photographically reproduced in Da Tang Sanzang fashi qu jing shihua. Since both
texts were originally discovered at the Kôzanji Monastery in Kyoto, they are some-
times called the “Kôzanji version.” On their dating, see Dudbridge, Hsi-yu chi, pp.
25–29.
- See Wang Shifu, Xixiang ji, 2.60–61; and Wang Shifu, The Moon and the
Zither, pp. 232–234.
4 4. Chen Li-li, Master Tung’s Western Chamber Romance, p. 58. The original is Dong
Jieyuan, Dong Jieyuan Xixiang, 2 .79. I have substituted “staff ” for Chen Li-li’s “cudgel”
(see note 39 above). - See Chen Li-li, Master Tung’s Western Chamber Romance, pp. 45–46; and
Dong Jieyuan, Dong Jieyuan Xixiang 2.61–62; On the jiedao, see “tôsu” in Mochizuki
Shinkô, Bukkyô daijiten, 4:3879–3880, and illustration no. 1147. - See Luo Ye, Xinbian Zuiweng tanlu, p. 4.
- This is Sidney Shapiro’s translation (slightly altered), Outlaws of the Marsh,
1:75–76. The original is Shuihu quanzhuan, 4.69–70. - See Wu Cheng’en, Xiyou ji, 22.245–255; and Yu, Journey to the West, 1:429–
- On “Sha Monk” and the “God of the Deep Sands,” see Dudbridge, Hsi-yu chi,
pp. 18–21, and Strickmann, Chinese Magical Medicine, pp. 110–111, 312 n. 47. - See Zhongguo wushu da cidian, pp. 103, 113, 195–196.
- See Yangjia jiang yanyi (50 chapters), 38.179, and Yangjia jiang yanyi (58 chap -
ters), 31.190–191. In the latter version (17.108) the monk is also armed with a sword. - See “Wulang wei seng,” in Luo Ye, Xinbian zuiweng tanlu, p. 4.
- Cheng Dali, Zhongguo wushu, p. 96.
- Fayun, Fanyi mingyi ji, T, no. 2131, 54:1169b. On the ring staff, see Kie-
schnick, The Impact of Buddhism on Chinese Material Culture, pp. 113–115. See also
“shakujô,” in Mochizuki Shinkô, Bukkyô daijiten, 3:2152–2153; and “shakujô ,” in
Zengaku daijiten, p. 469. - Dedao ticheng xizhang jing, T, no. 785, 17:724c, Kieschnick, Impact of Bud-
dhism on Chinese Material Culture, p. 113. It was probably translated into Chinese
during the Eastern Jin (317–420) period. - Liu Yanshi (fl. 800), in Quan Tang shi, 468.5328; Kieschnick, Impact of Bud-
dhism on Chinese Material Culture, p. 115. - Quan Tang shi, 446.5006.
- Originally from a temple in north China, this wall painting is currently at
the Metropolitan Museum of Art, New York. See The Metropolitan Museum of Art:
Asia, pp. 84–85. - See “Crosier,” in The Oxford Dictionary of the Christian Church, p. 357.
- On the religious and political significance of the staff in the ancient Near
East, see “ma’teh” in Encyclopedia Mikra’it, 4:825–832. - Exodus 7:14.
- I substitute “rattled” for Victor Mair’s “shook.” See his Tun-huang Popular
Narratives, pp. 105, 107; the original is Dunhuang bianwen ji, pp. 730, 732. - See Teiser, The Ghost Festival in Medieval China; and Johnson, Ritual Opera,
Operatic Ritual.
222 Notes to Pages 95–106