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traces its origin from one of those forms of sun worship.” As is clear from this quotation, de Groot only sees here a case of archetypal similarity, without speculating about the possibility of a more direct historical influence.
25 See K. Schipper, Fen-Teng, p. 33.
26 Guéranger, op. cit., p. 501:
“dictum”.
30 Ibid., pp. 508-9.
“sanctifica”; “sanctificatum et bene-”.
31 M. Saso, Cosmic Renewal, p. 73. K. Schipper does not tell us how the new flame is produced.
32 Guéranger, op. cit., p. 503, f.
** See text quoted on p. 11 and also end-note 20.
34 My transl. of the Chinese text. See Schipper, Fen-Teng and Saso, Cosmic Renewal, pp. 73-74.
35 See K. Schipper's detailed description of the rituals:
(i) "Enroulement du Rideau": nos. (23)-37). This ritual lasts just over 35 minutes. (Le Fen-teng, pp. 25-27).
(ii) "Tintement solennel de la Cloche et de la Pierre sonore": nos. (38)-(59): lasts ca. 33 minutes. (See pp. 27-32).
36 M. Saso, Cosmic Renewal, p. 74, f.
37 Actually they are not to be seen as three separate rituals but as three stages in one ongoing celebration.
**M. Saso, (Cosmic Renewal, p. 74), says that a screen is only "imagined" and is "rolled up" by "symbolic gesture". This may be the custom in Northern Taiwan, but in the South a real screen is used which is actually rolled up during the ritual.
39 M. Saso, Cosmic Renewal, p. 74.
40 M. Saso, Cosmic Renewal, p. 75:
First the metal bowl is struck 24 times: yang (Schipper: 24+1) then the wooden fish is struck 24 times; yin (Schipper: 29+1) then: both together are struck 36 times: yin and yang in harmonious union; then metal bowl again: 9 times; and finally wooden fish: 6 times.
K. Schipper (Fen-Teng, p. 29) does not mention the striking of a wooden fish, but of the "musical stone", as indicated in the ritual text.
41 See for instance E. Zürcher. "Buddhist Influence on Early Taoism, A Survey of Scriptural Evidence:", unpublished paper presented at the Third International Conference of Taoist Studies, Uterageri, Switzerland, Sept. 1979.
42 Sources of information about Nestorianism in China are as follows: P. Y. Saeki, The Nestorian Monument in China (London, 1916); The Nestorian Documents and Relics in China (Tokyo, 1951); J. Foster, The Church of the Tang Dynasty (London, 1939); C. Eliot, Hinduism and Buddhism, III; S. Holth, "The Encounter between Christianity and Chinese Buddhism during the Nestorian Period", Ching-feng, XI (1968), 20-29; K. L. Reichelt, Truth and Tradition in Chinese Buddhism: T.-m. K’ung “Chugoku Keikyō niokeru Bukkyō teki Eikyo ni tsuite" (The
114
JULIAN F. PAS
traces its origin from one of those forms of sun worship.” As is clear from this quotation, de Groot only sees here a case of archetypal simi- larity, without speculating about the possibility of a more direct historical influence.
25 See K. Schipper, Fen-Teng. p. 33.
2o Guéranger, p. cit., p. 501:
dictum".
30 Ibid., pp. 508-9.
"sanctifica"; "sanctificatum et bene-
31 M. Saso, Cosmic Renewal, p. 73. K. Schipper does not tell us how the new flame is produced.
32 Guéranger, op. cit., p. 503, f.
** See text quoted on p. 11 and also end-note 20.
34 My transl. of the Chinese text. See Schipper, Fen-Teng and Saso, Cosmic Renewal, pp. 73-74.
35 See K. Schipper's detailed description of the rituals:
(i) "Enroulement du Rideau": nos. (23)-37). This ritual lasts
Just over 35 minutes. (Le Fen-teng, pp. 25-27).
(ii) "Tintement solennel de la Cloche et de la Pierre sonore":
nos. (38)-(59): lasts ca. 33 minutes. (See pp. 27-32).
36 M. Saso, Cosmic Renewal, p. 74, f.
37 Actually they are not to be seen as three separate rituals but as three stages in one ongoing celebration.
**M. Saso, (Cosmic Renewal, p. 74), says that a screen is only "imagined" and is "rolled up" by "symbolic gesture". This may be the custom in Northern Taiwan, but in the South a real screen is used which is actually rolled up during the ritual.
39 M. Saso, Cosmic Renewal, p. 74.
40 M. Saso, Cosmic Renewal, p. 75:
First the metal bowl is struck 24 times: yang (Schipper: 24+1) then the wooden fish is struck 24 times; yin (Schipper: 29+1) then: both together are struck 36 times: yin and yang in harmonious union; then metal bowl again: 9 times; and finally wooden fish: 6 times.
K. Schipper (Fen-Teng, p. 29) does not mention the striking of a wooden fish, but of the "musical stone", as indicated in the ritual text.
41 See for instance E. Zürcher. "Buddhist Influence on Early Taoism, A Survey of Scriptural Evidence:", unpublished paper presented at the Third International Conference of Taoist Studies, Uterageri, Switzerland, Sept. 1979.
42 Sources of information about Nestoriamsm in China are as follows: P. Y. Saeki, The Nestorian Monument in China (London, 1916); The Nestorian Documents and Relics in China (Tokyo, 1951); J. Foster, The Church of the Tang Dynasty (London, 1939); C. Eliot, Hinduism and Buddhism, III; S. Holth, "The Encounter between Christianity and Chinese Buddhism during the Nestorian Period", Ching-feng, XI (1968), 20-29; K. L. Reichelt, Truth and Tradition in Chinese Buddhism: T.-m. K’ung “Chugoku Keikyō niokeru Bukkyō teki Eikyo ni tsuite" (The
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