Casey Rentmeester

Shan Shui art is a traditional style of Chinese landscape painting that has had a lasting impact on Chinese culture. This paper attempts to view a masterpiece of this genre of art – the artwork entitled ›Hermit Dwelling in the Qingbian Mountains‹ by Wang Meng – from the perspective of Hans-Georg Gadamer’s philosophy of art in order to show how such an artwork can convey an ontological insight for those who experience it. Instead of viewing the artwork as simply an aesthetically pleasing landscape and thereby relegating the experience to the realm of feeling as is common in modern Western approaches to art, I argue that the artwork is best understood as imparting meaning into our lives by opening up a new perspective on reality. Specifically, I show the Daoist principles and concepts that underlie shan shui art at work in Wang Meng’s (c. 1308–1385) masterpiece. The Gadamerian approach adopted provides an appropriate avenue to respect Wang Meng’s artwork and other paintings in the shan shui genre on their own terms for those embracing a contemporary Western aesthetic sensibility.

Shan shui art is a traditional style of Chinese landscape painting that has had a lasting impact on Chinese culture. This paper attempts to view a masterpiece of this genre of art – the artwork entitled ›Hermit Dwelling in the Qingbian Mountains‹ by Wang Meng – from the perspective of Hans-Georg Gadamer’s philosophy of art in order to show how such an artwork can convey an ontological insight for those who experience it. Instead of viewing the artwork as simply an aesthetically pleasing landscape and thereby relegating the experience to the realm of feeling as is common in modern Western approaches to art, I argue that the artwork is best understood as imparting meaning into our lives by opening up a new perspective on reality. Specifically, I show the Daoist principles and concepts that underlie shan shui art at work in Wang Meng’s masterpiece. The Gadamerian approach adopted provides an appropriate avenue to respect Wang Meng’s artwork and other paintings in the shan shui genre on their own terms for those embracing a contemporary Western aesthetic sensibility.

Although the Libertarian Party has gained traction as the third biggest political party in the United States, the philosophical grounding of the party, which is exemplified by Robert Nozick’s entitlement theory is inherently flawed. Libertarianism’s emphasis on a free market leads to gross inequalities since it has no regard for sacred rights other than one’s right to freedom from interference from the government beyond what is essential for societal functioning. I argue that Nozick’s entitlement theory leads to indirect injustice and is therefore an unfitting philosophical theory, which means that the Libertarian Party’s platform is flawed.

Anthropogenic climate change has become a hot button issue in the scientific, economic, political, and ethical sectors. While the science behind climate change is clear, responses in the economic and political realms have been unfulfilling. On the economic front, companies have marketed themselves as pioneers in the quest to go green while simultaneously engaging in environmentally destructive practices and on the political front, politicians have failed to make any significant global progress. I argue that climate change needs to be framed as an ethical issue to make serious progress towards the path to a sustainable human civilization. In an effort to motivate the urgency needed to confront climate change, I argue that climate change seriously affects human beings living here and now, and if one cares about unnecessarily harming fellow innocent living human beings, then one should care about one’s own environmental impact related to climate change. Since this argument does not depend upon any specific philosophical, religious, or ethical tradition but applies regardless of one’s particular background, I hope to induce genuine concern among all human beings regarding this issue.

When the question is posed as to when Chinese thought influenced Western philosophy, people often turn to the philosophy of the German rationalist Christian Wolff, whose 1721 speech on the virtues of Confucianism led to his academic indictment and eventual ousting from the University of Halle in 1723. In his speech, Wolff lauds the Chinese for attaining virtues by natural revelation rather than appealing to Christian revelation, which made their accomplishments all the more impressive in his eyes (Fuchs 2006). According to Kanamori (1997), the audience of Wolff’s speech “criticized it as the product of atheistic thoughts because they thought that the speaker valued Chinese morality as highly as Christian morals, which were formulated by divine revelation” (p. 299). The worry, in other words, was that Wolff was corrupted by Chinese thought since the atheism of Confucianism may have influenced Wolff’s own views. Almost invariably, Gottfried Wilhelm von Leibniz’s name is involved in conversations that question the Chinese influence on Western philosophy, but it is typically tempered by the standard scholarly interpretation of the Leibniz-China connection, which is that Leibniz respected Chinese thought but was not influenced by it. I will argue against this standard scholarly interpretation by showing how Leibniz could have been influenced by Chinese thought. In particular, I propose that Leibniz’s conception of monads, which is something that we only see after his engagement with Chinese thought, may have been influenced by the Huayan Buddhist concept of li, which creeps into the Neo-Confucianism with which Leibniz had exposure. Should my argument be persuasive, this means that Chinese thought influenced the Western world sooner than has been previously believed.