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Journal articles on the topic 'Buddhist poetry'
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1
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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Cai, Zong-Qi, and Stephen Roddy. "The Philosophical Proposition “A Piercing Glance Elevates the Mind” and the Buddhist Thought in Zong Bing's “Preface to the Painting of Landscape”." Journal of Chinese Literature and Culture 10, no. 2 (November 1, 2023): 297–335. http://dx.doi.org/10.1215/23290048-10767961.
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Abstract “A Piercing Glance Elevates the Mind” is a philosophical proposition offered by Zhou Yong (?–493) in his debate with Zhang Rong (444–497) over the similarities and differences between Daoism and Buddhism. The appearance of this previously unknown proposition shows that as early as the Liu-Song dynasty (420–479) writers already went beyond the limitations of the native Chinese conception of “image” (xiang) and consciously applied Buddhist concepts to come to new understandings of the objects, methods, and effects of the visual sense and to probe their transcendental religious significance. Utilizing this proposition as a framework of analysis, this article rereads Zong Bing's (375–443) “Preface to the Painting of Landscape” in terms of the visual sense, to show how the terms, concepts, propositions, and discourse of the text's five sections form a logically coherent, fully systematic Buddhist exposition on painting. Support for the validity of Buddhist interpretations of all its terms and concepts is provided by intertextual readings of Zong Bing's “Elucidating Buddhism” and the poetry and prose by the Buddhist monks of Mt. Lu. We also demonstrate how Zong's consistently Buddhist theory of painting served as a firm foundation over which the Tang poet Wang Changling (698–757) built his Buddhist theory of the world of physical objects (wujing shuo).
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Grant, Beata. "Thirty Years of Dream-Wandering: Zhang Ruzhao (1900-1969) and the Making of a Buddhist Laywoman." Nan Nü 19, no. 1 (August 4, 2017): 28–63. http://dx.doi.org/10.1163/15685268-00191p02.
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Zhang Ruzhao (1900-69), also known as Zhang Shenghui, was ordained as a Buddhist nun, with the title Tiantai Master Benkong. In early life, Zhang established a reputation as a poet, and was actively engaged in many of the political and feminist movements of the 1920s. Disillusioned both politically and personally, she turned to Buddhism and reinvented herself as China’s premier female lay Buddhist scholar, writer and educator during the 1930s and 40s. From 1949, she took ordination as a Buddhist nun and was officially designated a lineage holder in the Tiantai lineage. She was persecuted severely during the early years of Cultural Revolution, and died in 1969. This study offers a historical overview of the life of this relatively unstudied twentieth-century Buddhist woman, with a special focus on a selection of autobiographical writings published in the early 1930s in which Zhang reflects, in both poetry and prose, on her first three decades of personal and emotional turmoil, and how they contributed to her decision to dedicate the second half of her life to the practice and propagation of Buddhism.
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Kim, Younggun. "Reincarnationism and the Aesthetics of Liberation: Focusing on the Buddhist Spirituality of the Four Noble Truths and the Poetry of Hwang Dongkyu." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 839–50. http://dx.doi.org/10.33645/cnc.2023.07.45.07.839.
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The purpose of this paper is to discuss Hwang Dong-kyu's poetry and Buddhist spirituality by focusing on the value of spiritualism. The theory of the Four Noble Truths, the core of Buddhist doctrine, is used as a framework for analysing Hwang's poetry. In Hwang's poetry, the analyses encompass the entire text, while at the same time paying attention to the images that persist in each poem. To this end, the variations and regressions of the water and fire images set up a model of methodology for textual analysis. By naming his poetic images as departure and harvest, repeated sorrow, sublimation of death, premiere and regression of life, the analysis of Hwang Dong-gyu's poetry confirmed the connection between the Buddhist spirit and the idea of reincarnation in his poetry.
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Kim, Min-Seo. "Buddhist Poetry with Jo Ohhyun." Citizen and Humanities 34 (February 28, 2018): 35–78. http://dx.doi.org/10.22842/kgucfh.2018.34.35.
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Kempton, Heather Mary. "Holy be the Lay: A Way to Mindfulness Through Christian Poetry." OBM Integrative and Complementary Medicine 7, no. 1 (November 23, 2021): 1. http://dx.doi.org/10.21926/obm.icm.2201011.
