RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961 https://digitalrepository.lib.hku.hk/catalog/vd6724704 Journal of the Royal Asiatic Society Hong Kong Branch RASHKB and author Vol. 1 (1961) ISSN 1991-7295 69 Chou of Shang by King Wu of Chou about 2100 B.C. However, this merely serves as the basic skeleton of the novel, to which many supernatural incidents are added. Some of these supernatural incidents in the novel are taken from the prompt-book Wu-wang Fa-Chou P'ing-hua ENT ("King Wu's Expedition against King Chou"), which was current in the Yüan period, about 1321-1323. However, the author of the Féng-shên took his material from various other sources, for he was an extraordinary character. He was at first a Confucian scholar; then, after failing nine times to pass the official examination, he became a Taoist priest. But in his last years he showed a leaning to Tantric Buddhism, and his work on the Surangama-sutra (VR) is included in the Second Collection of the Tripitaka in Chinese. Even now in Hong Kong he is regarded by Taoists as one of their patriarchs and referred to as "Lu tsu Hsi-hsing", or "Patriarch Lu Hsi-hsing", though in fact he combined the teachings of Confucianism, Taoism, and Buddhism. In his novel, he divided the Taoist gods into two categories. The benevolent ones he called Shan Chiao W, or The Promulgating Sect, led by Yüan-shih T'ien-tsun, or The Celestial Honoured Primordial, and Lao-tzu; the malevolent ones he called Chieh Chiao #, or The Intercepting Sect, led by T'ung-t'ien Chiao-chu #, or The Patriarch of All Heaven. When, in the novel, King Chou and King Wu are going to fight a decisive battle, the gods come down from heaven to take part. Naturally, the gods of the Promulgating Sect help the good King Wu, while those of the Intercepting Sect lend their aid to the wicked King Chou. All kinds of magic weapons are used, everything that the sixteenth century Chinese mind could conceive, even plague-carrying seeds (a sort of germ warfare!). The climax is reached after "the battle of ten thousand gods", when the leader of the Intercepting Sect is badly defeated. However, the common master of all the three leaders appears and makes peace among them. The author thereupon concludes: Like the red lotus flower, its white root, and its green leaves, The Three Teachings are really one and the same. Now, the term "the Three Teachings" usually refers to Confucianism, Buddhism, and Taoism, but in the novel the usage of this term is not always clear. Sometimes it seems to refer to the Promulgating Sect, the Intercepting Sect, and common mortals. At other times, Buddhism seems included. The author has included among Taoist gods of the Promulgating Sect certain Buddhist deities such as Mañjusri (Wên-shu), Samantabhadra ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961 https://digitalrepository.lib.hku.hk/catalog/vd6724704 Journal of the Royal Asiatic Society Hong Kong Branch RASHKB and author 70 Vol. 1 (1961) ISSN 1991-7295 (P'u-hsien), and Avalokitesvara (Kuan-yin). Only certain Buddhas of the Tantric Sect, such as Cundi (Chun-t'i) and Vairocana (P'i-lu-chê-na) are mentioned as "saints from the West"; but even these are given Taoist-sounding titles like tao-jên. In this way, the mainly Taoist framework of the novel is preserved. This amalgamation of Buddhist and Taoist deities is highly interesting and may have influenced actual religious practice in China. The practice of worshipping Taoist gods side by side with Buddhas and Bodhisattvas seems to have started after the publication of the novel, for in earlier Taoist literature we find no Buddhist deities mentioned among Taoist gods. For instance, in the Yün-chi ch'i-ch'ien, chüan 103, we find an account of the Taoist pantheon as it was in the eleventh century, which contained no Buddhist deities or fictional gods. But after the sixteenth and seventeenth centuries, various Taoist gods mentioned in the novel came to be worshipped together with Buddhist ones. What is more, most of the temples which apparently first adopted such practice were situated in northern Kiangsu, near Hsinghua, the native district of Lu, the author of the novel. It is therefore not unreasonable to suggest that the novel influenced the composition of the Chinese pantheon and contributed to the amalgamation of Buddhist and Taoist gods in popular belief. The amalgamation of Buddhist and Taoist gods seems to have been achieved purposely by the author of the Fêng-shên. As a concrete illustration, I propose to describe how Vaisravana (P'i-sha-mên Tien-wang), one of the Four Heavenly Kings in Buddhist belief, and his third son Nata (Na-cha or No-cha), became important characters in this novel. Vaisravana was of course an Indian god, but during the T'ang and Sung periods he became identified with the Chinese general of the T'ang dynasty, Li Ching. But stories about him were disconnected before the novel Fêng-shên Yen-i was compiled. In various prompt-books which existed before the novel, such as the Nan-yu-chi ("Prince Hua-kuang or The Voyage to the South") and the Hsi-yu-chi (“Pilgrimage to the West”, the prototype of the famous novel of the same name) in the Ssu-yu-chi ("The Four Travels"), there were already stories about this god and his son. But in the hands of the author of the Fêng-shen these fragmentary and disconnected stories were reorganized and transformed into a vivid tale which can almost stand on its own as an interesting story apart from the whole * For illustrations of some of these temples, such as the Kuang Fu Monastery in Tai-hsing, Yangchow, and the Tu Tien Temple in Hai-men, Kiangsu, see Père Henri Dore, Recherches sur les superstitions en Chine, (10 vols., Shanghai, 1913-38), Bk. 9, Pt. 2, in Vol. 6. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961 https://digitalrepository.lib.hku.hk/catalog/vd6724704 Journal of the Royal Asiatic Society Hong Kong Branch RASHKB and author Vol. 1 (1961) ISSN 1991-7295 71 novel. After this treatment, Vaisravana and Nata became completely Sinicized, and few, if any, Chinese readers ever suspect that they are "alien" in origin. This is typical of the way in which Chinese Buddhists took stories or ideas of foreign origin and gradually turned them into something totally Chinese. Apart from its influence on religious practice, the novel Fêng-shên Yen-i is also of considerable importance from a literary point of view. It superseded previous stories from which it took some of its material, so much so that but for the efforts of scholars in the past thirty years these previous stories contained in prompt-books would have been unknown. Even now, only a handful of experts have read the prompt-books, while most readers are not aware that the Fêng-shên is not entirely the original creation of one man. This goes to show the success of the author as an imaginative writer. In the following pages I shall attempt to describe how the stories about Vaisravana and Nata became integral parts of the novel, as an example of the Sinicization of Buddhist stories and figures and their assimilation into the mainly Taoist pantheon of China. I shall also try to show how the author, Lu Hsi-hsing, made use of the material derived from miscellaneous sources and turned it into a fascinating tale. 1. VAISRAVANA AND NATA When we come to a discussion of some of the prominent figures in the novel Fêng-shên Yen-i, the most striking fact we shall find is that the author described these figures vividly and did not rely on previous legends for literary effect. Rather, he chose from miscellaneous and discordant materials and put them into a unified system which enlarged and modified the Chinese pantheon. The story of Li Ching and his three sons, especially the third one, No-cha, in this novel may serve as an outstanding illustration. In this novel Li Ching was first a commander of the Ch'ên-t'ang Pass in the court of the ruthless King Chou (Ch.12), but he was also a Taoist, and for a period of years he had learnt the process of Taoist cultivation from the Immortal Tu O of the K'un-lun Mountain though he was unable to reach the final attainment. He had three sons: the eldest, Chin-cha, was a disciple of Wên-shu (Mañjusri), the second, Mu-cha, was a disciple of P'u-hsien (Samantabhadra) and the third one, No-cha, a disciple of the Immortal Tai-I. Both the father and his three sons joined the side of King Wu in the expedition against King Chou. Though they all knew some magic feats and possessed magic weapons, they are described as human beings. Unless we study the Tantric sutras and compare them with the Chinese Page 75 Page 76 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961 https://digitalrepository.lib.hku.hk/catalog/vd6724704 Journal of the Royal Asiatic Society Hong Kong Branch RASHKB and author 78 Vol. 1 (1961) ISSN 1991-7295 son of Li Ching is Hui-an () who was a disciple of Kuan Yin (Bodhisattva Avalokitesvara), while his name, Mu-ch'a (*), is not mentioned except in one verse, and not in the prose part of Ch.21. This is the name the author of the Fêng-shên Yen-i adopted. The origin of the name Mu-ch'a can be found in chüan 18, Kan-t'ung P'ien (A) of the Sung Kao-sêng Chuan (***) by Tsan-ning (), who was a follower of the Monk Sangha (@). The latter was said to be an incarnation of the Avalokitesvara of eleven faces and died in A.D. 710. Apart from Mu-ch'a, Hui-an was also one of his disciples. Therefore, in popular literature, Mu-ch'a and Hui-an are mixed up into one person and in the "Four Travels" Hui-an remains a disciple of Kuan Yin. It was the author of the Fêng-shên who changed the character ch'a (X) to cha (RE) in his novel so that the name could have the same second character as No-cha. In some popular editions of the "Four Travels" the character ch'a (X) has also been changed. Now, in the Tantric works, though the second and third sons of Vaisravana (Tu Chien and Nata) play rather important parts, his other sons, especially his first son, are not mentioned. I have read through a large number of sutras about Vaisravana and consulted some Buddhist scholars in Japan,1a but they could not give me any definite opinion. In Oda Tokuno's (1) Buddhist Thesaurus (#) and in the Chinese work Fu-hsüeh Ta Tz'u-tien (BAND) edited by Ting Fu-pao (TR) based upon it,19 we find that the names of P'i-sha-mên wu t’ung-tzu (£££7 Five Attendants of Vaisravana) include Tu Chien and Nata, but no origin is given. I think they may be identical with the "Five Yakshas" which appear under the sub-title "Princes and Family Members" (ERB) in Caturmaharaja (19F諸小王及眷屬)in E) in chuan 6 of the Ch'i Shih Ching (). They are, in translation, Fifty-feet (wu-chang £), Wilderness (k'uang-yeh ), Golden Mountain (chin-shan ), Long Fellow (ch'ang-shên ) and Hair of A Needle (chên-mao E). They appear (translated literally from the Sanskrit) also in the Caturmaharaja of the Shih Chi Ching (H) and in chüan 19 of the Dirghagama (£§ÂŒ) as "Five Attending Genii of Vaisravana.” 20 I Dr. Henmi Baiei), Professor of Buddhist Art, Tama University (9) and others. I have also consulted the Chinese Buddhist priest Tan-hsü (1), aged 89, a disciple of the late T'i-hsien (M) of the Tien-t'ai Sect (R) and some Tantric scholars. 19 The 4th ed., I Hsieh Shu Chũ (885), Shanghai, 1939. 20 No. 24, The Tripitaka in Chinese, translated by Jñanagupta. cf. No. 25, Ch'i-shih Yin-pên Ching (#LFXE), chữan 6 & 7. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961 https://digitalrepository.lib.hku.hk/catalog/vd6724704 Journal of the Royal Asiatic Society Hong Kong Branch RASHKB and author Vol 1 (1961) ISSN 1991-7295 79 But this does not explain satisfactorily the record in the Mahavaipulya Mahasamnipata-sutra (李大集遺設堂訴言),21 in Catur-maharaja (四大天王), which maintains that each maharaja has ninety-one sons, but gives no names. And this does not explain the case (in the Janavasabha suttanta22 in chüan 5 of the Dirghagama) of the other god who, because of his accumulated merits would be re-born after his death as a son of Vaisravana in the Caturmaharajakayika (四大天王部). In the Buddha Preaching Jên-hsien Ching (作請人軟訣),* (AB jên-hsien being the Chinese translation for rsi jina) concerning the future of King Bimbisara (望界藤王), it is alleged that he would be re-born as the son of Vaisravana, Perhaps such confusion would explain why the author of the Fêng-shên, though knowing a good many of the Tantric legends, and adopting (in Ch.99 of the novel)23 the Chinese names for the four heavenly kings as "Protectors of the Tripitaka and the Country, and Regulators of Wind and Rain", abandoned the use of the name of Tu Chien and, in order to make his name conform to those of his younger brothers, invented Chin-cha ("金吳), as the name of the eldest son of Li Ching. Chin-cha, though his origin does not appear in any reliable records, may, I suspect, come from the Tantric dharanis. Also, I have found in Act 1 of the anonymous play, Yüeh-ming Ho-shang Tu Liu-ts'ui (月明和尚堂留利清)24 of the Yuan dynasty, the following words chanted by a priest: An! Ch'ih ling Chin-cha, Chin-cha, Sêng Chin-cha, Wo chin wei ju chieh Chin-cha, Chung pu wei ju chieh Chin-cha, An! (Listen! I am speaking of Chin-cha. Chin-cha, monk Chin-cha, I come to release you from Chin-cha, not to tie you up with Chin-cha. Listen! 哈！我今為你解金吳, 终不為你縋金吳。哈！) Since the author of the Fêng-shên was interested in both Buddhism and Taoism and is proved to have known many plays and other works of popular literature, he might have made use of materials such as those quoted above, in his creation of his characters. 