LTL. Poškaitės monografija skirta estetinei daoistų pasaulėžiūrai ir praktikai. Joje išsamiai analizuojamos estetinės idėjos Laozi ir Zhuangzi mokyme, jų ryšys su daoizmo kosmogonija, kosmologija bei ontologija, ir jų įkūnijimas meninėje veikloje bei vėliau (nuo Šešių dinastijų) susiformavusioje kinų estetikoje. Ypatingas dėmesys skiriamas žmogaus ir kosmoso (Dangaus), atskiro žmogaus ir visuomenės santykiams daoizme, kurie turėjo įtakos menininko ir pasaulio (kūrinio, vaizduojamo daikto), jo socialinio statuso bei nuostatų formavimuisi. Jų savitumas, kylantis iš daoistinės kosmologijos, leidžia susieti daoistų estetinę pasaulėjautą su etinėmis nuostatomis, meninę veiklą - su kasdieniu gyvenimu ir mistiniu patyrimu, kaip tiesioginio, jutiminio ir viršjuti-minio santykio su pasauliu išraišką, kuri šioje knygoje ir yra apibendrintai traktuojama kaip estetinė būtis.
ENPeople in the West have often regarded Chinese philosophical 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 identification 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 promotes 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 contemplation of the transcendent and of higher reality. The Confucian, on the other hand, whose foremost concern is the affairs of society and saving face, finds fulfillment only in relation to people - in a relation which in essence is considered ethical, obligating him to uphold social 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 Confucian traditions in a way that has not allowed a more adequate undemanding of either their interconnection or their real diff In other words, my goal is to show that Daoism is a philoosophy and a religion and a way of life and an aesthetic and an ethic whose cohesion becomes perhaps most clearly meaningful in art and artistic 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 according to the Dao means being in a direct relationship with the world and experiencing its mutability - experiencing sensorily, empirically, 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 harmonize 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 ontological and artistic experience is fused. [...].