Respecting Objects, the Noble Person Has a Way ~ A Philosophy of Viewing Things Through the Erhu
Today, while chatting with a teacher of Chinese music, she mentioned that the music teacher at her son’s junior high school hoped to borrow an erhu from her for classroom demonstration and teaching. However, the Chinese music teacher politely declined this request. At first glance, some people might find it hard to understand why, but after careful reflection, I came to a profound realization.
For those who are professional and cherish their art, the instruments they treasure are not merely “objects”; they are more like infants held in one’s arms, or even as precious as one’s own children. Tell me, if someone asked to borrow your baby still in swaddling clothes, who would readily agree? Likewise, if a television station took an interest in an adorable kitten and asked its owner to bring the cat to a studio for filming, the owner would naturally hope to accompany and care for it personally. This is not only out of responsibility, but also out of respect and consideration for life and emotion.
Going further, what this junior high school teacher requested was an “ordinary erhu,” which shows that he did not own one himself and had little practical experience playing it. From a Confucian perspective, “If a worker wants to do his job well, he must first sharpen his tools.” To teach and transmit the Way, one must first deeply understand and skillfully master the tools being used. Someone who has never seriously studied or practiced erhu performance techniques can hardly present its true beauty and depth to students in class. In addition, Buddhism emphasizes “right knowledge” and “right view”; if incorrect erhu knowledge appears in class, it will not only mislead students but may also subtly damage the professional reputation that the Chinese music teacher has built over many years, thereby affecting students’ correct understanding of culture.
If this junior high school teacher truly wished to promote the erhu or Chinese music rather than simply borrow one hastily without careful planning or without the instrument’s owner being present throughout, he could fully coordinate with this Chinese music teacher on a time arrangement and invite her to come to the school in person to perform for the students and convey the essence of the erhu. As Confucius said: “The noble person focuses on fundamentals; once the foundation is established, the Way comes forth.” The promotion of culture should begin at its root and faithfully present its essence and substance. I believe that this Chinese music teacher—who is passionate about passing on Chinese musical traditions—would certainly be willing to teach her skills free of charge as well; for what Daoism calls “the Dao follows nature” advocates precisely that true transmission asks nothing in return and seeks only to plant a seed of art in students’ hearts.
Even if only one student out of a hundred develops an interest in Chinese music because of this, it would be like what Buddhism says: “One lamp can dispel darkness of a thousand years.” The lamp of culture lit within that student’s heart will surely have a positive and far-reaching impact on the world of Chinese music in the future.
The dissemination and teaching of culture should always be approached with rigor and seriousness. This is especially true in arts education; the professionalism and attitude of the presenter directly affect students’ understanding of artistic value. This Chinese music teacher also mentioned that if teachers know how to show respect by inviting her into class to assist with demonstrations and explanations about instrument culture—and even incorporate variations from local opera—she would be very willing to embark on such a cultural journey free of charge. She would also feel gratified that her child had encountered such a good teacher who understands how to respect teachers, artisanship practitioners, and cultural bearers.
Conversely, a teacher lacking experience and professional competence who introduces the erhu in a hasty and superficial manner not only fails to cultivate students’ respect for Chinese music but may instead distort their understanding of traditional culture. This is not merely a technical issue; it also concerns responsibility for cultural education as well as its mission.
Moreover, during this junior high school teacher’s borrowing process, he failed to demonstrate basic respectfulness or responsibility. Borrowing valuable items should involve proper planning for their use and return so as to ensure they are not damaged. If a teacher merely passes it through students as an intermediary loan—and then lets those students keep it themselves—this is no different from shifting onto students responsibilities that should have been borne by himself all along; it increases the risk that the instrument will be damaged. This is undoubtedly irresponsible behavior toward both the owner of the item and toward the student.
Take calligraphy masters’ treasured ink works or paintings by masters of traditional Chinese painting as examples: if one were borrowing such works for exhibition from these artists, every step—from collection pickup and transportation to display and return—would certainly need careful planning so as to ensure that each piece remains intact. Without proper protective measures—even if offered generous compensation—the artist would still never be willing to take such risks. This cautious attitude not only demonstrates respect for works of art but also reflects a high level of awareness regarding cultural inheritance and preservation.
From a philosophical perspective, Confucian teachings such as “be respectful in your work so others can trust you” and “be cautious at every stage as though at first beginning” emphasize maintaining consistent reverence and prudence toward everything from start to finish; Daoism’s notion of “being cautious at completion just as at inception” reminds us that both beginnings and endings should be approached with care—especially when handling others’ belongings; Buddhism’s teaching on impermanence further makes us realize that anything can change in an instant, so we must treat things with even greater caution lest negligence cause unnecessary regret.
The Chinese music teacher’s polite refusal to lend out her erhu was precisely grounded in this kind of prudence and reverence; this was not merely due to personal feelings but stemmed from a deep understanding that preserving traditional culture through artistic transmission can truly achieve results only when carried out through professional yet careful methods.
Respecting objects—the noble person has his way. Whether they are works of art, musical instruments, or everyday utensils, when we treat them with respect and responsibility we can truly embody cultural wisdom where self and object become one together with nature itself—and achieve deep spiritual resonance. May everyone come away from this with insight gained hereafter integrate such an attitude into daily life further deepening our understanding practice regarding culture art philosophy connotations.
~Narrative Reflection~
As I write these lines…. my heart feels admiration sighs reflection upon myself
Teachers who truly harbor aspirations toward promoting culture and skills often hold deep reverence for what they have learned themselves; what they possess has long surpassed mere materiality и become part extending from their spirit itself . As Confucian teaching says : “Sincerity is Heaven’s Way ; seeking sincerity is humanity’s Way .” Sincerity is fundamental when transmitting principles teaching skills ; treating tools used with sincere reverence is precisely an educator’s genuine practice toward culture . Therefore , such teachers would never lightly lend out precious belongings , because they understand that once objects are separated from mindful guidance , they become nothing more than empty shells incapable carrying true cultural essence .
At same time , Daoism teaches : “Humans follow Earth , Earth follows Heaven , Heaven follows Dao , Dao follows nature .” The path promotion should likewise follow nature—not forcing things , not taking improperly , not crossing boundaries . If others harbor toward transmitters mindset like ‘as long as I borrow object then I can teach,’ then in truth they are clinging appearances while going against wisdom walking along Dao .
Buddhist teachings remind us instead observe all things through right view . If we have not seen whole picture yet hastily judge right wrong , we easily fall into traps misunderstanding greed taking . Teachers who truly wish promote culture will understand education is not merely displaying objects ; rather , it allows students through embodied experience come realize spirit ; while others who sincerely wish learn should also ask guidance respectfully walk together through shared practice rather than seeking only momentary convenience .
Therefore , meaning article here does not deny act lending itself ; rather it seeks convey deeper cultural awareness — when teacher truly wishes promote selflessly , he will choose more appropriate profound way share ; society at large too should respond such intention with reverence rather than merely using instrumental approach answer this labor love .
This is not only respect toward culture but also sincere response toward education toward human hearts . May we all gradually realize within daily life ways objects ought be treated meaning inheritance carries forward ; may we walk each step teaching learning with humility reverence compassion .
BY- Yin Shi