DOCSLIB.ORG

HŌRYŪJI Prince Shōtoku and Treasures of Early Buddhist Faith in Japan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HŌRYŪJI Prince Shōtoku and Treasures of Early Buddhist Faith in Japan List of Works Special Exhibition The 1400th Memorial for Prince Shōtoku HŌRYŪJI Prince Shōtoku and Treasures of Early Buddhist Faith in Japan [Notes] July 13 – September 5, 2021 ・ The same artwork numbers are used in both the catalogue and the galleries, but the works are not displayed in numerical order. Missing numbers from the list below indicate works exhibited exclusively at the Nara venue. Heiseikan, Tokyo National Museum ・The following A - E symbols indicate that object’s respective section. A Prince Shōtoku and the Flowering of the Buddha Dharma Organizers B The Establishment of Hōryūji Temple Tokyo National Museum, Hōryūji Temple, The Yomiuri Shimbun, C The Sacred Forms of Prince Shōtoku NHK, NHK Promotions Inc., Agency for Cultural Affairs D Treasures of the Eastern Precinct at Hōryūji Temple E The Hōryūji Golden Hall and Five-Storied Pagoda With the Special Sponsorship of ・Key to symbols on illustrations: ◉=Narional Treasure, ◎=Imporatant Cuitural Propety. Canon Inc., East Japan Railway Company, JAPAN TOBACCO INC., Mitsui Fudosan Co.,Ltd., ・ Some artworks may be rotated during the exhibition period ( ). Exhibition lineup may change as circumstancs require. MITSUBISHI ESTATE CO.,LTD., Meiji Holdings Co.,Ltd. * ・ Works are on View throughout the exhibition period unless otherwise indicated. The rotation schedule is as follows. With the Sponsorship of TermI July 13 (Tue.) - August 9 (Mon.) TermII August 11 (Wed.) - September 5 (Sun.) SHIMIZU CORPORATION, Takashimaya Co.,Ltd., TAKENAKA CORPORATION, Sumitomo Mitsui Banking Corporation, Mitsubishi Corporation With the Support of UCHIDA YOKO CO.,LTD., Nissha Co.,Ltd., Aioi Nissay Dowa Insurance Co.,Ltd. Floor Plan｜HEISEIKAN 2F A 1st Venue 2nd Venue Prince Shōtoku and the Flowering of E the Buddha Dharma Entrance Exit The Hōryūji Golden Hall and Five-Storied Pagoda B The Establishment of Hōryūji Temple C The Sacred Forms of Treasures of the Eastern Prince Shōtoku Shop D Precinct at Hōryūji Temple No Title Materials and Methods Period/Century Owner Te r m 2 Portrait of Prince Shōtoku and Two Princes (Reproduction) Ink and colors on paper Edo period, 1842 Tokyo National Museum A Imperial Treasure Term I :Volume 2 4 Ink on paper Asuka period, 7th century Imperial Household Agency Commentary on the Lotus Sutra (One of the Hōryūji Treasures) A Term II:Volume 4 * Tokyo National Museum, 5 Sutra Wrapper Bamboo and braid Asuka to Nara period, 7th–8th century the Hōryūji Treasures A Earthenware Tokyo National Museum, 6 Earthenware Inkstone Nara to Heian period, 8th–9th century ◎ lacquered wood (stand) the Hōryūji Treasures A China; Tang dynasty, or Nara period, Tokyo National Museum, 7 Stand for Ink Stick Cast bronze with gilding ◉ 8th century the Hōryūji Treasures A China; Tang dynasty, or Nara period, Tokyo National Museum, 8 Water Pot Forged bronze with gilding ◉ 8th century the Hōryūji Treasures A China; Tang dynasty, or Korean peninsula; Forged bronze and cast bronze with Tokyo National Museum, 9 Spoons Unified Silla Kingdomi; or Nara period, ◉ gilding the Hōryūji Treasures A 8 th century Korean peninsula; Three Kingdoms period, Tokyo National Museum, 10 Deer-tail Fan Wood with lacquer Term II ◎ or Asuka period,6th–7th century the Hōryūji Treasures A 11 Deer-tail Fan (Reproduction) Wood with lacquer and animal hair 1921 Hōryūji Temple, Nara A No Title Materials and Methods Period/Century Owner Te r m Tokyo National Museum, 12 “Five-times Repaired” (Gotetsu) Priests’ Bowl Forged iron Asuka to Nara period, 7th–8th century ◎ the Hōryūji Treasures A Korean peninsula; Three Kingdoms period, Tokyo National Museum, 