Book contents
- Frontmatter
- Contents
- Conventions for Frequently Cited Works
- Introduction
- 1 Brushing Past Rainbows: Religion and Poetry in the Xu Mi Stele
- 2 Li Bo and Hu Ziyang: Companions of the Way
- 3 The Vicarious Angler: Gao Pian’s Daoist Poetry
- 4 Traces of the Way : The Poetry of “Divine Transcendence” in the Northern Song Anthology Literature’s Finest (Wen cui 文粹)
- 5 A Re-examination of the Second Juan of the Array of the Five Talismans of the Numinous Treasure 太上靈寶五符序
- 6 “True Forms” and “True Faces”: Daoist and Buddhist Discourse on Images
- 7 After the Apocalypse: The Evolving Ethos of the Celestial Master Daoists
- 8 Shangqing Scriptures as Performative Texts
- 9 My Back Pages: The Sūtra in Forty-Two Chapters Revisited
- 10 Taking Stock
- Epilogue: Traversing the Golden Porte—The Problem with Daoist Studies
- Index
9 - My Back Pages: The Sūtra in Forty-Two Chapters Revisited
Published online by Cambridge University Press: 20 February 2024
- Frontmatter
- Contents
- Conventions for Frequently Cited Works
- Introduction
- 1 Brushing Past Rainbows: Religion and Poetry in the Xu Mi Stele
- 2 Li Bo and Hu Ziyang: Companions of the Way
- 3 The Vicarious Angler: Gao Pian’s Daoist Poetry
- 4 Traces of the Way : The Poetry of “Divine Transcendence” in the Northern Song Anthology Literature’s Finest (Wen cui 文粹)
- 5 A Re-examination of the Second Juan of the Array of the Five Talismans of the Numinous Treasure 太上靈寶五符序
- 6 “True Forms” and “True Faces”: Daoist and Buddhist Discourse on Images
- 7 After the Apocalypse: The Evolving Ethos of the Celestial Master Daoists
- 8 Shangqing Scriptures as Performative Texts
- 9 My Back Pages: The Sūtra in Forty-Two Chapters Revisited
- 10 Taking Stock
- Epilogue: Traversing the Golden Porte—The Problem with Daoist Studies
- Index
Summary
“I was so much older then, I’m younger than that now…”
—Bob DylanAbstract
The Sūtra in Forty-Two Chapters (Sishi’er zhang jing 四十二章經) has been celebrated as the first Indian Buddhist sūtra brought to China, where it was, supposedly, translated into Chinese in 67 CE. This sūtra has become a favorite for Western translators and is often used as an introduction to the transmission of Buddhism to China and to Chinese Buddhism in general. Robson traces the textual history of this text in a range of Chinese sources, focusing on the earliest exemplar of this sūtra in a Daoist text. This chapter also discusses how and why this short text came to play such a significant role in Western accounts of Chinese Buddhist history.
Keywords: Buddhism, Western studies of religion, Translation, Daoism
The Sūtra in Forty-Two Chapters (Sishi’er zhang jing 四十二章經) has long been celebrated as the first Indian Buddhist sūtra brought to China where it was—according to tradition—translated into Chinese by two Yuezhi 月支國 (Tokharian) monks, Kāśyapa Mātaņga Jia Yemoteng 迦葉摩騰 or Shemoteng 攝摩騰) and Dharmaratna (Zhu Falan竺法蘭) in 67 CE, making it the first Buddhist text to appear in Chinese. Given the long-standing claim that the Sūtra in Forty-Two Chapters was the first Buddhist text translated into Chinese, since the late nineteenth century it has been a favorite for Western translators, is often referred to in general introductions to Chinese Buddhism—perhaps due to its rather simple doctrinal statements—and discussed in the context of the early transmission of Buddhism from India to China. Over the years, however, scholars began to adopt more critical perspectives in their analysis of the text, raising questions about the precise date and nature of the text. That scholarship is by now generally familiar, so in this essay I aim to bring together two story lines that have evolved somewhat separately in Buddhist and Daoist studies, in order to explore the curious—and rather complicated—lives the Sūtra in Forty-Two Chapters has lived within those two traditions.
- Type
- Chapter
- Information
- Religion and Poetry in Medieval ChinaThe Way and the Words, pp. 197 - 220Publisher: Amsterdam University PressPrint publication year: 2023