A Study on the Xùnxiàn Qiānfódòng in Hénán Province - Focused on the Iconography of Three World Buddhas in the early Tang Dynasty

2020 ◽  
Vol 29 ◽  
pp. 7-41
Author(s):  
Eun-Ah Kim
Keyword(s):  
Tang Dynasty ◽  
Henan Province ◽  
Early Tang

scholarly journals What about Rats? Buddhist Disciplinary Guidelines on Rats: Daoxuan’s Vinaya Commentaries

Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 508
Author(s):  
Ann Heirman
Keyword(s):  
Tang Dynasty ◽  
Seventh Century ◽  
Daily Lives ◽  
Strict Adherence ◽  
Early Tang

Buddhist texts generally prohibit the killing or harming of any sentient being. However, while such a ban may seem straightforward, it becomes much more complex when annoying or dangerous animals are involved. This paper focuses on one such animal—the rat. These rodents feature prominently in monastics’ daily lives, so it should come as no surprise that both Indian and Chinese Buddhist masters pay attention to them. In the first part of the paper, we investigate the problems that rats can cause, how monastics deal with them, and what the authors-compilers of Buddhist vinaya (disciplinary) texts have to say about them. In the second part, we focus on how Daoxuan 道宣 (596–667)—one of the most prominent vinaya masters of the early Tang Dynasty—interprets the vinaya guidelines and their implementation in Chinese monasteries. As we will see, he raises a number of potential issues with regard to strict adherence to the Buddhist principles of no killing and no harming, and so reveals some of the problematic realities that he felt monastics faced in seventh century China.

Introducing the Chinese Name-taboo Method Gaijian An expansion of recent work by Dou Huaiyong

2020 ◽  
Vol 73 (3) ◽  
pp. 375-383
Author(s):  
Sun Jianqiang
Keyword(s):  
Recent Work ◽  
Tang Dynasty ◽  
First Time ◽  
Early Tang

ABSTRACTThe present paper represents the first attempt to expand Dou Huaiyong’s recent contributions to the field of the Chinese name-taboo practice or bihui 避諱. Exclusively dealing with gaixing 改形 (modify the shape), a taboo method recognized only by Dou Huaiyong, the paper delves into his use of the term gaixing and a group of orthographies that might overthrow the recognition. Although it abandons the term gaixing and promotes a new phrase gaijian 改件 (modify the components), the paper finds Dou Houiyong’s core conclusion agreeable, taking gaijian as a taboo method that appeared in the year 658 by analyzing 500 stones carved between 618 and 663. While doing so, this paper introduces for the first time gaijian to the English scholarship, proposing to re-examine how the Chinese name-taboo practice developed in the early Tang dynasty.

scholarly journals Study on a silver box unearthed from the Tang Dynasty (AD 618–907) tomb at Xiaolizhuang Site, Henan Province, China

2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Zhihui Yao ◽  
Yuxuan Gong
Keyword(s):  
Manufacturing Process ◽  
Tang Dynasty ◽  
Gold Film ◽  
Henan Province ◽  
Thin Gold Film ◽  
Interior Surface ◽  
Surface Features ◽  
Plastic Forming ◽  
The Tang Dynasty

Abstract Over the years, numerous gold and silver artifacts were excavated from tombs of the Tang Dynasty which gave evidence of the sophisticated metalworking techniques at that time. However, very few of them were studied and the manufacturing process was barely known. In this research, the microstructural analyses including microscopy and SEM–EDS were conducted on a delicate silver cosmetics box excavated from a Tang Dynasty tomb of Xiaolizhuang site. The silver artifact is made up of two symmetrical cambered pieces which were fabricated by alternating hammering and annealing. The shape and surface features were further modified through plastic forming. Afterwards, spinning technique was employed to ensure the interior surface is smooth and has consistent thickness. The surface of the silver box is fully decorated with multiple fine engraving including petals, fish-toe circles, flower pattern, twine pattern and the Tang grass pattern. According to the overlapping status of the notches, the patterns were processed in a certain order by using various gravers. The artifact was brought in its final appearance by gilding to form a thin gold film on the surface. These results overall reveal the sophisticated techniques applied in making the artifact and further enhance the understanding of metalworking practices in the Tang Dynasty.

Sign in / Sign up

Export Citation Format

Share Document