DOCSLIB.ORG

Zen Painting & Calligraphy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zen Painting & Calligraphy SAN FRANCISCO PUBLIC LIBRARY 1223 02649 4907 amiEDUE [ SEPT 2 1997, 1I- —g—' 1» "> f ^ ' Bk Printed in USA . /30 CT - 8 1991 'painting £*- Calligraphy An exhibition of works of art lent by temples, private collectors, and public and private museums in Japan, organized in collaboration with the Agency for Cultural Affairs of the Japanese Government. Jan Fontein & Money L. Hickman of fine Arti, Boston Distributed by New York Graphic Society, Greenwich, Connecticut Copyright © 1970 by Museum of Fine Arts, Boston, Massachusetts All rights reserved ISBN 0-87846-001-2 Library of Congress Catalogue Card No. 76-127853 Typeset in Linofilm Palatino by Wrightson Typographers, Boston Printed by The Meriden Gravure Co., Meriden, Conn. Designed by Carl F. Zahn Dates of the Exhibition: November 5-December 20,1970 709-5,F737z Fontein, Jan Zen painting et v calligraphy Cover illustration: 20. "Red-Robed" Bodhidharma, artist, unknown, ca. 1271 Title page illustration: 48. Kanzan and Jittoku, traditionally attributed to Shubun (active second quarter of 15th century) (detail) S.F. PUBLIC LIBRARY 3 1223 02649 4907 I Contents Foreword vii Preface ix Acknowledgments xi Chronology xii Introduction xiii The Beginnings of Ch'an Buddhism, xiii Chinese and Indian Thought in Ch'an Buddhism, xiv The Northern and Southern Schools, xvi The Earliest Form of Ch'an Art, xvi The Consolidation and Expansion of the Ch'an Sect, xvii Kuan-hsiu (832-912): The Birth of Ch'an Art, xix Ch'an Literature and Koan, xxi Ch'an Art during the Northern Sung Period (960-1126), XXII Ch'an Monks and Literati, xxm The Repertoire of Ch'an Themes, xxiv The Buddha and Figures from the Buddhist Pantheon,xxiv Zenkiga, xxvi The Ch'an Eccentrics in Art, xxix Chinso: The Portraits of Ch'an Masters, xxx Landscapes, Animals, and Plants, xxxi Ch'an Monks and Literati in the Southern Sung and Yuan Periods, xxxii The End of Ch'an Art in China, xxxvi Zen: Its Establishment in Japan, xxxvi Zen Monks in China during Late Kamakura Times, xxxix Japanese Chinso, xl Bokuseki: The Calligraphy of Ch'an and Zen Monks, xlii The Gozan Monasteries and Their Literary School, xlv Zen Suiboku Painting: Origins and Evolution, xlvi Zen Art in the Edo Period, liii Catalogue 1 Glossary 169 Index 170 page v / foreword I should first like to offer my warmest congratu¬ We hope that the many people who will see lations to the Museum of Fine Arts, Boston, on this exhibition will not only gain insight into the occasion of its hundredth anniversary. the profound meaning of Zen forms but will also From the time of its founding, the Museum's be moved by the lofty spiritual content of these relationship with Japan has been of an extremely pieces. We trust also that the exhibition, which close nature. Ernest Fenollosa, who first came is wholly fitting for the commemoration of the to Japan in 1878 and later developed a boundless Museum's one hundredth anniversary, will be appreciation for Japanese art, and his friend and an outstanding success. follower Okakura Tenshin, the ardent advocate FilDEMI Kohn of the beauty of Far Eastern art, were both Commissioner of the Agency for Cultural Affairs energetic men who held important positions Tokyo in the Asiatic Department of the Museum of Fine Arts. These men performed a role of great importance in stimulating interest in Japan and in Japanese art among many segments of the public in America, and the deeper under¬ standing that they brought about represents one of the brightest achievements in the history of cultural exchange between our two countries. In the following decades, the Museum diligently continued to collect and exhibit pieces of Asiatic art, and it has maintained to the present day its reputation of having the foremost collection in this field in Europe and America. This exhibition of Zen art, held in honor of the Museum's centennial year and in collabora¬ tion with the Agency for Cultural Affairs, is particularly appropriate in light of the Museum's unique history of association with Asiatic art. The Agency for Cultural Affairs looks on this enterprise with particular enthusiasm and takes great pleasure in being able to send these seventy-one superlative items, which have been assembled through the kind cooperation of temples and private collectors as well as public and private museums. The selection has been carried out in full consultation with specialists from the Museum of Fine Arts. To show the broad scope and distinctive characteristics of Ch'an art in China and Zen art in Japan, and to permit the viewer to increase his appreciation and knowledge of this unique body of Asiatic art, every effort has been made to bring together a wide range of works dating from the Sung and Yuan periods in China and the Kamakura, Muromachi, and later periods in Japan, including chinso