Robert E. Buswell – författare

Chinul (1158–1210) was the founder of the Korean tradition of Zen. He provides one of the most lucid and accessible accounts of Zen practice and meditation to be found anywhere in East Asian literature. Tracing Back the Radiance, an abridgment of Buswell’s Korean Approach to Zen: The Collected Works of Chinul, combines an extensive introduction to Chinul’s life and thought with translations of three of his most representative works.

Vestiges of the Three Kingdoms of Ancient Korea (Samguk yusa) is the first annotated English translation of one of the most important premodern Korean historical texts. One of only two surviving works on the Three Kingdoms period (57 BCE–668) and Greater Silla (668–936), the Samguk yusa is a rich collection of historical, supernatural, and mythical stories, including one of the earliest surviving narratives of Tan’gun, who in modern times came to be regarded as the mythical or legendary progenitor of the Korean people.Compiled primarily in classical Chinese during the Koryŏ period (918–1392), the Samguk yusa is known for its idiosyncratic structure and eclectic content. Although strongly Buddhist in orientation and generally assumed to have been compiled in large part by the celebrated monk Iryŏn (1206–1289), the work also encompasses Confucianism, geomancy, secular history, and folklore. It was not highly regarded during the Chosŏn period (1392–1910) but re-emerged in the twentieth century as a Korean foundational text. Today the Samguk yusa is celebrated as a national treasure of native Korean tradition and heritage and continues to play a crucial role in forming Korean identity north and south of the border. References to it are commonplace in contemporary Korea, with new translations and adaptations of its narratives frequently published.This annotated translation, the result of many years’ work by Frits Vos, a pioneer of Korean studies in Europe, and later colleagues, includes a critical introduction that illuminates the text's history, reception, and broader historical context and offers an analytical overview of the themes and literary strategy of the work.

The life and work of Kim Iryŏp (1896–1971) bear witness to Korea’s encounter with modernity. A prolific writer, Iryŏp reflected on identity and existential loneliness in her poems, short stories, and autobiographical essays. As a pioneering feminist intellectual, she dedicated herself to gender issues and understanding the changing role of women in Korean society. As an influential Buddhist nun, she examined religious teachings and strove to interpret modern human existence through a religious world view. Originally published in Korea when Iryŏp was in her sixties, Reflections of a Zen Buddhist Nun (Ŏnŭ sudoin ŭi hoesang) makes available for the first time in English a rich, intimate, and unfailingly candid source of material with which to understand modern Korea, Korean women, and Korean Buddhism. Throughout her writing, Iryŏp poses such questions as: How does one come to terms with one’s identity? What is the meaning of revolt and what are its limitations? How do we understand the different dimensions of love in the context of Buddhist teachings? What is Buddhist awakening? How do we attain it? How do we understand God and the relationship between good and evil? What is the meaning of religious practice in our time? We see through her thought and life experiences the co-existence of seemingly conflicting ideas and ideals—Christianity and Buddhism, sexual liberalism and religious celibacy, among others.In Reflections of a Zen Buddhist Nun, Iryŏp challenges readers with her creative interpretations of Buddhist doctrine and her reflections on the meaning of Buddhist practice. In the process she offers insight into a time when the ideas and contributions of women to twentieth-century Korean society and intellectual life were just beginning to emerge from the shadows, where they had been obscured in the name of modernization and nation-building.

S?n (Japanese Zen) has been the dominant form of Buddhism in Korea from medieval times to the present. A Handbook of Korean Zen Practice: A Mirror on the S?nSchool of Buddhism (S?n’ga kwigam) was the most popular guide for S?n practice and life ever published in Korea and helped restore Buddhism to popularity afterits lowest point in Korean history. It was compiled before 1569 by S?san Hyuj?ng (1520–1604), later famed as the leader of a monk army that helped defend Koreaagainst a massive Japanese invasion in 1592. In addition to succinct quotations from sutras, the text also contained quotations from selected Chinese and Korean works together with Hyuj?ng’s explanations. Because of its brevity and organization, the work proved popular and was reprinted many times in Korea and Japan before 1909.A Handbook of Korean Zen Practice commences with the ineffability of the enlightened state, and after a tour through doctrine and practice it returns to its starting point. Th e doctrinal rationale for practice that leads to enlightenment is based on the Mahayana Awakening of Faith, but the practice Hyuj?ng enjoins readers to undertake is very different: a method of meditation derived from the kongan (Japanese koan) called hwadu (Chinese huatou), or “point of the story,” the story being the kongan. This method was developed by Dahui Zonggao (1089–1163) and was imported into Korea by Chinul (1158–1210). Th e most famous hwadu is the mu (no) answer by Zhaozhou to the question, “Does a dog have a buddha-nature?” Hyuj?ng warns of pitfalls in this practice, such as the delusion that one is alreadyenlightened. A proper understanding of doctrine is required before practicing hwadu. Practice also requires faith and an experienced teacher. Hyuj?ng outlines thespecifics of practice, such as rules of conduct and chanting and mindfulness of the Buddha, and stresses the requirements for living the life of a monk. At the end of the text he returns to the hwadu, the need for a teacher, and hence the importance of lineage. He sketches out the distinctive methods of practice of the chief S?n (Chinese Chan) lineages. His fi nal warning is not to be attached to the text.The version of the text translated here is the earliest and the longest extant. It was “translated” into Korean from Chinese by one of Hyuj?ng’s students to aid Korean readers. The present volume contains a brief history of hwadu practice and theory, a life of Hyuj?ng, and a summary of the text, plus a detailed, annotated translation. It should be of interest to practitioners of meditation and students of East Asian Buddhism and Korean history.

