About Literary Art in Buddhism

Buddhism has brought to Chinese literature a new style, a new mood, and a new way of formulating words, that is to say, it has brought about major changes in both form and content. In terms of form, Buddhism had a direct effect on the creation of rhythmic poetry and popular literature (including rap literature, popular novels, operas, etc.); in terms of content, it advocated the view of life as impermanence, suffering and emptiness, and the knowledge of the universe as transformation and illusion, thus opening up a new mood and surreal imagination for the literati and displaying a strong Romantic color.

(I) The Formation of Buddhist Translation Literature

From the end of the Han Dynasty to the Western Jin Dynasty, An Shigao, Zhi Lou Jia prophecy, Zhufa Guan and others adopted the method of direct translation to translate the Buddhist scriptures, which was "dialectical without being flashy, and qualitative without being wild" (Song Gao monks' biography-Anshu Anshu Anshu Anshu Anshu Anshu Anshu Anshu). (Song Gaoxin Zhuan - An Shigao Biography) Since the Eastern Jin Dynasty, the translators of Buddhist scriptures gradually created a new genre of translation literature, which was a blend of Chinese and Sanskrit, and opened up a new garden for the history of Chinese literature. For example, the master translator of Yao Qin Dynasty, Hatamo Roshi, translated The Sutra of Vimalakirti, The Lotus Sutra of the Myriad Dharmas, and The Mahabharata Paramita Sutra, etc. The translations were magnificent and beautiful, and the meanings of the translations were clear and lucid, which were favored by writers of all times, and they were often studied as pure literature, which had a great influence on the literary world. The translation of The Avatamsaka Sutra by Buddhavatara and others was magnificent and magnificent. The translation of the Sutra of the Praises of the Actions of the Buddha by Tammu Prophecy, which recounts the story of the life of Shakyamuni Buddha, is a biographical literature in the form of rhyming text. The two sutras, the Avatamsaka Sutra and the Sutra of the Praises of the Actions of the Buddha, are extremely rich in literary color and have had no small influence in the history of literature. Since the Han and Wei dynasties in China, prose and rhyme increasingly on the road of parallelism, at this time the sutra translators to simple and easy vernacular style translation of the sutra, but seek to easy to understand, without embellishment, this new style of literature to change the stylistic direction of the Chinese literature at that time played an important role in the literary development of later generations and profoundly influenced the development of literature.

Buddhist classics emphasize the layout and structure of form, such as "The Praise of Buddha's Acts", "Buddha's Acts", "Puyao Sutra" and so on, are long Buddhist stories, rich in content, touching plots, well-constructed characters, which have a certain influence on the creation of later long stories. The Surai Sutra and others are novelistic works, and the Vimalakirti Sutra and the Siyi Brahma Sutra are half-novelistic and half-dramatic works, forms and genres that were basically unavailable in China before the Tang Dynasty. The translation of the above mentioned Buddhist texts had an enlightening, encouraging and promoting effect on the creation and prosperity of the later generations of play lyrics, plain language, novels and operas.

Buddhist classics often use easy-to-understand metaphors in their teachings, i.e., they present the problems of the universe and life in a rich storyline, which has had a great influence in Chinese history. For example, the Hundred Metaphors Sutra, a two-volume work translated by the Nanqi Kuanna Vidhi, lists 98 metaphorical stories, which is a literary work with simple writing and touching scenes. Mr. Lu Xun studied it as a source of information on the history of Chinese thought, absorbed useful elements from it, and made donations for engraving and printing, and circulated it widely. From the viewpoint of literary history, the translation of metaphorical literature had a positive influence on the allegorical literature of later generations in China.

