English
The lotus is the holy symbolic flower of Buddhism. In the same way that this beautiful flower grows up from the mud and floats with its big leaves on the dirty water, pure, beautiful, and fragrant, so shall the life of men be in an evil and impure world. It shall unfold itself in beauty and purity. The fish in the other pond swim actively about. They also have their significance. They have been carried here, it may be from a great distance, by pious pilgrims who would like to take part in the work of salvation on this earth. Such a fish may well be a human soul in transmigra- tion. To bring it up here means that it not only is saved from being eaten, but also that it is taken to a holy place, where the daily masses and meditation will make it possible for it to attain release. Pigs, goats, and other animals are often given to the monasteries for the same reason. At the inner gate the two fierce-looking guardians, “Héng Ha érh chiang (0 " — i), one on each side, keep watch. After having passed through that inner gate we come to the first little sanctuary. Here we are met by the smiling and thriving figure of Mi-lo Fu (if % ih). This is meant to express the beautiful thought: Every one who comes here shall know that [251] TRUTH AND TRADITION IN BUDDHISM there is hope for him. Mi-lo Fu will finally come with his regenerating power and in his endless mercy he looks on the whole creation with hope. Here the monks and the pilgrims make their first obeisance. We are to be reminded not of mercy only as we enter. The severe guardians of the law also are here in the first little chapel. These are the four heavenly kings, ssti-ta Tien wang ((4 %& & =), two on each side, who in different armour and with severe, grim faces look down on the visitors. There we see the “Guardian of the East,” Ch‘ih-kuo (## BJ), with his black face and long black beard, with the sword in the right hand and the golden ring in the left. The next is the “ Guardian of the South,” Tséng-ch‘ang (4 2), with white face and short beard, holding the “ balloon guitar” in his hands. The “Guardian of the West” is Kuang-mu (J# 8), with beardless red face, holding a snake or a dragon in the right hand and with the left raised up in the air holding a jewel. Lastly, we have the “(Quardian of the North,” To-wén (% fi), with a pink face without beard, holding an umbrella in his right hand and a rat in his left. After crossing a little open court we come to that part of the temple where the patron god proper has his place. This may of course be one of several (Wén-shu, P‘u-hsien, Ti-ts‘ang, etc.), according to the Buddha or bodhisattva who has established himself here. . With his back to the patron god, but separated by a board wall, stands another image, often in shining golden armour. This is the “archangel,” the head of the heavenly guard, “ Wei-t‘o T*ien-tzii ” (EEK KT). We [252] MONASTIC LIFE later see his image again among the twenty-four chu-t‘ien (= +- py # K) devas, but there as a rule on a smaller scale. He and his altar face the inner temple hall. This is for a special reason. “As a guardian of the sanctuary and the upholder of the law he is always tempted to blaze up in righteous anger, and consequently might easily consume the many sinners that enter by the main gate.” For this reason it has been decreed that Wei-t‘o shall always stand in such a way that he sees the face of Buddha, from which grace and goodness shine. The court which divides Wei-t‘o Tien (# §k J8), the temple of Wei-t‘o, from the main temple is pretty and is paved with stone slabs. Often a couple of very small fish ponds are to be seen on either side of the wide stone walk that leads to the temple hall. This, as a rule, is a little higher, and broad stone steps lead up to the sanctuary. We stand here facing the well-known holy “‘triratna,” the hall devoted to the “three values” or “jewels” (san-pao, = #¥): Buddha, the doctrine, and the society. Buddhists in China as a rule use the designation ‘‘ta-tien” (* HY), the “great temple,” for this hall. Or it is given special names, as, for instance, the “Precious Hall of the Great Hero” (Ta-hsiung Pao- tien, XK #f Tf Ht). It is a large building, the pillars are immensely thick, and enormous amounts of money and work have been expended on the carved rafters and the massive beams. When new temple halls are now built, it proves difficult to get large enough timber in China. It is therefore usually ordered from the United States (Oregon). ‘This was the case during the [253] TRUTH AND TRADITION IN BUDDHISM recent restoration of the ‘“‘ Foremost Temple”? (Ch‘ien Sst, BY 5f) at P‘ut‘o and the “Temple Concealed by the Spirits” (Ling-yin Sst, # K& +) at Hangchow. The three great Buddha figures have been placed each on his own platform. They form one or other of the trinity