William Grosnick(2024 - 2020)
Williiam Grosnick, Assistant Professor of Religion at La Salle College, Philadelphia, received his Ph.D. in Buddhist Studies at the University of Wisconsin-Madison in 1979. His articles on the Buddhist Tathāgatagarbha tradition have appeared in The Journal of the International Association for Buddhist Studies and the Proceedings of the International Conference of Orientalists in Japan. (Source Accessed Jan 15, 2020)
Library Items
Buddha Nature as Myth
William G. Grosnick, in his essay "Buddha Nature as Myth", makes a distinction between "empirically verifiable propositions", statements that make claims about the nature of reality whose truth both is and is expected to be capable of clear articulation and demonstration, and "mythic views of reality" that provide a nonverifiable framework of great religious power for the expression of fundamentally important religious orientations. He then argues that Buddha Nature thought—at least as expressed in the early Indic sūtras devoted to it—is of the latter kind. Its function, he suggests, is to provide a mythic orientation toward the world and the religious potential of the individual Buddhist, and so to make the practice of Buddhism possible. It is just because "all beings universally possess Buddha
Nature" that the practice of the path is possible. (Griffiths and Keenan, introduction to Buddha Nature, 4)
Grosnick, William. "Buddha Nature as Myth." In Buddha Nature: A Festschrift in Honor of Minoru Kiyota, edited by Paul J. Griffiths and John P. Keenan, 65–74. Tokyo: Buddhist Books International, 1990.
Grosnick, William. "Buddha Nature as Myth." In Buddha Nature: A Festschrift in Honor of Minoru Kiyota, edited by Paul J. Griffiths and John P. Keenan, 65–74. Tokyo: Buddhist Books International, 1990.;Buddha Nature as Myth;The doctrine of buddha-nature in Early Buddhism;The doctrine of buddha-nature in Indian Buddhism;tathāgatagarbha;William Grosnick; 
Buddha Nature: A Festschrift in Honor of Minoru Kiyota
This book contains ten essays on the topic of buddha-nature by prominent Buddhist Studies scholars, written in honor of Professor Minoru Kiyota (1923–2013), who taught at the University of Wisconsin-Madison from 1962 to 2008.
Griffiths, Paul J., and John P. Keenan eds. Buddha Nature: A Festschrift in Honor of Minoru Kiyota. Tokyo: Buddhist Books International, 1990. https://archive.org/details/buddhanatureafestschriftinhonorofminorukiyota_542_W/mode/2up.
Griffiths, Paul J., and John P. Keenan eds. Buddha Nature: A Festschrift in Honor of Minoru Kiyota. Tokyo: Buddhist Books International, 1990. https://archive.org/details/buddhanatureafestschriftinhonorofminorukiyota_542_W/mode/2up.;Buddha Nature: A Festschrift in Honor of Minoru Kiyota;Paul J. Griffiths; John P. Keenan;Buddha Nature: A Festschrift in Honor of Minoru Kiyota
Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga: A Precedent for the Hsin-Nien Distinction of The Awakening of Faith
The question of the authorship of the Ta-ch'eng chi-hsin lun The Awakening of Faith in Mahāyāna, tr. Paramārtha, hereafter referred to as the AFM), has long been a lively subject of discussion among scholars of Buddhism. Such eminent Buddhologists as Demiéville, Liebenthal, and Mochizuki (to name just a few), have debated the authenticity of the two Chinese translations of the text and discussed the possibility that the original text of the AFM might have been composed in China as part of a controversy between two branches of the Ti-lun sect. In recent editions of the Journal of the IABS the question of the authorship of the AFM has been raised again. In a couple of intriguing essays, Professor Whalen Lai has presented some new arguments in support of the Chinese authorship of the text.
