MANICHAEISM by Gábor Kósa
Acta Orientalia Hung., 2024
This paper introduces and analyzes a new Chinese Manichaean painting entitled ‘Auspicious Signs H... more This paper introduces and analyzes a new Chinese Manichaean painting entitled ‘Auspicious Signs Heralding Mānī’s Birth’. Zhang Peng 张鹏, a doctoral candidate at the Central Academy of Fine Arts (Zhongyang
Meishu Xueyuan 中央美术学院), was the first to notice the Manichaean affiliation of this painting, which was auctioned by the Beijing Poly International Auction Co., Ltd in 2021. This study employs the methods of iconographic comparison and analysis of textual parallels to argue that the recently identified hagiographic painting shares striking stylistic similarities with at least three other previously known Manichaean paintings, and that it can be directly related to one of them.
Orientierungen / Zeitschrift zur Kultur Asiens, 2018
![Research paper thumbnail of “The Manichaean ‘New Paradise’ in Text and Image.” Crossroads [Studies on the History of Exchange Relations in the East Asia World] 13 (2016) 27–113.](https://attachments.academia-assets.com/58917285/thumbnails/1.jpg)
KÓSA Gábor, “The Manichaean ‘New Paradise’ in Text and Image”
Based on a single visual and vario... more KÓSA Gábor, “The Manichaean ‘New Paradise’ in Text and Image”
Based on a single visual and various textual sources, I explore the Manichaean
notion of New Paradise. Retrieving information foremost from Coptic, Iranian
and Chinese sources, in the first part of the paper I reconstruct the early concept
of the New Paradise. In the second part of my paper I foremost reflect on a recent
study that identified the New Paradise in a late Yuan or early Ming Chinese
painting, the Complete Cosmology painting (CCP), preserved in an anonymous
Japanese private collection. I contrast the results obtained from the analysis
of the textual material with what is at present the only available, detailed visual
depiction of the Manichaean New Paradise.
KÓSA Gábor (康高寶), “摩尼教 ‘新天堂’ 的文本和图像”
以一幅图像和几个文本素材为根据，本文探索摩尼教关于 “新天
堂” 的观念。主要是得益于从科普特，伊朗和中国的资料中搜取的
信息，在本文的第一部分我重构了早期 “新天堂” 的概念。本文第
二部分，主要是反思一项最近的研究，该研究在一幅元末明初中
国画中发现了 “新天堂”，这幅画是一幅完整的宇宙星图，目前又
一位匿名的日本私人收藏家保存。我对比了从目前仅存的文本材
料中得出的结论与精细的摩尼教“新天堂”图像之间的关系。
KÓSA Gábor、“文献資料とイメージ資料におけるマニ教の
‘New Paradise’”
一種類のビジュアル資料と、さまざまなテキスト資料に基づい
て、私はマニ教における New Paradise (新しき楽園) の概念を調査
する。 コプト語、イラン語、及び、中国語の最も重要な資料を
解明しながら、本論文における最初の部分として、New Paradise
(新しき楽園) の最初期における概念の再構築を行う。本論文の
第二部では、匿名の日本のプライベートコレクションに保存さ
れている、元代後期、または、明初期の絵画、完全な宇宙論の
絵 (the Complete Cosmology painting 、または、CCP) を同定した最
近の研究を考察する。テキスト資料だけによって得られた結論
と、今現在、利用可能な詳細に描かれたマニ教の New Paradise (新
しき楽園) のビジュアル表現とを対比検討する。
KÓSA Gábor,“ 문헌 사료와 그림 사료에 보이는 마니교의 ‘신낙원’
(New Paradise)”
필자는 하나의 그림 사료와 다양한 종류의 문서 사료에 근거하여
마니교의 신낙원의 개념을 검토한다. 본고의 첫 부분에서는 콥트어,
이란어 및 중국어 사료로부터 가장 중요한 정보를 도출하면서
신낙원의 초창기의 개념을 재구성한다. 본고의 두 번째 부분에서는
일본의 익명의 개인 컬렉션에 소장되어 있는 원말 또는 명초 시기의
중국의 회화인 the Complete Cosmology painting (완전한 우주론 그림;
약자로 CCP) 속에 보이는 신낙원을 발견한 최근의 연구를 고찰한다.
