A Fully Annotated Translation of the Preface of Haedong Kosŭng Chŏn
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Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
The Kasāya Robe of the Past Buddha Kāśyapa in the Miraculous Instruction Given to the Vinaya Master Daoxuan (596~667)
中華佛學學報第 13.2 期 (pp.299-367): (民國 89 年), 臺北:中華佛學研究所,http://www.chibs.edu.tw Chung-Hwa Buddhist Journal, No. 13.2, (2000) Taipei: Chung-Hwa Institute of Buddhist Studies ISSN: 1017-7132 The Kasāya Robe of the Past Buddha Kāśyapa in the Miraculous Instruction Given to the Vinaya Master Daoxuan (596~667) Koichi Shinohara Professor, McMaster University Summary Toward the end of his life, in the second month of the year 667, the eminent vinaya master Daoxuan (596~667) had a visionary experience in which gods appeared to him and instructed him. The contents of this divine teaching are reproduced in several works, such as the Daoxuan lüshi gantonglu and the Zhong Tianzhu Sheweiguo Zhihuansi tujing. The Fayuan zhulin, compiled by Daoxuan's collaborator Daoshi, also preserves several passages, not paralleled in these works, but said to be part of Daoxuan's visionary instructions. These passages appear to have been taken from another record of this same event, titled Daoxuan lüshi zhuchi ganying ji. The Fayuan zhulin was completed in 668, only several months after Daoxuan's death. The Daoxuan lüshi zhuchi ganying ji, from which the various Fayuan zhulin passages on Daoxuan's exchanges with deities were taken, must have been compiled some time between the second lunar month in 667 and the third month in the following year. The quotations in the Fayuan zhulin from the Daoxuan lüshi zhuchi ganying ji take the form of newly revealed sermons of the Buddha and tell stories about various objects used by the Buddha during his life time. -
41. Buddhism As the Buddha's Perfect and Wholly Complete Education
Verse of Praising the Buddha The Buddha is the Supreme One Both in heavens and on earth. So is he without comparison In the ten directions of space. Among all things in the world That I can possibly see, No other beings can ever be Comparable with the Buddha. Verse of Praising the Buddha The Buddha is the Supreme One Both in heavens and on earth. So is he without comparison In the ten directions of space. Among all things in the world That I can possibly see, No other beings can ever be Comparable with the Buddha. An Illustration of Buddha’s speaking of the Ten Dharma Realms Pratyekabuddhas Buddhas Bodhisattvas Deities Sravakas MIND Humans Asuras Animals Hungry Ghosts Hell Explaining in words the Illustration of Buddha’s speaking of the Ten Dharma Realms Knowing that dharmadhātu is one mind, and having accomplished the three The Realm of kinds of enlightenment with tens of thousands of virtues is the mind of a next Buddhas— Buddha. The Realm of Keeping altruism in mind, broadly cultivating the six paramitas, and practicing Bodhisattvas— the Middle Path is the mind of a bodhisattva. Practicing in the way of the four noble truths, knowing what suffering is and The Realm of how to end its aggregation, being eager for nirvana and cultivating the Way Sravakas— to reach it is the mind of an arhat. Apprehending the twelve nidanas, keeping substance of things in mind, The Realm of being awakened to Void, and enjoying being alone and quiet is the mind of a Pratyekabuddhas— pratyekabuddha. -
Proquest Dissertations
Daoxuan's vision of Jetavana: Imagining a utopian monastery in early Tang Item Type text; Dissertation-Reproduction (electronic) Authors Tan, Ai-Choo Zhi-Hui Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 09:09:41 Link to Item http://hdl.handle.net/10150/280212 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are In typewriter face, while others may be from any type of connputer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 DAOXUAN'S VISION OF JETAVANA: IMAGINING A UTOPIAN MONASTERY IN EARLY TANG by Zhihui Tan Copyright © Zhihui Tan 2002 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number: 3073263 Copyright 2002 by Tan, Zhihui Ai-Choo All rights reserved. -
Fazang the Court Politician
