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142Pacific WorldOn the other hand, in the Toyok paintings, monks in meditation arelooking at the meditative objects, and no narrative elements are foundthere. Thus, these paintings are clearly intended as meditative scenes. Weshould further recall that the caves themselves seem to have been used forthe practice of meditation. Therefore, the likelihood is great that thesepaintings reflect the content of visualization practiced right on the spot.The great degree of deviation from the text is also not surprising if weconsider the oral nature of meditative instructions and directions given tothe painters.Considering all the evidence, I think at least in the case of the Toyokcaves, it is simplistic to assume that the paintings were based on particularwritten texts. Rather, I think it is closer to the truth that both the texts andthe paintings independently preserve different aspects of the same largestream of oral tradition. An oral tradition is like a big river with manywaves and ripples on its surface. We can no longer access the oral traditionitself, which has long since died out, and accordingly most of the “waves”are also irretrievably lost to us. Fortunately, however, some of the “waves”are preserved for us through the texts and paintings that have survived tothis day. Therefore, we should probably consider that these texts andpaintings are individually based on the oral tradition, and not that thepaintings are directly based on any particular text. Only in this way are weable to explain the situation we observe in the paintings and texts.In order for this model to work well, the texts must be local products.If the texts were composed elsewhere and imported as already establishedreligious authorities, one would hesitate to deviate from them too much.They would be followed respectfully as “the words of the Buddha.” Thisseems to be the situation we observe in the Tun-huang transformationtableaux. On the other hand, if the texts were local products, and if thepractical (and oral) tradition that gave birth to those texts was still alive,they would be just some examples of many possible ways of arranging andcombining popular visionary images. In such a situation, even if the textswere already there, people would feel much freer to deviate from them andrepresent their own systems in the paintings. This seems to be the situationwe observe in the Toyok paintings.As I have discussed elsewhere, 79 the opinions of art historians varyconcerning the dating of these paintings (Cave 42: fifth to seventh centuries;Cave 20: sixth to seventh centuries). Since the relevant meditation textsare considered to be from the fifth century, the paintings at Cave 42 mighthave been (nearly) contemporary with the texts, but those at Cave 20 musthave been later than the texts, whichever dating we follow. Nevertheless,as I stated above, when the paintings at Cave 20 were executed, thepractical tradition that served as the matrix of these texts seems to havebeen still active. Otherwise, it would be very difficult to explain themarkedly chaotic situation we observe in the paintings of this cave.
Yamabe: Practice of Visualization and Visualization S¥tra 143Therefore, I believe these paintings suggest rather strongly that theVisualization S¥tra and surrounding texts reflect the visualizationactually practiced in the Turfan area and thus these texts are themselveslocal products.
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Buddhism and Cognitive Science:Cont
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6Pacific Worldconnectionist-dynamic
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8Pacific Worldconceptual constraint
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10Pacific WorldNOTES1. B. Alan Wall
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12Pacific World16. See particulary,
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A Science of Consciousness:Buddhism
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34Pacific Worldtion experiences exp
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36Pacific Worldto all the world rel
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38Pacific WorldThe development or d
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40Pacific WorldOur present science
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42Pacific Worldmon to hold that cau
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44Pacific Worldconceptualization. I
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46Pacific Worldtionable that both t
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48Pacific Worldit is like looking e
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50Pacific Worldthe accepted underst
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52Pacific WorldReward Anticipation
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Studying “No Mind”:The Future o
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Tainer: Studying No Mind 57with the
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Tainer: Studying No Mind 59mously f
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Tainer: Studying No Mind 61Chinese
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Tainer: Studying No Mind 63approach
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Tainer: Studying No Mind 65buddha n
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Tainer: Studying No Mind 67to shape
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Tainer: Studying No Mind 71Scenario
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Tainer: Studying No Mind 73or pecul
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192Pacific Worldpassages from the s
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194Pacific WorldPlate C: The Buddha
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The Idea of the Last Dharma-Age inS
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238Pacific Worldthat there are thre
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240Pacific Worldhighest rank of the
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242Pacific Worldforms of not-knowin
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244Pacific WorldPrincipal Repentanc
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246Pacific WorldExtensive Repentanc
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248Pacific WorldIt is believed that
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250Pacific WorldShan-tao draws upon
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252Pacific Worldtsan. Hence, Shan-t
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254Pacific Worldmind, deep mind, an
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256Pacific Worldshøgyø zensho (he
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282Pacific World. . . the spiritual
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284Pacific World. . . gazes into un
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286Pacific Worldcontemporary observ
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288Pacific WorldThe Dzogchen Primer
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290Pacific Worldinspired by Gampopa
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292Pacific World“effortlessness
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294Pacific Worldaggregate, rather t
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296Pacific WorldAnd yet, Heisig rep
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298Pacific WorldThe next section of
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300Pacific Worldforeign culture, cl
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302Pacific WorldNext, Heisig examin
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304Pacific WorldToward the end of t
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306Pacific Worldaspects, of which t
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308Pacific Worldwarranted. But it i
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310Pacific Worldthe point about the
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312Pacific WorldJaffe argues in the
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BDK ENGLISH TRIPITAKA SERIES:A Prog
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BDK Tripitaka Series: A Progress Re
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