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Relevant bibliographies by topics / Buddhist poetry

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Academic literature on the topic 'Buddhist poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Buddhist poetry"

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Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (September 15, 2020): 471. http://dx.doi.org/10.3390/rel11090471.

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Disgust occupies a particular space in Buddhism where repulsive aspects of the human body are visualized and reflected upon in contemplative practices. The Indian tradition of aesthetics also recognizes disgust as one of the basic human emotions that can be transformed into an aestheticized form, which is experienced when one enjoys drama and poetry. Buddhist literature offers a particularly fertile ground for both religious and literary ideas to manifest, unravel, and entangle in a narrative setting. It is in this context that we find elements of disgust being incorporated into two types of Buddhist narrative: (1) discouragement with worldly objects and renunciation, and (2) courageous act of self-sacrifice. Vidyākara’s anthology of Sanskrit poetry (Subhāṣitaratnakoṣa) and the poetics section of Sa skya Paṇḍita’s introduction to the Indian systems of cultural knowledge (Mkhas pa rnams ’jug pa’i sgo) offer two rare examples of Buddhist engagement with aesthetics of emotions. In addition to some developed views of literary critics, these two Buddhist writers are relied on in this study to provide perspectives on how Buddhists themselves in the final phase of Indian Buddhism might have read Buddhist literature in light of what they learned from the theory of aesthetics.

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Ochilov, O. "CHINESE NEW POETRY AND BUDDHISM." Builders Of The Future 02, no. 02 (May 1, 2022): 277–81. http://dx.doi.org/10.37547/builders-v2-i2-42.

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The article is about the influence of Buddhism on Chinese literature, especially poetry, the uniqueness of the verses in Buddhist scriptures, their emergence as a new genre, the peculiarities of Zen poetry, which began to spread in the late and early Sung dynasties as well as about the state of poetry in the late 19th century, which promoted Buddhist ideas and culture.

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Chongstitvatana, Suchitra. "Modern Thai Buddhist Poetry by Women Poets: A Transformation of Wisdom." MANUSYA 8, no. 1 (2005): 38–50. http://dx.doi.org/10.1163/26659077-00801003.

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The study is an attempt to explore and explain the transformation of Thai didactic poetry, especially Buddhist poetry by women poets. The texts selected are Dawn in the Night by Chomchand, Under the Rain and Thunder by Khunying Chamnongsri Rutnin. In Thai Theravadin tradition women poets rarely hold a high position nor have authority in teaching Dharma. In the realm of didactic poetry, monk-poets or male poets are the norm. These two women poets convey the teaching of Dharma through expressing artistically their personal experience of practicing Dharma. This aspect transforms the tradition of Thai didactic poetry by emphasizing the ‘practice’ of Dharma in daily life and not only “the faith” in Dharma. These women poets are showing their readers a direct path to wisdom. The message conveyed in their works is quite universal though they are writing as practicing Buddhists. Thus, these women poets are no longer addressing the limited audience of Buddhists. They are speaking to a wider audience and propagating Buddhism not as a religion but as a message of wisdom for all mankind.

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Machado, Roberto Pinheiro. "Hagiwara Sakutarô, Buddhist realism, and the establishment of japanese modern poetry." Estudos Japoneses, no. 35 (March 7, 2015): 71–103. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p71-103.

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This article approaches the works of poet Hagiwara Sakutarô (1886-1942) from a comparative perspective that engages philosophy and literature. The philosophical dimension of Sakutarô’s poetry is analyzed by means of inter-textual readings that draw on the tradition of Buddhist epistemology and on the texts of logicians Dignāga and Dharmakīrti (5th century). The comparative analysis is considered under the perspective of the influence of Naturalism and the use of description in the emergence of Japanese modern poetry. Pointing to the possibility of a Buddhist realism that shares some common characteristics with Naturalism, the article emphasizes the Buddhist dimension of Sakutarô’s poetry, which appears in spite of the poet’s turn to Western philosophy (notably to Schopenhauer, Nietzsche, and Kant), as well as to his overt rejection of Buddhism as a necessary step to the modernization of the Japanese letters.

