Cultural intersections in later Chinese Buddhism
著者
書誌事項
Cultural intersections in later Chinese Buddhism
University of Hawaii Press, c2001
大学図書館所蔵 全10件
注記
Includes bibliographical references and index
"This volume began with a symposium held in conjunction with the exhibition 'Latter days of the law : images of Chinese Buddhism 850-1850' at the Spencer Museum of Art at the University of Kansas in 1994."--Acknowledgments
収録内容
- Introduction: Cultural intersections in later Chinese Buddhism / Marsha Weidner
- Religious functions of Buddhist art in China / T. Griffith Foulk
- Text, image, and transformation in the history of the Shuilu fahui, the Buddhist rite for deliverance of creatures of water and land / Daniel B. Stevenson
- Buddhist literati and literary monks : social and religious elements in the critical reception of Zhang Jizhi's calligraphy / Amy McNair
- Through the empty gate : the poetry of Buddhist nuns in later imperial China / Beata Grant
- Imperial engagements with Buddhist art and architecture : Ming variations on an old theme / Marsha Weidner
- Miracles in Nanjing : an imperial record of the Fifth Karmapa's visit to the Chinese capital / Patricia Berger
- Thangkas for the Qianlong Emperor's seventieth birthday / Terese Tse Bartholomew
- Beijing's Zhihua Monastery : history and restoration in China's capital / Kenneth J. Hammond
内容説明・目次
内容説明
This collection of essays on ""later"" Chinese Buddhism takes us beyond the bedrock subjects of traditional Buddhist historiography - scriptures and commentaries, sectarian developments, lives of notable monks - to examine a wide range of extracanonical materials that illuminate cultural manifestations of Buddhism from the Song dynasty (960-1279) through the modern period. Straying from well-trodden paths, the authors often transgress the boundaries of their own disciplines: historians address architecture; art historians look to politics; a specialist in literature treats poetry that offers gendered insights into Buddhist lives. The broad-based cultural orientation of this volume is predicated on the recognition that art and religion are not closed systems requiring only minimal cross-indexing with other social or aesthetic phenomena but constituent elements in interlocking networks of practice and belief.
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