Tarp pasaulio tylos ir tuštumos
LTRecenzijoje aptariama Agnieškos Juzefovič monografija Tuštumos fenomenas. Tuštumos sklaida daoizme, fenomenologinėje filosofijoje, kinų ir Vakarų estetikoje bei dailėje. Ji laikoma sėkmingu bandymu lyginti skirtingas civilizacijas pasitelkiant menus, ypač vaizduojamąją dailę, susijusią su dviem skirtingomis mąstymo tradicijomis – fenomenologija ir daoizmu. Remiantis gausiais šaltiniais ir interpretacine literatūra, autorei pavyksta nubrėžti sąsajas tarp dviejų labai skirtingų tradicijų ir istorinių laikotarpių bei išryškinti joms būdingą giminingą tuštumos sampratą. Tuštumos samprata monografijoje traktuojama ne kaip koks nors metafizinis postulatas, kuriuo remiantis būtų įmanoma „paaiškinti“ visus įvykius ir jų estetinę raišką, bet veikiau per meninius vaizdus atskleidžiamas viską persmelkiantis tuštumos esmas, įžvelgiamas tiek daoizmo, tiek Vakarų fenomenologinėje mąstymo tradicijoje. Parodoma, kad kiekvieno esinio horizontas atsiveria per tuščias ir neužbaigtas galimybes. Knyga vertinama kaip novatoriškas veikalas, kuriame įtikinamai atskleidžiama dviejų civilizacijų sąveika.
ENThe notice contains the review of the monograph by Agnieška Juzefovič The Phenomen of Emptiness. Spread of Emptiness in Daoism, Phenomenological Philosophy, Chinese and Western Aesthetic and Art. The reviewed book is an excellent example of comparing civilizations in the context of arts – specifically the visual arts of two distinct trends of thought: Phenomenology and Daoism. The author manages to link two very distinct traditions and historical periods by way of disclosing a common phenomenon – that of emptiness – and its diverse readings, forming a unique logic of sameness and difference. While the comparisons are complex, involving methodological and even theoretical debates, one thing is clear: the text presents the phenomenon of emptiness and the artistic diversity of the two traditions and unfolds an appropriate method suggested by the visual arts and their theoretical components. In this sense, there is no a priori imposition of one tradition on another that would be counter to fruitful investigation. The author is specifically keen to maintain that emptiness is not some sort of metaphysical postulate which „explains“ all events and their artistic depictions; rather, the artistic depictions yield the all pervasive presence of emptiness in the arts and theories both of Daoism and phenomenology. It is made clear that the latter has done a credible job in showing that the very horizon of any given thing, action, pronouncement is structured mostly by empty or unfulfilled possibilities. It is to the credit of the author that she does not overstate her case by hastily transgressing the subject matter of her investigations. In this sense, the text is groundbreaking and most revealing the contact between two distinct civilizations. Obviously, there are numerous suggestions for further research which – we hope – the author will pursue.
