“正法”与“异言”之博弈:汉传佛教译经史上的“正名”问题讨论

“正名”不仅是中国思想史内部的重要问题,也是汉传佛教译经史上的重大问题。佛经翻译中的“正名”,以出世救赎为主旨,主要包括经目名称的翻译以及经文名义的统一两方面,涉及如何理解佛典之正法、佛弟子声闻所听闻之法、译人所悟之法、译主个人语言习惯以及译场众僧文义之勘定等诸多问题,大致可从经名译名、翻译名义及其所涉佛法智慧和名相等不同层面进行论述。经名译名的确立,旨在明确新出经文在内容上的完备性,以儒家思想中的“名实相当”为原则去强调“正法”是有本可依的佛祖圣言。翻译名义的斟酌包括创造新的指称或故意隐去译经僧不想彰显的内容,旨在消除“异言”,在汉地重新建构佛典原文的“正法”。佛经翻译中的“正名”问题,表面上是因梵、胡、汉不同语言差异引起的翻译策略论争,实则是译经僧在译经过程中寻求和建构“正法”的历史。在佛经汉译过程中,“正法”和“异言”之间存在博弈,这一方面昭示了佛学作为一种全新的信仰和知识体系在汉地发生和发展过程,另一方面揭示了儒、释、道等不同思想在汉地经由语言转换实现的会通和调和。

P.2269《盂兰盆经赞述》校读及文本研究

论文结合法藏敦煌写本P.2269图版,对《大正藏》第85册“古逸部”所据P.2269《盂兰盆经赞述》录文部分字词及断句做了重新释读和校正,同时梳理探讨历代经录记载《盂兰盆经》有四种译本的源流关系及及敦煌本《盂兰盆经赞述》所据译本问题。最后分析《盂兰盆经》历代注疏情况,指出《盂兰盆经赞述》撰者为慧沼的理据。

俄藏敦煌遗画Дх224、Дх15、Дх223弥勒经变研究

俄罗斯国立艾尔米塔什博物馆藏敦煌遗画Дх224、Дх15、Дх223弥勒经变,是敦煌石窟藏经洞发现的两件弥勒经变绢画中的其中一件,此经变画仅剩若干残片。通过将此件绢画同敦煌壁画中的弥勒经变、大英博物馆藏敦煌遗画Stein painting 11弥勒经变进行比较研究,发现此件绢画不仅有弥勒下生经变,还有上生经变,结合经文内容,对其表现的内容、艺术风格和年代进行详细论述。

敦煌藏经洞绢画Stein painting35.Ch.lvi.0034考

敦煌藏经洞出土的绢画Stein painting35.Ch.lvi.0034是一幅观无量寿净土经变图。绢画主尊两侧的胁侍菩萨是莲花手和金刚手菩萨,尊格与风格和其他同时期观经变图像中的胁侍菩萨不同,这种组合应该受到了吐蕃时期流行的大日如来与莲花手、金刚手菩萨图像的影响,与吐蕃时期密教题材绢画中的菩萨形象接近。绢画的右上角绘制的“未生怨”故事中的人物形象着吐蕃装,对比其他吐蕃统治敦煌时期的绢画,推测该绢画时代为吐蕃赞普墀祖德赞执政期间(815-841),应为类似“白央”一样精通吐蕃和唐两种佛教艺术风格的画僧所绘。

清儒礼学研究中的“礼意”追求

在礼学的发展过程中,“礼意”受到治礼者的重视。“礼意”源自“礼义”,可看作是对“礼”的义理或意蕴的诠释。作为记载礼学内容的“礼文”经层累的构建而愈密,“礼意”经层累的构建而愈精。历代的礼学研究均注重寻求“礼意”,也关注到了“礼文”和“礼意”的关系。清儒在治礼过程中格外关注对“礼意”的寻求,主张“通礼文之穷”以寻求蕴藏在“礼文”背后的“礼意”,并呈现出清初“礼时为大”、清中期“即器明道”、晚清“会通汉宋”的阶段性特征。对“礼意”的寻求与阐发,既是一种治“礼”的方法,也是一种治“礼”的理念,更是一种治“礼”的目的,展现了清儒“通经明道”的立学旨趣及“以礼经世”的礼治思想。