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Mindfulness practices have exploded in popularity in public awareness and in therapeutic applications. While mindfulness in a therapeutic context is presented as a secular practice, its primarily Buddhist heritage may make some Christian clients wary of engaging. Research indicates that both reflection (co-creation) on poetry and creation of poetry can be therapeutic, and that both Buddhist and secular/therapeutic mindfulness texts use poetry to convey meaning through key themes of nature, change/impermanence, stages of practice, and acceptance. Taken together poetry offers a pathway to mindfulness, which in this article is applied to the Christian client. Examples are given of: how mindfulness-based practices are in accordance with Christian teachings (e.g., grace theology), that poetic practices already exist in Christian traditions (e.g., Lectio Divina and the Prayer of the Heart), and themes previously identified in Buddhist and secular/therapeutic mindfulness related poetry, are also present in Christian poetry. It is argued that poetry can provide an appropriate and palatable vehicle for introducing Christian clients to mindfulness, which allows for the individual’s spirituality to be harnessed as a mediator of the benefits of mindfulness practice.
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Chương, Nguyễn Cảnh. "TÂM CỦA NGUYỄN DU TỪ THƠ CHỮ HÁN ĐẾN VĂN CHIÊU HỒN." Dalat University Journal of Science 11, no. 2 (April 25, 2021): 27. http://dx.doi.org/10.37569/dalatuniversity.11.2.809(2021).
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From Chinese poetry, “The Tale of Kieu” to “Van chieu hon” shows a movement in Nguyen Du’s thought. The mind of Nguyen Du moved from the heart of a Confucian, in which Chinese poetry expressed life’s pains and sorrows, to the immense compassionate heart of Buddhism for sentient beings in “Van chieu hon” This article highlights that movement. At the same time, it is clear that, whether from the mind of the scholar Nguyen Du, or the mind of the Buddhist disciple Nguyen Du, the movement in Nguyen Du’s thought is also derived from a kind heart: a "thinking heart for a thousand years" of the great Vietnamese national poet.
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Jang, Young Hee. "Aesthetic Consciousness of Muuhijas Buddhist Poetry." Korean Society of Culture and Convergence 41, no. 6 (December 30, 2019): 1099–116. http://dx.doi.org/10.33645/cnc.2019.12.41.6.1099.
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Ferreira, J. "Ekstratekstuele relasies van 'spieël' in die poësie van Breyten Breytenbach." Literator 9, no. 3 (May 7, 1988): 1–10. http://dx.doi.org/10.4102/lit.v9i3.850.
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Extra-textual relations in the poetry of Breyten Breytenbach are regarded as having the same importance as intra-textual relations. Focusing on extra-textual relations, references to “mirror” show non-literary extra-textual relations to the “mirror mind” of Buddhism. This relation is constituted by literary extra-textual relations between four analysed poems. All other references to “mirror” in the oeuvre are listed for comparison in this framework. The Buddhist principle of unity underlying this poetry becomes a textual strategy. The reader is guided towards a reading process in which no single poem is to be considered as a bearer of the full meaning. Interrelated with all other poems in the oeuvre, each single poem is only an aspect, a flowing image, in the “mirror mind” of this poetry.
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Yadav, Rajesh Prasad. "Interconnectedness between Vedanta & Poetry of T.S. Eliot and W.B. Yeats’ Poetry." Cognition 6, no. 1 (April 8, 2024): 84–89. http://dx.doi.org/10.3126/cognition.v6i1.64443.
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This paper studies the impact of Eastern philosophy on the writings of both T.S. Eliot and W.B. Yeats. The research demonstrates interconnectedness between the Vedic philosophy and the western writers particularly the thoughts pervasive in the writings of Eliot and Yeats. Eliot engaged deeply with Eastern philosophy in ways which significantly influenced his worldview and his poetry. Eliot’s PhD thesis was on the idealist metaphysics of F.H. Bradley, which he found appealing due to its affinities with Indian philosophical sensibilities. Eliot was influenced by both Hinduism and Buddhism, and especially by the Bhagavad Gītā, which he described as one of the greatest philosophical poems, and by the Mādhyamika or Middle Way Buddhist philosophy of Nāgārjuna. The references to Indian literature are particularly prominent in The Waste Land, several section titles of which they reference Indian imagery. For instance, ‘The Fire Sermon’ references the sermon of the same name delivered by the Buddha; ‘Death by Water’ engages with Indra’s slaying of Vṛtra to release the waters in the Rig Veda; ‘What the Thunder said’ references the eponymous episode from the Bṛhadāraṇyaka Upanishad.
