Estetinė būtis daoizme:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Kultūros, Filosofijos ir Meno Inst.
2004
|
| Schriftenreihe: | Bibliotheca Orientalia et comparativa
4 |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T: Aesthetic being in daoism |
| Beschreibung: | 294 S. Ill. |
| ISBN: | 9986638429 |
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| 490 | 1 | |a Bibliotheca Orientalia et comparativa |v 4 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T: Aesthetic being in daoism | ||
| 650 | 4 | |a Religion | |
| 650 | 4 | |a Ästhetik | |
| 650 | 4 | |a Aesthetics |x Religious aspects |x Taoism | |
| 650 | 4 | |a Aesthetics, Chinese | |
| 650 | 4 | |a Art, Taoist | |
| 650 | 4 | |a Philosophy, Taoist | |
| 650 | 4 | |a Taoist music | |
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Datensatz im Suchindex
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| adam_text | Aesthetic Being in Daoism
Summary
People in the West have often regarded Chinese philosophi-
cal and religious ideas in terms of their own worldview, values, and
philosophical concepts, which in large part are bom of dualistic
thinking. Such a Eurocentric response has given birth to many
stereotypes in assessing Chinese culture.
One of perhaps the most firmly entrenched cliches is the
attempt to regard Daoism as an exclusively aesthetic worldview in
contrast to Confucianism as an exclusively ethical teaching. This
view is almost inseparable from two other stereotypes: the identi-
fication of Daoism with the search for transcendental reality and
with individualism in contrast, respectively, to the earthliness of
Confucianism and its social orientation, or the values that it pro-
motes of living in society.
The connection between these views is entirely rational. As
we may imagine, the Daoist, who considers art one of the most
sacred ways of directly experiencing the metamorphoses, or Dao,
of being and non-being, prefers to occupy himself with this art in
solitude by communing not with people but with nature. Thus, he
supposedly negates universal human values and morality as well
as the squalor of everyday life and devotes himself to the contem-
plation of the transcendent and of higher reality. The Confudan, on
the other hand, whose foremost concern is the affairs of sodety
and saving face, finds fulfillment only in relation to people — in a
relation which in essence is considered ethical, obligating him to
uphold sodai norms and rituals as well as thus giving meaning to
his life here and now, in the confusion of everyday existence.
The goal of this study, to be exact, is a critical analysis and
assessment of these interconnected stereotypes which have long
formed the basis for distinguishing between the Daoist and Confu-
dan traditions in a way that has not allowed a more adequate un*
282
derstanding of either their interconnection or their real differences.
In other words, my goal is to show that Daoism is a philosophy and
a religion and a way of life and an aesthetic and an ethic whose
cohesion becomes perhaps most clearly meaningful in art and ar-
tistic creation. This is a book about the Daoist unity, harmony, and
center in all of these forms and aspects of its manifestation.
The fundamental idea of this book is that to be or live accord-
ing to the Dao means being in a direct relationship with the world
and experiencing its mutability - experiencing sensorily, empiri-
cally, energetically, with one s entire body and being. To be means
being at the center, nurturing and creating oneself as a microcosm
in a non-committal relationship with others, and being able to har-
monize all opposites, or to be in the world without being in it.
More precisely put, the Dao does not require cutting oneself off
from the world (people, things, everyday life) because this world is
part of the entire cosmos, or Dao, nor does it require tying oneself
to the world because this world only points to true existence or
eternal potentiality, i.e., that mysterious subtlety in which onto-
logical and artistic experience is fused.
Therefore, as an object of study and also for the title of this
book I have selected not aesthetics but aesthetic being. I regard this
not as a rigorously defined concept but rather as a metaphor to
help comprehend the incomprehensible aspects, as it were, of man s
relationship to the world. With the help of this metaphor, I try to
look at the Daoist art of life and Daoist artistic works from a much
broader - ontological and cosmological - perspective. I try to ex-
pand the understanding of Daoist aesthetics and show how these
aesthetic ideas and concepts are connected to the universal and
distinctive aspects of the Daoist worldview as well as how these
ideas were transformed in the general histoiy of the development
of Chinese aesthetics. I think that this perspective will not only help
reveal the distinctive relationship that Daoists have to nature (things)
but will also help the reader take a different look at their relation-
ship to people and the world of people — relationships that cannot
283
be defined in dualistic terms and to which, in fact, it is difficult to
apply any Western concepts. I hope that my analysis of this latter
relationship (between the individual and society) will help reveal
the status and place of the Daoist artist in the process of artistic
creation as well as the ethical content of Daoism, which connects it
to Confucianism.
