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1
Kim, Jahyun. "Utilization of the Iconography of Buddhist Prints during the Joseon Dynasty—Focusing on “the Listener” in Sakyamuni Preaching Paintings." Religions 12, no. 5 (May 2, 2021): 324. http://dx.doi.org/10.3390/rel12050324.
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This paper focuses on the iconography of “the Listener” in Buddhist prints that was adopted in Joseon dynasty Sakyamuni Preaching paintings. Regarding change in the Listener iconography from bodhisattva form to monk form, diverse research has been conducted on the Listener’s identity and origin. However, existing studies are limited as they fail to consider the circumstances of the time this iconography was first adopted and trends in Joseon Buddhism. As the first Joseon print where the Listener in bodhisattva form appeared was based on a print from the Chinese Ming dynasty, and considering trends in publication of Buddhist prints in China where pictures of the Buddha preaching were used repeatedly in sutras regardless of the contents, this paper argues that the Listener should not be identified with any particular figure and examines the current state and characteristics of Joseon Buddhist paintings where the Listener appears. It also explores the possibility that the Listener’s change from bodhisattva form to monk form was driven by monk artists such as Myeongok, who were exposed to diverse iconography as they participated in creating both Buddhist paintings and prints in a situation where monks who had received systematic education gained a new awareness of iconography.
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Kim, A.-Reum. "The Buddhist Temple and Buddhist Painting of Bogwangsa Temple in Paju in 1898." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 302–31. http://dx.doi.org/10.34265/mbmh.2022.39.302.
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Bogwangsa temple (普光寺) located at the foot of Goryeongsan mountain, Paju city, Gyeonggi province is well-known as the temple dedicated to Soryeongwon(昭寧園), the tomb of Sukbin Ms Choi (淑嬪崔氏, 1670-1718), mother of King Yeongjo(英祖, r. 1724-1776) in late Joseon Dynasty. At the same time, the temple had long been closely related with the royal family of Joseon Dynasty, serving as the temple for royal family members.
The year 1898 was one of the important occasions when constructions and repairs of the structures of the temple had been made throughout the history. In 1896, Inpa Yeonghyeon(仁坡 英玄) advised Court Lady Cheon to reconstruct Chwijeon(鷲殿), a building in the temple, leading the court to decide to do that. In 1897, construction began, and, in spring 1898, Empress Eom and Court Lady Hong donated funds to paint the new building of Chwijeon. In addition, distinguished painters in Seoul city and Gyeonggi province were asked to draw Buddhist paintings, and they produced six pieces of Buddhist painting: Samjangbosaldo, Hyeonwangdo, Chilseongdo, Dokseongdo, and Gamrodo in addition to Shakyamuni Preaching at the Vulture Peak. The director of painting works was Inpa Yeonghyeon as in the case of the construction works of Daeungjeon Hall. The Buddhist monk-painters who drew the Buddhist paintings were over 20 painter monks in the Seoul and Gyeonggi region from the late 19th century to the early 20th century including Gyeongseon Eungseok (慶船應釋), Yewun Sanggyu (禮芸尙奎) and Geumhwa Gihyeong (錦華機炯). They had began to know each other before participating in producing Buddhist paintings in Bogwangsa, and, continued to cooperate in producing Buddhist paintings ever since.
The Buddhist Services and Buddhist paintings of Paju Bogwangsa in 1898 are important sources to allow us to recognize the power of Bogwangsa temple and how the court supported the works. The Buddhist paintings are precious sources from which we can figure out the characteristics of Buddhist paintings in the Seoul and Gyeonggi region from the late 19th century to the early 20th century, and painting styles of those artists. In addition, those paintings are precious sources from which we can comprehensively examine the times when they were drawn, the places they were devoted, the backgrounds of drawing them, artists who created them, other people who were involved in drawing those paintings with various services, and exchanges among painter monks, etc.
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Christopher, Stephen, and Gabrielle Laumonier. "The eroticization of Tibetan monks in shōnen-ai and yaoi manga." East Asian Journal of Popular Culture 9, no. 1 (April 1, 2023): 83–102. http://dx.doi.org/10.1386/eapc_00090_1.
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Men have historically dominated the artistic production of cultural exotifications. This article flips the script by analysing how two prominent female Japanese manga artists – Kuranishi and Shinsan Nameko – erotically illustrate Tibetan men, specifically Tibetan Buddhist monks. Through textual analysis and fieldwork conducted between 2019 and 2021, we show how their manga depictions of Tibetan young men, in particular monks, tend towards eroticization and sexual innuendo. This discursive and aesthetic trend in manga parallels ethnographic data on how Japanese women – facing unprecedented social precarity, seeking spiritual healing and self-transformation and desiring alternate masculinities – look elsewhere, outside of Japan and the perceived inadequacies of Japanese masculinities. We explore how liberative erotics, especially homoeroticism and love between boys, fuses with Buddhist and alternative spiritualities in yaoi and shōnen-ai genres and gestures towards a changing landscape of female desire.
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Susuz Aygül, Merve. "Japanese Soto Zen Monastery as a Worldly Institution." GLOBAL PERSPECTIVES ON JAPAN, no. 6 (March 31, 2023): 38–69. http://dx.doi.org/10.62231/gp6.160001a02.
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The Buddhist monastery is idealized as an institution free from worldly pursuits. The monks who enter the monastery need to leave their worldly interests and desires and adopt an entirely new way of life. However, in reality, in addition to its religious function the Buddhist monastery has been an institution with economic, political, and social aspects throughout its history, and has also existed as one of the centers where artistic activities are concentrated. The monks, who were supposed to leave their worldly interests and desires outside the monastery gate, have not cut off their relations with the worldly life, on the contrary, they returned to the world they left with transformed forms of relationships. One of the most obvious examples of this transformative effect of worldly pursuits on the monastic institution and the monk profile is the Japanese Sōtō Zen school. This article discusses the claim that the monastery and monks are not free from worldly interests, in the example of the Sōtō Zen school, based on Keizan Shingi, the text of monastic rules written by Keizan (1268-1325), the second important name of the school after Dōgen (1200-1253). The Sōtō school, which was founded by Dōgen on an ascetic monastic understanding, began to transform into a kind of folk religion that responded to the wishes and needs of the people within the framework of Keizan’s policy of spreading the school to the people. This transformation has led to a radical change in the monastery and the monk profile by bringing worldly pursuits inside the monastery walls. Idealized as an institution free from worldly interests, the monastery had a great economic existence, and political, social, and artistic activities were included in the ritual routine of the monastery. On the other hand, the monks who had to abandon their worldly pursuits returned to worldly life in different ways as political actors, a kind of spiritual members of their families, and artists.
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Suren, P. K. I. "Study on the Uniqueness of Vessanthara Jataka Stories in Sri Lankan Buddhist Temple Paintings (1750 - 1900 A.D)." Vidyodaya Journal of Humanities and Social Sciences 08, no. 02 (2023): 124–42. http://dx.doi.org/10.31357/fhss/vjhss.v08i02.10.
