2011..43.005.
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Ames, Roger T. "“Yu Jiyuan 余紀元 and Retrofitting ‘Metaphysics’ for Confucian Philosophy: Human ‘Beings’ or Human ‘Becomings’?" Asian Studies 8, no. 1 (January 10, 2020): 169–81. http://dx.doi.org/10.4312/as.2020.8.1.169-181.
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In past work on Chinese “cosmology”, I have resisted using the term “metaphysics” because of the history of this term in classical Greek philosophy. Angus Graham has warned us of the equivocations that arise in eliding the distinction between Greek ontology and classical Chinese cosmology. In this essay, I have been inspired by my dear friend the late Yu Jiyuan’s distinction between classical Greek “metaphysics” and “contemporary metaphysics with ambiguous edges” to adapt the term “metaphysics” for use within the classical Confucian corpus. In the language of Confucian “metaphysics”, the ultimate goal of our philosophical inquiry is quite literally “to know one’s way around things’” (zhidao 知道) in the broadest possible sense of the term “things”. In the application of Confucian metaphysics, “knowing” certainly begins from the cognitive understanding of a situation, but then goes on to include the creative and practical activity of “realizing a world” through ars contextualis—the art of contextualizing things. I apply the insight that “metaphysics” so understood in the Confucian context provides a warrant for establishing a useful contrast between a Greek conception of the “human being” and a Confucian conception of “human becomings”.
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Ni, Peimin. "The Confucian Way of Family under the Gongfu 功夫 Perspective – A Re-description (II)." Journal of Chinese Philosophy 49, no. 2 (July 18, 2022): 163–73. http://dx.doi.org/10.1163/15406253-12340057.
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Abstract Unlike typical journal articles that deal with specific issues in detail, this article offers a sketchy comprehensive re-description of the Confucian Way of family that serves the purpose of providing a bird’s-eye view to grasp the fact that, for Confucianism, family is not merely a part of the puzzle of human life, nor merely an ontological entity that serves as the foundation of the Confucian theory, but more a “Way” of living or gongfu 功夫 that comprised of values toward which cultivation of the person is practiced, an art of life to be mastered, and a model of social order to be implemented.
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Ni, Peimin. "The Confucian Way of Family under the Gongfu 功夫 Perspective – A Re-description (I)." Journal of Chinese Philosophy 49, no. 1 (March 22, 2022): 74–82. http://dx.doi.org/10.1163/15406253-12340049.
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Abstract Unlike typical journal articles that deal with specific issues in detail, this article offers a sketchy comprehensive re-description of the Confucian Way of family that serves the purpose of providing a bird’s-eye view to grasp the fact that, for Confucianism, family is not merely a part of the puzzle of human life, nor merely an ontological entity that serves as the foundation of the Confucian theory, but more a “Way” of living or gongfu 功夫 (aka kung fu) that comprised of values toward which cultivation of the person is practiced, an art of life to be mastered, and a model of social order to be implemented.
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Bai, Heesoon. "Philosophy for Education: Towards Human Agency." Paideusis 15, no. 1 (October 28, 2020): 7–19. http://dx.doi.org/10.7202/1072690ar.
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This paper considers the contribution of philosophy to education. First, a case is made that the fundamental goal of education is to cultivate human agency in the sense of being able to enact one’s freedom (as opposed to conditioned and habituated patterns of thinking, perception, and action) grounded in personal knowledge and ethics. This agency is named as ‘autonomy’ in this paper. Secondly, philosophy is conceived as an “art of living,” which has ancient roots in both the East and West. An argument is made that identifying philosophical activity as predominantly discursive and theoretical activity entrenches us in the “addiction” to conceptualization and blinds us to seeing that a map is not the territory. Human beings encompass the discursive as well as the non-discursive, theoretical as well as practical dimensions. Hence philosophy as an art of living must address all the dimensions. As an illustration, a number of exemplary philosophic arts pertaining to these practices are explored, including world-making through dialogue (Socratic); autobiographical experiment through philosophical writing (Nietzschean); human-making and self-transformation (Confucian); and mindfulness practice (Buddhist). The case is made that these practices combine to illustrate and demonstrate that philosophy is a practice devoted to the cultivation of fundamental human agency, namely autonomy.
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Behuniak, James. "Wen, Haiming, Confucian Pragmatism as the Art of Contextualizing Personal Experience and World." Dao 9, no. 2 (March 29, 2010): 249–52. http://dx.doi.org/10.1007/s11712-010-9168-z.
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Hung, Ruyu. "Self-Cultivation Through the Art of Calligraphy: From Past to the Future." Beijing International Review of Education 4, no. 3 (November 14, 2022): 396–407. http://dx.doi.org/10.1163/25902539-04030009.
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Abstract Aesthetic education plays an important role for the cultivation of self in Chinese tradition. In Chinese tradition, philosophy, education, ethics, and metaphysics are closely interwoven. Confucius takes the educated person as one who develops and optimises her potential in every aspect of life including knowledge, skills, habits of mind, manners and dispositions, and artistic taste. The aim of Confucian education is to ‘develop a whole person’ – chéngrén (成人 or 成為全人). There are many different approaches to the cultivation of the whole human person such as the study of classics, moral refinement, spiritual practice, and artistic education. Among the various different art media, calligraphy in Chinese tradition occupies a special and irreplaceable status. However, in the modern times the most radical changes of calligraphy have taken place in the content and artistic expression, the way of writing, the materials, the utensils, and the cultural form. The avant-garde art of calligraphy brings a novel perspective of self-cultivation. This article will take the modern artist XU Bing(徐冰, 1955 -)’s work as the example to examine the meaning of self-cultivation. Overall, this article explores how calligraphy as art is taken as an important means of self-cultivation from the perspectives of tradition and avant-garde. Through history, calligraphy plays a vital role in art and education not only in Chinese culture but also in the global context.
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Nam, Kyung-Hee. "Li (禮), or Ritual Propriety: A Preface to a Confucian Philosophy of Human Action." Diogenes 62, no. 2 (May 2015): 71–80. http://dx.doi.org/10.1177/0392192117703052.
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In this paper, I propose an interpretation of the Confucian concept of li or Ritual Propriety, and suggest a new philosophy of action and mind on the basis of the concept. To achieve this aim, I focus upon and analyze passages in The Analects, and try to establish major Confucian theses on human action. By comparing Confucian views on human action with Western ones, I shed light on the originality of the concept of li. Major theses on li in The Analects are as follows: (1) As an essential characteristic of human behavior, li is ordinary and ubiquitous. (2) Li is a socialized form of our mind, is the outside of an inside, and as such presupposes the unity of the mind and body. (3) Li is a social medium through which we interact with others in order to achieve common values and to turn our society into a harmonious and aesthetic space. To argue for the above theses, I focus on the centrality of language in our life, and utilize Russian psychologist Vygotsky’s theory of language learning as well as Wittgenstein’s concept of language game, together with the Confucian theory of correct names.
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Fuyarchuk, Andrew. "Gadamer and the Yijing’s Language of Nature: Hermeneutics and Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 3-4 (March 3, 2020): 174–92. http://dx.doi.org/10.1163/15406253-0470304005.
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Although their value-judgments diverge, neo-Confucian and American continental philosophers agree that Gadamer’s hermeneutics is anti-foundationalist. Neither side, however, has asked why he frequently appeals to standards of harmony, or why he models the art of medicine on the order of nature. These indicate a commitment to trans-historical foundation of One and many that forms the basis for comparisons with Chinese aesthetics in the Yijing tradition. These foundations are grounded in Gadamer’s reading of Plato and shape his onto-dialogical interpretive method. In contrast to Whitehead, Gadamer cements the One and many in practical life by removing the contradiction through a transformation in human ethos.