The concept of aesthetic being has been chosen for several
reasons. First, I consider the concept of aesthetics (in the classical
Western sense) too limited and theoretical to describe the aesthetic
worldview of Daoism. After all, it was only in the twentieth century
and as a Western neologism that the Chinese themselves began to
use this concept, which they connected mainly with beauty (some-
thing reflected in the Chinese word for aesthetics - meixue, i.e., the
study of beauty) and began to apply retrospectively to the entire
tradition of early Chinese thought. I think that the concept of aes-
thetic being far more adequately conveys the ideas of early (classi-
cal) Daoism, which at that time had not yet crystallized into a con-
sistent aesthetical theory. This concept also reveals that the ideas of
Laozi and Zhuangzi are connected to Chinese aesthetics as a certain
field of artistic practice and reflection on art itself, a field which
began to form during the third and fourth centuries (i.e., the period
of the Six Dynasties).
Second, this concept embraces a far broader - not only aes-
thetic but also ethical, religious - dimension, thus helping show
that ethical ideas and the ethicality of human existence were no less
important for the Daoists than the Confudans, the difference being
that they understood this ethicality far more broadly than the Con-
fudans or than people in the West define it. The main distinctive
feature of Daoist ethics is that (just like Confudanism, inddentally)
it does not provide any one way that is acceptable and suitable for
everyone but rather suggests that each person seek his own indi-
vidual relationship with other people and nature. This relationship
tends to be noncommittal but natural and may be called, para-
doxically, incoherent coherence.
284
And finally, I hope that the concept I have chosen of aes-
thetic being will help better reveal the connection of Daoist artis-
tic and aesthetic concepts to ontology and cosmology, at the cen-
ter of which is the ideal of harmony and unity. This concept of
aesthetic being conveys the connection, especially important in
Daoism, between art and life. It gives far more comprehensive
meaning to the sensoriness of the Daoist relationship to the world,
something that is also special: it unites sensory and supersensory
experience, which does not allow one to become attached to a
specific reality or thing (depicted object). In other words, the Daoist
seeks to experience through it (i.e., the specific thing) the reality
that is hidden beyond it or in its depths, a reality that is universal,
difficult to grasp, but also an inexhaustible source of experiences,
often simply called the Dao or spirit.
The concept of aesthetic being is not entirely my own cre-
ation. I was encouraged to settle on it by the earlier attempts of
Sinologists to describe, in specific terms, the distinctiveness of
the traditional Chinese worldview in order to show that it is
different from that of the West. It was called undifferentiated
aesthetic continuum (F. S. C. Northrop), comprehensive har-
mony (Thome H. Fang), aesthetic order (Roger T. Ames and
David L. Hall), etc. Usually these concepts were used to describe
man s relationship to the world from an epistemological view-
point, i.e., the distinctively Chinese way of experiencing and know-
ing the world.
Many of these perspectives primarily focus on highlighting
the epistemological, cosmological, and ontological aspects of the
Chinese (and specifically Daoist) worldview while emphasizing
the intersubjectivity of the relationship between the separate part
and the whole, the dynamic-processual nature of the existence of
this whole and its elements, and the immanence of their disper-
sion. While relying on some of these insights, I would still like to
reveal in greater detail how this cosmological model was embod-
ied or applied in real practical activity ֊ in artistic creation, in
285
relationships with other people, i.e., in everything that I have
comprehensively called aesthetic being.
Therefore, my attention will be mainly devoted not to an
analysis of the epistemological problems of Daoism but to the
embodiment of its ontological concepts in society and art, which
in my opinion are especially connected and perhaps best reveal
the relationship between aesthetic and ethical values in Daoism.
For this reason, I will thoroughly analyze the most important
Daoist ideals of human perfection, ideals which precisely show
the entire paradoxicality of the relationship between human and
the world (people) in Daoism and, in my opinion, do not allow
one to characterize Daoism rationally and unambiguously.
