Tuesday, February 13, 2018

New research on Obaku monk Jifei's Dharma Transmission Certificate Bestowed by Yinyuan

A new article by Ma Xuming 马旭明 on Jifei's 即非 Dharma Transmission Certificate given by Yinyuan 隐元 has been published in China. The original 1657 certificate and a few letters were published in 蜗庐藏珍図录 by 天六书房 in Japan (page 20). (Unfortunately, there is no such a book and publisher in American cataloging system.) These materials were not included in Yinyuan's complete collections.

 The certificate is as follows and resembles the one Yinyuan received from Feiyin Tongrong 费隐通容:
“从上承嗣来源 :六祖下、南岳让、马祖一、百丈海、黄檗运、临济玄、兴化奖、南院颙、 风穴沼、首山念、汾阳昭、石霜圆、杨岐会、白云端、五祖演、圆悟勤、虎丘隆、天童华、密庵杰、 破庵先、无准范、雪巗钦、高峰妙、中峰本、千岩长、万峰蔚、宝藏持、东明山、海舟慈、宝峰瑄、 天奇瑞、绝学聪、月心宝、禹门传、天童悟、径山容,明历丁酉年寓普门福元禅寺老僧隐元琦手书付即 非一禅人。”
Here is the detailed bibliography of this article:

马旭明. (2017). 1657年隐元禅师付即非源流手迹考释. 世界宗教文化, (02), 110-117.

  • 【機構】 無錫博物院;

    【摘要】 明末清初,黃檗宗高僧隱元隆琦在清順治十一年(1654)東渡日本,在日本政治文化中心京都創建"黃檗山萬福寺",開創日本佛教界的一大宗派——黃檗宗派,其影響遍及日本的禪學、文學、藝術、印刷、建筑乃至茶道和生活品味等各個方面,并成為17、18世紀當時日本文化的主流。1657年隱元禪師付即非源流及信件是一件不可多得的珍貴文獻,是研究隱元東渡初期活動的史料,具有重要的歷史價值,值得我們研究。 

    【關鍵詞】 隱元禪師; 即非; 手跡考釋; 

Tuesday, January 30, 2018

Pu Yin Buddhist Studies Lecture Series

Glad to announce the following Pu Yi Buddhist Studies lecture series in Spring 2018.

The Inaugural Lecture:

Prof. Albert Welter, Head, Department of East Asian Studies, University of Arizona
Title: “A New Look at Old Tradition: Reimagining East Asian Buddhism through Hangzhou”
Time: January 30 (Tuesday), 4-5 pm.
Location: The Little Chapel of All Nations

Other three lectures:

Prof. Yaling Chu (Associate Professor at Shijiazhuang College, Visiting Scholar at the Center for Buddhist Studies)
Title: “The Idea, History, and Influence of Master Jinghui’s Living Chan in Contemporary Chinese Buddhism” 當代中國佛教的一個側面:淨慧法師及其生活禪的理念、歷史及影響
Time: February 9 (Friday), 4-5 pm.
Location: The Little Chapel of All Nations

Norman Fischer (Former Co-abbot of the San Francisco Zen Center)
Title: “San Francisco Zen Center and American Buddhism”
Time: February 16 (Friday), 3:30-4:30 pm.
Location: Copper Room, UA Student Union

Prof. Karl Ryavec (Professor of World Heritage at the University of California, Merced)
Title: “Buddhism as a Regional Religious System”
Time: March 15 (Thursday), 4-5 pm.
Location: The Little Chapel of All Nations

Sunday, January 28, 2018

Obaku Monk Duhou Xingshi's 獨吼性獅 Calligraphy in Philadelphia Museum of Art



A piece of calligraphy by Yinyuna's 隱元 disciple, the Obaku Monk Duhou Xingshi 獨吼性獅 (1624-1688) has been identified by some bloggers online. However, I was not able to verify its provenance through Philadelphia Museum of Art's online catalog.

