论道家与道教的生死观     

高秀昌 《河南师范大学学报(哲学社会科学版)》2003,30(6):14-18

从历史角度看,以哲学、思想理论为主导的老庄道家创立于前(先秦),以宗教信仰为主旨的道教建立于后(东汉以降),随之而来的是道家与道教的融合、涵化、整合、熔铸,亦道家亦道教,亦道教亦道家。因此,从整体上说,作为思想学术的老庄道家与作为宗教信仰的道教的关系是一而二、二而一的关系。章分析了老庄道家自然主义的生死观与道教“我命在我”的长生成仙说,说明了在生死观上道教对道家思想的援引和衍化。  相似文献   

洞经与儒、释、道教之关系辨析     

侯冲  杨净麟 《玉溪师范学院学报》2003,19(10):17-21

洞经文化为“儒道释三教的复合性文化” ,进一步说 ,洞经是融合儒释道三教的“儒教” ,是中国古代文化发展到明清时期形成的三教合一的民俗文化。  相似文献   

Teaching beyond words: ‘silence’ and its pedagogical implications discoursed in the early classical texts of Confucianism,Daoism and Zen Buddhism     

Lin Li 《Educational Philosophy and Theory》2020,52(7):759-768

Abstract

In traditional Chinese philosophy, silence occupies a pivotal position by not being merely treated as the absence of speech, but also as the transcendence of it. Silence in early Confucianism implies the timing, subjects and issues to which one should not teach and talk about, and in depth it also refers to the manifestation of utmost sincerity rooted in the nature of both human and Heaven. For early philosophical Daoism, silence nicely represents the ineffable nature and spontaneous status of the Dao, the mother of myriad things and the principle by which they were ordered. The Daoist enthusiastically proclaims teaching without the use of words and governance without unreasonable interference. The Daoist silence is also based on the clear realization of the inescapable deviation amongst words, thought and truth, and such stance was further stressed by Zen Buddhism which reveals in nature the sunyata (emptiness) of all existences and thus enlightens the way of direct perception beyond words. In result, silence comes as a significant pedagogical method and an ideal realm to be reached; it implies not only silence in speech but also stillness in action and limpidity in mind. It also suggests that in the pursuit of true meaning the preoccupied goals and methods should be finally rested on silence, only by which can genuine perception emerge naturally. Silence in traditional Chinese philosophy has inspired abundant negative–like yet positive–targeting discourses and practices; a comprehensive discussion on them can deepen our understanding of the nature of knowledge, learning and teaching.  相似文献   

“技进乎道”的审美现代性阐释——庄子与海德格尔如何由对立走向共通     

《信阳师范学院学报(哲学社会科学版)》2019,(1):29-34

庄子哲学中的"技"正中有反,对那些充满无目的性的、自由的艺术精神之"技"表示赞赏,而反对以世俗、功利性为目的的"技";而海德格尔笔下的"技"反中有正,反对以对人"有用"为标准的普遍强制去蔽行径的科技之"技",而将艺术之"技"作为拯救之"道"。源于对其中艺术性的"技"所呈现的"无用"和"游"的艺术精神的共识,二人由表面的对立最终走向实质的共通,并为当代反思和批判现代性对人生存处境所实施的迫害提供了一种新的解读,即"技进乎道"使人和一切事物达到自由自在、成其所是的境地。  相似文献