Raquel Bouso

With the expression apophatic aesthetics, Amador Vega names different cases of twentieth-century hermeneutics of negativity that show a spiritual debt to negative theology and in particular to the major mystical trends of Medieval Europe. Our aim here is to explore how this category applies to the artistic work created by the contemporary artists Arakawa and Gins. However, our focus is not on the debt of these artists to apophatism in the Christian tradition but in Buddhism, especially in Zen. Through an analysis of various artworks, the article intends to determine the reminiscences of the evocation of emptiness in Zen-related arts. By so doing, despite the lack of continuity with tradition, it seems possible to uncover certain links with Japanese classic aesthetics. At the same time, since emptiness is a notion revisited in modern Japanese thought, the paper raises the question of its role as an ascetic way of thought, capable of avoiding conceptual limitations and thus opening new paths to philosophy. In this sense, insofar as thinkers well known as critics of modernity, such as Lyotard, Danto, or Taylor, have dialogued with Arakawa and Gins's artistic proposal, a connection between certain aspects of Japanese philosophy and so-called postmodern thought is suggested.

Abe Masao 阿部正雄 is accepted by many as a member of the Kyoto School of philosophy, known primarily for its role in drawing together distinct traditions of Western and Asian thought.1 Abe was a key figure in this respect, dedicating much of his career to dialogue with Western philosophers and theologians.2 Through his many essays, translations, lectures, and conversations, Abe brought Zen Buddhism to audiences in Europe and the United States. In particular, he introduced his own interpretation of the philosophy of Nishida Kitarō 西田幾多郎 and his followers, to Western audiences. Through his work in Japanese, especially his final essays, Abe also developed a more personal perspective and...

This book presents the first collection of essays on the philosophy of Ueda Shizuteru in a Western language. Ueda, the last living member of the Kyoto school, has fostered the East-West dialogue in all his works and has helped to open up the Western image of philosophy by engaging the Zen tradition. The book reflects this particular trait of Ueda’s philosophy, but it also covers all thematic fields of his writings. Contributions from both young and established scholars and experts from Japan, Europe and the U.S. make this a unique introduction to and reception of Ueda’s philosophy. Readers will discover discussions of mysticism in the East and West, and consideration of modern philosophy topics including self-awareness, nature and poetic language. The book also presents a focussed look at language and nothingness, considering silence and nihilism. Chapters allow the reader to understand the timeliness of a thinking that mediates and transcends the dichotomy of East and West. This volume will appeal not only to scholars of Nishida, Japanese philosophy, mysticism and religious experience in Japan, but also to scholars of Western philosophy, especially those interested in Meister Eckhart, Martin Heidegger and Martin Buber. It makes an ideal introduction to Zen philosophy and presents important contributions to scholarship on language and experience.

In 1923 Rudolf Otto gathered a number of appendices in Das Heilige (1917) in one of which he connected Zen Buddhism and the medieval mystic Meister Eckhart. The common denominator was life, as it lives without reason, lives because it lives, likewise the righteous man works for the sake of working and only then is genuinely free. When, in 1965 Shizuteru Ueda published his doctoral dissertation on Eckhart, he included a comparison with Zen returning to that topic. In light of the dichotomy actioncontemplation in the Western tradition, we examine the similarities and differences between Eckhart and Zen pointed out by Ueda in this regard and its meaning for contemporary thought. In both cases the projection beyond God results in a new way of being and acting in the world : who has experienced this emptiness does not ask why, does not seek anymore, and therefore has found. This

On the basis of Lluís Duch’s idea that there is no specifically religious language, the article examines the kōan, a form of dialogue typical of Zen Buddhism used as a meditation technique and compiled in several written collections. Using the interpretations of the kōan carried out by some contemporary Japanese philosophers, the paper reflects on the expressive resources developed by Zen literature in order to account for the tension between the ineffability of the experience of an ultimate reality and the infinite possibilities of linguistic articulation of reality.