Ruyi (scepter)

Ruyi () is a Chinese curved decorative object that serves as either a ceremonial scepter in Chinese Buddhism or a talisman symbolizing power and good fortune in Chinese folklore. The "ruyi" image frequently appears as a motif in Asian art.

A traditional ''ruyi'' has a long S-shaped handle and a head fashioned like a fist, cloud, or lingzhi mushroom. ''Ruyi'' are constructed from diverse materials. For example, the Palace Museum in Beijing has nearly 3,000 ''ruyi'' variously made of gold, silver, iron, bamboo, wood, ivory, coral, rhinoceros horn, lacquer, crystal, jade, and precious gems.

Word

The Chinese term ''ruyi'' is a compound of ''ru'' 如 "as; like; such as; as if; for example; supposing; be like; be similar; accord with" and ''yi'' 意 "wish; will; desire; intention; suggestion; thought; idea; meaning; imagination".

Standard Chinese uses ''ruyi'' either as a stative verb meaning "as desired; as one wishes, as one likes; according to one's wishes; following your heart's desires", or as an adjective meaning "satisfied, pleased, happy, comfortable". The word is combined with ''suanpan'' 算盤 "abacus" in the expression ''ruyi suanpan'' to mean considering things only from a positive perspective; to be overly optimistic in one's plans.

Chinese ''ruyi'' was borrowed as a Buddhist loanword into other East Asian languages such as Japanese and Korean with corresponding Sino-Xenic pronunciations.

History

Chinese classic texts from the Former Han dynasty (206 BC – 24 AD) contain the earliest usages of the word ''ruyi''. For example, the '' Shiji'' history uses it both literally for "as desired" and for the given name of Liu Ruyi 劉如意 (d. 195 BC), who was the son of Emperor Gaozu of Han and Concubine Qi. The '' Hanshu'' biography of the '' fangshi'' astrologer and mathematician Jing Fang (78–37 BCE) quotes him using ''ruyi'' meaning "as you wish" in an audience with Emperor Yuan of Han (tr. Edkins 1904: 238), "I fear that though your Majesty acts in this way you will still not obtain what accords with your wish."

The anthropologist Berthold Laufer (1912:336) said that the Chinese accounts of the ''ruyi'' are "more unsatisfactory" than for any other object in Chinese culture. Scholars have proposed two basic theories for the origin of the ''ruyi'', writes Kieschnick (2003:141). The former is that ''ruyi'' originated from Sanskrit ''anuruddha'' "a ceremonial scepter" used by Buddhist monks in India, who later brought it to China, transliterated as ''analu'' 阿那律 or translated as ''ruyi''. The latter theory is that ''ruyi'' originated as a backscratcher in early China, and was amalgamated with the Buddhist symbol of authority. Davidson (1950:239) suggests "as desired" signifies a backscratcher owing to "its apparent ability to reach otherwise inaccessible areas of the human body".

During the Later Han dynasty (25–220 AD) and Jin dynasty (266–420 AD), literati and nobles often held ''ruyi'' during conversations and other social occasions. It was called a ''tanbing'' 談柄 "conversation baton" (cf. the Native American talking stick) and was used much like the ''zhuwei'' 麈尾 "deer tail" (analogous to a fly whisk), which practitioners of the ''qingtan'' 淸談 "pure conversation" movement popularized during the Six Dynasties period (220–589 AD). Besides the ''ruyi'', other objects used as a ''tanbing'' "discussion stick" included the ''tanshan'' 談扇 "discussion fan" and ''tanzhu'' 談麈 made from the tail of a Père David's deer. Davidson (1950:247) says "there seems no doubt that the primary and original function of the ''ju-i'' was that of a scepter qualifying the holder to "take the floor." Its origin was probably in India where the branch of a tree seems to have served a similar function. Any other purposes the ''ju-i'' served, such as a note tablet, honorific insignia, good luck gift, or even backscratcher, were merely later accruals."

