11th Panchen Erdeni Successful In Buddhist Studies

On December 8,2000, thefifth anniversary of theenthronement of the 11thPanchen Erdeni, I visitedhim. Rising from his seat coufteously,the young Buddhist master extendedhis right hand to shake mine, saying"Ni Hao" (Chinese for "How do youdo?")Wow! His hand was tough andpowerful! He is no longer a boy. Hehas grown up, but is thin like a growing bamboo. We had a good chat, concentrating on his five-year study ofBuddhist doctrines, which is a topic ofextreme interest to the Chinese publicand…     

中国藏传佛教研究60年(英文)

<正>Tibetan Buddhism is not only one of the two branches of Mahayana Buddhism, but also one of the two most important and evolving traditions of the contemporary Buddhism world. It has     

Buddhist (Hybrid) Sanskrit Three Articles from a Panel of the XIIth Conference of the International Association of Buddhist Studies

Indo-Iranian Journal -     

文化融合视野下的宋代佛教史学

中国佛教史学是一个复杂的融合体。它既有佛教因子的影响,也有中国传统文化的痕迹,如易学、玄学、史学、理学等思潮对中国佛教史学形成与发展有着巨大的影响。本文即在佛教与中土文化融合的大视野下,以中国传统文化为切入点,着重阐释中国宋代佛教史家如何将中土传统文化融入到佛教史学视野中,从而成为中国佛教史学一个要素。     

晒佛圣典

<正>晒佛,也称展佛。所展示的佛像实际是一种特制的大唐卡,是卷轴画中极其稀少的珍品。展佛,即请出置放一年的巨大佛像在露天展示,一方面从保护的角度防止霉变和虫咬,更重要的是寺庙僧人和信教群众对佛祖朝拜供养的一种特殊方式。展佛之日,当东方第一缕曙光照射到大地之时即为佛像展开的最佳时辰,故展佛又称晒佛。晒佛又是佛教法会中一项最隆重的活动,人们常常通过这种盛大的圣会,来净化自己的心灵。拉萨每年8月12     

归义军时期敦煌佛教教团的道德观念初探

本文主要以敦煌文献为中心,结合归义军时期的历史现状,对归义军时期敦煌佛教教团的道德观念进行了初步的考察。通过研究我们发现,随着儒、释、道三教的日渐合一,佛教与儒学传统的意识形态和价值体系日益趋同,世俗的君臣关系、忠孝之儒家道德观念,成了佛教知识及其价值体系的重要内容,也是归义军时期敦煌佛教教团所遵守的基本准则。     

Flourishing Buddhist Activities

WhileTibet,onthewhole,issparselypopulated,theGyangzePlainontheUDDerreachesoftheNyangQuRiverhasaheavypopulationdensity.PriortotheDemocraticReforminl959,thispartoftheworldfellunderthejurisdictionofGyangzeCounty,dottedwith32manorsownedmainlybythreenobIefamil…     

两汉以来阳鸟崇拜的图像学研究——以佛教造像资料为例

从两汉以来,以凤凰为代表的阳鸟崇拜全面兴盛,佛教传入之后自然也渗透到佛教艺术当中,但反映的仍然是中国本土的思想观念。只是到了后期,源于佛教中的妙音鸟（迦陵频加）才取代阳乌大量出现在佛教图象中。本文即对佛教石窟中出现的阳鸟崇拜作一考察,并对其中的思想内涵进行探讨。     

中国佛教的文化景观

佛教文化景观是文化地理的重要内容之一,本文系统地介绍了我国佛教的起源、传播及景观,详细地论述了佛教的寺院殿堂、雕塑与绘画、佛教音乐与风俗等文化景观.     

佛教美术上的仁兽

本文考察了佛教美术中仁兽的表现形式及其详细情况.     

Buddhist Mercy for Tibetan Pheasants

The Garze Tibetan Ethnic Group Autonomous Prefecture is located on the southern tip of the Qinghai-Tibet Plateau, east of the Henduan Mountains, is a 7,323-square-km area full of thrilling scenery-none more so that the perennially snow-covered Buddhist holy land called Nyainqengonggar Risumgongbu. About 8 km away from the county seat is the Zhiyi (Four-Dragon) Monastery belonging to the White Sect of Tibetan Buddhism. It was built in the middle part of the Ming Dynasty (1368-1644), wh…     

A Treasure-House of Buddhist Paintings

Ａ　Ｔｒｅａｓｕｒｅ－Ｈｏｕｓｅ　ｏｆ　Ｂｕｄｄｈｉｓｔ　ＰａｉｎｔｉｎｇｓＡＴｒｅａｓｕｒｅ－ＨｏｕｓｅｏｆＢｕｄｄｈｉｓｔＰａｉｎｔｉｎｇｓ￥ＳＡＮＲＥＮＴｈｅＬａｂｒａｎｇＭｏｎａｓｔｅｒｙｉｎＱｉｎｇｈａｉＰｒｏｖｉｎｃｅｉｓｋｎｏｗｎｆａｒ...     

