DOCSLIB.ORG

A Mission to Heaven : a Great Chinese Epic and Allegory

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Mission to Heaven : a Great Chinese Epic and Allegory CORNELLUNTVERbi. LIBR/vRY rrBACA.M.iM.4853 y.;--- Charles W. Wason Coilectioii on East Asia All books are subject to recall after two weeks Olln/Kroch Library ^^w^^^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924074502034 One of the World's Literary Masterpieces IS js le A MISSION TO HEAVEN A fireat Chinese Epic and Allegory BY CH'IU CH'ANG CH'Ul^ A Taoist Gamaliel who became a Ncstorian Prophet and Advisor to the Chinese Court. TRANSI,ATED BY TIMOTHY KICHAKD Chancellor and Director of the Shansi GoYernment University PUBLISHED AT THE CHRISTIAN I.ITERATURE SOCIETY'S DEPOT, SHANGHAI 1913 In compliance with current copyright law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1984 to replace the irreparably; deteriorated original. V 1994 :^ DEDICATION. To all devout and intelligent brothers and sisters both of the East and of the "West who endeavour to understand and co-operate with one another in the up- holding of righteousness and the suppression of ail wrong so that the Kingdom of God shall be established through- out the world this Epic and Allegory is affectionately dedicated. Timothy Richard. Shanghai, October, 1913. CONTENTS Pack List of lUusiiations Introduction ... ._ CHAPTERS. I. Search for Immortality 1 II. Monkey studies Magic 16 III. Visits Dragons and Judges in H«H 27 IV. Declines being a Stud Master . 4G V. Upsets the Peach Banquet 62 VI. The Great Holy One captured ... 77 VII. Imprisoned for 500 Years 92 VTIl. Buddha provides Scriptures 105 IX. Hucn Chwang's Parentage 109 X. A Dragon executed 112 XI. The Emperor in Hades lie XII. All Souls' Day 132 XIII. The Monkey joins the Master — 137 XIV. The Monkey conrerted 130 XV. A Dragon becomes a Horse 142 XVT. Monks steal the Master's Cassock 144 XVII. KTvanyin helps Sun 146 XVIII. Kao Lai Chwang Battle 148 XIX. Pa Kiei converted—Heart Classic 150 XX. The Master carried away 155 XXI. Kwanyin delivers from False Doctrines 1.58 XXII. The Monk Sand converted 161 XXIII. Domestic and Ascetic Life 163 XXIV. Sun steals Ginseng 366 XXV. The Pilgrims arrested 169 XXVI. Water of Life revives the Trees— 170 XXVII. The Monkey dismissed 172 XXVIII. The Monkey welcomed Home 174 XXIX. The Master saved by a Princess 176 XXX. The Dragon Horse's Intelligence •.• 178 CHAPTEES. Pagi XXXI. Eeeonciliation—Sun saves his Master . 180 XXXII. Pa Kiei neglects to watch . 182 XXXIII. Lotus Cave Demon's Magic . 183 XXXIY. Stm outwits the Demon ... 187 XXXV. Good Overcoming Evil . 189 XXXVI. Eef entance gives Light ... 191 XXXVII. A King's Corpse in a Well . 193 XXXVIII. Tfe Queen questioned . 195 XXXIX. Tt-rragli Dead, shall live . 197 XL. Tfee Bed Child . 199 XLI. Lea by Passion . 201 XLII. Converted by Kwanyin , 203 XLIII. Blaek Eiver Demon . 205 XLIV. Slow Carts' Couutiy , 207 XLV. Bartdhists and Taoists compete ... , 213 XLVI. Pei-seeution and Deliverance , 218 XLVH. Saving a Boy and Girl , 219 XLVIII. Through Snow and Ice , 221 XLIX. Savird by a Tortoise 223 L. Safe Inside the Magic Ring , 224 LI. Heiiiless without the Magic Spear , 226 LII. Seeks lielp from Julai 227 LIII. Moiier and Child Eiver 229 LIV. The Country of the Amazons 231 LV. She-Derii's Scorpion Sting 232 LVI. WiiJaout Principle. Man is Mad ... 233 LVII. The True and False Monkeys 234 LVIII. Julai decides which is True 239 LIX. A Volcano quenched by a Pan ... 244 LX. The Ox-headed Demon 246 LXI. The Magic Fan tested 248 LXII. The Nine-headed Demon ... ... 251 LXIII. Eig'tii«insness alone brings Prosperity 253 LXIV. Thorns and Fairy Land 254 LXV. A False Heaven where all seems lost 256 LXVT. Mil.