易经：易者，象也 Yi-jing: The Yi Consists of Symbols

我们注意到易经讲到两个概念：形而上道与器道。易经基本上是讲形而下的器道，也就是指统管世界万物每类事物的个别的‘理’。这样看来，比起器道来，理是一个更恰当的名词。
易经虽名为变易之书，其实是一本巫术之书。八卦的每一条线代表现实生活中个别情况的阐述与讯息。后来，它被延伸为一个或多个宇宙原理之道。
对整个六十四卦和它们的384爻线的阐述，理代表宇宙的所有之道。
卦或形成卦的爻线，就被当成代表这些宇宙之道的图形。
所以，易经说，‘易者，象也。’每个象就是一个可以纳入某个公式的变数或条件。这些公式代表道，顺着它会享受好运，反之则要接受坏运之苦。
从道德观点来看，顺着它就对，反之就是错。
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We noted Yi-jing introduces the concepts of Above-form Dao and Within-Form Dao. Yi-jing is basically concerned with the Within-form Dao, which are actually the principles that govern each separate category of things in the universe. Perhaps, the Chinese word li (principle) is a better term for Within-form Dao.
Yi-jing, although is known to be a Book of Changes, is actually a book of divination. Every line of a certain hexagram represents a comment and information applied to the various specific cases in actual life. It was later extended to represent one or more Dao or universal principles.
The comments on the entire sixty-four hexagrams and their 384 individual lines are thus supposed to represent all the Dao in the universal.
The hexagrams and the individual lines that form the hexagrams are looked upon as graphic symbols of these universal Dao.
Thus, Yi-jing says, ‘The Yi consists of symbols.’ Each symbol is a variable or condition that can fit into a certain formula. The formula represents the Dao which if one obeys it, one will enjoy good luck, and otherwise one will suffer bad fortune.
From the moral view point, if one obeys it, one is right, but if not, one is wrong.

中国人的国家意识 The Chinese National Identity

有人说，宇宙观与中国大一统的思想是中国文化内两个最持久的结构。今天，宇宙观与统一中国还是中国的国家意识重要的思想源头。
传统的中国本土宇宙观代表文化识别，而大多数中国人还把统一中国政府当成合法政府。
秦始皇统一中国以来，中国人对国家的自我意识已有两千年了。秦以前，人民效忠与认同个别诸侯国，虽然大一统思想早已有之。秦后，内部矛盾不断，导致内战与改朝换代。但是，分裂或内战时期，一般视为混乱或不正常。
中国宇宙观的特征是联想类比，根据一对（阴阳类比），四（四方类比），五（五位或五行类比）或八（八卦类比），等等。
比如说，五行不只是一套概念、一种学说、一种思想模式、或是一种公认的符号；其实，它是一种随时代而改变的文化现象，是政治争辩与权力斗争的论证，而最重要的是，它是在这个矛盾与变换世界中行动的艺术。政客以五行宇宙学说为政权辩护，以此获取权力与权势，决定权力关系与社会阶级。
要了解中国人，就要了解他们对这两方面的想法。
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It is said that cosmology and the unified Chinese nation are two most enduring structures of the Chinese civilisation. Today, cosmology and a unified Chinese nation still serve as resources for China’s national identity.
Traditional cosmology is used to represent a cultural identity that is authentically Chinese, and a unified China continues to be held by most Chinese as the only justified form of Government for China.
There has been a self-conscious Chinese state for two thousand years, since the unification of China by the first emperor Qin Shi Huang. Before the Qin dynasty, the loyalty and identity was largely due to each state within China, although the desire for such unity had been cherished for a long time. After Qin dynasty, there were continuous internal conflicts that led to civil wars and dynastic changes. However, the periods during which the country is divided or in civil wars are generally regarded as chaotic and abnormal.
Chinese cosmology has been characterised as ‘correlative’, based on interlaced pairs (correlated to Yin-yang), fours (correlated to the four directions), fives (correlated to the Five Phases or Wuxing), eights (correlated to the Eight Trigrams), and so on.
For example, Wuxing is not simply a set of concepts, a school of philosophy, a mode of thinking, or a commonly agreed upon representation; instead, it is a cultural phenomenon that changes through history, a discourse for political argument and power struggle, and above all, an art of action in a world of conflict and change. Political actors used Wuxing cosmology in arguing about imperial sovereignty, in contesting power and authority, and in defining power relations and social hierarchy.
To understand Chinese, you have to understand these two aspects of their mind.

