Part

 1 Confuc|    described as a philosophy~of Nature, rather than a story of
 2 Taoism|        the intense adoration of nature, the worship of great rivers,
 3 Taoism|      flight?" Again, "The wind, Nature's flute, sweeping across
 4 Taoism|         of the Southern Chinese nature enabled it to rise to the
 5 Taoism|       it returns to the love of Nature, stands in strong contrast
 6 Taoism|       expression of the soul in Nature.~Freedom is recognised as
 7 Taoism|        idea of the depicting of Nature falls into a third place,
 8 Taoism|    chiaroscuro and imitation of Nature were brought in by the Appellesian
 9 Taoism|     been attempted. The love of Nature and Freedom of this great
10 Taoism|     apart from men - seeking in Nature his only friend, in idealisation
11 Buddhi|         is its inquiry into the nature of freedom from that suffering
12 Heian |       Word, or Shingon.~Art and Nature were now regarded in a new
13 Fujiwa| culmination, pleaded that human nature~was weak and, try as it
14 Ashika|       is the flight from man to nature. This is a consequence of
15 Ashika|  opposites. This innate love of nature imposes a limitation on
16 Ashika|    World-soul permeated men and nature alike, and by contemplation
17 Ashika|         They were then one with nature, whose pulse they felt beating
18 Ashika|   losing its purity,~or its own nature. The world is full of a
19 Ashika|        have now become a second nature. Our etiquette begins with
20 Ashika|   Sesson is not a~depictment of nature, but an essay on nature;
21 Ashika|         nature, but an essay on nature; to them there is neither
22 Ashika|        the exuberance of virile nature.~Hosts of others follow
23 Ashika|    manifold voices of night and nature, where pause is more significant
24 Tokuga|        was an ardent student of nature, serving her moods in all
25 Meiji |   material oblivion.~The double nature of the Meiji restoration
26 Meiji |     real. Imitation, whether of nature, of the old masters, or
27 Meiji |         of life, of man, and of nature.~To this school, again,
28 Meiji | sufficient answer.~Fragments of nature in her decorative aspects;
29 Meiji |         detracting from its own nature. Ideals, in turn, are the
30 Meiji |      plan of campaign which the nature of the country imposes on
31 Meiji |         to an interpretation of nature as mystic and reverent as
32 Meiji |       deeper insight into human nature. Mythology is interpreted
33 Vista |       self-dedication of art to nature which the Ashikaga inaugurated