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Temporality and Non-temporality in Li Tongxuan’s Huayan Buddhism

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Dao Companion to Chinese Buddhist Philosophy

Part of the book series: Dao Companions to Chinese Philosophy ((DCCP,volume 9))

Abstract

This chapter discusses the Huayan Buddhism of Li Tongxuan. At the core of his Buddhism is the claim that sentient beings are equipped with exactly the same qualities as the Buddha. In his analysis of the 80-fascicle version of the Huayan Jing, Li claims that Huayan teaching is a subitist teaching that proposes the awakening in this lifetime. In this context, unlike “orthodox” Huayan thinkers, Li claims that the chapter “Entering the Realm of Reality” is the core of the Huayan Jing and that Sudhana’s pilgrimage in this chapter demonstrates the importance of practice as opposed to theorization.

I address these issues by examining Li’s concept of time, which I identify as “non-temporality.” In the first section, I discuss non-temporality in connection with the Buddhist themes of existence and non-existence and Li’s doctrinal classification. In the second, I address Li’s discussion of nature-arising and subitism. In the third, I discuss Li’s comparative interpretation of Sudhana in the Huayan Jing and the Dragon Girl in the Lotus Sūtra. I conclude with a consideration of the ontological and existential implications of Li’s Huayan phenomenology.

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Notes

  1. 1.

    Fazang, Huayan Wujiao Zhang (Essay on the Five Teachings of Huayan), T 45, 1866: 481b.

  2. 2.

    For a discussion of Fazang’s doctrinal classification, see Liu 1979.

  3. 3.

    T 45, 1866: 503b.

  4. 4.

    One source of Li’s biography appears in Robert M. Gimello’s essay “Li T’ung-hsüan and the Practical Dimensions of Hua-yen” (Gimello 1983). In the Appendix of his essay, Gimello offers “A Translation of the Earliest Surviving Hagiography of Li T’ung-hsün,” which is a translation of “A Record of the Life of the Elder Li” (Li Zhangzhe Shiji 李長者事跡) by Mazhi 馬支 around 770 (X 4, 225-B: 832a–833a).

    Extant records on Li’s biography offer mixed information: some say that Li was from Beijing and was member of the royal family of Tang China, and others record him merely as a person from Cangzhou. The year of his birth was also recorded either as 735 or 746. See Inaoka 1981. For a list of existing records of Li Tongxuan’s biography, see Yim 2008. For a discussion of Li’s biography, also see Koh 2011.

    According to a hagiographical record of Li Tongxuan, Li began his study of the 80 fascicle Huayan Jing around 709, at the age of 74. For the next 13 years he would peruse the scripture in seclusion, and only after that did he begin writing the exposition. The exposition was discovered at the Shidou hermitage in 774, several decades after Li’s death, by a monk named Guangchao (廣超), who then distributed it to his own disciples. Not much is known about Li’s biography before he began his study of the 80 fascicle Huayan Jing, which was translated into Chinese in 699. Both Zhiyan and Fazang based their discussions of Huayan Buddhism on the 60-fascicle version translated in 420.

  5. 5.

    Li Tongxuan, Xin Huayan Jing Lun (Exposition of the 80 Fascicle Version of Flower Ornament Scripture), T 36, 1739: 721c. From now on, citations from this text will be marked in the text. Translations from Classical Chinese in this essay are mine, unless otherwise noted. For a Korean translation of the work, see Li 1996.

  6. 6.

    See especially Fazang, T 45, 1866: 503a–505.

  7. 7.

    Zhiyan, Huayan Kongmu Zhang, T 45, 1870: 580c.

  8. 8.

    Huayan Jing exists in three different translations which are also three different versions: (1) the 60-fascicle version was translated by Buddhabhadra 佛駄跋陀 around 420; (2) the 80- fascicle version was translated by Śikṣānanda 實叉難陀 around 699; and (3) the 40-fascicle version was translated by Prajñā 般若 around 800. The 60-fascicle version is also known as the Old Sūtra (Jiujing 舊經) and the 80-fascicle as the New Sūtra (Xinjing 新經). The 40-fascicle version contains only the “Entering the Realm of Reality” (Ru Fajie Pin 入法界品) chapter, which is the 34th chapter of the 60-fascicle Huayan Jing, and the 39th chapter of the 80-fascicle Huayan Jing. It is important for our discussion to be aware of the existence of three different versions of the Huayan Jing, since Li Tongxuan’s discussion of Huayan Buddhism is based on the 80-fascicle version.

