Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo

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Notes to Pages 27–29 201 97. New critical and annotated editions of both texts may be found in Huang Zheng and Zhang Yongquan, ann., Dunhuang bianwen jiaozhu (Peking: Zhonghua shuju, 1997), pp. 200–211, 1024–1070. For a short discussion of the Shunzi bian and its sources, see e.g., Cheng Yizhong, ‘‘Shunzibian yu Shunzi gushi de yanhua,’’ in Liu Cunren et al., eds., Qingzhu Pan Shichan xiansheng jiuzhi huadan Dunhuangxue tekan (Taipei: Wenjin chubanshe, 1996), pp. 89– 99. The text is preserved in two fragments, one of which was copied in 949. Cheng Yizhong argues in favor of an early Tang date of composition. Qu Jinliang, in his Dunhuang fojiao wenxue yanjiu (Taipei: Wenjin chubanshe, 1995), pp. 213–216, following the suggestion of Xie Haiping, argues on very flimsy evidence in favor of the even earlier date of the fifth and sixth centuries, even while showing that all references to bian(wen) as text or performance date only from the eighth century and later. It may therefore be safer to treat the text as a work of the eighth or ninth century. Cheng Yizong notes that whereas earlier versions of the legend all have Shun married to the daughters of Yao at the beginning of the narrative, now the marriage is postponed to the very end. This implies that the possibility of a conflict between Shun and his brother over Shun’s wives has been removed. Liu Shouhua, ‘‘Shilun Dunhuang bianwen Shunzi zhixiao gushi di xingtai yanbian,’’ Huazhong shifan daxue xuebao, no. 4 (1991): 72–77, sees the growing importance of the role of the stepmother as one of the major changes introduced by the Shunzi bian. 98. Arthur Waley, Ballads and Stories from Tun-huang (London: George Allen and Unwin, 1960), pp. 66–67, translated the essential sentence in this respect as ‘‘Though like other men’s their heads are black and their faces are white, this land of Chi does produce people with the hearts of pigs or dogs,’’ and remarks in a note, ‘‘The text of this sentence is certainly corrupt.’’ On the basis of the currently available editions of the emended text, this sentence should be translated ‘‘When he saw how black my hair was and how white my face, he had the desires of a pig or dog.’’ 99. It may be noted that Shun, too, when emerging from the well at his neighbor’s place, meets with his deceased mother, who directs him to Mt. Li. Miaoshan upon her return from the Underworld is met not by her father but by the God of the Big White (the Morning Star) in the guise of an old man who directs her to Incense Mountain. 100. In the rituals of the Siege and Destruction of Hell as performed on Taiwan, the soul of the deceased is freed from the prison of Hell. The Hell from which the deceased is freed ‘‘is not just the Inferno in general, but either the special hell for those who died a violent death . . . or the Blood Lake Hell . . . for women who, through miscarriage or abortion, polluted the earth with their blood. . . . [T]he bereaved families consider this rite, in which they actively participate, as one of the most meaningful of the entire service’’ (Kristofer Schipper, ‘‘Mu-lien Plays in Taoist Liturgical Context,’’ in David Johnson, ed., Ritual Opera, Operatic Ritual [Berkeley: Chinese Popular Culture Project, 1989], p. 137). Schipper starts his discussion of the ritual with a reference to the story of ‘‘Zhengbo ke Duan yu Yan,’’ cautiously suggesting the possibility that it may be the source of later practices and beliefs (‘‘Whether or not one
202 Notes to Pages 29–33 wishes to consider this as the source of later popular ideas on the subject, it certainly provides evidence of upper-class beliefs and practices related to visiting parents in the Underworld’’; p. 127). 101. Cole 1998, pp. 234–235. 102. Museum of Fine Arts Boston, Selected Masterpieces of Asian Art (Boston: Museum of Fine Arts, 1992), pp. 166–167, plate 151. 103. A very early example of a painting of Guanyin accompanied by Shancai and Longnü may be provided by a late-Heian-period (twelfth century) painting in the same Boston Museum of Fine Arts. It is titled ‘‘Bodhisattva of Compassion with Magic Jewel and Wheel.’’ On this Japanese painting Guanyin is said to be accompanied by Shancai and by ‘‘Kichijô-ten, goddess of wealth and beauty, who also carries a flaming jewel’’ (ibid., p. 35, plate 21). As early Japanese Buddhist paintings often followed Chinese examples, a sinologist is tempted to interpret Kichijô-ten as Longnü who offers her pearl to the bodhisattva. 104. Katō 1975, pp. 212–214. This story has been taken up in many recent discussions of Buddhism and gender, as the story stands at the intersection of the widely held belief in Buddhist circles that one has to be reborn as a man in order to be able to achieve final enlightenment and the equally Buddhist standpoint that gender distinctions are as empty as all other distinctions of the rational mind. 105. Thomas Cleary, trans., Entry into the Realm of Reality. The Text. The Gandavyuha, the Final Book of the Avatamsaka Sutra (Boston: Shambala, 1989), pp. 151–156. 