Five meditations on the role of beauty in human life and its direct connection with the sacred • Looks at how beauty has the power to elevate and counterbalance the negative side of the reality facing us • Presents the role of beauty in transforming individuals and transforming the world from a Taoist perspective In a time of mindless violence and widespread ecological and natural catastrophes, François Cheng asks if talking about beauty may not seem incongruous even scandalous. Yet this is actually the most appropriate time to revisit a subject that was a philosophical mainstay for millennia. The power of beauty to elevate and transcend counterbalances the negative side of the reality facing us. As John Keats noted in “Ode on a Grecian Urn,” beauty is inseparable from truth: “Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.” The ultimate human reality pivots on these two extremes of the living universe—beauty and evil. Cheng begins his teachings with the intrinsic sense of beauty revealed by the landscape, symbolized by the staggeringly beautiful Lu Mountain of his native province in China. His five meditations carry the reader from the understanding of beauty being in the mind of the beholder to its intimate relationship with the sacred, both from a Western and Taoist perspective. He shows that the most telling indication of the importance of beauty in human life and for individual spiritual realization can be grasped by simply imagining a world without it.
Author
François Cheng is a French academician, writer, poet and calligrapher. He is the author of essays, novels, collections of poetry and books on art written in the French language, and the translator of some of the great French poets into Chinese. Born in China and taking French citizenship in 1973, he was elected to the Académie française in 2002, and was the first person of Asian origin to be a member of the Academy. He was the winner of the 1998 Prix Femina for Le Dit de Tianyi ("The saying of Tianyi") When Cheng arrived in France in 1948, on a study grant, he did not speak a word of the language. He subsequently adapted quickly and profoundly. In his speech to the Académie française, he explained, "I became a Frenchman in law, mind and heart more than thirty years ago [...] especially from that moment when I resolutely went over to the French language, making it the weapon, or the soul, of my creative work. This language, how can I say everything that I owe to it? It is so intimately bound up with the way I live and my inner life that it has proved to be the emblem of my destiny." It took many years before he became a novelist. His first works were on Chinese poetry and painting. Later he began to write works of poetry himself, before finally turning to the writing of novels.