portraits; paintings of patriarchs and eccentrics, of landscapes, birds, animals, and plants; and calligraphy by eminent monks. pagevn '{Preface Zen — who has not responded to that word with thanks. First, we are profoundly grateful to the bafflement, or with curiosity, or with enough lenders: the national and private museums of insight into the infinity of the subject it connotes Japan, the monasteries, and the private col¬ to wish to explore it further? The ancient lectors who have parted temporarily with philosophy of Zen Buddhism, which had its cherished works. We also acknowledge our debt roots in India and traveled to China and Korea to Mr. Hidemi Kohn, Commissioner, Agency for and thence to Japan in the twelfth and thirteenth Cultural Affairs (Bunkacho), who received me centuries, has so deeply penetrated the life of with great courtesy in Tokyo, and the Deputy the Far East that it has affected many expressions Commissioner, Mr. Kenji Adachi, who came to of its culture. This is especially true of the Boston to arrange the details of the exhibition, traditional culture of Japan, where perhaps the and Mr. Jo Okada, Counsellor, Cultural Proper¬ most intimate and personal of these expressions ties Protection Department. Their friendly are Zen-inspired painting and calligraphy. response and cooperative spirit throughout our In recent years an appreciation of Zen prin¬ preparations continue an ancient tradition of ciples has spread throughout the United States, cordial relations, now nearly one hundred years so that the meaning of the word Zen is now old, between Japan and the Boston Museum. widely understood in our country. A generation It is this bond that we also celebrate on our ago this would not have been the case. Yet, in Centennial. spite of this interest, this is the first exhibition Perry Townsend Rathbone of Zen painting and calligraphy to be held in Director the Western world. Two very distinguished men Museum of Fine Arts, Boston who figure prominently in the Museum's history would have been deeply pleased, I believe, by this event, held in honor of our one hundredth anniversary. These were Okakura Kakuzo, second curator of the Asiatic Depart¬ ment, and William Sturgis Bigelow, "a follower of the Buddha, a lover and collector of the fine arts of Japan, a recipient of the Order of the Rising Sun," as his gravestone near Kyoto is inscribed. Both men were greatly interested in Zen. Okakura translated an ancient Chinese text on the subject of meditation, that char¬ acteristic feature of Zen discipline, and ten years later, in 1923, it was published in the Harvard Theological Review with a prefatory note by Dr. Bigelow. This work, entitled "On the Method of Practising Concentration and Contemplation," was probably the earliest scholarly translation dealing with this subject. Among the masterpieces of Zen painting and calligraphy in Japan are a number of precious early works of Chinese origin. Twenty-seven of these are included in the exhibition and are shown for the first time outside Japan. For this unprecedented loan of works of art, including two national treasures and thirty-eight "Important Cultural Properties," I should like to express on behalf of our trustees sincerest page ix Acknowledgments The idea of an exhibition of Ch'an and Zen art Mr. Kurata Bunsaku, Head of the Curatorial was conceived with the optimism of the Department of the Tokyo National Museum, for ignorant, and its final realization has brought his valuable assistance in the preparatory stages the organizers more humility than knowledge. of planning. If we have achieved anything at all, it is thanks Many aspects of the paintings would have to the many Japanese scholars whose studies of remained obscure without the help of Professor the works of art exhibited here were an invalua¬ Shujiro Shimada of Princeton University; ble source of information and inspiration. But, Dr. Hellmut Brinker, of the Rietberg Museum, even though we have relied heavily upon their Zurich, thoughtfully made available to us his opinions, this should not make them in any way notes on Professor Shimada's Japanese painting responsible for the opinions and statements seminar held at Princeton, and these have been made in the catalogue. the source of substantial information. Professor In one respect, however, we were left to our John M. Rosenfield, of Harvard University, own devices. In writing the descriptions of the kindly consented to read our manuscript and paintings, we could not, like our Japanese col¬ suggested many improvements. leagues, reprint without comment the text of Mr. Chimyo Horioka and Mr. Yasuhiro Iguchi the colophons and encomiums, which often of the Department of Asiatic Art have con¬ grace these paintings. We faced the sobering tributed to the exhibition and to this catalogue choice of ignoring, paraphrasing, or translating in a multitude of ways. They have given us the them.
