On the Patriarchal Lineages of Vinaya Transmission Starting with Upāli: Narratives and Interpretations in the Vinaya School 律宗 in China and Japan
In both Pāli and Chinese vinaya literature, there are various patriarchal lineages of vinaya transmission in which Upāli is honored as the first patriarch. These lineages that start with Upāli can be categorized into two types. The first type is found mainly in Indian vinaya texts, including two gro...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
MDPI
2023
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| In: |
Religions
Year: 2023, Volume: 14, Issue: 4 |
| Further subjects: | B
the Vinaya school
B patriarchal lineages of vinaya transmission B Upāli B Pāli sources B the Dharmaguptaka school |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a In both Pāli and Chinese vinaya literature, there are various patriarchal lineages of vinaya transmission in which Upāli is honored as the first patriarch. These lineages that start with Upāli can be categorized into two types. The first type is found mainly in Indian vinaya texts, including two groups of texts: the Mohe sengqi lü 摩訶僧祇律 (Skt. Mahāsāṃghika-vinaya), and the Samantapāsādikā, a Pāli Vinaya commentary, as well as its parallel Chinese version, the Shanjianlü piposha 善見律毗婆沙. The second type was constructed by Chinese Vinaya school masters in the Northern Song dynasty, who aimed to establish an orthodox Indian origin for the Vinaya school. After their introduction into China and Japan, the first type of lineages experienced transformation in later Vinaya school works composed by medieval Chinese and Japanese Buddhist monks. A comparative philological study on the Samantapāsādikā and Shanjianlü piposha shows a “mistranslated” Tanwude 曇無德 (Skt. Dharmagupta) in the patriarchal lineage of vinaya transmission in the Shanjianlü piposha, the parallel of which is “Buddharakkhita” in the Pāli sources. Further investigation on the Vinaya school reveals that both Dingbin 定賓 and Gyōnen 凝然, monks from the Vinaya school in later periods, identified the Shanjianlü piposha as a commentary on the Dharmaguptaka-vinaya, and they consequently considered the patriarchal lineage in the Shanjianlü piposha as the patriarchal genealogy of the Dharmaguptaka school, with the purpose of establishing an orthodoxy of the Vinaya school that could be traced back to Upāli. Furthermore, in the genealogy in the Mohe sengqi lü, Gyōnen associated the master Fahu 法護 with the Dharmaguptaka school. Yuanzhao 元照, an eminent Vinaya school monk, criticized the second type of lineages as false construction. Instead, he established a patriarchal lineage that starts with Tanwude, the editor and compiler of the Dharmaguptaka-vinaya, for the Chinese Vinaya school. | ||
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