Dissertations / Theses on the topic 'Xuanzang'

This dissertation asks how, in the context of elite medieval Japanese painting, matter could constitute meaning. This is attempted through a case study of one of the last great medieval illustrated handscrolls (Jp. emaki) yet to receive full treatment, the Genjō Sanzō-e (Illustrated Life of Xuanzang). Produced by the atelier of the enigmatic court painter Takashina Takakane (fl. ca. 1309–1330), the Genjō Sanzō-e has long constituted the mysterious jewel in the crown of the genre known as kōsōden emaki, or illustrated handscrolls of the lives of eminent monks. The work relates the life of the seventh century Chinese monk Xuanzang (ca. 602–664), who made an epic seventeen year pilgrimage from China to India to obtain sutras for translation into Chinese, thereby changing the course of Buddhist history in East Asia. The Genjō Sanzō-e comprises twelve illustrated scrolls that cumulatively measure almost two hundred meters. It was sequestered for hundreds of years at the spiritual heart of the Daijō-in imperial cloister of Kōfukuji, Nara, where it served as both icon and relic. This history of hermeticism led to the generation of an auratic narrative of a hermetic handscroll that turned on the perverse charisma of the invisible object. Already intellectually quarantined as a “very special object” by virtue of its emaki format, the scroll’s ontological complexity indirectly contributed to its further art historical isolation. Its first ever full exhibition in 2011 catalyzed this study, which interrogates the composition and function of illustrated sacred biography on both the hermeneutic and non-hermeneutic levels, as both text and sacred object. Micro-readings of the scroll texts and paintings against a constellation of self-indicated lexical and pictorial sources reveals that the source of the scroll’s efficacy as a numinous object lies in an exquisitely choreographed analogical mode of explicitly intertextual composition, producing a self-canonizing object that manipulates the expressive plasticity of the picto-textual handscroll format to deliver a customized re-telling of the life of Xuanzang. These findings challenge the conventional history of medieval Yamato-e painting, the category of kōsōden emaki, and Euro-centric conceptions of iconicity and the autonomy of the artifact.
East Asian Languages and Civilizations

Thesis (Ph. D.)--University of Wisconsin--Madison, 1992.
eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 392-416).

碩士
玄奘大學
宗教學系碩士班
99
Among the three consciousness-only schools in China, there are a lot of differences and significant discrepancies between the new and old translations represented by ParamArtha and Xuanzang. In these issues, the confrontations between these two masters regarding “the seventh, the eighth and the ninth consciousnesses” are highly concerned by many scholars until now. This article attempts to deal with the following issues: (1)This article reconsiders the roll of “AdAna-vijJAna” and the argument about the existence of “dharma-grAha” in the eighth conciousness. In addition, from three different aspects, it also examines the reasonableness of non-existence of manas which was mentioned in SaMdhinirmocana-sUtra from Yuuki Reimon’s view point. (2)Among the three existing concepts of “Jie-Shing”, " Jie-Shin= TathAgata-garbha” and “Jie-Shing= The idea of original Enlightenment” and “Jie-Shing= prakRti-stha-gotra”, this article introduces and interprets these concepts according to the scholars. Thereafter, this article also looks into and discusses these concepts one by one. (3)This article also investigates the reasonableness of the critiques by Xuanzang’s group regarding “the ninth consciousness──amala-jJAna” transmitted by ParamArtha. How did they respond and act accordingly by their own position, “ All phenomena are Consciousness-only”, without establishing “the ninth consciousness” in addition to eight consciousnesses. Then this article further discusses if there is an origin for the theory of “the identity between principle and wisdom” in ParamArtha’s translations. Is it true that the result of manifestation of “AZraya-parivRtti／AZraya-parAvRtti” transmitted by Xuanzang is merely a “interdependency between principle and wisdom”. Finally, this article attempts to integrate the discrete positions which were made by ParamArtha and Xuanzang regarding “paJca-dharma──Five“dharmas””. Additionally, from four different aspects, this article also explores the establishment background of Katsumata Shunkyo’s belief regarding ParamArtha’s “nine consciousnesses” and brings up questions and discussions on this belief.

碩士
明道大學
國學研究所
105
Study on Buddhism-practicing Image of Xuanzang's Disciples Abstract Journey to the West is a famous Chinese mythical fiction, and is neither direct description of real life nor original myth. These fantasy stories mirror social thoughts of the Ming Dynasty. This classic work is widely acclaimed as one of the four masterworks of China. The author Wu Cheng'en regarded the stores of attaining Buddhahood to the West by Xuanzang as the plot line. Xuanzang was helped by three disciples Sun Wukong, Zhu Bajie and ShaWujing to resolve 81 tribulations along the journey. The image building was distinctive. Xuanzang and his three disciples had different characters and appearances in encounter. The author constructed unique plots in this chapter novel so that the figures met, and even changed the conflicts among them into solving problems for each other, which is terribly amazing. The changes in the characters of the three disciples reflected the distinctive images of the protagonists' "appearance" and "spirit". For example, the disciples attaining Buddhahood displayed the natural and wild character and images in the first encounter with the master Xuanzang. Sun Wukong was impetuous, Zhu Bajie greedy and lecherous and ShaWujing quiet and dull. However, in many contradictions and conflicts among them, Xuanzang acted as the mediator and instructor, and enabled the disciples to evolve into divine characters through various tribulations in the course of the Journey to the West. This paper is based on the Textual Notes to the Journey to the West published by Li Jen Bookstore and explores the process where the disciples attaining Buddhahood became Buddhists, and quotes the original stories when appropriate. The contents and chapters of this paper are arranged as follows: Chapter 1 explains research motivation and methodology and reviews the literature studying the Journey to the West. Chapter 2 is concerned with the thoughts and background of collecting materials by the author of the Journey to the West. Chapter 3 discusses the 81 tribulations faced by Xuanzang in the journey and the problem-solving methods of the three disciples. Chapter 4 illustrates the changes and differences in the images of the three disciples before and after the journey and reflects the social spirit of Wu Cheng'en. Chapter 5 is the conclusion and summarizes the arguments in the preceding two chapters about the extent of changes and differences in the three figures' characters. The images of main characters described by Wu Cheng'en can be clearly demonstrated from appearance, dressing, style of conversation and daily life. The characteristics of figures show the change of different original wild characters and images to divine characters by practicing Buddhism. This paper concentrates on the meanings of such thoughts as Confucianism, Taoism, Buddhism and Taoism reflected by the three characters in the Journey to the West. Keywords: Journey to the West, Wu Cheng'en, Mythical Fiction, Xuanzang, Sun Wukong, Zhu Bajie, ShaWujing

