James B. Apple
The Abhisamayālaṃkāra (Ornament for clear realization) is an instructional treatise on the Prajñāpāramitā, or Perfect Wisdom, whose authorship is traditionally attributed to Maitreyanātha (c. 350
Sam van Schaik
Dzogchen, often translated as “the great perfection,” is a tradition of meditation practice and poetic literary expression in Tibetan Buddhism. Though its origins lie in Indic Buddhism, Dzogchen developed a distinct form of practice and literary expression only in Tibet. In general, Dzogchen texts evoke and discuss a state of awareness present in all living beings that transcends dualities and conceptual elaboration.
Common terms for this state of awareness are “mind itself” (sems nyid) and “awareness” (rig pa). Dzogchen literature often states that in the presence of this awareness, religious practice oriented toward enlightenment is dualistic and, therefore, not only unnecessary, but also obstructive. Nevertheless, Dzogchen is usually integrated with other forms of Buddhist practice.
The Dzogchen tradition encompasses a variety of literature and practice; the most common way of categorizing this is a division into three classes, the mind series, the space series, and the instruction series. The mind series contains most of the early Dzogchen literature, and more recent material in the same style. The space series enjoyed only limited popularity, and little is known of it today. The instruction series, by contrast, increased in popularity from its appearance in the 11th century and in time supplanted the mind series and the space series, ultimately becoming the predominant form of Dzogchen.
The practice of Dzogchen requires an authorized teacher and the ritual transmission of key texts, as well as an “introduction” to the nature of the mind given by the teacher to the student. The main scriptural sources of Dzogchen practice are texts held to be translations collected in semicanonical compendia, treatises by Tibetan scholars, and revealed texts known as terma, usually said to have been concealed in the 8th century by the tantric master Padmasambhava.
Dzogchen is a living tradition, taught within all of the main Tibetan Buddhist schools, though it remains closely associated with the Nyingma school. Within the latter, Dzogchen is considered to be the most advanced of Buddhist meditation practices, placed at the top of a ninefold categorization of Buddhist practice, the “nine vehicles.” Known in this context as atiyoga, “the utmost yoga,” it is the highest of the three “inner yogas,” the other two being mahāyoga and anuyoga. Dzogchen is also at the pinnacle of the teachings of Tibet’s Bonpo religion, which shares much of its doctrine with the Nyingma school and has in recent years been formally identified as one of the Buddhist schools of Tibet.
“Esoteric Buddhism” and “Buddhist Tantra” are contested categories to begin with in Buddhist studies; within the specific context of the study of Buddhism in Southeast Asia, they are doubly contested. That is, on top of the usual contestations applying to these categories within the contexts in which they are usually studied—medieval north India, Tibet, and Zhenyan/Shingon in East Asia—there arises the issue of whether and to what extent these categories are applicable to Southeast Asian Buddhism. There are two discrete ways in which the category “esoteric Buddhism” can be used as a lens through which to study aspects of Southeast Asian Buddhism. The first is historical and pertains to the usual referent of “esoteric Buddhism,” namely, Tantra as an aspect or subdivision of Mahāyāna Buddhism (mantranaya). Although Mahāyāna Buddhism is no longer a major force within Southeast Asian Buddhism (aside from Vietnamese Buddhism, which shares more affinities with East Asian Buddhism), Mahāyāna Buddhism did play a significant role in several “classical” Southeast Asian states in the past, and there is some evidence of mantranaya ideas and practices within certain historical Southeast Asian Mahāyāna contexts. The second way in which “esoteric Buddhism” can be applied to Southeast Asian Buddhism is as a (putative) aspect of Theravāda or Pali Buddhism, which continues to be practiced over much of mainland Southeast Asia to the present day. Certain aspects of contemporary (and recent historical) Theravāda/Pali Buddhism have been labeled variously “Tantric Theravāda” or “esoteric Southern Buddhism” out of perceived similarities to the more familiar system of Mahāyāna Buddhist Tantra.
