#confucianism and daoism

[fyri-writes]

Avatar: The Last Airbender and Philosophy: Wisdom from Aang to Zuko by Johan De Smedt

Aaaa! I was so excited when I learned this book existed. As an amateur philosopher, it lived up to all my expectations and desires. Here is my review.

Avatar: The Last Airbender and Philosophy: Wisdom from Aang to Zuko by Johan De SmedtMy rating: 5 of 5 stars Aaaa! I was so excited when I learned this book existed. As an amateur philosopher, it lived up to all my expectations and desires.It covers so many different aspects of the show and teaches philosophical concepts through the lens of the characters and worldbuilding and considers them…

[thejaymo]

“Confucianism, Daoism and Buddhism all contributed to the modern notion of gongsheng, which speaks to the conviction and the worldview of mutually embedded, co-existent and co-becoming entities. The notion of gongsheng, shaped by these traditions, behooves us to question the validity of the notion of an individual being as a self-contained and autonomous entity and reminds us of mutually embedding, co-existent and entangling planetary relations. It also inspires within us reverence and care toward creatures, plants and other co-inhabitants and even inorganic things in the natural surroundings.”

The Philosophy Of Co-Becoming

[nicholasandriani]

Day 11 of the Hyakunin Isshu: Translating Ancient Japanese Poetry: Unraveling the Essence of Samurai Takamura

Today, we’re going fishing with Sangi Takamura (参議篁). So to speak… Twitter Patreon GitHub LinkedIn YouTube わたの原 (Wata no hara) – Across the open sea,八十島かけて (Yaso-shima kakete) – Spanning eighty islands,こぎ出ぬと (Kogi idenu to) – Rowing forth,人には告げよ (Hito ni wa tsugeyo) – Tell those whom you meet,あまのつり舟 (Ama no tsuribune) – The boat of fishermen from Ama. In translating Sangi Takamura’s poem,…

[polyglot-thought]

"Confucius: Words of Wisdom" Documentary Roasting a Baby.

(timestamp 5:49 to 6:28)

Apparently Confucius was such an ugly baby that they named him "Mound" because he looked like a mound.

[peridot-tears]

Watching people arguing about whether Easter and Christmas are actually pagan and then it spiraling into the three Abrahamic faiths bristling at each other, while I sit my Asian agnostic ass over here, like, *blinkblink*

[starwarspissorgy]

Same image

A Daoist priest flying over the water

[a-really-average-gifted-kid]

OKIE LES GET ITTTT

AP WORLD UNIT 1 PART 1

[teachanarchy]

Confucianism, Buddhism, and Daoism: Chinese Popular Religion

[lesbians4lanzhan]

i do think it's interesting when ppl say things like lan zhan is autistic bc he stims with music (playing guqin) or all lans r autistic all jiangs r adhd like how winnie the pooh characters r all assigned diff mental illnesses but for clans. bc just as morality varies across time/place (even how 'the family' works across time/place - see everytjing abt whether madame yu is abusive, whether wwx is adopted or not, etc) it's fairly clear tht what counts as neuro-'divergence' differs based on norms. is it autistic for lan zhan to value family/ancestral rules + become distressed when his prev moral dichotomies r challenged or does he live somewhere in a time when filial piety was a whole thing etc. obviously the answer can be 'both'! but also autism Constructed As A Disability (& really the way Disability As A Construction has changed post civil rights act in the usa) is different from a character having autistic (as conceptialized in the 21st century) traits. was lan zhan Disabled socially, materially, etc, or did these traits factor into his high status? can u tell i am autistic by how much i'm writing about a topic that 99.999% of rhe world doesn't care anything about!

[ryin-silverfish]

So You Want to Read More about Chinese Mythos: a rough list of primary sources

"How/Where can I learn more about Chinese mythology?" is a question I saw a lot on other sites, back when I was venturing outside of Shenmo novel booksphere and into IRL folk religions + general mythos, but had rarely found satisfying answers.

As such, this is my attempt at writing something past me will find useful.

