This is a Buddhist object. It might not look that way to you at first. Can you guess how it is Buddhist?
It doesn't LOOK Buddhist according to how we imagine Buddhist things should look. They should show some Asian aesthetic, such as Tibetan art styles. They should depict grand buddhas or wise monks, or be tools for meditation or mantra practice. They should be traditional (ancient)
But Buddhistness arises not from inherent properties in things themselves--it arises from use and context. What was the context and purpose of this object, therefore?
It's a quilt. It depicts the floral emblems of 12 Canadian provinces and territories. Perhaps we'd accept it as a Mennonite object, as quilts are common items in that religous community, and Mennonites are a known Canadian religion. Here's 1 example, with Canadian floral emblems:
So how is our quilt Buddhist? It looks like folk art of a different "religion." It has no "Buddhist" content. It has no clear use in Buddhist "practice." Its motifs are Canadian, not "Asian." It wasn't made nor used by monks. It isn't "traditional" or "ancient." What's going on?
The quilt was sewn by members of 19 chapters of the Buddhist Churches of Canada Women's Federation. It was the prize in a raffle drawing at the 9th World Women's Buddhist Federation Convention, held in Vancouver in 1990. The raffle raised $21,000 for Cuso and Save the Children.
Most of what we think of as "Buddhist" art is basically men's art; many of what we think of as "Buddhist" objects are institutional items (altars, mandalas, etc), which have mostly been from male spaces. There are few truly transgender/transsangha items: malas, prayer wheels, etc
And there are very few recognized Buddhist items that are fully female in origin/production. This quilt helps us notice that we have overlooked a whole realm of non-monastic, non-meditation/mantric materiality that Buddhists produce and employ AS Buddhists.
What work does this quilt do for the Jodo Shinshu Buddhists of the Federation? Sewing it provided opportunities to gather and work together. Sociality is an essential part of most Buddhists' lives. Sangha is stitched by shared time together.
Producing a quilt and raffling it for charity donations fulfilled the Buddhist impulse to practice generosity and compassion. The chosen relief organizations helped to provide health care, food, and education to children in "developing nations," a gendered choice of recipient.
The choice of a quilt drew on art techniques that are coded female in Canada, and the use of Canadian floral emblems asserted a sense of identity: we are Canadian, these are our flowers (provinces), we belong here and are of here.
That matters: the women who sewed it were former refugees, imprisoned by their own government in WWII concentration camps for having Japanese (i.e. non-white, non-Christian) backgrounds. The quilt asserts their right to be Canadian in direct yet mute and non-confrontational style
The use of floral designs is subtly feminine, as flowers have a gendered association in North America, and within the Jodo Shinshu temples ikebana (flower arrangement) is seen as a female art. And quilts are of the home: they warm and comfort us, rather than produce enlightenment
So, this quilt did a LOT of work. It bonded women, fed children, asserted identity, resisted racism, reinforced gender, warmed bodies, and provided the opportunity for older women to publicly demonstrate their contributions to the Buddhist community and the world.
Of course, this is just a way of speaking. The quilt didn't do that work: dozens of Canadian Buddhist women did, as women Buddhists have laboured (in often unvalorized ways) since Buddhism began. Here they are:
(For context, here are 3 previous threads that also explore the gendered work of women at the World Buddhist Women's Convention): 1.
Thousands of Jodo Shinshu women gathered in Vancouver in 1990 for the 9th World Women's Buddhist Convention, held in Vancouver in 1990. There they stated their values in a Convention Declaration:
"We, the followers of Jodo Shinshu, entrust ourselves whole-heartedly to Amida Buddha, to experience through Shinjin infinite love and infinite support, which are never withdrawn from us under any circumstances.
"The Creativity of Ignorance in American Buddhism," a quick excerpt from Jeff Wilson "Mourning the Unborn Dead (2009). From p.114:
"One of the ironies of studying Buddhism in America is the eventual realization that ignorance, the bugaboo of Buddhism, is at times just as responsible as understanding for the creative development of distinctive forms of Buddhism...
that allow Zen and other groups to become acculturated and grow. For instance, not knowing that Japanese Zen practitioners don't make bibs or engage in cathartic circle sessions, Americans readily conjure up entirely innovative "traditions" and then retro-project them...
@agleig So, a lot of it comes down to framing of topics, it would seem. You and @LangenbergAmy are able to collaborate across vast times (and therefore use different methods) because your topic isn't "such-and-such text" or "such-and-such group," but a broader theme: sexual misconduct.
@agleig@LangenbergAmy For some, this sort of project seems semi-legit and squishy since it isn't deep, deep investigation of a singular text/site (the bread-and-butter of Buddhist Studies, historically-speaking). For others, it's a breath of fresh air because otherwise these topics never get addressed
@agleig@LangenbergAmy Another thing to note: all 3 mentioned texts are in a corrective mode. Gleig: how are American convert sanghas dealing with racism etc right now. Wilson: how has ritual been overlooked by American Buddhologists. Nelson: how is Japanese Buddhism reinventing itself in real time.
At the 9th World Women's Buddhist Convention, held in Vancouver in 1990, 1000s of Jodo Shinshu Pure Land women gathered to discuss their contributions to peace and harmony. One was May Okazaki, of the Hawai'i Federation of Hompa Hongwanji Buddhist Women's Association, who said:
"ALOHA. Today my remarks on Peace and Harmony Through Nembutsu in the Community make use of a 'Lei of Aloha' in an analogy to the moral values of Shin Buddhism. To make a Lei of Aloha we need a needle (Amida's wisdom), thread (Amida's compassion), and flowers (community needs).
"Peace and Harmony: Lessons from the World Buddhist Women's Convention," a collection of threads on Jodo Shinshu Buddhist women's contributions to Buddhist social engagement.
The World Buddhist Women's Convention is a international conference of Jodo Shinshu women held every 4 years. It brings together thousands of people from across the world to discuss the Dharma and its application in the contemporary world.
The 9th Convention was held in Vancouver in 1990, with the theme "Peace and Harmony Through Nembutsu." This theme was chosen due to the importance that charity and peacework have played in the WBWC since its creation in 1961.
These afro buddhas are an uncommon, distinctively Japanese Pure Land Buddhist motif. They depict Dharmakara Bodhisattva (the future Amida Buddha) during the long period in which he contemplated how best to bring about the liberation of all beings.
This afro Amida is found at the Kurodani temple in Kyoto (aka Konkai Komyoji), a Jodo Shu temple. The big hair shows how the future Amida dedicated all his energies to examining every life and every world, immobile as he developed insight into all situations and how to help them.