Tang Chun-I Visiting Professorship Departmental Seminar: An Examination of the Interrelations among Imagination, Abstraction, and Symbolism

Abstract:

Xiang (image or form) is an important concept in ancient Chinese thought. According to Zhouyi (Book of Change), one first observes things in order to derive images, and then observes images in order to fashion implements; thus, images stand between things and implements, and precede ways (dao) and implements (qi). Han Fei’s account of “imagination” not only delineates the cognitive mechanism by which images arise, but also provides a basic paradigm for analyzing abstraction and symbolism. Abstraction is a dynamic process, whereas symbolism is the product of abstraction. From the abstraction of shapes to the abstraction of concepts, the Chinese tradition has undergone multiple transformations and developments in forms of abstraction. Beginning with the emergence of patterns (such as rock paintings), there followed—in successive or in interwoven fashion—the making of implements, painting (including the plastic arts), writing (including calligraphy), music, hexagrams, mathematics, and the creation and derivation of currency. Among these, Chinese characters (together with the related art of calligraphy) most vividly manifests the significance of the creation of Chinese culture. Images are creations of the spirit, and abstraction is omnipresent. At the same time, images transcend the physical and are capable of quick adaptation. Analyzing the structures of abstraction underlying different types of cultural phenomena is the manner in which philosophy demonstrates its way of observing the world. Contemporary humanity is facing a future filled with illusions.

Conducted in Putonghua
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