The Buddhist philosophic origins of the literary xingling theory

Abstract The literary theory of xingling (“soul”) is an early category in the history of Chinese literature, which was first proposed by the famed Buddhist literati Fan Tai, Xie Lingyun, Yan Yanzhi, He Shangzhi and other figures during the Southern Dynasties, Liu and Song periods, and broadly applied by figures such as Liu Xie, Zhong Rong and Yu Xin to esthetic theory and poetry criticism. There are chiefly two aspects to the origins of the literary theory of xingling in Buddhist philosophy: The first is the idea of foxing (“Buddhatā, Buddha-nature”) within teachings on nirvana in Mahāyāna Buddhism, and the second is the idea of shishen (“vijñāna, consciousness”) in Hīnayāna Buddhism. After being introduced into China, the theories of “Buddha-nature” and “consciousness” were ingeniously combined with the concepts of guishen (“supernatural beings”) and linghun (“spirit”) in the native Chinese tradition. “Buddha-nature,” “consciousness,” and shenling (“divinity”) were organically integrated, forming the basic content of the Buddhist theory of xingling, which referred not only to a constant and immutable, supremely powerful, and mystical force intrinsically possessed by all living creatures (sentient beings), but also to a foundational energy that filled the cosmos and obliterated differences. This provided a profound and substantial philosophical basis for the literary theory of xingling by Liu Xie, Zhong Rong, Yu Xin and other figures, imbuing xingling with the status and power of a universal center with supreme sublimity and matchless energy.