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Owen, Stephen. "How Did Buddhism Matter in Tang Poetry?" T’oung Pao 103, no. 4-5 (November 30, 2017): 388–406. http://dx.doi.org/10.1163/15685322-10345p03.
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Buddhism was often a theme in poetry, especially when writing to monks and on Buddhist sites; it was sometimes a deep conviction on the part of individual poets that contributed to the way they represented the world. There was a period, however, from the ninth through early eleventh century, when Chan meditation shaped how poets thought about the very way of writing poetry. The common use of the [Buddhist] “Way” or Chan in parallel with “poetry” in couplets from this period worked through the possible relations: identity, similarity, complementarity, and mutual exclusion. But the presumption was that the composition of poetry was the counterpart of Chan meditation. Such serious reflection on the relation between Chan meditation practice and poetry eventually devolved into Yan Yu’s thirteenth-century comparison of Chan sectarian doctrine with the study of poetry. Le bouddhisme est un thème très fréquent dans la poésie chinoise, en particulier quand le poète écrit à un moine ou au sujet d’un site bouddhique. Il constitue dans certains cas une conviction profonde qui contribue fortement à forger la représentation du monde telle que le poète l’exprime en vers. Il y eut cependant une époque, entre le ixe et le début du xie siècle, où la méditation Chan a façonné la façon même dont les poètes concevaient l’écriture poétique. L’usage fréquent des termes “Voie” (bouddhique) ou Chan en parallèle avec celui de “poésie” dans les couplets de cette époque couvre la gamme de leurs relations possibles: identité, similarité, complémentarité et exclusion mutuelle. L’hypothèse commune à ces diverses options était que l’écriture poétique était l’homologue de la méditation Chan. Ces réflexions élaborées sur les rapports entre les pratiques de la méditation Chan et de la poésie ont débouché au xiiie siècle sur la comparaison menée par Yan Yu entre la doctrine Chan et l’étude de la poésie.
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Li, Rui, and Jiang Feng. "Chan, Garden, and Poetry: The Tidal Sounds in the Changshou Monastery Garden of Canton in the Qing Dynasty." Religions 15, no. 6 (May 28, 2024): 664. http://dx.doi.org/10.3390/rel15060664.
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The Caodong School (曹洞宗) advocates the integration of Buddhism, Taoism, and Confucianism (三教會通) and interprets Chan through the I Ching (以易釋禪). During the transition from the Ming to the Qing Dynasty, there was extensive interaction and mobility between the Ming loyalists (遺民) and Chan monks. This accelerated the secularization of monks and promoted the construction of temple gardens, which were expressed and preserved through literary Chan poetry. This study explores the relationship between Buddhist concepts and garden construction through a specific case, the Changshou Monastery Garden (長壽寺花園) in Canton (now Guangzhou) during the Qing Dynasty. This study examines how the Chan master Shilian Dashan 石濂大汕 (1633–1705), who journeyed to Dang Trong (Cochinchina 廣南) to spread Buddhist teachings, shaped the design and layout of the temple garden, reflecting Buddhist ideals and Caodong principles. This study analyzes the changes in landscape at the Changshou Monastery Garden, according to “the sound of tides” (潮音) from a Buddhist perspective. It also reveals how Dashan, as both a monk and a literati, blended Chan and Chinese philosophy in making the garden. The cultural resonance of tides within religious and literati traditions furnishes novel insights and prospects for the development of garden spaces.
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Shuneyko, Aleksandr, and Olga Chibisova. "Buddhism in the Poetic Works of Innokenty Annensky." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (April 2019): 180–86. http://dx.doi.org/10.15688/jvolsu2.2019.1.15.