One of the most important links between these spheres is,
in my estimation, the human body, which determined a special
aesthetic relationship with the world on all levels by connecting
alchemical, artistic, and religious practice (but in no way allowing
them to be equated). A no less significant factor connecting vari-
ous experiences and activities is what I consider one of the most
important principles of the Chinese worldview - situativity, which
was given meaning in the works of Daoist thinkers and formed
the basis of all artistic creation. Therefore, as the most important
strategic or practical principle of the Chinese for maintaining rela-
tions with the world, it will receive special attention in this book.
One of the main methods employed in this study is the lin-
guistic etymological method, which the Chinese themselves have
employed since the oldest times. Its importance can be explained,
first of all, by the role of the Chinese language in Chinese culture,
where it formed the entire cultural consciousness of the Chinese. An
etymological analysis of characters perhaps helps best to reveal
that primal direct experience of the world which was expressed for
all time in pictographic symbols and has survived until today. How-
ever, this analysis does not merely help reveal a visual conception of
the world and, with the help of pictographs, highlight the intercon-
nections of things (by analyzing characters that have the same radi-
286
cal). No less important here is the phonetic aspect of Chinese, which
helps reveal these connections with the help of words that sound
the same. These connections are made clear by looking for hom-
onymie words. This practice was already most extensively applied
in the first Chinese etymological dictionaries, where one character
was defined by means of its links to words that sound the same.
Finally, the preference of Chinese Sinologists for analyzing
many of the problems and aspects of their philosophy by means of
certain concepts also reveals the special status of these concepts in
Chinese philosophy. These concepts are not the result of reductive
reasoning or of a certain generalization of ideas but are the sources
of these ideas. They are certain points of reference, grains, or
centers that open the way in all directions and help connect cer-
tain phenomena and ideas with others rather than limit them to a
specific, defined context. For this reason, concept analysis is exten-
sively applied in both Chinese and Western Sinology. This method
will also be extensively employed in my study.
This book will rely mainly on the classical philosophical-reli-
gious works of Daoism Laozi and Zhuangzi as well as on some other
works of a synthetic-eclectic nature in which Daoist ideas dominate
{Guanzi, Huainanzi, Lushi Chunqiu). When analyzing the sources of
Chinese aesthetic and artistic theory, it is not possible to get by
without The Book of Changes (Yijing), which was equally important
to both Confucianism and Daoism, in a certain sense connecting
these traditions. Therefore, I will rely on it extensively in the third
part of my book.
This book consists of three parts. The first, The Origin and
Goal of Aesthetic Being - the Dao, is devoted to an exhaustive
analysis of the Dao because one cannot otherwise grasp the distinc-
tive nature and practice of Daoist aesthetic being. In the first sec-
tion, I will briefly survey the history of how Daoism and the Dao
were received in the West and various responses, drawing atten-
tion to their frequent one-sidedness, to Western attempts to inter-
pret the Dao in terms of the concept of the Christian God and to see
287
Daoism only through its two basic texts, Laozi and Zhuangzi, some-
thing which accordingly promoted the separation of Daoist phi-
losophy and religion. The current focus in Daoism studies on its
religious aspect and on practical methods of self-help as well as the
peculiar boom of this emphasis in the West also create a danger of
vulgarizing the religious ideas and practice of Daoism by adapting
them to the goals of Western consumerism.
Next, I distinguished three aspects of the Dao ֊ the cosmog-
onical, the cosmological, and the ontological ֊ which are analyzed
in three separate sections: The Dao - the Source of the Cosmos,
The Dao ֊ the Principle of the Universe, and The Dao - Process
of Becoming and Transformation. In regard to the cosmogony of
the Dao, spedai attention is directed at the connection of the Dao to
chaos, which determined its distinctiveness as the source of being.
In light of the importance of chaos in the Daoist worldview, Daoist
cosmogony may be described as a disorderly order that helps
explain the interconnections and distinctiveness of all its elements
(things, people). It also helps explain the relationship between ex-
istence and non-existence, i.e., their mutuality, which does not
allow the Dao to be made transcendental or completely material.
