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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-00001197-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-00001198-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-00001199-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-0000119A-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-0000119A-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.
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.;Zhanran's Arguments in Support of His Buddha-Nature Theory, as Presented in His Diamond Scalpel Treatise: Starting from an Analysis of the Title;The doctrine of buddha-nature in Chinese Buddhism;Buddha-nature of insentient things;Jingxi Zhanran;Melinda Pap; 
Śrīmālādevīsiṃhanādanirdeśa
The Śrīmālādevīsiṃhanādanirdeśa (ŚSN; The Lion's Roar Teaching of Queen Śrīmālā) is one of the most famous Mahāyāna sūtras representative of the Tathāgatagarbha theory. In this sūtra, Queen Śrīmāla, who is the daughter of King Prasenajit of Śrāvasti and is married to King Yaśomitra of Ayodhyā, relates her understanding of the true doctrine (saddharma) to which the Lord Buddha listens and gives his affirmation. This sūtra employs the narrative of Queen Śrīmālā to express the Tathāgatagarbha theory that "although all beings are enmired in afflictions (kleśa), in essence they are the same as the Buddha, that is, all living beings dwell within the womb (garbha) of the Tathāgata (i.e., Buddha)." Since this sūtra, like the Vimalakīrtinirdeśasūtra, is being expounded by a layperson instead of the Buddha, it is representative of the non-monastic form of religion typical of Mahāyāna Buddhism, and historically enjoyed immense popularity in China and Japan.
There are two Chinese translations of the sūtra: the Guṇabhadra (求那跋陀羅) version translated in A. D. 436 called the Shengman shizihou yicheng dafangbian fangguang jing 勝鬘師子吼一乘大方便方廣經, T. 353, vol. 12 <ŚSN (Ch.1)>); and the Bodhiruci (菩提流支) version of A. D. 710 called the Shengman furen hui (勝鬘夫人會, T. 310(48), vol. 11 <ŚSN(Ch.2)> ), which is the 48th sūtra of the Ratnakūṭa collection (Da bao ji jing 大寶積經) There is also a ninth century Tibetan translation called the 'Phags pa Iha mo dpal 'phren gi seṅ ge'i sgra śes bya ba theg pa chen po'i mdo <ŚSN(Tib.)>. The English translation by Alex and Hideko Wayman is based on the Chinese translation.'"`UNIQ--ref-00001080-QINU`"' Readers are referred to this work for more detailed information. There is also a great deal of research that has been done on this sūtra by Japanese scholars, which we will not touch upon here.
The original version of this sūtra has been lost, and there are only a few fragmentary quotations in Sanskrit in the Ratnagotravibhāga and the Śikṣāsamuccaya. In The Schøyen Collection, however, I was able to discover three virtually complete folios that cover the final portion of the sūtra as well as another two fragments related to other sections. As the sūtra ends on the recto side of folio no. 392,'"`UNIQ--ref-00001081-QINU`"' the verso side of the same folio begins another sūtra which is the subject of the next report in this volume. In the following, I will introduce the above mentioned three folios and two fragments related to the ŚSN. (Matsuda, "Śrīmālādevīsiṃhanādanirdeśa," 65)
There are two Chinese translations of the sūtra: the Guṇabhadra (求那跋陀羅) version translated in A. D. 436 called the Shengman shizihou yicheng dafangbian fangguang jing 勝鬘師子吼一乘大方便方廣經, T. 353, vol. 12 <ŚSN (Ch.1)>); and the Bodhiruci (菩提流支) version of A. D. 710 called the Shengman furen hui (勝鬘夫人會, T. 310(48), vol. 11 <ŚSN(Ch.2)> ), which is the 48th sūtra of the Ratnakūṭa collection (Da bao ji jing 大寶積經) There is also a ninth century Tibetan translation called the 'Phags pa Iha mo dpal 'phren gi seṅ ge'i sgra śes bya ba theg pa chen po'i mdo <ŚSN(Tib.)>. The English translation by Alex and Hideko Wayman is based on the Chinese translation.'"`UNIQ--ref-00001080-QINU`"' Readers are referred to this work for more detailed information. There is also a great deal of research that has been done on this sūtra by Japanese scholars, which we will not touch upon here.
The original version of this sūtra has been lost, and there are only a few fragmentary quotations in Sanskrit in the Ratnagotravibhāga and the Śikṣāsamuccaya. In The Schøyen Collection, however, I was able to discover three virtually complete folios that cover the final portion of the sūtra as well as another two fragments related to other sections. As the sūtra ends on the recto side of folio no. 392,'"`UNIQ--ref-00001081-QINU`"' the verso side of the same folio begins another sūtra which is the subject of the next report in this volume. In the following, I will introduce the above mentioned three folios and two fragments related to the ŚSN. (Matsuda, "Śrīmālādevīsiṃhanādanirdeśa," 65)
Matsuda, Kazunobu. "Śrīmālādevīsiṃhanādanirdeśa." In Vol. 1 of Buddhist Manuscripts, edited by Jens Braarvig, Jens-Uwe Hartmann, Kazunobu Matsuda, and Lore Sander, 65–76. Manuscripts in the Schøyen Collection 1. Oslo: Hermes Publishing, 2000. https://www.hermesbooks.no/bmsc-i
Matsuda, Kazunobu. "Śrīmālādevīsiṃhanādanirdeśa." In Vol. 1 of Buddhist Manuscripts, edited by Jens Braarvig, Jens-Uwe Hartmann, Kazunobu Matsuda, and Lore Sander, 65–76. Manuscripts in the Schøyen Collection 1. Oslo: Hermes Publishing, 2000. https://www.hermesbooks.no/bmsc-i;Śrīmālādevīsiṃhanādanirdeśa;Śrīmālādevīsūtra;tathāgatagarbha;Kazunobu Matsuda; 
Śākya mchog ldan's Literary Heritage in Bhutan
The first part of this article will shed light on the unique role played by the 9th Je khenpo Śākya Rin chen (1709/10-1759) of Bhutan in the preservation of Śākya mchog ldan's texts in Bhutan. Not only did Śākya Rin chen effectuate the physical preservation of the actual texts, but he also promoted their study in the monastic colleges, thereby enfusing vitality into the tradition of understanding their meaning and ensuring the continuity of this transmission of knowledge.
