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Performing the Heavens : = Pacing the Void (Buxu 步虛) in Daoist Ritual and the Chinese Literary Tradition.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Performing the Heavens :/
其他題名:	Pacing the Void (Buxu 步虛) in Daoist Ritual and the Chinese Literary Tradition.
作者:	Feezell, Tyler.
面頁冊數:	1 online resource (333 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-06, Section: A.
Contained By:	Dissertations Abstracts International84-06A.
標題:	Religion. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29995626click for full text (PQDT)
ISBN:	9798363512643

Performing the Heavens : = Pacing the Void (Buxu 步虛) in Daoist Ritual and the Chinese Literary Tradition.
Feezell, Tyler.

Performing the Heavens :Pacing the Void (Buxu 步虛) in Daoist Ritual and the Chinese Literary Tradition. - 1 online resource (333 pages)

Source: Dissertations Abstracts International, Volume: 84-06, Section: A.

Thesis (Ph.D.)--Arizona State University, 2022.

Includes bibliographical references

This dissertation explores the concept of "Pacing the Void" (buxu 步虛) in Daoist scripture and ritual in relation to the Chinese literary tradition from early medieval China through the Tang dynasty. While the term generally connotes the act of ascending to the heavens, it took on varying layers of meaning throughout history, negotiated against the backdrop of new Daoist revelations, historical conditions, and the literary tradition. In part I, I examine early Daoist scriptures, both those of the Shangqing 上清 (Upper Clarity) and Lingbao 靈寶 (Numinous Treasure) traditions, to trace how the concept took shape in these works. The concept originated in Shangqing scriptures, which associate buxu with music and verse performed by the gods on momentous occasions. In Lingbao scriptures, buxu specifies the gods' regular ritualized ascent up the Jade Capitoline Mountain (Yujing shan 玉京山). A distinct hymnal form, a series of ten verses, also emerged in Lingbao scriptures. Likely first intended for personal cultivation, these hymns were later adapted for communal ritual, in which priests embodied the scriptural doctrine in their performance, reenacting the heavenly precedent on the mundane stage. Part II explores how later writers adapted the Lingbao buxu hymnal form for various purposes and how they understood the idea of "Pacing the Void." Yu Xin 庾信 composed a series of buxu poems in the Northern Zhou as a commentary on the religious and political scene of the period. Wu Yun 吳筠, writing in the mid 8th century, adapted the buxu hymn as part of his efforts to make Daoist cultivation and transcendence legible for a literati audience. Other Tang dynasty poets transformed buxu into a poetic trope, filtering their experience of Daoist ritual and music through more standard literary associations. By focusing on these writings in their social and historical context, I demonstrate how the concept of buxu, as scriptural doctrine, ritual form, and literary trope, evolved over this time, became embedded in the literary tradition, and captured the imagination of poets and rulers for centuries after its origin.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798363512643Subjects--Topical Terms:

516493
Religion.
Subjects--Index Terms:

VoidIndex Terms--Genre/Form:

542853
Electronic books.

Performing the Heavens : = Pacing the Void (Buxu 步虛) in Daoist Ritual and the Chinese Literary Tradition.
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520 $a This dissertation explores the concept of "Pacing the Void" (buxu 步虛) in Daoist scripture and ritual in relation to the Chinese literary tradition from early medieval China through the Tang dynasty. While the term generally connotes the act of ascending to the heavens, it took on varying layers of meaning throughout history, negotiated against the backdrop of new Daoist revelations, historical conditions, and the literary tradition. In part I, I examine early Daoist scriptures, both those of the Shangqing 上清 (Upper Clarity) and Lingbao 靈寶 (Numinous Treasure) traditions, to trace how the concept took shape in these works. The concept originated in Shangqing scriptures, which associate buxu with music and verse performed by the gods on momentous occasions. In Lingbao scriptures, buxu specifies the gods' regular ritualized ascent up the Jade Capitoline Mountain (Yujing shan 玉京山). A distinct hymnal form, a series of ten verses, also emerged in Lingbao scriptures. Likely first intended for personal cultivation, these hymns were later adapted for communal ritual, in which priests embodied the scriptural doctrine in their performance, reenacting the heavenly precedent on the mundane stage. Part II explores how later writers adapted the Lingbao buxu hymnal form for various purposes and how they understood the idea of "Pacing the Void." Yu Xin 庾信 composed a series of buxu poems in the Northern Zhou as a commentary on the religious and political scene of the period. Wu Yun 吳筠, writing in the mid 8th century, adapted the buxu hymn as part of his efforts to make Daoist cultivation and transcendence legible for a literati audience. Other Tang dynasty poets transformed buxu into a poetic trope, filtering their experience of Daoist ritual and music through more standard literary associations. By focusing on these writings in their social and historical context, I demonstrate how the concept of buxu, as scriptural doctrine, ritual form, and literary trope, evolved over this time, became embedded in the literary tradition, and captured the imagination of poets and rulers for centuries after its origin.
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