I do not intend here to try to resolve all of the many questions involved in determining the author of the AFM (such an undertaking is well beyond the scope of a short paper), but I would like to address an argument that Professor Lai raised in the first of his articles—namely his contention that the AFM's exposition of the relationship of hsin (mind) and nien (thought, thought-moment) bears such an "unmistakable sinitic stamp" that it must have been authored in China. I will try to show that the AFM's central conception of an "unmoved," pure mind (hsin) existing as the basis of the deluded movement of thoughts (nien) has an important Indian precedent in the cittaprakṛti and ayoniśomanaskāra notions of the Ratnagotravibhāga-mahāyānottaratantraśāstra (hereafter referred to as the RGV), a text with which the AFM's author may well have been familiar. I do not intend this as a criticism of Professor Lai's research—the parallels he finds between Chinese thought regarding hsin and nien prior to the period of the Six Dynasties and the elucidation of these notions in the AFM deserve serious attention. I simply would like to show that similar parallels—if not direct textual influences—exist between the AFM and the Indian-composed RGV, so that there is no compelling reason to conclude that the AFM theory of mind (hsin) and thoughts (nien) demonstrates Chinese authorship. (Grosnick, "Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga," 35–36)
I do not intend here to try to resolve all of the many questions involved in determining the author of the AFM (such an undertaking is well beyond the scope of a short paper), but I would like to address an argument that Professor Lai raised in the first of his articles—namely his contention that the AFM's exposition of the relationship of hsin (mind) and nien (thought, thought-moment) bears such an "unmistakable sinitic stamp" that it must have been authored in China. I will try to show that the AFM's central conception of an "unmoved," pure mind (hsin) existing as the basis of the deluded movement of thoughts (nien) has an important Indian precedent in the cittaprakṛti and ayoniśomanaskāra notions of the Ratnagotravibhāga-mahāyānottaratantraśāstra (hereafter referred to as the RGV), a text with which the AFM's author may well have been familiar. I do not intend this as a criticism of Professor Lai's research—the parallels he finds between Chinese thought regarding hsin and nien prior to the period of the Six Dynasties and the elucidation of these notions in the AFM deserve serious attention. I simply would like to show that similar parallels—if not direct textual influences—exist between the AFM and the Indian-composed RGV, so that there is no compelling reason to conclude that the AFM theory of mind (hsin) and thoughts (nien) demonstrates Chinese authorship. (Grosnick, "Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga," 35–36)
Grosnick, William. "Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga: A Precedent for the Hsin-Nien Distinction of The Awakening of Faith." Journal of the International Association of Buddhist Studies 6, no. 2 (1983): 35–47. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8605/2512.
Grosnick, William. "Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga: A Precedent for the Hsin-Nien Distinction of The Awakening of Faith." Journal of the International Association of Buddhist Studies 6, no. 2 (1983): 35–47. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8605/2512.;Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga: A Precedent for the Hsin-Nien Distinction of The Awakening of Faith;Ratnagotravibhāga Mahāyānottaratantraśāstra;Dasheng qixin lun;William Grosnick; 
Nonorigination and Nirvāṇa in the Early Tathāgatagarbha Literature
One of the most interesting notions found in the early tathāgatagarbha literature is the idea that nirvāṇa should be understood as nonorigination (anutpāda). This idea is explicitly formulated in two texts, the Ratnagotravibhāga, the only śāstra extant in Sanskrit which is completely devoted to the tathāgatagarbha and Buddha-nature teachings, and the Jñānālokālaṅkārasūtra, the sūtra upon which the Ratnagotravibhāga bases its exposition of nonorigination. The Jñānālokālaṅkārasūtra itself does not speak of the tathāgatagarbha or Buddha-nature doctrines, but the Ratnagotravibhāga takes the Jñānālokālaṅkārasūtra explanation of nonorigination and links it to the view of nirvāṇa found in two of the important early sūtras that do speak of the tathāgatagarbha, the Anūnatvāpūrṇatvanirdeśa and the Śrīmālādevīsūtra. This interpretation of nirvāṇa in terms of nonorigination is of considerable importance in understanding the early tathāgatagarbha teaching, for it clarifies certain notions frequently associated with the tathāgatagarbha like the "natural purity of mind" (cittaprakṛtiviśuddhi)—notions which have been hotly debated ever since the doctrine's inception. It may also tell us something about the conceptual issues which divided the schools of early Buddhism and so hold clues for understanding the origin of Mahāyāna Buddhism. (Grosnick, "Nonorigination and Nirvāṇa," 33)
Grosnick, William. "Nonorigination and Nirvāṇa in the Early Tathāgatagarbha Literature." Journal of the International Association of Buddhist Studies 4, no. 2 (1981): 33–43. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8547/2454.