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Archeological and literary sources attest that the “Jataka Stories” were subject to temple paintings from the second century onwards. The Vessanthara Jataka has featured prominently among temple painting in several eras of Sri Lankan history. Vessanthara jataka is a famous jataka story which is highlighted among other jataka stories in Buddhist shrines. The specialty given to the Vessanthara jataka in the paintings of Kandy era is particularly noticeable. This feature can be clearly observed in the temples which were built between 1750 and 1900. Some of these temples, located in the up country were patronized by royals like King Kirthi Sri Raja Singha. Other temples in the low country were built with the patronage of the rising middle class. Even with many fluctuating political and social issues, it seems the prominence given to the depiction of the Vessantara jataka was stable and unshakable. Giving priority to the Vessanthara jataka seems to have been a process carried out by a group of patrons, monks, artists and general public patrons who may have expected to achieve their political and social targets through the depiction of the vessanthara jatakaya. Buddhist monks have also attempted to convey the message of Buddhism through the depiction of Vessanthara jatakaya. Artists may have been interested in depiction of the “Vessanthara jataka” story because it was an opportunity to display their talent and attract others. It seems that the general public was also attracted to the Vessanthara jatakaya because of the characters of that jataka story and its sensitive and emotional scenes. The paper will examine the allocation of space to the Vessanthara jataka and its tactful visual techniques.
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Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.
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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.
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Chang, Qing. "Tradition and Transmission: Rocana Assembly in Niche no. 5 at Feilai Feng and Huayan Teaching during the Song Period." Religions 14, no. 5 (April 29, 2023): 588. http://dx.doi.org/10.3390/rel14050588.
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The Huayan sutras are important historical references for the Chinese worship of the Rocana Buddha; however, these Huayan sutras provide little help in understanding the worship for the larger Rocana triad (i.e., Rocana Buddha flanked by two bodhisattvas) in niche no. 5 at the Feilai Feng complex. The Rocana triad images are primarily linked to the Buddhist texts written by Chinese monks which established the principle for teaching the Huayan ritual during the Tang period. With regard to the iconographic characteristics of the two bodhisattvas of the triad in niche no. 5, the bodhisattva Samantabhadra rides an elephant, while the bodhisattva Manjusri rides a lion. They are associated with Buddhist texts and artistic productions beyond the Huayan school and are possibly related to esoteric Buddhism. Similarly, the crowned Rocana seen in niche no. 5 is likely derived from an older tradition dating to the Tang and Five Dynasties periods. Similar descriptions can be found in esoteric Buddhist texts and images. Nevertheless, niche no. 5 is the earliest extant example of such a Rocana triad, wherein the triad is represented by a central crowned Buddha with a special hand gesture or mudra, who is flanked by two bodhisattvas riding animals. From niche no. 5, one can see the development of the Huayan Rocana triad within the tenth century. The combination of elements seen in this niche also indicates that Buddhist artists were not limited by the boundaries of different schools or teachings when they created a new form of iconography. The specific iconography of niche no. 5 can be linked to the Han-style Buddhist artistic traditions from previous periods, such as the Tang, Five Dynasties/Wuyue Kingdom. Ultimately, the contemporary Northern Song capital, Kaifeng, was likely the most direct influence. The Rocana Buddhist triad at niche no. 5 is reflected in the iconography of the same triad installed at the Huiyin monastery at a later time during the Northern Song Dynasty. In turn, the similarities between the images in niche no. 5 and those from other regions, such as Sichuan, Yunnan, Korea and Japan, reveal the connection between the Huiyin monastery and these other sites.
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Song, Unsok. "Rediscovering the Monk-Sculptor Ch’ŏnsin: The Missing Link between the Ŭngwŏn-In'gyun and Saengnan Schools of the Honam Area in the Late Chosŏn Period." Sungkyun Journal of East Asian Studies 22, no. 2 (November 1, 2022): 207–31. http://dx.doi.org/10.1215/15982661-10040897.
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Abstract Of the monk-sculptor groups active in the Honam area in the southwest part of the Korean Peninsula during the late Chosŏn period, the Saengnan School was the largest, both in terms of the number of artists in the group and of the works they left behind. Studies of the group have largely focused on the sculpting activities of the Buddhist monk Saengnan (fl. late seventeenth to the early eighteenth century; 1663–1709) and his followers, while little is known about the origins of the school due to a lack of records about his formative years as an assistant. The recent discovery of four Buddhist parwŏn prayer texts has revealed that Saengnan spent the early years of his career as a sculptor assisting the monk-sculptors In'gyun and Ch’ŏnsin, who were key members of the Ŭngwŏn-In'gyun School that played a central role in the production of Buddhist sculptures in the early to late seventeenth century in the region. This study shows that the Saengnan School, the most productive group of monk-sculptors from the late seventeenth to the early eighteenth century in the Honam region, was a successor to the Ŭngwŏn-In'gyun School, through a comparative examination of these highly informative prayers and relevant Buddhist sculptures. My examination also reveals that the two schools were linked by Ch’ŏnsin, who studied sculpture under In'gyun, and in turn, taught Saengnan.
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Ying, Lei. "Between Passion and Compassion: The Story of the Stone and Its Modern Reincarnations." Religions 12, no. 1 (January 17, 2021): 62. http://dx.doi.org/10.3390/rel12010062.
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This study reconsiders The Story of the Stone as a literary exemplum of the “Buddhist conquest of China.” The kind of Buddhism that Stone embodies in its fictional form and makes indelible on the Chinese cultural imagination simultaneously indulges in and wavers from the Mahāyāna teachings of the nonduality of saṃsāra and nirvāṇa. The dialectics of truth and falsehood, love and emptiness, passion and compassion, which Stone dramatizes and problematizes, continues to stir the creative impulses of artists in revolutionary and post-revolutionary China. This study features three of Stone’s modern reincarnations. Tale of the Crimson Silk, a story by the amorous poet-monk Su Manshu (1884–1918), recasts at once the idea of Buddhist monkhood and that of “free love” in early Republican China. In Lust, Caution, a spy story by the celebrated writer Eileen Chang (1920–1995), a revolutionary heroine is compelled to weigh the emptiness/truth of carnal desire against the truth/emptiness of patriotic commitment. Decades later, love and illusion dwell again at the epicenter of a fallen empire in the director Chen Kaige’s (b. 1952) 2017 film, The Legend of the Demon Cat, in which an illustrious poet sings testimony to the (un)witting (com)passion of a femme fatale.
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Wang, Anyu, and Alexandra V. Troschinskaya. "ON THE QUESTION OF CLARIFYING THE NAME OF ZHU DA (1626–1705) AND ITS ORIGIN." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (September 10, 2023): 56–67. http://dx.doi.org/10.36340/2071-6818-2023-19-4-56-67.