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Dubrovskaya, D. V. "BRITISH DEISTS AND “SHARAVADGISM”: FROM INTELLECTUAL LANDSCAPE TO THE LANDSCAPE PARK." Journal of the Institute of Oriental Studies RAS, no. 3 (13) (2020): 164–70. http://dx.doi.org/10.31696/2618-7302-2020-3-164-170.
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The article dwells further on the topic of Chinese philosophy and Confucian thought’s reception in the West in the era of the Enlightenment, repeatedly studied by the author, and problematizes the points of contact between the British followers of deism and Confucian thought. The article considers the ideas and some works of English deists, drawing inspiration from the ideas of the French Enlightenment, which actively appropriated the Chinese political experience in its presentation by Jesuit missionaries and travelers to China. The author makes an attempt to connect the natural-philosophical ideas of deists, who saw Confucian literati as their philosophical brothers in relation to religion and questions of creation, with the subsequent development of interest in Far Eastern influences on English culture and art, considering the case of the watercolor artist Alexander Cozens and the decisive turn of English park construction from the regular classicist norm of French parks to romantic English landscaped palace and park ensembles. The author comes to the conclusion that English parks and watercolors in some way turned into a visual expression of the ideas of deists, who called for observing and learning from nature and real life, while the landscape gardening ensembles themselves proved to be a reflection of the intellectual landscape.
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Chen Ming. "Modernity and Confucian Political Philosophy in a Globalizing World." Diogenes 56, no. 1 (February 2009): 94–108. http://dx.doi.org/10.1177/0392192109102159.
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Kim, Joonho, and Jisun Lee. "The Impact of Eastern Philosophy on Western Classical Music Education: Focusing on the Influence of Confucianism in China." Society for International Cultural Institute 15, no. 2 (December 31, 2022): 21–44. http://dx.doi.org/10.34223/jic.2022.15.2.21.
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Most East Asian countries have an educational environment based on the spitirual heritage of the Confucian culture. The outstanding performance skills and musical achievements of East Asian performers need to be found in the unique thought and culture of East Asia how classical music originated in the West, especially Europe, was accepted, formed, developed and influenced in these East Asian countries. Throught this study, the successful internalization and performance creation process of Western classical music education in which East Asian value systems are transplanted from other cultures will be explored to reveal the value and expandability of humanistic philosophy inherent in the consciousness of East Asian countries. The educational philosophy of Confucianism, common to all East Asian countreis, has influenced the methods and purposes of the curriculum for a long period of history. In particular, China, the birthplace of Confucianism, has undergone great changes in the negative and positive aspects of traditional Confucianism in modern history, which has an impact on the introduction and spread of Western classical music and the exploration of training methods and spirits for new music styles. This study explored the interaction between the philosophy and art of different cultures by exploring the spiritual and ideological bases for the outstanding achievements of East Asian artists in the process of encountering Eastern philosophy and Western art. In order to enhance the musical perfection of Western classical music, which has been established as the upper culture of music art, oriental values and aesthetic perspectives are affecting the attitude of performers.
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Miyajima, Hiroshi. "THE EMERGENCE OF PEASANT SOCIETIES IN EAST ASIA." International Journal of Asian Studies 2, no. 1 (December 10, 2004): 1–23. http://dx.doi.org/10.1017/s147959140500001x.
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In the recent debates about Confucianism and its role in East Asian economic development, there has been little discussion about why East Asian societies embraced Confucian values in the first place. Here, “Confucian” refers particularly to the ideas of the Song dynasty Zhu Xi school (neo-Confucianism) which became associated in China with the shidafu scholar-bureaucrat class. Zhu Xi political philosophy was anchored in a centralized governing bureaucracy under the emperor, and differed markedly from political ideals underlying medieval feudal society in Europe, for example. Land-ownership was not a condition of shidafu status, and there is only a partial resemblance between the Chinese landowner and European feudal ruling strata. In Japan and Korea, notwithstanding the fact that neo-Confucianism was an imported philosophy and there arose discrepancies between its ideas and social reality, it sank deep roots into both societies. This paper looks at the conditions that allowed this to happen, and concludes that the spread of Confucian ideas depended on structural changes in Korea and Japan that were similar to those that had occurred in China. It is in the emergence of peasant society that we find the key to such changes. This, I contend, is a far more important watershed than the one that divides early-modern and modern.
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Kosykhin, Vitaly G., and Svetlana M. Malkina. "On the Influence of Translations of Religious and Philosophical Texts of Buddhism on the Literature and Art of Medieval China." RUDN Journal of Philosophy 24, no. 4 (December 15, 2020): 601–8. http://dx.doi.org/10.22363/2313-2302-2020-24-4-601-608.
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The era of the Tang dynasty (618-907) was a period of great flourishing of all aspects of Chinese culture, when changes covered the most diverse spheres of philosophy, art and literature. The article examines the role played in this cultural transformation by translations from Sanskrit into Chinese of the religious and philosophical texts of Indian Buddhism. The specificity of the Chinese approach to the translation of Indian texts is demonstrated, when, at the initial stage, many works were translated in a rather free style due to the lack of precisely established correspondences between Sanskrit and Chinese philosophical terms. The authors identify two additional factors that influenced the nature of the translations. Firstly, this is the requirement of compliance with the norms of public, mainly Confucian, morality. Secondly, the adaptation of the Indian philosophical context to the Chinese cultural and worldview traditions, which led to the emergence of new schools of religious and philosophical thought that were not known in India itself, such as Tiantai, Jingtu or Chan, each of which in its own way influenced the art of the Medieval China. Special attention is paid to the activities of the legendary translator, Xuanzang, whose travel to India gave a huge impetus to the development of Chinese philosophy in subsequent centuries, as well as to the contribution to Chinese culture and art, which was made by the translation activities of the three great teachers of the Tang era Shubhakarasimha, Vajrabodhi and Amoghavajra.
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MULLIS, ERIC C. "The Ethics of Confucian Artistry." Journal of Aesthetics and Art Criticism 65, no. 1 (January 2007): 99–107. http://dx.doi.org/10.1111/j.1540-594x.2007.00241.x.
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Csikszentmihalyi, Mark, and Robert Eno. "The Confucian Creation of Heaven: Philosophy and the Defense of Ritual Mastery." Journal of the American Oriental Society 112, no. 4 (October 1992): 681. http://dx.doi.org/10.2307/604499.
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Huang, Yong. "Virtue Ethics and Moral Responsibility: Confucian Conceptions of Moral Praise and Blame." Journal of Chinese Philosophy 40, no. 3-4 (March 2, 2013): 381–99. http://dx.doi.org/10.1163/15406253-0400304004.
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This essay discusses how Confucianism can deal with two related issues of virtue ethics and moral responsibility: praise and blame. We normally praise a person because the person has done something difficult, but a virtuous person does the virtuous things effortlessly, delightfully, and with great ease. Thus the question arises regarding whether such actions are indeed praiseworthy. We can blame a person for doing something wrong only if the person does it knowingly. However, according to virtue ethics, anyone who has genuine moral knowledge acts virtuously, and anyone who does not act virtuously, or acts viciously, only because the person does not have the genuine moral knowledge. Thus the question arises regarding whether such actions are blameworthy.
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Chai, Chunlei, Danni Shen, Defu Bao, and Lingyun Sun. "Cultural Product Design with the Doctrine of the Mean in Confucian Philosophy." Design Journal 21, no. 3 (March 5, 2018): 371–93. http://dx.doi.org/10.1080/14606925.2018.1440842.
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WANG, Jue. "儒家生命倫理之基礎與方向——一個初步的分析." International Journal of Chinese & Comparative Philosophy of Medicine 10, no. 2 (January 1, 2012): 17–33. http://dx.doi.org/10.24112/ijccpm.101518.