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The importance of the work is determined by the place which I. Annensky occupies in Russian poetry and his unrelenting influence on generations of readers. The purpose of the work is to reveal the presence and linguistic ways of implementing the semantics of the Buddhist understanding of the world in the poetic heritage of I. Annensky. The material for the study is all original poems of the poet. The main methods are semantic, comparative and intertextual analysis. From the days of his study at the university, the poet was well acquainted with the basics of Buddhism and demonstrated obsession with it throughout his life. Several poems undoubtedly present semantic complexes that are directly referred to Buddhism, refurbishing its major provisions. The ways of translating Buddhist semantics are diverse and they are always organically interwoven into an artistic whole. The language of the poet is consistently focused on ambiguity, uncertainty and ambivalence, which is manifested at various text levels. The work lists the main language transformations used by the poet. It is illustrated on the example of the poem "", which mysteriousness steadily draws the attention of readers and researchers. The author shows that the poem realizes the Buddhist conception of the ratio of extremely small and infinitely large quantities, implying their identity. The authors draw a parallel between the lines of I. Annensky and W. Blake which implement identical Buddhist ideas. The conclusion outlines the prospects for a detailed analysis of other texts.
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Hajjari, Leila, and Zahra Soltani Sarvestani. "IMPERMANENCE / MUTABILITY: READING PERCY BYSSHE SHELLEY’S POETRY THROUGH BUDDHA." Littera Aperta. International Journal of Literary and Cultural Studies 5 (December 30, 2017): 19–37. http://dx.doi.org/10.21071/ltap.v5i5.13320.
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As an ongoing phenomenon, the impermanence of the world has been observed by many people, both in ancient and modern times, in the East and in the West. Two of these authors are Gautama Buddha (an ancient, eastern philosopher from the 6th-5th centuries B.C.) and Percy Bysshe Shelley (a modern Western poet: 1792-1822). The aim of this paper is to examine in the light of Buddhist philosophy what impermanence means or looks in a selection of Shelley’s poems, after considering that this philosophy was not alien to the Europeans of the 18th and 19th centuries. Buddhism, seeing impermanence (anicca) as the foundation of the world, both acquiesces to it and urges the individuals to sway with its ebb and flow. Shelley mainly falters in the incorporation of the phenomenon into his mindset and his poems. However, he often shows a casual acceptance of it; and even, in a few cases, he presents it with a positive assessment.
Keywords: Buddhism, Shelley, impermanence, mutability, transience, anicca
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Tsyrempilov, Nikolay V. "Екатерина II как воплощение Белой Тары: обожествляли ли буряты Романовых?" Oriental studies 16, no. 5 (December 25, 2023): 1099–114. http://dx.doi.org/10.22162/2619-0990-2023-69-5-1099-1114.
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Introduction. The tradition of worshipping the Russian Empress Catherine II by Buryat Buddhists as an earthly incarnation of the enlightened Buddhist deity White Tara is regarded as an established historical fact by researchers (and officials of Russia’s largest Buddhist organization ‘Buddhist Traditional Sangha of Russia’), and has never been questioned. Yet a careful analysis of Buryat written sources and Russian historical documents makes the statement somewhat problematic. Goals. The article attempts a comparative insight into a range of documentary, narrative and folklore sources in Buryat, Russian and Tibetan to clarify the issue of actual relationships between Buryat Buddhists and Catherine the Great. Results. The paper establishes that the statement insisting the title of Bandido Khambo Lama was recognized by Catherine II in 1767 goes back only to Buryat written sources — and is not corroborated by Russian historical documents. Our analysis of Russian-language sources, including letters and writings by Catherine II, makes it possible to surmise that the Empress’s attitude towards her ‘Lamaist’ subjects was dictated by her foreign policy plans in Asia and the Renaissance disregard for archaic cultures of ‘Siberian idolaters’ believed by eighteenth-century scholars to comprise Buryat Buddhists too. Insights into the surviving Buryat sources, including historical chronicles and biographies, also do not confirm the existence of a developed cult of venerating Catherine II as incarnate goddess White Tara. Nevertheless, such evidence has been preserved in Buryat song folklore and religious poetry but it should be borne in mind that, apparently, those are modern narratives dating from the late nineteenth and early twentieth centuries. It is the latter period that was characterized by the wide dissemination of the idea of the sanctity of the Romanov Dynasty in the eyes of Buddhists, which may have been backed by prominent opinion leaders of the Russian political establishment to further promote the concept of Russia’s expansion deep into Buddhist Asia.
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Doud, Robert E. "Emptiness as Transparency in the Late Poetry of Thomas Merton." Horizons 21, no. 2 (1994): 253–69. http://dx.doi.org/10.1017/s0360966900028504.