Load more

Recommended publications
  • Jichihan and the Restoration and Innovation of Buddhist Practice
    Japanese Journal of Religious Studies 1999 26/1-2 Jichihan and the Restoration and Innovation of Buddhist Practice Marc Buijnsters The various developments in doctrinal thought and practice during the Insei and Kamakura periods remain one of the most intensively researched fields in the study of Japanese Buddhism. Two of these developments con­ cern the attempts to restore the observance of traditional Buddhist ethics, and the problem of how Pure La n d tenets could be inserted into the esoteric teaching. A pivotal role in both developments has been attributed to the late-Heian monk Jichihan, who was lauded by the renowned Kegon scholar- monk Gydnen as “the restorer of the traditional precepts ” and patriarch of Japanese Pure La n d Buddhism.，’ At first glance, available sources such as Jichihan’s biograpmes hardly seem to justify these praises. Several newly discovered texts and a more extensive use of various historical sources, however, should make it possible to provide us with a much more accurate and complete picture of Jichihan’s contribution to the restoration and innovation of Buddhist practice. Keywords: Jichihan — esoteric Pure Land thousfht — Buddhist reform — Buddhist precepts As was n o t unusual in the late Heian period, the retired Regent- Chancellor Fujiwara no Tadazane 藤 原 忠 実 （1078-1162) renounced the world at the age of sixty-three and received his first Buddnist ordi­ nation, thus entering religious life. At tms ceremony the priest Jichi­ han officiated as Teacher of the Precepts (kaishi 戒自帀；Kofukuji ryaku 興福寺略年代記，Hoen 6/10/2). Fujiwara no Yorinaga 藤原頼長 (1120-11^)0), Tadazane^ son who was to be remembered as “Ih e Wicked Minister of the Left” for his role in the Hogen Insurrection (115bハ occasionally mentions in his diary that he had the same Jichi­ han perform esoteric rituals in order to recover from a chronic ill­ ness, achieve longevity，and extinguish his sins (Taiki 台gd Koji 1/8/6， 2/2/22; Ten，y6 1/6/10).
    [Show full text]
  • Some Observations on the Weddings of Tokugawa Shogun’S Daughters – Part 2
    University of Pennsylvania ScholarlyCommons Department of East Asian Languages and Civilizations School of Arts and Sciences October 2012 Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2 Cecilia S. Seigle Ph.D. University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/ealc Part of the Family, Life Course, and Society Commons, Inequality and Stratification Commons, and the Social and Cultural Anthropology Commons Recommended Citation Seigle, Cecilia S. Ph.D., "Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2" (2012). Department of East Asian Languages and Civilizations. 8. https://repository.upenn.edu/ealc/8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/ealc/8 For more information, please contact [email protected]. Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2 Abstract This section discusses the complex psychological and philosophical reason for Shogun Yoshimune’s contrasting handlings of his two adopted daughters’ and his favorite son’s weddings. In my thinking, Yoshimune lived up to his philosophical principles by the illogical, puzzling treatment of the three weddings. We can witness the manifestation of his modest and frugal personality inherited from his ancestor Ieyasu, cohabiting with his strong but unconventional sense of obligation and respect for his benefactor Tsunayoshi. Disciplines Family, Life Course, and Society | Inequality and Stratification | Social and Cultural Anthropology This is available at ScholarlyCommons: https://repository.upenn.edu/ealc/8 Weddings of Shogun’s Daughters #2- Seigle 1 11Some Observations on the Weddings of Tokugawa Shogun’s Daughters – Part 2 e.