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LANGUAGE NOTE | Document text in Chinese; abstract also in English.雖然越來越多研究者認識到儒家倫理資源對當代生命倫理研究的價值，但“儒家生命倫理學”仍然是一個頗具爭議的提法。本文試圖表明，儒家生命倫理學是一種以本土文化傳統為主體，從完整的生活世界出發，以糾正原則主義偏狹的理論努力。因此，一種構建儒家生命倫理學的理論努力成功與否，取決於它在多大程度上能夠在現實生活中恢復儒家的生活世界（如儒家共同體）以及與之相應的道德關懷。依據這一視角，本文嘗試為儒家生命倫理學建構提供一種合法性論證，並對儒家生命倫理學的方法、結構和方向作出初步的探討。Although increasingly more scholars are realizing the significance of Confucian intellectual and moral resources to bioethics in China, the phrase “Confucian bioethics” remains controversial today. What is Confucian ethics? Is there such a thing? Is it even possible? The debate on bioethics has gone global due to a rapid growth in biotechnology and life sciences that impact people all over the world, and there is heightened demand for understanding the many associated issues from various socio-cultural and philosophic-ethical perspectives. Yet some people argue that current bioethical considerations should be couched in terms of “universal principles” that render a specifically Chinese or Confucian bioethics irrelevant. What that position ignores is the importance of cultural context in determining how such principles should be understood and implemented. This essay argues there are elements in bioethics that require it clearly to be Chinese (and Confucian). It pointsout that Confucian ethics should be reconstructed and based on a life-world in which Confucianism is a lived tradition rather than a piece of art exhibited in a museum. From a contemporary perspective, the Confucian way of living is a new form of creation, meeting the challenge of modernity and postmodernity in terms of ethics in general and bioethics in particular. The essay also addresses issues concerning the methodology, structure, and direction needed for the creation of a Confucian bioethics.DOWNLOAD HISTORY | This article has been downloaded 413 times in Digital Commons before migrating into this platform.
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Jo, Min-hwan. "A Study on the Status of Korean Calligraphy in Toegye Yi Hwang's Calligraphy Aesthetics." Korean Society of Calligraphy 41 (September 30, 2022): 29–54. http://dx.doi.org/10.19077/tsoc.2022.41.02.
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In the history of calligraphy in the Joseon Dynasty, the 16th century is meaningful in that there were various calligraphy styles besides Wang Xizhi’s calligraphy style and Zhaomengfu’s calligraphy style. Before and after Lee Hwang was alive, there were calligraphers such as Kim Gu, Seongsuchim, Hwang Gi-ro, Yang Sa-eon, and Han Ho. Each of them unfolds a variety of calligraphy styles based on their artistry, and from the perspective of calligraphy aesthetics, it is necessary to pay attention to Lee Hwang’s calligraphy aesthetics. This is because Lee Hwang understood calligraphy in the Joseon Dynasty in terms of ‘painting of the heart’ and ‘painting with calligraphy works’ based on the new Confucianism. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. The reason why Lee Hwang was established as a calligrapher is that he unfolded a world of calligraphy creation in which his knowledge and character were combined. Lee Hwang’s evaluation of calligraphy was based on ethics rather than art understood at the technical level. This tells us that Lee Hwang’s studies and art are one. The results of Lee Hwang’s calligraphy creation are evaluated as ‘stiff, robust, upright, and solemn’. Applying this to the philosophy raised by Lee Hwang, the idea that ‘when reason works, energy follows’ is a result of art. In addition, it is the result of Lee Hwang’s philosophy of ‘catch respect’. As such, Lee Hwang’s perception of art that all art should be art on which reason worked emphasizes the calligraphy trend developed by Wangxizi and others. In addition, it develops as a reason for criticizing Zhaomengfu and Zhangbi. The key to Lee Hwang’s evaluation of Zhaomengfu and Zhangbi was that they did not understand the reason properly and worked on art creation. Both Zhaomengfu and Zhangbi. belong to the failure to properly operate the calligraphic meaning of ‘the right law of the heart’ and ‘respect’ in New Confucianism. In addition, it belongs to ignoring the right law and the old law and operating it arbitrarily. If the Korean calligraphy history is identified at an aesthetic level, the calligraphy aesthetics raised at the level of ‘catch respect’ and ‘picture of the mind’ presented a typical example of calligraphy aesthetics that Confucian scholars of the Joseon Dynasty later sought. In this regard, there is a historical significance in Korean calligraphy.
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Froese, Katrin. "The Art of Becoming Human: Morality in Kant and Confucius." Dao 7, no. 3 (July 19, 2008): 257–68. http://dx.doi.org/10.1007/s11712-008-9070-0.
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Tsvetkov, D. V. "Confucian Ideas and Russian Culture of the XVIII Century on the Example of “Description of the Life of Confucius, the Head of Chinese Philosophers”." Bibliosphere, no. 3 (June 29, 2022): 83–91. http://dx.doi.org/10.20913/1815-3186-2022-3-83-91.
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The influence of Confucian ideas on intellectual life in Russia of the XVIII century has not been studied enough and needs more detailed research. This paper is about the research of text “Description of life of Confucius, head of Chinese philosophers”. The purpose of the article is to identify the background of its creation, analyze the translation of this text and establish its connection with the ideas of the Enlightenment era. It was revealed that the “Description of the Life of Confucius ...” is a collection of fragments from the texts of “Lun yu” and “Zhong Yun” of the Confucian “Four books”, the Latin translation of which was placed in “Confucius Sinarum philosophus, sive Scientia Sinensis” (“Confucius, the philosopher of the Chinese, or Chinese science”) – work, in which, for the first time, traditional Chinese philosophical teachings are systematized. The nature of the fragments, the principle of their grouping by chapters, as well as the topics of the chapters indicate that “The Description of the life of Confucius ...” could act as a lesson to young people preparing for public service. Such an appointment of the “Description of the life of Confucius ...” seems most likely, if we also take into account the tendency that took place in the intellectual environment of the XVIII century to compile manuals on the education of young people corresponding to the ideals of Enlightenment.
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Allen, Barry. "To Really see the Little Things: Sage Knowledge in Action." Journal of Chinese Philosophy 42, no. 3-4 (March 3, 2015): 359–70. http://dx.doi.org/10.1163/15406253-0420304008.
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Sage knowledge knows the evolution of circumstances from an early point, when tendencies may be inconspicuously, “effortlessly” diverted. This knowledge is expressed, not “represented,” being an intensive quality of action rather than of belief, proposition, or theory, and its effortlessness is not a matter of effort versus no effort, but of the intensity with which effort tends to vanish. The value of such knowledge and the explanation of its accomplishment in terms of perceiving incipience or “really seeing the little things” crisscross lines among Confucians, Neo-Confucians, Daoists, and Art of War thinkers. What distinguishes these currents arises not from different definitions or justifications of knowledge but instead different ideas about how to acquire such knowledge and especially how to train it for wisdom.
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Gao, Yuan. "Journey to the East: A Philosophical Inquiry into the Early Reception of St. Augustine in China." International Journal of Asian Studies 16, no. 2 (July 2019): 117–29. http://dx.doi.org/10.1017/s1479591419000135.
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AbstractIn modern scholarship, much ink has been spilled over the significance of St. Augustine in the history of Western philosophy and theology. However, little effort has been made to clarify the legacy of Augustine in East Asia, especially his contribution to China during the early Jesuit missionary work through the Maritime Silk Road. The present article attempts to fill this lacuna and provide a philosophical analysis of the encounter of Chinese indigenous religions with St Augustine, by inquiring into why and how Augustine was taken as a model for the Chinese in their acceptance of the Christian faith. The analysis is split into three parts. The first part reflects on the contemporary disputations over the quality of the paraphrasing work of the early Jesuits, analyzing the validity of the allegedly careless inaccuracies in their introduction of Augustine's biography. The second part analyses some rarely discussed Chinese translations of Augustine, which I recently found in the Nanjing Union Theological Seminary, with particular focus on their ideological context. In particular, the paraphrased text concerning Augustine's theory of sin and the two cities will be highlighted. The third part goes a step further in exploring the reason why Augustine was considered an additional advantage in dealing with the conflicts between Christian and Confucian values. The primary contribution this essay makes is to present a philosophical inquiry into the role of Augustine in the early acceptance of Christianity in China by suggesting that a strategy of “Confucian-Christian synthesis” had been adopted by the Jesuit missionaries. Thereby, they accommodated Confucian terms without dropping the core values of the orthodox Catholic faith. The conclusion revisits the critics’ arguments and sums up with an evaluation of the impact of Augustine's religious values in the indigenization of Christianity in China.
