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Journal articles on the topic 'Chinese Buddhist poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Ochilov, O. "CHINESE NEW POETRY AND BUDDHISM." Builders Of The Future 02, no. 02 (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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2

Kwak, Mira, and boyoun Lim. "The aspect and meaning of Chinese poetry included in the Buddhist magazine 『Joseonbulgyowolbo』 in the 1910s." Daedong Hanmun Association 82 (April 30, 2025): 259–87. https://doi.org/10.21794/ddhm.2025.82.259.

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Joseonbulgyowolbo is the first comprehensive magazine of modern Korean Buddhism in existence, and contains a wide range of articles, historical records, translations, and literature, and is especially noteworthy in that it contains over 300 original Chinese poems. This means that the magazine played an important role in embodying Buddhist thought in literature beyond the function of conveying information and missionary work, but little research has been done on this to date. Therefore, this study examined what Buddhist magazines actively used the Chinese poetry style in the modern changes of K

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Xu, Xiaoxiao. "“Lamp and Candle”: Classical Chinese Imagery in Taixu’s Poetry." Religions 14, no. 8 (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

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4

He, Yuemin. "“Personal Items”." Religion and the Arts 26, no. 1-2 (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 philosoph

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5

Chương, Nguyễn Cảnh. "TÂM CỦA NGUYỄN DU TỪ THƠ CHỮ HÁN ĐẾN VĂN CHIÊU HỒN". Dalat University Journal of Science 11, № 2 (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

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6

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 conc

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7

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 (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, i

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8

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 (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 significa

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9

Lei, Enhai, and Xudong Hu. "Presentation and Analysis of “Three Teachings Syncretism” in Song and Jin Poetry and Its Modern Significance." Religions 16, no. 1 (2025): 39. https://doi.org/10.3390/rel16010039.

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The “Three Teachings Syncretism” (sanjiao heyi, 三教合一), i.e., the integration of Confucianism, Buddhism, and Daoism, represents an important religious philosophy in ancient China. This article aims to analyze how this ideology is presented and expressed directly in Song and Jin poetry, along with its modern value and significance. To achieve the research objectives, the paper isolates related poems from the Complete Song Poetry and Complete Liao Jin Poetry as the research objects. First, it organizes and classifies the relevant poems through the ways in which the idea of “Three Teachings Syncre

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10

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

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11

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 (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

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12

Davis, Sara. "The Hawaiification of Sipsongbanna: Orality, Power, and Cultural Survival in Southwest China." TDR/The Drama Review 45, no. 4 (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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13

Xu, Xiaoxiao. "Between Wine and Tea: A Discussion Based on Master Taixu’s Use of Dual Imagery." Religions 15, no. 6 (2024): 718. http://dx.doi.org/10.3390/rel15060718.

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The imagery of wine and tea is important in classical and modern Chinese poetry, with an intricate relationship between the two especially evident in the work of Taixu 太虛 (1890–1947), a prominent poet–monk in 20th-century China. Taixu’s attitude toward wine—a drink that is deeply rooted in Chinese culture—evolves significantly over time, from initial approval to eventual condemnation due to its detrimental effects on both personal health and society. Nevertheless, it continues to feature prominently in his poetry. The same is true of tea, which Taixu often uses to evoke either Buddhist study o

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14

Heine, Steven. "Poetry as Philosophy in Song-Dynasty Chan Buddhist Discourse." Journal of Chinese Philosophy 50, no. 2 (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 bounda

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15

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, sinc

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16

李, 熙灿. "History and Story on Chinese Buddhist Doctor from Poetry of the Tang." Chinese Traditional Culture 03, no. 03 (2015): 40–47. http://dx.doi.org/10.12677/cnc.2015.33009.

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17

김상일. "Study on the implicated feeling of infelicity in women's chinese poetry of Buddhist circle : Focusing on, LeeYeSoon, HeyJung, DamDo's chinese poetry." Journal of Dong-ak Language and Literature ll, no. 71 (2017): 345–72. http://dx.doi.org/10.25150/dongak.2017..71.011.

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18

송채은, 송채은. "A Study on Rhyme-Assigned Poetry Composition by Goryeo and Joseon Literati." Korea University Institute for Sinographic Literatures and Philology 20 (March 31, 2025): 322–76. https://doi.org/10.31666/jspklls.2025.3.20.322.

