The article presents a unique perspective, linking the system of moral and ethical values of Confucianism and traditional ideas of the „Book of Changes” with solcial phenomena and ideas of the change ...in South Korean life nowadays. The main focus is laid on the symbolism of the flag of South Korea; in the meantime, a number of other examples which relate to the ancient philosophy of changes (such as symmetrical letters of the Korean alphabet, Taekwondo training forms, etc.) are given. In Korean culture, traditional ideas of the Chinese „Book of Changes” have been transformed and reinterpreted by creating an ideal of a harmonious society and a new, transformed world. Examples from contemporary Korean culture show that symbols of the „Book of Changes” are well-known and significant in Korea today and are likely to play an important role in Korean life in the future. At first, the article provides a historically descriptive overview of the spread of Confucianism and Chinese Classics in Korea. Thereafter, visual symbols of the „Book of Changes” in the flag of South Korea are analyzed, explained and interpreted from the semiotic point of view.
Wabi-Sabi may be associated with sprezzatura in terms of its use and meaning. Faultlessness and perfection creates feelings of doubt about authenticity and legitimacy as provoking feeling of ...artificiality in our senses. Sprezzatura may be regarded as a balancing factor against synthetic feelings of perfection. It is a prevalent opinion that hedonism and over indulgence may turn into depression and eventually turn into an existential crisis. Cha no yu is a ceremonial tea ritual structured in the 16th Century Japan by Rikyū based on a philosophy to contemplate about existence. Tranquility and peace experienced during this ritual constructed around Zen philosophy, as a contemplative process in the spirit of Wabi Sabi. Wabi Sabi and sprezzatura, both require authenticity and effortlessness in unification with nature and existence. The values related to Wabi-Sabi such as simplicity, austerity, modesty, humility, imperfection, authenticity, and asymmetry are the reflections of spiritual-existential reality and they also show associations with sprezzatura. Wabi-Sabi and sprezzatura are investigated in this study within their stylistic characteristics, roots, and philosophical backgrounds. The study was designed as phenomenology. Conceptual discourse analysis and content analysis methods were employed to analyze information. Wabi-Sabi is also investigated in relation to Stoicism, Janteloven, and minimalism.
In early Chinese philosophy, the concept of a unique individual separated from the outside world has no ontological basis. Every person is an open, interdependent construction, whose uniqueness can ...only be achieved and cannot be given. A person is an undetermined range and locus of experiences expressed through specific roles and relationships. In this article, the Author analyses such an understanding of the person in Confucian and Mencian thought. In Confucius’ philosophy, the junzi 君子 lives up to his status as long as he maintains ren 仁 relationships and displays proper emotions connected to ren. The author argues that, in the Analects, ren is a concept connected to the terms shu 恕, zhong 忠, yi 義 and li 禮. Ren may be interpreted as an ideal interaction that starts with an emphatic reaction towards another human being. Emphatic reactions, along with zhong—a sense of duty— is the basis for applying the situational moral norm yi and carrying it out according to li—the social norm. Ren behaviour is different for every person in every situation. It has to be learned and practised during the process of self-cultivation, xiushen 修身.Mencius’ moral theory is more complex, and concentrates on human nature and its features. According to this, human nature is shan 善, commonly translated as ‘good,’ because every person has four dispositions—emotions for developing ren, yi, li and zhi 智. Ren may be considered a virtue—it is not inborn, but has to be achieved and learned. Another skill required to be a sage was the understanding that every situation is unique, and that there is a right time to apply different norms—shizhong 詩中. Mencius’ thought is not simply an ethics of virtue, but it is also influenced by situational factors. Mencian moral behaviour is complex; not only does it require a deep understanding of oneself and the other, but also the use of all senses, sensitivity and creativity to deal with every situation in a different way. A sage, or a person who wants to become one, has to watch, listen, feel and understand every person and every situation. Moral cultivation in Mengzi’s thought is also a cultivation of the body’s qi 氣 (vigour or energy). Properly cultivated qi becomes haoran zhi qi 浩然之氣 (overflowing qi) and enables one’s body to have the zhi 志 (will) to follow its ren (heart/mind).
The purpose of the article is to study the problem of the influence of philosophical views and traditions on the musical culture of China. The methodology of the study is to use historical and ...biographical methods in the study of this topic. The scientific novelty of the article is to study the feasibility of the problem of philosophical views of China, based on the country's musical traditions. The historical names of the philosophers who influenced the development of the musical arts and education system, which affected the cultural traditions of China, were singled out. Conclusions. Based on the study of the problem of philosophical views of China's worldview system, the country's development processes and distinctive culture were identified. The problem of studying the philosophical system of ancient China as the basis for the emergence of the musical tradition has interested many scholars, among whom are: L.S. Vasilyeva 1, Yu.M. Gradova 2, Hou Jiang 8, D.T. Suzuki 7 and others. Because it influenced the cultural life of the countries of the East. This question highlighted the philosophical trends that underpin China's traditions. Namely, philosophical traditions influenced the country's musical art. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention has been paid to the issues of education and music in China. A person must be ethically educated, endowed with spirituality, and truth. Music education played an important role in the culture of China because it was a carrier of the culture of the ancient Chinese. Numerical concepts played their magic role. According to the philosophy of Taoism, music should promote the emotional state of man and the harmonious connection with nature. Confucius emphasizes the comprehensive development of humans while emphasizing the morality of the individual. This is clearly reflected in his works: Shijing (Song Book), Shu Jing (History Book), Lun Yui (Conversations and Speeches). In the third and sixth centuries, China's musical culture was influenced by philosophical tendencies based on the Lao-Buddhist vision. Music played the role of expressing the essence of being. So, in the sixth century, a piece of music appeared for the musical instrument "Price" by composer Qiu Min "Yulanpu" or "Lone Orchid". The worldview system of ancient China became the basis for the emergence of musical traditions in the countries of the East. This problem is of interest to scientists and necessitates further development in the study of this issue.