=l5 Po comes to the Rescue 259 LXVIL Pinal Safety of Converted Souls ... 262 LXVIU. Sun becomes a Doctor 263 A JOURNEY TO HEAVEN BEING A CHINESE EPIC AND ALLEGORY DEALING WITH The Origin of the Univetse : The Evolotion of Monkey to Man: The Evolution of Man to the Inunottal: AND Revealing the Religion, Science, and Magic, which moulded the Life OF THE MIDDLE AGES OF CENTRAL ASIA And which underlie the civilization of the Far East to this day. By CH'IU CH'ANG CH'UN. AD, I208-I288 Born 67 years before Dante Those who read the adventures in the book without seeing the moral purpose of each miss the chief purpose of the book. Those who may be disposed to criticize the imperfect character of the converted pilgrims, must remember that their character is in the process of being perfected by the varied discipline of life. Ul CHAPTERS. Page 1>XIX. Foels the Pulse by a String ... 265 LXX. Three Plagues . 266 LXXI. The Three Bells . 268 LXXII. The Lovely "Women . 270 LXXIII. Poisoned by Womon . 273 IiXXlV. The Three Demons . 275 IiXXV. Sun personates a Demon Soldier . 277 LXXVI. Riding with Eight Bearers . 279 LXXVII. Rumour of the Master's Death . 281 LXXVIII. The Doomed Children saved ••. 2S5 LXXIX. Sun performs Kara Kiri . 287 LXXX. The Master beTTitched . 289 LXXXI. The Master resigns his Mission . 290 LXXXII. Hidden in a Cave . 292 IiXXXlII. Sun charges Prince Li with Treason . 2.93 LXXXIV. Sun shaves a whole City . 300 LXXXV. The Bad attack the Good . 302 LXXXVI. The Master's Head exposed ... - 304 LXXXVII. Sun calls down Rain . 306 LXXXVllI. Three Princes study Religion ... 309 LXXXLX. False Views of Religion... 311 XC. Attacks of a Nine-Headed Demon . 312 XCI. Feast of Lanterns and New Danger . 313 XCII. Sun goes to Heaven for Help ••. 315 XGIII. A Witch impersonaies a Princess . 317 XCIV. The False Princess in Fear - 319 XCV. Sun restores the True Princess . 323 XCVL Great HospitaUty to the Pilgrims . 325 XCVIL Sun goes to Hades for his Host . 327 XCvril. The Mortal Body Cast Aside... 329 XCIX. The Last Trial . 346 C. The Pilgrims Finished Work ... - 350 Index . 363 . LIST OF ILLUSTRATIONS. All the illustrations, except the first, second and last, are selected from the 146 prepared for the Chinese edition of the book. Jenghiz Khan Frontispiece God the Eternal P- 1 The Incarnate One 242 Kwanyin the Holy Spirit 133 The Celestial Emperor, Yu Ti 46 The Queen of Heaven. Shi Wang Mu 64 The Ancient of Days. The Founder of Taoism . 87 The Angel of the Star Venus 60 Prince To Ta 297 The Dragon God of Rain 112 Yen Lo the chief judge of Hades 38 Tang Tai Chung, Emperor of China 116 The Master 137 Sun the Monkey 2 Chu Fa Kiel the Pig 148 Sa Ho Shang, the Dandy Dolphin 162 A Dragon transformed into a Horse 143 Meditation, seeking Wisdom 13 Sun escapes from the Crucible 93 Buddha provides scriptures for the salvation of men . 105 Kwanj-in attends the founding of All Souls' Day • • 134 Sun steals Ginseng 168 Kwanyin saves the Eed Child 203 Sun puts out fire by the Magic Fan 249 Pa Kiel tempted at the Bathing Pool 271 The Monkey upsets the Peach Banquet 68 Pa Kiel clears the way through thorns 254 Pu Hien Pusa 283 W'en Shu Pusa 283 Tai Ching Kung, the chief monastery in Laoshan . - 362 •Jenghiz Khan (Prom the Historian's History'-) Our author was one of the Religious advisors of Kubla Klian, the Founder of the Mongol dynasty in China Jengliiz's grandson. INTRODUCTION BY TRANSLATOR 1. The Book There are two books in Chinese whose titles sound yary much alike, viz. , the Shi Yvi Ki (HJ^fE) and the Shi Yeu Ki (®j^|E), but they are very different. The first is a genuine record of travels