变文生成年代辨证

过去有学者依据文献中较早出现的“变文(变)”,认为变文形成于唐高宗时期乃至于唐前,细分则大致有“东晋说”“梁代说”“唐高宗说”等。实际上,相关讨论所引文献中的“变文(变)”并非文体概念。变文的出现和定型固然需要一段较长的时间,但目前所见唐玄宗朝之前文献中出现的“变文”皆与敦煌藏经洞中所出的变文无关。结合相关文献中的记载可以推定,作为转变伎艺书面化产物的变文形成于八九世纪之交。

跨界舞剧《sutra》视角下少林文化的创意研究

《sutra》作为中国功夫舞台剧跨界创新的成功典范之一,是在尊重少林文化的基础上衍生出来的一种新的演绎形式,既可以作为审美作品来欣赏,也可以作为一种文化传播力量,展现少林武术背后的哲学信仰与火花。本文通过舞台剧新视野与传统文化结合,深入研究舞剧《sutra》的文化意蕴与文化碰撞的创新形式,探索少林文化的新载体,以彰显中国武术屹立世界舞台的文化魅力。

Comparison of Buddhist Parable Between The Sutra of Perfect Enlightenment and The Lotus Sutra

Buddhist parable plays an important role as a medium and bridge in Buddhist education.In order to elaborate different theoretical themes,each Buddhist sutra also presents diversified characteristics in the application of parables,so that different classical parables naturally have their own characteristics.The study analyzes the similarities and differences of Buddhist parable between The Sutra of Perfect Enlightenment and The Lotus Sutra after introducing the two classic sutra and respective parable characteristics.

The Rhetorical Devices of The Sutra of Hui Neng

The purpose of this paper is to explore three main rhetorical devices employed by the The Sutra of Hui Neng in terms of metaphor,pun,and parody.The Sutra of Hui Neng records the zen thoughts rather than the language.In the process of explaining the sutra,Hui Neng applied rhetorical devices in a flexible way to make the disciples fully comprehend the zen thoughts,so that Buddhist sutra can be vividly and fully expressed through language.

The Examination of the Tangut Garland Sutra(Avatamsaka Sūtra) Volume 41 in the C.V.Starr East Asian Library at University of California,Berkeley

This paper introduces the unpublished copy of a Tangut script Garland Sutra华严经(or Flower Ornament Sutra) volume/juan 41第四十一卷stored at the C.V.Starr East Asian Library at the University of California,Berkeley.It reinforces the assessment of this manuscript as a modern forgery.Through comparing various physical features of the same volume stored in other countries,and the history of their acquisition,this paper traces the lithographic reproduction of this volume to the early twentieth century and its later circulation.This research also compares the Berkeley copy with the Princeton copy of volume 77 which is the other only known Tangut Garland Sutra in America.The fundamental difference between the two copies prove that the former was a modern forgery but the latter a Yuan period product of movable type wooden block print.

Implementation of N-Bit Binary Multiplication Using N - 1 Bit Multiplication Based on Nikhilam Sutra and Karatsuba Principles Using Complement Method

This paper is designed to introduce new hybrid Vedic algorithm to increase the speed of the multiplier. This work combines the principles of Nikhilam sutra and Karatsuba algorithm. Vedic Mathematics is the mathematical system to solve the complex computations in an easier manner. There are specific sutras to perform multiplication. Nikhilam sutra is one of the sutra. But this has some limitations. To overcome the limitations, this sutra is combined with Karatsuba algorithm. High speed devices are required for high speed applications with compact size. Normally multipliers require more power for its computation. In this paper, new multiplication algorithm for the multiplication of binary numbers is proposed based on Vedic Mathematics. The novel portion in the algorithm is found to be in the calculation of remainder using complement method. The size of the remainder is always set as N - 1 bit for any combination of input. The multiplier structure is designed based on Karatsuba algorithm. Therefore, N × N bit multiplication is done by (N - 1) bit multiplication. Numerical strength reduction is done through Karatsuba algorithm. The results show that the reduction in hardware leads to reduction in the delay.

