EUROPEAN JOURNAL OF SINOLOGY 5 (2014) — M. WOESLER, ED. —

The Role of the Heart Sutra in The · Understanding Honglou meng as A Dream about the Red Pavillion, and not as A Dream of the Red Chamber · Moulüe in the Honglou meng and in the Song of the Nibelungs · Color Symbolism of Redness in The Dream of the Red Chamber

European Journal of Sinology 5 (2014)

The European Journal of Sinology (EJSin) Editor: is published by the European Science & Martin Woesler Scholarship Association, currently under the scholarly auspices of the German Witten/Herdecke University, Witten/Ger- Association. many; Università Roma Tre, Rome/Italy

The journal contains articles, occasional All inquiries, manuscripts, job applications papers, review articles, book reviews, and books for abstracting/review should annotated translations, notes, and essays as be sent to: well as abstracts of papers of other journals Ruhr University Bochum, P. O. Box “The and monographs in German, English, University Press Bochum”, European French and Chinese dealing with the Journal of Sinology, Editor, Universitaetsst. history, economy, culture and society of 150, 44801 Bochum, Germany Greater China. Founded by Martin email: [email protected] Woesler in 2010, it offers a forum especially for scholars from the EU and other European countries. We welcome Co-Editors: contributions based on independent Luigi Moccia, Rome research by scholars (including PhD Stefan Messmann, Budapest students) everywhere. Currently the journal is actively seeking to expand its contributor base (see instructions for contributors)! Editorial Board: Joël Bellassen This is a PEER REVIEWED publication. Lutz Bieg It is INDEXED in the European Citation Claudia von Collani ® Index , the Index of the European Science Hermann Halbeisen & Scholarship Association. Harald Holz Papers accepted by this journal count for the European IMPACT FACTOR®. Frank Kraushaar Peter Kupfer It is ABSTRACTED in: Bulletin of the German China Association. Wolfgang Ommerborn The Journal of Sinology is a REFEREED Gregor Paul academic journal published once a year Karl-Heinz Pohl both in print and electronic form Guido Rappe (http://china-studies.com). Andrea Riemenschnitter

Maurizio Scarpari Helwig Schmidt-Glintzer Harro von Senger Helmolt Vittinghoff

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Contents Preview

EJSin 6 (2015) EJSin 5 (2014) Editorial...... 7-8

Editorial...... 7-8 The Idea of ‘Law’ in China: Overview The Role of the Heart Sutra Luigi Moccia...... 9-55 in The Dream of the Red Chamber HONGLOU MENG SERIES...... 57 Karl-Heinz Pohl ...... 9-20 Why it would be much more correct 3rd International Dream of the Red to understand HLM as A Dream about Chamber Conference in Europe...... 58-61 the Red Pavillion, and not as A Dream of the Red Chamber A Crane standing amidst Chickens: Xueqin’s Art of Bird Marina Čarnogurská ...... 21-37 Symbolism Viewed against His Moulüe in the Honglou meng 红楼梦 Kin’s and Friends’ Writings and in the Nibelungenlied (Song of the Zhou Zuyan...... 62-70 Nibelungs) Comparing ’s and Harro von Senger ...... 38-60 Baiwei’s Qingwen with Gabriele A Dream of Equality – Has it been D’Annunzio’s Bianca Maria: achieved? Some Legal Aspects of the A Study in Sino-Italian Literary Facts in A Dream of Red Mansions Decadence Marián Gálik...... 72-83 Stefan Messmann ...... 61-75

Color Symbolism of Redness in Baochai Chasing Butterflies: The Dream of the Red Chamber Visual Culture in Honglou meng Wei ...... 76-110 Kimberly Besio ...... 84-105

Index ...... 111-112 Index...... 106-107 POHL, “ROLE OF THE HEART SUTRA IN DREAM OF THE RED CHAMBER”, IN: EJSIN 5 (2014) 9 - 20 9

