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Central Asia in Xuanzang's Great Tang Dynasty Record of the Western
Recording the West: Central Asia in Xuanzang’s Great Tang Dynasty Record of the Western Regions Master’s Thesis Presented in Partial Fulfilment of the Requirements for the Degree of Master Arts in the Graduate School of the Ohio State University By Laura Pearce Graduate Program in East Asian Studies Ohio State University 2018 Committee: Morgan Liu (Advisor), Ying Zhang, and Mark Bender Copyrighted by Laura Elizabeth Pearce 2018 Abstract In 626 C.E., the Buddhist monk Xuanzang left the Tang Empire for India in a quest to deepen his religious understanding. In order to reach India, and in order to return, Xuanzang journeyed through areas in what is now called Central Asia. After he came home to China in 645 C.E., his work included writing an account of the countries he had visited: The Great Tang Dynasty Record of the Western Regions (Da Tang Xi You Ji 大唐西域記). The book is not a narrative travelogue, but rather presented as a collection of facts about the various countries he visited. Nevertheless, the Record is full of moral judgments, both stated and implied. Xuanzang’s judgment was frequently connected both to his Buddhist beliefs and a conviction that China represented the pinnacle of culture and good governance. Xuanzang’s portrayal of Central Asia at a crucial time when the Tang Empire was expanding westward is both inclusive and marginalizing, shaped by the overall framing of Central Asia in the Record and by the selection of local legends from individual nations. The tension in the Record between Buddhist concerns and secular political ones, and between an inclusive worldview and one centered on certain locations, creates an approach to Central Asia unlike that of many similar sources. -
Level 5-3 Journey to the West
Level 5-3 Journey to the West Workbook Teacher’s Guide and Answer Key 1 Teacher’s Guide A. Summary 1. Book Summary Long ago, in China, there lived a Monkey King. He went to a wise man to learn magic tricks and many other things. The wise man named him Sun Wukong. Needing a weapon, Sun Wukong took the Dragon King’s magic stick by force. For his crime, the Heavenly God brought him to heaven to do a lowly job, but Sun Wukong ran away. So Sakyamuni Buddha put him under a mountain. Five hundred years later, the monk Sanzang passed by and freed him. Sun Wukong then joined him on his trip to India to get some holy Buddhist books. Later they were joined by Zhu Wuneng and Sha Wujing. On the way, the group met two demon brothers who had a magic bottle. Anyone who said the word “what” would be sucked into the bottle. The demons tricked Sun Wukong into the bottle, but he escaped. Sun Wukong then tricked the two brothers into the bottle. Further along the way, Sun Wukong fought to get a witch’s magic fan to put out the fire on a mountain so they could cross the mountain. Finally, after fourteen years, Sanzang and his followers arrived at a monastery where Sakyamuni Buddha was staying. The Buddha gave Sanzang 5,048 scrolls. With the help of the Buddha’s guards, the group took only eight days to return home. Sanzang, Sun Wukong, and Zhu Wuneng eventually became Buddhas, and Sha Wujing became a worthy one. -
Tang Xuanzang: the World Famous Buddhist Pilgrim As He Is Known in Thai Art and Literature Assf.Prof.Dr.Sudarat Buntoakul Faculty of Buddhism
Tang Xuanzang: The World Famous Buddhist Pilgrim as He is known in Thai Art and Literature Assf.Prof.Dr.Sudarat Buntoakul Faculty of Buddhism Abstract The research indicates that Tang Xuanzang was introduced to Thais as a Buddhist pilgrim in the novel Journey to the West, which was published by Printing Press Books in the mid-nineteenth century, although it had been translated into Thai at the beginning of that century. The story became better known to Thais after the advent of television in Thailand in the mid-twentieth century and many versions were broadcast. Illustrations from Journey to the West at Wat Kuti, Petchaburi, Thailand were examined. Representations of Xuanzang and his three protectors appear on the outer wall of the Main Hall, along with illustrations that depict ten incarnations of Gotama Buddha in teak woodcarvings. The artwork clearly shows evidence of Indian and Chinese cultural influences. The temple with these reliefs is today preserved as an archeological site in Thailand. Though the Great Tang Records of the Western Regions is an historical account, it has only been translated into Thai and published recently. Key words: Tang Xuanzang, the Journey to the West, the Great Tang Records on the Western Regions, art, literature, Thailand History of Tang Xuanzang The remarkable pilgrimage to India in the seventh century (629-645) of the Chinese Buddhist monk, Xuanzang, is known worldwide as a major milestone in Chinese and world Buddhist history. Many hold great admiration, even worship, for Xuanzang, an extraordinary traveler. He made extraordinary contributions to Chinese 42. Dr.Sudarat (539-552).indd 539 28/4/2559 10:58:15 540 สารนิพนธ์พุทธศาสตรบัณฑิต ประจำาปี ๒๕๕๙ Buddhism, travelling great distances and braving immense hardships, perils, and even facing death in his efforts to fulfill his desire to visit the place from which Buddhism had originally emerged, then returning laden with Buddhist scriptures, artifacts, and a treasure trove of spiritual learning for his homeland. -