敦煌弥勒经变图中戒坛与戒场

在广律、戒本的记载中,诸部派有关戒场与戒坛的记载有不明之处,因此唐代道宣所著《四分律删繁补阙行事钞》对出家受戒仪轨以及戒坛的形式做出了补充且明确规定。通过对敦煌莫高窟与榆林窟弥勒经变中戒场受戒实际情况的考察,如莫高窟第445窟的半圆形帷幕剃度受戒场景,认为戒场受戒在唐中期以后几近消亡,其原因主要有两个方面:一是道宣对戒坛的推崇,二是官方法律对僧尼受戒的严格管控。

Sutra Printing History in Tibet

ＳｕｔｒａＰｒｉｎｔｉｎｇＨｉｓｔｏｒｙｉｎＴｉｂｅｔｂｙＬｉＹｕｃｈｕａｎＰｒｉｎｔｉｎｇａｎｄｐｕｂｌｉｓｈｉｎｇｉｎｄｕｓｔｒｙｉｎＴｉｂｅｔ（ｉｎｃｌｕｄｉｎｇｔｈｅＴｉｂｅｔａｎ－ｉｎｈａｂｉｔｅｄａｒｅａｓｉｎＳｉｃｈｕａｎ，Ｑｉｎｇｈａ...

UNIQUE ILLUSTRATIONS IN TIBETAN BUDDHIST SUTRAS

The illustrations for Tibetan sutras are coloured in two ways:in black and white or colours-the monotone illustrations accompanying Tibetan characters and usually engraved on woodblocks.The illustrations are often showed on the cover pages or two sides of the head pages of sutras; they are frequently displayed at two frames and in the middle of end pages.In this paper,I am going to introduce

敦煌石窟经变画发展情况的总体观察

经变画系敦煌唐宋时期洞窟的基本内容,现存二十余种、九百余铺,具有完整发展序列。经变画在初盛唐时期初步发展,吐蕃、张氏归义军、曹氏归义军五代时期大发展,曹氏归义军北宋期、西夏走向衰落。经变画大体可以分为净土类、上求菩提类、下化众生类、其他类,约占总量2/5的净土类经变为洞窟首选内容。主室两侧壁经变画在初盛唐时期流行通壁式布局,吐蕃时期增加二列式、三列式布局,张氏归义军、曹氏归义军时期又增加四列式、五列式布局,通壁式布局占有半数以上。敦煌石窟经变画现存四十余种对应组合关系,合计二百数十对,大体可以分为净土类经变之间对应组合、非净土类经变之间对应组合以及净土类经变与非净土类经变对应组合三种情况。在通壁式布局洞窟中净土类经变占绝对多数,在多列式布局洞窟中往往兼顾净土类与非净土类经变。总体而言,敦煌石窟经变画反映了以净土信仰为主,上求菩提思想为辅,将下化众生思想作为必要补充的设计逻辑。石窟成为教化、救济众生,使之将来往生净土世界的说法道场。

《绘因果经》与插图佛经溯源

本文从一件绘制抄写于8世纪中叶的日本插图佛经—奈良古本《绘因果经》入手,通过将其图像细节、视觉叙事模式和上图下文形式与中国现存卷轴画与壁画实例比对,确定其中国祖本的绘制时间并反观中国早期插图佛经之面貌。在此基础上,通过梳理印度和中国的图文传统及其物质材料,本文提出与纯文本佛经源自印度不同,插图佛经可能源出中国。