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The composition of rhyme-assigned poetry was a prevalent literary practice during both the Goryeo and Joseon periods in Korea. Although only about twenty examples from Goryeo literati have survived, they exhibit distinct characteristics: the coexistence of individual and collective composition, as well as the parallel use of isolated rhyme characters and entire poetic lines as rhyming elements. The active participation of Buddhist monks in this practice reflects the flourishing of Buddhism in the Goryeo era, while the frequent selection of Su Shi’s verses illustrates the widespread admiration

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19

Yun, Jae-Woong. "Han Yong-un’s Buddhist Thoughts and Non-duality Theory Appearing in Chinese Poetry." Journal of Dong-ak Language and Literature 84 (June 30, 2021): 75–106. http://dx.doi.org/10.25150/dongak.2021..84.003.

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20

Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.

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By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider moun

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21

Fraleigh, Matthew. "Approaching Classical Chinese Poetry in Early Modern Japan: Intralingual and Interlingual Translation Strategies in Rikunyo's Remarks on Poetry." Sungkyun Journal of East Asian Studies 23, no. 2 (2023): 137–62. http://dx.doi.org/10.1215/15982661-10773058.

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Abstract This article examines Remarks on Poetry from Makuzugahara (Katsugen shiwa 葛原詩話, 1787, 1804), a Japanese reference work for Sinitic poets that comments on unusual vocabulary and subject matter mainly gathered from Tang and Song sources. Written by the Tendai Buddhist priest and celebrated Sinitic poet Rikunyo 六如 (1734–1801), Katsugen shiwa draws on both intralingual and interlingual translational techniques to engage with Sinitic texts and clarify their meaning to a Japanese readership. With intralingual techniques such as substitution, paraphrase, or expansion into more readily intell

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22

Mazanec, Thomas J. "The Medieval Chinese Gāthā and Its Relationship to Poetry." T’oung Pao 103, no. 1-3 (2017): 94–154. http://dx.doi.org/10.1163/15685322-10313p03.

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This paper investigates the shifting definitions of the term gāthā (Ch. ji) over an 800-year period, from the earliest sūtra translations into Chinese until the mid-tenth century. Although the term originally referred to the verse sections of scriptures, gāthās soon began to circulate separately, used in ritual, contemplative, and pedagogical practices. By the late sixth century, it began to mean something like “Buddhist verse.” Over the course of the Tang, gāthās came to take on the formal features of poetry, eventually becoming all but indistinguishable from elite verse. However, the

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23

Trubnikova, Nadezhda N. "Incarnated Bodhisattva: A Record of the Commemoration of Princess Sonshi." Study of Religion, no. 2 (2019): 66–76. http://dx.doi.org/10.22250/2072-8662.2019.2.66-76.

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The article describes one of the examples of the ganmon genre in Japanese Buddhist literature: the text of Yoshishige-no Yasutane (933–1002), compiled in 985 for the commemoration rite of Princess Sonshi (addressee of Sanbō ekotoba) and included into the Honchō Monzui collection. In this ganmon, a noble woman appears as the incarnation of bodhisattva: although in childhood and youth the princess was a priestess of Kamo shrine, then became the sovereign's wife and only became a nun shortly before her death, her life choice is described as moving along the path of the Buddha to the rebirth in Pu

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24

Guidetti, Simone. "ARKADII DRAGOMOSHCHENKO’S POETIC LANDSCAPES AS AN INSTRUMENT OF SELFQUESTIONING AND CROSS-CULTURAL DISPLACEMENT IN THE LATE SOVIET UNDERGROUND." Филолог – часопис за језик књижевност и културу 16, no. 31 (2025): 75–93. https://doi.org/10.21618/fil2531075g.

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The poetry of Arkadii Dragomoshchenko (1946–2012), who spent his formative years in Ukraine and was active in the Leningrad underground of the 1970s and 1980s, represents a unique reflection of multiple cultural practices and media perspectives. Delving deeper into common assumptions of language, thought and representation, his texts encourage the reader to take a detached and reflective approach on literary texts, overcoming the strict cultural boundaries that usually confine the text and his author in space and time. This paper draws parallels between Dragomoshchenko’s pseudo-descriptive lan

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25

Wu, Yaping. "The Serene and Harmonious Style of the Tea Poems by the Poet-Monk Qi Ji and Its Origins." Communications in Humanities Research 12, no. 1 (2023): 299–304. http://dx.doi.org/10.54254/2753-7064/12/20230141.

