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Women role changing in the buddhism religion
Women in Chinese culture
Sexuality in art history
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Vesperus’ masculine beauty is a central theme in Li Yu’s moral comedy, The Carnal Prayer Mat. What’s more, his life trajectory parallels non-Mahayana Indic accounts of Siddhartha’s path to enlightenment, particularly on the emphasis placed on descriptions of both men’s physical perfection and their subsequent sexual appetite and prowess. Both Vesperus’ and Siddhartha’s masculine beauty propels them forward on their life paths, positioning them in the simultaneously instructive and destructive feminine sphere of the inner quarter. The wealth of sexual experiences gives both men the necessary insight for their critical realization of the superficiality and emptiness of a life guided by carnal desires and sexual pursuits of women. As a result, masculine beauty becomes a critical component in and indication of a man’s ultimate karmic destiny in The Carnal Prayer Mat. Beautiful women consequently are positioned as Vesperus’ sexually instructive tools and immoral opponents. Their further importance as sites of masculine karmic retribution speaks to the degree to which the novel works within a Buddhist framework of gender dichotomies. Ultimately, The Carnal Prayer Mat places beautiful men in a privileged position destined to enlightenment, as their physical perfection affords them access to the critical sexual experiences and lifestyles that they must reject in order attain enlightenment.
While The Carnal Prayer Mat is laced with Confucian, Daoist, and Buddhist doctrine, this paper aims to understand Buddhist concepts of destiny, karma, and enlightenment through an analysis of representations of masculine ideal beauty in late Imperial China. Vesperus’ and Siddhartha’s parallel life journeys, particularly with respect to experiences i...
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...on for all human beings: “Desire is almost as defiling as the act itself, however….Desire, in the form of love (raga, a word meaning color, but also lewdness, concupiscence, lust, attraction), is therefore one of the ‘three poisons’ that pollute and maintain human existence” (Faure 17). Thus his experiences within “inner quarters,” defined by his desire for beautiful women that spark sexual excess that simultaneously affirm his virile masculinity, are fundamental components in his journeys to enlightenment.
Works Cited
Faure, Bernard. The Red Thread: Buddhist Approaches to Sexulity. Princeton: Princeton University Press, 1998.
Li, Yu. The Carnal Prayer Mat. Honolulu: University of Hawaii Press, 1990.
Powers, John. A Bull of a Man: Images of Masculinity, Sex, and the Body in Indian Buddhism. Cambridge: Harvard University Press, 2009.
In this paper, I will be explaining how Siddhartha had arrived at the Four Noble Truths. The first paragraph contains how Siddhartha’s life was full of suffering, pain, and sorrow. The second paragraph will be the cause of suffering is the desire for things that are really illusions in Siddhartha’s life. Following, in the third paragraph I will be explaining how the only way to cure suffering is to overcome desire. Finally, I will be explaining that the only way to overcome desire is to follow the Eightfold Path.
Both Shotgun Lovesongs by Nickolas Butler and Population: 485 by Michael Perry explore ideas of masculinity and manhood, but I think Butler shares a more diverse representation of masculinity through his different characters. What it means to be a man The concept of masculinity is considered as the qualities and characteristics of a man, typical of what is appropriate to a man. In this article, A Community Psychology of Men and Masculinity: Historical and Conceptual Review, the authors Eric S. Mankowski and Kenneth I. Maton, analyze four main themes: "Men as gendered beings, the privilege and damage of being a masculine man, men as a privileged group, and men’s power and subjective powerlessness. " The second and fourth themes are described as paradoxes that have created difficulty in efforts to analyze and understand men’s gender and masculinity." However, the point of view of masculinity that Perry raises in population 485 has a different aspect.
The beautiful courtesan, Kamala, taught Siddhartha the importance of love along with the pleasures of it. While in the town of Samsara, he was introduced to a life of luxuries by her. She taught him how to please a woman and how to keep her satisfied. He also learned how to gamble and the art of running a business from her friends. Although Siddhartha felt moments of joy, nothing fulfilled the longing in his soul. Over the years, one of the more important lessons he gained from Kamala was that he could have this life of pleasurable things and yet still yearn for a deeper meaning in his heart.
Yu, Han. “Memorial on Buddhism”. Making of the Modern World 12: Classical & Medieval Tradition. Trans. Richard F. Burton. Ed. Janet Smarr. La Jolla: University Readers, 2012. 111-112. Print.
Walking into the Hall of the Buddhas, there was a sense of peace and guidance lingering inside me. The seated Bodhisattva, of the Northern Wei dynasty (386-534), CA.480, from the Yungang, Cave xv, Shani Province, made of sandstone, guarded the entrance. At first, I thought it was a time to be disciplined, but the transcending smile from the statue was a delicate fixed gesture that offered a feeling of welcome. It was not a place to confess your wrongdoings; neither was it a place for me to say, “Buddha I have sinned.” It was a room to purify the mind, the mind that we take for granted without giving it harmony. There was a large mural decorating the main wall called “The Paradise of Bhaishajyaguru”(916-1125). I sat down wandering if the artist of the portrait knew that his work would one day be shared on this side of the world, in my time. Much like Jesus Christ and his followers, the mural is a painting of healers and saviors. It was a large figure of the Buddha of medicine, (Bhaishajyaquru) surrounded by followers of Bodhisattvas, Avalokiteshvara, and Mahosthamaprapta with twelve guardian generals who have pledged to disseminate the Buddha’s teaching (Tradition of Liao 916-1125, Metropolitan Museum wall plaque).
