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Illustrated & Annotated Slideshow. Two Versions Available.
You are viewing the fully annotated show. The minimally annotated show is here.

Tiāntái Buddhism (100+ Photos)
Sacred Icons of China's Mt. Tiāntái Region

 

CATEGORIES
Maps
People
Makara and Roof Beasts
Dragons and Lions
Door Gods (Open/Closed)
Four Heavenly Kings
Perfected Saints
Drunk Monk
Tiāntái Patriarch
Out & In Guardians
Bodhisattva
Buddha
Folk Gods
Water and Land Rite
Fun / Wordplay / Misc.

WHO / WHAT / WHERE / WHEN / WHY. Photos taken during a seminar entitled Tiāntái Seminar at Mount Tiāntái. Organized by the Woodenfish Project, the event was held from August 4 to 13, 2014. There were 30+ participants, including 14 professors, numerous PhD candidates, masters students, independent scholars, and others involved in Buddhist studies. Professor Daniel Stevenson (University of Kansas) was the featured speaker. Classes were held daily on Tiāntái teachings and supplemented with field trips to various monasteries and sites of importance to the Tiāntái tradition. The goal was to give participants first-hand experience in the lifestyle, training, and rituals of modern Chinese Buddhist monastics. Nearly all the artwork herein is modern (dated to the last fifty years). Photos by Mark Schumacher and Guttorm Gundersen.

MAPS                                                                                                 click any image to enlarge

Tiantai Region. See Google  Maps.
Tiantai Region. See Google Maps.
Tiantai Area Map. See Trip Advisor. The sites we visited are highlighted.
Tiantai Area Map. See Trip Advisor. The sites we visited are highlighted.
Tiantai Topography. See Peakery. The sites we visited are highlighted, as is our hotel.
Tiantai Topography. See Peakery. The sites we visited are highlighted, as is our hotel.
 

Mt. Tiāntái (C = Tiāntái shān 天台山) is home to the Chinese Tiāntái School (Tiāntái Zōng 天台宗) of Buddhism. It is the first Chinese school to break significantly from the Indian tradition and therefore represents China's earliest indigenous Buddhist system of thought. Tiāntái 天台 literally means Heavenly Platform or Platform of Heaven, while Mt. Tiāntái may be translated as Heavenly Terrace Mountain. Its name is attributed to the six stars at the foot of Ursa Major, under which the mountain was said to be. The de facto founder of the Tiāntái school is Zhìyǐ 智顗 (538–597); also known as Zhìzhě 智者. His systematic taxonomy of Buddhist teachings was the first of its kind in China, and it eventually attracted the attention of Korea and Japan, who imported the teachings in later centuries. In Japan, the Tendai school (as it is known in Japan) flourished under the patronage of the imperial family and nobility until its headquarters (the sprawling temple-shrine multiplex at Mt. Hiei) was burnt to the ground in 1571 by the warlord Oda Nobunaga.

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PEOPLE                                                                                           click any image to enlarge

Woodenfish Project, Founder, Organizer & Linkperson: Venerable Yifa
Coordinator: Guttorm Norberg Gundersen
Main Speaker: Professor Daniel B. Stevenson, University of Kansas
Woodenfish Project, Founder, Organizer & Linkperson: Venerable Yifa
Coordinator: Guttorm Norberg Gundersen
Main Speaker: Professor Daniel B. Stevenson, University of Kansas
Monks, Abbot Xìng Xián  性賢, Huádǐng Temple 華頂講寺Abbot Yǔn Guan 允觀, Guóqing Temple 国清寺Senior Monk Wù Míng 悟明, Gāo Míng Temple 高明講寺Vice Abbot & Dean Guān Chū 覌初, Wànnián 萬年禪寺. Photos by Guttorm. Montage by Mark.
Monks, Abbot Xìng Xián 性賢, Huádǐng Temple 華頂講寺
Abbot Yǔn Guan 允觀, Guóqing Temple 国清寺
Senior Monk Wù Míng 悟明, Gāo Míng Temple 高明講寺
Vice Abbot & Dean Guān Chū 覌初, Wànnián 萬年禪寺.
Photos by Guttorm. Montage by Mark.
Tiantái group at Guóqingsì Temple 国清寺. August 2014. Photo from Guttorm. Tiantái group on excursion near the Zhìzhě Pagoda (Zhìzhě Ròushēntǎ 智者肉身塔). Photo by Guttorm. Tiantái group at Gāo míng jiǎng sì Temple 高明講寺. Senior monk in second-row center. Photo from Guttorm. Tiantái group at Huá Dǐng Jiǎng Sì Temple 華頂講寺. Abbot in front-row center. Photo from Guttorm.
Tiantái group. Morning prayers, Guóqing Temple 国清寺. Photo by Guttorm. Began at 4 AM andended (about 1.5 hours later) when the congregation circumnabulated the main hall chanting adedication to Medicine  Buddha (Skt = Bhaiṣajyaguru, C = Yàoshī 薬師, J = Yakushi, K = Yeorae 약사).
Tiantái group. Morning prayers, Guóqing Temple 国清寺. Photo by Guttorm. Began at 4 AM and
ended (about 1.5 hours later) when the congregation circumnabulated the main hall chanting a
dedication to Medicine Buddha (Skt = Bhaiṣajyaguru, C = Yàoshī 薬師, J = Yakushi, K = Yeorae 약사).
Tiantái group at Fólǒng 佛隴 peak, where Tiantai patriarch Zhìyǐ 智顗 (538–597), aka Zhìzhě 智者, taught his acolytes. Located near the Zhìzhěi Pagoda (Zhìzhě ròushēntǎ 智者肉身塔). Photo from Guttorm.
Tiantái group at Fólǒng 佛隴 peak, where Tiantai patriarch Zhìyǐ 智顗 (538–597), aka Zhìzhě 智者,
taught his acolytes. Located near the Zhìzhěi Pagoda (Zhìzhě ròushēntǎ 智者肉身塔). Photo from Guttorm.
Tiantái group with abbot of Guóqing Temple 国清寺. Abbot in front-row center. Photo from Guttorm. 

This event was organized by the founder of Woodenfish, the Venerable Yifa (born, raised, and trained in Taiwan). Kudos to Guttorm Norberg Gundersen for his excellent work as event coordinator. The retreat was originally set to occur at Huádǐng Temple 華頂講寺, located atop Mt. Tiāntái. At the last minute, however, the temple bailed out, so the Venerable Yifa found us accommodation at a hotel near Guóqing Temple 国清寺. The temple, located at the base of Mt. Tiāntái, supplied us with our lunch and dinner. Participants hailed from China, Singapore, Malaysia, Taiwan, Korea, Japan, Israel, Norway, France, England, Canada, and America. Professor Stevenson (University of Kansas) gave a masterful overview of Tiāntái's two-wing philosophy -- the scholastic wing and meditative wing -- and a dazzling performance in textual exegesis and translation.  

MAKARA & ROOFTOP BEASTS                                        click any image to enlarge