Yi Hwang (1501–1570)—best known by his literary name, T'oegye—is one of the most eminent thinkers in the history of East Asian philosophy and religion. His Chas?ngnok (Record of self-reflection) is a superb Korean Neo-Confucian text: an eloquent collection of twenty-two scholarly letters and four essays written to his close disciples and junior colleagues. These were carefully selected by T'oegye himself after self-reflecting (chas?ng) on his practice of personal cultivation. The Chas?ngnok continuously guided T'oegye and inspired others on the true Confucian way (including leading Neo-Confucians in Tokugawa Japan) while it criticized Buddhism and Daoism. Its philosophical merit rivals T'oegye's monumental S?nghak sipto (Ten diagrams on sage learning) and ""Four-Seven Debate Letters""; however, as a testament of T'oegye's character, scholarship, and teaching, the Chas?ngnok is of greater interest. The work engages with his holistic knowledge and experience of self-cultivation by articulating textual and historical material on various key doctrines and ideas. It is an inspiring practical guide that reveals the depth of T'oegye's learning and spirituality.The present volume offers a fully annotated translation of the Chas?ngnok. Following a groundbreaking discussion of T'oegye's life and ideas according to the Chas?ngnok and his other major writings, it presents the core of his thought in six interrelated sections: ""Philosophy of Principle,"" ""Human Nature and Emotions,"" ""Against Buddhism and Daoism,"" ""True Learning,"" ""Self-Cultivation,"" and ""Reverence and Spiritual Cultivation."" The bibliography offers a current catalogue of primary sources and modern works in Korean, Chinese, Japanese, and English. As the first comprehensive study of the Chas?ngnok, this book is a welcome addition to current literature on Korean classics and East Asian philosophy and religion. By presenting T'oegye's thought-provoking contributions, it sheds new light on the vitality of Confucian wisdom, thereby affording scholars and students with an excellent primary source for East Asian studies in general and Confucian studies in particular.

Buddhists across Asia have often aspired to die with a clear and focused mind, as the historical Buddha himself is said to have done. This book explores how the ideal of dying with right mindfulness was appropriated, disseminated, and transformed in premodern Japan, focusing on the late tenth through early fourteenth centuries. By concentrating one’s thoughts on the Buddha in one’s last moments, it was said even an ignorant and sinful person could escape the cycle of deluded rebirth and achieve birth in a buddha’s pure land, where liberation would be assured. Conversely, the slightest mental distraction at that final juncture could send even a devout practitioner tumbling down into the hells or other miserable rebirth realms. The ideal of mindful death thus generated both hope and anxiety and created a demand for ritual specialists who could act as religious guides at the deathbed. Buddhist death management in Japan has been studied chiefly from the standpoint of funerals and mortuary rites. Right Thoughts at the Last Moment investigates a largely untold side of that story: how early medieval Japanese prepared for death, and how desire for ritual assistance in one’s last hours contributed to Buddhist preeminence in death-related matters. It represents the first book-length study in a Western language to examine how the Buddhist ideal of mindful death was appropriated in a specific historical context.Practice for one’s last hours occupied the intersections of multiple, often disparate approaches that Buddhism offered for coping with death. Because they crossed sectarian lines and eventually permeated all social levels, deathbed practices afford insights into broader issues in medieval Japanese religion, including intellectual developments, devotional practices, pollution concerns, ritual performance, and divisions of labor among religious professionals. They also allow us to see beyond the categories of “old” versus “new” Buddhism, or establishment Buddhism versus marginal heterodoxies, which have characterized much scholarship to date. Enlivened by cogent examples, this study draws on a wealth of sources including ritual instructions, hagiographies, doctrinal writings, didactic tales, courtier diaries, historical records, letters, and relevant art historical material to explore the interplay of doctrinal ideals and on-the-ground practice.

The king and ministers, superior and inferior, move with ritual and refinement. When the king goes on an inspection tour, everyone has the correct ceremonial attributes and the divine flag [troops] gallop in front while armored soldiers block the road. The soldiers of the Six Divisions all hold their attributes. Although it is not completely in uniformity with classic rites, compared with other barbarians it is splendid to behold. This is why Confucius thought it would not be a shame to reside here. And is not moreover Kija's country a close relative of the hallowed dynasty?""So observed the Song envoy Xu Jing in the official report of his 1123 visit to Korea—a rare eyewitness account of Kory? (918–1392) society in its prime. Officially, the purpose of Xu Jing's visit was to condole the new king, Injong, on the death of his father and present him with a letter of investiture; unofficially, he was tasked with persuading Injong to align with Song China against the newly emergent Jin dynasty. Although famous for its celadon and Buddhist paintings, the Kory? period is still very much terra incognita in world history because of the lack of translated source materials. The present work, the first fully annotated, complete translation of a key source text on Kory?, fills this gap.Xu Jing spent a little more than a month in the Kory? capital, Kaes?ng, but he was a meticulous chronicler, compiling a veritable handbook on Kory? that is full of fascinating details found nowhere else on daily life, history, customs and manners, buildings, the military, food, among others. However, Xu Jing was not unbiased in his observations and supplemented his work with unreliable information from earlier chronicles—a fact often ignored in previous studies of the Illustrated Account. In a substantial introduction to his translation, Sem Vermeersch not only places this important work in its historical context, but also reveals both the sources used by the author and the merits and limits of his observations, allowing historians of medieval Korea to make fuller use of this singular primary source.