106. Fontein 1967, pp. 23–77. 107. For a detailed discussion of this ‘‘novel’’ and its relation to other contemporary vernacular prose hagiographies, and the sixteenth-century novel Journey to the West (Xiyou ji), see Dudbridge 2004, pp. 57–67. Du Deqiao 1990, pp. 171–212, presents a photographic reproduction of a fully illustrated late- Ming edition of the novel. 108. Nanhai Guanyin quanzhuan, in Guanyin pusa quanshu (Shenyang: Chunfeng wenyi chubanshe, 1987), pp. 38–41. 109. Dudbridge 2004, p. 63. 110. Chün-fang Yü, ‘‘Images of Kuan-yin in Chinese Folk Literature,’’ Chinese Studies 8.1 (1990): 235–236. 111. I have used the text as reproduced in Zhang 1994, vol. 27, pp. 115– 172. All quotations are from this edition. The text of this woodblock edition was established by Yanbo diaotu (the Angler of the Misty Waves), while the costs of the printing were borne by a certain Zhou Hongyuan. The date of the printing is given as 1912 by Li Shiyu in his Baojuan zonglu (Peking: Zhonghua shuju, 1961), p. 43. The text itself offers hardly any clue for a more precise dating of its composition. It still uses ‘‘Huguang’’ (p. 1a) as the designation of a province, even though that province was split up into the two provinces of Hubei and Hunan in 1664. However, the term remained in common use. For a brief discussion of this precious scroll, see Yü 2001, pp. 442–443. 112. Huang Long zhenren is one of the deities venerated by the Xiantian sect. He has an important part in the Guanyin jidu benyuan zhenjing, a precious scroll that once again recounts the legend of Miaoshan, this time as a first-
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PERSONAL SALVATION and FILIAL PIETY
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CLASSICS IN EAST ASIAN BUDDHISM Per
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Kuroda Institute Classics in East A
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Acknowledgments My interest in the
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2 Introduction twelfth century. As
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4 Introduction Guanzizai (The lord
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6 Introduction of these bodhisattva
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8 Introduction the Lotus Sutra is c
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10 Introduction by remorse, he fall
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12 Introduction huang yinyuan are r
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14 Introduction also omits a detail
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16 Introduction While he does not g
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18 Introduction the shorter version
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20 Introduction the object of the g
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22 Introduction have her killed by
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24 Introduction Sons in Chinese Bud
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26 Introduction may ascend to heave
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28 Introduction cises achieves budd
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30 Introduction despite his formal
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32 Introduction of Shancai and Long
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34 Introduction jātaka tale. 114 T
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36 Introduction hungry wolf now wan
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38 Introduction to see the tree rep
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40 Introduction Chamber (Honglou me
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42 Introduction Conclusion The bodh
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The Precious Scroll of Incense Moun
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Page 172 and 173: The Precious Scroll of Good-in-Tale
Page 200: The Precious Scroll of Good-in-Tale
Page 203 and 204: 192 Notes to Pages 4-5 association
Page 205 and 206: 194 Notes to Pages 8-10 Mountain an
Page 207 and 208: 196 Notes to Pages 12-13 teenth and
Page 209 and 210: 198 Notes to Pages 18-21 66. Ibid.,
Page 211: 200 Notes to Pages 24-26 88. Cole 1
Page 215 and 216: 204 Notes to Pages 36-40 American O
Page 217 and 218: 206 Notes to Pages 45-53 3. More pr
Page 219 and 220: 208 Notes to Pages 66-82 or omnisci
Page 221 and 222: 210 Notes to Pages 92-111 79. The 1
Page 223 and 224: 212 Notes to Pages 126-156 26. Both
Page 225 and 226: 214 Notes to Pages 164-183 8. The S
Page 228 and 229: Glossary ao 鰲 Baiyi Guanyin 白
Page 230: Glossary 219 Yao Shouzhong 姚守
Page 233 and 234: 222 Bibliography ———. 1973. T
Page 235 and 236: 224 Bibliography Karetzky, Patricia
Page 237 and 238: 226 Bibliography Ahern and Hill Gat
Page 239 and 240: About the Author Wilt L. Idema (Ph.
Page 241: Tsung-mi and the Sinification of Bu
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