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2EVERENTIAL "OWING AS #ONTEMPLATIVE 0RACTICE 2EV "HIKSHU (ENG 3URE ) "OWING AS 'ESTURE AND AS #ONTEMPLATION

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HE 'ANDHAVYUHA THE PENULTIMATE CHAPTER OF THE !VATAMSAKA 3UTRA

RECOUNTS THE PILGRIMAGE OF THE YOUTH 3UDHANA WHO SEEKS INSTRUCTION IN THE PATH TO ENLIGHTENMENT (E MEETS l FTY THREE TEACHERS AND AS HE GREETS THEM AND ALSO AS HE TAKES LEAVE OF THEM HE BOWS TO THE GROUND hCOUNTLESS TIMES v 3UDHANA S BOWING AS RITUAL GESTURE OF REVERENCEˆBOTH KNEES BOTH ELBOWS AND FOREHEAD TOUCHING THE GROUNDˆBECAME AN ICON IN "UDDHIST !SIA )MAGES OF THE HUMBLE YOUTH WITH BACK BENT IN PROSTRATION HAVE INSPIRED GENERATIONS OF "UDDHIST PILGRIMS AND PENITENTS BOTH CLERGY AND LAITY 2EVERENTIAL BOWING IS TO THIS DAY A POPULAR PRACTICE AND WITHIN THE "UDDHIST COMMUNITY ITS PROFOUND SPIRITUAL BENEl TS ARE WELL KNOWN "Y PLACING THE BODY IN A POSTURE EXPRESSIVE OF HUMILITY AND VULNER ABILITY THE PRACTICE OF REVERENTIAL BOWING COMBATS PRIDE AND ARROGANCE AND REPLACES ATTACHMENT TO SELF WITH AN UNDERSTANDING OF THE EMPTINESS OF SELF AND OF ALL PHENOMENA &URTHER AN INTENSELY FOCUSED BOWING PRACTICE WILL KEEP THE MIND FROM RUNNING AWAY INTO DISCURSIVE THOUGHT OR SCATTERING INTO RANDOM WANDERING THUS LEADING THE PRACTITIONER TOWARD STATES OF FULL MENTAL CONCENTRATION #ONTEMPLATIONS THAT ACCOMPANY EACH STEP OF THE BOWING GESTURE ALLOW DEVOTEES TO REPENT OF OFFENSES TO VISUALIZE "UDDHAS AND "ODHISATTVAS AND TO REm ECT DEEPLY ON SACRED TEXTS &OR "UDDHISTS THEN

BOWING IS NOT MERELY A GESTURE OF COURTESY OR RESPECT NOR IS IT PRIMARILY A DEMONSTRATION OF REVERENCE TOWARD AN OBJECT OF WORSHIP )T IS A FULLY DEVELOPED INWARD PATH THAT LEADS THE PRACTITIONER TO THE ULTIMATE SPIRITUAL GOALS OF COMPASSION AND WISDOM 4HE EFFECTIVENESS OF REVERENTIAL BOWING AS A PHYSICAL MENTAL AND SPIRITUAL YOGA HAS ENSURED ITS PLACE TO THIS DAY AS AN IMPORTANT FEATURE OF -AHAYANA LITURGY )N #HINA SINCE THE 3UI 4ANG PERIOD THE SPECIl C GESTURE IS THE ONE BASED ON THE )NDIAN SIRASABHIVANDATE WHICH IN )NDIAN BOWING COURTESY INDICATES THE HIGHEST RESPECT 0ROPER FORM REQUIRES BOTH KNEES

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2EV "HIKSHU (ENG 3URE

BOTH ELBOWS AND THE FOREHEAD TO TOUCH THE GROUND BEFORE THE FEET OF THE PERSON WHO IS THE OBJECT OF REVERENCE )N #HINA THIS GESTURE BECAME KNOWN I VE LIMBS TOUCH THE GROUND AS WU LUN TO DI THE l 4YPICALLY EACH PARTICIPANT IN A BOWING LITURGY BEGINS THE BOW WHILE STANDING IN FRONT OF A BOWING CUSHION OR A TATAMI SQUARE 7ITH THE PALMS PLACED TOGETHER AT CHEST LEVEL THE PARTICIPANT BOWS SLOWLY IN A CONTROLLED DESCENT FROM THE WAIST 7HEN THE TORSO REACHES APPROXIMATELY SIXTY DEGREES OF INCLINE THE LEFT HAND IS EXTENDED TOWARD THE CUSHION 4HE HANDS ARE OPEN WITH PALMS DOWN 4HE LEFT HAND TOUCHES THE BOWING CUSHION FOLLOWED BY THE RIGHT HAND THEN THE KNEES ALSO COME TO REST ON THE CUSHION 4HE BALLS OF THE FEET REMAIN IN CONTACT WITH THE m OOR AS THE CUSHION TAKES THE BODY S WEIGHT WHILE THE FOREHEAD THE LAST OF THE hl VE LIMBS v TOUCHES THE CUSHION &INALLY THE HANDS TURN OVER AND THE l NGERS UNROLL WITH THE PALMS FACING UPWARDS 4HE OPENING OF THE HANDS SUGGESTS THAT ONE IS HOLDING THE "UDDHA S FEETˆA GESTURE OF REVERENCE BASED ON )NDIAN TRADITION !FTER A CERTAIN INTERVAL DEPENDING UPON THE LITURGY THE PARTICIPANT REVERSES THE SEQUENCE OF THE PREVIOUS GESTURES 4HE HANDS TURN OVER AND PUSH AWAY FROM THE CUSHION TRANSFERRING THE WEIGHT TO THE FEET 4HE HEAD RISES AND THE KNEES LEAVE THE CUSHION LAST 4HE PARTICIPANT SLOWLY RETURNS TO STANDING POSITION AND PLACES HIS OR HER PALMS TOGETHER AS BEFORE 4HE DELIBERATENESS OF THIS PHYSICAL SEQUENCE ENCOURAGES AND SUPPORTS AN EQUAL DELIBERATENESS IN CARRYING OUT A SEQUENCE OF MENTAL CONTEMPLA TIONS 4HESE MAY INCLUDE VISUALIZATIONS AND THE REPETITION OF REPENTANCE FOR MULAS OR VOWS /NE SPECIl C SERIES OF CONTEMPLATIONS HAS BECOME STANDARD IN -AHAYANA REPENTANCE LITURGIES 4HE EARLIEST APPEARANCE OF THIS STANDARD TEXT CAN BE TRACED BACK AT LEAST TO THE EIGHTH CENTURY WHEN IT APPEARS IN :HANRAN S h!PPENDED 2Em ECTIONS ON ,OGISTICS OF THE $HARMA &LOWER 3AMA DHI ,ITURGY v 4HE TEXT OF THIS CONTEMPLATION REAPPEARS IN MANY REPENTANCE LITURGIES AS A STANDARD VISUALIZATION EXERCISE 4HE SIX LINE VERSE PRESENTS A SET OF IMAGES WHICH SERVE AS A GUIDED AND SEQUENTIAL PROCESS MEANT TO HOLD THE DEVOTEE S MIND TO A SINGLE FOCUS WHILE THE BODY MAKES PROSTRATIONS 4HE DISCRIMINATING CONSCIOUSNESS MOVES FROM ORDINARY AWARENESS TO A SUBLIME

