{"product_id":"fu-shuo-daan-ban-shǒu-yi-jing-the-buddha-speaks-the-great-anapanasati-nbsp-sutra-dated-1099-but-circa-1270-1300-over-100-pages-of-golden-sutras-and-36-pages-of-sumptuously-painted-illustrations","title":"Fú Shuō Dà'ān Bān Shǒu Yì Jīng (The Buddha Speaks the Great Anapanasati\u0026nbsp;Sutra), Dated 1099, but Circa 1270-1300. Over 100 Pages of Golden Sutras, and 36 Pages of Sumptuously Painted Illustrations","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eTitle:\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman'; color: #5f6368; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: EN-CA;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eFú Shuō Dà'ān Bān Shǒu Yì Jīng (The Buddha Speaks the Great Anapanasati Sutra), Dated 1099, but Circa 1270-1300. An Extraordinarily Rare and Complete Four Fascicle Set of Sutras Made in the Goryeo Dynasty of Korea, Under Yuan Dynasty Control. Over 100 Pages of Golden Sutras, and 36 Pages of Sumptuously Painted Illustrations \u003cbr\u003eAuthor: Originally Attributed to Siddhartha Gautama; Likely Translation of An Shigao; Unknown Copyist\u003cbr\u003eCondition: Good\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eAn extremely rare, late 13th century set of four sutra fascicles, comprising of the complete Fú shuō dà'ān bān shǒu yì jīng, otherwise known as the Great Anapanasati Sutra. This set has been produced in the Goryeo Dynasty of Korea, when they served as a semi-autonomous vassal state of the Yuan Dynasty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eAlso known as the Ānāpānasmṛti Sūtra, or Breath-Mindfulness Discourse, it is Majjhima Nikāya 118, being a discourse on the Buddha’s instruction on using one’s awareness of breathing as an initial focus for meditation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe sutra follows sixteen steps of practice, then grouped into four tetrads, associated with the four satipatthanas (a central practice in the Buddha's teachings, meaning \"the establishment of mindfulness\" or \"presence of mindfulness\", to aid towards developing a calmed and wholesome state of mind). As expected, these four tetrads have been written as four fascicles present here.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThis set is an example following the Chinese Buddhist canon, and not the Theravada Pali Canon, so there is some variation, such as additional teachings on the Dhyānas (meditation training to perfected mindfulness and detachment), recalling past lives, and the Divine Eye. The present text is likely derived from the translation by the Chinese Buddhist Monk \u003cb\u003eAn Shigao\u003c\/b\u003e (148-170 CE).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe manuscripts have been produced on layered leaves of indigo dyed mulberry paper, and have been entirely written in golden ink, produced using an early gold shell power with types of gelatinous animal glue. It should be noted this practice of producing sutras was utilized as early as the Tang Dynasty in China, spreading to Korea and Japan, and continues as an existing practice. Often, such sutras were written in alternative inks of gold and silver, and during the Goryeo period (918-1392), this devotional practice reached its peak, with the production of numerous examples made for many patrons. To meet the great demand, the Royal Office for Sutras (Sagyongwon) was established in the twelfth century, in which monks and professional calligraphers dedicated themselves to the production of manuscripts like these. While decorated sutra fascicles do exist from the Mid to Later Joseon Period, they are nowhere near as decorated or elaborate in make or design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eEach manuscript cover is beautifully and extravagantly decorated, with four glittering lotus flowers painted vertically in gold, with vine patterns filling the remaining space, and the title as well as fascicle number as the center. All four volumes open with a masterfully and sumptuously produced, five-panel\/leaf painting or frontispiece, each one somewhat varying from the other. There is also a two-panel painting at the end of each fascicle, as well as two one-panel paintings to each.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe first five-panel painting is that of Shakyamuni Buddha preaching to his followers while other deities attend, of which 19 figures are depicted. Above and to the left, are other smaller scenes, displaying various figures and other Bodhisattvas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe second five-panel painting is that of a scene in Paradise, displaying Shakyamuni flanked by two bodhisattvas, most like Kannon and Seishi. There are also monks preaching to various deities and other Buddhas, whilst two Bodhisattvas standing on lotus flowers welcome two newly birthed souls to paradise, the latter figures coming out of lotus petals in the water. A classical scene more famously known in the Taima Mandala. This painting has roughly 25 figures depicted.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe third five-panel painting shows another scene of Shakyamuni Buddha seated amongst other deities and followers, while listening to the request of one. There is also a second scene to the left, being a large depiction of the Buddha Enthroned.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe fourth and final five-panel painting shows another scene of Shakyamuni Buddha preaching, with some differences in the placement and presence of attending followers and deities. To the left are various scenes depicting everyday life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eOf the smaller but still impressive two-panel paintings, the first is a large and imposing figure in full armor, flanked by a demonic attendant. This is most likely a representation of one of the Twelve Heavenly Generals or Twelve Divine Generals. The second painting is that of Xianglong Luohan, the Taming Dragon Arhat, doing exactly as his titles entails by felling a fearsome dragon from the sky. To his left are two other figures. The third painting is a dazzling image of Guanyin, the Bodhisattva of compassion, also known as Avalokiteśvara. The fourth and final painting is not quite two full panels but still displays an impressive depiction of another of the Twelve Heavenly Generals, their hands in the Anjali Mudra, or prayer position.