in Western Lands during the Tang dynasty by the Great Buddhist Monlc Huen Chwang,* \vho left Sianfu for India in A. D. 629, and returned to the same city in A. D. 645 after an absence of sixteen years. It is a record of what he saw and heard, and was translated, first by Julien and then by Beal many years ago, with valuable notes by Watters in 1904, and many writers have written notes on these travels. The other book 0j^|ii is an Epic and an Allegory, which I have now translated, and for which I write this Introduction. So far as I know it has never before been translated into any foreign tongue. The Master in the Epic is of the same name as the monk who travelled to India, but he started on his journey in 639, ten years after the other. His destination was Heaven, not India. This book is not a drama like the book of Job, but it introduces a number of persons who play an important role in life, and whose names are given at the end of this Introduction. * In Chinese -HTitten both £ K and x K aud romanized Hioiion Thsang, nuan Chwang. Yuen Chwang. Hiuen Tiiang. Usiian Chwang aud Hhiioii Kwan. vi INTRODUCTION This book is not an epic, like the Indian Malm- barata by Vyasa, or the Iliad by Homer, nor like those of Dante or Milton, yet it deals with the two great forces of good and evil, worked out in heaven, on earth and in hades, with the final triumph of good. It is not a book of travels, yet it describes a journey across Asia, and scenes in various continents of the then known world, and it describes imaginary regions in heaven, earth and hell, unfamiliar to us in the West.
Load more

Recommended publications
  • The Misrepresentation of Representation: in Defense of Regional Storytelling in Netflix's the New Legends of Monkey
    The Misrepresentation of Representation: In Defense of Regional Storytelling in Netflix’s The New Legends of Monkey KATE MCEACHEN The 2018 Australian Broadcasting Corporation (ABC Me), Television New Zealand (TVNZ), and Netflix’s coproduction of the original series The New Legends of Monkey (2018) is a fantasy-based television series that reimagines Monkey (1978), a British Broadcasting Corporation (BBC) dubbing of the Japanese television series Saiyūki 西遊記. Saiyūki was an adaptation of the historically significant Chinese novel Xiyou ji (Wu Cheng’en, 1592), known in English as Journey to the West. Monkey gained a cult following in Australia, New Zealand, and other international markets leading to the 2018 reboot The New Legends of Monkey, which, unlike Monkey, was released in the United States (Flanagan). This new iteration prompted cultural confusion from those largely unfamiliar with the preceding series, the contexts in which it was introduced to English-speaking viewers in Australia and New Zealand, or the cult response that resulted. This article presents the recent series with this background in mind and within the context of locally produced television in New Zealand, where The New Legends of Monkey was filmed. Analysis of online discussions exposes the interpretive differences arising from this lack of context regarding the show’s connection to Monkey and highlights the problems viewers face interpreting stories outside of their local production markets—an increasingly relevant problem as more regional productions become accessible to a wide range of audiences through transnational streaming services like Netflix. The 2018 The New Legends of Monkey television adaptation, produced by and for the Australian and New Zealand markets and co-produced for international KATE MCEACHEN is currently pursuing her Doctoral Degree in Cultural Studies at The University of Southern Queensland in Australia.