(2) Buddhism Promotes the Creation and Development of Phonetics and Metrical Poetry and Poetry

Buddhism has had a great influence on Chinese poetry. For example, the theory of the Indian statement, which accompanied Buddhism, led to the invention of the four tones of the Southern Dynasty's Phonetics and the formulation of the Eight Diseases of Poetry, which promoted the creation of a new genre of metered poems in the Tang Dynasty. Ancient China also paid attention to the syllables of poetry and the exploration of the sound rhythm, Wei Li Deng had made a rhyme book "sound class" (anonymous), but did not form certain rules of phonetics. Since the Jin and Song dynasties, a group of good-sounding Shui Men and auditing Yin Wenjiao, who lived in Jiankang, had studied phonetics together. Under the influence of Sanskrit phonetics such as the Buddhist Nirvana Sutra, the scribes Shen Yao, Wang Rong and Zhou Stern in the Qi and Liang dynasties categorized the tones of characters into four tones, namely, flat, up, down and in, which were used in poetic metre. Shen Yao and others invented the theory of sound and rhythm, not only drew on the results of China's ancient phonetics research, but also directly affected by the transcription of Buddhist scriptures and Sanskrit pinyin. The Four Sound Spectrum (anonymous) compiled by Shen Yao put forward the theory of eight diseases, emphasizing that poems should avoid eight kinds of rhythmic malpractices, namely, the flat head, the upper tail, the bee's waist, the crane's knee, the big rhyme, the small rhyme, the side of the button, the positive button and other violations of the metrical faults. The poems traumatized by the poets of Shen Yao's school were short in style and attached great importance to the sound and rhythm, which is known as "Yongming Style". "Yongming Style" marked the transition of Chinese poetry from the relatively free "ancient style" to the "modern style" of strict meter, which made Chinese poetry pay more attention to the aesthetics of meter and syllables, and had a great influence on later poetic creations. This had a great influence on the later poetic creation.

Since the middle of the Wei Dynasty, metaphysical thinking has been the main theme of Chinese poetry, the so-called "metaphysical poetry". During the Eastern Jin Dynasty, the Buddhist philosophy of prajna was widely spread, and the Mahayana Buddhism's idea that everything is empty and nothing is gained had a great influence on the poets' creations at that time. Some Buddhist scholars injected the concept of Prajna Emptiness Sect into the soil of metaphysical poems and the poetic mood, forming a kind of poetic environment of leisure and freedom, silence and comfort. For example, Zhi Daolin, a Buddhist scholar of the Eastern Jin Dynasty, was one of the most outstanding Buddhist poets of his time. Zhi Daolin was not only skillful in Buddhism, but also in the philosophy of Laozhuang, so his poems combined the ideas of Laozhuang with his literary style and novelty, which were highly appreciated by the literati. At that time, the famous poets Sun Chuo, Xu Xie, and Wang Xizhi all traveled with Zhi Daolin, explored the metaphysics together, and were y influenced by him. Xie Ling Yun, a great poet of the Jin and Song dynasties, also had a superb study of Buddhism, and worked with Venerable Hui Guan as the moistener of the Great Nirvana Sutra. He was good at portraying natural landscapes and scenery in a remote and ethereal mood, which played an important role in the prevalence of landscape poetry. In addition to the early Buddhist doctrine into poetry, there are also dedicated to Buddhist doctrine in verse, such as Zhi Daolin's "Chanting Poetry", Wang Qi Zhi's "Nianfo Samadhi Poetry", Hui Yuan's "Lushan Donglin Miscellany Poetry" and "Lushan all the Taoists traveled to Shimen Poetry", Xie Lingyun's "Pure Land Chanting", and Liang Emperor Xiao Yan's "Pure Land Fulfillment" and so on, which had a great impact on the later poems.

