By Donald S. Lopez, Jr.
During the last century, Buddhism has grow to be visible as a global faith, exceeding Christianity in toughness and, based on many, philosophical knowledge. Buddhism has additionally more and more been defined as strongly moral, dedicated to nonviolence, and devoted to bringing an finish to human pain. and since it locations any such powerful emphasis on rational research, Buddhism is taken into account extra suitable with technology than the opposite nice religions. As such, Buddhism has been embraced within the West, either in its place faith and in its place to faith.
This quantity presents a special creation to Buddhism through interpreting different types crucial for a nuanced knowing of its traditions. all of the fifteen essays right here exhibits scholars how a basic term—from art to word—illuminates the perform of Buddhism, either in conventional Buddhist societies and within the geographical regions of modernity. except Buddha, the record of phrases during this assortment intentionally comprises none which are intrinsic to the faith. in its place, the members discover phrases which are vital for plenty of fields and that invite interdisciplinary mirrored image. via incisive discussions of issues starting from practice, power, and pedagogy to ritual, history, sex, and death, the authors supply new instructions for the certainty of Buddhism, taking positive and infrequently polemical positions in an attempt either to illustrate the shortcomings of assumptions in regards to the faith and the capability energy of revisionary approaches.
Following the culture of Critical phrases for spiritual Studies, this quantity isn't just a useful source for the school room yet person who belongs at the brief checklist of crucial books for someone heavily drawn to Buddhism and Asian religions.
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Additional resources for Critical Terms for the Study of Buddhism (Buddhism and Modernity Series)
135). ana), although numerous other terms appear. Thus, the head of a universal monarch is said to resemble the shape of an open umbrella or the breast of a young woman; high and broad foreheads, shaped like the half-moon, are also described as auspicious (Banerjea 1931, 502–3). To further complicate matters is a second Buddhist list of eighty “accompanying” (anuvyañjana) signs, often referred to in English as the “minor marks” of the Buddha. thu). a as a wide and rounded forehead would seem to be entirely redundant.
Tokyo and Paris: Kodansha International/UNESCO. Strong, John S. 1983. The Legend of King As´oka. Princeton, NJ: Princeton University Press. Vimalamitra. asita¯tapatre. Tohoku 3112. Derge edition. Rgyud pu 207a5–212a3. ” 1983. Berkeley, CA: Dharma Publishing. Walshe, Maurice, trans. 1987. Thus Have I Heard: The Long Discourses of the Buddha. London: Wisdom. Warren, Henry Clarke. 1953. Buddhism in Translations. Cambridge, MA: Harvard University Press. Watters, Thomas.  1971. On Yuan Chwang’s Travels in India, 629– 645 A.
The Zenko¯ji-related icons lack such dramatic aesthetic qualities, and thus more easily accommodate a different approach. However, I would like to generalize this methodology to the degree that we can begin to look at all icons outside of the context of “art” as an aesthetic category. (McCallum 1994, 5–6) That the concept of the animated Buddhist icon was repressed for so long has been attributed by Bernard Faure to the “modern and Western values of aestheticization, desacralization, and secularization” (Faure 1998, 169).