3. A LUMP OF FLESH WAS BORN The story of No-cha's mother giving birth to him, in Ch.12 of the Fêng-shên Yen-i is as follows: Li Ching's wife, née Yin, had been pregnant for three years and six months, so he became very much vexed at it. The wife dreamed one night at three strokes of the watch 21 No. 397, translated by Dharmaraksa. 22 Tseng-chang, Kuang-mu, To-wên, Ch'ih-kuo, see No. 665, Suvana-prathasa Sutta Sutra (Chin-kuang-ming Tsui-shêng-wang Ching 金光明最膤王訣), 11 & 12. *9* ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961 https://digitalrepository.lib.hku.hk/catalog/vd6724704 Vol. 1 (1961) ISSN 1991-7295 Journal of the Royal Asiatic Society Hong Kong Branch RASHKB and author 88 his original body and by his miraculous powers preached the dharma for the benefit of his parents. 邵业 This is a case which was preached as early as the Sung dynasty. But, though it looks like a part of a Buddhist legend with some details probably omitted, it occurs in no canonical texts and is found to be fabulous. In chüan 6 of the Tsu-t'ing Shih-yüan (...), a work composed by Monk Ch'ên Shan-ch'ing (*) about A.D. 1099, it says, In the monasteries there is the legend of his "giving his flesh back to his mother and his bones to his father," but nothing referring to it can be found in the texts of the Tripitaka and no one knows what its origin is. (王子肉濟父母緣 In the Tripitaka in Chinese, I have found two cases which may have some relation with the legend of Nata as adapted in the Fêng-shên. One appears in the Tsa Pao-tsang Ching (# BK), chüan 1, subtitled "A Prince Fed His Parents with His Own Flesh" (±‡Ùƒƒ2R). It was the prince Hsü Shê T'i (F), a young prince aged seven. His grandfather, the king of Varanasi (M) had been assassinated by an usurper who killed also his two sons. The father of the young prince was the third son. Now the young prince when fleeing for his life with his parents, was faced with the problem of food. His father intended to kill his wife. Thereupon the young prince dismembered himself and cut off his own flesh every day to feed his parents until he had only three slices of flesh to offer. He presented two to his parents and the last slice which was so dear to him was given to a hungry wolf who was a transformation of Indra himself.31 The prince was an incarnation of Sakyamuni in a previous life. The prince Hsü Shê T'i in this Buddhist legend was seven, and his father was the third prince. It is quite possible that in the popular mind the jataka story became confused with the Tantric one, because in some Tantric texts such as the Pei-fang P'i-sha-mên T'ien-wang Sui-chun Hu-fa I-kuei (... "Ceremonies In the Worship of the Heavenly King Vaisravana, the Protector of the Army")," Nata is regarded as 30 Nata's relation with Tantrism was still very clear in records as well as in the public mind. cf. Hung Mai (), / Chien San-chih (BEZ) chuan 6, on "Ch'êng Fa-shih" (El), Han Fên Lou (*) ed.; T'ai-p'ing Kuang-chi (XP), chüan 92, 1-sêng Lei (M), on Nata, In most of the Yuan plays, Nata is a fearful god (MME). 91 No. 203, The Tripitaka in Chinese. cf. No. 156, Ta-fang-pien-fu Pao-ên Ching (XSEOREC), chüan 1, Hsiao-yang P'in (442). 32 No. 1247, The Tripitaka in Chinese. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1966 https://digitalrepository.lib.hku.hk/catalog/bz60k0811 FOREIGN RELATIONS OF BUDDHISM Relations with Tibet 81 Just as Buddhism was used by the Japanese to serve political ends in China, so it was used by the Chinese to serve political ends in Tibet. After the collapse of the Ch'ing Dynasty the Tibetans considered themselves to be an independent nation. Successive Republican governments therefore endeavoured to persuade them that they were one of the five races of China and that Tibet was Chinese territory. In a rather poor hand Buddhism was one of the better cards. That is, the Chinese could argue that Tibet was bound to China by a common religion. This was not altogether factitious. For example, one of the rites for the dead most commonly performed by Chinese monks, the fang yen-k'ou, was partly of Tibetan origin. Mountains like Omei and Wu-t'ai Shan had long been equally sacred to Chinese and Tibetan pilgrims, and had provided the venue for a Sino-Tibetan syncretism. A visitor to Wu-t'ai Shan in 1911 wrote: "The most curious feature of Buddhism on the Wutaishan is the amalgamating of Chinese Buddhism and Lamaism... doctrines borrow from one another in habits and arrangements... The structure of the temple is, for the greater part Chinese, but the form of the pagodas is mostly Indo-Tibetan. The interior, too, forms a mixture of Chinese and Tibetan. Chinese and Tibetan idols stand side by side, Tibeto-Mongolian inscriptions are next to Chinese ones, Tibetan butter lamps, praying cylinders, also boards on which the monks throw themselves for prayers, all such things are seen here in Chinese temples. In their services, too, one style blends with another."24 Both Although lama temples enjoying Manchu patronage were to be found in Peking and a few other Chinese cities, the indigenous Chinese Tantric sect had been suppressed in the Ming Dynasty. During the Republican period some Buddhist devotees became interested in reviving it, or rather in reintroducing Tantrism from Tibet and Japan, where it had been preserved intact. To them, as to some Europeans of that time, Tibet was a land of precious secrets, which they resolved to learn. It is difficult to ascertain the relationship between this personal interest and government policy. Which came first? How did each stimulate the other? ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1966 https://digitalrepository.lib.hku.hk/catalog/bz60k0811 82 HOLMES WELCH The earliest manifestation of the Tantric revival was perhaps a school of Tibetan studies that operated in Peking 1924-1925. Founded by T'ai-hsü and headed by his disciple Ta-yung, its purpose was to prepare people for further study in Tibet. Only a single class was graduated, most members of which got no further than the Tibetan borderlands, but at least three reached Lhasa: Fa-tsun, Neng-hai, and Ch'ao-i. They returned to China in the early 1930's.25 Fa-tsun became the principal of the Sino-Tibetan Institute outside Chungking. This had also been established by T'ai-hsü (in 1931) and had the same goal as his school in Peking — to prepare people for study in Tibetan monasteries but unlike the earlier school it received a government subsidy. It was perhaps the only Buddhist institution to enjoy this privilege during the Republican period. The government displayed an even more open concern when in December 1936 the