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IMAGES of POWER: BUDDHIST ART and ARCHITECTURE (Buddhism on the Silk Road) BUDDHIST ART and ARCHITECTURE on the Silk Road
IMAGES OF POWER: BUDDHIST ART and ARCHITECTURE (Buddhism on the Silk Road) BUDDHIST ART and ARCHITECTURE on the Silk Road Online Links: Bamiyan Buddhas: Should they be rebuit? – BBC Afghanistan Taliban Muslims destroying Bamiyan Buddha Statues – YouTube Bamiyan Valley Cultural Remains – UNESCO Why the Taliban are destroying Buddhas - USA Today 1970s Visit to Bamiyan - Smithsonian Video Searching for Buddha in Afghanistan – Smithsonian Seated Buddha from Gandhara - BBC History of the World BUDDHIST ART and ARCHITECTURE of China Online Links: Longmen Caves - Wikipedia Longmen Grottoes – Unesco China The Longmen Caves – YouTube Longmen Grottoes – YouTube Lonely Planet's Best In China - Longmen China – YouTube Gandhara Buddha - NGV in Australia Meditating Buddha, from Gandhara , second century CE, gray schist The kingdom of Gandhara, located in the region of presentday northern Pakistan and Afghanistan, was part of the Kushan Empire. It was located near overland trade routes and links to the ports on the Arabian Sea and consequently its art incorporated Indian, Persian and Greco- Roman styles. The latter style, brought to Central Asia by Alexander the Great (327/26–325/24 BCE) during his conquest of the region, particularly influenced the art of Gandhara. This stylistic influence is evident in facial features, curly hair and classical style costumes seen in images of the Buddha and bodhisattvas that recall sculptures of Apollo, Athena and other GaecoRoman gods. A second-century CE statue carved in gray schist, a local stone, shows the Buddha, with halo, ushnisha, urna, dressed in a monk’s robe, seated in a cross-legged yogic posture similar to that of the male figure with horned headdress on the Indus seal. -
Buddhist Japonisme : Emile Guimet and the Butsuzō-Zui Jérôme Ducor
Buddhist Japonisme : Emile Guimet and the Butsuzō-zui Jérôme Ducor To cite this version: Jérôme Ducor. Buddhist Japonisme : Emile Guimet and the Butsuzō-zui. Japanese Collections in European Museums, Vol. V - With special Reference to Buddhist Art - (JapanArchiv: Schriftenreihe der Forschungstellungsstelle Modernes Japan; Bd. 5, 5., 2016. hal-03154274 HAL Id: hal-03154274 https://hal.archives-ouvertes.fr/hal-03154274 Submitted on 28 Feb 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. JD / 9 Feb. 2015 EAJS Section 4a: Visual Arts Japanese Buddhist Art in European Collections (Part I) BUDDHIST JAPONISME: EMILE GUIMET AND THE BUTSUZŌ-ZUI Jérôme DUCOR* The nucleus of most collections of Japanese Buddhist artefacts in Europe developed during the Meiji period, which happened to be contemporary with the so-called “Japonism” (or Japonisme) movement in art history. We can therefore say there was at that time a “Buddhist Japonism” trend in Europe. Its most representative figure is Emile Guimet (1836-1918). During his trip in Japan (1876), he collected material items – around 300 paintings, 600 statues, and 1000 volumes of books – most of them made available because of the anti- Buddhist campaign of that time1. -
¬¬Journal of Buddhist Ethics
ISSN: 1500-0713 ______________________________________________________________ Article Title: How Many Bodies Does It Take to Make a Buddha? Dividing the Trikāya among Founders of Japanese Buddhism Author(s): Victor Forte Source:Japanese Studies Review, Vol. XXIV (2020), pp. 35-60 Stable URL: https://asian.fiu.edu/projects-and-grants/japan- studies-review/journal-archive/volume-xxiv-2020/forte-victor- how-many-bodies.pdf ______________________________________________________________ HOW MANY BODIES DOES IT TAKE TO MAKE A BUDDHA? DIVIDING THE TRIKĀYA AMONG FOUNDERS OF JAPANESE BUDDHISM Victor Forte Albright College Introduction Much of modern scholarship concerned with the historical emer- gence of sectarianism in medieval Japanese Buddhism has sought to deline- ate the key features of philosophy and praxis instituted by founders in order to illuminate critical differences between each movement. One of the most influential early proposed delineations was “single practice theory,” ikkō senju riron 一向専修理論 originating from Japanese scholars like Jikō Hazama 慈弘硲 and Yoshiro Tamura 芳朗田村.1 This argument focused on the founders of the new Kamakura schools during the twelfth and thirteenth centuries like Hōnen 法然, Shinran 親鸞, Dōgen 道元, and Nichiren 日蓮, claiming that each promoted a single Buddhist practice for the attainment of liberation at the exclusion of all other rival practices. In recent scholarship, however, single practice theory has been brought into question.2 As an alternative method of delineation, this study proposes the examination of how three major premod- ern Japanese founders (Kūkai 空海, Shinran, and Dōgen) employed the late Indian Mahāyāna notion of the three bodies of the Buddha (Skt. trikāya, Jp. sanshin 三身) by appropriating a single body of the Buddha in order to distin- guish each of their sectarian movements. -
