Zhiyi
智顗, 지의
538 - 597
(J. Tendai Chigi; K. Ch’ǒnt’ae Chiǔi) (538-597). One of the most influential monks in Chinese Buddhist history and de facto founder of the Tiantai zong. A native of Jingzhou (in present-day Hunan province), Zhiyi was ordained at the age of eighteen after his parents died during the wartime turmoil that preceded the Sui dynasty’s unification of China. He studied vinaya and various Mahāyāna scriptures, including the Saddharmapuṇḍarīkasūtra ("Lotus Sūtra'") and related scriptures. In 560, Zhiyi met Nanyue Huisi (515-577), who is later listed as the second patriarch of the Tiantai lineage, on Mt. Dasu in Guangzhou and studied Huisi’s teachings on the suiziyi sanmei (cultivating samādhi wherever mind is directed, or the samādhi of freely flowing thoughts), the "four practices of ease and bliss" (si anle xing), a practice based on the Saddharmapuṇḍarīkasūtra, and the lotus repentance ritual. Zhiyi left Huisi at his teacher’s command and headed for the Southern capital of Jinling (present-day Jiangsu province) at the age of thirty (567) to teach the Saddharmapuṇḍarīkasūtra and the Dazhidu lun for eight years at the monastery of Waguansi. The Shi chanboluomi cidi famen [alt. Cidi chanmen] are his lecture notes from this period of meditation and teaching. In 575, he retired to Mt. Tiantai (present-day Zhejiang province), where he built a monastery (later named Xiuchansi by the emperor) and devoted himself to meditative practice for eleven years. During this time he compiled the Fajie cidi chumen and the Tiantai xiao zhiguan. After persistent invitations from the king of Chen, Zhiyi returned to Jinling in 585 and two years later wrote the Fahua wenju, an authoritative commentary on the Saddharmapuṇḍarīkasūtra. Subsequently in Yangzhou, Zhiyi conferred the bodhisattva precepts on the crown prince, who later became Emperor Yang (r. 604-617) of the Sui dynasty. Zhiyi was then given the title Great Master Zhizhe (Wise One). Zhiyi also established another monastery on Mt. Dangyang in Yuquan (present-day Hunan province), which Emperor Wen (r. 581-604) later named Yuquansi. Zhiyi then began lecturing on what became his masterpieces, the Fahua xuanyi (593) and the Mohe zhiguan (594). At the request of the king of Jin, in 595 Zhiyi returned to Yangzhou, where he composed his famous commentaries on the Vimalakīrtinirdeśa, i.e., the Weimojing xuanshou and the Weimojing wenshou, before dying in 597. Among the thirty or so works attributed to Zhiyi, the Fahua xuanyi, Fahuawenju, and Mohe zhiguan are most renowned and are together known as the Tiantai san dabu (three great Tiantai commentaries). (Source: "Tiantai Zhiyi." In The Princeton Dictionary of Buddhism, 911–12. Princeton University Press, 2014. http://www.jstor.org/stable/j.ctt46n41q.27.)
Mentioned in
On the Ratnagotravibhāga
The Ratnagotravibhāga Mahāyānottaratantraśāstra is one of the main sources for buddha-nature theory in Indian and Tibetan Buddhism (in China, the Awakening of Faith was of much greater importance). This article summarizes what is known about the textual tradition, author, and date of its composition and translations.
Gardner, Alex. "On the Ratnagotravibhāga." Buddha-Nature: A Tsadra Foundation Initiative, September 12, 2018. https://buddhanature.tsadra.org/index.php/Articles/On_the_Ratnagotravibh%C4%81ga.
