Buddhism

The Abhisamayālaṃkāra (Ornament for clear realization) is an instructional treatise on the Prajñāpāramitā, or Perfect Wisdom, whose authorship is traditionally attributed to Maitreyanātha (c. 350 ce). As a technical treatise, the Abhisamayālaṃkāra outlines within its 273 verses the instructions, practices, paths, and stages of realization to omniscient buddhahood mentioned in Prajñāpāramitā scriptures. In its abridged description, the Abhisamayālaṃkāra furnishes a detailed summary of the path that is regarded as bringing out the “concealed meaning” (sbas don, garbhyārtha) of Prajñāpāramitā. The Abhisamayālaṃkāra contains eight chapters of subject matter, with a summary of them as the ninth chapter. The eight subjects (padārtha) of the eight chapters (adhikāra) correspond to eight clear realizations (abhisamaya) that represent the knowledges, practices, and result of Prajñāpāramitā. The Abhisamayālaṃkāra’s eight clear realizations are types of knowledge and practices for bodhisattvas (“buddhas-in-training”) to achieve buddhahood set forth within the system of the five paths (lam lnga, *pañcamārga) common to Indian abhidharma and Yogācāra literature. The first three clear realizations are types of knowledge that comprise Perfect Wisdom. Total Omniscience, or the wisdom of all aspects (sarvākārajñatā, rnam pa thams cad mkhyen pa nyid), is regarded as the fundamental wisdom and the central concept of Prajñāpāramitā. Total Omniscience is direct, unmediated knowledge that exactly understands the manner of reality to its fullest possible extent in all its aspects. Path-omniscience (mārgajñatā, lam shes nyid) comprises the Buddhist path systems of śrāvakas, pratyekabuddhas, and bodhisattvas mastered by bodhisattvas. Empirical Omniscience (vastujñāna, gzhi shes) cognizes empirical objects in conditioned existence that are to be abandoned. It correlates to knowledge that is comprehended by śrāvakas and pratyekabuddhas. The path to buddhahood itself and the detailed means of its application are covered in the Abhisamayālaṃkāra by the fourth through seventh clear realizations. The fourth chapter is devoted to the realization of wisdom of all aspects (sarvākārābhisaṃbodha, rnam rdzogs sbyor ba), a yogic practice that enables a bodhisattva to gain a cognition of all the aspects of the three types of omniscience. The fifth realization is the summit of full understanding (mūrdhābhisamaya, rtse sbyor), whereby yogic practices reach the culmination of cognizing emptiness. The sixth chapter defines the gradual full understanding (anupūrvābhisamaya, mthar gyis sbyor ba) of the three forms of omniscience. The seventh abhisamaya clarifies the “instantaneous realization” (ekakṣaṇābhisamaya) that occurs at the final moment right before buddhahood. Abhisamayas four through seven are known as “the four methods of realization” of the three types of knowledge. The eighth realization, and last subject in the Abhisamayālaṃkāra, is the realization of the dharma body (dharmakāyābhisamaya). In this way, the first three realizations describe the cognitive attainments of buddhas, the middle four realizations discuss the methods that take the cognitive attainments as their object, and the eighth realization describes the qualities and attainments of the dharma body, the resultant body of buddhas. The treatise was extensively commented upon in Indian Buddhism and has been widely studied in Tibetan forms of Buddhism up to the present day.

Buddhism in Japan has long coexisted with native cults and beliefs, commonly known as Shinto. According to received understanding, Shinto (literally, in modern Japanese interpretation, “the way of the [Japanese] gods”) is the autochthonous religious tradition of Japan, whose origins date back to the beginning of the Japanese civilization. Its main features are an animistic belief in the sanctity of nature, shamanic practices, ancestor cults, respect for authority and communal value, and a strong capacity to integrate and homogenize foreign elements. This received understanding sees the history of Japanese Buddhism as a gradual process of “Japanization,” that is, of integration within Shinto beliefs and attitudes. This understanding, however, still broadly circulating in Japan and abroad in textbooks and popular media, has been questioned radically by scholarship in the past few decades.

In fact, until approximately 150 years ago, Shinto (and local cults in general) was deeply connected to Japanese Buddhism: Buddhist authors were the first to write doctrines and tales about the Japanese local gods or Kami, and most shrines dedicated to the Kami used to belong to Buddhist temples or were in fact Buddhist temples themselves dedicated to the kami. Kami were normally understood as avatars (Japanese, gongen) of buddhas, bodhisattvas, and other Buddhist divinities; some very popular kami even today, include Hachiman, who was evoked or discovered (if not created) by Buddhist monks, and Daikokuten and Benzaiten, two Buddhist deities from India (their Sanskrit names are, respectively, Mahākāla, the male counterpart of the goddess Kālī, and Sarasvatī, a water goddess). This situation of symbiosis, in which the Buddhist component was always at the top of the religious institutions’ hierarchy, also generated a number of conflicts that erupted in 1868, when the government decided to “separate” Shinto from Buddhism (shinbutsu bunri), an operation that resulted in the destruction of thousands of Buddhist temples and countless texts, images, and other artifacts, and, ultimately, in the creation of two separate religions. Any historical study of Shinto must therefore attempt to reconstruct this premodern situation of symbiosis and conflict.