(Built into it is the assumption that you can read Chinese, which I only realized after writing the post. I try to amend for it by adding links to existing translations, as well as links to digitalized Chinese versions when there doesn't seem to be one.)

The thing about all mythologies and legends is that they are 1) complicated, and 2) are products of their times. As such, it is very important to specify the "when" and "wheres" and "what are you looking for" when answering a question as broad as this.

-Do you want one or more "books with an overarching story"?

In that case, Journey to the West and Investiture of the Gods (Fengshen Yanyi) serve as good starting points, made more accessible for general readers by the fact that they both had English translations——Anthony C. Yu's JTTW translation is very good, Gu Zhizhong's FSYY one, not so much.

Crucially, they are both Ming vernacular novels. Though they are fictional works that are not on the same level of "seriousness" as actual religious scriptures, these books still took inspiration from the popular religion of their times, at a point where the blending of the Three Teachings (Buddhism, Daoism, Confucianism) had become truly mainstream.

And for FSYY specifically, the book had a huge influence on subsequent popular worship because of its "pantheon-building" aspect, to the point of some Daoists actually putting characters from the novel into their temples.

(Vernacular novels + operas being a medium for the spread of popular worship and popular fictional characters eventually being worshipped IRL is a thing in Ming-Qing China. Meir Shahar has a paper that goes into detail about the relationship between the two.)

After that, if you want to read other Shenmo novels, works that are much less well-written but may be more reflective of Ming folk religions at the time, check out Journey to the North/South/East (named as such bc of what basically amounted to a Ming print house marketing strategy) too.

-Do you want to know about the priestly Daoist side of things, the "how the deities are organized and worshipped in a somewhat more formal setting" vs "how the stories are told"?

Though I won't recommend diving straight into the entire Daozang or Yunji Qiqian or some other books compiled in the Daoist text collections, I can think of a few "list of gods/immortals" type works, like Liexian Zhuan and Zhenling Weiye Tu.

Also, though it is much closer to the folk religion side than the organized Daoist side, the Yuan-Ming era Grand Compendium of the Three Religions' Deities, aka Sanjiao Soushen Daquan, is invaluable in understanding the origins and evolutions of certain popular deities.

(A quirk of historical Daoist scriptures is that they often come up with giant lists of gods that have never appeared in other prior texts, or enjoy any actual worship in temples.)

(The "organized/folk" divide is itself a dubious one, seeing how both state religion and "priestly" Daoism had channels to incorporate popular deities and practices into their systems. But if you are just looking at written materials, I feel like there is still a noticeable difference.)

Lastly, if you want to know more about Daoist immortal-hood and how to attain it: Ge Hong's Baopuzi (N & S. dynasty) and Zhonglv Chuandao Ji (late Tang/Five Dynasties) are both texts about external and internal alchemy with English translations.

-Do you want something older, more ancient, from Warring States and Qin-Han Era China?

Classics of Mountains and Seas, aka Shanhai Jing, is the way to go. It also reads like a bestiary-slash-fantastical cookbook, full of strange beasts, plants, kingdoms of unusual humanoids, and the occasional half-man, half-beast gods.

A later work, the Han-dynasty Huai Nan Zi, is an even denser read, being a collection of essays, but it's also where a lot of ancient legends like "Nvwa patches the sky" and "Chang'e steals the elixir of immortality" can be first found in bits and pieces.

Shenyi Jing might or might not be a Northern-Southern dynasties work masquerading as a Han one. It was written in a style that emulated the Classics of Mountains and Seas, and had some neat fantastic beasts and additional descriptions of gods/beasts mentioned in the previous 2 works.

-Do you have too much time on your hands, a willingness to get through lot of classical Chinese, and an obsession over yaoguais and ghosts?

Then it's time to flip open the encyclopedic folklore compendiums——Soushen Ji (N/S dynasty), You Yang Za Zu (Tang), Taiping Guangji (early Song), Yijian Zhi (Southern Song)...