\u003cspan style=\"mso-spacerun: yes;\"\u003e                                                                                                                                                                                                                                                                                                                         \u003c\/span\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e                                                             \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eEach of the eight one-panel paintings displays a different scene, whether it be various Luohans or Arhats on a journey or task, or different deities and Bodhisattvas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThe sutra text is neatly bordered in gold, and each column divided with golden ink as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eIt should be noted that the colophon at the end of this is signed to the Fifth Year of \u003cb\u003eShouchang\u003c\/b\u003e, being the final era name of Emperor Daozong of Liao (1055-1101). This is most likely the original colophon when these texts were first produced, copied down to the Yuan Dynasty’s reign. There are also several references to different Korean monks, as well as the city of Cheongju, which was home to a number of major Buddhist temples during the time of the Goryeo Dynasty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eOn dating this particular set of fascicles, comparisons have been made to a number of other Yuan Dynasty fascicles sold at prior sales (See Lot 368 at the Bonhams \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003esale of 30 May 2016, Lot 131 at the Christie’s Sale of 19 Sep 2023, and lot 631 at the Christie’s sale of 10 Mar 2010), and quite helpful, several other Goryeo fascicles I have studied or cataloged have commemoration dates to the Years of Zhiyuan (\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 115%; font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e至元\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003e) 1264–1294, under Kublai Khan, not to be confused with the very similarly written Era of Zhiyuan (\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 115%; font-family: 'MS Gothic'; mso-bidi-font-family: 'MS Gothic';\"\u003e至元\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003e) 1335–1340, under Toghon Temür Khan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eIn Hsin-Chen Tsai and Tanya Uyeda’s article, \u003ci\u003e“Line Up, Back to Back: Restoration of a Korean Buddhist Sutra in Accordion Book Format”: \u003c\/i\u003e“There are two documented Goryeo Period Korean sutras in U.S. collections. One is in the collection of the Metropolitan Museum of Art, and the other is in the collection of the Cleveland Museum of Art (CMA).” Keeping in mind that the Kenneth Spencer Research Library also now owns a Goryeo Period copy (14th Century, undated) of the Flower Garland Sutra, this would indicate that there are only at least 3 extant Goryeo Period Sutras in the United States, and by extension the rest of North America since Canada has no documented examples. It is also noted that the British Library has one Goryeo Sutra dated 1341, though other European holdings are presently unknown. With that in mind, the subsequent offering of these fascicles, as well as the other examples, represents what is likely the largest selection of illuminated Goryeo Kingdom sutras to be offered for sale in the Western Market in recent years. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eFour illuminated fascicles in \u003ci\u003eorihon\u003c\/i\u003e format (27.1 x 9.6 cm), 18, 20, 18, 20 double sided leaves. 144 pages total, not including covers. Gold ink on indigo dyed paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eThese manuscripts are in good shape, with some rubbing and wear to the covers, but the golden ink and floral designs still glittering brightly. There is some staining throughout, heavier to the margins, but affecting and partially rubbing away some letters of text, and a few of the single panel paintings suffering a bit of loss. The layer of lamination to each of the manuscripts appears to have largely preserved most of the illustration work and script, with even affected areas still shining. One of the main painting leaves in the third volume has a partial split to a hinge but is holding firm. The final text leaf to the fourth fascicle also has a partial split to a hinge but is still holding firm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Calibri',sans-serif; mso-fareast-font-family: Calibri; mso-bidi-font-family: 'Times New Roman';\"\u003eAll four of the manuscripts have been damaged by some form of white deposits, boring through small portions of the manuscript, with several forming small pinprick holes. At first glance, the initial conclusion was mold-based damage, but after extensive consultation to try and identify the damage, it has been thankfully concluded that the damage is NOT mold. Having spoken to the head of conservation at the Kenneth Spencer Research Library of the University of Kansas, the damage appears to be some sort of accretion. Further consultation with the conservator Minah Song, who has studied an example at MFA Boston, as well as another manuscript with similar damage, indicates that the damage seems to be intentional, albeit crudely. The currently prevailing theory is that these deposits are potentially related to a type of Buddhist ritual, though incense ashes have been rules out, as the damage appears to be calcium based. A comparative fascicle with similar damage can be seen in lot 631 at the Christie’s sale of 10 Mar 2010, being only a 5-leaf fragment dated Zhi Zheng 9 (1350).\u003c\/span\u003e\u003c\/p\u003e","brand":"That Guy With The Books","offers":[{"title":"Default Title","offer_id":51634529599799,"sku":null,"price":200000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0281\/1589\/4371\/files\/20260107_234011.jpg?v=1769964584","url":"https:\/\/thatguywiththebooks.com\/products\/fu-shuo-daan-ban-sh%c7%92u-yi-jing-the-buddha-speaks-the-great-anapanasati-nbsp-sutra-dated-1099-but-circa-1270-1300-over-100-pages-of-golden-sutras-and-36-pages-of-sumptuously-painted-illustrations","provider":"That Guy With The Books","version":"1.0","type":"link"}