Protecting the Dharma through Calligraphy in Tang China: A Study of the Ji Wang shengjiao xu 集王聖教序 The Preface to the Buddhist Scriptures Engraved on ...

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Acknowledgments
Abbreviations
Conventions
Map: Tang Dynasty Chang’an
Introduction
	1: Buddhist Faith, Imperial Patronage, and Calligraphic Beauty Captured in One Monument
	2: The Historical Significance of the Ji Wang shengjiao xu
	3: Present Location and Physical Dimensions of the Ji Wang shengjiao xu
	4: The Sources on the Ji Wang shengjiao xu
	5: The Buddhist Context of the Early Tang
	6: Originals, Copies, and Forgeries in Wang Xizhi’s Calligraphies
	7: The Ji Wang shengjiao xu as a Work of Calligraphic Art
	8: The Present Book’s Structure
Chapter One: Buddhism and Calligraphy in Medieval China
	1.1: Buddhism and Manuscript Production
	1.2: Buddhism and Stone Inscriptions
		1.2.1: Buddhism and Ink Rubbings
	1.3: Overview of Buddhism and Calligraphy in Medieval China
		1.3.1: Buddhist Monk-Calligraphers
		1.3.2: Buddhism and the People in Charge of Handwriting
	1.4: Buddhist Calligraphy: Buddhism Adapting to Chinese Culture
Chapter Two: Wang Xizhi’s Calligraphy and the Semi-cursive Script (Xingshu 行書)
	2.1: The Importance of Chinese Calligraphy in East Asian Art and the Principles of Its Appreciation
	2.2: Wang Xizhi and the Chinese Calligraphic Tradition
	2.3: Origin and Definition of the Semi-cursive Script
	2.4: History of the Semi-cursive Script
	2.5: Conclusion: Wang Xizhi as the Aesthetic Norm of the Semi-cursive Script
Chapter Three: The Ji Wang shengjiao xu and Its Texts
	3.1: Where and When the Preface and the Note Were Composed
	3.2: Taizong’s Agreement to Compose the Preface and His Understanding of Buddhism
	3.3: Taizong’s Support of Xuanzang and Buddhism
	3.4: The Inclusion of the Preface and the Note into the Buddhist Scriptures
	3.5: The Preface and the Note Carved in Stone
	3.6: The Other Prefaces Composed after Taizong and the Shift of the Preface from Buddhism to Calligraphy
	3.7: The Letters Exchanged between Xuanzang and Taizong, and Xuanzang and Gaozong
	3.8: The Xin jing (Heart Sutra)
	3.9: Conclusion of Chapter Three
Chapter Four: The Context of the Erection of the Ji Wang shengjiao xu
	4.1: Devising the Ji Wang shengjiao xu
	4.2: Daoism during Gaozong’s and Empress Wu Zetian’s Reigns (649–690)
	4.3: Buddhism under the Threat of Gaozong’s and Empress Wu Zetian’s Pro-Daoist Policies
	4.4: The Consolidation of the Chinese Identity of Buddhism through the Appropriation of Wang Xizhi’s Calligraphic Style
	4.5: The Ji Wang shengjiao xu as a Monument Claiming Imperial Patronage and Public Recognition
	4.6: Protecting and Spreading the Dharma through Calligraphy: The Intended Outcomes of the Erection of the Ji Wang shengjiao xu
	4.7: Conclusion of Chapter Four
Chapter Five: A History of the Location of the Ji Wang shengjiao xu
	5.1: The Hongfu si and Its History (632/634–845)
	5.2: The Hongfu si and Its Monks
	5.3: The So-called Xingfu si banjie bei and Its Relation to the Ji Wang shengjiao xu
	5.4: The Location of the Ji Wang shengjiao xu after the Anti-Buddhist Persecution of 845: and Its Removal to the Confucius Temple
	5.5: Conclusion of Chapter Five
Chapter Six: The Collation of Wang Xizhi’s Characters for the Ji Wang shengjiao xu
	6.1: A History of Collated Characters
	6.2: The Semi-cursive Script and the Ji Wang shengjiao xu
	6.3: Wang Xizhi’s Works in the Semi-Cursive
	6.4: The Textual Sources for the Characters Used in the Texts Recorded in the Ji Wang shengjiao xu
	6.5: The Authenticity of the Characters Used in the Ji Wang shengjiao xu
