Search Results (14)

Miracle tales are almost the sole source for the investigation of the emergence and spread of the relic cult in the early phase of Chinese Buddhism. The earliest excavated relic casket dates back to 453 CE, over four centuries after Buddhism was introduced to China. Through a critical textual analysis of Ji Shenzhou Sanbao Gantonglu, it is evident that the initial form of relic veneration was based on miraculous responses. Legends about imperial relic worship before the 3rd century are all later fabrications. Two archeological finds—the alleged relic murals in a Han tomb at Horinger, Inner Mongolia, and the stūpa-shaped bronze vessel in Gongyi, Henan—are not directly related to relic veneration. Based on the available evidence, it is tentatively concluded that relic worship first emerged around the 3rd century in the vicinity of Luoyang, the capital of the Western Jin, and later spread to the south of the Yangtze River after the Yongjia chaos. The early worshippers included both monks and lay Buddhists, such as merchants and lower-ranking officials. Royal interest in relics did not arise until the 5th century. The rise of relic veneration in China occured two or three centuries later than that in Gandhāra, from which Chinese Buddhism was significantly influenced. Compared to the cult of images or scriptures, relic veneration also emerged relatively late in China. The reluctance to adopt relics as worship objects can be partly explained by (the mahāyāna) Buddhist doctrines and the Chinese cultural mentality. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article

In 1606 Henry Garnet, provincial of the English Jesuits and purported co-conspirator in the Gunpowder Plot against James I, was executed at St. Paul’s Cathedral in London. Following his death, accounts of miracles occurring at his execution began to spread throughout England, including an account of a relic bearing his miraculous image. While Catholic writers promoted these accounts as evidence of Garnet’s innocence, Protestant contemporaries argued that Garnet was an illegitimate martyr and that his commemoration was evidence of Catholic support for regicide. This article demonstrates how London Protestant writers and publishers utilized anti-hagiographical arguments to intervene in attempts to promote Garnet’s sainthood, counter claims about the veracity of his relic, and shape his legacy in the decades following his execution. Full article

2 Kings 20:1–11; Isaiah 38:1–22 and 2 Chronicles 32:24–26 discuss Hezekiah’s sickness and the power of healing prayer. They are called Hezekiah-Isaiah narratives since they deal not only with (a) the threats and salvation of Jerusalem from Assyria, (b) the disease and the miraculous recovery or healing (ḥāyâ/rāքā’) of Hezekiah and description of the representatives from Babylon, but share a common narrative pattern in which Hezekiah is healed with a poultice/lump of fig tree (dəbelet təʾnim), having received advise and healing support from God’s messenger, Isaiah. Past scholars have approached this text differently, searching for its dating, literary growths, differences, originality with the desire to reveal the history of the various traditional components and relationship among parallel texts, as well the prophetic and kingly images of Isaiah and Hezekiah. Built on this past scholarship and African cultural perspectives and experiences, this work contextually, historically and theologically study, develop and analyze the story of Hezekiah’s sickness and healing. Full article

This article examines the living images of the Virgin through the illustration of one of the most important collections of miracles of the 13th century, Les Miracles de Nostre Dame by Gautier de Coinci. In this case, I will focus my attention on manuscript 551 of Besançon (Besançon, BM, MS 551), which, although it has many flaws in its manufacture, offers an interesting presentation of living images. The study of these miniatures reflects the importance of devotion, the set of gestures, words, and gazes, in the medieval spectator’s experience of Marian images. At a time when these images’ legitimacy as sacred objects was still being debated, the artists in this manuscript show their power without censorship, presenting them as if they were the Virgin herself. Full article

The article offers a revisionist account of the early circulation of copies of the Madonna of Santa Maria Maggiore, known since the nineteenth century as the Salus Populi Romani. Traditionally, the propulsion of the image into global circulation has been attributed variously to Pius V or Francisco Borja, the third Superior General of the Society of Jesus. The article argues that the circulation of the Saint Luke Madonna, as it was known at the time, was closely tied to the martyr’s cult that grew up around the Jesuit missionary Inácio de Azevedo and the so-called Brazil Martyrs, a group of Jesuits murdered by Calvinist corsairs off the Canary Islands in 1570. Azevedo had intended to carry a copy of the Roman icon to Brazil, a copy that perished at sea with Azevedo and the party of Jesuit missionaries. The article suggests that the popularity of the image among Jesuits in Europe and the overseas missions was fueled by the nascent martyr’s cult that followed Azevedo’s death. Painted copies of the Saint Luke Madonna came to function, together with relics of the Eleven Thousand Virgins of Cologne, as proxies for the missing material remains of the martyred Jesuits. The article argues that while the distribution of the image was globally extensive, circulation was restricted to an internal Jesuit martyr’s cult. Full article

