An Investigation Report on the Music of Lectures in Lingying Palace of Mount Tai in Shandong Province
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Zen Masters at Play and on Play: a Take on Koans and Koan Practice
ZEN MASTERS AT PLAY AND ON PLAY: A TAKE ON KOANS AND KOAN PRACTICE A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brian Peshek August, 2009 Thesis written by Brian Peshek B.Music, University of Cincinnati, 1994 M.A., Kent State University, 2009 Approved by Jeffrey Wattles, Advisor David Odell-Scott, Chair, Department of Philosophy John R.D. Stalvey, Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgements iv Chapter 1. Introduction and the Question “What is Play?” 1 Chapter 2. The Koan Tradition and Koan Training 14 Chapter 3. Zen Masters At Play in the Koan Tradition 21 Chapter 4. Zen Doctrine 36 Chapter 5. Zen Masters On Play 45 Note on the Layout of Appendixes 79 APPENDIX 1. Seventy-fourth Koan of the Blue Cliff Record: 80 “Jinniu’s Rice Pail” APPENDIX 2. Ninty-third Koan of the Blue Cliff Record: 85 “Daguang Does a Dance” BIBLIOGRAPHY 89 iii ACKNOWLEDGEMENTS There are times in one’s life when it is appropriate to make one’s gratitude explicit. Sometimes this task is made difficult not by lack of gratitude nor lack of reason for it. Rather, we are occasionally fortunate enough to have more gratitude than words can contain. Such is the case when I consider the contributions of my advisor, Jeffrey Wattles, who went far beyond his obligations in the preparation of this document. From the beginning, his nurturing presence has fueled the process of exploration, allowing me to follow my truth, rather than persuading me to support his. -
Pure Mind, Pure Land a Brief Study of Modern Chinese Pure Land Thought and Movements
Pure Mind, Pure Land A Brief Study of Modern Chinese Pure Land Thought and Movements Wei, Tao Master of Arts Faculty ofReligious Studies McGill University Montreal, Quebec, Canada July 26, 2007 In Partial Fulfillment ofthe Requirements for the Degree Master of Arts in the Faculty ofReligious Studies of Mc Gill University ©Tao Wei Copyright 2007 All rights reserved. Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Bran ch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-51412-2 Our file Notre référence ISBN: 978-0-494-51412-2 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. -
Empty Cloud, the Autobiography of the Chinese Zen Master Xu
EMPTY CLOUD The Autobiography of the Chinese Zen Master XU YUN TRANSLATED BY CHARLES LUK Revised and Edited by Richard Hunn The Timeless Mind . Undated picture of Xu-yun. Empty Cloud 2 CONTENTS Contents .......................................................................................... 3 Acknowledgements ......................................................................... 4 Introduction .................................................................................... 5 CHAPTER ONE: Early Years ............................................................ 20 CHAPTER TWO: Pilgrimage to Mount Wu-Tai .............................. 35 CHAPTER THREE: The Journey West ............................................. 51 CHAPTER FOUR: Enlightenment and Atonement ......................... 63 CHAPTER FIVE: Interrupted Seclusion .......................................... 75 CHAPTER SIX: Taking the Tripitaka to Ji Zu Shan .......................... 94 CHAPTER SEVEN: Family News ................................................... 113 CHAPTER EIGHT: The Peacemaker .............................................. 122 CHAPTER NINE: The Jade Buddha ............................................... 130 CHAPTER TEN: Abbot At Yun-Xi and Gu-Shan............................. 146 CHAPTER ELEVEN: Nan-Hua Monastery ..................................... 161 CHAPTER TWELVE: Yun-Men Monastery .................................... 180 CHAPTER THIRTEEN: Two Discourses ......................................... 197 CHAPTER FOURTEEN: At the Yo Fo & Zhen Ru Monasteries -
Chan Eccentrics in the Art and Culture of Song and Yuan China
Wandering Saints: Chan Eccentrics in the Art and Culture of Song and Yuan China Paramita Paul Printed at Wöhrmann Print Service, Zutphen, the Netherlands. On the cover:Hanshan reading a scrollby Luochuang. University ArtMuseum of the University of California (after Weidner 1994: cat. no. 72). 2 Wandering Saints: Chan Eccentrics in the Art and Culture of Song and Yuan China Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof. mr. P.F. van der Heijden, volgens besluit van het College voor Promoties te verdedigen op dinsdag 3 november 2009 klokke 11.15 uur door Paramita Paul geboren te Amsterdam in 1979 3 Promotiecommissie: Promotor: Prof. dr. M. van Crevel Co-promotor: Dr. O.J. Moore Overige leden: Prof. dr. B.J. ter Haar Dr. M.J. Klokke Prof. dr. J. Murray (University of Wisconsin) Deze promotie is mogelijk gemaakt door een beurs van de Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO). 4 Acknowledgments This study would not have been possible without the support of many institutions, teachers, colleagues, friends and relatives. I would like to acknowledge the financial support of a research award fromthe Nederlandse Organisatie voor Wetenschappelijk Onderzoek (Netherlands Organisation for Scientific Research NWO). Material support came from the Leiden Institute for Area Studies (LIAS), and my thanks go to the LIAS secretaries Ilona Beumer and Wilma Trommelen. I am grateful to the Foguangshan Chan monastery, Gaoxiong, and Venerables Yifa and Huifeng for organizing the 2004 Woodenfish Project, which gave me a unique chance to experience Chan Buddhismfirst-hand. I would like to express my gratitude to Prof. -
