PACIFIC WORLD Journal of the Institute of Buddhist Studies
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HONEN SHONIN and the PURE LAND MOVEMENT by Edmund Theron Gilday B.A., University of Wisconsin, 1973 a THESIS SUBMITTED in PARTIA
HONEN SHONIN AND THE PURE LAND MOVEMENT by Edmund Theron Gilday B.A., University of Wisconsin, 1973 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF RELIGIOUS STUDIES UNIVERSITY OF BRITISH COLUMBIA We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March, 1980 (c) Edmund Theron Gilday, 1980 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be al1 owed without my written permission. Department of Religious Studies The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 ii ABSTRACT In this study of Honen Shonin and his relation to the institutionali• zation of an independent Japanese Pure Land school, I have attempted to isolate the religious and doctrinal issues which affected the evolution of Pure Land salvationism in general and Japanese Buddhism in particular. The background for this:analysis is provided in Part One, which is a discussion of the religious background to Honen and his ideas, and a summary.of the immediate historical and religious circumstances, put of which Honen's Pure Land soteriology emerged. Part Two consists of a detailed analytical description of the Senchaku^shu (jff/jf )? Honen's major dissertation on Pure Land doctrine. -
REL 444/544 Medieval Japanese Buddhism, Fall 2019 CRN16061/2 Mark Unno
REL 444/544 Medieval Japanese Buddhism, Fall 2019 CRN16061/2 Mark Unno Instructor: Mark T. Unno, Office: SCH 334 TEL 6-4973, munno (at) uoregon.edu http://pages.uoregon.edu/munno/ Wed. 2:00 p.m. - 4:50 p.m., Condon 330; Office Hours: Mon 10:00-10:45 a.m.; Tues 1:00-1:45 p.m. No Canvas site. Overview REL 444/544 Medieval Japanese Buddhism focuses on selected strains of Japanese Buddhism during the medieval period, especially the Kamakura (1185-1333), but also traces influences on later developments including the modern period. The course weaves together the examination of religious thought and cultural developments in historical context. We begin with an overview of key Buddhist concepts for those without prior exposure and go onto examine the formative matrix of early Japanese religion. Once some of the outlines of the intellectual and cultural framework of medieval Japanese Buddhism have been brought into relief, we will proceed to examine in depth examples of significant medieval developments. In particular, we will delve into the work of three contemporary figures: Eihei Dōgen (1200-1253), Zen master and founding figure of the Sōtō sect; Myōe of the Shingon and Kegon sects, focusing on his Shingon practices; and Shinran, founding figure of Jōdo Shinshū, the largest Pure Land sect, more simply known as Shin Buddhism. We conclude with the study of some modern examples that nonetheless are grounded in classical and medieval sources, thus revealing the ongoing influence and transformations of medieval Japanese Buddhism. Themes of the course include: Buddhism as state religion; the relation between institutional practices and individual religious cultivation; ritual practices and transgression; gender roles and relations; relations between ordained and lay; religious authority and enlightenment; and two-fold truth and religious practice. -
The Shôkyû Version of the Kitano Tenjin Engi Emaki: a Brief Introduction to Its Content and Function