INCONCEIVABLE STATE 4HE VERSE IS AS FOLLOWS 4HE NATURES OF THE WORSHIPER AND OF THE ONE WORSHIPED ARE EMPTY AND STILL 4HE 7AY AND ITS RESPONSE INTERTWINE INCONCEIVABLY 4HIS "ODHIMANDA OF MINE IS LIKE A PEARL IN )NDRA S .ET ;4HE ONE WORSHIPED= MANIFESTS WITHIN IT -Y BODY APPEARS BEFORE ;THE ONE WORSHIPED= "OWING AT HIS FEET ) RETURN MY LIFE IN WORSHIP

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2EVERENTIAL "OWING AS #ONTEMPLATIVE 0RACTICE

4HE PERSON BOWING IS hTHE WORSHIPER v AND THE 3AGE OR DIVINITY BOWED TO IS hTHE ONE WORSHIPED v 4HE hNATUREv REFERRED TO IS THE "UDDHA NATURE PRESENT IN ALL BEINGS 4HESE l RST TWO LINES ARTICULATE THE EXISTENTIAL CONDITION OF THE CONSCIOUS MIND OF THE PERSON BOWING h%MPTY AND STILLv DEl NES THE "UDDHA NATURE S SALIENT QUALITY %MPTY AND STILL THERE IS NOTHING TO HOLD ON TO OR DEVELOP AN ATTACHMENT TO h4HE 7AYv OR h0ATHv DAO IS A TRANSLATION OF THE 3ANSKRIT MARGA ROAD )N "UDDHIST LITERATURE THE DAO IS THE ROAD TO "UDDHAHOOD h4HE RESPONSEv REFERS TO TRANSFORMATIONS OF MIND THAT TAKE PLACE WHEN ONE ENTERS THE DEEP MENTAL CONCENTRATION OF SAMADHI WORDS AND THOUGHTS ARE TRANSFORMED

ALONG WITH ALL CONSCIOUS DISCRIMINATION 4HE SAMADHI STATE IS NOT ACCESSIBLE TO CONCEPTUAL THOUGHT THUS THE EXPRESSION hINCONCEIVABLE v h"ODHIMANDAv IS THE 3ANSKRIT ORIGINAL OF THE #HINESE DAO CHANG l ELD OF ENLIGHTENMENT 4HE TERM HAS A WIDER APPLICATION BUT HERE IT REFERS TO THE VENUE WHERE THE REPENTANCE IS PRACTICED 4HE CONTEMPLATOR VISUALIZES HIS OR HER BODY AS A BODHIMANDA AND THEN LIKENS THE BODHIMANDA TO A PEARL IN )NDRA S .ET WHICH ADORNS THE CELESTIAL PALACE OF 3HAKRA $EVANAM )NDRA 4HE CONTEMPLATOR SEES HIS OR HER OWN BODY AS A PEARL STRUNG IN THE ENDLESS INTER REm ECTING NET OF PEARLS 4HE NEXT VISUALIZATION IS OF THE "UDDHA "ODHISATTVA OR OTHER SAGE WHOM THE CONTEMPLATOR IS BOWING TO 4HE DEVOTEE SAYS THE NAME OF THE SAGE AND VISUALIZES THE SAGE APPEARING RIGHT WITHIN 3HAKRA S 0EARL INSIDE THE DEVOTEE S BODY 4HE NEXT STEP REQUIRES AN INTERACTIVE VISUALIZATION 4HE CONTEMPLATOR SEES HIS OR HER BODY APPEAR BEFORE THE "UDDHA BOWING IN RESPECT AND TAKING REFUGE &INALLY h) RETURN MY LIFE IN WORSHIP v IN #HINESE GUEI MING LI RENDERS NAMAH THE 3ANSKRIT TERM USED TO PRAISE A "UDDHIST SAGE /NE OF NAMAH S MULTIPLE MEANINGS IS hTO RETURN MY LIFE BACK TO ITS SACRED SOURCE v !T THE END OF THE VISUALIZATION THE PRACTITIONER LETS GO OF THE CONTEMPLATION MAKING NO ATTEMPT TO RETAIN OR GRASP THE VISION )) )NDIAN 0RECEDENTS AND $AOXUAN S #ODIl CATION OF "OWING 0RACTICE 2EVERENTIAL BOWING IS MENTIONED FREQUENTLY THROUGHOUT THE -AHAYANA SCRIPTURES 4HE OCCASION FOR BOWING ARISES WHENEVER SOMEONE COMES INTO THE PRESENCE OF OR TAKES LEAVE OF A SAGE OR ELSE RISES FROM HIS OR HER PLACE IN THE ASSEMBLY IN ORDER TO POSE OR ANSWER A QUESTION &OR EXAMPLE IN A TYPICAL SCENE FROM THE -AHAPRAJ¶APARAMITA 3UTRA THE ASSEMBLY BOWS AT THE FEET OF *EWEL LIKE .ATURE "UDDHA (AVING RECEIVED THE m OWERS AND THE "UDDHA S INSTRUCTIONS 5NIVERSAL ,IGHT "ODHISATTVA TOGETHER WITH LIMITLESS HUNDREDS OF THOUSANDS OF KOTIS OF NAYUTAS OF "ODHISATTVAS -AHASATTVAS BOTH LAITY AND MO >HHJ: D8ID7:G

