Chapter 3. Akṣobhya Homa Fire Offerings for the Buddha of the Eastern Pure Land

Keyword(s):  
Author(s):  
Jacqueline I. Stone

Buddhists across Asia have often sought to die, as the Buddha himself is said to have done, with a clear and focused mind. This study explores the reception and development in early medieval Japan (roughly, tenth through fourteenth centuries) of the ideal of “dying with right mindfulness” (rinjū shōnen) and the discourses and practices in which it was embedded. By concentrating one’s thoughts on the Buddha at the moment of death, it was said, even the most evil person could escape the round of deluded rebirth and achieve birth in the Pure Land; conversely, even the slightest mental distraction at that juncture could send the most devout practitioner tumbling down into the evil realms. The ideal of mindful death thus generated both hope and anxiety and created a demand for ritual specialists who could help the dying to negotiate this crucial juncture. Examination of hagiographies, ritual manuals, doctrinal writings, didactic tales, diaries, and historical records uncovers the multiple, sometimes contradictory logics by which medieval Japanese approached death. Deathbed practices also illuminate broader issues in medieval Japanese religion that crossed social levels and sectarian lines, including intellectual developments, devotional practices, pollution concerns, ritual performance, and divisions of labor among religious professionals.


2021 ◽  
Vol 71 (1) ◽  
pp. 1-36
Author(s):  
Anne N. Feng

Abstract This paper reconsiders how and why the representation of landscape became an increasingly central component of Pure Land art in the Tang dynasty. Focusing on the seventh-century Cave 209, I examine the first set of mountain panels at Dunhuang, arguing that those polychrome landscapes represent Vulture Peak, the sacred abode of Śākyamuni Buddha. Cave 209 shows how Lady Vaidehī—the protagonist of the Meditation Sutra—emerges as the first female viewer of landscape in Chinese art. Departing from the Meditation Sutra, painters at Dunhuang resituate Lady Vaidehī, the formerly imprisoned royal consort and model Pure Land adept, within mountain ranges where she converses with the Buddha. I argue that Lady Vaidehī's encounter with the Buddha is mapped onto the space of a Dunhuang cave to enable the viewer to assume her position when facing the icon of Śākyamuni surrounded by Vulture Peak. By grappling with Vaidehī's imprisonment, painters use landscape to develop a new spatial imagery of salvation. I maintain that the striking innovations in landscape representation at Dunhuang—achievements that have been seen to anticipate later Tang “blue and green” landscapes—are in actuality based on an effort to visualize Buddhist soteriology in the early seventh century.


2019 ◽  
pp. 66-76
Author(s):  
Nadezhda N. Trubnikova ◽  

The article describes one of the examples of the ganmon genre in Japanese Buddhist literature: the text of Yoshishige-no Yasutane (933–1002), compiled in 985 for the commemoration rite of Princess Sonshi (addressee of Sanbō ekotoba) and included into the Honchō Monzui collection. In this ganmon, a noble woman appears as the incarnation of bodhisattva: although in childhood and youth the princess was a priestess of Kamo shrine, then became the sovereign's wife and only became a nun shortly before her death, her life choice is described as moving along the path of the Buddha to the rebirth in Pure Land. Like other compilers of gammon texts, Yasutane combines references to Buddhist scriptures with motifs from Chinese secular poetry. The rite of commemoration, of which he speaks, is indicative from point of view of the selection of Buddhist sutras presented to the temple – those that were most popular in Japan and were considered especially useful for women. Among the Japanese texts about Kannon (Avalokiteśvara), this gammon is interesting by the sense in which the fate of a woman, in her life and after death, can be considered the realization of the Bodhisattva's merciful practice. The article is accompanied by translation of the Yasutane’s ganmon


Author(s):  
Jacqueline I. Stone

Auspicious signs attesting to particular individuals’ ōjō gave assurance to the bereaved that their dead had indeed achieved the Pure Land. They legitimated the practices of specific religious communities and were also linked to the forming of favorable karmic connections (kechien)—to teachings, persons, places, or objects—deemed able to assist one’s own efforts to achieve ōjō. Signs showed which practitioners, living or dead, were worthy of reverence as objects of kechien. Corporeal signs, such as remarkable preservation of the corpse, helped people to negotiate otherwise incommensurable understandings of death as both defiling and as the moment of encounter with the Buddha. Identifying auspicious signs, often through revelatory dreams, also allowed those concerned to cope with deaths that would otherwise have seemed senseless or tragic by recasting them as instances of ōjō. Since signs could be recognized only by the living, ōjō as a social fact was determined by survivors.