Okay, to be honest, you probably can't read all of them from start to finish. I can't either. These aren't purely folklore compendiums, but giant encyclopedias collecting matters ranging from history and biography to medicine and geography, with specific sections on yaoguais, ghosts and "strange things that happened to someone".

As such, I recommend you only check the relevant sections and use the Full Text Search function well.

Pu Songling's Strange Tales from a Chinese Studios, aka Liaozhai Zhiyi, is in a similar vein, but a lot more entertaining and readable. Together with Yuewei Caotang Biji and Zi Buyu, they formed the "Big Three" of Qing dynasty folktale compendiums, all of which featured a lot of stories about fox spirits and ghosts.

Lastly...

The Yuan-Ming Zajus (a sort of folk opera) get an honorable mention. Apart from JTTW Zaju, an early, pre-novel version of the story that has very different characterization of SWK, there are also a few plays centered around Erlang (specifically, Zhao Erlang) and Nezha, such as "Erlang Drunkenly Shot the Demon-locking Mirror". Sadly, none of these had an English translation.

Because of the fragmented nature of Chinese mythos, you can always find some tidbits scattered inside history books like Zuo Zhuan or poetry collections like Qu Yuan's Chuci. Since they aren't really about mythology overall and are too numerous to cite, I do not include them in this post, but if you wanna go down even deeper in this already gigantic rabbit hole, it's a good thing to keep in mind.

[rickygadvisor]

For free content you can find all links in the bio 🔝 of @shihengyi.online or on 💮 www.shihengyi.online 💮 For more free and paid training visit the link in the bio of @shaolin.online or visit 💮 www.shaolin.online 💮 #shihengyi #shaolin #shaolinmonk #35thgeneration #shaolintempleeurope #headmaster #shaolinonline #selfmastery #martialarts #kungfu #qigong #meditation #buddhism #daoism #confucianism #buddha #laotzu #confucius #chan #monk #wisdom #knowledge #growth Reposted from @shihengyi.online (at Miami Beach, Florida) https://www.instagram.com/p/CogW2MFrxJY/?igshid=NGJjMDIxMWI=

[journeytothewestresearch]

As someone who’s Chinese w/ a degree in social science + (art) history regarding East Asia I’m always super intrigued and interested to how others interpret changes in new titles on older religious texts- but I will ask in particular if you have any personal ties to Buddhism/Taoism/Confucianism (and Chinese culture) when you find yourself interpreting BM:W’s change in allegorical use of Buddhism as contemporary political adherence! BM:W’s religious and soul mechanics follows their previous game without much overt linking between the two.

Overthrowing Gods in East Asian media is a very common trope in videos specifically due to player involvement (contrast to books where you are separate as the audience) and often is used as an allegory for the system/recent events we exist in. In such it does shift a lot from the original text in base but I think it’s not supposed to relay the same allegory due to the time period in which the writers exist! Wukong’s story changing to him still being chained by the principles that envelop life is far more relatable to late-stage capitalist environments viewers and artists exist in- as such he fulfils the contemporary variant of his original role in JTTW!

I think the change in purpose the Buddhist mythos serves in this game is decisive by nature due to inherent bias present in the original text as a religious piece, and such is core to the allegory. However I don’t think BM:W is supposed to relay that allegory, I think it is supposed to branch off on its own as an alternate contemporary extension of the foundation JTTW set out (plus with the 2 DLC’s on the way, there is plenty of time to extend the universe in game to validate a shift in religious purpose compared to the cut 7 chapters planned during development). And such i think attributing it to the CCP can be a bit of a touchy statement (especially if one doesn’t have long standing ties to East Asian culture or Regional religious practice!) and can accidentally play into sinophobic phrasing and attitudes.

