獨立

A solitary crane
In winter snow
Needs no jewels.

A single crane standing unconcerned in the falling snow is the very image of independence. It needs no one, it is secure in its environment, and is capable of going through life alone. Its independence stems from self-sufficiency.

It needs no clothing, no building, no wealth, no status. It is content, even glorious in its naked identity. So too with ourselves: There is no need for dazzling clothes, an impressive career, an awesome temple, nor a bejeweled master. What we want is something far beyond such externals.

What facets of your personality are encumbrances? What personal aspects prevent you from being independent? These are the areas that will define your self-cultivation, for you must strive to stand alone. This doesn’t mean that you won’t ever join with others, but you will do so as an individual who will cooperate just as much as is necessary. In this way, you will never be lost in a group, and you will never fear being alone.

independence
365 Tao
daily meditations
Deng Ming-Dao (author)
ISBN 0-06-250223-9

T'ang's artworks were produced on Kyro or Aanekoski brand paper sized 70 x 50 cm, or 100 x 70 cm, at first always in the vertical or portrait format. Later, he opted for the diptych configuration and turned to the horizontal or landscape format. He began with small diptychs of 29,7 x 42 cm which he used as studies for the forthcoming large-scale works; their size was convenient and suitable to a technique which was becoming increasingly spontaneous. By the end of the sixties, he had definitively adopted the large diptych configuration of 70 x 100 cm. The subtlety of the ink and water based colors suppresses any tactile discrepancy between the blank and the painted areas of the paper, between the negative and positive space. The work recedes from the surface it is painted on; a relationship is established between the horizon of this broadened view and the line that divides the work into a diptych. This line coordinates and focuses the spectator's eye, that one might share the vision of the painter.

Another characteristic feature of T'ang's works lies in the calligraphy of his signature (p.147): It combines Roman letters to Chinese ideograms which for T'ang acts as a metaphor for his life and his work. In Chinese, the literal translation of the word signature is print of the heart, or the essence of the being. Usually painted in red, like the traditional seal, it becomes part of T'ang's composition. It is elegant, dynamic and conveys energy and substance. From Asia to Europe, he repeatedly returned to his tradition so as to enrich and modernize it.

(continued tomorrow)

T A O t e C H I N G
hand drawn calligraphy of the word dao

t h i r t y - n i n e

In harmony with the Tao,
the sky is clear and spacious,
the earth is solid and full,
all creature flourish together,
content with the way they are,
endlessly repeating themselves,
endlessly renewed.

When man interferes with the Tao,
the sky becomes filthy,
the earth becomes depleted,
the equilibrium crumbles,
creatures become extinct.

The Master views the parts with compassion,
because he understands the whole.
His constant practice is humility.
He doesn't glitter like a jewel
but lets himself be shaped by the Tao,
as rugged and common as stone.

— translation by S. MITCHELL

Support

In mythical times all things were whole:
All the sky was clear,
All the earth was stable,
All the mountains were firm,
All the riverbeds were full,
All of nature was fertile,
And all the rulers were supported.
But, losing clarity, the sky tore;
Losing stability, the earth split;
Losing strength, the mountains sank;
Losing water, the riverbeds cracked;
Losing fertility, nature disappeared;
And losing support, the rulers fell.
Rulers depend upon their subjects,
The noble depend upon the humble;
So rulers call themselves orphaned,
hungry and alone,
To win the people's support.

— translation by P. MEREL

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