13 Incense Burner with Handle in the Shape of a Magpie Tail Forged brass with gilding ◉ or Asuka period, 6th–7th century the Hōryūji Treasures A Korean peninsula; Three Kingdoms period, Tokyo National Museum, 14 Footed Bronze Bowl with Lid Forged brass with gilding ◎ or Asuka period, 6th–7th century the Hōryūji Treasures A Tokyo National Museum, 15 Incense Burner with Handle in the Shape of a Magpie Tail Brass Asuka period, 7th century ◎ the Hōryūji Treasures A Tokyo National Museum, 16 Ceremonial Ivory Scepter Bone Nara period, 8th century Term I ◎ the Hōryūji Treasures A China; Tang dynasty, or Nara period, Tokyo National Museum, 17 Flute Bamboo Term II ◎ Shakuhachi 8th century the Hōryūji Treasures A Dried lacquer with silk and lacquer 18 Fragment from a Dry-Lacquer Funerary Casket Asuka period, 7th century Anpukuji Temple, Osaka coating A Korean peninsula; Three Kingdoms period, Tokyo National Museum, 19 Buddha with Pair of Attendants Gilt bronze ◎ or Asuka period, 6th–7th century the Hōryūji Treasures A Korean peninsula; Three Kingdoms period, Tokyo National Museum, 20 Mandorla for a Buddhist Statue Gilt bronze ◎ or Asuka period, 594 the Hōryūji Treasures A Korean peninsula; Three Kingdoms period, 21 Legs and Pedestal of a Bodhisattva Statue Gilt bronze Hōryūji Temple, Nara or Asuka period, 6th–7th century A Tokyo National Museum, 22 Seated Buddha Gilt bronze Asuka period, 7th century Term I ◎ the Hōryūji Treasures A 23 ◎ Standing Bodhisattva Gilt bronze Asuka period, 7th century Hōryūji Temple, Nara A Tokyo National Museum, 24 Bodhisattva in Half-Lotus Pose Gilt bronze Asuka period, 7th century Term II ◎ the Hōryūji Treasures A 25 ◎ Śākyamuni Buddha and Attendant Gilt bronze Asuka period, 628 Hōryūji Temple, Nara A 26 ◎ Standing Bodhisattva Bronze Asuka period, 7th century Hōkiji Temple, Nara A 27 Standing Buddha Wood with lacquered gold foil Asuka period, 7th century Hōkiji Temple, Nara A 28 Record of the Founding and Property Assets of Hōryūji Temple Ink on paper Edo period, 18th–19th century Hōryūji Temple, Nara Term I (Hōryūji garan engi narabi ni ruki shizai chō) B 29 Record of the Founding and Property Assets of Hōryūji Temple Ink on paper Edo period, 1795 Hōryūji Temple, Nara Term II (Hōryūji garan engi narabi ni ruki shizai chō) B Tokyo National Museum, 30 Seal of Hōryūji Temple Cast bronze Asuka to Nara period, 8th century ◎ the Hōryūji Treasures B Tokyo National Museum, 31 Seal of the Ikarugadera Temple Storehouse Cast bronze Heian period, 8th–9th century ◎ the Hōryūji Treasures B Archives and Mausolea Department, 33 Chronicles of Japan ( ), Volumes 21 and 22 Ink on paper Heian period, 12th century Term I Nihon shoki Imperial Household Agency B * 34 ◎ Woodblock for Printing the Seventeen-Article Constitution Wood Kamakura period, 1285 Hōryūji Temple, Nara B Seated Venerable Priest; thought to be a Portrait of Gwanreuk 35 Wood with pigments Heian period, 10th century Hōryūji Temple, Nara ◎ (Kanroku; dates unknown), a High Priest from the Baekje Kingdom B Tiles from the Wakakusa Precinct Golden Hall Site: 36 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Set of Circular and Concave Eaves-End Tiles B Tiles from the Wakakusa Precinct Site: 37 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Set of Circular and Concave Eaves-End Tiles B Tile from the Wakakusa Precinct Site: Fragment from an Ornamental 38 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Ridge-end Protective Roof Tile with Lotus Design B Tiles from the Wakakusa Precinct Site: 39 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Ornamental Main Ridge Roof Tile (Shibi) Fragments B 40 Ornamental Main Ridge Roof Tile (Shibi) Fragments Earthenware Asuka period, 7th century Hōryūji Temple, Nara B 41 Three Fragments from an Earthenware Jeweled Stupa Earthenware Asuka