Buddhism And Iconoclasm In East Asia

A study of Buddhism and iconoclasm in East Asia as part of a general theory of religious destruction.

Pamela D. Winfield offers a fascinating juxtaposition and comparison of the thoughts of two pre-modern Japanese Buddhist masters, Kukai (774-835) and Dogen (1200-1253) on the role of imagery in the enlightenment experience.

"e;Buddhism across Asia is a must-read for anyone interested in the history and spread of Buddhism in Asia. It comprises a rich collection of articles written by leading experts in their fields. Together, the contributions provide an in-depth analysis of Buddhist history and transmission in Asia over a period of more than 2000 years. Aspects examined include material culture, politics, economy, languages and texts, religious institutions, practices and rituals, conceptualisations, and philosophy, while the geographic scope of the studies extends from India to Southeast Asia and East Asia. Readers' knowledge of Buddhism is constantly challenged by the studies presented, incorporating new materials and interpretations. Rejecting the concept of a reified monolithic and timeless 'Buddhism', this publication reflects the entangled 'dynamic and multi-dimensional' history of Buddhism in Asia over extended periods of 'integration', 'development of multiple centres', and 'European expansion', which shaped the religion's regional and trans-regional identities."e; - Max Deeg, Cardiff University

Winner of the Association of Asian Studies's Southeast Conference Book Prize (2014) Does imagery help or hinder the enlightenment experience? Does awakening involve the imagination or not? Can art ever fully represent the realization of buddahood? In this study, Pamela D. Winfield offers a fascinating comparison of two pre-modern Japanese Buddhist masters and their views on the role of imagery in the enlightenment experience. Kukai (774-835) believed that real and imagined forms were indispensable to his new esoteric Mikky? method for "becoming a Buddha in this very body" (sokushin jobutsu), yet he also deconstructed the significance of such imagery in his poetic and doctrinal works. Conversely, Dogen (1200-1253) believed that "just sitting" in Zen meditation without any visual props or mental elaborations could lead one to realize that ''this very mind is Buddha'' (sokushin zebutsu), but he also privileged select Zen icons as worthy of veneration. In considering the nuanced views of both Kukai and Dogen anew, Winfield updates previous comparisons of their oeuvres and engages their texts and images together for the first time. In so doing, she liberates them from past sectarian scholarship that has pigeon-holed them into iconographic/ritual vs. philological/philosophical categories. She also restores the historical symbiosis between religious thought and artistic expression that was lost in the nineteenth-century disciplinary distinction between religious studies and art history. Finally, Winfield breaks new methodological ground by proposing space and time as organizing principles for analyzing both meditative experience and visual/material culture. As a result, this study presents a wider and deeper vision of how Japanese Buddhists themselves understood the role of imagery before, during, and after awakening.

Soon after the inception of Buddhism in the sixth or fifth century B.C.E., the Buddha ordered his small band of monks to wander forth for the welfare and weal of the many, a command that initiated one of the greatest missionary movements in world religious history. But this account of a monolithic missionary movement spreading outward from the Buddhist homeland of India across the Asian continent is just one part of the story. The case of East Asian Buddhism suggests another tale, one in which the dominant eastward current of diffusion creates important eddies, or countercurrents, of influence that redound back toward the center. These countercurrents have had significant, even profound, impact on neighboring traditions. In East Asia perhaps the most important countercurrent of influence came from Korea, the focus of this volume. Chapters examine the role played by the Paekche kingdom in introducing Buddhist material culture (especially monastic architecture) to Japan and the impact of Korean scholiasts on the creation of several distinctive features that eventually came to characterize Japanese Pure Land Buddhism. The lives and intellectual importance of the monks Sungnang (fl. ca. 490) and Wonch’uk (613–696) are reassessed, bringing to light their role in the development of early intellectual schools within Chinese Buddhism. Later chapters discuss the influential teachings of the semi-legendary master Musang (684–762), the patriarch of two of the earliest schools of Ch’an; the work of a dozen or so Korean monks active in the Chinese T’ient’ai tradition; and the Huiyin monastery.