Spontaneous Expression and Spontaneous Improvisation ‒ What Contemporary Improvising Artists Can Learn from Chinese Artists-Philosophers

Author(s): Rafał Mazur / Language(s): English Issue: 1/2014

Spontaneous expression is a unique method of artistic creation that emerged from within a circle of Chinese Confucian scholar-philosophers for whom artistic creation comple-mented their philosophical activities. Free improvisation is a new phenomenon of the European art scene. It is typified by spontaneous, often ad hoc creation, without prior preparation of the act or the object. I want to illustrate the similarities in the strategies of creation between ‘spontaneous expression’ and ‘free improvisation’ and the extent to which the philosophical foundations and resulting strategies of the former can be used in the latter, demonstrating the philosophical basis for this artistic discipline. I will primarily consider the mind of the creator, and justify the thesis that the state of mind, or mental attitude, necessary for the practice of spontaneous expression could be useful in the de-velopment of the practice of free improvisation in contemporary art (European art here would be inaccurate). A ‘method without method’ built on the basis of Chinese philosophy can help generate a strategy to develop and improve the skills of improvisation among contemporary European artists and contribute to the development of a contemporary philosophy of free improvisation. It is my opinion that these are fields that lie fallow. This would be an attempt to adapt the strategy of creation borne of original Chinese philosophy to contemporary artistic activities and aesthetic studies: a kind of transcultural bridge.

The Image of the World in Yijing 易经 – an Attempt to Identify the Intellectual Context Proper to Chinese Philosophy

Author(s): Anna Iwona WÓJCIK / Language(s): English Issue: 1/2014

Before we think about reality, before we talk about it or remain silent, first we have some of the most basic images. What do philosophers brought up in the given cul-ture have in mind when they use the term ‘reality’? In this article I attempt to iden-tify and elaborate the intellectual context proper to Chinese (especially Confucian and Daoist) philosophical culture, by presenting its most general features. How deep must we probe to find the internal network of sense that is the basis of Confucian, and Daoist images of reality? What we are looking for can be found by trying to think in a context that is broader than the merely linguistic context. This broader context is that provided by philosophical understanding of the terms: ‘world,’ ‘individual being,’ ‘thing,’ ‘truth,’ ‘wisdom.’

Problematické uzly diskuze o osové době: příklad zoroastrismu

Author(s): Kateřina Soukalová / Language(s): Slovak Issue: 3/2015

The article is discussing problematic aspects of Axial Age. To start with, there is a general description of Axial Age, followed by the illustration of its most important aspects, especially many cultural and spiritual changes which occurred in this period. In particular, one of the most problematic aspects is discussed – the case of zoroastrianism. The question whether zoroastrianism could be considered in the context of Axial Age is discussed. It is not clear at all whether it is new or transformed religion if what we know about Zarathustra’s teaching is really what he said. There is a strong uncertainty about this problematic aspect because of a lack of sources. Nevertheless, we can find significant links to zoroastrianism considered as part of Axial Age and Persia as axial civilization despite the absence of sources. The ethical and moral aspects of zoroastrianic idea are also emphasized because of the rise of new cultural ontology, new spiritual ways, new vision of world; thus, new ways of understanding world which lead to new rules of human behaviour and of social life not only in zoroastrianism but in Axial Age generally. These are the most important aspects of Zarathustra’s doctrine because as a prophet he established morality, decency, and ethic as a core parts of his main ideas which have to be expressed in good thoughts, good words and good deeds.