period, 7th century Hōryūji Temple, Nara B Tiles from the Vicinity of the Western Precinct Golden Hall: 42 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Set of Circular and Concave Eaves-End Tiles B Tiles from the Vicinity of the Western Precinct Five-Storied Pagoda: 43 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Set of Circular and Concave Eaves-End Tiles B Tiles from the Vicinity of the Western Precinct Golden Hall: 44 Earthenware Asuka period, 7th century Hōryūji Temple, Nara Ornamental Main Ridge Roof Tile (Shibi) Fragments B Tile from the Vicinity of the Western Precinct: 45 Earthenware Nara period, 8th century Hōryūji Temple, Nara Ornamental Ridge-end Protective Ogre Roof Tile B Silk embroidery on a complex gauze 46 ◉ The Land of Heavenly Longevity Tenjukoku( ) Embroidery weave (ra) silk fabric backed with Asuka period, ca. 622 Chūgūji Temple, Nara B Term I plain weave silk; twill silk fabric Silk embroidery on a complex gauze Fragments from the Land of Heavenly Longevity ( ) Tokyo National Museum, 48 Tenjukoku weave ( ) silk fabric backed with Asuka period, ca. 622 Term I Embroidery ra the Hōryūji Treasures B plain weave silk; twill silk fabric Fragments from the Kamakura-period Land of Heavenly Longevity 49 ◉ Silk embroidery on a twill silk fabric Kamakura period, 1275 Chūgūji Temple, Nara Term I (Tenjukoku) Embroidery B No Title Materials and Methods Period/Century Owner Te r m Fragments from the Kamakura-period Land of Heavenly Longevity Tokyo National Museum, 50 Silk embroidery on a twill silk fabric Kamakura period, 1275 Term I (Tenjukoku) Embroidery the Hōryūji Treasures B Silk, silk braid, gilt bronze fittings, Korean peninsula; Three Kingdoms period, The Museum of the Imperial 51 Pendent Ornament with Gilt Bronze Decoration Term I and gold threads or Asuka period, 7th century Collections, the Hōryūji Treasures B Samite with Beaded Medallions Enclosing Four Mounted Lion 53 Silk; weft-patterned cloth China; Tang dynasty, 7th century Hōryūji Temple, Nara Term II ◉ Hunters nishiki B Tokyo National Museum, 54 Consecration Banner Gilt bronze openwork Asuka
Load more

Recommended publications
  • Mahamayuri Vidyarajni Sadhana” E‐Book
    ACKNOWLEDGEMENTS The Padmakumara website would like to gratefully acknowledge the following individuals for contributing to the production of “Mahamayuri Vidyarajni Sadhana” e‐book. Translator: Alice Yang, Zhiwei Editor: Jason Yu Proofreader: Renée Cordsen, Jackie Ho E‐book Designer: Alice Yang, Ernest Fung The Padmakumara website is most grateful to Living Buddha Lian‐sheng for transmitting such precious dharma. May Living Buddha Lian‐sheng always be healthy and continue to teach and liberate beings in samsara. May all sentient beings quickly attain Buddhahood. Om Guru Lian‐Sheng Siddhi Hum. Exhaustive research was undertaken to ensure the content in this e‐book is accurate, current and comprehensive at publication time. However, due to differing individual interpreting skills and language differences among translators and editors, we cannot be responsible for any minor wording discrepancies or inaccuracies. In addition, we cannot be responsible for any damage or loss which may result from the use of the information in this e‐book. The information given in this e‐book is not intended to act as a substitute for the actual lineage and transmission empowerments from H.H. Living Buddha Lian‐sheng or any authorized True Buddha School master. If you wish to contact the author or would like more information about the True Buddha School, please write to the author in care of True Buddha Quarter. The author appreciates hearing from you and learning of your enjoyment of this e‐book and how it has helped you. We cannot guarantee that every letter written to the author can be answered, but all will be forwarded.