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Fedyanina, Vladlena A., and Kseniya V. Bolotskaya. "Buddhist tradition and Japanese poetry from the perspective of “Songs of Joy” (based on “One Hundred Verses about the Seasons” by Jien)." Philosophy Journal 16, no. 4 (2023): 55–69. http://dx.doi.org/10.21146/2072-0726-2023-16-4-55-69.

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The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the examples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of the genres of court literature, waka poetry. The paper briefly describes the process of incorporating the forms of Japanese waka poetry into Buddhist rites, traces the appearance of “songs of joy from following the teachings of (Buddha)” (ho:raku) in ritual practice, explains the meaning of the word ho:raku, describes a stage in the development of poetic theory formulated within the framework of Japanese esoteric Buddhism, characterizes the essence and meaning of “songs of joy” in the Buddhist tradition. The authors point to the contribution of Jien to the development of poetic theory and the relevance of new forms of waka, “songs of joy” created on the basis of this theory. The textual analysis of the cycle “One Hundred Verses about the Seasons”, its structure and content allows identifying the features of the genre of spiritual poetry ho:raku. The results also display how secular themes (nature, love lyrics) are reinterpreted to convey the experience of learning the teachings of Buddha, show the functioning of waka poetry as a means of preaching Buddhist teachings, as a way to comprehend the truth and achieve enlightenment.

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Chatraporn, Surapeepan. "Landscape and Rhetoric: The Marriage of Native American Traditions and Zen Buddhism in Selected Poems by Gary Snyder." MANUSYA 14, no. 1 (2011): 63–78. http://dx.doi.org/10.1163/26659077-01401004.

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This paper examines certain similarities between Native American beliefs and Zen Buddhist teachings and demonstrates how Gary Snyder fuses these two traditions in his poetry. Through the analysis it has been found that the Native American wisdom of the interrelatedness of humans and nature has an affinity with the fundamental Buddhist principle of the interpenetration and interdependence of all existence or as Thich Nhat Han calls it “the inter being nature of things.” Gary Snyder has developed his love of nature concurrently with his respect for Native American traditions and his interest in Zen Buddhism. Snyder draws on the primitive oral traditions of chants, incantations and songs to communicate his experiences. Like the shaman-poet of primitive cultures and in imitation of Buddhist teachings, Snyder seeks to restore reverence for nature and reestablish a harmonious relationship with the universe. Apart from emulating certain Native American beliefs and Zen Buddhist principles, Gary Snyder makes use of Zen Buddhist poetic techniques which bear some resemblance to the oral poetic tradition of the Native Americans that precedes the influence of the white man. The precision of tersely worded images reminiscent of imagistic poetry, conciseness, concreteness, simple and ordinary language, as well as an abundant use of nature and animal imagery, which are common characteristics of both poetic traditions, find their way into the poetry of Gary Snyder.

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Ryzhkova, Anna V. "TRANSFORMATION OF CHAN-BUDDHIST MOTIFS IN MONASTERY POETRY OF THE SONG DYNASTY (GENDER ASPECT)." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 107–17. http://dx.doi.org/10.32342/2523-4463-2022-1-23-10.