    For a discussion of the composition and circulation of the three versions of Huayan Jing, see Haeju sunim 1999: 23–24. Haeju points out that the Huayan Jing was not composed as one unified sūtra, but must have been created over a period of time; also see Kyehwan 1996: 17–37; and Cook 1977. In Cook’s book, see especially Chapter 2, which discusses the translation of the sūtra, and Chapter 3, which discusses the Indian background of Huayan Buddhism. It seems that scholars generally agree that at least two chapters of the Huayan Jing exist in Sanskrit: the chapter on “Ten Stages” (Shidi Pin 十地品 Daśabhūmika) and the chapter “Entering the Realm of Reality” (Ru Fajie Pin 入法界品 Gaṇḍavyūha). For major themes of Huayan Buddhism, see Nakamura 1960; Kamata 1988; KIMURA 1992 and, in English, Chang 1971.

  9. 9.

    Huayan Jing, T 9 no 278, p. 418b; Huayang Jing, T 10 no 279, p. 58a.

  10. 10.

    Zhiyan, Souxuan Ji (Record of Searching the Profound Meaning [of the Flower Garland Scripture]) T 35, 1732: 16a.

  11. 11.

    Zhiyan, T 35, 1732: 16b.

  12. 12.

    Fazang, Huayan Tanxuan Ji, T 35, 1733: 125a.

  13. 13.

    Miaofa Lianhua Jing, T 9, 262: 35b.

  14. 14.

    Miaofa Lianhua Jing, T 9, 262: 35c; English translation by Katō et al. 1975: 213.

  15. 15.

    Huayan Jing, T 10, 279: 333c. English translation by Cleary 1993: 1178.

  16. 16.

    Huayan Jing, T 10, 279: 334a; English translation by Cleary 1993: 1179.

  17. 17.

    Huayan Jing T 10, 279: 334; English translation by Cleary 1993: 1179–1180.

  18. 18.

    Miaofa Lianhua Jing, T 9, 262: 35c.

  19. 19.

    For further discussion of Sudhana and the dragon girl in LI Tongxuan, see Park 2012/2013.

  20. 20.

    Huayan Jing, T 9, 278: 449c.

  21. 21.

    The 52 stages of the Huayan practice includes Ten Faiths, Ten Abidings, Ten Practices, Ten Dedications of Merits, Ten Stages, and Perfect Enlightenment (等覺 the 51st stage) and Marvelous Enlightenment (妙覺 the 52nd stage).

  22. 22.

    For a discussion of faith in LI’s Buddhism, see Inaoka 1980.

  23. 23.

    Gimello 1983, p. 337.

  24. 24.

    See Ch’oe (2002), Yi (2009).

  25. 25.

    Kanhua Chan is a branch of the gongan Chan tradition. Dahui Zonggao (大慧宗杲 1089–1163) is credited to have developed this form of meditation. The Gongan Chan employs the case story (gongan) for meditation. In the Kanhua Chan, practitioners employ one word or a phrase in a gongan and relying on that word or phrase in meditation practice. The Korean Sŏn master Chinul adopted this meditation at the later period in his life and credited it as the most effective form to attain awakening. For a discussion of LI’s Huayan Buddhism and Chan Buddhism, see Kozima 1984.

  26. 26.

    Chinul, Kanhwa kyǒrǔi ron, p. 733c.

  27. 27.

    For a discussion on social and political dimensions of Huayan Buddhism, see Park (2008).

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Park, J.Y. (2018). Temporality and Non-temporality in Li Tongxuan’s Huayan Buddhism. In: Wang, Y., Wawrytko, S. (eds) Dao Companion to Chinese Buddhist Philosophy. Dao Companions to Chinese Philosophy, vol 9. Springer, Dordrecht. https://doi.org/10.1007/978-90-481-2939-3_14

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