Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.370
Yaoping Liu, Anja Zalta
{"title":"Transplanted Buddhism in and from Southeast Asia","authors":"Yaoping Liu, Anja Zalta","doi":"10.35469/poligrafi.2022.370","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.370","url":null,"abstract":"","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87753308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.350
Mina Grčar
Kitajska se ponaša z dolgo in bogato tradicijo uporabe denarja in numizmatičnih predmetov v ljudskih religijskih in vraževerskih praksah. Med najbolj posebne med njimi gotovo spadajo meči iz starih kitajskih novcev, tako imenovani bixie jian (避邪劍) ali »meči, ki preženejo zlo«. Še posebej priljubljeni so bili v času dinastije Qing (1644–1912), proti koncu katere so se vse pogosteje znašli tudi v zbirkah evropskih zbirateljev in posameznikov, ki so se tedaj mudili na Kitajskem. Slovenski etnografski muzej v Ljubljani hrani kar dva primerka takih predmetov – eden naj bi pripadal Ivanu Skušku ml., avstro-ogrskemu mornariškemu častniku ter nadušememu zbiratelju kitajskih starin in starih novcev, drugi pa misijonarju Petru Baptistu Turku, ki je na tedanjo kitajsko družbo gledal predvsem z vidika lokalnih religij in vraževerja. Kako je meč razumel vsak izmed njiju? In, širše gledano, kako se je vloga in identiteta teh mečev spremenila pri prenosu v sekundarno, evropsko okolje oziroma kako so jih razumeli njihovi novi lastniki? Kako jih danes kategorizirajo evropski muzeji? So v domeni numizmatike ali religije? Ali so ti meči za obrambo pred zlimi silami morda eni tistih predmetov, ki se zaradi svoje posebne narave vztrajno izmikajo muzejski klasifikaciji?
{"title":"»Meč, ki prežene zlo«","authors":"Mina Grčar","doi":"10.35469/poligrafi.2022.350","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.350","url":null,"abstract":"Kitajska se ponaša z dolgo in bogato tradicijo uporabe denarja in numizmatičnih predmetov v ljudskih religijskih in vraževerskih praksah. Med najbolj posebne med njimi gotovo spadajo meči iz starih kitajskih novcev, tako imenovani bixie jian (避邪劍) ali »meči, ki preženejo zlo«. Še posebej priljubljeni so bili v času dinastije Qing (1644–1912), proti koncu katere so se vse pogosteje znašli tudi v zbirkah evropskih zbirateljev in posameznikov, ki so se tedaj mudili na Kitajskem.\u0000Slovenski etnografski muzej v Ljubljani hrani kar dva primerka takih predmetov – eden naj bi pripadal Ivanu Skušku ml., avstro-ogrskemu mornariškemu častniku ter nadušememu zbiratelju kitajskih starin in starih novcev, drugi pa misijonarju Petru Baptistu Turku, ki je na tedanjo kitajsko družbo gledal predvsem z vidika lokalnih religij in vraževerja. Kako je meč razumel vsak izmed njiju? In, širše gledano, kako se je vloga in identiteta teh mečev spremenila pri prenosu v sekundarno, evropsko okolje oziroma kako so jih razumeli njihovi novi lastniki? Kako jih danes kategorizirajo evropski muzeji? So v domeni numizmatike ali religije? Ali so ti meči za obrambo pred zlimi silami morda eni tistih predmetov, ki se zaradi svoje posebne narave vztrajno izmikajo muzejski klasifikaciji?","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78212578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.361
Helena Motoh
The extremely large collection of objects brought from Beijing to Ljubljana in 1920 by naval officer Ivan Skušek Jr. and his Japanese wife Tsuneko Kondo Kawase, also includes several opium pipes, a few opium lamps and some other objects related to opium use. The objects are exquisitely decorated with complex motifs. While this is the main topic, the paper also aims to add context to this specific aesthetic and explore the cultural framework in which the import of these objects to Europe took place. The first part focuses on the history of opium use in China. The second part analyses the elements of the aesthetics of Chinese opium-related paraphernalia. The third, central part of the text focuses on a thorough analysis of the opium objects in the Skušek Collection and the motifs and symbols they incorporate. Finally, it presents opium paraphernalia decorated with traditional Chinese motifs and symbols as an interesting embodiment of the complex and fluid relation to the foreign, forbidden, and fascinating, and a good example of the iconographic domestication of this foreignness.