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Zhu Da (1626–1705) was a famous Chinese artist who lived during the late-Ming Dynasty and early Qing Dynasty. He was born in Nanchang, Jiangxi Province. Zhu Da was related to the imperial house of Ming. After the fall of this dynasty, during the reign of the Manchus, he was forced to hide, became a monk for some time and reached heights in the study of Buddhism, after which he returned to worldly life. Zhu Da and his work were significantly influenced by the classical texts of Confucianism, the philosophy of Cheng-Zhu, Buddhism and Taoism. His poetic captions for paintings and individual poems are extremely symbolic and have a special artistic style. Zhu Da became a reformer of traditional literati painting (wenrenhua) and raised it to new heights. Subsequently, he had a great influence on the painting of representatives of the Four Monks and the Eight Eccentrics from Yangzhou, as well as on the style of such 20th century masters as Qi Baishi and Xu Beihong, who worked at the end of the Qing period and the beginning of the Republican period in China. The last fifty years have become the most fruitful period in the field of studying the work of Zhu Da. The research moved outside of China, publications by foreign scientists appeared about the artist, and the name of Zhu Da (Bada Shanren) gained worldwide fame and recognition. The scientific works and articles devoted to him are conventionally divided into the following three thematic areas. The first one is the study of Zhu Da’s pseudonyms (names), his life and contacts with artists and poets, his contemporaries. The second area is the study of Zhu Da’s creative thought and artistic achievements. The third one is a study of the influence of Zhu Da’s painting style on later artists and related comparisons. The article analyses publications and scientific works devoted to Zhu Da’s creative work, published over the past half century. Among them, those related to clarifying the pseudonyms (names) of Zhu Da, his pedigree and biography are especially highlighted; various approaches of Chinese and foreign scientists to the study of the creative work of the outstanding Chinese master and his artistic heritage are considered.
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Lee, Yongyun. "Artist Monks and the Agents of the Late 18th Century Establishment of the Portraits of Eminent Buddhist Monks at the Yeongsanam Hermitage of Bongjeongsa Temple." Misulsa Yeongu : Journal of Art History 44 (June 30, 2023): 101–26. http://dx.doi.org/10.52799/jah.2023.06.44.101.
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Fatu, Sorina Nicole. "Seven Calamities: Insight into the Kara-e Depicted Catastrophes of Japan." Journal of Student Research 6, no. 1 (May 23, 2017): 93–96. http://dx.doi.org/10.47611/jsr.v6i1.281.
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The Seven Calamities (1773, Cleveland Museum of Art) is an emakimono, or Japanese handscroll, created by Nijo Yana during the Edo Period of Japan depicting seven catastrophes that occurred in Japan throughout time. Buddhist Monk Nichiren used the seven calamities found in ancient sutras to explain the disasters agonizing Japan in his time and to stress the importance of following the Buddhist lifestyle. In order to keep the seven calamities at bay, the kings and rulers of Japan were required to recite and teach ancient sutras including the Prajna-Paramita sutra. As the legend tells it, Tathagata — honorific title of a Buddha — had committed this sutra to the kings and rulers because they had requisite power needed to establish the Law of the sutra, unlike the monks and nuns. Had the sutra not been extensively taught to the populace, the seven calamities would befall upon the land and punish the impudent humans that strayed away from Saddharma — Sanskrit for the Correct Law. In essence, it was up to the kings that Tathagata appointed to ensure order and balance to the lands by reciting the Prajna-Paramita. Each of the calamities were painted on paper with black ink, known as sumi-ink, contain ma, which means negative space, and use minimal color. This paper will dissect the history of the seven disasters of Japan and the reasoning behind their occurrence, analyze the use of Japanese sumi-ink combined with the kara-e Chinese style of art, and will contemplate the artist’s choice of substituting several of the seven original calamities with his or her own rendition and depiction of sequenced actions.
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Lippit, Yukio. "Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan." Korean Journal of Art History 313 (March 31, 2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.
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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of the Muromachi period. The monochrome ink puppy paintings of the Kyoto artist Tawaraya Sōtatsu 俵屋宗達(ca. 1600-1640), however, depict the bodies of their canine protagonists with the same wash-based approach found in Yi Am’s works, and appear to have been catalyzed in some way by an encounter with the Korean artist’s paintings. In the case of Sōtatsu, this approach eventually came to be known as tarashikomi, a signature technique of the Rinpa School, and therefore it is no exaggeration to state that Yi Am’s works played a role in inspiring one of the most recognizable techniques of early modern Japanese painting. Although dog and puppy paintings are traditionally linked to auspicious meanings, Sōtatsu’s puppy paintings appear to have been associated within a Zen Buddhist themes, in particular the koan “A Dog Has No Buddha-Nature.” This Zen Buddhist framework of meaning can be gleaned from inscriptions on his paintings by Zen monks such as Isshi Bunshu 一絲文守(1608-1646) and Tangai Musen 丹崖無染(1693-1763). I would propose that the particular wash-based approach of Yi Am and Sōtatsu to this subject was particularly significant in generating this association. The eighteenth-century painter-poet Yosa Buson 与謝蕪村(1716-1784) also based his puppy paintings upon models derived from Yi Am. In the case of Buson, however, the cultural meaning of these works can be gleaned from his haikai poetry, in particular a poem accompanying a Maruyama Okyo 円山応挙(1733-1795) painting of a puppy that associates its inky body with the interiority of a poetic subject. The final case study examined in this essay is Itō Jakuchū 伊藤若冲(1716-1800). Jakuchū left a number of puppy paintings that embody Zen Buddhist themes in highly sophisticated ways. Because he was close to Tangai Musen, it is likely that he was aware of Sōtatsu’s puppy paintings, and indirectly familiar with those of Yi Am. Thus the case could be made that Yi Am’s wash-based technique opened up a new horizon of interpretive possibility among Japanese painters extending from Sōtatsu to Jakuchū.
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Mace, Sonya Rhie. "Clearing the Course: Folio 348 of the Nepalese Gaṇḍavyūha-sūtra in the Cleveland Museum of Art." Religions 11, no. 4 (April 11, 2020): 183. http://dx.doi.org/10.3390/rel11040183.
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The final 15 folios of the Nepalese illuminated palm-leaf manuscript of the Sanskrit Gaṇḍavyūha-sūtra of c. 1100 have more paintings per page, larger picture planes, and different types of scenes than are found on the leaves surviving from the first 340 folios. One example is Folio 348 in the Cleveland Museum of Art, which has been painted with scenes of a bodhisattva tossing a blue-skinned heretic, an unusual image of a monk or upāsika wearing blue robes, and a Vajrācārya priest setting a Hindu rishi ablaze. From the point of view of the Mahāyāna Buddhist makers of this manuscript, these figures may personify the wrong views that derail pilgrims on the bodhisattva path to enlightenment. The dramatic shift in imagery appears to reflect the transition from the end of the inspirational pilgrimage of Sudhana to the popular, protective dhāraṇī verses of the Bhadracarī that form the finale to the text. The scenes of destruction and elimination of heretical figures correspond with sentiments in the Bhadracarī, indicating that the artists understood the structure and content of the text.
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Küster, Volker. "A Dialogue in Pictures. Reform Buddhism and Christianity in the Works of Ven. Hatigammana Uttarananda / Sri Lanka." Exchange 39, no. 1 (2010): 6–28. http://dx.doi.org/10.1163/016627410x12559405201072.
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AbstractThe monk Ven. Hatigammana Uttarananda represents a reform Buddhism that is socio-politically engaged in the conflict-ridden context of Sri Lanka. As an artist he is the Buddhist alter ego of the well-known Catholic liberation theologian Aloysius Pieris. The later commissioned Uttarananda to realize his first Christian mural in the Tulana Centre for Dialogue. With translation, questioning and exchange Uttananada’s works allow exploring different patterns of interreligious dialogue.