The Role of the “Form does not differ from emptiness; emptiness does not differ from form. Heart Sutra in the Form is nothing but emptiness; emptiness is nothing but form.” Dream of the The message of non-duality is crucial Red Chamber to the understanding of The Dream of the Red Chamber: There is no difference Karl-Heinz Pohl between “emptiness” 空 and “form/lust” 色, no difference between “true” (reality 真) and “false” (fiction 假), no difference Abstract between Buddhist awakening and The Dream of the Red Chamber can be passion/love, no difference between read in a philosophical, that is, in a Samsara and Nirvana. Daoist/ Buddhist way: understanding the Hence, one has to go through the vanity of life by going through its fullness world of passion and love (“red dust”) in (of desires, passions and lust). order to awake to emptiness – which can Important for a Buddhist reading of also be the result of reading the book! the is some knowledge of the

“Heart Sutra” (心经), one of the most popular and influential Buddhist Keywords scriptures in general. What are and where Mahayana Buddhism, Vimalkirti Sutra, do we find the signals to the Buddhist Non-Duality, Emptiness, Thusness meaning of the novel?

Central terms and ideas of the “Heart

Sutra” frame the book (in its first and last The Dream of the Red Chamber (Honglou chapter), in particular the idea of Non- meng 红楼梦) by Cao Xueqin 曹雪芹 (c. 不二 Duality ( ), which arises from the 1715-1763), also known in English as The central passage of the “Heart Sutra”: Story of the Stone, is celebrated as the 10 EUROPEAN JOURNAL OF SINOLOGY 5 (2014) greatest of all , phical question: What is true and what is and this rightly so. None other matches it false? Or, as a semi-biographical novel: in its richness of content, its psychologi- what is reality (zhen 真 ) and what is cal characterization, its detailed de- fiction ( 假)? – in the language of Goe- scription of social life of the the, the relationship between "Dichtung and its sensitivity to standards of traditio- und Wahrheit" (Fiction and Truth). nal Chinese aesthetics, such as the enjoy- ment of gardens, poetry, painting and The Daoist/Buddhist reading is cer- calligraphy. For this reason, the studies tainly one of the more fascinating ways of about the novel have become so nume- approaching the novel. Here, the central rous that they can hardly be surveyed idea is to understand the vanity of life by anymore by single researchers. going through its fullness of desires, passions and lust. Traditionally though, there are several established ways of reading the novel: as If it is to be read in this way, one a novel of manners (comparable to the needs to understand the respective signals Ping 金瓶梅 – The Plum in the Golden in the novel which is a demanding task, Vase1); as a chronicle of the decline of a particularly for a Western audience not wealthy family (like Thomas Mann’s Bud- too familiar with the respective back- denbrooks) including a political-historical ground. For non-native readers, the book frame of reference (and respective hidden is difficult enough for its many (untrans- criticism); as a sad love story; as a novel latable) puns based on the homophony of of formation/education or coming-of-age characters, particularly in the names of (what is called in German: Entwicklungsro- protagonists which are based on the man / Bildungsroman); or – in a Daoist / double meanings of zhen ("true" but as Buddhist sense – as a novel which probes another character also a common sur- into the philosophical meaning of life. name) and jia ("false", but also as another Finally, the book also elicits the philoso- character a common surname, in fact the

1 A famous (although somewhat pornographic) novel of uncertain authorship from around 1600. POHL, “ROLE OF THE HEART SUTRA IN DREAM OF THE RED CHAMBER”, IN: EJSIN 5 (2014) 9 - 20 11 surname of the main character Jia Bao- of "No-Self" (an-atman – wuwo 无我), or, 2 ). in other words, our "self" is an illusion which needs to be recognized as illusion Hence in translating the novel for a in order to reach salvation or Nirvana Wester audience, there are some crucial (release from Samsara: the cycle of birth questions: What are the limitations of and rebirth). Instead of a permanent translations into Western language? Can "self" or soul, Buddhism speaks of Five such translations be understood at all Aggregates (Skandhas, wu yun 五蕴) without too many footnotes? What are, and where do we find, the signals of which can be understood as five Buddhist meaning? functions that constitute sentient beings and thus lead to a feeling of "self". These This brief study cannot and will not Five Skandhas are: form (se 色 ), fee- attempt to compete with the vast amount lings/sensations (shou 受), volitions ( of Chinese scholarship which has ex- 想), perceptions ( 行) and conscious- plored the Buddhist and Daoist meaning ness (shi 识). At death, these Five Aggre- of the novel. It simply offers a Western audience certain clues which cannot be gates dissipate and don't survive the dead found in the standard translations. body. Although there is no permanent entity or soul being reborn, Buddhists see In order to understand the Buddhist that new life is still taking place in a kind dimension of the novel, it is necessary to of continuum. In other words, the old life first highlight a few important notions of (in terms of good or bad deeds, i.e. kar- Mahayana Buddhist thought. The central ma) influences the new life. This is illus- idea of Buddhism (and one of its main trated in the often found simile: "Like a distinctions from Indian Vedanta from billiard ball hitting another billiard ball. which Buddhism originated) is the notion While nothing physical transfers, the speed and direction of the second ball