Indian Images in Chinese Literature: a Historical Survey
Indian Images in Chinese Literature: A Historical Survey Tan Chung School of Languages Jawaharlal Nehru University New Delhi. INDIA is the closest ancient civilization to China which is another ancient civilization. The two civilizations can be described as ’Trans-Himalayan Twins’ not only because they rank the Himalayan ranges, but also because both were given birth to by the rivers flowing from the Himalayan region. It is but natural that India figures prominently in the Chinese imagination, folklore, and literary records. The image of India in Chinese literature changes according to two factors: (i) mutual knowledge and intimacy between Indian and Chinese peoples, and (ii) India’s impact on China. We can divide the cultural contacts between India and China into four historical periods. First, from the time of Christ to the early centuries of the present millennium was the period when China was under active influence of Indian culture through the vehicle of Buddhism. Second, from the 13th to the 19th century was a period of little contact between India and China. In the meanwhile, both countries underwent political, social and cultural changes because of invasions by external forces. Third, from the 19th century upto the time when both countries won complete independence from West- ern imperialist domination (India in 1947 and China in 1949) was the period when the two trans-Himalayan twins became colonial twins-co-sufferers of the world imperialist systems. From the 1950s onwards, we have the fourth period of Sino-Indian contacts which saw the two newly independent peoples first being perplexed by the historical burdens and recently starting the process of liberating themselves from the labyrinth of historical problems 51 Downloaded from chr.sagepub.com at Sciences Po on September 27, 2016 to found Sino-Indian relations on a new rational basis. -
3390 in 1 Games List
3390 in 1 Games List www.arcademultigamesales.co.uk Game Name Tekken 3 Tekken 2 Tekken Street Fighter Alpha 3 Street Fighter EX Bloody Roar 2 Mortal Kombat 4 Mortal Kombat 3 Mortal Kombat 2 Gear Fighter Dendoh Shiritsu Justice gakuen Turtledove (Chinese version) Super Capability War 2012 (US Edition) Tigger's Honey Hunt(U) Batman Beyond - Return of the Joker Bio F.R.E.A.K.S. Dual Heroes Killer Instinct Gold Mace - The Dark Age War Gods WWF Attitude Tom and Jerry in Fists of Furry 1080 Snowboarding Big Mountain 2000 Air Boarder 64 Tony Hawk's Pro Skater Aero Gauge Carmageddon 64 Choro Q 64 Automobili Lamborghini Extreme-G Jeremy McGrath Supercross 2000 Mario Kart 64 San Francisco Rush - Extreme Racing V-Rally Edition 99 Wave Race 64 Wipeout 64 All Star Tennis '99 Centre Court Tennis Virtual Pool 64 NBA Live 99 Castlevania Castlevania: Legacy of 1 Darkness Army Men - Sarge's Heroes Blues Brothers 2000 Bomberman Hero Buck Bumble Bug's Life,A Bust A Move '99 Chameleon Twist Chameleon Twist 2 Doraemon 2 - Nobita to Hikari no Shinden Gex 3 - Deep Cover Gecko Ms. Pac-Man Maze Madness O.D.T (Or Die Trying) Paperboy Rampage 2 - Universal Tour Super Mario 64 Toy Story 2 Aidyn Chronicles Charlie Blast's Territory Perfect Dark Star Fox 64 Star Soldier - Vanishing Earth Tsumi to Batsu - Hoshi no Keishousha Asteroids Hyper 64 Donkey Kong 64 Banjo-Kazooie The Legend of Zelda: Majora's Mask The Legend of Zelda: Ocarina of Time The King of Fighters '97 Practice The King of Fighters '98 Practice The King of Fighters '98 Combo Practice The King of Fighters -
Poetry2018.Pdf
