Introduction Au Règne De L'empereur Wu Des
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Dbet Alpha PDF Version © 2017 All Rights Reserved
A BIOGRAPHY OF THE TRIPITAKA MASTER OF THE GREAT CFEN MONASTERY OF THE GREAT TANG DYNASTY dBET Alpha PDF Version © 2017 All Rights Reserved BDK English Tripitaka 77 A BIOGRAPHY OF THE TRIPITAKA MASTER OF THE GREAT CFEN MONASTERY OF THE GREAT TANG DYNASTY Translated from the Chinese of Sramana Huili and Shi Yancong (Taisho, Volume 50, Number 2053) by Li Rongxi Numata Center for Buddhist Translation and Research 1995 © 1995 by Bukkyo Dendo Kyokai and Numata Center for Buddhist Translation and Research All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transcribed in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise— without the prior written permission of the publisher. First Printing, 1995 ISBN: 1-886439-00-1 Library of Congress Catalog Card Number: 94-073928 Published by Numata Center for Buddhist Translation and Research 2620 Warring Street Berkeley, California 94704 Printed in the United States of America A Message on the Publication of the English Tripitaka The Buddhist canon is said to contain eighty-four thousand different teachings. I believe that this is because the Buddha’s basic approach was to prescribe a different treatment for every spiritual ailment, much as a doctor prescribes a different medicine for every medical ailment. Thus his teachings were always appro priate for the particular suffering individual and for the time at which the teaching was given, and over the ages not one of his prescriptions has failed to relieve the suffering to which it was addressed. Ever since the Buddha’s Great Demise over twenty-five hundred years ago, his message of wisdom and compassion has spread throughout the world. -
Xuanzang Biyografisi'ndeki Çince Sözlerin
........... XUANZANG BİYOGRAFİSİ’NDEKİ ÇİNCE SÖZLERİN SINIFLANDIRILMASI Classification of Chinese Words in The Xuanzang Biography Hacer TOKYÜREK*1 Dil Araştırmaları, Güz 2018/23: 123-157 Öz: Şiŋko Şeli Tutuŋ tarafından 10. yüz yılda Çinceden Uygurcaya çevrilen Xuanzang Biyografisi ünlü seyyah Xuanzang’ın 7. yüzyılda Çin’den Hindistan’a yapmış olduğu seyahati içerir. 10 kitap hâlinde olan bu biyografi, içerdiği kelimeler, atasözleri, coğrafi adlandırmalar, dinî terminoloji ve daha pek çok konuda bize zengin malzeme sunar. Ne var ki eser Çinceden Uygurcaya çevrilmiş olsa da 法師fashi, 白馬寺 baimasi, 班 ban, 碑 bei, 貝 bai, 戊wu, 草 cao, 笙歌 shengge, 瀔 gu, 道恭 daogong, 夾 jia, 街 jie, 晋昌 里 jichangli vs. gibi pek çok Çince kelimeyi içinde barındırır. Bu çalışmada eserde geçen bir kısım Çince kelimeler tespit edilerek bu kelimelerin sınıflandırılması yapılacak ve hangi alanlarda kelime alıntılandığı ortaya konulanacaktır. Anahtar Kelimeler: Xuanzang Biyografisi, Çince, Çince-Uygurca Abstract: The Xuanzang Biography, translated from Chinese to Uyghur by Shiŋko Sheli Tutuŋ in the 10th century, includes the famous traveler Xuanzang’s journey from China to India in the 7th century. This biography, which is in the form of 10 books, provides us with rich material on words, proverbs, geographic nomenclatures, religious terminology and many more. However, even though the work was translated from Chinese to Uyghur, it contains many Chinese words like 法師fashi, 白馬寺 baimasi, 班 ban, 碑 bei, 貝bai, 戊wu, 草 cao, 笙歌 shengge, 瀔 gu, 道恭 daogong, 夾 jia, 街 jie, 晋昌里 jicahangli etc. In this study, some Chinese words will be identified and they will be categorized. Keywords: Xuanzang Biography, Chinese, Chinese-Uyghur Giriş Eski Uygur Türkçesi, Türk dil ve kültür tarihi açısından oldukça önemli bir dönemi içinde barındırır. -
Geo-Architecture and Landscape in China's Geographic and Historic
Geo-Architecture and Landscape in China’s Geographic and Historic Context Fang Wang Geo-Architecture and Landscape in China’s Geographic and Historic Context Volume 1 Geo-Architecture Wandering in the Landscape 123 Fang Wang Peking University Beijing China ISBN 978-981-10-0481-0 ISBN 978-981-10-0483-4 (eBook) DOI 10.1007/978-981-10-0483-4 Library of Congress Control Number: 2016932338 © Springer Science+Business Media Singapore 2016 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms 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 specific 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. Printed on acid-free paper This Springer imprint is published by SpringerNature The registered company is Springer Science+Business Media Singapore Pte Ltd. -
