The present academic studies on Wang Wei usually focus on his landscape poems and claim that these landscape poems imply Buddhism. Their methods usually analyze Wang Wei’s Buddhist tendencies from his life experience. But it needs more textual analysis to prove that the relationship between his poem and Buddhism. The Introduction section provides the relationship between the Buddhist principles and Wang Wei’s Buddhist poems. The Buddhist principles were figuratively represented in Wang Wei’s poems by describing certain images from Buddhist Sutras. Chapter 1 presents the analysis of the couplets of each Buddhist poem through their connection to Buddhist doctrines. Chapter 2 summarizes the characteristics of Wang Wei’s Buddhist poems and emphasizes the use of Buddhist philosophy as a poetic image.

The dissertation delineates how the writings compiled in The Collected Works (Gsung ’bum) of Jey Tsongkhapa Lobzang Drakpa (1357–1419), the founder of the Geluk School of Tibetan Buddhism, constitute the centrality of the Geluk thought and philosophy and have contributed towards the school’s formation. It details how the texts have played a prominent role in establishing doctrinal authority, defining philosophical boundaries, postulating intellectual identity, and reorienting monastic education for the school. These texts have also considerably enhanced the intellectual, spiritual, and charismatic authority of Jey Tsongkhapa as a teacher and philosopher. This dissertation bases its approach on the premise that the life and writings of Tsongkhapa define the core identity of the Geluk School and that an explicit rejection of either tantamount to an outright abnegation of its membership. The dissertation begins with a critical retelling of Tibet’s religious history to contextualize the subject. The second chapter presents the culture and practice of life writing in Tibet to inform about the mechanism employed in traditional auto/biographies. Given the enormous attention drawn by the study of Jesus Christ (c. 4 BCE–c. 33 CE) in western academia, the chapter includes a literary review of contemporary studies and research for their emulation in the study of Tibetan hagiographies. The life story of Tsongkhapa is recounted in the third chapter. The fourth chapter details significant historical events that helped recenter Tsongkhapa in the Tibetan religio-cultural landscape. The fifth chapter presents his oeuvre—The Collected Works, the first extensive xylographic work printed in Tibet in the early fifteenth century. It also outlines the volume contents, presents sample texts, and chronicles the history of its publication and printing. The sixth chapter illustrates the centrality of Jey Tsongkhapa’s writings and its integration into the Geluk monastic educational system. The seventh chapter explicates on the topic of textual transmission and demonstrates how the texts were passed down through unbroken lineages to this day. The dissertation concludes with an epilogue and other back matters, including a list of transliteration of names, which are phoneticized in the main body for the ease of reading.