2EV "HIKSHU (ENG 3URE

NASTICS TOGETHER AND WITH NUMBERLESS HUNDREDS OF THOUSANDS OF PURE LADS AND MAIDENS BOWED AT THE "UDDHA S FEET CIRCLED HIM TO THE RIGHT AND DEPARTED !S IN THE CASE OF 3UDHANA S PILGRIMAGE IN THE 'ANDHAVYUHA BOWING SOMETIMES PLAYS A CENTRAL PART IN A NARRATIVE #HAPTER OF THE 3AD DHARMA PUNDARIKA ,OTUS 3UTRA FOR EXAMPLE SPEAKS OF .EVER 3LIGHTING "ODHISATTVA WHO BOWS TO EVERYONE HE MEETS IN ORDER TO DISCIPLINE PRIDE AND NURTURE HUMILITY !S HE BOWS HE REm ECTS h) DARE NOT SLIGHT YOU IN THE FUTURE YOU WILL BECOME A "UDDHA v "OWING IS ALSO A TOPIC IN THE COMMENTARIAL LITERATURE )N HIS -AHA PRAJ¶APARAMITA 3HASTRA $AZHIDULUN .AGARJUNA SAYS THAT THERE ARE THREE FORMS OF WORSHIP 4HEY ARE IN ASCENDING DEGREES OF RESPECT TO BEND THE WAIST TO KNEEL AND l NALLY TO MAKE A PROSTRATION 4O PLACE THE HEAD AND FACE AT THE FEET OF THE WORSHIPED IS TO MAKE A SUPREME OFFERING ,ATER IN THE SAME WORK WE l ND 4HERE ARE THREE MORE FORMS OF WORSHIP THE l RST IS VERBAL WORSHIP THE SECOND IS TO GENUm ECT BUT NOT TO TOUCH THE GROUND WITH THE HEAD THE THIRD IS TO PLACE THE HEAD ON THE GROUND 4HIS IS CALLED SUPREME WORSHIP 4HE HIGHEST PART OF THE HUMAN BODY IS THE HEAD AND THE LOWEST PART IS THE FEET 4O REVERENCE SOMEONE WITH THE HIGHEST PART OF THE BODY BY PLACING AT THE LOWEST PART OF THE WORSHIPED INDICATES HIGH RESPECT )N HIS h%XTENSIVE $ISCUSSION OF THE #USTOMS OF )NDIA v #HAPTER OF HIS 2ECORD OF THE 7ESTERN 2EGIONS IN THE 'REAT 4ANG THE GREAT "UDDHIST PILGRIM 8UANZANG n LISTS NINE FORMS OF RESPECT THAT HE HAD WITNESSED AMONG THE )NDIAN 3ANGHA 4HE l RST FORM IS UPON MEETING TO INQUIRE AFTER ANOTHER S WELL BEING 4HE SECOND WHEN PASSING ON THE PATH IS TO NOD THE HEAD TO SHOW RESPECT 4HE THIRD IS TO RAISE THE HANDS AND BEND THE WAIST FOLLOWED

BY PLACING THE PALMS TOGETHER AT CHEST HEIGHT 4HESE ARE THE STANDARD COURTESY FOR GREETING PEERS OR ONE S JUNIORS )F A SENIOR MONASTIC APPEARS OR THE SITUATION REQUIRES IT ONE OBSERVES THE l FTH LEVEL OF COURTESY AND GENUm ECTS OR THE SIXTH KNEELS

OR SEVENTH PLACES THE HANDS AND KNEES ON THE GROUND )F FULL GESTURES OF RESPECT ARE CALLED FOR THEN ONE PRACTICES THE EIGHTH FORM BY BENDING THE FOUR LIMBS AND TOUCHING THE HEAD TO THE GROUND &INALLY ULTIMATE RESPECT IS SHOWN BY BOWING THE ENTIRE BODY TO THE GROUND )T IS TO "UDDHIST HISTORIAN AND h#HINESE 3T "ENEDICTv $AOXUAN n

HOWEVER THAT WE OWE THE CODIl CATION OF BOWING INTO A PRACTICE THAT

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2EVERENTIAL "OWING AS #ONTEMPLATIVE 0RACTICE

BECAME DEl NITIVE FOR .ORTH !SIAN "UDDHISM ! PORTION OF $AOXUAN S 3HIMEN GUIJING YI I "UDDHIST 2ULE AND "REVIARY DEALS SPECIl CALLY WITH BE HAVIOR IN LITURGICAL OBSERVANCES "Y CODIFYING PRECEDENTS FROM BOTH )NDIA AND #HINA $AOXUAN ESTABLISHED THE MONASTIC STANDARD FOR BOWING THAT IS STILL OBSERVED TODAY )N HIS "UDDHIST 2ULE AND "REVIARY $AOXUAN REPORTED THE TRADITIONAL Y )NDIAN PRACTICES TRANSMITTED IN THE VINAYAA TEXTS COMPARED THEM TO #HINA S ANCIENT SYSTEMS OF RITUAL COURTESY DEl NED THE TERMS USING BOTH 3ANSKRIT AND #HINESE AND ADDED COMMENTARY ON SCRIPTURAL REFERENCES ON THE TOPIC OF BOWING AMONG OTHER ASPECTS OF PROPER MONASTIC DEPORTMENT 7HILE HIS INTENT WAS TO ESTABLISH "UDDHIST BOWING PRACTICE l RMLY ON )NDIAN PRECEDENT