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Liu, Yi. "Blessings on the Waves: Miraculous Encounters of Japanese Pilgrim Monks during Sea Voyages Transmitting Dharma from Southern Song China." Religions 15, no. 1 (January 21, 2024): 134. http://dx.doi.org/10.3390/rel15010134.
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The maritime route connecting the Chinese continent and the Japanese archipelago facilitated a significant exchange of commercial goods and sociocultural knowledge throughout the Southern Song dynasty. Within this context, Japanese pilgrim monks traveling along this route acted as key conduits for the transmission of Buddhist teachings. Their journeys profoundly influenced the establishment and development of new Buddhist monasteries in Japan. Focusing on biographical accounts that portray the experiences of these pilgrim monks during their twelfth- and thirteenth-century sea voyages, this paper aims to explore how these accounts drew on intertextual links with existing Buddhist records to fulfill the compilers’ intentions. Specifically, this paper examines the structure and sources of biographical accounts detailing miraculous encounters between pilgrim monks and Buddhist deities during perilous situations at sea. By interpreting the role of these deities in the corpus of Buddhist literature and within Japanese Buddhist monasteries founded by pilgrim monks, this paper argues that the increasing emphasis on pilgrim monks’ attainment of divine protection in their biographical records suggests a growing concern for reinforcing the authority of their dharma lineages. Moreover, the composition and reception of these miraculous accounts reflected the changing religious needs and reshaped strategies for promoting specific Buddhist sects in subsequent periods.
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SCHEDNECK, BROOKE. "Religious Others, Tourism, and Missionization: Buddhist ‘Monk Chats’ in Northern Thailand." Modern Asian Studies 52, no. 6 (July 16, 2018): 1888–916. http://dx.doi.org/10.1017/s0026749x16001013.
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AbstractConjunctures of globalization and education have shaped the intersection of Buddhist monasticism and international tourism in the Northern Thai city, Chiang Mai. International tourism in Chiang Mai has been popular since the 1990s, while monks from all over Thailand and South and Southeast Asia have come to Chiang Mai in large numbers to pursue higher education in English since the 2000s. Focusing on Buddhist temples that contain a Monk Chat programme, where tourists and monks engage in conversation, this article analyses the responses of Buddhist monks towards a range of international tourists. Utilizing the perspectives of Buddhist monks through interviews reveals attitudes towards Western and Asian tourists as situated within broader discourses of Thai society. Investigating these attitudes and responses within the context of wider state, regional, and transnational influences, I argue that attitudes towards religious others are inextricably connected to missionization.
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Tomažin, Irena. "The Attentive Creator of Contemporary Rituals." Maska 31, no. 177 (June 1, 2016): 126–28. http://dx.doi.org/10.1386/maska.31.177-178.126_1.
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In her book Conversations with Meredith Monk, Bonnie Marranca publishes four conversations that occurred between 2008 and 2013, that is, in Monk’s mature period of creation, hence affording the artist occasion to reflect on her past work. Among other things, she affirms that her relationship to her work is informed by her practice of Buddhism. She refers to directorial method of “weaving” together the different media she uses when constructing her stage works, allowing her to connect the different worlds contained within different media and in so doing experience herself as an integrated being. She describes the creation of a work as the search for something fundamental, understanding each work as its own world, which she listens to and whose laws she searches for in an uninterrupted dialogue with the work as the subject. For her, the stage is a holy space, a space for ritual between performers and audience, in which an important role is played by shared time, unrepeatable and transient. The conversations with Monk reveal how her creative process heeds the internal desires of the creation and simultaneously ignores the instructions of established aesthetic guidelines.
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Et al., Phramaha Nakarin Sukrat (Analayo). "A Buddhist Propagation Competency Development Model of Administrative Monks in Sangha Administration Region 17." Psychology and Education Journal 58, no. 1 (January 15, 2021): 3700–3704. http://dx.doi.org/10.17762/pae.v58i1.1365.
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The purposes of this article were 1) to study the state of Buddhist propagation competency, 2) to develop a model of Buddhist propagation competency development, and 3) to propose Buddhist propagation competency development model of administrative monks in Sangha Administration Region 17. Mixed methods research was designed with 3 phases. Phase I was to study the state of Buddhist propagation competency using questionnaires to survey 234 monks. Data were analyzed by using percentage, mean and standard deviation. Phase II was to develop the model using interview with 15 key informants and content analysis was used for the analysis. Phase III was to propose the model and 9 experts were attended at focus group discussion, and data was analyzed by content analysis. Results showed that 1) the state of Buddhist propagation competency consisted of 3 aspects which were knowledge, skills, and personal characteristics. Overall level of practice was at high level. 2) There were 5 components in a model of Buddhist propagation competency development of administrative monks in Sangha Administration Region 17 which were (1) principles, (2) objectives, (3) procedure, (4) process development applying the threefold training as Buddhist principle encouraging the propagation competency development compose of content, objective, learning management, teaching media, activities, method of development and assessment, and (5) learning assessment. 3) Buddhist propagation competency development model of administrative monks in Sangha Administration Region 17 was appropriate in competency development for contribution of happiness to communities and Thai society.
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Shono, Masanori. "Local Buddhist Monastic Agreements among the (M?la)sarv?stiv?dins." Buddhist Studies Review 34, no. 1 (September 11, 2017): 53–66. http://dx.doi.org/10.1558/bsrv.33779.
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Recently, there have been an increasing number of studies on the Buddhist monastic community as a whole and on individual Buddhist monks and nuns in Vinaya literature. However, we do not know much about how a local Buddhist monastic community was administered. In order to consider just an aspect of the administration in a local monastic community, I will in this paper investigate descriptions of agreements (Skt kriy?k?ra-) that local monastic communities or local Buddhist monks conclude in Vinaya texts belonging to the (M?la)sarv?stiv?dins.
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Kim, Yong Tae. "Monks’ Militia and the Spread of the Buddhist Yŏnghŏm (Wonder) during the Japanese Invasion in the Sixteenth Century." Religions 15, no. 6 (June 6, 2024): 707. http://dx.doi.org/10.3390/rel15060707.
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This paper explores the influence and significance of the activities of the monks’ militia during the Japanese invasion of Chosŏn, from the perspective of the religious efficacy of Buddhism and the spread of the Buddhist concept of wonder. After examining the concept that the monks’ militia played an important part in the war, fighting against enemies in major battles and constructing and defending fortresses, this paper proposes that the religious efficacy of Buddhism was revealed through the performance of burial and guiding ceremonies. Restoring the religious wonder of Buddhism, which had been criticized by the Confucian literati, Buddhist rituals for consoling the bereaved and praying for the welfare of the dead came to thrive. A dilemma existed between the principle of keeping the Buddhist precepts and the reality of fulfilling the demands of loyalty since the activities of the monks’ militia greatly damaged the Buddhist community. While killing was a direct infringement of the values of the sangha, the monks violated this precept in the cause of protecting the state and practicing loyalty. In this situation, where there was such a dilemma between the Buddhist and secular worlds, these monks’ prioritization of loyalty not only indicated the desperate national situation of the time but also reflected the social, cultural, and political context of the Confucian society of Chosŏn. This paper also explores how renowned generals of the monks’ militia, including Samyŏng Yujŏng, emerged as heroes among the people, and memories of their deeds were transmitted through wonder stories. Yujŏng was highly praised as a symbol of Buddhist loyalty, and his heroic story was expanded and reproduced among the population through folk tales and novels. While the intellectuals of Chosŏn who followed Confucian values did not believe those wonder stories, the trauma that the war left behind demanded the appearance of wondrous heroes who helped people overcome that trauma, and this demand enabled Yujŏng to emerge as one of these heroic figures. The activities of the monks’ militia, the religious efficacy of Buddhism, and the creation of the heroic narratives of the monks’ militia generals prove that Buddhism had a firm foundation in late Chosŏn society.