groups, differing according to the different schools that control the temples. The most common are Amitabha, Buddha, and Yao-shih Fu. In some newer temples only one mighty Buddha, Sakyamuni, is to be seen, with the two disciples, Ananda and Kasyapa, in positions of service before him, and in much smaller dimensions. In front of the group is a large altar, adorned with big candlesticks, incense urns, and the different holy articles typical of Buddhism. Often fine silk draperies hang from the ceiling, and the whole place has a festive character. This is par- ticularly the case at ordinations and similar solemn occasions. Praying mats and instruments used during the worship lie on the altar or have been placed on separate stands. : On both the long sides of the hall, twenty-four other images, twelve on each side, have been placed. This is the holy collection of gods, angels, kings, and judges that have been united in the well-known deva group (Chinese: Chu-t‘ien, # X). Here the four heavenly kings reappear with Wei-t‘o, Brahma, Indra, Yama, (Yen-lo), etc. The list has been given in the chapter on “The Buddhist Pantheon in China.” Some have a mild and noble appearance. Others are hard and austere. Each is connected with some particular [254] MONASTIC LIFE object, or has a special position of the hand, which makes it possible to distinguish him. Behind the main altar, but with the back to the trinity group, there often stands a separate image of Kuan-yin. She is surrounded by a host of little children and constantly receives the adoration of pious wives and mothers. Or another trinity group more influenced by the ‘‘Pure Land” tendencies may stand here. In the corners behind the main altar there is often to be seen an image of Ti-ts‘ang or some other tutelary god such as Kuan-yii (Bi 7), etc. In central China Kuan-yin receives her special worship in a separate hall just behind the main temple hall. She is represented in virginal beauty and grace like a madonna, either standing alone or as a central figure in a trinity group. At the sides repose the eighteen lo-hans (++ /\ #2 %) (arhats), in their self- satisfied and indolent calm. As mentioned above, large temples often have side halls for the five hundred lo-hans, but as this demands much space and is an expensive arrangement, most monasteries must do without a “lo-han-t‘ang”’ (#2 3 #). Often there are other fine temple halls, however. Thus at times there is to be seen a separate lecture hall with a pulpit, tables, and benches and with P‘i-lu Fu ( J #) (Vairocana) as a protecting Bud- dha over it all. Sometimes his place is taken by Mi-lo Fu. In the temples of the Legalistic School the “Bud- dhist society” (séng, ff) may be seen represented by Lu-shé-na (i # #8) (Lochana). He sometimes [255] TRUTH AND TRADITION IN BUDDHISM appears as a central figure between the two great disciples of Buddha: Yu-p‘u-li (f& 2 i) (Upali) and Chia-yeh (i 3) (Moha Kasyapa). Others of the ten great disciples of Buddha may be met with in the temples, for example, Shé-li-fu (4 # i) (Sariputra), but in general they are not so prominent as one might think. A very important chapel is the so-called Tsu-t‘ang (il ##) (the hall of the patriarchs). Here one usually sees beautiful scrolls depicting the famous Bodhi- dharma (P‘u-t‘i-ta-mo, 3% #3 3 ME) as the central figure. In the same or an adjoining hall are placed the images of those who have in a special way earned the gratitude of the monks as a whole (chia, 3¢) or of that particular monastery. The buildings have lofts, as a rule. These rooms, besides being used as dormitories and store-rooms, are generally used in the masses for the dead. Sometimes a single room may be changed into a temple hall; such as a “Wan-fu tien” (#§ ( Bt), that is, a hall for the ten thousand Buddhas. Walls and ceiling are then seen studded with Buddha heads. Above an altar hangs a big picture of Kuan-yin. This signifies the fact that she must mediate the prayers which are to reach the myriads of unknown Buddhas. ''The hall on the second floor, which interests us most, however, is the library hall (Ts‘ang-ching-lou, wR EE). Here are the ten big cases where Tripitaka, carefully catalogued, has been placed. Incense burns incessantly on the larger and smaller altars. Some books, carefully wrapped, lie on the tables. The [256] MONASTIC LIFE statues of the holy Buddhas here are not large, but have a pleasing and attractive appearance. This room has a distinguished look and there is a purer at- mosphere about everything. There is no loud talking. Everything is done with great reverence. In side rooms in some of the old monasteries rest the enormous stores of carved blocks with which the oldest editions of the Tripitaka were printed. Old manuscripts and modern tracts and essays are also placed here.