HE WANTED TO TAILOR IT TO #HINESE SENSIBILITIES !S A LITERARY SCHOLAR HE KNEW THE #HINESE CLASSICS AND HISTORIES AND SO WAS ABLE TO DRAW UPON TEXTS THAT CONCERN RITUAL PROCEDURE )N THE CASE OF RITUAL BOWING HE REFERRED TO THE :HOULI 4HE 2ITES OF #HOU (E EXPLAINED )N THE MUNDANE WORLD THE :HOULI GIVES US THE .INE +INDS OF "OWS 4HEY ARE NOT AN INTERNAL ;NOT A "UDDHIST= TEACHING ;"UDDHIST= RITUAL PRACTICE HOWEVER BEGINS WITH THE ORDINARY CUSTOMS &OR THIS REASON ) REFER TO THE :HOULI 4HE h.INE +INDS OF "OWSv INCLUDE hTHREE GESTURES AND SIX CONTEXTS v 4HE THREE GESTURES SHOW HOW TO BOW THE SIX CONTEXTS WHEN TO BOW 4HE THREE GESTURES TAKE THE HEAD PROGRESSIVELY LOWER TO THE GROUND 4HE l RST IS MERELY TO LOWER THE HEAD 4HE SECOND hDEFERENTIAL BOWING v INCLUDES KNEELING AND ALSO LOWERING THE HEAD BUT NOT AS FAR AS THE GROUND &OR THE THIRD THE HEAD IS BROUGHT ALL THE WAY TO THE GROUND 4HE SIX CONTEXTS REFER TO SPECIl C SOCIAL SITUATIONS WHICH CALL FOR ONE OR MORE OF THE THREE GESTURES 4HEY ARE AS FOLLOWS 4REMBLING BOWS 7HILE BOWING ONE SHAKES WITH INTENSE EMOTION OR AGITATION &OR EXAMPLE ACCORDING TO PROTOCOL ONE NEED NOT BOW AND YET ONE DOES OUT OF PRUDENT CAUTION PERHAPS OR BECAUSE ONE S AIMS MAY BE FURTHERED BY HUMBLING ONESELF !USPICIOUS BOWSS WERE THE STANDARD FORM REQUIRED BY SOCIAL ETIQUETTE /NE LOWERED THE HEAD PRECISELY WHEN THE SITUATION DEMANDED IT AND KNELT WHEN IT WAS RIGHT TO DO SO 3PECIl C BOWS WERE REQUIRED FOR EXAMPLE

WHEN PAYING RESPECTS TO FAMILY MEMBERS ON HOLIDAYS AND BIRTHDAYS WHEN MAKING SOCIAL COURTESY CALLS AND WHEN IT WAS NECESSARY TO SHOW POLITICAL DEFERENCE IN A VARIETY OF SITUATIONS &OR INSTANCE MARQUISES AND DUKES SALUTED THE EMPEROR BY KNEELING AND BOWING THE HEADÂ&#x2C6;THE SECOND OF THE hTHREE GESTURES v +NIGHTS AND MINISTERS BOWED SIMILARLY TO THE NOBLE MARQUISES AND DUKES -INISTERS AND KNIGHTS WOULD DO THE SAME TO THEIR >HHJ: D8ID7:G

2EV "HIKSHU (ENG 3URE

COUNTERPARTS FROM NEIGHBORING STATES -INISTERS INSIDE THE COURT WOULD NOT MAKE THIS SECOND BOWING GESTURE TO FELLOW MINISTERS IN ORDER TO PRESERVE THAT PRIVILEGE FOR THEIR RULERS !S FOR THE RULER HE MERELY BOWED HIS HEAD IN ORDER TO PAY RESPECTS TO HIS MINISTERS 4O DO MORE WAS TO MAKE A GESTURE OF EXTRAORDINARY HONOR "OWS IN INAUSPICIOUS SITUATIONS SUCH AS FUNERALS WERE FULL BOWS TO THE GROUND THE THIRD OF THE hTHREE GESTURESv AND SOMETIMES DOUBLE BOWS

l RST LOWERING THE HEAD WHILE KNEELING THEN BRINGING THE FOREHEAD TO THE GROUND 5NIQUE BOWS WERE BOWS OF ANY TYPE PERFORMED ONLY ONCE THAT IS THE GESTURE OF RESPECT WAS ABBREVIATED S -ULTIPLE BOWS WERE THOSE MADE BEYOND THE REQUIRED NUMBER 2ESTRAINED BOWS WERE MADE BY WOMEN EVEN THE HEAD WAS NOT LOWERED S 4HE REFERENCE MAY HAVE BEEN TO SOME EQUIVALENT OF A CURTSY $AOXUAN NOTES THAT IN THE :HOULI S FORMS OF BOWING THERE IS NO MEN TION OF INTERNAL CONTEMPLATIONS 2ATHER #HINESE SOCIETY S MILLENNIUM OLD PREDISPOSITION FOR BOWING FOCUSED ON EXTERNAL PROTOCOL (ERE $AOXUAN STRESSES THE #HINESE TRADITION DIFFERS FROM THE "UDDHIST TRADITION THAT WAS IMPORTED FROM )NDIA !CCORDING TO THE INTERNAL ;"UDDHIST= TEACHING BOWING IS WHERE IT BEGINS 9OU CAN DIVIDE THE FOCUS OF "UDDHIST PRACTICE ROUGHLY INTO TWO AREAS BODY AND MIND "UDDHA $HARMA TAKES THE MIND AS THE ROOT AND BODY AS THE BRANCH $AOXUAN S COMMENTS HIGHLIGHT HOW "UDDHISM SKILLFULLY APPROPRIATED #HINESE CULTURAL OBSERVANCES AND THEN ADAPTED THEM TO ACCORD WITH THE PRINCIPLES OF "UDDHIST CONTEMPLATION $AOXUAN CONTRASTS THE SOCIAL ETIQUETTE OF THE :HOULI S h.INE +INDS OF "OWINGv TO THE SPIRITUAL PROGRESSION OF THE h3EVEN 3TYLES OF "OWINGv DE SCRIBED BY THE SIXTH CENTURY "UDDHIST 0ATRIARCH 2ATNAMATI !CCORDING TO THE 3UPPLEMENT TO THE ,IVES OF %MINENT 3ANGHANS 2ATNAMATI h0RECIOUS -INDv WAS A NATIVE OF )NDIA AND CAME TO ,OYANG IN # % DURING THE .ORTHERN 7EI DYNASTY $AOXUAN S INCLUSION OF 2ATNAMATI S LIST ALONG WITH HIS COMMENTARY ON IT IN THE "UDDHIST 2ULE AND "REVIARYY ENSURED THAT THE LIST WOULD BECOME STANDARD )TS IMPORTANCE ONLY INCREASED WHEN THE GREAT !VATAMSAKA INTERPRETER #HENGGUAN n COMMENTED ON IT AND ADDED TO IT IN HIS CELEBRATED (UAYAN 3UCHAO %XPLANATORY 0REFACE TO THE !VATAM SAKA 4HE "UDDHIST 0ATRIARCH :ONGMI n WHO WAS A STUDENT AND LATER COLLEAGUE OF #HENGGUAN WROTE A COMMENTARY TO HIS TEACHER S %XPLANA TORY 0REFACE AND IN IT :ONGMI TOO COMMENTED ON 2ATNAMATI S LIST

