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1
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Natural Experiences and Mysticism of Daoism:Mystery,
Paradox, Nature, Ethics
This paper evaluates the experiences of the Dao from a
popular mystical trend, and suggests that from the
descriptions of Dao experiences in Laozi and Zhuangzi,
it is possible to find powerful literature that
corresponded to the core features of ysticism. At the
same time, the experiences of the Dao have the ultimate
meaning of art as a religion. Thus, this paper attempts
to explore the metaphysical experiences in Daoism into
the ancient and prevalent mystical consciousness. On one
hand, Daoism can be classified as an Eastern case of
mystical experiences while on the other hand, it
communicates the Daoist aesthetic and artistic
experiences and the mystical religious
experiences,combining the two into one. Finally, the
author engaged in a dialog with two types of mystic, the
internal and external, by W. T. Stace, to define Daoism
as a naturalist type of mysticism that integrates the
internal and external, which integrates oneness and
natural phenomena, and proceeds from silence toward
poetic metaphors that are full of paradoxes. This kind
of objectified aesthetic covering one and all also
extends to various mystical experiences that are solemn
and sacred. From a sense of oneness from all things, it
can elicit a kind of mystical virtue that transcends
good and evil, and accommodates all things. Inother
words, an interpretation of Daoism from mystical
consciousness may also open a mystical ethics for
Daoism.
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Lai, His-san
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2
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A Study on the Initial System of Sound Glosses in
Shiming
Sound gloss, as it is known among Chinese linguists, is a
form of philology practiced by ancient scholars to define
the meaning of homophonous words. A sizable collection of
phonological information is stored in Liu Xi’s Shiming,
which the current study analyzes. Eight kinds of initial
alternations are addressed in this paper, some as common
as one often sees in textbooks on historical linguistics,
others so unusual that they require separate treatments.
Regardless of their nature, the author has used
comparative techniques, drawing parallels with modern
dialects to offer some discoveries. These eight kinds of
initial alternation can be broken down into three major
categories: (1) alternation within sibilants; (2)
alternation between sonorants and obstruents; and (3)
alternations within obstruents. Overall, initials of
ancient and modern Chinese dialects, like consonants, have
differences in strata. ‘Strata’ is a tripartite
composition of time, place, and phonology. The arguments
in this paper lead to a clear view of historical Chinese
phonology and discuss many meaningful issues.
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Lee, Chun-chih
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3
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Skeleton and Inscription: A Study of Ng Kimchew, Yu
Dafu and Exile Poetics
This study aims to discuss how Ng Kim Chew, a Malaysian
Chinese writer in Taiwan who rewrites Yu Dafu’s death in
Nangyang, delineates the topological writing and
dissemination of literature, displaying mobility and the
transcendent nature of Malaysian Chinese literature. Yu
Dafu, a legendary writer from China in the Malaysian
Chinese literary tradition, went missing in Sumatra in
1945, leaving his death an unresolved mystery. Several
decades later, Ng Kim Chew, through meta-fictional
practice, rewrites Yu Dafu’s legend in Nanyang,
subverting the linear reading of Malaysian Chinese
literature and reconstructing an alternative literary
scene. The discussion is conducted in order to address
the following questions: How do missing, death and
skeleton form a unified signifier to represent the
history and literary context in which early exiles live?
How does
Ng Kim Chew’s rewriting of Yu Dafu contribute to a new
understanding of Malaysian Chinese literature?
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Ko, Chia-cian
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4
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Incense Tax Collection, Management, and Usage of
Mt. Tai and Mt. Taihe during the Ming and Qing
Dynasties
During the Ming
and Qing dynasties, tens of thousands of pilgrims climbed
the Dai Peak and Jin Peak (Tianzhu Peak) to pray to Bixia
Yuanjun and Zhenwu Dadi for children or long life, making
Mt. Tai and Mt. Taihe (Mt. Wudang) sacred places for
Daoism in the north and south.
Between 400,000 to 800,000 pilgrims visited Mt. Tai each
year; Mt. Taihe had under 100,000. In mid-Ming, in order
to find founding to repair the temple and to finance local
and central overnment spending, incense tax began to be
levied on pilgrims and temples.
Mt. Tai’s incense tax was divided into two types: entrance
incense tax and temple incense tax; while there were
fluctuations, the annual income was about 70,000 taels.
