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Figurations of Time in Asia

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Figurations of Time in Asia DIETRICH BOSCHUNG AND CORINNA WESSELS-MEVISSEN (EDS.) FIGURATIONS O F TIME IN ASIA MORPHOMATA BOSCHUNG, WESSELS-MEVISSEN (EDS.) — FIGURATIONS OF TIME IN ASIA The experience and the ensuing structuring of time forms a constitutive part of human cultures. There are many ways of coming to terms with time, calendars and historiographies being its most common cultural representations. The contributions to this volume deal with lesser known figurations that result directly from the various perceptions about time and phenomena related to time. Diachronous investigations in various parts of Asia (predominantly South Asia) reveal a broad spectrum of such visual and literary figurative manifestations. While Hinduism recognizes a divine personification of time and allocates the ominous factor time in an ontological proximity to death, other cultures of Asia have developed their own specific concepts and strate- gies. This collection of essays combines perspectives of various disciplines on figurations in which time congeals, as it were. These figurations result from local time regimes, and beyond demonstrating their diversity of forms this volume offers coordinates for a comparison of cultures. The topics include chronograms as well as early Buddhist topoi of the vastness of time, the Indian Jaina represen- tation of both temporality and non-temporality and the teachings of a Mediaeval Zen master hinting at the more stationary aspects of time. EDITED BY DIETRICH BOSCHUNG AND CORINNA WESSELS-MEVISSEN MORPHOMATA FIGURATIONS EDITED BY GÜNTER BLAMBERGER AND DIETRICH BOSCHUNG O F TIME IN ASIA VOLUME 4 WILHELM FINK CONTENTS DIETRICH BOSCHUNG Preface 7 CORINNA WESSELS-MEVISSEN Introduction 9 TIME VERSUS NON-TIME EUGEN CIURTIN ‘Thus Have I Quaked’: The Tempo of the Buddha’s Vita and the Earliest Buddhist Fabric of Timelessness (The Buddha’s Earthquakes II) 21 ROBERT J. DEL BONTÀ unter dem Förderkennzeichen 01UK0905. Die Verantwortung für den Inhalt der Veröffentlichung liegt bei den Autoren. Existing In and Out of Time: Kāla or Akāla in Jaina Iconography 55 Bibliografische Informationen der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National­ biblio grafie; detaillierte Daten sind im Internet über www.dnb.d­nb.de abrufbar. POINT IN TIME VERSUS COURSE OF TIME Alle Rechte, auch die des auszugweisen Nachdrucks, der fotomechanischen Wiedergabe und der Übersetzung vorbehalten. Dies betrifft auch die Verviel­ GERD J.R. MEVISSEN fältigung und Übertragung einzelner Textabschnitte, Zeichnungen oder Bilder Figurations of Time and Protection: Sun, Moon, Planets durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transpa­ and Other Astral Phenomena in South Asian Art 82 rente, Filme, Bänder, Platten und andere Medien, soweit es nicht § 53 und 54 UrhG ausdrücklich gestatten. Ryōsuke ōHASHI The Concept of Time According to Zen Master Dōgen: © 2012 Wilhelm Fink Verlag, München “A Pine Tree Is Also Time, A Bamboo Is Also Time” 148 Wilhelm Fink GmbH & Co. Verlags­KG, Jühenplatz 1, D­33098 Paderborn Internet: www.fink.de E.P. WIERINGA Lektorat: Corinna Wessels­Mevissen / Russell Radzinski A Monument Marking the Dawn of the Muslim Era in Java: Gestaltung: Miriam Röttgers / Kathrin Roussel, Satz: Kathrin Roussel Chronicles and Chronograms on the Grand Mosque of Demak 157 Printed in Germany Herstellung: Ferdinand Schöningh GmbH & Co. KG, Paderborn ISBN 978-3-7705-5447-8 BÉLA KELÉNYI The Representation of Astrological Knowledge in the Cult of the Tibetan Prayer Flag 193 CYCLIC TIME KARL-HEINZ GOLZIO PREFACE The Calendar Systems of Ancient India and Their Spread to Southeast Asia 205 The following volume deals with a major topic of the Morphomata Center JOACHIM K. BAUTZE for Advanced Studies, namely the question as to how notions of time are Time of the Maharajas as Reflected in Indian Painting given concrete, perceptible form or shape. In Morphomata’s very first pub­ from Kota 226 lication, which served as an introduction to the concept and approaches of our Center, several articles treated this topic with regard to particular phenomena relevant to ancient Greece and Pre­Columbian America.1 The IMAGES OF TIME contributions to Figurations of Time in Asia continue such investigation focusing on Asian cultures, particularly those of Southern Asia. CHRISTOPH EMMRICH Piling Up Bones and Burning Down the World. Two aspects are of central importance here: first, exploration of the Buddhist Literary Images to Think By and Time 271 question as to how epistemic concepts of time are expressed concretely CORINNA WESSELS-MEVISSEN in various cultures, epochs and media, second, the consequences and The Early Image of Śiva Naṭarāja: Aspects of Time achievements of such