The Search for the One Who Knows Everyone
International Relations Category
Rediscovering a Forgotten Beauty
Appreciation of Chinese Traditional Music from a Western Perspective
In these days of increasing communication between our two perspectives, and the enormous social implications of these exchanges, music has become the most important ambassador between our cultures. Music holds the keys to the most effective cultural exchange and mutual understanding, since it truly is the universal language. It can help us to overcome our bias and dislike for one another, and replace them with feelings of beauty and appreciation readily available through the experience of listening. Understanding music’s functions within both cultures, its background philosophy, its theory, and its meaning as a representative outside of its native culture, has become an essential area of cross-cultural study for musicians and language learners on both sides of the Pacific.
The Cult of Prosperity
A Goddess of Mercy becomes a Goddess of Fortune
I wandered into a Buddhist Temple in the famous water town Zhujiajiao in the Qingpu district of Shanghai municipality. People were charged admission to the main temple grounds, a fee of 10Y, but in the annex worshippers got a freebe. Before paying the fee, one could kneel on a padded bench before a glass-encased Laughing Buddha (Maitreya Buddha) covered in gold paint, with a mischievous-looking Haibao peeking around the corner of the case. The little blue mascot for the Shanghai World Expo and the golden Buddha are emblems of the same aspiration among the Chinese: conspicuous wealth and a global showcase of modernization.
Mahjong
The New Faith of the Chinese Elite
In the past, the peasants looked to the fate of the fortune-inscribed stick to communicate the will of Buddha; now, the Chinese businessman looks to another inscribed stick to divine the sacred will of the Party. It is the classic scene from the Joy Luck Club; white tiles, clicking and clacking together, as the women gossip about their families, cementing the bonds of a lifetime friendship that would tie the fates of generations together. This ritual has replaced the similar ritual that used to obsess the more religious generations of China – the fortune telling joss sticks and the mysterious predictions of the Book of Changes. No one believes in these superstitions anymore, but they certainly believe in the use and necessity of playing Mahjong with the leaders!
What the Chinese Want
What do the Chinese people want out of life? Many have tried to determine this, but no pattern has immediately appeared from the mass of contemporary literature or from the key phrases in the public forum that sufficiently defines the Chinese desire for a lifestyle direction in Chinese terms, apart from those without context, like “Modern” and “Contemporary”, which are derived more from China looking at other nations than looking at itself. The concept itself seems so abstract that many on the outside have been daunted by the possibility of finding it, but the tendency towards high abstraction is a characteristic of the Chinese people as a whole, and something to be admired rather than scorned. Like the figures in a painting, which suggest nature but retain their unnatural proportions, or like the meaning of a Chinese character, which is only a suggestion of a previous hieroglyph, so the abstractions of the Chinese dream cannot take form by compiling lists of contemporary manifestations. It is a compound idea that can only be grasped by those who can hold the qualities of Chinese philosophy on one hand, and balance the realities of an economically charged and internationalized China on the other. It is far subtler and more rewarding for those who find the silken strands of the Chinese cultural pact between man and nature pulled through two thousand years of literature, and tangled in the free-form bonsai trees of great philosophers’ thoughts, like strings that lead to the tales of shattered kites. When these strands are followed to the end, they lead to their source in an otherworldly paradise in an immortal’s peach garden.
From “Zhong” to “Hua” and Back
Square Within and Round Without
The Chinese have historically obsessed over being the center of the universe. This “totem of centrality” started in the Zhou dynasty, and is still important to the Chinese, much like the American concept of “freedom”. It eventually became the axis for all social and philosophical justification (The Chinese believed that man’s basic nature was a search for balance, rather than a search for liberation; a search for a central axis). The character for “Center” represented the importance of centrality and timeliness in an agrarian society, and the first sage king, Zhou Wen, was believed to have established the moral as well as calendrical mean in the setting up of a giant sundial pole in the center of his kingdom. The metaphor for centrality in a natural lifecycle eventually became the philosophical concept of “Zhong Yong” (中庸) or “The Way of Moderation”. This is misunderstood by the West as a way of non-religious morality, or situational ethics, in which all things are equal and empowered with the ability to create imbalances (which are thought of by humans as evil because of their negative repercussions). But this Chinese concept is different to the Platonic situation of a virtue between to vices of extreme; instead this standard is always thought to be flowing, moving, escaping definition through any means other than intuition. In reality, this is a commitment to the due course of nature, and not doing what is unnatural in order to insure survival and the blessing of life.
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