Mt. Taihe’s incense tax was the same as the Mt. Tai temple
incense tax, and yielded approximately 4,000 taels per
year. As for the collection and management of incense
tax, Mt. Tai had an inspector and a deputy inspector, in
which the Shandong Chief Secretary appointed a deputy of
the prefecture or county for part-time management. It was
tightly managed. During the Ming dynasty, Mt. Taihe’s
taxes were overseen by the capital general eunuch in
delegation to temples such as Yuxu, and supervised by the
Junzhou Thousand Soldiers’ Office. Records here were less
clear. It was not until the Qing dynasty that management
was given over to Lower Jingnan Circuit. In terms of
incense tax usage, Mt. Tai’s incense tax was allocated to
the national treasury primarily for use in chief secretary
affairs, temple repairs, city wall repairs, examination
hall support, mountain temple affairs support, Li-jia
system support, rice salaries for De, Lu, and Heng lords’
estates, assisting in river irrigation works, subsidies
for military food, etc. Mt. Taihe’s incense tax was used
for temple repairs, incense for the mountain temples,
textiles, military salaries, as well as local disaster
relief, rice salary for Hsing Lord’s estate, and subsidies
for military food.
The purpose of this study is to explore the meaning,
collection, management, and usage of incense tax at Mt.
Tai and Mt. Taihe; this is used to reflect the popularity
of religious tourist activity during the Ming and Qing
dynasties.
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Tsai, Tai-pin
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5
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Visual Didacticism in Postwar Taiwan, 1945-1948:
Exhibition Activities and the 1948 Provincial
Exposition
During the
immediate postwar years, Taipei underwent far-reaching
changes as it transformed from the capital of the former
Japanese colony to of the reestablished province of China.
In view of the shift of Taiwan’s sovereignty and deep
colonial imprints, visual propaganda served as
constitutive and instrumental means for the provincial
government to decolonize and obilize the minds of people.
Newsreels, journalistic photography, monumental statues
and hotographs of national leaders were in use, whereof
categories, subjects and elements deemed as “national”
were officially approved and endorsed with ethical
values.
The postwar exhibition culture of a highly political
nature climaxed with the 1948 Taiwan Provincial
Exposition. Although failing to hold it in the national
capital Nanjing as first onceived, the Provincial
Exposition Committee maintained the core message,
“enhancing the mainlanders’ understanding of Taiwan,” and
strove to mobilize official and individual participants,
official guests and public visitors from the mainland.
Financed mainly by state-run enterprises in Taiwan, the
Exposition delivered a spectacle in serving conservative
interests, as encoded in the Exposition’s slogan,
“Ensuring Prosperity through Stability.” The Exposition
may be seen as essentially a field of competitive cultural
forces and thereby an illuminating case to review postwar
Taiwan at the threshold of a new era. Taking a comparative
point of view, this paper aims to reveal the perhaps
complex and paradoxical narrative structures behind the
Exposition in redefining Taiwan as a part of China.
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Liao, Wen-shuo
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6
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Hakkanese Architecture in Taiwan: Origins and
Characteristics
Based on a field survey of Hakkanese architecture in
eastern Guangdong and western Fujian in 2008 and other
studies, it is clear that Hakkanese architecture
exhibits different styles in western Fujian, eastern
Guangdong, and southern Jiangxi. There is no one style
that is representative of Hakkanese architecture in
China.
However, an analysis of the architecture from these
three provinces shows that they share a common type of
building, namely the heyuan jianzhu (合院建築) or
courtyard compound. Yet, because of climate influence
and social conditions, as well as localities and
development rends, this courtyard compound evolved into
many different types of buildings. Thus far, researchers
have believed that certain characteristics were
unchanged in their migration from
China to Taiwan, but this is not always true.
Consequently, Hakkanese architecture is not static but
always changing depending on environmental
conditions.
This study shows that double ridge poles were put on the
top of gable walls under the roof, which is a simplified
version of the two-layer roof structure. Double roofs
have existed from ancient times in China.
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Huang, Lan-shiang
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7
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The “Biblico Viaggio Patriarcale” of Giovanni Benedetto
Castiglione as a Reflection on 17th Century Classical
Painting Theory
After the seventeenth century, subjects such as
landscapes, still life, or genre no longer played a minor
role as mere decorative motif (parerga) in historical
paintings; they came to be, rather, a major theme which
possessed its own individual artistic value and
theoretical significance. This change gave rise to
questions and discussion about the traditional onception
of art and art theories. Although Castiglione’s “biblico
viaggio patriarcale” is considered an example of
traditional historical paintings, it conveys its painter’s
revolutionary ideas, specially regarding its construction.
In this painting he emphasized the moving caravan and the
description of minor characters, while the protagonist of
the Old Testament was placed in the background. In such
representation the artist breaks from the traditional norm
in historical paintings. The genre-like scene is thus the
real subject of the painting, not the biblical history.
Furthermore, Castiglione did not use the “proper language”
to formulate his historical painting. Instead, he used a
pastoral approach to create his own biblical travelling
scene. As this is a literary form that emphasizes rural
life and peasantry with great simplicity, it acts against
the decorum of historical paintings, which should be
solemn and magnificent, the so-called grand manner style.
However, seeing that the pastoral has always a biblical
subtext since the Christian era, we can perceive why
Castiglione intentionally used the reverse-structure and
pastoral language to express his ideas about the
traditional meaning of parergon and the
genre-hierarchic-problem.
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Tsai，Min-ling
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