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Choe, Jiyeon, and Jin Son. "Protocols of Conversion: Indigenous Gods and Eminent Monks in East Asian Buddhism." Religions 14, no. 7 (June 26, 2023): 838. http://dx.doi.org/10.3390/rel14070838.
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This article examines the relationships between eminent monks and local gods in East Asian Buddhism, problematizing the ill-defined and much-employed concept of “protector deity of the dharma” (Skt. dharmapāla). By carefully examining various stories of the interactions between eminent monks and various gods found mostly in the biographies of eminent monks in Buddhist literature, we find three recognizable patterns when an indigenous god transforms into a “Buddhist” god. This study illustrates the ways in which local gods obtain Buddhist identities and deciphers how the “conversion” becomes possible via the spiritual power of the eminent monks, whose drive from their moral strength serves as the foundation of their spiritual essence. In this long process of localization of the dharma, the most effective narratives link the idea of the dharmapāla with the virtue of eminent monks. Hence, these narratives in GSZ, XGSZ, and Samugykusa contain colorful examples of taming local gods and malicious spirits with their mental power and moral virtue, finding a place for those gods to fit into the new Buddhist order. This study provides insights into the complex interactions between different religious traditions and sheds light on the ways in which religious ideas and practices are adapted and transformed in new cultural contexts.
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Wu, Shaowei. "A Study on the Literacy Rate of Buddhist Monks in Dunhuang during the Late Tang, Five Dynasties, and Early Song Period." Religions 13, no. 10 (October 20, 2022): 992. http://dx.doi.org/10.3390/rel13100992.
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Among the Dunhuang documents, when examining some of the monk signature lists, name list of monks copying scriptures and name list of monks chanting scriptures in monasteries, we can estimate a relatively accurate literacy rate of the Buddhist sangha. Generally speaking, the literacy rate of the sangha during the Guiyi Army 歸義軍 period (851–1036) was lower than that during the Tibetan occupation period (786–851). The reason for this change is closely related to each regime’s Buddhist policy, the size and living situation of the sangha, and the Buddhist atmosphere. The decrease in the literacy rate of the sangha had great negative consequences, but when viewed under the context of the stay at home monks and the secularization of Buddhism, the number of literate monks had actually increased. They were more closely integrated with the secular society and their functions in the regional society were more pronounced. At the same time, the changes in the literacy rate of the monks in Dunhuang can also serve as an important reference for understanding the development of Buddhism in the Central China.
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Baird, Ian G. "Lao Buddhist Monks' Involvement in Political and Military Resistance to the Lao People's Democratic Republic Government since 1975." Journal of Asian Studies 71, no. 3 (August 2012): 655–77. http://dx.doi.org/10.1017/s0021911812000642.
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There is a long history of Theravada Buddhist monk involvement in militarism in mainland Southeast Asia. Here, I examine recent Lao monk support for political and military activities directed against the communist Lao People's Democratic Republic government and its Vietnamese supporters since 1975. Monks have not become directly involved in armed conflict, as monastic rules do not allow participation in offensive violent acts, or arms trading, but they have played various important roles in supporting armed resistance against the Lao government. Some monks assisting insurgents have been shot in Thailand. Now most of the Lao insurgent-supporting monks live in the United States, Canada, and France, where a few continue to assist the political resistance against the Lao government, arguing that providing such support does not contradict Buddhist teachings. This article demonstrates how Lao Buddhist monks have negotiated religious conduct rules in the context of strong nationalistic convictions.
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Hwang, Hye-jin. "Educational Methods of Buddhist Monks in the Joseon Dynasty as Depicted in Yadam." Korean Buddhist Counselling Society 18 (December 31, 2023): 87–118. http://dx.doi.org/10.35855/kbca.2023.18.03.
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This research adopts the perspective that Buddhist counseling, similar to utilizing literary works in literary therapy, can employ literature as a medium to facilitate human transformation. Given Buddhism's inherently narrative-friendly tradition of disseminating teachings through stories, there is a strong connection between literary therapy and Buddhism. The study is conducted with the anticipation that the relationship between Buddhist counseling and literary therapy will become more closely intertwined in the future.
This research introduces literary narratives from Joseon Dynasty compilations, specifically Yadam, depicting Buddhist monks educating laypeople. The analysis focuses on how monks diagnose the subjects, design and implement educational strategies, and evaluate the outcomes in order to educate laypeople. Among these narratives, some depict monks diagnosing individuals' qualities and promptly offering assistance, while others portray monks abandoning education based on diagnostic results. Additionally, certain narratives showcase monks devising and executing tailored educational methods. The results indicate that monks in the Joseon Dynasty, as depicted in Yadam, evaluate the earnest pursuit of wisdom, direction, qualities, and a resilient spirit over outward appearances and reputations when selectively diagnosing educational targets. Furthermore, during the actual educational process, monks intricately employ well-crafted expedient means based on the level and characteristics of the educational target. This demonstrates the implementation of customized education, applying diverse means flexibly according to the individual's level and characteristics.
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Zhang, Xuesong. "The Number and Regional Distribution of Chinese Monks after the Mid-Qing Dynasty." Religions 14, no. 3 (February 27, 2023): 317. http://dx.doi.org/10.3390/rel14030317.
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The total number of ordination certificates issued between 1736 and 1739 was 340,112. Analyzing the amount and regional distribution of ordination certificates during the early Qianlong period is helpful for us in clarifying the amount and regional distribution of Chinese monks since the mid-Qing Dynasty. The total number of Buddhist monks did not change measurably during the two hundred years from Qianlong’s reign until the Republic period, remaining between 600,000 and 700,000. Although the census in the 1930s did not cover Taoist monks, as previously discussed, their number may have been similar to that during Qianlong’s reign. As a result, the number of monks (both Buddhist and Taoist) did not changed much after the mid-Qing Dynasty, despite many historical changes since the 19th century, such as population growth, the Taiping Heavenly Kingdom Movement, the promotion of education with temple property, and the warlord conflicts. The number of Buddhist monks in Northern China declined significantly from 1742 to 1936, while that in the regions along the midstream and downstream of the Yangtze River and in Southwestern China, it increased significantly. However, the geographical layout of Chinese Buddhism did not changed much, as there was neither a noticeable decline nor a noticeable revival in the number of monks and nuns.
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Shen, Shoucheng, and Shaowei Wu. "The Making of a Monk: The Training of Śrāmaṇera (Novice Monks) in Dunhuang with a Focus on Scriptural Study." Religions 15, no. 6 (May 22, 2024): 635. http://dx.doi.org/10.3390/rel15060635.