As a South Asian iteration of “modern Buddhism,” Ambedkarite Buddhism’s place in the modern Euro-American Religious Studies academy has been under-articulated and, considering the profile of its founding figure, this absence is conspicuous. By providing a detailed exposition of the unique and defining features of Ambedkarite Buddhism this project aims to address this gap in the literature. B.R. Ambedkar’s position as a Dalit, activist, Columbia University-trained scholar, pragmatist, and Buddhist offers a unique point of departure to re-examine some of the core assumptions about Buddhist approaches to ethics and action in the world. This dissertation aims to articulate a theological (or dharmalogical) framework at work in Ambedkar’s American Pragmatist-inspired, social justice-oriented Buddhism. Inside India, Dr. B.R. Ambedkar is perhaps the single most well-known and revered social justice figure for the oppressed classes of all time, with numerous universities, neighborhoods, roads, foundations, and airports named in his honor. And yet, his profile has remained largely provincial. As a major religious leader in India, Dr. Ambedkar is almost completely obscured by Gandhi’s shadow in the Euro-American mind, yet it was his deep interest in religion and his famous public conversion to Buddhism, along with millions of his followers, that animated so much of his action and continues to inspire his followers today. In his introduction to The Buddha and His Dhamma Ambedkar identified four main problems that, in his view, hindered the Buddhist tradition in its ability to reach its potential as the religion most adapted to modernity. This dissertation is organized around those questions, as Ambedkar framed them. First, Ambedkar was dissatisfied with traditional explanations for the Siddhārtha’s decision to leave his comfortable palace life in pursuit of the life of a renunciate. In place of the psycho-spiritual angst that drives the Siddhārtha found in most traditional source texts, Ambedkar presents Siddhārtha as a socially-motivated renunciate in his Buddha narrative. The second problem relates to the set of teachings commonly known as the “four noble truths.” He sees these teachings as problematic for various reasons, including that, in his view, they lead to nihilism, and he seeks to undermine their authority while offering an alternative frame. The third problem relates to the Buddhist teachings on karma and rebirth. He argues that Brahminical readings of these terms have inflected Buddhist understandings of them and consequently rendered them incompatible with the Buddha’s intended meaning. He seeks to clarify the Buddha’s original intent regarding these terms. The fourth and final problem relates to the community of monks and nuns. Specifically, Ambedkar seeks to rectify an inconsistency he identifies between the social message of the Buddha as he understands it and the inward orientation of the monastic saṅgha as he sees it around the Buddhist world. Ambedkar succeeded in the creation of a pan-Indian anti-caste movement, the likes of which had never before been seen. Instead of rejecting religion completely, as perhaps may be expected of a Western educated, liberal-minded thinker whose disaffection with Hinduism was near total, he instead moved toward it. His enchantment with the Buddha from a young age as the first and most effective anti-Brahminical champion of equality coupled with his sense of the need for a social consciousness to morally orient not only Dalits but all of Indian society inspired him to pragmatically carve out a Buddhism that he found fit for the job. / Religion

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In this study I present a new understanding of Vietnamese existentialism during the period 1954-1975, the period between the Geneva Accords and the fall of Saigon in 1975. The prevailing view within Vietnam sees Vietnamese existentialism during this period as a morally bankrupt philosophy that is a mere imitation of European versions of existentialism. I argue to the contrary that while Vietnamese existential philosophy and European existentialism share some themes, Vietnamese existentialism during this period is rooted in the particularities of Vietnamese traditional culture and social structures and in the lived experience of Vietnamese people over Vietnam's 1000-year history of occupation and oppression by foreign forces. I also argue that Vietnamese existentialism is a profoundly moral philosophy, committed to justice in the social and political spheres. Heavily influenced by Vietnamese Buddhism, Vietnamese existential philosophy, I argue, places emphasis on the concept of a non-substantial, relational, and social self and a harmonious and constitutive relation between the self and other. The Vietnamese philosophers argue that oppressions of the mind must be liberated and that social structures that result in violence must be changed. Consistent with these ends Vietnamese existentialism proposes a multi-perspective ontology, a dialectical view of human thought, and a method of meditation that releases the mind to be able to understand both the nature of reality as it is and the means to live a moral, politically engaged life. This study incorporates Vietnamese existential philosophy from 1954-1975 into the flow of the Vietnamese philosophical tradition while also acknowledging its relevance to contemporary Vietnam. In particular, this interpretation of Vietnamese existentialism helps us to understand the philosophical basis of movements in Vietnam to bring about social revolution, to destroy forms of social violence, to reduce poverty, and to foster equality, freedom, and democracy for every member of society. By offering a comparison between Vietnamese existential thinkers and Western existentialists, the study bridges Vietnamese and the western traditions while respecting their diversity. In these ways I hope to show that Vietnamese existentialism makes an original contribution to philosophical thought and must be placed on the map of world philosophies. / Philosophy