MAKARA. C = Dàyú 大魚/Mójiéluó 摩竭羅; J = Daigyo/Makera/Makatsu; K = Daeeo 대어/Magal 마갈.MAKARA at Wànnián Chánsì Temple 萬年禪寺. MAKARA is Sanskrit for sea monster. Makara are used
as protective & decorative acroterions. Typically placed at both ends of the main roof ridge, with the male
on the left and the female on the right. The creatures are attributed with the power to control rain and thus
function as talismans to prevent fire. The Chinese character in photo reads Zhuǎn 轉
MAKARA. C = Dàyú 大魚/Mójiéluó 摩竭羅; J = Daigyo/Makera/Makatsu; K = Daeeo 대어/Magal 마갈.
MAKARA at Wànnián Chánsì Temple 萬年禪寺. MAKARA is Sanskrit for sea monster. Makara are used
as protective & decorative acroterions. Typically placed at both ends of the main roof ridge, with the male
on the left and the female on the right. The creatures are attributed with the power to control rain and thus
function as talismans to prevent fire. The Chinese character in photo reads Zhuǎn 轉 "to transform."
MAKARA. C = Dàyú 大魚/Mójiéluó 摩竭羅; J = Daigyo/Makera; K = Daeeo 대어/Magal 마갈.MAKARA at Wànnián Chánsì Temple 萬年禪寺. This sea monster is thought to provide
protection against fire (it is attributed with the power to control rain). Here the curvature
of the rooftop brings to mind a dragon's tail. The dragon is the lord of tempests and chief
controller of rain. The dragon is also a common motif on temple rooftops.
MAKARA. C = Dàyú 大魚/Mójiéluó 摩竭羅; J = Daigyo/Makera; K = Daeeo 대어/Magal 마갈.
MAKARA at Wànnián Chánsì Temple 萬年禪寺. This sea monster is thought to provide
protection against fire (it is attributed with the power to control rain). Here the curvature
of the rooftop brings to mind a dragon's tail. The dragon is the lord of tempests and chief
controller of rain. The dragon is also a common motif on temple rooftops.
MAKARA & DRAGONS at Huádǐng Temple 華頂講寺. At the center is the Buddha Sun (C = FÓRÌ 佛日), which drives away the darkness of ignorance. 
The Buddha-Sun disc was found on the rooftops of most temples we visited.
MAKARA & DRAGONS at Huádǐng Temple 華頂講寺. At the center is the Buddha Sun (C = FÓRÌ 佛日), which drives away the darkness of ignorance.
The Buddha-Sun disc was found on the rooftops of most temples we visited.
MAKARA at Guóqingsì Temple 国清寺. Here the Makara are depicted as cute dragon-like creatures. MAKARA roof tile at Zhìzhě Pagoda (Zhìzhě ròushēntǎ 智者肉身塔).
MAKARA at Huádǐng Temple 華頂講寺. The small figurine holding a musical instrument must be Chí
Guó Tiānwáng 持國天王, the Heavenly King who guards the kingdom and the eastern compass
direction. Skt = Dhṛtarāṣṭra. J = Jikokuten. See
MAKARA at Huádǐng Temple 華頂講寺. The small figurine holding a musical instrument must be Chí
Guó Tiānwáng 持國天王, the Heavenly King who guards the kingdom and the eastern compass
direction. Skt = Dhṛtarāṣṭra. J = Jikokuten. See "Four Heavenly Kings" for details.
EAVES BEASTS at Huádǐng Temple 華頂講寺. Makara are often combined with so-called 
EAVES BEASTS (C = 簷獸 Yán Shòu). The latter is a unique Chinese architectural tradition of

adorning roof eaves with beasts, usually odd in number and historically only allowed on imperial
buildings. The tradition is still widely practiced by temples in both China & Korea, but not in Japan. They serve as roof talismans.
EAVES BEASTS at Huádǐng Temple 華頂講寺. Makara are often combined with so-called
EAVES BEASTS (C = 簷獸 Yán Shòu). The latter is a unique Chinese architectural tradition of
adorning roof eaves with beasts, usually odd in number and historically only allowed on imperial
buildings. The tradition is still widely practiced by temples in both China & Korea, but not in Japan. They serve as roof talismans.
EAVES BEASTS (C = 簷獸 Yán Shòu), Gāomíng Temple 高明講寺. A dragon (not Makara) faces five beastly roof charms.  EAVES BEASTS (C = 簷獸 Yán Shòu) at Guóqingsì Temple 国清寺. The dragon plus five other beastly roof charms.
EAVES BEASTS (C = 簷獸 Yán Shòu). Huádǐng Temple 華頂講寺.
The dragon and five other beastly charms.
EAVES BEASTS (C = 簷獸 Yán Shòu). Huádǐng Temple 華頂講寺.
The dragon and five other beastly charms.
 

 

IN KOREN & JAPAN
Images jump to external links

Makara in Korea.

Shachihoko Beast, Japan
Shibi, Japan
Baku, Japan
Onigawara (Goblin Tile), Japan

MAKARA is the Sanskrit term for sea monster (C = Dàyú 大魚 or Jīngyú 鯨魚 or Mójiéluó 摩竭羅; J = Daigyo / Makera / Makatsu / Shachi; K = Daeeo 대어 / Magal 마갈 / Gyeongeo 경어). Makara are used as protective and decorative acroterions. Typically placed at both ends of the main roof ridge, with the male Makara on the left and the female Makara on the right. The creatures are attributed with the power to control rain and thus function as protectors against fire. They are often positioned on the main ridge of temples and palaces in Korea and China. Often described as having the body of a crocodile and other whimsical parts. In Southeast Asia, Makara frequently adorn temple lintels and arches, and are often depicted with a dragon emerging from their mouths. One of the main characteristics of the Makara in India and Southeast Asia is an elongated nose, like that of an elephant. The corresponding beasts in Japan are the Shachihoko 鯱鉾, Shibi 鴟尾, the Baku 獏 or 貘 (elephant-nosed nightmare eater) and the Onigawara 鬼瓦. The latter term literally means "Demon Tile" or "Goblin Tile." It is an ornamental architectural element, a decorative roof piece typically placed at the ends of the main ridge on temple structures and residences. These tiles serve decorative, functional, and protective roles in preventing weathering and in warding off evil spirits and fire. Elsewhere, China's and Korea's popular EAVES BEASTS (C = 簷獸 Yán Shòu) -- as shown in slideshow above -- are not found in Japan.

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DRAGONS & LIONS                                                                  click any image to enlarge

Dragon. Decorative dragon gate outside Wòlóng Shānzhuāng Hotel 卧龍山莊. Link to our hotel.
Dragon. Decorative dragon gate outside Wòlóng Shānzhuāng Hotel 卧龍山莊. Link to our hotel.
Carp transforming into Dragon. Wood. Made for striking temple bell. See fully annoted slideshowfor story about carp becoming dragon. At Zhìzhě Pagoda (Zhìzhě Ròushēntǎ 智者肉身塔).
Carp transforming into Dragon. Wood. Made for striking temple bell. See fully annoted slideshow
for story about carp becoming dragon. At Zhìzhě Pagoda (Zhìzhě Ròushēntǎ 智者肉身塔).
Carp Transforming into a Dragon Dragon. Protective dragon motif on temple architecture. Guóqingsì Temple 国清寺.
Lion. Stone lion protector outside Guóqingsì Temple 国清寺.C = Shīzǐ 獅子, J = Shishi, K = Saja 사자.
Lion. Stone lion protector outside Guóqingsì Temple 国清寺.
C = Shīzǐ 獅子, J = Shishi, K = Saja 사자.
Lion fails to ward off orange demon. Located near scenic Shíliáng Waterfall (Shíliáng Fēipù 石梁飛瀑). Lion. Protective lion door knockers are found commonly in China. Guóqingsì Temple 国清寺. Lion. Altars with guardian lions.
Lion. Ceramic statue at Guóqing Temple 国清寺. The lion serves as mount of Wén Shū
Bodhisattva 文殊菩薩 (Skt. = Mañjuśrī). It symbolizes the voice of Buddhist Law and the
power of Buddhism (meditation) to tame the mind.
Lion. Ceramic statue at Guóqing Temple 国清寺. The lion serves as mount of Wén Shū
Bodhisattva 文殊菩薩 (Skt. = Mañjuśrī). It symbolizes the voice of Buddhist Law and the
power of Buddhism (meditation) to tame the mind.
Lion. Motifs on armor of Ha/Heng & Four Heavenly Kings, Guóqing Temple 国清寺.Photos of these deities can be found earlier in this presentation.
Lion. Motifs on armor of Ha/Heng & Four Heavenly Kings, Guóqing Temple 国清寺.
Photos of these deities can be found earlier in this presentation.
 

 

IN KOREA
Images jump to external links

Dragon (Korea)
Dragon
Gapsa Temple, Korea



Lion (Korea)
Lion
Chang Deok Gung Palace, Korea

DRAGONS 龍 or 青龍 (C = Lóng, K = Yong 용, J = Ryū). The dragon is a protective deity throughout Asia, in all traditions, but especially found on ceiling paintings and architectural elements of Chan/Seon/Zen temples. The dragon is also one of the four celestial guardians of old China. It corresponds to the season spring, the direction east, the color green/blue, the element wood, and the virtue propriety; supports and maintains the country (controls rain and tempests, symbol of the emperor's power). Often paired with the Phoenix, for the two represent both conflict and wedded bliss. In Asia, the dragon appeared in Chinese myth and artwork well before the introduction of Buddhism to China in the 1st / 2nd centuries CE. Korean and Japanese dragon lore comes predominantly from China. In most traditions, the dragon is a magical shape shifter able to assume human form and mate with people. In contrast to Europe's malevolent dragon, the Asian dragon is considered benevolent, just, and the bringer of wealth.

LIONS 獅子 (C = Sīzǐ, J = Shishi, K = Saja 사자) traditionally stand guard outside the gates of Buddhist temples in China, Korea, and Japan, and often appear as emblems on the armor of the Four Heavenly Kings or as protective architectural elements placed under the eaves of temple structures. The Chinese characters can also refer to a deer or dog with magical properties and the power to repel evil spirits. These mythical beasts were introduced from China to Korea, and from Korea to Japan. In Japan, the Koma-inu 狛犬 (Korean dog) is sometimes depicted with a horn atop its head. The name is derived from Koma 高麗, the Japanese term for the old Korean kingdom of Koguryo 高句麗. The horn disappeared long ago, and rarely appears in artwork of the Edo-period onward. In China, the lion is the master of all felines, the defender of law, and the protector of sacred buildings. It is a symbol of power and success, and of royalty and strength. Images of it were embroidered on court robes. In Korea, the skin on Koma-inu's head was believed to be stronger than a helmet. In Japan, the Shishi is a noble beast who protects the entrance to the temple/shrine, and in some cases, the tomb. Shishi nearly always come in mated pairs (male & female). Helena Burton at Oxford University says the Shishi is sometimes tattooed on a woman's belly to protect her during childbirth. Buddhist deities are depicted mounted on the beast, in particular Monju Bosatsu.