Film serves as one of the most recent contributions to the variety of Buddhist visual forms that can offer a perspectival shift in interpretation for its viewers akin to other meditative devices such as mandalas. As a relatively recent subject of study, Buddhist films present innovative opportunities to visualize the Buddha, Buddhism, and the self in nuanced ways. Buddhist film can be understood as a spiritual technology that reshapes vision, and the act of viewing becomes a ritual process and contemplative practice. Ranging from films with an explicitly Buddhist theme and content to more abstract films without obvious Buddhist references, Buddhist films have become the subject of scholarly studies of Buddhism as well as occasions to reimagine Buddhism on and off screen. Buddhist films found in Asia and the West have proliferated globally through the rise of international Buddhist film festivals over the past fifteen years that have increased both the interest in Buddhism and the field of Buddhism and film itself. Most studies of Buddhism in film indicate that what constitutes a Buddhist film continually evolves and, as such, can be seen as a contemporary instantiation of the skillful means of the Buddha.

Tibetan Buddhists view images primarily as religious supports and secondarily as works of art. Buddhist images are aimed at improving one’s karma by earning merit in view of future existences, at removing obstacles, and at creating wellbeing. Their commissioning may be occasioned by various circumstances, including illness and death, besides the need for a specific religious practice. Since they are primarily expressions of faith, their age has a limited importance and their originality hardly any: a religious image is valued less for its rarity and aesthetic value than for its apotropaic virtues and for its particular connection with a holy place or master. Hence the application of Western post-Medieval aesthetic criteria to the appreciation of Tibetan art ought to be complemented by an appreciation of the specific religious meaning of an image, the interpretation of its particular symbolism, and the aim of its client within the specific cultural and historical context in which it was produced.

This article is preceded by a historical introduction sketching the development of Buddhist art and architecture in Tibet from the 7th to the present century, mentioning the role played by foreign artists, mostly Newars from the Nepal Valley, and dwelling on particularly significant monuments, such as the monastery of Sàmye (8th century) and the Great Stupa of Gyantsé (15th century), representing the two highest moments in the history of Tibetan religious art and architecture, the Pòtala being basically a fortified palace.

The first section, on Tibetan Buddhist art, deals with iconography and iconometry as well as materials and techniques, contrasting the prevalent approach to the subject by collectors, and even art historians, with that of Buddhist masters and devotees, pointing out the importance of the consecration of images, without which the latter remain worthless from a religious point of view.

The second section, on Tibetan Buddhist architecture, deals with the construction of religious buildings, their materials, their religious functions and their symbolism. Although stupas are referred to throughout the article, they are dealt especially in this section.

Sanskrit terms, whether in phonetic transcription or in transliteration, prevail in the first section because the relevant terminology is largely the Tibetan translation of Indian Buddhist terms, Tibetan terms in phonetic transcription and transliteration prevail in the second section, except in the part dealing with the stupa.

Since its birth in India about 2,500 years ago, Buddhism has spread throughout the globe. As Buddhism reached new areas, its followers developed their own regional identities and understandings of Buddhist geography. South Asia, and specifically the sites associated with the historical Buddha’s life, remained a conceptual center for many Buddhists, but the near disappearance of Buddhism from the subcontinent in the 13th century allowed Buddhists in other regions to overcome their “borderland complexes” and identify sacred Buddhist sites in their own lands. This involved both the metaphorical transfer of sacred sites from South Asia to new places and the creation of new sacred sites, such as reliquaries for the remains of local saints and mountains seen as the abodes of buddhas or bodhisattvas. By the 19th and 20th centuries, colonial encounters introduced Buddhism to the West and created categories of national Buddhisms, which led to new visions of Buddhist geography and regionalism.

In addition to national Buddhisms, regional distinctions commonly applied to the Buddhist world include the mapping of Theravāda in Southeast Asia, Mahāyāna in East Asia, and Vajrayāna in the Himalayas, or the mapping of Northern Buddhism as Mahāyāna and Vajrayāna in East Asia and the Himalayas, and Southern Buddhism as Theravāda in Southeast Asia and Sri Lanka. These models have some salience, but the history of Buddhist geography and regionalism reveals that the locations and interactions of different Buddhist traditions are more complex. New models for Buddhist regionalism have moved away from static, bounded spaces to foreground processes of interaction, such as network analyses of trade and transmission routes or areas such as “Maritime Asia” or the “East Asian Mediterranean.”