Many people, even scholars like Kenneth Ch’en, thought that filial piety is a special feature of Chinese Buddhism because it has been influenced by Confucianism, which considers filial piety as the foundation of its ethics and the root of moral teaching. In fact, we find in the early Buddhist textual sources that filial piety is not only taught and practiced in Indian Buddhism but also considered an essential moral good deed although it is never taken as the foundation of Buddhist moral teaching. One of the most important sutta-s related to this issue in early Buddhist resources is the Pāli Kataññu Sutta, which teaches children to pay their debts to the parents who gave them birth and brought them up with much difficulty and hardship. When Buddhism was introduced in China during the Eastern Han dynasty (25–220), Confucianism already occupied the central position in Chinese philosophical thought, and it continued until the end of imperial rule in the beginning of the early 20th century, although its position was challenged by Buddhism and Daoism from time to time. In response to Confucian criticism of Buddhists being unfilial, the learned Chinese Buddhists retorted in theoretical argumentation in the following four ways: (1) translations of and references to Buddhist sutra-s that teach filial behavior; (2) writing scholarly refutations of the charges of unfilial practices, such as Mouzi’s Lihuolun and Qisong’s Xiaolun; (3) interpreting Buddhist precepts as equal to the Confucian concept of filial piety; and (4) teaching people to pay four debts to four groups of people: parents, all sentient beings, kings, and Buddhists. Ordinary Chinese Buddhists replied to the criticism by (1) composing apocryphal scriptures, such as the Fumu Enzhong Jing (Sūtra on the Great Kindness of Parents), to teach filial piety and (2) popularizing such stories and parables as the Śyama Jātaka and the Ullambana Sūtra by way of public lectures, painted illustrations called Banxiang or tableaus on walls and silk, and annual celebration of the Yulanpen festival, popularly known as the ghost festival. Chinese Buddhism has become a religion that emphasizes the teaching and practice of filial piety with rich resources through such exchange and interaction with Confucianism and Daoism for the last two thousand years. Even today, ordinary Chinese Buddhists still teach and read the Fumu Enzhong Jing and celebrate the Yulanpen festival every year. This influenced Daoism such that they also created a similar text teaching filial piety and celebrate the festival on the same day and perform same activities of feeding the hungry ghosts, but they call it Zhongyuan.
Carol S. Anderson
The Buddhist teaching known in English as the four noble truths is most often understood as the single most important teaching of the historical buddha, Siddhartha Gautama, who taught in northern India during the 5th century
Roger R. Jackson
Mahāmudrā, “the Great Seal,” is a Sanskrit term (Tibetan: phyag rgya chen po) that connotes a wide range of concepts and practices in Indian Mahāyāna and, especially, Tibetan Buddhism, most of them directly or indirectly related to discourse on ultimate reality and the way to know and achieve it. The term first appeared in Indian tantric texts of the 7th or 8th century
“Naikan” 内観 is a self-reflective form of meditation founded by Yoshimoto Ishin 吉本伊信 (1916–1988), who developed it from a lay Shin Buddhist practice called mishirabe身調べ. After Yoshimoto used it to help prisoners in the 1950s, psychiatrists in the 1960s started to use it as a psychotherapy. Today in Japan it is the most popular psychotherapeutic method that originated in Buddhism.
Naikan involves self-reflection on three questions: What have I received from a significant other? What have I given back to that person? What troubles and difficulties did I cause that person? People doing Naikan ask themselves these questions in relation to a family member or some other person during particular times in their lives.
There are two types of the practice: intensive Naikan (shūchū naikan集中内観) and daily Naikan (nichijō naikan日常内観 or bunsan naikan分散内観). The former is done continually for a week at a Naikan training center, of which there are about twenty-five in Japan and several outside Japan in Austria, Germany, and the United States. During intensive Naikan, those doing Naikan report individually eight or so times a day their answers to the three questions to an “interviewer” (mensetsusha面接者). Daily Naikan is done as part of a person’s everyday normal routine for as short as a few minutes or as long as two hours a day. Intensive or daily Naikan is offered as a therapy at about twenty medical institutions in Japan and another fifteen in China.
