Dialogue
January - March, 2007 , Volume 8 No. 3
India
’s Interface with
East Asia
Lokesh Chandra*
Cultural Interflow between
India
and
China
The last twentythree centuries
have seen a continuing cultural interflow between the Western paradise that is
India
and the
Celestial
Kingdom
that is
China
. The rustling breeze of Buddhist fragrance has awakened the mindscape of both
countries, endowing them with the web of thought, the harmony of art, the
magnificent colour of murals and sculptures, incarnating a new life and sinking
into the sensitivities of our peoples deep-reaching muscles of mystery, draped
in the intimacy of the mind. The first contacts were made by Buddhist scholars
from
India
who appeared in the Chinese capital in 217 B.C. under the Tsin dynasty.
Contacts during the Tsin dynasty are a fair possibility as the Sanskrit word for
Cathy is China, as such was the dynastic name Tsin heard by the Indians.
In 138 B.C. Chang Ch’ien was an
envoy of the Chinese Emperor to
India
. He took back musical instruments and Maha-Tukhara melodies to the Chinese
capital Ch’ang-an. The son-in-law of the Emperor Wu-ti, he wrote 28 new tunes
based on this melody which were played as military music. Along with Buddhism,
the Serindians introduced milk to
China
. The Chinese ideograph lo, pronounced lak in ancient times, which
meant varied kinds of fermented milk products, was a loan from Indo-European
(Latin lac-tic).
The Yuechi rulers presented
Sanskrit texts to the Chinese court in 2 B.C. The first historically owned
Buddhist masters arrived in
China
in A.D. 67. The Han Emperor Ming-ti dreamt of a golden person. On enquiry from
his courtiers he learnt that he was the Buddha. He sent ambassadors to the West
(i.e.
India
) to invite Buddhist teachers. They returned with Dharmaraksha and Kashyapa
Matanga. They arrived on white horses laden with scriptures and sacred relics.
The first Buddhist monastery was built for them on Imperial orders and it came
to be known as “The White Horse Monastery” (Po-ma-sse). They wrote “The
Sutra of 42 Sections” to provide a guide to the ideas of Buddhism and to the
conduct of monks. This monastery exists to this day and the cenotaphs of the two
Indian teachers can be seen in its precincts.
In the
reign Kanishka bilateral relations entered a new phase in economic, political
and cultural domains. Kanishka as the greatest of Kushan emperors symbolized his
international status by the adoption of four titles: Devaputra or Son of Heaven
from China, Shaonana Shao or King of Kings from Persia, Kaisara or Caesar from
Rome, and Maharaja of India, signifying the imperial dignity of the four
superpowers of the time: China, Persia, Rome and India. He played a major role
in the dissemination of Buddhism to
China
. The policy of cultural internationalism enunciated by Ashoka found its prime
efflorescence in the reign of Kanishka. Hsuan-tsang relates that Kanishka
defeated the Chinese in
Central Asia
and Chinese princes were sent as hostages. Territories were allotted to them in
Punjab
which were known as Cina-bhukti, an area that Hsuan-tsang visited in the
seventh century. Now it is a village Chiniyari near
Amritsar
, and Chiniot from Cinakota. The Chinese princes introduced two new fruits to
India
: the peach and the pear. They came to be known respectively as cînânî
and cînarâjaputra which means “Peach the Chinese Princess” and
“Pear the Chinese Prince”.
In
India paper had been manufactured out of cotton, and out of silk in Han China.
With the introduction of Buddhism cotton also became a component of paper, as is
evident from the old lexicon entitled Ku-chin tzu-ku where silk radical
of the character for paper is replaced by the radical for cotton. Cotton
cultivation had been introduced from Kashmir and Bengal to
China
in as early as the second century B.C.
The
sandy vastness that led to
India
was the path of sutras, first and foremost the way of texts and translators, of
scriptures and schools of thought, of the triumphs of Buddhism as the mental and
material culture of
East Asia
. The development of Buddhist temple architecture, new stylistic features in
Chinese that arose from translations of Buddhist texts, the Buddhist plurality
of inhabited worlds as opposed to the Chinese earth-centred worldview, and
various elements of cultural transmission, opened up Sinocentrism to wider
horizons. The several people inhabiting the route participated in the cultural
exchange for a millennium. The earliest and most celebrated of the masters was
the Parthian An Shih-kao who orgnaised the first translation team, after his
arrival at
Loyang
in AD 148.
As
early as in 251 A.D. we find Kaang Seng-hui rendering the Jataka form of the
Ramayana into Chinese, and in 472 A.D. appeared another Chinese translation of
the Avadana of Dasratha from a lost Sanskrit text by Kekaya. A long
tradition in narrative and dramatic form created the great episodic cycle of the
16th century
classic Chinese novel known as “Monkey” or the His-yu-chi which
amalgamated among other elements the extensive travels of Hanuman in quest of
Sita. This motif enriched popular culture and folklore and also contributed to
the development of Chinese secular literature.
Like
the Indian Suryvamsha, the Sun is a symbol of the sovereign upon earth in
China
. The Sun is defined as corresponding to that which is solid or complete. It is
a symbol of virtuous government. It is powerless when obscured by clouds: so a
government is without effect if evil counsel intervenes. As Surya shines on high
and low alike, the people should, similarly, be impartially treated. In the
Chinese work Fo-pen-hsing-ching, which was translated from Sanskrit by
Pao-yun in 427-449, it is stated that Mother Maya saw the future Buddha as an
elephant entering her womb. The elephant carried on its head “the solar
essence”, and the Bodhisattva riding the elephant is compared to “the
luminous pearl of the sun” and Mother Maya states that “sun-light has
entered her womb”. With the introduction of Buddhism into