Numinous Awareness Is Never Dark examines the issue of whether enlightenment in Zen Buddhism is sudden or gradual—that is, something intrinsic to the mind that is achieved in a sudden flash of insight or something extrinsic to it that must be developed through a sequential series of practices. This “sudden/gradual issue” was one of the crucial debates that helped forge the Zen school in East Asia, and the Korean Zen master Chinul’s (1158–1210) magnum opus,Excerpts, offers one of the most thorough treatments of it in all of premodern Buddhist literature. According to Chinul’s analysis, enlightenment is both sudden and gradual. Zen practice must begin with a sudden awakening to the “numinous”—the “sentience,” or buddha-nature—that is inherent in all “sentient” beings. Such an awareness does not need to be developed but must simply be recognized (or better “re-cognized”), through the unmediated experience of insight. Even after this initial awakening, however, deeply engrained proclivities of thought and conduct may continue to disturb the practitioner; these can only be removed gradually as his or her practice matures. Chinul’s “sudden awakening/gradual cultivation” soteriology became emblematic of the Buddhist tradition in Korea.Excerpts, translated here in its entirety by the preeminent Western specialist in the Korean Buddhist tradition, goes on to examine Chinul’s treatments of many of the quintessential practices of Zen Buddhism, including nonconceptualization, or no-thought, and the concurrent development of meditation and wisdom, as well as, for the first time in Korean Zen, “examining meditative topics” (kanhwa S?n)—what we in the West know better as k?ans, after its later Japanese analogues. Fitting this new technique into his preferred soteriological schema of sudden awakening/gradual cultivation was no simple task for Chinul.Numinous Awareness Is Never Dark offers an extensive study of the contours of the sudden/gradual debate in Buddhist thought and practice and traces the influence of Chinul’s analysis of this issue throughout the history of the Korean tradition. Copiously annotated, the work contains extensive selections from the two traditional Korean commentaries to the text. In Buswell’s treatment, Chinul’s Excerpts emerges as the single most influential work written by a Korean Buddhist author.

This is the first book in English to offer an extensive introduction to the Tongmunsŏn (Selections of Refined Literature of Korea)—the largest and most important Korean literary collection created prior to the twentieth century—as well as translations of essays from key chapters. The Tongmunsŏn was compiled in 1478 by Sŏ Kŏjŏng (1420–1488) and other Chosŏn literati at the command of King Sŏngjong (r. 1469–1494). It was modeled after the celebrated Chinese anthology Wen Xuan and contains poetry and prose in an extensive array of styles and genres.The Translators’ Introduction begins by describing the general structure of the Tongmunsŏn and contextualizes literary output in Korea within the great sweep of East Asian literature from the eighth to the fifteenth centuries. The entire Tongmunsŏn as well as all of the essays selected for translation were written in hanmun (as opposed to Korean vernacular), which points to a close literary connection between the continent and the peninsula. The Introduction goes on to discuss the genres contained in the Tongmunsŏn and examines style as revealed through prosody. The translation of two of these genres (treatises and discourses) in four books of the Tongmunsŏn showcases prose-writing and the intellectual concerns of the age. Through their discussions of morality, nature, and the fantastic, we see Daoist, Buddhist, and Confucian themes at work in essays by some of Korea’s most distinguished writers, among them Yi Kyubo, Yi Saek, Yi Chehyŏn, and Chŏng Tojŏn. The translations also include annotations and extensive cross-references to classical allusions in the Chinese canon, making the present volume an essential addition to any East Asian literature collection.

A Place to Live brings together in a single volume an introduction to Yi Chung-hwan's (1690-1756) T'aengniji (Treatise on Choosing Settlement)—one of the most widely read and influential of the Korean classics—and an annotated translation of the text, including the author's postscript.Yi composed the T'aengniji in the 1750s, a time when, despite King Yongjo's (r. 1724-1776) policy of impartiality, the scholar-gentry class continued to identifiy strongly with literati factions and to participate in the political scene as such. A prominent secretary who had his career cut short because of suspected involvement in one of the largest literati purges at court, Yi endured long periods of living in exile before finishing the T'aengniji in his early sixties. The treatise, his only substantial work, is based largely on his travels throughout the Korean peninsula and presents not only his views on the desirability of places for settlement, but also his opinions on contemporary matters and criticism of government policy. As a result, the T'aengniji circulated as an anonymous work for many years. Employing the latest research on T'aengniji manuscripts, translator Inshil Yoon maintains in her introduction that the original title of the treatise was Sadaebu kagoch'o (Livable Places for the Scholar-Gentry); she goes on to discuss in detail its reception by pre-modern and contemporary scholars and the treatise's on-going popularity as evidenced by the numerous versions and translations done in this and the previous century, its having been made into a novel, and current usage of ""T'aengniji"" as a noun meaning ""regional geography"" or ""travelogue.""The present translation is based on the Choson Kwangmunhoe edition.

