Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo
Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo
Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo
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Introduction 3<br />
cerned with the conflicting dem<strong>and</strong>s <strong>of</strong> religious salvation <strong>and</strong> filial<br />
piety. Religious salvation requires the individual to break with all<br />
social bonds <strong>and</strong> obligations in order to achieve his or her personal<br />
liberation, while the dem<strong>and</strong>s <strong>of</strong> filial piety insist on the subordination<br />
<strong>of</strong> the child to the family because <strong>of</strong> all the grace <strong>and</strong> favors<br />
the parents bestow on a child by raising it. The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong><br />
Good-in-Talent <strong>and</strong> Dragon Girl, borrowing from popular lore <strong>and</strong><br />
legend, pokes fun at the common tendency <strong>of</strong> people to forget the<br />
favors they have received <strong>and</strong> at the fact that their greatest desire<br />
is not for religious salvation, but rather for personal gain <strong>and</strong> satisfaction.<br />
But as The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense Mountain shows, the<br />
desire for religious salvation, which appears initially as utterly selfish<br />
<strong>and</strong> antisocial, proves in the end to be the most filial act <strong>of</strong> all, as<br />
it results not only in the salvation <strong>of</strong> a single individual, but also the<br />
salvation <strong>of</strong> her parents, when Princess Miaoshan donates her eyes<br />
<strong>and</strong> arms to rescue her father from a wasting disease.<br />
In presenting these translations <strong>of</strong> The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense<br />
Mountain <strong>and</strong> The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Good-in-Talent <strong>and</strong> Dragon<br />
Girl, I hope to make a contribution to the study <strong>of</strong> both Chinese<br />
Buddhism <strong>and</strong> Chinese literature. Through my discussions in this<br />
Introduction, I also hope to point out some aspects in which these<br />
texts may be <strong>of</strong> interest to students <strong>of</strong> comparative studies. While<br />
The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense Mountain <strong>and</strong> The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong><br />
Good-in-Talent <strong>and</strong> Dragon Girl are clearly set in a Chinese world,<br />
<strong>and</strong> grapple with problems phrased in Chinese terms, some <strong>of</strong> the<br />
motifs underlying these narratives would appear to be far more<br />
widespread, if not universal.<br />
Avalokiteśvara <strong>and</strong> <strong>Guanyin</strong><br />
<strong>Guanyin</strong> is only one <strong>of</strong> the several common translations <strong>of</strong> the Sanskrit<br />
name Avalokiteśvara. The precise meaning <strong>of</strong> the name Avalokiteśvara<br />
is not clear; most modern scholars suggest the name<br />
means roughly ‘‘the lord who looks down.’’ The early Chinese translators<br />
<strong>of</strong> Buddhist scriptures apparently based themselves on the<br />
alternative form Avalokatasvara (He who sees sounds), <strong>and</strong> accordingly<br />
translated the name as <strong>Guanyin</strong> (He who contemplates the<br />
sounds) or Guanshiyin (He who contemplates the sounds <strong>of</strong> the<br />
world). The famous seventh-century monk <strong>and</strong> translator Xuanzang<br />
(600–664) strongly argued that the correct translation should be