The rise of Zen Buddhism in the Tang Dynasty had a close relationship with the development of Tang literature. Both Zen and poetry emphasized inner experience, valued metaphor and inspiration, and pursued meaning beyond words. Zen Buddhism provided a bridge of communication between this religious practice and the practice of poetry. In the Tang Dynasty, some famous poets talked about Zen, participated in Zen, and expressed the enlightenment of their hearts in poetry to form Zen poems full of Zen interest, while Zen masters and poets also sang and sang with each other to express the ideals of life and the realm of enlightenment, thus showing a strong Zenization of poems, which opened up a new page of poetry creation in the Tang Dynasty. The Zen ideology of letting nature run its course gave a strong stimulus to the content of poetry, enriched the mood of poetry, and made poetry more colorful. For example, Wang Wei in Tang Dynasty was not only a Buddhist monk, but also a famous painter and poet in Tang Dynasty, who was also a musician, and was known as "Poetry Buddha" together with Li Bai, the immortal of poetry, and Du Fu, the saint of poetry. Wang Wei's poems were mainly landscape poems, promoting seclusion and Buddhist meditation through the depiction of idyllic landscapes. The same type of poets as Wang Wei, such as Meng Haoran, Wei Yingwu, Liu Zongyuan, etc., all of their poems cite Buddhist texts, with far-reaching and elegant meanings, and Buddhist principles are blended with the scene. In the Tang Dynasty, there were also poets who expressed Buddhist teachings in common language, such as Wang Fanzhi, Hanshanzi, and Shide. The poems of these people were written in plain, simple and easy-to-understand language, but in a context that sought to transcend the secular life, and were overflowing with Zen humor. Among them, Hanshan's poems were highly esteemed by Bai Juyi, Wang Anshi and others, and had a long-lasting influence.

The Song Dynasty was a period when Zen Buddhism flourished, and it was fashionable for some literati to worship Buddha and participate in Zen Buddhism and socialize with famous monks, such as Su Shi, Wang Anshi, Huang Tingjian, Lu You, Yang Wanli, etc. Most of these poems were based on Buddhist principles, and were even drawn from Zen quotes, and this style of poems y influenced later poetic creations.

(3) Buddhism led to rap literature -- the successive production of variant texts, poems, play-words, and drums

In the history of ancient Chinese literature, the influence of Buddhism on rap literature and novels was even more significant than that on poetry. Since the Northern and Southern Dynasties, Buddhism began to implement the three ways of propagating its teachings, namely, the "reading" of scriptures, the "chanting" of hymns, and the "singing" of guides, in order to promote the Dharma. Because of the diverse forms of chanting, speaking, singing, praising, etc., the combination of singing and speaking not only opened up the trend of Buddhist singing, but also a change of the text of the work, followed by the emergence of Bao scrolls, lyrics, drums, and other literary arts.

Buddhist classics in the ode known as "Madhyamika", can be used to sing, but in the transfer of Sanskrit to Han, because of limited to the meaning of the word rhyme and other reasons and can not be sung. So some people made tunes to sing the Chinese Madhyamaka with the sound and rhythm of India, which formed the Chinese Buddhist music - "Chanting". In order to promote the needs of Buddhism, so that the difficult language into a popular and easy to understand common language, by the scripture teacher to serve as a Buddhist scripture reading and chanting, so that Buddhism living, art, and at the same time, influence the development of Chinese popular literature.

Singing guides were also an important form of popularization of Buddhism, originally different from scribes, not mainly satirizing Buddhist scriptures, but mainly singing karmic events. At the time of the Liang and Chen dynasties, sutra masters and singing guides merged. After the Middle Tang Dynasty, due to a change in the spoken language of the people, satirizing the Buddhist scriptures was difficult for the general public to understand, so the scriptures were translated into the Tang Dynasty common language, which is the "Changwen". Changwen was the beginning of Buddhism's influence on Chinese popular literature. Where the story of the Buddha's life into colorful paintings, known as the "change", and later developed into singing the story of the sutra, the singing of the text, known as the "change". The Tang Dynasty popularized a rap art called "transformation", "transformation" is rap, "change" is a change of style. Performers showed images of Buddhist stories while they sang them. The images used in the transformation are called "Changshang", and the base text of the story is called "Changwen". The origin of the shifumon is directly related to the classical Buddhist style and the popularization of Buddhism during the Six Dynasties period. Monastic monks in order to take the popularization of the preaching way, often held to change the text as the text of the popular rap, which is "common speech". Common speech by two people hosted, first by the guide "all speak" singing a passage, followed by the common speech by the priest to explain in detail. This draws on the characteristics of Chinese folk rap to increase the storytelling component of Buddhism, the use of rhyme and prose combined with a new form of singing the scriptures, to attract listeners, the role of enlightenment. This kind of art form of singing and speaking, poetry and literature together is the pioneer of rap literature in China. Variant draws on traditional Chinese historical stories and folk tales, narrative twists and turns, vivid plot, strong storytelling, the text is popular and fast, rhyme and scattered combination, for the big from the favorite, not only preserved a large number of ancient legends and stories and popular colloquialisms that have long been passed down, but also created a generation of new style of more free style of writing.