Two years after Adam Smith's Wealth of Nations was published in 1776, Pak Chega's (1750–1805) Discourse on Northern Learning appeared on the opposite corner of the globe. Both books presented notions of wealth and the economy for critical review: the former caused a stir across Europe, the latter influenced only a modest group of Chosŏn (1392–1897) Korea scholars and other intellectuals. Nevertheless, the ideas of both thinkers closely reflected the spirit of their times and helped define certain schools of thought—in the case of Pak, Northern Learning (Pukhak), which disparaged the Chosŏn Neo-Confucian state ideology as inert and ineffective.Years of humiliation and resentment against the conquering Manchus blinded many Korean elites to the scientific and technological advances made in Qing China (1644–1911). They despised its rulers as barbarians and begrudged Qing China's status as their suzerain state. But Pak saw Korea's northern neighbor as a model of economic and social reform. He and like-minded progressives discussed and corroborated views about the superiority of China's civilization. After traveling to Beijing in 1776, Pak wrote Discourse on Northern Learning, in which he favorably introduced many aspects of China's economy and culture. By comparison, he argued, Korea's economy was depressed, the result of inadequate government policies and the selfishness of a privileged upper class. He called for drastic reforms in agriculture and industry and for opening the country to international trade. In a series of short essays, Pak gives us rare insights into life on the ground in late eighteenth-century Korea, and in the many details he supplies on Chinese farming, trade, and other commercial activities, his work provides a window onto everyday life in Qing China.Students and specialists of Korean history, particularly social reform movements, and Chosŏn-Qing relations will welcome this new translation.

One of the most important and celebrated works of premodern Korean prose fiction, Kŭmo sinhwa (New Tales of the Golden Turtle) is a collection of five tales of the strange artfully written in literary Chinese by Kim Sisŭp (1435-1493). Kim was a major intellectual and poet of the early Chosŏn dynasty (1392-1897), and this book is widely recognized as marking the beginning of classical fiction in Korea.The present volume features an extensive study of Kim and the Kŭmo sinhwa, followed by a copiously annotated, complete English translation of the tales from the oldest extant edition. The translation captures the vivaciousness of the original, while the annotations reveal the work's complexity, unraveling the deep and diverse intertextual connections between the Kŭmo sinhwa and preceding works of Chinese and Korean literature and philosophy. The Kŭmo sinhwa can thus be read and appreciated as a hybrid work that is both distinctly Korean and Sino-centric East Asian. A translator's introduction discusses this hybridity in detail, as well as the unusual life and tumultuous times of Kim Sisŭp; the Kŭmo sinhwa's creation and its translation and transformation in early modern Japan and twentieth-century (especially North) Korea and beyond; and its characteristics as a work of dissent.Tales of the Strange by a Korean Confucian Monk will be welcomed by Korean and East Asian studies scholars and students, yet the body of the work-stories of strange affairs, fantastic realms, seductive ghosts, and majestic but eerie beings from the netherworld-will be enjoyed by academics and non-specialist readers alike.

What is Buddhist meditation? What is going on - and what should be going on - behind the closed or lowered eyelids of the Buddha or Buddhist adept seated in meditation? And in what ways and to what ends have the answers to these questions mattered for Buddhists themselves? Focusing on early medieval China, this book takes up these questions through a cultural history of the earliest traditions of Buddhist meditation (chan), before the rise of the Chan (Zen) School in the eighth century. In sharp contrast to what would become typical in the later Chan School, early Chinese Buddhists approached the ancient Buddhist practice of meditation primarily as a way of gaining access to a world of enigmatic but potentially meaningful visionary experiences. In Chan before Chan, Eric Greene brings this approach to meditation to life with a focus on how medieval Chinese Buddhists interpreted their own and others' visionary experiences and the nature of the authority they ascribed to them. Drawing from hagiography, ritual manuals, material culture, and the many hitherto rarely studied meditation manuals translated from Indic sources into Chinese or composed in China in the 400s, Greene argues that during this era meditation and the mastery of meditation came for the first time to occupy a real place in the Chinese Buddhist social world. Heirs to wider traditions that had been shared across India and Central Asia, early medieval Chinese Buddhists conceived of "chan" as something that would produce a special state of visionary sensitivity. The concrete visionary experiences that resulted from meditation were understood as things that could then be interpreted, by a qualified master, as indicative of the mediator's purity or impurity. Buddhist meditation, though an elite discipline that only a small number of Chinese Buddhists themselves undertook, was thus in practice and in theory constitutively integrated into the cultic worlds of divination and "repentance" (chanhui) that were so important within the medieval Chinese religious world as a whole.

In the early 400s, numerous Indian and Central Asian Buddhist "meditation masters" (chanshi) traveled to China, where they established the first enduring traditions of Buddhist meditation practice in East Asia. The forms of contemplative practice that these missionaries brought with them, and which their Chinese students further developed, remained for several centuries the basic understanding of "meditation" (chan) in China. Although modern scholars and readers have long been familiar with the approaches to meditation of the Chan (Zen) School that later became so popular throughout East Asia, these earlier and in some ways more pervasive forms of practice have long been overlooked or ignored. This volume presents a comprehensive study of the content and historical formation, as well as complete English translations, of two of the most influential manuals in which these approaches to Buddhist meditation are discussed: the Scripture on the Secret Essential Methods of Chan (Chan Essentials) and the Secret Methods for Curing Chan Sickness (Methods for Curing).Translated here into English for the first time, these documents reveal a distinctly visionary form of Buddhist meditation whose goal is the acquisition of concrete, symbolic visions attesting to the practitioner's purity and progress toward liberation. Both texts are "apocryphal" scriptures: Taking the form of Indian Buddhist sutras translated into Chinese, they were in fact new compositions, written or at least assembled in China in the first half of the fifth century. Though written in China, their historical significance extends beyond the East Asian context as they are among the earliest written sources anywhere to record certain kinds of information about Buddhist meditation that hitherto had been the preserve of oral tradition and personal initiation. To this extent they indeed divulge, as their titles claim, the "secrets" of Buddhist meditation. Through them, we witness a culture of Buddhist meditation that has remained largely unknown but which for many centuries was widely shared across North India, Central Asia, and China.