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Monastic life begins with the ordination of novice monks, who start their formal training at this stage. The education of a novice involves both general cultural studies and specialized Buddhist training. However, the focus during the novice stage is predominantly on Buddhist education, which encompasses learning monastic discipline and studying Buddhist scriptures. The Dunhuang manuscripts offer a wealth of information, providing valuable insights into the training and education of novice monks in Dunhuang during the periods of Tibetan Occupation (787–848) and Guiyi Army (851–1036).
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O' Reilly, Gary, David Coyle, and Conall Tunney. "Even Buddhist Monks Use a Gong." International Journal of Game-Based Learning 6, no. 4 (October 2016): 39–51. http://dx.doi.org/10.4018/ijgbl.2016100103.
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Mindful Gnats is a computer game and App that introduces mindfulness and relaxation skills to young people aged nine years and older. In this paper the authors describe their model for using technology to support children with the development of psychological skills. This model combines a computer game to introduce and practice psychological skills played in the presence of an adult, with an App that assists young people as they practise and transfer those skills into their everyday life at home, at school and in the community. The Mindful Gnats computer game comprises a six level 3-D game world and is available on iOS and Windows. The Mindful Gnats App is available for both iOS and Android operating systems. This paper describes the background research that informed the design of Mindful Gnats as well as the specific mindfulness and relaxation contents of the programme. The authors' on-going research to evaluate the effectiveness of Mindful Gnats with regular children and those with clinical difficulties is described, along with the key lessons the authors have learnt from their experience in the design of mental health promoting technology.
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Voyce, Malcolm. "Ideas of Transgression and Buddhist Monks." Law and Critique 21, no. 2 (May 6, 2010): 183–98. http://dx.doi.org/10.1007/s10978-010-9067-9.
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Lee, Byunghee. "Buddhist Monks’ Bangnap in Early Joseon." Sahak Yonku : The Review of Korean History 150 (June 30, 2023): 5–50. http://dx.doi.org/10.31218/trkh.2023.6.150.5.
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Oh, Se-Deok. "Monk Artisans who Built a Buddhist Sanctum and Buddhist Service Activities in Reconstruction Records of Borim Buddhist Temple." BUL GYO HAK BO 94 (March 31, 2021): 205–28. http://dx.doi.org/10.18587/bh.2021.3.94.205.
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Song, Ting, and Yuanlin Wang. "Stone Inscriptions as Mirror Images: Historical Details of Tang Dynasty Buddhism in the Luoyang Region." Religions 14, no. 12 (November 30, 2023): 1493. http://dx.doi.org/10.3390/rel14121493.
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For a long time, scholarly research on Buddhism in Luoyang during the Tang Dynasty has mainly focused on eminent monks and Buddhist temples. This focus is evident in the recorded literature of ancient times, such as The Continued Biographies of Eminent Monks and The Biographies of Eminent Monks. Based on stone inscriptions, this paper examines the dissemination and development of Buddhism in the Eastern Capital of Luoyang during the Tang Dynasty. This article presents the following viewpoints and findings: Firstly, the epitaphs and pagoda inscriptions provide historical details that are not widely known, such as the names of temples in the suburb, the identities of prominent monks who propagated Dharma in Luoyang, the Buddhist scriptures chanted and learned by the Luoyang people, and the people’s motivation to adopt Buddhism. Secondly, the epitaphs and pagoda inscriptions supplement important historical materials on Chan Buddhism, confirming the widespread popularity of the Northern Sect of Chan Buddhism in the Luoyang region. Thirdly, the epitaphs and pagoda inscriptions reveal that Luoyang Buddhist practice was popular, characterized by the succession of blood-related monastic companions; that is, many families had two or more relatives who became monks or nuns simultaneously or successively, a phenomenon that has not attracted attention from academic circles. Fourthly, the blood-related monastic companions of Buddhist practice affected the mentoring relationships and organizational management of temples and monasteries, promoting communication and interaction between Buddhism and traditional Chinese culture.
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Langgapin, Saowalak, Waraporn Boonchieng, Sineenart Chautrakarn, and Narong Maneeton. "Senior Mental Health Scenarios in Thai Buddhist Contexts: A Qualitative Study." Religions 15, no. 4 (March 31, 2024): 440. http://dx.doi.org/10.3390/rel15040440.
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This study delves into the global mental health challenges confronting the elderly within Thailand’s Buddhist context. It explores seniors’ perspectives on mental health distress, factors, and interventions, alongside monks’ viewpoints on traditional Buddhist approaches and their role in addressing these challenges. Our thematic analysis of qualitative research engaged 36 participants, comprising health volunteer monks and seniors from Northern Thailand, to identify primary themes and sub-themes. The perspectives on senior mental health scenarios highlight seniors’ experiences of stress, anxiety, sadness, and loneliness, influenced by factors like age, health, family, finances, and social isolation. Interventions encompass health care, religious practices, and community support. Monks advocate for integrating Buddhism into daily life, encouraging active participation, and addressing senior mental health issues, emphasizing their pivotal role, the embodiment of monastic ideals, and the challenges hindering their involvement. The research highlights the significance of empowering monastic involvement, acknowledging monks as representatives of monastic principles, even in the face of obstacles limiting their participation. This study uncovers a trend in Thai Buddhist communities where physical health and religious aspects take precedence over the mental well-being of seniors. It advocates for a comprehensive approach that integrates religious and mental health strategies, highlighting Buddhism’s impact on seniors’ mental wellness. The implications span spirituality, religious studies, mental health, and elderly care policy, emphasizing the crucial role of Buddhist practices and monks in enhancing the mental well-being of the elderly.
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Yu, Gege, Haoge Gan, and Yongqin Guo. "Location and Fortune: An Exploration of the Buddhism and Daoism Roles of Geomancy in the Song Dynasty." Religions 14, no. 7 (June 29, 2023): 859. http://dx.doi.org/10.3390/rel14070859.
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The Song dynasty (960–1279) was the peak of fengshui development in China. During this period, fengshui books proliferated, and geomantic techniques spread rapidly. Thus, the population was generally inclined to consider the influence of architecture on the fate of individuals or families from a fengshui perspective. In addition to writing books on fengshui, many Buddhist monks and Daoist masters also practiced the location selection and spatial planning of Buddhist and Daoist temples, houses, and tombs. This paper first collates the fengshui books written by Buddhist monks and Daoists during the Song dynasty and then analyzes their spatial planning concepts according to the geomancy theory. Secondly, taking into account specific cases of Buddhist and Daoist temples, garden buildings, and residential tombs, it elaborates on the reasons and purposes behind the Buddhist monks’ and Daoists’ use of the geomancy theory. Lastly, the changes in the function of site selection in the urban landscape reflect the interaction between Buddhism, Daoism, and fengshui during the Song dynasty. An awareness of the historical origins of religious tradition is helpful in our understanding of fengshui architectural heritage in general.
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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.
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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.
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Puriwanchana, Saipan. "Following the Buddha’s Path: The Buddha’s Life Story as the Model for Narrating the Lives of Phra Kechi Achan (Monks with Mystical Power) in Central Thailand." MANUSYA 14, no. 3 (2011): 1–20. http://dx.doi.org/10.1163/26659077-01403001.