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AbstractThis article examines chiefly Buddhist influences in Thomas Merton. Cables to the Ace is a book based on the Buddhist idea of pratitya-samutpada, or dependent co-origination. Beneath everything there is a blissful emptiness, or shunyata. The ace is the poet's selfhood at the point vierge, here interpreted as a Buddhist no-self. Heidegger's Gelassenheit also defines the point vierge. In The Geography of Lograire, a supreme karuna, or compassion, is poured out for all the countries and peoples of the world. Footprints of the Buddha figure in, and so does the transparency which is also emptiness.
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Mendell, Dean. "The Poet in the Natural World: Dissolving Epiphanies in the Poetry of W. S. Merwin." CEA Critic 85, no. 3 (November 2023): 274–80. http://dx.doi.org/10.1353/cea.2023.a912105.
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Abstract: Merwin was a Buddhist, and aspects of Buddhism and transcendental Romanticism mingle in his nature poetry. His poems are fundamentally Romantic but differ in two ways. Coleridge suggests in The Friend that we choose to feel alienated because "we think of ourselves as separated beings, and place nature in antithesis to the mind, as object to subject, thing to thought" (520). For Merwin that antithesis is instead an unavoidable consequence of writing, and it occasions a sense of alienation that enters the poem and nudges aside the feeling of relatedness he cherishes.
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Kim, Sung-Eun Thomas. "Silencing the Culture of Chosŏn Buddhism: The Ideology of Exclusion of the Chosŏn Wangjo Sillok." Journal of Korean Studies 24, no. 2 (October 1, 2019): 289–313. http://dx.doi.org/10.1215/07311613-7686601.
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Abstract The culture of Buddhism and its history have been marginalized in the collective memories of the Chosŏn period. Due to the inclination of contemporary research to depend on official records, the patterns of Confucian biases have come to persist in current research. This article examines the ideological biases and the historiographical legacy of the Chosŏn wangjo sillok, a source that has been privileged in the study of Chosŏn history and society. In light of the ideologically driven historiography of the Sillok, this article argues for a nuanced understanding of Chosŏn history and a reconsideration of the social and cultural role of Chosŏn Buddhism during a time that has generally been accepted as a period of Buddhist decline. Through alternative sources of history and new approaches to understanding Chosŏn Buddhism, we are afforded a look into a side of Buddhist culture that endured. For instance, the literary culture of poetry exchanges, the tradition of scholar-officials composing biographical introductions to the collected works of eminent monks (munjip), and the sponsorship of temple works by the sociopolitical elites reveals a Buddhism that existed in the private social (sa) realm that were excluded from the government records and thus, so far, overlooked.
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Dubakov, Leonid V. "A man as a Buddhist imaginary in L. Yuzefovich's novel “Cranes and Dwarfs”." RUDN Journal of Studies in Literature and Journalism 27, no. 4 (December 15, 2022): 669–76. http://dx.doi.org/10.22363/2312-9220-2022-27-4-669-676.
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Buddhism finds a diverse reflection in the work of L. Yuzefovich for many decades. Buddhist ideas and motifs are present in his early book “The Autocrat of the desert. Baron R. Ungern von Sternberg and the world in which he lived,” in some of his other prose texts, in poetry. In the proposed work, within the framework of a large study devoted to the Buddhist text of modern Russian literature, the influence of Buddhism on Leonid Yuzefovich's novel “Cranes and Dwarfs” is analyzed. The Buddhist idea of the illusory nature of reality and man is reflected in the plot of the work and in the organization of the system of characters. The novel intrigue is based on the principle of repetition, realized in space, time and in human destinies. The heroes of “Cranes and Dwarfs,” according to one of the possible interpretations offered by the novel, represent one consciousness that changes its forms in Russian history. At the same time, the illusory nature of a separate human existence is perceived by the author not in a pessimistic way, but as evidence of the spiritual kinship of all living things. The author also draws parallels to a similar perception of reality and people in the novel “Prince of the Wind” and the story “Sand Riders” by Yuzefovich and the book by E. Limonov “The Old Man Travels.”
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Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.
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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?
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kim ki jong. "A Study on Kwon Sang ro's Buddhist Poetry." Studies in Korean Literature ll, no. 40 (June 2011): 119–54. http://dx.doi.org/10.20881/skl.2011..40.004.
