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Diese spannende sinologisch-philosophische Arbeit liefert ein möglichst umfassendes Bild der Philosophie des Bambus-Wenzi (das in der Hanshu-Bibliographie auf einen Schüler des Laozi zurückgeführt wird), sowie Antworten auf interessante Fragen nach der Identität seiner Protagonisten, seinem argumentativen Aufbau sowie Zeit und Ort seiner Entstehung.

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This study explores the principles of meritocracy and heredity as formulated in the three works of early Daoist philosophy, the Laozi, Zhuangzi and Wenzi. Because Daoist philosophy emerged in critical response to the Confucian worldview, this investigation is placed against the backdrop of pertinent Confucian propositions. To this end, the study begins with a review of Confucian positions on the issue of meritocracy and heredity as expressed in the main transmitted works, as well as newly excavated texts that can be (...) associated with this intellectual tradition. The paper concludes that, while indeed rejecting the Confucian understanding of meritocracy, Daoist texts operated with their own concepts on human excellency. Moreover, the opposition between meritocracy and heredity characteristic of some Confucian works appears less pronounced in early Daoist philosophy. (shrink)

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In this article, I argue that the Laozi offers a variety of cosmogenic accounts, including the one expressed by means of the artisan metaphors of “uncarved wood,” “vessels,” and “cutting.” These metaphors and the images related to them often appeared in the given context in ancient Chinese literature depicting the physical emergence of the world as a process of progressive differentiation out of the original state of “chaos.” Thus, this account ultimately served as a cosmic justification for the establishment of (...) distinctions and hierarchy within human society. However, as used in the Laozi, the artisan metaphors promulgate a type of social hierarchy that is characteristically informed by the values of ziran and wuwei. My argumentation goes against the common tendency of Western scholars to regard the notions of craft appearing in the Laozi as relating exclusively to human activities, connoting “artifice,” that is, as detrimental to the “natural” run of the Way. By referring to the most prominent traditional commentaries of the work, I argue that this view was supported only marginally, if at all, in early China and that its emergence appears to be a reaction to and a rejection of the initial Western interpretation of the same terms, one that was heavily influenced by the Christian worldview. (shrink)

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In this article, I argue that the Laozi 老子 offers a variety of cosmogenic accounts, including the one expressed by means of the artisan metaphors of “uncarved wood”, “vessels”, and “cutting”. These metaphors and the images related to them often appeared in the given context in ancient Chinese literature depicting the physical emergence of the world as a process of progressive differentiation out of the original state of “chaos.” Thus, this account ultimately served as a cosmic justification for the establishment (...) of distinctions and hierarchy within human society. However, as used in the Laozi, the artisan metaphors promulgate a type of social hierarchy that is characteristically informed by the values of ziran 自然 and wuwei 無為. My argumentation goes against the common tendency of Western scholars to regard the notions of craft appearing in the Laozi as relating exclusively to human activities, connoting “artifice,” that is, as detrimental to the “natural” run of the Way. By referring to the most prominent traditional commentaries of the work, I argue that this view was supported only marginally, if at all, in early China and that its emergence appears to be a reaction to and a rejection of the initial Western interpretation of the same terms, one that was heavily influenced by the Christian worldview. (shrink)

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