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  • Thumbnail for Rite of the Great Compassion Repentance, with Notation
    Rite of the Great Compassion Repentance, with Notation

    Woodblock print, accordion-folded book; ink on paper. The ritual text of the Dabei chanyi hejie is itself is a pared down version of longer eleventh century manual for the great compassion repentance (titled, Qianshouyan dabei xinzhou xingfa, or "Rite [for Recitation] of the Dharani of Great Compassion of Thousand Armed and Eyed [Guanyin]," which can be found in Taisho daizokyo, vol. 46, T no. 1950). The original 11th century manual was authored by Siming Zhili (960-1038), one of the most influential Tiantai masters of the Northern Song period. The rite of the "great compassion repentance" has been enormously popular among Chinese Buddhists throughout the later imperial period (and not just Tiantai circles), with Zhili's manual serving as the principal guide to its performance. (Actually, this is also the origin of the Soto-shu's Kannon senbo, which comes out of Song China and is based on Zhili's text). Precisely when the shortened version of the rite -- i.e., the abridged rite reflected in the Dabei chanyi hejie -- actually took shape is not entirely clear, but it appears to have been used widely in the late Ming and Qing Dynasties, if not earlier. A number of printings of the Dabei chanyi hejie were apparently done in the 19th century (above information courtesy of Prof. Daniel Stevenson, University of Kansas, a specialist in Chinese Buddhism).

  • Thumbnail for Rite of the Great Compassion Repentance, with Notation
    Rite of the Great Compassion Repentance, with Notation

    Woodblock print, accordion-folded book; ink on paper. The ritual text of the Dabei chanyi hejie is itself is a pared down version of longer eleventh century manual for the great compassion repentance (titled, Qianshouyan dabei xinzhou xingfa, or "Rite [for Recitation] of the Dharani of Great Compassion of Thousand Armed and Eyed [Guanyin]," which can be found in Taisho daizokyo, vol. 46, T no. 1950). The original 11th century manual was authored by Siming Zhili (960-1038), one of the most influential Tiantai masters of the Northern Song period. The rite of the "great compassion repentance" has been enormously popular among Chinese Buddhists throughout the later imperial period (and not just Tiantai circles), with Zhili's manual serving as the principal guide to its performance. (Actually, this is also the origin of the Soto-shu's Kannon senbo, which comes out of Song China and is based on Zhili's text). Precisely when the shortened version of the rite -- i.e., the abridged rite reflected in the Dabei chanyi hejie -- actually took shape is not entirely clear, but it appears to have been used widely in the late Ming and Qing Dynasties, if not earlier. A number of printings of the Dabei chanyi hejie were apparently done in the 19th century (above information courtesy of Prof. Daniel Stevenson, University of Kansas, a specialist in Chinese Buddhism).

  • Thumbnail for Fan painting - Lioness and Cub - detail of inscription
    Fan painting - Lioness and Cub - detail of inscription by Liu Deliu (1806-1875)

    A lioness walking from right to left, takes uo most of the space in the fan. Her cub, facing the opposite direction, looks up at her as the mother's left forepaw rests on his back. Deliu was from Wujiang in Jiangsu province and was known as a specialist in painting plants and animals. He was a student of Xia Zhiding (1782-1827), a painter of similar subjects, but Xia was not well-known enough to have been mentioned in the modern literature. Deliu is said to have been the teacher of Lu Hui (another of the "Nine Friends"), but in this case the student far exceeded the teacher in both technical skill and production. At any rate, Deliu was already 45 when Lu Hui was born, and Lu Hui was just 24 when Deliu died, so the relation could not have been long-lived. Deliu was a "…highly refined individual-whose Red Pear Blossom Studio was known for its bright and sparkling interior, with a fine library and brushes and inkstones of the best quality." Although Brown praises Deliu's work, the relationship between Lu Hui and Deliu may have been more of patronage than teacher-student. He is one of the many artists in the collection that merit further study. A rather droll and amusing lioness, walking from right to left, takes up most of the space in the fan. Her cub, facing the opposite direction, looks up at her as the mother's left forepaw rests protectively on his back. The faces of the lions look more like dogs than lions, and other curious aspects of the anatomy-the long tails with pom-poms at the end and the elongated feet-make one wonder if Deliu had ever seen an actual lion. The statement in the inscription says that he was working in the style of Xinlo Shanren, or Hua Yan (1682-1765), a famous artist of the early Qing who specialized in figures and animals. The somewhat awkward rendering of the animal is mirrored in a painting of a fish in the collection of the Denver Museum of Art. One is tempted to see in the fish the same bemused expression worn by the lioness. The fish seems to float over, not in, the water, as does his companion, a frog.

  • Thumbnail for Fan painting - Lioness and Cub
    Fan painting - Lioness and Cub by Liu Deliu (1806-1875)

    A lioness walking from right to left, takes up most of the space in the fan. Her cub, facing the opposite direction, looks up at her as the mother's left forepaw rests on his back. Deliu was from Wujiang in Jiangsu province and was known as a specialist in painting plants and animals. He was a student of Xia Zhiding (1782-1827), a painter of similar subjects, but Xia was not well-known enough to have been mentioned in the modern literature. Deliu is said to have been the teacher of Lu Hui (another of the "Nine Friends"), but in this case the student far exceeded the teacher in both technical skill and production. At any rate, Deliu was already 45 when Lu Hui was born, and Lu Hui was just 24 when Deliu died, so the relation could not have been long-lived. Deliu was a "…highly refined individual-whose Red Pear Blossom Studio was known for its bright and sparkling interior, with a fine library and brushes and inkstones of the best quality." Although Brown praises Deliu's work, the relationship between Lu Hui and Deliu may have been more of patronage than teacher-student. He is one of the many artists in the collection that merit further study. A rather droll and amusing lioness, walking from right to left, takes up most of the space in the fan. Her cub, facing the opposite direction, looks up at her as the mother's left forepaw rests protectively on his back. The faces of the lions look more like dogs than lions, and other curious aspects of the anatomy-the long tails with pom-poms at the end and the elongated feet-make one wonder if Deliu had ever seen an actual lion. The statement in the inscription says that he was working in the style of Xinlo Shanren, or Hua Yan (1682-1765), a famous artist of the early Qing who specialized in figures and animals. The somewhat awkward rendering of the animal is mirrored in a painting of a fish in the collection of the Denver Museum of Art. One is tempted to see in the fish the same bemused expression worn by the lioness. The fish seems to float over, not in, the water, as does his companion, a frog.