{"title":"Domesticating the Foreign","authors":"Helena Motoh","doi":"10.35469/poligrafi.2022.361","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.361","url":null,"abstract":"The extremely large collection of objects brought from Beijing to Ljubljana in 1920 by naval officer Ivan Skušek Jr. and his Japanese wife Tsuneko Kondo Kawase, also includes several opium pipes, a few opium lamps and some other objects related to opium use. The objects are exquisitely decorated with complex motifs. While this is the main topic, the paper also aims to add context to this specific aesthetic and explore the cultural framework in which the import of these objects to Europe took place. The first part focuses on the history of opium use in China. The second part analyses the elements of the aesthetics of Chinese opium-related paraphernalia. The third, central part of the text focuses on a thorough analysis of the opium objects in the Skušek Collection and the motifs and symbols they incorporate. Finally, it presents opium paraphernalia decorated with traditional Chinese motifs and symbols as an interesting embodiment of the complex and fluid relation to the foreign, forbidden, and fascinating, and a good example of the iconographic domestication of this foreignness.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84239027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.356
Luka Trebežnik
Članek se posveča delu Johna Caputa, sodobnega misleca s področja radikalne teologije. Z analizo osrednjih pojmov, ki jih je izbral za oznake svojih projektov, je proučena kontinuiteta njegove pisave in poudarjena inovativnost njegovih pristopov k postmoderni religijski misli. Prikazana je njegova miselna formacija in premišljene so nekatere izmed ključnih etap njegovega ustvarjanja, še zlasti njegovi pristopi k različnim teorijam hermenevtike in novi zasnovi pojma religije. V končni fazi je v članku poudarjena možnost prihodnjih branj in novih razumevanj Caputovega dela.
{"title":"Radikalna teologija kot hermenevtika nemogočega","authors":"Luka Trebežnik","doi":"10.35469/poligrafi.2022.356","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.356","url":null,"abstract":"Članek se posveča delu Johna Caputa, sodobnega misleca s področja radikalne teologije. Z analizo osrednjih pojmov, ki jih je izbral za oznake svojih projektov, je proučena kontinuiteta njegove pisave in poudarjena inovativnost njegovih pristopov k postmoderni religijski misli. Prikazana je njegova miselna formacija in premišljene so nekatere izmed ključnih etap njegovega ustvarjanja, še zlasti njegovi pristopi k različnim teorijam hermenevtike in novi zasnovi pojma religije. V končni fazi je v članku poudarjena možnost prihodnjih branj in novih razumevanj Caputovega dela.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84258555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.364
Nataša Vampelj Suhadolnik
This paper analyses auspicious motifs on the wooden mirror frame from the Skušek Collection, housed in the Slovene Ethnographic Museum. The auspicious patterns are discussed in the broader context of Chinese cultural and linguistic structures, which in the visual representation of combined plant, animal, and figure motifs, leads to innumerable combinations of rebuses and puns with homonyms based on Chinese historical, literary, philosophical, religious, and mythological tradition. In this way, auspicious motifs developed into a standard decorative scheme, providing a rich source for both literati and artisans, and were exported to neighbouring countries and the West. They are particularly widespread on objects for daily use given as tokens of good wishes for happiness, prosperity, wealth, longevity and progeny, which are also meant to ensure their fulfilment. This can be seen on the wooden mirror frame purchased in Beijing between 1914 and 1920 by naval officer Ivan Skušek Jr. In the first part of the paper, an iconographic analysis of the motifs is made, while in the second part, the messages contained in the visual symbolic codes are analysed in more detail, taking into account the arrangement of the motifs in the completed narrative and the way in which these images are interpreted.