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DOOR GODS, HA & HENG, BLOW & SNORT            click any image to enlarge

Marshal HA 哈将, mouth open, door god at Guóqing
Temple. HA is known as THE BLOWER, for he blew
clouds of poisonous gas out of his mouth whiledefending the last emperor of the Shang dynasty.
Marshal HA 哈将, mouth open, door god at Guóqing
Temple. HA is known as THE BLOWER, for he blew
clouds of poisonous gas out of his mouth while
defending the last emperor of the Shang dynasty.
Marshal HENG 哼将, mouth closed, door god at Guóqing
Temple. HENG is known as THE SNORTER, for he blew
destructive light rays from his nose while defending the
last emperor of the Shang dynasty.
Marshal HENG 哼将, mouth closed, door god at Guóqing
Temple. HENG is known as THE SNORTER, for he blew
destructive light rays from his nose while defending the
last emperor of the Shang dynasty.
Marshal HA, The Blower, mouth open. Guóqing Temple 国清寺. Closeup. Marshal HENG, The Snorter, mouth closed. Guóqing Temple 国清寺. Closeup. 

 

IN JAPAN
Images jump to external links

Agyo (open mouth) at sanjusangendo in kyoto, japan
Agyō 阿形 (mouth open)
Sanjūsangendō, Kyoto

Ungyo (closed mouth) at sanjusangendo in kyoto, japan
Ungyō 吽形 (mouth closed)
Sanjūsangendō, Kyoto

Marshals Ha 哈将 and Heng 哼将 protect the gates at many Chinese temples. Ha (the blower) has his mouth open, Heng (the snorter) has his shut. This "open-closed" iconography symbolizes duality (e.g., life and death, beginning and end, alpha and omega). It also represents the sacred Sanskrit term OM. These two marshals are unique to China, but their iconography can be traced back to two Buddhist deities known in Chinese as Rénwáng 仁王 (J = Niō, K = Inwang), translated as "benevolent kings" or "humane kings." These two kings are the Hindu vajra-dhara (vajra holders, vajra warriors). They were incorporated into Buddhism to protect and preserve the Buddhist teachings. Their fierce and threatening appearance is said to ward off evil spirits and keep the temple grounds free of demons and thieves. In some accounts, they were said to have followed and protected the Historical Buddha when he traveled throughout India. The Rénwáng commonly stand guard inside or outside the temple gates in China, Korea and Japan, one on either side of the entrance, one with mouth open, one closed. The open-mouth statue is typically placed to the right of the gate, the closed-mouth version to the left. In Japan, the temple gate itself is called the Niō-mon 仁王門 (Niō Gate). Marshals Ha and Heng are latecomers. In artwork, they first appear sometime in the Ming dynasty (1368-1644). Historically, they were two generals of the last emperor of the Shang dynasty (circa 1121 BC). HA is known as THE BLOWER, for he blew clouds of poisonous gas out of his mouth while defending the emperor. HENG is known as THE SNORTER, for he blew destructive light rays from his nose while protecting the realm.

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FOUR HEAVENLY KINGS                                                      click any image to enlarge

Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Guóqing Temple 国清寺.WEST. Guăng Mù Tiānwáng 廣目天王 holds serpent. Skt = Virūpâkṣa, J = Kōmokuten.
NORTH. Duōwén Tiānwáng 多聞天王 holds umbrella. Skt = Vaiśravaṇa, J = Tamonten.
Vaiśravaṇa is also a form of Kuvera, the god of wealth in Tibet & Nepal.
Worshipped independently in Japan as the god Bishamonten 毘沙門天.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Guóqing Temple 国清寺.
WEST. Guăng Mù Tiānwáng 廣目天王 holds serpent. Skt = Virūpâkṣa, J = Kōmokuten.
NORTH. Duōwén Tiānwáng 多聞天王 holds umbrella. Skt = Vaiśravaṇa, J = Tamonten.
Vaiśravaṇa is also a form of Kuvera, the god of wealth in Tibet & Nepal.
Worshipped independently in Japan as the god Bishamonten 毘沙門天.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Guóqing Temple 国清寺.EAST. Chí Guó Tiānwáng 持國天王 holds musical instrument. Skt = Dhṛtarāṣṭra. J = Jikokuten.
SOUTH. Zēngcháng Tiānwáng 增長天王 holds a sword. Skt = Virūḍhaka. J = Zōchōten.
Dhṛtarāṣṭra is the leader of the gandharvas (celestial musicians). Depicted holding pipa/lute.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Guóqing Temple 国清寺.
EAST. Chí Guó Tiānwáng 持國天王 holds musical instrument. Skt = Dhṛtarāṣṭra. J = Jikokuten.
SOUTH. Zēngcháng Tiānwáng 增長天王 holds a sword. Skt = Virūḍhaka. J = Zōchōten.
Dhṛtarāṣṭra is the leader of the gandharvas (celestial musicians). Depicted holding pipa/lute.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Gāomíng Jiǎng Temple 高明講寺.
WEST = Guăng Mù Tiānwáng 廣目天王 holding serpent.
NORTH = Duōwén Tiānwáng 多聞天王 holding umbrella.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Gāomíng Jiǎng Temple 高明講寺.
WEST = Guăng Mù Tiānwáng 廣目天王 holding serpent.
NORTH = Duōwén Tiānwáng 多聞天王 holding umbrella.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Gāomíng Jiǎng Temple 高明講寺.
EAST. Chí Guó Tiānwáng 持國天王 holding musical instrument (pipa / lute).
SOUTH. Zēngcháng Tiānwáng 增長天王 holding sword.
Two of Four Heavenly Kings (Sì Tiān Wáng 四天王) at Gāomíng Jiǎng Temple 高明講寺.
EAST. Chí Guó Tiānwáng 持國天王 holding musical instrument (pipa / lute).
SOUTH. Zēngcháng Tiānwáng 增長天王 holding sword.
Four Heavenly Kings (Sì Tiān Wáng 四天王) at Wànnián Temple 萬年禪寺. 
WEST = Guăng Mù Tiānwáng 廣目天王 holding serpent. NORTH = Duōwén Tiānwáng 多聞天王 holding umbrella.
EAST = Chí Guó Tiānwáng 持國天王 holding musical instrument. SOUTH = Zēngcháng Tiānwáng 增長天王 holding sword.
Four Heavenly Kings (Sì Tiān Wáng 四天王) at Wànnián Temple 萬年禪寺.
WEST = Guăng Mù Tiānwáng 廣目天王 holding serpent. NORTH = Duōwén Tiānwáng 多聞天王 holding umbrella.
EAST = Chí Guó Tiānwáng 持國天王 holding musical instrument. SOUTH = Zēngcháng Tiānwáng 增長天王 holding sword.
 

Four Heavenly Kings 四天王 (C = Sì Tiānwáng, J = Shitennō, K = Sa Cheonwang 사천왕). Buddhist guardians / protectors of the four compass directions. They ward off evil, guard the nation, and protect the world from malicious spirits. Each represents a direction, season, color, virtue, and element. They originated in India as deva generals protecting Lord Indra, but were later adopted into the Buddhist pantheon in China, Korea, and Japan. Each dwells in and protects one of the four continents surrounding Mt. Sumeru (C = Xūmí 須彌, J = Shumi, K = Sumi 수미), the mythical home of the Historical Buddha and other Buddhist deities. In East Asia, they are venerated as temple guardians and protectors of the nation. In China and Korea, statues of the four are often placed near temple entrances, but in Japan, effigies of the four are more commonly placed around the central deity on the main altar. The main dais is befittingly called, in Japanese, the Shumidan 須弥壇.