    [Show full text]
  • Zhuan Falun Li Hongzhi
    Zhuan Falun Li Hongzhi (Pre-publication Version) 2018 English Version Online edition, version 1.1 Last updated: August 27, 2018 1 On Dafa* (Lunyu) Dafa is the wisdom of the Creator. It is the bedrock of creation, what the heavens, earth, and universe are built upon. It encompasses all things, from the utmost minuscule to the vastest of the vast, while manifesting differently at each of the cosmic body’s planes of existence. Out of the depths of the cosmic body, the tiniest of particles first appear, with layers upon layers of countless particles following, ranging in size from small to great, reaching all the way to the outer planes that humankind knows— those of atoms, molecules, planets, and galaxies—and beyond, to what is still larger. Particles of varying sizes make up lives of varying sizes as well as the worlds of varying sizes that permeate the cosmic body. Lives at any of the various planes of particles perceive the particles of the next larger plane to be planets in their skies, and this is true at each and every plane. To the lives at each plane of the universe, it seems to go on infinite- ly. It was Dafa that created time and space, the multitude of lives and spe- cies, and all of creation; all that exists owes to it, with nothing outside of it. All of these are the tangible expressions, at different planes, of Dafa’s qualities: zhen, shan, and ren.* However advanced people’s means of exploring space and probing life may be, the knowledge gained is limited to certain parts of this one dimen- sion, where human beings reside, at a low plane of the universe.
    [Show full text]
  • Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Buddhist Revivalist Movements Alan Robert Lopez Buddhist Revivalist Movements
    Alan Robert Lopez Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Buddhist Revivalist Movements Alan Robert Lopez Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Alan Robert Lopez Chiang Mai , Thailand ISBN 978-1-137-54349-3 ISBN 978-1-137-54086-7 (eBook) DOI 10.1057/978-1-137-54086-7 Library of Congress Control Number: 2016956808 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover image © Nickolay Khoroshkov / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc.
    [Show full text]
  • View of the Study
    UNIVERSITY OF CINCINNATI Date: March 2, 2005 I, MICHAEL DAVID FOWLER, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano It is entitled: Toshi Ichiyanagi’s Piano Media: Finding Parallelisms to Patterns in Japanese Culture. This work and its defense approved by: Chair: James Culley Kenneth Griffiths Frank Wienstock _______________________________ 2 Toshi Ichiyanagi’s Piano Media: Finding Parallelisms to Patterns in Japanese Culture A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment for the degree of DOCTOR OF MUSICAL ARTS IN PIANO in the Keyboard Division, of the College Conservatory of Music 2005 by Michael D. Fowler Dip.Mus., University of Newcastle, 1994 B.Mus. (Hons), University of Newcastle, 1996 M.M. University of Cincinnati, 1999 Committee Chair: James Culley 3 ABSTRACT This thesis is concerned with the musical analysis of Toshi Ichiyanagi’s 1972 solo piano composition Piano Media, and an examination of musical processes and considerations that mirror and parallel patterns of traditional Japanese culture. Through brief studies of language construction, Zen, Pachinko and traditional aesthetics, analogies and references can be used to highlight congruent musical structures and predilections in Ichiyanagi’s work. The final goal is to define the work not only within musical terms of analysis, but also within a cultural context. 4 Copyright © 2004 by Michael Fowler All Rights Reserved 5 CONTENTS Chapter I. INTRODUCTION . 9 Overview of the Study PART 1. SELECTED ELEMENTS OF JAPANESE CULTURE II. THE CULTIVATION OF THE JAPANESE SENSIBILITY THROUGH THE ARTS .