İbn Miskeveyh’de Estetiğin Tezâhürleri

Author(s): Ramazan Turan / Language(s): Turkish Issue: 2/2017

It cannot be said that Ibn Miskawayh (d. 421/1030) who lived in the 11th century, systematically addressed the fundamental issues of aesthetics and philosophy of art. But he dealt with aesthetic experience and beauty as a problem. He regards the basic characters of the aesthetic experience as unity. The unity is the nature of the divine and purpose of seeking harmony, proportion and rhythm in the physical world is to approach this unity. According to him, the beauty is an objective concept and the thing that is beautiful is determined in the triangle of soul-nature-matter. What makes something beautiful is the harmony between the soul that reflects the divine and the sufficiency of the substance which has an ability to take it. When the artist processes the appropriate thing for the soul on the matter then the completeness arises. The completeness is the product of the relationship between theory and practice, each of them completes the other. Ibn Miskawayh also analyzes music and poetry in his work, and he thinks that music is the closest experience to reach the divine. The experience which is obtained through music is more influential than any other arts. In his view, music is related to the unity and the cosmic order. He has a prudent approach to poetry because he draws attention to the fact that the poetry uses tricks which irritate direct the soul.Summary: The aim of this study is to examine the aesthetics experience and beauty expressions in the Ibn Miskawayh’s (d. 421/1030) thought. He dealt with aesthetic experience and beauty as a problem. He mentions two kinds of beauty perception: the first one is temporary and partial beauty, the other one is general beauty perception. The temporary and partial beauty sense is individual, there is no objective criterion. But the general beauty sense is mentioned as an objective and the real beauty. According to him, the forms are seen beautifully by people is a result of the completeness and harmony between elements. Ibn Miskawayh's view of aesthetic experience arises in four aspects. The first is triangle of soul-nature-matter where the nature is the front namely the dimension in which nature is effective when we have to determine the aesthetic harmony between matter and soul. The intervention of the artist at this dimension has no effect. Beauty, unity and harmony are determined by the ability of material to take shape and the model taken from the soul. The more the resulting product represents the soul, the more its impact on the perceiving. This is the effect on objects that appear as beauty, flaw, ugliness, and that perceive visually.In the second dimension, which is the triangle of soul-nature-matter, the artist takes place between nature and material, where the artist is more active. Artist composes a matter while performing art. The aesthetic formation of the artist's product, in the first place, is the representation of the nature and even the soul forms. If the artist reflects the forms of the soul in his work and he imitates its forms, the product which is obtained becomes better. At that moment the artist enjoys his art, takes pleasure and feels special feelings.The other dimension is the aesthetic experience that is obtained by avoiding the effects of nature, which is only about music. According to him, the pleasure of music is more effective than the others and it is like pleasures of the divine world. A person who is competent to receive the divine goes beyond physical pleasures by the influence of music. But on the contrary, there are also some voices that affect the person in the negative and that disturb the soul.Forth, the material dimension. Although the source of the principles that enable the aesthetic experience base on in the divine world, the material has an effect on this experience. In other words, in the formation of this experience, the ability of the material to take the form of soul must be perfect. He explains this by giving examples of the wax and seal. According to this, if the wax is not competent enough to receive, for example dry, wet, solid or melted, the seal cannot take that form even if it is competent to give a copy, the wax cannot take it. Therefore, it must be free from imperfections.According to him, the reasons why we perceive something beautiful are the balance, harmony, rhythm, and conformity in colors and measure. These criteria are different for every artistic experience. Moderation and balance are related to visual experience; harmony and rhythm are related to music; hardness, softness, loudness is related to sound and meter is related to literature. All of these arise when the forms are that appropriate to what they received from. That is, there should be a proportion among soul, nature, artist and matter. There is no need for proportions if there is a unity but if there is no unity then we need for proportions that catch it. In addition, his emphasis on unity seems to reflect New Platonist influences as well as being a reflection of the principle of the Tawḥid of Islam.He draws attention to the fact that the unity must exist in literary arts, in poetry and literature should have a single measure and it must obey it until it is finished. In his opinion, if the order is established in literary arts, that is, if the place is not filled unnecessarily thing and put the words appropriate to the meaning, it is not pleasant to audience.According to him, if there is practice and experience in performing art then it becomes the art. If only the theoretical knowledge is taken into account and is not constantly supported by work and practice, it is not possible to talk about the artistic skill. According to him, the artist is also an expert in art. Hence, the harmony of the theoretical and the practical field provides the best excellence, while the route that leads to excellence determines the purpose of that thing in its nature.He explains the influence of music on souls in terms of the unity and the harmonic ratio. According to him, there is important relation between music and the order of the universe. According to him the divine order and harmony are the gifts of the Supreme Creator. There is only the man, who is intelligent, strives to reach divine order, which is the ultimate goal. This view is close to the tradition that represented by Ikhwān aṣ-Ṣafā.While Ibn Miskawayh has given place to poems in his works, he draws attention not only to its positive aspects but also to its negative effect. He does not reject poetry, but draws attention to the need for children to be taught poems about good habits supported by historical information. Also, they should be kept away from worthless poems which their subject is love and lovers and from the thought that the poets are fine-hearted persons. From this point, his opinions refer to the Platonic view, but Ibn Miskawayh’s concern about poetry is pure ethical concern.