Bordo, Susan. "Beauty (Re)discovers the male body." Bordo, Susan. Ways of Reading: An Anthology for Writers. Ed. David Bartholomae and Anthony Petrosky. Ninth Edition. Bedford/St.Martin's, 2011. 189-233.
Over time, the image of men has changed. This is due mostly to the relaxation of rigid stereotypical roles of the two genders. In different pieces of literature, however, men have been presented as the traditional dominate figure, the provider and rule maker or non-traditional figure that is almost useless and unimportant unless needed for sexual intercourse. This dramatic difference can either perpetuate the already existing stereotype or challenge it. Regardless of the differences, both seem to put men into a negative connotation.
We’re all familiar with the stereotypes and myths about what it means to “be a man.” The victorious leader gets what he wants using aggression and does not accept failure; he is smooth with the ladies, and he is often good with a gun. He is usually rich and in control, especially in control of women, like a father who loves his daughter dearly but will be damned if she’s going to go out dressed like that. The list could go on and on with the stereotypes. But the Coen Brothers’ cult-classic film, The Big Lebowsk (1998), with its hero “The Dude,” contradicts these notions of masculinity. The Coen brothers offer several familiar stereotypes of masculinity (the Vietnam vet, the successful capitalist, an oversexed bowler, some aggressive German nihilists), yet it is these characters that throughout the film are shown to be absurd, insecure, and even impotent. It is these stereotype men that the Coen brothers criticize. “Sometimes there’s a man,” says the narrator over and over again, pointing out the Dude’s non-stereotypical masculinity as the true representation of what it means to be a man. The brothers then illustrate that the men who give no thought to their identity, who ignore the pressure to conform to cultural expectations, are to be regarded as “real men.”
Mosse, L George. The Image of Man: The Creation of Modern Masculinity. New York: Macmillan publishers, 1996.
The poets integrated ?metaphysical conceits? as focal parts of these poems. Along with these, they used effective language as a basis for their convincing arguments, they included subjects of periodical importance (e.g. ?courtship? and ?religion?), and use very clever structures that are manipulated in order to make the poem read in the desired way. The very clear indication of the theme in question was strongly aided by the way in which the personas portrayed the emotions they felt and the way they showed their attitudes towards the subject. Considering all these factors, the poets made critical arguments to the mistresses in order to alter their views, thus changing their minds, on denying the poets the sex that they desired so strongly.
At the center of Japanese and Chinese politics and gender roles lies the teachings of Confucius. The five relationships (五倫) of Confucius permeated the lives of all within the Heian and Tang societies.4 However, the focus here will be on the lives of the courtesans. The Genji Monogatari provides us with an unrivalled look into the inner-workings of Confucianism and court life in the Heian period. Song Geng, in his discourse on power and masculinity in Ch...
Butler, Judith. "Bodies That Matter: On the Discursive Limits of 'Sex'". New York. Routledge. 1993
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
Combining a Hindu mythology reimagining with a bi/queer individual who seeks to explore both his sexuality and his idea of love while trying to remain within the barriers of society creates a refreshing, organic view of what love is. Shraya explores how although our general idea of love remains virtually the same throughout experiences in our lives, it is our search for identity and who we are that changes what we will accept in loving relationships. As the protagonist grows within the ideas of societal norms, he finds himself confused and lost as to what he is as both a body and a soul. ‘No one else was attracted to both boys and girls. His desires must be wrong.’ (Shraya, p. 23.) Having no sense of identity in combination to what society says is the norm disables his ability to love himself. He is insecure, withdrawn and confused as to what or who he is supposed to be. He is unable to love himself, and still be true to himself within the ideas of what society expects of him. Shraya poses the idea that when you are confused about who you are, you are unable to truly grasp the ideas of love around you. The narrator misses out on the opportunity to make friends in high school because he has his own insecurities to guard his heart and the ability to love others. The book touches on his high school experience, and I noticed that his high school friends were never mentioned in the novel after he had graduated; this conveys the image that when someone is insecure and unable to love themselves, they limit the ability of other peoples love to come into their lives. From this section of the book, a reader can take away that the when someone is confused or uncertain of their identity they are unable to truly identify with others and therefore are unable to open up to love and relationships. This does not mean that we are never going to be able to love, but that we need to understand ourselves, our morals, values and our
In Susan Bordo’s essay “Beauty Rediscovers the male body”, Bordo stresses the changes on the concern of the male body and how the male body is depicted in advertisements. Bordo demonstrates her stance on male advertising with graphic images of male bodies with intense descriptions. In the 1990s there was this emergence of male models depicted in a more sexual way. As Bordo states in her essay, the images of these