Chinese Buddhist monks of the Song dynasty (960–1279) called the irresistible urge to compose poetry "the poetry demon." In this ambitious study, Jason Protass seeks to bridge the fields of Buddhist studies and Chinese literature to examine the place of poetry in the lives of Song monks. Although much has been written about verses in the gong’an (Jpn. kōan) tradition, very little is known about the large corpora—roughly 30,000 extant poems—composed by these monastics. Protass addresses the oversight by using strategies associated with religious studies, literary studies, and sociology. He weaves together poetry with a wide range of monastic sources and in doing so argues against positing a "literary Chan" movement that wrote poetry as a path to awakening; he instead presents an understanding of monks’ poetry grounded in the Song discourse of monks themselves.The work begins by examining how monks fashioned new genres, created their own books, and fueled a monastic audience for monks’ poetry. It traces the evolution of gāthā from hymns found in Buddhist scripture to an independent genre for poems associated with Chan masters as living buddhas. While Song monastic culture produced a prodigious amount of verse, at the same time it promoted prohibitions against monks’ participation in poetry as a worldly or Confucian art: This constructive tension was an animating force. The Poetry Demon highlights this and other intersections of Buddhist doctrine with literary sociality and charts productive pathways through numerous materials, including collections of Chan "recorded sayings," monastic rulebooks, "eminent monk" and "flame record" hagiographies, manuscripts of poetry, Buddhist encyclopedia, primers, and sūtra commentary.Two chapter-length case studies illustrate how Song monks participated in two of the most prominent and conservative modes of poetry of the time, those of parting and mourning. Protass reveals how monks used Chan humor with reference to emptiness to transform acts of separation into Buddhist teachings. In another chapter, monks in mourning expressed their grief and dharma through poetry. The Poetry Demon impressively uncovers new and creative ways to study Chinese Buddhist monks’ poetry while contributing to the broader study of Chinese religion and literature.

Record of the Seasonal Customs of Korea (Tongguk sesigi) is one of the most important primary sources for anyone interested in traditional Korean cultural and social practices. The manuscript was completed in 1849 by Toae Hong Sŏk-mo, a wealthy poet and scholar from an influential family. Toae, with his keen interest in the habits and customs of both courtiers and commoners, compiled in almanac form (he divided his book into chronological sections by lunar and intercalary months) a comprehensive record of seasonal palace events, rituals, entertainment, and food and drink consumed on high days and holidays, as well as information on farm work and traditions. Nineteenth-century Korean intellectuals possessed a deep understanding of Chinese history and culture together with a growing awareness of the distinctiveness of Korea’s past and traditions. Toae’s work reflects this in the many comparisons he makes between the habits and customs of the two countries, quoting literary and philosophical sources to note similarities and contrasts. Knowledge of the seasonal traditions he describes was largely forgotten over the generations as Korea rapidly modernized, but in recent years much effort has been made to recover this wisdom: Tongguk sesigi is now widely read and referenced as a popular source for details on traditional food, customs, and entertainment.While an ever-increasing number of books introducing Korean culture written by non-Koreans or Koreans researching their roots is now available, Record of the Seasonal Customs of Korea contains information "from the source" that also reveals the mindset and penchants of a premodern Korean intellectual. Readers will thus be confronted with many concepts, names, and ideas not readily understandable so extensive notes are provided in this translation. Those studying other Asian cultures with some Chinese influence will also find valuable insights here for cross-cultural comparison and research.

This volume makes available in English the seminal treatises in Korea's greatest interreligious debate of the fourteenth and fifteenth centuries. On Mind, Material Force, and Principle and An Array of Critiques of Buddhism by Confucian statesman Chŏng Tojŏn (1342–1398) and Exposition of Orthodoxy by Sŏn monk Kihwa (1376–1433) are presented here with extensive annotation. A substantial introduction provides a summary and analysis of the philosophical positions of both Neo-Confucianism and Buddhism as well as a germane history of the interactions between these two traditions in East Asia, offering insight into religious tensions that persist to this day.Translator A. Charles Muller shows how, from the time Confucianism and Buddhism met in China, these thought systems existed, along with Daoism, in a competing relationship that featured significant mutual influence. A confrontative situation eventually developed in China, wherein Confucian leaders began to criticize Buddhism. During the late-Koryŏ and early-Chosŏn periods in Korea, the Neo-Confucian polemic became the driving force in the movement to oust Buddhism from its position as Korea's state religion. In his essays, Chŏng drew together the gamut of arguments that had been made against Buddhism throughout its long history in Korea. Kihwa's essay met Neo-Confucian contentions with an articulate Buddhist response. Thus, in a rare moment in the history of religions, a true philosophical debate ensued. This debate was made possible based upon the two religions' shared philosophical paradigm: essence-function (ch'e-yong). This traditional East Asian way of interpreting society, events, phenomena, human beings, and the world understands all things to have both essence and function, two contrasting yet wholly contiguous and mutually containing components. All three East Asian traditions took this as their underlying philosophical paradigm, and it is through this paradigm that they evaluated and criticized each other's doctrines and practices.Specialists in philosophy, religion, and Korean studies will appreciate Muller's exploration of this pivotal moment in Korean intellectual history. Because it includes a broad overview of the interactive history of East Asian religions, this book can also serve as a general introduction to East Asian philosophical thought.

