Zen, Art, and the Web as Evolutionary Technology (original) (raw)
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Modern Applied Science
This research considers painting and imagery in Zen as an art and its objective is to introduce the influence of Zen on visual arts. The term “Zen” is derived from Sanskrit and it means “thinking”. In China and India, Zen Buddhism is known as “Liberated Way of Life” and is strongly influenced by Taoism. It is said that Zen began with an allusion, as one day, instead of preaching, Buddha appeared with a flower in his hand when one of his followers received his speechless message. That was when Zen, with its Indian Dhyāna root meaning meditation, was born.The research method here is descriptive and analytical with emphasis on inductive approach (checking samples and providing theory).The resulted process concludes that Zen imagery includes seven principles: asymmetry, purity, stamina, naturalness, deepness, richness and quietism, however; peace or quietism is the concept taken into consideration more than other ones.
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T e x t b y Pe t e r Z h a n g , Ph o t o g r a ph s b y W e i-Sh y u a n (St o n e ) Pe n g If a mantis can pray, then a great egret can certainly meditate. The posture is the message. As we meditate on its posture, the egret seems to be meditating on something else, or is it actually in a wuxin (^C'Ia ) mode. The image med iates our meditator-becoming. We can identify with almost the entirety of the
Review of Daitokuji: the Visual Cultures of a Zen monastery
Japanese Journal of Religious Studies , 2007
The Visual Cultures of a Zen Monastery is a study of how Daitokuji's visual cultures functioned, and continue to function, in practice and in memory. In this monumental book, Levine has made the substantial amount of material manageable by organizing it into a prologue, epilogue, and four parts, each with a short section to introduce the unifying theme followed by two to three chapters. Daitokuji is, of course, well known as one of the most important Buddhist temples in Japan, but Levine deals with the stuff of Daitokuji in new ways. Rather than concentrating only on Daitokuji's major monuments, as had been the custom of past art historical scholarship, he challenges old cannons by addressing topics of broad interest and weaving the monuments, as well as objects with less "art historical" panache, into his study. Daitokuji is an archive, a location of collecting, and a repository where objects not only reside, but it is also a space where people interact with them. In the prologue Levine sets up key issues for the study and frames the site's material by considering the life of Daitokuji's "visual culture(s), " a fluid term, which he explains "is best taken as a placeholder in a dynamic semantic, visual, and social field" (xiviii). Another significant issue that runs through this study is the slippery subject of "Zen art, " which Levine reminds us usually has more to do with notions set up in the modern era. "In short, objects of varied representational technique and form turn out to be far more profuse in Chan/Zen communities, and their meaning and status more flexible and contested, than we have heretofore believed" (p. l). He continues, "Although I do not view this book as a direct response to the problem of "Zen art, " I will speak to certain assumptions and debates" (p. l). Undoubtedly many reviews will be written about this magnificent book; here I will not only praise the virtues of its scholarly contributions, but will also discuss it from the standpoint of a teacher, since I have had the luxury of using it as an assigned reading in an art history seminar. In spring 2007 I taught a graduate-level seminar titled "Japanese Buddhist Temples in Context" at the University of Kansas for students with backgrounds in Chinese, Korean, European, and Japanese art history. In