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Just This Is It: Dongshan and the Practice of Suchness / Taigen Dan Leighton
“What a delight to have this thorough, wise, and deep work on the teaching of Zen Master Dongshan from the pen of Taigen Dan Leighton! As always, he relates his discussion of traditional Zen materials to contemporary social, ecological, and political issues, bringing up, among many others, Jack London, Lewis Carroll, echinoderms, and, of course, his beloved Bob Dylan. This is a must-have book for all serious students of Zen. It is an education in itself.” —Norman Fischer, author of Training in Compassion: Zen Teachings on the Practice of Lojong “A masterful exposition of the life and teachings of Chinese Chan master Dongshan, the ninth century founder of the Caodong school, later transmitted by Dōgen to Japan as the Sōtō sect. Leighton carefully examines in ways that are true to the traditional sources yet have a distinctively contemporary flavor a variety of material attributed to Dongshan. Leighton is masterful in weaving together specific approaches evoked through stories about and sayings by Dongshan to create a powerful and inspiring religious vision that is useful for students and researchers as well as practitioners of Zen. Through his thoughtful reflections, Leighton brings to light the panoramic approach to kōans characteristic of this lineage, including the works of Dōgen. This book also serves as a significant contribution to Dōgen studies, brilliantly explicating his views throughout.” —Steven Heine, author of Did Dōgen Go to China? What He Wrote and When He Wrote It “In his wonderful new book, Just This Is It, Buddhist scholar and teacher Taigen Dan Leighton launches a fresh inquiry into the Zen teachings of Dongshan, drawing new relevance from these ancient tales. -
(And Tantric?) Approaches of the Rim Gyis 'Jug
The Sudden and Gradual Sū tric (and Tantric?) Approaches of the RiM GYis ’jUG Pa’i bsGOM DON aND CiG car ’jUG Pa rNaM Par Mi rTOG Pa’i bsGOM DON JOEL GRUbER According to the dates provided by the Great History of the Rdzogs chen snying thig (Rdzogs pa chen po snying thig gyi lo rgyus chen mo; hereafter Great History), the renowned saint named Vimalamitra was born in India around the latter half of the fifth century. We are told that he spent a majority of his early years studying Buddhism with some of the most esteemed Indian scholars of his generation, until his studies were interrupted by a visit from the bodhisattva Vajrasattva, who encour- aged Vimalamitra to cease practicing exoteric teachings in order to pur- sue a tantric education in China. After two decades of training with the elusive Śrī Siṃha in China, Vimalamitra returned to his homeland to meditate in India’s sacred charnel grounds. Over two hundred years later, word of Vimalamitra’s tantric proficiency reached the Tibetan king, Khri Srong lde brtsan (Trisong Detsen), who invited the Indian saint to assist with the dissemination of Buddhism throughout the Land of Snows. Though Vimalamitra was purportedly three hundred years of age when he journeyed across the Himalayas, his yogic powers were far from diminished. Shortly after departing India, rumors spread to the Tibetan court that Vimalamitra was a necromantic sorcerer rather than a Buddhist saint. Upon his arrival, Tibetan ministers questioned Vimalamitra’s saintly credentials, prompting the tantric master to disintegrate Tibet’s prized statue of Vairocana through the power of a single prostration. -
Village Zendo Sutra Book
