- See, respectively, Pei Cui (ca. 670–736), “Shaolin si bei” (“The Shaolin Mon-
astery Stele”) (728), in Quan Tang wen, ed. Dong Gao, 279.1253; and Gu Shaolian (fl.
800), “Song yue Shaolin xin zao chu ku ji” (“Record of the Reconstruction of the
Song Mountain Shaolin Monastery’s Kitchen and Storehouse”) (798), in Fu Mei, Song
shu, 20.13b. - This is Griffith Foulk’s translation in his “Sung Controversies Concerning
the ‘Separate Transmission’ of Ch’an,” p. 246. The original is Daoyuan, Jingde chuan-
deng lu, T, no. 2076, 51:219b–c. The Shaolin stele that cites this text dates from 1346;
see Wen Yucheng, Shaolin fanggu, p. 47. - The earliest stele in question dates from 1222; see Wen Yucheng, Shaolin
fanggu, p. 49, and Xin bian Shaolin si zhi, p. 83. - See Daoyuan, Jingde chuandeng lu, T, no. 2076, 51:220b.
2 9. The earliest Shaolin stele of the Reed-Floating Bodhidharma dates from
1307, however earlier (thirteenth-century) paintings have been preserved else-
where. See Lachman, “Why Did the Patriarch Cross the River?” The 1307 Shaolin
stele is reproduced in Zhongguo Shaolin si, 2:75. I am not convinced by Lachman’s
argument (p. 255) that the stalk-riding motif might have existed as early as the
eleventh century. Cao Shibang, at any rate, suggests that it originated during the
1129 Jin campaigns against the Southern Song. The latter’s defenses of the Yang-
tze were said to be so weak that the enemy could “Cross the River on a Stalk of
Reed.” See Cao Shibang, “Yiwei dujiang yu chi roubiancai—liangge zhuming
Chanzong gushi de lishi tanjiu.” - See Shahar, Crazy Ji, pp. 30–45.
- See Fu Mei, Song shu, 3.24b–25a; Wen Yucheng, Shaolin fanggu, pp. 169–
172; a nd Xin bian Shaolin si zhi, pp. 39–42. - See Faure, “Relics and Flesh Bodies,” p. 162.
- See, for example, Du Mu’s (1459–1525) account of his visit to the monas-
tery in his Jin xie linlang, 20.8a. Compare also Du Mu, You mingshan ji, 1.18a–23a. - See Wen Yucheng, Shaolin fanggu, pp. 50–51.
- See Wei shu, 114.3040; Ware, trans., “Wei Shou on Buddhism,” pp. 155–156.
Compare also Daoxuan, Xu Gaoseng zhuan (ca. 6 6 0), T, no. 2060, 50:551; and Pei Cui,
“Shaolin si bei,” in Quan Tang wen, 279.1252; Tonami Mamoru, The Shaolin Monastery
Stele on Mount Song, pp. 32–33. See also Wen Yucheng, Shaolin fanggu, pp. 9–13.
The Wei shu and Pei Cui refer to Shaolin’s founder as Batuo; Daoxuan refers to
him as Fotuo. Some scholars have reconstructed his Sanskrit name as Buddhab-
hadra, assuming that his full Chinese name was Fotuobatuo. - Daoxuan alludes to a wall painting by Batuo, whose biography is included
in Zhang Yanyuan’s (fl. 850) Lidai ming hua ji (Record of Famous Paintings Through the
Ages). See Daoxuan, Xu Gaoseng zhuan, T, no. 2060, 50:551b; and Acker, Some T’ang
and pre-T’ang Texts, part 1, pp. 184–186, part 2, 7.93. See also Pelliot, “Notes sur quel-
ques artistes des Six Dynasties et des T’ang,” pp. 236 –265. - See Daoxuan, Xu Gaoseng zhuan, T, no. 2060, 50:607b–608a and 50:484b–
c; see also Wen Yucheng, Shaolin fanggu, pp. 34–37. - See Pei Cui, “Shaolin si bei,” in Quan Tang wen, 279.1252, and Da Tang da
Notes to Pages 14–17 207