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Kim Chae-Wook and Hyok-Key Song. "A Study on Lee Soong-In’s Buddhist Poetry." HANMUNHAKRONCHIP: Journal of Korean Literature in Chinese 38, no. ll (February 2014): 195–220. http://dx.doi.org/10.17260/jklc.2014.38..195.
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Шунейко, Александр Альфредович, and Ольга Владимировна Чибисова. "Buddhist Reminiscences in the Poetry of I.F. Annensky." Philology & Human, no. 2 (2019): 20–34. http://dx.doi.org/10.14258/filichel(2019)2-02.
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Arnold, David. "Unsettling the Harmony Stereotype in Buddhist American Poetry." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 4 (October 17, 2019): 293–305. http://dx.doi.org/10.1080/0895769x.2019.1678456.
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배규범. "The present theme and a form of Buddhist ‘Jangdu-che[藏頭體]’." Korean Classical Poetry Studies ll, no. 22 (May 2007): 269–98. http://dx.doi.org/10.32428/poetry..22.200705.269.
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Tyulin, Dmitry A. "A LAD INSANE / ALADDIN SANE. DAVID BOWIE’S POETRY IN THE CONTEXT OF AMERICAN BUDDHISM." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2023): 129–37. http://dx.doi.org/10.28995/2686-7249-2023-5-129-137.
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Features of Buddhist philosophy as interpreted by the countercultural writer J. Kerouac play an important role in the artistic self-determination of the British poet and musician D. Bowie and the formation of his creative personality. The article suggests that Kerouac’s motif of the road has Buddhist philosophical overtones, which Bowie adopts to create the poetic “persona” of Aladdin Sane, functioning in a unique way in the album cycle of the same name. Aladdin’s “persona” is presented as schizophrenic, but at the same time embodying the concepts of “transience” and “absence of self”, close to Buddhist philosophy in Kerouac’s interpretation.
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Han, Kyung-ran. "Aspects of Motifs of Buddhist Goddess of Compassionand Mercy in Surobuin." Korean Classical Poetry Studies 40, no. ll (May 2016): 5–32. http://dx.doi.org/10.32428/poetry.40..201605.5.
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Dezső, Csaba. "Inspired Poetry: Śāntākaragupta’s Play on the Legend of Prince Sudhana and the Kinnarī." Indo-Iranian Journal 57, no. 1-2 (2014): 73–104. http://dx.doi.org/10.1163/15728536-05701016.
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A fragment of a play written on the Buddhist legend of prince Sudhana and the kinnarī has been microfilmed by the Nepal-German Manuscript Preservation Project. It was probably written at the end of the eleventh century in Bengal by a Buddhist scholar called Śāntākaragupta. The present article contains a critical edition and an English translation of the fragment, as well as an analysis of the intertextuality of the play and especially the literary influences that shaped the author’s poetic diction.
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Jangbeong Han. "A Study on Dasan Jeong Yak - yong's Buddhist Poetry." Dongyang studies in Korean Classics 45, no. ll (October 2016): 139–67. http://dx.doi.org/10.35374/dyha.45..201610.005.
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WonBin Yim. "Du-Mu(杜牧)'s Poetry and Buddhist Culture." Journal of Sinology and China Studies 69, no. ll (December 2016): 83–99. http://dx.doi.org/10.18077/chss.2016.69..004.
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Kim,Mi-Seon. "The Aesthetic Consciousness of A Buddhist Dhyana(Zen) Poetry." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 49 (December 2011): 167–90. http://dx.doi.org/10.17293/dbkcls.2011..49.167.
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Robert, Jean-Noël. "From Medieval Buddhist Poetry to Twentieth Century Japanese Thought." La lettre du Collège de France, no. 7 (October 29, 2015): 25. http://dx.doi.org/10.4000/lettre-cdf.2635.
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Heine, Steven. "Poetry as Philosophy in Song-Dynasty Chan Buddhist Discourse." Journal of Chinese Philosophy 50, no. 2 (July 25, 2023): 168–81. http://dx.doi.org/10.1163/15406253-12340100.