Kōshiki (Buddhist ceremonials) belong to a shared ritual repertoire of Japanese Buddhism that began with Tendai Pure Land belief in the late tenth century and spread to all Buddhist schools, including Sōtō Zen in the thirteenth century. In Memory, Music, Manuscripts, Michaela Mross elegantly combines the study of premodern manuscripts and woodblock prints with ethnographic fieldwork to illuminate the historical development of the highly musical kōshiki rituals performed by Sōtō Zen clerics. She demonstrates how ritual change is often shaped by factors outside the ritual context per se--by, for example, institutional interests, evolving biographic images of eminent monks, or changes in the cultural memory of a particular lineage. Her close study of the fascinating world of kōshiki in Sōtō Zen sheds light on Buddhism as a lived religion and the interplay of ritual, doctrine, literature, collective memory, material culture, and music.Mross highlights in particular the importance of the sonic dimension in rituals. Scholars of Buddhist and ritual studies have largely overlooked the soundscapes of rituals despite the importance of music for many ritual specialists and the close connection between the acquisition of ritual expertise and learning to vocalize sacred texts or play musical instruments. Indeed, Sōtō clerics strive to perfect their vocal skills and view kōshiki and the singing of liturgical texts as vital Zen practices and an expression of buddhahood--similar to seated meditation.Innovative and groundbreaking, Memory, Music, Manuscripts is the first in-depth study of kōshiki in Zen Buddhism and the first monograph in English on this influential liturgical genre. A companion website featuring video recordings of selected kōshiki performances is available at https://searchworks.stanford.edu/view/dq109wp7548.

Modern Japanese Buddhist monks of all denominations differ from those in other Asian countries because they frequently marry, drink alcohol, and eat meat. This has caused Buddhist scholars and practitioners generally to assume that early Japanese monastics had little interest in precepts and ordinations. Some medieval Japanese exegetes, however, were obsessively concerned with these topics as they strove to understand what it meant to be a Buddhist. This landmark collection of essays by Paul Groner, one of the leading authorities on Tendai Buddhism, examines the medieval Tendai School, which dominated Japanese Buddhism at that time, to uncover the differences in understanding and interpreting monastic precepts and ordinations. Rather than provide an unbroken narrative account—made virtually impossible due to the number of undated apocryphal texts and those lost in the numerous fires and warfare that beset Tendai temples as well as the difficulties of tracing how texts were used—Groner employs a multifaceted approach, focusing on individual monks, texts, ceremonies, exegetical problems, and institutional issues. Early chapters look at a major source of Tendai precepts, the apocryphal Brahma’s Net Sutra; the Tendai scholar Annen’s (b. 841) interpretations of the universal bodhisattva precept ordination and the historical background of his commentary on the subject; Tendai perfect-sudden precepts and the Vinaya; and the role of confession in the bodhisattva ordination. Groner goes on to discuss the Lotus Sutra, another key text for Tendai precepts, and the monk Koen (1262–1317) and his role in developing the consecrated ordination, which is still performed today. Later essays introduce Jitsudo Ninku’s (1307–1388) system of training by doctrinal debate and his commentary on ordinations; doctrinal discussions of killing; and Tendai discussions among several lineages on whether the precepts can be lost or violated. Many of the issues discussed in the volume—particularly how to distinguish various types of Buddhist practitioners and how to conduct ordinations—continue to preoccupy Tendai monks centuries later. The book concludes with an examination of the effects of early Tendai precepts on modern practice.

Kōshiki (Buddhist ceremonials) belong to a shared ritual repertoire of Japanese Buddhism that began with Tendai Pure Land belief in the late tenth century and spread to all Buddhist schools, including Sōtō Zen in the thirteenth century. In Memory, Music, Manuscripts, Michaela Mross elegantly combines the study of premodern manuscripts and woodblock prints with ethnographic fieldwork to illuminate the historical development of the highly musical kōshiki rituals performed by Sōtō Zen clerics. She demonstrates how ritual change is often shaped by factors outside the ritual context per se—by, for example, institutional interests, evolving biographic images of eminent monks, or changes in the cultural memory of a particular lineage. Her close study of the fascinating world of kōshiki in Sōtō Zen sheds light on Buddhism as a lived religion and the interplay of ritual, doctrine, literature, collective memory, material culture, and music.Mross highlights in particular the sonic dimension in rituals. Scholars of Buddhist and ritual studies have largely overlooked the soundscapes of rituals despite the importance of music for many ritual specialists and the close connection between the acquisition of ritual expertise and learning to vocalize sacred texts or play musical instruments. Indeed, Sōtō clerics strive to perfect their vocal skills and view kōshiki and the singing of liturgical texts as vital Zen practices and an expression of buddhahood—similar to seated meditation.Innovative and groundbreaking, Memory, Music, Manuscripts is the first in-depth study of kōshiki in Zen Buddhism and the first monograph in English on this influential liturgical genre. A companion website featuring video recordings of selected kōshiki performances is available.