In the third section, which is devoted to the cosmology of the
Dao, to revealing its functions as a universal regulative and prin-
dple of being, one of the stereotypical assessments is critically re-
thought: the assodation of the Dao with femininity and the exalta-
tion of the latter. Here, I try to show that any exaltation of one
quality and disparagement of another would contradict the Daoist
logic of the unity of opposites. Most extensively perhaps, this sec-
tion analyzes two important Daoist concepts - spontaneity (ziran)
and non-action (wuwei) - revealing their interconnection and the
diversity of meaning of the latter (wuwei). To this end, I distinguish
five levels of understanding and applying wuwei, levels whose ulti-
mate goal is forgetting wuwei itself.
The fourth section analyzes the ontological aspect of the Dao
- its dissemination as a concept of mutability and permanence (mu-
288
table permanence and permanent mutability). Here, attention is
focused on the diversity of concepts of mutability itself in Chinese
philosophy and on the distinctiveness of this concept in Daoism,
where, it is maintained, mutability is understood, first of all, as
transformativeness or transformation {hud). The perspective of
transformativeness is also used to analyze the Daoist concept of
death, which is best illustrated by some histories from Zhuangzi.
No less important is the Daoist concept of return, which nurtures
the permanence of the Dao and indicates the way to experiencing
the highest value - Oneness.
The second part of this book, The Way of Heaven and of
Human, is devoted to an analysis of the ways of Heaven and
human and of their relationship. This analysis helps reveal the goals
of human self-development and perfection - to be united with
Heaven, to absorb heavenliness. The first section discusses the un-
derstanding of the way of Heaven and of heavenliness, in large
part on the basis of the work Zhuangzi. Here, Heaven often as-
sumes some of the qualities of the Dao and is primarily understood
as a natural entity connected with the nature of human beings and
other creatures. The second section analyzes the human way and
the bounds of humanity, more precisely, its boundlessness. This
section tries to show that in Daoism human is understood not as a
given but as a possibility. Here, attention is mainly focused on the
Daoist concept of the human body and personality {sheri), reveal-
ing the contradictoriness and various aspects of this concept (body-
form ֊ xing; ego ֊ wo,ji, zi, si). This analysis leads to the conclusion
that Daoism proposes not the rejection of the body in general but
only the transformation of some of its aspects, essentially seeking
to foster the seamless unity of body and spirit.
The third section discusses human self-development as a
bringing into harmony of the inner (nei) and the outer (wai). It
is a continuation of sorts of the second section, but here attention
is focused on the ideal of fostering the plenitude of vital powers
(de). For precisely this ideal influenced the special attitude toward
289
one aspect of the body - form, Le., outward shape, and its rela-
tionship to what is within. Perhaps the most important role in this
fostering process is played by the heart-mind {xiri), by its regula-
tion, purification, and emptying, whose stages and ways of appli-
cation are extensively analyzed here and illustrated with pictur-
esque narratives from Zhuangzi.
The fourth section discusses one of the Daoist ideals of hu-
man perfection ֊ the authentic person (zhen reri) - revealing the
contradictory views of this ideal and its connection to the human
world. Zhuangzi did not clearly answer the question of which of
these ways the authentic person prefers, speaking instead in para-
doxes. However, his most important goal should be considered
fostering Oneness, which, as it were, resolves the contradictions
involved in harmonizing the heavenly and the human. One of the
most important aspects of authenticity {zhen) is that it points in-
ward, to inner reality, which does not necessarily require a corre-
sponding outer expression. This meaning of zhen had, I think, per-
haps the most important influence on Daoist aesthetics and art,
where rendering it became one of the artist s goals.
The fifth section analyzes one of the most important ways
of being and perfection in Daoism - carefree wandering, with
which the Daoist understanding of freedom and individuality is
associated. This analysis prompted a new look at the problem of
being a hermit in Daoism, with the recognition that this state was
often assessed from the perspective of European thought and
culture, in terms of stereotypes formed by dualistic thinking. Here,
attention is focused on outward seclusion (seclusion from some-
thing) and inward, or true, seclusion, which is true only if it is not
sought and reflected upon. However, even this sort of seclusion
does not deny the existence of others and does not demand isola-
tion from people but is instead understood as being in the world
without being in it. In other words, it means neither seclusion
nor non-seclusion, for it is based on the same concept of the one-
ness of differences which Zhuangzi calls being at the center and
290
going two ways at once. This concept also explains the distinc-
tive Daoist ideal of human friendship.
The sixth section is devoted to a discussion of another im-
portant Daoist ideal of perfection ֊ that of the sage (shengren).