Friday, January 5, 2018

Dizang Temple 地藏庵 in Xinzhuang 新莊, Taibei

Photo by Jiang Wu

Dizang Temple 地藏庵 is a beautiful place in Xinzhuang 新莊, Taibei. It is next to the hotel I lived during my stay from Dec. 18-23, 2017. Here is a short discription.

"Built in 1757, Dizang Buddhist Temple is also named as Public Temple or Public Master Temple 大眾廟. It used to worship public masters of civil and military, but now it worships Ksitigarbha Bodhisatva. From two days before May 1st, a folk custom event will be held: "Anfang", which is a ritual to drive away ghosts; and on May 1st, there will be a grand activity held to pray for the safety of people. This is an annual event and the climax of the activity: people from the temples in this town will form a big group and hand out Xianguang Cake and safety charms to bless those who are luckyenough to have them."

Saturday, December 30, 2017

Master Yinyuan's 隐元 Death Poem at Foguang Shan 佛光山

During my trip to Foguang shan in Nov. 2017, I noticed that Master Yinyuan's 隱元 death poem was inscribed onto the wall outside the Foguang Yuan Art Gallery 佛光緣美術館.

A Chan stick from the West,
          Stirs up a powerful wind
Conjures up a Huangbo mountain, 
          enduring without dominating
Today I put down 
          both body and mind
Suddenly transcend the dharma realm, 
          becoming one with the true emptiness


《隱元禪師全集》第十卷,頁5055;第十一卷,頁 5439

Photo by Jiang Wu

Monday, December 18, 2017

Galen Eugene Sargent's collection of Willem Grootaer's Articles

During my research of W. A. Grootaers, I checked out a bound packet of collected papers by Grootaers. It is very likely bound by Galen Eugene Sargent 金萨静 because one of the copies has Grootaers' Chinese signature on it, dated June 20, 1957. G. E. Sargent authored several books, including Tchou Hi contre le Bouddhisme (Zhu Xi against Buddhism, 1955). He was later a professor at Indiana University and died in 1975. The collection of his books is now in the library of Institute of Advanced Studies of World Religions in New York.

Wednesday, December 13, 2017

Duli Xingyi's 獨立性易 Calligraphy at Worcester Art Museum

I have been to Worcester Art Museum before but never noticed they have a piece of calligraphy by the Obaku monk Duli Xingyi (1596-1672). Duli was the contemporary of Yinyuan Longqi 隱元隆琦 but never received Yinyuan's Dharma Transmission. The painting was done by Unkoku Toeki 雲谷等益 (1591-1644).


OBAKU DOKURYU (Calligrapher)
Japanese, 1596-1672
Painting traditionally attributed to Unkoku Toeki, 1591-1644
Signature: Shoeki Dokuryu shi Haidai
Seals: (upper) Dokuryu, (lower) Tengai Ichikanjin
Alexander H. Bullock Fund

Copyright Notice

This painting of Daruma (Bodhidharma), the Indian monk who traveled from India to China in the sixth century and founded Zen Buddhism, has a traditional attribution to Unkoku Toeki on the basis of interpolated seals. The calligraphy is of greater interest than the portrait, with which it shares a highly simplified style.

Dokuryu (Chinese: Tai Li) was a Chinese scholar and calligrapher who fled the Manchu conquest of his homeland and arrived in Japan in 1653. He took the name Dokuryu when he became a monk under Ingen, the Chinese founder of Mampukuji, the Obaku Zen temple near Kyoto. The Obaku sect was influential in the spread of contemporary Chinese culture in Japan during the Edo period (1600-1868).

Dokuryu's cursive script shares characteristics with his Chinese contemporaries in the late Ming period and has a freedom and rhythm entirely its own, distinct from the calligraphic style of other Obaku Zen monk-calligraphers. The fluid brushwork seen here, with its contrast of wet and dry, light and dark ink, captures the typically irreverent Zen spirit of the inscription, which calls the subject (Daruma) "the old clot."