3 2 Such as Zhen Shiyin 甄士隐 / 真事隐, Jia relate directly to the first." Yucun 贾雨村 / 假语存/村言 (Jia 贾

化 / 假话), 贾宝玉 / 假宝玉, 3 http://buddha101.com/p_nirvana_frames. Zhen Baoyu 甄宝玉 / 真宝玉 etc. htm 12 EUROPEAN JOURNAL OF SINOLOGY 5 (2014)

One of the main ideas of Mahayana other shore, but once the shore has been thought is that one needs to realize the reached, it has to be left behind.”4 "emptiness" of the "self" and thus also of The teaching of emptiness is thus only these Five Aggregates. Therefore, the a "skillful means" (upaya, fangbian 方便) of "Heart Sutra" (Bore boluomiduo xinjing 般若 the Buddha in order to lead his disciples 波罗蜜多心经) begins with the insight to the other shore. The further – and of Avalokiteshvara Bodhisattva (Guanyin higher – idea is Non-Duality (bu’er 不二). 观音) that these "Five skandhas are all And this is the main message of the empty" (五蕴皆空). But not only these Heart Sutra, the title of which stands for Five Skandhas, and hence the human self, the "heart", i.e. the core, of the so-called are "empty," all phenomena (dharmas, fa "Perfection of Wisdom Sutras" 法 ) are empty, i.e. they are not existent by (Prajnaparamita Sutras, Bore jing 般若经). virtue of a permanent substance, but originate in dependence on conditions With respect to Non-Duality, the cen- (called: "dependent co-arising", yuanqi 缘 tral passage of the Heart Sutra is as fol- lows: 起). Hence emptiness means: empty of independent existence. “Form (se 色) does not differ from empti- |ness (kong 空); Seen from this perspective, emptiness emptiness does not differ from form. (shunyata – kong 空 ) seems to be the Form is nothing but emptiness; emptiness is nothing but form.”5 ultimate essence of reality and the mes- sage of the Buddha. But according to The consequence of this insight into higher Buddhist wisdom, emptiness, too, Non-Duality is that there is no difference must be left behind as a concept. If between "conventional" and "ultimate human beings cling to emptiness, there is still attachment – and thus illusion and 4 以是義故如來常說汝等比丘知我說法如筏 suffering. This is what the Buddha 喻者法尚應捨. "Diamond Sutra”, 金刚经, teaches in the Diamond Sutra: Ch. 6: http://www.diamond-sutra.com/.

5 色不异空， 空不异色。色即是空， 空即 “The teaching of the Buddha of empti- 是色。 ness is like a raft that can bring one to the POHL, “ROLE OF THE HEART SUTRA IN DREAM OF THE RED CHAMBER”, IN: EJSIN 5 (2014) 9 - 20 13 truth" (shisudi 世俗谛，shengyidi 胜义谛), elaborates eloquently on the subject. between "relative" world and "absolute" After finishing, he turns to Vimalakirti reality, between Samsara (lunhui 轮回) and and says:

