Because Robert Hans van Gulik's famous book about the qin is called The Lore of the Chinese Lute, the guqin is sometimes inaccurately called a lute. The guqin is not to be confused with the guzheng (「古箏/古筝」 'ancient stringed-instrument (with moveable bridges)'), another Chinese long zither also without frets, but with moveable bridges under each string. It can also be called qixianqin 「七絃琴」 ('seven-stringed instrument'). The yangqin 「揚琴/扬琴」 hammered dulcimer, the huqin 「胡琴」 family of bowed string instruments, and the Western piano ( Traditional Chinese: 鋼琴 Simplified Chinese: 钢琴, pinyin: gāng qín literally 'steel stringed-instrument') are examples of this usage, so the prefix 'gu-' 「古」 (meaning 'ancient') was added for clarification. Traditionally the instrument was called simply qin 「琴」, which can also be written as 「琹」, 「珡」 or other ancient forms, but by the twentieth century the term had come to be applied to many other musical instruments as well. It is sometimes referred to by the Chinese as 「國樂之父/国乐之父」, meaning 'the father of Chinese music' or 「聖人之噐/圣人之器」, meaning 'the instrument of the sages'. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement. The guqin ( Chinese: 古琴 pinyin: gǔqín Wade-Giles: ku-ch'in IPA: literally 'ancient stringed-instrument') is the modern name for a plucked seven-string Chinese musical instrument of the zither family (中華絃樂噐/中华弦乐器). Gu Qin, GuQin, Gu-qin, Gu qin, Gu Qing, etc. Geum (chin), gogeum (guchin), chilhyeon-geum Related subjects: Musical Instruments GuqinĬh'in 2, ku 3-ch'in 2, ch'i 1-hsien 2-ch'in 2 In other words, one conscientiously works towardsĪwakening through meditation and study, while also engaging inįaith-based practices, such as reciting the name of Amitabha,Ĭhanting Buddhist sutras, and worshiping images of Buddhas andīodhisattvas.2007 Schools Wikipedia Selection.

Power” in most forms of Chinese Buddhism. To the Japanese tradition, the Chinese Pure Land tradition merged withĬhan Buddhism during the Ming dynasty (1368-1644) resulting in a The promise that those who recite his name will be reborn in the Pure In the Japanese Jodo Shinshu tradition (the most popular branch of Buddhism in Japan), the “faith ”Įlement is pushed to the extreme by claiming that one’s salvation isĪssured the moment one sincerely believes in Amitabha’s 18th vow (i.e. Practitioners repeat the mantra “I take refuge in AmitabhaĪmituofo in Chinese or namu amida butsu in Japanese). The followingĮxample comes from a relatively obscure text, the Aparimitayuh Sutra ( Discourse on UnboundedĪ third approach is likewise based on the recitation of the nianfo/ nembutsu, but in this case the recitation alone is considered sufficient to guarantee rebirth in the Pure Land. Seen as a powerful, protective act of praise and merit. Text as on its writing, its copying - something that was Here the emphasis is not so much on the recitation of the In time, also, some sutras appeared that were almostĮntirely self-laudatory in nature, as the following selection The prime example, perhaps, being the Japanese Nichiren sect, where the In time, wholeīuddhist sects came to be focused on the salvific power of such texts, It will be guaranteed immense soteriological benefits. We can read how those who commit to memory or copy out but a portion of Indeed, in other portions of the Lotus Sutra, Rise, in the Mahayana, to self-laudatory texts, sutras that devote aįew lines or a chapter to the praise of their own preservation, Of salvation the very texts in which they figured, because theyĬontained and conveyed the Dharma, came to be seen as having the powerīoth to enlighten and to protect beings who turned to them. In the Mahayana the personae of bodhisattvas were not the only agents The growing magical, salvific function of Buddhist scriptures. Protect those who rehearse and venerate the sutra itself - reflects

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