Exemplary Death

Author(s):  
Jacqueline I. Stone

Premodern Japanese hagiographies called ōjōden provide a model of ideal death. Persons who are to be born in Pure Land withdraw before dying to a separate room or chapel (mujōin), which helped separate them from worldly attachments (and also protected the living from death pollution). There they lie or sit upright before a buddha image and pass away calmly, chanting the nenbutsu, the Lotus Sutra, or other holy invocations. Afterward, marvelous signs manifest, such as purple clouds or unearthly music. Such signs both inspired and were shaped by Buddhist art and liturgical performances. Since survivors could not know whether the deceased had died with a focused mind or not, conformity to this model was the standard by which a good death was judged as such. Exemplary death was both the cause for achieving birth in the Pure Land and the “proof” that it had been achieved.

1955 ◽  
Vol 13 (3) ◽  
pp. 415
Author(s):  
Prudence R. Myer ◽  
J. LeRoy Davidson
Keyword(s):  

1955 ◽  
Vol 18 (1/2) ◽  
pp. 265
Author(s):  
Michael Sullivan ◽  
J. Leroy Davidson
Keyword(s):  

1955 ◽  
Vol 14 (3) ◽  
pp. 409
Author(s):  
Benjamin Rowland ◽  
J. Leroy Davidson
Keyword(s):  

Author(s):  
Chuan-Ying Yen

In early Indian Buddhist art, numerous stupas were erected to store relics commemorating a past Buddha instead of depicting the death of Sakyamuni. Relic cult is the focus of Buddha worship, but in early Chinese Buddhist art, nirvana scenes were not the focus of Buddha’s life, which was an idealized legend. The development and expression of the nirvana image (which symbolizes the transmission of the dharma) with new styles shows how Buddhism adapted to local traditions as it spread into China. From the second half of the sixth century, the nirvana scene was depicted as lamenting the deceased. At the end of the seventh century, nirvana versions were dramatized and glorified in monumental works and blended in with more popular images based on scenes from the Lotus Sutra; this expressed the idea that the dharma is constantly regenerated and was more in line with the hopes and desires of the Chinese people.


2018 ◽  
Vol 35 (1-2) ◽  
pp. 125-134
Author(s):  
Anālayo Bhikkhu

With the present paper I study and translate a discourse in the Ekottarika-?gama preserved in Chinese of which no parallel in other discourse collections is known. This situation relates to the wider issue of what significance to accord to the absence of parallels from the viewpoint of the early Buddhist oral transmission. The main topic of the discourse itself is perception of impermanence, which is of central importance in the early Buddhist scheme of the path for cultivating liberating insight. A description of the results of such practice in this Ekottarika-?gama discourse has a somewhat ambivalent formulation that suggests a possible relation to the notion of rebirth in the Pure Abodes, suddh?v?sa. This notion, attested in a P?li discourse, in turn might have provided a precedent for the aspiration, prominent in later Buddhist traditions, to be reborn in the Pure Land.


2013 ◽  
Vol 4 (1) ◽  
pp. 16-20 ◽  
Author(s):  
Kate Durie
Keyword(s):  

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