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PERFECTED SAINTS (LUÓHÀN)                                         click any image to enlarge

Luóhàn 羅漢 (Skt = Arhat, Arhan, J = Rakan, K = Nahan 나한).
Eighteen Luóhàn 十八羅漢 at Guóqing Temple. Two other popular groupings areSixteen Luóhàn 十六羅漢 and 500 Luóhàn 五百羅漢 (also shown above).
Luóhàn 羅漢 (Skt = Arhat, Arhan, J = Rakan, K = Nahan 나한).
Eighteen Luóhàn 十八羅漢 at Guóqing Temple. Two other popular groupings are
Sixteen Luóhàn 十六羅漢 and 500 Luóhàn 五百羅漢 (also shown above).
Luóhàn 羅漢. Some of the Five Hundred Luóhàn 五百羅漢 at Guóqing Temple. Photos by Guttorm, montage by Mark.
Luóhàn 羅漢. One of Five Hundred Luóhàn at Guóqing Temple.
This one represents the theme
that Buddha is Within Each of Us.
Luóhàn 羅漢. One of Five Hundred Luóhàn at Guóqing Temple.
This one represents the theme that Buddha is Within Each of Us.
 

Luóhàn 羅漢 (Skt = Arhan, Arhat, J = Rakan, K = Nahan 나한). Often translated as Perfected Saints. They were the first disciples of the Historical Buddha. All achieved enlightenment and became known as the Arhans (ari = enemy, han = kill or slay; thus "Foe Destroyer" or "Enemy Slayer"). In many traditions, they were asked by the Historical Buddha to remain in the world to propagate Buddhist teachings. Three popular groupings in artwork are the Sixteen Luóhàn 十六羅漢, the Eighteen Luóhàn 十八羅漢, and the 500 Luóhàn 五百羅漢. Arhatship is the highest goal of those who practice Theravada Buddhism (i.e., the monastic tradition; monks do not marry nor have children). Those who attain Arhatship have "slain" their greed, anger and delusions, and "destroyed" their karmic residue from previous lives. They have learned the teachings of the Historical Buddha and earned the title of "Nothing Else to Learn 無学." They can no longer backslide, no longer be reborn into the world of suffering, no longer be trapped in the cycle of samsara (the six states of karmic rebirth). However, to followers of Mahayana Buddhism, the Therevada Arhat ranks below the Mahayana Bodhisattva on the chain of enlightenment. To Mahayana followers, the Theravada philosophy is false, for it stresses "self benefit" -- practicing the monastic life for oneself, by oneself, strictly for one's own emancipation. Indeed, the term "Hinayana," meaning Lesser Vehicle, was attached to the Theravada school by Mahayana adherents, who hoped to portray the Theravada teachings as inferior. Thus the term Hinayana is derogatory and used to denigrate Theravada traditions. It is a term that should be (and is) avoided by most modern scholars. Like the Bodhisattva, the Arhat will certainly achieve Buddhahood. Buddhist artwork in China tends to promote themes from both the Theravada and Mahayana schools, but in Japan, the majority of art reflects the Mahayana tradition.

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JIGŌNG, THE DRUNK MONK                                                  click any image to enlarge

Jìgōng 濟公 at the Tiantái Buddhism Museum 天台山仏教城 and at the Jìgōng Gùjū 濟公故居 (Jìgōng Former Residence). 
Jìgōng was an eccentric, booze-guzzling 13th-century itinerant monk with magical powers. He wandered aroundthe Tiantái area doing good deeds. He became a popular folk god and is often shown drinking wine from a gourd.
Jìgōng 濟公 at the Tiantái Buddhism Museum 天台山仏教城 and at the Jìgōng Gùjū 濟公故居 (Jìgōng Former Residence).
Jìgōng was an eccentric, booze-guzzling 13th-century itinerant monk with magical powers. He wandered around
the Tiantái area doing good deeds. He became a popular folk god and is often shown drinking wine from a gourd.
Jìgōng 濟公 statues on sale at the Jìgōng Former Residence 濟公故居(Jìgōng gùjū 濟公故居), located just a few minutes from our hotel.
Jìgōng 濟公 statues on sale at the Jìgōng Former Residence 濟公故居
(Jìgōng gùjū 濟公故居), located just a few minutes from our hotel.
Jìgōng 濟公, 1000-Armed Guānyīn 観音菩薩(Goddess of Mercy) & Bùdài 布袋 (Fat Buddha).Statues located at store near our hotel.
Jìgōng 濟公, 1000-Armed Guānyīn 観音菩薩
(Goddess of Mercy) & Bùdài 布袋 (Fat Buddha).
Statues located at store near our hotel.
 

Jìgōng 濟公 (1130-1207) was an eccentric, booze-guzzling itinerant monk with magical powers. He wandered around the Tiāntái area doing good deeds. He was deified into a popular folk god. In artwork, he is often shown drinking wine from a gourd. The Jìgōng Former Residence (Jìgōng Gùjū 濟公故居) is located near the base of Mt. Tiāntái. Jìgōng is commonly considered a manifestation of the Taming Dragon Arhat (C = Xiánglóng Luóhàn 降龍羅漢), one of the eighteen arhats (see above).

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TIANTÁI PATRIARCH                                                             click any image to enlarge

Tiantái Patriarch Zhìyǐ 智顗 (538–597) at Huádǐng Temple 華頂講寺. Zhìyǐ also known as Zhìzhě 智者. Tiantái Patriarch Zhìyǐ 智顗 (538–597), aka Zhìzhě 智者, at Guóqing Temple 国清寺. Tiantái Patriarch Zhìyǐ 智顗 (538–597), also commonly known as Zhìzhě 智者, Guóqingsì Temple 国清寺. Tiantái Patriarch Zhìyǐ 智顗 (538–597), aka Zhìzhě 智者, at the Zhìzhě Pagoda (Zhìzhě Ròushēntǎ 智者肉身塔).  

Zhìyǐ 智顗 (538–597), also known as Zhìzhě 智者, is the de facto founder of the Tiāntái school. Says the Digital Dictionary of Buddhism: "A native of Ying-chuan in Anhui, became a neophyte at 7, and was fully ordained at 20. Zhìyǐ is famous for being the first scholar in the history of Chinese Buddhism to elaborate a complete, critical and systematic taxonomy of the Buddhist teachings, in order to explain the seemingly contradictory doctrines of Buddhism. He is also regarded as the first major figure to make a significant break from the Indian tradition, and to form an indigenous Chinese system. He received his most important influences from his first teacher, Nányuè Huìsī 南嶽慧思 (515–577), a meditation master who would later be listed as his predecessor in the Tiāntái lineage. After a period of study with Huìsī,  Zhìyǐ spent some time working in the southern capital of Jinling, after which he retired to Tiāntái mountain for intensive study and practice with a group of disciples, adapting the Indian meditation practice of zhǐguān 止觀 into his system. A distinctive aspect of his study and teaching is his high evaluation of the Lotus Sutra, and much of the profound influence of this text on East Asian Buddhism can be attributed to Zhìyǐ. Beyond his seminal commentaries on the Lotus among his many important works are the Móhē zhǐguān 摩訶止觀 and the Liù miào fǎmén 六妙法門. Although many of the works attributed to him may have been written by his disciples, about thirty texts are extant that list him as their author. His school also became the foundation of important Buddhist schools in Korea and Japan. In addition to his work on the Lotus Sutra, he commented on numerous other important Mahāyāna texts, also composing influential treatises on practice, such that he stands as one of the single most influential persons in the history of East Asian Buddhism." <end quote Digital Dictionary of Buddhism (user name = guest>

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GUARDIANS OF OUT & IN                                                   click any image to enlarge