武则天称帝与图谶祥瑞--以S.6502《大云经疏》为中心

一、引言 中国的封建专制制度,绵亘近三千年.据统计,大大小小的君侯、皇帝不下六百多人.他们之能够身登大宝,不外三途:一靠自己打天下,二靠祖荫承袭,三靠骨肉相残.但是无论在哪种情况下登基,他们都需要打出自己的招牌--制造理论根据;他们都需要显示皇天后土的支持--制造图谶祥瑞.一句话,他们都想争取平民百姓恭听恭顺,都需要愚弄百姓,都需要麻醉百姓.这类事件,古今中外概莫能外.     

Gilt Brass Buddhist Statues in Tibet

Editor＇s note： After this issue, Chen Dan＇s Column - Tibetan Handicrafts will cease. We believe that readers have gained a real sense of the traditional handcrafts of Tibetans from both her text and the exquisite pictures.     

Painted Textiles in a Buddhist Temple

Abstract

This article investigates women's dye practice at a time when natural dyes were deemed obsolete, or when created by men working from an artisanal studio, transformed into idealized labour more consistent with the ideals of the Arts and Crafts Movement. The objective of this article is to assess the extent to which gender plays a role in the historical and contemporary determination of the aesthetic, cultural, and social value of natural dyeing. Another goal is to move away from the term 'craft work' with its acquired pejorative context and locate dyeing within 'artisanal practice' as an occupational choice. Current studies on women's participation in the Arts and Crafts Movement raise questions as to the distinction between amateur and professional status among practitioners in many media. The only dyer deemed to be 'professional' was William Morris; yet in north-west Ireland, the Scottish Highlands, and England's Lake District, female dyers contemporary with Morris also made important contributions. That their production of colour originated from the separate sphere of home need not mitigate against professional status nor historical value, but there is a lingering perception that men such as Morris possessed inherently superior abilities. The focus of this article is also to analyze the mythology of natural dyeing which has limited the opportunity to recognize female dyers whose practice aligned with the utopian ideals of the Arts and Crafts Movement. Three examples are discussed here against a brief summary of centuries of women's involvement in the business and trade of dyeing. The Arts and Crafts dyers discussed in this paper are also compared to Morris. Women's abilities as colourists were as worthy of professional designation as were those same skills when they emanated from men who comprised the Movement's elite.     

明代的佛教宝卷

对中国宝卷研究有很大影响的学者有两位：一是郑振铎先生,他在《中国俗文学史》第十一章《宝卷》中,把宝卷分为“佛教”和“非佛教”两大类,并认为宋代瓦子(公众娱乐场所)中的“说经”就是最早的宝卷。①另一位是李世瑜先生,他认为宝卷是民间教派的专用经卷,起于明代正德年间罗清的《五部六册》,否定了佛教宝卷的存在。②两位前辈的结论,都与中国宝卷产生和发展的历史不符。     

Past Glory of a Buddhist Kingdom

ＰａｓｔＧｌｏｒｙｏｆａＢｕｄｄｈｉｓｔＫｉｎｇｄｏｍＨＵＯＷＥＩＰｅｏｐｌｅｔｈｒｏｕｇｈｏｕｔｔｈｅｗｏｒｌｄｋｎｏｗＴｉｂｅｔｉｓｔｈｅＲｏｏｆｏｆｔｈｅＷｏｒｌｄ．ＢｕｔＩｂｅｔｔｈｅｙｈａｖｅｌｉｔｌｅｋｎｏｗｌｅｄｇｅａｂｏｕｔｔｈｅＲｏ...     

Glossy Ganoderma Vs Tibetan Buddhist Culture

EDITOR'S NOTE: Glossy Ganoderma (Ganoderma Lucidum) was traditionally taken as "fairy glass" or "auspicious grass." Many believed it would help prolong one's life. The author worked in Tibet and the areas inhabited by people of the Tibetan ethnic groups in Qinghai, Sichuan and Gansu provinces, and therefore had chances to observe and gather materials related to Glossy Ganoderma.China abouds in Glossy Gan-oderma ,and is there fore referred to as the "Kingdom of lossy Ganoderma." It ha…