Intensive Naikan is commonly done for one of four reasons. First, it is done to solve a specific problem, such as alcoholism, gambling addiction, a psychosomatic disorder, or a bad relationship with a family member. Second, it is used to train employees so they can interact better with customers and colleagues. The Toyoko Inn, for example, which has over 230 hotels throughout Japan, requires all its full-time employees to do intensive Naikan. Third, it cultivates greater self-awareness with regard to, for example, how our minds work. Finally, it is done to discover the true nature of our lives through a spiritual awakening, which commonly entails the realization of how we live due to the care of others and how we suffer because of our own self-centeredness. This final purpose is in accordance with Yoshimoto’s view of Naikan as a method for learning how to live happily regardless of one’s life circumstances. Those who do Naikan for non-psychotherapeutic purposes sometimes use the term “Naikanhō” 内観法 (Naikan method) to distinguish their aims from Naikan therapy (Naikan ryōhō) 内観療法, which is used to solve a particular problem. But regardless of whether Naikan is done for self-developmental, spiritual, or for therapeutic reasons, the Naikan method of reflecting on the three Naikan questions is the same.
Stephen C. Berkwitz
Relics and images of the Buddha and of other awakened beings occupy important places in ritual practice throughout the Buddhist world. Their significance and sacrality are evidenced by the numerous written and oral narratives that have been composed by Buddhist authors and storytellers to describe how they were obtained and what makes them special. Buddhist narratives on relics and images are mainly found outside of the tradition’s canonical literature, either as discrete texts or as sections in larger works. These narratives often supply explanations as to why certain relics shrines and images are worthy of veneration and can be sites for authorizing power and political status. The written and oral narratives about these allegedly extraordinary objects typically include material concerning the origins of revered relics and images linked to the Buddha or other awakened saints, as well as narratives that prophesy and recount how such special objects were found in their present locations and came to be worshipped by devotees. Such textual sources also often associate particular relics and images with the authority of a ruler or a monastic community that possessed them. It seems clear that the more important a given relic or image is for a Buddhist community, the more likely that it will have a narrative that is used to help locate this object in time and space for devotees to understand and worship it properly. In sum, these narratives play a critical role in endowing relics and images with their extraordinary natures and important roles in the devotional and political spheres of Buddhist communities across Asia.
The Indian Buddhist philosophers Dignāga (c. 480–540
Along with the buddha and the dharma, the sangha is one of the “three jewels,” the core aspects of Buddhism in which a Buddhist “takes refuge.” The sangha is responsible for taking care of and propagating the dharma, the teachings of the buddha. It can also be considered more broadly as the Buddhist community, which in turn can be thought of as the group of people who either take refuge in the three jewels or follow the teachings of the buddha. Given this, the sangha has generally been conceptualized in two ways. Most often, it refers to the community of men and women who have been ordained as monks and nuns under the auspices of Buddhist disciplinary teachers. At the same time, it can sometimes refer more broadly to the four-fold community of monks, nuns, laymen, and laywomen.
While the sangha may be discussed in the singular, generally speaking it is appropriate to think of sanghas in the plural. In this sense, the term refers not to an ideal community that maintains the teachings of the buddha but rather to the communal and institutional structures through which people define themselves as Buddhist and maintain their Buddhist identities. A particular sangha is revealed by interrogating the linkages (i.e., lineages) between different Buddhists, the kinds of educational structures in place to train adherents, the ways that Buddhists discipline themselves (for example, through the vinaya rules), and the ways in which external governing bodies seek to regulate Buddhist communities.
David B. Gray
The term tantra and the tantric traditions of Hinduism and Buddhism have been subjected to a great deal of misunderstanding in both India and the West. There is a diverse range of attitudes toward the tantric traditions, ranging from their emic understandings as paths to liberation to the relatively widespread associations of the tantric traditions with sorcery and libertine sexuality. Likewise, tantric traditions are also extremely diverse, which has made it difficult to develop a definition broad enough to cover the various tantric traditions without being overly broad. There have also been many attempts to discern the origins of the tantric traditions. While there is very little evidence supporting the hypothesis that any of the tantric traditions existed before the 5th century
An overview of the history of tantric traditions, then, should begin with a survey the development of the Hindu tantric traditions, from the mid-first millennium
Solomon George FitzHerbert
In both eastern Tibet and in Mongolia, the Buddhist cult surrounding the figure of Ling Gesar (Gling ge sar) or Geser Khan in Mongolian versions is an outgrowth of Gesar’s standing as the eponymous hero of an elaborate oral epic tradition. Today, the epic and the Buddhist cult exist side by side in a relationship of symbiosis. Gesar’s sanctification as an enlightened being—as the combined manifestation of the Three Bodhisattva Lords and as an “emissary” or “manifestation” of Padmasambhava—whose tricksterism is enacted on behalf of the forces of goodness, justice, and the White Side in its perennial battle against the forces of evil, injustice, and the Dark Side—is both an outgrowth but also a source of nourishment for the epic tradition as it has continued to adapt and develop up to our own times.
