Explores the cosmological and metaphysical thought in the Zhuangzi from the perspective of nothingness. Zhuangzi and the Becoming of Nothingness offers a radical rereading of the Daoist classic Zhuangzi by bringing to light the role of nothingness in grounding the cosmological and metaphysical aspects of its thought. Through a careful analysis of the text and its appended commentaries, David Chai reveals not only how nothingness physically enriches the myriad things of the world, but also why the Zhuangzi prefers nothingness over (...) being as a means to expound the authentic way of Dao. Chai weaves together Dao, nothingness, and being in order to reassess the nature and significance of Daoist philosophy, both within its own historical milieu and for modern readers interested in applying the principles of Daoism to their own lived experiences. Chai concludes that nothingness is neither a nihilistic force nor an existential threat; instead, it is a vital component of Dao’s creative power and the life-praxis of the sage. “Chai provides an elaborate philosophical meontological interpretation of the ontology/cosmology found in the Zhuangzi and the implications for existential practice. It’s a close, careful, but in many respects quite original reading of the classic that contributes significantly to the field of philosophical Daoist studies.” — Geir Sigurðsson, author of Confucian Propriety and Ritual Learning: A Philosophical Interpretation. (shrink)

This paper relocates the philosophical discourse on the Thing (das Ding) to the world of classical Daoism. In doing so, it explores the bond between the One, the Thing and its signifier before discussing how the Thing unveils itself to the world while receiving the gift of nothingness from Dao. It furthermore contends that the two most prominent discussions of the Thing in the Western tradition--those by Heidegger and Lacan--while philosophically valuable in their own right, fail to provide the degree (...) of profundity seen via a Daoist reading. What will become apparent is that the Thing qua the One serves to delineate the cosmological and human realms of reality, negating any inclination one might have of it as being anything but mystical. (shrink)

This paper introduces the concept of nothingness as used in classical Daoist philosophy, building upon contemporary scholarship by offering a uniquely phenomenological reading of the term. It will be argued that the Chinese word wu bears upon two planes of reality concurrently: as ontological nothingness and as ontic nonbeing. Presenting wu in this dyadic manner is essential if we wish to avoid equating it with Dao itself, as many have been wont to do; rather, wu is the mystery that perpetually (...) veils Dao while serving as the root and counter‐balance to being, and yet, Dao also imbues things with wu to the extant that their physical makeup and usefulness, or lack thereof, can be traced back to their source in Dao. This does not only mean that Daoist cosmogony and metaphysics are inherently informed by nothingness/nonbeing instead of being/beings but that it works to unground all moral and epistemological norms in play, a feat no other school of thought in ancient China could accomplish. (shrink)

Given wuwei 無為 describes the life praxis of the sage and statecraft of the enlightened ruler while also denoting the comportment of the Dao 道—an alternating state of quiet dormancy and creative activity—are the standard translations of wuwei as “nonaction” or “effortless action” up to the task? They are not, it will be argued, in that they fail to convey the true profundity of wuwei. The objective of this essay is twofold: to show that wuwei is better understood as “abiding (...) harmony” than nonaction, and to demonstrate this via a close reading of the Lüshi Chunqiu 呂氏春秋 (Master Lü’s Spring and Autumn Annals) which makes wuwei the epicenter of its doctrine of “the Dao of the ruler.” Indeed, the Lüshi Chunqiu’s unique application of wuwei lies not only in its borrowing of Daoist and Legalist norms, but in having the ruler meet the following prerequisites: be without knowledge, keep the senses and heart-mind pure, be reliant on others, follow Yin 陰 and Yang 陽, and study the course of heaven and earth to know the ways of humanity. There is, therefore, more to wuwei than meets the eye. (shrink)

Martin Heidegger has made uncovering the truth of being his life’s work. He ultimately came to locate this truth at the site of the clearing (lichtung), which allowed him to sweep away the traditional formulation of the question of being and begin anew with beyng. This second beginning, as Heidegger called it, stood apart from the original in that he saw fit to cloak beyng in nothingness. This paper explores Heidegger’s use of nothingness and his claim that in order to (...) overcome the divide between the two beginnings, we must leap into the abyss of the clearing. Given Heidegger’s interest in East Asian philosophy, his use of nothingness appears to resemble that of Daoism. Despite this outward similarity, however, this paper will argue that Heidegger’s doctrine of nothingness failed to grasp the cosmological significance of the clearing for he saw it only in terms of symbolizing the existential play of being. Thus while Heidegger argues that the clearing marks the unconcealement of beyng, Daoism uses the clearing to point us to the root of being in nothingness. (shrink)