Eras Edition 11, November 2009 – http://www.arts.monash.edu.au/publications/eras The Shôkyû version of the Kitano Tenjin engi emaki: A brief introduction to its content and function Sara L. Sumpter (University of Pittsburgh) Abstract: This article examines the political and social atmosphere surrounding the production of the thirteenth-century hand scroll Kitano Tenjin engi emaki (Illustrated Legends of the Kitano Shrine), which depicts the life, death and posthumous revenge of the ninth-century courtier Sugawara no Michizane. The article combines an analysis of the content and religious iconography of the scroll, a study of early Japanese beliefs in angry spirits of the dead, and a narration of the actual life of Michizane in an attempt to produce a sketch of the rituals and superstitions of Heian and early Kamakura period Japanese society, and to suggest possible functions of the hand scroll that complement them. The hand scroll sets collectively known as the Kitano Tenjin engi emaki (Illustrated Legends of the Kitano Shrine) each tell the story of the life and death of the ninth- century courtier and poet, Sugawara no Michizane (845–903), and of the posthumous revenge undertaken by his vengeful spirit (onryô). According to the scrolls, Michizane was falsely accused of treason by rivals at the Heian court who were jealous of his astronomical rise to power. He was exiled to Dazaifu on the island of Kyushu in 901 and died there two years later in despair. His spirit persisted in seeking retribution against his enemies and in reclaiming his position and honours. He is said to have stalked his numerous rivals in the form of the thunder god (raijin) before ultimately revealing to a frightened court, through a series of intermediaries, the means of his pacification: deification and worship at the Kitano Shrine in Kyoto.1 Today the Kitano Tenjin engi emaki (hereafter referred to as the Tenjin scrolls) number more than thirty extant examples, ranging in date from the early thirteenth century to the nineteenth century. -
The Classification of Buddhism Bukkyo Kyohan
Bruno Petzold The Classification of Buddhism Bukkyo Kyohan Comprising The Classification of Buddhist Doctrines in India, China and Japan In collaboration with Shinsho Hanayama edited by Shohei Ichimura 1995 Harrassowitz Verlag • Wiesbaden Table of Contents PREFACE ' xiii EDITOR'S INTRODUCTION xix PARTI GENERAL INTRODUCTION : 3 CHAPTER ONE Classification in General As Found in the Natural and Moral World 5 §1. Definition of the Concept of "Classification" 5 §2. Popular Classifications: Spontaneous and Conscious 6 §3. Scientific Classifications, Artificial and Natural 8 §4. Erroneous and Fallacious Classifications 22 §5. Appreciation of the Classifications 28 §6. The Classification of Religions 29 CHAPTER TWO Buddhist Classifications and Classifying Thought 33 §1. Origin and Intent of the Buddhist Classifications 33 §2. The Classificatory Concept in Buddhism Compared with that of Christianity 42 CHAPTER THREE Hon-gaku-Mon and Shi-kaku-Mon 50 §1. Buddhist Endeavours at Classification, Past and Modern 50 §2. Hon-gaku-mon: the Fountainhead of Buddhist Religiosity ; 62 §3. Hon-gaku-mon and Shi-kaku-mon Compared with Western Religious and Philosophical Conceptions 70 PART II INDIAN BUDDHISM AND CLASSIFICATION 87 CHAPTER FOUR The Original Source of Classifications in the Works of Indian Buddhist Masters 89 §1. A Contrast between Indian and Chinese Mentality as to the Principles of Classification 89 §2. Rudimentary Classifications in Ancient Indian Buddhism 90 §3. Classifications Introduced or Influenced by Non-Chinese Scholar-Monks 95 PART III CHINESE BUDDHISM: PRIMITIVE CHINESE CLASSIFICATIONS 101 vi Table of Contents CHAPTER FIVE Introduction to the Five Groups of Classification in the Namboku-cho Era 103 §1. Buddhism in the Southern and Northern Dynasties 103 §2. -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Notes on the Avatamsaka Sutra