TWO CHINESE BUDDHIST TEXTS WRITTEN BY UIGHURS

Author(s): Kōichi Kitsudō / Language(s): English Issue: 3/2011

In the Mongol period, the Uighurs who settled around the Turfan region not only translated Chinese Buddhist works into the Uighur language, but also directly copied them in Chinese characters or composed original works with the combination of arbitrary quotations from Chinese works. The Insadi-Sūtra is such a work in question. The author of this paper succeeded in identifying two Chinese Buddhist texts written by Uighurs. They will help us better understand the background in which these Uighur–Chinese mixed texts came about.

The Existence or Nonexistence of the Mind of Buddha: A Debate between Faxingzong and Faxiangzong in Chengguan's Interpretation

Author(s): Imre Hamar / Language(s): English Issue: 2-4/2003

One passage of the Sutra Manifestation of the Tathagata is studied in this article. The central question of this passage is whether the Tathagata has mental activity like ordinary people. The exegetes of medieval China recognised the ambiguity of Indian Buddhist tradition on this topic. These monks attempted to harmonise the different views under the rubric of perfect teaching, i.e. the Huayan teaching. This article includes a translation of Chengguan's commentary on this passage, as it is not only the most elaborate explanation of the text, but also a good example of how Chinese commentaries interpreted scriptural sources.

Ideologiczne podstawy maoistowskiego nacjonalizmu

Author(s): Joanna Wardęga / Language(s): Polish Issue: 1/2010

Idea demokracji konsocjonalnej w regionie Azji i Pacyfiku

Author(s): Adam W. Jelonek / Language(s): Polish Issue: 1/2010

Budowanie demokracji w Afryce: wizja George’a Carewa

Author(s): Krzysztof Trzciński / Language(s): Polish Issue: 1/2010

A termékeny összecsapás

Author(s): Ferenc Ruzsa / Language(s): Hungarian Issue: 3-4/2015

In this paper an important possible source of philosophical thinking in India is suggested: the fruitful conflict of two cultures. There are many clear traces in the Rg-Veda of the alien religion that the invading Aryan tribes found in India. Combining these data with the archaeological findings from the area, that is, from the Indus Valley Civilisation, and also with some very general considerations, the following picture emerges: The warlike, nomadic pastoralist Vedic people followed a sacrificial polytheistic religion with very strong masculine bias, while the native peasants practised fertility-oriented agricultural magic where Mother Earth had a central role.Features of the two cultures mingled in many interesting ways. For the victorious Aryans the impressive idea of the great female was distasteful for a long time and they tried to transform the concept of the world-woman repeatedly. The Purus a hymn of the Rg-Veda seems to be one such attempt, paving the way to the full-blown pantheism of the Bhagavad-Gītā. However, when, instead of being masculinised, the female principle is divested of its anthropomorphic traits, the neutral world-essence emerges, that is, the Brahman of the Upanis ads. This is quite clearly philosophical.

İBNÜ’N-NEFÎS VE FÂDIL B. NÂTIK ADLI ESERİ

Author(s): Ali Kürşat Turgut / Language(s): Turkish Issue: 24/2011

While scholars such as Avicenna (Ibn al-Sīnā) and Ibn Tufayl are considered to be leaders in the field of Islamic philosophy, the lesser known Ibn Nefis and his work Fāḍil ibn Nāṭiḳ is without doubt the greatest representation of Islamic theological/philosophical fiction in the 13th century. Besides being an accomplished physician, Ibn al-Nafīs is a scholar who has written many works on the various branches of the Islamic Sciences. Whilst Ibn al-Nafīs is perhaps best known for being the first to describe the pulmonary circulation of blood through the human body, he is also highly regarded for his philosophical works. In his above mentioned treatise, he has expressed his opinions on Islamic theological/philosophical topics. Unfortunately Ibn al-Nafīs’ Fāḍil ibn Nāṭiḳ is not very well known in the field of Islamic theology/philosophy. This article intends to promote both Ibn al-Nafīs and his work Fāḍil ibn Nāṭiḳ.