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There are phenomena of Chan Buddhism as philosophical and religious dogma and embodiment of its rules in the center of the article. Study object is poetry of monks and nuns written during Song dynasty (lyrics of Dumu Jingang, Zhenru, Daoqian and Daoqiang). The study is based on the works of the Chinese (Hu Shih), Ukrainian (N. S. Isaieva), Russian (M.I. Vorobyova-Desyatovskaya, M.S. Ulanov), French (H.Ciхоus, C. Clement), Germany (S. Weigel) and American (N. Miller) researchers. However, in the same time we have noticed lack of the works addressed to analysis of the Chan poetry, its’ themes, images and symbols, so this space is ready and open for follow-up study. The main purpose of the article is to highlight the common and distinctive features of poetic works written by women and men as well as to designate level of themes transformation specific for Chan Buddhist poetry written by nuns and monks of Song Dynasty after analyzing meanings and poetics of their poetry. To achieve this goal, several methods were used – hermeneutic, historical and cultural, historical and literary, comparative methods as well as semantic and poetical analysis. This methodological base allow considering the lyrics of monks and nuns through the prism of the right explanation. Moreover, it help us to analyze gender and religious components, so we have highlighted the characteristics that are common and different for the Buddhist poetry of women and men. The article claims that particulary interesting point for researchers in feminist literary studies is the question of whether the text of a female author is different from the text of a male author. The French theorist of feminist literary studies E. Cixоus and the American psychologist N. Miller argue that the «female style» exists, but it is quite difficult to describe. According to the German literary critic S. Weigel and Doctor of Philology N.S. Isaeva, there are certain specific features that are inherent in works of art written by women (discontinuity, indentation, inconsistency, subjectivity, the desire for pleasure, the description of their own feelings), and for works written by men (logic, regularity, objectivity). If take a look at the issue of «female» and «male» style from the standpoint of Chan Buddhism, the closest position will be a completely different one. In some theoretical works concerning «feminine» it has been repeatedly emphasized that it does not oppose «masculine», because «feminine» by its nature denies the binary, dichotomy and hierarchy of created structures (including textual). Similarly, the chan denies any opposition and contrast. The results of our research show that Chan Buddhist poetry has a lot of themes created by using Chan Buddhist images and symbols. We have established that due to approach of Chan women and men are collateral because there is no dualism in the world, but after conducting a gender study we found that despite the principles of Chan Buddhism, it is still possible to identify similar and different features in the poetry of monks and nuns. We have found some transformation in the poetry written by men and women: at the level of themes, at the level of stylistic devices, as well as in the emotional component of poetry. Firstly, there are some themes which are found only in the poetry of monks: the theme of equality of everyone in front of Buddhist teachings, the theme of solitude (loneliness) or the theme of excommunication from the vain world, the theme of liberation from suffering (worries and attachments), the theme of meditative practices, the theme of accessibility of Chan teachings for everyone, the theme of suffering, the theme of harmony. Accordingly, in the lyrics of the nuns we found out the theme of joy, the theme of death, the theme of illusory contradictions. Secondly, there are small amount of stylistic devices in the Chan lyrics, but, despite this, we have concluded that only epithets are common to both the poems of monks and the poems of nuns. Antithesis and rhetorical questions are a sign of «male» style, and hyperbole is inherent in «female» style. Thirdly, the poetry of monks are objective and rational, what is a characteristic of «male» literature, while the poems of nuns are characterized by subjectivity and sensuality, what is a characteristic of «female» literature. On the contrary, we have detected that some themes are common for the monks’ and nuns’ poetry: theme of life’s worldliness, theme of meditation, theme of ease and lightness, theme of contradictions’ illusory, theme of isolation and solitude, theme of separation people to Chan Buddhists and laymen. To embody these themes authors used different images and symbols and such variety of stylistic devices shows that individual styles of writing in Chan Buddhism exist even though it may seem impossible in religious poetry, which conveys ideas of the certain religious doctrine. In summary, there is a plenty of Chan lyrics that have not been researches by Chinese scientists. Moreover, this poetry haven’t even been translated into other languages, hence, haven’t been analyzed and expounded by not Chinese researchers, so it is long-rage field to be researched.

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Fedianina, Vladlena A. "The Presentation of Tendai Teachingin Jien’s Poetry." Voprosy Filosofii, no. 2 (2021): 165–74. http://dx.doi.org/10.21146/0042-8744-2021-2-165-174.