Buddhism as a practice and way of life has a very different presence in writers centuries ago compared to now, as well as how we use religion in audience-involved stories. And such I find it an interesting shift regarding a game made with an international and widely multi-religious audience (that isn’t consuming it as a psycho-socio poem compared to a much smaller and more culturally homogenous readerbase. I think the friction caused by thematic changes is more due to how the game relays the physical journey so closely with reusing characters and having to shift them according to the foundational changes- if it was closer to other written “sequels” that created characters connected to the original cast through descending from them etc, the changes wouldn’t grate on completed arcs or how we compare the experience to wukong’s parallel one

No, I do not have any direct personal cultural connection to Buddhism, Daoism, or Confucianism. I live in Asia, though, and beyond my research of JTTW, I do study religion here (with more of an emphasis on folk religion as it pertains to the Great Sage). My negative view of Black Myth: Wukong is colored by my deep love for the original story. In general, I don't like adaptations.

Thank you for your explanation of the game.

[howtofightwrite]

I'm writing a scene where a cultivater (chinese martial artists who fights ghosts) falls in a forest and I'm trying to figure out how someone who fights on rough terrain would train to fall. I tried looking at martial art/parkour/stunt man tutorials, but I feel like a lot of the basic techniques (rolling, and slapping the ground to distribute weight) wouldn't work well on uneven ground. I also tried looking at hiking advice but they just say to fall on your pack. Any insight?

Chinese cultivators don’t fall, they choose to reacquaint themselves with the ground.

That sounds like a joke, but the best way to understand Chinese cultivators and Chinese fantasy media is to realize that martial arts are the gateway drug to magic. And that will get you into a lot of trouble if you follow that all the way into Martial Arts Give You Superpowers, which is both the outgrowth of the western understanding of Chinese culture and a trope rife with orientalism. Cultivation seems simple on the surface when you’re watching Chinese media, but it’s more than martial arts, it’s more than religion, it’s more than mythology, (though it is all of those too) it’s a genuine transition into metaphysics that reorients how we understand and interact with the world around us. The concepts we see in cultivation come from real martial arts philosophy that you find in Tai Chi, Shaolin, and most other Chinese martial arts. They come from real religions including Daoism, Buddhism, a healthy dose of Confucianism, general mythology and mysticism from a wide range of subcultures, and, to an extent, Animism. If you aren’t doing your reading with the Eight Immortals, Journey to the West, The Legend of the White Snake, and others then you should dig in. I also really suggest watching the live action C-Dramas whether they’re true Wuxia or more Xianxia idol dramas (and in this case the idol dramas are better because the action is slower) so you can acquaint yourself with the stylized martial arts portrayals, a wide variety of choreography, character archetypes essential to motif based storytelling, and the most important aspect of all—wire work.

Understanding and conceptualizing stunt action done on wires is essential when you’re trying to visualize and create action scenes in any East Asian genre. Your first instinct might be to dismiss the stylized movement as unrealistic (it is) but remember that it’s also genre essential. Hong Kong action cinema has a very specific feel to it that’s very different from the way Western cinema structures and films their fight scenes. Even when you’re writing, you’ll want to find ways to imitate it through your visual imagery on the page.

Probably the best way to contextualize cultivators is that they’re wizards who do martial arts. They’ve learned to transcend the limitations in our understanding of reality through knowledge and study to perform superhuman feats. How superhuman? Well, it gets wild. They can be anywhere from Crouching Tiger, Hidden Dragon/Who Rules the World fly through the trees levels to Shang Tsung’s “I’m going to slam my hell reality into your normal reality because commuting to work is too much of an inconvenience.”

Which is to say, they don’t always fight ghosts. Sometimes they fight other martial artists, sometimes they fight other cultivators, sometimes they fight demons, sometimes they fight gods, and sometimes they fight incredibly overpowered monkeys. They’re often monks living in seclusion on a mountaintop, but not always. Cultivation is more of a state of mind. Anyone can do it if they learn how to absorb spiritual energy from the world around them through meditation and breathing exercises. Gods cultivate. Humans cultivate. Animals cultivate. Remember, the demons and the ghosts cultivate too. Sometimes, your master gets reincarnated as a demon. Sometimes, you do. The amount of wacky spellcasting you can do is dependent on how much energy you’ve cultivated, which is dependent on how old you are and how good at cultivation you are. Using the power means you need to cultivate more energy, the greater the spell or difficult the battle then the more energy is lost.