Grosnick, William. "Nonorigination and Nirvāṇa in the Early Tathāgatagarbha Literature." Journal of the International Association of Buddhist Studies 4, no. 2 (1981): 33–43. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8547/2454.;Nonorigination and Nirvāṇa in the Early Tathāgatagarbha Literature;The doctrine of buddha-nature in Early Buddhism;tathāgatagarbha;William Grosnick; 
The Categories of T'i, Hsiang, and Yung: Evidence that Paramārtha Composed the Awakening of Faith
The question of whether Paramārtha's version of the Awakening of Faith in Mahayana (AFM) may really be a Chinese composition has long intrigued scholars of Buddhism. Because no original Sanskrit manuscript of the AFM has ever been found nor any reference to the AFM discovered in any Buddhist text composed in India, scholars have long suspected that the AFM might not be a Chinese translation of an Indian work. The traditional attribution of the text to Aśvaghoṣa is even more suspect—as Paul Demiéville pointed out, it is almost impossible to believe that the Aśvaghoṣa whom one associates with the Buddhacarita, the Mahāvibhāṣā, and the Sarvāstivadins could have composed any Mahāyāna text, much less a sophisticated Mahāyāna treatise like the AFM. And the discovery at the beginning of this century of Japanese references to the seventh century Buddhist figure Hui-chun, who is quoted as saying that the AFM was composed not by Aśvaghoṣa, but by a "prisoner of war" who belonged to the T'i lun School, prompted many distinguished scholars, including Shinko Mochizuki and Walter Liebenthal, to argue that the work was a Chinese fabrication by a person affiliated with the native Chinese T'i lun School, which devoted itself to the study of Vasubandhu's Daśabhūmivyākhyā. Indeed, as recently as 1958, Liebenthal went so far as to say that one could take it as "established" that a member of the T'i lun School composed the AFM. Few would go so far as actually to name the member of the T'i lun School who wrote the AFM, as Liebenthal did (indeed, as Liebenthal himself remarked, it is difficult to believe that any member of the T'i lun School could have written the AFM, given that the author of the AFM does not even seem to know the ten bodhisattvabhūmis described in the Daśabhūmivyākhya), but for a long time scholarly opinion has leaned in the direction of assigning authorship of the AFM to the Chinese. Just recently Professor Whalen Lai has brought forward some cogent new reasons for regarding the AFM as a Chinese composition.
In light of all this, it might seem rather daring to suggest that an Indian actually composed the AFM, but that is what I propose to argue. I do not intend to suggest that the Sarvāstivādin Aśvaghoṣa, or even a "Mahāyāna Aśvaghoṣa" composed the AFM. The first place that any Aśvaghoṣa is listed as the author of the text is in Hui-yüan's Ta-ch'êng i chang, a work composed about a half century after Paramārtha was said to have translated the AFM, so the attribution of the text to Aśvaghoṣa probably postdated its composition. But there are a couple of pieces of important philological evidence, heretofore largely overlooked, that seem to point strongly to an Indian Buddhist, most likely Paramārtha himself, as the real author of the text, or at least of major parts of it. The first piece of evidence is the use in the AFM of the three categories of t'i, hsiang, and yung, categories which I will try to show were derived by the author of the AFM from Sanskrit categories used in the Ratnagotravibhāgamahāyānottaratantraśāstra (RGV) and which could not have been formulated by anyone who did not possess a knowledge of Sanskrit. The second piece of evidence is Paramārtha's interpolation of passages from the RGV into the Mahāyānasaṃgrahabhāṣya (MSbh), which seems to show not only that Paramārtha was intimately familiar with the RGV and its categories, but also that he was personally concerned about issues
central to the AFM. When examined together with some interesting biographical details from accounts of Paramārtha's life, this evidence seems to suggest the very real possibility that Paramārtha was the author of the AFM. (Grosnick, introduction, 65–66)Grosnick, William. "The Categories of T'i, Hsiang, and Yung: Evidence that Paramārtha Composed the Awakening of Faith." Journal of the International Association of Buddhist Studies 12, no. 1 (1989): 65–92. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8748/2655.