The ca. 554 AD '' Weishu'' history records a story that when Emperor Xiaowen of Northern Wei (r. 471–499 AD) wanted to retire from the throne, he tested his sons by letting them choose among a number objects, and the one who selected a bone ''ruyi'' (symbolizing political rule) became Emperor Xuanwu of Northern Wei (r. 500–515). Kieschnick (2003:144) concludes "that by the end of the sixth century, not only was the ''ruyi'' common at court, but it had even begun to take on emblematic significance as the mark of a ruler." Although the ''ruyi'' symbolized imperial political power, it differed from the Western royal scepter because Chinese officials and monks commonly used it.

In Buddhist usage, holding a ''ruyi'' when teaching gave the holder the right to talk. The biography of Tiantai Buddhist patriarch Zhiyi (538–597) says that when he was teaching '' Prajna'' in place of his teacher Huisi 慧思 (515–577), Huisi would sit holding a ''ruyi'' in his hand (Davidson 1950:244).

The (c. 886) ''Duyang zabian'' 杜陽雜編, which is a collection of Tang dynasty (618–907) stories, records that Emperor Wenzong presented an ivory ''ruyi'' to his tutor Li Xun 李訓 (d. 835) and said (tr. Kieschnick 2003:145), "The ''ruyi'' may serve you as a lecture baton (''tanbing'')." The (945) ''Old Book of Tang'' biography of Li Xun (tr. Davidson 1950:247) says this occurred on a hot summer day and the emperor's ''ruyi'' present was made from "heat-repelling rhinoceros horn", which is believed to be cooling in Traditional Chinese Medicine. ''Ruyi'' were both emblems of power and tools of discourse.

Herbert Giles (1912:185) quoted the Song dynasty archaeologist Zhao Xigu 趙希鵠 (d. 1240) that the ''ruyi'' "was originally made of iron, and was used 'for pointing the way' and also 'for guarding against the unexpected,' i.e. for self-defence. It was, in fact, a kind of blunt sword, and traces of basket-work are still to be found inside what must have been the sword-guard."

In the Ming dynasty (1368–1644 AD), ''ruyi'' became popular as ornaments or gifts symbolizing blessings and good luck. The ca. 1627 AD ''Zhangwuzhi'' 長物志 "Treatise on Superfluous Things", by Ming painter Wen Zhenheng, discussed ''ruyi'' aesthetics.

The ''ruyi'' was used in ancient times to give directions or to protect oneself from the unexpected. It was for this reason that it was made or iron, and not on the basis of strictly aesthetic considerations. If you can obtain an old iron ''ruyi'' inlaid with gold and silver that sparkle now and then, and if it has an ancient dull color, this is the best. As for ''ruyi'' made of natural branches or from bamboo and so on, these are all worthless. (tr. Kieschnick 2003:151)

During the Qing dynasty (1644–1912 AD), ''ruyi'' scepters became luxuriant symbols of political power that were regularly used in imperial ceremonies, and were highly valued as gifts to and from the Emperor of China. Since 3 and 9 are considered lucky numbers in Chinese culture, Qing craftsmen elaborated the traditional handle and head type ''ruyi'' into two-headed ''sanjiang-ruyi'' 三鑲如意 "3-inlay ''ruyi''" with precious stones set in both heads and middle of the handle and ''jiujiu-ruyi'' 九九如意 "9-9 ''ruyi''" presentational sets of nine. The Qianlong Emperor presented a ''ruyi'' to the British ambassador George Macartney in 1793, and in his description (quoted by Kieschnick 2003:139–140), "It is a whitish, agate-looking stone, about a foot and a half long, curiously carved, and highly prized by the Chinese, but to me it does not appear in itself to be of any great value."

During the historical evolution of Chinese ''ruyi'' "as desired", they have been used as backscratchers, ritual objects in Buddhism and later Daoism, pointers for public speakers, prized icons of political power and wealth, and auspicious gifts expressing best wishes.

