Mortality in conventional chinese language idea is the definitive exploration of a fancy and engaging yet little-understood topic. Arguably, loss of life as an idea has no longer been approximately as significant a preoccupation in chinese language tradition because it has been within the West. even if, even in a society that turns out to appreciate loss of life as part of lifestyles, responses to mortality are revealing and point out a lot approximately what's valued and what's feared. This edited quantity fills the lacuna in this topic, providing an array of philosophical, inventive, ancient, and non secular views on demise in the course of a number of ancient sessions. participants examine fabric tradition, together with findings now on hand from the Mawangdui tomb excavations; examine loss of life in Confucian, Daoist, and Buddhist traditions; and speak about dying and the heritage and philosophy of battle.
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Extra resources for Mortality in Traditional Chinese Thought
Sample text
Sometime during the late Western Han or early Eastern Han, a number of new localities emerged as the final destination for the deceased. Most important was Mount Tai, the ancient sacred mountain up which sovereigns ascended to make sacrifices to heaven for the purpose of seeking blessings. ” The appearance of Mount Tai as a residing place for souls, however, does not mean that belief in an underground netherworld, or Yellow Spring, was entirely replaced by belief in the mountain, or that people throughout the empire had given up their local traditions.
Both sets of orchestration share a goodwill toward the postmortem welfare of the deceased in the afterlife cosmos. To this extent, they are both premised upon a view of a cosmological structure that governs their ritualistic preparation for the afterlife. A ritual logic governs both the visual programming and the ceremonial performance: one takes the form of a set of images and the other, a set of deeds. Once the living performers of the ritual are gone, we are left with the mute objects mapping out a symbolic space.
Says it all. The represented afterlife world exists—if divided by modes of representation—in two broad kinds of media, three-dimensional artifacts and painted surfaces; in other words, a tangible material world and a virtual space. The artifacts—household goods, furniture, entertainment pieces, and wooden statues of servants—largely spell out a self-sufficient subterraneous household 37 38 EUGENE Y. WANG (fig. 1); the painted surfaces, comprising lacquer-painted coffin panels (fig. 2) and a T-shaped pictorial banner (fig.