Nirvana (niepan 涅槃) and between form/ "We have each made our own exterior world (色) and emptiness (空). explanations. Sir, you should explain how the bodhisattva enters the Dharma gate But, according to Buddhist tradition, of Non-Duality." this higher wisdom of Non-Duality is something which is beyond expression; in At this point Vimalakirti was silent, fact it is unsayable. This is most vividly saying nothing. Manjusri exclaimed, illustrated in the Vimalakirti Sutra "Excellent, excellent! Not to even have (Weimojie jing 维摩诘经). This sutra, words or speech is the true entrance into 6 highly popular in Tang China (7th -11th c.), the Dharma gate of Non-Duality." describes a dispute between Buddhist While Manjusri is still wordy trying to saints and the layman Vimalakirti in speak of the unsayable, Vimalakirti reacts which the layman proves to be better in the only possible way: with silence. In versed in the Buddhist "doctrine of the cultural history of China, it has emptiness" than their actual representta- become known as the "thundering silence tives. The highlight of the sutra is a talk of Vimalakirti".7 between Vimalakirti and Manjusri (a major disciple of the Buddha) on entry 6 Ch. IX, 32-33, McRae. J. R. trans. (2004), The into the "Dharma Gate of Non-Duality" Vimalakirti Sutra, transl. from the Chinese (bu’er famen 不二法门). After the other (Taishō Volume 4, Number 475), Numata Bodhisattvas have given their opinion on Center for Buddhist Translation and Research, p. 148. the subject, they turn to Manjusri as the 7 The episode can be found on numerous most honorable among them (in fact he murals of Buddhist caves, and the legendary is the Bodhisattva of wisdom) and ask wisdom of the layman Vimalakirti – and the him for his opinion. Initially, he criticizes popularity of the Sutra with the same name – the contributions of the previous has certainly contributed to promoting a kind speakers as insufficient, then he of Buddhism not only carried by monks (and nuns), who were supposed to leave their 14 EUROPEAN JOURNAL OF SINOLOGY 5 (2014)

Let us now turn to the Buddhist Rea- In chapter 1, the mythological story ding of The Dream of the Red Chamber. As is frame of the novel is laid out. Aeons ago, well known by Chinese "Redologists", a magical and sentient stone was aban- central terms and ideas of the Heart Sutra doned by the goddess Nüwa when she frame the novel, i.e. they appear at the mended the heavens. The stone is found beginning and ending, in particular the by a Daoist priest and a Buddhist monk terms emptiness (kong 空) and form (se and, upon its request, is taken into the 色). Although the notion of Non-Duality world where it takes on human existence.

(bu‘er 不二) is not explicitly mentioned, it Aeons later, a Daoist called Kongkong is implicitly there as will be seen. Daoren 空空道人 (the Man of the Dao who Understands the Emptiness of Also important is an understanding of Emptiness), while searching for the Dao, the double meaning of se (色): In fact, comes to the same place: and first of all, there is a Buddhist double meaning to this character: It not only “His eye fell on the inscription on a large stands for "form" (as the first of the five stone which was still discernible and he skandhas) but also for "exterior world" read it through. It was the account of the and "appearance" in general. But then Stone’s rejection for repairing heaven, its one also has to take the conventional transformation and conveyance to the meaning into consideration; that even in world of men by the Buddhist of Infinite Confucian scriptures, the character stands Space ( 茫茫大士) and the Daoist of for "sex", "lust", and attractions of Boundless Time ( 渺渺真人), and the "female beauty." In this context, it is joys and sorrows, partings and encoun- considered to be one of the so-called ters, warm and cold treatment from "four vices": drinking (jiu 酒), sex (se 色), others it had experienced.”8 riches (cai 财) and anger ( 气).

8 A Dream of Red Mansions, Xianyi & families, but one which was compatible with , transl. (4 vols.), : Foreign Chinese (Confucian) family values. Language Press, 1994, 1/3-4. POHL, “ROLE OF THE HEART SUTRA IN DREAM OF THE RED CHAMBER”, IN: EJSIN 5 (2014) 9 - 20 15

Hence it is the very same stone but in The passage ends by mentioning that, another appearance, for it had returned later on, Cao Xueqin came into from its mortal course and gained Nirva- possession of the manuscript, worked on na. Konkong Daoren talks to the stone it for ten years in his "Mourning-the-Red- and learns more about the fascinating his- Studio" (Daohong xuan 悼红轩) and tory of its life as a mortal man. In the rewrote it five times. end, he copies the inscription from begin- to end and takes it away to find a This crucial part of the passage above publisher. describes the experience of reading the story of the stone. It is a dense structure Following this, there is the crucial pas- of four sentences with four characters sage for the Buddhist reading of the no- each, wherein we find the three repeating vel: characters for "emptiness", "form" and "passion" (空, 色, 情). The passage is “From this, Kongkong Daoren notoriously cryptic and thus open for coming from emptiness (空) saw interpretation. But in structure, it is very |form/lust (色), similar to the four line passage from the and that from form/lust (色) passion (情) Heart Sutra quoted above, as well as in its |was born, appearance and the interrelationship of the transmitted passion (情) entered into the central characters for "form" and |form/lust (色), "emptiness." Interestingly, the passage and from form/lust (色) occurred the begins with and ends with the notion of |awakening to emptiness (空).” "emptiness." Apart from the two Hence he changed his name to Monk characters for "emptiness" and "form" Passion (Qing Seng 情僧) and the name there is a third one: "passion." It is the of the Story of the Stone to Record of Monk new, but central element. "Passion" is Passion.9 born from "form/lust" and, having been transmitted, it enters again into "form."

