Volume 15, Issue 1

Numerous Buddhist tales originating from ancient India have traversed the expansive Silk Road, journeying across Western Asian cultural terrain to reach distant corners of Europe. The several types of “The Story of Three Fishes” from Indian folktales not only was narrated in the Pāli Jātaka, Epic Mahābhārata , Pañcatantra , Hitopadeśa , and Somadeva’s Kathāsaritsāgara at different times, but also was revised or even changed into the Kalīla wa-Dimna , Sogidan Tales , Mathnawī (Rumi)’s Masnavi , Anwár-i-Suhailí , and many translated versions of Kalīla wa-Dimna , such as Kalīlah va Dimnah , Buch der Beispiele der alten Weisen , and Directorium Humanae Vitae in different languages. This narrative transcends textual boundaries, traversing continents and epochs to manifest in diverse visual representations. By scrutinizing its origins and the evolving interplay between its textual and visual renditions, this paper endeavors to illuminate the intricate channels through which ancient Indian culture and religion communicated. Furthermore, it serves as a compelling empirical lens for comprehending the cultural exchange between ancient Europe and Asia.

Nenghai 能海, a distinguished patriotic monk in the history of modern Chinese Buddhism, made remarkable contributions to the revitalization of Han Buddhism and the promotion of Han-Tibetan cultural exchanges. He journeyed to Xizang twice, studying under Khang Gsar Rinpoche 康萨仁波切 (1890–1941) and mastering both the exoteric and esoteric teachings of Buddhism. Upon his return to the Han regions of China, he founded “the Great Prajñāpāramitā Sect 大般若宗”, guiding disciples through Tibetan Lamrim and managing monasteries according to Han traditions, thereby adeptly propagating the integrated teachings of exoteric and esoteric Buddhism. During times of national turmoil and ethnic crises, he strove to revive the declining influence of Buddhism, fearlessly persevering against adversities. His efforts significantly contributed to preserving the integrity of Buddhist doctrines in China and fostering the diversity and prosperity of various Buddhist sects.

Calligraphic icon differs from general artistic images, such as portraits, as it does not directly imitate objects but rather presents a distinct form of comparison in calligraphy. The predominant rhetorical pattern in Chinese calligraphic theory is the “analogical icon”, which encapsulates the essence of calligraphic art by juxtaposing language imagery with visual representations. This inseparable link between literature and calligraphic icon forms the philosophical foundation of the “calligraphic iconology”. In the realm of theory, writing renders language visible, giving rise to the possibility of looking at calligraphic iconology from a phenomenological perspective and the subsequent development of the “image and background relationship” method within this domain. The “calligraphic icon” serves as the fundamental subject of inquiry within the field, presenting both the focal point and challenge for the “theory of calligraphic iconology” and representing a novel area ready for continuous exploration.

The short story “Vision” stands as a singular romantic narrative within Lao She’s (1899–1966) literary repertoire. Wang Shupeng undertook the adaptation of this tale into gouache comic strips, a rendition that garnered acclaim by securing the Second Prize in the Third National Comic Strip Painting and Creation Contest in China in 1986. Lao She held a particular fondness for this narrative, as it drew inspiration from his own experiences of first love. Adopting a first-person perspective, the author elegantly narrated a tale of love imbued with tragedy, employing a poetic language and employing a stream-of-consciousness narrative technique that underscored its creative ingenuity. In adapting the script for the comic strip rendition, Wang Shupeng accentuated the poignant fate of the protagonists alongside their unwavering perseverance. Through his evocative brushwork, the artist adeptly conveyed the characters’ distinct personalities and internal thoughts, thereby setting a gloomy tonal ambiance for the comic strip’s color palette. Such meticulous efforts culminated in the transformation of “Vision” into a masterpiece within the realm of comic strips.