Ruyi, 如意, a term meaning “as you wish”, is a scepter that has circulated throughout China. This curved decorative object is designed as an ‘S’ shaped scepter, which consists of three main parts—the top, middle, and bottom. The top of the Ruyi is often designed ornately, sometimes resembling a “fist, mushroom head”, or in rare cases a dragon emblem (Kieschnick, 142). The focus of this research paper is to understand the symbolic nature of the Ruyi in China. In order to better grasp the meaning attributed to the Ruyi, it is best to provide a background of the history, development, and function of the Ruyi in China. Thus, first, I will cover the different arguments about the objects origins. Second, I will analyze the circulation and function of the object—from the court, locals, and Buddhist monks, since such is significant to better understand the symbolic nature of the Ruyi. Third, I will provide an analysis of the materials that was used to make the object, in order to evaluate the importance of this object in Chinese society. Lastly, I will elaborate on the symbolism tied in with religion, specifically Buddhism in the Ruyi. Thus, with all this components I hope to provide a better understanding of this material object that started out as a normal, day to day object, to an object that eventually symbolized goodness, wellness, fortune, power, and many more.
So, how exactly did the Ruyi come into China? Scholars have provided contested suggestion about the origins of the Ruyi. Some have suggested that the object came into China along with Buddhism, while others suggests that the object has been long part of Chinese culture (Kieschnick, 142). John Kieschnick, author of The Impact of Buddhism on Chinese Material Culture, has gathe...
... middle of paper ...
...ject somehow gives a feeling of religious ideals.
Overall, the purpose of this paper was to analyze the symbolic nature of the Ruyi and how it developed from being a simple backscratching tool to a noble object. It is truly hard to prove the origins of the Ruyi, although scholars do agree that the Ruyi was originally a tool for scratching. What is truly interesting was how the circulation and function of the Ruyi changed when scholars, Buddhist monks, foreigners, and the Emperor used it. The fact that the Ruyi was also made from jade signified the true importance of the object in Chinese society. Though, the object was said to have been influenced by Buddhism, one can see that the Ruyi developed a secular symbolic nature of its own. Thus, I hope with all these different accounts, I have provided a well-established analysis of the symbolic nature of the Ruyi.
There is a great art that can be found in being able to describe the world of an ancient civilization. Especially in one where large man made walls form because of the creases of a sleeping dragon’s back, or that the layout of the fields and streams of a small village create the image of a galloping unicorn when looked from up above. Yet, this is Imperial China, or as Barry Hughhart writes in his Novel Bridge of Birds, “an Ancient China that Never Was” (Hughhart 1984). This novel explores the history and the world of Ancient China, and the tales of the people who have walked across the land. Offering a summary of the book, we will be able to analyze
Wu Zhao, the first female emperor of China, rose to power during the Tang Dynasty and her active role with Buddhism fabricated a perpetual impact in the Chinese society as a whole. There is no doubt that Buddhism and the Tang administration, under Wu’s reign, formed a symbiotic relationship with one another. She is considered to be one of the most prominent advocators of the religion during the era. Her efforts to spread of Buddhism and the monetary support help Buddhism to expand throughout the people significantly, which provide the religion another source of financial income to spread even further. Regardless of Empress Wu’s intention, she has furnished the religion in numerous ways, but what did she receive in return? This proposes the question: To what extent did Empress Wu’s support of Buddhism, politically and financially, help Wu and better her empire overall?
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
In China, the citizens' inclination of Buddhism varied from that of other states. There was a plethora of mental outlooks on how Buddhism was changing the Chinese society as it expanded from India, where it was founded in the sixth century BCE. The responses are organized depending on their acceptance, rejection, or encouragement of a combination of Buddhism with other religions. These categories are illustrated by the following documents; the acceptance by documents two and five, the rejection by documents four, six, and three, and last, the encouragement by documents two, five, and three. Additional documentations that would be helpful in classifying the reactions of the Chinese people would be a testimony or statement of a Chinese woman, or group of women, and of peasants. These would be helpful as we'd be able to examine exactly how the Chinese were affected by Buddhism's grasp. We would be able to see how Buddhism affected their daily lives and what they thought about the sudden religion.
