As has been noted, Max Bernhard Weinstein asserted the presence of of pandeism in China,[14] including in Lao-Tze's Taoism,[15] and in India.[16] Weinstein likewise found the views of 17th century Japanese Neo-Confucian philosopher Yamazaki Ansai, who espoused a cosmology of universal mutual interconnectedness, to be especially consonant with pandeism as well.[25] Other philosophers have also pointed to pandeism as having a presence in those cultures. In 1833, religionist Godfrey Higgins theorized in his Anacalypsis that "Pandeism was a doctrine, which had been received both by Buddhists and Brahmins."[42] In 1896, historian Gustavo Uzielli described the world's population as influenced "by a superhuman idealism in Christianity, by an anti-human nihilism in Buddhism, and by an incipient but growing pandeism in Indian Brahmanism."[43] But the following year, the Reverend Henry Grattan Guinness wrote critically that in India, "God is everything, and everything is God, and, therefore, everything may be adored. ... Her pan-deism is a pandemonium."[44] Likewise, twenty years earlier, in 1877, Peruvian scholar and historian Carlos Wiesse Portocarrero had written in an essay titled Philosophical Systems of India that in that country, "Metaphysics is pandeistic and degenerates into idealism."[45]
Pandeism (in Chinese, 泛自然神论)[46] was described by Wen Chi, in a Peking University lecture, as embodying "a major feature of Chinese philosophical thought," in that "there is a harmony between man and the divine, and they are equal."[47] Zhang Dao Kui (张道葵) of the China Three Gorges University proposed that the art of China's Three Gorges area is influenced by "a representation of the romantic essence that is created when integrating rugged simplicity with the natural beauty spoken about by pandeism."[48] Literary critic Wang Junkang (王俊康) has written that, in Chinese folk religion as conveyed in the early novels of noted folk writer Ye Mei (叶梅),[49] "the romantic spirit of Pandeism can be seen everywhere."[50] Wang Junkang additionally writes of Ye Mei's descriptions of "the worship of reproduction under Pandeism, as demonstrated in romantic songs sung by village people to show the strong impulse of vitality and humanity and the beauty of wildness."[51]