Bùdài 布袋 (J = Hotei, K = Podae 포대) protecting the entrance gate at  Wànnián Temple 萬年禪寺.
At many Chinese temples, Bùdài is installed inside the Heavenly Kings Hall (the entrance gate).
He faces outward (south) to protect those who enter the temple. Bùdài is the pot-bellied
manifestation of the Future Buddha (Skt = Maitreya, C = Mílè 彌勒). He was an itinerant 10th-
century Buddhist monk. In art, he carries a large cloth bag 布袋, one that never empties, for he
uses it to feed the poor & needy. In Japan, he is one of the Seven Lucky Gods.
Bùdài 布袋 (J = Hotei, K = Podae 포대) protecting the entrance gate at Wànnián Temple 萬年禪寺.
At many Chinese temples, Bùdài is installed inside the Heavenly Kings Hall (the entrance gate).
He faces outward (south) to protect those who enter the temple. Bùdài is the pot-bellied
manifestation of the Future Buddha (Skt = Maitreya, C = Mílè 彌勒). He was an itinerant 10th-
century Buddhist monk. In art, he carries a large cloth bag 布袋, one that never empties, for he
uses it to feed the poor & needy. In Japan, he is one of the Seven Lucky Gods.
Bùdài 布袋 (J = Hotei, K = Podae 포대) protecting the entrance gate at Guóqingsì Temple 国清寺.
At many Chinese temples, he is installed inside the Heavenly Kings Hall (the entrance gate).
He faces outward (south) to protect those who enter the temple. The same hall commonly
includes another deity named Wéituótiān, who faces north into the monestary to protect its
practitioners. In the West, Bùdài is known as the Fat Buddha, Laughing Buddha.
Bùdài 布袋 (J = Hotei, K = Podae 포대) protecting the entrance gate at Guóqingsì Temple 国清寺.
At many Chinese temples, he is installed inside the Heavenly Kings Hall (the entrance gate).
He faces outward (south) to protect those who enter the temple. The same hall commonly
includes another deity named Wéituótiān, who faces north into the monestary to protect its
practitioners. In the West, Bùdài is known as the Fat Buddha, Laughing Buddha.
Bùdài 布袋 as deity of the dining hall at Huádǐng Temple 華頂講寺. In some temples, Bùdài serves both
as the temple guardian (installed inside the entrace gate) and as the lord of the dining hall. In the
West, Bùdài is known as the Fat Buddha or Laughing Buddha.
Bùdài 布袋 as deity of the dining hall at Huádǐng Temple 華頂講寺. In some temples, Bùdài serves both
as the temple guardian (installed inside the entrace gate) and as the lord of the dining hall. In the
West, Bùdài is known as the Fat Buddha or Laughing Buddha.
Bùdài 布袋 at Zhìzhě Pagoda (Zhìzhě Ròushēntǎ 智者肉身塔). Behind him are the verses of the FIVE CONTEMPLATIONS, or Wǔguān Jié
五觀偈 (J= Gokan Ge, K = Ogwan Gye). They are recalled before meals to remind monks that the food they eat is donated by lay supporters.
1. Considering how much effort produced this food, we reflect on its origins. 一計功多少 量彼來處。
2. Mindful of the deficiencies of our own virtue and practice, we strive to be worthy of this offering. 二忖己德行 全缺應供。
3. We take restraining the mind and avoiding faults such as greed as the essential principle. 三防心離過 貪等爲宗
4. We use this food properly as good medicine, to keep our bodies from withering away. 四正事良藥 爲療形枯
5. For the sake of attaining the way, we now receive this food 五爲成道業故 應受此食 
Source: Digital Dictionary of Buddhism. Sign in with user name = guest. Also see 小叢林淸規 T 2579.81.704a09, Shōsōrin Ryaku Shingi.
Bùdài 布袋 at Zhìzhě Pagoda (Zhìzhě Ròushēntǎ 智者肉身塔). Behind him are the verses of the FIVE CONTEMPLATIONS, or Wǔguān Jié
五觀偈 (J= Gokan Ge, K = Ogwan Gye). They are recalled before meals to remind monks that the food they eat is donated by lay supporters.
1. Considering how much effort produced this food, we reflect on its origins. 一計功多少 量彼來處。
2. Mindful of the deficiencies of our own virtue and practice, we strive to be worthy of this offering. 二忖己德行 全缺應供。
3. We take restraining the mind and avoiding faults such as greed as the essential principle. 三防心離過 貪等爲宗
4. We use this food properly as good medicine, to keep our bodies from withering away. 四正事良藥 爲療形枯
5. For the sake of attaining the way, we now receive this food 五爲成道業故 應受此食
Source: Digital Dictionary of Buddhism. Sign in with user name = guest. Also see 小叢林淸規 T 2579.81.704a09, Shōsōrin Ryaku Shingi.
Wéituótiān 韋馱天 at Huádǐng Temple 華頂講寺. Icons of this warrior god are often
placed in the Gate Hall (Entrance Gate) and facing into the monestary compound. In
some traditions, this deva is also installed in the dining hall. His main function is to
protect practioners. Skt = Skandha, J = Idaten, K = Witacheon 위타천.
Wéituótiān 韋馱天 at Huádǐng Temple 華頂講寺. Icons of this warrior god are often
placed in the Gate Hall (Entrance Gate) and facing into the monestary compound. In
some traditions, this deva is also installed in the dining hall. His main function is to
protect practioners. Skt = Skandha, J = Idaten, K = Witacheon 위타천.
Wéituótiān 韋馱天, temple guardian,  protecting the monestary at Wànnián Temple 萬年禪寺.
Usually placed in the Heavenly Kings Hall (the entrance gate), facing into the monestary, thus
typically facing north. Also commonly placed in back-to-back structures with Bùdài 布袋 
(Skt. = Maitreya). Bùdài however faces out the entrance (south) to protect those who enter the
temple. Notice how Wéituótiān holds his vajra-mallet. When the weapon points straight down to
the ground, it means the temple does not provide accommodation for traveling monks & pilgrims.
Wéituótiān 韋馱天, temple guardian, protecting the monestary at Wànnián Temple 萬年禪寺.
Usually placed in the Heavenly Kings Hall (the entrance gate), facing into the monestary, thus
typically facing north. Also commonly placed in back-to-back structures with Bùdài 布袋
(Skt. = Maitreya). Bùdài however faces out the entrance (south) to protect those who enter the
temple. Notice how Wéituótiān holds his vajra-mallet. When the weapon points straight down to
the ground, it means the temple does not provide accommodation for traveling monks & pilgrims.
Wéituótiān 韋馱天, temple guardian. Notice how Wéituótiān
holds his weapon. When the weapon is balanced on his wrists
& his palms are joined together in prayer, it means the temple
provides accommodation for traveling monks & pilgrims.
Photos from this J-site and this J-site.
Wéituótiān 韋馱天, temple guardian. Notice how Wéituótiān
holds his weapon. When the weapon is balanced on his wrists
& his palms are joined together in prayer, it means the temple
provides accommodation for traveling monks & pilgrims.
Photos from this J-site and this J-site.
Janus, the Roman God of Doors. 

At many temples in China, the entrance hall typically contains the Four Heavenly Kings (see above) along with two other important guardians -- Bùdài 布袋 and Wéituótiān 韋駄天 / 違駄天. The first statue visitors see when entering the hall is the pot-bellied Bùdài (J = Hotei, K = Podae 포대). He faces out the entrance to protect those who are coming in. Bùdài is a manifestation of the Future Buddha (Skt = Maitreya, C = Mílè 彌勒, J = Miroku, K = Mireuk 미륵). Bùdài was actually an itinerant 10th-century Chinese Buddhist monk. In legends, he once fell asleep in the snow, but snow did not fall on him. He could predict when it would rain and could foretell the destinies of men. He wandered about carrying a staff, to which he attached a cloth travel bag (C = Bùdài 布袋). Hence his name. After begging for food, he would always store some food in his bag. In art, he is typically depicted carrying his cloth bag, one that never empties, for he uses it to feed the poor and needy. In some Chinese temples, he is befittingly installed in the dining hall. In Japan, he is one of the Seven Lucky Gods. Opposite Bùdài is Wéituótiān (Skt = Skandha, Pali = Khanda, J = Idaten, K = Witacheon 위타천), who faces into the monastery to protect the monks. Wéituótiān is a powerful Hindu deity who was adopted into Buddhism as a protector of monasteries and monks. His identifying attribute is a vajra-mallet. In artwork, when the weapon points straight down to the ground, it means the temple does not provide accommodation for traveling monks and pilgrims. When the weapon is balanced on his wrists and his palms are joined together in prayer, it means the monastery provides accommodation. In Chan/Zen temples in China and Japan, Wéituótiān is sometimes installed in the dining hall as the lord of food. In Japan, for instance, people say Gochisōsama deshita ご馳走様でした after every meal. In common parlance this means thank you, what a tasty meal. But it literally means "to run quickly, to chase after." Some Japanese say this after-dinner term refers directly to the so-called 馳走仁王 (lit. Humane Kings Who Fetch Food), a Japanese name for the deities responsible for fetching food and feeding it to Buddha and his followers. By inference, it also refers to Wéituótiān, who is considered a swift runner, for legend asserts he ran with great speed to catch the demon-thieves who stole the ashes of the deceased Historical Buddha.