    [Show full text]
  • The Kasāya Robe of the Past Buddha Kāśyapa in the Miraculous Instruction Given to the Vinaya Master Daoxuan (596~667)
    中華佛學學報第 13.2 期 (pp.299-367)： (民國 89 年)， 臺北：中華佛學研究所，http://www.chibs.edu.tw Chung-Hwa Buddhist Journal, No. 13.2, (2000) Taipei: Chung-Hwa Institute of Buddhist Studies ISSN: 1017-7132 The Kasāya Robe of the Past Buddha Kāśyapa in the Miraculous Instruction Given to the Vinaya Master Daoxuan (596~667) Koichi Shinohara Professor, McMaster University Summary Toward the end of his life, in the second month of the year 667, the eminent vinaya master Daoxuan (596~667) had a visionary experience in which gods appeared to him and instructed him. The contents of this divine teaching are reproduced in several works, such as the Daoxuan lüshi gantonglu and the Zhong Tianzhu Sheweiguo Zhihuansi tujing. The Fayuan zhulin, compiled by Daoxuan's collaborator Daoshi, also preserves several passages, not paralleled in these works, but said to be part of Daoxuan's visionary instructions. These passages appear to have been taken from another record of this same event, titled Daoxuan lüshi zhuchi ganying ji. The Fayuan zhulin was completed in 668, only several months after Daoxuan's death. The Daoxuan lüshi zhuchi ganying ji, from which the various Fayuan zhulin passages on Daoxuan's exchanges with deities were taken, must have been compiled some time between the second lunar month in 667 and the third month in the following year. The quotations in the Fayuan zhulin from the Daoxuan lüshi zhuchi ganying ji take the form of newly revealed sermons of the Buddha and tell stories about various objects used by the Buddha during his life time.
    [Show full text]
  • Informed Textual Practices?
    INFORMED TEXTUAL PRACTICES? INFORMED TEXTUAL PRACTICES? A STUDY OF DUNHUANG MANUSCRIPTS OF CHINESE BUDDHIST APOCRYPHAL SCRIPTURES WITH COLOPHONS By RUIFENG CHEN, B.Ec., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy McMaster University © by Ruifeng Chen, September 2020 McMaster University DOCTOR OF PHILOSOPHY (2020) Hamilton, Ontario (Religious Studies) TITLE: Informed Textual Practices? A Study of Dunhuang Manuscripts of Chinese Buddhist Apocryphal Scriptures with Colophons AUTHOR: Ruifeng Chen B.Ec. (Zhejiang Normal University) M.A. (Zhejiang Normal University) SUPERVISOR: Professor James A. Benn, Ph.D. NUMBER OF PAGES: xv, 342 ii ABSTRACT Taking Buddhist texts with colophons copied at Dunhuang (4th–10th century C.E.) as a sample, my dissertation investigates how local Buddhists used Chinese Buddhist apocrypha with respect to their contents, and whether they employed these apocrypha differently than translated Buddhist scriptures. I demonstrate that not all of the practices related to Buddhist scriptures were performed simply for merit in general or that they were conducted without awareness of scriptures’ contents. Among both lay Buddhist devotees and Buddhist professionals, and among both common patrons and highly-ranking officials in medieval Dunhuang, there were patrons and users who seem to have had effective approaches to the contents of texts, which influenced their preferences of scriptures and specific textual practices. For the patrons that my dissertation has addressed, apocryphal scriptures did not necessarily meet their needs more effectively than translated scriptures did. I reached these arguments through examining three sets of Buddhist scriptures copied in Dunhuang manuscripts with colophons.