From Esoteric to Pure Land and Huayan Buddhism: Uṣṇīṣavijayā Dhāraṇī Mandala in Liao Buddhism
美術史學硏究 第307號 2020. 9 pp. 153-184 http://dx.doi.org/10.31065/kjah.307.202009.005 From Esoteric to Pure Land and Huayan Buddhism: Uṣṇīṣavijayā Dhāraṇī Mandala in Liao Buddhism Youn-mi Kim Ⅰ. Introduction Ⅱ. Text and Image: Early Liao Mandala and Tang Scriptures Ⅲ. Three-dimensional Mandala Ⅳ. Textual Mandala: Modification and Expansion Ⅴ. Conclusion Ⅰ. Introduction The Uṣṇīṣavijayā dhāraṇī (Foding zunsheng tuoluoni 佛頂尊勝陀羅尼), known for its efficacy in removing bad karma and prolonging one’s lifespan, was one of the key Buddhist incantations in premodern China.1 Once the incantation became widespread in the Tang dynasty (618-907), it began 1 The textual source of the uṣṇīṣavijayā dhāraṇī is the Sutra of the Uṣṇīṣavijayā dhāraṇī (Foding zunsheng tuoluoni jing 佛頂尊勝陀羅尼經). The sutra was so popular that it was translated five times in China, once each by Buddhapālita (T. 19, no. 967), Du Xingyi (T. 19, no. 968), and Yijing (T. 19, no. 971), and twice by Divākara (T. 19, no. 969, and T. 19, no. 970). They have similar but slightly different contents. Among these, the translation by Buddhapālita was most widely used. For the political characteristics of the preface of Buddhapālita’s translation, see Antonino Forte, “The Preface to the So-called Buddhapālita Chinese Version of the Buddhosṇīṇa Vijaya Dhāraṇī Sūtra” unpublished paper, quoted in Paul F. Copp, “Voice, Dust, 153 to engender new types of material culture. Perhaps the best-known monument linked to this incantation was the jingchuang 經幢, or dhāraṇī pillar, that was erected for engravings of its text during the Tang.2 Such pillars proliferated throughout the Liao dynasty (907-1125).3 During the Liao period, however, another type of ritual object formed a main branch of the material culture pertaining to the Uṣṇīṣavijayā dhāraṇī—the mandala that was used for activating the power of this important incantation. -
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. -
Time and Self: Religious Awakening in Dogen and Shinran
Time and Self: Religious Awakening in Dogen and Shinran TRENT COLLIER [The nembutsu] is precisely for those who are utterly ignorant and foolish, and who therefore forget about study and practice, believing that simply to say the Name of Amida Buddha with their tongues, day and night, is to enact the fulfillment of practice. While the way of wisdom corr nds to the Tendai teaching or Zen meditation, the gate of compassion designed for the foolish does not differ with regard to what is true and real. On a cold night, it makes no difference whether you are wearing robes of pat terned brocade or lying under layers of hempen patchwork once you have fallen asleep and forgotten about the wind. Shinkei N this passage from a 15th century work on renga poetry, Shinkei (1406-1475) contrasts the arduous path of Tendai or Zen with the com parativelyI simple path of nembutsu practice.1 While Shinkei was speaking figuratively, the literal meaning of his words—that the nembutsu is for the “foolish and ignorant”—reflects a perception of the Pure Land path that per sists to this day. Buddhist studies in the modem West have largely ignored the Pure Land tradition, focusing instead on schools that are more obviously complex, philosophical, or meditative. Whether from disinterest in the doc trines and practices of the Pure Land tradition or from aversion to traditions too similar in structure to the Judeo-Christian tradition, Western students of Buddhism have neglected a large and thoroughly profound body of work. 1 Dennis Hirota, Wind in the Pines: Classic Writings o f the Way o f Tea as a Buddhist Path (Fremont, California: Asian Humanities Press, 1995), 168—9. -
Principle of Attaining Buddhahood with the Present Body Sokushin-Jobutsu-Gi by Kukai
