Page 160 - China, 5000 years : innovation and transformation in the arts

bao gantong In ("Catalogue of Weinstein, Buddhism under the (as measured from the tip of
the Salvific Influence of the the outstretched thumb to the
Three Jewels on China's T'ang (New York and tip of the middle finger) [or] a
Assembled [Temples and Melbourne: Cambridge span of time (as marked off
Pagodas]"), in Taisho shinshu and articulated by audible and
daizokyo (Tokyo, 1927; reprint, University Press, 1987), p. 104. silent gestures performed by
Tokyo: Taish5 shinshu daizokyo the hand[s])." See Kapila
kankokai, i960), vol. 52, 15. Mahayana doctrines hold Vatsyayan, ed., Kalatattvakos'a,
no. 2106, p. 413c. that the Buddha exists simulta-
neously in three essentially A Lexicon of Fundamental
6. Soper, Literary Evidence, p. 4.
identical "bodies": the Concepts of the Indian Arts,
7. Soper, Literary Evidence, p. 4. dharmakaya, the samhhogakaya, vol- 2, Concepts of Space and

8. See Daoxuan, Ji shenzhou and the nirmanakaya. The Time, ed. Bettma Baumer
sanbao gantong lit, chap. 2, dharmakaya, or true "body of (New Delhi: Sri Jainendra
pp. 416c—417a. the Law" (C: fashen), transcends
personality and the multitude Press, 1992), pp. 333, 335.
9. Daoxuan, Ji shenzhou sanbao of forms and colors in the
gantong hi, p. 416c. Translation, phenomenal world. Thus, it 20. See Taisho shinshu daizokyo
with minor changes by Soper, (Tokyo, 1928; reprint, Tokyo:
can neither be depicted, nor Taisho shinshu daizokyo
in Literary Evidence, p. 21; for expressed in words, nor con- kankokai, 1968), chap. 11,
the Chinese text, see templated by the unenlight- vol. 50, no. 2059, p. 397a.

"Quotations and Technical ened human mind. The sam- 21. See the translation by
Terms," in Literary Evidence, bhogakaya, or "body of requital"
p. 296: G. Alexander C. Soper, "A
(C: baoshen), is the Buddha's Vacation Glimpse of the T'ang
10. Yang Xuanzhi, Luoyang level of existence upon enter- Temples of Ch'ang-an:The
ing Buddhahood as a result of Ssu-t'a Chi by Tuan Ch'eng-
qielan ji, in Taisho shinshu vows, exercises, and religious
daizokyo, vol. 51, no. 2092, merit. This aspect of the shih," Ardbus Asiae 23, no. 1
(i960), pp. 23f.The Taisho
p. 1000a; translation by Wang, Buddha may be visualized by shinshu daizokyo, vol. 51,
enlightened beings. The no. 2093, pp. 1022b— 1024a,
Record of Buddhist Monasteries, nirmanakaya, or "shadow body" gives only an abridged version
pp. i6f. of the text.
(C: yingshen), is the Buddha's
1 1. Translation, with minor perceptible incarnation for the
changes, by Roger Goepper, benefit of unenlightened sen-
"Some Thoughts on the Icon tient beings. In the aspect of
in Esoteric Buddhism in East this body, the devotee is able to
perceive the Buddha as a
Asia," in Studia Sino-Mongolica:
Festschrift fur Herbert Franke, human figure, in the person of
Sakyamuni.The latter two bod-
herausgegeben von Wolfgang
Bauer, Miinchener ies are also referred to as
Ostasiatische Studien, vol. 25
(Wiesbaden: Franz Steiner nipakaya, "form bodies" or
"color bodies" (C: seshen).
Verlag, 1980), p. 248. Images for worship and devo-
tion may be made only of
12. See Arthur E Wright, "Tang these two bodies.

T'ai-tsung and 7 in 16. See Taisho shinshu daizokyo
(Tokyo, 1925; reprint, Tokyo:
Buddhism,' Taisho shinshu daizokyo
kankokai, 1964), vol. 16, no.
Arthur E Wright and Denis 692, p. 788a; Robert H. Scharf,
trans., "The Scripture on the
Twitchett, eds., Perspectives on Production of Buddha
Images," in Religions of China,
the T'ang (New Haven and p. 265.

LondomYale University Press, 17. Scharf, trans., "Production
ot Buddha Images" p. 266.
1973), p. 256.
18. Taisho shinshu daizokyo
13. Soper, Literary Evidence, (Tokyo, 1928; reprint, Tokyo:
Taisho shinshu daizokyS
pp. i5f. Cf. also in Daoxuan kankokai, 1968), vol. 21,
Guang hongmingji ("Expanded no. 1419, pp. 936-56.
Collection on Propagating the
Light"), the panegyric on the 19. "The word taia, of ancient
celebrated icon by Dao'an's origin and uncertain deriva-
distinguished disciple Huiyuan tion, has from a very early time
(334_4i6), in Taisho shinshu served as a basic term for the
standard of measure (pramana)
daizokyo, vol. 52, no. 2103, in the visual and performing
p. 198D-C arts. . . .The basic meaning of

14. Translation, with minor —taia is 'span' a span of space
changes, by James Hightower,
in Edwin O. Reischauer,
Ennin's Travels in China (New
York: Reginald Press, 1955),
pp. 223f.; and in Stanley

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