The Evolution of Chinese Religion: From Monotheism to Polytheism
There are few well known religions in China such as Confucianism, Taoism and Buddhism. The belief in Oneness of God was there before the existence of religion in Chinese society. Chinese community believe the existence of one God which is Shang Di before the arise of Confucianism and Taoism philosophy. The Chinese historian, Sima Qian wrote in his book entitled Shi Ji state:“Shang Di is another name for Tian. The spirits do not have two Lords”[1]
Shang Di (上帝) or Tian (天) is the name of a God in Chinese community believed since a long time ago. It does not have any image, picture or statue in a form of idols. Furthermore, it is an entity that is not the same as human beings.
Chinese community understand it through characters of letters such as hanzi 上帝 and 天. Tian (天) symbolised the concept monotheism, due to the Chinese word character of hanzi for Tian (天) is a combination of two Hanzi characters which are Da (大) dan Yi ( 一). Da means the All-Mighty while Yi means Oneness. Two letters is formed for Tian which means the Sky and Heaven. It indicates the God is at the sky.
That is the reason why the ancient Chinese community worship one God and around the year 2000 BC - 800 BC, the doctrine of Shamanism and fortune teller was developed in China. Then the believes was influenced by the Taoism religion which came later on such as the usage of talisman and mantra to fight against the supernatural and binding spells in order to cure the one affected. But the earliest Taoism belief do not teach these particularly rituals.[2]
Existence of Confucianism and Taoism Philosophy
There were a lot of war and coup between small states during the classic era around 700 BC – 220 BC hence created the need towards political and strategy advice. However, they also focused on social development and the era which new leaders appeared such as Lao Zhi ( 604 BC – 531 BC) and Kongfu Zi (551 BC – 479 BC).[3]
Both of them brought their own philosophy for the purpose of social development. Both philosophy brought the believe that was well influenced even the concept of God was influenced by the concept of god in ancient Chinese community.
God term used between Lao zi and Kongfu Zi have a few differences mainly inside the form of characters letter of Hanzi and the definition of the letter. According to Lao Zi in his book entitled Dao De Ching used the term Dao (道) which indicates God.[4] Besides, according to Kongfu zi, he used the term Tian (天) inside the book to indicate God too. Both of them used the term which was used by the ancient Chinese community to described God. Even both terms for God was not made into image or idols. They believed that God is one and only.
Outside influence towards the concept of God
Buddhism came from India then entered into China and expanded around the year in 240 BC which is the era under the ruling of King Asoka in India. Buddhism remain in China in first 10 AD.[5] There are various types of Buddhism over there such as Theravada, Yogacara, Vajrayana and Mahayana.
The teachings of Lao zi and Kongzi also developed and expanded in China. Even though there was innovation in the teachings. The teaching that was brought by Lao zi or known as Taoism gave a huge impact to the shamanism doctrine which was by the ancient Chinese community while the teaching of Kongfu zi did not impacted the Shamanism influence.
Syncretism or mixing of and believed occurred in the teaching of Taoism. The evolution of Taoism from philosophy to religion in the year between 20 BC – 600 AD.
A well known Taoist figure called Zhang Daoling. He became first person who embed and strengthened the system into Taoism whereas the founder, Lao Tze did not introduced the religion system according to Zhang Daoling. Taoism made history when it became a religion through the formation of religious leader, set of rituals, scriptures and a lot of followers.
Taoism firstly became well known in the era of dynasty Han (25 AD-219 AD) when shamanism influenced was less practiced in the castle. In year 150 AD, the kings built a temple of kings specifically to performed the official ceremony as an honour towards the purification of Lao zi. Aligning with the belief on purification thus followed by the need to increase the rank of Laozi to the highest level of God.
During the era of dynasty Tang (618 AD - 907 AD), the royal family indicted the ancestry of Laozi for having the same family name, Li 李. Therefore, Taoism have achieved an official status under his ruling. Moreover, Gaozong King make Dai De Jing scriptures as one of the compulsory subject for the people who set for the public services examination.
