Dazzling Displays and Hidden Departures: Bodhisattva Pedagogy as Performance in the Biographies of Two Twentieth Century Tibetan Buddhist Masters
This article, part of a special issue on pedagogy and performance in Tibetan Buddhism, explores two closely-related yet apparently opposite Tibetan repertoires of virtuoso Buddhist mastery as sites of performative pedagogy. One of these modes of Buddhist mastery is connected with the ideal virtuoso...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2017]
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| In: |
Religions
Year: 2017, Volume: 8, Issue: 9, Pages: 1-22 |
| Further subjects: | B
Renunciation
B Tibetan Buddhism B Pedagogy B yogic power B 20th Century B Performance B Bodhisattva |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
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| 520 | |a This article, part of a special issue on pedagogy and performance in Tibetan Buddhism, explores two closely-related yet apparently opposite Tibetan repertoires of virtuoso Buddhist mastery as sites of performative pedagogy. One of these modes of Buddhist mastery is connected with the ideal virtuoso figure of the yogic siddha, or druptop (Tib. grub thob), and with remarkable manifestations of yogic prowess (what are sometimes called yogic miracles in English). The other mode is connected with the ideal of renunciation, and the Tibetan Buddhist virtuoso figure of the renunciant hermit-wanderer, or chatralwa (Tib. bya bral ba). In Indic and Tibetan literature, both of these repertoires of Buddhist mastery are classically associated with a bodhisattva's teaching activity in the world, and with a bodhisattva's use of many kinds of skillful means (Skt. upāya; Tib. thabs) to develop individuals on the Buddhist path. (A bodhisattva, in Mahayana Buddhist terms, is someone who has vowed to achieve Buddhahood to benefit others.) I explore how these related modes of virtuoso pedagogical performance emerge in oral and textual life stories of two notable twentieth-century Tibetan masters. These modes of virtuoso Buddhist pedagogy and Tibetan ways of talking about them challenge our understandings of what it means to perform and what it means to renounce, with renunciation emerging as a guarantor of the genuineness of someone's altruism. | ||
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