The Pāli Tripiṭaka demonstrates that Indian Buddhists were familiar not only with the classical Āyurveda of the late Vedic period but also with the Atharvaveda and with the oldest passages that precede the redaction of the Āyurvedic Saṃhitās. The Nikāyas, Pāli Vinaya, and certain noncanonical Pāli sources contain the earliest accounts of Buddhist knowledge of diseases, medicinal substances, dietary guidelines, herbal and surgical treatments, and illnesses specific to the life and practices of a bhikkhu, the most common of which were gastrointestinal ailments, digestive problems, piles, and skin-related diseases. These sources also offer the information on medical training, infirmaries, and caregivers. Knowledge of medicine in Pāli literature is a combination of popular and folk medicine and classical Āyurveda. In all of Indian Buddhist traditions, the knowledge of preventing illnesses, preserving good health, and securing longevity is closely related to the Buddhist conception of the preciousness and rarity of human life, and the importance of health for Buddhist practice is emphasized. The ultimate medicine is said to be the Buddha Dharma and the ultimate physician the Buddha. In the Pāli Vinaya Piṭaka, the Buddha himself acts as a physician, making a diagnosis and prescribing a treatment, although he himself at times succumbed to illness and physical pain. The Indian Mahāyana and Vajrayāna traditions also recognized the Medicine Buddha (Bhaiṣajyaguru), Amitābha, Āyurbuddha, and various Bodhisattvas as healers and designed the devotional, ritual, and meditational practices related to these celestial physicians. Another healer who is given attention in many Buddhist sources as early as the Pāli Vinaya is Jīvaka, “the king of physicians,” known for his superb diagnostic and surgical skills.

Different classifications of diseases, ranging from 35 and 49 to 404, are given in various Pāli and Sanskrit sources. While certain Pāli noncanonical sources contain mutually differing lists of the eight causes of illness, including karma, some Sanskrit sources, like Garbhāvakrānti Sūtra, speak of 80,000 bodily worms as causes of human illnesses. All major Indian Buddhist traditions equally recognized various malicious entities as external causes of illness and offer diverse methods of healing the afflictions caused by these entities.

In the Indian Buddhist tantric tradition, according to which only embodied human beings can practice tantra, the importance of maintaining health and ensuring a long life become of paramount importance. Since various yogic tantric practices are most intimately related to subtle physiological and prāṇic systems, the physiological aspects of illness are examined as well as, medicinal formulas, and medical treatments that accord with Āyurveda. But tantras and tantric-medical treatises also pay great attention to the preparations and usages of alchemical substances, knowledge of the drawings of yantras and maṇḍalas, ritual performances, astrological divinations, and applications of protective and healing mantras and dhāraṇīs as regular therapeutic methods. In this regard, the medical training of a tantric healer covered multifaceted aspects of tantric knowledge.

An extensive printed Chan literature came into wide circulation during the Song dynasty (960–1279). This Song corpus included more-or-less intact texts from the Tang (618–907) and Five Dynasties (907–960), Tang and Five-Dynasties texts heavily reworked by Song editors, and a vast newly created set of Song Chan texts. This printed Chan literature spread among the educated elite during the Song period. In total, several hundred woodblock-printed texts from the Song and Yuan (1271–1368) periods, the classic age of Chan textual production, still exist, but many editions from the Ming (1368–1644) and later have also been preserved. In addition, Chan texts can be found within the Dunhuang-manuscript corpus. There are eight major Chan genres (omitting “rules of purity” or qinggui as too technical): yulu (collections of sayings of individual masters); flame-of-the-lamp records (biographical material and sayings of masters arranged as a series of inheritors of the flame of the lamp); poetry (both prosaic religious verse and highly allusive classical shi poetry); “standards” with attached poetry/prose comments (often called by Western scholars “gong’an/kōan collections”); compendia; collections of letters by Chan masters to scholar-officials, students, and peers; pretend dialogues; and glossary material. The language of the Chan records is a hybrid, a mixture of the written elegant language (wenyan) and a type of written Chinese based on spoken language. In time, the language of the Chan records became a sacerdotal language for Chan insiders, not only in China but in Korea and Japan as well. The language patterns of Chan literature—for instance, its proclivity for using everyday words and phrases as stand-ins for more imposing Buddhist-sounding equivalents—account for a great deal of its power and beauty. However, those language patterns also constitute serious obstacles for the modern reader. In short, the texts are very difficult to read because they are not simply “classical Chinese” nor are they modern vernacular. A stylistic convergence of the Chan records and classical Chinese poetry can be seen, particularly in the context of jueju quatrains of seven or five syllables. The sayings of the records often embody aesthetic ideals of Chinese poetry: lexical economy, emphasis on the imagistic, and minimal use of nonimagistic or abstract words.