(Chu) Tao-sheng stands out in history as a unique and preeminent thinker whose paradigmatic, original ideas paved the way for the advent of Chinese Buddhism. The universality of Buddha-nature, which Tao-sheng championed at the cost of excommunication, was to become a cornerstone of the Chinese Buddhist ideology. This book presents a comprehensive study of the only complete document by Tao-sheng still in existence.

(Chu) Tao-sheng stands out in history as a unique and preeminent thinker whose paradigmatic, original ideas paved the way for the advent of Chinese Buddhism. The universality of Buddha-nature, which Tao-sheng championed at the cost of excommunication, was to become a cornerstone of the Chinese Buddhist ideology. This book presents a comprehensive study of the only complete document by Tao-sheng still in existence.

The Lotus Sutra is one of the Buddhist texts which can give a real Idea of the force, originality, influence, and value of the Buddhist Positivene;5s. This essay on Buddhist Positiveness was originally written (in 1994) by Fernando Tola as an answer to the Catholic Pope's criticism of Buddhism, according to which Buddhism is a 'negative' religion; and this essay was presented afterwards, in an abridged version, as a paper, in The International Conference of The International Association of Buddhist Studies held in Lausanne, Switzerland (in 1999). The topics which are dealt with in this book are on the conflict of change in Buddhism; the conflict of change in the Lotus Sutra; apologetics and harmony in the Lotus Sutra and Bhavya; sunyata in the Lotus Sutra; some reflections that the translation of the saddharmapundarikasutra ) from its original text into Spanish) provoked in the authors regarding some linguistic, semantic and communication problems; the meaning of the infinite numbers in the Lotus Sutra; beginninglessness of the Veda and the Dharma, names of the Bhiksus and Bodhisattvas in the Lotus Sutra; Buddhist spirituality: positiveness in the Lotus Sutra; Buddhism and family; attitudes in regard to food in Ancient India, and some important reviews concerning the Lotus Sutra.

The Lotus Sutra proclaims that a unitary intent underlies the diversity of Buddhist teachings and promises that all people without exception can achieve supreme awakening. Establishing the definitive guide to this profound text, specialists in Buddhist philosophy, art, and history of religion address the major ideas and controversies surrounding the Lotus Sutra and its manifestations in ritual performance, ascetic practice, visual representations, and social action across history. Essays survey the Indian context in which the sutra was produced, its compilation and translation history, and its influence across China and Japan, among many other issues. The volume also includes a Chinese and Japanese character glossary, notes on Western translations of the text, and a synoptic bibliography.

The Lotus Sutra has been the most widely read and most revered Buddhist scripture in East Asia since its translation in the third century. The miracles and parables in the "king of sutras" inspired a variety of images in China, in particular the sweeping compositions known as transformation tableaux that developed between the seventh and ninth centuries. Surviving examples in murals painted on cave walls or carved in relief on Buddhist monuments depict celestial journeys, bodily metamorphoses, cycles of rebirth, and the achievement of nirvana. Yet the cosmos revealed in these tableaux is strikingly different from that found in the text of the sutra. Shaping the Lotus Sutra explores this visual world. Challenging long-held assumptions about Buddhist art, Eugene Wang treats it as a window to an animated and spirited world. Rather than focus on individual murals as isolated compositions, Wang views the entire body of pictures adorning a cave shrine or a pagoda as a visual mapping of an imaginary topography that encompasses different temporal and spatial domains. He demonstrates that the text of the Lotus Sutra does not fully explain the pictures and that a picture, or a series of them, constitutes its own "text." In exploring how religious pictures sublimate cultural aspirations, he shows that they can serve both political and religious agendas and that different social forces can co-exist within the same visual program. These pictures inspired meditative journeys through sophisticated formal devices such as mirroring, mapping, and spatial programming - analytical categories newly identified by Wang. The book examines murals in cave shrines at Binglingsi and Dunhuang in northwestern China and relief sculptures in the grottoes of Yungang in Shanxi, on stelae from Sichuan, and on the Dragon-and-Tiger pagoda in Shandong, among other sites. By tracing formal impulses in medieval Chinese picture-making, such as topographic mapping and pictorial illusionism, the author pieces together a wide range of visual evidence and textual sources to reconstruct the medieval Chinese cognitive style and mental world. The book is ultimately a history of the Chinese imagination. Read an interview with the author: http: //dgeneratefilms.com/cinematalk/cinematalk-interview-with-professor-eugene-wang-on-chinese-art-and-film/