毛泽东: 她在丛中笑 Mao Zedong: Ode to the Plum Blossom

毛泽东(1893 – 1976) 从中华人民共和国成立于1949年到1976年逝世，一直就是它的领导人。他被认为是现代史上最重要的人物之一，时代杂志选他为二十世纪百个最有影响力人物之一。
毛泽东也是公认的诗人与书法家。
事实上，他可说是个大书法家，他的书法在中国大陆随处可见。他的书法还形成了新的‘毛体’；这个书体在他逝世后，日渐流行。
他的诗词被高度赞赏为具有丰富的哲学涵义，强烈的美学意蕴，丰富与深刻的内容，和艺术的魅力。他的诗词亦展示大胆与强健精神，编制着历史、现实与承诺，穿越时空的限制。
我却偏爱他这首写于一九六二年十二月的‘咏梅’词。它显示了他温和的一面。
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咏梅

风雨送春归，飞雪迎春到。

已是悬崖百丈冰，犹有花枝俏。

俏也不争春，只把春来报。

待到山花烂漫时，她在丛中笑。
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Mao Zedong (1893 – 1976) was the leader of the People’s Republic of China (PRC) from its establishment in 1949 until his death in 1976. He is regarded as one of the most important figures in modern world history, and was named by Time Magazine as one of the 100 most influential people of the 20th century.
Mao is also recognized as a poet and calligrapher.
In fact, he was considered a master calligrapher and his calligraphy can be seen today throughout mainland China. His work gave rise to a new form of Chinese calligraphy called "Mao-style" or Maoti, which has gained increasing popularity since his death.
His poems are highly praised for their rich philosophic connotation, strong aesthetic meaning, rich and profound content, and artistic delicacy. His poetry also exhibits a spirit of boldness and power, weaving together history, reality and commitment, and going beyond the limitations of time and space.
However, I personally like this Ode to the Plum Blossom, which was written in Dec 1961. It reflects the gentle side of Mao.
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Ode to the Plum Blossom (1961.12)

Wind and rain escorted Spring's departure,
Flying snow welcome Spring's return.
On the ice-clad rock rising high and sheer
A flower blossom sweet and fair.

Sweet and fair, she craves not Spring for herself alone,
To be the harbinger of Spring she is content.
When the mountain flowers are in full bloom
She will smile mingling in their midst.

现代科学：数学世界 Modern Science: The Mathematical World

文艺复兴带来了一件对现代哲学很重要的事情，那就是现代科学的诞生。在18世纪40年代以前，我们现在所谓的科学叫做‘自然哲学’。
现代科学的学说与理念的重点是，自然界是数学几何流形。
现代科学在伽利略(1564 – 1642)把数学应用于动力后就开始了。伽利略宣布哥白尼系统不只是数学模式，和地球其实是环绕太阳运行。这种‘新哲学’来自哲学家的象牙塔之外，开始对人们的日常生活产生影响。
亚里士多德的物理学里没有数学。现代物理学则除了数学外，什么都没有。这个改革来自伽利略。现在，科学如果用其他方式进行，那是不可想象的。
有了越来越精密的测量，科学快速的树立起理想的几何型世界，与感性世界并存。一个实际上是由想象中的目标所引导的方法，很快被当成现实；同时，自然被认为是数学性的。
数学把我们带入了一个‘勇敢新世界’，一个没有情感的世界。在这个世界里，一切都可以科学来解释。
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One thing that happened during the Renaissance that was of great importance for the later character of modern philosophy was the birth of modern science. Until the 1840's what we now call science was ‘natural philosophy’.
Of central importance to the theories and ideals of modern science is the idea that nature is a mathematic manifold.
The modern science thus began when Galileo (1564 – 1642) applied mathematics to motion. Galileo announced that the Copernican system was more than merely a mathematical model, and that the earth really moved around the sun. This 'new philosophy' had emerged from the ivory towers of philosophers, and started to make an impact on people's everyday lives.
There is no mathematics in Aristotle's Physics. There is nothing but mathematics in modern physics books. It was Galileo who made the change. It is inconceivable now that science could be done any other way.
With ever-increasing accuracy in measurement, science quickly erected an ideal world of geometric shapes parallel to the world of experience. What was in truth a method guided by a conceived goal soon came to be taken for reality, and nature was thought to be essentially mathematical.
Mathematics has brought us into ‘a brave new world’, a world without emotion, in which everything can be explained by science.