Art

In Chinese art, ''ruyi'' scepters often appear as attributes of Buddhist saints and Daoist ''xian''. The god of prosperity Cai Shen 財神 is often depicted holding a ruyi. Stylized repetitions of the shape are incorporated as a motif in the depiction of heavenly clouds. ''Ruyi'' symbolize achieving prosperity in '' fengshui'' practice. The ''ruyi'' shape appears as a motif in decorative knots, Oriental rug patterns, folk artifacts, and even modern corporate logos. Stylized ''ruyi'' often function as a kind of ante-fixae or palmette in traditional and modern architecture.

Two types of ''ruyi'' are seen in Chinese Buddhist art. The early ''ruyi'' was common in Buddhist sculpture and painting from the late Six dynasties (220–589) through the Tang dynasty (618–906). It was a slender stick, varying from about 15 to 24 inches, which widened and curved slightly at one end. Not only were these utensils frequently portrayed by artists and sculptors, but the Shōsōin treasure house of Tōdai-ji temple, in Nara, has preserved several 8th-century ''ruyi'' (Davidson 1950:242). The modern ''ruyi'', which first appeared in the art of the Song dynasty (960–1279) has two forms. The first type shows minor elaborations upon the basic slender-handled structure of the early ''ruyi'', but the slight curve at the top was exaggerated into a decorative ornament, a medallion-like form, frequently a stylized fungus. The second type of contemporary ''ruyi'' shows a radical change, in addition to the decorated end, two other smaller inlaid plaques or medallions, with one at the middle of the handle and the other at the base. Variations occur where the center medallion becomes a rectangle, or the second is omitted (Davidson 1950:242–243).

In early Chinese and Japanese Buddhist art, the bodhisattva Manjusri is usually depicted holding a sword (representing wisdom that cuts through ignorance), except in representations of his ''Vimalakirti Sutra'' discussion with the layman Vimalakirti, when Manjusri holds a ''ruyi'' scepter (Davidson 1950:240). This representation expanded in the 10th century, concurrent with the change in ''ruyi'' forms, and holding a ''ruyi'' became an attribute of other divinities as well as Chinese emperors (Davidson 1950:244).

Berthold Laufer (1912: 339) believed the first Chinese representation of a ''ruyi'' was in an 8th-century Mañjuśrī painting by Wu Daozi.

I do not mean to say that the Buddhist emblem called ''Ju-i'' has developed from the lotus, though I think that the alternation of both is suggestive. But it is not necessary at all to assume that the Chinese ''Ju-i'' in general is of Buddhist origin... It may very well be that the implement is Chinese in origin and even prebuddhistic, and that, as in so many other things, a kind of compromise took place, resulting in the assimilation and amalgamation of two ideas and two forms. (1912:339)

Admitting that the "original significance of this implement has been lost long ago", Laufer hypothesized that the ''ruyi'' may have developed from a ritual jade that began as a Zhou dynasty "symbol of light, generative power and fertility".

Two of the emperors in the famous ''Thirteen Emperors Scroll'' by Yan Liben (d. 673) are holding ''ruyi'' (Davidson 1950:247), Emperor Wen of Chen (r. 559–566) and Emperor Xuan of Chen (r. 569–582).

Japanese painters variously pictured Manjusri holding a ''ruyi'' in either hand (Laufer 1912:338). Sesshū Tōyō (1420–1506) showed one in his left hand and nothing in his right. Kichizan Minchō 吉山明兆 (1352–1431) and Kanō Sanraku (1559–1635) showed the Bodhisattva with a ''ruyi'' in his right and a book-roll in his left. A 12th-century Manjusri painting attributed to the Kose School a sword in his right and a sacred lotus-flower in his left hand.