Here, I try to show that precisely he best embodied the Daoist goal
of not stopping after reaching the pinnacle of wisdom but going
further. In other words, he shows that there is no end to becom-
ing perfect because the goal of Daoist self-development is to help
other people, or after achieving the holy, to return to the human,
i.e., to be able to harmonize the ways of Heaven and of man.
The third part of this book, The Conjoining of Nature and
Human Creation in Art, analyzes ways of incorporating features
of the Dao and methods of action in artistic creation. Thus, the
first section discusses the process of artistic creation and artistic
understanding, with an extensive analysis of one of the most
important concepts of Chinese aesthetics - vital energy (qi). Here,
various understandings of qi in early (classical) Chinese philoso-
phy are revealed: qi as primary vital energy that gives life to all
things and people, as psychophysical energy that determines the
distinctive character of human nature and feelings, and as all-
encompassing vital energy that links people and things on a prin-
ciple of mutual response. Also shown is the transformation of
these understandings in the history of Chinese aesthetics into an
entire range of specific concepts that reveal the distinctive charac-
ter of artistic creation and understanding, their orientation to-
ward the sense of an all-encompassing, subtle, spiritual atmo-
sphere. The concept of qi also helps reveal the interconnection
that joins all the links in the process of artistic creation - the artist,
the work, the viewer ֊ an interconnection which also includes the
cosmos as the impetus for this process.
The second section discusses the influence of The Book of
Changes on the Chinese aesthetic worldview, with special atten-
tion devoted to its strategic principle - situativity - and to the
explication of the origin and evolution of the world, on which the
291
formation of trigrams and hexagrams is based. Also analyzed is
the concept of image or symbol (xiang) as well as its diversity in
The Book of Changes because this concept was especially important
in Chinese painting and for all visual aesthetic understanding.
The third and fourth sections discuss the application of this
principle in artistic creation - in painting and music respectively.
In regard to painting, especially important is the concept of ener-
getic impulse, or impetus - shi - which was used in early Chinese
military strategy and in the legistic theory of government. Here,
the application of shi in calligraphy and painting is treated, for
precisely this concept reveals the distinctive nature of situativity
in this art. However, no less important is the first principle of
painting - spirit resonance and life movement ֊ which points to
the highest goal of painting: spiritual embodiment, which links
the creator and the viewer and gives meaning to painting as a
method of seeking the Dao.
The principle of situa tivity is no less important in music, espe-
cially in playing the qin (a type of zither), whose principles are
analyzed in the fourth section. Here, attention is also focused on
the role of music itself and of hearing in Daoism and in all of Chi-
nese aesthetics because this role is often ignored, with first place
being given to visual perception and the significance of seeing. The
greatest attention is devoted to the teaching of Ji Kang in Ode to
the Qin (Qin Fu) and to the work Music Conveys Neither Sadness
Nor Joy. I think that precisely this work best reflects the Daoist
theory of music and the Daoist concept of the highest emotion
(e.g., joy) as non-emotion, a concept that follows from the onto-
logical concept of the connections between being and non-being.
On the other hand, an analysis of the principles of painting
and music shows the special Daoist goal of reflecting nature as
naturally as possible. This analysis leads to the conclusion that in
Daoism creation by human cannot be distinguished from creation
by nature, that these two forms of creation cannot be described
by applying dualistic Western concepts of nature and culture.