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BODHISATTVA                                                                            click any image to enlarge

Avalokitêśvara. 1000-Handed version of the Goddess of Mercy.C = Qiānshǒu Guānyīn 千手觀音, J = Senju Kannon, K = Cheonsu Gwaneum 천수관음.Āmítuó Buddha 阿彌陀 sits atop her crown. Head of Jìgōng 濟公 appears near bottom. Statues at store near our hotel.
Avalokitêśvara. 1000-Handed version of the Goddess of Mercy.
C = Qiānshǒu Guānyīn 千手觀音, J = Senju Kannon, K = Cheonsu Gwaneum 천수관음.
Āmítuó Buddha 阿彌陀 sits atop her crown. Head of Jìgōng 濟公 appears near bottom. Statues at store near our hotel.
Avalokitêśvara. Eleven-faced version, especially connected with tantric Buddhism.At Huádǐng Temple 華頂講寺. C =  Shíyīmiàn Guānyīn 十一面觀音, J =  Jūichimen Kannon,
K = Sibil Myeon Gwaneum 십일면관음. Ten of the heads symbolize the ten stages on the wayto enlightenment. At the top is the head of Āmítuó Buddha 阿彌陀. Avalokitêśvara is aprincipal attendant to Āmítuó. The wall-hanging scroll depicts Āmítuó as well.
Avalokitêśvara. Eleven-faced version, especially connected with tantric Buddhism.
At Huádǐng Temple 華頂講寺. C = Shíyīmiàn Guānyīn 十一面觀音, J = Jūichimen Kannon,
K = Sibil Myeon Gwaneum 십일면관음. Ten of the heads symbolize the ten stages on the way
to enlightenment. At the top is the head of Āmítuó Buddha 阿彌陀. Avalokitêśvara is a
principal attendant to Āmítuó. The wall-hanging scroll depicts Āmítuó as well.
Avalokitêśvara (Guānyīn 観音) and two attendants, Guóqing Temple 国清寺.The mural behind Guānyīn depicts her paradise Pǔtuó Shān 普陀山, located in Zhejiang.Two attendants are Sudhana-śreṣṭhi-dāraka (C = Shàncái Tóngzǐ善財童子) & the Dragon Princess Nāgakanyā (C = Lóngnǚ 龍女).
Avalokitêśvara (Guānyīn 観音) and two attendants, Guóqing Temple 国清寺.
The mural behind Guānyīn depicts her paradise Pǔtuó Shān 普陀山, located in Zhejiang.
Two attendants are Sudhana-śreṣṭhi-dāraka (C = Shàncái Tóngzǐ善財童子) & the Dragon Princess Nāgakanyā (C = Lóngnǚ 龍女).
Avalokitêśvara (Guānyīn 観音) and two attendants, Huádǐng Temple 華頂講寺.The mural behind Guānyīn depicts her paradise Pǔtuó Shān 普陀山, located in Zhejiang.Two attendants are Sudhana-śreṣṭhi-dāraka (C = Shàncái Tóngzǐ善財童子) & Dragon Princess Nāgakanyā (C = Lóngnǚ 龍女).
Avalokitêśvara (Guānyīn 観音) and two attendants, Huádǐng Temple 華頂講寺.
The mural behind Guānyīn depicts her paradise Pǔtuó Shān 普陀山, located in Zhejiang.
Two attendants are Sudhana-śreṣṭhi-dāraka (C = Shàncái Tóngzǐ善財童子) & Dragon Princess Nāgakanyā (C = Lóngnǚ 龍女).
Mañjuśrī Bodhisattva on lion, Guóqing Temple 国清寺.
C = Wén Shū Púsà 文殊菩薩, J = Monju, K = Munsu 문수.
The wisest of the Bodhisattva. His cult is very popular in
China. Often shown atop a ferocious lion, symbolizing
the taming of the wild mind through meditation.
Mañjuśrī Bodhisattva on lion, Guóqing Temple 国清寺.
C = Wén Shū Púsà 文殊菩薩, J = Monju, K = Munsu 문수.
The wisest of the Bodhisattva. His cult is very popular in
China. Often shown atop a ferocious lion, symbolizing
the taming of the wild mind through meditation.
Mañjuśrī Bodhisattva atop lion, Guóqing Temple 国清寺. C = Wén Shū 文殊, J = Monju, K = Munsu 문수.
The wisest of the Bodhisattva, this deity appropriately symbolizes WISDOM. In art, he is oftenshown atop a ferocious lion, symbolizing the taming of the mind through meditation.
Mañjuśrī Bodhisattva atop lion, Guóqing Temple 国清寺. C = Wén Shū 文殊, J = Monju, K = Munsu 문수.
The wisest of the Bodhisattva, this deity appropriately symbolizes WISDOM. In art, he is often
shown atop a ferocious lion, symbolizing the taming of the mind through meditation.
Samantabhadra Bodhisattva atop elephant, Guóqingsì Temple 国清寺.
C = Pǔxián Púsà 普賢菩薩, J = Fugen, K =  Bohyeon Bosal 보현보살.
Represents PRAXIS (diligent practice of Buddhist tenets). The elephant
symbolizes the power of Buddhism to overcome all obstacles. In artwork,
Pǔxián Púsà often appears together with Mañjuśrī Bodhisattva, who represents WISDOM and rides a lion.
Samantabhadra Bodhisattva atop elephant, Guóqingsì Temple 国清寺.
C = Pǔxián Púsà 普賢菩薩, J = Fugen, K = Bohyeon Bosal 보현보살.
Represents PRAXIS (diligent practice of Buddhist tenets). The elephant
symbolizes the power of Buddhism to overcome all obstacles. In artwork,
Pǔxián Púsà often appears together with Mañjuśrī Bodhisattva, who represents WISDOM and rides a lion.
Kṣitigarbha Bodhisattva with six-ring staff & wish-granting jewel. At Huádǐng Temple 華頂講寺.
C = Dìzàng 地藏, J = Jizō, K = Jijang 지장. Dìzàng vowed to ease the suffering & shorten thesentence of those serving time in hell. His six-ring staff represents the sixth realms ofkarmic rebirth and Kṣitigarbha's vow to help those in all six realms. The jewel(Skt = Cintamani) signifies Kṣitigarbha's bestowal of blessings on all who suffer.
Kṣitigarbha Bodhisattva with six-ring staff & wish-granting jewel. At Huádǐng Temple 華頂講寺.
C = Dìzàng 地藏, J = Jizō, K = Jijang 지장. Dìzàng vowed to ease the suffering & shorten the
sentence of those serving time in hell. His six-ring staff represents the sixth realms of
karmic rebirth and Kṣitigarbha's vow to help those in all six realms. The jewel
(Skt = Cintamani) signifies Kṣitigarbha's bestowal of blessings on all who suffer.
Bodhisattva, Huádǐng Temple. C = Púsà 菩薩, J = Bosatsu, K = Bosal 보살.
Notice the symmetry of the hand gestures. The two are problably Guānyīn觀音 (Skt. = Avalokitêśvara) and Shìzhì 勢至 (Skt. = Mahāsthāmaprāpta), two of the main attendants to Āmítuó Buddha 阿彌陀如來 (Skt. = Amitâbha Tathāgata).
Bodhisattva, Huádǐng Temple. C = Púsà 菩薩, J = Bosatsu, K = Bosal 보살.
Notice the symmetry of the hand gestures. The two are problably Guānyīn
觀音 (Skt. = Avalokitêśvara) and Shìzhì 勢至 (Skt. = Mahāsthāmaprāpta),
two of the main attendants to Āmítuó Buddha 阿彌陀如來 (Skt. = Amitâbha Tathāgata).
 

Bodhisattva (C = Púsà 菩薩, J = Bosatsu, K = Bosal 보살). The penultimate state before Buddhahood. Bodhisattva are those who have reached the final stage of transmigration and enlightenment, just prior to becoming a Buddha. Bodhisattva will certainly attain Buddhahood, but for a time, they renounce the blissful state of Nirvana (freedom from suffering), vowing to remain on earth in various guises (reincarnations) to help all living beings achieve salvation. The highest goal of Mahayana practitioners is to become a Bodhisattva, while the highest goal of Theravada practitioners is to become an Arhat.

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BUDDHA                                                                                          click any image to enlarge

