Wei-Jin period is characterized by neo-Daoism ( xuanxue 玄學), and J I Kang lived in the midst of this philosophical exploration. Adopting the naturalism of the Zhuangzi , J i Kang expressed his socio-political concerns through the medium of music, which was previously regarded as having moral bearing and rectitude. Denying such rectitude became central for J i Kang, who claimed that music was incapable of possessing human emotion, releasing it from the chains of Confucian ritualism. His investigation into the (...) name and reality of musical expression gave music an “aesthetic turn” lacking in Qin and early Han thought, and by making use of concepts such as natural harmony and spontaneity, J i Kang was able to turn away from the negative aesthetics of earlier thinkers such as H e Yan and W ang Bi to one cherishing the naturalism espoused by Zhuangzi. (shrink)

This is a study of the ninth chapter of the Huai-nan-tzu, a Chinese philosophical text compiled in the mid-second century BC. The chapter (entitled Chu-shu [The techniques of the ruler]) has been consistently interpreted as a proposal for a benign government that is rooted in the syncretic Taoist principles of the Huai-nan-tzu and is designed to serve the best interests of the people. I argue, on the contrary, that the text makes skilful (and deliberately deceptive) use of vocabulary from the (...) major philosophical traditions of the day, in an attempt to subdue all philosophical sectarianism and wrench various antecedent philosophical ideas into the justification of a supreme political state. The best interests of the people are understood as nothing more than their material needs, since the text also denies that the ruler's subjects are possessed of 'minds' in any philosophical sense. It is this process of systematically undermining other philosophical traditions that I call 'insidious syncretism. '. (shrink)

Seemingly, “independent genesis” refers to the independent existence and changes of each thing, but it is clear that there cannot be any truly “independent” things at all. Each thing in the world has to stay in connection or relationship with other things outside itself if it wants to represent its own “independence” and “genesis” in terms of form; and inevitably such connection or relationship itself has to be embodied in the internal nature of each thing. In the metaphysical thought of (...) Guo Xiang, the former was known as the quality of “interdependence”; and the latter the characteristics of “quality” or “quality image.” Such characteristics of “quality” or “quality image” were interdependent, which constituted the essence of each thing itself as “beingness” and “beinglessness,” and thus resulted in the independent manifestation and change of things in terms of their external forms. The grasping of essence of things as “beingness” and “beinglessness” depended upon comprehension or rational intuition, and that was the realm of “profundity” in Guo Xiang’s terms. (shrink)