For the Triratna and for Samyak-saṃbodhi-The 'Quasi-poetry' of Tianran Hanshi-
For the Triratna and for Samyak-saṃbodhi -The 'Quasi-poetry' of Tianran Hanshi-
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This article discusses the meaning of the eminent early Qing monastic leader Tianran Hanshi's 天然函昰 concept of “quasi poetry” 似詩, its relationship with contemporary debates on the relationship between Chan and poetry, and its impact on poetic ideas and practices in Buddhist monasteries. It will begin by addressing how, in the backdrop of a shift in gentry-monastic relations in the late Ming / early Qing, some monastic writers, such as the renowned late Ming reformer Hanshan Deqing 憨山德清, articulated a more radical identification of Chan with poetry. I will then briefly introduce Tianran and the core principles he associated with his concept of “quasi poetry”, focusing on the ways in which this concept constituted an alternative – and possibly an implicit critique – of the radical identity theory. The third section shows examples of the application of Tianran’s “quasi poetry”, focusing on a response poem Tianran composed for the lay disciple Xie Jiu 謝揪. This is followed by a discussion on quasi poetry’s application and impact in and beyond Tianran’s Haiyun school. In a brief afterword I will discuss this how this concept was associated with new modes of literary interaction between gentry and clerical interlocutors, and summarise some of the core reasons for this phenomenon’s growth, and eventual decline, during the Qing dynasty.
Abstract
This article discusses the meaning of the eminent early Qing monastic leader Tianran Hanshi's 天然函昰 concept of “quasi poetry” 似詩, its relationship with contemporary debates on the relationship between Chan and poetry, and its impact on poetic ideas and practices in Buddhist monasteries. It will begin by addressing how, in the backdrop of a shift in gentry-monastic relations in the late Ming / early Qing, some monastic writers, such as the renowned late Ming reformer Hanshan Deqing 憨山德清, articulated a more radical identification of Chan with poetry. I will then briefly introduce Tianran and the core principles he associated with his concept of “quasi poetry”, focusing on the ways in which this concept constituted an alternative – and possibly an implicit critique – of the radical identity theory. The third section shows examples of the application of Tianran’s “quasi poetry”, focusing on a response poem Tianran composed for the lay disciple Xie Jiu 謝揪. This is followed by a discussion on quasi poetry’s application and impact in and beyond Tianran’s Haiyun school. In a brief afterword I will discuss this how this concept was associated with new modes of literary interaction between gentry and clerical interlocutors, and summarise some of the core reasons for this phenomenon’s growth, and eventual decline, during the Qing dynasty.
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