	6.6: How Huairen Produced the Inscription
	6.7: Conclusion of Chapter Six
Chapter Seven: The Carving of the Ji Wang shengjiao xu
	7.1: Transferring and Engraving: Le 勒 and Ke 刻
	7.2: The Transfer of Characters onto Stone
	7.3: The Time Required for the Construction of a Stone Inscription
	7.4: Conclusion: An Inscription’s Faithfulness in the Reproduction of Original Handwriting
Chapter Eight: The Shape and the Calligraphy of the Ji Wang shengjiao xu
	8.1: The Importance of the Ji Wang shengjiao xu in the History of Chinese Calligraphy
	8.2: General Overview of the Stone Inscription and of the Characters of the Ji Wang shengjiao xu
	8.3: The Rubbings of the Ji Wang shengjiao xu and the Early State of the Inscription
	8.4: The Rubbings of the Ji Wang shengjiao xu and Their Figures
		8.4.1: Beilin Ji Wang 1: and Mitsui Ji Wang 1: in Comparison
		8.4.2: Zhang Yingzhao Ji Wang and Mitsui Ji Wang 1: in Comparison
	8.5: The Characters of the Ji Wang shengjiao xu and the Reproduction of Wang Xizhi’s Handwriting
	8.6: Carving Mistakes in the Ji Wang shengjiao xu
	8.7: The Characters of the Ji Wang shengjiao xu and Wang Xizhi’s Calligraphic Art
	8.8: The Graphic Adjustment of Characters in the Ji Wang shengjiao xu
	8.9: The Ji Wang shengjiao xu and Wang Xizhi’s Extant Semi-Cursive Works
	8.10: Conclusion: Huairen or Wang Xizhi as Calligrapher of the Ji Wang shengjiao xu?
Conclusion
	1: The Ji Wang shengjiao xu as a Work of Buddhist Art
	2: Chinese Calligraphy to the Rescue of the Dharma
Appendices
	Appendix I: Transcription and Translation of the Ji Wang shengjiao xu
		1: Annotated Transcription of the Ji Wang shengjiao xu
		2: Annotated Translation of the Ji Wang shengjiao xu
Tables
	1: Buddhist Scriptures Translated by Xuanzang Recorded in Da Tang Kaiyuan shijiao guangpin lizhang (H 65.1385) Including the Preface and the Note Arranged Chronologically
	2: Dunhuang Manuscripts Including the Preface and the Note Arranged Chronologically
	3: Prefaces and Postfaces to Buddhist Scriptures Composed by Tang Emperors
	4: The Monks of the Hongfu si
	5: The Figures of Wang Xizhi’s Extant Calligraphies (A–C)
		A1: Semi-Cursive Script Calligraphies Arranged in Alphabetical Order (Tracing Copies)
		A2: Semi-Cursive Calligraphies in Copy-Model Books Arranged According to the Chronological Order of Calligraphy Copy-Model Books (Rubbings of Inscriptions)
		B1: Cursive Script Calligraphies (Tracing Copies)
		B2: Cursive Script Calligraphies Arranged According to the Chronological Order of Calligraphy Copy-Model Books (Free-Hand Copies) (Plus Kuaixue shiqing tie in the Semi-cursive)
		B3: Cursive Script Calligraphies Arranged According to the Chronological Order of Calligraphy Copy-Model Books (Rubbings of Inscriptions)
		C1: Standard Script Calligraphies Arranged in Alphabetical Order (Free-Hand Copies)
		C2: Standard Script Calligraphies Arranged in Alphabetical Order (Rubbings of Inscriptions of Free-Hand Copies)
	6: List of Characters in the Ji Wang shengjiao xu Arranged by the Radicals of the Hanyu dazidian
	7: List of Characters Common to the Ji Wang shengjiao xu and to the Lanting xu
	8: List of Characters Common to the Ji Wang shengjiao xu and to Wang Xizhi’s Semi-Cursive Calligraphies Other Than the Lanting xu
	9: Chronology of Chinese Dynasties
	10: Chronological List of Rulers Mentioned
	11: Alphabetical List of Reign Periods Mentioned with Emperors under Whose Rulership They Were Proclaimed
	12: The Sexagenary Cycle
Facsimile
	Complete Reproduction of Mitsui Ji Wang 1 (Folios 1-36)
Bibliography
Glossary of Calligraphic Terms
General Index
Illustrations