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From the originality to the more it is the more it is the more it is the more it is the universal suitability of Shao Kang’s Confucian “The Way of the Saints”
Author: Zhang Meihong (Lanzhou Major Philosophy and Social Academy)
Source: “History of Chinese Philosophy” 2020 Issue 4
Content summary: Why is the Confucian “The Way of the Saints” a broad value principle of “https://blog-tw.net/Sugar/”>enhanced love to protect the romantic woman? In the protective system of the Song Confucian Shao Kang Festival, it is important to clarify by discussing the broad responses between the two. Based on the natural relationship of the universe’s original essay, Shao Kangle first explained the corresponding relationship between “One” of “Taiyang” (“Tao”) and the “many” of all things. Based on the “application” that is true from nature to nature, Shao Kang’an not only established the Confucian “The Way of the Saint” in terms of emotion, but also developed the universal adaptability of the “The Way of the Saint” itself in terms of actual content. Taking the general suitability of reminding the “Sages’ Way”, Shao Kang’an completed the Taoist reconstruction of Confucianism, providing strong and powerless support for Confucianism in theory against Buddhism and Taoism.
In the history of the development of Confucianism, sages represent the paradigm of fantasy personality. In this regard, “the way of sages” has become the highest value principle. However, since the Middle Tang Dynasty, with the development of Buddhist and Taoist thinking, people began to doubt the correctness of the “Sage Way”. This phenomenon can be confirmed from Korea’s “Original Way”: “Now his words say: ‘The sage will not die, and it will not stop; it will be broken and balanced, but the common people will not fight.’ He shouted, he will not think about it! Just like there were no saints in ancient times, the human race has been for a long time.” ① It can be seen that in the face of external challenges, Korea has settled in the existing contributions of the sages to human race, and responded positively to the incompetence or lack of Confucian “Sage Way”. As he became increasingly different from Korea, the Confucian Confucian Shao Kang-seok should adopt a roundabout approach to the above problems. Specifically, he was not in a hurry to defend the Confucian “the way of sages” that had no universal adaptability between ancient and modern times, but turned his attention to a clear understanding of one or more. With the broad correspondence of the wide range of differentiation as the middle, and by leap from the intrinsic theory to the value theory, Shao Kang’an developed the Taoist reshaping of the Confucian “the way of sages” in theory, and showed a unique ideological charm.
1. Xie Xun, who is in a multi-corresponsive relationship, wins in a selection competition, and sings more than the original theory
The multi-corresponsive relationship is a topic of modern mathematical research, which refers to the multi-valued relationship between one element and multiple elements. In this relationship, the former (one) is widely applicable to the latter (most) in interpretation. In Shao Kang’s Taoist structure, more than one corresponds to the meaning of being given the original nature, showing the “Taiyang” as the total origin of the universe for all things in Liuhe.The broad natural relationship: “Taiyang is one, not moving; two are the two, and the two are gods. God produces countless, and many produce images, and the images produce tools.” ② Here, the “Taiyang” mentioned by Shao Kangle is a model of philosophical theory, which is consistent with the “Tao” mentioned by other Taoists. It is just that in comparison, the “Tao” is said in the words of “Taiyang”, aiming to highlight the ultimate nature of “Tao”. Shao Kang’s own belief: “Taiyang is the ultimate of Tao.” (Below “The Part Two of the View of Things”, “Shao Yong Collection”, page 164) In the meaning that “Taiyang” becomes “The Extreme of Tao”, Shao Kang’s opinion that “Taiyang” is an existence that is neither born nor irritated (“unmoved”), and is the absolute “one” that is born of “many” (“number”) of all things. However, how can “Taiyang” be born with “many” of all things as the absolute “one”? Regarding this problem, Shao Kang’s opening up further in the explanation:
There are two types of Yuan: the beginning of Liuhe is the ultimate. There are all kinds of things that have their beginnings, which is the basis of life. “The heart of the six harmony” is the basis of the birth of all things. (Below “The Part Two of the Views of Things”, “Shao Yong Collection”, page 163)
It is precisely said that this is the summary of the above-mentioned “Tai Yang is one, not moving; two is the god. God produces many, many produces images, and images produce instruments”: First, “Tai Yang” is the “start of Liuhe”, that is, the most basic foundation of the birth of Liuhe (“two”), and the body shows the relationship of “two in life”; secondly, Liuhe is the “foundation of all things”, showing the relationship of “two in life”. Based on the current situation of “two in life” and “two in life” and “two in life” and “two in life” in theory, Shao Kang’s theory clarifies the wide and natural birth of “one” of “Taiyang” to the “many” of “every” of all things.
It is not difficult to find that in the birth of “Taiyang” to “all things”, “Taiyang” shows an indescribable and indescribable natural virtue. This kind of virtue is important from the wonderful friendship between Liuhe (“God”) – “Liuhe Heart”. It just so happens that the relationship between “Tai Yang” and all things is no longer based on the intermixture between “two and two” and “two and many” but is directly innate and natural. In Shao Kang’s opinion, the “one” of “Taiyang” is not only direct to the innate birth of “many” of all things, but also a broad natural relationship: “The god has no place and is nowhere.” (In “The View of the Outside of Things”, “Shao Yong Collection”, page 152) Here, “God” still refers to “Taiyang”, but what it emphasizes is the natural virtue of “Taiyang” itself. In the meaning of “Taiyang” as the absolute “one”, “the god is without place and is absent” means that “Taiyang” is not only mysterious and unpredictable to all things, but also beyond the reach of “Taiyang” has become the total origin of all things. In response to “Taifeng” becoming the total origin, its natural meaning is no longer limited to the presentation of a certain object, but is broadened to the existence of all things across the country. In this way, in terms of natural roots, “Taifeng” is generally suitable for the existence of “many” of all things.
The above statements seem very abstract, but not all indiscriminate super-experiential thinking.This part of the community determines that there is a certain relationship between specific things. This relationship was explained by Shao Kang’s “Taiyang” and the widespread correspondence between “Taiyang” and the inherent aspect of the universe. The existence of this relationship is based on the widespread innate birth of “Taiyang” for the Sixteenth things. The broad relationship between “Taifeng” and Liuhe and thousands of things is also simplified by Shao Kang’s relic as the relationship between “Tao” and “things”: “Tao is the basis of Liuhe, and Liuhe is the basis of thousands of things. Taking Liuhe to see thousands of things, thousands of things are ten thousand things, and watching Liuhe with Tao, Liuhe is also ten thousand things.” (The third chapter of “Watching Things Inside Chapter”, “Shao Yong Collection”, page 9) This part explains the relationship between “Tao” and “Liuhe” and “Liuhe” and “Liuhe” and “Liuhe” and “Things” respectively. From the meaning of “beginning with Liuhe”, “Tao” means “Taiyang”, and “‘Liuhe’ is not a large-scale ‘object’”. ③ In terms of the correspondence of “number”, it presents a correspondence between “one” and “two”; in other words, in the dimension of “Liuhe” that is born of all things, the corresponding relationship between Liuhe and “every” is also correspondingly the relationship between “two” and “many”. In this way, through the natural deduction from “one” to “two” and then to “many”, Shao Kang’s “shao” has completely clarified the original relationship between “one” of “Taiyan
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