This article investigates the concept of time as it is laid forth in the Daoist text, the Zhuangzi 莊子. Arguing that authentic time lies with cosmogony and not reality as envisioned by humanity, the Zhuangzi casts off the ontology of the present-now in favor of the existentially creative negativity of Dao 道. As the pivot of Dao, nothingness not only allows us to side-step the issue of temporal directionality, it reflects the meontological nature of Daoist cosmology in general. Framing time (...) in terms of the motion of nothingness, this paper concludes that the authentic time of Dao reveals itself through the principle of creation qua rest. Experiencing such temporal self-grounding, the sage becomes existentially awakened such that temporal ekstases becomes unfathomable. (shrink)

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)

Recent years have seen an increased turning to the “wisdom of the East” when addressing issues on the environment. The risk of misappropriating its tenets in order to make them conform to the Western system is extremely high however. This paper will lay bare the early texts of Daoism so as to disprove claims that Nature is mystical, antithetical to technology, and subservient to human consciousness. It shall argue that Nature not only arises from a non-anthropocentric source in Dao but (...) that this arising takes place across three levels of reality: Dao’s mystery, the cosmogony of the One-and-Many, and the fourfold comprised of Dao, Heaven, Earth, and man. The result is a vision of Nature no longer bound to a singular actuality but one whose presence is felt across an endless range of possibilities as the substantive realization of Dao. (shrink)

Eric Nelson's Chinese and Buddhist Philosophy in Early Twentieth-Century German Thought opens with the following: "The work before you is an interpretive journey through the historical reception of Chinese and Buddhist philosophy in modern German thought, focusing in particular--albeit not exclusively--on the early twentieth century. Its intent is to describe and analyze the intertextual nexus of intersecting sources for the sake of elucidating implications and critical models for intercultural hermeneutics and intercultural philosophy. The possibility of such a philosophy is confronted (...) by the persistent myth and prejudice that philosophy is and can only be a unique and exclusive Western spiritual achievement" (p.... (shrink)

Of the things needing to be forgotten if we are to partake in the oneness of Dao, language is perhaps the hardest. Since the purpose of words is to delimit things, words create an artificial division between things and their image qua form. While humanity views images as distinct entities, Dao leaves them in their jumbled collectivity; while humanity feels compelled to act upon our thoughts and feelings, Dao remains silent and empty. This leads to the following question: Will modelling (...) ourselves after Dao result in a more creative form of thinking and if so, can it be carried-out without words and images? To demonstrate why the answer to this question is yes, we will first analyze why words are an obstacle to deeper thinking before looking at how images, despite their ability to connect with Dao, are nevertheless hindered by their dependency on being. It thus falls to spirit to lay bare the constant non-image of Dao, the core of the Daoist imagination and focus of the final section of this paper. (shrink)

East Asian imagery resonates throughout Martin Heidegger's writings. In this exploration of the connections between Daoism and his thought, an international team of scholars consider why the Daodejing and Zhuangzi were texts he returned to repeatedly and the extent Heidegger adhered to Daoism's core doctrines. They discuss how Daoist thought provided him with a new perspective, equipping him with images, concepts, and meanings that enabled him to continue his questioning of the nature of being. Exploring the environment, language, death, temporality, (...) aesthetics, and race from the groundlessness of non-being, oneness, and the Way, they illustrate how these themes reverberate with ontological, spiritual, and epistemological potential. A lesson in the art of Daoist and cross-cultural ways of thinking, this collection marks the first sustained analysis of the influence of classical Daoism on a major 20th-century German philosopher. (shrink)