Grosnick, William. "The Categories of T'i, Hsiang, and Yung: Evidence that Paramārtha Composed the Awakening of Faith." Journal of the International Association of Buddhist Studies 12, no. 1 (1989): 65–92. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8748/2655.;The Categories of T'i, Hsiang, and Yung: Evidence that Paramārtha Composed the Awakening of Faith;Dasheng qixin lun;Paramārtha;Aśvaghoṣa;William Grosnick; 
The Tathāgatagarbha Sūtra
The Tathāgatagarbha Sūtra is a short but extremely influential Mahāyāna Buddhist text that was probably composed sometime around the middle of the third century C.E. It is the sūtra that introduced into the Mahāyāna tradition the notion of the tathāgatagarbha, the idea that all beings have latent within themselves all the virtues of a buddha (tathāgata), but that those virtues are hidden by a covering (garbha) of passion and anguish (the so-called kleśas of greed, anger, lust, confusion, and so on). The central message of the sūtra is that when those kleśas are removed, the buddhahood that is potential in all beings will be revealed.
The idea of the tathāgatagarbha was later to form the nucleus of the concept of buddha nature (buddhadhātu) in the Sino-Japanese Buddhist tradition. And concepts of both the tathāgatagarbha and the buddha nature underwent extensive doctrinal development in important Mahāyāna sūtras and influential commentaries. But whereas later treatises generally give a highly philosophical interpretation to the tathāgatagarbha, it is doubtful that any such sophisticated understanding was intended by the author(s) of the Tathāgatagarbha Sūtra. In the Tathāgatagarbha Sūtra, the concept of the tathāgatagarbha is promulgated primarily to inspire beings with the confidence to seek buddhahood, and to persuade them that despite their poverty, suffering, and bondage to passion, they still have the capacity to attain the ultimate goal of Mahāyāna Buddhism, the perfect enlightenment of the Tathāgata.
The term tathāgatagarbha has often been translated by Western scholars as "matrix of the tathāgata," but "matrix" does not exhaust the wide range of meanings of the Sanskrit term garbha. The author of the Tathāgatagarbha Sūtra seems to have been well aware of this, since he employs many of these different meanings of garbha in the various similes with which he illustrates the meaning of the tathāgatagarbha. In its most common usage, garbha means "womb," and the eighth simile of the sūtra likens the tathāgatagarbha to an impoverished, vile, and ugly woman who bears a noble, world-conquering king in her womb. But garbha can also mean "fetus," so the garbha in the eighth simile may also refer to the son who is within her womb. Garbha can also refer to the calyx of a flower, the cuplike leafy structure that enfolds the blossom, and the image in the sūtra's opening scene of conjured buddha forms seated within lotus flowers seems to be predicated on this meaning. Garbha can also mean "inner room," or "hidden chamber," or "sanctuary" (as in the garbhagṛha of a Hindu temple, which houses the image of the deity, or the rounded dome [garbha] of a Buddhist stūpa, which houses the precious relics of the Buddha). It is probably this meaning of garbha that the author of the sūtra intends in the fifth simile of the sūtra, when he speaks of the tathāgatagarbha as being like a hidden chamber or a secret store of treasure hidden beneath the house of a poor man. (The Chinese may have had this simile in mind when they chose the term tsang, "secret store," to translate garbha). Garbha can also refer to the outer husk that covers a fruit or seed or, by extension, to the seed itself. The third and sixth similes of the sūtra, which compare the tathāgatagarbha to the useless husk surrounding an edible kernel of wheat and to the mango pit that can grow into the most regal of trees, make direct use of this sense. Finally, garbha can refer to the inside, middle, or interior of anything, and it is this widest meaning that the author of the sūtra is employing when he likens the tathāgatagarbha to gold hidden inside a pit of waste, to honey hidden inside a swarm of angry bees, or to a golden statue hidden inside a wrapping of dirty rags or within a blackened mold.