    [Show full text]
  • English Index of Taishō Zuzō
    APPENDIX 2: TEXTS CITED FROM THE TZ. TZ. (Taisho Zuzobu) is the iconographic section of the Taisho edition of the Chinese Tripitaka. The serial numbers of the Hobogirin are given in brackets. Volume 1 1. (2921) Hizoki ‘Record kept secretly’: 1. Kukai (774-835). 2. Mombi (8th cent.). 2. (2922) Daihi-taizd-futsu-daimandara-chu - Shoson-shuji-kyoji-gydso-shoi-shosetsu-fudoki ‘Observations on the bljas, symbols, forms, and disposition of the deities in the Garbhadhatu-mandala’, by Shinjaku (886-927). 3. (2923) Taizo-mandara-shichijushi-mon ‘Seventy-four questions on the Garbhadhatu’, by Shinjaku (886-927). 4. (2924) Ishiyama-shichi-shu ‘Collection of seven items at Ishiyama’, by Junnyu (890-953). The seven items are: Sanskrit name, esoteric name, blja, samaya symbol, mudra, mantra and figure. 5. (2925) Kongokai-shichi-shu ‘Collection of seven items of the Vajradhatu’, by Junnyu (890-953). 6. (2926) Madara-shd ‘Extract from mandala’, by Ninkai (955-1046). No illustration. 7. (2927) Taizo-sambu-ki ‘Note on three families of the Garbhadhatu’ by Shingo (934-1004). 8. (2928) Taiz5-yogi ‘Essential meaning of the Garbhadhatu’, by Jojin (active in 1108). No illustration. 9. (2929) Ryobu-mandara-taiben-sho ‘Comparison of the pair of mandalas’, by Saisen (1025-1115). No illustration. 10. (2930) Taizokai-shiju-mandara-ryaku-mo ndo ‘Dialogue on the fourfold enclosures of the Garbhadhatu’, by Saisen (1025-1115). No illustration. 11. (2931) Kue-hiyo-sho ‘Extract of the essentials of the nine mandalas’, author unknown. 12. (2932) Ryobu-mandara-kudoku-ryakusho ‘Extract on the merit of the pair of mandalas’, by Kakuban (1095-1143).
    [Show full text]
  • Okakura Kakuzō's Art History: Cross-Cultural Encounters
    Asian Review of World Histories 2:1 (January 2014), 17-45 © 2014 The Asian Association of World Historians doi: http://dx.doi.org/10.12773/arwh.2014.2.1.017 Okakura Kakuzō’s Art History: Cross-Cultural Encounters, Hegelian Dialectics and Darwinian Evolution Masako N. RACEL Kennesaw State University Kennesaw, United States [email protected] Abstract Okakura Kakuzō (1863-1913), the founder of the Japan Art Institute, is best known for his proclamation, “Asia is One.” This phrase in his book, The Ideals of the East, and his connections to Bengali revolutionaries resulted in Okakura being remembered as one of Japan’s foremost Pan-Asianists. He did not, how- ever, write The Ideals of the East as political propaganda to justify Japanese aggression; he wrote it for Westerners as an exposition of Japan’s aesthetic heritage. In fact, he devoted much of his life to the preservation and promotion of Japan’s artistic heritage, giving lectures to both Japanese and Western audi- ences. This did not necessarily mean that he rejected Western philosophy and theories. A close examination of his views of both Eastern and Western art and history reveals that he was greatly influenced by Hegel’s notion of dialectics and the evolutionary theories proposed by Darwin and Spencer. Okakura viewed cross-cultural encounters to be a catalyst for change and saw his own time as a critical point where Eastern and Western history was colliding, caus- ing the evolution of both artistic cultures. Key words Okakura Kakuzō, Okakura Tenshin, Hegel, Darwin, cross-cultural encounters, Meiji Downloaded from Brill.com10/02/2021 09:32:22PM via free access 18 | ASIAN REVIEW OF WORLD HISTORIES 2:1 (JANUARY 2014) In 1902, a man dressed in an exotic cloak and hood was seen travel- ing in India.
    [Show full text]
  • Representations of Pleasure and Worship in Sankei Mandara Talia J
    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
    [Show full text]
  • Ran In-Ting's Watercolors
    Ran In-Ting’s Watercolors East and West Mix in Images of Rural Taiwan May 28–August 14, 2011 Ran In-Ting (Chinese, Taiwan, 1903–1979) Dragon Dance, 1958 Watercolor (81.20) Gift of Margaret Carney Long and Howard Rusk Long in memory of the Boone County Long Family Ran In-Ting (Chinese, Taiwan, 1903–1979) Market Day, 1956 Watercolor (81.6) Gift of Margaret Carney Long and Howard Rusk Long in memory of the Boone County Long Family Mary Pixley Associate Curator of European and American Art his exhibition focuses on the art of the painter Ran In-Ting (Lan Yinding, 1903–1979), one of Taiwan’s most famous T artists. Born in Luodong town of Yilan county in northern Taiwan, he first learned ink painting from his father. After teach- ing art for several years, he spent four years studying painting with the important Japanese watercolor painter Ishikawa Kinichiro (1871–1945). Ran’s impressionistic watercolors portray a deeply felt record With a deep understanding of Chinese brushwork and the of life in Taiwan, touching on the natural beauty of rural life and elegant watercolor strokes of Ishikawa, Ran developed a unique vivacity of the suburban scene. Capturing the excitement of a style that emphasized the changes in fluidity of ink and water- dragon dance with loose and erratic strokes, the mystery and color. By mastering both wet and dry brush techniques, he suc- magic of the rice paddies with flowing pools of color, and the ceeded at deftly controlling the watery medium. Complementing shimmering foliage of the forests with a rainbow of colors and this with a wide variety of brushstrokes and the use of bold dextrous strokes, his paintings are a vivid interpretation of his colors, Ran created watercolors possessing an elegant richness homeland.