    [Show full text]
  • Central Asia in Xuanzang's Great Tang Dynasty Record of the Western
    Recording the West: Central Asia in Xuanzang’s Great Tang Dynasty Record of the Western Regions Master’s Thesis Presented in Partial Fulfilment of the Requirements for the Degree of Master Arts in the Graduate School of the Ohio State University By Laura Pearce Graduate Program in East Asian Studies Ohio State University 2018 Committee: Morgan Liu (Advisor), Ying Zhang, and Mark Bender Copyrighted by Laura Elizabeth Pearce 2018 Abstract In 626 C.E., the Buddhist monk Xuanzang left the Tang Empire for India in a quest to deepen his religious understanding. In order to reach India, and in order to return, Xuanzang journeyed through areas in what is now called Central Asia. After he came home to China in 645 C.E., his work included writing an account of the countries he had visited: The Great Tang Dynasty Record of the Western Regions (Da Tang Xi You Ji 大唐西域記). The book is not a narrative travelogue, but rather presented as a collection of facts about the various countries he visited. Nevertheless, the Record is full of moral judgments, both stated and implied. Xuanzang’s judgment was frequently connected both to his Buddhist beliefs and a conviction that China represented the pinnacle of culture and good governance. Xuanzang’s portrayal of Central Asia at a crucial time when the Tang Empire was expanding westward is both inclusive and marginalizing, shaped by the overall framing of Central Asia in the Record and by the selection of local legends from individual nations. The tension in the Record between Buddhist concerns and secular political ones, and between an inclusive worldview and one centered on certain locations, creates an approach to Central Asia unlike that of many similar sources.
    [Show full text]
  • Essays on Monkey: a Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston
    University of Massachusetts Boston ScholarWorks at UMass Boston Critical and Creative Thinking Capstones Critical and Creative Thinking Program Collection 9-1997 Essays on Monkey: A Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/cct_capstone Recommended Citation Ping-I Mao, Isabelle, "Essays on Monkey: A Classic Chinese Novel" (1997). Critical and Creative Thinking Capstones Collection. 238. http://scholarworks.umb.edu/cct_capstone/238 This is brought to you for free and open access by the Critical and Creative Thinking Program at ScholarWorks at UMass Boston. It has been accepted for inclusion in Critical and Creative Thinking Capstones Collection by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. ESSAYS ON MONKEY: A CLASSIC . CHINESE NOVEL A THESIS PRESENTED by ISABELLE PING-I MAO Submitted to the Office of Graduate Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS September 1997 Critical and Creative Thinking Program © 1997 by Isabelle Ping-I Mao All rights reserved ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL A Thesis Presented by ISABELLE PING-I MAO Approved as to style and content by: Delores Gallo, As ciate Professor Chairperson of Committee Member Delores Gallo, Program Director Critical and Creative Thinking Program ABSTRACT ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL September 1997 Isabelle Ping-I Mao, B.A., National Taiwan University M.A., University of Massachusetts Boston Directed by Professor Delores Gallo Monkey is one of the masterpieces in the genre of the classic Chinese novel.
