Neo-Daoism

This chapter argues that ZHU Xi was influenced by Daoism. His philosophy begins with the Diagram of the Great Polarity or Taijitu 太極圖 which has Daoist origins. Later in life he studied two Daoist texts, namely, The Seal of the Unity of the Three in the Zhou Book of Changes or the Zhouyi Cantongqi 周易參同契, and The Yellow Emperor’s Classic of the Secret Talisman or the Huangdi Yinfujing 黃帝陰符經. The chapter begins with a discussion about the nature of Daoism and (...) inner meditative alchemy. Then I discuss the Diagram of the Great Polarity. Finally, ZHU Xi’s study of the above two texts is analyzed. (shrink)

Review of Wenzi xinlun (New Perspectives on the Wenzi), Wenzi ziliao tansuo (Exploration of the Wenzi Materials), and Huainanzi yu Wenzi kaobian (Examination of the Huainanzi and the Wenzi), by DING Yuanzhi.

Early Chinese argumentative texts are full of historical anecdotes. These short accounts of events in Chinese history enhance the appeal of the text, but they also have an important rhetorical function in helping the reader understand, accept, and remember the arguments propounded in the text. In this paper I examine the rhetorical function of historical anecdotes in two argumentative texts of the Western Han dynasty (202 BCE-9 CE): Han’s Illustrations of the Odes for Outsiders and The Master of Huainan. These (...) two texts found creative use for anecdotes, namely as illustrations of quotations from canonical sources. Through case studies of several combinations of anecdotes and quotations, I argue that the combinations serve to present the creators of these texts as beacons of knowledge with profound understanding of historical events and canonical literature, and with the necessary skills to fruitfully combine the two. (shrink)

This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, despite being habituated (...) to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而 且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。. (shrink)

In 139 BC, Liu An presented the Huainanzi to Emperor Wu. Nowadays, most Western scholars believe that the Huainanzi has a “root-branches” bipartite structure. However, given that the author of the "Yao Lue" chapter (probably Liu An himself) asks the readers to read the Huainanzi from the beginning to its end in a successive order, and given that the text is designed in such a way as to prevent readers from “departing from the root and moving closer to the branches” (...) (離本就末), it would be self-contradictory if any “branch” chapters are placed towards the end of the Huainanzi. This thesis examines the postface of the Huainanzi (Chapter 21, “Yaolue” [An Overview of the Essentials]) in detail. Based on the internal evidence, it is argued that the Huainanzi has a “root-branches-great root” tripartite structure. Chapters 1-8 of the Huainanzi belong to the “root” and discuss “the patterns of Heaven and Earth” (天地 之理). Chapters 9-18 belong to the “branches” and discuss “the affairs of the human realm” (人間之事). Chapters 19 and 20 together form the “great root” (大本) and are devoted to the discussion of “the way of emperors and kings”. (帝王之道) Since the Huainanzi is “the book of Liu Clan”(劉氏之書), chapters 19 and 20, which outline the way of emperors and kings, are evidently the most important and authoritative chapters. 目前西方學者多以為《淮南》二十篇由「本∕道」和「末∕事」兩部分組成，此說幾成定論。然而，《淮南》後序〈要略〉既然一方面要求讀者順序閱讀《淮南》二十篇，同時明確指出不欲讀者「離本就末」，然則《淮南》二十 篇就不可能只由「本∕道」和「末∕事」兩部分組成。本論文通過分析〈要略〉文義，抉發篇中內證，指出《淮南》二十篇實由「本∕道」、「末∕事」以及「大本∕大道」三部分組成。第一部分由開首八篇組成，其論述主題為 「天地之理」。第二部分則由第九篇到第十八篇組成，其主題為「人間之事」。第三組的地位最高，由第十九篇〈脩務〉和第二十篇〈泰族〉組成，其主題為「帝王之道」。而〈要略〉指出《淮南》乃「劉氏之書」，「劉氏之書 」者，皇族之書、帝王之書也。由此可知闡述「帝王之道」的兩篇實為《淮南》之重心大本。. (shrink)

van Els, Paul. "Aanvaard het lot" (Accept Fate). Review of De geschriften van Liezi: de taoïstische kunst van het relativeren, by Jan De Meyer. China Nu 34, no. 1 (2009): 46–47.

This paper offers an original interpretation of the Daodejing 道德經 as containing a distinctive account of creation. In my reading, the Daodejing envisions the creation of the cosmos by Dao (1) as a movement from the absence of phenomenal forms to phenomenal forms and (2) as a movement from nothingness to existence. I interpret creation as a unique metaphysical operation that explains how (1) and (2) are possible. The paper is organized into two sections. First, I introduce the distinctions between (...) the lack and presence of phenomenal forms (§1.1) and between nothingness and existence (§1.2), using them to map the distinction between Dao and the created world. Then, I propose my account of the Daodejing’s metaphysics of creation (§2.1) and elaborate on its connection with the previously drawn distinctions while answering a potential objection (§2.2). I conclude with some considerations about the connections between the Daodejing’s view of creation and its soteriology. (shrink)

This chapter presents an analysis of Wang Bi’s (226-249 CE) hermeneutics and reception theory via the concept of “forgetting” (wang 忘) in his essay “Clarifying the Images” (Ming xiang 明象).

The question of ontological foundation has undergone a noteworthy revival in recent years: metaphysicians today quarrel about how exactly to understand the asymmetrical and hyperintensional relationship of grounding. One of the reasons for this revival is that the old quantificationalist meta-ontology inherited from Quine has been effectively criticised by leading philosophers favourable to a meta-ontology, the aim of which is to come to know “which facts/items ground (constitute the base of) which other facts/items”, thus to examine the relation of ontological (...) dependence between beings (e.g. chemical properties depend on physical properties, the economic situation on the behaviour of individuals etc.), i.e. to explore the hierarchical structure of reality. I shall not discuss here the relationship of grounding in itself, but make some historical-formal remarks on the properties of the ultimate ontological foundational item itself and its aporetic nature. To do so I explore various more or less exotic philosophical ecosystems in the following order: Heidegger (Seyn), Plato (ἕν), Wáng Bi (道, dào). On the way I shall propose a new interpretation both of certain hypotheses in the Parmenides and of the nature of the opposition between Wáng Bì and Guō Xiàng in regard to the logical grammar of the expression “nothing (無, wú)” (transl. J. Dudley). (shrink)

This chapter offers a brief introduction to Xuanxue Wei Jin Dynasty philosophy.