A work of art is an intentional transformation of qi 氣 into a dynamic structure. The philosophy of qi is presented here as a means to develop the aesthetic theories of Richard Wollheim and Eliot Deutsch. Both Wollheim and Deutsch present their arguments, in part, as rejections of George Dickie’s “New Institutional Theory of Art.” I develop a robust qi aesthetic drawn from traditional sources and their contemporary commentaries as a way of joining the debate between Dickie and Wollheim/Deutsch, taking (...) the side of the latter, but attempting to provide a thicker vocabulary and a stronger rationale for challenging Dickie. (shrink)

An overview of Dai's ethics, highlighting some overlooked or misunderstood theses on moral deliberation and motivation.

The idea of the Confucian sage-king can be politically dangerous if the implication is that anyone can become a sage through learning. But Confucians after the Han dynasty generally saw the task of...

The present article focuses on Zhang Zai’s 張載 attitude toward death and its moral significance. It launches with the unusual link between the opening statement of the Western Inscription 西銘 regarding heaven and earth as parents and the conclusion that serving one’s cosmic parents during life, one is peaceful in death. Through the analogy of human relations with heaven and earth as filial piety (xiao 孝), Zhang Zai sets a framework for an understanding that being filial through life eliminates the (...) fear of death. The article shows that filial piety as a root for morality enables a “sense of immortality,” which is in fact a sense of morality. This moral immortality is elucidated through Zhang Zai’s discussion on vital power (qi 氣) as that which life is made of, which persists through ongoing transformation and enables a moral continuum. This continuum is manifested through filial piety, which transcends the limits between life and death, and thus makes physical death pointless as morality endures. (shrink)

Zhang Zai’s 張載 “Western Inscription ” and Kant’s “Conclusion” of the Critique of Practical Reason are two profound pieces. As of yet, no comparative study has been made of the two. I argue that a comparative and contrasting study provides us a window into the central and powerful ideas within these two pieces. Section 2 of this article contrasts Zhang Zai’s “Heaven-Earth” with Kant’s starry heavens, his external “wonderland.” Section 3 contrasts Zhang Zai’s teaching of morality by personal commitment and (...) exemplars with Kant’s teaching of morality by a theory based on the moral law within, his inner “wonderland.” Section 4 compares and contrasts Zhang Zai’s human self-realization in the one world of Heaven-Earth with Kant’s human realization in the coming-together of the two “wonderlands.” By stressing some significant differences between Zhang Zai and Kant, I conclude that the view that takes Kant’s coming-together of the two “wonderlands” as a version of the union or interpenetration between the cosmos and the human will need important qualifications. (shrink)