The second part will demonstrate the immense value of the preservation of these texts by giving an example of Śākya mchog ldan's writings, in the form of an English translation of his Rgyud bla ma'i rnam bshad sngon med nyi ma,[1] a commentary on The Rgyud Blama- also known as The Mahāyānottaratantraśāstra- in which he outlines his hermeneutical schema for understanding the Buddha nature.
The third part will list the titles contained in Śākya mchog ldan's Collected Works reproduced and published in Bhutan in 1975 according to the copies kept at The National Library, Thimphu, including provisional references of published studies in English that have dealt with them.
The second part will demonstrate the immense value of the preservation of these texts by giving an example of Śākya mchog ldan's writings, in the form of an English translation of his Rgyud bla ma'i rnam bshad sngon med nyi ma,[1] a commentary on The Rgyud Blama- also known as The Mahāyānottaratantraśāstra- in which he outlines his hermeneutical schema for understanding the Buddha nature.
The third part will list the titles contained in Śākya mchog ldan's Collected Works reproduced and published in Bhutan in 1975 according to the copies kept at The National Library, Thimphu, including provisional references of published studies in English that have dealt with them.
Notes
- In Śākya mchog ldan's Collected Works, 'dzam gling sangs rgyas bstan pa'i rgyan mchog yongs rdzogs gnas lngar mkhyen pa'i pandita chen po gser mdog pan chen shākya mchog ldan gyi gsung 'bum legs bshad gser gyi bdud rtsi, vol. 13, Thimphu 1975.
Burchardi, Anne. "Śākya mchog ldan's Literary Heritage in Bhutan." In Vol. 2 of Written Treasures of Bhutan: Mirror of the Past and Bridge to the Future; Proceedings of the First International Conference on the Rich Scriptural Heritage of Bhutan, edited by John A. Ardussi and Sonam Tobgay, 25–74. Thimphu: National Library and Archives of Bhutan, 2008.
Burchardi, Anne. "Śākya mchog ldan's Literary Heritage in Bhutan." In Vol. 2 of Written Treasures of Bhutan: Mirror of the Past and Bridge to the Future;Proceedings of the First International Conference on the Rich Scriptural Heritage of Bhutan, edited by John A. Ardussi and Sonam Tobgay, 25–74. Thimphu: National Library and Archives of Bhutan, 2008.;Śākya mchog ldan's Literary Heritage in Bhutan;ShAkya mchog ldan;The doctrine of buddha-nature in Tibetan Buddhism;Rgyud bla ma'i rnam bshad sngon med nyi ma sogs chos tshan bzhi;Anne Burchardi; 
Śākya mchog-ldan on gotra in Yogācāra and Madhyamaka
This paper is being presented as part of a panel on the topic of Reformulations of Yogācāra in Tibet. Particularly, it relates to Tibetan commentary on Abhisamayālaṃkāra (AA) I:39, in which it is taught that the foundation (pratiṣṭhā) for religious practice is the dharmadhātu and that since the dharmadhātu is undifferentiated (asaṃbhedā), there are ultimately no distinct gotras corresponding to the three vehicles. This teaching is usually interpreted as a Mādhyamaka justification for one final vehicle, as opposed to the three-vehicle theory, attributed to Cittamātra/Vijñaptimātratā, and which is closely related to the doctrine of three gotras found in sutras such as Saṃdhinirmocana and Laṅkāvatāra and śāstras such as Mahāyānasūtrālaṃkāra. However, there are some Tibetan writers outside the influential Gelug tradition who see the equation of gotra with dharmadhātu as an essentially Yogācāra doctrine. This alternative viewpoint implies that Yogācāra and Cittamātra are not, as is commonly held to be the case, the same thing and brings to the fore the question of whether Yogācāra is better understood as a tradition that transcends traditional doxographic categories. Through an analysis of Śākya-mchog-ldan’s explanation of AA I:39, which includes a differentiation of two other terms that are also often held to be synonymous, namely gotra and buddha-essense (or tathāgatagarbha), I aim to highlight some of the ways in which his ‘reformulation’ of Yogācāra implies a reformulation of certain Cittamātra doctrines. Finally, I conclude the paper with a brief discussion on the extent to which doxographical discourse both restricts and allows for the formulation of an individual point of view. (Gilks, introduction, 1)
Gilks, Peter. "Śākya mchog-ldan on gotra in Yogācāra and Madhyamaka." Paper presented at the 17th Congress of the International Association of Buddhist Studies, Vienna, August 2014.
Gilks, Peter. "Śākya mchog-ldan on gotra in Yogācāra and Madhyamaka." Paper presented at the 17th Congress of the International Association of Buddhist Studies, Vienna, August 2014.;Śākya mchog-ldan on gotra in Yogācāra and Madhyamaka;Madhyamaka;Yogācāra;gotra;ShAkya mchog ldan;Sakya;Peter Gilks;