This contribution to a symposium on Karin Fierke’s 2022 book, Snapshots from Home, reflects on the dialectical aspects of her analysis, her contribution to Global IR, and the implications of her work ...for the field of International Relations.
Through a rigorous analysis of original scriptures and later commentaries, this open access book unearths a cornucopia of idiosyncratic motifs pervading the famous Tibetan sky-gazing meditation known ...as “Skullward Leap” (thod rgal). Flavio Geisshuesler argues that these motifs suggest that the practice did not originate in the context of Buddhism, but rather within indigenous Tibetan culture and in close contact with the early Bön tradition. The book argues that Dzogchen once belonged to a cult centered on the quest for vitality, which involved the worship of the sky as primordial source of life and endorsed the hunting of animals, as they were believed to be endowed with the ability to move in between the divine realm of the heavens and the world of humans. The book also traces the historical development of the Great Perfection, delineating a complex process of buddhicization that started with the introduction of Buddhism in the 7th century, intensified with the rise of new schools in the 11th century, and reached its climax in the systematization of the teachings by the great scholar-yogi Longchenpa in the 14th century. The study advances an innovative model of meditation as an open-ended practice that animates practitioners to face the most challenging moments of their lives with courage and curiosity, imagination and creativity, and playfulness and excitement; qualities that are oftentimes overlooked in contemporary descriptions of contemplation. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Swiss National Science Foundation.
The purpose of the article is to identify ways to form and develop the national Chinese art song "period of openness". The article reveals the ideas of the origin of the national romantic musical and ...poetic genre, features of the German Kunstlied, Chinese romance in the "period of openness" (from Romance to Kunstlied and artistic song). The interaction of traditional Chinese and Western European music systems, in which pentatonics are organically combined with classical-romantic harmony and uniform accentuation, is studied. The research methodology involves the application of a systematic approach, as well as methods of analytical, comparative, art, using which on the examples of Chinese art song "openness period" (composers Luo Zhongzhong, Li Inha, Lu Tsai-i) analyzes the process of assimilation of national traditions in chamber and vocal creativity of Chinese composers, which found expression in the accentuation of articulatory and phonetic features of the pronunciation of the verbal text, the folk throat manner of singing, the interpretation of the voice as a color paint. The regional specificity of Chinese romance is considered on the example of the songs "Returning to Mount Qingshan" by Zhang Lizhong, "You will like it" by Shi Xin. The scientific novelty of the work is to identify transformational changes in Chinese music of the twentieth century. based on the peculiarities of the refraction of European new compositional techniques (dodecaphony, serialism), which is reflected in the romances of Chinese composers "New Wave" or "national Chinese musical avant-garde" (Luo Zhongzhong, Chen Mingzhu, Zhu Jianyer). Conclusions. The study found that the "period of openness" for China was a time of reform and change in all spheres of life, including the art of music. The basis for the creation of a national romantic musical and poetic genre was the German Kunstlied, whose principles were in tune with the aesthetic foundations of classical Chinese art. Changes in creative concepts in Chinese music based on musicians' awareness of the possibility of a subjective approach to art. Their figurative and semantic kinship became the key to the formation and approval of the national-genre foundations of Chinese artistic song. The ways of spreading and popularizing Chinese art song in the context of the idea of the festival-competition movement are also determined.
The article aims to present the controversy surrounding the geyi's translation and interpretation technique, which was used in the third and fourth centuries in China, commonly translated as ..."matching concepts", which is the most distinct manifestation of the adaptation of Buddhist concepts to classical Taoist doctrines. For this purpose, its basic philological and philosophical interpretations of the term are presented. Studying the spread and adaptation of Buddhist doctrines in China gives the unique opportunity to balance these two opposing positions. The very specificity of the philosophical sense of the translator and the interpretive technique of the geyi is considered in its aspect as one of the main factors that shaped the features of Chinese Buddhism and its subsequent final detachment from its Indian equivalent. Its use and improvement mark the beginning of the formation of East Asian Buddhism as an essentially new Buddhist doctrinal strand.
Today, Korea is known as one of the East Asian intellectual centres. In addition, Korean thinkers are recognised for their critical evaluation of the Western philosophical tradition. However, ...contemporary Korean philosophical thought has gone through a short but extremely intense period of development – from the uncritical adaptation of Western education to the reappraisal of Confucianism, Buddhism, and Taoism in the context of spiritual dialogue between East and West.
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