- On the twentieth-century vicissitudes of the Jinnaluo Hall, see Xin bian
Shaolin si zhi, p. 23; and Ching, “Shaolin Temple Reincarnated.” - See Shangdang gu sai xiejuan shisi zhong jianzhu, pp. 366–369.
- On the dating of the Thousand Buddhas Hall and its wall painting, see
Shaolin si qianfodian bihua, pp. 19, 104; and A’de, “Qianfo dian ji bihua kao,” p. 51,
where he argues that the painting must have been completed before 1623. - Compare arhat images in Luohan hua and in Kent, “Depictions of the
Guardians of the Law.” - Demiéville, “Le Bouddhisme et la guerre,” p. 375.
- See Harvey, An Introduction to Buddhist Ethics, pp. 137–138.
- See Demiéville, “Le Bouddhisme et la guerre,” pp. 380–381.
- This is Mark Tatz’s translation, quoted in Harvey, An Introduction to Buddhist
Ethics, p. 137. See also Demiéville, “Le Bouddhisme et la guerre,” pp. 379 –380. - Zimmerman, “A Mâhânist Criticism of ârthašâstra; and Zimmerman,
“War,” in Buswell, Encyclopedia of Buddhism, pp. 893–897. - See, respectively, Victoria, Zen at War, esp. pp. 86 –91, and Yu, Buddhism, War,
and Nationalism, pp. 136–149. See also Sharf, “The Zen of Japanese Nationalism.” On
Japanese monk-warriors, see Adolphson, The Teeth and Claws of the Buddha. - See Cheng Zongyou, Shaolin gunfa, 1.4b.
- Yu Dayou, jian jing, 4.3a. This passage is quoted by Qi Jiguang (Jixiao xin-
shu 12.184) and is echoed by Cheng Zongyou (Shaolin gunfa, 3.1a). See also Lin
Boyuan, “Tan Zhongguo wushu zai Mingdai de fazhan,” pp. 66 –68. - On the evolution of the Journey to the West cycle, see Dudbridge, Hsi-yu chi;
and Dudbridge, “The Hsi-yu chi Monkey and the Fruits of the Last Ten Years.” On
Sun Wukong’s origins, see Shahar, “The Lingyin si Monkey Disciples.” On his reli-
gious cult, see Sawada Mizuho, “Songokû shin”; and Elliot, Chinese Spirit Medium
Cults in Singapore, pp. 74–76, 80–109, 170–171. - I suspect that the English renditions of bang as “club” or “cudgel” are mis-
leading, for they suggest a short and heavy instrument, whereas the description of
Sun Wukong’s weapon in the novel—no less than its depiction in Ming woodblock
prints—leaves no doubt that it is a long rod, similar to the Shaolin staff. More gener-
ally, an examination of Ming sources reveals that the terms bang and gun refer to the
same weapon. In his Wubei zhi (104.1a), for example, Mao Yuanyi explains that “the
bang and the gun are the same thing” (bang yu gun yi ye). In the sixteenth-century
novel, Sun Wukong’s “Ruyi jingu bang” is sometimes referred to as gun. See Wu
Cheng’en, Xiyou ji, 27.310–311.
The difference between gun and bang is grammatical rather than semantical.
Whereas the former can be used without a qualifying adjective, the latter commonly
appears in compounds such as tiebang (iron bang), ganbang (wooden bang), a nd, of
course, “Ruyi jingu bang.” - Yu, Journey to the West, 1:108; the original is Wu Cheng’en, Xiyou ji, 3.30–31.
I have changed Yu’s “cudgel” to “staff ” (see the preceding note). - Yu, Journey to the West, 1:167–168; Wu Cheng’en, Xiyou ji, 7.70.
- Two slightly different versions of this Southern Song text sur vive. Both are
Notes to Pages 88–95 221