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In traditional Chinese culture, there are concepts of Zen and Tea as One and Poetry and Tea as One. The tea poems by the poet-monk Qi Ji integrate Zen, tea, and poetry, forming a unique style of serenity and harmony, also known as a style of qinghe in Chinese. This research paper focuses on the study of Qi Jis tea poems, exploring the qinghe style and its origins. Based on the analysis, conclusions can be drawn that his poem style of qinghe is reflected in both the choice of words and sentence structure, as well as the thematic content. In terms of the word choice and sentence structure, Qi Ji

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26

Trubnikova, Nadezhda N. "The way to Immortality: the Japanese Continue of the Chinese Taoist Legends." Chelovek 34, no. 2 (2023): 132. http://dx.doi.org/10.31857/s023620070025541-2.

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The Japanese setsuwa collection Honchō Shinsen-den (11th–12th centuries), continuing the tradition of Chinese stories about Taoist “immortals”, unites thirty stories about people who somehow went beyond the limits of the human lifespan. Not all of them follow the instructions of the Taoist texts about longevity; many combine Buddhist asceticism with the worship of Japanese kami, living in the mountains or, less often, leading an ordinary worldly life. Well-born persons and famous monks coexist here with commoners, and nothing is known about some other than their miracles. The list of Japanese

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27

Kroll, Paul W. "Li Bo and the zan." T’oung Pao 108, no. 1-2 (2022): 98–125. http://dx.doi.org/10.1163/15685322-10801007.

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Abstract One of the more overlooked forms of Chinese poetry is that called by the word zan 讚 or “appreciation.” Here we examine the pre-Tang use of the term in its application both to a summary prose or verse statement in historical texts as well as to a form of verse often regarded as akin to the song 頌 or “laud” but especially associated with illustrations or paintings. Discussion then proceeds to a focus on and analysis of Li Bo’s 李白 seventeen extant zan poems, nearly all of which are about or were inscribed on paintings. These poems can be divided among three categories: those on portrayed

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28

van Gulik, Robert H. "The Life and Works of the Monk Donggao, a Chinese Chan Master in Japan." T'oung Pao 110, no. 3-4 (2024): 434–86. http://dx.doi.org/10.1163/15685322-11003005.

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Abstract In this article Dr. van Gulik (1910–1967) explores the life and times of the Chinese Buddhist monk Donggao 東皐 (1639–1695) who was not willing to live under the Manchu conquerors and left China for Japan. After his arrival in early 1677 he met with hostility, but, thanks to the intercession by his patron, prince Tokugawa Mitsukuni 德川光圀, he was able to stay in Japan, founded a new branch of the Chan school, the Shouchang sect 壽昌, and became the first abbot of this branch at Gionji 祇園寺 in Mito. The erudition of Donggao, and his skill in seal carving, calligraphy, lute-play and poetry, wa

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29

Lee, Yeri. "Lee Woo's poem on Mt.Cheongnyang and the attitudeof Youngnam Writers' Classical Chineses Poemson Lee Woo's poem and the reason for it." Daedong Hanmun Association 75 (June 30, 2023): 191–220. http://dx.doi.org/10.21794/ddhm.2023.75.191.

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The sightseeing in Mt.Cheongnyang and the creation of literature about it were one of the most important acts for writers in Yeongnam region. Through research on literature based on the sightseeing of Mt.Cheongnyang, the works of writers including JJu Sebung and Lee Hwang have been dealt with. Among them, in the creation of a series of Chinese poems based on Mt.Cheongnyang, it was introduced in outline that there existed a sightseeing of in Mt.Cheongnyang and literary creation by Songjae Lee Woo before Ju Sebung and Lee Hwang. However, this was also dealt with as the background of Lee Hwang's

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30

Jia, Jinhua. "An anthology of poetry by Buddhist nuns of late imperial China An anthology of poetry by Buddhist nuns of late imperial China , translated by Beata Grant, The Hsu-Tang Library of Classical Chinese Literature, Oxford University Press, 2023, 354 pp., $34.95 (hardback), ISBN 97801977586310." Studies in Chinese Religions 10, no. 1 (2024): 113–15. http://dx.doi.org/10.1080/23729988.2024.2366071.

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31

Zuo, Jiang. "A Study on Rhyme-Assigned Poetry Composition by Goryeo and Joseon Literati." Korea University Institute for Sinographic Literatures and Philology 20 (March 31, 2025): 287–321. https://doi.org/10.31666/jspklls.2025.3.20.287.