DOĞA YASALARININ ZORUNLULUĞU, İLAHİ FİİL VE MUCİZE -TANRI DÜNYADA FİİLDE BULUNABİLİR Mİ?-

Author(s): Kemal Batak / Language(s): Turkish Issue: 20/2009

In this essay, first, I concentrate on the issue of miracle, divine action and divine intervention according to Enlightenment thinkers. Liberal theologians such as Rudolf Bultmann (1884-1976), after Laplacian determinist metaphysics was added to the Newtonian mechanics, found that divine action in the world is contrary to the necessity of natural laws, i.e., to their being scientific and they defended a semi-deist view of “hand-off theology.” Many modern theologians defended outdated Laplacian determinist metaphysics for the sake of complying with scientific standards. Then, I discuss famous causality debate between al-Ghazali and Ibn Rushd in the light of the divine action and the New Scientific Picture that is intensively debated in the contemporary philosophy of religion. Here, contrary to the claim of Ibn Rushd, I argue that if quantum mechanics is correct, then al-Ghazali do not uproot science and his view that causality is contingent is more scientific and more modern than that of Ibn Rushd’s position. Finally, I point out that outside of the theological project of al-Ghazali, in his epistemological project, al-Ghazali believes that natural laws are certain and I argue that he follows a middle way in this regard.

Śaṅkarasvāmin Nyāyapraveśája, avagy egy buddhista logikai kézikönyv a hatodik századból

Author(s): Sándor Pajor / Language(s): Hungarian Issue: 3/2018

This paper presents the Nyāya-praveśa (Introduction to Logic), a work by Dignāga’s pupil, Śaṅkarasvāmin, who lived in the middle of the sixth century AD. The Nyāya-praveśa is a brief treatise on Buddhist logic perhaps written for beginner students. With its help they could learn the fundamentals of reasoning and the different fallacies one can make in reasoning. The article contains a full Hungarian translation and an introduction with some remarks on the question of authorship.

EBİ SALT DANİ VE İBN TUMLUS’UN ÖNERME ANLAYIŞLARI

Author(s): İbrahim Çapak / Language(s): Turkish Issue: 13/2006

This study explores Abu Salt Dani (d. 579/1134) and Ibn Tumlus’s (1160-1223) examination of propositions. Firstly, it examines Abu Salt Dani’s views on propositions, which can be summed up in four main categories: quality of proposition, quantity of proposition, mutuality of proposition and modality of proposition. Contrary to the approaches of most Muslim logicians, he starts his survey with all types of modal proposition, which can be classified in four main categories: absolute, possible, necessary, impossible. Secondly, it examines Ibn Tumlus’s views on proposition. Ibn Tumlus also examines quality of proposition, quantity of proposition, mutuality of proposition and modality of proposition. Furthermore, he examines, simple, component and conditional propositions. Finally, it will compare the approaches of these two logicians.

MATERIAL FORCE, DIALECTIC EVOLUTION AND THE ROLE OF ACTION IN CHINESE PHILOSOPHY: WANG FUZHI’S NEO-CONFUCIAN VIEW

Author(s): Diana-Elena Vereș / Language(s): English Issue: 1/2024

The transition from the Ming Dynasty to the Qing Dynasty of Manchurian origin brought with it a series of major changes, not only from a political perspective but also from a cultural and philosophical perspective. Wang Fuzhi (1619-1692), a Chinese philosopher and fervent patriot, fighting against the Manchurian invasion, contributes to the creation of Chinese ethnic thought, highlighting through his works the importance of human action as a decisive factor in the nation's destiny.The article analyzes Wang Fuzhi's contribution to Neo-Confucian philosophy in the 17th century and aims to highlight key concepts from the vision of this Chinese thinker, ideas that can provide a better understanding of Chinese philosophy.