Word usage in East Asian Buddhism

With the introduction of Buddhism to China, scholars used Chinese ''ruyi'' to translate various Sanskrit terms, which Buddhism in Japan subsequently borrowed as ''nyoi''. The primary terms and Chinese/Japanese translations are:
*''anuruddha'' "a ceremonial mace; a priest's staff", ''ruyi''/''nyoi'' 如意
*'' kalpavriksha'' "wish fulfilling tree; the manifestation of what one wishes", ''ruyishu''/''nyoiju'' 如意樹
*''cintamani'' "wish-fulfilling jewel; jewel that grants all desires", ''ruyizhu''/''nyoiju'' 如意珠 or ''ruyibaozhu''/''nyoi-hōshu'' 如意宝珠
First, the ''anuruddha''/''ruyi''/''nyoi'' scepter is defined in the '' Digital Dictionary of Buddhism'':

An instrument held, especially by the abbot of a temple, during ceremonies and sermons shaped as a short staff curled in an S-shape and made out of wood, or more precious materials, such as ivory. One end is broader than the other, and often has a metal plate with a decorative cloud-shaped stamp. It is said to originally have been a back-scratcher that was carried by Buddhist monks.

In some schools of Zen like Sanbo Kyodan, the ceremonial scepter of a '' rōshi'' is called ''kotsu'' instead of ''nyoi''.

The scepter has a slight S-shaped curve, like a human spinal column. The rōshi uses the ''kotsu'', for example, to emphasize a point in a ''teishō'', to lean on when sitting, or also occasionally to strike a student. (Diener, Erhard, and Fischer-Schreiber 1991:119)

Second, the divine ''kalpavriksha''/''ruyishu''/''nyoiju'' is a wishing tree in Hindu mythology. The Buddhist translator Samuel Beal (1884:105) explained it denotes "power to produce whatever was wished". The Chinese Buddhist monk Yi Jing 義凈, who travelled in India from 673 to 695, translated ''kalpavriksha'' as ''ruyishu'' in describing the Uposatha day celebration (tr. Takakusu 1896:49), "Then gifts are distributed. Sometimes the host provides a 'wishing tree' (Kalpa-vriksha), and gives it to the priests". Since it is unlikely that a real tree could have been given, Davidson (1950:247) notes that "some sort of symbolic tree was deemed appropriate as a gift to a Buddhist priest."

Third, the legendary ''cintamani'' "wish-fulfilling jewel; jewel that grants all desires" is translated either with ''zhu''/''shu'' 珠 "pearl; bead" or ''baozhu''/''hōju'' 寶珠 "precious pearl; jewel". This famous term is frequently used in literature and art. The ''Digital Dictionary of Buddhism'' explains:

A ''maṇi''-jewel; magical jewel, which manifests whatever one wishes for (Skt. ''maṇi'', ''cintā-maṇi'', ''cintāmaṇi-ratna''). According to one's desires, treasures, clothing and food can be manifested, while sickness and suffering can be removed, water can be purified, etc. It is a metaphor for the teachings and virtues of the Buddha. … Said to be obtained from the dragon-king of the sea, or the head of the great fish, Makara, or the relics of a Buddha.

Erik Zürcher (1997:407) suggests that association between ''ruyi'' and the legendary ''ruyibao'' "wish-fulfilling gem" explains the dichotomy between it being both a mundane backscratcher and a Buddhist symbol.

The ca. 1150 AD ''Fusō ryakki'' 扶桑略記 "Brief History of Fusang" by Kōen 皇圓, the teacher of Hōnen, recounts a Japanese ''nyoi-hōju'' legend involving the monk Foshi "Buddha's Vow" (Japanese ''Bussei'').