    [Show full text]
  • Buddha Speaks Mahayana Sublime Treasure King Sutra (Also Known As:) Avalokitesvara-Guna-Karanda-Vyuha Sutra Karanda-Vyuha Sutra
    Buddha speaks Mahayana Sublime Treasure King Sutra (Also known as:) Avalokitesvara-guna-karanda-vyuha Sutra Karanda-vyuha Sutra (Tripitaka No. 1050) Translated during the Song Dynasty by Kustana Tripitaka Master TinSeekJoy Chapter 1 Thus I have heard: At one time, the Bhagavan was in the Garden of the Benefactor of Orphans and the Solitary, in Jeta Grove, (Jetavana Anathapindada-arama) in Sravasti state, accompanied by 250 great Bhiksu(monk)s, and 80 koti Bodhisattva-Mahasattvas, whose names are: Vajra-pani(Diamond-Hand) Bodhisattva-Mahasattva, Wisdom-Insight Bodhisattva-Mahasattva, Vajra-sena(Diamond-Army) Bodhisattva-Mahasattva, Secret- Store Bodhisattva-Mahasattva, Akasa-garbha(Space-Store) Bodhisattva-Mahasattva, Sun- Store Bodhisattva-Mahasattva, Immovable Bodhisattva-Mahasattva, Ratna- pani(Treasure-Hand) Bodhisattva-Mahasattva, Samanta-bhadra(Universal-Goodness) Bodhisattva-Mahasattva, Achievement of Reality and Eternity Bodhisattva-Mahasattva, Eliminate-Obstructions(Sarva-nivaraNaviskambhin) Bodhisattva-Mahasattva, Great Diligence and Bravery Bodhisattva-Mahasattva, Bhaisajya-raja(Medicine-King) Bodhisattva-Mahasattva, Avalokitesvara(Contemplator of the Worlds' Sounds) Bodhisattva-Mahasattva, Vajra-dhara(Vajra-Holding) Bodhisattva-Mahasattva, Ocean- Wisdom Bodhisattva-Mahasattva, Dharma-Upholding Bodhisattva-Mahasattva, and so on. At that time, there were also many gods of the 32 heavens, leaded by Mahesvara(Great unrestricted God) and Narayana, came to join the congregation. They are: Sakra Devanam Indra the god of heavens, Great
    [Show full text]
  • Dona Sutta (A 4.36) Deals, in Poetic Terms, with the Nature of the Awakened Saint in a Brief but Dramatic Dialogue
    A 4.1.4.6 Aṅguttara Nikya 4, Catukka Nipāta 1, Paṭhama Paṇṇāsaka 4, Cakka Vagga 6 (Pāda) Doṇa Sutta 13 The Doṇa Discourse (on the Footprint) | A 4.36/2:37 f Theme: The Buddha is the only one of a kind Translated by Piya Tan ©2008, 2011 1 Versions of the Sutta Scholars have identified five versions of the (Pāda) Doṇa Sutta, that is, (1) Pali (Pāda) Doṇa Sutta A 4.36/2:37 f; (2) Chinese 輪相經 lúnxiàng jīng1 SĀ 101 = T2.99.28a20-28b18;2 (3) Chinese 輪相經 lúnxiàng jīng3 SĀ2 267 = T2.100.467a26-b24; (4) Chinese (sutra untitled)4 EĀ 38.3 = T2.125.717c18-718a12;5 (5) Gāndhārī *Dhoṇa Sutra6 [Allon 2001:130-223 (ch 8)]. There is no known Sanskrit or Tibetan version. Although the text is well known today as the “Doṇa Sut- ta,”7 the sutta’s colophon (uddāna) lists it as the mnemonic loke (“in the world”), which comes from the phrase jāto loke saṁvaddho at its close (A 3:39,1 f); hence, it should technically be called the Loka Sutta (A 2:44,15). The colophons of the Burmese and Siamese editions, however, give doṇo as a variant read- ing.8 The untitled Chinese version, EĀ 38.3 is unique in mentioning that Doṇa (simply referred to as 彼梵 志 póluómén, “the brahmin”), after listening to the Buddha’s instructions on the five aggregates and the six internal faculties and six external sense-objects, and practising the teaching, in due course, “attained the pure Dharma-eye” (得法眼淨 dé fǎ yǎnjìng) that is, streamwinning (T2.125.718a12).