If it is measure in terms of historical Taoism practices, the figure that is worthy to be given credit as the founder of Taoism is Zhang Daoling.[7] Zhang Ling is his real name and He was born in South of China in a place which strong shamanism was at that time.[8]
According to the legend, he succeed in finishing the whole classic text of Dao de Jing.[9]. During his adulthood, he went on exploring the Sichuan territory to undergo the ascetic life and to seek knowledge on religion. In the year 142 AD, he professed of an event that occurred which changes his life. A god appeared from the sky then came face to face with him in an awake state (yaqazhah), then gifted him with the power to do miracles and elevate his title to Tianshi (Heaven Master). The god is said to be the resemblance of Laozi and is known as the elder of the highest greatness (太上老君).
Jumping-off point from the event, Zhang Daoling have established the movement of Tianshi Dao (School of Heaven Master) in Sichuan territory. It also known as Wudoumi Dao 五斗米道 (Way of The Five Pecks of Rice) because the criteria of acceptance of a member is by giving tax five dou (1 dou =10kg) rice or items which have the same quantity.
Besides, Tianshi Dao has an well organized organization structure such as hierarchy of religious leader, record system of supernatural, talisman, moral principal, studying the classic text of Dao de Jing and etc. Furthermore, in the earliest era, it consist of twenty four states ruled under the Sichuan territory.
Under the leadership of his grandchild, Zhang Lu the movement later became militancy thus launching a rebel in the year 189 AD but they surrendered peacefully to Cao Cao (曹操). Cao Cao (曹操) was a warlord in the year (155AD – 220AD). Therefore, the movement indirectly exist until now.
Taoism brought by Zhang Daoling was easily accepted due to the fact that the people at that time are strong followers of shamanism and animism. The movement lead by Zhang Daoling have influence the Taoism we know today. As an example, the religious rituals whereby Zhang Daoling popularized the usage of talisman which is still practice until today. Usually the necklace is in the form of a yellow paper and written using Chinese characters, the meaning are kept as secret.[10]
Even the belief of worshipping gods and goddess was embedded into Taoism to a point where they included many idols, gods and goddess in their worship. Whereas the reality of earliest leader did not introduce the such practices and beliefs.
Mixing of Beliefs Occurred
Lastly, the Chinese community incorporated all four beliefs into their practices. There are times where they practice Taoism, Confucianism, Buddhism and also Chinese traditional beliefs. Besides that, they also practice Feng Shui and etc.
This mixing of beliefs is called as syncretism among the religions. According to them, all the four religion is compensate with each other. If they want the understanding of philosophy and moral, they will refer to Confucianism and if they want spiritual and balance between two worlds, they will refer to Taoism. These are the way they practiced the religions until now.
Conclusion
It is recorded in history that the ancient Chinese community worship one God that does not have an image nor given birth to but later on the practiced of worshipping Gods and Goddesses were added on into Taoism. Even though, the founder himself did not introduce this way of worship. It was created by the people later on.
Lastly, Chinese community consider that all religion that exist till the classic era is important and is practiced synchronously.
Key Note
[1] Refer to Sima Qian (-). Shi Ji, volume 28, book 6, pg 624
[2] Refer to Eva Wong, (2011). Taoism An Essential Guide, Shambhala Publications, London, pg 11-19
[3] Ibid, pg 20-30/ refer to Cao Dawei & Sun Yanjing, (2010). China’s History, China Intercontinental Press, Beijing, pg 44-45
[4] Refer to the scriptures of Dao Te Ching chapter 4: Xiang Di Zhi Xian, chapter 25: Dao De Zhen Mian Mu, chapter 39: Dao De Gen Ben. And refer to scriptures of Kongfu zi dalam The Anaclets 3: 13, 9: 5, 16: 8, 14: 35
[5] Refer to Milon Nandy, (1996). The Profund Teachings of Buddhism, Taoism, Confucianism & Shintoism, Eurasia-Pasific Books, Ampang, pg 34
[6] Refer to Eva Wong, (2011). Taoism An Essential Guide, Shambhala Publications, London, pg 34
[7] Refer to Herman, J. (2013). Taoism For Dummies. Mississauga, Canada: John Wiley & Sons Canada pg 75/ refer to Palmer, M. (2000). T’ung Shu. Kuala Lumpur: Vinpress, pg 82.
