男友太凶猛1v1高h,大地资源在线资源免费观看 ,人妻少妇精品视频二区,极度sm残忍bdsm变态

Global EditionASIA 中文雙語Fran?ais
Culture
Home / Culture / Art

When the tea bowl met the tea stand

By Zhao Xu in New York | China Daily | Updated: 2019-10-19 12:31
Share
Share - WeChat
The silk tapestry from Yuan Dynasty testifies to Mongol rulers' adoption of Tibetan Buddhism.[Photo provided to China Daily]

Zhang Xiping, a renowned professor at the Beijing Foreign Studies University, whose research covers Chinese philosophies and religions in China, said: "The merging of Buddhism, Confucianism and Taoism became irreversible during the Ming Dynasty in the 14th century. Shying away from answering questions about life and death, Confucianism offers guidance for behaving and self-cultivation but not comfort to the soul. But those questions had to be answered and the soul comforted. That was where Buddhism and Taoism, the latter concerning itself with immortality, came in, together giving rise to Chan, or Zen Buddhism."

"Since they dealt with different realms - this life and the next - these different ways of thinking complement rather than contradict each other. This also explains why in Chinese history, no war has ever been fought in the name of religion," he continued.

This meditative inclusiveness is reflected in art: a large hanging scroll from the early 17th century teems with Buddhist and non-Buddhist immortals, each with power that the artist hoped to invoke.

Right at the center, sitting cross-legged on an open lotus, is Guanyin, the Goddess of Mercy known outside China as Bodhisattva. Guanyin, famously cast as the female disciple of the Buddha in the 16th century Chinese novel Journey to the West, is without doubt the most venerated deity in ancient China, helping women in the fulfillment of their maternal duty, by bringing them an offspring.

In a potent example of what happens when a ruler became a devout Buddhist, Empress Dowager Cisheng of the Ming Dynasty commissioned her own incarnation of the all-compassionate Guanyin, accompanied by a child deity who appears on the lower left side of the painting and who is almost certainly the empress' elder son, Emperor Wanli.

Politics and religion were inextricably intertwined, something of which the exhibition has plenty of proof. A small alcove linked to one of the galleries is occupied on three walls by three hangings, all dedicated to Tibetan Buddhism but belonging to the consecutive periods of China's Yuan, Ming and Qing dynasties (1271-1911).

|<< Previous 1 2 3 4 5 6 7 8 9 10 Next   >>|
Most Popular
Top
BACK TO THE TOP
English
Copyright 1995 - . All rights reserved. The content (including but not limited to text, photo, multimedia information, etc) published in this site belongs to China Daily Information Co (CDIC). Without written authorization from CDIC, such content shall not be republished or used in any form. Note: Browsers with 1024*768 or higher resolution are suggested for this site.
License for publishing multimedia online 0108263

Registration Number: 130349
FOLLOW US
主站蜘蛛池模板: 寿阳县| 连江县| 益阳市| 招远市| 民丰县| 溆浦县| 甘孜县| 平顶山市| 海淀区| 婺源县| 开江县| 凤庆县| 措勤县| 景洪市| 丹巴县| 潜山县| 含山县| 老河口市| 蓝山县| 永泰县| 仁布县| 洛宁县| 睢宁县| 屯留县| 新和县| 兰考县| 长治县| 安岳县| 黑河市| 峨山| 万州区| 旬阳县| 海阳市| 德保县| 古交市| 广汉市| 鹤壁市| 图木舒克市| 鞍山市| 安化县| 将乐县|