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2EVERENTIAL "OWING AS #ONTEMPLATIVE 0RACTICE

2ATNAMATI S SEVEN STYLES OF BOWING ARE GIVEN BELOW TOGETHER WITH SE LECTED REMARKS BY $AOXUAN #HENGGUAN AND :ONGMI 4HE LIST OF BOWING STYLES MOVES FROM THE LEAST TO THE MOST PROFOUND AND SPIRITUALLY POTENT 3TYLE /NE !RROGANT "OWING 0ARAPHRASING 2ATNAMATI S DISCUSSION OF THE m AWS IN !RROGANT "OWING $AO XUAN DEPICTS A l GURE FAMILIAR TO ANYONE WHO ATTENDS MONASTIC LITURGIES A SANGHA MEMBER OR LAYPERSON WHO STANDS CONFUSED IN A CEREMONY AND WHO BOWS WITHOUT UNDERSTANDING THE REASON FOR IT 3UCH A PERSON LACKS INSIGHT AND MERELY FOLLOWS THE CROWD &OCUSED ON EXTERNALS HE LACKS RESPECT AND IS PREVENTED BY HIS ARROGANCE FROM LEARNING FROM OTHERS $AOXUAN CITES THE #ONFUCIAN !NALECTS TO ILLUSTRATE THE WRONG ATTITUDE

S I E SOMEBODY WHO FEARS THAT HE WILL LOSE FACE AND SO HOLDS HIMSELF ALOOF FROM THE BOWING /NE WHO HAS NO FOUNDATION IN $HARMA TO RELY ON CAN ENTIRELY MISS THE POINT OF THE SPIRITUAL EXERCISE AND BOW MECHANICALLY LIKE A PESTLE POUNDING RICE #HENGGUAN BORROWS THIS LINE IN HIS PARAPHRASE OF $A OXUAN $AOXUAN IN TURN IS QUOTING 2ATNAMATI $AO XUAN SAYS THAT THIS STYLE IS FUTILE STERILE AND PARADOXI "OWING S BENEl TS DEPEND CAL IN THAT ALTHOUGH THE PERSON IS BOWING HIS WRONG ATTITUDE ONLY INCREASES HIS DELUSIONS (E GETS A RESULT ON ATTITUDE AND INTENT THAT OPPOSES THE PURPOSE OF BOWING THAT IS TO SAY HE INCREASES HIS ATTACHMENTS TO THE WRONG VIEW OF SELF 4HUS THE COMMENTATORS MAKE THE POINT THAT BOWING S BENEl TS DEPEND ON ATTITUDE AND INTENT 7HEN :ONGMI TAKES A TURN IN DISCUSSING #HENGGUAN S COMMENTARY ON THIS BOWING STYLE HE PICKS UP THE THREAD OF BOWING AS AN ANTIDOTE TO AR ROGANCE (E DEl NES ARROGANCE AS A VIEW OF SELF THAT EXISTS IN THE MIND 4HE WRONG WAY OF SEEING THE MISTAKEN IDEA THAT A SELF EXISTS CREATES AN ATTITUDE THAT INTERFERES IN RELATIONSHIPS AND CAUSES TROUBLE (E LISTS THREE MISTAKES THAT COMBINE TO OBSTRUCT THE PRACTITIONER l RST ONE PERCEIVES A SELF SECOND

ONE COMPARES ONE S SELF TO OTHER SELVES THAT ONE PERCEIVES EXISTING SEPARATE FROM ONESELF AND THIRD ONE FEELS SUPERIOR AS A RESULT OF THE COMPARISON :ONGMI QUOTES 8UANZANG S 3HASTRA ON THE $OCTRINE OF #ONSCIOUSNESS /NLY AS IT DESCRIBES THE PSYCHOLOGY OF ARROGANCE 3UFFERING THAT ARISES FROM REPEATED DEATHS AND REBIRTHS AMONG THE VARIOUS DESTINIES RESULTS FROM THE MENTAL PROCESS OF PERCEIVING A SELF AND ALL MISTAKES THAT BEGIN WITH THAT VIEW 5SING THE MIND WRONGLY IN THIS WAY OBSTRUCTS SPIRITUAL CULTIVATION "OWING COUNTERACTS THE WRONG VIEW AND CREATES ITS OPPOSITE AN ATTITUDE OF RESPECT REVERENCE AND FAITH IN ONE S INNATE GOODNESS

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2EV "HIKSHU (ENG 3URE

3TYLE 4WO 3ING ALONG "OWING 4HIS STYLE OF BOWING LIKE THE l RST IS DEl NED BY THE COMMENTATORS AS EVI DENCE OF A FAULTY MENTAL ATTITUDE $AOXUAN EXPLAINS THAT HERE THE PROBLEM IS NOT PRIDE BUT LACK OF FOCUS 4HE SING ALONG BOWER ALSO LOOKS OUTSIDE HIS OR HER MIND TO l ND MEANING IN SPIRITUAL PRACTICE SO THE BENEl TS ARE FEW AND SHALLOW $AOXUAN SHOWS US THE HYPOTHETICAL PARTICIPANT CHANTING MINDLESSLY AMID THE CROWD SO OBLIVIOUS TO THE DEEPER RELIGIOUS VALUES OF THE RITUAL THAT HE OR SHE HOLDS THE TEXT UPSIDE DOWN UNAWARE OF THE ERROR 3TYLE 4HREE 2ESPECTFUL "OWING 4HIS THIRD STYLE EVOKES LENGTHY DISCUSSION AMONG THE COMMENTATORS $AO XUAN PROVIDES A DETAILED INSTRUCTION ON HOW THE DEVOTEE MAY VISUALIZE INTERACTION WITH THE "UDDHA $AOXUAN S COMMENTS HERE QUOTED IN FULL

