World of the Buddha: An Introduction to Buddhist Literature

1983 ◽  
Vol 103 (4) ◽  
pp. 812
Author(s):  
James P. McDermott ◽  
Lucien Stryk
Author(s):  
Reiko Ohnuma

This book focuses on the imagery and roles of nonhuman animals in premodern South Asian Buddhist literature. Part I examines the animal realm of rebirth in Buddhist doctrine and cosmology and shows that early Buddhist literature depicts the animal rebirth as a most “unfortunate destiny” (Skt. durgati), won through negative karma and characterized by violence, fear, suffering, and a lack of wisdom, moral agency, or spiritual potential. It also shows that although animals are capable of being reborn in heaven, the means by which this occurs are passive in nature, highly dependent upon the physical presence of a buddha, and categorically inferior to the spiritual cultivation unique to human beings alone. In contrast, Part II looks at the thinking, speaking, and highly anthropomorphized animals that populate many previous-life stories of the Buddha (jātakas). Not only do these animals exhibit wisdom and moral agency, they also use their powers of speech to condemn humanity for its moral shortcomings and expose humanity’s rampant abuse and exploitation of the animal world. Part III examines the roles played by major animal characters within the life-story of the Buddha, arguing that certain animal characters can be seen as “doubles” of the Buddha, illuminating the Buddha’s character through comparison with an animal “other.” Throughout the book, the author shows that humanity’s relationship to the animal is forever characterized by a simultaneous kinship and otherness, identity and difference, attraction and repulsion—and that discourse surrounding animals is primarily aimed at illuminating the nature of the human.


MANUSYA ◽  
2008 ◽  
Vol 11 (3) ◽  
pp. 84-92
Author(s):  
Santi Pakdeekam

This article studies and analyzes the literary elements of the Sāstrā Lbaeng. The “Sāstrā Lbaeng” or “Lbaeng Story” is a genre of medieval Khmer literature, which was composed to provide pleasure and entertainment for its readers. The literary elements of the Sāstrā Lbaeng include nine elements: 1) The eulogies of the Sāstrā Lbaeng classified into three types based on the language used, namely, Pāli, Khmer and Pāli-Khmer eulogies; 2) The date of composition, written after the eulogy; 3) The poet’s critical remarks about his work giving information about the author’s name, identity and career; 4) The purpose of the Sāstrā Lbaeng as being mostly to maintain Buddhism; 5) The source in Buddhist literature which inspired the composition; 6) The opening and setting, which are influenced by the “Story of the present” of the Jātaka literature; 7) The content which reflects the influence of Buddhist concepts; 8) Prachum Jātaka or Samodhāna explains the identity of the characters during the life time of the Buddha; 9) Some of the Sāstrā Lbaeng includes the aspiration of the poet or the audience to attain Nirvana. More than one topic may be included in the postscript.


2008 ◽  
Vol 51 (2) ◽  
pp. 137-185
Author(s):  
Jonathan A. Silk

AbstractOf the myriad tales found in Indian Buddhist literature, the story of Dharmaruci is, from many points of view, among the more interesting, engaging as it does iconic themes of incest and patricide. A great deal may be said about this story, particularly in comparison with the tale of Mahādeva, the schismatic monk blamed by some for the initial rupture in the Buddhist monastic community roughly a century after the death of the Buddha. Any detailed study of this story, as of any such story, however, naturally requires the best possible textual sources. The present contribution, therefore, is dedicated in the first place to an effort to establish the textual basis for the Dharmaruci story in Indian sources in Sanskrit, as found in the Divyāvadāna collection, and upon that basis in Kemendra's Bodhisattvāvadānakalpalatā.


T oung Pao ◽  
2019 ◽  
Vol 105 (3-4) ◽  
pp. 357-400
Author(s):  
Kevin Buckelew

AbstractAccording to many recent scholars, by the Song dynasty Chan Buddhists had come to identify not primarily as meditation experts—following the literal meaning of chan—but rather as full-fledged buddhas. This article pursues a deeper understanding of how, exactly, Chan Buddhists claimed to be buddhas during the eighth through eleventh centuries, a critical period in the formation of Chan identity. It also addresses the relationship between Chan Buddhists’ claims to the personal status of buddhahood, their claims to membership in lineages extending back to the Buddha, and their appeals to doctrines of universal buddhahood. Closely examining Chan Buddhists’ claims to be buddhas helps explain the tradition’s rise to virtually unrivaled elite status in Song-era Buddhist monasticism, and illuminates the emergence of new genres of Chan Buddhist literature—such as “discourse records” (yulu)—that came to be treated with the respect previously reserved for canonical Buddhist scriptures.


Author(s):  
Robert E. Buswell Jr.