CHAPTER TEN FAZANG THE COURT POLITICIAN As a court priest for over three decades (ca. 680-712), Fazang was actively involved in politics during a crucial period in history. This chapter has two purposes. On the one hand, through various facts about Fazang I throw some light on significant historical events and illustrate how these were shaped in part by Fazang’s political shrewdness and religious vision. On the other, I will explore the intellectual and histori- cal contexts for Fazang’s importance as a court chaplain. These touch on specific events on the eve of Empress Wu’s epochal dynasty-founding of 690 and those concerning the political transitions around 705 and 710. Understanding Fazang’s political role requires a view of approxi- mately fifty years of Empress Wu’s own political life. Although Fazang lived under six sovereigns of the Great Tang and Zhou,1 it is helpful to consider that Empress Wu began to manipulate imperial power long before she became the supreme ruler both in fact and in name, and that in a sense she was a focus of Fazang’s life and career. Given the ex- traordinary influence that she had over Fazang’s monastic and political life, I will devote three of the four sections of this chapter to Fazang’s relationship with Empress Wu, leaving his political role under the reigns of Empress Wu’s two successors (Zhongzong and Ruizong) to the last section. 1. FAZANG AND EMPRESS WU: 670-690 This section will treat two developments: the circumstances under which Fazang came into Empress Wu’s power circle, and a major poli- tico-religious event on the eve of Empress Wu’s Zhou dynasty. -
Dharmakāya Pratītyasamutpāda ( (法界縁起説, Hokkai Engi Setsu
Mapping the Ascent to Enlightenment Ronald Y. Nakasone Trying to get a fix on the Huayan mind in the vast landscape of Buddhist thought interweaves memory with imagination. My inquiry reaches to the earliest recollections of Siddhārtha Gautama’s Enlightenment, to passages in the Avatam saka Sūtra and learned commentaries, and to my imaging of its significance. In the process a few questions emerged: What happened during the spiritual ascent that led to the Enlightenment? What is the nature of mind? What did Siddhārtha Gautama become Enlightened to? These questions, especially determining the content of the Buddha’s Enlightenment, pose major academic and intellectual questions. This essay will focus on the first and second questions; I dealt with the last question in “Spiritual Cartography: Mapping the Huayen Mind.”1 The early documents depict Gautama’s ascent to Enlightenment in heroic and mythical proportions. Written several centuries after the fact, much of the narrative is no doubt hagiography, embellished by the creative imagination and the hindsight of doctrinal rationalizations. Nonetheless, in sum, the documents chronicle an intensely personal pilgrimage that incorporates and supersedes competing spiritual landscapes. The narrative assumes the primacy of mind and efficacy of mental concentration. The narrative opens with Māra, the personification of darkness, alarmed at Prince Siddhārtha’s resolve to attain Enlightenment, launches successive waves of attack to dissuade him. He first sends his daughters who offer the pleasures of youth and worldly success. Unable to seduce the Prince, Māra attempts to frighten the Prince by dispatching an army of the most appalling demons; still unsuccessful, he unleashes the awesome powers of the wind and rain at his command. -
A Distant Mirror. Articulating Indic Ideas in Sixth and Seventh Century
Index pp. 535–565 in: Chen-kuo Lin / Michael Radich (eds.) A Distant Mirror Articulating Indic Ideas in Sixth and Seventh Century Chinese Buddhism Hamburg Buddhist Studies, 3 Hamburg: Hamburg University Press 2014 Imprint Bibliographic information published by the Deutsche Nationalbibliothek (German National Library). The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the internet at http://dnb.d-nb.de. The online version is available online for free on the website of Hamburg University Press (open access). The Deutsche Nationalbibliothek stores this online publication on its Archive Server. The Archive Server is part of the deposit system for long-term availability of digital publications. Available open access in the Internet at: Hamburg University Press – http://hup.sub.uni-hamburg.de Persistent URL: http://hup.sub.uni-hamburg.de/purl/HamburgUP_HBS03_LinRadich URN: http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:18-3-1467 Archive Server of the Deutsche Nationalbibliothek – http://dnb.d-nb.de ISBN 978-3-943423-19-8 (print) ISSN 2190-6769 (print) © 2014 Hamburg University Press, Publishing house of the Hamburg State and University Library Carl von Ossietzky, Germany Printing house: Elbe-Werkstätten GmbH, Hamburg, Germany http://www.elbe-werkstaetten.de/ Cover design: Julia Wrage, Hamburg Contents Foreword 9 Michael Zimmermann Acknowledgements 13 Introduction 15 Michael Radich and Chen-kuo Lin Chinese Translations of Pratyakṣa 33 Funayama Toru -