Buddhist popularity towards the Chinese grew following the collapse of the Han Dynasty in 220 C.E. It’s influence has continued to expand for several centuries. Between 220 C.E. and 220 C.E. and 570 C.E., China experienced a period of political instability and disunity. During this time, many of the Chinese, specifically scholars, sought for peace in Buddhism and approved of Buddhism. On the other hand, the strict confucianists and the government fought to end Buddhism and make people go against it.
Xuanzang was a highly educated Buddhist monk from China, who in 629 C.E. made the long and treacherous journey along the Silk Road to India. His main objectives in his sixteen years away from home were fundamentally religious; he only wanted to study more complete scriptures to answer questions he had, which he deemed unsolvable in his own country. It is important to understand Xuanzang’s own position within the Chinese society and the type of situation it was in: Chinese Buddhists had many disagreements
Image and Text.” Japanese Journal of Religious Studies 33.2 (2006): 297-317. Jstor. 12 Oct 2011.
This inscription is the biggest support towards the idea of auspicious cranes that Huizong claimed that controlled the interpretation of the painting itself. If this inscription was not made, it might be easier for the audience to have other interpretation other than Mandate of Heaven. However, it was effective to be used to control the meaning of the painting and emphasize the event’s association with blessing from Heaven.
Chinese culture has been evolving for more than one thousand years with one of the most significant influences being the development of the Han dynasty. This paper analyses the ways in which the development of the Han dynasty influenced Chinese culture, to what extent, and why. Knowledge of the Han period’s impact on Chinese culture, is obtained through the analysis of written and archaeological sources depicting the Western Han dynasty (206 B.C.–9 A.D) and Eastern Han dynasty (25–220 A.D).
“The whole character of Chinese popular religion flows in the direction of plethora of rituals and obligations without much discernable doctrinal underpinning” (Corduan, 2012, p.410). The Chinese popular religion has gravitated away the gods of Buddha and Daoism and captured the philosophy of luck and materialism (Corduan, 2012), while it “is less concerned with philosophical issues and
Chang, Kwang-chih 1968 The Archeology of Ancient China Yale University Press, New Haven & London
Cao Xueqin’s Story of the Stone is a classic in Chinese literature, showcasing the life and exploits of the wealthy Jia clan during the feudal era. Through Cao’s depiction, the reader is afforded a glimpse into the customs and lifestyle of the time. Chinese mode of thought is depicted as it occurs in daily life, with the coexisting beliefs of Confucianism and Taoism. While the positive aspects of both ideologies are presented, Cao ultimately depicts Taoism as the paramount, essential system of belief that guides the character Bao-yu to his eventual enlightenment. As was the case in China, Cao depicts the two forms of belief existing alongside one another, and not necessarily practiced exclusively to one another.
Chinese artwork is a form that contains and demonstrates many different meanings and morals that can be linked back to not only religion, but the overall meaning of life. This paper will discuss the sculpture titled Seated Buddha and how it represents peace, enlightenment, and the overall importance of how these two components influence the mindset of the people involved in the Buddhist religion. The Seated Buddha was created between the 5th and 6th century in China. The artist of this piece is unknown, but this does not hinder us at all from seeing what the artist was trying to portray through the different aspects that they included in the Seated Buddha sculpture. This piece is crafted from stone and a chisel was then used to create the
"Holy Mencius (Chinese): Book 3 - Part 3." Holy Mencius (Chinese): Book 3 - Part 3. Ishwar, n.d. Web. 12 Nov. 2013. .
Williams, C. A. S., and C. A. S. Williams. Chinese Symbolism and Art Motifs: An Alphabetical Compendium of Antique Legends and Beliefs, as Reflected in the Manners and Customs of the Chinese. Rutland, VT: C.E. Tuttle, 1988. Print.