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This study analyzes how Buddhist philosophical ideas in Chinese and Indian scriptures were interpreted to make them more understandable in mediaeval Japan. It is based on the textual analysis of a cycle of poems entitled Kasuga hyakushu sō, composed by the Tendai monk Jien (1155‒1255). Jien consciously uses the poetic language of waka to express complex philosophical concepts. A textual analysis of Kasuga hyakushu sōōōо (circa 1218) sheds light on some seminal features of Japanese Buddhism including the place of Japanese deities (kami) in the system of Buddhist teaching, the time-spatial concept of the sangoku-mappō. Kasuga hyakushu sō was an offering to the Kasuga Shrine, where the ancestral deities of the Fujiwara clan were worshipped. Conversely, this cycle of poems also reflects the historiosophical views of Jien, who believed that the role of the Fujiwara family in the history of Japan was willed by Amaterasu.

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He, Yuemin. "“Personal Items”." Religion and the Arts 26, no. 1-2 (March 24, 2022): 184–203. http://dx.doi.org/10.1163/15685292-02601008.

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Abstract Whereas Buddhism’s profile is rising in the US, there are surprising ways that Buddhism recirculates in more secular guises in traditionally Buddhist cultures of East Asia. This essay explores an intriguing case. Chi Li’s razor-sharp, passionate poems are quirkily “personal,” but relate very well to a wide spectrum of Chinese readers who made the popular novelist’s surprise poetry debut a bestseller in China. By studying Chi’s extensive use of Buddhist references to tap into issues dear to her, this essay shows that the Chinese readers are receptive to Buddhist ideas more as philosophies, principles, and moral codes than as explicit religion, even though Buddhism has a 2,000-year history in China. It argues that understanding this coded receptiveness helps translate Chi’s personal musings, blasts, and defiance into dialogues that address social norms, environmental issues, and individual complicity in social problems.

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Xu, Xiaoxiao. "“Lamp and Candle”: Classical Chinese Imagery in Taixu’s Poetry." Religions 14, no. 8 (August 21, 2023): 1077. http://dx.doi.org/10.3390/rel14081077.

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Taixu 太虛 (1890–1947), a prominent figure in modern Chinese Buddhism, produced a voluminous collection of poetry abounding with diverse classical Chinese images. Notably, the “lamp and candle” (dengzhu 燈燭) holds great significance, reflecting Taixu’s personal affinity with this imagery and an intimate connection to classical Chinese poetry. Acting as a potent Buddhist metaphor, it encapsulates multifaceted sentiments while also intertwining with other evocative images, such as the boat, the moon, and falling leaves. Symbolizing Taixu’s unwavering spirit, it represents his profound dedication to his craft. This article explores Taixu’s literary achievements as a poet by focusing on his adept utilization of “lamp and candle” imagery, complementing the study of his multifaceted and intricate identities. This detailed examination offers novel insights into Chinese literature and Buddhist studies, highlighting the interplay between spiritual practice and artistic expression.

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Dissertations / Theses on the topic "Buddhist poetry"

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Bellarsi, Franca. "Confessions of a Western buddhist "Mirror-Mind": Allen Ginsberg as a Poet of the Buddhist "Void"." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211366.

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Ullyatt, Gisela. ""Bride of Amazement" : a Buddhist perspective on Mary Oliver's poetry / G. Ullyatt." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9710.

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The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms.
Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

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Chiu, Man-yee Angela, and 招敏儀. "Striking the buddhist chord in snowy regions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41385251.

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Rotando, Matthew Louis. "Embracing Fracture: The Buddhist Poetics of Allen Ginsberg and Norman Fischer." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/228611.

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This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.

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張為群 and Wai-kwan Cheung. "The monk-poets of the mid-Tang period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220617.

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Chiu, Man-yee Angela. "Striking the buddhist chord in snowy regions contemporary Chinese poetry on Tibetan culture = Qiao xiang xue yu de fan yin : Zhongguo dang dai Zang wen hua Han yu xin shi yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41385251.

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Aoyama, T��ru 1957. "A study of the Sutasoma kakawin : a Buddhist narrative in the fourteenth century Java." Phd thesis, School of Asian Studies, 1992. http://hdl.handle.net/2123/8601.

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McLaren, Greg 1967. "Translations under the trees : Australian poets' integration of Buddhist ideas and images." Phd thesis, Department of English, 2005. http://hdl.handle.net/2123/6830.