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The composition of rhyme-assigned poetry was a prevalent literary practice during both the Goryeo and Joseon periods in Korea. Although only about twenty examples from Goryeo literati have survived, they exhibit distinct characteristics: the coexistence of individual and collective composition, as well as the parallel use of isolated rhyme characters and entire poetic lines as rhyming elements. The active participation of Buddhist monks in this practice reflects the flourishing of Buddhism in the Goryeo era, while the frequent selection of Su Shi’s verses illustrates the widespread admiration

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32

Lippit, Yukio. "Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan." Korean Journal of Art History 313 (March 31, 2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.

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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of

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33

REYNOLDS, MATTHEW. "Translation – Theory and Practice: A Historical Reader. Edited by Daniel Weissbort and Astradur Eysteinsson. Pp. 672. Oxford: Oxford University Press, 2006. Hb. £65. An Anthology of Chinese Discourse on Translation. Edited by Martha P. Y. Cheung. Vol. 1: From the Earliest Times to the Buddhist Project. Pp. 300. Manchester: St Jerome Publishing, 2006. Hb. £45." Translation and Literature 17, no. 1 (2008): 85–93. http://dx.doi.org/10.3366/e0968136108000083.

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Both these anthologies fence in new territory for thoughts about translation to roam. Volume 1 of Martha Cheung's Anthology of Chinese Discourse on Translation – compiled with the help of a large advisory board of Chinese scholars – ranges from Laozi in the sixth century BC to the mid Song dynasty in the twelfth century. Almost all this material is brought into English for the first time. Daniel Weissbort and Astradur Eysteinsson's Historical Reader, again edited with the help of other experts, reaches out to include snippets of ethnography and life-writing alongside the familiar core of St Je

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Jabb, Lama. "THE CONSCIOUSNESS OF THE PAST IN THE CREATIVITY OF THE PRESENT:MODERN TIBETAN LITERATURE AND SOCIAL CHANGE." International Journal of Asian Studies 8, no. 1 (2011): 89–95. http://dx.doi.org/10.1017/s147959141000029x.

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Thus sings Sangdhor in a metrical poem in praise of Tibetan versification, countering an anti-verse sentiment that is prevalent on the contemporary Tibetan literary scene. Since the flourishing of free verse form in the 1980s, thanks to the pioneering works of Dhondup Gyal, many Tibetan writers have attacked metrical composition for its perceived inflexible, archaic and inadaptable form and uniformity of content. Sangdhor, one of the most iconoclastic and forward-thinking intellectuals writing in Tibetan today, vehemently refutes such a stance on the grounds that the bulk of great Tibetan work

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35

Pokorny, Lukas K. "AN ANTHOLOGY OF POETRY BY BUDDHIST NUNS OF LATE IMPERIAL CHINA. Translated by Beata Grant. The Hsu‐Tang Library of Classical Chinese Literature. New York: Oxford University Press, 2023. Pp. xxxvi + 354. Hardback, $34.95." Religious Studies Review 50, no. 3 (2024): 650. https://doi.org/10.1111/rsr.17266.

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36

Qin, Si. "The ‘Making’ of Chinese Zen Poetry: Sam Hamill's The Poetry of Zen." Translation and Literature 32, no. 3 (2023): 354–72. http://dx.doi.org/10.3366/tal.2023.0562.

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The appreciation of Zen Buddhism in the mid-twentieth century led to a new exploration and tradition of Zen poetry translation. Many translators influenced by the American ‘Zen Boom’ were drawn to Chinese Zen poems during this time. However, translating Zen poetry is a complex art, and often shaped by the translator's personal experiences and qualities. Diverse perspectives exist on what constitutes Zen poetry, and selections for Zen anthologies hinge on the editor's perception. This paper centres on Sam Hamill's work in The Poetry of Zen, 2004, examining his selection and interpretation of cl

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37

Dong, Xueliang. "Fang Dongmei's View on the Universality of "Consistency" in Chinese Philosophy." Journal of Social Science and Humanities 6, no. 10 (2024): 109–14. http://dx.doi.org/10.53469/jssh.2024.6(10).19.

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In Chinese philosophy, although the ultimate pursuit of human beings by Confucianism, Buddhism and Taoism is different, as Fang Dongmei said, "Confucianism lies in promoting the sage's atmosphere, Taoism is intoxicated with poetry and art, while Buddhism seeks the spiritual illumination of human spirit with painstaking wisdom", but the starting point of all three is to show that the universe and life are a coherent whole by-pass. Confucianism tends to regard human affairs and heaven as a whole, Taoism tends to regard human beings and nature as a whole, Buddhism tends to regard human beings and

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Hong, Xiaochun. "The Bible between Literary Traditions: John C. H. Wu’s Chinese Translation of the Psalms." Religions 13, no. 10 (2022): 937. http://dx.doi.org/10.3390/rel13100937.