This is important to the question of: how does a cultivator fall?

Metaphorically? Existentially? Physically?

When we’re talking physically, wire work becomes very important. Think of your cultivator as being on wires. If they have the knowledge and understanding to do it, they can slow their own fall through the air to land harmlessly on the ground or twist over like a cat and launch themselves back off the ground to fly at their opponent in a counter attack. If they have the knowledge and understanding, they can teleport. If they lack the knowledge and understanding or want to trick their opponent, they can hit the ground like a sack of potatoes. If they’re relying on basics, they can also smack the ground to counter and spread out the impact then use the momentum from that fall to roll back onto their feet. They’ll do it no matter what terrain they’re on because it’s a basic technique that’s trained into their foundation to the point it’s a reflexive action. Any force distributed away from, and reducing impact on, important body parts like your spine is better than nothing. It’s better to sacrifice your arm than be paralyzed. At its heart, that’s the point of the technique. If you’re able to walk away with a functioning spine, it’s done its job. Your shoulder hurts? That’s normal. Your arm is sprained or broken? Sucks, but that’s better than the alternative that is paralysis and death. For reference, learning to fall was the first lesson my Wushu instructor ever taught me. It is that basic.

A lot of the time when portraying cultivators in media, the goal is to show them as being beyond the limitations of standard martial artists. How vast the gap is between the cultivator and the average human is dependent on both the setting and the cultivator. So, the average martial artist who possesses superhuman talents but hasn’t dedicated themselves to a life of cultivation and cultivators who are new to the path are going to be on the rung below and more likely to be knocked on their ass. Cultivators in the mid-range are more likely to have crafted or trained in solutions to being knocked on their ass which put them in a less vulnerable position while recovering and empowered/enhanced their martial arts. Cultivators in the top tier are usually straight up masters at spellcasting, if they deign to fight at all. Gravity need not apply. Rember, the time it takes you to hit the ground and roll to your feet is time your opponent has to launch a counter attack or move to a better position. Also, it means you’ve taken your eyes off your opponent. This is bad enough against a normal human opponent. Against another mostly immortal or ancient magic user this risks a terrible outcome.

Cunning and strategy are both as important as skill. Wisdom, knowledge, and hard work outweigh talent and raw potential. You’ll have to decide how esoteric you want to be and what limits you want to set. I really urge you to do this because the danger of power creep is real and especially prominent here. A character’s growth in power is often linked to their growth in character or their arc, as they gain a greater understanding of themselves and the world around them their skill increases. The self-discovery/self-reflection/self-interrogation/intense suffering to reach enlightenment portion is just as important and intrinsic to the martial arts portion of Martial Arts Give You Superpowers. It’s easy to focus on the Superpowers or the Martial Arts parts of the equation and miss the genre necessity of character growth. This growth often happens through heaps of steadily increasing trauma. Or, failing to undergo that by being too powerful and thus unable to progress is the joke like it is in Qi Refining for 3000 Years. (Go to hell, Bai Qiuran, you hilariously overpowered monstrosity.)

The irony is that the trajectory in character growth is the same trajectory the average student experiences when practicing martial arts. The only difference is that the power arc is inflated. This includes overcoming ingrained truths that you believe about yourself, about your own abilities, what you believe yourself to be capable of (both good and bad,) about your biases toward yourself and other people, your biases about reality in general, your understanding of good and evil, the potential upending of right and wrong, and facing the greater complexity found in the world at large. The stripping away of these illusions, coming to terms with uncomfortable realizations in a more complicated world, and the gaining of new understanding and confidence are vital to that growth.