9 从此空空道人因空见色，由色生情，传情 On the basis of this there is, in the end, 入色，自色悟空。遂易名为情僧, 改《石 the awakening to emptiness (wu kong 悟 头记》为《情僧录》。 空). Consequently, the Man of the Dao 16 EUROPEAN JOURNAL OF SINOLOGY 5 (2014) who Understands the Emptiness of “Since all manifestations are born of Emptiness (thus combining in his name nothingness and in turn give rise to Daoist and Buddhist notions) changes his passion, by describing passion for what is name into "Monk Passion" (情僧) thus manifest we comprehend nothingness. capturing the idea of Non-Duality in the So the Taoist changed his name to the words of the Heart Sutra: not only form Passionate Monk and changed the title of but passion also is not different from the book from The Tale of the Stone to The 10 emptiness; and emptiness does not differ Record of the Passionate Monk.” from passion. Here the passage is completely taken Lines 3 and 4 particularly ask for out of the context of Kongkong Daoren's further interpretation. As the passage reading and editing the story of the stone. describes Kongkong Daoren's reading It reads like a philosophical musing about and editing experience of the story of the the relationship between passion to stone, it can be understood that he nothingness. The specific Buddhist transmitted passion by having it enter background is not elucidated; and into the "form" of a novel. From "form", nothingness is not an appropriate i.e. reading the novel, one can awake to translation for the Chinese term kong (空) emptiness. Hence, the experience of which is "emptiness" in its specific reading – and understanding – the whole Buddhist philosophical meaning. story about the love affairs and passions The newer and today standard of Jia Baoyu brings enlightenment translation of David Hawkes and John (awakening to emptiness). Minford makes clear that the passage Let us now turn to some major concerns the reading and editing of Western language translations and see if Kongkong Daoren: this Buddhist background is made clear “As a consequence of all this, Vanitas, or understood properly. A standard starting off in the Void (which is Truth) translation is that of and came to the contemplation of Form Gladys Yang. There we read:

10 Yang, transl., 1/7. POHL, “ROLE OF THE HEART SUTRA IN DREAM OF THE RED CHAMBER”, IN: EJSIN 5 (2014) 9 - 20 17

(which is Illusion); and from Form en- « À dater de ce jour, le moine Vanité des gendered Passion; and by communicating Vanités, à travers la vanité discerna les Passion, entered again into Form; and apparences, des apparences déduisit from Form awoke to the Void (which is l‘amour, puis réintroduisit l‘amour dans Truth). les apparences, et, par le discernement des apparences, prit pleinement con- He therefore changed his name from science de la vanité. Vanitas to Brother Amor, or the Passio- Aussi adopta-t-il, au lieu de son ancien nate Monk (because he had approached nom, celui de Moine d‘Amour, et il Truth by way of Passion), and changed substitua à l‘ancien titre celui de Relation the title of the book from The Story of the du Moine d‘Amour. » 12 Stone to The Tale of Brother Amor.”11 The translation also clarifies the The terms kong and se are explained in reading and editing process, but the brackets as Truth and Illusion which, specific Buddhist background is not however, is not their real Buddhist elucidated. Also, vanité (vanity) is not the meaning. Apart from that, "void" is not same as vacuité (emptiness) which is, in the same as "emptiness" as a French, the proper philosophical philosophical concept. The specific translation for kong. Buddhist background is not explained (such as in a footnote). Lastly, the The German translation by Ernst Latinization of the names (Vanitas and Schwarz renders the passage in an Brother Amor) does not seem to be impersonal way, similar to the Yang appropriate for characters that evolve translation: from a Chinese Buddhist background. „Weil man aus der Leere den Anblick The French translation has it like this: erschaut und durch den Anblick das - fühl entsteht, weil man durch die Wieder- gabe des Gefühls in den Anblick ein-