Abstract The Yungang Cave Complex in Shanxi province is one of the largest Buddhist sculpture repositories produced during the Northern and Southern Dynasties. This thesis argues that the iconographic evolution of the Yungang caves underwent three developing phases which can be summarized as the five Tan Yao Caves phase, the transitional period, and the sinicized third-phase under the reigns of five Northern Wei (386-534) emperors Wencheng 文成 (452-465), Xianwen 獻文 (466-471), Xiaowen 孝文(471-499), Xuanwu 宣武 (500-515) and Xiaoming 孝明 (516-528). This dissertation studies the Yungang third-phase caves, namely those caves executed after the capital was moved from Pingcheng 平城 to Luoyang 洛陽in the year 494. It focuses primarily on what we call the western-end caves, which are composed of all the caves from cave 21 to cave 45, and as cave 5-10 and cave 5-11 are typical representations of the third-phase and even today are well preserved, they are also included in this study. Using typology method, as well as primary literary sources, this study places the western-end caves in their historical, social and religious context while focusing on four perspectives: architectural lay-out, iconographic composition, subject matter and style of representation. It deals with such questions as: what these images represent, what is their connection with Buddhist literature, what is the origin of the style of the western-end caves, what is the relationship between sculpture and painting, what is the relationship between the monastic life and Buddhist art, what was the status of Yungang after the transfer of the capital to the south, and who were the patrons. This study sheds new light on the changes in the iconographic motifs over the time from the first-phase to the third-phase and constructs a timeline for the sequence of construction of the western-end caves. The study also investigates the iconographical inter-relationship between the Yungang third-phase caves and those in the Longmen and to a lesser extent, the Gongxian complexes, as well as some relatively small caves in Shanxi province in order to trace the spread of the “Yungang Style.” This will map out the evolution in Buddhist iconographical style throughout the Central Plain of China. Although the caves of the first two phases have been studied extensively, this study is the first comprehensive examination of the Yungang third-phase caves. It is also the first investigation of the interrelationship between the Yungang style and that of other sites such as Longmen and Gongxian, as well as individual caves in the Shanxi area. This work is based on a broad consultation of primary text material and, most importantly, on first hand site observations by the researcher, which are documented by an extensive photographic record.

Abstract The Yungang Cave Complex in Shanxi province is one of the largest Buddhist sculpture repositories produced during the Northern and Southern Dynasties. This thesis argues that the iconographic evolution of the Yungang caves underwent three developing phases which can be summarized as the five Tan Yao Caves phase, the transitional period, and the sinicized third-phase under the reigns of five Northern Wei (386-534) emperors Wencheng 文成 (452-465), Xianwen 獻文 (466-471), Xiaowen 孝文(471-499), Xuanwu 宣武 (500-515) and Xiaoming 孝明 (516-528). This dissertation studies the Yungang third-phase caves, namely those caves executed after the capital was moved from Pingcheng 平城 to Luoyang 洛陽in the year 494. It focuses primarily on what we call the western-end caves, which are composed of all the caves from cave 21 to cave 45, and as cave 5-10 and cave 5-11 are typical representations of the third-phase and even today are well preserved, they are also included in this study. Using typology method, as well as primary literary sources, this study places the western-end caves in their historical, social and religious context while focusing on four perspectives: architectural lay-out, iconographic composition, subject matter and style of representation. It deals with such questions as: what these images represent, what is their connection with Buddhist literature, what is the origin of the style of the western-end caves, what is the relationship between sculpture and painting, what is the relationship between the monastic life and Buddhist art, what was the status of Yungang after the transfer of the capital to the south, and who were the patrons. This study sheds new light on the changes in the iconographic motifs over the time from the first-phase to the third-phase and constructs a timeline for the sequence of construction of the western-end caves. The study also investigates the iconographical inter-relationship between the Yungang third-phase caves and those in the Longmen and to a lesser extent, the Gongxian complexes, as well as some relatively small caves in Shanxi province in order to trace the spread of the “Yungang Style.” This will map out the evolution in Buddhist iconographical style throughout the Central Plain of China. Although the caves of the first two phases have been studied extensively, this study is the first comprehensive examination of the Yungang third-phase caves. It is also the first investigation of the interrelationship between the Yungang style and that of other sites such as Longmen and Gongxian, as well as individual caves in the Shanxi area. This work is based on a broad consultation of primary text material and, most importantly, on first hand site observations by the researcher, which are documented by an extensive photographic record.

University of Macau / Faculty of Social Sciences and Humanities / Department of History