Skill isn’t just represented in the power creep, it’s also found in a character’s sophistication and complexity in their approach to combat and life in general. Their awareness both of themselves and of other people, their ability to read intentions, their predictive abilities, their complexity in initiating their own strategy and tactics while also recognizing and countering the plans of others. It’s their insight into human nature and their cunning. It’s not enough to be powerful. The world is full of powerful people and not so powerful people who have the capacity to be just as dangerous. This isn’t Goku and Freeza slamming into each other while the planet explodes in nine minutes. You also need to be smart. It’s also not about being a better person. It’s about being a self-aware person. A person who is self-actualized. Monkey’s growth is in his awareness of the world around him through his experiences and in approaching problems differently rather than becoming less of a little shit. If you grow up in the West, one of the issues you’re going to face is thinking of these hurdles as materialistic rather than emotional or intellectual.

A lot of Western media misinterprets the concepts of “giving up” as physical sacrifice. One of the popular examples is physically sacrificing the person we love. In order to have enlightenment, we must be separated from them. We can’t physically be with them anymore. Whereas under a Buddhist structure, what we are actually sacrificing is our own ignorance, our own preconceptions, and beliefs that keep the world comfortable. Under this structure, we’re sacrificing our preconceived notions of who our loved one is. The person that we invented when we first met and we must force ourselves to come to terms with who they really are. The outcome of this isn’t necessarily going to be bad, but it’s still painful. The person we think we love could be perfectly wonderful. However, they’re not who we imagined. If we choose to hold onto the illusion we created, to ignore the realization that the illusion is the person that we love, we’ll only end up causing ourselves and our loved one more pain. We must fall in love with them all over again. Coming to terms with that is painful. All pain comes from ignorance. In sacrificing, letting go of, or overcoming our ignorance, we grow.

These are the emotional, intellectual, and spiritual challenges necessary for a cultivator because they allow the cultivator to level up. Yes, level up. Whether this is coming from the influx of gaming culture into media at large or because the concept synergizes with the Buddhist goal of progressing through the Six Realms toward nirvana, leveling up is how a cultivator’s increasing power is often depicted. Of course, once we reach the next level we can’t go back except by falling or failing and are no longer the person we once were. This then gets mixed in with Daoist principles of finding divine understanding by living in harmony with the universe. The more understanding we gain of the world, the more energy we can absorb as a result, but our original goals may be lost or changed in the process. If a character begins their journey on the path of revenge, their newfound contextualization of the situation that caused them immense pain may force them to give that revenge up or find they don’t want revenge anymore.

Failure is also an option and often a common part of the story. These stories usually follow characters through multiple lives and rebirths over hundreds and even thousands of years, especially if they’re also gods. This is the existential fall. The fall to the Dark Side. All our heroes are going to go through it at least once. This is also why a lot of Chinese media ends in tragedy with hope for the next round.

-Michi

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[artifacts-archive]

Ritual Wine Vessel (Jue)

Chinese, 12th century BCE

For rituals, wine was served warm. The two spouts on this vessel were used to pour the warm wine into cups. Some of the earliest belief systems in China included communicating with spirits and worshipping ancestors. Later, the philosophies and religions of Confucianism, Daoism, and Buddhism contributed their respective teachings and rituals. The interplay between these traditions over time helped define Chinese society and culture. Many rituals and ceremonies took place at an altar (in temples or homes)—it was at the altar where the human world, the natural world, and the supernatural worlds connected. So the objects that were placed on a ritual altar possess meaning and significance. The practice of conducting rituals at the altar continued in China through the Qing dynasty (1644–1911).

[fiftysevenacademics]