View metadata, citation and similar papers at core.ac.uk brought to you by CORE NOTES ON THE AVATAMSAKA SUTRA bpO understand the Avatamsaka Sutra, the following remarks -®- will be found useful. Besides the general Mahayana notions, the Avatamsaka has its own philosophy or world-conception constituting the fundamental tenets of the Kegon School of Buddhism, which is regarded by some to be the culmination of the Buddhist experience of life. First, the Buddha as the central figure naturally occupies the most important position throughout the discourse. Un like in the other sutras, the Buddha himself does not deliver a sermon, or a series of sermons; all the lecturing whatever there is done by the attending Bodhisattvas: not only the lecturing but the praising of the Buddha’s holy merits, of which there is a great deal in this sutra, in fact more than in other sutras,—all this is the doing of the Bodhisattvas. The part played by the Buddha is just to show himself in radiance, and this is the important point in the understanding of the Avatamsaka. The Buddha here is not the historical Buddha, but one in the Sagara-mudra Samadhi, which means “ Ocean-Seal Samadhi.” According to Kegon scholars, the Buddha in this Samadhi keeps his mind so serene and transparent as the ocean in which all things are sealed or im pressed, that is, reflected as they are in themselves; the world thus appearing to him is not a world of the senses, but one of light and spirit. This world is called the Dharmadhatu, that is a world of pure beings, or simply a spiritual world, and is technically known as the “ World of the Lotus Treasure.” When the world is contemplated by the Buddha in this Samadhi, it is radiant with light; for the light issues from 234 THE EASTERN BUDDHIST his body, from every part of his body, in fact from every pore in his skin, illuminating the ten quarters of the universe and revealing the past, the present, and the future. -
Tsung-Mi's Zen Prolegomenon: Introduction to an Exemplary Zen Canon
1 Tsung-mi’s Zen Prolegomenon: Introduction to an Exemplary Zen Canon Jeff Broughton The Zen tradition commonly uses the term Zen forest (ch’an-lin)to refer to the gathering or clustering of its adepts. With some justifica- tion, we could apply this forest metaphor to the literature of Zen as well, because that literature is without doubt an immense woods of staggering expanse and diversity. The enormous printed Zen litera- ture of the Sung Dynasty and beyond encompasses a wide range of genres: sayings records; biographical transmission of the lamp rec- ords, or sacred histories; ko¯an case collections providing topics for meditation practice and commentary on the part of trainees; codes for the regulation of the Zen community; rules for zazen; poetic in- scriptions; oxherding pictures that illustrate the stages of Zen prac- tice; poetry collections; lineage charts; and so on. When we include early Zen texts of the prior T’ang Dynasty that were retrieved by scholars from the cache of manuscripts discovered in the cave com- plex near the desert oasis of Tun-huang and carried off to libraries around the world, our Zen corpus grows considerably. The Tun- huang Zen manuscripts show some of the same genres as the Sung and Yu¨an printed books and some new ones as well: transmission of the lamp records, cultivation treatises, imaginary sayings, encoun- ter dialogues, apocryphal works attributed to Bodhidharma, inscrip- tions, exhortations, praises, verses, apocryphal Zen sutras, sutra commentaries by Zen figures, and so on. Within this entire Zen corpus, one text can fairly be described as unique: the Prolegomenon to the Collection of Expressions of the Zen Source (Ch’an-yuan chu-ch’uan-chi tu-hsu; abbreviated as ZP for Zen Prolegomenon) of the T’ang Dynasty Zen master and exegete Kuei- 12 the zen canon feng Tsung-mi (780–841).1 The ZP does not fit into any of the above genres; it stands alone and should be approached with this singularity in mind. -
Download a PDF Copy of the Guide to Jodo Shinshu Teachings And
