Tuštumos fenomenas. Tuštumos sklaida daoizme, fenomenologinėje filosofijoje, kinų ir Vakarų estetikoje bei dailėje

Abstract

Ši gausiai iliustruota tarpdalykinė monografija jungia filosofiją, kultūros studijas, komunikaciją ir meno istoriją. Autorė grindžia intriguojančią mintį, kad tuštuma ne visuomet yra stoka ir trūkumas, tuštuma taip pat yra pilnatvė, potencija, visa ko galimybė. Monografijoje nagrinėjama pozityviosios tuštumos samprata kinų mąstymo tradicijose (ypač daoizme), Vakarų fenomenologinėje filosofijoje ir įvairių dailininkų kūryboje. Knyga skirta tiems, kurie domisi kinų kultūra ir mąstymo tradicijomis, estetika ir monochromine tušo tapyba, Vakarų fenomenologine filosofija bei modernistine daile. Taip pat visiems, kurie neabejingi humanitariniams mokslams.

In a global context, there are various academic researches devoted to the introduced concept: the book Working Emptiness (1995) by N. R. Glass introduces an oriental, mostly Buddhist concept of emptiness and highlights its correlations to con- <s> temporary Western philosophy; S. W. Laycock's "Nothingness and Emptiness (2001)" offers a comparison between the concept of emptimes in Buddhism and a Western phenomenological concept of Nothingness;J. Humphries's "Reading Emptimess. Buddhism and Literature (1999)" compares the oriental concept of emptiness with the ideas analyzed by Western philosophers. Nevertheless, the current research offers a quite innovative approach where the topic of emptiness is disclosed through Chinese and Western painting. Such interdisciplinary research is based on a different kind of sources and critical literature: classical texts of Daoism and critical literature on them; Chinese treaties on aesthetics and art in relationship to Daoism; the analysis of contemporary literature interpreting similar relationship; classical texts on Western phenomenology and critical researches on this topic. Besides the texts, visual material has been used. This book conceptually mixes approaches to philosophy, cultural studies and art history: the author analyzes Daoism, Western phenomenological philosophical traditions and the concepts of aesthetics and ait as they appear in Chinese and Western art. Attention is devoted to various ways expressing emptiness through different dimensions of consciousness and a significant role of emptiness in cosmological, ontological, epistemological aesthetic understanding embodied in art. Apart from the question of emptiness, other related concepts such Nothingness, Nonbeing, Incompleteness, Non-action (wuwei) and Self-so (ziran) are also analyzed. Besides, the thesis relates emptiness to meditative consciousness in Daoism and phenomenology.