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Grudecki, Michał Roman. "Plagiarism as a Culturally-Motivated Crime." Asian Journal of Law and Economics 12, no. 3 (December 1, 2021): 237–52. http://dx.doi.org/10.1515/ajle-2021-0054.
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Abstract The article discusses the possibility of classifying plagiarism as a culturally motivated crime. Creating works, especially written works, is strongly related to culture as well as to knowledge and skills acquired during education. Therefore, plagiarism can be perceived as a culturally-conditioned act, and, thus, differently perceived depending upon the culture with which the artist identifies themselves. The author juxtapose two legal orders, namely of countries where plagiarism is a crime and those where the failure to mark the authorship of a work results from the customs prevailing in their culture, i.e. societies influenced by Confucian philosophy. The research goal is to raise the hypothesis and determine whether the perpetrator of culturally motivated plagiarism can use one of the tools indicated in criminal law, the so-called cultural defense.
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LO, Ping Cheung. "儒家的生死價值觀與安樂死." International Journal of Chinese & Comparative Philosophy of Medicine 1, no. 1 (January 1, 1998): 35–73. http://dx.doi.org/10.24112/ijccpm.11324.
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LANGUAGE NOTE | Document text in Chinese; abstract also in English.在本文筆者要逐一檢討在西方四個常見的贊成安樂死的論據（仁是在、生命贊素、尊嚴、自決），並且指出這四個論據分別與中國儒家的價值觀（仁、所欲有甚於生、士可殺不可辱、泰山與鴻毛）有不同程度的共鳴及相通之處。由於這些共鳴及相通之處只是在某程度上，而非徹底相通，所以透過中國古代的價值觀的相對照，也可以更清楚看出這四個西方論據之性質及其可能限制。筆者的結論是，從儒家的價值觀來看，除了在某極端的情況中，一般來說這四個支持安樂死的論據都是說服力不足。This paper attempts to analyze four major arguments in favor of the moral acceptability of voluntary euthanasia (including physician-assisted-suicide) as found in the West, and tries to assess these arguments through Chinese Confucian ethics and its perspectives on life and death. Through such a cross-cultural dialogue the author concludes that there is some similarity as well as difference in Chinese and western values. The western moral values appealed to in advocating voluntary euthanasia, to a certain extent, can strike an echoing chord in Confucian ethics. In other words, though the debate on euthanasia is a contemporary phenomenon, the arguments and their underlying values in favor of its moral acceptability are not entirely foreign to premodern Confucian ethics. This resonance notwithstanding, the Confucian echoes are also limited. Behind some general agreements are some significant disagreements as well. Hence this cross-cultural dialogue can reveal in a clearer manner the salient traits and possible flaws of the western moral arguments in favor of euthanasia, and can contribute to a multicultural reflection on some contemporary moral controversies.This paper begins by clarifying the etymological meaning of "anle si," the phrase for "euthanasia" in Chinese as well as in Japanese. The root of the phrase can be traced to either Mencius or Pure Land Buddhism. The latter possibility seems more probable, and "anle si" then means a death or dying free of suffering. In this paper, I shall restrict the term "anle si" or "euthanasia", to voluntary, active euthanasia and physician-assisted-suicide.The first common western argument in favor of euthanasia is the argument of mercy. For some patients the dying process is accompanied by such excruciating pain that euthanasia is a good way of release from suffering. Since the patient is on the way to die anyway, such suffering is pointless and is not worth-enduring. Euthanasia for such dying patients is to spare them from such pointless suffering and is therefore a manifestation of mercy. This argument can find an echo in Confucian ethics. The fundamental value in Confucianism is "ren," and one of its meanings is benevolence. According to Mencius, the root of "ren" or benevolence lies in compassion, i.e., feeling intense pain in seeing others suffer. Traditional Chinese medicine also adopts this cardinal Confucian virtue as its fundamental guiding norm, hence the dictum that medicine is "renxin renshu" (benevolence and benevolent art). Thus if the premise "Euthanasia is the only way or best way to eliminate pain in the dying process" is empirically true, one can infer that euthanasia can be justified by Confucian ethics of ren. However, in light of the recent progress in palliative medicine and hospice care, the aforementioned premise can be empirically true only in very limited circumstances, which are analogous to a torture scene in the recent Chinese novel, then turned into movie, The Red Sorghum. (The author also observes that the hospice philosophy is more in consonance with the Taoist philosophy of Zhuangzi.)The second common western argument in favor of euthanasia is the argument of the quality of life. It has been argued that some sufferers of disease and accidents do not want to live anymore not because of intractable pain, but because of the irreversible and unacceptable low level of the quality of life (e.g., in Alzheimer’s disease, Parkinson’s disease, ALS, MS, quadriplegic, etc.). Since the condition is incurable, and the persons involved would rather die than to endure this "living hell," euthanasia is liberation from this bondage. Confucianism does not subscribe to the doctrine of the sanctity of biological life either, and places heavy emphasis on the quality of life, to be defined with reference to ren and yi (i.e., in the wide sense of supreme virtue), rather than on the quantity of life (i.e., longevity). To live out one's life to its natural limit is not in itself desirable. In order to secure a high quality of life, in some circumstances, one has to be prepared to die, even by taking matters into one’s hand, lest what is going to transpire in the natural life span will decrease the quality of life. However, the limit of the Confucian echo is that Confucianism cares largely the moral quality of life, and cares very little about the biological quality of life. As long as the low quality of biological life is not to affect adversely one’s moral quality of life, there is no good reason to terminate one’s biological life.The third common western argument in favor of euthanasia is the argument of death with dignity. According to this argument, our biological condition can be so bad (e.g., loss of control, being brought back to the infant condition, in a state of zombie) that it is a humiliation to our sense of dignity. Such an assault on our dignity can be more intolerable than physical pain. Euthanasia can therefore deliver us from such an undignified state of existence. In Confucianism, especially since the Han Dynasty, to commit suicide in order to avoid humiliation, disgrace, and dishonor is not only desirable, but also obligatory. Such an idea of "a man of integrity prefers death to humiliation" is even accepted by a number of Chinese intellectuals during the so-called "Cultural Revolution." However, historically the Confucian endorsement of death with dignity is largely limited to the cases in which the assault on human dignity came from an external source (from enemies, emperor, government), and such an assault is not a universal predicament. Furthermore, in those circumstances in which to commit suicide is the only way to avoid humiliation it happens because one’s destiny is controlled by hostile forces; there is no friendly force at hand to make one feel better. In the contemporary case of euthanasia, in contrast, the assault on human dignity comes from an internal source (disease, old age, bodily and mental decay all stem from our mortal and corruptible body) and is therefore a universal human phenomenon. Unless we conceive disease and sickness as an enemy, Confucian ethics would not view our deteriorating biological condition as an assault on human dignity. If we accept that our mortal embodied life is a part of our human condition, we can hardly say that bodily and mental decay is undignified. Besides, especially when palliative and hospice care are available, a patient is not captured and isolated in a maleficent environment, but is surrounded by health care professionals who are there to help us. After all, one purpose of hospice care is to help patients to maintain their dignity while they are travelling in this last stage of the journey of life. Hence the Confucian endorsement of euthanasia as death with dignity is quite limited.The fourth common western argument in favor of euthanasia is the argument of self-determination. According to the cherished western value of autonomy, an individual should be given the liberty to decide on things that matter much to him or her. Like the decisions relating to marriage, procreation, contraception, education, etc., the decision on how and when to die is one of the most intimate and personal choices a person may make in a lifetime. Hence we have the right to die; some even claim that this is a human right, both a negative right (whose correlative duty is nonintervention in suicide attempts) and a positive right (whose correlative duty is suicide assistance). After all, whose life is it anyway? In Confucian values, individual autonomy has never been a cherishedvalue; nor has there been any human rights thinking. That one can decide on the time and circumstances of one’s death is only implied. According to Confucian values one should choose a good death (good in the moral sense) even by actively bringing it about. Since "ought" implies "can," that in some circumstances a person ought to commit suicide implies that the person is morally permissible to commit suicide. However, the Confucian echo of pro-euthanasia argument is the weakest here. The western argument is concerned with the permissibility of suicide and euthanasia, whereas Confucian ethics is concerned with the impermissibility of not committing suicide. In other words, the western argument is concerned with the permissibility of all suicide, regardless of its worth. Confucian ethics, on the other hand, is concerned with only the permissibility of some suicide, those that are deemed morally worthy. The western argument is concerned with the right of euthanasia, but Confucian ethics is only concerned with the rightness, the right conduct, or the right exercise of the right, of euthanasia. Furthermore, the ideas of self-ownership and individual sovereignty are entirely foreign to Confucian values.To conclude, the Confucian echo of these four western arguments varies. The resonance is most prominent in the first argument and weakest in the last argument. This cross-cultural comparison should be instructive to Chinese as well as to the people in the West because it shows which values are universal and which are not. For example, the western society has the tendency to view the value of autonomy as self-evident ("We hold these truths to be self-evident......"), but this value is obviously not self-evident to the Confucian mind. Who is right, and who is wrong? That the Confucian endorsement of euthanasia is only limited should give something to every member of the global village to ponder about.DOWNLOAD HISTORY | This article has been downloaded 220 times in Digital Commons before migrating into this platform.