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This article aims at studying the narratives of Phra Kechi Achan, (monks with mystical power) in central Thailand. Four monks’ life narratives, two from the Vipassana group and two from the Vidayagom group, are used as case studies. The study reveals that the narratives of all monks follow the structure of the Buddha’s life due to the Buddhist tradition of using the Buddha’s life as a paradigm to compose religious persons’ stories. However, the miraculous power of each monk is highlighted in his narrative. There is both miraculous power as found in the Buddhist canon and as influenced by Thai cultural beliefs and practices.
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Sun, Wen. "Texts and Ritual: Buddhist Scriptural Tradition of the Stūpa Cult and the Transformation of Stūpa Burial in the Chinese Buddhist Canon." Religions 10, no. 12 (December 4, 2019): 658. http://dx.doi.org/10.3390/rel10120658.
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Chinese translations of Buddhist sūtras and Chinese Buddhist literature demonstrate how stūpas became acknowledged in medieval China and how clerics and laypeople perceived and worshiped them. Early Buddhist sūtras mentioned stūpas, which symbolize the presence of the Buddha and the truth of the dharma. Buddhist canonical texts attach great significance to the stūpa cult, providing instructions regarding who was entitled to have them, what they should look like in connection with the occupants’ Buddhist identities, and how people should worship them. However, the canonical limitations on stūpa burial for ordinary monks and prohibitions of non-Buddhist stūpas changed progressively in medieval China. Stūpas appeared to be erected for ordinary monks and the laity in the Tang dynasty. This paper aims to outline the Buddhist scriptural tradition of the stūpa cult and its changes in the Chinese Buddhist Canon, which serves as the doctrinal basis for understanding the significance of funerary stūpas and the primordial archetype for the formation of a widely accepted Buddhist funeral ritual in Tang China.
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Krisztina, Teleki. "BUDDHIST MONASTERIES AND STATE SUPPORT IN MONGOLIA A BRIEF OVERVIEW." Philosophy and Religious Studies 22, no. 541 (February 9, 2020): 95–99. http://dx.doi.org/10.22353/prs20201.9.
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During the history of Mongolian Buddhism the State has always significant role in supporting religion and monasteries. Möngke Khan held the first religious dispute of Buddhist, Muslim and Christian monks in the 13th century and gently allowed all foreign devotees to practice their own religion and pray for the Mongolian State. This Mongolian court`s relationship deepened with Buddhism during the period of Khubilai Khan (13th century), Altan Khan and Ligdan Khan (16th century, 17th century), Avtai Sain Khan (16th century), and also with the Khalkha Khans during the Manchu period. The Eighth Bogd Jebtsundamba Khutugtu became the Bogd Khaan, the theocratic king of the sovereign Mongolia (1911-1921): his realm brought the Golden Age of Mongolian Buddhism and monasteries. The only political formation that ceased Buddhism and the operation of monasteries was socialism, when only one monastery, Gandantegchenlin Monastery could run operation from 1944 until the democratic changes in 1990 when religious practices became free again. The presentation will cite some examples from the supportive relation and fruitful cooperation of emperors, khans, nobles, statesmen with Buddhist monasteries, monk communities and monks, and also mention some present-day problems including similarities and differences. For instance, during the Manchu period monks were released from ‘state oblige’ including military services and taxation. In the 1930s when socialism started monks were enrolled to the army. Those monks, who did not want to perform military service had to pay military tax. Monks were registered based on their ranks, age, and incomes in the 1920s-1920 as the State and Religion become totally separated, and finally religion was ceased, and monasteries were destroyed. Religious practices became are free again in the 1990s, many monasteries were rebuilt, new monasteries were founded, and the number of monks is increased. However, as monasteries are handled equal to other organizations and enterprises they pay tax. Monks themselves have military obligation and pay different types of taxes. The presentation will raise some ideas about the old, current and future relations of the State and Monast
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Wang, Jinping. "CLERGY, KINSHIP, AND CLOUT IN YUAN DYNASTY SHANXI." International Journal of Asian Studies 13, no. 2 (July 2016): 197–228. http://dx.doi.org/10.1017/s1479591416000036.
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During the thirteenth and fourteenth centuries, people in north China took advantage of a Mongol policy that gave Buddhist officials a status equivalent to what civil officials enjoyed, as a strategy for family advancement. Monk Zhang Zhiyu and his family provide a case study of an emerging influential Buddhist order based at Mount Wutai that connected the Yuan regime with local communities through the kinship ties of prominent monks. Within this Buddhist order, powerful monks like Zhiyu used their prestigious positions in the clerical world to help the upward social mobility of their lay families, displaying a distinctive pattern of interpenetration between Buddhism and family. This new pattern also fit the way that northern Chinese families used Buddhist structures such as Zunsheng Dhāranῑ pillars and private Buddhist chapels to record their genealogies and consolidate kinship ties.
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Stiller, Maya. "Precious Items Piling up Like Mountains: Buddhist Art Production via Fundraising Campaigns in Late Koryŏ Korea (918–1392)." Religions 12, no. 10 (October 15, 2021): 885. http://dx.doi.org/10.3390/rel12100885.
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Considering visual culture alongside written source material, this article uncovers the socioeconomic aspect of Korean Buddhist monastic life, which has been a marginalized field of research. Arguing against the idea of an “other-worldly” Buddhism, the article specifically discusses the ways in which Buddhist monasteries conducted fundraising activities in late Koryŏ period (918–1392 CE) Korea. Via fundraising strategies, which targeted wealthy aristocrats as well as the commoner population, Buddhist monks managed the production and maintenance of Buddhist material culture, such as the construction of shrines, the casting of precious sculptures, and the carving of thousands of woodblocks used for the printing of sacred Buddhist scriptures. While the scholarship on Koryŏ Buddhism has traditionally focused on meditation, doctrine, state sponsored rituals, and temples’ relationships with the royal court, this study expands the field by showing that economic activities were salient features of Koryŏ Buddhism “on the ground.” By initiating and overseeing fundraising activities, Buddhist manager-monks not only gained merit, but also maintained the presence and physical appearance of Buddhist temples, which constitute the framework of Buddhist ritual and practice.
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Lindberg Falk, Monica. "Thailändska nunnor och kvinnliga munkar. Förändring och utmaning av den buddhistiska ordningen." Tidskrift för genusvetenskap 24, no. 3-4 (June 15, 2022): 25–38. http://dx.doi.org/10.55870/tgv.v24i3-4.4123.
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This artide addressesThai Buddhist nuns' agency in creating religious space and authority, and raises questions about how the position of Thai Buddhist nuns outside the formål institution of Buddhist monks and novices affects their religious legitimacy. It gives a background to the troublesome situation for Buddhist nuns in Thailand and includes a summary of the rise, fall and recent restoration of theTheravada female monks' order. Religion has traditionally played a central role in Thai society and Buddhism is still intertwined in the daily life of Thai people. Religion also plays an important role in establishing gender boundaries. Men's ordination is highly respected and uplifts their social position. Women's choice to leave the lay world and seek ordination is commonly not appreciated and not in line with the Thai gender order. The Buddhist nuns' long history in Thailand has not granted them formål religious legitimacy and their secondary standing in the Buddhist temples is further confirmed by their lack of support from the Thai government. The recent decades' growth of nunneries governed by the nuns themselves and the Thai women's increasing interest in Buddhist monastic life are notable changes in women's performance in the religious field. Some nuns have through their own agency and capacity started to enhance their position and create better circumstances for themselves, which also have been beneficial for the lay community. At nunneries, the role of the Thai nuns has been broadened and become more analogous to that of the monks. Moral conduct, religious performances, education and Buddhist knowledge have proved to be requirements for achieving religious legitimacy.