Mongolian and Tibetan Affairs Commission inaugurated a program for the exchange of Chinese and Tibetan monks. Two of the former were to be selected annually by the Chinese Buddhist Association and sent to Lhasa for five years' study, while two Tibetan monks were to be chosen by "the local government of Tibet" for study in China. Tibetans were brought not only to study, but to teach. Early in 1937 the Nationalists invited Shirob Jaltso, an eminent Tibetan scholar who was persona non grata in Lhasa, to deliver a series of lectures at five Chinese universities. "This was the first time a Tibetan instructor had been provided for Chinese university students."26 Shirob, the Panchen Lama (also persona non grata in Lhasa), and several other Tibetan monks who resided in China at this period were accorded every courtesy (and presumably ample subsidies) by the Chinese Government. Some received official posts.27 Lhasa did not reciprocate. Rather naturally, it gave no political role to the Chinese who had been sent to strengthen its ties with the "motherland." Nonetheless they were able to pursue their religious studies and to carry on other activities agreeable to all concerned. One of my informants, for example, had become interested in Buddhism as a young man. Although he came from a poor family in Nanking, he got to know Lü Ch'eng at the Metaphysical Institute (Nei-hsü Yuan). Lü urged him to go to ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1966 https://digitalrepository.lib.hku.hk/catalog/bz60k0811 FOREIGN RELATIONS OF BUDDHISM L 83 Tibet so that he could learn the language and some day return to translate Tibetan books. In 1933 he was given a scholarship at the Chinese Tibetan Language School, which moved in January 1934 to Chungking. There he became the disciple of a lama on the faculty. After completing the two-year course, he entered the Central Political University, which had been set up by the Kuomintang to train cadres. After a year and a half the government selected him to go to Tibet for further training.28 He lived for eight years at the Drebung Monastery outside Lhasa—the largest monastery in Tibet and probably in the world—and received a high ecclesiastical degree. His final years in Lhasa were spent running a school for Tibetan children and working in the Tibetan office of the Mongolian and Tibetan Affairs Commission, so that he kept his dual role of monk and political agent. This is not to imply that there was anything sinister in what he was doing. It was simply that the Chinese Government had enabled him to pursue his interest in Buddhism for their own purposes, which he naturally expected to serve. The presence in China of an increasing number of Tibetan lamas2 and monks returned from Lhasa further stimulated interest in Tantrism among the Chinese laity. In November 1935 a group of devotees set up the Bodhi Society in Shanghai to promote the translation and study of Tantric texts. The Panchen Lama was president and the members included some high-ranking ex-officials.30 This society was one of the regular stops on the lecture tours of the lamas and Lhasa-trained monks. Among the most active of the latter was Neng-hai (see p. 11) who had been a Nationalist general before he had taken the robe. About 1938 he became the abbot of the Chin-tz'u Ssu in Chen-tu, which until then had been a typically Chinese monastery. Neng-hai changed the daily ritual and routine to incorporate Tibetan elements. He also started a scriptural translation institute that published Tibetan books in Chinese. Since some 250 monks were usually in residence, this monastery might have exerted a wide influence towards the "Tantrification" of Chinese Buddhism if it had been able to carry on after 1950. Relations with Theravada Buddhists The Japanese and Tibetans were Mahayana Buddhists with whom it would be natural for Buddhists in China, who were ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1966 https://digitalrepository.lib.hku.hk/catalog/bz60k0811 FOREIGN RELATIONS OF BUDDHISM 11 Yin-shun, T'ai-hsü, p. 213. 12 Eastern Buddhist 3.2 (July-September, 1924), 190. 95 13 Chinese lay devotees went to Japan to learn Tantric Buddhism from Shingon masters. Chinese monks went for academic study (two in 1936 and two more in early 1937; see Chinese Year Book 1937, Shanghai, 1937, p. 73. 14 That is, the Chung-jih fo-chiao hui. At about the same time the Sino-Japanese Tantric Association (Ching-jih mi-chiao hui) was established. See Chinese Year Book 1937, p. 73. 15 Takada, p. 14. 16 Takada, p. 24-36, lists a total of eleven temples established between 1876 and 1937, but on p. 14 he speaks of ten temples having been set up before 1937 and of forty-nine (not forty-six) being in operation as of December, 1942. It seems clear that he does not include temples that have gone out of operation, like those in Nanking and Changsha (see note 2), and possibly those in Fukien. The only temple outside Shanghai that survived from the era before 1937 was the Honganji temple in Hankow, established 1906, which in 1942 had 1,200 Japanese and 150 Chinese parishioners. 17 For example, in 1942 at the original Honganji temple in Shanghai the number of Japanese parishioners was 4,930 and the number of Chinese was zero. This temple was obviously not engaged in missionary work, but exclusively in serving the Japanese community. 18 Two officers of the Ching-an Ssu in Shanghai are said to have been arrested and in Canton the abbot of the Liu-jung Ssu, T'ieh-ch'an, was executed. 19 H. G. Quaritch Wales, "Buddhism As an Instrument of Japanese Propaganda" Free World 5.5 (May 1943), 428. 20 Takada, p. 1, states that the alliance was set up in April 1937 in accordance with the policy formulated in October 1938. Perhaps the first date is a misprint. 21 Takada, pp. 1, 4, 5. The changes in the bureaucratic status of the Great Harmony Religious Alliance appear to have been as follows. After being set up under the military authorities, it was transferred to the liaison office of the Central China Liaison Office of the Office for the Resurgence of Asia (Koain), which had been set up in December 1938 directly under the Cabinet in order to formulate policy on and handle relations with China. In April 1942 the Alliance was placed under the supervision of the Foreign Ministry through its representatives in Shanghai. In November 1942 it seems to have been returned to the Office for the Resurgence of Asia, when the latter was integrated into the Ministry for Great East Asian Co-Prosperity. 22 Takada, pp. 24-36. 23 The most significant absentee was Yüan-ying, the national head of the Chinese Buddhist Association (Shanghai, 1929). 