This chapter examines the sculptural aesthetics of Johann Herder and Chinese Daoism. Herder’s thesis that sculpture presents “forms in which the living soul animates the entire body” might have changed the way Europeans viewed the plastic arts, but Daoism had already discovered this “truth” two millennia earlier. What is common to both Herder and Daoism is the argument that sight inherently falls short when it comes to knowing the possibility of human experience. As sight lacks the tactile sensation of touch, (...) and sculpture is an artform created by the hands, it falls to spirit to convey what our eyes cannot feel and our hands cannot see. What the sculptor shapes is thus not the human imagination but the spirit of Nature, a shaping that in reality never departs from the hidden ground of the soul. (shrink)

Ji Kang’s “An Essay on Nourishing Life” has, for much of its history, been overshadowed by his more famous work “Sound is without Grief or Joy.” Be that as it may, “An Essay on Nourishing Life” is also an important text in that it delves into the interdependence of the heart-mind, spirit, and vital breath, and into how harmony between them is the key to ensuring physical longevity. In addition to investigating this aspect of his thought, this paper will also (...) discuss Ji Kang’s attention to the vicissitudes of knowledge and desire and to the need to temper them with tranquility and stillness. “An Essay on Nourishing Life” can thus be read as an extension of classical Daoist theories of self-cultivation while at the same time elaborating upon them by bringing together their disparate components into a coherently unified doctrine. (shrink)

For Paul Tillich, the age-old question "Why is there something and not nothing?"1 is easily answerable: there is something because thought begins with being. However, being alone is insufficient to explain the causal root of reality; the world exists, Tillich says, in a dialectical relationship with nonbeing. This nonbeing is not the absolute Nothing out of which God creates things ex nihilo; on the contrary, it is a relative form of non-being that threatens to eradicate the finite being of things. (...) Given that God is pure potential, what Tillich calls being-itself, things are created ex deo, that is, from the pure being of God. Humans, however, question the nature of being and hence... (shrink)

This is the first English-language book on the philosophy of Ji Kang. Moreover, it offers the first systematic treatment of his philosophy, thus filling a significant gap in English-language scholarship on early medieval Chinese literature and philosophy. David Chai brings to light Ji Kang's Neo-Daoist heritage and explores the themes in his writings that were derived from classical Daoism, most notably the need for humanity to return to a more harmonious co-existence with Nature to further our own self-understanding. His analysis (...) is unique in that it balances translation and annotation with expositing the creative philosophizing of Neo-Daoism. Chai analyzes the entirety of Ji Kang's essays, exploring his philosophical reflections on music, aesthetics, ethics, self-cultivation, and fate. Reading Ji Kang/s Essays will be of interest to scholars and students of Chinese philosophy and literature. It offers the first comprehensive philosophical examination of a heretofore neglected figure in Neo-Daoism. (shrink)

Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the (...) classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening. (shrink)

Robert Neville’s three-volume set, Philosophical Theology, is a work of considerable physical heft and remarkable intellectual scope, a magnum opus that redefines how we understand religion and its place in the interconnected world of today: “Religion is human engagement of ultimacy expressed in cognitive articulations, existential responses to ultimacy that give ultimate definition to the individual and community, and patterns of life and ritual in the face of ultimacy”. This new definition is necessitated by the fact that “the ultimate reality (...) of the world consists in its being created in all its spatiotemporal complexity by an ontological act of creation”. Philosophical... (shrink)

Whether music is a catalyst for virtuous or licentious behavior, decadent or sparse thoughts, there is no doubting its importance to human civilization; but what of the sounds of Nature? For the Daoist philosopher Zhuangzi 莊子, the sounds of Nature are the epitome of what humanity calls music. Neither contrived nor laden with predispositions, they reflect the unity of things in Dao 道. Focusing on the xianchi 咸池 story in Chapter 14 of the Zhuangzi, this article argues that the true (...) value of music for Zhuangzi is not to be found in the moral or aesthetic symbolism of its notes but in its ability to return humanity to Dao. For this to happen, one must transcend the particularities of human music so as to recognize the oneness of sounds arising from Nature. Equipped with such awareness, one can then listen for the soundless music of Dao. However, music of this magnitude is so profound that conventional terminology will fail to encapsulate it, thus the xianchi story can be read as an instance of musical apophasis. (shrink)