Miracle tales are didactic stories related to Buddhist figures, objects, and places that describe supernormal occurrences brought about by acts of great piety and fervent devotion. They present the audience with concrete examples of the workings of karma, while simultaneously setting verifiable historical precedents in a bid to prove the religious efficacy of Buddhism in China. These were also historiographical works, providing a wealth of detail regarding not only religious life and belief in China, but also local lore, politics, architectural trends, and much more. This paper will focus on a text called the Ji shenzhou sanbao gantong lu 集神州三寶感通錄 (T2106), a collection of miracle tales compiled by the seventh-century scholar-monk, Daoxuan 道宣 (596–667 CE). This text is a collection of narratives drawn from literary and epigraphy sources, as well as orally transmitted stories. As a Buddhist figurehead and as the author of many seminal historiographical works, Daoxuan played a central role in the overall localization of this tradition in China. Bearing this in mind, this paper seeks to interpret the “collective images” presented in Daoxuan’s collection of miracle tales, those representations of the miraculous and the supernormal. Full article

As a famous “miraculous monk” dating from the Tang Dynasty, Wanhui (632–712) was favored by four emperors, Gaozong (r. 649–683), Empress Wu (regency: 684–690; reign: 690–705), Zhongzong (r. 683–684, r. 705–710) and Ruizong (r. 684–690, r. 710–712). Relying on his special religious status as a Buddhist palace chaplain, he was alleged to have created religious momentum and to have advocated political opinions to maintain the “legitimacy” of the Li-Tang imperial family, but he was unfailingly able to avoid political persecution. Although there have been some academic publications on Wanhui and the group of “miraculous monks” and “mad monks” in the Tang Dynasty, there are still ambiguities in the understanding of Wanhui’s political and religious image. This article firstly conducts textual research on the interdependence and interaction between the sacred space of the Tang Buddhist palace chapel on the one hand and religious personality as represented by Wanhui on the other. The former gave the latter a rich religious sacredness, mystical charm and strong political support; while the latter, in turn, strengthened the religious and political functions of the unique Buddhist institution in the service of imperial power, manifesting itself in the consolidation and elevation of the former. Secondly, by investigating the reasons for shaping the political and religious images of Wanhui in monastic biography and Buddhist hagiography, this article argues that this was a conscious arrangement due to the political purposes or religious intentions of the compilers. Finally, by exploring how Wanhui exerted various subtle political and religious impacts on the Tang emperors by virtue of his status as a miraculous Buddhist palace chaplain—partly imparted by sacredness of the Buddhist palace chapel—this article attempts to shed new light on several key aspects of the complicated state–saṃgha relationship during this special period of the Tang Dynasty. Full article

In his Historia de Gibraltar, the Gibraltar-born jurado Alonso Hernández del Portillo described how “the confraternity of the Santa Vera Cruz has a fine and pleasant church on the Main Street”. Set in the heart of town, it was an impressive building, which caused the missionary Pedro Cubero Sebastián to describe it as “most excellent” in the late seventeenth-century. Within the church existed the confraternity’s pride and joy: el Cristo de la Vera Cruz, a miraculous image of the crucified Christ and a key feature of local devotion. Using unpublished testamentary evidence, this article explores the early years of this local manifestation of Christological devotion, as well as the devotional context out of which it grew. The timeline established by these wills not only allows us to place this church and confraternity, and therefore Gibraltar, within the context of the Catholic Reformation, but to locate these religious developments as part of a prolonged process of Christianisation which began with the city’s reconquest in 1462. Full article