24 H. Hackmann, A German Scholar in the East, pp. 118-119. John Blofeld, who visited Wu-t'ai Shan in 1937, describes a monastery with several hundred monks where "the main pavilion... was arranged in the Chinese way, but many services were held in a smaller building where purely Tibetan rites were performed" (Jewel in the Lotus, London, 1948, p. 97). 25 Fa-p'u, a disciple of Ta-yung, is stated to have reached Lhasa and earned a ko-hsi degree. Yin-shun, T'ai-hsü, p. 17. 26 Chinese Year Book 1937 (Shanghai, 1937), p. 73. 27 Shirob Jaltso, for example, was a member of the People's Political Council (1938-1949); an alternate member of the Kuomintang Sixth Super- ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1968 https://digitalrepository.lib.hku.hk/catalog/66833948d NOTES AND QUERIES 139 Buddha Maitreya: "The Buddha to Come", will appear, and the catastrophe can be avoided if men help him to set the world to rights. III. THE CHINESE GOVERNMENT AND THE SECTS Esoteric sects were regarded with the greatest suspicion in traditional times. They clothed much of their religious activity in secrecy; men and women met together for worship in their halls, even sometimes residing in the same premises (although in separate apartments); leaders did not wear clerical dress, they sometimes lived in their own homes and were not easily recognised as sectarians, and therefore could not be controlled like Buddhist monks; and such men wrote their own sutras. All these things were considered highly unorthodox. But worse still, organizations of the group to which the Hsien-t'ien sect belongs believed strongly in a millenium. When Maitreya appears, it was believed, he will attempt to set things right by organizing (with man's help) an ideal form of government and preventing the spread of distorted doctrines and the catastrophes they lead to. During the last century the sects were under the control of patriarchs and it was commonly believed by members that Maitreya, when he appeared, would be incarnate in the body of one of these leaders (such men engaged in special religious practices similar to those of tantric Buddhism, to “absorb” Buddhas of their choice and take on their powers). When undertaking work for the millenium the sects took special secret names, one being, significantly, the White Lotus (from the symbol associated with Maitreya Buddha). When the State, in the nineteenth century, heightened its campaigns to stamp out sects, it was particularly those of the Hsien-t'ien group which took its attention. Marjorie Topley has been able to examine the patriarchal records of several of these sects for the period, and they tell a violent tale: many of their top leaders were, at this time, banished, imprisoned or executed, often after torture. The campaign against the sects has continued into this century and in the 1950's mainland newspapers carried news of further punishment for sectarians for their interpretation of local floods and other natural disasters as signs of the distortion of Truth and bad leadership of the country. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1976 https://digitalrepository.lib.hku.hk/catalog/hq382988q The Ancient Mon--Pagan, Peru & NAKORN PATHOM 183 century. The main vestibule of Sulamani faces east and the upper storey is reached by two stairways built into the walls; it is almost the same height as the ground floor. Sulamani used to have good paintings but these have been lost and newer ones dating from the 19th century cover the old ones. The Dhammayangyi is a single-storey building rising in stepped levels and closely resembles the Ananda in structure. The quality of the brickwork is excellent. Lastly, of the many temples to be visited in Pagan, there are two not strictly speaking temples. The Pitakat Taik was built as a library by Anawratha in 1058 to house the Buddhist scriptures he took from the sack of Thaton. It is a modest square building with small Mon windows, but the roof, rather elaborate, already bears the traces of baroque flamboyance of later Burmese styles; it was repaired in 1783 by King Bodawpaya and is currently being repaired again. The Upalithein is a long, low ordination hall of the 13th century with a battlemented roof. Inside are paintings of the 17th or 18th century which are bright and arresting, though without the interest and minute detail of the early paintings to be seen elsewhere in Pagan. Only the two temples near Minnanthu are omitted from this list of the major temples in Pagan; these are Nandamannya, which is a small vaulted chamber with one entrance and paintings of a Mahayanist Tantric nature from the middle of the 13th century, and the triple form of the Payathonzu temple, late 13th century, with paintings of a similar character in the corridors and vaults linking the three main cores. The two are difficult to reach without sturdy transport. If this catalogue of temples gives the impression that there is nothing else to see in Pagan, it would be false. There is a cottage lacquer industry, another weaving traditional shoulder bags, and making cheroots; one can take boat trips on the Irrawaddy at sunset and make journeys by pony and trap and see the colourful display of fruit and vegetables in the village's markets. But the setting of these scenes of daily life is subservient to the temples, and the arid landscape, for Pagan is the centre of the dry zone of Burma, in which they are placed, is balanced in some measure by the majesty of the river flowing through. One is left with the impression of scrub, sandy tracks, and marvellous brown brick temples arising on all sides as far as the eye can see. In Mandalay, to the north, where the evening cool in winter is even more striking than in Pagan, the two most impressive temples ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1994 https://digitalrepository.lib.hku.hk/catalog/zk522640g The author's informant said that, according to his sources, about 50 per cent of Chinese buyers in Canada are concerned about fung shui, although they may not engage a master. They may bring along a knowledgeable friend to advise or the buyer will request pertinent information from the agent. Author Sarah Rossbach, who lives in the United States, was a fung shui student of Beijing-born Lin Yun. He founded the Tibetan Tantric Buddhist Temple in Berkeley, California. Rossbach is now a fung shui consultant. Yet she admits many people prefer to be billed for 'design services' rather than for 'geomancy'. The title, 'environmental consultant', too, is often used (Konclus, 1991:6). The author's Chinese godson, who lives in the United States, says that there is more interest in fung shui in large cities like New York and Los Angeles. In such places a few Westerners employ fung shui at official openings of