There lived in Northern India a Buddhist abbot, "Buddha's vow" by name, who for the sake of mankind sought the "Precious pearl which grants all desires". He went on board a ship and, when in the midst of the sea, by Buddha's power called up the Dragon-king. After having bound him by means of mystic formulae (tantras), he required the pearl from him, whereupon the dragon, unable to escape, took the pearl from his head and prepared to hand it over to the priest. The latter stretched out his left hand, at the same time making the "sword-sign"', a mudrā (mystic finger-twisting), with his right hand. The Dragon-king, however, said: "In former times, when the Dragon-king Sāgara's daughter gave a precious pearl to Cākyamuni, the latter received it with folded hands; why should a pupil of the Buddha accept it with one hand?" Then the priest folded his hands, giving up the mudrā, and was about to take the pearl, when the Dragon-king, no longer suppressed by the mystic sign, freed himself from his bands and ascended to the sky, leaving the abbot behind with empty hands, and destroying his boat. The only man who was saved was the priest himself. Afterwards the same abbot met Bodhidharma, the patriarch, who came across the sea from Southern India (in 526), and together they went to Japan. (tr. de Visser 1913:189)

Two additional Sino-Japanese Buddhist translations are:
*''Ruyiwutan''/''Nyoi Muton'' 如意無貪 "fulfill wishes without craving" translates Analu 阿那律 Anuruddha, one of the original disciples of Gautama Buddha
*''Ruyilun''/''Nyōi-rin'' 如意輪 "wish-fulfilling wheel" or ''Ruyilun Guanyin''/''Nyoirin Kannon'' 如意輪観音 translates Sanskrit ''Cintamanicakra'', a manifestation of Guanyin in Vajrayana Buddhism, who is usually depicted with the ''cintamani'' magic jewel and the ''falun''/''nyo-rin'' 法輪 "wheel of dharma, dharmacakra"

Other usages in Chinese

In addition to its use in Buddhist terminology, the Chinese word has other meanings. ''Ruyi'' can be a proper noun.

* Ruyi 如意 "as-desired" was the 692 AD regnal name of Empress Wu Zetian
* Ruyiniang 如意娘 "as-desired dealwoman" was the name of a Tang Dynasty Yuefu poem by Wu Zetian
* Ruyi Jingu Bang 如意金箍棒 "as-desired gold banded cudgel" is a magical weapon of Sun Wukong in the ca. 1590 AD Chinese novel '' Journey to the West''
* Ruyi 如懿 is the fictional name for Hoifa-Nara, the Step Empress played by Zhou Xun in the 2018 Chinese television drama '' Ruyi's Royal Love in the Palace'', in which ruyi scepters play an important role
* ''Ruyiyou'' 如意油 "as-desired oil" or Yu Yee oil (from the Cantonese pronunciation ''yu4 yi3'') is a therapeutic preparation in traditional Chinese medicine
* ''Ruyicao'' 如意草 "as-desired plant" is the greater burdock, ''Arctium lappa''
*''Ruyi Wanju'' 如意玩具 "as-desired toys" names "Toys "R" Us"

Besides Prince Liu Ruyi (above), Ruyi is used in other personal names.
* Murong Ruyi 慕容如意 was a son of General Murong Baiyao 慕容白曜, both of whom were executed by Emperor Xianwen of Northern Wei in 470 AD
* Pang Ruyi 逄如意 is Gong Li's character in the movie Temptress Moon

''Ruyi'' can also be a place name.

* Ruyiguan 如意館 "as-desired palace" was a Qing Dynasty library in the Forbidden City
* Ruyihu 如意湖 "as-desired lake", a lake located near Chengde in Hebei
* Ruyimen 如意門 "as-desired gate" is a historical Siheyuan in Beijing
* Ruyizhen 如意镇 "as-desired town" in Shaoshan city
* Ruyifang 如意坊 "as-desired lane", a station on the Guangzhou Metro

Other usages in Japanese

In modern Japanese usage, the loanword ''nyoi'' 如意 "as desired; as newishes" means "ease; comfort; freedom" or "(Buddhist) priest's staff".

