Academic literature on the topic 'Kāśyapaparivarta'

AbstractVarious interpretations of Kāśyapaparivarta § 68 have been attempted in the Yogācāra-Vijñānavāda tradition. This passage, which consists in a simile likening a magician devoured by his own creation to a monk involved in meditation practice, appears prima facie absurd, insofar as the similarity between the tenor and the vehicle is not readily apparent. This article mainly consists of two parts: The first part examines the received interpretations of the simile and reconstructs their interrelationship from a historical perspective. The second part explores the literary dimension of the simile and argues that its ostensible absurdity is rooted in a pun which is visible only in Middle Indo-Aryan and seems to serve no purpose. Coming to terms with the opaque and pointless pun, this essay is aimed at a new interpretation of Kāśyapaparivarta § 68 and, it is hoped, a deeper understanding of the literary playfulness inherent in the making of the Kāśyapaparivarta as a so-called early Mahāyāna sūtra against the backdrop of the Sanskritization of Buddhist sūtra literature.

The *Kāśyapaparivarta, an early Mahāyāna sūtra, has a complex history. Sanskrit and Tibetan versions, and some of its Chinese translations, have been available to scholars for almost a century, thanks to Staël-Holstein’s 1926 editio princeps. Yet no comprehensive survey of available sources, or critical appraisal of their antecedants, has been published, and most importantly, essential Chinese materials have long been overlooked. The present contribution focuses most centrally on the Chinese translations of the scripture. In addition, the relation of the sūtra to the Mahāratnakūṭa collection of forty-nine texts and the possible Indic origins of the latter are explored.

碩士
佛光大學
佛教學系
100
The Buddha used many metaphors to expound dharma in the Kāśyapaparivarta. The metaphors are so vivid and concrete that my interest is aroused. Especially the Buddha used metaphors from daily life to explain the profound dharma of emptiness. A metaphorical theme usually has many characteristics. The Buddha skillfully employed metaphorical vehicles to analogize all kinds of characteristics of one metaphor. Therefore, how the same metaphor is used in different sutras will be researched as well as how metaphorical characteristics are adopted, in order to see if the same metaphor in different sutras conveys the same dharma teaching. This research adopts version comparison method to analyze similarities and dissimilarities of texts and to discuss the potential meanings behind them. Besides, this research looks into the metaphors of family in the Kāśyapaparivarta. The research will go into two directions: (1) To compare the same metaphor in the Kāśyapaparivarta. (2) To compare the same metaphor in different sutras. The aim is to find out whether the same metaphor possess the same metaphorical characteristics or not, whether the metaphor of family apply the same model or diverse models. Through the research of the metaphor of family in the Kāśyapaparivarta, there are two conclusions obtained as followed: (1) Immoveable metaphor characteristic includes the painter metaphor, darkroom metaphor, two wood rubbing with each other metaphor, blood relationship of the Buddha’s son metaphor, the inheritance relationship of Buddha’s son metaphor. This kind of metaphor model also exists in other sutras. (2) Moveable metaphor characteristic includes the four sea metaphor, emptiness metaphor, moon metaphor, the Buddha’s son metaphor in different sutras. The Buddha used different metaphorical characteristics as different analogy in the same metaphorical theme. Hence, the metaphor model and its intention are various.