292
Turinys
Įvadas .................................................. 8
ESTETINĖS BŪTIES KILTIS IR TIKSLAS ֊ DAO................. 29
Dao ¿r Vakarai.......................................... 30
Dao - kosminis pradas .................................. 45
Dao - visuotinis reguliatyvas ir būties principas........ 65
Dao - tapsmo ir virsmo procesas......................... 86
DANGAUS IR ŽMOGAUS KELIAS ............................. 107
Dangaus kelias ir dangiskumas.......................... 110
v
Žmogaus kelias ir žmogiškumas.......................... 114
Žmogaus saviugda: išorės (wai) ir vidaus (nei) derinimas. 121
Žmogaus tobulumo idealai:
autentiškasis žmogus (zhenren) ir autentiškumas (zheri).. 136
Nerūpestingos klajonės................................. 147
Šviesiausiasis išminčius (shengren).................... 158
ŽMOGAUS IR GAMTOS KŪRYBOS JUNGTIS MENE................... 173
Meninė kūiyba ir meninis suvokimas..................... 177
„Permainų knygos („Yijing ) įtaka kinų estetinės
pasaulėžiūros formavimuisi............................. 200
Tapyba: neįžvelgiamo Dao vaizdinių kalba .............. 213
Muzika: neišgirs tarno Dao įgarsinimas................. 233
Baigiamosios pastabos.................................. 251
Kiniškų terminų žodynėlis.............................. 254
Naudotos literatūros sąrašas........................... 259
Summary ............................................... 282
Asmenvardžių rodyklė................................... 293
|
| any_adam_object | 1 |
| author | Poškaitė, Loreta 1965- |
| author_GND | (DE-588)143136399 |
| author_facet | Poškaitė, Loreta 1965- |
| author_role | aut |
| author_sort | Poškaitė, Loreta 1965- |
| author_variant | l p lp |
| building | Verbundindex |
| bvnumber | BV019585825 |
| classification_rvk | CC 6900 |
| ctrlnum | (OCoLC)58045455 (DE-599)BVBBV019585825 |
| discipline | Philosophie |
| format | Book |
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| id | DE-604.BV019585825 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T20:00:52Z |
| institution | BVB |
| isbn | 9986638429 |
| language | Lithuanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-012922710 |
| oclc_num | 58045455 |
| open_access_boolean | |
| owner | DE-29 DE-12 |
| owner_facet | DE-29 DE-12 |
| physical | 294 S. Ill. |
| publishDate | 2004 |
| publishDateSearch | 2004 |
| publishDateSort | 2004 |
| publisher | Kultūros, Filosofijos ir Meno Inst. |
| record_format | marc |
| series | Bibliotheca Orientalia et comparativa |
| series2 | Bibliotheca Orientalia et comparativa |
| spelling | Poškaitė, Loreta 1965- Verfasser (DE-588)143136399 aut Estetinė būtis daoizme Loreta Poškaitė Vilnius Kultūros, Filosofijos ir Meno Inst. 2004 294 S. Ill. txt rdacontent n rdamedia nc rdacarrier Bibliotheca Orientalia et comparativa 4 Zsfassung in engl. Sprache u.d.T: Aesthetic being in daoism Religion Ästhetik Aesthetics Religious aspects Taoism Aesthetics, Chinese Art, Taoist Philosophy, Taoist Taoist music Ästhetik (DE-588)4000626-8 gnd rswk-swf Taoismus (DE-588)4059039-2 gnd rswk-swf Ästhetik (DE-588)4000626-8 s Taoismus (DE-588)4059039-2 s DE-604 Bibliotheca Orientalia et comparativa 4 (DE-604)BV019585816 4 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012922710&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012922710&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Poškaitė, Loreta 1965- Estetinė būtis daoizme Bibliotheca Orientalia et comparativa Religion Ästhetik Aesthetics Religious aspects Taoism Aesthetics, Chinese Art, Taoist Philosophy, Taoist Taoist music Ästhetik (DE-588)4000626-8 gnd Taoismus (DE-588)4059039-2 gnd |
| subject_GND | (DE-588)4000626-8 (DE-588)4059039-2 |
| title | Estetinė būtis daoizme |
| title_auth | Estetinė būtis daoizme |
| title_exact_search | Estetinė būtis daoizme |
| title_full | Estetinė būtis daoizme Loreta Poškaitė |
| title_fullStr | Estetinė būtis daoizme Loreta Poškaitė |
| title_full_unstemmed | Estetinė būtis daoizme Loreta Poškaitė |
| title_short | Estetinė būtis daoizme |
| title_sort | estetine butis daoizme |
| topic | Religion Ästhetik Aesthetics Religious aspects Taoism Aesthetics, Chinese Art, Taoist Philosophy, Taoist Taoist music Ästhetik (DE-588)4000626-8 gnd Taoismus (DE-588)4059039-2 gnd |
| topic_facet | Religion Ästhetik Aesthetics Religious aspects Taoism Aesthetics, Chinese Art, Taoist Philosophy, Taoist Taoist music Taoismus |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012922710&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=012922710&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV019585816 |
| work_keys_str_mv | AT poskaiteloreta estetinebutisdaoizme |