    [Show full text]
  • Imagining Ritual and Cultic Practice in Koguryŏ Buddhism
    International Journal of Korean History (Vol.19 No.2, Aug. 2014) 169 Imagining Ritual and Cultic Practice in Koguryŏ Buddhism Richard D. McBride II* Introduction The Koguryŏ émigré and Buddhist monk Hyeryang was named Bud- dhist overseer by Silla king Chinhŭng (r. 540–576). Hyeryang instituted Buddhist ritual observances at the Silla court that would be, in continually evolving forms, performed at court in Silla and Koryŏ for eight hundred years. Sparse but tantalizing evidence remains of Koguryŏ’s Buddhist culture: tomb murals with Buddhist themes, brief notices recorded in the History of the Three Kingdoms (Samguk sagi 三國史記), a few inscrip- tions on Buddhist images believed by scholars to be of Koguryŏ prove- nance, and anecdotes in Memorabilia of the Three Kingdoms (Samguk yusa 三國遺事) and other early Chinese and Japanese literary sources.1 Based on these limited proofs, some Korean scholars have imagined an advanced philosophical tradition that must have profoundly influenced * Associate Professor, Department of History, Brigham Young University-Hawai‘i 1 For a recent analysis of the sparse material in the Samguk sagi, see Kim Poksun 金福順, “4–5 segi Samguk sagi ŭi sŭngnyŏ mit sach’al” (Monks and monasteries of the fourth and fifth centuries in the Samguk sagi). Silla munhwa 新羅文化 38 (2011): 85–113; and Kim Poksun, “6 segi Samguk sagi Pulgyo kwallyŏn kisa chonŭi” 存疑 (Doubts on accounts related to Buddhism in the sixth century in the Samguk sagi), Silla munhwa 新羅文化 39 (2012): 63–87. 170 Imagining Ritual and Cultic Practice in Koguryŏ Buddhism the Sinitic Buddhist tradition as well as the emerging Buddhist culture of Silla.2 Western scholars, on the other hand, have lamented the dearth of literary, epigraphical, and archeological evidence of Buddhism in Kogu- ryŏ.3 Is it possible to reconstruct illustrations of the nature and characteris- tics of Buddhist ritual and devotional practice in the late Koguryŏ period? In this paper I will flesh out the characteristics of Buddhist ritual and devotional practice in Koguryŏ by reconstructing its Northeast Asian con- text.
    [Show full text]
  • Linking Khotan and Dūnhuáng: Buddhist Narratives in Text and Image
    5 (2018) Article 6: 250–311 Linking Khotan and Dūnhuáng: Buddhist Narratives in Text and Image CHRISTOPH ANDERL Department of Languages and Cultures, Ghent University, Belgium This contribution to Entangled Religions is published under the Creative Commons Attribution 4.0 International Public License (CC BY 4.0 International). The license can be accessed at https://creativecommons.org/licenses/by/4.0/legalcode. © 2018 Christoph Anderl Entangled Religions 5 (2018) http://dx.doi.org./10.13154/er.v5.2018.250–311 Christoph Anderl Linking Khotan and Dūnhuáng: Buddhist Narratives in Text and Image1 CHRISTOPH ANDERL Ghent University ABSTRACT In the propagation and spread of Buddhism throughout Asia, jātaka and avadāna narratives played a decisive role, both in the form of texts and iconographical representations. In this paper I will focus on another set of narratives which enjoyed great popularity in the Dūnhuáng area during the later Tang and Five Dynasties period, dealing with historical projections concerning the origin and transmission of Buddhism. In this stories, “Auspicious Statues” (ruìxiàng 瑞像) play a key role. These “living” statues were thought to have moved from Indian monasteries to Khotan and other regions, serving as agents of the transmission of the Dharma in these areas. Besides reflecting religious key concern during that period, the historical narratives on the spread of Buddhism also give witness to the close diplomatic and family relations between Dunhuang and the Kingdom of Khotan during that period. KEY WORDS Mogao caves; Auspicious Statues; 瑞像; Khotan; Dunhuang; Buddhist narratives; transmission of Buddhism; localization of Buddhism; Oxhead Mountain; 牛頭山 1 This paper was presented at the workshop “Ancient Central Asian Networks.