concrete manifestations. How in turn do such reali­ and Space 298 ties effect the notions they are based on? These questions reflect the focus of our research centre as articulated in its very name. “Morphómata” is the plural form of the Greek term “mórphôma” which denotes an entity Contributors 349 achieving concrete form through its own or external shaping processes.2 Based on this term, we coined the word morphome as the way cultural Plates 352 notions are given their concrete, perceptible form. This new term implies, on the one hand, the inevitable process of giving something a form, while, 1 Günter Blamberger & Dietrich Boschung (eds.) 2011. Morphomata. Kultu rel le Figurationen: Genese, Dynamik und Medialität. Morphomata 1. München: Wilhelm Fink Verlag. The following contributions are particu­ larly relevant here: Dietrich Boschung, “Kairos als Morphom der Zeit. Eine Fall studie”: 47–90, Alan Shapiro, “Eniautos. Time, Seasons, and the Cycle of Life in the Ancient Greek World”: 199–222, and Jennifer von Schwerin, “Space­Time and Maya Temple Design. The Dynamics of an Architectural Cosmogram”: 261–286. 2 Cf. Jürgen Hammerstaedt, “Die antike Verwendung des Begriffs mórphoma”. In: ibid.: 91–109. 8 on the other hand, it emphasises the intrinsic value of the resulting form it- self. Cultural artefacts—objects, art works or texts—are in a ‘morphomatic’ sense not mere emanations, portrayals, copies or simulacra of ideas, knowledge or concepts, whose relationships to their origins would always be disturbingly elusive. What we are dealing with does not simply reflect the prevalent knowledge of its time; rather, it modifies and determines knowledge through the process by which it takes on concrete form. We CORINNA WESSELS-MEVISSEN have applied these concerns to selected fields of inquiry, in particular to notions of time. INTRODUCTION While our first volume dealt inter alia with notions of time in Ancient Greece and Pre­Columbian America, it expressed a significant concern of “It was so beautiful to touch the face of Time. I came out crying …” our Center, namely the attempt to investigate the particular approaches Chandralekha, Indian classical dancer and choreographer, about her visit to notions of time across various cultures. This aim is only achievable, to the Mahakaleshwar (“Great Lord of Time”) Temple, Ujjain. however, to the extent that we apply interdisciplinary skills and diverse Mārg [Magazine] 61, 4, 2010: 77 fields of inquiry, which are otherwise segregated from each other due to the rigours of their respective subject matters and methodologies. It is one Although Time itself, the invisible pervasive principle that structures of the great advantages available to an international Center for Advanced the lives of humans, animals and plants as well as shapes our physical Studies to bring together scholars from the most diverse fields. environment, defies representation as such, there are innumerable ways it takes shape, congeals and trickles into our perception. The initial This very volume serves as a model to be emulated: It is based on a quotation is extracted from a narration of the Indian choreographer conference which was conceived and conducted by Corinna Wessels­ Chandralekha (1928–2006) about her transgressing a ritual boundary Mevissen, a Fellow of the 2009–10 term at the Morphomata Center for ensuring that the central image of a public temple may only be touched Advanced Studies. We owe Dr. Wessels­Mevissen a debt of gratitude for by priests. She had rushed to the Great Lord of Time (Mahākāla, a form her efforts, especially her support in making this publication possible. of Śiva) worshipped in the North Indian town of Ujjain and was rewarded with a memorable moment of spiritual delight.1 She firmly believed that Dietrich Boschung Time itself is embodied in the somewhat amorphous image that is regu­ larly decorated with different faces of the god and she had consciously experienced an encounter with Time (as such, both based on inherited religious notions and on the background of modern­day critical think­ ing). The liminal moment of bliss was not in the least impaired by the fact that in the Indian tradition Time is conceived as a wrathful devourer. In the present volume, various academic encounters with the repre­ sentation and the visuality of Time in its broadest definition have been assembled. The majority of contributions are based on papers read during the international workshop Concepts of Time and Their Visual and Material 1 Beholding (Skt. darśana) and touching (Skt. sparśa) are the most common devotional interactions with a divine image in Hinduism. 10 CORINNA WESSELS-MEVISSEN: INTRODUCTION 11 Aspects—Focus Asia held at the Morphomata Center on 25–26 June 2010. The main focus is on South Asia, but, as we
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