The Village Zendo Sutra Book 588 Broadway, Suite 1108 New York, New York 10012 www.villagezendo.org Table of Contents Daily Verses and Gathas 3 Maha Prajña Paramita Heart Sutra 4 Maka Hannya Haramita Shin Gyo 5 Sho Sai Myo Kichijo Dharani 6 Enmei Jukku Kannon Gyo 6 Song of the Jewel Mirror Awareness 7 Our Women Ancestors 10 The Identity of Relative and Absolute 12 Traditional Zen Ancestors Lineage 13 Daihishin Dharani 15 Fukanzazengi 16 Kan Ro Mon/Gate of Sweet Nectar 20 New Years and Jizo Shingon Dharanis 25 Meal Gatha 26 Nenju 28 2 Customary Refrain All Buddhas throughout space and time All Bodhisattva Mahasattvas Maha Prajña Paramita The Four Great Vows Sentient beings are numberless, I vow to save them. Desires are inexhaustible, I vow to put an end to them. The Dharmas are boundless, I vow to master them. The Buddha Way is unattainable, I vow to attain it. Verse of the Kesa Vast is the robe of liberation, A formless field of benefaction. I wear the Tathagata teaching, Saving all sentient beings. Gatha on Opening the Sutra The Dharma, incomparably profound and infinitely subtle, Is rarely encountered, even in millions of ages. Now we see it, hear it, receive and maintain it. May we completely realize the Tathagata's true meaning. Verse of Atonement All evil karma ever committed by me since of old, On account of my beginningless greed, anger and ignorance, Born of my body, mouth and thought, Now I atone for it all. 3 Maha Prajña Paramita Heart Sutra Avalokiteshvara Bodhisattva, doing deep Prajña Paramita, Clearly saw emptiness of all the five conditions Thus completely relieving misfortune and pain. -
Sanjski Grad Vsakega Umetnika« – Japonski Avantgardni Center V 60
DOI: 10.4312/as.2016.4.2.183-200 183 »Sanjski grad vsakega umetnika« – Japonski avantgardni center v 60. letih 20. stoletja Klara HRVATIN* Izvleček Članek predstavlja uvod v predstavitev umetniškega gibanja Sōgetsu (1958–1971), nje- govega mesta v zgodovini japonske avantgardne scene, pomembnosti umetniškega centra Sōgetsu (Sōgetsu Art Center ali SAC), kjer se je gibanje odvijalo, in njegovega mecena Sōfuja Teshigahare. Ob pregledu prvih obstoječih dokumentov o SAC-u, prvega, ki je služil kot uvodni vodič Centra (objavljen 1. septembra 1958), in drugega, ki je bil eksklu- zivno izdan ob njegovem odprtju (13. septembra 1958), bomo lahko natančneje razkrili SAC-ovo podobo in kapacitete ter opredelili cilje, ki si jih je postavil pred začetkom delo- vanja. Kaj je Center nudil, da je bil razglašen za »sanjski grad vsakega umetnika«? Ključne besede: japonska avantgardna umetnost, umetniško gibanje Sōgetsu, umetniški center Sōgetsu, Sōfu Teshigahara, šola ikebane Sōgetsu Abstract This article is an introduction to the Sōgetsu art movement (1958–1971): its importance in the history of the Japanese avant-garde, and the significance of the Sōgetsu Art Center (SAC) itself, including its patron Sōfu Teshigahara. By examining the first two print- ed materials on SAC, the first of which served as an introductory guide to the Center (published on September 1st, 1958), and the second printed exclusively for the Center’s opening (September 13th, 1958), we will consider the Center’s appearance and facilities and point out its functions, which Teshigahara assigned from its begining. What were the Center’s particular features by which it got called “the dream castle of every artist”? Keywords: Japanese avant-garde, Sōgetsu art movement, Sōgetsu Art Center (SAC), Sōfu Teshigahara, Sōgetsu ikebana school * Klara HRVATIN, dr., Oddelek za azijske študije, Filozofska fakulteta, Univerza v Ljubljani. -
Maha Prajña Paramita Heart Sutra
Maha Prajna Paramita Heart Sutra Maha Prajña Paramita Heart Sutra Avalokiteshvara Bodhisattva, doing deep Prajña Paramita, Clearly saw emptiness of all the five conditions, Thus, completely relieving misfortune and pain. Oh Shariputra, form is no other than emptiness Emptiness no other than form; Form is exactly emptiness, emptiness exactly form. Sensation, conception, discrimination, awareness are likewise like this. Oh Shariputra, all Dharmas are forms of emptiness: Not born, not destroyed; not stained, not pure, without loss, without gain. So in emptiness there is no form, no