The University of Chicago Practices of Scriptural Economy: Compiling and Copying a Seventh-Century Chinese Buddhist Anthology A
THE UNIVERSITY OF CHICAGO PRACTICES OF SCRIPTURAL ECONOMY: COMPILING AND COPYING A SEVENTH-CENTURY CHINESE BUDDHIST ANTHOLOGY A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVINITY SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY ALEXANDER ONG HSU CHICAGO, ILLINOIS AUGUST 2018 © Copyright by Alexander Ong Hsu, 2018. All rights reserved. Dissertation Abstract: Practices of Scriptural Economy: Compiling and Copying a Seventh-Century Chinese Buddhist Anthology By Alexander Ong Hsu This dissertation reads a seventh-century Chinese Buddhist anthology to examine how medieval Chinese Buddhists practiced reducing and reorganizing their voluminous scriptural tra- dition into more useful formats. The anthology, A Grove of Pearls from the Garden of Dharma (Fayuan zhulin ), was compiled by a scholar-monk named Daoshi (?–683) from hundreds of Buddhist scriptures and other religious writings, listing thousands of quotations un- der a system of one-hundred category-chapters. This dissertation shows how A Grove of Pearls was designed by and for scriptural economy: it facilitated and was facilitated by traditions of categorizing, excerpting, and collecting units of scripture. Anthologies like A Grove of Pearls selectively copied the forms and contents of earlier Buddhist anthologies, catalogs, and other compilations; and, in turn, later Buddhists would selectively copy from it in order to spread the Buddhist dharma. I read anthologies not merely to describe their contents but to show what their compilers and copyists thought they were doing when they made and used them. A Grove of Pearls from the Garden of Dharma has often been read as an example of a Buddhist leishu , or “Chinese encyclopedia.” But the work’s precursors from the sixth cen- tury do not all fit neatly into this genre because they do not all use lei or categories consist- ently, nor do they all have encyclopedic breadth like A Grove of Pearls. -
Beyond Buddhist Apology the Political Use of Buddhism by Emperor Wu of the Liang Dynasty
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography Beyond Buddhist Apology The Political Use of Buddhism by Emperor Wu of the Liang Dynasty (r.502-549) Tom De Rauw ii To my daughter Pauline, the most wonderful distraction one could ever wish for and to my grandfather, a cakravartin who ruled his own private universe iii ACKNOWLEDGEMENTS Although the writing of a doctoral dissertation is an individual endeavour in nature, it certainly does not come about from the efforts of one individual alone. The present dissertation owes much of its existence to the help of the many people who have guided my research over the years. My heartfelt thanks, first of all, go to Dr. Ann Heirman, who supervised this thesis. Her patient guidance has been of invaluable help. Thanks also to Dr. Bart Dessein and Dr. Christophe Vielle for their help in steering this thesis in the right direction. I also thank Dr. Chen Jinhua, Dr. Andreas Janousch and Dr. Thomas Jansen for providing me with some of their research and for sharing their insights with me. My fellow students Dr. Mathieu Torck, Leslie De Vries, Mieke Matthyssen, Silke Geffcken, Evelien Vandenhaute, Esther Guggenmos, Gudrun Pinte and all my good friends who have lent me their listening ears, and have given steady support and encouragement. To my wife, who has had to endure an often absent-minded husband during these first years of marriage, I acknowledge a huge debt of gratitude. She was my mentor in all but the academic aspects of this thesis. -
A Geographic History of Song-Dynasty Chan Buddhism: the Decline of the Yunmen Lineage
decline of the yunmen lineage Asia Major (2019) 3d ser. Vol. 32.1: 113-60 jason protass A Geographic History of Song-Dynasty Chan Buddhism: The Decline of the Yunmen Lineage abstract: For a century during China’s Northern Song era, the Yunmen Chan lineage, one of several such regional networks, rose to dominance in the east and north and then abruptly disappeared. Whereas others suggested the decline was caused by a doctri- nal problem, this essay argues that the geopolitics of the Song–Jin wars were the pri- mary cause. The argument builds upon a dataset of Chan abbots gleaned from Flame Records. A chronological series of maps shows that Chan lineages were regionally based. Moreover, Song-era writers knew of regional