Buddha (C =  Fó 佛) or mabyea Luóhàn 羅漢. From stone stupanear Shíliáng Fēipù Waterfall石梁飛瀑.
Buddha (C = Fó 佛) or mabye
a Luóhàn 羅漢. From stone stupa
near Shíliáng Fēipù Waterfall
石梁飛瀑.
Buddha Triad (Sānzūn 三尊) in the Hall to Five Hundred Luóhàn 五百羅漢 at Guóqing Temple 国清寺. Śākya-Tathāgata 釋迦如來 at center flanked by Mañjuśrī 文殊 and Samantabhadra 普賢.
Buddha Triad (Sānzūn 三尊) in the Hall to Five Hundred Luóhàn 五百羅漢 at Guóqing Temple 国清寺.
Śākya-Tathāgata 釋迦如來 at center flanked by Mañjuśrī 文殊 and Samantabhadra 普賢.
Buddha. Seven Past Buddha (Qīfó 七佛) appear in halo (see prior photo).Guóqing Temple 国清寺. The crown depicts the Five Tathāgata (Wǔ Rúlái 五如來).
Buddha. Seven Past Buddha (Qīfó 七佛) appear in halo (see prior photo).
Guóqing Temple 国清寺. The crown depicts the Five Tathāgata (Wǔ Rúlái 五如來).
Buddha at Huádǐng Temple 華頂講寺. The crown of this Buddha depicts the Five Tathāgata (Wǔ Rúlái 五如來).The halo depicts the Seven Past Buddha (Qīfó 七佛). The attendant is one of Buddha's two chief disciples.
Buddha at Huádǐng Temple 華頂講寺. The crown of this Buddha depicts the Five Tathāgata (Wǔ Rúlái 五如來).
The halo depicts the Seven Past Buddha (Qīfó 七佛). The attendant is one of Buddha's two chief disciples.
Buddha (Historical Buddha) flanked by Ēnán 阿難 (Skt = Ānanda) and Dà Jiāshě 大迦葉(Skt = Mahākāśyapa), his two chief disciples. Located at Huádǐng Temple 華頂講寺.
Buddha (Historical Buddha) flanked by Ēnán 阿難 (Skt = Ānanda) and Dà Jiāshě 大迦葉
(Skt = Mahākāśyapa), his two chief disciples. Located at Huádǐng Temple 華頂講寺.
Buddha (Historical Buddha) flanked by Ēnán 阿難 (Skt = Ānanda) and Dà Jiāshě 大迦葉(Skt = Mahākāśyapa), his two chief disciples. Located at Guóqing Temple 国清寺.
Buddha (Historical Buddha) flanked by Ēnán 阿難 (Skt = Ānanda) and Dà Jiāshě 大迦葉
(Skt = Mahākāśyapa), his two chief disciples. Located at Guóqing Temple 国清寺.
Buddha Triad (Sānzūn 三尊) at Gāo Míng Temple 高明講寺.
Historical Buddha 釋迦 at center flanked by Mañjuśrī 文殊 and Samantabhadra 普賢.
Buddha Triad (Sānzūn 三尊) at Gāo Míng Temple 高明講寺.
Historical Buddha 釋迦 at center flanked by Mañjuśrī 文殊 and Samantabhadra 普賢.
Buddha. Great Buddha Statue at the Tiantái Buddhism Museum 天台山仏教城,
about 15 meters in height, located just a few minutes from our hotel.
Buddha. Great Buddha Statue at the Tiantái Buddhism Museum 天台山仏教城,
about 15 meters in height, located just a few minutes from our hotel.
 

Buddha (C = Fó 佛, J = Butsu / Hotoke, K = Bul 불). Those who have awakened, those who have attained enlightenment. Buddhahood is the ultimate state. In Theravada Buddhism, the monastic life is considered the sole path to spiritual awakening. Enlightenment is not thought possible for those living the secular life. But the Mahayana and Vajrayana schools of Buddhism claim that anyone, including laity, can attain enlightenment. The Mahayana and Vajrayana traditions include myriad Buddha, with the Historical Buddha (undisputed founder of Buddhism) considered just one among many. Theravada practitioners revere the Historical Buddha, but do not pay homage to the numerous other deities. The term Buddha is the past participle of Sanskrit Buddh, "to awaken, to know." Buddha is not a personal name, but a term of praise, like messiah. Tathagata is an honorific Sanskrit term for Buddha. Tathagata is rendered Rúlái 如来 in Chinese, Nyorai 如来 in Japanese, and Yeorae 여래 in Korean. For all practical purposes, the terms Buddha and Tathagata are synonymous in modern English usage.

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FOLK DEITIES                                                                             click any image to enlarge

Zhào Gōng Míng 趙公明, a local folk deity, located near the Zhìzhě Pagoda
(Zhìzhě ròushēntǎ 智者肉身塔). God of Money, God of Health. In art, depicted
with official's cap, iron club, black face, and riding a tiger. Able to control thunder,
lightning, clouds and rain. His key functions are to dispel pestilence, to ward off
natural disasters, and to rectify unjust verdicts. Red-faced deity is unidentified.
Zhào Gōng Míng 趙公明, a local folk deity, located near the Zhìzhě Pagoda
(Zhìzhě ròushēntǎ 智者肉身塔). God of Money, God of Health. In art, depicted
with official's cap, iron club, black face, and riding a tiger. Able to control thunder,
lightning, clouds and rain. His key functions are to dispel pestilence, to ward off
natural disasters, and to rectify unjust verdicts. Red-faced deity is unidentified.
Zhào Gōng Míng 趙公明, a local folk deity, located near the Zhìzhě Pagoda
(Zhìzhě ròushēntǎ 智者肉身塔). God of Money, God of Health. In art, depicted
with official's cap, iron club, black face, and riding a tiger. Able to control thunder,
lightning, clouds and rain. His key functions are to dispel pestilence, to ward off
natural disasters, and to rectify unjust verdicts. Red-faced deity is unidentified.
Zhào Gōng Míng 趙公明, a local folk deity, located near the Zhìzhě Pagoda
(Zhìzhě ròushēntǎ 智者肉身塔). God of Money, God of Health. In art, depicted
with official's cap, iron club, black face, and riding a tiger. Able to control thunder,
lightning, clouds and rain. His key functions are to dispel pestilence, to ward off
natural disasters, and to rectify unjust verdicts. Red-faced deity is unidentified.
Qiélán Shén 伽藍神, temple guardian.
J = Garanjin, K =  Garam sin 가람신.
Located at Huádǐng Temple 華頂講寺.PENDING. Unsure about this identification.
Qiélán Shén 伽藍神, temple guardian.
J = Garanjin, K = Garam sin 가람신.
Located at Huádǐng Temple 華頂講寺.
PENDING. Unsure about this identification.
Local Gods. Located inside Guóqing Temple's 国清寺 Patriarch Hall. The three miniaturefemale ceramic statues are Avalokitêśvara (Guānyīn 観音). The statue of the deity withelongated head holding a dragon staff and peach is probably the god of longevity.TheChinese character for LONGEVITY (Shòu 寿) is written on his robe. He is therefore mostlikely Fú Lù Shòu 福禄寿, a popular deity of wealth 福, happiness 禄, and longevity 寿.
Other names for Fú Lù Shòu are Shòu Xīng 寿星 or Shòu Lǎo 寿老.
Local Gods. Located inside Guóqing Temple's 国清寺 Patriarch Hall. The three miniature
female ceramic statues are Avalokitêśvara (Guānyīn 観音). The statue of the deity with
elongated head holding a dragon staff and peach is probably the god of longevity.The
Chinese character for LONGEVITY (Shòu 寿) is written on his robe. He is therefore most
likely Fú Lù Shòu 福禄寿, a popular deity of wealth 福, happiness 禄, and longevity 寿.
Other names for Fú Lù Shòu are Shòu Xīng 寿星 or Shòu Lǎo 寿老.
 

The number of Chinese folk deities is vast. Sadly I know little about them. But seminar participant and scholar of Chinese Buddhism Professor Daniel Getz was a goldmine of knowledge. He identified two of the deities appearing in the above photos. One is Zhào Gōng Míng 趙公明, the God of Money and Health. In artwork, he is commonly depicted with a black face and riding a tiger. Zhào is able to control thunder, lightning, clouds and rain. His key functions are to dispel pestilence, to ward off natural disasters, and to rectify unjust verdicts. To learn more, please see the China Knowledge web site. The identity of the red-faced deity accompanying Zhào is unknown to me. In the third photo, Professor Getz thinks the deity is Qiélán Shén 伽藍神 (J = Garanjin, K =  Garam sin 가람신). Qiélán Shén simply means "temple-protecting god," and Chinese texts refer to eighteen good Qiélán temple gods 伽藍十八善神. Qiélán is translated as Buddhist convent, Buddhist monastery, or Buddhist building, while Shén means god. The concept of Qiélán Shén was introduced to Japan together with Zen. In Japan, statues of these deities (known as Garanjin) are usually installed at Zen temples. Technically they are not folk deities, but since I myself am unsure of their identity, I put them here.