The majority of the Tathāgatagarbha Sūtra's similes portray something extremely precious, valuable, or noble (such as buddhas, honey, kernels of wheat, gold, treasure, golden statues, or future princes), contained within something abhorrent and vile (such as rotting petals, angry bees, useless husks, excrement, poor hovels, dirty rags, soot-covered molds, and impoverished, ugly women). So the central meaning of the tathāgatagarbha concept is clear: within each and every person there exists something extremely valuable—the possibility of becoming a tathāgata—but that valuable potential for buddhahood is hidden by something vile—the sufferings and passions and vicissitudes of life. But to carry the interpretation further and to look for a deeper meaning to the tathāgatagarbha concept of this early text would probably be wrong, for when one looks more closely at the various similes used to illustrate the tathāgatagarbha, certain inconsistencies begin to emerge. For example, although most of the similes portray the precious reality within as something already complete in itself, two of the similes clearly indicate that the precious reality will only reach its perfected state in the future. The conjured buddhas within the lotus flowers are already fully enlightened, the honey and the wheat kernel are already edible, the gold in the waste pit is already pure and in no need of refinement, and the golden statues are already fully cast, whereas, by contrast, it will take many years for the embryo in the poor woman's womb to become a world conqueror, and more years still for the mango pit to become a full-grown tree. (Grosnick, "The Tathāgatagarbha Sūtra," 92–93)
The idea of the tathāgatagarbha was later to form the nucleus of the concept of buddha nature (buddhadhātu) in the Sino-Japanese Buddhist tradition. And concepts of both the tathāgatagarbha and the buddha nature underwent extensive doctrinal development in important Mahāyāna sūtras and influential commentaries. But whereas later treatises generally give a highly philosophical interpretation to the tathāgatagarbha, it is doubtful that any such sophisticated understanding was intended by the author(s) of the Tathāgatagarbha Sūtra. In the Tathāgatagarbha Sūtra, the concept of the tathāgatagarbha is promulgated primarily to inspire beings with the confidence to seek buddhahood, and to persuade them that despite their poverty, suffering, and bondage to passion, they still have the capacity to attain the ultimate goal of Mahāyāna Buddhism, the perfect enlightenment of the Tathāgata.
The term tathāgatagarbha has often been translated by Western scholars as "matrix of the tathāgata," but "matrix" does not exhaust the wide range of meanings of the Sanskrit term garbha. The author of the Tathāgatagarbha Sūtra seems to have been well aware of this, since he employs many of these different meanings of garbha in the various similes with which he illustrates the meaning of the tathāgatagarbha. In its most common usage, garbha means "womb," and the eighth simile of the sūtra likens the tathāgatagarbha to an impoverished, vile, and ugly woman who bears a noble, world-conquering king in her womb. But garbha can also mean "fetus," so the garbha in the eighth simile may also refer to the son who is within her womb. Garbha can also refer to the calyx of a flower, the cuplike leafy structure that enfolds the blossom, and the image in the sūtra's opening scene of conjured buddha forms seated within lotus flowers seems to be predicated on this meaning. Garbha can also mean "inner room," or "hidden chamber," or "sanctuary" (as in the garbhagṛha of a Hindu temple, which houses the image of the deity, or the rounded dome [garbha] of a Buddhist stūpa, which houses the precious relics of the Buddha). It is probably this meaning of garbha that the author of the sūtra intends in the fifth simile of the sūtra, when he speaks of the tathāgatagarbha as being like a hidden chamber or a secret store of treasure hidden beneath the house of a poor man. (The Chinese may have had this simile in mind when they chose the term tsang, "secret store," to translate garbha). Garbha can also refer to the outer husk that covers a fruit or seed or, by extension, to the seed itself. The third and sixth similes of the sūtra, which compare the tathāgatagarbha to the useless husk surrounding an edible kernel of wheat and to the mango pit that can grow into the most regal of trees, make direct use of this sense. Finally, garbha can refer to the inside, middle, or interior of anything, and it is this widest meaning that the author of the sūtra is employing when he likens the tathāgatagarbha to gold hidden inside a pit of waste, to honey hidden inside a swarm of angry bees, or to a golden statue hidden inside a wrapping of dirty rags or within a blackened mold.
