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A FEW GOOD WOMEN: A STUDY OF THE LIU DU JI JING (A SCRIPTURE ON THE COLLECTION OF THE SIX PERFECTIONS ) FROM LITERARY, ARTISTIC, AND GENDER PERSPECTIVES A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Ching-mei Shyu January 2008 © 200 8 Ching-mei Shyu A FEW GOOD WOMEN: A STUDY OF THE LIU DU JI JING (A SCRIPTURE ON THE COLLECTION OF THE SIX PERFECTIONS ) FROM LITERARY, ARTISTIC, AND GENDER PERSPECTIVES Ching-mei Shyu, PhD Cornell University 200 8 This dissertation explores one of the Chinese jātaka collections, the Liu du ji jing 六 度集經 (A Scripture on the Collection of the Six Perfections ) from literary, artistic, and gender perspectives. When I compare the features of the Liu du ji jing and those of other jātakas with Indian non-Buddhist narrative literature, I discover that they share a great deal of common ground—the linguistic, cultural, and stylistic milieu that nurtured them during their period of active development until they matured in relative isolation as distinct genres. Through centuries of constant development and reformulation, the jātaka became a genre in its own right, although its distinctive traits as a genre changed over time in response to the changing contexts of Buddhist teachings, resulting in works as different as the Pāli Jātaka, Cariy āpi aka, J ātakam ālā, and the Liu du ji jing . In addition to their literary presentation, the jātakas and the stories in the Liu du ji jing were also propagated in visual art at Indian st ūpas, but there they served a devotional rather than a didactical function. Given the sequence in which individual jātaka scenes are arranged and the inaccessible location of these scenes within the st ūpas , it is unlikely that this artwork was intended to be read or understood by the viewer. Finally, I analyze and discuss the social and religious status of women as they are represented in the jātakas and what this tells us about the various Buddhist attitudes toward them. Here, the contrast between the way women are portrayed in the Liu du ji jing and the Pāli J ātakas is significant. Unlike in any of the Pāli j ātakas , in three stories of the Liu du ji jing , “Buddha” was a woman (in a past life) four times. We will find that the Liu du ji jing is among the few Buddhist scriptures with a positive attitude toward women, and thus, in the eyes of its authors at least, there were a few good women . BIOGRAPHICAL SKETCH Ching-mei Shyu, often known by her religious name, Chikai, was born in Tainan City, Taiwan. Before coming to pursue her doctoral degree in Asian Religions in the Department of Asian Studies at Cornell University, as a Buddhist nun, Chikai spent three years in a Buddhist seminary at the Yuan Heng Temple in Kaohsiung, Taiwan; two years in her home temple, Fu Xing Temple, also in Kaohsiung; another two years finishing her BA in Religious Studies at Arizona State University; and another two years completing her MA in Asian Religions at University of Hawai’i. After having spent years learning a wide range of Buddhist teachings and practice, she decided to take the step forward to deepen her knowledge of other religions and of Buddhism in various aspects. She was not encouraged, but criticized, by people who thought coming to the United States to study Buddhism was useless and would not contribute to her practice of Buddhism. But Chikai insisted on coming anyway. With a degree in fashion design, she spent two years studying different religions, both Western and Eastern, as a student majoring in religious studies. After having finished her undergraduate education, as an MA student, she developed a great interest in Chinese Buddhist textual studies under the guidance of Professor Jan Nattier at the University of Hawai’i. After having finished her master’s degree, she was pleased to attend Cornell University for her doctoral degree. At Cornell, with Professor Daniel Boucher’s guidance and assistance, she further expanded her interest in the range of perspectives that characterize her dissertation: Indian narrative literature, Indian Buddhism, Indian Buddhist art, women in Buddhism, and Mah āyāna Buddhism. Chikai is now about to complete her doctoral degree and reach her goal of becoming a Buddhist scholar after having spent twelve years in the United States. Using her years of training, she is striving to make a significant contribution to the field of Buddhist Studies. iii To my mother, Sunu L. Shyu, my life-time supporter and believer iv ACKNOWLEDGMENTS One of the most enjoyable tasks of writing this dissertation is this one—taking the opportunity to express my gratitude to those who have spent many years constantly and patiently assisting me. There are so many institutions and people to whom I am indebted, and without them this work could never have been completed on time, but some of them deserve special