    [Show full text]
  • Thai Kingship During the Ayutthaya Period : a Note on Its Divine Aspects Concerning Indra*
    Thai Kingship during the Ayutthaya Period : A Note on Its Divine Aspects Concerning Indra* Woraporn Poopongpan Abstract This article is an initial attempt to highlight the divine aspects of Thai kingship during the Ayutthaya period, the interesting characteristic of which was an association of the king’s divinity with the Buddhist and Brahman god, Indra. Thai concept of the king’s divinity was identified closely with many Brahman gods such as Narayana, Rama or Siva (Isuan) but the divine aspects concerning Indra had a special place in Thai intellectual thinking as attested by ceremonies associated with the kingship recorded in Palatine Law and other sources. Thai kingship associated with Indra was reflected in the following elements: 1. The Royal ceremonies 2. The names of Indra’s residences 3. The number of the king’s consorts The article concludes that the emphasis on the king’s divine being as Indra derived not only from the influence of Brahmanism on the Thai society but more importantly from the high status of Indra in Buddhist belief. This can be easily understood since Buddhism is the main religion of Thai society. While some aspects * This article is based on the PhD dissertation “The Palatine Law as a source for Thai History from Ayutthaya period to 1805”, Submitted to the Department of History, Chulalongkorn University. It would not have been possible without considerable helps and valuable guidance from Dr. Dhiravat na Pombejra, my advisor, and all kind helps from Miss Apinya Odthon, my close friend. Silpakorn University International Journal Vol.7 : 143-171, 2007 Ayutthaya Thai Kingship Concerning Indra Silpakorn University International Journal Vol.7, 2007 of kingship are derived from Brahmanic Indra because Thailand adopted several conceptions of state and kingship from India, it was the Thai Buddhist understanding of Indra as a supporter of the Buddha that had a more significant impact.
    [Show full text]
  • Prayer Beads in Japanese Soto Sect
    4 Prayer Beads in Japanese Sōtō Zen Michaela Mross WHen a lay parishioner visits a Buddhist temple, he or she usually car- ries a Buddhist rosary.1 It marks a parishioner versus the occasional visi- tor and is considered a necessary item of proper attire. For most Japanese, not wearing a rosary when putting the hands in prayer or reverence seems to be improper.2 Likewise, the official webpage of the Sōtō Zen school instructs lay followers to not forget prayer beads when attending funerals or memorial services. Parishioners should further put a rosary on the lowest shelf of their home altar, ready to be used during prayers.3 Also, the members of the choirs singing Buddhist hymns at Sōtō tem- ples wear short rosaries while singing and playing a bell. Thus, prayer beads serve “as sources of identification,” to borrow John Kieschnick’s words.4 The rosary is an especially interesting object because— besides the robe or o- kesa— “prayer beads are kept closer to the practitioner than any other ritual object. They become physical evidence of faith, devotion, and practice.”5 In contrast to Tendai, Shingon, or Pure Land clerics, Sōtō clerics rarely use prayer beads in ritual settings. Moreover, images of Zen masters usu- ally do not depict monks or nuns holding prayer beads; instead, a fly-whisk or another kind of staff signifies their status as a Zen cleric. Therefore, Buddhist rosaries are typically not associated with Zen. Nevertheless, prayer beads have been used for various purposes in the Sōtō school as well. This chapter aims to illuminate some of the functions and interpre- tations of the rosary in Japanese Sōtō Zen.
