Yuan Hongdao

Yuan Hongdao (, style name Zhonglang, 1568–1610) was a scholar-official and one of the greatest Chinese poets and littérateurs of the Ming Dynasty. He is also a well known author on Pure Land Buddhism.

Yuan Hongdao is one of the Three Yuan Brothers, along with his brothers Yuan Zongdao and Yuan Zhongdao. All were known for their literary writings influenced by Buddhism and Neo-Confucian Yangmingism. In Chinese Buddhism, Yuan is most famous for his Comprehensive Treatise on the West [Pure Land] (Xīfāng hélùn), an influential ten-fascicle work on Pure Land Buddhism. Yuan Hongdao is depicted on the far left next to a tree.

Hongdao's life spanned nearly the whole of the Wanli period (1573-1620) in Chinese history. A native of Gong'an in Hukuang, his family had been officials for generations. Hongdao showed an interest in literature from youth and formed his own literary club at age fifteen. At an early age, Yuan took the jinshi examination (the highest gentry position in China) and subsequently received the official jinshi position in the government bureaucracy in 1594.

Yuan soon became well known in literati circles and famed for his writing, moving in the intellectual circles of the Ming elite.

In 1597, Yuan had already grown tired of working as a government magistrate and so he resigned. He also published an excerpted and highly edited and modified Platform Sutra.

Regarding his poetry, it is found in various compilations including Collection from the Studio of Vase Flowers (Pinghua zhai ji 瓶花齋集), Collection from the Verdant Hall (Xiaobi tang ji 瀟碧堂集), and Collection of Liberation (Jietuo ji 解脫集). According to Yuan, these Chan teachings on non-grasping and the provisional nature of Buddhist practice is like water, which can put out a fire. When used too much, it can cause a flood. As such, Yuan wanted to bring some balance back to Buddhism by emphasizing the conventional truths of classic Buddhist practices. According to Yuan Hongdao, literary styles should naturally change to match the evolution of society. He wrote in a letter to a friend that "In general, things are prized when they are authentic. If I am to be authentic, then my face cannot be the same as your face, and how much less the face of some man of antiquity!". Yuan also admired the writings and literature of folk composers and vernacular Chinese authors, including Shi Nai'an's Water Margin.

Some of Yuan's poems have been collected and translated in Jonathan Chaves' Pilgrim of the Clouds: Poems and Essays from Ming Dynasty China (first published in 1978).

Longzhong (Within the Hill) The following poem from Yuan Hongdao captures the unity of stillness and movement, the interfusion of all phenomena, including human and natural events:

Making Fun of Myself on "People Day" This official wears no official sash,

this farmer pushes no plow,

this Confucian does not read books,

this recluse does not live in the wilds.

In society, he wears lotus leaves for clothes,

among commoners, he is decked out m cap and jade.

His serenity is achieved without closing the door,

his teaching is done without instruction.

This Buddhist monk has long hair and whiskers,

this Taoist immortal makes love to beautiful women.

One moment, withering away in a silent forest,

the next, bustling through crowds on city streets.

When he sees flowers, he calls for singing girls;

when he has wine to drink, he calls for a pair of dice.

His body is as light as a cloud

floating above the Great Clod.

Try asking the bird, flying in the air:

"What clear pond reflects your image?"

How free! the dragon, curling, leaping,

liberated! beyond this world, or in it.

The official, Liu-hsia Hui, firm, yet harmonious;

or Hermit Yi, pure in his retirement.