دانلود کتاب 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 ...

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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