Search Results (10)

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

Samguk yusa 三國遺事 (Memorabilia of the Three Kingdoms), compiled by Iryŏn 一然 (1206–1289), a prominent Buddhist monk in Koryŏ, stands as one of Korea’s most valued historical classics. This classic weaves together a collection of captivating and unconventional narratives—marked by their peculiarity, miracles, and wonder—diverging from the usual societal norms. Unlike traditional historical chronicles such as Samguk sagi 三國史記 (Histories of the Three Kingdoms), Samguk yusa presents a diverse mosaic woven with historical anecdotes, legends, and folklore, especially emphasizing connections to Buddhism. The tales of miraculous events hold historical significance, serving as reflective mirrors that not only shaped the beliefs of pre-modern Korean Buddhists but also influenced the wider population of that era in Korea. This paper delves into the cultural significance and societal roles of miracles and wonders within pre-modern Korean society, particularly through a thorough exploration of narratives and accounts within the Samguk yusa. Through these miraculous stories, the Samguk yusa not only validates the spiritual power of Buddhism but also redefines concepts like filial piety and national protection by integrating them into the Buddhist framework. This ensured Buddhism’s enduring significance in Silla society and reinforced the importance of the supernatural as an integral part of a holistic view of history and culture. 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

This article explores the apologetic discourse towards the convergence between Pure Land Buddhism and theoretical physics of the contemporary Chinese Buddhist monk, Da An (1959- ). Faced with the formidable challenge posed by contemporary science towards public acceptance of Buddhism, Da An endeavors to employ science as a medium for propagating Pure Land teachings, seeking to accommodate the preferences of scientifically inclined individuals. He utilizes several theoretical physics concepts to validate that certain ostensibly miraculous accounts within Pure Land Buddhist texts are not incompatible with contemporary science. Further, he asserts that certain supernatural narratives therein indicate that some physical principles still residing in theoretical conjectures on Earth have already been validated and can be utilized at will by the celestial beings in Sukhāvatī, thus asserting the supremacy of Pure Land teachings over science. The article endeavors to examine the contemporary dialogue between Pure Land Buddhism and science, which has been overlooked in the current research realm of the interaction between Buddhism and science. Full article

The maritime route connecting the Chinese continent and the Japanese archipelago facilitated a significant exchange of commercial goods and sociocultural knowledge throughout the Southern Song dynasty. Within this context, Japanese pilgrim monks traveling along this route acted as key conduits for the transmission of Buddhist teachings. Their journeys profoundly influenced the establishment and development of new Buddhist monasteries in Japan. Focusing on biographical accounts that portray the experiences of these pilgrim monks during their twelfth- and thirteenth-century sea voyages, this paper aims to explore how these accounts drew on intertextual links with existing Buddhist records to fulfill the compilers’ intentions. Specifically, this paper examines the structure and sources of biographical accounts detailing miraculous encounters between pilgrim monks and Buddhist deities during perilous situations at sea. By interpreting the role of these deities in the corpus of Buddhist literature and within Japanese Buddhist monasteries founded by pilgrim monks, this paper argues that the increasing emphasis on pilgrim monks’ attainment of divine protection in their biographical records suggests a growing concern for reinforcing the authority of their dharma lineages. Moreover, the composition and reception of these miraculous accounts reflected the changing religious needs and reshaped strategies for promoting specific Buddhist sects in subsequent periods. Full article

The concept of “adbhuta-dharma” (Ch. weicengyou fa 未曾有法) has developed and changed throughout Buddhism’s history. Indeed, the subject and the content of adbhuta texts as well as the meaning of the term “adbhuta” (marvelous phenomenon) varies across the scriptures. Looking through the scriptures, it would seem that they originated as narrative elaborations on various aspects of the Three Jewels—the Buddha, the Dharma, and the Saṃgha. Then gradually, “adbhuta-dharma” came to encapsulate those narrative elements in the scriptures related to the miraculous in the life of the Buddha as well as the careers of his disciples. As one of the twelve divisions of the Buddhist canon, the literary form of the adbhutas overlaps with other canonical genres, namely the nidānas, the avadānas, and the jātakas tales. This article will provide a careful analysis of adbhuta-dharma narratives in important Sarvāstivād in Sūtras, Vinayas, Abhidharmas, and other texts such as the Chuyao jing 出曜經 and the Buddhacarita (Ch. Fo suoxing zan 佛所行贊). These narratives are important because, while many monks and laypeople might have been left uninspired by the complexities of Buddhist thought and doctrine, miracle narratives were more accessible, playing an important role in popularizing Sarvāstivāda ideas and doctrines. These miracle stories reached audiences that other Sūtra narratives and exegetical works could not, helping in the dissemination of Buddhist thought and practice, as well as the later development and spread of Mahāyāna works in India and beyond. Full article

This paper introduces miraculous narratives in The Biographies of Eminent Nuns (BQNZ) and The Further Biographies of Eminent Nuns (XBQNZ) and provides a comparative examination based on the relevant narratives in the above-mentioned collections and The Biographies of Eminent Monks (GSZ). First, this paper suggests that eminent nuns’ miracles in the BQNZ seem to be more limited than those of their male contemporaries in the GSZ, which might reflect their comparatively limited agency in social engagements. Furthermore, the BQNZ’s silence on the eminence of foreign nuns, in sharp contrast to the special attention afforded to foreign monks in the GSZ, might suggest androcentrism in both the Saṅgha and Chinese society. Second, the entries containing “intentionally performed miracles” in the BQNZ outnumber those in the XBQNZ in terms of the percentage of all entries and diversity. Moreover, in later records of the XBQNZ, most miracles are only related to death. This might point to the lower esteem that eminent nuns enjoyed during and after late imperial China, partly because of Buddhism’s development and social status. Alternatively, this might have resulted from special social circumstances. Finally, this paper suggests that the androcentric inclination of the male compilers of the BQNZ and XBQNZ, or the sources on which the two collections are based, might have undermined eminent nuns’ prominence in upholding and spreading Buddhism. Such an androcentric bias is reflected in their selective use and adaptation of the materials. 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

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