- Inter-faculty Studies in Bioinformatics and Systems Biology
- Bachelor's degree, first cycle programme, Computer Science
- Bachelor's degree, first cycle programme, Mathematics
- Master's degree, second cycle programme, Bioinformatics and Systems Biology
- Master's degree, second cycle programme, Computer Science
- Master's degree, second cycle programme, Mathematics
Zen Aesthetics 3600-JA-EZ-OG
The aim of the lecture is the analysis of influence of Zen teaching in Ink Painting, Stone Gardens, as well as in selected treatises on Noh Theatre and Tea Ceremony. Zen art and Zen performance can not be explained fully by Hisamatsu Shin’ichi’s theory of “seven characteristics of Zen art”, which is presented in his Zen to bijutsu (Zen and Art, 1957). According to Hisamatsu Shin’ichi (1889–1980) seven characteristics that are indispensable for any item of Zen art are: asymetry (fukinsei), simplicity (kanso), austere sublimity/lofty dryness (kokō), naturalness (jinen), subtle profundity/deep reserve (yūgen), freedom from attachments (datsuzoku), tranquillity (seijaku). The above all seven characteristics are not to be found in all examples of the so called Zen art (for instance they cannot be found in some paintings by Zen monk, Sesshū 1420– –1506). The important remarks on Zen aesthetics in Nishida Kitarō’s philosophical essays, such as “Artistic creatvity as historical formation” (Rekishiteki keisei sayō to shite no geijutsuteki sōsaku, 1941) will be included. They lead to the conclusion that the form of Zen art must express at least one philosophical aspect of Zen Enlightenment, which Nishida regarded as the experience of ‘immanent transcendence’ (naimenteki chōetsu), understood as absolutely contradictory self-identity (zettaimujunteki jikodōitsu). The following aspects of absolutely contradictory self identity in Ink Painting, Stone Gardens as well as in selected treatises on Tea Ceremony can be found: creative act as expression of Non-Mind (mushin); “One is all and all is one” (ichi soku issai, issai soku ichi) – beyond dualism of subject and object; „Form is emptiness, emptiness is form (shiki soku ze kū, kū soku ze shiki) – the affirmation of reality perceived in sensual perception (byōjōshin); unity of contradictions; Eternal Now (eien no ima); freedom of Enlightenment – rejecting all rules and artistic canons. According to Nishida Kitarō (1870–1945) the aesthetic sensation of beauty is closely related to the state of ‘no-mind’ (mushin), which is regarded as the goal of religious practice in Zen. Nishida wrote: “If you forget yourself completely, you will not only enjoy things that are beautiful, but you also will have aesthetic sensation while seeing things to which so far you have felt aversion. [...] If you are not attached to external things and at the same time you are internally free from egoistic desires, you will achieve the state in which all reality is the source of aesthetic sensations”. For Nishida the logical structure of the ‘no-mind’ is “discrimination without discrimination (mufunbetsu no funbetsu) understood as the experience of ‘absolute contradictory self-identity’ (zettaimujunteki jikodōitsu). The definition of all categories of Zen Aesthetic must be self-contradictory, since they point to beauty of Absolute Nothingness (absolute contradictory self-identity). The influence of Shintō, Confucianism and Neo-Confucianism on Ink Painting, Stone Gardens, as well as on selected treatises on Noh Theatre and Tea Ceremony will be clearly indicated with conclusion that tradition of above example of Japanese art should not be reduced only to Zen.
Type of course
Mode
Prerequisites (description)
Learning outcomes
Knowledge
- knows and understands basic philosophical trends and terms as well as the role of philosophical reflection in culture shaping processes [K_W03]
- has detailed and organized knowledge of philosophy and religion of Japan [K_W07]
- can name and characterize basic cultural phenomena of Japan [K_W10]
- knows and understands basic analysis and interpretation methods of various products of culture characteristic of local traditions in Japan
[K_W19]
Skills
- can indicate sources of cultural differences between the countries of the Orient [K_U02]
- can use the basic terminology from the domain of philosophy and religion of Japan [K_U03]
- can indicate most important intellectual problems, dilemmas, aesthetic preferences taking shape inside the culture of Japan [K_U10]
- can interpret key terms from culture of Japan through linguistic/philological analysis [K_U15]
- can properly function in the linguistic and cultural environment of Japan [K_U17]
- has a skill in presenting detailed aspects within the scope of cultural issues of Japan in Polish and in Japanese languages taking into consideration the intellectual tradition of Japan [K_U21
Social competences
- understands the need to learn all one’s life [K_K01]
- can set appropriate goals and ways to achieve them in the context of academic, professional and social activity [K_K04]
- has awareness of the cultural distinctness and its religious, philosophical, traditional and historical roots and its significance for understanding modern world [K_K05]
- sees the need of dialogue between cultures [K_K06]
- is aware of significance the culture of Japan has for the culture of the world [K_K07]
- acts in aid of sharing and promoting cultural and linguistic heritage of Japan [K_K08]
- perceives the positive socio-cultural values of Japan and possibility to use them in own personal development and effective intercultural communication [K_K09]
Assessment criteria
Written examination.
