Wang Zengqi, Buddhist Initiation

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1. What do you think of Wang Zengqi's style of writing? Do you notice any similarities or
differences between Wang's style of writing and that of his teacher Shen Congwen?
." Wang Zengqi, Buddhist Initiation.
Indeed, there are many similarities between Wang Zengqi’s and his teacher Shen Congwen; this
is evident in the thematic concerns they both addressed. Additionally, their work was full of
excess emotion and sentimentalism. Although the literature was written during the Mao period
usually condemn the horrors induced by the ““feudal”” history of Chinese, Wang’s story instead
painted a lovely and romantic picture of life before 1949 (Casey, 2014). Wang was not confident
whether he could locate a magazine eager to publicize ““Buddhist Initiation.”” Wang mentions
his friends' reactions when told of his intentions to write this tale in his Essay the Need for
Esthetic Feeling and its Effect on society.
2. Wang begins the story with a discussion about the name of the town where Minghai
lives. Do you notice any other examples in the story in which the narrator is interested in
the topic of language?
The story of Wang represents an endeavor to create a new course for modern Chinese literature.
With the rise of power in Mao after and even encouragingly, governmental authorities allowed
scar literature to be published, offering traumatic stories about the Cultural Revolution trials.
Nevertheless, Wang did not wish to dwell on past sadness when he argued that fiction should
aim to eradicate "excess feeling and sentimentalism" in essays like his "Postskit for Three Stories
by the Bridge."
3. What did you learn about Buddhist customs and Wang's native region after reading this
story?
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Three thought processes are part of Popular Chinese culture: Confucianism, Daoism, and
Buddhism. The first two are Chinese, and Buddhism is an Indian foreign faith. Although disputes
have been between the three thinking structures, the mainstream in Chinese cultural thinking
creation is convergence. Thus, Chinese society has become a structure by uniting the three
religions to a single faith with Confucianism in the Daoism and Buddhism sponsored middle
(Chu et al., 2020). The Buddhist has been engaging for over 2000 years, with all levels of
Chinese society like literature. Consequently, Buddhism has effectively become one of the three
foundations blended and incorporated into traditional Chinese society. This paper deals with four
points: philosophy and moral instruction, faiths and traditional values, languages and literature,
art and architecture, and the Buddhist influence on Chinese culture.
4. How does Wang Zengqi describe the scenery in his hometown? Some scholars have
described his writing as "painterly" (Wang is a painter and calligrapher). Do you agree?
Wang wrote about his youth’s home and placed his works into a new tradition of native
(Xiangtan) literature. I agree that this is a form of “painterly”. His work was also about personal
history. However, this tradition he profoundly rewrote with an unparalleled view of the native
region, which stresses the psychological processes of memory and systematic language. This
study examines the cultural aspect of language more intensely than many native kinds of
literature (Chu et al., 2020). I research the reconstructions of Wang’s rural homeland from the
past, emphasizing “Buddhism Initiation” and his post-Mao essays. From Pierre Nora’s “Lieux de
mémoire” theorizations, I claim that, at a historical period when the Cultural Revolution was
shattering many of his shared memories. At the end of the Mao era, both Wang and the racist
writers had begun to write about the country’s locus of pre-modern literature and cultural
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practices. There was often the use of the words’ imaginary memory sites’ (1993: 107) to describe
Wang Zengqi’s creation of such text-based sites, borrowing from David Wang’s word
“imaginary nostalgia.”
5. Please describe your favorite part of the story.
“The image and concept of guxiang best indicate a primary structure of feeling and frequently
provokes a melancholic nostalgia that reaches metaphysical heights while also suggesting
allegorical dimensions. Literally meaning "old country," the phrase pits an existential temporality
against an external and emphatically rural, often even pastoral, landscape.”
My favorite part of the story is when Tang states that nostalgic texts regarding the native
"emphatically pastoral" land have their origins in the Han Dynasty and Sima Qian (146-86 da ̄
intrigued by the Grand historian, Shi Ji). During the Tang dynasty, poetry "surpassed by an
archetypal human longing" the Tang Dynasty (2000: 75). (146-86). With Xiaobing Tang talking
about a pre-modern tradition, David Wang (1 993) describes a new modern genealogy, the
"native soil literature," which covers the pre- and post-Mao periods Wang and is found both in
mainland China and in Taiwan. Wang quoted Lu Xun's preface for a contemporary Chinese
fiction compilation when he first described his native soil as a genre in modern Chinese
literature: "Before a writer sets out to compose native literature on soil, he finds himself already
exiled from his home, pushed by life to a strange location. He, therefore, claims from Lu Xun
that "native soil literature" is a fundamental "rootless" literary work created by exiles who use
fiction as a medium to display nostalgia for the lost homeland.
References
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Casey, J. (2014). Buddhist Initiation Paintings from the Yuan Court (1271-1368) in the Sino-
Himalayan Style. URL: http://www. asianart. com/articles/tsakli-casey/index. html on
June, 16.
Chu, S. Y., Chien, C. C., Hwu, W. L., Wang, P. J., & Chien, Y. H. (2020). Early initiation of
high-dose oral ambroxol in combination with enzyme replacement therapy in a
neuropathic Gaucher infant. Blood cells, molecules & diseases, 81, 102402.

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1

." Wang Zengqi, Buddhist Initiation.

Esthetic Feeling and its Effect on society.

the topic of language?

art and architecture, and the Buddhist influence on Chinese culture.

5. Please describe your favorite part of the story.

against an external and emphatically rural, often even pastoral, landscape.”

fiction as a medium to display nostalgia for the lost homeland.

Himalayan Style. URL: http://www. asianart. com/articles/tsakli-casey/index. html on

high-dose oral ambroxol in combination with enzyme replacement therapy in a

neuropathic Gaucher infant. Blood cells, molecules & diseases, 81, 102402.

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