Author(s):  
Robert Szuksztul

Tekst podejmuje analizę Sukhāvatī – świata („pola buddy”) Amitabhy, określanego również jako Czysta Kraina. Pewne jej cechy – przynajmniej na pozór – odbiegają od standardowych wyobrażeń na temat buddyzmu. Skłaniało to niektórych badaczy do poszukiwań bezpośrednich zapożyczeń z innych religii i kultur, co miało wyjaśnić źródło nazwy, położenie i cechy tej krainy. Charakterystyki te można jednak bardziej przekonująco wyjaśnić, analizując proces ewolucji samego buddyzmu, co stanowi główne zadanie tej pracy. Tekst podzielony został na dwie części. W części pierwszej przedstawione jest założenie o wewnątrzbuddyjskich źródłach pochodzenia Sukhāvatī wraz z uzasadnieniem tego wyboru. Następnie omówiona zostanie ewolucja buddyjskiej wizji kosmologicznej, która ostatecznie doprowadziła do koncepcji pól buddów, w tym Sukhāvatī. Część druga poświęcona zostanie analizie charakterystyk tej krainy w świetle Krótkiej i Długiejsutry Sukhāvatīvyūha, w kontekście innych tekstów buddyjskich, aby wykazać, że Sukhāvatī skupia w sobie następujące buddyjskie wątki: (a) w warstwie wizualnej przedstawienie raju, (b) w wymiarze niematerialnym aktywność nirwany, (c) w aspekcie ścieżki łatwe praktyki charakteryzujące warunki odrodzenia dla niższych niebios. Characteristics of The Land of Sukhāvatī in The Context of Changes in Buddhist Cosmology and Soteriology. Part One The text analyses Sukhāvatī – Amitābha’s purified buddha field, also known as the Pure Land. The vision of Sukhāvatī became immensely popular in Indian Mahāyāna Buddhism, and in East Asia it started a new Buddhist tradition. Some of its features – at least on the surface – differ from standard ideas about what Buddhism is. The descriptions of the activity of the Buddha Amitābha, who brings salvation to all beings, by enabling them to be reborn and live a blissful and virtually endless existence in his paradise land of Sukhāvatī, where achieving the ultimate goal of Buddhist practice is quick and easy, led to attempts at showing the structural similarities of this tradition with, for example, Christianity. There were also attempts at proving direct borrowings from other religions and cultures, which was supposed to explain the source of the name, location and characteristics of this land. These characteristics, however, can be more convincingly explained by analysing the process of evolution of Buddhism itself, which is the main focus of this work. Due to its volume, the text is divided in two parts. The first part defends the assumption about the intra-Buddhist origins of Sukhāvatī and the justification for this choice in the context of various other theories about the origin of that land. Then the evolution of the Buddhist cosmological vision that eventually led to the concept of purified buddha fields, including Sukhāvatī, will be discussed. The second part will be devoted to an analysis of the characteristics of this land in the light of the Shortand Long Sukhāvatīvyūhasutras, and in the context of other Buddhist texts, to show that Sukhāvatī combines the following Buddhist themes: (a) in the visual layer, the presentation of a paradise, an ideal land that lacks any existential ills, (b) in the non-material aspect, the activity of nirvāṇa, (c) in the dimension of the Buddhist path, the easy practices that characterise the conditions of rebirth for the lower heavens.


Open Theology ◽  
2018 ◽  
Vol 4 (1) ◽  
pp. 342-354
Author(s):  
Gordon Bermant

Abstract Dennis Hirota is a modern master of Shin Buddhism who for several decades has explicated the role of natural language in fostering Buddhist awakening. At the core of his oeuvre is the claim that Shin Buddhism’s founder, Shinran Shonin (1173-1263), accepted the earlier Mahayana teaching of nondual awareness as a necessary condition for awakening. Shinran’s unique contribution was to insist that ordinary persons were, as a matter of historical circumstance, incapable of the disciplines required to arrive at non-dual awareness. It was just this circumstance that the historical Buddha foresaw when he taught the Larger Pure Land Sutra, in which the mind of the Buddha Amida, perfect wisdom and compassion, became available to ordinary people who call his Name in joyful sincerity. This is a difficult teaching of “non-practice” that embraces many subtleties. As a heuristic to ease the way into Shinran as Hirota presents him, this paper introduces a painting by the modern Japanese scientist and artist, Iwasaki Tsuneo. This is not a “Shin painting,” but certainly a “Mahayana painting” that connects the aspiration of an ordinary person to ultimate truth through the text of the Heart Sutra, arguably the quintessential Buddhist teaching of non-dual awareness.


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