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Cover, Jennifer Joy. "Bodhasar̄a by Narahari an eighteenth century Sunskrit treasure /." Connect to full text, 2008. http://hdl.handle.net/2123/4085.

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Thesis (Ph. D.)--University of Sydney, 2008.
Title from title screen (viewed March 11, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Indian Sub-Continental Studies. Includes bibliographical references.

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邵敏智. "論白居易詩歌與居士文化的關係 = The relationship between Bai Ju-yi's poetry and Buddhist culture." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636198.

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Books on the topic "Buddhist poetry"

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W, Bailey H. Buddhist poetry, thought, and diffusion. New Delhi: International Academy of Indian Culture and Aditya Prakashan, 2010.

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International Academy of Indian Culture., ed. Buddhist poetry, thought, and diffusion. New Delhi: International Academy of Indian Culture and Aditya Prakashan, 2010.

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Douglas, Henderson. Buddhist poems. Victoria, B.C: Iron Mountain Press, 1986.

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Douglas, Henderson. Buddhist poems. Victoria, B.C: Ekstasis Editions, 1990.

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translator, Paek Wŏn-gi, ed. Asia ŭi tŭngbul: Widaehan ch'ulga. Sŏul T'ŭkpyŏlsi: Tongguk Taehakkyo Ch'ulp'anbu, 2006.

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Andrew, Schelling, ed. The Wisdom anthology of North American Buddhist poetry. Boston: Wisdom Publications, 2005.

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Whalen, Philip. Canoeing up Cabarga Creek: Buddhist poems, 1955-1986. Berkeley, Calif: Parallax Press, 1996.

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Kamens, Edward. The Buddhist poetry of the Great Kamo Priestess: Daisaiin Senshi and Hosshin Wakashū. Ann Arbor: Center for Japanese Studies, University of Michigan, 1990.

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Bsod-nams-don-grub. Rgya Bod skyes chen dam paʼi zhul lung kun btus. Lha-sa: Bod-ljongs Bod-yig dpe-rnying dpe-skrun-khang, 2018.

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Rengetsu. Lotus moon: The poetry of the Buddhist nun Rengetsu. New York: Weatherhill, 1994.

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Book chapters on the topic "Buddhist poetry"

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Dave, Jagdish Chandra. "Buddhist Tendencies in Hardy’s Poetry." In Alternative Hardy, 128–53. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20086-3_7.

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Grant, Beata. "Buddhism and Poetry in East Asia." In The Wiley Blackwell Companion to East and Inner Asian Buddhism, 408–23. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118610398.ch20.

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Fredman, Stephen. "Mysticism: Neo-Paganism, Buddhism, and Christianity." In A Concise Companion to Twentieth-Century American Poetry, 191–210. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757680.ch10.

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Jullien, Dominique. "From Ascetic to Poet: Poetic Renunciation." In Borges, Buddhism and World Literature, 47–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04717-7_3.

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Rouzer, Paul. "Refuges and Refugees." In Reading Du Fu, 75–89. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528448.003.0006.

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While increasing attention has been paid to the role of Buddhism in Chinese literature and aesthetics, relatively little has been written on the place of the religion in the poetry of Du Fu. This essay examines ways in which the poet deploys Buddhist imagery and themes, particularly in occasional verse. It also argues that “Buddhist poetry” in China is best examined through social praxis (temple-visiting, poetic exchanges with monks, etc.) than through explicit or implicit philosophical discourse. Though Buddhism is by no means a prominent aspect in Du Fu’s work, examination of Buddhist motifs and situations in it gives us a useful guide for its cultural presence in Tang poetry overall.

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Beek, Kimberly. "Buddhism and American Literature." In The Oxford Handbook of American Buddhism, 499–516. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197539033.013.25.