While the changed text was popular among the people, it could not reach the hall of elegance. In the Northern Song Dynasty, Zhao Heng, the True Emperor of the Northern Song Dynasty, forbade the popularization of the Changwen, and the style of singing and chanting the Changwen in the Buddhist monasteries died out as a result. However, after the change of text, by the evolution of the change of text to sing the main Bao scroll, influenced by the change of text to become the play lyrics, drum lyrics, the Gong tune and to speak the main history, novels, the words of the book was formed/

Bao scroll was formed in the Song Dynasty, prevalent in the Ming and Qing Dynasties. It was mainly written in rhyme with seven-character lines and ten-character lines, with prose in between. It was based on Buddhist stories, promoting the Buddhist ideas of karma and rewarding good and punishing evil. For example, the existing "Fragrant Mountain Treasure Scroll" is said to be the work of Zen Master Pu Ming of the Northern Song Dynasty. There are also "Fish Basket Treasure Scrolls" and "Meilian Three Treasure Scrolls", etc., all of which promote Buddhist stories. Influenced by the Buddhist Baojiao, Baojiao with the theme of folk stories has gradually become popular since the Ming and Qing Dynasties, making Baojiao develop into a kind of musical art. Bouncing words were formed in the Yuan Dynasty and flourished in the Ming and Qing Dynasties. Most of the performers are one to three persons, and take the form of talking and singing. Most of the instruments are accompanied by three strings, pipa and other instruments. Drum lyrics were popular in the north during the Ming and Qing Dynasties, while playing lyrics were prevalent in the south. The Gongtong originated in the Northern Song Dynasty and was popular in the Song, Jin and Yuan Dynasties. It is a combination of speaking and singing, with singing as the main theme, and the tones sung are adapted from the popular tunes of the time. The Gongsongs sang long stories of tens of thousands of words in different Gongsong tones, mixed with spoken words, which directly influenced the formation of Yuan miscellaneous dramas.

(4) Buddhism provided the storyline and ideological content for classical novels and operas.

China's pre-Qin novels were not valued by the scholarly class, and were considered to be "street talk, hearsay" and not worthy of the hall of honor. From the Sixth Dynasty began to appear strange novels, the Tang Dynasty has a legend of history, the Song people have a novel, no Ming since the chapter of novels, novels gradually to form a school of its own, on the hall of fame of literature, and even with the poetry to engage in the rituals. The novel is one of the narrative literary genres, which is centered on characterization, and reflects social life extensively and y through complete storylines and descriptions of specific environments. Some of China's ancient novels were influenced by Buddhism in terms of genre structure, story source, artistic conception and ideological tendency.

The Tang Dynasty Buddhist monks created a variation of the Buddhist scriptures in the form of popular speech, popular speech influenced the Tang people's "speech". "Speaking" is the use of popular language storytelling, is a kind of rap art. In the Song Dynasty, it evolved into the storytelling of "speakers" in the storytelling hall. "Talking" story base for the "book of words", "book of words" is divided into "telling history" and There are two types of "novels". The former is mostly in simple literary language with a long scale, the latter is mostly vernacular short stories. Such as the Song people said the scripture book "Tang Sanzang scripture poetry," the book is divided into three volumes, *** seventeen chapters, missing the first chapter, is a narrative of the Tang Sanzang Xuanzang and the monkey walkers in the west to get the scriptures of the story. Its prototype for the long chapter book novel, by the words of the novel further development of the chapter book novel, sub-back labeling, story connection, paragraph neat, become the main form of the Ming and Qing dynasties long novel, directly affects the development and form of the novel.