Adapted from: Renken Tokuhon Study Group Text for Followers of Shinran Shonin By: Kyojo S. Ikuta Guide & Trudy Gahlinger to June 2008 Jodo Shinshu Teachings and Practices INTRODUCTION This Guide to Jodo Shinshu Teachings and Practices is a translation of the Renken Tokuhon Study Group Text for Followers of Shinran Shonin. TheGuide has been translated from the original version in Japanese and adapted for Jodo Shinshu Temples in North America. TheGuide has been developed as an introduction to Jodo Shinshu for the layperson. It is presented in 2 parts. Part One describes the life and teachings of the Buddha, and the history and evolution of Jodo Shinshu teachings. Part Two discusses Jodo Shinshu practices, including Jodo Shinshu religious days and services. The Calgary Buddhist Temple gratefully acknowledges the Renken Tokuhon Study Group for providing the original text, and our mother Temple in Kyoto - the Jodo Shinshu Hongwanji-ha - for supporting our efforts. It is our hope that this Guide will provide a basic foundation for understanding Jodo Shinshu, and a path for embracing the life of a nembutsu follower. Guide to Jodo Shinshu Teachings and Practices Table of Contents PART ONE: JODO SHINSHU TEACHINGS 1 THE LIFE OF THE BUDDHA . 2 1.1 Birth of the Buddha . 2 1.2 Renunciation . 2 1.3 Practice and Enlightenment . 2 1.4 First Sermon . 2 1.5 Propagation of the Teachings and the Sangha . 3 1.6 The Buddha’s Parinirvana . 3 1.7 The First Council . 4 2 SHAKYAMUNI’S TEACHINGS. 5 2.1 Dependent Origination (Pratitya-Samutpada) . 5 2.2 The Four Marks of Dharma. -
Sōtō Zen in Medieval Japan
Soto Zen in Medieval Japan Kuroda Institute Studies in East Asian Buddhism Studies in Ch ’an and Hua-yen Robert M. Gimello and Peter N. Gregory Dogen Studies William R. LaFleur The Northern School and the Formation of Early Ch ’an Buddhism John R. McRae Traditions of Meditation in Chinese Buddhism Peter N. Gregory Sudden and Gradual: Approaches to Enlightenment in Chinese Thought Peter N. Gregory Buddhist Hermeneutics Donald S. Lopez, Jr. Paths to Liberation: The Marga and Its Transformations in Buddhist Thought Robert E. Buswell, Jr., and Robert M. Gimello Studies in East Asian Buddhism $ Soto Zen in Medieval Japan William M. Bodiford A Kuroda Institute Book University of Hawaii Press • Honolulu © 1993 Kuroda Institute All rights reserved Printed in the United States of America 93 94 95 96 97 98 5 4 3 2 1 The Kuroda Institute for the Study of Buddhism and Human Values is a nonprofit, educational corporation, founded in 1976. One of its primary objectives is to promote scholarship on the historical, philosophical, and cultural ramifications of Buddhism. In association with the University of Hawaii Press, the Institute also publishes Classics in East Asian Buddhism, a series devoted to the translation of significant texts in the East Asian Buddhist tradition. Library of Congress Cataloging-in-Publication Data Bodiford, William M. 1955- Sotd Zen in medieval Japan / William M. Bodiford. p. cm.—(Studies in East Asian Buddhism ; 8) Includes bibliographical references (p. ) and index. ISBN 0-8248-1482-7 l.Sotoshu—History. I. Title. II. Series. BQ9412.6.B63 1993 294.3’927—dc20 92-37843 CIP University of Hawaii Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources Designed by Kenneth Miyamoto For B. -
Chapter Five Reassessing the Wall
CHA pt ER FIVE re a ss e ss i n g T h e wa l l Pa i n T i n g S o f hō r y ū j i do r o T h y c. wo n g Perhaps no other Japanese painting or set of paintings has received as much scholarly attention as the wall murals of the Kondō (Main Hall or Golden Hall) of Hōryūji.1 Created at a time when Japan was actively import- ing and assimilating the continental culture of Tang China, the murals show a complex program as well as an eclectic mix of artistic styles that include elements of Indian, Central Asian, and Tang Chinese conventions. For more than a century, there have been periodic intense debates about the iconogra- phy, dating, and style of the murals. For research carried out before World War II, none surpassed the comprehensiveness of Naitō Tōichirō’s 內藤藤 一郎 1932 work, made available to the English reader through the transla- tion by William R. B. Acker and Benjamin Rowland, Jr. (1943). Scholars generally agree that the wall paintings in the Kondō were completed about the same time the reconstruction of the temple was finished, which would give an approximate date of 690 to 710 (see section on dating). In 1949, a tragic fire destroyed or defaced most of the murals, but photo- graphs taken before the fire allow for detailed examination.2 This tragic fire sparked further interest, so that some of the research conducted by Japanese scholars immediately before and after the war and the fire was introduced in Western journals by Dietrich Seckel (1949a, 1949b) and Alexander C. -