Numinous Awareness is Never Dark examines the issue of whether enlightenment in Zen Buddhism is sudden or gradual: that is, something achieved in a sudden flash of insight, or through the gradual development of a sequential series of practices. In Excerpts, the Korean Zen master Chinul (1158-1210) offers one of the most thorough treatments of this “sudden/gradual issue” in all of premodern East Asian Buddhist literature, including extensive quotations from a wide range of his predecessors in Chinese and Korean Buddhism on the sudden/gradual issue. In Chinul’s analysis, enlightenment is actually both sudden and gradual: an initial sudden awakening to the numinous awareness, the buddha-nature, that is inherent in all sentient beings, followed by gradual cultivation that removes the deep-seated habitual proclivities of thought and conduct that continue to appear even after awakening. Chinul’s preferred approach of “sudden awakening/gradual cultivation” becomes emblematic of the subsequent Korean Buddhist tradition. In addition to an extensive study of the contours of the sudden/gradual debate in Buddhist thought and practice, the book also includes a complete, copiously annotated translation of Chinul’s magnum opus. In Buswell’s treatment, Chinul’s Excerpts emerges as the single most influential work ever written by a Korean Buddhist author.


Religions ◽  
2019 ◽  
Vol 10 (12) ◽  
pp. 658
Author(s):  
Wen Sun

Chinese translations of Buddhist sūtras and Chinese Buddhist literature demonstrate how stūpas became acknowledged in medieval China and how clerics and laypeople perceived and worshiped them. Early Buddhist sūtras mentioned stūpas, which symbolize the presence of the Buddha and the truth of the dharma. Buddhist canonical texts attach great significance to the stūpa cult, providing instructions regarding who was entitled to have them, what they should look like in connection with the occupants’ Buddhist identities, and how people should worship them. However, the canonical limitations on stūpa burial for ordinary monks and prohibitions of non-Buddhist stūpas changed progressively in medieval China. Stūpas appeared to be erected for ordinary monks and the laity in the Tang dynasty. This paper aims to outline the Buddhist scriptural tradition of the stūpa cult and its changes in the Chinese Buddhist Canon, which serves as the doctrinal basis for understanding the significance of funerary stūpas and the primordial archetype for the formation of a widely accepted Buddhist funeral ritual in Tang China.


MANUSYA ◽  
2005 ◽  
Vol 8 (2) ◽  
pp. 30-43
Author(s):  
Pisit Kobbun

The use of pucchā-vissajjanā, question and answer, in the Pāli suttas reflects its significance as a literary technique for communicating the teachings of the Buddha. Pucchā-vissajjanā is a technique for teaching the dhamma employed by the Buddha and his disciples. It is a mnemonic technique for conveying and maintaining the teachings in the oral tradition and was kept as a written record until it becomes a tradition technique in composing post-Tipitaka Buddhist literature. When regarding the suttas as a textbook, the use of pucchā-vissajjanā in the suttas is important for the study of dhamma-vinaya. Constructing the suttas according to the pucchā-vissajjanā technique is favorable for dhamma practice and concentration-development. The pucchā-vissajjanā process is well in accord with the process of concentration-development for developing wisdom. As a result of this, those who study the suttas (the story being developed through pucchā-vissajjanā) will thereby certainly be practicing concentration while studying the text.


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


2021 ◽  
Vol 06 (01) ◽  
pp. 29-42
Author(s):  
A. Nanda

In the early strata of Buddhist literature, the Buddha is depicted as the man perfected, who is sometimes referred as ‘one who endowed with eye’ (cakkhumanta). (Suttanipāta verses 160, 405 & 540; Dīghanikāya II 123, 166, 167 & 256; Dhammapāda verse 273). ‘Endowed with eyes’ could be interpreted as ‘spiritual insight’ or ‘wisdom’. In the later Pāli literature, this concept was allegorically referred to as ‘fivefold’. However, the epithet has not always been associated with the Buddha, and other mendicants were often referred to as cakkumanta (Dīghanikāya II 254; Dhammapāda verse 273). For example, in the Mahāsamaya sutta of Dīghanikāya, it had been used to describe monks in general. In the modern field of the Theravāda Buddhalogy, less attention has been given to the concept of the fivefold eye of the Buddha. An extensive search for scholarly works in this area will startle a serious researcher by its glaring omission. A brief mention is found in Toshiichi Endo’s book on ‘Buddha in Theravāda Buddhism: A Study of the Concept of Buddha in the Pāli Commentaries’ (2002). He touched on the concept as explained in the Pāli commentaries, skipping over the issue of origins and development of the concept. Therefore, my primary goal here is (i) to explore the concept of the fivefold eye of the Buddha in the Pāli commentaries, and (ii) to attempt to trace its origins and development. I argue that the fivefold eyes of the Buddha developed in the process of apotheosis of the Buddha, which was prompted by emerging challenges of different religious and social challenges, particularly devotionalism of Brahmanism. It is a textual study. The main source of this study is Pāli canon and commentaries. It also referred to the Mahāvastu-Avādana in order to show a historical development and a comparative analysis of the fivefold eyes of the Buddha.


Author(s):  
Jan Westerhoff

This section summarizes three main conclusions about the Buddhist philosophical enterprise: 1. Assessing different parts of Buddhist literature according to the question whether this is ‘what the Buddha really taught’ is not very helpful. 2. Buddhist philosophy is intricately bound up with the performance of cognitive exercises or meditative techniques. 3. It is important to engage with the problems and concepts the Indian Buddhist texts are concerned with in a systematic manner.


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