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

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Notes to Pages 33–36 203 person narrative by the protagonist. After Miaoshan has been strangled at her royal father’s orders, Huang Long zhenren takes her to see the female deity Yaochi Jinmu (the Metal Mother of the Jaspis Pond); he next is her guide on her tour through the Ten Courts of Hell. See Che Xilun, ‘‘Ming Qing minjian zongjiao di ji zhong baojuan,’’ in Che 1997, p. 110. For a more extensive discussion of the Guanyin jidu benyuan zhenjing, see Dudbridge 2004, pp. 83–87. The Guanyin jidu benyuan zhenjing is occasionally reprinted under the title Xiangshan baojuan. Another indication of a sectarian background of The Precious Scroll of Good-in-Talent and Dragon Girl may be found in the description of meditation techniques on pp. 22a–23a, which has a strong Daoist coloring. One may also note that Guanyin is referred to as ‘‘Mother Guanyin’’ (Guanyin mu) on p. 1b, pointing to an identification of the bodhisattva with the Eternal Mother of sectarian belief. 113. The Lotus Sutra already mentions that Avalokiteśvara will save one from snakes. 114. For a short discussion of this legend see Yü 1990, pp. 236–237; and Yü 2001, pp. 443–447. For a more detailed treatment of this tale, see Sawada Mizuho, Chūgoku dōbutsu dan (Tokyo: Kōbundō, 1978), pp. 211–235; Wilt L. Idema, ‘‘Guanyin’s Parrot: A Chinese Buddhist Animal Tale and Its International Context,’’ in Alfred Cadonna, ed., India, Tibet, China: Genesis and Aspects of Traditional Narrative (Firenze: Leo S. Olschki, 1999), pp. 103–150; and Wilt L. Idema, ‘‘The Filial Parrot in Qing Dynasty Dress: A Short Discussion of the Yingge baojuan [Precious Scroll of the Parrot],’’ Journal of Chinese Religions 30 (2002): 77–96. 115. Some folktales on the relation of Guanyin to Mt. Putuo relate that Guanyin took possession of the island only after subduing its original deity, a huge snake. 116. Antii Aarne, The Types of the Folktale: A Classification and Bibliography. Antti Aarne’s Verzeichnis der Märchentypen, transl. and enl. Stith Thompson 2nd rev. (Helsinki: Suomalainen Tiedeakatemia, 1973), p. 56, no. 155; Nai-tung Ting, A Type Index of Chinese Folktales in the Oral Tradition and Major Works of Non-religious Classical Literature (Helsinki: Suomalainen Tiedeakatemia, 1978), p. 34, no. 155. 117. Zheng Zhenduo, ‘‘Zhongshan lang gushi de yanbian,’’ in his Zhongguo wenxue yanjiu (Hong Kong: Guwen shuju, 1961), 3: 1123–1124. Also see ‘‘Ondank is ’s wereld loon,’’ in Ton Dekker et al., eds., Van Aladdin tot Zwaan kleef aan. Lexicon van sprookjes: ontstaan, ontwikkeling, variaties (Nijmegen: SUN, 1997), pp. 266–272. 118. For the Chinese text see Lu Ji, ed., Gujin shuohai (Shanghai: Shanghai wenyi chubanshe, 1989, reprint of 1909 edition), no continuous pagination. It has been translated into English by James R. Hightower as ‘‘The Wolf of Chung-shan,’’ in Cyril Birch, ed., Anthology of Chinese Literature, vol. 2: From the Fourteenth Century to the Present Day (New York: Grove Press, 1972), pp. 46–52. Hua-yuan Li Mowry, ‘‘The Wolf of Chung-shan,’’ Tamkang Review 11.2 (1980–1981): pp. 139–159, discusses the Indian origin of the story, its analogues in Western literature, and the Chinese dramatic adaptations. 119. Cf. Madeline K. Spring, Animal Allegories in T’ang China (New Haven:
204 Notes to Pages 36–40 American Oriental Society, 1993); and Wilt L. Idema, ‘‘Dierenverhaal en dierenfabel in de traditionele Chinese letterkunde,’’ in Wilt L. Idema et al., eds., Mijn naam is haas: Dierenverhalen in verschillende culturen (Baarn: Ambo, 1993), pp. 222–237. 120. J.-A. Dubois, Le Pantcha-Tantra, ou les cinq ruses: Fables du Brahme Vichnou-Sarma (Paris: Merlin, 1826), pp. 49–55, ‘‘Le Brahme, le Crocodile, l’Arbre, la Vache et le Renard.’’ This tale does not occur in the Sanskrit versions of the Pañcatantra, but a related version is found in Persian versions of this work. 121. Wilt L. Idema, The Dramatic Oeuvre of Chu Yu-tun, 1379–1439 (Leiden: E. J. Brill, 1985), pp. 94–108. 122. For a translation and discussion of this poem, see Tanaka Kenji, Gafu sankyoku (Tokyo: Chikuma shobo). 1983, pp. 251–268. The plaint of the buffalo has been a common theme in Chinese literature ever since the Song dynasty, when growing numbers of people came to stress the sinfulness of slaughtering oxen and buffaloes and of eating beef. This movement was not initially tied to Buddhism, as Buddhism stressed the sinfulness of killing any living being and refused to make distinctions between different kinds of animals in this respect. See Vincent Goossaert, L’interdit du boeuf en Chine: Agriculture, éthique et sacrifice (Paris: Collège de France, Institut des Hautes Études Chinoises, 2005), esp. pp. 132–134, 186–190, 201–203. 123. Fu Xihua, Mingdai zaju quanmu (Beijing: Zuojia chubanshe, 1958), p. 86. Wang Jiusi’s play has been translated repeatedly: by Wilt L. Idema as ‘‘De klucht van de wolf uit Zhongshan,’’ Maatstaf 20.4 (1972): 145–161; by James I. Crump as ‘‘The Wolf of Chungshan,’’ Renditions 7 (1977): 29–38; and by William Dolby as ‘‘Wolf of Mount Zhong,’’ in his Eight Chinese Plays from the Thirteenth Century to the Present (London: Paul Elek, 1978), pp. 93–102. 124. Sarah Allen, The Way of Water and Sprouts of Virtue (Albany: State University of New York Press, 1997), pp. 4–5. 125. Idema 1993b, pp. 197–201. Also see Yi Ruofen, ‘‘Kulou huanxi— Zhongguo wenxue yu tuxiang zhong de shengming yishi,’’ Zhongguo wenzhe yanjiusuo jikan 26 (2005): 73–125. 126. Idema 1993b, pp. 201–214. 127. In Zhang 1994, vol. 27, p. 17. 128. Judith Magee Boltz, ‘‘Singing to the Spirits of the Dead: A Taoist Ritual of Salvation,’’ in Bell Yung, Evelyn S. Rawski, and Rubie S. Watson, eds., Harmony and Counterpoint: Ritual Music in Chinese Context (Stanford: Stanford University Press, 1996), pp. 209–210, 223–224; Francois Picard, ‘‘Le chant du squelette (Kulou ge)’’ (unpublished paper). 129. Vivienne Lo, ‘‘The Legend of the Lady of Linshui,’’ Journal of Chinese Religions 21 (1993): 86. 130. Shancai longnü bajuan, p. 7a–b (in Zhang 1994, vol. 27). ‘‘His hole of passion has not yet been opened’’ means he has not yet felt any sexual attraction. ‘‘Misty flowers’’ is a common euphemism for courtesans and prostitutes. 131. ‘‘Hunger’’ has been a euphemism for female sexual desire ever since the Book of Odes. See Edward L. Shaughnessy, ‘‘How the Poetess Came to Burn the Royal Chamber,’’ in his Before Confucius: Studies in the Creation of
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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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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 203 and 204: 192 Notes to Pages 4-5 association
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Page 207 and 208: 196 Notes to Pages 12-13 teenth and
Page 209 and 210: 198 Notes to Pages 18-21 66. Ibid.,
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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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Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo

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