He drew upon received notions of li (pattern) and qi (cosmic vapor) to describe and account for the material, dynamic, and formal features of perceived phenomena.
He drew upon received notions of li (pattern) and qi (cosmic vapor) to describe and account for the material, dynamic, and formal features of perceived phenomena. Li (pattern) refer to the inner patterns of both interaction and identifying form. As noted, li are not general overarching principles, but inner patternings implicated in things and events, from the discernible textures—grains in wood, veins in leaves—to the postulated identifying forms, xing . of things. In terms of dynamic interaction, li structure the primal yin-yang intercourse as taiji . and the intercourse among the five phases as their constitutive identifying forms. Zhu thus conceived of the cosmos as emerging from incipient yin-yang interaction in the initially formless primal qi ( yuanqi ). Yin-yang interaction and further permutations give rise to the five phases, which bear the full range of material and perceptual qualities and whose interaction gives rise to heaven, earth, and the myriad things, i.e. the cosmos.
A reflection on love, sacrifice, and the creative spirit, this candid New York story explores the chaotic 40-year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife, Noriko. As a rowdy, confrontational young artist in Tokyo, Ushio seemed destined for fame, but met with little commercial success after he moved to New York City in 1969, seeking international recognition. When 19-year-old Noriko moved to New York to study art, she fell in love with Ushio-abandoning her education to become the wife and assistant to an unruly, husband.