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Abstract This paper examines ways leading Song-dynasty Chan teachers, especially Cishou Huaishen 慈受懷深 (1077–1132), a prominent poet-monk (shiseng 詩僧) and temple abbot from the Yunmen lineage, transform the intricate rhetorical techniques of Chinese poetry in order to explicate the relationship between an experience of spiritual realization beyond language and logic and the ethical decision-making of everyday life that is inspired by transcendent principles. Huaishen’s poetry expresses didactic Buddhist doctrines showing how an awareness of nonduality and the surpassing of all conceptual boundaries and categories can and must be applied to negotiating moral choices in concrete everyday situations that are either conducive or detrimental to the attainment of enlightenment. My main argument is that Song Chan discourse does not lead to antinomianism or an indifference to the conflicts of the mundane world but, instead, features an ethical approach for determining an aspirant’s degree of illumination. This function is central to the school’s overall teaching mission of assisting those seeking to overcome their egocentric delusions by realizing the benefits of Chan insight.
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Nelson, Paul. "Projective Verse: The Spiritual Legacy of the Beat Generation." Humanities 7, no. 4 (October 22, 2018): 102. http://dx.doi.org/10.3390/h7040102.
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Allen Ginsberg’s poetry, poetics or cultural activism; Jack Kerouac’s prose, poetry and his method of composition; Gary Snyder’s environmental and Buddhist consciousness and bioregional ethos, or the opening made by the Beats for Eastern spirituality in the west are of intrinsic value and will be for generations, this paper seeks to posit that it is Michael McClure’s use of Projective Verse, that future generations of writers and readers will come to appreciate as that movement’s spiritual legacy.
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Bui Linh, Hue, and Hang Duong Thu. "The Body in Ho Xuan Huong’s Nom Poetry from A Comparison with East Asian Literature." Journal of Science Social Science 68, no. 1 (February 2023): 41–52. http://dx.doi.org/10.18173/2354-1067.2023-0005.
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The issue of “body” and “sensuality” in Ho Xuan Huong's poetry has been interested by some researchers. However, there are currently no works that place her work in the system of East Asian sensual literature. This article compares Ho Xuan Huong's poetry with the sensuality poetry of some East Asian male and female poets such as Tiet Dao, Vuong Ngan Hoang, and Hwang Jin Yi to explore these poetic phenomena as a rebellion against the neglect of the “body” in medieval Confucian and Buddhist society, thereby conversing and challenging the classic poetics of medieval East Asian poetry and the repressive Confucian and Buddist culture which places the burden of virtue, social responsibility and success on the women in particular and the individual in general.
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Davis, Sara. "The Hawaiification of Sipsongbanna: Orality, Power, and Cultural Survival in Southwest China." TDR/The Drama Review 45, no. 4 (December 2001): 25–41. http://dx.doi.org/10.1162/105420401772990315.
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Near the Burmese border, ethnic Chinese Tai villagers perform zhangkhap songs based on Buddhist epics and improvised oral poetry. Repressed from the 1950s as through the 'as, zhanghap has revived dramatically in recent years. Tourists are taking notice, but this may not be good news.
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SHEKERA, Ya. "On the question of the metaphoricity of the Taoist treatise of the 3rd century "Book of the Yellow Court" and its reflections in early medieval Chinese poetry." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 27 (2021): 56–61. http://dx.doi.org/10.17721/1728-242x.2021.27.56-61.
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The question of the metaphoricity of the Taoist treatise of the 3rd century ʺBook of the Yellow Courtʺ has been investigated; the reflection of Taoist ideas (as well as similar Buddhist) in traditional Chinese poetry have been traced (works by Cao Cao, Wang Wei, Sikong Tu and Ouyang Xiu). We have shown that the metaphoric nature of the ʺBookʺ is due to the eternal tradition of seeing a deep analogy between the micro- and macrocosm, feeling the original holiness of everything and the incorporation of a person into it. This metaphoric nature is already manifested in the title of the ʺBookʺ, since yellow as the color of the center, the earth and the court as an inner closed room reflect the typically Taoist idea of the importance of a tiny center in the human body, able to control not only the whole body but also the Higher Forces of the Universe. It was emphasized the importance of creating poetry in a particular altered state of consciousness, when the artist, feeling unity with all things, is able to penetrate into the transcendent being and get closer to Tao. The influence of conceptual Taoist and Buddhist ideas and postulates covered in the treatise ʺBook of the Yellow Courtʺ on the early medieval Chinese poetry, is demonstrated, which consists, firstly, in the importance of the concept of emptiness for the self-improvement of a Taoist adept and establishing a connection between the individual and the Universe; secondly, in understanding the poet's being and his creative state in a special transcendental state on the verge of being and non-being, which meets the aspirations of the Taoist adept to see his own inner world as if from the outside; thirdly, in the possibility of drawing a parallel between the human world and the macrocosm as a whole; fourthly, in the symbolism of wanderings seen in poetry as an integral part of the Taoist concept of transcendental travel through the human "internal landscape".