    [Show full text]
  • Le Singe Roi Cantate Transculturelle
    LE SINGE ROI CANTATE TRANSCULTURELLE Initiation ludique aux instruments emblématiques de la musique traditionnelle chinoise, en filiation du célèbre Pierre et le loup de Prokofiev qui a fait découvrir les instruments de l’orchestre occidental à des millions d’enfants sur plusieurs générations, LE SINGE ROI scénarise l’orchestre chinois. Epopée soutenue par une narration, à l’image du mimodrame l’Histoire du soldat de Stravinsky, dans cette composition, le conteur français et son binôme chinois font avancer l’histoire de leurs ponctuations. LE SINGE ROI, cantate pour chœur et orchestre mixte chinois et occidental, illustre un épisode de la célèbre fable du Xiyou ji (Voyage vers les paradis de l’Ouest), véritable joyau de la littérature chinoise, Sun Wukong san da Baigujing (sous son titre français Sun Wukong par trois fois abat la Démone au squelette blanc) de Wu Chengen (1500-1582 lettré sous la dynastie Ming), dont la narration commence ainsi : Dans la Chine des années 629 à 645, un moine de l'empire des Tang… Le héros (espiègle Roi singe joué par le violon chinois ou erhu) et ses deux compagnons, un cochon surnaturel (dont la bonhomie est incarnée par la contrebasse) et le Moine des sables (ensemble majestueux de tambours chinois) accompagné de son petit cheval-dragon blanc (au tintement du métallophone) suivent et protègent leur maître, Tangseng le Moine de l’empire des Tang (à la mélopée des flûtes chinoises ou duzhi), lors de son périple vers l’Occident en quête des canons du bouddhisme. Avant d’atteindre l’Inde, terre pure du paradis de l’Ouest, ils doivent pourfendre toutes sortes de monstres et démons (illustrés par un ensemble d’instruments à cordes pincées, cithares ou guzheng, cymbalum ou yangqin et mandoline chinoise ou pipa…) Cette pièce de concert est jouée en synchronisation avec son film, monté sur la version colorisée par la peintre O’dil des images réalisées pour ce « lianhuanhua » (bande dessinée chinoise) en 1960-1962 par les deux célèbres dessinateurs de Shanghai, Zhao Hongben (1915- 2000) et Qian Xiaodai (1911-1965).
    [Show full text]
  • The Dictionary of Chinese Deities
    THE DICTIONARY OF CHINESE DEITIES HAROLD LIU For everyone who love Chinese myth A Amitabha Amitabha is is a celestial buddha described in the scriptures of the Mahayana school of Buddhism. Amitabha is the principal buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia. An Qisheng An immortal who had live 1.000 year at he time of Qin ShiHuang. According to the Liexian Zhuan, Qin Shi Huang spoke with him for three entire days (including nights), and offered Anqi jade and gold. He later sent an expedition under Xu Fu to find him and his highly sought elixir of life. Ao Guang The dragon king of East sea. He is the leader of four dragon king. His son Ao Bing killed by Nezha, when his other two son was also incapitated by Eight Immortals. Ao Run The dragon king of West Sea. His crown prine named Mo Ang and help Sun Wukong several times in journey to the West story.His 3th son follow monk XuanZhang as hisdragon horse during Xuan Zhang's journey to the West. Ao Qin The dragon king of South sea AoShun The dragon King of North sea. Azzure dragon (Qing Long) One of four mythical animal in China, he reincanated many times as warrior such as Shan Xiongxin and Yom Kaesomun, amighty general from Korea who foiled Chinese invasion. It eleemnt is wood B Bai He Tongzhu (white crane boy) Young deity disciple of Nanji Xianweng (god of longevity), he act as messenger in heaven Bai Mudan (White peony) Godess of temptress Famous prostitute who sucesfully tempt immortal Lu Dongbin to sleep with her and absorb his yang essence.
