The reason why Xuanzang's common names were different was mainly because there was no clear record in the official history books at that time. Xuanzang's surname was mentioned in the Book of Old Tang Dynasty, but not in the Book of New Tang Dynasty, resulting in a state of no authoritative statement. The textual research on the word "one" and "xian" seems to have their own reasons.
The reason why the word "fairy" is used is because the word "fairy", as the common name of Xuanzang, should come from the phrase "lady (headdress of ancient aristocratic women) fairy" in the Book of Rites, which means a kind of costume (or sacrificial clothing). Master Chang Jie, Xuanzang's second brother, is commonly known as Chen Su. The word "Su" also comes from the sentence "Doctor" in the Book of Rites, which means white raw silk (ribbon) and is also a kind of clothing. This brother's name comes from the principle of the same ancient book, which should be strong evidence.
The reasons why we use "one" are as follows: (1) "one" is a beautiful meaning, which is often used for names; "Fairy" is a kind of sacrificial clothing for ancient queens. (2) Xuanzang's word "Xuanzang" means strengthening. According to the principle of matching ancient names with characters, greatness and beauty come down in one continuous line, and the word "Yi" is more reasonable in a sense. (3) The words "clothes" and "clothes" are one beside the symbol and the other beside the symbol of clothes. These two radicals were often confused in ancient times because they were very close. The word "Yi" may be a misprint of the word "Yi", such as Han tablet, Dunhuang manuscript and Tang Shijing, but they all belong to other words.
Those who deny Xuanzang's name "Yi" have several inferences: First, if the word "Yi" is said to be "used for names" in the dictionary, it must be this word, which is wrong. Because a word is only used for names in most documents, it can be concluded that the word is "mostly used for names"; However, if the name of a historical figure is determined to be this word just because the word "mostly used for personal names", such backward inference is logically untenable. Secondly, the so-called use of the word "Yi" is "great beauty inheritance", which is a misuse of the principle of matching ancient names with words, because the name of a monk does not have to match the common name. For example, Master Hongyi, a modern monk, whose real name is Li Shutong, has nothing to do with his name. Third, "Yi and Xian were often confused in ancient times because of their similar radicals", which is sometimes possible. However, in this case, the word "Yi" is often written on purpose. Because as a stone carver, he generally doesn't want to spend more time carving, but always wants to save effort and carve less. What's more, there is a possibility that future generations are taboo and deliberately lack pens, which has caused misunderstandings to future generations. Therefore, the common name of Xuanzang should be "Chen Xian", whether from the original intention of naming or from the mixed use of stone carving classics.
Of course, even if Xuanzang's common name is "Chen Yi", it can't be said that it is wrong. In this regard, Professor Qian Wenzhong's Xuanzang The Journey to the West is in place. He used "Chen Xian" in the article, but put a bracket beside it, which means it is also called "Yi". Professor Qian explained: "Why do you say that? Because there is only one place where his name is Chen Yi, and the other four contemporary documents all say that his name is Chen Yi, we can only take one more place in the case of insufficient evidence. This is a rigorous attitude that academic research should adopt. Uzbekistan
Uzbekistan is located at the crossroads of Eastern Europe and Central Asia. It is a rare "double landlocked country" in the world (all neighboring countries are landlocked), so it is considered as "the heart of Central Asia". Xuanzang once sprinkled Buddha fire in Uzbekistan. (Museum leaves physical evidence)
Tasila
Daqila has a deep relationship with the development of Buddhist culture in China. According to historical records, Fa Xian, a monk of the Jin Dynasty, arrived here in 405 AD and lived there for six years, but the remains of that year have disappeared. Xuanzang, a famous monk in the Tang Dynasty, came to Taksila in 650 AD and gave lectures here for two years. In the "Records of the Western Regions of Datang" written by Xuanzang, he described Taksila in beautiful words: "The land is called fertile soil, crops are flourishing, springs flow in large quantities, and flowers and fruits are flourishing. The gas order is smooth, the customs are light and brave, and the three treasures are respected. " Today, Xuanzang lecture hall remains the same.
Fish rice pot
Kazim Abdoulaye, research director of the Institute of Archaeology of the Academy of Sciences of Uzbekistan, pointed out in his academic report entitled "Buddhist Culture in Gutierrez City and Its Surrounding Areas" at Peking University that the discovery of Buddhist cultural remains in Gutierrez City and its surrounding areas further confirmed the authenticity of Xuanzang's records. On his way to Tianzhu to learn Buddhist scriptures, Xuanzang arrived in Gutierrez city along the river valley. In the Western Regions of the Tang Dynasty, Xuanzang recorded the situation of Buddhism in the city: "The honey country is more than 600 miles east and west, and more than 400 miles north and south. The capital of NUS is more than 20 miles long from east to west and narrow from north to south. There are more than ten schools and more than one thousand monks in Galand. Pagodas and Buddha statues are magical and insightful. " In 2005, there was a so-called "portrait of Xuanzang" in the exhibition "Journey to Fusang" held by the National Museum of China. It is mentioned in the description of the painting that this painting is an important Japanese cultural property. It was painted in the late Kamakura period (1 185- 1333) according to the samples invited by China, and the silk version was colored. This painting is naturally reminiscent of the stone carving of Anxingjiao Temple in Xi, which is completely consistent with its shape. This painting shows a middle-aged walking monk with long eyebrows and a slight beard. His body is covered with a reed, and the scrolls can be clearly seen in the reed. The monk holds the dust in his right hand and the scroll in his left. Above the monk's head, a small lamp hangs above the reed, reminding people of the lonely journey of shadow companions on the long search road. It is worth noting that in the portrait, the monk wears big earrings on his ears and a string of nine skeletons and a Buddhist monk's knife around his neck. If this image is recognized as a portrait of Xuanzang by Japanese academic circles, how to explain this ornament? If this monk is supposed to be a master of Xuanzang recognized by some scholars, how can we understand the relationship between Xuanzang's achievements and portraits?
Atlas reference.
Xuanzang died in 664 AD. When he was alive, he was favored by the royal family and made extraordinary achievements. After his death, the commemoration of him surpassed his birth. But why didn't there appear a large number of portraits of Master Xuanzang in China, that is, the portraits drawn by court painters on the orders of the emperor? Is there no tradition? Of course not. China has always had a tradition of drawing and taking notes, such as stepping out of the picture and marching troops to the fortress. It is really unreasonable that Xuanzang, a sensational figure, did not get an image record of the royal family. "The biography of Master Sanzang" also recorded the portraits of ten people, including the master: "Welcome the master, send nine people, one waiter each, to the Helin Temple to consecrate Mrs. Ni Xuefu in Hedong County ... three days later. I was instructed by the imperial edict to join forces with Wu Zhimin for ten routes, supplemented by defense. " However, it seems impossible to see the mage and nine great statues painted by Wu Zhimin today. This is the only content recorded as a portrait of the mage in Biography, but this only painting is also a collective portrait, and it is not painted for the mage alone. So why didn't the royal family order the royal family to draw a meaningful portrait of the master? Where did the Japanese master statues with the nature of secret law come from? Does the royal family's silence on the statue of the master painter reflect the true attitude of the royal patrons towards Buddhism? In fact, Xuanzang's Japanese image was copied from China's prototype, while China's original painting was lost.