Daoist Canon

Author(s):  
Fabrizio Pregadio

The term daozang道藏, commonly rendered as “Daoist Canon,” originally referred to collections of texts kept in Daoist establishments. Later, the same term was also used to designate a series of major compendia of Daoist texts, usually compiled by imperial decree and distributed to temples throughout China. While these compendia may be deemed to reflect the Daoist orthodoxy at the different periods of their compilation, this is not implied in the term daozang itself, which does not literally mean “canon,” but only “repository of the Way.” The Daoist Canon of the Ming dynasty—published in 1445 and known as the Zhengtong Daozang正統道藏, or Daoist Canon of the Zhengtong Reign Period—is the last of these collections and the only one extant. A supplement entitled Xu Daozang jing續道藏經, or Sequel to the Scriptures of the Daoist Canon, was added in 1607, and since then has been an integral part of the collection. Together, the two parts of the Canon contain almost 1,500 works. As described in more detail in different sections of this bibliography, the roots of the Daoist Canon lie in a now-lost catalogue compiled in the late 5th century, which classified scriptures into three broad categories corresponding to the main Daoist traditions of that time. Additional categories were added about one and a half centuries later, to take account of textual corpora that had been disregarded in the former classification. After the first Canon was compiled in the mid-8th century, works related to newly created schools and lineages were progressively added to the earlier collections, while older works were omitted owing to loss or to editorial decisions. The result of this evolution is the present-day Daozang, which contains sources related to all major Daoist branches and lineages until the mid-15th century. While the Daozang as we know it is still formally organized according to the classification of scriptures devised one millennium before its publication, it does not use distinctions that originate outside of Daoism, such as those between “philosophical” and “religious” texts, or between daojia道家 (a term often understood as “philosophical Daoism”) and daojiao道教 (so-called “religious Daoism”). The Zhonghua Daozang中華道藏 or Daoist Canon of China, published by the Huaxia Chubanshe in 2003, is the first new edition of the Canon since the Zhengtong Daozang. Besides the entire Canon, it includes additional texts, such as transcriptions of about sixty Dunhuang manuscripts. Instead of following the traditional plan of the Canon, texts are arranged into broad headings such as lineages, literary genres (ritual compendia, hagiography, descriptions of practices, encyclopedias, etc.), and commentaries on major texts. While texts are punctuated and the new arrangement may be clearer to a modern user, the large majority of scholars, both in China and elsewhere, continue to refer to the Zhengtong Daozang in their studies.

T oung Pao ◽  
2014 ◽  
Vol 100 (4-5) ◽  
pp. 404-459 ◽  
Author(s):  
Peng Xu

This article examines the gendering of singing in the last few decades of the Ming dynasty and its connections with certain specific sonic environments. By reading together an assemblage of texts of a hybrid nature and considering each one as a complex literary or pictorial production growing out of the vibrant singing culture of the day, the author reconstructs the way in which certain soundscapes influenced and harmonized with two contrasting modes of vocal performance—the intimate “oriole”-like singing and the more masculine “crane” performing style. One observes further the rise of a new singing style that mingled the gendered categories of singing prevailing at the time and was related to the flourishing of outdoor singing festivals starting from the 1570s.
Cet article s’intéresse à la sexualisation de l’art du chant pendant les dernières décennies des Ming et à la façon dont elle était connectée avec certains environ-nements acoustiques particuliers. La lecture combinée d’une série de textes de nature hybride, considéré chacun comme une production littéraire ou picturale complexe née du dynamisme qui marquait la culture vocale de l’époque, permet à l’auteur de reconstituer la façon dont certains “paysages acoustiques” influençaient deux modes contrastés d’interprétation vocale — le style intime assimilé au chant du loriot et le mode d’interprétation plus masculin associé à celui de la grue — et s’harmonisaient avec eux. On observe en outre l’émergence d’un nouveau style vocal qui mêle les catégories sexualisées prévalant alors dans l’art du chant et qui est associé à l’essor des festivals de chant en plein air à partir des années 1570.



NAN Nü ◽  
2007 ◽  
Vol 9 (1) ◽  
pp. 111-145
Author(s):  
Kimberly Besio

AbstractThis essay examines representation of male friendship in Ming vernacular literature through an analysis of works that retell the story of two late Han friends, Fan Juqing and Zhang Yuanbo. Throughout the Ming, versions of the tale were produced in a variety of literary genres including a zaju play and a vernacular short story. Both the drama and the short story are extant in multiple editions, providing us insights into how they were interpreted by various literati editors. The durability of the friendship between Fan and Zhang—an essential aspect in all depictions of their story—is vividly evoked by the phrase that characterizes their relationship in dramatic literature: "a friendship of metal and stone." The late Ming editions of the play and the short story underline the two friends' unbending commitment to their friendship through a variety of textual and paratextual additions and emendations. In the hands of these late Ming literati editors the two friends Fan and Zhang thus become heroic figures worthy of eternal respect.


2021 ◽  
Vol 26 (2) ◽  
pp. 151-180
Author(s):  
Doyoung Koo

This paper examines changes and trends in tributary gifts (pangmul 方物) sent by Chosŏn regular envoys to the Ming Emperor during the 15th and 17th centuries. First, pangmul items sent by the Chosŏn to the Ming were partially inherited from the Koryŏ era. Second, it examines how King Sejong’s 1429 request that the Chosŏn court pay its tribute by means other than gold and silver led the court to offer specialty goods as tribute instead of precious metals. It then moves on to explore how economic scarcity resulting from the Imjin Wars of 1592 led Chosŏn pangmul to be composed mostly of folding fans and stationery items such as paper (kyŏngmyŏnji, paekmyŏnji, and oil paper), inkstones (hwayŏn), ink (chinmuk and yumaemuk) and writing brushes (hwangmopil)–the dynasty’s common, major export goods. After the war, the Chosŏn dynasty regained stability and returned to its pre-war pangmul practices. However, the pangmul were not completely fixed and showed tentative patterns, going back and forth between the practices of the 15th century and the new circumstances of the 17th century. In short, this paper explores how pangmul practices were not completely fixed, and how contingencies such as the war and the changing landscape of manufacturing in 16th-century Korea influenced the composition of Chosŏn pangmul.


2012 ◽  
Vol 3 (3) ◽  
pp. 26
Author(s):  
William Acevedo ◽  
Mei Cheung

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">In 1550 d.C. China’s splendor during the Ming Dynasty was threatened by hostiles forces in the northern border as well as its eastern coasts. The appearance of Qi Jiguang, one of the most famous Chinese generals would change the way China trained its military leading to the creation of its first professional army. The following article will discuss the contributions of General Qi Jiguang and his legacy, which is carried on by one of the most powerful armies in the world, The People’s Liberation Army.</span></span></span></p>


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