New Journeys to the West Diocesan Boys School Primary Division, Lee, William – 6 Oh Monk, Oh Monk — Instead of hurting the Monkey King, How about using a hypnotizer? Then he will obey you without feeling the pain. Oh Monkey King, Oh Monkey King — Do you think you are strong enough to battle with aliens and super tanks? Why don't you go help Jedis fight the Stormtroopers and end the Star Wars? Oh Pig, Oh Pig — You can share all my French fries, hotdogs, burgers, pizzas, chicken nuggets and desserts. I know you will like them, And I will not grow fat. Oh Friar, Oh Friar — Your weapon is not that good. I wish I could give you a super gun, But I don't know how to build it yet. Oh White Horse, Oh White Horse — You used to be a dragon! When you were hungry, you ate a horse. But now you are a horse, I don't know how to turn you back into a dragon again. Sun Wukong PLK Choi Kai Yau School (Primary), Wong, James - 8 Sun Wukong, a mischievous monkey, With magic of transformations and the cloud trapeze, Seize the iron staff from the Dragon King of the Eastern Sea at ease. Sun Wukong, declare himself “Great Sage”, Cause lot of troubles in Heaven and in Hell, Detained beneath the Five-peaked Mountain for 500 years with a spell. Sun Wukong, accepted as a disciple, Follow Xuanzang and set off with Pigsy and Sandy with a quest, Accompanied by White Dragon Horse prince on a journey to the west. -
Tracks of the Tao, Semantics of Zen
SINO-PLATONIC PAPERS Number 23 April, 1991 Tracks of the Tao, Semantics of Zen by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. Sino-Platonic Papers emphasizes substance over form. -
The Journey to the West a Platform for Learning About China Past and Present
A painting in the Long Corridor in the Summer Palace in Beijing, China. It depicts the four protagonists, from left to right: Sun Wukong (Monkey King), Xuanzang (on the White Dragon Horse), Zhu Bajie (Pigsy), and Sha Wujing (Sandy). Source: Wikimedia Commons at https://tinyurl.com/y59sbz9y. Photo by Rolf Müller. The Journey to the West A Platform for Learning about China Past and Present By Jianfen Wang and Gordon Gray n US college students’ first course on China, the challenge for instructors is to pack the maximum amount of punch into the experience so that the course will inspire them to seek more opportunities to learn about China Iat and beyond the college level. One way to achieve this goal is to use a rich text with many applications to help students unpack the complexities of Chinese history, language, politics, economics, and thought. For this purpose, the six- teenth-century novel The Journey to the West, with its many incarnations, is ide- al.1 It features a rousing adventure story, which can be read as historical fiction, political satire, and religious allegory. The novel has been reproduced for many types of audiences in many different media, including children’s books, puppet shows, operas, comics, TV series, and movies; each version is different enough to allow instructors to discuss them in the context of important Chinese histori- cal events and cultural elements. Because well-told stories help us make sense of the world, instructors can use this novel as a foundational element to facilitate students’ connections with and between the various elements of the course. -
Maps and Figures
Maps and Figures Maps 1. Location of the Shaolin Monastery 10 2. Shaolin’s contribution to Li Shimin’s campaign against Wang Shichong 24 3. Ming centers of monastic fighting 63 4. Some Henan sites associated with the Qing martial arts 124 Figures 1. Bodhidharma returning to the West on a 1209 Shaolin stele 15 2. The Rush-Leaf Bodhidharma on a 1624 Shaolin stele 16 3. Li Shimin’s autograph “Shimin” as copied onto the 728 Shaolin stele 27 4. Xuanzong’s imperial calligraphy on the 728 Shaolin stele 32 5. List of the thirteen heroic monks on the 728 Shaolin stele 34 6. Ninth-century Dunhuang painting of Vajrapâÿi 38 7. Vajrapâÿi’s sinewy physique in a Tang statue 39 8. Twelfth-century Shaolin stele of Nârâyaÿa (Vajrapâÿi) 41 9. The “Lifting-Sleeve Position” in Cheng Zongyou’s Shaolin Staff Method of 1621 60 10. Practice-sequence diagram from Cheng Zongyou’s Shaolin Staff Method of 1621 61 11. Abbot Wenzai’s 1517 Vajrapâÿi (Nârâyaÿa) stele 84 12. Vajrapâÿi (referred to as Kiœnara) atop Mt. Song 86 13. Vajrapâÿi’s (Kiœnara) Qing Shaolin statue 89 14. Arhat equipped with a staff; detail of an early seventeenth-century Shaolin fresco 90 15. Sun Wukong’s staff; late Ming (ca. 1625) woodblock illustration 94 16. Huiming manipulating the staff from horseback; woodblock illustration dated 1498 96 17. Late Ming woodblock illustration of Lu Zhishen manipulating the staff 98 ix x Maps and Figures 18. Huiming brandishing the staff; woodblock illustration dated 1614 99 19. Late Ming woodblock illustration of Sha Monk wielding the staff 100 20. -
A Comparison of the Themes of the Journey to the West and the Pilgrim’S Progress