Modern Japanese Buddhist monks of all denominations differ from those in other Asian countries because they frequently marry, drink alcohol, and eat meat. This has caused Buddhist scholars and practitioners generally to assume that early Japanese monastics had little interest in precepts and ordinations. Some medieval Japanese exegetes, however, were obsessively concerned with these topics as they strove to understand what it meant to be a Buddhist. This landmark collection of essays by Paul Groner, one of the leading authorities on Tendai Buddhism, examines the medieval Tendai School, which dominated Japanese Buddhism at that time, to uncover the differences in understanding and interpreting monastic precepts and ordinations. Rather than provide an unbroken narrative account—made virtually impossible due to the number of undated apocryphal texts and those lost in the numerous fires and warfare that beset Tendai temples as well as the difficulties of tracing how texts were used—Groner employs a multifaceted approach, focusing on individual monks, texts, ceremonies, exegetical problems, and institutional issues. Early chapters look at a major source of Tendai precepts, the apocryphal Brahma’s Net Sutra; the Tendai scholar Annen’s (b. 841) interpretations of the universal bodhisattva precept ordination and the historical background of his commentary on the subject; Tendai perfect-sudden precepts and the Vinaya; and the role of confession in the bodhisattva ordination. Groner goes on to discuss the Lotus Sutra, another key text for Tendai precepts, and the monk Kōen (1262–1317) and his role in developing the consecrated ordination, which is still performed today. Later essays introduce Jitsudō Ninkū’s (1307–1388) system of training by doctrinal debate and his commentary on ordinations; doctrinal discussions of killing; and Tendai discussions among several lineages on whether the precepts can be lost or violated. Many of the issues discussed in the volume—particularly how to distinguish various types of Buddhist practitioners and how to conduct ordinations—continue to preoccupy Tendai monks centuries later. The book concludes with an examination of the effects of early Tendai precepts on modern practice.

Tasan Chŏng Yagyong (1762–1836) is one of the most creative thinkers Korea has ever produced, one of the country’s first Christians, and a leading scholar in Confucian philosophy. Born in a staunchly Neo-Confucian society, in his early twenties he encountered writings by Catholic missionaries in China and was fascinated. However, when he later learned that the Catholic Church condemned the Confucian practice of placing a spirit tablet on a family altar to honor past generations, he left the small Catholic community he had helped found and ostensibly returned to the Neo-Confucian fold. Nevertheless, the Christian ideas he studied in his youth influenced his thinking for the rest of his life, stimulating him to look at Neo-Confucianism with a critical eye and suggest new solutions to problems Confucian scholars had been addressing for centuries. A Korean Confucian’s Advice on How to Be Moral is an annotated translation of Tasan’s commentaries on the Confucian classic Zhongyong (usually translated as The Doctrine of the Mean) in which he applies both Confucianism and Christianity to the question of how to best develop a moral character.Written as a dialogue with King Chŏngjo, (r. 1776–1800) these texts reveal how Tasan interpreted his Confucian tradition, particularly its understanding of how human beings could cultivate morality, while the king’s questions illustrate the mainstream Neo-Confucianism Tasan was reacting against. Tasan challenged the non-theistic standard, insisting that living a moral life is not easy and that we need to be motivated to exert the effort necessary to overcome our selfish tendencies. He had abandoned his faith by the time he wrote these commentaries but, influenced by Catholic works and determined to find a more effective way to live a moral life than non-theistic Neo-Confucianism provided, Tasan constructed a Confucian philosophy of moral improvement centered on belief in God. This translation, helpfully annotated for context and analysis, is an exploration of early Korean engagement with the West and a powerful guide to all those interested in Confucianism, Christianity, and morality.

What is Buddhist meditation? What is going on—and what should be going on—behind the closed or lowered eyelids of the Buddha or Buddhist adept seated in meditation? And in what ways and to what ends have the answers to these questions mattered for Buddhists themselves? Focusing on early medieval China, this book takes up these questions through a cultural history of the earliest traditions of Buddhist meditation (chan), before the rise of the Chan (Zen) School in the eighth century. In sharp contrast to what would become typical in the later Chan School, early Chinese Buddhists approached the ancient Buddhist practice of meditation primarily as a way of gaining access to a world of enigmatic but potentially meaningful visionary experiences. In Chan Before Chan, Eric Greene brings this approach to meditation to life with a focus on how medieval Chinese Buddhists interpreted their own and others’ visionary experiences and the nature of the authority they ascribed to them. Drawing from hagiography, ritual manuals, material culture, and the many hitherto rarely studied meditation manuals translated from Indic sources into Chinese or composed in China in the 400s, Greene argues that during this era meditation and the mastery of meditation came for the first time to occupy a real place in the Chinese Buddhist social world. Heirs to wider traditions that had been shared across India and Central Asia, early medieval Chinese Buddhists conceived of "chan" as something that would produce a special state of visionary sensitivity. The concrete visionary experiences that resulted from meditation were understood as things that could then be interpreted, by a qualified master, as indicative of the mediator’s purity or impurity. Buddhist meditation, though an elite discipline that only a small number of Chinese Buddhists themselves undertook, was thus in practice and in theory constitutively integrated into the cultic worlds of divination and "repentance" (chanhui) that were so important within the medieval Chinese religious world as a whole.