differences among Chan lin- eages and suggested that regionalism was part of Chan identity: this corroborates my assertion. The essay turns to local gazetteers and early-Southern Song texts that re- cord the impacts of the Song–Jin wars on monasteries in regions associated with the Yunmen lineage. Finally, I consider reasons why the few Yunmen monks who sur- vived into the Southern Song did not reconstitute their lineage, and discuss a small group of Yunmen monks who endured in north China under Jin and Yuan control. keywords: Chan, Buddhism, geographic history, mapping, spatial data n 1101, the recently installed emperor Huizong 徽宗 (r. 1100–1126) I authored a preface for a new collection of Chan 禪 religious biogra- phies, Record of the Continuation of the Flame of the Jianzhong Jingguo Era (Jianzhong Jingguo xudeng lu 建中靖國續燈錄, hereafter Continuation of the Flame).1 The emperor praised the old “five [Chan] lineages, each ex- celling in a family style 五宗各擅家風,” a semimythical system promul- gated by the Chan tradition itself to assert a shared identity among the ramifying branches of master-disciple relationships. -
A Huayan Paradigm for the Classification of Mahāyāna Teachings: the Origin and Meaning of Faxiangzong and Faxingzong∗
IMRE HAMAR A HUAYAN PARADIGM FOR THE CLASSIFICATION OF MAHĀYĀNA TEACHINGS: THE ORIGIN AND MEANING ∗ OF FAXIANGZONG AND FAXINGZONG Introduction Dan Lusthaus finds the origin of the paradigm xing 性 versus xiang 相 in the Cheng weishi lun 成唯識論 and concludes: Ironically, this very distinction became one of the major rhetorical weapons used by Fa- tsang against Hsüan-tsang’s school, calling them ‘[the mere] fa-hsiang’ (Dharma-Charac- teristics) school against his own Sinitic ‘fa-hsing’ (Dharma-Nature) school. This distinction became so important that every Buddhist school originating in East Asia, including all forms of Sinitic Mahāyāna, viz. T’ien-t’ai, Hua-yen, Ch’an, and Pure Land, came to be considered Dharma-nature schools.1 Whalen Lai also attributes the establishment of this paradigm to Fazang, refer- ring to Zhili 知禮: “The name ‘Fa-hsiang’ was, however, attributed to it by its crit- ics; it is a derogative term alleging that the school did not know thoroughly the deeper Fa-hsing (Dharma-essence). The contrast was intended to bring out the ‘Hī- nayānist phenomenalism’ [sic] inherent in the Wei-shih school and to highlight the ‘Mahāyāna essentialism’ of its critic. As recalled by Sung T’ien-t’ai master Ssu- ming Chih-li (959–1028), the distinction arose at the time of Fa-tsang’s (643–712) attack on the Wei-shih school: At the time [of Hua-yen (Avatamsaka) patriarch, Fa-tsang,] there was widely held the theory of chen-ju sui-yüan (Suchness or tathatā accompanying the conditions [the pratyaya that brought samsāra into being]) and the theory of a (passive) Suchness that would not create (‘let rise’) the various existents (dharmas). -
UNIVERSITY of CALIFORNIA Los Angeles the Qin
UNIVERSITY OF CALIFORNIA Los Angeles The Qin and Literati Culture in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Meimei Zhang 2019 © Copyright by Meimei Zhang 2019 ABSTRACT OF THE DISSERTATION The Qin and Literati Culture in Song China by Meimei Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2019 Professor David C Schaberg, Chair My dissertation examines the distinctive role that the qin played in Chinese literati culture in the Song dynasty (960-1279) through its representations in literary texts. As one of the earliest stringed musical instruments in China, the qin has occupied a unique status in Chinese cultural history. It has been played since ancient times, and has traditionally been favored by Chinese scholars and literati as an instrument of great subtlety and refinement. This dissertation focuses on the period of the Song because it was during this period that the literati developed as a class and started to indulge themselves in various cultural and artistic pursuits, and record their experiences in literary compositions as part of their self-fashioning. Among these cultural pursuits, the qin playing was an important one. Although there have been several academic works on the qin, most of them focus on the musical aspects of the instrument. My project aims to reorient the perspective on the qin by revealing its close relationship and interaction with the literati class from a series of ii historical and literary approaches. During the Song, the qin was mentioned in a multiplicity of literary texts, and associated with a plethora of renowned literary figures.