By John Kieschnick (ed.), Meir Shahar (ed.)
India and China dominate the Asian continent yet are separated through ambitious geographic limitations and language modifications. for plenty of centuries, many of the details that handed among the 2 lands got here via Silk course intermediaries in lieu of first-person encounters—leaving significant room for invention. From their advent to Indian tradition within the first centuries C.E., chinese language thinkers, writers, artists, and designers imitated India inside their very own borders, giving Indian pictures and ideas new kinds and adapting them to their very own tradition. but India's effect on China has no longer been vastly researched or good understood.
India within the chinese language Imagination takes a brand new examine the methods the chinese language embedded India in various artifacts of chinese language spiritual, cultural, inventive, and fabric existence within the premodern period. best Asian stories students discover where of Indian myths and storytelling in chinese language literature, how chinese language authors built-in Indian historical past into their notion of the political and non secular prior, and the philosophical relationships among Indian Buddhism, chinese language Buddhism, and Daoism. This multifaceted quantity, illustrated with over a dozen artworks, finds the intensity and subtlety of the come across among India and China, laying off gentle on what it capacity to visualize one other culture—and why it matters.
Contributors: Stephen R. Bokenkamp, Bernard Faure, John Kieschnick, Victor H. Mair, John R. McRae, Christine Mollier, Meir Shahar, Robert H. Sharf, Nobuyoshi Yamabe, Ye Derong, Shi Zhiru.
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Extra info for India in the Chinese Imagination: Myth, Religion, and Thought
In chapter 3, for example, he changes a beautiful woman into a bundle of grass and then back again. Indeed, in chapter 6, he is able to transform his golden-ringed staff into a gigantic demon (yakṣa). 25 We may fairly say that, from the introduction of Buddhism into East Asia at the end of the Han period to the late imperial period, nirmāṇa and related concepts of transformational manifestation grew from being an alien presence to an integral component of Chinese popular literature. Conclusion Telling a story is a natural human activity.
Some occupy prominent positions in the heavenly bureaucracy, whereas the hagiographies of others are recorded in Daoist, or Buddhist, scriptures. 3 Clearly, by late imperial times, the rebellious child had emerged as one of the 22289 Indian Mythology and the Chinese Imagination 23 most widely recognized divinities in the pantheons of the popular religion and of the Daoist faith alike. As impressive as the numbers associated with the Nezha cult may be, the true measure of the mischievous god’s significance in Chinese culture is provided by the prevalence of his myth.
His facial expression alternated between terrifying anger and a broad smile. He had a thousand arms, and he was 22289 44 Meir Shahar holding a skull (kapāla [geboluo])60 and numerous weapons. He was handsomely adorned with a tiger-skin robe and skulls. He emanated blazing light, possessing immense strength. 61 The mysterious Naṇa’s connection to the Chinese Nazha (Nezha) is unmistakable. The two young divinities share similar names, and an identical residence (Vaiśravaṇa’s Palace). They are also equally adept in the subjugation of dragons, which Naṇa, like Nezha, uses as a belt.
India in the Chinese Imagination: Myth, Religion, and Thought by John Kieschnick (ed.), Meir Shahar (ed.)