From the “Cool and Pure” to the “Hot and Bothered” – The ‘Heterodox’ Buddhist Poetics of Hanshan Deqing.
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A distinctive feature of Chinese Buddhist literary theory was the development of the idea that non-Buddhist poetry can have religious value. This is commonly associated with the idea that the ‘pure and cool’ (清淨) scenes of some landscape/reclusive poems celebrated Buddhist eremitic ideals, and could even reflect the inner ‘coolness and purity’ of the enlightened author. However, especially in the late imperial period, less widely celebrated ways of understanding the Buddhist value of secular poems were proposed by monastic writers. Of these, the rubric advanced by the eminent late Ming cleric Hanshan Deqing (憨山德清) is particularly marked on account of its stark contrast with more established conventions – he proposed that poems which depicted agitated emotions prompted by ‘steamy’ and defiled scenes were ideal resources for enlightening Buddhist disciples. These ideas emerged after Hanshan was exiled to Lingnan (Guangdong), and were attributed to religious insights he developed as a result of this bitter experience – in particular, revelations in relation to the Laṅkāvatāra Sūtra. These ideas arguably exerted some influence on monastic writers – especially those who were similarly exposed to political violence as a result of the collapse of the Ming dynasty. Aiming foremost to contribute to a greater awareness of the diversity and sophistication of monastic discourses on the religious utility of poetry, this article discusses the formation and constitution, and tentatively explores the influence of, the post-exile writings on poetry-Chan of Hanshan Deqing. Its methodology is somewhat unconventional in that, in line with the approach to Hanshan’s thought of Sung-peng Hsu, it seeks to uncover both the doctrinal and experiential influences that shaped Hanshan’s unique approach to poetryChan. It begins by briefly discussing conventional ideas on the religious value of poetically depicting ‘pure and cool’ settings. It then discusses how, subsequent to Hanshan’s exile to the tropics of southern Lingnan, he began to affirm the religious utility of poems which depict steamy, “hellish” settings, and analyzes how this transformation was related to Hanshan’s post-exile revelations regarding the Laṅkāvatāra. It explores, in particular, how the notions of “hell”, “dreamlike-ness” and “dream-speech” were drawn upon to construct new, Mind-only school-inspired theories on how genres such as frontier/exile poetry can be radically identified with Chan. The last section briefly explores the influence of Hanshan’s unorthodox emancipatory poetics in Qing dynasty southern Chinese monastic orders, and encourages further studies aimed at challenging the relatively narrow purview of conventional approaches to poetry-Chan.
Abstract
A distinctive feature of Chinese Buddhist literary theory was the development of the idea that non-Buddhist poetry can have religious value. This is commonly associated with the idea that the ‘pure and cool’ (清淨) scenes of some landscape/reclusive poems celebrated Buddhist eremitic ideals, and could even reflect the inner ‘coolness and purity’ of the enlightened author. However, especially in the late imperial period, less widely celebrated ways of understanding the Buddhist value of secular poems were proposed by monastic writers. Of these, the rubric advanced by the eminent late Ming cleric Hanshan Deqing (憨山德清) is particularly marked on account of its stark contrast with more established conventions – he proposed that poems which depicted agitated emotions prompted by ‘steamy’ and defiled scenes were ideal resources for enlightening Buddhist disciples. These ideas emerged after Hanshan was exiled to Lingnan (Guangdong), and were attributed to religious insights he developed as a result of this bitter experience – in particular, revelations in relation to the Laṅkāvatāra Sūtra. These ideas arguably exerted some influence on monastic writers – especially those who were similarly exposed to political violence as a result of the collapse of the Ming dynasty. Aiming foremost to contribute to a greater awareness of the diversity and sophistication of monastic discourses on the religious utility of poetry, this article discusses the formation and constitution, and tentatively explores the influence of, the post-exile writings on poetry-Chan of Hanshan Deqing. Its methodology is somewhat unconventional in that, in line with the approach to Hanshan’s thought of Sung-peng Hsu, it seeks to uncover both the doctrinal and experiential influences that shaped Hanshan’s unique approach to poetryChan. It begins by briefly discussing conventional ideas on the religious value of poetically depicting ‘pure and cool’ settings. It then discusses how, subsequent to Hanshan’s exile to the tropics of southern Lingnan, he began to affirm the religious utility of poems which depict steamy, “hellish” settings, and analyzes how this transformation was related to Hanshan’s post-exile revelations regarding the Laṅkāvatāra. It explores, in particular, how the notions of “hell”, “dreamlike-ness” and “dream-speech” were drawn upon to construct new, Mind-only school-inspired theories on how genres such as frontier/exile poetry can be radically identified with Chan. The last section briefly explores the influence of Hanshan’s unorthodox emancipatory poetics in Qing dynasty southern Chinese monastic orders, and encourages further studies aimed at challenging the relatively narrow purview of conventional approaches to poetry-Chan.
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