Buddhism provided the source of stories and inspired artistic conception for the ancient novels about monsters and gods. China's ancient literary works pay attention to "rhetoric", the style is simple, not conducive to the trauma and development of the novel. The Buddhist canonical books are widely taken metaphor, fable, story to explain the doctrine, often the Buddha's theory melted in the gorgeous and wonderful literary form, to achieve the effect of image edification. The circulation of Buddhist texts was conducive to breaking the boundaries of the traditional themes of Chinese novels, such as museums, anecdotes, and jokes, and opened up a wide world for novel writing. During the Six Dynasties, Buddhism and Taoism were prevalent, forming a social atmosphere of talking about ghosts and gods and claiming supernatural powers, which gave rise to many novels. For example, Gan Bao's "Searching for God", Yan Zhiwei's "Grievous Souls", and Wu Jun's "Continuing Qi Harmonious Records" are representative works. There are also works such as Wang Diem's Hades and Liu Yiqing's Records of the Ghosts, which specialize in promoting the Buddhist idea of good and evil retribution and reincarnation.

The storylines in Buddhist scriptures enriched the ideas and contents of Chinese novels. For example, Mr. Lu Xun believed that the development of the Six Dynasties people's thoughts about monsters was due to the importation of Buddhism from India, and he also pointed out that according to Duan Chengshi's "Miscellaneous Chopping Block in Youyang", the story of the scholar in a goose cage in Yangxian was actually an evolution of the story of the man in a pot in the eighteen articles of "Old Miscellaneous Metaphors" translated by Kang Shenghui of the Three Kingdoms.

The Journey to the West by Wu Cheng'en is a romanticized novel about gods and demons based on the stories of the Tang monk Xuanzang's quest for the scriptures in India and related dramas and plays that have been circulating in folklore. Many stories in the novel originated from the famous Buddhist biography of Master Xuanzang and the Buddhist travelogue of the Western Regions of the Great Tang Dynasty, and combined with the study experience of the Good Fortune Child's fifty-three references in the Avatamsaka Sutra, it depicts the legendary story of the Tang Monk's journey to the west to experience eighty-one difficulties, which demonstrates the profound imprint of Buddhist thought. Another example is "The Enchantment of the Gods", which is a historical story about the political turmoil at the end of the Shang Dynasty and the conquest of the Shang Dynasty by King Wu of Zhou. The thirty-six ways of fighting against Xizhi recounted in the book are also inspired by the Dafang Guangfo Huayan Sutra and the Demon Subduing and Transforming Text. Many of the characters in the book are directly inspired by Buddhist texts, such as Na Cha, who is based on a Buddhist character. For example, Nezha is the prototype of Na Zha, the third son of the northern Vishamon King of the Four Heavenly Kings, a Buddhist deity who protects the Dharma.

Buddhist philosophy also influenced the creation of classical novels. For example, the famous historical novel "Romance of the Three Kingdoms" describes the conflicts and struggles between feudal groups in the late Eastern Han Dynasty and the Three Kingdoms era. The opening inscription of the novel reads, "The Yangtze River flows in the east, and the waves have eliminated all the heroes. Right and wrong, success and failure are empty in the blink of an eye, the green hills are still there, and the setting sun is red in a few degrees ...... ", showing the worldly thought that life is like an illusion. The Golden Vase Plum Lyrics describes the shameless image of Simon Qing, a mercenary tycoon, and phenomenally illustrates the sad fate of the endless sea of desire with his life's ups and downs. As the novel "Dream of the Red Chamber", also greatly influenced by Buddhism, there are profound reflections on fate and life .

