Menjadi Bahagia di Jalan Dao (道): Kebahagiaan Sejati menurut Chuang Tzu (Zhuangzi, 莊子)

In the last decade, scientists in almost all disciplines often elaborate happiness using interdisciplinary approaches, metodologies, and measurements, both quantitative and qualitative. Beside scientific approaches, one can also explore this topic from the viewpoint of speculative and phenomenological thinking. This viewpoint describes the experiences of happiness by realising empirical and rational knowledge as well as esoteric consciousness of reality as such. It is Chuang Tzu (Zhuangzi), whose thoughts elaborate cognitive and intuitive sides of human mind, who offers a philosophy in order to bring forward an awareness of reality as itself. Chuang Tzu argues for a realisation of conjunction of both cognitive and intuitive capabilities of human mind, as well as its rational and mystical sides. The realisation of both natural capabilities brings about conditions for modern people’s experience of happiness.

Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics

SummaryThe uniqueness of Chinese traditional art and aesthetics is often presented by the popular Chinese saying “art is manifestation of Dao”, which could mean manifestation of truth or authenticity, since Dao 道 in Classical Daoism was understood as authentic being and a source of authenticity. However, the meaning of authenticity/truth (zhen 真 ) in Chinese aesthetics and theories of art seems less discussed, and far more complicated, than the term Dao. This article argues that zhen is no less important for understanding the nature of artistic creativity and expression in Chinese arts and their theories in the historical perspective, and the issue of likeness in art in particular. It demonstrates how this term is related to the evaluation of the work of art, the artist’s expression and self-expression, and his/her relation to the “object” represented in art; in other words, with representation, imagination and morality, which is evident in such compounds as “drawing truthfulness” (xie zhen 写真), and “to create the truth” (chuang zhen 創真). The article deals with the conceptual and historical analysis of the term zhen, aiming to survey the differences and changes of its meaning in theories of painting, literature and “aesthetics of things” (antiquarianism), and to reveal the relations between its philosophical and aesthetic interpretations, especially evident in the Ming dynasty.

Chinese Alchemy

Chinese alchemy has a history of more than two thousand years. It is divided into two main branches, known as Waidan 外丹, or External Alchemy, and Neidan 內丹, or Internal Alchemy. Waidan (literally, “external elixir”) arose by the 2nd century bce; it is based on compounding elixirs through the manipulation of natural substances—primarily minerals and metals—which release their essences when they are submitted to the action of fire. Neidan (literally, “internal elixir”), documented from the 8th century ce, aims instead to produce the elixir within the person itself, according to two main models of doctrine and practice: by causing the primary components of the cosmos and the human being—essence (jing精), breath (qi氣), and spirit (shen神)—to revert to their original states; or by purifying the mind from defilements and passions, in order to “see one’s Nature” (jianxing見性). Neither alchemy as a whole, nor Waidan or Neidan individually, constitute “schools” of Daoism, with a definite canonical corpus and a single line of transmission. On the contrary, the respective sources display wide differences in both doctrines and practices. However, if one may attempt to formulate a broad statement that encompasses at least a large part of its different forms, Chinese alchemy is characterized by a foundation in doctrinal principles concerning the relation between the Dao 道 (Way) and the world. The cosmos as we know it is deemed to be the last stage in a sequence of “transformations” leading from Non-Being (wu無) to Unity (yi一), duality (Yin and Yang 陰陽), and finally multiplicity (wanwu萬物, “ten thousand things”). Alchemists intend to trace this sequence backwards and return to its inception. In both Waidan and Neidan, the practice is variously said to grant transcendence (a state described by such expressions as “joining with the Dao,” hedao合道), “immortality” (mainly meant as a spiritual condition), longevity, healing (either in a broad sense or with regard to specific illnesses), and—especially in Waidan—communication with the deities of the celestial pantheon and protection from spirits, demons, and other malevolent entities.

Taoista nézőpontok a nyelvértelmezésben és értékelméletben II.

The Taoist teaching breaks with the Confucian standards, norms and values.The discernment and striving of the wise (shengren 聖人) were focused oncomplying with dao 道. The internal strain of Laozi is due particularly to the fact that that insome way it says something about 'the unspeakable' and while ‘speaking theineffability’ it declares the dao to be incomprehensible and unfathomable.The human construction of opinion creates “names” (ming 名), but any denomination will spoil the harmony between dao and de 德. Knowledge whichcannot be expressed in words is the ‘knowledge’ of the “sage man” (shengren聖人), which introduces into the “influence”, the “operation” (de 德) of thehidden, non-experienceable dao. By “non-action” (wuwei 無為) the “sageman” will achieve non-intervention; that is to say, identifying with the daohelps it to be presented through him. The Zhuangzi, questioning the method of cognition based on distinctions,will ask whether it is possible to talk about “reality” (shi 實), or our solutionsare illusory, since a name is merely “pointing a finger” (zhi 指), “the nameis the guest of reality”. For the shengren there is no “this” (shi 是) or “that”(bi 彼), or privilege of any object or value: he sees things in unity, in theunity of dao. Teaching about dao cannot be conveyed by words: understanding of things is only possible by direct intuitive insight. The Laozi presents the Confucian values – such as “ceremony” (li 禮),“humanity” (ren 仁), “fairness” (yi 義), “respect for parents” (xiao 孝) - as aconsequence of the loss of the dao. According to the Zhuangzi, access tothe dao requires departure from “All-Under-Heaven” (tianxia 天下), fromthe hierarchical world of people, from civilization.

Seeing and Hearing in the Laozi and Zhuangzi and the Question of Authority and Authenticity

The present paper investigates the significance of visual and auditory metaphors as used in the main Daoist classics the Laozi 老子 and Zhuangzi 莊子. While both works disparage the role of the senses, they nonetheless employ a large number of metaphors related to the sense experience. It is the contention of the author that examining these metaphors against the backdrop of the main modern theories dealing with characteristics of vision and hearing is crucial for a better understanding of how the authors of both works envisioned the ideal relation between man and the Way (dao 道) as well as their views on authority and authenticity.