Cultural Intersections In Later Chinese Buddhism

This collection of essays on later Chinese Buddhism takes us beyond the bedrock subjects of traditional Buddhist historiography - scriptures and commentaries, sectarian developments, lives of notable monks - to examine a wide range of extracanonical materials that illuminate cultural manifestations of Buddhism from the Song dynasty (960-1279) through the modern period. Straying from well-trodden paths, the authors often transgress the boundaries of their own disciplines: historians address architecture; art historians look to politics; a specialist in literature treats poetry that offers gendered insights into Buddhist lives. The broad-based cultural orientation of this volume is predicated on the recognition that art and religion are not closed systems requiring only minimal cross-indexing with other social or aesthetic phenomena but constituent elements in interlocking networks of practice and belief.

Buddhism in China during the late Qing and Republican period remained a powerful cultural and religious force. This innovative book comes from a rising star in this field, offering a new perspective on the influence of Buddhism on Chinese culture.

Sino-Tibetan Buddhism implies cross-cultural contacts and exchanges between China and Tibet. The ten case-studies collected in this book focus on the spread of Chinese Buddhism within a mainly Tibetan environment and the adaptation of Tibetan Buddhism among a Chinese-speaking audience throughout the ages.

A groundbreaking monograph on Yuan dynasty Buddhism, Illusory Abiding offers a cultural history of Buddhism through a case study of the eminent Chan master Zhongfeng Mingben. Natasha Heller demonstrates that Mingben, and other monks of his stature, developed a range of cultural competencies through which they navigated social and intellectual relationships. They mastered repertoires internal to their tradition—for example, guidelines for monastic life—as well as those that allowed them to interact with broader elite audiences, such as the ability to compose verses on plum blossoms. These cultural exchanges took place within local, religious, and social networks—and at the same time, they comprised some of the very forces that formed these networks in the first place. This monograph contributes to a more robust account of Chinese Buddhism in late imperial China, and demonstrates the importance of situating monks as actors within broader sociocultural fields of practice and exchange.

From the first century, when Buddhism entered China, the foreign religion shaped Chinese philosophy, beliefs, and ritual. At the same time, Buddhism had a profound effect on the material world of the Chinese. This wide-ranging study shows that Buddhism brought with it a vast array of objects big and small--relics treasured as parts of the body of the Buddha, prayer beads, and monastic clothing--as well as new ideas about what objects could do and how they should be treated. Kieschnick argues that even some everyday objects not ordinarily associated with Buddhism--bridges, tea, and the chair--on closer inspection turn out to have been intimately tied to Buddhist ideas and practices. Long after Buddhism ceased to be a major force in India, it continued to influence the development of material culture in China, as it does to the present day. At first glance, this seems surprising. Many Buddhist scriptures and thinkers rejected the material world or even denied its existence with great enthusiasm and sophistication. Others, however, from Buddhist philosophers to ordinary devotees, embraced objects as a means of expressing religious sentiments and doctrines. What was a sad sign of compromise and decline for some was seen as strength and versatility by others. Yielding rich insights through its innovative analysis of particular types of objects, this briskly written book is the first to systematically examine the ambivalent relationship, in the Chinese context, between Buddhism and material culture.

Since the first century, when Buddhism entered China, the foreign religion has influenced and been influenced in turn by traditional Chinese culture, and eventually became an important part of it. That is one of the great historical themes not only for China but also for East Asia. This book explores the elements of Buddhism, including its classics, doctrines, system, and rituals, to reveal the basic connotation of Buddhism as a cultural entity. Regarding the development of Buddhism in China, it traces the spread in chronological order, from the introduction in Han Dynasties (202 BC–220 AD), to the prosperity in the Sixteen Kingdoms (ca. 304–439 AD), and then to the decline since the Five Dynasties (907–ca. 960 AD). It is noteworthy that the Buddhist schools in the Southern and Northern Dynasties (420–589 AD) and the Buddhist sects in Sui and Tang Dynasties (581–907 AD) contributed to the sinicization of Buddhism. This book also deals with the interesting question of the similarities and differences between Chinese Buddhism and Indian Buddhism, to examine the specific characters of the former in terms of thought and culture. In the last chapter, the external influence of Chinese Buddhism in East Asia is studied. Scholars and students in Buddhism and Chinese culture studies, especially those in Buddhist countries, will benefit from the book. Also, it will appeal to readers interested in religion, Chinese culture, and ancient Chinese history.

Through a detailed analysis of epistolary writing, A Late Sixteenth-Century Chinese Buddhist Fellowship brings to life a lay disciple network associated with the monk Zhuhong (1535-1615) and his nemesis, the Yangming Confucian Zhou Rudeng 周汝登 (1547-1629).

The Routledge Encyclopedia of Traditional Chinese Culture offers an in-depth discussion of cultural aspects of China from the ancient period to the pre-modern era, lasting over 5,000 years, comprised of 7,000 word pieces by more than 20 world-leading academics and experts. Addressing areas such as China studies, cultural studies, cultural management, and more specific areas – such as religion, opera, Chinese painting, Chinese calligraphy, material culture, performing arts, and visual arts – this encyclopedia covers all major aspects of traditional Chinese culture. The volume is intended to be a detailed reference for graduate students on a variety of courses, and also for undergraduate students on survey courses to Chinese culture.