    [Show full text]
  • Íakra and the Destruction of Craving–
    Íakra and the Destruction of Craving – A Case Study in the Role of Íakra in Early Buddhism ∗ Anålayo Introduction In the previous issue of the Indian International Journal of Buddhist Studies , I had taken a brief look at Indra’s role in early Buddhism in the context of a discussion mainly concerned with the arahant Bakkula. 1 With the present paper I further explore this role, based on a study of the Saµyukta-ågama counterpart to the C¨¬ataˆhåsa∫khaya-sutta of the Majjhima-nikåya . The discourse in question records a visit paid by Mahåmaudgalyåyana to Indra’s heaven. During this visit, the complacent attitude of the ruler of the gods is stirred by a feat of supernormal power performed by the visiting monk. A closer study of the discourse bring to light its underlying humour and shows how the ancient Indian god Indra has been ‘included’ in the thought-world of early Buddhism in order to deliver a doctrinally central teaching on the importance of the destruction of craving.2 At the background of the role assumed in this way by Indra stands a transformation undergone by the ancient Indian warrior god, the slayer of V®tra, 3 who in early Buddhist texts has become a peaceful and devoted Buddhist disciple by the name of Íakra (Sakka).4 ∗ Centre for Buddhist Studies, University of Hamburg, Germany; Dharma Drum Buddhist College, Taiwan. 1 Anålayo (2010). 2 As already mentioned in Anålayo (2010: 2), the role of Indra in early Buddhist texts can be understood as exemplifying a mode of thought that has been referred to as “inclusivism”, on which cf.
    [Show full text]
  • Gandharva: Origin and Performing Arts
    Gandharva: Origin and Performing Arts Bharat Raj Dhakal School of Development and Social Engineering Faculty of Humanities and Social Engineering, Pokhara University Email: [email protected] Abstract: The prime objective of this research article is to explore the different forms of arts performed by the ‘Gandharvas’ along with their historicity of social and sacred religious origin towards which the mainstream Nepali society is indifferent. In the social context of Nepal, they are regarded as the musician caste. They are also treated as the so-called lower caste people, the ‘dalits’ and are also denied the prestigious position in the society as well as in the pages of history. Although neglected in the society as well as in the history, they have got a pious origin as mentioned in the Hindu religious scriptures and beliefs. Their performing arts and musical instruments through their performing arts. But the paradox is that they have not got the true alsorecognition have the in religious Nepali society significance. even thoughThey have they made share a thegreat sacred contribution lineage forlike nation other groups. Although they have sacred place in religion, their position is downtrodden in society. Gandharva, Origin, Performing arts, Recognition IntroductionKeywords: the people of lower varna group having The Gandharvas are the foremost occupations which what they consider as representatives of traditional Nepali folk music who travel different places the time of the rites of passage and different to entertain people and to spread the defilingritually purifyingfeatures perform occasions music of the and people dance ofat information of some events to them. They are the musical entertainers like minstrels There is a great contradiction that the or troubadours.
    [Show full text]
  • Cha Sum Bklta4
    Cha Sum The Ritual of the Three Parts translated by Carol Savvas and Lodro Tulku Foundation for the Preservation of the Mahayana Tradition FPMT Education Services FPMT Inc. 1632 SE 11th Avenue Portland, OR 97214 USA www.fpmt.org Educati on Services at FPMT Internati onal Offi ce off ers a vast range of Buddhist study programs, prayer books, and practi ce materials from © 2009 FPMT Inc. the Gelugpa lineage. Our study programs meet the needs of beginners All rights reserved. through to the most advanced students, from courses introducing Bud- dhism to the study of Tibetan and the highest philosophical texts. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, record- As the Dharma takes root in the West, we make clear translati ons of Bud- dhist texts, prayers, and teachings available through our study programs ing, or by any informati on storage and retrieval system or tech- and publicati ons. We work with translators around the world to provide nologies now known or developed, without permission in writi ng texts in English, Spanish, Chinese, French, German, and many others. from the publisher. Working in collaborati on with the Lama Yeshe Wisdom Archive, we pub- Set in Calibri 12.5./15, Century Gothic, and Lydian BT. lish Buddhist prayer books, sadhanas, retreat materials, and practi ce texts, many with commentary by Lama Thubten Yeshe and Lama Zopa Rinpoche. We also off er DVDs and CDs of prayers and teachings that in- Printed in the USA. spire and inform.
    [Show full text]