Principle of Attaining Buddhahood with the Present Body Sokushin-Jobutsu-Gi by Kukai translated by Hisao Inagaki INTRODUCTION Chinese esoteric Buddhism entered a new epoch in the eighth century when Shubhakarasimha (善無畏 Zenmui, 637-735) and Vajrabodhi (金剛智 Kongochi, 671-741) produced Chinese translations of the Mahavairocana Sutra and the Diamond Peak Sutra, respectively, thereby promulgating what is called "genuine esotericism" (純密 junmitsu) as distinguished from "mixed esotericism" ( 雑密 zomitsu). Furthermore, Amoghavajra (不空金剛 Fukukongo, 705-74), Vajrabodhi's disciple, actively engaged in the dissemination of the teaching while translating a large number of esoteric texts which he had brought from India. It was his disciple Hui-kuo (恵果 Keika, 746-805) who transmitted the teaching to Kukai when the latter visited China. Kukai (774-835), popularly known by the name of Kobo Daishi, after returning to Japan, propagated the esoteric teaching in Kyoto and elsewhere while writing a number of works. Being a faithful follower of the esoteric tradition, he based his system of thought on the teachings of Indian and Chinese masters and attached especially great importance to the sutras of genuine esotericism and two treatises attributed to Nagarjuna, namely, Treatise on Bodhi-Mind (菩提心論 Bodaishinron) and Commentary on the Treatise on Mahayana (釋摩訶衍論 Shakumakaenron). He further developed and systematized the doctrine with his extensive knowledge and religious ingenuity. Thus, the system of the Shingon sect which he founded represents the apex of Buddhist esotericism. Of all the works of Kukai, the following six considered the most important in the Shingon sect: (1) Ben-kenmitsu-nikyo-ron (辯顯密二教論), 2 fascicles, T.T.No.2427, a treatise which compares exoteric and esoteric teaching and shows that the latter is superior because it was expounded by the Dharmakaya Buddha. -
"Shinran's Rejection of Deathbed Rites" (2012)
pear directly as quotations in Shinran.'s writings, but surely his intent is that they be preserved and read. Shinran's Rejection of Deathbed Rites 6) I follow the reading of Imai Masaharu, who has pointed out that the verb forms employed by Eshinni indicate that she directly witnessed these encounters and sug , gests that she herself had already been a member of H6nen's following at the time. See Imai Masaharu. Shim-an to Eshinni. (Kyoto: ]ish6 Shuppan, 2004). Jacqueline I. Stone 7) In Adriaan T. Peperzak, Simon Critchley, and Robert Bernascont eds., Emmanuel · Levinas: Basic Philosophical Writings, (Bloomington and Indianapolis: Indiana Uni versity Press.l996), p. 104. In 1259 and 1260. famine and disease devastated Japan's eastern provinces. 8) There is a slight difference between Shinran's quotation and the most widespread Shinran (1173-1262)-later revered as the founder of Jodo ShinshU. or the version of H6nen's text, representing perhaps some authorial variation in choice True Pure Land sect-wrote to his follower Joshin-bo expressing sorrow among synonyms. The common text has "foremost'' (saki, )'G) and Shinran's copy that so many people, old and young, had died. Then he added, "Personally, I has ~fundamental" (hon, /.j.l:). Although basically indistingujshable in meaning. Shin attach no significance to the manner of one's death, good or bad. Those in ran's hon is appropriate to the central meaning he emphasizes in HOnen's expres whom faith is established have no doubts; therefore they dwell in the com sion. pany of those certain to be born in the Pure Land (shajoju). -
From Inspiration to Institution the Rise of Sectarian Identity in Jōdo Shinshū
From Inspiration to Institution The Rise of Sectarian Identity in Jōdo Shinshū James C. Dobbins When tracing their origins, religious organizations often depict themselves as springing into existence full-bodied from the inspiration of a founder.