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Zeidler, Kamil. "Chińskie nauki o drodze i dążeniu do doskonałości." Gdańskie Studia Azji Wschodniej 19 (2021): 7–12. http://dx.doi.org/10.4467/23538724gs.20.046.13486.
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Chinese teachings on the path and the pursuit of excellence In the article, the author presents reflections on the importance of the idea of the road and perfection in Chinese philosophy on the basis of Chinese aphorisms. In Chinese philosophy, the central concept is tao 道, or “road,” understood as the path that a person walks through life in search and pursuit of wisdom and perfection. The wisdom of Chinese sages, such as Confucius, Lao-cy, Lie-cy, Mo Ti, and others, cited in the article, show what the pursuit of perfection is in terms of Chinese philosophy, and also contain recommendations on how to act in order to live well, in order to follow the path of virtue. This does not apply only to Taoism, because all the recommendations of Chinese sages concern how to proceed in order to experience our life as best as possible – both in ethical and praxeological dimensions. Most of the recommendations are united by the idea of self-improvement, based on the imperative of striving for excellence. This idea permeates the culture of the Far East – China, Japan, and Korea. In these countries, the ordinary activities of daily life have become “art.” Even if it is known that perfection can only be approached and never attained, it is still to be pursued, putting into it your daily effort in the thought of what Confucius preached: “the path is more important than the goal.”
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Ni, Peimin. "Can Bad Guys Have Good Gongfu?—A Preliminary Exploration of Gongfu Ethics." Journal of Chinese Philosophy 43, no. 1-2 (March 3, 2016): 9–31. http://dx.doi.org/10.1163/15406253-0430102005.
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This paper tries to explore a gongfu ethics on the basis of traditional Chinese ethical theories. Used in the sense that the Song-Ming Neo-Confucians did, “gongfu” means the art of life in general and not merely the martial arts, although martial arts can be taken as a paradigm example of gongfu. The paper begins with the question “can bad guys have good gongfu,” which leads to three answers, each representing one stage of the dynamic relationship between morality and gongfu: The first is yes, since gongfu and morality belong to two different categories, i.e., the art of life and moral responsibilities. The second is no, because each moral goodness or badness corresponds to a respective gongfu virtuosity or the lack of it. The third answer is that moral persons, as long as they still have to invoke morality, are not true gongfu masters. Those who have real good gongfu transcend moral duties and become amoral. The analysis suggests a gongfu ethics that can include, but goes beyond moral goodness. The rest of the essay articulates the rich implications of this gongfu ethics by comparing it with virtue ethics, consequentialist ethics, and relativism-subjectivism.
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Nagornykh, Olga. "The Evolution of the Concept “bioethics” in the Dynamics of the Soviet and Chinese History of Medicine." ISTORIYA 13, no. 6 (116) (2022): 0. http://dx.doi.org/10.18254/s207987840021761-6.
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The article analyzes the formation and development of the concept of bioethics in the historical context of the Chinese and Soviet reality. The reasons for slow reception of bioethics in the Soviet and Chinese medical communities are considered. Separately, the phenomenon of Confucian bioethics is investigated in the context of its perception in the practice of medicine in China. The basis of the historiographical discourse of the article is a set of works by foreign researchers investigating the problems of bioethics and its adaptation in China, as well as a body of sources related to the development of the Christian discourse of bioethics and the peculiarities of its development in the practice of Russian medicine. The article notes that the American professor H. T. Engelhardt, the author of the concept of Orthodox bioethics, collaborated actively with Chinese researchers engaged in the Confucian tradition of understanding the ethics of medicine. The authors compare the cultural, historical, political, ideological features of the Soviet and Chinese reality aiming to explain the difficulties of evolution and subsequent reception of the concept of bioethics.
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Cheng, Chung-ying. "On Virtue and Reason: Integrative Theory of De 德 and Aretê." Journal of Chinese Philosophy 48, no. 2 (May 17, 2021): 170–83. http://dx.doi.org/10.1163/15406253-12340015.
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Abstract This article is to argue that virtue is experienced and understood in Confucian ethics as power to act and as performance of a moral action, and that virtue (de 德) as such has to be onto-cosmologically explicated, not just teleologically explained. In other words, it is intended to construct an integrative theory of virtues based on both dao (the Way 道) and de. To do so, we will examine the two features of de, as the power that is derived from self-reflection and self-restraining, and as the motivated action for attaining its practical end in a community. Only by a self-integrated moral consciousness can one’s experience, action and ideal remain in consistency and coherence, which leads us to the Aristotelian notion of virtue as excellence (aretê) and enables us to see how virtue as aretê could be introduced as a second feature of de, namely as the power for effective action in the whole system of virtues, apart from the first feature of de as self-restraining power. We will conclude that reason and virtue are practically united and remain inseparable, and that taking into account the onto-cosmological foundation of virtues, reason and virtue are inevitably the moving and advancing forces for the formation and transformation of human morality just as they are motivating and prompting incentives for individual moral action.
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Wu, Xiang. "Cultural Background of Carved Stone Sculpture of Ancient Chinese Mausoleums." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 45–52. http://dx.doi.org/10.36340/2071-6818-2021-17-2-45-52.