sensation, conception, discrimination, awareness. No eye, ear, nose, tongue, body, mind; no color, sound, smell, taste, touch, phenomena. No realm of sight, no realm of consciousness, no ignorance and no end to ignorance, No old age and death and no end to old age and death, No suffering, no cause of suffering, no extinguishing, no path, no wisdom and no gain. No gain and thus the Bodhisattva lives Prajña Paramita, with no hindrance in the mind. No hindrance, therefore no fear. Far beyond deluded thoughts, this is Nirvana. All past, present and future Buddhas live Prajña Paramita And therefore attain Añutara-Samyak-Sambodhi. Therefore know Prajña Paramita is the great mantra, The vivid mantra, the best mantra, the unsurpassable mantra It completely clears all pain. This is the truth not a lie. So set forth the Prajña Paramita mantra, 1 Maha Prajna Paramita Heart Sutra Set forth this mantra and say: Gate Gate Paragate! Parasamgate! Bodhi Svaha! Prajna Heart Sutra! 2 Identity of Relative and Absolute Identity of Relative and Absolute The mind of the Great Sage of India was intimately conveyed from West to East. -
A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY
A Companion to Digital Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐ of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill and Jason D. LaFountain 9 A Companion to Digital Art edited by Christiane Paul 10 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie A Companion to Digital Art Edited by Christiane Paul -
Michael Goldberg
.-. TATTLETAPES THE INCOMPARABLE BYRON BLACK MARKET IS INFINITELY PLEASED TO BE RELOCATED IN OSAKA.'' BILL VIOLA SOMEHOW MANAGED TO SQUEEZE HIS EDITING SYSTEM (MADE IN JAPAN, BOUGHT IN NEW YORK) INTO TAKI BLUESEINGER's OLD "MANSION" IN ROPPONGI .·,, TAKI AND LYN BENNETT AND EMI-CHAN ARE MUCH MORE COMFORTABLE IN VANCOUVER, WITHOUT MICHAEL GOLDBERG HOGGING HALF THE FUTON,,, KIRA CLICKS, BUT BILL IS MOVING IN REAL TIME, PICKING UP THE LANGUAGE,,, TAKA IIMURA BOPS FROM JAPAN TO CANADA, SOON TO BE ARTIST-IN RESIDENCE AT THE FUNNEL IN TORONTO, THEN A TOUR - WHAT'S THE MATTER WITH NEW YORK? ... SHIGEKO KUBOTA AND NAM JUN PAIK HAVE ALSO BEEN OCEAN HOPPING.,, KEIGO YAMAMOTO IS BACK IN THE FIELD, AFTER HIS EXHAUSTIVE TOUR OF THE CANADIAN CONTINENT,,, MAKO IDEMITSU BOPPED UP TO CANADA FOR A FEW DAYS, BETWEEN CALIFORNIA AND HOME ... HANK BULL AND KATE CRAIG, ON A WORLD-WIND TOUR, STOPPED BRIEFLY IN TOKYO AND OSAKA ON THEIR WAY FROM VANCOUVER TO INDIA,,, SHIGEO ANZAI WOULD LIKE TO MAKE NEW YORK A HABIT,,, KYOKO MICHISHITA AND FUJIKO NAKAYA FLY BACK AND FORTH OFTEN ENOUGH; THEY SHOULD GET TOGETHER AND BUY A PLANE ... MICHAEL GOLDBERG WANTS TO MAKE JAPAN A HABIT ..• EVERYONE WANTS TO HUSH UP THE ART/PORNOGRAPHY PROBLEMS WITH JAPANESE CUSTOMS, AT LEAST UNTIL THE SHOW IS OVER.,, FUSAO TAKAMURA, ON HIS WAY BACK TO OSAKA AFTER A MONTH IN NEW YORK, SPENT AN EQUAL AMOUNT OF TIME IN VANCOUVER,,, HE COINCIDED WITH THE VISIT OF JUN OKAZAKI AND EMI SEGAWA, ON THEIR WAY THROUGH TOWN, HEADING FOR, GUESS WHERE? NEW YORK •.• THEY WERE HOSTED THERE BY SCULPTURE/VIDEO ARTIST HIROMU SAIKI .. -
Chan Buddhism and the Chinese Ancestors Spring Term 2014 Seminary Class Sylabus
Chan Buddhism and the Chinese Ancestors Spring Term 2014 Seminary Class Sylabus The seminary class offering for the spring 2014 term will be Chan Buddhism and the Chinese Ancestors. This ten-week class series is scheduled for Tuesday evenings from February 4th through April 15th. During this class series, we will examine the stories and traditional teachings of and about our Chinese Dharma ancestors and other significant Chan masters from the time of Bodhidharma, through the Tang and Sung Dynasties to and including Tiantong Rujing. Through these stories, we experience the particular way in which we hold the memory of our lineage tradition. We will also follow the development of Chan