China's Yuan Dynasty miscellaneous drama performance form appeared before the combination of music and song, dance, Kobai formal theater. Yuan miscellaneous dramas are not only based on legends and novels, some of them also directly introduce Buddhist stories. Yuan miscellaneous dramas are divided into 12 sections, of which "gods and ghosts" include Buddhist themes. For example, Zheng Tingyu's Monk in a Bag and Wu Changling's Tang Sanzang's Scripture Taking in the West are very famous. The Ming Dynasty miscellaneous dramas "Guan Shiyin cultivation incense mountain record" and "Meilian save mother persuade good play," etc., are also obvious examples of the opera is y influenced by Buddhism.

(5) The influence of Buddhism on ancient literary theory and criticism

Buddhism not only had a significant impact on the creation of ancient literature in China, but also had a direct impact on the formation and development of ancient literary theory and criticism in China. Buddhism advocates the method of discursive thinking and intuition, and the theoretical thinking of literary creation has many tacit understanding; Buddhism attaches importance to transcend the burden of the objective environment, the pursuit of a pure spiritual realm, and the aesthetic value of literary works, people's aesthetic understanding, there is also some kind of common ground. Therefore, Buddhist doctrine has profoundly influenced ancient literary theory and criticism.

Buddhism advocates the use of mystical intuition to realize the highest truth, because the highest truth is not enough to be expressed by words and language, and it is difficult for rational and logical thinking to grasp the world of the essence. So how to truly realize the world of reality? Buddhism puts forward the theory of epiphany. That is, the truth is one in its subtlety and indivisibility, and the realization of the truth is in harmony with the truth, without the mind of separation, and without the need for a gradual process, in the present moment of life, into the realm of the true nature. The intuitive aesthetics affects the literary theory of some poets, such as Liu Fu, who studied under the master of Sang-Yu for more than ten years and helped Sang-Yu to compile the fifteen volumes of the Collection of the Records of the Exodus from the Tripitaka. He compiled the famous literary criticism canon "Wenxin Diao Long" 10 volumes, and Zhong Rong's "Poetry" and known as China's literary criticism of the canon of the two jewels, the book more than the Buddhist entries to establish the track of the article, but also through the meaning of the Sanskrit sound in order to interpret his literary ideas. According to the Tantra, "Enlightenment is a moment of enlightenment after a long period of time", and the transformation of all living beings from enigma to enlightenment takes place in a single thought, and the realization that one's true nature is the Buddha is completed in a single moment. Under the influence of the Buddhist doctrine of verbal path breaking and epiphany, Kyauk Ran, a poet monk of the Tang Dynasty, wrote Poetic Style, which was devoted to discussing the system and method of poetry. In the text, he praised his ancestor Xie Lingyun's poems as "hair all made extreme", with "the help of the empty king", reaching the highest state of the poet. At the end of the Tang Dynasty, Sikong Tu (837-908) wrote Twenty-four Poetry Pieces (abbreviated as Poetry Pieces), which inherited and developed the ideas of Liu Foetu and Jiao Ran, and put forward the image characteristics of "the image outside the elephant, the scene outside the scene," the pursuit of "rhyme outside the rhyme," "the feeling" and "the feeling" of "the rhyme" and "the feeling" of "the rhyme" of "the rhyme" and "the feeling" of "the rhyme. The pursuit of "rhyme and subtlety" and "obscurity", that is to say, the sound of the work, the rhyme and subtlety as the primary artistic characteristics of poetry. Later, Yan Yu, a literary critic of the Southern Song Dynasty, wrote Canglang Poetry, applying the Buddhist epiphany saying that "the way of Zen is only in the wonderful enlightenment, and the way of poetry is also in the wonderful enlightenment," pursuing the far-reaching meaning beyond the words, emphasizing that poems should have image thinking and aesthetic judgments, and making a great contribution to literary theories. In the Qing Dynasty, Wang Shizhen (1634-1711) wrote "Poems from the Hall of Scripture", inherited his predecessor's theory of literary criticism, and put forward the theory of "Divine Rhythm". "Divine Rhythm is characterized by far-reaching ambiguity, meaning beyond words, and is considered to be an important artistic criterion of the poet's samadhi.