    [Show full text]
  • Yu-Huang -- the Jade Emperor
    יו הואנג يو هوانج https://www.scribd.com/doc/55142742/16-Daily-Terms ヒスイ天使 Yu-huang -- The Jade Emperor Yu-huang is the great High God of the Taoists -- the Jade Emperor. He rules Heaven as the Emperor doe Earth. All other gods must report to him. His chief function is to distribute justice, which he does through the court system of Hell where evil deeds and thoughts are punished. Yu- huang is the Lord of the living and the dead and of all the Buddhas, all the gods, all the spectres and all the demons. According to legend he was the son of an emperor Ch'ing-te and his wife Pao Yueh-kuang who from his birth exhibited great compassion. When he had been a few years on the throne he abdicated and retired as a hermit spending his time dispensing medicine and knowledge of the Taoist texts. Some scholars see in this a myth of the sacred union of the sun and the moon, their son being the ruler of all Nature. "The good who fulfill the doctrine of love, and who nourish Yu-huang with incense, flowers, candles and fruit; who praise his holy name with respect and propriety -- such people will receive thirty kinds of very wonderful rewards." --Folkways in China L Holdus. http://www.chebucto.ns.ca/Philosophy/Taichi/gods.html Jade Emperor The Jade Emperor (Chinese: 玉皇; pinyin: Yù Huáng of the few myths in which the Jade Emperor really shows or 玉帝, Yù Dì) in Chinese culture, traditional religions his might. and myth is one of the representations of the first god (太 In the beginning of time, the earth was a very difficult 帝 tài dì).
    [Show full text]
  • China's Last Great Classical Novel at the Crossroads Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Klaipeda University Open Journal Systems 176 RES HUMANITARIAE XIV ISSN 1822-7708 August Sladek – Flensburgo universiteto germanistikos prof. dr. pensininkas. Moksliniai interesai: matematinė lingvistika, lyginamoji filologija, filosofija, ontologija. Adresas: Landwehr 27, D-22087 Hamburgas, Vokietija. El. p.: [email protected]. August Sladek – retired professor of Germanistik, Univer- sity of Flensburg. Research interests: mathematical linguistics, comparative philology, philosophy, ontology. Address: Landwehr 27, D-22087 Hamburgas, Vokietija. El. p.: [email protected]. August Sladek University of Flensburg CHINA’S LAST GREAT CLASSICAL NOVEL AT THE CROSSROADS OF TRADITION AND MODERNIZATION1 Anotacija XVII a. viduryje parašytas „Raudonojo kambario sapnas“ yra naujausias iš Kinijos ketu- rių didžiųjų klasikos romanų. Tradicinių nusidavimų romanų kontekste jis apima daugybę pasakojimo būdų – realistinį, psichologinį, simbolinį, fantastinį. Parašytas kasdiene kalba (Pekino dialektu), jis tapo svarbus moderniosios, standartinės kinų kalbos (putong hua) formavimo šaltiniu naujojo kultūros judėjimo procese nuo praeito amžiaus 3-iojo dešim- tmečio. Mao Zeddongo labai vertinamam romanui komunistai bandė uždėti „progresyvų“ antspaudą. Romano paslėpta religinė (budizmo) intencija liko nepastebėta nei skaitytojų, nei religijotyrininkų. PAGRINDINIAI ŽODŽIAI: kinų literatūra, klasikinis romanas, tradicija ir modernumas. Abstract “The Red Chamber’s Dream” from the middle of 18th century is the youngest of Chi- nas “Four Great Classical Novels”. In the cloak of traditional story-telling it deploys a 1 Quotations from the novel as well as translations of names and terms are taken from Hawkes & Minford (1973–1986). References to their translation are given by the number of volume (Roman numerals) and of pages (Arabic numerals).