문서 자료의 분석을 통해 얻은 결론과 지금 현재 유일하게 남아있는
마니교의 신낙원의 상세한 시각적 묘사를 비교해서 검토한다.
In: Matthew Goff, Loren Stuckenbruck, and Enrico Morano (eds.) Ancient Tales of Giants from Qumran and Turfan: Proceedings of an International Conference at Munich, Germany (June 6-8, 2014). Tübingen: Mohr Siebeck, 145–186., 2016
According to the presently accepted scholarly opinion, during the 4 th -6 th centuries Manichaean... more According to the presently accepted scholarly opinion, during the 4 th -6 th centuries Manichaeans widely read and intensively used the so-called Christian apocryphal works, especially the five most important apocryphal Acts of the Apostles. The general opinion is mainly based on the polemic writings of the church fathers and a very small number of original Coptic Manichaean texts. In this essay, I challenge this unanimously acknowledged judgment and claim that a closer analysis of the data retrieved from the original Coptic material makes a contrary conclusion more likely. As far as some characters in the apocryphal Acts of Thomas, Andrew, John, Peter, and Paul, are concerned, they indeed appear in two psalm-cycles of the Coptic Manichaean Psalm-Book (Psalms of Heracleides, Psalmoi Sarakōtōn). In both cases, however, the author's obvious intention was to provide historical exempla as consolation for the contemporary believers in times of persecution and, in the case of the apocryphal female figures (Thecla, Drusiane, Maximilla, Aristobula, Iphidama, Mygdonia) to counterbalance the male predominance of the characters in these hymns, thus their appearance attests much more to the rhetorical skills of their authors than to the popularity of these apocryphal scriptures among the Manichaeans.
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MANICHAEISM by Gábor Kósa
Meishu Xueyuan 中央美术学院), was the first to notice the Manichaean affiliation of this painting, which was auctioned by the Beijing Poly International Auction Co., Ltd in 2021. This study employs the methods of iconographic comparison and analysis of textual parallels to argue that the recently identified hagiographic painting shares striking stylistic similarities with at least three other previously known Manichaean paintings, and that it can be directly related to one of them.
Based on a single visual and various textual sources, I explore the Manichaean
notion of New Paradise. Retrieving information foremost from Coptic, Iranian
and Chinese sources, in the first part of the paper I reconstruct the early concept
of the New Paradise. In the second part of my paper I foremost reflect on a recent
study that identified the New Paradise in a late Yuan or early Ming Chinese
painting, the Complete Cosmology painting (CCP), preserved in an anonymous
Japanese private collection. I contrast the results obtained from the analysis
of the textual material with what is at present the only available, detailed visual
depiction of the Manichaean New Paradise.