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Sinclair, Tara. "Tibetan Reform and the Kalmyk Revival of Buddhism." Inner Asia 10, no. 2 (2008): 241–59. http://dx.doi.org/10.1163/000000008793066713.
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AbstractThe anti-religious campaigns of the Soviet Union in the 1930s eradicated Kalmyk Buddhism from the public sphere. Following perestroika the Kalmyks retain a sense of being an essentially Buddhist people. Accordingly, the new Kalmyk government is reviving the religion with the building of temples and the attempted training of Kalmyk monks, yet monasticism is proving too alien for young post-soviets. According to traditional Kalmyk Gelug Buddhism authoritative Buddhist teachers must be monks, so monastic Tibetans from India have been invited to the republic to help revive Buddhism. The subsequent labelling by these monks of 'surviving' Kalmyk Buddhist practices as superstitious, mistaken or corrupt is an initial step in the purification of alternate views, leading to religious reform. This appraisal of historical practices is encouraged by younger Kalmyks who do not find sense in surviving Buddhism but are enthused with the philosophical approach taught by visiting Buddhist teachers at Dharma centres. By discussing this post-Soviet shift in local notions of religious efficacy, I show how the social movements of both reform and revival arise as collusion between contemporary Tibetan and Kalmyk views on the nature of true Buddhism.
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LANGER, RITA. "From Riches to Rags: how new clothes for the dead become old robes for monks." Journal of the Royal Asiatic Society of Great Britain & Ireland 24, no. 1 (September 20, 2013): 125–44. http://dx.doi.org/10.1017/s1356186313000345.
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AbstractThe process whereby existing rituals are taken up and re-envisaged is a well known phenomenon in ritual studies. The offering of a piece of white of cloth to the officiating monks during the Theravāda Buddhist funeral ceremony provides a particularly good example. This custom originates in pre-Buddhist funerary rituals, which included the symbolic covering of the dead body with a new, uncut piece of white cloth intended as a new garment for the deceased, but which was afterwards donated to the officiating priests. The present article examines how in the Buddhist funeral the donation of the cloth came to be associated with the monks’ ascetic practice of making their robes from discarded rags (paṃsukūla). A comparison of the lists of “rags” in the Theravāda and Mūlasarvāstivāda Vinayas and in the Visuddhimagga and Vimuttimagga, alongside a historical exploration of the attitude of the Buddhist laity towards monks who adopted ascetic practices, sheds new light on the significance of the paṃsukūla offering. Further, the manner in which an old pre-existing ritual is accommodated within a different conceptual framework provides a clear instance of the primacy of ritual continuity over ritual meaning.
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Sangchart, Bumpenchit, Suksan Promdee Ngamgam, Rawat Ekwuttiwongsa, and Monthida Sangruangake. "The Views of Thai Buddhist Monks on a Good Death." Disease Prevention and Public Health Journal 14, no. 2 (September 30, 2020): 107. http://dx.doi.org/10.12928/dpphj.v14i2.2827.
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Background:When Buddhist monks were sick, they had to take care of themselves, or they will be taken care of by other monks. The care may be provided until they recover from the illness or throughout life. The monks who are the caregivers go through near-death and death experiences. The purpose of this phenomenological study was to investigate the meanings of a good death based on the experience of 13 Thai Buddhist monks that providing care for the sick monks until the sick monks passed away. Method:Purposeful sampling was used to select participants who voluntarily participated in the study. In-depth interviews were the main methods of data gathering. Established trustworthiness of a qualitative inquiry based on quality criteria of Lincoln and Guba. The methodological interpretations of Diekelmann and Allen established the thematic analysis of this study. Results:Six main themes and six subthemes of a good death emerged from participants which formed the basis of the findings reported: (a) free from suffering, consisting of 1) death without life's restraints, 2) peaceful death, and 3) death as a sleeping person (but not awake); (b) natural death with good deeds; (c) awareness of death, composed of (1) accepting death, (2) preparation before death, and (3) letting things go; (d) last spirituality becoming a mental charity; (e) resting in peace; and (f) nirvana. Conclusion: The results of the present study could fulfill and extend the meanings of good death to a wider and deeper which are different from the previous studies.
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Foxeus, Niklas. "Performing the Nation in Myanmar." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 178, no. 2-3 (June 25, 2022): 272–305. http://dx.doi.org/10.1163/22134379-bja10040.
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Abstract In 2012, Buddhist nationalist movements in Myanmar started to emerge, disseminating a Buddhist nationalist discourse that aimed to protectively demarcate their nation from the perceived threat posed by Muslims. In sermons, monks exhorted their audiences to make nationalist vows to protect their nation, country, and Buddhism. The aim of this article is to investigate some ritual, discursive, and performative aspects of Buddhist nationalist sermons, and the social dynamics they entailed. The article first examines and analyses three recurrent discursive complexes of the Buddhist nationalist sermons delivered in 2013–2015; it will also look at how the monks drew on their social power and on discursive and performative power to create a boundary around their Buddhist nation and to mobilize Buddhists to protect it, thereby performing their nation. Second, the article examines two ways in which sermons that aimed to protect the Buddha’s dispensation (collectivistic religion) contributed to creating social cohesion and community.
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Hu, Xiaobai. "The Dharma King Who Took Care of His Family: Penden Trashi and the Rise of a Clan-Based Tibetan Buddhist Society in the Fifteenth-Century Northern Sino-Tibetan Borderland." T'oung Pao 109, no. 3-4 (September 7, 2023): 352–94. http://dx.doi.org/10.1163/15685322-10903002.
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Abstract In the fifteenth century, Tibetan Buddhist monks from the northern Sino-Tibetan borderland played an important role in facilitating religious and political contacts between Ming China and the Tibetan world. With the rise of their political status and religious influence at the Ming court, these Buddhist hierarchs also projected imperial endorsements to the Sino-Tibetan borderland and reshaped the local social structure. This article examines how Penden Trashi, one of the most eminent Tibetan Buddhist monks of the fifteenth century, contributed to the rise of a clan-based Tibetan Buddhist society in early Ming Minzhou 岷州. By scrutinizing Penden Trashi’s biography and personal letters to identify his role in forging the dharma succession pattern and monastic association mode in Minzhou, this article illuminates how imperial patronage reconstructed the power dynamic in the fifteenth-century Sino-Tibetan borderland.
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Koehle, Michael Stephen. "Patellofemoral Pain Syndrome in Tibetan Buddhist Monks." Wilderness & Environmental Medicine 17, no. 2 (June 2006): 129–31. http://dx.doi.org/10.1580/pr22-05.1.
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SHONO, Masanori. "The Hierarchy of Monks in Buddhist Samghas." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 60, no. 1 (2011): 353–48. http://dx.doi.org/10.4259/ibk.60.1_353.
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