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Abstract Buddhism has long been a source of inspiration for American writers, and its teachings and principles have played a meaningful role in shaping the landscape of American fiction and poetry. From the Transcendentalists of the nineteenth century to the Beat poets of the mid-twentieth century, from Asian American authors and poets to postmodernist writers of the twenty-first century, this chapter explores the intersection of Buddhism and American fiction and poetry. Offering a concise, chronological survey, the author highlights key examples of Buddhism in American literature that illustrate the trajectory of Buddhist narratives in fiction and poetry from transnational stories about Buddhism in Asia rendered for an American audience, through mid-century narratives that portray Buddhism as a lived religion and describe how to live as a Buddhist in a diversity of ways, to contemporary Buddhist American literature that has embedded Buddhism into the American social imaginary. In doing so, the author suggests that the umbrella category label “Buddhism and American literature” is more accurately expressed as “Buddhist American literature.”

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Wickham-Smith, Simon. "Contemporary Buddhist Poetry and Fiction." In Sources of Mongolian Buddhism, 501–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190900694.003.0024.

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The literary response to Buddhism in the years since the democratic revolution of 1990 has reflected the revival of interest in spirituality that has accompanied the development of social freedom. Writers have begun to use Buddhist imagery and themes in order to describe not only their own spiritual lives and those of their readers, but also to understand and express the secular. Moreover, the interest in Mongolian traditions among those writers who have come of age since the late 1980s means that Buddhism is now a more common subject in the contemporary literature. Using contemporary language to explore metaphysics, and the human response to metaphysics, these works reflect the difficulties of reviving and healing the image of Buddhism, and of spiritual practice, in post-Soviet Mongolia.

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Berkwitz, Stephen C. "Poetry and Buddhism." In Buddhist Poetry and Colonialism, 202–22. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199935765.003.0007.

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Wickham-Smith, Simon. "Didactic Poetry of Danzanravjaa." In Sources of Mongolian Buddhism, 190–204. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190900694.003.0009.

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The work of the nineteenth-century monk, poet, and scholar Danzanravjaa (1803–1856) offers a philosophically profound, yet imagistically accessible, teaching on Buddhist practice. In presenting the central ideas of Buddhism in the language of the nomadic herders among whom he lived, Danzanravjaa communicated the experience of meditation, of cause and effect, and of the important social effects of spiritual practice, in the language of travel, landscape, and the natural world. Danzanravjaa’s approach, both to Buddhism and to his students, is reflected today in the renewed popularity of his work.

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Raz, Gil. "“True Forms” and “True Faces”: Daoist and Buddhist Discourse on Images." In Religion and Poetry in Medieval China. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463721172_ch06.

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During the late fifth century local communities composed of Buddhist and Daoist adherents installed dozens of stelae that combined Buddhist and Daoist iconographies, aspirations, and motivations. Engraved with the earliest anthropomorphic image of Lord Lao, the physical manifestation of the ineffable Dao, and inscribed with theological apologetic statements, these stelae indicate a shift in Daoism from a profound aniconic theology to an iconographic practice. Intriguingly, at the same time Buddhists began to inscribe statues with similar apologetic statements. Focusing on the terms “true forms” (zhenxing 真形) and “true faces” (zhenrong 真容), Raz examines the confluence of Buddhist and Daoist rhetoric, discourse, and practice in medieval China.

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Conference papers on the topic "Buddhist poetry"

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Lugavcova, Alena. "BUDDHIST PRINCIPLES IN KOBAYASHI ISSA’S POETRY." In Buddhism and Other Traditional Religions of the Peoples of Russia, Inner and East Asia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0505-6-2018-171-184.

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Orlova, Elena. "ON THE INFLUENCE OF THE VIMALAKIRTI NIRDESA SUTRA ON WANG WEI’S POETRY." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.17.