mention. I thank many institutions for their support in the period when I have been pursuing my doctoral degree. The East Asian Program and the Department of Asian Studies at Cornell University have together provided me with six years of very generous scholarships and TA-ships. Due to the generous grant of the Bukky ō Dend ō Ky ōkai (Society for the Promotion of Buddhism) one-year fellowship, I was enabled to carry on my research and formulate my dissertation proposal in Japan, where I had the great opportunity to work with excellent Japanese, European, and American buddhologists at several institutes in the Tokyo area. I would also like to thank the International College of Advanced Buddhist Studies and Tokyo University for the use of their superb libraries. There are so many people to whom I am tremendously indebted for their help in these past many years. At Cornell University, there are a few special professors I would like particularly to thank for helping me become the scholar and teacher I have anticipated becoming. Throughout my seven years at Cornell, my advisor, Professor Daniel Boucher, has provided me with penetrating criticism, tactful suggestions, and sustained encouragement, through which my intelligence and professional horizons have indeed expanded. To Professor Jane-Marie Law, I owe so much for her ongoing support. Professor Law has always encouraged me when I hit obstacles and supported me unconditionally. She is the kind of Director of Graduate Studies and teacher every graduate student deserves. I have learned many things from her about being a good v teacher and considerable person that I was not able to find in my big stack of books. Although Professor Christopher Minkowski is not at Cornell now, at my final stage of writing this dissertation, he still tries to be, and is, very supportive and helpful anyway he can. While in Japan, Professor Hubert Durt, as my advisor at the International College of Advanced Buddhist Studies, assisted me in achieving a wider perspective on the jātaka literature in terms of history, culture, religion, and language. Furthermore, I am grateful for the hospitality and assistance of Professors K ARASHIMA Seishi, Jan Nattier, John R. McRae, and Stefano Zacchetti at the International Research Institute for Advanced Buddhology at Soka University, Hachi ōji. I particularly owe a great deal to Professor Nattier for her guidance, encouragement, and insight on every aspect of my research and life from the first day I met her. Words cannot express my debt of gratitude to her. Applying the karma theory to my relationship with Professor Nattier, I must have earned uncountable good merits in many of my previous lives to be able to have her in my life and to receive constant assistance from her as I did for last ten years. There are families and friends to whom I would also like to take the opportunity to express my gratitude. My grandmaster Ven.Yuanhui and master Ven. Jianci have been very supportive of my twelve years of staying in the United States. My mother, Sunu Shyu, is always on my side no matter where I am or when I need her. Her ongoing support and encouragement is the cornerstone of my life. My sisters, Janet and Amy Shyu, encouraged me via the Internet every time I was frustrated with my work and depressed by the long periods of sunless days in Ithaca. I would like to thank Lu-Ya Chang and her husband Vincent Lin for their help during the many times when I encountered technical computer problems. With their expertise with computers and their patience and kindness, they resolved my problems every time. I am also grateful vi for Masaki Matsubara, a supportive friend, with whom I shared so many good and bad times throughout my stay at Cornell. Hoai Tran, another good friend, read the first draft of a few chapters and provided me with very useful comments. And last, but not least, one of my best friends at Cornell, Su George, always made sure that I had enough food to survive by taking me grocery shopping weekly, a ritual that became the most relaxing time I spent away from my studies. vii TABLE OF CONTENTS Biographical Sketch………………………………………………………………..iii Dedication………………………………………………………………………….iv Acknowledgements…………………………………………………………………v Introduction…………………………………………………………………………1 Chapter I: Indian Buddhist Narrative Literature……………………………………25 Chapter II: The Devotional Function of Artistic Presentations of the Jātakas at Indian Buddhist Sites……………………………………………….82 Chapter III: A Few Good Women………………………………………………….143 Conclusion………………………………………………………………………….196 Appendix……………………………………………………………………………204 Bibliography………………………………………………………………………..212 viii INTRODUCTION Ever since I was a little girl, I have always liked stories. Visiting my grandmother, a housewife and a great storyteller, was the most memorable time of my childhood.

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