Practical placement
None.
Bibliography
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Abe Ryūichi, The Weaving of Mantra. Kūkai and the Construction of Esoteric Buddhist Discourse, Columbia University Press, New York 1999
Addis Stephen, The Art of Zen. Paintings and Caligraphy by Japanese Monks 1600–1925, Harry N. Abrams, Inc. Publishers, New York 1989
Anderson Jennifer L., An Introduction to Japanese Tea Ritual, State University of New York Press, New York 1999
Blofold John, The Chinese Art of Tea, George Allen&Unwin, London 1985
Blyth R.H., Eastern Culture, Hokuseidō, Tokyo 1949
Brash Kurt, Zenga to Nihon bunka, Mokubisha, Tōkyō 1975
Cheng François, Pustka w malarstwie chińskim, tłum. Adina Zemanek, [w:] Estetyka chińska. Antologia, red. Adina Zemanek, Universitas, Kraków 2007
Cort Luise A., The Grand Kitano Tea Gathering, “Chanoyu Quarterly” 1982 nr 31, Urasenke Fundation, Kyōto
Covell Jon, Yamada Sōbin, Zen at Daitokuji, Kodansha International, Tōkyō 1974
Cox Rupert A., The Zen Arts. An Anthropological Study of the Culture of Aesthetic Form in Japan, Routledge Curzon, New York 2003
Daisen’in no sekitei, Daitokuji, Kyōto 2005 (broszura wydana przez Daitokuji)
Dumoulin Heinrich, Zen Buddhism. A History. India and China, Macmillan Publishing Company, New York 1988
Dumoulin Heinrich, Zen Buddhism. A History. Japan, Macmillan Publishing Company, New York 1990
Dumoulin Heinrich, Zen Enlightenment. Origins and Meaning, Weatherhill, New York 1979
Eisai Myōan, Zapiski o zdrowotnym działaniu picia herbaty, tłum. Maciej Kanert, Wydawnictwo Jeżeli p to q, Poznań 2008
Furuta Shōkin, Sengai. Master Zen Painter, Kodansha International, Tokyo 2000
Goto Seiko, The Japanese gardens. Gateway to the Human Spirit, Peter Lang, New York 2003
Gutierrez Fernando G., Sesshū and His Masters, “Monumenta Nipponica” 1960, t. 15, nr 3
Hammitzsch Horst, Zen in the Art of the Tea Ceremony, E.P. Dutton, New York 1988
Hasumi Toshimitsu, Zen in Japanese Art. A Way of Spiritual Experience, Routledge & Kegan Paul, London 1960
Hayakawa Masao, The Garden Art of Japan, Weatherhill–Heibonsha, New York–Tokyo 1984
Hisamatsu Shin’ichi, The Way of Tea and Buddhism, „Chanoyu Quarterly” 1993, nr 74, Kyōto
Hisamatsu Shinichi, Wabi no cha (Herbata w stylu wabi), Tōeisha, Tōkyō, 1987
Hisamatsu Shinichi, Wabi no Sadō (Wabi a ceremonia herbaty), Toeisha, Tōkyō 1987
Hisamatsu Shin’ichi, Zen to bijutsu (Zen a piękno), Bokubisha, Tōkyō 1958.
Hisatsune Shūji, Kyōto meienki (Słynne ogrody w Kioto), Seibundō, Kyōto t.1 1967, t. 2 1968, t. 3 1969
Hoover Thomas, Zen Culture, Random House, New York 1977 (pierwsze wydanie w 1941)
Holborn Mark, The Ocean in the Sand. Japan: From Landscape to Garden, Gordon Fraser, London 1978
Izutsu Toshihiko, Droga herbaty. Sztuka świadomości przestrzennej, tłum. Krystyna Wilkoszewska, [w:] Estetyka japońska. Antologia, red. Krystyna Wilkoszewska, Universitas, Kraków 2006
Izutsu Toshihiko, Metafizyczne tło teorii nō. Analiza „dziewięciu etapów” Zeamiego, [w:] Estetyka japońska. Antologia, tłum. i red. Krystyna Wilkoszewska, Universitas, Kraków 2006
Izutsu Toshihiko, Toward a Philosophy of Zen Buddhism, Imperial Iranian Academy of Philosophy, Billing and Sons Ltd., London 1977
Additional information
Information on level of this course, year of study and semester when the course unit is delivered, types and amount of class hours - can be found in course structure diagrams of apropriate study programmes. This course is related to the following study programmes:
- Inter-faculty Studies in Bioinformatics and Systems Biology
- Bachelor's degree, first cycle programme, Computer Science
- Bachelor's degree, first cycle programme, Mathematics
- Master's degree, second cycle programme, Bioinformatics and Systems Biology
- Master's degree, second cycle programme, Computer Science
- Master's degree, second cycle programme, Mathematics
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: