Inside the Shubox: Theravada and Mahayana

     Today we'll have a look at the two main schools of Buddhism: Theravada and Mahayana. Although there are plenty of different types of Buddhism, most of them fall into one of these two schools. Although most teachings are shared between each other, there are also major differences to be examined. Theravada was essentially the grassroots of Buddhism. It started and grew and stayed in southeast Asia, primarily India, Indonesia, Nepal, Bangladesh, Cambodia, and others. It set fundamental teachings and was defined by the Pali Canon. However, Mahayana would be the one to flourish and establish itself as the main face for global Buddhism. "Over time, Mahayana would become the larger and historically more influential movement." (Bresnan 243). While these two systems of thought have had disagreements in its past, they live together relatively peacefully today. They accept each other and live in co-existence, unlike some other religions. 

The Spread of Buddhism and the Division of the Two Schools

    Theravada is generally regarded as old-school or the foundation of Buddhism. Theravada's reason for being is to promote and pass on Buddha's original teachings about how to detach and liberate oneself from the characteristics of suffering. The practice of Theravada is very personal. Through meditation and teachings, one will achieve nirvana. It's much closer to some of the original teachings and concepts. "Theravada literally means "teachings (doctrine) of the elders," but in more everyday language, we could translate it simply as "the orthodox tradition." (Bresnan 252). The goal of those who practice Theravada is to achieve nirvana as soon as possible, to become an Arhat. In the Theravada path, enlightenment is achieved through the cultivation of the Noble Eightfold Path, insight, and concentration. The heart practices are incorporated, and the attention is given to developing insight and awakening to the nature of reality.

    Mahayana Buddhism stems from internal splits and divisions. Originally, the movement of Mahayana happened due to the growing attitude that the school of Theravada was becoming elitist and exclusive, very narrow-scoped and not general. The goal for Mahayana is for all to achieve Nirvana, not just yourself. In fact, the individual goal is to hold off on achieving Nirvana just before crossing it and helping others get to where you are. Mahayana has a complex range of divine entities that can be different across regions called celestial beings. "What initially fueled the rise of Mahayana was a deep dissatisfaction on the part of some with the traditional interpretation of Buddha's teaching by the dominant majority, the Theravadins. An attitude was developing among some Buddhists that the Theravada tradition had become too conservative, too rule-bound, too elitist, and too narrow in scope... Buddha, though, had directed his teaching to everyone, not just a select few." (Bresnan 263). The Mahayanists often at times refer to the Theravada as "Hinayana" or "little raft" due to this. The entire idea is to escape reality, the pains and sufferings of the mortal world. Mahayanists label themselves as the big raft, inclusive and welcoming for all, holding off on their personal ascensions to liberate every being.

A Video Detailing the Differences of the Two Schools

Works Cited

“Buddha's Teachings: Theravada, Mahayana and Vajrayana.” Diamond Way Buddhism, 23 Apr. 2016, www.diamondway-buddhism.org/buddhism/buddhas-teachings/.

“Differences Between Theravada and Mahayana Buddhism.” One Mind Dharma, 10 Dec. 2018, oneminddharma.com/theravada-mahayana-buddhism/.

“Divisions of Buddhism - Buddhist Beliefs - Edexcel - GCSE Religious Studies Revision - Edexcel - BBC Bitesize.” BBC News, BBC, www.bbc.co.uk/bitesize/guides/zf8g4qt/revision/2.

王翬:桃花漁艇 || Wang Hui: Peach Blossom, Fishing Boat

 

王翬:桃花漁艇 || Wang Hui: Peach Blossom, Fishing Boat
c. 1712

Today we'll be having a look at Wang Hui's (王翬) painting, Peach Blossom, Fishing Boat of the Qing Dynasty. This is a hanging scroll painting by Wang Hui (王翬), a Chinese landscape painter famous for his orthodox art and reflection of the Yuan and Song traditions in his styles. Wang Hui (王翬) was one of four Wangs that held the top of Chinese painters throughout the Ming and Qing periods. He was gifted at both northern and southern styles as well as ancient and modern ones. Thus, he was aptly recognized later as "The Sage of Early Qing Painting". That's enough about the author, you came for the artwork. Let me tell you more about the piece. 

This work illustrates lines from Tao Yuanming's (陶渊明) poem "The Peach Blossom Spring". The poem tells a story about a fisherman that was oblivious to the distance he had sailed, until he came upon the scenery of a forest. The forest consisted of gorgeous and vibrant blossoming peach trees, their bases surrounded by lush and vibrantly green grass with the presence of soft flowers complementing them. Suddenly, the fisherman had come to awareness about where he's sailed to and couldn't help but be mesmerized by the pink and light orange sights. The fisherman, astonished and dazed, curiously squeezed through the springs and continued to a village with animals and people of all ages. The fragile and dazzlingly pink peach petals were scattered across the ground and wove this lovely image in the fisherman's eyes. Everybody seemed happy and living their best life; their buckets were filled with fuzzy, ripe peaches. Not a sight of crime, disease, grief, or desolation were to be seen. The villagers were surprised to see him, but nonetheless greeted him with warm regards. They explained that their ancestors escaped to this place during the civil unrest of the Qin dynasty, and they have not left or made contact with anyone from the outside. The fisherman was showered in generous hospitality by the villagers and stayed in luxury for over a week. The villagers constantly questioned him out of curiosity for the news of today, and he answered as requested. He informed them about political uprisings, conflicts and territorial grabs; he updated them on everything in the outside world. Amazed by the revelations revealed by the fisherman, the villagers quickly took a liking to him. Heads of every single household invited him in to feasts consisting of chicken and wine and other regional dishes. Upon leaving, the villagers requested that the fisherman not inform the outsiders of them, so that they could continue to exist in harmony and secrecy. The fisherman gestured his goodbyes and sailed off while leaving marks on his journey to his next destination. Upon arriving, he told the audience of his experiences and they immediately dispatched followers to sail back with the fisherman. However, on the way back, he could not find the marks that he had left anymore. Confused and saddened, the fisherman sailed away, and that so called utopia was never found again. 

Depiction of the tale on a painting from the Long Corridor, Summer Palace, Beijing.

Peaches are a reoccurring object in Chinese art and literature. They symbolize immortality and longevity with fertility and blissfulness. Blossoming peach trees thus symbolize rebirth, prosperity, growth, and romance. It is very popular for couples to get married under a blossoming peach tree. This peaceful and gorgeous location, disconnected from the political tensions and atrocities of war at the time, seemingly draws itself to be a desirable utopia. 

I wish I were there right about now. Just chill by the riverside and bite into a soft squishy peach. Relax and take in the scenery as the calm and luscious breeze flows through the scenery, inviting the leaves for a little dance. Maybe there'll be some fish in the waters as well, gracefully flowing along with the cool and crisp stream.

              Chinese Peach Blossoms

Why couldn't the fisherman find the location again? Is it because he did not fulfill the villagers' requests to not leak the secrecy and location of their utopia, causing an observing supreme entity a great deal of anger and casting his marks away as punishment? Or did he just naturally lose his markings and forget where he put them? What if this was all just a hallucination? We may never know.

I'd like to believe that this utopia is a real place, and that there's still a pocket of villagers there today, living in oblivion and ignorant to the woes of today. Oblivion and ignorance have such a negative connotation to them, but the possession of these qualities can provide a blissful existence. 

This is turning into more of a poem review rather than a painting review. What can I say about the painting? I chose it because it looked nice. The pinks of the peach blossoms invite the fisherman in and draws attention to the riverbanks. The landscape is laced and scattered with luscious white clouds for an almost mystifying effect, highlighting and driving in the context of this utopic location, hidden away and disconnected from the outside world. I just thought it looked really cool. There's no other reason. 

This piece represents the Qing era due to the landscape characteristics, highlighting the orthodox/conservative style of painting. Wang Hui (王翬) is also known for his Shan Shui (山水) style, involving scenery or natural landscapes highlighting mountains, rivers, and waterfalls. The poem was a very popular fable in the dynasty eras of China, thus there were plenty of other interpretations and works of arts and literature influenced by this poem. Peach Blossom, Fishing Boat is just one of many. 

The research I performed consisted of carefully filtering through websites and collecting valuable and informative critical information. Or, if I'm being brutally honest, just typing "peach blossom fishing boat" into google and clicking around for about an hour. I did find a few very informative sources that I tapped into to create this blog. 

What's my experience touring a virtual museum? I'm not sure if I can provide any interesting or unique feedback about it. I was just looking at images and descriptions about them through my 22" computer monitor, while I sit in my broken 3 year old chair with a flat cushion, listening to lo-fi hip-hop. I've been to plenty of museums in my life, but I never truly enjoyed them or took a liking to them. I guess I don't have too big of an appreciation for art works or artifacts in my heart, or I just didn't have the best experiences in going to them. After watching that 'how to visit a museum' video, maybe I'll try again with my significant other one day, of course not until all of this blows over. 

I really did enjoy stumbling upon this work of art and the poem that came along with it. It gives more to me as the audience than just ink and paint on a scroll. It provides context, a backstory, a scenario and more images that I can imagine for myself. My mind is fascinated by this fable, and my eyes are captivated by this piece of art. I encourage those that stay away from traditional art and the likes to give it a try. Dig a little deeper into those individual pieces, find out some more about their origins, and you might just find your own little 'utopia'. 

Works Cited

Birch, Cyril, and Donald Keene. Anthology of Chinese Literature: from Early Times to the Fourteenth Century. Grove Press, 1967.

Fong, Mindy. “Lucky Peach: A Chinese Symbol of All Things Good.” Jadechocolates, Welcome to Jade Chocolates, 21 May 2017, www.jadechocolates.com/single-post/2017/05/20/Lucky-Peach-A-Chinese-Symbol-of-All-Things-Good.

“The Peach Blossom Fishing Boat - Wang Hui (1632-1717) - Google Arts & Culture.” Google, Google, artsandculture.google.com/asset/the-peach-blossom-fishing-boat-wang-hui-1632-1717/RAFjhAbruZWU6A?hl=en.

“Qing Dynasty Art (1644-1911) History, Types and Characteristics.” Qing Dynasty Art: Characteristics, Types, www.visual-arts-cork.com/east-asian-art/qing-dynasty.htm.

“Wang Hui: Chinese Painting.” China Online Museum, 5 June 2016, www.comuseum.com/painting/masters/wang-hui/.

“Wang Hui: Peach Blossom, Fishing Boat.” China Online Museum, 2 Mar. 2019, www.comuseum.com/product/wang-hui-peach-blossom-fishing-boat/.