By Wilt L. Idema
The Bodhisattva Avalokitesvara was once a good-looking prince while he entered China. As Guanyin, the Bodhisattva was once honored from the 11th century onward within the form of an attractive ladies who turned a common savior. during the final millennium, the feminine Guanyin has loved large and fervid veneration all through East Asia and has seemed as an immense personality in literature and legend. this gives a completely annotated translation of the valuable Scroll.
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Extra resources for Personal Salvation and Filial Piety: Two Precious Scroll Narratives of Guanyin and Her Acolytes (Classics in East Asian Buddhism)
Sample text
In The Precious Scroll of Incense Mountain the queen facilitates the reconciliation between father and daughter. The queen, who is given a prominent role in The Precious Scroll of Incense Mountain, is both the only one to stay with her husband during his foul illness and the first to suspect that the ‘‘hermit of Incense Mountain’’ may be her own daughter. Later, although Miaoshan refuses to disclose her identity to her father, 30 Introduction despite his formal display of gratitude, she reveals her identity to her mother, when the latter washes her wounds.
Only in one short passage, in which Guanyin provides a description of meditation techniques to Sudhana/ Shancai/Good-in-Talent, does the text make use of an alternation of lines of six syllables (two times three) and of seven syllables (pp. 22a–23a). The story of The Precious Scroll of Good-in-Talent and Dragon Girl is set in the Qianfu reign-period (874–879) of the Tang dynasty. The virtuous minister Chen Debao and his wife, lady Han, are still childless and are getting older with each passing year.
The introduction of the execution episode into the legend of Miaoshan and its lengthy development in The Precious Scroll of Incense Mountain, therefore, serve to make explicit the issues of gender and sexuality, which are only implied in the earliest version of the legend. The emphasis on the contrast between the king and the princess as male and female is strengthened in The Precious Scroll of Incense Mountain by the frequent use of the word ‘‘dragon’’ (long) as an adjective for the king and by the association of Miaoshan with the tiger: on two occasions Miaoshan is shown to ride that symbol of death and female sexuality.