楊宗耀.
論文 (哲學碩士)--香港中文大學, 1999.
參考文獻 (leaves 262-271).
附中英文摘要.
Yang Zongyao.
Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999.
Can kao wen xian (leaves 262-271).
Fu Zhong Ying wen zhai yao.
敘例
Chapter 第一章 --- 序言 --- p.1-4
Chapter 第二章 --- 《道德經》帝王注疏的特色 --- p.5-14
Chapter 第三章 --- 《御註》與《御疏》的成書背景
Chapter 3.1. --- 老學思想在唐朝初年的發展 --- p.15-8
Chapter 3.2. --- 唐玄宗的得位與道士的交結 --- p.19-26
Chapter 3.3. --- 唐玄宗宣揚《老子》的政策 --- p.27-30
Chapter 3.4. --- 小結 --- p.31
Chapter 第四章 --- 《御註》與《御疏》的著者及年代商榷
Chapter 4.1. --- 《御註》與《御疏》的撰者及寫作年代
Chapter 4.1.1. --- 《御註》的撰者及寫作年代 --- p.32-43
Chapter 4.1.2. --- 《御疏》的撰者及寫作年代 --- p.44-47
Chapter 4.2. --- 《御註》爲策試所用本子的探討 --- p.48-59
Chapter 4.3. --- 小結 --- p.60
Chapter 第五章 --- 《御註》與《御疏》版本硏究
Chapter 5.1. --- 《御註》與《御疏》版本分述 --- p.61-65
Chapter 5.2. --- 《御註》、《御疏》與河上公本、王弼本及《老子指歸》本 《道德經》的異同 --- p.66-77
Chapter 5.3. --- 小結 --- p.78
Chapter 第六章 --- 《御註》與《御疏》的體例
Chapter 6.1. --- 《御註》與《御疏》分卷狀況
Chapter 6.1.1 --- 《唐玄宗御註道德真經》的分卷狀況 --- p.79-80
Chapter 6.1.2 --- 《唐玄宗御製道德真經疏》的分卷狀況 --- p.80-85
Chapter 6.2. --- 《御註》與《御疏》的篇章名稱 --- p.86-92
Chapter 6.3. --- 《御註》與《御疏》的序文 --- p.93-104
Chapter 6.4 . --- 《御註》與《御疏》的注疏形式
Chapter 6.4.1. --- 《御註》與《御疏》釋文用語 --- p.105-112
Chapter 6.4.2. --- 《御註》與《御疏》的經文分句比較 --- p.113-116
Chapter 6.4.3. --- 《御註》與《御疏》引用典籍硏究 --- p.117-127
Chapter 6.5. --- 小結 --- p.128-129
Chapter 第七章 --- 《御註》與《御疏》的思想內容
Chapter 7.1. --- 援佛釋老的理念 --- p.130-148
Chapter 7.2. --- 妙本論 --- p.149-154
Chapter 7.3. --- 無爲論 --- p.155-162
Chapter 7.4. --- 論兵之道 --- p.163-173
Chapter 7.5. --- 權術與權道 --- p.174-182
Chapter 7.6. --- 小結 --- p.183
Chapter 第八章 --- 《御註》與《御疏》對後世老學著作的影響
Chapter 8.1. --- 玄宗注疏對帝王老學著述的影響 --- p.184
Chapter 8.1.1. --- 《宋徽宗御解道德真經》 --- p.184-200
Chapter 8.1.2. --- 《大明太祖高皇帝御註道德真經》 --- p.201-213
Chapter 8.1.3. --- 小結 --- p.214-214
Chapter 8.2. --- 玄宗注疏對文人老學著述的影響
Chapter 8.2.1. --- 杜光庭《道德真經廣聖義》 --- p.215-228
Chapter 8.2.2. --- 李約《道德真經新註》 --- p.229-239
Chapter 8.2.3. --- 蘇轍《老子解》 --- p.240-248
Chapter 8.2.4. --- 小結 --- p.249-250
Chapter 第九章 --- 總結
附錄 --- p.254-261
參考書目 --- p.262-271

萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。
作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。
最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。
In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book.
The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming.
Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
賴妮.
"2013年7月".
"2013 nian 7 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 86-95).
Abstract in Chinese and English.
Lai Ni.
致謝
論文摘要 --- p.i
緒論 --- p.1
Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6
Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7
Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10
小結 --- p.25
Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27
Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27
Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35
Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40
Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47
小結 --- p.50
Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53
Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54
Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59
Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67
結論 --- p.74
附表1 --- p.77
附表2 --- p.82
附表3 --- p.83
附表4 --- p.85
參考書目 --- p.86
圖版目錄 --- p.95
圖版 --- p.105