History Painting of Xu Beihong in Early Twentieth
3158 UNIVERSITY OF HAWAI'I LIBRARY Reimagining China: History Painting ofXu Beihong in Early Twentieth Century A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART MAY 2004 By KaF. Wong Thesis Committee: Willa 1. Tananbe, Chairperson Roger Ames Julia M. White Ming-Bao Yue iii © Copyright 2004 by KaF. Wong vi Table of Contents Page Acknowledgment , " iv Abstract v List ofFigures.. .... ... ... ... .. .... ... .. .... .. .. .... .. .... .. ... .... vi Introduction: Reimagining Xu Beihong's History Paintings , 1 Chapter 1: Behind Art and History: Artistic Problems and Solutions in Early Twentieth- Century China '" ... ... ... .. .. .. .. .. 5 The Artist: Portrait ofXu Beihong as a Young Man... 5 The Situation: An Era ofWar and Change 8 The Problem: Lost and Gained in Translation... 11 Chapter 2: Beneath Tradition and Modernity: Stylistic Link Between Traditional and Modern Chinese Painting 15 The Realism ofXu Beihong 16 Rediscovering Realist Tradition in Chinese Art. .. .. .. .. .... .. .. .. ... 18 The Artistic Connection between Xu Beihong and Ren Bonian.......... .. .. 24 The Victory ofRealism 26 Chapter 3: Between Past and Present: Icons and Meanings ofChinese Modernity... .. 30 The Quest ofHistory Paintings and National Allegory............... 32 The Old Men and China '" 33 More than National Allegory: Up-close and Personal......... 38 Chapter 4: Beyond East and West: Imagined Community and Chinese Modernity on the World Stage 44 Nation Without Border: The Imagined Chinese Community , 45 Art and Chinese Modernity: The Role ofthe New Audience 50 Beyond East and West: Identification with the "Lost" Nations 52 Chapter 5: Conclusion 55 Figures 58 Selected Bibliography 76 iv Acknowledgement I have incurred countless debts ofgratitude to many scholars, teachers, and friends who supported the conception and completion of this thesis. -
Original Vows of Ksitigarbha Bodhisattva Sutra
Original Vows of Ksitigarbha Bodhisattva Sutra Translated in English by Jeanne Tsai Fo Guang Shan International Translation Center © 2014 Fo Guang Shan International Translation Center Translated by Jeanne Tsai Contents Book designed by Xiaoyang Zhang Published by the Fo Guang Shan International Translation Center 3456 S. Glenmark Drive Hacienda Heights, CA 91745, U.S.A. Introduction by Venerable Master Hsing Yun ...............ix Tel: (626) 923 5143 Website: www.fgsitc.org Not to be sold. For free distribution only. Incense Praise ..........................................1 Protected by copyright under the terms of the International Copyright Union; Sutra Opening Verse ....................................3 all rights reserved. Except for fair use in book reviews, no part of this book may be reproduced for any reason by any means, including any method of Original Vows of Ksitigarbha Bodhisattva Sutra photographic reproduction, without permission of the publisher. 1. Spiritual Penetration in Trayastrimsa Heaven ............5 Printed in Taiwan. 2. The Assembly of the Emanations .....................51 18 17 16 15 14 1 2 3 4 5 3. Observing the Karmic Conditions of Living Beings ......65 4. The Karmic Consequences of Living Beings of Jambudvipa ..87 5. The Names of the Hells ............................131 6. The Praise of the Tathagata .........................149 7. Benefiting the Living and the Deceased ...............187 8. The Praise of King Yama and His Retinue .............207 9. Reciting the Names of Buddhas .....................243 10. Comparing the Conditions and Virtues of Giving ......261 11. The Dharma Protection of the Earth Spirit ...........283 12. The Benefits from Seeing and Hearing ...............295 Acknowledgements 13. Entrusting Humans and Devas .....................343 Praise ..............................................367 Wonderful support and help have made this sutra translation pos- sible. -
Cliff Notes: Text and Image at Baodingshan