The female body in medieval Japanese Buddhist texts was characterized as unenlightened and inherently polluted. While previous scholarship has shown that female devotees did not simply accept and internalize this exclusionary ideology, we do not fully understand the many creative ways in which women sidestepped the constraints of this discourse. One such method Japanese women used to expand their presence and exhibit their agency was through the creation of hair-embroidered Buddhist images. Women bundled together and stitched their hair into the most sacred parts of the image—the deity’s hair or robes and Sanskrit seed-syllables—as a means to accrue merit for themselves or for a loved one. This paper focuses on a set of embroidered Japanese Buddhist images said to incorporate the hair of Chūjōhime (753?CE–781?CE), a legendary aristocratic woman credited with attaining rebirth in Amida’s Pure Land. Chūjōhime’s hair embroideries served to show that women’s bodies could be transformed into miraculous materiality through corporeal devotional practices and served as evidence that women were capable of achieving enlightenment. This paper emphasizes materiality over iconography and practice over doctrine to explore new insights into Buddhist gendered ritual practices and draws together critical themes of materiality and agency in ways that resonate across cultures and time periods. Full article

This article explores the ways in which the newly founded and highly contested Christian confession of the Greek Catholics or Uniates employed strategies of mass mobilization to establish and maintain their position within a contested confessional terrain. The Greek Catholic clerics, above all monks of the Basilian order fostered an active policy of acquiring, founding and promoting Marian places of grace in order to create and invigorate a sense of belonging among their flock. The article argues that folk ideological notions concerning the spatial and physical conditions for the working of miracles were seized upon by the Greek Catholic faithful to establish a mental map of grace of their own. Especially, the Basilian order took particular care to organize mass events (annual pilgrimages, coronation celebrations for miraculous images) and promote Marian devotion through miracle reports and icon songs in an attempt to define what it means to be a Greek Catholic in terms of sacred territoriality. Full article

This article explores the role played by images of the Virgin Mary in the ordering of space during the colonial period, as well as in the disruption of such order as a gesture of resistance by subordinate groups. In the Real Audiencia de Quito of the sixteenth and seventeenth centuries, civil and religious authorities used miraculous images of the Virgin Mary as aids in the founding of reducciones, which assured the imposition of Christian civility upon the Native population. Legal records suggest that in the second half of the eighteenth century Indigenous communities deployed similar strategies as a means of asserting their own concerns. Native actors physically manipulated Marian images in times of conflict, moving them around or apprehending them either to legitimize their desertion of colonial settlements or to resist forced relocation. In both the early colonial period and in the eighteenth century, the key strategy of shaping sacred landscapes was implemented in both Andean and Christian traditions. Full article

In the Philippines, popular belief has it that the image of the Virgen de Caysasay was fished out of the Pansipit River in 1603. Since then, many miraculous healing events, mostly involving water, have been credited to it. The prevalence of water highlights the vulnerability of physical bodies against the onslaught of environmental destruction that comes with climate change. In the Climate Links Report on Climate Change Vulnerability (2017), it was shown that the Philippines’ agricultural and water resources are already strained due to multiple factors, including susceptibility to extreme weather conditions. Using the example of the Virgen de Caysasay, this paper examines Catholic engagement with climate change, specifically the pastoral letters of the Catholic Bishop Conference of the Philippines (CBCP) pertaining to climate change and the various responses of the faithful vis-a-vis the extreme vulnerability of the different bodies of water in the Caysasay region. I argue that, in the case of the Virgen de Caysasay, the vulnerabilities of the community—of the bodies of water and of sacred spaces by virtue of them being assigned as such due to religious practices—reveal the dissonance between what the local Catholic Church imparts and communicates through its CBCP pastoral letters on the environment to the faithful community and the realities on the ground. Full article

A late medieval paper amulet containing prayers to St. Dorothy and the Holy Cross was found in a demolished part of a medieval wooden stave church in Torpo, Norway. This article examines the content and the function of this textual amulet by placing it in a wider Scandinavian and Western European context. From the perspective of materiality and sensory-based religious practices, this article will explore the connection between the textual amulet found in Torpo and its relation to the now-lost large wooden cross in Torpo church, and to crosses believed to be wonderworking or miraculous in its proximity. By doing so, this study will shed light on the apotropaic and healing potential that the material and immaterial cross offered the pious in late medieval Norway. The last part of this article addresses the Post-Reformation theological understanding of the amulet, and its use and function in Lutheran Norwegian society. Full article