* Whatever they may claim as their starting point—revelation, enlightenment experience, charismatic leader, or what not—they consider institutional forms to be a direct extension and an immediate and inevitable result of that inspired beginning. Hence sectarian histories draw institutional conclusions from for- mative visions, and emphasize the community of believers and the religious network that coalesce around that inspiration. The rise of religious organizations, however, is generally more protracted and complicated than this. It entails an elaborate and extended evolution wherein belief systems, ceremonies and ritual, hierarchies, legitimation of au- thority, and institutional structure are all gradually defined. The end result is a complex constellation of religious forms that are only intimated, if included at all, in the original vision of the founder. Nonetheless, that vision functions as a causal force and sets in motion the entire evolutionary chain; it provides the raw material from which subsequent interpretations are fashioned, so that what arises later does indeed have a link to what has gone before. The intri- cate process of sectarian evolution is well exemplified in the history of Jōdo Shinshū 浄土真宗, one of the largest schools of Buddhism in Japan. Jōdo Shinshū, known more simply as Shinshū, emerged out of the teach- ings of Shinran 親鸞, 1173–1262, and from the band of followers he left behind. Shinran did not consider himself the founder of a school of Buddhism, nor was his following clearly distinguishable from the broader Pure Land move- ment originated by his teacher Hōnen 法然, 1133–1212. -
Vairocana in Tathgata Aform Shuyu Kanaoka
Vairocana in TathgataaForm Shuyu Kanaoka I With regrd to the Bodhisattva form of Vairocana in the Esoteric Buddhism who has a laymen's topknot (sikhavandha) and dress, without having monk's hair and kasaya, which represents an appearance of Sakya- muni after his getting enlightenment, the Mahavairocana-sutra states as (1) follows: “With sikhavandha, (2) make a crown”(髪 髪 以 爲 冠). “On his head, holds a topknot crown(jatamukuta)”(首 持 髪 髪 冠).(3) The latter jata-mukuta means a coiffure makes a hair like a crown, which is drawn in the“Tai-zo-zu-zo”(胎 藏 圖 像 or garbhadhatu illus- (4) tration) These correspondences in Tibetan is as follows: "(He) has a sikhavandha and a crown (mukuta)" (thor-tshugs dan ni dbu- (5) rgyan hcan). "(He)has a flame-light and jata-mukuta" (hbar-bcas thor-tshugs-dbu-rgyan can). As it will be easily distinguished, the former states topknot (sikha- vandha) and crown (mukuta) separately, while the latter explains a cr- own made of hair, i, e. jata-mukuta which coincide with the statements (1)Both in the second chapter(i. e., 入 曼 茶 羅 具 縁 眞 言 品 第 二). (2) Taisho, XVIII, 5a. (3) ibid., 5c. (4) Taisho Illustration, vol. II. (5) Hattori ed., p. 51,-1.1. (6) ibid., p. 66, 1.1. Rev. Kawagnchi translated this part as follows: "(His) head is ornamented brilliantly (Kawaguchis tr., p. 54). But I agree with Dr. Toganos translation in his "Research on Mandala, p. 134. -821- (36) Vairocana in Tathagata Form (Shuyu Kanaoka) of Chinese texts. -
After the Reformation: Post-Kamakura Buddhism
After the Reformation: Post-Kamakura Buddhism W halen L ai Most historical treatments of Japanese Buddhism end with the Kamakura Reformation. This limitation unfortunately gives the impression that living Buddhist faith in Japan is continuous with the faith of Honen, Shinran, Dogen, and Nichiren. An thropologists, on the other hand, assure us that present-day Buddhism is little more than an agency to provide funeral services for departed ancestors. Again, academic journals published by Buddhist universities tell of yet another tradition: sectarian scholarship. How can these varying pictures of Buddhism be reconciled? The present article attempts to survey the major trends since Kamakura and to account for developments and discontinuities. The social dynamics of the post-Reformation Buddhist community will be analyzed with reference to some plausible European parallels. THE REFORMATION MODEL EXTENDED Two reformations. The Kamakura period (1185-1333) was dubbed “ the Buddhist Reformation” by Japanese scholars of the Meiji era. The label was not altogether inappropriate. The Kamakura sects did represent a reform from within that captured the aspirations of the populace. The reformers sim plified or condensed doctrines and provided a more immediate means to salvation or enlightenment. The European Reformation and the Japanese Reformation are by no means fully alike, but the Western model has generated fruitful inquiries into the socio-historical significance of the This article is based on a draft delivered at the symposium on “Religion in Modern Japan” at the Center for Japanese Studies, University of Michigan, 3 April 1978. I am grateful for comments and suggestions received both at the symposium and during the rewriting. -
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.