v ACKNOWLEDGEMENTS As with any extended research project, there are many who have helped to see this dissertation through to fruition. Dr. Hu Wenhe of the Sichuan Provincial Research Institute was extremely gracious in helping me clarify issues related to the Great Buddha Bend grotto, especially with regard to their underlying Chinese themes. I would also like to thank Dr. Lothar Ledderose for his willingness to provide me with materials related to the sutra-carving tradition in China, and Dr. Henrik Sørenson for pointing out the relatedness of the sutra carvings at Baodingshan to inscribed texts found elsewhere in Sichuan. Grants from the Samuel Kress Foundation, the Asian Cultural Council and the Metropolitan Center for Far Eastern Studies aided me in my research in China in 1999 and 2000. I would also like to take this opportunity to thank the Morris family for their continuing support of art history at the University of Kansas, and the University of Oregon Department of Art History for providing me with the initial funding in 1993 to return to China for my first foray into on- site work at Baodingshan. Lastly, I would especially like to thank the members of my committee: Drs. Amy McNair, Marsha Haufler, Sherry Fowler, Daniel Stevenson, and Charles Lachman. Amy must be recognized for the expert advice and guidance she has given me, helping me through not only the mound of material that was my original research project on Baodingshan, but also through the maze of academia. Her self-discipline and clarity of purpose are something I shall always aspire to. -
When the Sky Fell to Earth
WHEN THE SKY FELL TO EARTH WHEN THE SKY The New Crackdown on Buddhism in Tibet WHEN THE SKY FELL TO EARTH THE NEW CRACKDOWN ON BUDDHISM IN TIBET Includes Sourcebook of Current Chinese Documents on Religious Policy International Campaign for Tibet A report by the International Campaign for Tibet A report by the International Campaign for Tibet Washington, DC||||| Amsterdam Berlin Washington, DC||||| Amsterdam Berlin www.savetibet.org ISBN 1-879245-25-6 www.savetibet.org Tibetans sometimes refer to the Cultural Revolution as a time ‘when the sky fell to earth’. The legacy of the Cultural Revolu- tion still affects religious life in Tibet today. COMPANION FILM – THE INTERNATIONAL DEVOTION AND DEFIANCE CAMPAIGN FOR TIBET A companion film to this report, “Devotion and Defiance: The International Campaign for Tibet works to promote Buddhism and the Struggle for Religious Freedom in human rights and democratic freedoms in Tibet. ICT mon- Tibet,” (USA, 2004, 35 minutes). The film examines the itors conditions in Tibet, advocates for Tibetans imprisoned recent growth of, and crackdowns on, religious institutions for their political and religious beliefs, works with governments in Tibet and the complex struggle of monks and nuns who to help Tibetans, provides for humanitarian assistance to defy the Chinese government’s heavy-handed control. Tibetans in exile and promotes a peaceful resolution of Contains rare footage from inside Tibet shot in the last the occupation of Tibet through negotiations between the three years. The film was produced by the International Chinese government and the Dalai Lama. Founded in 1988, Campaign for Tibet and is available in DVD, PAL and VHS. -
The Development of Chinese Calligraphy in Relation to Buddhism and Politics During the Early Tang Era
THE DEVELOPMENT OF CHINESE CALLIGRAPHY IN RELATION TO BUDDHISM AND POLITICS DURING THE EARLY TANG ERA By RUTH SHENG A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Ruth Sheng 2 To my husband and my son 3 ACKNOWLEDGMENTS For nearly all of my life, I have been nourished by the joy of studying and practicing Chinese calligraphy. My desire to pursue an advanced study of Chinese calligraphy became a reality the moment the School of Art and Art History at the University of Florida accepted me into their doctoral program and the Department of Languages, Literatures, and Cultures offered me a position to teach Chinese calligraphy. I am grateful to these departments for supporting my endeavor. The subject of this dissertation, Chinese calligraphy in relation to Buddhism and politics during the Tang era, was formulated during the semester I took Mario Poceski‘s class on Chinese Buddhism. I am most grateful to Professor Poceski, who inspired and encouraged me to take up this challenging and interesting topic. I would like to express my earnest gratitude to professors Guolong Lai, Cynthia Chennault, Mario Poceski, and Victoria Rovine, who provided me advice and guidance throughout my research and writing of this dissertation. They patiently read through my drafts and offered countless invaluable suggestions that finally shaped my dissertation. I owe special thanks to Professor Cynthia Chennault. Not only did she teach me how to translate classical Chinese profoundly, but her extraordinary patience and attention to my writing and the details of my work vastly improved the quality of this dissertation.