Pure Mind, Pure Land a Brief Study of Modern Chinese Pure Land Thought and Movements
Pure Mind, Pure Land A Brief Study of Modern Chinese Pure Land Thought and Movements Wei, Tao Master of Arts Faculty ofReligious Studies McGill University Montreal, Quebec, Canada July 26, 2007 In Partial Fulfillment ofthe Requirements for the Degree Master of Arts in the Faculty ofReligious Studies of Mc Gill University ©Tao Wei Copyright 2007 All rights reserved. Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Bran ch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-51412-2 Our file Notre référence ISBN: 978-0-494-51412-2 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. -
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Who? What? Where? When? Why? Uncovering the Mysteries of Monastery Objects by Ven. Shikai Zuiko o-sensei Zenga by Ven. Anzan Hoshin roshi Photographs by Ven. Shikai Zuiko o-sensei and Nathan Fushin Comeau Article 1: Guan Yin Rupa As you enter the front door of the Monastery you may have noticed a white porcelain figure nearly two feet tall standing on the shelf to the left. Who is she? Guan Yin, Gwaneum, Kanzeon, are some of the names she holds from Chinese, Korean, and Japanese roots. The object is called a "rupa" in Sanskrit, which means "form" and in this case a statue that has the form of a representation of a quality which humans hold dear: compassion. I bought this 20th century rupa shortly after we established a small temple, Zazen-ji, on Somerset West. This particular representation bears a definite resemblance to Ming dynasty presentations of "One Who Hears the Cries of the World". Guan Yin, Gwaneum, Kanzeon seems to have sprung from the Indian representation of the qualities of compassion and warmth portrayed under another name; Avalokitesvara. The name means "looking down on and hearing the sounds of lamentation". Some say that Guan Yin is the female version of Avalokitesvara. Some say that Guan Yin or, in Japan, Kannon or Kanzeon, and Avalokitesvara are the same and the differences in appearance are the visibles expression of different influences from different cultures and different Buddhist schools, and perhaps even the influence of Christianity's madonna. Extensive background information is available in books and on the web for those interested students. -
Inhabiting Literary Beijing on the Eve of the Manchu Conquest
THE UNIVERSITY OF CHICAGO CITY ON EDGE: INHABITING LITERARY BEIJING ON THE EVE OF THE MANCHU CONQUEST A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EAST ASIAN LANGUAGES AND CIVILIZATIONS BY NAIXI FENG CHICAGO, ILLINOIS DECEMBER 2019 TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS .............................................................................................................v ABSTRACT ................................................................................................................................. viii 1 A SKETCH OF THE NORTHERN CAPITAL...................................................................1 1.1 The Book ........................................................................................................................4 1.2 The Methodology .........................................................................................................25 1.3 The Structure ................................................................................................................36 2 THE HAUNTED FRONTIER: COMMEMORATING DEATH IN THE ACCOUNTS OF THE STRANGE .................39 2.1 The Nunnery in Honor of the ImperiaL Sister ..............................................................41 2.2 Ant Mounds, a Speaking SkulL, and the Southern ImperiaL Park ................................50 -
The Development of Shamanism and Its Social Functions in the Song Dynasty (960-1279): Taking Folktales in Record of the Listener
Seton Hall University eRepository @ Seton Hall Seton Hall University Dissertations and Theses Seton Hall University Dissertations and Theses (ETDs) Summer 7-9-2019 The evelopmeD nt of Shamanism and Its Social Functions in the Song Dynasty (960-1279): Taking Folktales in Record of the Listener as Major Examples Xiang Wei [email protected] Follow this and additional works at: https://scholarship.shu.edu/dissertations Part of the Chinese Studies Commons Recommended Citation Wei, Xiang, "The eD velopment of Shamanism and Its Social Functions in the Song Dynasty (960-1279): Taking Folktales in Record of the Listener as Major Examples" (2019). Seton Hall University Dissertations and Theses (ETDs). 2681. https://scholarship.shu.edu/dissertations/2681 THE DEVELOPMENT OF SHAMANISM AND ITS SOCIAL FUNCTIONS IN THE SONG DYNASTY (960-1279): TAKING FOLKTALES IN RECORD OF THE LISTENER AS MAJOR EXAMPLES BY XIANG WEI A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF ASIAN STUDIES AT SETON HALL UNIVERSITY SOUTH ORANGE, NEW JERSEY 2019 © Xiang Wei 2019 ACKNOWLEDGEMENT First of all, I would like to express my gratitude to all those who helped me during the writing of this thesis. I gratefully acknowledge the help of my supervisor, Dr. Rice, who has offered me valuable suggestions in the academic studies. In the preparation of this thesis, he has spent much time reading through each draft and provided me with inspiring advice. Without his patient instruction, insightful criticism, and expert guidance, the completion of this thesis would not have been possible. -