shops and stores. Among Caucasians, the aim in the West is usually for fung shui to provide 'tranquility' and Westerners make adjustments to buildings and their interiors so that 'good order' prevails. Everyone, inwardly, needs to live in balance with their environment and the universe. Fung shui appeals to many because it is a form of cosmology within the grasp of common man. As one lady responded to the author: 'Yes I'm a Scot, a Celt. I believe in that sort of thing.' Conclusions Now is the time to try to pull some of the themes discussed in this paper together, even if, with much fung shui doctrine, what some people call 'jungle sensitiveness' can be seen to prevail. Many principles cannot be measured with a tape measure or weighed with a balance. Although forms of geomancy are not uncommon in countries around the world, Chinese fung shui is more complex than most geomantic doctrines. While much may not be amenable to scientific explanation, as Bard writes, Chinese fung shui is certainly not the superstition of an unsophisticated people (Bard, 1988:104). The aim is, basically, to harmonise elemental forces and create environments, in the home, workplace or in the afterlife, free of discord. A great deal is based on the Page 120 Page 121 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 55 saddle on his recumbent lion, holding his rattle-stick in his right hand and his pearl in his left. He wears monk's robes and the five-leaf Buddhist crown and is a benign middle-aged monk. However, in the Ta Pei Ssu he is without any unique characteristics, and is portrayed as a middle-aged deity, standing, with palms held together in prayer before his chest; he is dressed in multi-coloured robes and an ornate crown. Without his label it would not have been possible to identify him. Native Chinese Deities co-located but unconnected with the Deva Two of the Twenty-eight deities in the Ta Pei Ssu are not Deva, being native Chinese deities. One is known as the Lord of the Purple Planet, Venus, Tzu-wei Ta-ti and the other, the Lord of the Underworld, Tung Yüeh Ta-ti. In the Pi-yun Ssu the additional native Chinese deity, bringing the total to three, is the Spirit of Thunder, Lei Kung, though in practice he might perhaps be regarded as originally Hindu in that he is a form of Garuda, a human with wings, the beak of a bird and clawed feet. The great majority, if indeed not all Chinese visitors to these temples, be they devotees or merely sight-seers, tend to assume that the deities were legendary Chinese figures, possibly because the sign-board outside one of the halls describes them as P'u-sa [bodhisattvas], a term Chinese are familiar with considering it to be Chinese. Having said that, a number of the deities have titles on individual tablets before them which, though in Chinese characters, are obviously not Chinese names such as Kan-ta-p'o, the Sinicised version of Gandharva. These names can be somewhat confusing if not bewildering as different Chinese characters for the alien sounds are used. In addition they are not always the full titles provided in Buddhist religious literature. There are several major differences between the array in the Ta Pei Ssu and in the Pi-yun Ssu. Primarily, though both groups stand within a hall dedicated to Kuan Yin, the image of the goddess in the closed temple hall stands some fifteen feet tall and is the thousand-arm, thousand-eye Tantric version, standing, with two of her arms resting one each on the heads of her two attendants. The image of Kuan ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 59 Conclusion We have been examining a particular arrangement of Indian Deva within two temples in the Western Hills of Peking. Each group has an image of the Bodhisattva Kuan Yin as the main deity within the Deva hall itself. Although monks explained that the images of deities down the side walls of the hall had been created in accordance with researches in old Buddhist books, there was no explanation why they should all have a Chinese rather than an Indian form. It has been suggested by devotees that the concept of the Deva might have reflected the Manchu dynasty's affinity with Tantric Buddhism, and perhaps Vedic beliefs or been brought by Lamaist monks during the late Ming but there is no evidence that this was so. Yet another devotee thought that when the images were first created during the early sixteenth century, Chinese craftsmen had a somewhat limited idea of the origins of the deities concerned and even, perhaps, no idea what the people of South Asia looked like and therefore made the images in the form of Chinese. An unanswered question is the presence of several deities within the groups of Deva whose origins were entirely Chinese without any connection whatsoever with Vedic Hinduism. A small number of individual images of deities with a Brahmanist origin have been seen on altars in temples in all Chinese communities; these however have not been at all widespread. Typically they were adopted by immigrant Chinese from native Buddhism. A remarkable example of a syncretic group of Buddhist, Hindu and Chinese folk religion deities is to be seen in a joint Buddhist, Hindu and Chinese folk religion temple in a quiet area of Angsila some sixty miles south of Bangkok. The three altars against the rear wall in the main hall of this temple are the Thai Buddhist altar, stage right with an image of Sakyamuni Buddha in its centre flanked by two other Thai Buddhist images. The central altar, the Hindu altar, contains one large image of Shiva [Siva], holding a trident and dressed in a robe and turban, and with several small unidentified images standing before him. And finally, the Chinese folk religion altar dedicated to T'ien Hou, the patron deity of sailors, with her small image on the altar, stage left, flanked by her usual demonic attendants, Thousand-Mile Eye and Following-Wind Ear. Devotees of all races pray before each altar in turn, usually beginning with the altar of their own culture and cursorily placing incense before the other two. In the temple forecourt are large brightly painted ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 63 the golden bowl being his unique characteristic. Mahesvara, Mahadevi or Siva, known in Chinese as Mo-hsi-shou-lo T'ien 摩醯首羅天 Mahesvara is one of the numerous titles borne by one of the best known of the Indian deities, Siva. He has come to be regarded as the Supreme Being though he more generally represents the more malignant forces and destruction, all part of the cycle of creation and destruction. He is married to either Uma Mahesvara [also known as Parvati], by whom he had a son named Skanda [see 21 below], or to Kali, who is also Durga. The latter is known as Hariti [and in Chinese Kuei-tzu Mu: see 6 below] whose image is also one of the twenty-eight Devi. Hariti has one face, six arms and a necklace of skulls". Images of Siva stand in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu he is portrayed as a typical northern Chinese deity dressed in multi-coloured robes and a tall Buddhist crown, but with six arms and an ageless Chinese face of indeterminate sex. He looks like and could easily be confused with other multi-arm Buddhist deities as he has no unique characteristic. In the Pi-yun Ssu he is naked apart from a skirt in colourfully decorated cloth down to his knees. He has four arms and a smaller head on top of his normal head. He has red spiky hair on both heads and fangs rising out of the lower jaw of his normal head. Soothill described Siva as having eight arms, three eyes and riding a large white bull, holding a handful of snakes and a small drum, and can be represented as the phallic symbol. 