as it gains color and additional meaning through the authenticity and uniqueness of each generation to become an important cultural force in Chinese and other East Asian societies. The primary text for the reading assignments for each class (listed below) is Zen's Chinese Heritage: The Masters and their Teachings by Andy Ferguson either the first (2000) edition or the expanded (2011) edition. Optional, supplemental text materials will include sections from (1) The Platform Sutra: The Zen Teaching of Hui-neng by Red Pine and (2) Zen Buddhism: A History: Volume 1, India and China by Heinrich Dumoulin. Texts may be purchased; however, copies of all three texts will be placed on reserve for this class in the DRZC library. The classes will be led by Fumyo Mishaga, Genko Rainwater, and Allison Shin'ei Brown. For Seminary credit, each student will be required to complete a written assignment. Also, class attendance will be considered a very important criterion. -
Japan Video Art Festival
• Japan Video Art Festival 33 Artists at CAYC April 1978 Center of Art and Communication Buenos Aires 33 Participating Artists Besson Hans Fleischner Hiroshi Fujii Mako ldemitsu Taka limura Norio lmai Shoji Kaneko Etsuo Kawamura Hakudo Kobayashi Hori Kousai Shigeko Kubota Duck Jun Kwak Masafumi Maita Shoji Matsumoto Toshio Matsumoto Yutaka Matsuzawa Kyoko Michishita Setsu Miura Toshi Morinoh Hidetoshi Nagasawa Tsuneo Nakai Kou Nakajima Yoshio Nakajima Masaaki Nakauchi Fujiko Nakaya Hitoshi Nomura Kishio Suga Noboru Takayama Yoshio Uemura Morihiro Wada Aki Yada Katsuhiro Yamaguchi Keigo Yamamoto An Open Spirit In the last five years, the Center of Art and Communication (CAYC) has organized ten International Open Encounters on Video, according to the following list: I, at the Institute of Contemporary Art, London, 1973; II, Espace Cardin, Paris, 1974; Ill, Palazzo del Diamanti, Ferrara, Italy, 1974; IV, CAYC, Buenos Aires, 1975; V, lnternationaal Cultureet Centrum, Antwerp, Belgium, 1976; VI, Museum of Contemporary Art, Caracas, 1977; VII, Joan Mir6 Foundation, Barcelona, Spain, 1977; VIII, Continental Gallery, Lima. 1977; IX, Alvar and Carmen Carrillo Gil Museum, Mexico City, 1977; and X, which will be held next May at the Sogetsu-Kaikan Building, Tokyo. As their title indicates, these encounters are open, in order to encompass all tendencies and authors, an attitude demanded by video art itself. We believe that the best explanation of the need for this spirit, and of the scope of the medium, was formulated in February 1977, during the Barcelona Encounter, by Katsuhiro Yamaguchi, one of the most important creators of Japanese video art and one of the 33 participants in CAYC's Japan Video Art Festival. -
Zen) Buddhist Texts
Publications of the Institute for Asian and African Studies 16 Anu Niemi Talking about food does not appease hunger food appease does not about Talking Niemi Anu “TALKING ABOUT FOOD DOES NOT APPEASE HUNGER” Phrases on hunger in Chan (Zen) Buddhist texts ISBN 978-951-51-0057-3 (printed) Anu Niemi ISBN 978-951-51-0058-0 (PDF) http://ethesis.helsinki.fi ISSN 1458-5359 Unigrafia Helsinki 2014 Helsinki 2014 _______________________________________________________________________________ Publications of the Institute for Asian and African Studies 16 _______________________________________________________________________________ “TALKING ABOUT FOOD DOES NOT APPEASE HUNGER” Phrases on hunger in Chan (Zen) Buddhist texts Anu Niemi ACADEMIC DISSERTATION To be presented with the permission of the Faculty of Arts of the University of Helsinki, for public examination in Auditorium XII , University Main Building, Unioninkatu 34, on the 20th of September, 2014, at 10 am. Publications of the Institute for Asian and African Studies 16 ISBN 978-951-51-0057-3 (printed) ISBN 978-951-51-0058-0 (PDF) http://ethesis.helsinki.fi ISSN 1458-5359 