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The article explores the ideas, characteristic for religious mindset and philosophy of Confucianism (儒 家思想), about spiritual immortality, filial piety and ethics, which have been firmly established in funerary culture. Harmonic balance of Confucianism, Daoism (道教) and Buddhism brought forth the ideology and concept of immortal soul, according to which the soul does not die after person’s death, and the tomb is its dwelling place. Thus, the construction of tombs gained great significance. The author analyzes Confucian idea of ‘filial piety’, which, merging with ritual funeral concept, developed into a concept of ‘meticulous following of funerary rituals, mourning of parents and worship of ancestors’ (慎终 追远), where the main emphasis is on the organization of parents’ funeral, devotion to ancestors and diligent care of their remains. Furthermore, as Ancient China was an agricultural society which was deliberately devoted to earth, it was believed that the earth is crucial for survival, and one can only rest after death if one’s body is committed to earth. So, to show filial affection, properly make sacrifices, pray for protection, protect the remains and ensure eternal peaceful rest, the internment in the ground became an obligatory condition. And various funeral arrangements, such as marking the grave, its decoration, etc., gradually transformed into funerary plastic art. Consequently, burial in the ground allowed for the possibility and resources to form the funerary plastic art. Ceremonial ideas presented by Mencius (孟子) have become firmly established in the concept of funeral. In a feudal society, for the convenience of government and maintaining the stability of society, etiquette, contributing to the systematization of the hierarchical order of all strata of society, as well as extreme admiration for the imperial power, became a powerful ideological weapon of the rulers. In this ideology, sculptures in the tombs of the supreme rulers – emperors and wangs – are not only guards protecting from evil, but to a greater extent they are also a symbol of imperial power. Therefore, the themes, the number and the size of the sculptures in the tombs of the emperors and wangs were of the highest importance. There is also a strict hierarchical order in the sculptures in front of the tombs of government officials of various levels. Thus, etiquette established standards and order in burial plastic art.
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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.
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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.
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Messner, Claudius. "Border troubles. Some uncertainties of legal transfer." International Journal of Legal Discourse 5, no. 2 (November 18, 2020): 151–83. http://dx.doi.org/10.1515/ijld-2020-2033.
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AbstractIssues of production, translation and transformation of texts are explored in the light of the differences between modern Western legal thought and Chinese views of legal rationality. Contemporary Chinese culture is often viewed with suspicion. On the one hand, Chinese thinking is mistrusted as influenced by the Confucian world view regarded as deeply irrational. On the other hand, China’s economical practises are often suspected of mere reproducing and copying. This paper is concerned neither with alleged or factual deficiencies of China’s legal rationality nor with violations of “intellectual property” or other rights or the governmental policies of the People’s Republic of China. My interest is the fact that accusation and concern for the Chinese practises of creation and transformation by copying and cloning seem to hit the nerve of Western modernity’s cult of authenticity. The very problem, the paper suggests, is our modern relation to the other and to the others. I will argue this in three steps: the first part starts from a discussion of ‘shanzhai’, the Chinese neologism pointing to alternative ways of production, before analysing the Western scandalization of plagiarism; drawing upon studies from various disciplines, specific aspects of writing and scripture, such as the the differentiation between real text and fiction, the idea of authentic speaking and the distinction between textual and functional equivalents, are explored. The second part is first about the role of truth and truthfulness in modern Western art and philosophy, then about the interpenetration of wisdom and cunning in ancient Greek and Chinese thought. The final part addresses the relation of reasonable knowledge and instrumental rationality in legal thinking. The Chinese notion of ‘quan’, law, is described as a jurisgenetic path of law. Against this background, open questions associated with legal “transplants” come to the fore.
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Yuan, Jixi. "Being Mild and Gentle, Sincere and Broadminded and Chinese Aesthetic Psychology." International Confucian Studies 1, no. 1 (June 1, 2022): 125–44. http://dx.doi.org/10.1515/icos-2022-2007.
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Abstract Appearing for the first time in the chapter “Explanation of the Six Arts” of The Book of Rites, the term “being mild and gentle, sincere and broadminded” reflects Chinese aesthetic psychology. Based on the philosophy of the Mean and harmony, the term fuses poetry with music and extends them to the aesthetics of literature and art. It preserves the concept of harmony dating to the Zhou Dynasty (1046 B.C.E.–256 B.C.E.). After being explained by Confucius and expounded by Dai Sheng, the compiler of The Book of Rites, it influenced the studies of The Book of Songs and music theory of the Han Dynasty (206 B.C.E.–220 C.E.). It laid the foundation of the aesthetic psychology of the Chinese nation and still retains strong vitality.
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ZHANG, Ellen Y. "自殺與儒家的生死價值觀: 以《列女傳》為例." International Journal of Chinese & Comparative Philosophy of Medicine 7, no. 2 (January 1, 2009): 67–86. http://dx.doi.org/10.24112/ijccpm.71480.
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LANGUAGE NOTE | Document text in Chinese; abstract also in English.本文以《後漢書˙列女傳》為例，探討女性在節死問題上的道德取向及對自殺行為的道德詮釋。筆者認為，《列女傳》所體現的價值取向屬於儒家道德的大傳統，同時由於其“性別倫理”的特質，又涵蓋了特殊的生死觀，反映出儒家在“肉身”價值與“精神”價值議題上的考量。本文試圖說明，女性自殺有其背後特有的時代精神與文化傳統，因此對它的道德評估要比儒家大傳統中所謂“為己性”與“為他性”的劃分更為複雜，它既反映出儒家在女性問題上的奇特性，也反映出儒家在生死問題上的複雜性。“節死”議題所反映的不僅僅是一個單一的儒家價值取向，因為任何道德理論或規範在“具體化”的實踐過程中都會存在詮釋上的多元性與複雜性。The Lienüzhuan (LNZ) or the Collected Life-Stories of Women complied by the late-Western Han Confucian scholar Liu Xiang (79-8 B.C.E.), consists of 125 exemplary life stories of women covering a broad period from earlier legendary time to the Han Dynasty. LNZ, like many other narratives in the early Chinese tradition, is a form of character-focused narrative based on quasi-historical accounts. To locate this Han text in a comprehensive framework of Confucian moral philosophy is not an easy task, and neither is recreating the moment of interpretative creativity. What intrigues the reader today about this work is not whether it accurately represents the lives of early Chinese women, but how it represents an ideal of female virtues within the Confucian ethical system, especially Confucian morality on life and death.The LNZ has eight chapters, of which six are devoted to six forms of virtuous conduct: (1) maternal rectitude (muyi); (2) sage intelligence (xianming); (3) benevolence and wisdom (xianzhi); (4) purity and obedience (zhenshun); (5) chastity and righteousness (jianyi); (6) skillfulness in argument, rhetorical/ tactical skill (biantong). Each form of conduct is exlicated in a specific narrative. This essay focuses on two chapters of the book, “Purity and Obedience” (zhenshun) and “Chastity and Righteousness” (jieyi), which explore the ethical dimension of female virtues and suicide.The LNZ offers various stories about why women commit suicide, and they all deal with the female virtues of chastity, loyalty, and righteousness. Some stories give examples of women who refuse remarriage. This kind of practice became an ethical norm in the following dynasties, emphasized by what is called “the cult of chastity”. Other stories talk about the importance of women practicing traditional rituals and customs. The “Wife of the Duke of Song” （《宋恭伯姬》）gives an account of how a woman refused to flee a fire because she insisted on performing the ritual that does not allow a woman to walk out of the inner chamber alone at midnight. But there are exceptions to this kind of gender-based ethics in the LNZ. For instance, the “Chaste Woman from the Capital” （《京師節女》）is a totally different kind of story where a woman’s husband is in the danger of being murdered. The assassin hears that this chaste woman possesses the virtues of benevolence, filial piety, and righteousness, and kidnaps her father as a hostage to get to the husband. Here the woman is facing a moral dilemma: if she does not meet the assassin’s demand, her father will be killed. That would violate the virtue of filial piety; if she were to turn her husband in, that would violate the virtue of righteousness. “Without filial piety or righteousness, I am not worthy living in this world,” says the woman. It follows that the woman decides to sacrifice her own life to save the lives of her father and husband. At the end of the story, she tells the assassin that she will help him to have her husband murdered. She tells him that she will open the window that night and the one lying on the east side of the house will be her husband. That night, the assassin goes in through the window and murders the one lying on the east side, only found out that it is the wife. The murderer is deeply touched by the woman’s heroic act and decides to give up the killing altogether (LNZ 5.15). The eulogy states: The woman of chastity shows benevolence and filial piety, and values righteousness more than her life. In this story, the notion of benevolence, filial piety, and righteousness fits perfectly into Confucian virtue ethics. From such narratives the author draws the contention that the Confucian notion of “honor” in terms of chastity, filiality, and righteousness is by no means a simple moral principle to be taken as dogma. The gender-based suicide has to be explicated within the broad framework of Confucian moral philosophy, especially its view of life and death. The essay attempts to show that the moral dilemma exemplified by female virtues in the case of the LNZ is much more complicated than the dichotomy between corporeality and spirituality, or the self-regarding suicide and other-regarding suicide. Furthermore, the embodiment of a particular virtue has always been influenced by a broader social context and the established value system that is based on its own understanding of early tradition. The moral ambiguities of suicide cases represented by the “cult of chastity” (Ming and Qing periods in particular) lie in its misinterpretations of the moral pronouncements and properties of suicidal actions advocated by early Confucianism.DOWNLOAD HISTORY | This article has been downloaded 1687 times in Digital Commons before migrating into this platform.