{"title":"Liu Hai teases the golden toad","authors":"Nataša Vampelj Suhadolnik","doi":"10.35469/poligrafi.2022.364","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.364","url":null,"abstract":"This paper analyses auspicious motifs on the wooden mirror frame from the Skušek Collection, housed in the Slovene Ethnographic Museum. The auspicious patterns are discussed in the broader context of Chinese cultural and linguistic structures, which in the visual representation of combined plant, animal, and figure motifs, leads to innumerable combinations of rebuses and puns with homonyms based on Chinese historical, literary, philosophical, religious, and mythological tradition. In this way, auspicious motifs developed into a standard decorative scheme, providing a rich source for both literati and artisans, and were exported to neighbouring countries and the West. They are particularly widespread on objects for daily use given as tokens of good wishes for happiness, prosperity, wealth, longevity and progeny, which are also meant to ensure their fulfilment. This can be seen on the wooden mirror frame purchased in Beijing between 1914 and 1920 by naval officer Ivan Skušek Jr. In the first part of the paper, an iconographic analysis of the motifs is made, while in the second part, the messages contained in the visual symbolic codes are analysed in more detail, taking into account the arrangement of the motifs in the completed narrative and the way in which these images are interpreted.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88172103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.363
Klara Hrvatin
Glasbila iz Skuškove zbirke Slovenskega etnografskega muzeja izkazujejo ornamentalne in figuralne upodobitve, simbolika katerih predstavlja številne izzive. Pogosto se nanašajo na srečenosne zveri ruishou (瑞獸), med katerimi izstopajo upodobitvi mitološkega bitja qilin (麒麟) in zmaja (龍 long), simbolika katerih je zgodaj prežela kitajsko zgodovino, folkloro, religijo in umetnost. V prispevku nas bo zanimalo predvsem dvoje. Najprej se bomo posvetili analizi motivike figuralnih upodobitev na glasbilih in razmislili, kaj nam lahko interpretacija te v širšem kontekstu kitajske kulture odkrije novega o glasbilih. Prav tako bomo proučili značilnosti simbolike na glasbilih v okviru petih kategorij simbolizma na glasbilih, opredeljenih s strani muzikologa Gen’ichija Tsuge. Za ponazoritev glavnih točk predstavitve bodo uporabljena predvsem glasbila in umetniška dela iz zbirke Ivana Skuška ml., največje zbirke kitajskih predmetov v Sloveniji, ki jo hrani Slovenski etnografski muzej.
{"title":"Srečenosne »beštije«","authors":"Klara Hrvatin","doi":"10.35469/poligrafi.2022.363","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.363","url":null,"abstract":"Glasbila iz Skuškove zbirke Slovenskega etnografskega muzeja izkazujejo ornamentalne in figuralne upodobitve, simbolika katerih predstavlja številne izzive. Pogosto se nanašajo na srečenosne zveri ruishou (瑞獸), med katerimi izstopajo upodobitvi mitološkega bitja qilin (麒麟) in zmaja (龍 long), simbolika katerih je zgodaj prežela kitajsko zgodovino, folkloro, religijo in umetnost. V prispevku nas bo zanimalo predvsem dvoje. Najprej se bomo posvetili analizi motivike figuralnih upodobitev na glasbilih in razmislili, kaj nam lahko interpretacija te v širšem kontekstu kitajske kulture odkrije novega o glasbilih. Prav tako bomo proučili značilnosti simbolike na glasbilih v okviru petih kategorij simbolizma na glasbilih, opredeljenih s strani muzikologa Gen’ichija Tsuge. Za ponazoritev glavnih točk predstavitve bodo uporabljena predvsem glasbila in umetniška dela iz zbirke Ivana Skuška ml., največje zbirke kitajskih predmetov v Sloveniji, ki jo hrani Slovenski etnografski muzej.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73040518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.366
Maja Veselič
Svetovno popotnico in pisateljico Almo Karlin so na njeni poti okoli sveta posebej zanimali verovanja in prakse dežel, ki jih je obiskala. Med njimi so jo privlačili predvsem tisti, ki jih je v duhu časa in takrat cvetoče primerjalne religiologije imenovala za vraževerje, saj naj bi prav ti prestavili opazovalce in bralce v tuje svetove. V Vzhodni Aziji so jo med nadnaravnimi bitji najbolj navdušile lisice, ki jim v neobjavljenem besedilu Verovanje in praznoverje na Daljnem Vzhodu nameni največ pozornosti. Lisice so poleg budizma tudi vzhodnoazijski religijski element, ki se najpogosteje pojavlja v njenih literarnih delih. Prispevek najprej povzame verovanja in pripovedi o lisicah, ki jih je Karlin obravnavala v svojem poljudnoznanstvenem besedilu, nato pa njene zapiske umesti v kompleksen svet motiva lisice na Kitajskem in Japonskem, ki je neločljiv preplet ljudske religioznosti, folklornih elementov in literarnih pripovedi klasičnih besedil. V zadnjem delu sledi analiza podobe lisice v objavljenih kratkih zgodbah Alme Karlin z vzhodnoazijsko temo. Omembe lisic pogosto služijo umestitvi dogajanja v konkreten geografsko-kulturni prostor, medtem ko zgodbe, ki so spletene okoli lisičjih duhov, te predstavljajo skozi klasične literarne motive nezemeljskih lepotic, ki zapeljejo mladega moškega, ga obnorijo in mu posrkajo življenjsko energijo, da se znajde na robu smrti.