AN ANALYSIS of BUDDHIST ELEMENTS in the MUSIC of PRINCESS WEN CHENG by IMEE OOI Xiao Hao Tee Fung Ying Loo ABSTRACT 1. INTRODUCT
International Journal of Asian Social Science, 2014, 4(6): 714-721 International Journal of Asian Social Science ISSN(e): 2224-4441/ISSN(p): 2226-5139 journal homepage: http://www.aessweb.com/journals/5007 AN ANALYSIS OF BUDDHIST ELEMENTS IN THE MUSIC OF PRINCESS WEN CHENG BY IMEE OOI Xiao Hao Tee Department of Music, Cultural Centre, University of Malaya, Kuala Lumpur, Malaysia Fung Ying Loo† Department of Music, Cultural Centre, University of Malaya, Kuala Lumpur, Malaysia ABSTRACT This article examines musical aspects of Princess Wen Cheng, a musical composed by Imee Ooi, a Malaysian composer. A majority of the past and present literature in Buddhist chant and music focus on chanting, devotional song and some on commercial popular music. This research looks into this piece of musical theatre that is based on the historical story of Wen Cheng Kongjo and analyses its musical content in relating to Buddhism. Selected analysis of the composition and its relations to Buddhism is highlighted, and the way in which elements from Buddhism, chanting and instrumentation are employed by Ooi in her music and the aspects of performance practice are discussed. This includes stylistic feature, melodic contour, harmonic progression and imitation of timbre in relation to Buddhist chanting and the instruments used in Buddhist ritual. Research methods include ethnography, interview, and analysis, revealing how this musical forms a new genre of Buddhist music to stand alongside others such as chant, devotional song and commercial popular music. © 2014 AESS Publications. All Rights Reserved. Keywords: Buddhism, Chant, Imee Ooi, Buddhist music, Musical theatre, Analysis. 1. INTRODUCTION The term „music‟ is often questioned when referring to the organized sound heard during a Buddhist ritual. -
Enlightened – the Realm of the Buddhas
Enlightened – The Realm of the Buddhas The Buddha seated on a lotus throne is one of the oldest and to date best-known representa- tions of Buddhism. Buddhist teachings emerged in northern India in the last pre-Christian millennium. From there it spread across Central and East Asia as far as Indonesia within a matter of 1,200 years. Today, Buddhism has over 380 million followers spread over the entire globe. Who was the Buddha and what was his message? How many Buddhas are there and how do they differ from one another? Is a Buddha always male? What is understood by enlightenment? The exhibition invites visitors to follow up on these and similar questions and explore the immense variety of Buddhism. At the centre stand the Three Jewels: the Buddha, his teachings, and the Buddhist community. The encounter with numerous Buddhas from South, Central, and East Asia will reveal that representations of the Buddha do not merely have a decorative function. They form the pillars of a spiritual practice and convey complex and intricate teachings. On his journey from prince to religious founder, Buddha Shakyamuni searched for the origin of suffering and for ways of overcoming it. Since his pursuit began roughly 2,500 years ago, a multitude of symbols and images of him and his teachings have emerged. What a Buddha had to look like was defined very early in various Indian writings. Unto this day, artists still follow these templates which makes recognizing a Buddha quite easy. At the same time, one is surprised again and again at the huge variety of representational modes which emerged with the spread of Buddhism and its encounter with local artistic expressions and ideas. -
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Advances in Social Science, Education and Humanities Research (ASSEHR), volume 279 Third International Conference of Arts, Language and Culture (ICALC 2018) Aesthetical and Philosophical Values of Mu Yi (Wooden Fish) in Vihara Buddhi Bandung Tjutju Widjaja1, Setiawan Sabana2, Ira Adriati3 1,2,3 FSRD Institut Teknologi Bandung, Bandung - Indonesia [email protected], [email protected], [email protected] Abstract: Vihara Buddhi, formerly known as “Female Temple”, is a sacred place where Chinese people in Indonesia worship their Gods and do their rituals. Chinese Indonesians adhere to Sanjiao teaching. Sanjiao means Three Teachings; a syncretic form of three main religions or teachings: Buddhism, Confucianism, and Taoism. This form is strictly adhered by mostly Chinese Indonesians. Vihara Buddhi is located in Bandung, and operated by a group of priestesses called Zhai Ji, came from marginalized women of Hakka Tribe. As a result of syncretism in Sanjiao teachings, there are many kinds of ritual objects as artifact in the temple, derived from Buddhism, Confucianism and Taoism. The most important amongst those artifact is (Mu Yi) wooden Fish, it is the most popular artifact and ritual object amongst Chinese Indonesian. Research questions: 1. What is the aesthetical value of wooden Fish in Vihara Buddhi, Bandung? 2. What is the philosophical value of the wooden Fish in Vihara Buddhi, Bandung? In this research i use qualitative methods: Direct observation, data collecting and interview. I use Eastern Aesthetic theory as an ideal approach to have a comprehensive result. The results confirm the aesthetical value of wooden Fish shown in the material and style of the artifact. -
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