4] Maritci [Maritchi or Marici] known in Chinese as Chun-t'i P'u-sa The Tantric [Lamaist] bodhisattva, Chun-t'i, is the Buddhist form of the Hindu personification of light and an offspring of Brahma, Cundi or Candi. She is often confused with the Tantric many-armed Kuan Yin and the Taoist stellar deity, Tou-mu Hsing-chün. Two separate deities also are referred to by Chinese devotees as Chun-t'i; these are as ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 64 Maritchi [or Marici Deva], [a Sanskrit term for the Indian mythological form of Parbati, the wife of Siva]; and Ma-yeh, the mother of Sakyamuni, The Buddha, the whole being confused by devotees who tend to describe them all as Chun-t'i, with the legends of Maritchi and Cundi producing an inextricably involved and perplexing picture. Images of Marici are present in both the Ta Pei Ssu and the Pi-yun Ssu and in both temples he, rather than she, is portrayed as a standing Buddhist deity with eight arms and with three faces. The face facing forward is of a benign human with hooded eyes commonly seen on Tibetan images. He has a third eye in the centre of his forehead. The other two are faces of a pig and of a human. He is dressed in colourful robes and a five-leaf Buddhist crown, and is barefoot. The association between Chun-t'i and Kuan Yin goes back to the original relationship in Buddhism of Chun-t’i with the bodhisattva Avalokitesvara who promised to save mankind and bring them to deliverance before they, the two bodhisattvas, Chun-t'i and Avalokitesvara themselves entered Nirvana. Marici has the face and eight arms of Chun-t'i, and is one of the six manifestations of Avalokitesvara who is concerned especially with humans, rather than the deities and demons. Chun-t'i in the form of Avalokitesvara is a male deity, though Tantric sects, giving her an entirely different role left her feminine. Legends about Chun-t'i usually include stories of her valour in battle. According to the Ming novel The Deification of the Gods [Feng-shen Yen-i], from which many of the beliefs of folk religion devotees have evolved, Chun-t’i was summoned to Heaven during the legendary period of Chinese history when the heroes and Immortals were emerged, in order to acquire the necessary skills to take on K'ung Hsüan, one of the contestants for the dynastic throne. This was because she had attained the required degree of perfection on Earth. She found herself whisked aloft in a rainbow, and having acquired the skills necessary she reappeared in a cloud of fire with twenty-four heads and eighteen arms and, throwing a silken cord around her adversary's throat, she turned K'ung Hsüan into a one-eyed peacock on which she rode off to the Western Heavens. Images of Chun-t'i show her with four or nine pairs of arms, each ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 65 hand holding a precious object including a rosary, cudgel, jar, spear, pagoda, golden arrow, halberd, or bell, etc. and it is therefore not surprising that the images of Chun-t'i on the altars of both Buddhist and folk religion temples portray her with eight or eighteen arms and hands, the main two hands being held palms pressed together before the chest in prayer. The uppermost hands hold discs of the Sun and Moon respectively and the remainder, individually, hold various attributes including a seal of office, a sword, shield and fly switch. She is variously represented with three heads though predominantly she is depicted with one head with three faces one of which is that of a sow. Chun-t'i again often has a third eye in the centre of her forehead, usually a Taoist form but attributed to her Indian origin as a metamorphosed caste mark. She is generally portrayed sitting on a lotus throne in the same posture adopted by the Buddha and, in one of her poses, also by Kuan Yin P’u-sa. According to Werner the legend explaining the third face being that of a sow and the creatures supporting the lotus also being pigs relates how one of the abbesses of the Semding monastery in Tibet in whom the goddess Chun-t'i was believed to be successively incarnated, had an excrescence resembling a sow's ear at the back of her head. In northern and central China in Tantric Buddhist temples, the Lamaist goddess Maritci, portrayed in a chariot drawn by seven pigs is identified as Chun-t'i; in the south however, where Tantric Buddhism hardly penetrated, images identified as Chun-t'i are said by priests, should devotees enquire, to be the Brahmanic cult of Maritci. However, in Tibetan and Mongol [Tantric] Buddhism Tou-mu is a common deity with her three eyes and many arms; she is considered to be an incarnation of Avalokitesvara, the bodhisattva known throughout China as Kuan Yin and this doubtless explains the confusion with Kuan Yin in central and southern China. She has been identified as Tou-mu Yuan-chün, the main deity in the T'ai Sui Hall in the Jade Emperor temple in Tainan, where she is flanked by two Tantric aides, Ch'ieh-ch'ih and Yao Ya. In her Taoist form she is portrayed seated on a lotus, again of Indian origin, which in a number of temples rests on the back of a tortoise which in turn rests on three or seven pigs. Most likely this is no more than a reflection of the tale in the Feng-shen Yen-i in which one of the disciples of Tou-mu, Shui-huo Tung-tzu, who changed into a tortoise, bore off Tou-mu to the Western Heavens. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 70 the primary one in China being as the Lord of the Underworld known as Yen-lo Wang. In later Brahmanist mythology he is one of the eight Lokapalas, the guardian of the south and judge of the dead. He was the son of the sun, with a twin sister Yamuna - regarded by some Hindus as the first human pair. An image of Yama is present in both the Pi-yun Ssu and the Ta Pei Ssu. In northern China images of Yen-lo Wang have been noted in several old temples where he is portrayed as a benign elderly human, dressed in court robes and cap of dynastic China. In the Kuan Yin Hall of the Ta Pei Ssu in Peking his image depicts him thus, with his hands held palms together before his chest. He has no unique characteristics and is known simply as Yen Mo Lo. He is referred to by the temple staff as Yama and appears to have no other title and is looked upon by the monks as the Lord of the Underworld. In the Pi-yun Ssu he is a general wearing armour under his colourful robes and has an axe clutched in his right hand. His left hand is held across his body pointing with two of his fingers. He has dark skin, round eyes, a short black beard and moustache and a scarf swirling behind his head hanging down in front of his body. There is also Yen-mo Hu-fa, a Lama Buddhist [Tantric] deity, whose image stands in the Lama Temple in Peking. It is typical Tibeto-Mongol iconography, swathed in silken robes obscuring the body leaving only the fierce head and the raised right arm visible. The head, which looks somewhat like a blue pig with gold eyebrows and red mouth, has a row of skulls across the top of the head mounted on a coronet, with a fiery nimbus behind that. He is holding in the air in his right hand a short rod [a heavenly cane] with a miniature white skull mounted on the top. Without the silken robe the deity is revealed standing on a blue horse or mule which, in turn, is prostrate on a naked human. The deity has another small blue-skinned demonic figure standing before him, facing him and holding its hands up towards the deity in supplication. 14] Sagara known in Chinese as P'o-chie Lung-wang and P'o-chie-lo Sagara is the Naga King of the Ocean Palace north of Mount Meru, ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 77 ing stick of incense before each with a perfunctory bow, the Four are looked upon as mere soldier guardians with a fifth, Wei T'o [see 21 above], their commander. The group of Four are the product of the Mahayana school of Buddhism with additions from the Tantric school. Their original Buddhist title in Sanskrit is usually Dvarapala, though others claim that they are the Chin-kang Shou, derived from the Sanskrit "Vajrapani', the Thunderbolt Bearer, the Great Protector. They are responsible for the security of temples, protecting them from demonic attack and also preventing evil spirits from sneaking in. In Taoist temples, where they have different individual identities, they normally stand in the side wings of the main hall, such as in the Jade Emperor Hall at the Monastery of Ten Thousand Buddhas at Shatin in the New Territories of Hong Kong. Those in Buddhist temples are the Diamond Kings whilst those in Taoist and folk religion temples are Celestial Kings [T'ien-wang]. They are easily recognisable by their stature, location and by the collocation with the others in the group; also, because each usually holds a unique identifying symbolic object, a furled umbrella or a rodent, etc. They stand with defiant stares and have faces in colours identifying the direction for which they are responsible. The Buddhist Four guardians all wear the bodhisattva's five-leaf crowns with minute Buddhas inscribed on the central leaf, and flying scarves forming a nimbus behind and above their heads and shoulders. Many have demons, thieves, liars and adulterers underfoot. The Taoist Four, who also have demons underfoot, generally wear military helmets. A manifestation of Vaisravana, the protector of the North and one of the Four Chin-kang, appeared during his journey to aid Hsuan Tsang, the Buddhist monk who trekked from China to India and back to obtain Buddhist scriptures. For this reason Vaisravana was later revered by devotees, alone and in his own right, and over the years became associated with General Li Ching. All four of the Mo-li brothers, the Taoist identities of the Four Temple Guardian Generals, are included and represented in the sets of ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2000 https://digitalrepository.lib.hku.hk/catalog/nk328168n 122 etc. are the actual Taisui who perform the functions and duties of the deity. The bells have magical properties and a Hokkien god carver in Singapore explained that all Taisui images should carry one of four specific charms. The main one is the bell which when rung causes the hearer to lose his way and wander aimlessly. Therefore a demon hearing it forgets his task and wanders off. The other three charms are the seal of office which when shaken causes the heavens to quake; and two swords, one male and one female. Another unusual feature is Taisui's footwear. Normally he wears sandals but occasionally only one foot is shod the other being bare. This form is comparatively common on Fukien community altars, an excellent example being in the Buddhist temple in Yen Kiu Road in Singapore. Only one example has been noted in Hong Kong, on an altar on a junk in the Pearl River. The one bare and one shod foot is said to represent the amount of rain expected during the coming season [see above under The Rôle of Taisui for an explanation provided in eastern China]. A similar story has been told about the Immortal Lan Caihe and, as we have seen above, about Mang Shen. An unusual large clay image of Taisui in a temple near Kam Tin in the New Territories depicts him with the bell in his left hand, and with a third eye. The bell, according to the temple keeper, has magical properties. Even more unusual is the image in Hung Hom in Kowloon with the usual bell in Taisui's right hand but unusually he has a Tantric necklace of thirteen skulls draped around his neck." Other lone image carvings are standard, anonymous seated officials or scholars with no particular characteristic and only identifiable as Taisui by the written Chinese characters on the front face of the base or because they are standing on piles of spirit money which, according to common belief, no other deity does. The lone Taisui image tends to be referred to as the 'Taisui [or Intendant] of the Current Year' EX- Over the years and in a number of places ranging from Singapore to northern China various informants have explained, mostly contradicting each other, that the images with a bell is the Taisui of the Year, the one with a scroll or tablet is the Taisui of the Month and those without anything are the Taisui of the Day. In a small temple in Sepang near Port Dickson in Malaysia, three images on a side altar stand side by side. A typical Taisui image with a Page 165 Page 166 ================================================================================