BuddhistRoadPaper 5.6 "Light on ‘Art in the Dark’: On Buddhist Practice and Worship in the Mogao Caves"

This piece has partly been written in response to a series of claims put forward by Robert Sharf almost a decade ago in his article Art in the Dark in which he argues that the Buddhist caves in Dunhuang (and elsewhere in China and Central Asia) were not for worship, but were created as a sort of ancestral memorials, or decorated mausoleums meant to be left in the dark. Given that the implications of such reading of Buddhist cave-art in the Sinitic cultural-sphere would surely have a profound impact on our overall understanding of Buddhist ritual practices and cave-art, should Sharf’s readings turn out to be correct, the evidence and speculations he uses as underpinnings for his line of argument in particular merit closer scrutiny. Moreover, as he touches upon a range of other related issues, all of which concern Buddhist ritual practices one way or another, it seems worthwhile to devote a lengthier essay to a more detailed discussion.

Тувинская рукопись «Сутры о восьми хулилах»

The article aims to introduce a manuscript of the “Sūtra of Eight Khulils” in Mongolian, part of the collection in Aldan-Maadyr National Museum of the Tuva Republic. The idea of eight khulils, or eight trigrams, which symbolize eight great elements (fire, earth, metal, sky, water, mountain, wood, and air / wind) and form the basis of the Tibetan-Mongolian astrological system may be traced back to ancient Chinese divinatory practices which one can find in Yi jing, or Book of Changes. Despite the title, the Sūtra has nothing in common with canonical Mahāyāna sūtras either in content or composition. No parallel work of the Tibetan canon identified as an original for the sutra in question, assumingly, it is either a translation from Chinese or of purely Mongolian origin. The body of the text is preceded by schematic pictures of eight khulils, supplied with indications of eight directions (life, health, luck, happiness, evil, illness, evil spirit and five demons), each direction having eight combinations that are differently positioned (south, north, east, west and four intermediary directions), depending on khulil. Then, there is a short instruction on what one should or should not do in these eight directions, as well as an explanation of negative consequences of abiding in each of the eight khulils and methods of their neutralization. This passage contains a list of places and situations that should be avoided, including demons (albin, aišiginar (Skt. piśāca), bug demons, demons of curses, etc.) that can do harm to humans, diseases, unfavorable objects, beings, types of food, as well as unfavorable directions and time periods. Also, Buddhist texts and various offerings needed for the ritual are mentioned, such as “Vajravidāraņa-dharaṇī”, “Sitātapatrā-dharaṇī”, “Sutra of Eight Luminous of Heaven and Earth”, and “Paňcarakṣā”. Of great interest are the respective lists of Buddhist ritual texts, dungli and kereg ritual offerings, classifications of Bon and Buddhist priests to perform such rituals, and lamas who can take donations; their further investigation may shed additional light on the Buddhist practices of the Mongolian peoples. The fact that the manuscript repository of the National Museum of the Republic of Tuva includes about sixteen texts devoted to eight khulils may indicate that khulil divination was quite widespread and popular in the local tradition of Tuvan Buddhism.

Bliss beyond All Limit: On the Apabhraṃśa Dohā in Tantric Buddhist Texts

The Apabhraṃśa dohā is a literary medium from Indian antiquity, with early examples appearing in Kālidāsa’s plays around the 5th century and continuing in later Hindi-language Jain and Bhakti works in the early modern period. However, it was within Tantric Buddhist texts and traditions that the dohā truly came into its own as a literary genre. Particularly within the “Yoginī Tantra” strata of the Tantric Buddhist canon, Apabhraṃśa dohās appear in notable and formulaic ways, used within ritual contexts and other significant junctures, signaling the underexamined use of this literary form and its language of composition. This paper examines the use of dohās attributed to the mahāsiddha Saraha as they are used in the Hevajra Tantra, the Buddhakapāla Tantra, and some associated texts. In doing so, this paper demonstrates that as a literary genre, Apabhraṃśa dohās perform a similar function to mantras and dhāraṇīs, but are unique in their attention to phonology and discursive meaning. By examining the uses of these dohās during particular moments of Tantric Buddhist ritual syntax, this paper will then reflect on the later trajectory of these verses after the death of institutional Buddhism in India, and the reasons for their survival.

A Pragmatics of Ritual: The Yoshida Goma at the Interface of Shintō and Shingon

Drawing on practices and teachings from Daoism, neo-Confucianism, and tantric Buddhism, Yoshida Kanetomo (1435–1511) created the system of Yuiitsu Shintō, also known eponymously as Yoshida Shintō, all the while making claims for Shintō as the world’s original religion. Important for the establishment of Yoshida Shintō was the creation of a program of rituals. This essay examines one of the three rituals created for the Yoshida ritual program, the Yoshida Shintō goma ritual, which hybridizes tantric Buddhist ritual organization and Daoist symbolism. A pragmatics of ritual is developed as a means of identifying the factors that Yoshida felt were salient in presenting the goma as a Yoshida Shintō ritual.

