The present article continues the modern scholarship on the transmission of Buddhism from India to China by focusing on one of the most influential figures among the early Chinese Buddhist translators, namely, Zhi Qian (支謙, ca. 193–252 CE). His translation style is characterized
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The present article continues the modern scholarship on the transmission of Buddhism from India to China by focusing on one of the most influential figures among the early Chinese Buddhist translators, namely, Zhi Qian (支謙, ca. 193–252 CE). His translation style is characterized as “kaleidoscopic,” as Jan Nattier describes, due to the high degree of diversity and variability in his language and terminology. In this study, we explore Zhi Qian’s literary refinements from the lexical, stylistic, and conceptual points of view based on his
Foshuo pusa benye jing (佛說菩薩本業經, T. 281) in close conjunction with three related sūtras, the
Foshuo dousha jing (佛説兜沙經, T. 280), the
Zhu pusa qiufo benye jing (諸菩薩求佛本業經, T. 282), and the
Pusa shizhu xingdao pin (菩薩十住行道品, T. 283), all attributed to Lokakṣema. We specifically discuss how Zhi Qian produced such a polished and “sinicised” version with various modes of literary modifications (e.g., using
wenyan elements, four-syllable prosodic pattern, diverse vocabulary, and indigenous Chinese concepts) within the context of his life and times. In this article, we also argue that his main aim in producing the
Foshuo pusa benye jing was to provide a more classical, elegant, and readable Buddhist scripture to the Chinese readers, but that he had to sacrifice being able to faithfully reflect the language used in the original Indic texts.
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