The Gesar/Geser epic, in all the three main regions in which it survives (eastern Tibet and its neighboring regions, the Mongolic regions as far west as Kalmykia, and Ladakh and neighboring regions), is a living and mobile tradition of oral recitation and improvisation. The available textual corpus of this epic is very large, though none of it is very old (the oldest available epic texts in Tibetan are from the 17th century and in Mongolian are from 18th century). Thanks in part to sustained state patronage in the PRC, there are now over 200 published volumes of non-duplicating Gesar epic narrative and song, mostly from eastern Tibet. A lot of this material is of a directly oral provenance. Many modern volumes are the direct transcriptions (with some editing) of the oral repertoires of contemporary bards, some of which have been very lengthy. To take one example, the recorded repertoire of the bard Samdrup (Bsam grub) (1922–2011) was over 3,000 hours long, much of which has now been published. As for literary versions, the authors of Gesar epic texts often make explicit the debt that their tellings owe to oral renditions that they have heard. The mid-18th-century author of the famous Horling Yülgyé (Hor gling g.yul ’gyed), for example, mentions that he based his telling on the oral repertoires of “some twenty bards,” several of whom he cites by name. Due to the heterogeneity and sheer volume of this available textual corpus, it is hard to make categorical assertions about the relationship between Buddhism and the epic tradition, since that relationship varies from version to version. However, some general observations may be offered. In the ritual cult devoted to Gesar that evolved from the epic tradition, matters are somewhat clearer. In the ritual texts devoted to Gesar—which are mostly offering texts—the unruly polyphony of the epic (many bards, many characters, many perspectives) is replaced with a neater integrated vision, in which the hero is praised as a totalizing culture hero and enlightened lord—a hero in every register, both worldly and spiritual, both chivalric and shamanistic.
As “cultic citizens,” women participated in state festivals at Athens alongside men and celebrated their own rituals apart from them, at shrines within the house and in cults outside the house in the company of other women. Their association with fertility made them indispensable performers of rites connected with the agricultural year. Women also served as priestesses, as dedicators, and as euergetai (benefactors). At home, their rituals accompanied nuptial preparations, the laying out of the dead, and the departure of soldiers for war. Female religious activity was considered so critical to the welfare of the community that it was sanctioned by law and financed by the polis. Religion further allowed women’s widespread movement throughout the city as they left their homes to participate in processions and festivals, visit shrines, sanctuaries, and cemeteries. By performing rituals on behalf of the city, Athenian women distinguished themselves from female foreigners and slaves as rightful citizens of the polis. Women-only festivals further offered opportunities to build and strengthen female social networks, to act autonomously, and perhaps even to subvert social norms. Domestic rituals accomplished by women in turn helped to mark the life stages and strengthen familial identity.
The difficulties of reconstructing the ancient Greek religious system are well known, even for the period for which there is the most evidence, classical Athens. Even more challenging is the task of recovering the religious activities of women within this structure, given that men served as the primary religious agents within both the polis and household. The prevailing view that the polis mediated all religious activity, including domestic, encompassed by the concept of “polis religion,” has further obscured our understanding women’s ritual activities. Influenced by feminist and social-network theories, recent research has argued for a more nuanced model of religious activity that takes into account the varieties of individual religious experience, particularly those of members of marginal groups, such as slaves and women. It dismantles the traditional binary model of public and private by showing how polis and household were intricately interconnected and interdependent at all levels. These new approaches allow us to consider the ways in which women’s ritual activities intersected with and reinforced polis ideology, allowing women a significant presence and agency in the civic sphere, despite their exclusion from politics, commerce, and certain public spaces. It can also help us understand their engagement with noncivic celebrations and domestic ritual.