Poems and Stories for Overcoming Idleness is the first complete translation in any Western language of P’ahan chip, the earliest Korean work of sihwa (C. shihua; "remarks on poetry") and one of the oldest extant Korean sources. The collection was written and compiled by Yi Illo (1152–1220) during the mid-Koryǒ dynasty (918–1392). P’ahan chip features poetry composed in Literary Chinese (the scriptura franca of the premodern East Asian "Sinographic Sphere") by the author and his friends, which included such literary greats as Im Ch’un (dates unknown) and O Sejae (1133–?). P’ahan chip also contains the work of other writers of diverse backgrounds: Chinese master poets, famous Confucian literati, eminent Buddhist masters, erudite Daoist hermits, Koryŏ kings—as well as long-forgotten lower-level officials, unemployed intellectuals, and rural scholars. The verse compositions are embedded in short narratives by Yi that provide context for the poems. In accordance with the guidelines of the sihwa-genre, these narratives focus primarily on matters relating to poetry while touching on a wide array of subjects such as Korean history and customs; the court and government institutions; official procedures and festivals; Koryǒ foreign-policy and diplomacy; books and the circulation of knowledge; calligraphy and painting; Confucian, Daoist, and Buddhist thought; the role of women; and scenic spots and famous buildings. The book opens with an extensive introduction by translator Dennis Wuerthner on Yi Illo and P’ahan chip set against the backdrop of literary and historical developments in Korea and sino-centric East Asia and vital issues relating to Koryŏ politics, society, and culture. Wuerthner’s comprehensive, thought-provoking study is followed by a copiously annotated translation of this important Korean classic.

This volume is the first annotated translation in any language of the "Chojang chungga-ŭi" (The Meaning of the "Middle and Provisional" in the "First Stanza"), a little-known text that yielded considerable influence on early East Asian Buddhism. It corresponds to the first chapter of the Taesŭng saron hyŏnŭi ki (Notes on The Dark Meaning of the Four Treatises, [Belonging to] the Great Vehicle), a Samnon/Sanlun compendium written by the Paekche monk Hye’gyun (fl. 6th/7th c.) after he studied with the famous Chinese Sanlun teacher Falang (507–581). Apparently directed at beginners, the "Chojang chungga-ŭi" explains fundamental concepts in detail, thus giving precious corroborative information on Chinese Sanlun as mirrored in Jizang’s (549–623) works. Textual parallels with Jizang’s Lunji (Traces of the Treatises) shed new light on the extent that both disciples were indebted to their teacher, Falang. Additionally, the text provides first-hand insight into the nature of early Samnon in Paekche and important clues for understanding the origins of the famous Silla monk Wǒnhyo’s (617–686) patterns of exegesis. As the title implies, the text centers on the "First Stanza," the fundamental exegetical formula Samnon/Sanlun students under Falang and his immediate successors had to master. The repetitive and formulaic style of the text shows that, contrary to widespread misconceptions, Sanlun/Samnon exegetes were less concerned with the scholastic study of authoritative texts than using the "Chojang chungga-ŭi" to rehearse formulae designed to lead the practitioner toward awakening. In doing so, they struggled to find new ways of expression that transcended the usual apophatic vs. cataphatic dichotomy of a middle path, avoiding any reification of the "middle" and the "provisional." They created instead cataphatic formulae that constantly affirmed yet did not produce fixed meaning, just as "a," the first character of the Siddham alphabet, pervades all texts, yet, as a negation prefix, constantly denies any attribution. The Invention of a Language of Emptiness will be of great use to those interested in commentarial exegesis as meditational practice and East Asian Buddhists’ attempts at developing a language of emptiness.

Between 1392 and 1592—a period bounded by Japanese pirate raids along the Korean coast and Japan’s invasion of Chosŏn Korea—more than 4,600 Japanese trade missions were recorded by the Chosŏn government. In response to these missions, the famous official Sin Sukchu compiled regulations, detailed information about Japanese contacts, and other material, which was printed in 1472 as the Haedong chegukki. Additional information was added in 1512, creating a still more detailed report for overseeing Japanese and Ryukyuan diplomacy and trade with the Chosŏn government. The 1512 text, which is translated here into English for the first time, shows in rich detail how Korea managed these foreign relations for some two centuries. The regulations illustrate the depth of the management of contact, trade, movement, and other aspects of presence in Chosŏn. Korea-Japan trade practices are depicted in numerous profiles of Japanese contacts from Tsushima to Kyoto, including the use of impostor identities designed in Japan for trade and diplomacy in the second half of the fifteenth century and sixteenth century. Copious notes and explications supplement the present translation of the Haedong chegukki and supply the reader with the background information necessary to identify the names and places mentioned and understand their relation to Korean and Japanese political history and the structure of relations that linked the two countries. Historians of Korea, Japan, and East Asian foreign relations will find the translation a most valuable resource.

Yi Kyubo (1168–1241) was the foremost writer and poet of the Koryŏ dynasty (918–1392). Not Everything Unfolds as Anticipated is a miscellany of work from his Tongguk Yi Sangguk chip, a collection containing more than two thousand texts and considered the earliest substantial oeuvre of a Koryŏ writer to date. The present work comprises translations of poems, tales, letters, epitaphs, and funeral orations, as well as "The Cantefable of King Tongmyŏng," Yi’s famous poem chronicling Koryŏ’s mythological past. Also included are forewords and afterwords to books no longer extant that shed light on the intellectual, literary, and printing habits of the time. Yi is best remembered as a literary figure, but for much of his career, he served as a composer of official government texts. Accordingly, a large number of his writings tell us about Yi the bureaucrat and administrator and military rule in early thirteenth-century Koryŏ. Many of the administrative changes brought about during this period of intense transformation are recounted in Yi’s writings, such as the dethroning and enthroning of rulers by the Ch’oe military and the government’s official reaction to the collapse of the Jurchen Jin state, Koryŏ’s nominal suzerain. Almost up until the day he died, Yi remained the main author of diplomatic texts sent to the invading Mongol armies. Not Everything Unfolds as Anticipated not only reveals the existential truths of human life as recorded by the brush of medieval Korea’s most gifted poet, but also offers a many-faceted view of a formative period in Korean history.