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WATER & LAND RITE                                                             click any image to enlarge

Shuǐlù Fǎhuì 水陸法會 (J = Suiriku Hōe, K = Suryuk Hoe 수륙회). Also written Shuǐlù Zhāi
水陸齋. The Buddhist Rite for Deliverance of Creatures of Water and Land; aka Festival of
Water & Land, Hungry Ghosts Festival. Guóqing Temple 国清寺 & Gāo Míng Temple 高明講寺.
Paper horses, boats, and money to help transport lost souls.
Shuǐlù Fǎhuì 水陸法會 (J = Suiriku Hōe, K = Suryuk Hoe 수륙회). Also written Shuǐlù Zhāi
水陸齋. The Buddhist Rite for Deliverance of Creatures of Water and Land; aka Festival of
Water & Land, Hungry Ghosts Festival. Guóqing Temple 国清寺 & Gāo Míng Temple 高明講寺.
Paper horses, boats, and money to help transport lost souls.
Shuǐlù Fǎhuì 水陸法會 (J = Suiriku Hōe, K = Suryuk Hoe 수륙회). Also written Shuǐlù Zhāi 水陸齋. The Buddhist Rite forDeliverance of Creatures of Water and Land; aka the Festival of Water and Land, the Hungry Ghosts Festival.Guóqing Temple 国清寺.
Shuǐlù Fǎhuì 水陸法會 (J = Suiriku Hōe, K = Suryuk Hoe 수륙회). Also written Shuǐlù Zhāi 水陸齋. The Buddhist Rite for
Deliverance of Creatures of Water and Land; aka the Festival of Water and Land, the Hungry Ghosts Festival.
Guóqing Temple 国清寺.
Shuǐlù Fǎhuì 水陸法會 (J = Suiriku Hōe, K = Suryuk Hoe 수륙회). Women burning paper money.Guóqing Temple 国清寺.
Shuǐlù Fǎhuì 水陸法會 (J = Suiriku Hōe, K = Suryuk Hoe 수륙회). Women burning paper money.
Guóqing Temple 国清寺.
Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺. Scrolls of deities invoked in the ceremony. Photo by Guttorm.
Nèitáng 內堂, or inner hall. Guóqing Temple 国清寺. Paintings of the Luóhàn 羅漢.Photos by Guttorm.
Nèitáng 內堂, or inner hall. Guóqing Temple 国清寺. Paintings of the Luóhàn 羅漢.
Photos by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺.Paintings of protective devas. Photo by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺.
Paintings of protective devas. Photo by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺. Closeup of paintings of protective devas. Photos by Guttorm. Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺. Paintings of two Buddha. Photos by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺.Painting of various magical animals. Photo by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing Temple 国清寺.
Painting of various magical animals. Photo by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing
Temple 国清寺. Painting of memorial
tablets. Photo by Guttorm.
Nèitáng 內堂, or inner hall, at Guóqing
Temple 国清寺. Painting of memorial
tablets. Photo by Guttorm.
 

Shuǐlù Fǎhuì 水陸法會  (J = Suiriku Hōe K = Suryuk Hoe 수륙회). Also written Shuǐlù Zhāi 水陸齋. Translated as "The Rite for Deliverance of Creatures of Water and Land." This rite is part of the extremely popular Ghost Festival (Skt = Ullambana, C = Yúlánpén 盂蘭盆, J = Obon 御盆, お盆, K = Baekjong 백종). The Ghost Festival is practiced all over East Asia and takes place every year around mid-August. It lasts for several days. It culminates with the Water and Land Rite on the last day of the festival (which, in olden times, was the fifteenth day of the seventh moon of the lunar calendar). Interestingly, in Taoist traditions, the 15th day of the 7th month (known as Zhōngyuán 中元) is the annual day when the earth gods gather together to report on the behavior of the people. At some point in time, this day became fused with the Buddhist Ghost Festival. <source Digital Dictionary Buddhism>. The Ghost Festival involves the ritual feeding of hungry ghosts (the restless dead) and offerings of food and wealth to ancestors and deceased relatives (often in paper or representational form). Writes Noelle Giuffrida: "The Shuǐlù Fǎhuì is a major Buddhist mortuary rite performed to provide salvation for all the souls of the dead on land and sea. These rites were held beginning in the late ninth century and the ritual was extremely popular during the Yuan, Ming, and Qing periods. The ritual's procedures aim to pacify the spirits of the restless dead so that those souls are released from their liminal status and, in turn, the living are relieved of any afflictions or misfortunes caused by the troubled spirits. But as Daniel Stevenson has pointed out, Shuǐlù Fǎhuì was not exclusively a mortuary rite. It was also held on the occasion of local festivals, and its goals ranged from assurance of favorable weather to protection of the state. Buddhist monks and their assistants conducted the rite on behalf of lay patrons who sponsored the ritual.

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FUN, WORDPLAY, MISC.                                                       click any image to enlarge

Necklace, Huádǐng Temple 華頂講寺.
Wordplay. Here we see the Chinese term Fó 佛, meaning BUDDHA,alongside four images of the bat. The Chinese word for bat (C = Fú 蝠)sounds identical to the Chinese word for good fortune (C = Fú 福).But they are different characters. It is a play on words.
Wordplay. Here we see the Chinese term Fó 佛, meaning BUDDHA,
alongside four images of the bat. The Chinese word for bat (C = Fú 蝠)
sounds identical to the Chinese word for good fortune (C = Fú 福).
But they are different characters. It is a play on words.
Wordplay. The Chinese word for Good Fortune
(C = Fú 福) is often shown upside down and
translated as GOOD LUCK ARRIVES. The
translation involves wordplay. In Chinese,
upside down (dào 倒) and to arrive (dào 到)
sound the same but are are written differently.
Wordplay. The Chinese word for Good Fortune
(C = Fú 福) is often shown upside down and
translated as GOOD LUCK ARRIVES. The
translation involves wordplay. In Chinese,
upside down (dào 倒) and to arrive (dào 到)
sound the same but are are written differently.
No Drugs. Plackard in my hotelin Sanmenxian 三门县.Opium plant alongside cigarette.
No Drugs. Plackard in my hotel
in Sanmenxian 三门县.
Opium plant alongside cigarette.
Pilgrimage Stamps, Guóqingsì Temple 国清寺. When one visits temples along amulti-site circuit, one can collect stamps (for a small fee) at each site visited.
Pilgrimage Stamps, Guóqingsì Temple 国清寺. When one visits temples along a
multi-site circuit, one can collect stamps (for a small fee) at each site visited.
Ākāśagarbha Bodisattva scroll at Huádǐng Temple 華頂講寺.
C =  Xūkōng Zàng 虛空藏, J = Kokūzō, K = Heogong Jang 허공장.
Reproduction of Heian-era (794 to 1185) Japanese painting.
Ākāśagarbha Bodisattva scroll at Huádǐng Temple 華頂講寺.
C = Xūkōng Zàng 虛空藏, J = Kokūzō, K = Heogong Jang 허공장.
Reproduction of Heian-era (794 to 1185) Japanese painting.
Bodhidharma, Father of Chan (Zen) Buddhism.
C = Dámó 達磨, J = Daruma, K = Dalma 달마.Located at Wànnián Temple 萬年禪寺.
Bodhidharma, Father of Chan (Zen) Buddhism.
C = Dámó 達磨, J = Daruma, K = Dalma 달마.
Located at Wànnián Temple 萬年禪寺.
Avalokitêśvara. 1000-Handed version of the Goddess of Mercy. Āmítuó Buddha 阿彌陀 sits atop her crown.
C = Qiānshǒu Guānyīn 千手觀音, J = Senju Kannon, K = Cheonsu Gwaneum 천수관음. Statue at store near our hotel.
Avalokitêśvara. 1000-Handed version of the Goddess of Mercy. Āmítuó Buddha 阿彌陀 sits atop her crown.
C = Qiānshǒu Guānyīn 千手觀音, J = Senju Kannon, K = Cheonsu Gwaneum 천수관음. Statue at store near our hotel.
Landscape. Views near the Zhìzhě Pagoda(Zhìzhě ròushēntǎ 智者肉身塔).
Landscape. Views near the Zhìzhě Pagoda
(Zhìzhě ròushēntǎ 智者肉身塔).

Why do flying bats appear on monastery banners? Why does the Chinese character for Good Fortune (Fú 福) often appear upside down? These and other miscellaneous topics are explored.

NOTEBOOK

  1. First published September 21, 2014.
     
  2. There are two versions of the slideshow. The fully annotated version includes explanatory notes, references for further study, and detailed captions. The minimally annotated version only includes captions. It is better suited for classroom presentation.
     
  3. Buddhism in China is on the rebound. After decades of Communist repression, Buddhism is staging a major comeback. But much of the past was destroyed. Nearly all the artwork herein is modern (dated to the last fifty years).
     
  4. Buddhist artwork in China tends to include themes from both Theravada and Mahayana traditions. However, in Japan, the Mahayana tradition is more pronounced than the Theravada.
     
  5. Due to time limitations, our seminar did not discuss the importance of religious icons -- how do statues and art help spread faith? In my mind, common interest in Buddhism probably began with icons (statues, paintings, pilgrimage slips). Was the dissemination of Buddhism among the common people achieved largely due to icons -- not to scholarship? The peasants could not read the sutras or texts, and they certainly did not understand the complicated meditation techniques.
     
  6. My experience with Buddhist art is largely confined to Japan. I apologize in advance for any factual errors I may have introduced herein when talking about Chinese and Korean traditions.
     
  7. Onmarkproductions.com is not associated with any educational institution, private corporation, governmental agency, or religious group. I am a single individual, working at my own pace, limited by my own inadequacies. No one is looking over my shoulder, so I must accept full responsibility for any and all inaccuracies at this site. If you discover any, please contact me directly.
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