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In the history of Chinese Bible translation, the Psalms have been a privileged site for the encounter between biblical thinking, poetics, and Chinese classical literature. This encounter was initiated by the translators of the Delegates’ Version, followed by John Chalmers, and outstandingly represented in particular by John C. H. Wu吳經熊. In his version of the Psalms, underpinned by his cultural stance of “beyond East and West”, Wu borrows numerous Chinese idioms and popular verses and transposes Chinese traditions from Confucianism, Buddhism, and Daoism. Specifically, Wu’s rendition inaugurates

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Chen, Yilin, and Dan Cui. "A Study of Eco-psychology Writing in Gary Snyder’s Mountains and Rivers Without End from Classic Chinese Thoughts." Studies in Linguistics and Literature 9, no. 1 (2025): p130. https://doi.org/10.22158/sll.v9n1p130.

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Gary Snyder spent forty years writing a book of ecological poetry titled Mountains and Rivers Without End. The harmonious relationship between humans and the environment is depicted in these poems, which are full of profound ecological meaning. This condition of harmony aligns with the meanings of traditional Chinese thought, such as Buddhism, Taoism, and Confucianism. The aim of this paper is to apply traditional Chinese thought to the eco-psychological writings in Mountains and Rivers Without End. It examines how humans and the environment interact in the poem using the theories and techniqu

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Jing, Tang. "INTERPRETATION OF CHINESE PAINTING IN THE XIEYI STYLE." Arts education and science 2, no. 31 (2022): 116–21. http://dx.doi.org/10.36871/hon.202202015.

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The core of Chinese painting in the Xieyi style is to convey an idea in a free form, Xieyi paintings have the beauty of poetry, calligraphy and prints. It uses a colour method based on black and white imagery and the concept of linear modelling with brush and ink. It differs from Western painting in its methods of perspective, which transcend the limitations of time and space. The spirit of Xieyi is a reflection of real life, but refined and sublimated through imagination, ultimately completing the process of creating artistic images. Having great innovative and creative force and inheriting t

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Hwang, Dongwon. "Phonology Study of Chinese Poetry in “Ikkyukantobanashi” – Focus on Heikemonogatari and Poems about Buddhism." Korean Journal of Japanology 115 (May 31, 2018): 259–77. http://dx.doi.org/10.15532/kaja.2018.05.115.13.

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Hwang, Dong Won. "Phonology Study of Chinese Poetry in “Ikkyukantobanashi” Focus on Heikemonogatari and Poems about Buddhism." Korean Journal of Japanology 115 (May 30, 2018): 259–77. http://dx.doi.org/10.15532/kaja.2018.05.115.259.

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Cai, Xintong. "Comparison Between Natural Poems in China and England." Communications in Humanities Research 63, no. 1 (2024): 141–46. https://doi.org/10.54254/2753-7064/2024.17972.

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This article mainly compares the works of Chinese landscape and pastoral poets with those of early British Romantic poets, with the foremost comparison poets being Wang Wei, Meng Haoran, Wordsworth, and Coleridge. The similarity of their works lies in their shared theme of nature. However, they use different images and have dissimilar attitudes towards nature, which stem from the era and cultural background in which they live. In the Tang Dynasty of the ninth century, Chinese poets enjoyed describing birds, forests, and musical instruments in their poetry. They are first and foremost politicia

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Feng, Chih-Kang, and Jheng-Yu Yin. "The Derivative Process of Wang Yangming's Philosophy of Mind in His Travel Works." International Journal of Language, Literature and Culture 5, no. 3 (2025): 104–16. https://doi.org/10.22161/ijllc.5.3.15.

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Since the mid-Ming Dynasty, Yangming Philosophy of Mind has emerged as a Confucian trend, representing the confluence of Confucianism, Buddhism, and Taoism in Chinese intellectual history. It has directly influenced the literati society of the late Ming. To this day, it remains one of the major subjects in traditional philosophical thought research. However, Yangming Philosophy of Mind did not suddenly emerge overnight with the “Awakening at Longchang”; rather, it gradually developed through Wang Yangming's life experiences and became an inner journey experience. Based on Mencius' perspective

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Dyakonova, Elena M. "The Саnon and the Commentary. Exegesis in Japanese Classical Poetry". Studia Litterarum 5, № 3 (2020): 104–27. http://dx.doi.org/10.22455/2500-4247-2020-5-3-104-127.

