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Playful nonduality: Japanese Zen int...

Parker, Joseph D.

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Playful nonduality: Japanese Zen interpretations of landscape paintings from the Oei Era (1394-1427).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Playful nonduality: Japanese Zen interpretations of landscape paintings from the Oei Era (1394-1427)./
作者:	Parker, Joseph D.
面頁冊數:	380 p.
附註:	Source: Dissertation Abstracts International, Volume: 50-08, Section: A, page: 2533.
Contained By:	Dissertation Abstracts International50-08A.
標題:	Literature, Asian. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8926218

Playful nonduality: Japanese Zen interpretations of landscape paintings from the Oei Era (1394-1427).
Parker, Joseph D.

Playful nonduality: Japanese Zen interpretations of landscape paintings from the Oei Era (1394-1427). - 380 p.

Source: Dissertation Abstracts International, Volume: 50-08, Section: A, page: 2533.

Thesis (Ph.D.)--Harvard University, 1989.

This thesis explores Zen Buddhist conceptions of nature and art as found in ink painting inscriptions from early Muromachi Japan. I discuss (and translate in an appendix) prose inscriptions by Gido Shushin (1326-89) and four younger contemporaries, all abbots of important Zen temples, advisors to the military government, and cultural and religious leaders. My primary interest is in their interpretation of landscape poetry and painting, rather than problems of attribution and painting style. I suggest that their cultural activities were founded on a nondualism of the sacred and profane, a fundamentally Buddhist vision of religious expression borrowing elements from Indian and Chinese Buddhism, Chinese court literature, and Taoist and Neo-Confucian philosophy.Subjects--Topical Terms:

1017599
Literature, Asian.

Playful nonduality: Japanese Zen interpretations of landscape paintings from the Oei Era (1394-1427).
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100 1 $a Parker, Joseph D. $3 1923862
245 1 0 $a Playful nonduality: Japanese Zen interpretations of landscape paintings from the Oei Era (1394-1427).
300 $a 380 p.
500 $a Source: Dissertation Abstracts International, Volume: 50-08, Section: A, page: 2533.
502 $a Thesis (Ph.D.)--Harvard University, 1989.
520 $a This thesis explores Zen Buddhist conceptions of nature and art as found in ink painting inscriptions from early Muromachi Japan. I discuss (and translate in an appendix) prose inscriptions by Gido Shushin (1326-89) and four younger contemporaries, all abbots of important Zen temples, advisors to the military government, and cultural and religious leaders. My primary interest is in their interpretation of landscape poetry and painting, rather than problems of attribution and painting style. I suggest that their cultural activities were founded on a nondualism of the sacred and profane, a fundamentally Buddhist vision of religious expression borrowing elements from Indian and Chinese Buddhism, Chinese court literature, and Taoist and Neo-Confucian philosophy.
520 $a I begin by exploring the general religious issue of the relation of sacred and profane, based on the influential work of Mircea Eliade, Victor Turner, and Roger Caillois. In my second chapter I first survey the approach to artistic interpretation of three Chinese Zen monks from the late thirteenth century who had formative roles in Japanese Zen. I also examine the aesthetics of Northern Sung and Yuan Chinese literati who the Japanese monks idealized. In the third chapter I review the biographies of the monks and the extent landscape paintings from the Oei period.
520 $a I develop my main argument through three themes in their painting inscriptions: Buddhist illusion; playfulness as enlightened activity; and the mind. In Chapter Four I examine conceptions of illusion in Indian and Chinese Buddhist texts, especially their importance for the nondualistic conception of religious and artistic interpretation. Chapter Five centers on the interplay of sacred and profane in Buddhism, Taoism, and Chinese literati "ink play." The Buddhist character of their reading of landscape art is also seen in the application of the "hermit at court" theme to their lives in the metropolitan Zen temples, which I discuss in Chapter Six. I conclude by comparing mind in Zen and Neo-Confucian religious self-cultivation; by arguing that landscape was "attained in the mind," the Japanese monks accommodated diverse religious and aesthetic theories to Zen conceptions of religious value.
590 $a School code: 0084.
650 4 $a Literature, Asian. $3 1017599
650 4 $a Religion, History of. $3 1017471
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792 $a 1989
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8926218