中国美学意象: 情与景交融 Chinese Artistic Imagination: Fusion of Emotion and Scene

意象是另一个重要的美学概念。有人说它是进入了解中国传统美学之门。
在西方，最接近中国意象概念的名词是想象。它在艺术制作与欣赏中扮演了角色。美感想象探究由联系美感经验而体验到的可能性。对康德而言，美感经验是想象与领悟的自由互动：‘美感想象能够对过去较和好时所做的艺术品之高尚美丽与真实有所知觉。’
在中国美学中，意象要求艺术品之整体性，不能遗漏主观情感与客观景物，而是要把它们连接起来。艺术品所含之意与象的关系多样化。要制造意象，艺术家要对意与象有协和的关系。
意指艺术家要借他的作品来表达的意见、意念、心意与情意。
中文字‘象’指三个概念：形象、象征与抽象。中国文化明显重象轻言。所以易经引用孔子说：书不尽言，言不尽意，故圣人设象以尽意。毕竟，易经之象是以三爻与六爻卦符号为代表。这个‘象’字就有形象或象征的意思，看它用在哪里。
抽象这个词在中文里是相当新的，虽然抽象这个概念古已有之。
所以，意象之象，是形象、象征与抽象之自由互动。.
Yi-xiang (literally imagery idea or intentional idea) or Artistic Imagination is another very important aesthetic notion. It is said to be the entrance to understanding the Chinese traditional aesthetics.
Imagination always plays a role in the production and appreciation of artworks. Aesthetic imagination explores the possibilities suggested by the connection of aesthetic experience. For Kant, aesthetic experience involves a free play of the imagination and the understanding. ‘Aesthetic imagination can perceive the ennobling beauty and truth of past art produced in more harmonious times.’
In Chinese aesthetics, Yi-xiang mandates wholeness so an art work should never leave out subjective emotion and objective scenery, but should combine them. The arts contain various relationships between emotion and scenery. To create a Yi-xiang, an artist must in a harmonious relationship between emotion and scenery.
The word Yi as an artistic subject means opinions, ideas, sentiments and emotions that the artist attempts to express through his/her works.
The word xiang in Chinese refers to three concepts: image, symbol or abstraction. The preference of images over words is well known in the Chinese culture. So Yi-jing (The Book of Change) quotes Confucius (551-479 BC) that written words cannot fully express speech while speech cannot fully express ideas. So the sages have established emblematic images to fully express their ideas. However, in Yi-jing, xiang actually is represented by the trigram and hexagram symbols. The word xiang is used to mean both images and symbols, depending on the context in which it is mentioned.
Abstraction is a new term in the Chinese vocabulary, although the concept of abstraction may have been existed in the Chinese mind since the ancient time.
So, when we say scenery in the context of Chinese Yi-xiang, it refers to the free play of images, symbols and abstract imagination.

穷得只剩下钱 Nothing Left But Money

台湾丑闻缠身的陈水扁在2008年12月30日被关进台北拘留所，等待贪污罪审判。据报道，他的儿子首日去探望，带了一本有精神内涵的书，书名是：‘穷得只剩下钱’。
这本书名真的是蛮‘酷’的。可以说是陈的恰当墓志铭。他被控在位八年内，贪取了纳税人数以亿计的款项。现在，除了金钱以外，他真的是一无所有了。
这本书是王阳明牧师写的。本书的目的是要指出金钱并不是生命中最重要的东西。我们的一生不应只是追求物质与金钱收入。到头来，可能发现我们其实是过着凄惨和精神贫乏的生活，除了金钱，一无所有。
作者说，他希望陈水扁读了这本书之后，除了金钱以外，会得到平和与快乐。
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The scandal-ridden former president Chen Shui-bian of ROC was detained on 30 Dec 2008 at the Taipei Detention Centre, pending trial for corruption charges. It was reported that his son visited him on the first day and brought him a book of spiritual content, entitled ‘So Poor, Nothing Left, But Money’.
The title of the book is really cool and it is said to be a fitting epitaph for Chen, who has been charged for stealing billions in taxpayer money during his eight years in office. For now, it seems that he has nothing left but money.
The book is written by a priest Wang Yang-ming. The aim of the book is actually to point out that money is not the most important thing in life. One must not during one’s life time focus only on going after material and monetary gains. At the end one may find that one actually lives a miserable and spiritually poor life that have nothing left except money.
The author hopes that after reading the book, Chen will have peace and happiness, besides money.

