A history of the formation of the first Buddhist Sangha in Japan in VI c. A.D. could serve as an example of the unique history of interaction between Buddhism and Japanese autochthonous religion Shinto. The first Budd...A history of the formation of the first Buddhist Sangha in Japan in VI c. A.D. could serve as an example of the unique history of interaction between Buddhism and Japanese autochthonous religion Shinto. The first Buddhist Sangha in Japan, at the same time was also a female Buddhist community of nuns in this country. It could be assumed that the choice of the women, designed to embody the Dharma in Japan, was not accidental and was driven by the perception of the Buddha image at the time of its introduction in Japan in VI century, especially to compare with the hagiographies of Tibetan yoginis （Machig LabdrSn, Yeshe Tsogyal） and Chinese nuns （＂Bikuni Zhuan＂） of V-VII cc. With a number of similarities （persecutions of the anti-Buddhists, desire to receive a full knowledge of Dharma）, the information of the first Japanese nuns still differ considerably from the hagiographies of yoginis and Chinese Buddhist nuns. The activity of first Japanese nuns, consisted in the worship of the statue of the Buddha, rather remind the shamanistic responsibilities of the Shinto priestesses, who were the intermediates between people and gods. This is reflected in the early Japanese description of Buddhist monks and nuns in Nihon ShOki, Gangoji Garan Engi and Nihon ryOiM as the Shamanistic priests and guardians of the Buddha-imase with a special magical status, rather than the preachers of Dharma, in comparison with the Tibetan and Chinese sources.展开更多
Religious music is an inevitable and important topic when exploring the significance of the“new”or“deep”dimension of religion or spirituality.Traditional Chinese culture influenced Chinese Buddhist chanting practi...Religious music is an inevitable and important topic when exploring the significance of the“new”or“deep”dimension of religion or spirituality.Traditional Chinese culture influenced Chinese Buddhist chanting practices,developing special melodies,languages,and meaning,and establishing special mind and body practice system spanning thousands of years.Advances in music therapy,meditation,and vocal research give the Chinese Buddhist chanting mind and body practice system enough theoretical support to facilitate the construction of the discipline in the modern era.This paper adopts the scientific approach to tracing and analyzing the origins of the body and mind system in Chinese Buddhist chanting practice and reviews how the system benefits the mind and body and modern society in general.This paper also examines the issues confronting the standard and development of special chanting skills in Chinese Buddhist music in the modern era.展开更多
The“Vegetable-Bamboo Style(蔬笋气)”is the negative appraisal toward Chinese Buddhist monastic poems made by literati and scholars,which has ever become a stereotypical criterion of literary criticism since it was pu...The“Vegetable-Bamboo Style(蔬笋气)”is the negative appraisal toward Chinese Buddhist monastic poems made by literati and scholars,which has ever become a stereotypical criterion of literary criticism since it was put forward.However,the criterion of“Vegetable-Bamboo Style”is extrinsic since it deprived the Buddhist monastic poetry of its“selfness”,making it intelligible but false1.This article argues that the characteristic of“Vegetable-Bamboo Style”is not a shortcoming of Buddhist monastic poetry but a new form of poem that is combined with traditional landscape poetry,pastoral poetry,and Chan literature more broadly.Furthermore,this paper will demonstrate that it is a new form of poetry language generated from a unique“life-world(生活世界)”2,which should be treated equally as popular literature and free verse written in the vernacular.展开更多
文摘A history of the formation of the first Buddhist Sangha in Japan in VI c. A.D. could serve as an example of the unique history of interaction between Buddhism and Japanese autochthonous religion Shinto. The first Buddhist Sangha in Japan, at the same time was also a female Buddhist community of nuns in this country. It could be assumed that the choice of the women, designed to embody the Dharma in Japan, was not accidental and was driven by the perception of the Buddha image at the time of its introduction in Japan in VI century, especially to compare with the hagiographies of Tibetan yoginis （Machig LabdrSn, Yeshe Tsogyal） and Chinese nuns （＂Bikuni Zhuan＂） of V-VII cc. With a number of similarities （persecutions of the anti-Buddhists, desire to receive a full knowledge of Dharma）, the information of the first Japanese nuns still differ considerably from the hagiographies of yoginis and Chinese Buddhist nuns. The activity of first Japanese nuns, consisted in the worship of the statue of the Buddha, rather remind the shamanistic responsibilities of the Shinto priestesses, who were the intermediates between people and gods. This is reflected in the early Japanese description of Buddhist monks and nuns in Nihon ShOki, Gangoji Garan Engi and Nihon ryOiM as the Shamanistic priests and guardians of the Buddha-imase with a special magical status, rather than the preachers of Dharma, in comparison with the Tibetan and Chinese sources.
文摘Religious music is an inevitable and important topic when exploring the significance of the“new”or“deep”dimension of religion or spirituality.Traditional Chinese culture influenced Chinese Buddhist chanting practices,developing special melodies,languages,and meaning,and establishing special mind and body practice system spanning thousands of years.Advances in music therapy,meditation,and vocal research give the Chinese Buddhist chanting mind and body practice system enough theoretical support to facilitate the construction of the discipline in the modern era.This paper adopts the scientific approach to tracing and analyzing the origins of the body and mind system in Chinese Buddhist chanting practice and reviews how the system benefits the mind and body and modern society in general.This paper also examines the issues confronting the standard and development of special chanting skills in Chinese Buddhist music in the modern era.
文摘The“Vegetable-Bamboo Style(蔬笋气)”is the negative appraisal toward Chinese Buddhist monastic poems made by literati and scholars,which has ever become a stereotypical criterion of literary criticism since it was put forward.However,the criterion of“Vegetable-Bamboo Style”is extrinsic since it deprived the Buddhist monastic poetry of its“selfness”,making it intelligible but false1.This article argues that the characteristic of“Vegetable-Bamboo Style”is not a shortcoming of Buddhist monastic poetry but a new form of poem that is combined with traditional landscape poetry,pastoral poetry,and Chan literature more broadly.Furthermore,this paper will demonstrate that it is a new form of poetry language generated from a unique“life-world(生活世界)”2,which should be treated equally as popular literature and free verse written in the vernacular.