    [Show full text]
  • Places of Interest in Chengdu
    Places of Interest in Chengdu Here is a brief list of interesting places in Chengdu. You can visit them conveniently by taking a taxi and showing their Chinese name to the driver. All places are also connected by metro and bus routes for you to explore. 1. 熊熊熊+++úúú000 (Xiong Mao Ji Di) Panda Base Cute pandas and beautiful environment. The house at the end has baby pandas. 2. 金金金沙沙沙WWW@@@ (Jin Sha Yi Zhi) Jinsha Site Museum Archaeological site of ancient Shu civilization (∼1000BC), where the gold ornament with sun bird is found. 3. 888uuu (Yong Ling) Yong Royal Tomb Tomb of Wang Jian who founded the kingdom of Former Shu (∼900AD). Inside there is a sculpture of the king and carvings of musicians with high artistic value. 4. \\\+++III堂堂堂 (Du Fu Cao Tang) Du Fu Thatched Cottage Residence of Du Fu, a famous poet who lived in Tang dynasty (∼700AD). Most buildings are rebuilt after Ming dynasty (∼1500AD). The Sichuan Provincial Museum is also nearby. 5. fff¯¯¯``` (Wu Hou Ci) Wu Hou Shrine Shrine of Zhuge Liang, a famous prime minister of the kingdom of Shu (∼200AD). Most buildings are rebuilt after Qing dynasty (∼1600AD). The tomb of Liu Bei who founded the kingdom of Shu is at the same site. The Jinli Folk Street is also nearby. 6. RRR羊羊羊««« (Qing Yang Gong) Green Goat Temple Taoist temple established in Tang dynasty (∼700AD). Most buildings are rebuilt after Qing dynasty (∼1600AD). Inside there is a bronze goat which is said to bring good fortune. Its restaurant serves vegetarian food (following Taoist standards).
    [Show full text]
  • Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
    UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance.
    [Show full text]
  • True Model of a Natural Chan Practitioner
    NCOUNTERS with Master E Ⅹ Sheng Yen Encounters with Master Sheng Yen Ⅹ Pocket Guides to Buddhist Wisdom E-26 Publisher: Dharma Drum Mountain Culture and Educational Foundation 5F., No. 186, Gongguan Rd., Beitou District Taipei City 112-44, Taiwan Tel: 886-2-2893-4646 Fax: 886-2-2896-0731 www.ddm.org.tw Speakers: Du Zhengmin, Ding Min, Shan Te-hsing Editorial & Production: Cultural Center, Dharma Drum Mountain Revision: International Translation Office ISBN: 978-986-96684-4-6 1st Edition: March 2019 Preface o share with the public the thoughts and life experiences Tof Dharma Drum Mountain founder Master Sheng Yen (also known as Shifu, meaning “Master”), the Sheng Yen Education Foundation embarked on a series of talks beginning in September of 2009. Fifty-two talks were given at the Sheng Yen Lecture Hall (located in the official residence where Master Sheng Yen lived in his final years). The talks were titled A Living Example, Countless Teachings— Encounters with Master Sheng Yen and we invited all his monastic and lay disciples to share with us their stories about Shifu, how he taught them through his living example and words. Listening to these speakers’ personal accounts of the interactions between teacher and student allowed the audience to commemorate Master Sheng Yen’s journey, and once again hear his gracious teachings. The talks include stories of Master Sheng Yen’s everyday life, how he would give detailed guidance to his disciples regarding their speech and actions. There are also accounts of his travels to share the Buddhadharma locally and overseas, reaching out to the public, and teaching them skillfully and flexibly based on the existing circumstances.
    [Show full text]