中国文字的形式 Many Forms of Chinese Characters

我们注意到中国文字的笔画线条要适当和相称地排列，令人感到均衡、相称和协调。
中国文字能成为中国书法完美的第一形式的另一个原因是：同一个字可以不同形式写出。这就使书法家在书写书法笔画时抒发性情有很大的灵活性。
一般而言，中国文字有以下五种书写形式：
篆书：这是完成于秦朝（公元前221-207）的第一种标准文字。这种文字形式线条对称，可是没有后来字体的那种方棱。这种字体在漫长时间考验中保留下来，至今还用于书法与篆刻。
隶书：这种字体初为政府官员所用。大概公元前500年隶书就出现了。由于需要一种快速与有效的文字来处理国务，隶书在秦汉两代被普遍使用。和篆书明显不同的是，隶书的笔画较少，更流畅，所以较容易适用于毛笔与一般的笔。可以说，中国文字系统到了隶书已经成熟。
楷书：和隶书相当相像，只是笔画较曲圆，笔画脚或尾有钩。楷书出现于汉末。
行书：可以被看成是较潦草的楷书。几划时常简化为一划，特别是连续的点划或两条垂线。行书也是在汉末出现。
草书：这是最潦草取得字体。它出现于秦朝。它的形状与隶书与楷书完全不同，很多笔画会简化为一或完全不写。
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We noted that the strokes and lines of the Chinese characters must be suitably and proportionately arranged so as to give one a sense of good balance, fine proportion and harmony.
There is another reason that makes Chinese characters a perfect first form of Chinese Calligraphy, i.e. the same character can be written in many forms. This provides calligraphers a high degree of flexibility to express their feelings when executing the calligraphic strokes and lines.
Generally, the Chinese characters can be written in the following five forms:
Zhuanshu or Seal Script: This is the first standardised script that was finalised during the Qin (221 to 207 BC). This form of characters are more symmetrically linear, but have not attained the ‘angular’ look of later Chinese scripts. This script has survived the passage of time and continues to be used in the present age in calligraphy and seals.
Lishu or Clerical (official) Script: As its name implies, this script was used by government bureaucrats. While it probably appeared at approximately 500 BCE, Lishu became widely used in the Qin and Han (206 BC to 220 AD) dyansties when the bureaucrats needed a fast and efficient script to handle state matters. The marked difference between this script and the Zhuanshu is that Lishu characters have less strokes and a more flowing style, therefore easily adaptable to brushes and pens. It can be said that Chinese writing reached its maturity at this time.
Kaishu or Standard Script: It is very similar to Lishu, but slightly more cursive and contains serif-like (hook or anchor-like) elements at the corners and end of strokes. Kaishu appeared toward the end of the Han dynasty (220 AD).
Xingshu or Walking Script: It can be considered a cursive version of Kaishu. Often several strokes are merged into one, especially sequential dots or two strokes perpendicular to each other. It also appeared shortly after the Han dynasty.
Caoshu or Running (Cursive) Script: It is the most cursive Chinese script. It appeared during the Qin dynasty. The shape of its characters often do not resemble the corresponding Lishu or Kaishu character, in that some strokes are merged into one and others are simply left out.

文：中国的形式美 Pattern: The Beauty of Form

中国古代美学谈形式美，以‘形’和‘文’为主。
文有美丽、规律、结构，和文章、文学两种意思。这样，文就和美联系起来了。
许慎《说文解字》对‘文’如此解释：‘初作书，盖依类象形，故谓之文。’
易经说：‘....观鸟兽之文.... 文，错画也。象交文。’
所以，文就是以坐标、花样来代表类似的东西。它也就是纹，斑纹、线条、形状。
作为形状，它的特征就是变化。清朝叶燮在‘原诗’这就有很好的描述：‘天地之大文，风云雨雷，变化不测，不可端倪，天地之至神也，即至文也。’
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The ancient Chinese used words like Shape (xing) and Pattern (wen) in their discussions of artistic form. Wen in Chinese means both beautiful/regular pattern/structure and literature. It is when the word is used to mean pattern that it is associated with the meaning of beauty.
In the first Chinese dictionary Shuo wen jie zi (說文解字) complied by Xu Shen 許慎 in around 100 AD, it said that when ‘the Chinese characters were first invented, it seems that the forms were copied according to their resemblances that they were called ‘patterns’.’
Yijing says that ‘…. observed the markings on birds and animals…. Wen consists of intersecting lines. Its graph is like an intersecting pattern.’
Wen is therefore representing the likeness of things through written ‘graphs’ or ‘pattern’. It is also means wen 纹, i.e. stripes, lines and figures.
As a pattern, it possesses a unique characteristic of transformation. This continuous transformation was noted by Ye Xie (1627-1703) who said that ‘within Heaven and Earth the greatest forms of pattern (wen) are the wind and clouds, rains and the thunder. Their mutations and transformations cannot be fathomed and have neither limit nor boundary; they are the highest manifestation of spirit (shen) in the universe and the perfection of wen.’