Precious Items Piling up Like Mountains: Buddhist Art Production via Fundraising Campaigns in Late Koryŏ Korea (918–1392)

Considering visual culture alongside written source material, this article uncovers the socioeconomic aspect of Korean Buddhist monastic life, which has been a marginalized field of research. Arguing against the idea of an “other-worldly” Buddhism, the article specifically discusses the ways in which Buddhist monasteries conducted fundraising activities in late Koryŏ period (918–1392 CE) Korea. Via fundraising strategies, which targeted wealthy aristocrats as well as the commoner population, Buddhist monks managed the production and maintenance of Buddhist material culture, such as the construction of shrines, the casting of precious sculptures, and the carving of thousands of woodblocks used for the printing of sacred Buddhist scriptures. While the scholarship on Koryŏ Buddhism has traditionally focused on meditation, doctrine, state sponsored rituals, and temples’ relationships with the royal court, this study expands the field by showing that economic activities were salient features of Koryŏ Buddhism “on the ground.” By initiating and overseeing fundraising activities, Buddhist manager-monks not only gained merit, but also maintained the presence and physical appearance of Buddhist temples, which constitute the framework of Buddhist ritual and practice.

Buddhist Ritual as “Connectionwork”: Aesthetics and Technologies of Mediating Religious Belonging

In September 2016, the Himalayan Buddhist festival Naropa 2016 took place in the Northwest Himalayan region of Ladakh, India. This article analyzes the spectacular aesthetics of the Naro Gyen Druk ritual, the focus of Naropa 2016. Drawing on ethnographic documentation of this ritual, I consider the role of ritual aesthetics in provoking affective, emotional, and bodily experiences among participants and their felt connections to the 12th Gyalwang Drukpa, the charismatic leader of the Drukpa Kagyü organization. I introduce the term “connectionwork” to emphasize how Buddhist conceptualizations of connections, drelwa (‘brel ba), bring to light how ritual and performances of charisma either work or fail to work in establishing religious belonging among Himalayan and international participants. Connectionwork helps to emphasize not only the work to organize and orchestrate religious rituals with the intention to institute religious belonging, but also the agential role that participants play in charismatic ritual performances.

The Translation of Buddhism in the Funeral Architecture of Medieval China

This article explores the Buddhist ritual and architectural conventions that were incorporated into the Chinese funeral architecture during the medieval period from the 3rd to the 13th centuries. A careful observation of some key types of sacred architectural forms from ancient East Asia, for instance, pagoda, lingtai, and hunping, reviews fundamental similarities in their form and structure. Applying translation theory rather than the influence and Sinicization model to analyze the impact of Buddhism on Chinese funeral architecture, this article offers a comparative study of the historical contexts from which certain architectural types and imageries were produced. It argues that there was an intertwined mutual translation of formal and ritual conventions between Buddhist and Chinese funeral architecture, which had played a significant role in the formations of both architectural traditions in Medieval China.

Trees as Village Protectors, Guru Rinpoche’s Wayfinders and Adopted Family Members

Forests occupy a large amount of territory in the contemporary state of Sikkim. However, their ubiquitousness should not be interpreted as a signal that Sikkimese communities are inherently environmentally friendly. Historically trees have been exploited as fuel for human use; but they have also fueled forms of interspecies relationality and sustained ecosystems, health for multiple species, folklore, history and ritual life. Just as trees have different parts—the roots, the trunk, the branches, and the foliage—so do Sikkimese relationships with trees. In this paper, I will draw on Buddhist ritual literature, oral sources related to traditional forest management, and state-level forest management materials to examine the complexity of tree traditions in conversation with other global examples of tree veneration traditions. In Sikkim, human-tree relationality evades politicization and state control in the Anthropocene, and offers an alternative local environmental ethics.

Buddhist Pilgrimage and the Ritual Ecology of Sacred Sites in the Indo-Gangetic Region

In contemporary India and Nepal, Buddhist pilgrimage spaces constitute a ritual ecology. Not only is pilgrimage a form of ritual practice that is central to placemaking and the construction of a Buddhist sacred geography, but the actions of religious adherents at sacred centers also involve a rich and diverse set of ritual observances and performances. Drawing on ethnographic research, this paper examines how the material and corporeal aspects of Buddhist ritual contribute to the distinctive religious sense of place that reinforce the memory of the Buddha’s life and the historical ties to the Indian subcontinent. It is found that at most Buddhist sites, pilgrim groups mostly travel with their own monks, nuns, and guides from their respective countries who facilitate devotion and reside in the monasteries and guest houses affiliated with their national community. Despite the differences across national, cultural–linguistic, and sectarian lines, the ritual practices associated with pilgrimage speak to certain patterns of religious motivation and behavior that contribute to a sense of shared identity that plays an important role in how Buddhists imagine themselves as part of a translocal religion in a globalizing age.