Chinese Buddhist Narratives in Light of Indian Sources: A Case Study of the Sudāna/Vessantara Jātaka’s Reception in Early Medieval China

Jinchao Zhao
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Abstract

The Vessantara jātaka (also called the Sudāna jātaka in its Chinese versions) is one of the most highly renowned and widely circulated jātakas, or birth stories of the Buddha, in the Buddhist world. During the fifth and sixth centuries CE, the story was frequently depicted in Chinese murals and reliefs. Among a few sixth-century reliefs, scenes showing Prince Sudāna in exile appear to have been selected to crystallise the whole story, replacing the focus on Sudāna’s gifting of his children in the previous tradition. This study integrates early Indian sources with other relevant scholarship to explore the reason why Sudāna’s exile was selected. I argue that the choice of depicting Sudāna’s exile was shaped by two historical contexts. The first relates to a specific rhetorical strategy of integrating indigenous Chinese accounts of immortals into the story’s textual tradition in the third century. The second refers to the underlying religious mentality that focused on the quest for transcendence in the mountains, an idea that grew more popular during the flourishing of Buddhist meditation practice in the early sixth century. This article provides further methodological reflections on the study of Chinese Buddhist art, focusing on how important it is to incorporate more Indian sources and scholarship. It therefore engages with ongoing methodological reflections on China-India studies.
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印度文献背景下的中国佛教叙事:以中国中世纪早期Sudāna/维萨塔罗Jātaka的接受为例
维萨塔拉jātaka(在其中文版本中也称为Sudāna jātaka)是佛教世界中最著名和最广泛流传的jātakas或佛陀诞生的故事之一。在公元5世纪和6世纪,中国的壁画和浮雕经常描绘这个故事。在一些6世纪的浮雕中,王子Sudāna流亡的场景似乎被选中使整个故事变得清晰,取代了之前传统中对Sudāna给孩子们礼物的关注。本研究将早期印度文献与其他相关学术文献相结合,探讨Sudāna流落他乡的原因。我认为,选择描绘Sudāna的流亡是由两个历史背景决定的。第一个问题涉及到一种特殊的修辞策略,即在三世纪将中国本土神仙的叙述融入故事的文本传统中。第二点指的是一种潜在的宗教心态,即在山里寻求超越,这种想法在六世纪早期佛教冥想实践的繁荣时期变得更加流行。本文对中国佛教艺术的研究提供了进一步的方法论思考,重点是纳入更多印度资源和学术的重要性。因此,它参与了对中印研究的方法论反思。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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