DEMONSTRATE THE CONTEMPLATIVE ASPECTS OF BOWING 7HEN YOU HEAR THE SOUND OF THE "UDDHA S NAME YOU BRING TO MIND THE CONTEMPLATION OF HIS BODY 9OU VISUALIZE HIM AS IF HE WERE RIGHT BEFORE YOU WITH ALL HIS THIRTY TWO HALLMARKS AND EIGHTY SPECIAL CHAR ACTERISTICS COMPLETE AND ADORNED DAZZLING AND RESPLENDENT /NCE YOU ENVISION ALL THE HALLMARKS IN YOUR MIND THEN IN FACT YOU l ND YOURSELF FACE TO FACE WITH THE THREEFOLD BODIES 4HE "UDDHA EXTENDS HIS HAND TO RUB THE CROWN OF YOUR HEAD AND HE PURGES ALL THE OFFENSE KARMA CREATED BY THE VIEW OF A SELF 4HEN YOU ARE TRULY RESPECTFUL IN BOTH BODY AND MIND WITH NO FURTHER EXTRANEOUS THOUGHTS 9OU MAKE OFFERINGS AND SHOW RESPECT AND YOU NEVER GROW WEARY OF IT 4HIS IS THE STATE OF MIND OF BOWING TO THE "UDDHA 7HEN HE APPEARS IN FRONT OF YOU YOU PAY ATTENTION WITHOUT ANY UNCLARITY OF MIND 9OU WILL THEN BE ABLE TO LEAD AND TO BENEl T BOTH HUMANS AND GODS IN THE HIGHEST

MOST SUBLIME MANNER !LTHOUGH SUCH A PERSON HAS VAST MERIT AND VIRTUE STILL IT IS NOT HIS OWN WISDOM AND MANY PEOPLE WHO ATTAIN THIS STATE LATER RETREAT FROM IT #HENGGUAN BEGINS HIS COMMENTS HERE BY SAYING

"ECAUSE ONE S MIND FEELS RESPECT THAT FEELING COURSES THROUGH THE BODY AND MOUTH AND INSPIRES ONE TO BOW UNIVERSALLY TO ALL THE "UDDHAS "OWING RIDS THE HEART OF THE OBSTACLE OF ARROGANCE AND FOSTERS THOUGHTS OF RESPECT FAITH AND GOOD KARMA (E ALSO MENTIONS THE hl VE LIMBS TOUCH THE GROUNDv CONTEMPLATION FROM THE 3UTRA ON THE 1UESTIONS !SKED BY THE "ODHISATTVA 7ISDOM &REE FROM $El LEMENT ABOUT -ETHODS FOR "OWING TO THE "UDDHA AND :ONGMI QUOTES THE RELEVANT PASSAGE 4HE SUTRA SAYS THAT EVERY GESTURE OF THE BOWING RITUAL

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2EVERENTIAL "OWING AS #ONTEMPLATIVE 0RACTICE

CAN ASSUME A DEEPLY REVERENTIAL MEANING 4HE MOVEMENT OF EACH LIMB GEN ERATES A VOW FROM THE HEART AND HAS A HIGHER SIGNIl CANCE THAN THE MUNDANE GESTURE OF BOWING TO THE %ARTH 4HUS ALREADY IN THE THIRD BOWING STYLE THE PHYSICAL GESTURE IS THOROUGHLY INTEGRATED WITH MENTAL CONTEMPLATIONS 3TYLE &OUR "OWING 4HAT 'OES "EYOND !PPEARANCES $AOXUAN INTERPRETS THE FOURTH BOWING STYLE IN TERMS OF hEMPTINESSv #HI NESE KONG 3ANSKRIT SUNYATA (ERE WE MEET FOR THE l RST TIME THE CONCEPT OF INTERPENETRATION A PRINCIPLE THAT IS TYPICAL OF THE !VATAMSAKA AND ONE THAT WILL RETURN THROUGHOUT THE REST OF THE BOWING SCHEME )NTERPENETRATION HERE APPEARS IN TERMS OF SUBJECT AND OBJECT 4HE CONTEMPLATIONS PRESCRIBED FOR THE PERSON BOWING INCLUDE AN INTERACTIVE VISUALIZATION THAT PENETRATES THE BOUNDARIES OF TIME AND SPACE &OR EXAMPLE THE PERSON BOWING MAKES HIS OR HER MIND PURE AND THEN ENVISIONS MULTIPLE "UDDHAS APPEARING !S THE PRACTICE DEVELOPS THE VISUALIZATIONS GROW CLEARER AND THE TIME AND THE PLACE BEGIN TO EXPAND AND SHIFT $AOXUAN EXPLAINS IN THIS WAY .OW ) UNDERSTAND THAT MY OWN MIND IS EMPTY AND CONNECTED WITHOUT OBSTRUCTIONS AND ) PRACTICE BOWING TO THE "UDDHAS ) ACCORD WITH THE MIND S ABILITY TO BOW TO A SINGLE "UDDHA AND THEREBY BOW TO ALL "UD DHAS WHATSOEVER !LL "UDDHAS ARE MERELY A SINGLE "UDDHA "ECAUSE THE "UDDHA S $HARMA BODY PERVADES ALL PLACES IDENTICALLY BOWING TO A SINGLE "UDDHA MAKES THE CONNECTION THROUGH TO ALL "UDDHAS #HENGGUAN S EXPLANATION IS TERSE h/NE DEEPLY ENTERS THE $HARMA .ATURE THERE IS NO DOER AND NOTHING DONE v 3TYLE &IVE "OWING 4HAT 4AKES %FFECT $AOXUAN EXPLAINS )N THIS WAY WE STUDY AND PRACTICE THE $HARMA DOOR OF THE $HARMA 2EALM )T PROVES TO BE GREATLY BENEl CIAL AND ULTIMATELY ARRIVES AT THIS UNDERSTANDING 4HOSE WHO FAIL TO STUDY DO NOT KNOW 4HEREFORE CULTIVATORS MUST UNDERTAKE THESE CONTEMPLATIONS FREQUENTLY 4HE MERIT AND VIRTUE ONE ACCRUES IS INCOMPARABLE 3INCE ) KNOW THAT MY BODY IS CONTAINED WITHIN THE "UDDHA S BODY HOW COULD ) CONTINUE TO COMMIT KARMA BASED ON INVERTED VIEWS AND FALSE THOUGHTS 5SING METAPHORICAL LANGUAGE $AOXUAN GOES ON TO SAY THAT MIRRORS PERVASIVELY REm ECT BACK AND FORTH INSIDE THE BOWER S $HARMA BODY SO THAT THE FUNCTION OF MUTUAL REm ECTION IS LIMITLESS (E SAYS THAT SOME PEOPLE CAN PERCEIVE THIS DIMENSION OF BOWING WHILE OTHERS DO NOT ADDING THAT SOME PEOPLE HAVE EYES TO SEE WHILE OTHERS ARE BLIND >HHJ: D8ID7:G