Zhanran's Arguments in Support of His Buddha-Nature Theory, as Presented in His Diamond Scalpel Treatise
The Sinicised schools of Buddhism – such as Tiantai 天台 – are deeply rooted in the Indian Buddhist teachings, but at the same time, their masters reinterpreted the inherited teachings, and attributed new meanings to the translated texts, by shifting the emphasis, changing the point of views, etc. Through the process of interpreting and reinterpreting, some new theories emerged having diametrically different ideas from those of the original Buddhist teachings. All of them are original and intriguing examples of a Chinese way of thinking and worth of being subjects of a more detailed examination. When creating commentaries to the Indian sūtras and treatises, the Chinese masters elaborated their own theories. Rather than the word by word, sentence by sentence type of commentaries, these commentaries attempting to explain and expand the 'subtle' meaning of a parable, a symbol or certain characters, proved to be more adequate to the purpose of elaborating original, ingenious ideas, reaching far beyond the original textual meaning, and the presupposed intention of the author or translator.'"`UNIQ--ref-000000EF-QINU`"' A typical example of such approach is the magnum opus of the de facto founder of the Tiantai school, Zhiyi 智顗 (538–597), The Subtle Meaning of the Lotus Sūtra (Miaofa lianhua jing xuanyi 妙法蓮華經玄義; T33: 1716), where the author presents the basic tenets of the Tiantai school, in the form of explaining the character 'miao' 妙 (meaning 'subtle' or 'wonderful'), the very first character of the most well-known Chinese translation of the Lotus Sūtra.'"`UNIQ--ref-000000F0-QINU`"' In the eyes of the author (and his followers), this single character offers sufficient basis to expound his novel insights, in a way that, despite their novelty, are at the same time linked to the Buddhist tradition. A substantial part of the lengthy commentary is centered on the 'explanation' of the term 'subtle'. According to Zhiyi, this notion is the best expression of ultimate reality. 'For Chih-i the word 'subtle' symbolizes and summarizes that which is beyond conceptual understanding, and thus it is the word most appropriate to describe reality, which is ultimately indescribable."`UNIQ--ref-000000F1-QINU`"'
From this, we can draw the conclusions that for a Tang Dynasty (618–907) monk, trained on the teachings and traditions of a Sinitic school of Buddhism, the title of a Buddhist writing is highly important, for mainly two reasons: (1.) it can bear the very essence, the 'subtle' meaning of the whole work, and (2.) it can serve as an anchor, that bounds it to the 'original' Buddhist teachings, serving as a means of legitimatisation, at the same time. These two aims can be detected in Zhanran's'"`UNIQ--ref-000000F2-QINU`"' 湛然 (711−782) choice of the title for his Diamond Scalpel (Jin’gang bei 金剛錍; T46:1932) treatise. The Diamond Scalpel treatise, in one fascicle, written in his old age, is a relatively short work, compared to his lengthy commentaries, yet well deserves to be considered his most creative, genuine work. The main theme of the treatise is the Tiantai interpretation of the teaching of Buddha-nature, as inherently including insentient realm, as well as all sentient beings. While expounding the topic, and presenting his arguments, the main tenets of the Tiantai school emerge one after the another, offering the reader a complete picture of the self and the world, suffering and the ways to liberation, etc. – i.e. problems of utmost importance for a Buddhist practitioner –, as seen by a Tang Dynasty Buddhist monk. At a first reading, the title of the treatise does not seem to tell us a lot about its content, but taking a closer look, and applying a more careful, meticulous examination, we find that Zhanran's choice of title must have been the result of a thoughtful consideration, for it perfectly suites the above mentioned two criteria. Following Zhiyi’s legacy, Zhanran chooses a title, which 'symbolizes and summarizes' the main issues to be discussed in his treatise. More precisely, first of all, it hides an allusion to a simile from a mahāyāna sūtra (thought to render the words of the Buddha), and thus anchors, bounds the whole work to the 'original' teachings of the Buddha, and secondly, after decoding the symbols and references, and interpreting them in the light of Tiantai philosophy, we find that these three characters can truly be regarded the quintessence of the work, the very argument in support of the theory of Buddha-nature of the insentient. Zhanran, following the example of his great predecessor, Zhiyi, expounds and argues based on the most important texts and tenets of mahāyāna Buddhism, while interpreting, reinterpreting, and often furnishing these with new, ingenious meanings.