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Wang Wei (699–759), an outstanding poet of the Tang period, was brought up in a Buddhist environment from a young age and remained a follower of Buddhist teachings throughout his life. Being a layman who chose the civil service career, he was acquainted and communicated with monks of different schools of Buddhism. He knew well canonical Mahayana scriptures that, clearly, had a certain impact on the poet’s worldview and works, and in many ways became his source of inspiration. One of these scriptures was undoubtedly the Vimalakirti Nirdesa Sutra (English: The Sutra of The Teaching of Vimalakirti; Chinese: Weimojie suo shuo jing, 維摩詰所說經). In this paper, the author, through the analysis of a number of Wang Wei’s works, makes an attempt to identify the impact of the conceptual component of the sutra on the poet’s worldview, which is transmitted in the themes and interpretations of his poems.

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Wu, Bo. "On the Buddhist Thought in Tang Yin's Poetry." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.120.

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Dyakonova, Elena. "THE “WAY OF POETRY” (UTA-NO MICHI) IN THE TREATISES OF MASTERS OF “LINKED VERSE”." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.38.

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The paper analyzes Sasamegoto (Whispered Conversations, 1463–1464), a treatise by Shinkei, the influential Buddhist poet and thinker of the Muromachi period (1392–1568). In this treatise on the collaborative poetry of “linked verse” (renga), the author addresses the category of the “Way” (michi) or the “Way of Poetry” (uta-no michi), which he interprets on the basis of ancient Chinese philosophers (Confucius and Lao Tze) and early Japanese authors of Zen school (e. g., Mujū Ichien, who wrote the Shasekishū — The Collection of Sand and Rocks, 13th century) and even endows it with a new meaning. In Shinkei’s view, the Way is not only mastery and its perfection. This is a sum total of many diverse things: the entire corpus of belles-lettres, theoretical treatises, schools, teachers and disciples, ideal poets, trends, styles, inner discipline, lifestyles, the past and the present.

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Voytishek, E. E., A. V. Zinchenko, and Yao Song. "“Ten virtues of incense” in Buddhist Tradition of China and Japan." In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-10-30.

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This article is based on the text known as “Ten Virtues of Incense” (香十德 Xiang shí de) written during the Song dynasty (960–1279). In this text, the fundamental functions of incense, manifesting in everyday life and Buddhist ceremonies, are listed in a metaphorical form. This short text, consisting only of 40 Chinese characters, over time, has become one of the fundamental works of traditional Chinese and Japanese culture, exerting its influence on the Chan and Zen practices of Buddhist masters, as well as on the arts of tea and incense. The question of authorship adds extra intrigue to the phenomenon of this text’s diffusion within East Asian culture: its creation is attributed to the Chinese poet Huang Tingjian (黃庭堅, 1045–1105) as well as to the Japanese Zen master Ikkyū Sōjun (一休宗純, 1394– 1484), and their fellow disciples who played a significant role in the development of tea and olfactory practices, poetry, calligraphy, and painting. Their artworks should also be considered within the context of the Chan/Zen religious philosophy and the Buddhist artistic tradition of the Five Mountains.

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.

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Nguyen, Phuong Lien. "Conceptualizing Religions (Confucianism and Buddhism): From Poetic-Stories to Reality in Indochina." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.14-1.

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Influenced by being situated between China and India, two historical giants, the people of the three nations of Viet, Lao and Khome exhibit strong histories of imported cultures. The religions of these regions, which closely connect to people’s lives, offer strong symbolisms of lifeworlds and enculturations. People in Indochina assign great significance to living and to interpersonal relationships, more so than toward deities and spiritual agents, as well as to the creation of the cosmos. Here, folk stories frequently include the ‘first man,’ the messages from which serve to educate society. This study aims to present that Indochinese poetic stories exhibit imported theories, the moral messages within which have reached levels of mastery in the literary genre, that is, the poetic story. These moral lessons emerge in texts such as Luc Van Tien (Vietnam), Thao Hung Thao Chuong (Lao) and Tum Tieu (Cambodia). Based on historical facts, these texts expose people’s attention to humanity’s opinions of Confucianism (China) and Buddhism (India). The stories also present differences and similarities, the descriptions of which can offer pathways to explaining social dynamics in modernity. As such, locating markers within figurative talk in this literary genre may inform theories in larger narratives and philosophical texts.

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