    [Show full text]
  • Appendix 2 Chinese Deities and Spirits
    Appendix 2 Chinese deities and spirits This appendix includes a selection of the most common and important gods, goddesses, Buddhas, bodhisattvas, ancestors, and spirits that one can find in reli- gious sites across China. For each major religion, I present the most important deities of the pantheon as people would encounter them in a temple or other sacred space. Of course, there are many other deities presented in temples across China; yet, these are some of the most common of the range of deities – which ultimately cover all aspects of people’s physical and spiritual lives. Animistic ideas (referring to the idea of having or expecting mutually recip- rocal relationships of respect, gift-exchange, and communication; see Harvey 2013) in China stem at least as far back as the proto-Daoist text, the Zhua¯ngzi 庄子, from around 300 BCE, the first seven, inner chapters of which scholars think were written by Zhua¯ ng Zho¯u 庄周 (c. 369 BCE – c. 286 BCE). This text explains ideas about carefree living, naturalness, and relativity of perceptions, and Zhua¯ ngzi seems to attempt to get people to recognize that they live in a multi- species symbiotic community in which each aspect is in relationship and that each deserves respect. The Zhua¯ ngzi continues to be a widely-read and influential book among contemporary Chinese readers. Other popular literary texts include religiously-informed animistic ideas as well. Journey to the West (Xı¯yóujì 西游记), The Investiture of the Gods (Fe¯ngshén Yaˇnyì 封神演义), Dream of the Red Chamber (Hónglóu mèng 红楼梦), and the Water Margin (Shuıˇ huˇ zhuàn 水浒传; aka., Outlaws of the Marsh), all contain examples of some natural phenomenon such as a rock, animal, or flower, which has absorbed the essence of the cosmos for so long that it becomes a spirit being and chooses to incarnate in the human world to experience life in a human form.
    [Show full text]
  • Tao Te Ching [1] and the Founder of 老子 Philosophical Taoism, but He Is Also Revered As a Deity in Religious Taoism and Traditional Chinese Religions
    老子天使 לאו דזה 老子 ﻻو تسي Λάου-Τζε Laozi - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Lao_Tzu Laozi From Wikipedia, the free encyclopedia (Redirected from Lao Tzu) Laozi (also Lao-Tzu, Lao-Tsu , or Lao-Tze ) was a philosopher and poet of ancient China. He is best known as Laozi the reputed author of the Tao Te Ching [1] and the founder of 老子 philosophical Taoism, but he is also revered as a deity in religious Taoism and traditional Chinese religions. Although a legendary figure, he is usually dated to around the 6th century BC and reckoned a contemporary of Confucius, but some historians contend that he actually lived during the Warring States period of the 5th or 4th century BC. [2] A central figure in Chinese culture, Laozi is claimed by both the emperors of the Tang dynasty and modern people of the Li surname as a founder of their lineage. Throughout history, Laozi's work has been embraced by various anti-authoritarian movements. [3] Contents 1 Names 2 Historical views Laozi, depicted as Daode Tianzun 3 Tao Te Ching Born Zhou Dynasty 3.1 Taoism Died Zhou Dynasty 4 Influence 4.1 Eremitism Era Ancient philosophy 4.2 Politics Region Chinese philosophy 5 References School Taoism 5.1 Footnotes Notable ideas Wu wei 5.2 Bibliography Influenced 6 Further reading 7 External links Names [4] In traditional accounts, Laozi's personal name is usually given as Li Er (李耳, Old *Rəʔ N əʔ, Mod. Lǐ Ěr) and [4] his courtesy name as Boyang (trad. 伯陽, simp.