11 The Story of the Stone, David Hawkes & John 12 Le rêve dans le pavillon rouge, Tche-Houa & Minford, transl. (5 vols.), Harmondsworth: Jacqueline Alézaïs, transl. (2 vols.) Paris: Penguin, 1973, 1/51. Gallimard, 1981, 1/13. 18 EUROPEAN JOURNAL OF SINOLOGY 5 (2014) dringt und aus dem Anblick die Leere less Time are bringing the magic stone versteht, änderte der Dauist Kung-kung into the world of human life. He wakes seinen Namen jetzt in Tjing-seng – 'Ge- up from his dream just as the two reach a fühlvoller Mönch' – und benannte die gateway with the large inscription above: 'Geschichte vom Stein' in 'Aufzeichnun- "Illusory Land of Great Void" (Taixu gen des Gefühlvollen Mönches‘ um.“13 huanjing 太虚幻境). Before waking up and getting into a conversation with Jia Neither the Buddhist background, nor Yucun 贾雨村, he can still read the pa- the Buddhist terminology is grasped ap- propriately or is explained. The term rallel couplet on the two pillars which says: "Anblick" (sight, looks, aspect) for se 色

(form, outside appearance of things) is “When false (jia 假) is taken for true (zhen not successful, particularly not in the final 真), true becomes false. sentence which would translate roughly If non-being turns into being, being into English: "... because from the becomes non-being.”14 looks/sight one understands emptiness." This couplet is one of the most often Hence, from none of the existing quoted passages in explicating the novel translations does one get the signals or as it blurs the relationship between fiction clues of a specific Buddhist understand- and truth, between "Dichtung und ding of the story. Wahrheit" (Goethe), and is thus read with In order to further understand how respect to the camouflaging strategy of 15 the concept of Non-Duality is at work in the author. the novel, we have to look a few pages further at another passage in the first chapter. There we encounter Zhen Shyin 14 Yang, transl., 1/11. 假作真时真亦假, 无为 甄士隐 who dreams how the Buddhist of 有处有还无。

Infinite Space and the Daoist of Bound- 15 As is well-known, most studies in the field of 13 Der Traum der Roten Kammer, Rainer Schwarz & concern the question of how the Martin Woesler, transl. (3 vols.), Bochum: author's biographic background features in the Europäischer Universitätsverlag, 2006, 1/9. novel. POHL, “ROLE OF THE HEART SUTRA IN DREAM OF THE RED CHAMBER”, IN: EJSIN 5 (2014) 9 - 20 19

The passage can be read, however, he became so enlightened? Would you also from the perspective of Non- explain that?" Duality. It then concerns the questions: Zhen Shiyin's answer is: What is true and what is false? What is reality and what is fiction? What is being "The Illusory Land of Great Void is and what is non-being? What is the Blessed Land of Truth."16 enlightenment and what is passion (or attachment)? If we read the passage from Here, at the end, we find the most the Buddhist point of view, then these explicit clue to Non-Duality and thus to questions can no longer be answered the Buddhist reading of the novel: the unambiguously. In other words, true is Illusory Land of Great Void (太虚幻境), false, reality is fiction, passion is which stands for our human world of enlightenment. passion and desires, and the (Buddhist) Paradise of Thusness (zhenru fudi 真如福地 This reading we also get when we – such is the literal translation of the finally turn to the book's last chapter Blessed Land of Truth17) are one and the (120), where the question of the nature of same. It is telling that the Chinese original the Illusory Land of the Great Void is uses the same wording as we find in the answered. Zhen Shiyin and Jia Yucun, the second half of the crucial passage of the two characters that are at the beginning of the novel, come together again at the 16 Hawkes, transl., 5/371; Yang, transl., 4/2544. end and the former enlightens the latter 17 In Mahayana Buddhism, the term Thusness about Jia Baoyu's fate, that the mysterious (or Suchness), Sanskr.: tathata, Chin.: zhenru 真 Buddhist monk Infinite Space and the 如 , points to ultimate reality. The Chinese Daoist of Boundless Time have taken rendering means literally "just like". The meaning of the word is that the true nature of Baoyu, the precious stone, back to his (or reality is ineffable, beyond description and its) original place. Thereupon Jia Yucun conceptualization – it is just the way it is. asks the question: Hence it is often used interchangeably with "emptiness". Consequently, the Buddha is "But why, with such a spiritual origin, referred to, for example in the Diamond was Baoyu so enamoured of girls before Sutra, as Tathagata which means "The one who has thus come (or gone)". 20 EUROPEAN JOURNAL OF SINOLOGY 5 (2014)