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Fan, Ruiping, and Mingxu Wang. "Taking the Role of the Family Seriously in Treating Chinese Psychiatric Patients: A Confucian Familist Review of China’s FirstMental Health Act." Journal of Medicine and Philosophy 40, no. 4 (June 6, 2015): 387–99. http://dx.doi.org/10.1093/jmp/jhv014.
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Wang, Xiao-yu. "An investigation of Cai Xiang's calligraphy thought from the perspective of Confucianism." Korean Society of Calligraphy 41 (September 30, 2022): 181–211. http://dx.doi.org/10.19077/tsoc.2022.41.08.
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During the Song Dynasty in which Cai Xiang lived, Confucian ideology formed a powerful force in both public and private life. His calligraphy thought was also deeply influenced by this ancient philosophy, ethics and educational concept. Taking Confucianism as the starting point, this paper attempts to examine the influence of Confucianism on Cai Xiang's calligraphy thought and calligraphy creation. In the study of Cai Xiang's calligraphy thought, if it is only discussed from the simple aspect of calligraphy, it will inevitably be incomplete. Calligraphy is a unique art gradually conceived and developed in the soil of traditional culture. As a scholar-bureaucrat deeply influenced by Confucianism, Cai Xiang's calligraphy thought must have a profound and intricate relationship with Confucian cultural thought. From the perspective of Confucianism, to examine Cai Xiang's calligraphy thought and to seek the correlation among them can make Cai Xiang's image of a literati calligrapher more three-dimensional and comprehensive.In the thesis, relying on the evaluation of Cai Xiang's calligraphy by contemporaries and later generations, it illustrates Cai Xiang's position in the history of calligraphy and the rationality of his calligraphy thought from the side. Relying on Cai Xiang's own calligraphy theory, we then examine the meaning and value contained in his calligraphy thought. The paper mainly involves several parts: First of all, in the context of the sluggish calligraphy circle in the early Song Dynasty, Cai Xiang's advocacy of "methodology" and "ancient meaning". It makes the development of calligraphy in the early Song Dynasty to undertake the main line of Jin and Tang Dynasties again and return to Daotong. Secondly, while attaching importance to the value of "methods" in calligraphy, Cai Xiang also emphasized the pursuit of "charm" and "spirit" in calligraphy works. Personality spirit and artistic spirit are always complementary and unified in traditional aesthetics. The pursuit of "Charm" and "Spirit" is also a manifestation of the pursuit of the harmonious and unified realm of human and artistic environment. Thirdly, the inheritance and innovation of calligraphy under the thought of "Zhizhonghe". In his calligraphy theory, Cai Xiang showed his traditional Confucian mentality of "Zongyong" aesthetics, and at the same time, he highly praised the ideal realm of the beauty of neutrality in Wei and Jin calligraphy. Cai Xiang's grasp of the common laws of different calligraphic styles is also the embodiment of the Confucian "neutralization" thought in his creative practice. Cai Xiang completes his own personality cultivation in the seemingly contradictory but complete and unified calligraphy thought and creative practice. It is also the "unbiased" style of his calligraphy that established his key position in the calligraphy circle of the mid-Northern Song Dynasty.
蔡襄所生活的宋朝时期，儒家意识形态在公共和私人生活领域形成一股强大力量，其书学思想也深受这种古代哲学伦理和教化观念观的影响. 本文以儒家思想作为切入点，试图考察儒学对于蔡襄书学思想和书法创作的影响. 在对于蔡襄书学思想的研究中，若仅仅只是从单纯的书法方面去论述，难免会不够完善. 书法是在传统文化的土壤中逐渐孕育和发展出来的独特艺术，而蔡襄作为深受儒家思想影响的士大夫，其书学思想必然与儒家文化思想有着深刻而错综复杂的关系. 而从儒学的视角出发去考察蔡襄的书学思想，并寻求其中的相关性，则能使蔡襄的文人书家形象更加立体而全面的呈现出来. 论文中以时人和后人对蔡襄书法的品评为依托，说明了蔡襄在书法史的地位，以及从侧面佐证了其书学思想的合理性. 以蔡襄本人的书法理论为依托，进而考察其书学思想中所蕴含的意义和价值. 论文中主要涉及了几个部�
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Polianska, I. M. "Specificity and functions of a dance as a component of syncretic “mousikē” art of the Ancient world." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 274–87. http://dx.doi.org/10.34064/khnum1-51.16.
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Background. The rapid development of contemporary art has intensified the scientific thought in relation to the theory and history of dancing art. Domestic art criticism pays much attention to the problems of dancing functioning in contemporary culture; periodicals publish theoretical and methodological works, general critical reviews of ballet performances. In historical plane, the majority of publications contain information about outstanding artists – performers and choreographers of various times and stylistic trends. However, the evolution of a dance as a socio-cultural and artistic phenomenon, the specifics of its functioning in different epochs and in different regions to a great extent remains unknown. Objectives. The purpose of this study is to identify the peculiarities of dancing art development in the ancient world, its functions and the influence of dancing on the development of “mousikē” creativity of the Antiquity. Methods. The research uses the following methods: the analytical method, which directed on consideration of individual elements of “mousikē” art, expressive means of dancing and its interaction with all parts of artistic-syncretic action, characteristic features of ancient art; the method of classification applied for definition of functions of a dance in the syncretic art of the ancient world; the method of generalization consumed to analyze the facts collected and the logical transition from a singular to general judgment, knowledge, and evaluation. Results. Art as a socio-cultural phenomenon in various cultural-historical periods reflects the specifics of the spiritual sphere of social life. In this regard, the art of the ancient world can be a vivid example. Unlike other types of art, ancient dancing did not leave behind so many artifacts as the classic examples of ancient art – monuments of sculpture, architecture and literature did. Even when methods of fixing language and music were found, dancing as a language of movements remained within the “oral tradition” for quite a long time. It is proved that the art of the ancient world was artistically syncretic. It is a well-known fact that music and dancing are based on rhythm. Rhythm contributed to the interconnection of “mousikē” arts, it was a core that combined words, singing, music, dancing and dramatic action. The implementation of monotonous movements in a single rhythm contributed to uniting the community together to achieve a collective goal. The great social significance of dancing is also confirmed by the fact that almost all-important events in the life of an ancient man were accompanied by dancing: birth and death, war, hunting, etc. In his treatises, the great philosopher, Plato, prescribed all the sacred songs and dances that, in his opinion, were the means of real implementation of the law, that is, they had a specific social function. For a long time dancing was an indispensable component and obligatory attribute of ceremonial and religious rituals. Such celebrations were characterized by magical significance, which in turn formed a magical function of dancing. Also, ancient philosophers had a special attitude to “mousikē” forms of creativity as a means of education. Confucian doctrine put forward the issue of moral and ethical perfection of the individual, whose one of the effective means was considered “mousikē” creativity. Confucius developed the forms of “mousikē” influence not only theoretically, but also applied them in practice. The greatest justification and great importance of the educational function of dancing as an integral element of “mousikē” art was in ancient Greece. Since the VIIth century B. C. the upbringing by the way of “mousikē” art was widely cultivated in Sparta. It is known that the Spartans provided “mousikē” creativity a great state and educational value. Teaching the skills of “mousikē” creativity was part of the general youth education system. In addition, in ancient culture, dancing was an integral part of tragedy and comedy, the then contemporary genres of theatrical art, and had an entertaining aesthetic function. Conclusions. Based on the foregoing, one can conclude that dancing was of great importance in the art of the ancient world. Dances were the object of discussions of writers, philosophers and religious leaders of that time; the rhetoric of that period about the art of dancing were either of ethical-applied or theoretical character and often used dance images as metaphors. The source of dancing art development were ritual dances of magical character, which eventually turned into an important part of artistic and syncretic creativity of the “mousikē” art of Antiquity. Dancing as a reflection of an emotional state of the ancient man through rhythmic moves traditionally got special magic meaning, it was a mandatory attribute of ceremonial and religious rituals. By dancing marked all the significant events in the life of an individual and society of the ancient time. Dancing in the ancient world was an integral part of the spatial-temporal action, but it had a variety of functions. Great social significance of dancing is confirmed by the fact that the teaching the skills of “mousikē” creativity was part of the general education system of the youth of Greece, Sparta and China. In ancient culture, dancing was an integral part of the then genres of theatrical art – tragedy and comedy, had an entertaining aesthetic function. The professionalization of music and dancing art led to the emergence of dancing genres that were theatrical and stage-oriented; as a result, the aesthetic function of dancing in the art of the ancient world was reinforcing gradually. Thus, the dancing had various aspects of functioning in “mousikē” forms of creativity in the ancient world from ritual and magic to aesthetically entertaining ones.