新加坡：文艺复兴城市 Singapore: The Renaissance City

新加坡要成为文艺复兴城市。这是居于这样的一个理念：在发展一个有文化动力社会，艺术与文化是一体的，它会给与新加坡一个独特的国家身分，并提供人民牵连在一起的社会凝聚力。
这个梦想始于二十年前，1989的呼声：发展前圣约翰书院成为美术馆，新加坡历史博物馆，东南亚自然历史/民族博物馆，在奎因街有一个现代的国家图书馆，和在滨海中心有一个表演艺术中心。
二十年后，新加坡艺术与文化受到了国际瞩目，正如路透新闻网在2008年七月17日所写的：‘三个世纪前，这个经济繁荣的国家，在艺术与文化方面被挂上未垦处女地的标记。今年于六月22日结束的艺术节，却包括了来自27个国家的1千八百名艺术家，和两个世界级表演。至今，二十个本地或与外地联合制作已经在世界超过三十个城市，包括纽约、伦敦、巴黎，与观众见面。’
2007年六月，摩诺阁‘适居城市’生活素质调查，把新加坡列在17位，是亚洲的第三名，排在东京（第3名）与京都（第14名）之后。调查称赞新加坡的国际一流生活水平，新加坡的X-因素却是它最近才有的生机蓬勃的文化景观：‘新加坡的景观生机蓬勃，本地有才华的设计者与国际巨星Toyo Ito, Moshe Safdie 与 Kohn Pedersen Fox同放光芒；而艺术界盛花处处，如博物馆，表演艺术地点，和艺术画廊。它还是相当保守，但是这个城市国家正享受着文化繁荣。’
在2009年，美梦还在继续，我们可以想象新加坡会成为‘新加坡人最好家园’与‘世界人才磁场’；在那里，艺术与文化扮演关键的角色来加强新加坡作为一个适于居住与独特的国家，同时使新加坡人、居民、游客感觉到亲切可近。
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Singapore wants to be a renaissance city. This is based on the belief that arts and culture are integral in developing a culturally vibrant society, giving Singapore a unique national identity and providing the social bond that holds its people together.
The dream started 20 years ago in 1989 with calls for the development of a fine arts gallery in the former St Joseph’s Institution, a history of Singapore museum, a Southeast Asian/natural history/ethnology museum, a modern National Library on Queen Street and a new performing arts centre at Marina Centre.
20 years later, Singapore Arts and Culture have received international recognition as noted by Reuters Newswire on 17 June 2008: ‘Three decades ago, the economically flourishing state had been labelled a barren wasteland in terms of arts and culture. This year’s arts fest, which ends on 22 June, includes more than 1,800 artists from 27 countries and two world premieres. To date, 20 local commissions and co-productions have been seen by audiences in over 30 cities around the world, including New York, London and Paris.’
In June 2007, the Monocle Quality of Life Survey of “Liveable Cities” ranked Singapore 17th, only the 3rd Asian city after Tokyo (No. 3) and Kyoto (No. 14). Whilst the survey lauded Singapore’s first-world standard of living, Singapore’s X-factor was cited as her newly blossoming cultural landscape: ‘Singapore’s landscape is blossoming, with talented local architects making their mark alongside international stars such as Toyo Ito, Moshe Safdie and Kohn Pedersen Fox; and the arts scene has seen a flowering of museums, performing arts venues and galleries. It’s still conservative but this city-state is enjoying a cultural boom.’
In 2009, the dream continues, as one envisions Singapore will be the ‘Best Home for Singaporeans’ and an ‘International Magnet for Talent’, where arts and culture play a critical role in strengthening Singapore’s liveability and distinctiveness as a nation, as well as endearing Singapore to Singaporeans, residents and visitors.