What underlies Zhuangzi’s thought is the fundamental finitude of the self, meaning that we cannot and should not alter or control things around us at whim or solely in our favour. Consequently, Zhuangzi recommends that we remain open to things instead of going against them, leading to a fulfilled life. This article discusses Zhuangzi’s underlying philosophy of openness, noting that he proposes two different strategies to do so with a distinction between the natural and the human. The former primarily appears (...) in Zhuangzi’s discussions of life and death. To overcome the fear of death, Zhuangzi calls on us to see it in the light of the ‘heavenly patterns’ or processes that can be grasped through the circularity of life and death. Yet, this picture reveals only half of Zhuangzi’s thoughts—he also shares his wisdom on how to address human affairs that are barely discernable or absent in such patterns. Here, Zhuangzi urges us to apply a different strategy: closely and attentively sensing the situations and their vicissitudes and preparing our actions as per such (shifting) data. (shrink)

This article aims to elucidate the Chinese literatus Su Shi's painting theory using French philosopher Gilles Deleuze's concepts of “capturing forces” and “becoming.” In the relevant scholarship, Su Shi's esthetic thought has been illustrated as going beyond the truthful representation of forms, thereby capturing the underlying vitality of the targeted objects, which paved the way for what came to be known as “literati painting.” This artistic approach has been thought to express the artist's lofty and virtuous personality through the liveliness (...) of the objects. I fully embrace the “capturing vitality” part of the literature, further fleshing it out not just by closely analyzing some of Su Shi's extant writings on painting but also by assessing them side by side with such European painters as Paul Cézanne and Francis Bacon. However, I find the “expressing personality” counterpart to be rather limited for interpreting Su Shi's esthetic thought and instead suggest the artistic effect of “becoming” as central to his ultimate esthetic aims. (shrink)

This paper investigates Mencius’s notion of sympathy from the perspective of evolutionary biology. First, I point out that Mencius and evolutionary biologists concur that humans are endowed with a unique ability to sympathize with others beyond kin and friends. Subsequently, I offer an analytic account from an evolutionary perspective on how this ability emerged and developed as an innate human quality—especially referencing recent theories that state that cooperation is a crucial factor that helped foster such a quality. Further, this paper (...) addresses in-group/out-group distinction in terms of the scope of sympathy. In particular, I respond to Donald Munro’s thesis that this distinction serves as a critical boundary for the workings of sympathy. Finally, I show that Mencius’s (and other Confucian thinkers’) thoughts on sympathy are not only compatible with modern evolutionary discourses but also contribute to the psychological mechanisms that may have enabled humans to regard others with sympathetic concern. Thus, this essay sheds light on the mechanisms of sympathy that Mencius and other Confucian thinkers illustrated as identifying oneself or one’s kin with others. I then surmise that such mechanisms most likely emerged as a fundamental psychological principle for humans initially reaching out to others. (shrink)