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Lim, Bo-Youn. "Anguish found in the poetry of Hye-jeong, Buddhist nun." Studies of Korean Literature 73 (January 31, 2022): 45–64. http://dx.doi.org/10.20864/skl.2022.1.73.045.
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Parta, Ida Bagus Made Wisnu, I. Nyoman Suarka, I. Wayan Cika, and I. Made Suastika. "Implementation Of Transformation Legitimacy Function Candra Bhairawa Manuscript For The Community." e-Journal of Linguistics 16, no. 1 (December 14, 2021): 96. http://dx.doi.org/10.24843/e-jl.2022.v16.i01.p10.
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The people enthusiastically received the Candra Bhairawa manuscript. Its purpose of altering legitimacy is to validate Shiva Buddha syncretism in Bali. Problem in this study is text transformation on Candra Bhairawa manuscript for community. To describe Candra Bhairawa manuscript as one of the texts that justify Shiva Buddhist syncretism in society. This study is qualitative and uses structural functionalism theory. The Candra Bhairawa manuscript data was analyzed using descriptive statistics and reading methods. Data analysis in prose and poetry with Old Javanese and Balinese into a descriptive form in Indonesian. Based on the value systems and beliefs of individuals and groups, the research explains the legitimacy process. The syncretism of Shiva Buddha combines Shiva and Buddha teachings. That the two teachings of Shiva (karma sanyasa) and Buddhist teachings (yoga sanyasa) may be combined into one is proof of the legitimacy of Shiva Buddhist syncretis which can bring balance and harmony.
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Tähtinen, Tero. "“In the Mountain Forest I Lose My Self”: The Experience of No-Self in Wang Wei's Short Landscape Poems." Journal of Chinese Literature and Culture 9, no. 2 (November 1, 2022): 338–66. http://dx.doi.org/10.1215/23290048-9965632.
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Abstract This article discusses the dialectics of subject and object in Wang Wei's short landscape poems from the perspective of Buddhist metaphysics. First, the article traces Wang's Buddhist connections and surveys the Buddhist concepts, ideas, and practices of which Wang himself explicitly wrote in his essays and poems. Then it uses these ideas to analyze poems from his “Wang Stream Collection” (Wangchuan ji). The conjunctive theme of this article is the underlying emptiness of all existing phenomena, one of the main metaphysical doctrines of Mahayana philosophy and a recurrent motif in Wang's poetry. The author demonstrates that, when seen from the standpoint of emptiness, the relation of the perceiver and the perceived in Wang's short nature poems proves to be more sophisticated than usually thought. Because both the human agent and the natural objects around him are intrinsically empty, they are interrelated and interdependent in the act of perception at the deepest and the most subtle ontological level.
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Baldanmaksarova, Elizaveta E. "The Early Stage of Buryat-Mongol Literature." Studia Litterarum 6, no. 1 (2021): 320–37. http://dx.doi.org/10.22455/2500-4247-2021-6-1-320-337.
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The article examines the genesis of Buryat literature, which is key to the modern literary studies of Buryatia. Its aim is to recreate the history of Buryat literature and place it in the cultural and philosophical context of the history of Mongolian ethnos. It is well known that the genesis of Buryat literature owes to the literary work as well as to the theoretical and literary research of the first Buryat scholars and writers from among the Buddhist clergy. The search, introduction, and study of literary works written by Buryat authors in the 18 th — early 20 th centuries is one of the relevant research tasks that opens new perspectives for modern Buryat literary criticism and for humanities in general. The emergence and development of Buryat literature is closely connected with the spread of Buddhist culture, the Buddhist vision of the world, therefore it should be studied in the context of Buddhist aesthetic thought. The article pays special attention to the literary history of Mongolians that, since the 13 th century, has been developing in the context of multilateral literary ties and contacts. It examines the following typical genres: travelogue, hagiographic, hymn poetry, subhashita, and poem.