Chinese Buddhist Canon; engraving and printing; Buddhist scriptures; Hangzhou
摘要
This article delves into the literature sources and historical origins of the initial section of the Qisha Canon, a renowned block-printed Chinese Buddhist Canon carved in the greater Hangzhou region during the Song and Yuan dynasties. The existing first twelve volumes, preserved in Japan, exhibit distinct features characterized by notable stylistic script, textual content, and layout. These features indicate their direct lineage from handwritten Buddhist canons of the Northern Song Dynasty rather than from previously printed versions. The utilization of handwritten sources as the foundation for engraving, despite the availability of established printed editions, demonstrates an underappreciated complex relationship between manuscripts and printed canons of the period. Throughout the engraving process of the twelve volumes, the majority of contributors were found to be local commoners, with minimal participation from Buddhist followers. The fluidity of the fundraising locations underscores the inherent instability of such projects. Initially commencing in Liaoqin’s hometown in Huzhou, the project was subsequently transferred to the imperial city of Lin’an prefecture (modern Hangzhou), which shared a border with Huzhou. Ultimately, it found its new location in Pingjiang Prefecture (modern Suzhou). Moreover, this research presents a comprehensive analysis of 195 colophons, delving into the prices, locations, and backgrounds of the characters mentioned. This meticulous examination offers a vivid depiction of the religious and social landscape of the period and provides valuable insights into the recording conventions employed in these colophons.
目次
Abstract 1 Keywords 1 1. Introduction 1 2. The Original Source of the Twelve Volumes 2 2.1. Variations from Other Engraved Canons 2 2.2. Relationship with Handwritten Buddhist Canons of the Northern Song Dynasty 4 3. Liaoqin: An In-Depth Examination 7 3.1. Liaoqin’s Role in the Production of the Canon 7 3.2. Liaoqin’s Hometown and Background 8 3.3. Life Experiences and Contributions of Liaoqin 9 4. Distribution of Fundraising Locations 9 5. Relocation of the Carving Project 12 5.1. From Deqing County in Huzhou to the Imperial City of Lin’an Prefecture 12 5.2. From the Imperial City of Lin’an Prefecture to Wuxian County in Pingjiang Prefecture 12 6. Comprehensive Analysis of the Solicitation Process 13 6.1. Donors: Profiles and Contributions 13 6.2. Magnitude of Donations: A Quantitative Analysis 15 6.3. Overall Characteristics of the Fundraising Efforts 16 7. Conclusions 16 Funding 17 Acknowledgments 17 Conflicts of Interest 17 Notes 17 References 19