A few Buddhist temples in Japan are named with ''Nyoi''.
*''Nyoi-ji'' 如意寺, a Tendai temple in Kobe, and a Shingon temple in Kyōtango, Kyoto
*''Nyoirin-ji'' 如意輪寺, a Pure Land Buddhism temple in Yoshino, Nara, famous for a ''Nyoi-rin'' image by En no Gyōja

Besides temples, some other proper names include
* Nyoigatake 如意ケ嶽 "as-desired peak" is located near Kyoto, and the site of a 1509 AD battle, the Nyoi-gatake no Tatakai 如意ケ嶽の戦い
* Nyoi-jizai 如意自在 "as-desired carefree, completely free and unconstrained" is the name of a yōkai spirit in Toriyama Sekien's 1781 AD ''Gazu Hyakki Tsurezure Bukuro''
* Nyoi no Watashi 如意の渡し "as-desired crossing" is a ferry on the Oyabe River in Toyama Prefecture

Gallery

File:Chigo Monju by Kano Tanyu (Kanmanji Nikaho).jpg, Young Manjusri holding a ''ruyi'', Kanō Tan'yū, 17th century
File:Manjusri Debates Vimalakirti Dunhuang Mogao Caves.jpeg, Manjusri debates Vimalakirti, copy of Mogao Caves painting
File:Yulin Cave 25 w wall Manjusri (Tang).jpg, Manjusri holding a ''ruyi'' and riding a lion, Yulin Caves, c. Tang dynasty
File:Forbiddencitypic17.jpg, A gold ''ruyi'' with carved flowers, Qing dynasty, Palace Museum
File:ruyi.rooftop.altonthompson.jpg, The ''ruyi'' motif depicts heavenly clouds in this Daoist temple roof sculpture in Taiwan
File:Taipei.101.ruyi.altonthompson.jpg, A modern ''ruyi'' figure on Taipei 101
File:Chen Wendi Tang.jpg, Emperor Wen of Chen holding a ''ruyi'', Yan Liben's "Thirteen Emperors Scroll", 7th century
File:SekienNyoijizai.jpg, ''Nyoi-jizai'' illustration from the ''Gazu Hyakki Tsurezure Bukuro''

See also

* Khakkhara
* Ruyi Jingu Bang
* Backscratcher

References

*Beal, Samuel, tr. 1884. ''Si-Yu-Ki: Buddhist Records of the Western World, by Hiuen Tsiang''. London.
*Davidson, J. LeRoy. 1950. "The Origin and Early Use of the Ju-i", ''Artibus Asiae'' 13.4:239–249.
* Diener, Michael S., Franz-Karl Erhard, and Ingrid Fischer-Schreiber. 1991. ''The Shambhala Dictionary of Buddhism and Zen''. Michael H. Kohn, tr. Shambhala.
*Edkins, Joseph (1904), "The Ju-i, or Scepter of Good Fortune", ''East of Asia Magazine'', 238–240.
*Giles, Herbert A. (1912), ''Introduction to the History of Chinese Pictorial Art'', Bernard Quaritch.
* Kieschnick, John. 2003. ''The Impact of Buddhism on Chinese Material Culture''. Princeton University Press.
*Laufer, Berthold, 1912.
Jade, a Study in Chinese Archaeology and Religion
'. Field Museum of Natural History.
*Takakusu Junjiro, tr. 1896. ''A Record of the Buddhist Religion as Practised in India and the Malay Archipelago''. Oxford.
* de Visser, M. W. 1913
The Dragon in China and Japan
Johannes Müller.
* Zürcher, Erik. 1997. ''The Buddhist Conquest of China: The Spread and Adaptation of Buddhism in Early Medieval China''. Brill.

External links

Palace Museum Digital Exhibition

Ruyi (Ju-i)
Glossary of Terms for Antique Chinese Porcelain


The Traditional China: China Culture Index


The Literature, Culture, and Society of Singapore


Chinese Knotting

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