Poems of the Gods of the Heaven and the Earth Christina E
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2010 Poems of the Gods of the Heaven and the Earth Christina E. Olinyk University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the East Asian Languages and Societies Commons, and the History of Religions of Eastern Origins Commons Olinyk, Christina E., "Poems of the Gods of the Heaven and the Earth" (2010). Masters Theses 1911 - February 2014. 475. Retrieved from https://scholarworks.umass.edu/theses/475 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. POEMS OF THE GODS OF THE HEAVEN AND THE EARTH: AN ANNOTATED TRANSLATION OF THE JINGIKA BOOK OF THE SENZAISH Ū A Thesis Presented By CHRISTINA E OLINYK Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment Of the requirements for the degree of MASTER OF ARTS September 2010 Japanese Language and Literature Department of Languages, Literatures and Cultures © Copyright by Christina E Olinyk 2010 All Rights Reserved POEMS OF THE GODS OF THE HEAVEN AND THE EARTH: AN ANNOTATED TRANSLATION OF THE JINGIKA BOOK OF THE SENZAISH Ū A Thesis Presented By CHRISTINA E OLINYK Approved as to style and content by: ________________________________ Stephen Miller, Chair ________________________________ Stephen M. Forrest, Member _________________________________________ Amanda C. Seaman, Director Asian Languages and Literature Department of Languages, Literatures, and Cultures ABSTRACT POEMS OF THE GODS OF THE HEAVEN AND THE EARTH SEPTEMBER 2010 CHRISTINA E OLINYK, M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Stephen Miller This thesis analyzes the development of the Jingika book in the first seven Japanese waka anthologies ( chokusensh ū). -
The Huayan/Kegon/Hwaŏm Paintings in East Asia
DOROTHY WONG THE HUAYAN/KEGON/HWAŎM PAINTINGS IN EAST ASIA Introduction Huayan (J. Kegon; K. Hwaŏm) Buddhism, whose teachings are based on the Huayan jing, the Avataṃsaka-sūtra or Flower Garland Sūtra, is one of the most important schools of East Asian Buddhism.1 The Huayan jing has provided inspiration for the creation of numerous artworks, ritual objects, and architectural complexes.2 We are familiar with the portrayals of Vairocana (Ch. Darirulai 大日如來, or Piluzhenafo 毘廬遮那佛), Mañjuśrī (Ch. Wenshu 文殊), and Samantabhadra (Ch. Puxian 普賢) – the “Three Holy Ones” of Huayan Buddhism. The Gaṇḍavyūha, or Rufajiepin 入法界品, the last chapter of the Tang translation of the Huayan jing, recounts the young boy Sudhana’s (Ch. Shancai tongzi 善財童子) pilgrimage to visit fifty-three spiritual friends (kalyāṇamitra) in search of enlightenment. This originally independ- ent text has inspired a variety of popular pictorial narratives and sculptural reliefs. In this study I discuss a group of Huayan paintings that hitherto has received relatively little attention. These are the so-called Huayan bian 華嚴變, or “trans- formation tableaux” (referring to bian 變, bianxiang 變相, or jingbian 經變), that are intended to embody, or make manifest, the entirety of the sūtra’s teaching in a pictorial format. I examine the Chinese examples from Dunhuang, of ninth- to eleventh-century dates, and the slightly later Japanese ones dating to the Kamakura 1 Early versions of this chapter were presented at the 2004 Association for Asian Studies annual meeting in San Diego, and at the Chinese Buddhism Conference held at Hsi Lai Temple, Los Angeles, in June 2005.