KÓSA Gábor (康高寶), “摩尼教 ‘新天堂’ 的文本和图像”
以一幅图像和几个文本素材为根据，本文探索摩尼教关于 “新天
堂” 的观念。主要是得益于从科普特，伊朗和中国的资料中搜取的
信息，在本文的第一部分我重构了早期 “新天堂” 的概念。本文第
二部分，主要是反思一项最近的研究，该研究在一幅元末明初中
国画中发现了 “新天堂”，这幅画是一幅完整的宇宙星图，目前又
一位匿名的日本私人收藏家保存。我对比了从目前仅存的文本材
料中得出的结论与精细的摩尼教“新天堂”图像之间的关系。
KÓSA Gábor、“文献資料とイメージ資料におけるマニ教の
‘New Paradise’”
一種類のビジュアル資料と、さまざまなテキスト資料に基づい
て、私はマニ教における New Paradise (新しき楽園) の概念を調査
する。 コプト語、イラン語、及び、中国語の最も重要な資料を
解明しながら、本論文における最初の部分として、New Paradise
(新しき楽園) の最初期における概念の再構築を行う。本論文の
第二部では、匿名の日本のプライベートコレクションに保存さ
れている、元代後期、または、明初期の絵画、完全な宇宙論の
絵 (the Complete Cosmology painting 、または、CCP) を同定した最
近の研究を考察する。テキスト資料だけによって得られた結論
と、今現在、利用可能な詳細に描かれたマニ教の New Paradise (新
しき楽園) のビジュアル表現とを対比検討する。
KÓSA Gábor,“ 문헌 사료와 그림 사료에 보이는 마니교의 ‘신낙원’
(New Paradise)”
필자는 하나의 그림 사료와 다양한 종류의 문서 사료에 근거하여
마니교의 신낙원의 개념을 검토한다. 본고의 첫 부분에서는 콥트어,
이란어 및 중국어 사료로부터 가장 중요한 정보를 도출하면서
신낙원의 초창기의 개념을 재구성한다. 본고의 두 번째 부분에서는
일본의 익명의 개인 컬렉션에 소장되어 있는 원말 또는 명초 시기의
중국의 회화인 the Complete Cosmology painting (완전한 우주론 그림;
약자로 CCP) 속에 보이는 신낙원을 발견한 최근의 연구를 고찰한다.
문서 자료의 분석을 통해 얻은 결론과 지금 현재 유일하게 남아있는
마니교의 신낙원의 상세한 시각적 묘사를 비교해서 검토한다.
Meishu Xueyuan 中央美术学院), was the first to notice the Manichaean affiliation of this painting, which was auctioned by the Beijing Poly International Auction Co., Ltd in 2021. This study employs the methods of iconographic comparison and analysis of textual parallels to argue that the recently identified hagiographic painting shares striking stylistic similarities with at least three other previously known Manichaean paintings, and that it can be directly related to one of them.
Based on a single visual and various textual sources, I explore the Manichaean
notion of New Paradise. Retrieving information foremost from Coptic, Iranian
and Chinese sources, in the first part of the paper I reconstruct the early concept
of the New Paradise. In the second part of my paper I foremost reflect on a recent
study that identified the New Paradise in a late Yuan or early Ming Chinese
painting, the Complete Cosmology painting (CCP), preserved in an anonymous
Japanese private collection. I contrast the results obtained from the analysis
of the textual material with what is at present the only available, detailed visual
depiction of the Manichaean New Paradise.
KÓSA Gábor (康高寶), “摩尼教 ‘新天堂’ 的文本和图像”
以一幅图像和几个文本素材为根据，本文探索摩尼教关于 “新天
堂” 的观念。主要是得益于从科普特，伊朗和中国的资料中搜取的
信息，在本文的第一部分我重构了早期 “新天堂” 的概念。本文第
二部分，主要是反思一项最近的研究，该研究在一幅元末明初中
国画中发现了 “新天堂”，这幅画是一幅完整的宇宙星图，目前又
一位匿名的日本私人收藏家保存。我对比了从目前仅存的文本材
料中得出的结论与精细的摩尼教“新天堂”图像之间的关系。
KÓSA Gábor、“文献資料とイメージ資料におけるマニ教の
‘New Paradise’”
一種類のビジュアル資料と、さまざまなテキスト資料に基づい
て、私はマニ教における New Paradise (新しき楽園) の概念を調査
する。 コプト語、イラン語、及び、中国語の最も重要な資料を
解明しながら、本論文における最初の部分として、New Paradise
(新しき楽園) の最初期における概念の再構築を行う。本論文の
第二部では、匿名の日本のプライベートコレクションに保存さ
れている、元代後期、または、明初期の絵画、完全な宇宙論の
絵 (the Complete Cosmology painting 、または、CCP) を同定した最
近の研究を考察する。テキスト資料だけによって得られた結論
と、今現在、利用可能な詳細に描かれたマニ教の New Paradise (新
しき楽園) のビジュアル表現とを対比検討する。
KÓSA Gábor,“ 문헌 사료와 그림 사료에 보이는 마니교의 ‘신낙원’
(New Paradise)”
필자는 하나의 그림 사료와 다양한 종류의 문서 사료에 근거하여
마니교의 신낙원의 개념을 검토한다. 본고의 첫 부분에서는 콥트어,
이란어 및 중국어 사료로부터 가장 중요한 정보를 도출하면서
신낙원의 초창기의 개념을 재구성한다. 본고의 두 번째 부분에서는
일본의 익명의 개인 컬렉션에 소장되어 있는 원말 또는 명초 시기의
중국의 회화인 the Complete Cosmology painting (완전한 우주론 그림;
약자로 CCP) 속에 보이는 신낙원을 발견한 최근의 연구를 고찰한다.
