“Dissatisfaction with the womanly rôle,” the psychologist Alfred Adler wrote in Understanding Human Nature (1927), “is … more evident among [women] who escape from life because of some so-called ‘higher reasons’. Nuns, or others who assume some occupation for which celibacy is an essential, are a case in point.” Adler, of course, was not judging such women negatively, as he felt that women should not have to be controlled by the patriarchal nature of 20th-century society and that they should be able to develop their own roles.
What is Zen? If it were really just enigmatic aphorisms such as “I swallowed up all the Buddhas and Patriarchs / Without ever using my mouth” as an answer to the equally enigmatic question “The ten thousand things return to one; to what does the one return?” then presumably it would have not engaged the West as much as it evidently has.
There’s a common misconception that Tantric yoga is somewhat esoteric, or confined to Tibet. Yet in “The Extasie”, a poem written in 1595 or thereabouts, John Donne writes of a couple who become “by good love … grown all mind.” Buddha Sakyamuni is reputed to have said “If the body is not mastered, the mind cannot be mastered. If the body is mastered, mind is mastered.”
It was 1675, and Londoners were eager to see the King’s Company production of the latest play by John Dryden, playwright and Poet Laureate. Aureng-Zebe, for so it was titled, was a heroic verse-drama written in rhyming couplets based on near-contemporary events in India. It featured an exotic combination of eastern despotism, lust and dynastic rivalry, together with an invented love-story, all of which was bound to satisfy an audience still in the throes of an “oriental” craze.
Literary allusions to Babylon and Assyria are often not very complimentary, and they are most certainly based on common misconceptions.
Very few people (other than Anthony Janson in his monumental History of Art, published in 1968) would attempt to write a history of an entire country’s art, and even fewer could do it in one volume and cover a period from 15,000 BCE right up to the present day. Professor Tsuji does this for Japanese art with ease, elegance, humor and consummate erudition in an attractive volume printed on first-class paper and packed with quality color and black-and-white illustrations. What’s more, it isn’t a large format coffee-table book like Janson’s, which means a reader can actually curl up on a chair and read it quite comfortably. As Tsuji says, though, “to survey the vast sweep of Japanese art history was a great challenge and a daunting task;” but we are lucky that he also tells us “not only did no such book exist, but I needed one myself!”
Earnshaw Books, an independent publisher specializing in China matters, has recently issued two books featuring westerners sojourning in China over a period of a century and a half. Frances Wood, a respected scholar of Chinese history, presents the account of Aeneas Anderson, who served as a valet to Lord Macartney when the latter led an embassy to the court of the Qianlong emperor (1792) and Graham Earnshaw introduces a book of photographs taken by Isabella Bird on her travels through China in 1898.