The
Chuanlao Song, composed by the Southern Song Chan monk Daochuan 道川 (1104–1163, Southern Song), represents a hybrid form of exegetical lecture text from the
Diamond Sūtra (金剛經). Neither a standard commentary (
zhu 註) nor a ritual manual (
keyi 科儀),
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The
Chuanlao Song, composed by the Southern Song Chan monk Daochuan 道川 (1104–1163, Southern Song), represents a hybrid form of exegetical lecture text from the
Diamond Sūtra (金剛經). Neither a standard commentary (
zhu 註) nor a ritual manual (
keyi 科儀), it fuses rhetorical features of Chan sermons with versified praise, often associated with chanting. From the twelfth century onward, the
Chuanlao Song circulated across China, Korea, and Japan, yet its textual identity has long been obscured. In particular, the
Zokuzōkyō (續藏經) recension misclassified it as a commentary, resulting in interpretive confusions that have persisted into modern scholarship. This study reconsiders the
Chuanlao Song within broader contextual frameworks of textual form, ritual practice, and editorial strategy. While grounded in philological analysis, three regional trajectories are highlighted: the
Chuanlao Song’s preservation in China as an appended text within collective annotations; its transformation in Korea through royal patronage and the multiplication of textual forms; and its reinterpretation in Edo-period Japan as an object of sectarian commentary. By tracing these transregional movements, this study argues that the
Chuanlao Song offers a valuable case study of how Buddhist texts were circulated and adapted across East Asia, shedding light on the intra-Chinese domestication and, beyond China, regional vernacularization and recontextualization.
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