문서 자료의 분석을 통해 얻은 결론과 지금 현재 유일하게 남아있는
마니교의 신낙원의 상세한 시각적 묘사를 비교해서 검토한다.
Tao Zongyi’s 陶宗儀 work, the Chuogenglu 輟耕錄 (Notes Made on a Rest
from Ploughing, 1366), contains a unique description of an alleged practice
among the Muslims (huihui 回回). According to this report, an old man aged 78
takes only honey as food, and after his death he is buried in a stone coffin full of
honey; after 100 years, the coffin is opened and a mellified man (miren 蜜人),
also called munaiyi 木乃伊 in the alleged original language of the region, is
found, which is later used for the treatment of fractures and injuries.
Among others appearing in Li Shizhen’s 李时珍 (1518–1593) famous Bencao
gangmu 本草綱目, this description of the late Yuan Tao Zongyi was quoted
in several subsequent works composed during the Ming and Qing dynasties.
The original text sometimes appears verbatim, in other cases with minor modifications.
In this paper, after a short introduction to Tao Zongyi’s oeuvre and the passage
in question, I present all the available Chinese sources that quote the aforementioned
description, emphasizing the differences among them. Then I proceed to
analyze four key expressions in the description: 1. The specific age 78 (or, in
other instances, 70–80 years), which may be crucial in determining the singular
or plural interpretation of the description; 2. The expression fanyan 番言, which
theoretically could help us identify the linguistic background of the passage;
3. The original phrase huihui 回回, and the one used by Li Shizhen, tianfang 天
方 (= Ka‘ba, Mecca); 4. Last but not least, I also explore the three suggestions for
the possible identification of the word munaiyi 木乃伊, i. e. mummy, myrrh, and
mulḥid. I conclude that the traditional interpretation, i. e. mummy in the sense
of ’bitumen (asphalt)’, is the most probable one. I also introduce a commentary
of the Eskandar-nāma, translated by Sir William Ouseley, but not referred to
previously in this context, and I argue that this quotation, as well as several other
motifs, may point to the Persian Ilkhanate as the possible background and source
of this unique set of concepts.
MÉZZEL TÖRTÉNŐ MUMIFIKÁLÁS EGY 14. SZÁZADI KÍNAI FORRÁSBAN
Tao Zongyi 陶宗儀 1366-os Chuogenglu 輟耕錄 (Feljegyzések a szántás befe-jeztével) című műve tartalmaz egy különleges leírást arról, hogy az "arabok" között miként használták a mézet mumifikálásra ("mellifikáció"). Néhány kisebb variánst leszámítva ugyanezt a mézemberről vagy mézemberekről (miren 蜜人) szóló leírást idézi még néhány egyéb, Yuan-kor (1271-1368) utáni forrás is, mint például a kínai orvostudomány legismertebb enciklopédiája, a Li Shizhen 李時 珍 (1518-1593) által a 16. században összeállított Bencao gangmu 本草綱目. Tanulmányomban összehasonlítom a rendelkezésre álló szöveghelyeket, illetve körbejárom a rövid leírásban található kifejezések lehetséges értelmezéseit.