In addition to epiphany, mystical enlightenment, and divine rhythm, there is also the Buddhist doctrine of causation, represented by the doctrine of "presentiment" of the late Ming and early Qing thinker Wang Fuzi (1619-1692), which is an intuitive understanding of the image of a thing, and is a way to recognize the image of a thing. Presentiment is the intuitive experience of the image of a thing, referring to perceptual knowledge, and therefore poetry should not be based on empty speculation, and should not be detached from the reality of life tendencies. Since the Tang and Song dynasties, literary criticism has attached great importance to the theory of "realm". The realm refers to the objective existence, the realm refers to the literary works of life depicted in the picture and the expression of thoughts and feelings of the fusion of the formation of an artistic realm, that is, the "realm of meaning".

Buddhism has had the greatest influence on the theory of literary criticism than Zen Buddhism. In the Song Dynasty, the metaphor of Zen in poetry had become a trend, and the metaphor of Zen in poetry had almost become a popular mantra. Some poet-monks and literati have used Zen theories to discuss the creation, appreciation and criticism of poetry. (F) Buddhism adds new vocabulary to the treasure house of Chinese literature and language

With the translation and circulation of Buddhist texts, a lot of beautiful allusions and new words of artistic beauty in Buddhist texts have been introduced into the literature of China during the Six Dynasties, especially after the Tang Dynasty, in which idioms originating from Buddhism accounted for more than ninety percent of the foreign idioms in the history of the Chinese language. The new vocabulary of Indian and Chinese Buddhism enriched the treasury of Chinese literature and language, made the expression of Chinese language more flexible, and played a positive role in Chinese cultural life.

With the spread of Buddhism in China, Buddhist terms have gradually become everyday terms in the Chinese language, such as world, actual, as real, and real-phase, etc., which are commonly used in Buddhism when elaborating ontology, such as relative, ten thousand dharmas, phenomena, and matter of fact, etc., which are terms describing the phenomenology of Buddhism, such as awakening, liberation, nirvana, and enlightenment, etc., which refer to the state of freedom and liberation of the personality attained in Buddhism through cultivation, such as all beings, six paths, sentient beings, and non-sentient beings, etc., are Buddhist concepts of life, such as the Pure Land, the Other Side, etc., are Buddhist terms describing the ideal society in which there are no more worldly worries, such as knowledge, mind-only, and ratio are Buddhist methodological terms, and so on. Languages originating from Buddhism such as Six Roots of Purity, Drag and Drop, Great Compassion, Life, Old Age, Disease and Death, Ape, Local Scenery, Only I Am, Unbelievable, Cold and Ambiguous Self-Knowledge, All is Joyful, Bodhisattva's Heart, Thousands of Worlds, The Heavenly Dragons and Eight Sections, When the Head is Struck by a Stick and Drunken Drum, Presentation of the Law, Presentation of Buddha's Flowers and Giving Him Flowers, Hailing the Buddha and Cursing the Ancestors, Foolish People Talking about Dreams, Steaming Sand into Rice, Mud and Bulls Entering the Sea, Fishing for the Moon in the Well, Unlimited Merit and Success, Five Bodies Throwing Down Their Arms and Zhanliu Gold, There are too many monks and not enough porridge, joy in suffering, "the sea of bitterness has no boundaries, turning back is the shore", "reap what you sow, reap what you sow", "put down the butcher's cleaver, become a Buddha on the ground". With the popularization and promotion of Buddhism, these Buddhist language phenomena have become an important part of our daily life. The content of these words is very wide, almost all aspects of life, involving our political, cultural, economic, philosophical, literary and other content, greatly enriched the expressive power of the Chinese language, facilitating the exchange of ideas, and playing a positive role in cultural and social life.