First, we are going to examine the provenance and possible interpretations of the title – i.e. the context in which the basic notions appear, before Zhanran's time –, Zhanran's own explanation of the title, i.e. the very first paragraph of his work, and further interpretations of the title (and its explanation) found in later commentaries, written to the treatise, by Tang and Song Dynasty monks. Through this one, particular example we can get a glimpse into the complex process of how Chinese monks interpreted and reinterpreted the texts inherited from India, the way in which through focusing on, and/or consciously selecting certain motifs, similes or even terms, embellished these with new meanings, which were further used as tools to prove their own ideas and theories, as if these were identical with the original teachings of Buddha Śākyamuni. Secondly, we are going to examine the most important arguments Zhanran is using to prove his theory about the Buddha-nature of the insentient. I will argue that these arguments can be grouped around two key concepts, already concealed within the title. (Pap, "Zhanran’s Arguments in Support of his Buddha-Nature Theory," 129–130)
From this, we can draw the conclusions that for a Tang Dynasty (618–907) monk, trained on the teachings and traditions of a Sinitic school of Buddhism, the title of a Buddhist writing is highly important, for mainly two reasons: (1.) it can bear the very essence, the 'subtle' meaning of the whole work, and (2.) it can serve as an anchor, that bounds it to the 'original' Buddhist teachings, serving as a means of legitimatisation, at the same time. These two aims can be detected in Zhanran's'"`UNIQ--ref-000000F2-QINU`"' 湛然 (711−782) choice of the title for his Diamond Scalpel (Jin’gang bei 金剛錍; T46:1932) treatise. The Diamond Scalpel treatise, in one fascicle, written in his old age, is a relatively short work, compared to his lengthy commentaries, yet well deserves to be considered his most creative, genuine work. The main theme of the treatise is the Tiantai interpretation of the teaching of Buddha-nature, as inherently including insentient realm, as well as all sentient beings. While expounding the topic, and presenting his arguments, the main tenets of the Tiantai school emerge one after the another, offering the reader a complete picture of the self and the world, suffering and the ways to liberation, etc. – i.e. problems of utmost importance for a Buddhist practitioner –, as seen by a Tang Dynasty Buddhist monk. At a first reading, the title of the treatise does not seem to tell us a lot about its content, but taking a closer look, and applying a more careful, meticulous examination, we find that Zhanran's choice of title must have been the result of a thoughtful consideration, for it perfectly suites the above mentioned two criteria. Following Zhiyi’s legacy, Zhanran chooses a title, which 'symbolizes and summarizes' the main issues to be discussed in his treatise. More precisely, first of all, it hides an allusion to a simile from a mahāyāna sūtra (thought to render the words of the Buddha), and thus anchors, bounds the whole work to the 'original' teachings of the Buddha, and secondly, after decoding the symbols and references, and interpreting them in the light of Tiantai philosophy, we find that these three characters can truly be regarded the quintessence of the work, the very argument in support of the theory of Buddha-nature of the insentient. Zhanran, following the example of his great predecessor, Zhiyi, expounds and argues based on the most important texts and tenets of mahāyāna Buddhism, while interpreting, reinterpreting, and often furnishing these with new, ingenious meanings.
First, we are going to examine the provenance and possible interpretations of the title – i.e. the context in which the basic notions appear, before Zhanran's time –, Zhanran's own explanation of the title, i.e. the very first paragraph of his work, and further interpretations of the title (and its explanation) found in later commentaries, written to the treatise, by Tang and Song Dynasty monks. Through this one, particular example we can get a glimpse into the complex process of how Chinese monks interpreted and reinterpreted the texts inherited from India, the way in which through focusing on, and/or consciously selecting certain motifs, similes or even terms, embellished these with new meanings, which were further used as tools to prove their own ideas and theories, as if these were identical with the original teachings of Buddha Śākyamuni. Secondly, we are going to examine the most important arguments Zhanran is using to prove his theory about the Buddha-nature of the insentient. I will argue that these arguments can be grouped around two key concepts, already concealed within the title. (Pap, "Zhanran’s Arguments in Support of his Buddha-Nature Theory," 129–130)
Pap, Melinda. "Zhanran's Arguments in Support of His Buddha-Nature Theory, as Presented in His Diamond Scalpel Treatise: Starting from an Analysis of the Title." Paper presented at the International Symposium of Tiantai Studies: From Tiantai to Hiei; Transborder and Transcultural Spread of Tiantai/Chontae/Tendai/ Buddhism and East Asian Societies, Peking University, Beijing, China, Dec. 6–8, 2019.
Other names
- Śramaṇa Zhiyi (Ch. 沙門智顗) · other names
- Chen De'an (陳德安) · other names
- Master Tiantai(天台大師) · other names
- Master Zhizhe(智者大師) · other names
- Chih-i · other names
- Chih'i · other names
Affiliations & relations
- Tiantai · religious affiliation
- nil · teacher