Wuxia is a popular Chinese literary genre, also known as wuxia xiaoshuo (武 侠小说, literally “martial arts fiction”). The genre consists of three components: wu (武, “martial arts” or “the arts of fighting”), xia (侠, “knighterrant”), and xiaoshuo (小说, “fiction”) (Ni 1980). Rooted in the spiritual and ideological traditions of Confucianism, Buddhism, and Daoism, wuxia stories feature the adventures of a warrior xia and his/her skills in martial arts, as well as the themes or principles of xia (e.g. chivalry, altruism, justice, and righteousness). An important aspect of wuxia is its setting, known as jianghu (江湖, literally “rivers and lakes”), that is, an alternate society created by xia in opposition to the authority (Chen 2010, 108). This alternate society finds a concrete form in “the complex of inns, highways and waterways, deserted temples, bandits’ lairs, and stretches of wilderness at the geographic and moral margins of settled society” (Hamm 2005, 17). Jianghu also refers to a semi-Utopia where xia punishes evil and exalts goodness out of their chivalric imperative to “carry out the Way on Heaven’s behalf” (Chen 2010, 109). Classics such as Water Margin (or Outlaws of the Marsh) and Journey to the West solidified wuxia as a genre, with the former establishing “the literary formula emulated by later writers whereby righteous men choose to become outlaws rather than serve under corrupt administrations” (Teo 2015, 20) and the latter being “a source for supernatural elements in contemporary wuxia literature” (Rehling 2012, 73). Dang Li (2021) The Transcultural Flow and Consumption of Online Wuxia Literature through Fan-based Translation, Interventions, 23:7, 1041-1065, DOI: 10.1080/1369801X.2020.1854815 https://doi.org/10.1080/1369801X.2020.1854815

[markiafc]

not sure how to put this into words. but buddhism (literature, figures, history, etc.) is queer and has been queered over the years. and when a chinese story embarks on a daoism-buddhism-confucianism study, there are echoes of similar themes, devices, techniques, allusions. by nature of being a chinese story, the frequent heart of it is a daoism & buddhism vs. confucianism ideological battle where the latter is rules and conventions and social expectations. and the former is liberation, a queered deviancy because it advocates for plurality and fluidity.

the lotus sutra has a prominent gender-change motif so as to present freedom... the buddhist ideal to emancipate oneself from mainstream society is often realized as a release from the gender hegemony. non-duality teachings in buddhism encompasses all of this.

in the lotus sutra, the dragon girl turns into a male and then proceeds to attain enlightenment - in direct response to the men telling her she cannot do so, that women are spiritually disadvantaged. transitioning is a queer act but also a buddhist achievement: an entity letting go of their body and subsequently their confucian identity of "father", "son", "wife", "mother", "daughter", etc. through this they learn non-duality & non-self & abandoning illusions, the primary concepts to buddhism.

in the lotus sutra, bodhisattva guanyin also notably underwent a male to female transformation. back in the day, guanyin's male form was at first more popular and their masculine image dominated. today it's an androgynous woman in white robes that's become iconic. this gender fluid nature again stands for liberation; guanyin is a beloved figure for women because they depict a breakaway from male-oriented society and the patriarchy. from the sanskrit name "avalokitesvara" (lord who looks down) to the chinese "guanyin" (one who observes the sounds). the chinese symbol of mercy is necessarily linked to a male to female trajectory, described to have a total of 33 male and female forms. for artistic depictions, guanyin has a feminine face but a masculine body (typically an exposed flat chest) too.

even when imagined as a girl without a history of gender swaps, they were still an antithesis to the male-dominated confucian scene. 妙善 miao shan is guanyin's other popular myth: the princess at odds with her royal father. she refuses his demands to marry until he ultimately executes her. it is a narrative negating the confucian relationships, (a) father/son or child, (b) ruler/subject, and (c) husband/wife. this is the constant of guanyin. a direct challenge to chinese patriarchal ideals.

as an aside, post-execution miao shan becomes a bodhisattva in the mountains through one spiritual miracle or another. in the mean time her father grows ill and the only cure is the eyes and arms of a person without anger. they seek out miao shan, not knowing who she is, and she gives up both arms and eyes for her father. after his recovery, the true identity of the bodhisattva is revealed and the father changes his ways. and miao shan ascends to become guanyin. related because an elusive figure amongst nature, blind and physically impaired, is also.... a prevalent trope for enlightened peoples.

overlapping the feminine and the masculine, a presence that has one foot in both categories, is the buddhist language for enlightenment + a manifestation of core buddhist teachings. when you are outside the gender regime and when you are outside human society, when you're beyond a cogent and organized identity, you are free. you are happy. which also means you are queer!