Unigrafia Helsinki 2014 ABSTRACT Chinese Buddhist texts contain expressions that deal with metaphorical hunger. These phrases appear at different times and in different contexts, beginning with Indian sutras that were translated into Chinese, and ending with Classical Chan (Jap. Zen) Buddhist texts. Each context is new, and one can understand the different expressions in different ways. Some expressions can be understood in the same way despite the context, and others have to be understood differently, depending on the context. At the outset of the study is a group of sayings the content of which is metaphorical hunger. -
Contents Introduction 9
Contents Introduction 9 Avatamsaka Sutra 11 Book 2: Appearance of the Buddha Avatamsaka Sutra 15 Book 11: Purifying Practice Avatamsaka Sutra 18 Book 26: The Ten Stages Avatamsaka Sutra 20 Book 30: The Incalculable Avatamsaka Sutra 25 Book 36: The Practice of Universal Good Avatamsaka Sutra 27 Book 39: Entry into the Realm of Reality (1) Avatamsaka Sutra 31 Book 39: Entry into the Realm of Reality (2) Pali Canon 33 Minds like the Wild Deer Pali Canon 34 Dhammapada, Chapter 1: Dichotomies Pali Canon 36 The Divine Messengers Pali Canon 38 The First Discourse Pali Canon 40 No Dogmas or Blind Belief Pali Canon 42 Four Kinds of Kamma Pali Canon 43 Mindfulness of Breathing Pali Canon 45 The Domain of Wisdom & The Goal of Wisdom Pali Canon 47 The Tathāgata Lankavatara Sutra 48 Chapter 2: Mahamati’s Questions Lankavatara Sutra 49 Chapter 3: More Questions Vimalakīrti Sūtra 51 Chapter 2: Inconceivable Skill in Liberative Technique Vimalakīrti Sūtra 53 Chapter 3: The Disciples Vimalakīrti Sūtra 55 Chapter 5: Inquiring about the Illness Vimalakīrti Sūtra 57 Chapter 6: Beyond Comprehension Vimalakīrti Sūtra 59 Chapter 7: Regarding Living Beings Vimalakīrti Sūtra 61 Chapter 9: Entering the Gate of Nondualism 3 The Almighty Letter A 62 ‘Sacred Calligraphy of the East’, by John Stevens Diamond Sutra 63 Section 3: The Real Teaching of the Great Way Diamond Sutra 64 Section 5: Understanding the Ultimate Principle of Reality Diamond Sutra 65 Section 6: Rare is True Faith Diamond Sutra 66 Section 26: The Body of Truth Has No Marks Diamond Sutra 67 Section -
A Day in the Life Two Recent Works on Dōgen’S Shōbōgenzō “Gyōji” [Sustained Practice] Fascicle
Japanese Journal of Religious Studies 35/2: 363–371 © 2008 Nanzan Institute for Religion and Culture review article A Day in the Life Two Recent Works on Dōgen’s Shōbōgenzō “Gyōji” [Sustained Practice] Fascicle Steven Heine Ishii Shūdō 石井修道, Shōbōgenzō [Gyōji] ni manabu 正法眼蔵「行持」に学ぶ. Kyoto: Zen Bunka Kenkyūjō, 2007. 620 pp. ¥2,300, paper. isbn 978-4-88182- 219–7. Yasuraoka Kōsaku 安良岡康作 trans., Shōbōgenzō [Gyōji] jō 正法眼蔵「行持」上. Tokyo: Kodansha, 2002. 455 pp. ¥1,300, paper [hereafter i]. isbn 4-06-159528- 8; Shōbōgenzō [Gyōji] ge 正法眼蔵「行持」下. Tokyo: Kodansha, 2002. 446 pp. ¥1,300, paper [hereafter ii]. isbn 4-06-159529-6. Steven Heine is professor and director of the Institute for Asian Studies at Florida Inter- national University. 363 In a hundred thousand kalpas encompassing the cycles of life and death, a single day of sustained practice is a bright pearl in a topknot or an ancient mirror that lives and dies in conjunction [with buddhas], and is a joyous day reflecting the joyful effort of sustained practice itself. (dzz i, 162) or nearly two decades, studies of Dōgen 道元 in the Japanese academy have been dominated by topics other than what is generally considered the major area of inquiry, his masterwork, the Shōbōgenzō 正法眼蔵. FBecause the Shōbōgenzō had received so much coverage over the years, it was high time to dwell on other issues, and just about every theme related to Dōgen’s writings and the history of his life and times, as well as the overall spread of the Sōtō Zen sect, has received considerable attention except the topic everyone tends to expect.