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Winner of the Women’s Prize for Fiction “No one writes like Ruth Ozeki—a triumph.” —Matt Haig, New York Times bestselling author of The Midnight Library “Inventive, vivid, and propelled by a sense of wonder.” —TIME “If you’ve lost your way with fiction over the last year or two, let The Book of Form and Emptiness light your way home.” —David Mitchell, Booker Prize-finalist author of Cloud Atlas A boy who hears the voices of objects all around him; a mother drowning in her possessions; and a Book that might hold the secret to saving them both—the brilliantly inventive new novel from the Booker Prize-finalist Ruth Ozeki One year after the death of his beloved musician father, thirteen-year-old Benny Oh begins to hear voices. The voices belong to the things in his house—a sneaker, a broken Christmas ornament, a piece of wilted lettuce. Although Benny doesn't understand what these things are saying, he can sense their emotional tone; some are pleasant, a gentle hum or coo, but others are snide, angry and full of pain. When his mother, Annabelle, develops a hoarding problem, the voices grow more clamorous. At first, Benny tries to ignore them, but soon the voices follow him outside the house, onto the street and at school, driving him at last to seek refuge in the silence of a large public library, where objects are well-behaved and know to speak in whispers. There, Benny discovers a strange new world. He falls in love with a mesmerizing street artist with a smug pet ferret, who uses the library as her performance space. He meets a homeless philosopher-poet, who encourages him to ask important questions and find his own voice amongst the many. And he meets his very own Book—a talking thing—who narrates Benny’s life and teaches him to listen to the things that truly matter. With its blend of sympathetic characters, riveting plot, and vibrant engagement with everything from jazz, to climate change, to our attachment to material possessions, The Book of Form and Emptiness is classic Ruth Ozeki—bold, wise, poignant, playful, humane and heartbreaking.
Published in conjunction with an exhibition held at the Rubin Museum of Art, Nov. 5, 2010-Apr. 11, 2011.
It examines some of the Buddhist underpinning of the Qing view of rulership and shows just how central images were in the carefully reasoned rhetoric the court directed toward its Buddhist allies in inner Asia. The multi-lingual, culturally fluid Qing emperors put an extraordinary range of visual styles into practice - Chinese, Tibetan, Nepalese, and even the European Baroque brought to the court by Jesuit artists.
Readers are hard-pressed to find books that can help them understand the central concept in Mahayana Buddhism--the idea that ultimate reality is emptiness. In clear language, Introduction to Emptiness explains that emptiness is not a mystical sort of nothingness, but a specific truth that can and must be understood through calm and careful reflection. Newland's contemporary examples and vivid anecdotes will be helpful to students trying to understand one of the great classic texts of the Tibetan tradition, Tsong-kha-pa's Great Treatise.
The Poetics of Emptiness uncovers an important untold history by tracing the historically specific, intertextual pathways of a single, if polyvalent, philosophical term, emptiness, as it is transformed within twentieth-century American poetry and poetics. This conceptual migration is detailed in two sections. The first focuses on "transpacific Buddhist poetics," while the second maps the less well-known terrain of "transpacific Daoist poetics." In Chapters 1 and 2, the author explores Ernest Fenollosa's "The Chinese Written Character as a Medium for Poetry" as an expression of Fenollosa's distinctly Buddhist poetics informed by a two-decade-long encounter with a culturally hybrid form of Buddhism known as Shin Bukkyo ("New Buddhism"). Chapter 2 explores the classical Chinese poetics that undergirds the lost half of Fenellosa's essay. Chapter 3 concludes the first half of the book with an exploration of the didactic and soteriological function of "emptiness" in Gary Snyder's influential poetry and poetics. The second half begins with a critical exploration of the three-decades-long career of the poet/translator/critic Wai-lim Yip, whose "transpacific Daoist poetics" has been an important fixture in American poetic late modernism and has begun to gain wider notoriety in China. The last chapter engages the intertextual weave of poststructural thought and Daoist and shamanistic discourses in Theresa Hak Kyung Cha's important body of heterocultural productions. By formulating interpretive frames as hybrid as the texts being read, this book makes available one of the most important yet still largely unknown stories of American poetry and poetics.
Fist book bu Dutch artist Machteld Rullens
"This volume began life as a conference on 'Empty Spaces' held at the Institute of Historical Research in London in 2015"--Page vii.
In this book Gay Watson offers an alternative view of emptiness via a tour of early and non-Western philosophy, taking us from Buddhism, Taoism and religious mysticism to the contemporary world of philosophy, science and art practice.
The Emptiness of Emptiness presents the first English translation of the complete text of the Madhyamakāvatāra (Entry into the Middle Way) a sixth century Sanskrit Buddhist composition that was widely studied in Tibet and, presumably, in its native India as well. In his lengthy introduction to the translation, Huntington offers a judiciously crafted, highly original discussion of the central philosophy of Mahāyāna Buddhism. He lays out the principal ideas of emptiness and dependent origination not as abstract philosophical concepts, but rather as powerful tools for restructuring the nature of human experience at the most fundamental level. Drawing on a variety of Indian and Western sources, both ancient and modern, Huntington gradually leads the reader toward an understanding of how it is that sophisticated philosophical thinking can serve as a means for breaking down attachment to any idea, opinion or belief. All of this on the Buddhist premise that habitual, unreflective identification with ideas, opinions, or beliefs compromises our appreciation of the ungraspable miracle that lies at the heart of everyday, conventional reality. The author shows how the spiritual path of the bodhisattva works to transform the individual personality from a knot of clinging into a vehicle for the expression of profound wisdom (prajñā) and unconditional love (karuṇā).