Ziran: Authenticity or Authority?

Tadd, Misha

doi:10.3390/rel10030207

Cited by 7 publications

(1 citation statement)

References 14 publications

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“…This commentary presents a type of interpretation where ziran signifies the state of not relying on or existing according to anything external. As a detailed analysis of Heshanggong's conception of ziran exists elsewhere (Tadd 2019b), I will simply present a summary here.…”

Section: Chinese Readings Of the Chapter 25 Ziranmentioning

confidence: 99%

The Translingual Ziran of Laozi Chapter 25: Global Laozegetics and Meaning Unbound by Language

Tadd

2022

Religions

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Many scholars view translations of the Chinese classics as inevitably lacking fidelity to the “original,” asserting language difference as a fundamental impediment to cross-cultural understanding. The present study disputes this viewpoint by employing the perspective of Global Laozegetics. This notion affirms a fundamental continuity between the native Laozi or Daodejing commentarial tradition and its corresponding foreign translation tradition. Specifically, I will investigate a range of interpretations of the term ziran found in Laozi Chapter 25, including 16 traditional and modern Chinese readings and 67 translations in 26 languages. My broad investigation of this narrow topic will reveal a rich historical development of interpretation and translation, highlight the philosophical ramifications of different exegetical choices, deepen our understanding of the core Daoist concept ziran, and assist in confirming the basic premise of Global Laozegetics that language, even the original language of Chinese, is secondary to interpretive strategy when engaging with classical works.

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Section: Chinese Readings Of the Chapter 25 Ziranmentioning

confidence: 99%

The Translingual Ziran of Laozi Chapter 25: Global Laozegetics and Meaning Unbound by Language

Tadd

2022

Religions

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Can Wuwei and Ziran Authorise Anticipation?: Death, Desire, and Autonomy in the Zhuangzi

Jalalum

2024

Journal East Asian Philosophy

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The concept of anticipation, on the one hand, has received a considerable treatment in classical phenomenology, particularly in Husserl. The Zhuangzi, on the other hand, has not been explored with the help of Husserl’s concept of anticipation. Broadly construed, anticipation, due to its association with robust proclivity to seeing and conjuring up possibilities issuing from a phenomenon, shall have no place in the Zhuangzi. Against such backdrop, I argue that—albeit the Zhuangzi does not develop an explicit discourse on anticipation—a delimited form of anticipation (‘d-anticipation’), that is, one which is inspired by Husserl’s concept of anticipation evident in his genetic phenomenology, can work in concert with the thoughts articulated in the Zhuangzi. I demonstrate this via examining death, desire, and freedom evident in the Zhuangzi. That ‘d-anticipation’ can work in concert with the thoughts articulated in the Zhuangzi can be apprehended in a variety of ways. Firstly, it can be seen in our natural response to death and the way in which we handle desires. Secondly, it points to Zhuangzi’s reductionistic manner of appreciating the richness of reality. Thirdly, it offers a way in which we can live life according to our nature. Fourthly, it points to an exercise of freedom which opens up the possibility of transcending conventional standards. Fifthly, it is inherently constitutive of the process of comportment with the Dao. Finally, it is in essence constitutive of a phenomenon or circumstance. In setting out to demonstrate these contentions, I seek to show that ‘d-anticipation’ can fill in a lacuna brought about by the negative appraisal of anticipation in the Zhuangzi and can assume a pivotal role in one’s comportment with the Dao.

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

Poškaitė

2020

Art History &Amp; Criticism

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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.

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Ziran: Authenticity or Authority?

Cited by 7 publications

References 14 publications

The Translingual Ziran of Laozi Chapter 25: Global Laozegetics and Meaning Unbound by Language

The Translingual Ziran of Laozi Chapter 25: Global Laozegetics and Meaning Unbound by Language

Can Wuwei and Ziran Authorise Anticipation?: Death, Desire, and Autonomy in the Zhuangzi

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

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