Heart Sutra, cited above: "The Illusory Land of Illusion is nothing but (jishi 即是) the (Buddhist) Paradise of Thusness"18.

Hence, the Heart Sutra's message of Non-Duality frames the novel: at the be- ginning and ending. It is thus crucial for the understanding of The Dream of the Red Chamber. The conclusion is that there is no difference between Buddhist awake- ning and passion/love ( 情 ). Therefore the "Man of the Dao who Understands the Emptiness of Emptiness" (空空道 人) turns into "Monk Passion" (情僧). There is also no difference between "true" (reality, zhen 真 ) and "false" (fiction, jia 假 ); no difference between "emptiness" (空) and "form/lust" (色) and, lastly, no difference between Samsara and Nirvana.

But one has to go through the world of passion and love (called in Buddhism the "red dust of the world": hongchen 红 尘) in order to awake to this insight – and this awakening can also be the result of reading the novel.

18 Taixu huanjing, shi Zhenru fudi 太虚幻境, 即是真如福地。 “INDEX”, IN: EJSIN 5 (2014) 111 - 112 111

Index

—B— —E— literature 43, 80, 107 Besio, Kimberly 5 economy 3 Xun 23 Bieg, Lutz 3 Europe 4 —M— Bodhisattva 12, 13 —G— Mann, Thomas 10 Buddha 12, 13, 19 Gálik, Marián 5 41 Buddhism 7, 9, 11, 13, Goethe 10, 18, 38, 39, Minford, John 16, 17, 19, 20 60 44, 52, 60, 79 —C— Goethe, Johann —N— Cao Xueqin 7, 9, 15, 21, Wolfgang von 10, 18, nirvana 11 22, 23, 24, 25, 26, 28, 38, 39, 60 —O— 30, 31, 33, 34, 35, 36, Guanyin 12 Ommerborn, Wolfgang 37, 39, 44, 52, 55, 57, —H— 3 77 happiness 111 —P— China 3, 7, 8, 13, 21, 22, Hawkes, David 16, 17, Paul, Gregor 3 23, 26, 29, 33, 34, 40, 77, 79 philosophy 23 41, 43, 76, 103, 106, Holz, Harald 3 Pohl, Karl-Heinz 3, 5, 7, 107, 112 Hongkong 36 9 civilization 112 humiliation 47 —Q— Collani, Claudia von 3, 5 —I— 108 courage 45 India 39 —R— culture 3, 43, 108, 112 Internet 4 Rappe, Guido 3 —D— —J— Reich 40 Dharma 13 Jade 83, 84, 91 Republic of China 40 discourse 54 Japan 23, 39 respect 12, 18, 26, 79 Drachen 48 10, 22 Ricci, Matteo 42 Dream of the Red —L— —S— Chamber 1, 5, 7, 8, 9, List 42, 54 Samsara 14, 20, 21, 23, 36, 37, literary quality 21 [Seelenwanderung] 9, 39, 76, 77, 109, 110 literati 24 11, 13, 20 EUROPEAN JOURNAL OF SINOLOGY 5 (2014) 112

Schmidt-Glintzer, society 3 —W— Helwig 3 Sun Wu 52 wisdom 12, 13, 42, 55 Schwarz, Ernst 17 —T— Wittgenstein 43 Senger, Harro von 3, 4, Taiwan 41 Woesler, Martin 3, 4, 8, 5, 38, 40, 41, 44, 52 tradition 8, 13 18, 44, 52, 60 Shanghai 41, 44, 79 —U— —Y— Shuihu zhuan 22 USA 4, 8 Yongzheng 34