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 3, No. 7, pp. 1243-1249, July 2013 © 2013 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.3.7.1243-1249 A Comparison of the Themes of The Journey to the West and The Pilgrim’s Progress Yan Liu English Department, Zhenjiang Watercraft College, No.130 Taohuawu Road, Zhenjiang 212003, China Wenjun Li English Department, Zhenjiang Watercraft College, No.130 Taohuawu Road, Zhenjiang 212003, China Abstract—The Journey to the West, which tells the journey of four Buddhist monks who have overcome many hardships for the purpose of arriving in the West and asking for the Buddhist Scriptures, is one of the “four classics” of China. The Pilgrim’s Progress tells the difficult journey of Christian from the "City of Destruction", his hometown to the "Celestial City". Despite of the sameness of the two stories, that is, the strong religious atmosphere, there are still obvious differences between them. This article tries to compare the themes of the Journey to the West and the Pilgrim’s Progress. At the beginning, we will discuss the themes of the two novels. Then we will compare the differences of the themes and will discover that both of them have revealed the religious belief of “learn virtue and unlearn vice” and criticized the current society. But the aims of the journeys and the attitudes to the new rising class of the authors are of remarkable differences. The purpose of this article is to help the readers appreciate the two stories better, and to have better understanding of the reasons of such differences. -
Enlightenment Unfolds Is a Sequel to Kaz Tanahashi’S Previous Collection, Moon in a Dewdrop, Which Has Become a Primary Source on Dogen for Western Zen Students
“Tanahashi is a writer and painter whose earlier collection, Moon in a Dewdrop, served as an introduction to the work of Dogen for many Western readers. This sequel collection draws from the complete range of Dogen’s writing. Some pieces have been widely translated and will be familiar to students of Zen, others have been reprinted from Moon in a Dewdrop, and still others appear here in English for the first time. Tanahashi worked with a number of co-translators, all of them Zen practitioners in Dogen’s lineage, and the result is an accessible and admirably consistent text. This is particularly impressive given the somewhat eccentric nature of Dogen’s prose, which can approach poetry and as a vehicle for Zen teachings often exists at the outer limits of usefulness of language in conveying meaning. Students of Zen will find this text essential.” —Mark Woodhouse, Library Journal ABOUT THE BOOK Enlightenment Unfolds is a sequel to Kaz Tanahashi’s previous collection, Moon in a Dewdrop, which has become a primary source on Dogen for Western Zen students. Dogen Zenji (1200– 1253) is unquestionably the most significant religious figure in Japanese history. Founder of the Soto school of Zen (which emphasizes the practice of zazen or sitting meditation), he was a prolific writer whose works have remained popular for six hundred years. Enlightenment Unfolds presents even more of the incisive and inspiring writings of this seminal figure, focusing on essays from his great life work, Treasury of the True Dharma Eye, as well as poems, talks, and correspondence, much of which appears here in English for the first time. -
Records of the Transmission of the Lamp
The Hokun Trust is pleased to support the seventh volume of a complete translation of this classic of Chan (Zen) Buddhism by Randolph S. Whitfield. The Records of the Transmission of the Lamp is a religious classic of the first importance for the practice and study of Zen which it is hoped will appeal both to students of Buddhism and to a wider public interested in religion as a whole. Contents Preface Acknowledgements Introduction Abbreviations Book Twenty-seven Book Twenty-eight Finding List Bibliography Index Preface Volumes seven and eight of the Records of the Transmission of the Lamp (CDL) afford glimpses into an ancient basement, the beginnings of the Chan patriarchy in China. Yet the bright search light of our scholars, shining down from two thousand years above, has been unable to penetrate definitively into this dark lumber room, hallowed, obscure and mysterious. In any case, the back end of this basement, littered with the ancient paraphernalia of a distant transmission, opens out still further to an even earlier epoch in Central Asia, where everything has long been buried under millennia of sands. The lives traced out in the CDL are not really biography nor are they hagiography. The term hagiography is in any case inappropriate, as it applies to Christian male ecclesiastics who the Church wished to sanctify, often after having martyred them first. Yet ever since Bodhidharma faced Emperor Wu of Liang, holiness in Chan Buddhism has had something of a malodorous air about it; no holiness in the hyper-realm of śūnyatā. If the life-paths recorded in the CDL are neither hagiographies nor biographies, what to style them? Perhaps they are just expedients, pointers to practice.