Hands down the best and finest Taobao comment I’ve seen, and great art too:

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笔者以为,夫子孔子对伯夷,叔齐之仁与武王伐纣之义都加以称许,是各言其事,因为他们是各行各的道,并行不相悖

Literally the last thing I did in 2018: dog lesbians, dog not pictured

Literally the last thing I did in 2018: dog lesbians, dog not pictured

(Source: leutnants)


徐樂樂《浮生一夢》
A summary of XU Lele’s art: everybody is somewhat ugly, engaged in elegant pursuits and/or elegantly bored

徐樂樂《浮生一夢》

A summary of XU Lele’s art: everybody is somewhat ugly, engaged in elegant pursuits and/or elegantly bored


Ren Hang’s photographs were/are not art enough for the PRC. The “better, more positive” Tumblr is now following suit.

Ren Hang’s photographs were/are not art enough for the PRC. The “better, more positive” Tumblr is now following suit.


In the eyes of Confucian literati, if nature’s cycle (or “Heaven”) is to endure and grow in fecundity without ever being depleted, and if the virtue of the Sage is to operate and exert its influence unceasingly on all that exists, then it is essential that neither Heaven nor the Sage deviates from its or his respective path or veers towards one side or another. All such partiality, in both senses of the word, bespeaks a corresponding lack in or retreat from the inherent capacity of the real to communicate through and throughout itself, to incite and to respond (that is, to react constantly in the sense of 感通), and, by virtue of that ability, to maintain itself ever in process. When this capacity is thus compromised, there appear a corresponding decline in vitality and all manner of barriers to the continuum of the real. Under these conditions, opacity and inertia — apathy and sterility — arise in things as well as in consciousness (indeed, these deviations constitute the only “Evil”). And as for Heaven and the Sage, their only virtue consists in their never allowing themselves to be restricted or blocked. It is a virtue that, almost by definition, depends on the ability to maintain at all times the position of centrality (中), which alone permits a reaction to the totality of a given situation and the avoidance of both excess and insufficiency and encourages the full development of the capacity to “bring about” (成).

The Confucian idea, then, has nothing to do with the “mediocrity” of the middle of the road — aurea mediocritas, or faint-hearted prudence — with which it is so often confused. Nor can it be reduced to an Aristotelian “mean” (μεσότης, Nicomachean Ethics 2.5), which is uniquely moral in nature and pertains only to the realm of emotions and actions. Rather, it is based on the perception of the fundamental neutrality of all nature — that of the world as well as that of man. Insofar as man originates in the supreme font of reality (“Heaven”), he naturally finds himself in this position of perfect centrality. All he need do to ensure that “Heaven and Earth are in their proper places” and that “all beings flourish”, then, is to keep his emotions in harmonious balance. There is no other basis in reality apart from this value of the neutral: not leaning in one direction more than in another, not characterized more by one quality than by another, but preserving, perfectly whole within itself, its capacity for action. From this neutrality derives, in the eyes of Confucians, all true efficacy. And to the neutral we owe, of course, the ineluctable blandness that is the mark of the Sage.

François Jullien, In Praise of Blandness, pp. 48–49


landskab:
“The Distant Cold Flow Pine by Ni Zan
”
《幽澗寒松圖軸》

landskab:

The Distant Cold Flow Pine by Ni Zan

《幽澗寒松圖軸》




(Source: leutnants)



Supervised an exam today. Someone left (or had left) their dogs on the table

Supervised an exam today. Someone left (or had left) their dogs on the table

(Source: leutnants)


virtualgeometry:
“Bruce Shapiro / Motion control sand table
”

virtualgeometry:

Bruce Shapiro / Motion control sand table


massiwa4:
“Fabienne Verdier “Pierre de méditation” ”

massiwa4:

Fabienne Verdier    “Pierre de méditation”


Anne Pion, Fabienne Verdier (illustrations): Rêves de pierres, ed. Paroles d'aube, 1995

I thought I had managed to find and buy this book, but something happened and it was probably lost in the mail. This annoyed me enough to warrant an international interlibrary loan. Pion’s poetry is not of great interest, but Verdier’s drawings of rocks more than make up for it.