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Barrett, T. H. "Confucian thought: selfhood as creative transformation. By Tu Wei-ming. (SUNY Series in Philosophy.) pp. xi, 203. Albany, N.Y., State University of New York Press, 1985." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 2 (April 1986): 319. http://dx.doi.org/10.1017/s0035869x00140407.
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Aymerich Goyanes, Guillermo. "Conectando energía sonora y visualidad." AUSART 4, no. 1 (July 12, 2016): 129–41. http://dx.doi.org/10.1387/ausart.16690.
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Conexión pintura y música construyendo una serie de cuadros sonoros, implicando literatura, performance, danza y robótica en clave transdisciplinar e inmersa en un contexto pseudo-metropolitano. Partiendo del poema Bā yīn “Ocho sonidos” contenido en la joya literaria Sanzijing, “El Libro de los Tres Caracteres” (Dinastía Song del Sur), que encarna el ideal neo-Confucionismo aunando educación, moral y filosofía. Cualquier aspecto en la cultura china no es un fenómeno aislado, sino parte contextual referida a aspectos vitales: emergen peculiares sistemas cosmogónicos. Experiencias visuales y sonoras en un resultado mixto usando conceptos chinos presentados con soluciones Occidentales en mutua simbiosis. Se crea un sistema bā yīn careando música y pintura mientras surgen, desarrollan, desenvuelven y muestran al unísono. Vinculantes pero siguiendo una maniobra de recíproca anulación que alude a la energía del eterno ciclo vital. Tecnología y cultura presentadas bajo 4 formatos audiovisuales y 8 formatos meramente visuales.Palabras-clave: PINTURA/MÚSICA; PINTURAS SONORAS; TRANSDISCIPLINIDAD; BALLET ROBOTS; ARDUINO; CHINA VS OCCIDENTE Connecting sound energy and visualityAbstractConnecting painting and music building a series of sonorous-paintings. Involving literature, performance, dance and robotics, also, in a transdisciplinary way and within a pseudo-metropolitan environment. Based on the poem Bā yīn “Eight sounds”, part of the literary gem The Sanzijing, The Three-Character Classic (Southern Song Dynasty), which embodies the neo-Confucian ideal of uniting education, moral and philosophy. Any aspect in Chinese culture isn´t an isolated phenomenon but rather a contextual part related to diverse aspects of life: emerging special kind of cosmogonist systems. Visual and sound experiences as a mixed result by using different Chinese concepts, but presented alongside Western solutions in symbiosis. The project makes a system just taking those approaches to face music and painting, each other, while both of them emerge, develop, demonstrate and perform in unison, in a parallel and mutually binding manner. Linked but following a mutual destruction which summon the energy of an eternal vital circle. Technology and culture are showed under 4 audiovisual formats and 8 strictly visual formats, as well.Keywords: PAINTING/MUSIC; SONOROUS PAINTINGS; SOUND ART; ROBOTICS BALLET; ARDUINO; CHINA VS OCCIDENTE
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Peterson, Willard J. "The Philosophy of Wu Ch'eng, a Neo-Confucian of the Yüan Dynasty. By David Gedalecia. pp. xvi, 206. Bloomington, Indiana, Indiana University Research Institute for Inner Asian Studies, 1999." Journal of the Royal Asiatic Society of Great Britain & Ireland 11, no. 2 (July 2001): 310–12. http://dx.doi.org/10.1017/s135618630147026x.
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O’Dwyer, Shaun. "Confucian Democrats, Not Confucian Democracy." Dao 19, no. 2 (April 30, 2020): 209–29. http://dx.doi.org/10.1007/s11712-020-09719-y.
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Jiyu, Ren. "The Confucian School and Confucian Religion." Contemporary Chinese Thought 41, no. 4 (July 2010): 47–60. http://dx.doi.org/10.2753/csp1097-1467410404.
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Davis, Deborah S. "Demographic Challenges for a Rising China." Daedalus 143, no. 2 (April 2014): 26–38. http://dx.doi.org/10.1162/daed_a_00270.
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Looking into the near future, China faces immense demographic challenges. Prolonged sub-replacement fertility has created irreversible conditions for rapid aging of the population, and massive migration to cities has left many villages populated by elderly farmers with no adult children to support them. Soaring divorce rates and high levels of residential dislocation have eroded family stability. To a large extent, government policies created to accelerate economic growth inadvertently fostered these demographic challenges, and now the country is facing the negative consequences of interventions that previously spurred double-digit growth. Legacies of Confucian familism initially blunted pressures on families. Filial sons and daughters sent back remittances, parents cared for migrants' children and invested in their children's marriages, and families with four grandparents, two parents, and one child (4+2+1) pooled resources to continuously improve a family's material well-being. But now the demographic challenges have further intensified and the question arises: can the state adopt new policies that will allow the prototypical 4+2+1 families created by the one-child policy to thrive through 2030?
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Hsu, Hsei-Yung. "Confucius and Act-Centered Morality." Journal of Chinese Philosophy 27, no. 3 (February 1, 2000): 331–44. http://dx.doi.org/10.1163/15406253-02703005.
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Hsu, Hsei-Yung. "Confucius and Act-Centered Morality." Journal of Chinese Philosophy 27, no. 3 (September 2000): 331–44. http://dx.doi.org/10.1111/0301-8121.00020.
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Yushun, Huang. "Confucian Liberalism’s Judgment of “New Confucian Religion”." Contemporary Chinese Thought 49, no. 2 (April 3, 2018): 151–58. http://dx.doi.org/10.1080/10971467.2018.1496657.
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Smith, Richard J., and Cheng Chung-ying. "New Dimensions of Confucian and Neo-Confucian Philosophy." Philosophy East and West 43, no. 1 (January 1993): 137. http://dx.doi.org/10.2307/1399474.
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Peerenboom, R. P. "Confucian Justice." International Philosophical Quarterly 30, no. 1 (1990): 17–32. http://dx.doi.org/10.5840/ipq199030146.
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Møllgaard, Eske J. "Is Confucian Discourse Philosophy?" Philosophy East and West 71, no. 4 (2021): 1029–45. http://dx.doi.org/10.1353/pew.2021.0067.
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