{"title":"Vzhodnoazijska motivika lisic v delih Alme Karlin","authors":"Maja Veselič","doi":"10.35469/poligrafi.2022.366","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.366","url":null,"abstract":"Svetovno popotnico in pisateljico Almo Karlin so na njeni poti okoli sveta posebej zanimali verovanja in prakse dežel, ki jih je obiskala. Med njimi so jo privlačili predvsem tisti, ki jih je v duhu časa in takrat cvetoče primerjalne religiologije imenovala za vraževerje, saj naj bi prav ti prestavili opazovalce in bralce v tuje svetove. V Vzhodni Aziji so jo med nadnaravnimi bitji najbolj navdušile lisice, ki jim v neobjavljenem besedilu Verovanje in praznoverje na Daljnem Vzhodu nameni največ pozornosti. Lisice so poleg budizma tudi vzhodnoazijski religijski element, ki se najpogosteje pojavlja v njenih literarnih delih.\u0000Prispevek najprej povzame verovanja in pripovedi o lisicah, ki jih je Karlin obravnavala v svojem poljudnoznanstvenem besedilu, nato pa njene zapiske umesti v kompleksen svet motiva lisice na Kitajskem in Japonskem, ki je neločljiv preplet ljudske religioznosti, folklornih elementov in literarnih pripovedi klasičnih besedil. V zadnjem delu sledi analiza podobe lisice v objavljenih kratkih zgodbah Alme Karlin z vzhodnoazijsko temo. Omembe lisic pogosto služijo umestitvi dogajanja v konkreten geografsko-kulturni prostor, medtem ko zgodbe, ki so spletene okoli lisičjih duhov, te predstavljajo skozi klasične literarne motive nezemeljskih lepotic, ki zapeljejo mladega moškega, ga obnorijo in mu posrkajo življenjsko energijo, da se znajde na robu smrti.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85027110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.336
S. Chowdhury
The concept of Paṭiccasamuppāda is regarded as one of the most profound and subtle teachings imparted by the historical Buddha (563–483 BCE) since the inception of his teachings. In addition to its doctrinal record in the mainstream Buddhist languages of the Pāli and Sanskrit traditions, the Buddhist concept of Paṭiccasamuppāda has been evolved by numerous scholars over 2600 years and contributed to uplifting doctrinal components in many dialects in South and Southeast Asia. Prior to the Pāli tradition and Nikāya manuscripts, the paper aims to clarify the genesis of Paṭiccasamuppāda, including its meaning, annotated translation, interpretation, and doctrinal significance. An in-depth study of this research reveals why and to what degree the Pāli tradition values the thought of Paṭiccasamuppāda as articulating its insight on how to attain the path of ultimate liberation from a Buddhist perspective.
