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  • Author or Editor: Changping Zha x
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After introducing the sevenfold dimensions of relations within the logic of the world-picture, this essay holds that there seem to be three kinds of relations between humans and God (or ‘the transcendent’/ ‘the ultimate reality’) in logic: (1) where the two oppose each other (are separate), (2) stand side by side, and (3) combine into one. This paper primarily examines the reasons why many patterns or images such as ‘rascal’, ‘giggle’, ‘boredom’, ‘abreaction’ and ‘rage’ have appeared in Chinese contemporary art since the 1990s. By describing the particular artworks of Daozi (his ‘Saint Water-ink Painting’), the Gao Bothers (their change of creation), Qian Zhusheng (his prints), Wang Lu (his oil paintings on the theme of the Bible), Ding Fang and Zhu Jiuyang (his ‘picture of the ripple’), the author proceeds to a discussion about the specific contents of these works of art. The discussion is set in the context of an overall theme, which is the relation between humanity and God. The art works themselves can be seen to be embryonic forms of this dimension in the thought-picture of Chinese contemporary art. The author draws the conclusion that Christian artists in China should connect their personal spiritual life with the cultural life of their artistic creations and in this way absorb modern artistic language, along with its individuality and sense of history. This is in order to develop the transcendental space of Chinese contemporary art, forming spirituality within its conceptual dimensions.

In: Yearbook of Chinese Theology 2015
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Abstract

This paper focuses on the discussion of the concepts of “mixed modern,” “humanist criticism” and “world relational aesthetics” proposed by the author, which are academic outputs of research and critical engagements in the field of contemporary art and culture. It points out that the concept of “mixed modern” constitutes a kind of cultural logic to understand the reality in China; the theory of humanist criticism belongs to a paradigm for criticism in contemporary art, where the individual person is in the focus; the idea of “world relational aesthetics” emphasizes the internal logic and coherence of the theory itself in the process of interpretation. From a broader perspective, as part of the author’s philosophy of art, they are only the “artistic” and “experimental” results of the world-picture logic philosophy, which is finally based on a revealed theology of relation.

In: Journal of Chinese Theology
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Abstract

This paper discusses the conception of an ideal world present in T.C. Chao’s (Tsu Chen Chao) (1888–1979) early theological works, based mainly on the text Jesus’ Philosophy of Life (or, A New Interpretation of the Sermon on the Mount, written in late 1925). It concludes by pointing out that Chao’s view of a kingdom of heaven that ultimately eradicates the otherworld and does not transcend this world unconsciously echoes the Anti-Christian Μovement within Chinese churches during the same period. This is, indeed, a tragedy in the development of T. C. Chao’s personal theological thought in the 1920s and 1930s.

In: Journal of Chinese Theology
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Abstract

How to treat with the relationship between the participle πορευθέντες in Matthew 19a and the main verb with the mandate to “make disciples of all nations (μαθητεύσατε)” will have effects on churches’ understanding of the Great Commission. Based on the general function of Greek participle, this paper discusses the content in Matthew 28:18–20, suggests that the mandate of “make disciples of all nations” should be the central focus of understanding the Great Commission of churches. However, with regard to the relationship between this participle and the predicate “you are to make disciples (μαθητεύσατε),” the English earlier translation of the Geneva Bible as a guide for later versions has influenced the way in which consequent translations have interpreted the Great Commission, and made today’s churches as a social organization to some extent neglect the fundamental responsibility of “making disciples of Jesus of all peoples”.

In: Yearbook of Chinese Theology (2021)