[8] Refer to Eva Wong, (2011). Taoism An Essential Guide, Shambhala Publications, London, pg 34
[9] Refer to Palmer, M. (2000). T’ung Shu. Kuala Lumpur: Vinpress, pg 82
[10] Refer to Milon Nandy, (1996). The Profund Teachings of Buddhism, Taoism, Confucianism & Shintoism, Eurasia-Pasific Books, Ampang, pg 59
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Fabrice Fouillet,
Sony世界大賽2013年職業組建築類第一名,專訪,以及他的個人網站 Project : Corpus Christi
Fabrice Fouillet is a French professional photographer based in Paris. In 2013 he won the Professional Architecture category of the Sony World Photography Awards. After earning a degree in Sociology and Ethnology, he studied Photography at The Gobelins School. Since 2004, he has been collaborating with advertising agencies and magazines focusing on Still Life and Architecture.
His personal photographic research explores the notion of identity and the close relationship between humans and the environment. Recognised for his series on new places of worship and resemblance in the 2013 Sony World Photography Awards Open Architecture category, he has gained recognition internationally.
Hi Fabrice. Tell us more about yourself - When and why did you first approach photography?
I believe my passion for photography comes from my high school studies. With courses about European cinema and art-house movies I became more sensible and passionate about themes and images in a deeper and broader sense. Then, I approached photography with a small and old camera, making basic shoots of things all around me. From my house to garden, flowers, trees, and landscape, everything became my subject and I felt I was very serious about it. At the age of 20 it appeared to me a natural thing to try and make it professionally.
Have your previous studies in sociology and ethnology influenced your investigation of space?
The education you receive at a young age influences the rest of your life and I would say that my studies not only influenced the investigation of space, but the overall way I think about my projects. At beginning, I was focusing more on still life projects while now environment and social identity interest me more and more as in the ‘Colosses’ and ‘Eurasism’ series.
Do you have a photographic philosophy?
Be truthful to your own desires and emotions for each project you make. This is my photographic philosophy as finding your own artistic path is not such an easy thing. To me the best way is to remain faithful to your passions, be inspired but not too influenced. Precision, determination, rigor, and hard work are unavoidable in photography and they also form part of my philosophy.
With your winning series ‘Corpus Christi’, capturing new spaces of worship, architecture became a way to narrate humanity and its relationship with minimalism and aestheticism. Why did you choose this theme?
I have always found a graphic quality in religious imagery and particularly in catholic iconography. As an architecture devourer, this was the starting point for this project urging me to look for evidence, confront the classical with contemporary spaces of worship, and a way to take fascinating pictures. Somehow it called me out. I saw aesthetic mystery beyond the often cold, austere and classical representation with a firm anachronism between traditional iconography and modern architecture. In ‘Corpus Christi’ I wanted to highlight this rupture between classical imagery and modern religious architecture.
You won the 2013 #SWPA Professional Architecture category. Where did this take your photography?
Being a 2013 Sony World Photography Awards winner has been a great career step forward and it helped me to span my work, gaining a lot of visibility, interviews and press coverage in France and worldwide. Thanks to the awards, The New York Times Magazine & other media companies have contacted me for architecture commissions. It was a huge satisfaction and encouraged me continue with the art and subjects I am passionate about.
What would you suggest to young photographers aspiring to make create architectural photography?
To push the button can be easy and fast, but architectural photography - and photography in general, requires strong determination. Firstly, remember that between subjects and projects there’s half of the sea. So think carefully about what and how you want to proceed. Then, be precise and rigorous, chase the light and work the frame of course. Sometimes, wait for the good moment. Try again or come back if necessary. Push the limit and don't give up even if discouragement is knocking at the door.
Talking about your new project ‘World’s Tallest Statues’ you recently stated: “I was intrigued by the human need to build these immense shrines to power”. Could you tell us more about it and how you came across this subject?
Indeed, I have just mentioned the importance of determination and these gigantic statues are the perfect example. They symbolise the strong human desire of remembrance and commemoration directly related to the size of the monument. With this project I wanted to investigate the deepest meaning of both ‘symbol’ and ‘cult of personality’ as I have always been fascinated about how historical heroes, leaders or politicians were celebrated or idealised with monumental structures for the sake of collective remembrance.
Research led me to discover lots of monument or statues dedicated to Lenin, Stalin or Mao but despite their cultural and social meaningfulness they were not that big. As the documentation went on, I unexpectedly came across the picture of a huge white statue located in the middle of Dai Kannon, in Sendai, Japan. Sadly, the picture had no caption so I first thought it was unreal, but when I had the proof of its existence, I immediately felt that these huge statues were what I wanted to talk about.
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