{"title":"Buddhist Concept of Paṭiccasamuppāda Based on Pāli Manuscripts","authors":"S. Chowdhury","doi":"10.35469/poligrafi.2022.336","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.336","url":null,"abstract":"The concept of Paṭiccasamuppāda is regarded as one of the most profound and subtle teachings imparted by the historical Buddha (563–483 BCE) since the inception of his teachings. In addition to its doctrinal record in the mainstream Buddhist languages of the Pāli and Sanskrit traditions, the Buddhist concept of Paṭiccasamuppāda has been evolved by numerous scholars over 2600 years and contributed to uplifting doctrinal components in many dialects in South and Southeast Asia. Prior to the Pāli tradition and Nikāya manuscripts, the paper aims to clarify the genesis of Paṭiccasamuppāda, including its meaning, annotated translation, interpretation, and doctrinal significance. An in-depth study of this research reveals why and to what degree the Pāli tradition values the thought of Paṭiccasamuppāda as articulating its insight on how to attain the path of ultimate liberation from a Buddhist perspective.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85366304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.334
K. Abhayawansa
Sri Lanka is the only country that has seen Theravāda Buddhism established, preserved, and continue to exist up to the present since the missions to other countries from its birth in India. It is a historical fact that after the Third Buddhist Council, missionaries were dispatched to nine countries for the propagation of Theravāda Buddhism. There is no historical evidence to confirm that any of the nine countries except Sri Lanka was able to preserve Theravāda Buddhism and keep it in its original form throughout the course of time. On the other hand, Sri Lanka secures the honour and credit to have been the centre of Theravāda Buddhism for a considerable time. The present paper deals with the way Sri Lanka contributed immensely to the establishment, protection, and flourishing of Theravāda Buddhism as a unique tradition of Buddhist thought. In this respect, our attention is focused mainly on the exegetical literature of the Theravāda tradition which will shed much light on both the theoretical and practical aspects of the tradition. The Sri Lankan Mahāvihāra community of monks was responsible for providing a vast exegetical literature which consists of commentaries, sub-commentaries, sub-sub-commentaries, and the compendiums based on the Theravāda canon brought to Sri Lanka. The writing down of the Theravāda Pāḷi canon in Sri Lanka for the first time also marks a unique event in the history of Buddhism. The contribution made by Sri Lanka to preserve the Pāḷi canon by this means was highly instrumental in preserving it in its original form. Further, Sri Lanka was a source of inspiration to other Theravāda Buddhist countries to revitalize their Buddhism in accordance with the more orthodox form of Theravāda.
{"title":"Theravāda Buddhism","authors":"K. Abhayawansa","doi":"10.35469/poligrafi.2022.334","DOIUrl":"https://doi.org/10.35469/poligrafi.2022.334","url":null,"abstract":"Sri Lanka is the only country that has seen Theravāda Buddhism established, preserved, and continue to exist up to the present since the missions to other countries from its birth in India. It is a historical fact that after the Third Buddhist Council, missionaries were dispatched to nine countries for the propagation of Theravāda Buddhism. There is no historical evidence to confirm that any of the nine countries except Sri Lanka was able to preserve Theravāda Buddhism and keep it in its original form throughout the course of time. On the other hand, Sri Lanka secures the honour and credit to have been the centre of Theravāda Buddhism for a considerable time.\u0000The present paper deals with the way Sri Lanka contributed immensely to the establishment, protection, and flourishing of Theravāda Buddhism as a unique tradition of Buddhist thought. In this respect, our attention is focused mainly on the exegetical literature of the Theravāda tradition which will shed much light on both the theoretical and practical aspects of the tradition. The Sri Lankan Mahāvihāra community of monks was responsible for providing a vast exegetical literature which consists of commentaries, sub-commentaries, sub-sub-commentaries, and the compendiums based on the Theravāda canon brought to Sri Lanka. The writing down of the Theravāda Pāḷi canon in Sri Lanka for the first time also marks a unique event in the history of Buddhism. The contribution made by Sri Lanka to preserve the Pāḷi canon by this means was highly instrumental in preserving it in its original form. Further, Sri Lanka was a source of inspiration to other Theravāda Buddhist countries to revitalize their Buddhism in accordance with the more orthodox form of Theravāda.","PeriodicalId":36657,"journal":{"name":"Poligrafi","volume":"108 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79576858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-29DOI: 10.35469/poligrafi.2022.330
M. Kosuta
This article takes the construct of ‘cult’ as used in academic work, defined in part as a ‘social formation’, and applies it to Thai religion in order to assess its viability as a descriptive and/or analytical category in the Thai religious context while highlighting elements of Thai religious belief and practice to identify possible cognate words to ‘cult’ in the Thai language (wai (pay respect), būchā (sacrifice, worship), būang sūang (worship, appease), etc.). The article presents an overview of the use of cult, or lack thereof, in current research on Thai religion (worship of Buddha, monks, kings – living and deceased, revered monks, Rahu, local deities and spirits). Reference will be made to the extensive use of ‘cult’ in studies of Greek and Roman religion. Outcomes show that in Thai religion there is rarely, if ever, formal membership in ritual practice and worship is fluid with individual Thais free to move between what can be termed ‘cults’ thus weakening the viability of the term. While one can certainly say the “cult of King Naresuan”, the fluidity of Thai religions strains the parameters of the construct of ‘cult’ as a social formation in Thailand.
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