2EV "HIKSHU (ENG 3URE

3TYLE 3IX )NWARD 2Em ECTION "OWING "OWING AT THIS POINT ACCORDING TO THE COMMENTATORS HAS TAKEN ON A PRO FOUND LEVEL OF SPIRITUAL ACCOMPLISHMENT $AOXUAN REMARKS THAT PEOPLE ALREADY HAVE A PURE NATURE WHY THEN DO THEY NEED TO LOOK OUTSIDE FOR ANOTHER NATURE (E EXHORTS STUDENTS TO NOT SEEK ANYTHING EXTERNAL TO THE PURE MIND THAT DWELLS WITHIN THE "UDDHA NATURE 3TYLE 3EVEN 5LTIMATE 2EALITY "OWING 5LTIMATE 2EALITY "OWING IS THE LAST OF 2ATNAMATI S SEVEN STYLES )T DIFFERS FROM THE OTHERS $AOXUAN SAYS IN THAT NO DUALITIES REMAIN 4HE SENSE OF THIS STYLE OF BOWING IS SIMILAR TO THE ABOVE STYLES 4HE DIFFERENCE IS THAT THE PRIOR STYLES PRESERVE THE DUALITIES OF WORSHIPER

CONTEMPLATION SELF AND OTHER .OW IN THIS CASE DISTINCTIONS OF SELF AND OTHER NO LONGER REMAIN -ORTAL AND "UDDHA BECOME A UNIl ED hTHUS NESSv PAST AND PRESENT ARE NOT DIFFERENT 7HEN ONE SEES THE "UDDHA

ONE DOESN T DISTINGUISH BETWEEN BOWING TO HIM OR TO A PERSON WHO HOLDS SERIOUSLY INCORRECT VIEWS )N 5LTIMATE 2EALITY "OWING THERE ARE NO FURTHER DISTINCTIONS (ERE BOW ING CAN BRING ONE TO ULTIMATE REALITY A STATE OF MIND BEYOND THOUGHT #HENGGUAN S 4HREE !DDITIONS )N HIS (UAYAN 3UCHAO #HENGGUAN APPLIED TO BOWING A METHODOLOGY PAR TICULAR TO THE !VATAMSAKA 3UTRA S DOCTRINES THAT OF PRESENTING EVERYTHING IN DECANATES OR LISTS OF TEN A NUMBER WHICH SYMBOLIZES THE PERFECTION OF THE CIRCLE !CCORDINGLY #HENGGUAN ADDED THREE BOWING STYLES TO 2ATNAMATI S SEVEN STYLES (IS THREE ADDITIONS ARE 'REAT #OMPASSION "OWING 'ENERALLY )NCLUSIVE "OWING AND )Nl NITE "OWING 4HE l RST OF THESE SUGGESTS hGREAT COMPASSION FOR ALL THOSE WHO SHARE THE IDENTICAL ESSENCE v :ONGMI S COMMENTARY ADDS

4HAT IS TO SAY LIVING BEINGS AND ) ARE NOT TWO SEPARATE ENTITIES FOR EXAMPLE SINCE ) BOW LIVING BEINGS ALSO BOW 7HEN ) LEAVE ARROGANCE BEHIND LIVING BEINGS ALSO LEAVE ARROGANCE BEHIND 4HAT IS THE SOURCE OF THE NAME h'REAT #OMPASSION "OWING v !CCORDING TO :ONGMI 'ENERALLY )NCLUSIVE "OWING THE NINTH STYLE

INCLUDES THE PRIOR SIX STYLES THREE THROUGH EIGHT IN THEIR VARIOUS LEVELS OF SUPERl CIALITY AND PROFUNDITY AND MERGES THEM INTO A SINGLE CONTEMPLATION &INALLY #HENGGUAN SAYS OF )Nl NITE "OWING THE TENTH STYLE h4HE BOWER ENTERS THE STATE OF )NDRA S .ET "OTH "UDDHAS AND BOWS ARE MULTI LAYERED AND INEXHAUSTIBLE v

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2EVERENTIAL "OWING AS #ONTEMPLATIVE 0RACTICE

:ONGMI ADDS THIS VERSE FROM THE !VATAMSAKA )N A SINGLE PARTICLE ) SEE EVERY "UDDHA 3URROUNDED BY MULTITUDES OF "ODHISATTVAS %VERY PARTICLE IN THE UNIVERSE IS THE SAME 7HEREVER THESE 4ATHAGATAS ARE ) BOW TO THEM INl NITELY ))) #ONCLUDING 2Em ECTIONS /NE OF THE REASONS FOR CURRENT RAPID GROWTH IN THE 7EST OF "UDDHIST MEDITATION PRACTICE MAY BE THAT MEDITATION APPEARS EGALITARIAN AND FREE OF DOGMA IT MAKES NO DEMANDS OF FAITH OR ADHERENCE TO A CREED "OWING