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The study of classical religious and literary texts was the main trend of the Far Eastern traditional culture. Exegesis prompted a specific vision of philosophy, literature, and science. Examining the ties between classical texts and their commentaries is important for the better understanding of the development of the Far Eastern civilizations, including Japanese. Japanese commentaries developed, first, around central religious texts of Buddhism, Shinto, and writings by Confucius, and, second, around literary texts. This article mostly examines comments on poetic monuments of medieval Japan.

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Wang, Yiting. "From Gozan to Okamura Shigeru: A Study on the Changing Evaluations of Tao Yuanming." Communications in Humanities Research 42, no. 1 (2024): 90–101. http://dx.doi.org/10.54254/2753-7064/42/20242527.

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Abstract: Tao Yuanming(), known as the "foremost recluse poet of all time", has had a considerable influence in Japan. During the Gozan period, literati generally regarded Tao as a symbol of reclusive spirit, expressing admiration for his life and ideals through their poetry. However, Kokan Shiren was an exception, offering the first moral critique of Tao, labeling him as an "arrogant official" and suggesting that his resignation from office and retreat into reclusion was an escape from social responsibility. By the 20th century, the Japanese sinologist Okamura Shigeru completely overturned th

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Lupașcu, Silviu. "Han-Shan, Li Po, Tu Fu, Basho and the Mystical Theology of the Mountainous Space." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 8 (November 27, 2009): 283–90. http://dx.doi.org/10.35219/history.2009.14.

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The spiritual masters of the Chinese and Japanese classical poetry used the image of the mountain as a symbol of the passage from this world toward the next world. The certitude of the irreversible fading away from this world is metamorphosed in the certitude of the happy proximity to the nonworld. The trip itself becomes a way of the revelation, of the manifest truth, of the re-defining of the human being through wu-wei or satori. As meeting of the truth, of the inner self or of the theocratic void, the immersion of the soul within the shining space situated beyond the world is accomplished t

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Zeng, Yu. "La naturaleza y Zen en la traducción de los poemas de Han Shan // Nature and Zen in the Translation of Han Shan's Poems." Ecozon@: European Journal of Literature, Culture and Environment 5, no. 1 (2014): 54–64. http://dx.doi.org/10.37536/ecozona.2014.5.1.586.

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El Zen es una de las diez escuelas principales del budismo chino que fue fundada por Bodhidharma, y Han Shan es uno de los poetas chinos más conocidos de la escuela Zen. Aunque no se conoce mucho de su vida, a través de sus versos hemos llegado a saber que dejó atrás el mundo laico, yéndose a la Montaña Tiantai, donde llevó una vida de ermitaño y escribió unos trescientos poemas. La mayor parte de estos poemas es sobre su comprensión de las enseñanzas del Zen. A través de la descripción del medio ambiente y del uso de las imágenes naturales que casi siempre son metáforas del camino espiritual,

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Yim, Young-gil. "Establishment and Poetic imagery of Yukyuk-dong, a scenic spot in Pyeongan-do in the Late Joseon Dynasty." Daedong Hanmun Association 78 (March 30, 2024): 219–56. http://dx.doi.org/10.21794/ddhm.2024.78.219.

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This article introduces Yukyuk-dong (or thirty six Dongcheon) in Samdeung-hyeon, which was highlighted in the 19th century as one of the famous scenic spots in Pyeongan-do, and explains the origins of the names of the 36 Dongcheon and the characteristics of the Chinese poem ‘Yukyuk- dong’ created based on each Dongcheon. The extant Chinese poems based on Yukyuk-dong were mostly written in the 19th century, and the tendency of some writers to form a series of 36 poems is captured. Eom Gi (1760~1820), who first gave names to the 36 Dongcheon in Yukyuk-dong at the end of the 18th century, reveale

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Tian, Tian. "The relationship between Tang-Song poetry and Zen Buddhism thought." Trans/Form/Ação 47, no. 4 (2024). http://dx.doi.org/10.1590/0101-3173.2024.v47.n4.e0240064.

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Abstract: The Tang and Song Dynasties were a time when Zen Buddhism was prevalent, and it was also a critical period for the rapid development of ancient Chinese literature. The literati at this time were generally influenced by Zen Buddhism thoughts, and their literary ideas were all-encompassing and rich in layers. Poetry was introduced into Buddhist gatha to explain Buddhist principles, and the infiltration of Zen made poetry have a pure and distant Zen state. Poetry and Zen merged with each other in the literati’s works, thus shining brilliantly in the history of ancient Chinese literature

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