    [Show full text]
  • Fiction-2-2018-2.Pdf
    Journey the the West (With a Twist) Quarry Bay School, Bratton, Luke - 8 t was a usual evening. Sun Wukong, Zhu Bajie, White Dragon Horse and Tang Sanzang were all happily sitting around the Dining table feasting on a banquet. Everyone was having a good time. They I were telling jokes and reminding everyone about good times. Except for one thing. Zhu Bajie was acting very strangely. He just wasn't being himself. Tang Sanzang seemed to be the only one who noticed Zhu Bajie and his unusual behaviour. As it got late, they all accidentally fell asleep at the table. Sun Wukong was exhausted but just couldn't fall asleep. Out of the darkness, he saw a mysterious figure move around. When it left, Sun Wukong woke up White Dragon Horse and Tang Sanzang but Zhu Bajie was nowhere to be found. Sun Wukong explained everything about how he saw a mysterious shadow and how Zhu Bajie had disappeared. That is when Tang Sanzang joined into the conversation. He told Sun Wukong and White Dragon Horse about how he noticed that Zhu Bajie was acting strangely during dinner. The three of them decided that the next day the second they woke up they were going to search for Zhu Bajie. It was dawn. White Dragon Horse, Tang Sanzang and Sun Wukong set off for their terrific quest. White Dragon Horse agreed to carry all the supplies. Even though they knocked on every door they could find and asked if anyone had seen Zhu Bajie. But the truth fell upon them.
    [Show full text]
  • The Taoist Religion
    Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/taoistreligionOOpark : ,The Taoist Religion BY E. H. PARKER {Professor of Chinese at the Owens College). I REPRINTED FROM THE "DUBLIN REVIEW. PRICE Is. 6d. / Xonfcon LUZAC & CO., OREIGN AND ORIENTAL PUBLISHERS, ETC., 46 GREAT RUSSELL STREET, W. {Opposite the British Museum.) : The Taoist Religion i E. H.^ PARKER (Professor of Chinese at the Owens College). REPRINTED FROM THE "DUBLIN REVIEW." PRICE Is. 6<L Xonfcon LUZAC & CO., FOREIGN AND ORIENTAL PUBLISHERS, ETC., 46 GREAT RUSSELL STREET, W. (Opposite the British Museum.) 1925 ?37 59B278 8 a .54 THE TAOIST RELIGION, little is a significant fact that, whilst comparatively so IT has yet been done in the fields of Chinese etymology and history, where an ample supply of exact knowledge is at hand, almost every foreigner who has either seriously studied or superficially toyed with Chinese philosophical literature, where everything is so vague, considers himself at liberty to expatiate upon Taoism, although Confucius himself frankly declared it to be rather beyond his compre- hension, even when explained by the Taoist prophet him- self. Personally I have, for better or for worse, succeeded in surviving the nineteenth century without falling a victim if, thirty-five years to the fashionable cacoethes ; and after of dalliance with Chinese books, I at last yield to the tempter, I may at least be permitted to plead in palliation that I only commit in my approaching dotage that rash act which others have perpetrated in the heyday of their youth and fame.
    [Show full text]
  • The Dissemination and Localization of Anime in China: Case Study on the Chinese Mobile Video Game Onmyoji
    The dissemination and localization of anime in China: Case study on the Chinese mobile video game Onmyoji Wuqian Qian The Department of Asian, Middle Eastern and Turkish Studies Master Program in Asian Studies, 120 hp Autumn term 2016 Supervisor: Jaqueline Berndt English title: Professor Abstract In the 2017 Chinese Gaming Industry Report, a new type of video games called 二次 元 game is noted as a growing force in the game industry. Onmyoji is one of those games produced by Netease and highly popular with over 200 million registered players in China alone. 二次元 games are characterized by Japanese-language dubbing and anime style in character design. However, Onmyoji uses also Japanese folklore, which raises two questions: one is why Netease chose to make such a 二次元 game, the other why a Chinese game using Japanese folklore is so popular among Chinese players. The attractiveness of an exotic culture may help to explain the latter, but it does not work for the first. Thus, this thesis implements a media studies perspective in order to substantiate its hypothesis that it is the dissemination of anime in China that has made Onmyoji possible and successful. Unlike critics who regard anime as an imported product from Japan which is different from domestic Chinese animation and impairs its development, this study pays attention to the interrelation between media platforms and viewer (or user) demographics, and it explores the positive influence of Japanese anime on the Chinese creative industry, implying the feasibility of anime or 二次元 products to be created in other countries than Japan.
    [Show full text]