От критическо мислене в трансцендентализма през трансценденталното съзнание в будизма към практикуване на метафизика

Author(s): Ivan Kamburov / Language(s): English,Bulgarian Issue: 1/2023

The article presents the critical grounds for philosophizing in the Hinayana and Mahayana Buddhist schools in relation to Immanuel Kant’s transcendental philosophy. We develop the thesis that, in all three cases, the philosophical reflection takes place through the integration of the theory of the psyche and the theories of objects. Kant’s antinomies are compared with the metaphysical questions that Buddha has left unanswered. Against this background, the question of the transcendental subject as pure consciousness is discussed in Kant’s perspective and in Buddhism. Three models of transcendental philosophy are formulated: classical, non-classical, and post-classical.

Етическите принципи в класическата йога на Патанджали като универсален онтологичен фундамент

Author(s): Rumyana Toleva / Language(s): English,Bulgarian Issue: 1/2024

This article aims to present the classical yoga philosophy ethical foundations as a universal ontological fundament. The ethical principles expounded by Patanjali in Yoga Sutra are explored in two aspects of existence – in their dynamic applicability related to human social life and in their stability as a universal spiritual basis for manifestation of the various forms of existence. Patanjali’s ethics is set forth in its interrelation with the metaphysical, epistemological, and soteriological aspects of his study, the utmost purpose of which is complete termination of human suffering through transcendence of the phenomenal world. The article emphasizes the practical aspect of yoga ethics as an essential part of the yoga philosophy and as optional means for overcoming the contemporary challenges in the modern world of distorted human values.

Heideggerio nihilizmo įveikos perspektyvos dialoge su Rytų Azijos mąstymo tradicijomis

Author(s): Tautvydas Vėželis / Language(s): Lithuanian Issue: 104/2023

The article analyzes the perspectives of overcoming nihilism (Verwindung) by discussing Heidegger’s relationship with East Asian traditions of thought (first of all, chan/zen and daoism). We can consider the emergence of Enframing (Gestell or Ge-stell) of the essence of modern technology defined by the philosopher as a diagnosis of the fulfillment of nihilism and the end of the Western tradition of thought. By revealing the problem of the end of the Western metaphysical tradition and its overcoming, the aim is to understand the possibilities of the emergence of a different way of thinking by looking at the horizon of post-metaphysical thinking. Heidegger’s dialogue with the sources of Eastern thought is a search for perspectives on overcoming nihilism (Verwindung), which is inseparable from the deepening of self, other and mutual understanding.

Освобождаване на енергията дзин

Author(s): Valeri Ivanov / Language(s): Bulgarian Issue: 1/2024

In the practice of Chinese martial arts, especially those that are concеdered “internal”, a particular quality of energy is frequently discussed. This quality is called “jin” (jing, ching). Some authors differentiate between thirty-six kinds of such energy, trained and mastered in practice, while also occasionally commenting on their real application. The main and unifying theme regarding such energetic practices is that of the “freeing” and “release” of this energy. This release represents a peak in the mastering of all other nuances of this kind of energy but it is also a necessary step toward subsequent, more subtle levels of energetic practice and technique. To a certain extent, jin energy is at the threshold that separates the mystical-spiritual from the practically applicable in the internal and frequently esoteric practice of martial tradition. The application of jin energy is today considered an extraordinary achievement in Chinese martial arts, regardless of the ideological hue or religious-philosophical thinking associated with it.

ODNOS PREMA NESAVRŠENOSTI U JAPANSKOJ ESTETICI: ANALIZA KONCEPTA WABI-SABI

Author(s): Dragan Ćalović / Language(s): Serbian Issue: 2/2024

The text analyzes the understanding of the concept of wabi-sabi in Japanese aesthetics. It is a complex concept that connects two, originally separate but connected principles - wabi, which refers to sympathy caused by pity; especially liking but also an emotional connection with worn out and dilapidated; feeling of loneliness and helplessness; and sabi, in the sense of special beauty that accompanies loneliness; a state of solitude or peace. The author accepts the assumption that impermanence can be seen as a central feature of the Infinite, from which the entire universe emerges, and hence wabi-sabi can be understood as an aesthetic category that most closely describes the sensory experience of its essence. To feel the impermanence means to sensibly approach the very spirit of cosmic change. In this sense, the process of feeling pleasure in the imperfect, faded or degraded, can be understood as a manifestation of the spirit that reveals the Tao.