ON THE OTHER HAND APPEARS INHERENTLY UNEQUAL UNDEMOCRATIC HUMILIATING AND SUBMISSIVE *UDITH ,IEF SUGGESTS THAT THE REASONS WHY 7ESTERNERS l ND BOWING DIFl CULT ARE COMPLEX !S 7ESTERNERS WE TEND TO THINK OF PROSTRATING AS A GESTURE OF DEFEAT OR ABASEMENT 7E THINK THAT TO SHOW SOMEONE ELSE RESPECT IS TO MAKE OURSELVES LESS 0ROSTRATING IRRITATES OUR SENSE OF DEMOCRACY THAT EV ERYONE IS EQUAL /N THE ONE HAND WE WANT TO RECEIVE THE TEACH INGS BUT ON THE OTHER WE DON T REALLY WANT TO BOW DOWN TO ANYONE OR ANYTHING %RIC 2EINDERS SUGGESTS ANOTHER REASON FOR A 7ESTERN DISTASTE FOR BOW ING )N HIS h4HE )CONOCLASM OF /BEISANCE 0ROTESTANT )MAGES OF #HINESE 2ELIGION AND THE #ATHOLIC #HURCH v 2EINDERS LAMENTS THE LACK OF RESEARCH BY 7ESTERN SCHOLARS ON "UDDHIST BOWING AND HE TRACES THIS TO THE %UROPEAN 0ROTESTANT ICONOCLASTS AVERSION FOR PHYSICAL GESTURES OF DEFERENCE A HATRED OF RELIGIOUS HIERARCHY THAT LED TO THE SPLIT WITH 2OME 2EINDERS SUGGESTS THAT THE 0ROTESTANT STRUGGLE WITH 2OMAN #ATHOLICISM IN %UROPE HAS BEEN PROJECTED ONTO !SIAN RELIGIONS 4HE SIGHT OF "UDDHISTS PARTICULARLY #HINESE "UDDHISTS BOWING TO "UDDHAS TO THEIR TEACHERS AND TO EACH OTHER STIRRED UP THE 0ROTESTANT DISTASTE FOR IDOLATRY AND FOR THE INEQUALITY OF INSTITUTION ALIZED RELIGIOUS HIERARCHIES .EVERTHELESS THE WORLD S RELIGIOUS TRADITIONS WITH FEW EXCEPTIONS VALUE BOWING AS AN EFFECTIVE SPIRITUAL PRACTICE *UDAISM )SLAM AND %ASTERN AND 2OMAN #ATHOLICISM AS WELL AS %ASTERN DEVOTIONAL TRADITIONS SUCH AS (INDU ISM AND "RAHMANISM INCLUDE BOWING IN TEXTS AND LITURGIES )N THESE OTHER RELIGIONS THE PRACTICE OF MAKING PROSTRATIONS HAS A LARGELY EXTERIOR FOCUS

CONSISTENT WITH THE SUPPORTING THEOLOGY )N "UDDHISM WE SEE THE PRACTICE OF BOWING APPLIED IN WAYS THAT PARALLEL AND OVERLAP WITH THE OTHER TRADITIONS

>HHJ: D8ID7:G

2EV "HIKSHU (ENG 3URE

YET A SIGNIl CANT DIFFERENCE ALSO EMERGES )N "UDDHISM THE FOCUS OF BOWING TURNS BACK TO THE MIND OF THE BOWER INSTEAD OF MOVING OUTWARDS TOWARDS A TRANSCENDENT OTHER "UDDHADHARMA S APPROACH TO BOWING INVITES THE PRACTITIONER TO CON TEMPLATE THE NATURE OF HIS OR HER HEART MIND 4HE MYRIAD PRACTICES RELATE BACK TO A CENTRAL THEME THE MIND AND ITS NATURE WHICH ARE FUNDAMENTALLY "UDDHA 4HE hGOALv REACHED AT THE END OF THE SPIRITUAL PATH IS TO GRADUALLY REMOVE ALL ASPECTS OF THE VIEW OF SELF UNTIL ONE REDISCOVERS ONE S NONDUAL NATURE !S A ROAD TO THE NONDUAL BOWING HELPS EMPTY OUT AND PURIFY FALSE CONCEPTS WITHIN 4HE FALSE ILLUSORY SELF CAN BE ERASED AS ONE BOWS s 4HIS ARTICLE IS BASED ON THE AUTHOR S DOCTORAL DISSERTATION h3ACRED ,ITERATURE INTO ,ITURGY *INGYUAN n AND THE $EVELOPMENT OF THE !VATAMSASKA ,ITURGY IN 3ONG #HINA v 'RADUATE 4HEOLOGICAL 5NION

.OTES %SPECIALLY NOTABLE ARE THE IMAGES OF THE 'ANDHAVYUHA PILGRIMAGE CARVED IN STONE IN THE FRIEZES OF THE "OROBUDUR 3TUPA IN )NDONESIA 3EE *AN &ONTEIN 4HE 0ILGRIMAGE OF 3UDHANA ! 3TUDY OF 'ANDHAVYUHA )LLUSTRATIONS IN #HINA *APAN AND *AVAA 4HE (AGUE -OLTON

AND "EDRICH &ORMAN "OROBUDUR 4HE "UDDHIST ,EGEND IN 3TONEE .EW 9ORK $ORSET 0RESS

&OR EXAMPLE THE 'REAT #OMPASSION 2EPENTANCE THE 2EPENTANCE BEFORE 4EN 4HOUSAND "UDDHAS THE #OMPASSIONATE %MPEROR ,IANG S 2EPENTANCE THE 3AMADHI 7ATER OF 'REAT #OMPASSION 2EPENTANCE AND OTHERS &AHUA SANMEI XINGSHI YUNXIANG BUZHUYI 4 C 4 B +OTISS AND NAYUTAS ARE NUMBERS S MAHASATTVAA OR GREAT BEINGG IS AN HONORIl C OFTEN APPLIED IN THE SUTRAS TO "ODHISATTVAS 4 C 4 A $ATANG 8UYUJI 4 C 4 C $AOXUAN ALSO COMPILED THE &OUR 0ART 6INAYA 4 AND AND WROTE VOLUMINOUS COMMENTARIES SUPPLYING DETAILED DESCRIPTIONS OF THE VARIOUS ASPECTS OF PRACTICE 3HIMEN GUIJING YI 4 B 8U 'AOSHENG :HUAN 3HANGHAI 3HANGHAI 'UJI CHUBANSHE

2ATNAMATI IS SAID TO HAVE LIVED AT %TERNAL 0EACE -ONASTERY AND TO HAVE BEEN ACCOMPLISHED IN THE &IVEFOLD #URRICULUM (E WAS PROl CIENT IN THE $AOIST ARTS AND REGULARLY LECTURED ON THE !VATAMSAKA 3UTRA !VAILABLE AS (UAYANJING 3HUCHAOO 4AIBEI (UAYAN ,IANSHE 0UBLICATIONS AND &LOWER !DORNMENT 3UTRA 0REFACE 4ALMAGE #! "UDDHIST 4EXT 4RANSLATION 3OCIETY

E #HENG WEISHI LUN 4 B ,IGOUHUI PUSA SUOWEI LIFOFAJING TRANSLATED BY .ADI AROUND # % 4 C h/N 0RACTICE "OWING v IN 4RICYCLE 4HE "UDDHIST 2EVIEW )8 &ALL

W )N .UMEN 4HE )NTERNATIONAL 2EVIEW FOR THE (ISTORY OF 2ELIGIONS n S

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