The majority of the Tathāgatagarbha Sūtra's similes portray something extremely precious, valuable, or noble (such as buddhas, honey, kernels of wheat, gold, treasure, golden statues, or future princes), contained within something abhorrent and vile (such as rotting petals, angry bees, useless husks, excrement, poor hovels, dirty rags, soot-covered molds, and impoverished, ugly women). So the central meaning of the tathāgatagarbha concept is clear: within each and every person there exists something extremely valuable—the possibility of becoming a tathāgata—but that valuable potential for buddhahood is hidden by something vile—the sufferings and passions and vicissitudes of life. But to carry the interpretation further and to look for a deeper meaning to the tathāgatagarbha concept of this early text would probably be wrong, for when one looks more closely at the various similes used to illustrate the tathāgatagarbha, certain inconsistencies begin to emerge. For example, although most of the similes portray the precious reality within as something already complete in itself, two of the similes clearly indicate that the precious reality will only reach its perfected state in the future. The conjured buddhas within the lotus flowers are already fully enlightened, the honey and the wheat kernel are already edible, the gold in the waste pit is already pure and in no need of refinement, and the golden statues are already fully cast, whereas, by contrast, it will take many years for the embryo in the poor woman's womb to become a world conqueror, and more years still for the mango pit to become a full-grown tree. (Grosnick, "The Tathāgatagarbha Sūtra," 92–93)
Grosnick, William. "The Tathāgatagarbha Sūtra." In Buddhism in Practice, edited by Donald S. Lopez, Jr., 92–106. Princeton, NJ: Princeton University Press, 1995.
Grosnick, William. "The Tathāgatagarbha Sūtra." In Buddhism in Practice, edited by Donald S. Lopez, Jr., 92–106. Princeton, NJ: Princeton University Press, 1995.;The Tathāgatagarbha Sūtra;tathāgatagarbha;Tathāgatagarbhasūtra;William Grosnick; 
Grosnick, W.: The Zen Master Dōgen’s Understanding of the Buddha-Nature in Light of the Historical Development of the Buddha-Nature Concept in India, China, and Japan
. . . The present study will have a twofold purpose: 1) to examine the history of the Buddha-nature concept in an attempt to discover a central core of meaning inherent in the concept, and 2) to evaluate Dōgen's view of the Buddha-nature in the light of that central core of meaning. Parts I and II of this work, which examine the doctrinal history of the Buddha-nature concept in India and China, are devoted to the former task, and Part III, which examines Dōgen's thought concerning the Buddha-nature, is devoted to the latter. It is hoped that through the examination of Dōgen's conception of the Buddha-nature in the light of the previous articulation of the concept, it will be possible to form conclusions concerning the significance of Dōgen's thought in Buddhist doctrinal history. (Grosnick, introduction, 7–8)
Grosnick, William. "The Zen Master Dōgen’s Understanding of the Buddha-Nature in Light of the Historical Development of the Buddha-Nature Concept in India, China, and Japan." PhD diss., University of Wisconsin-Madison, 1979.
Grosnick, William. "The Zen Master Dōgen’s Understanding of the Buddha-Nature in Light of the Historical Development of the Buddha-Nature Concept in India, China, and Japan." PhD diss., University of Wisconsin-Madison, 1979.;The Zen Master Dōgen’s Understanding of the Buddha-Nature in Light of the Historical Development of the Buddha-Nature Concept in India, China, and Japan;The doctrine of buddha-nature in Indian Buddhism;The doctrine of buddha-nature in Chinese Buddhism;The doctrine of buddha-nature in Japanese Buddhism;Dōgen;tathāgatagarbha;buddhadhātu;ekayāna;triyāna;tathatā;Yogācāra;trisvabhāva;Mahāparinirvāṇasūtra;Zhiyi;Tien Tai;Zen - Chan;Original Enlightenment;Shōbōgenzō;William Grosnick;The Zen Master Dōgen’s Understanding of the Buddha-Nature in Light of the Historical Development of the Buddha-Nature Concept in India, China, and Japan;Dōgen
About this person
Publications
- Grosnick, William H. "The Tathāgatagarbha Sūtra." In Buddhism in Practice, edited by Donald S. Lopez Jr, 92–106. Princeton: Princeton University Press, 1995.
- Grosnick, William H. "Nonorigination and Nirvāṇa in the Early Tathāgatagarbha Literature." Journal of the International Association of Buddhist Studies 4, no. 2 (1981): 33–43.
- Grosnick, William H. "The Categories of T'i, Hsiang, and Yung: Evidence that Parmārtha Composed the Awakening of Faith." Journal of the International Association of Buddhist Studies 12, no. 1 (1989): 65–92.
- Grosnick, William G. "Buddha Nature as Myth." In Buddha Nature: A Festschrift in Honor of Minoru Kiyota, edited by Paul J. Griffiths and John P. Keenan, 65–74. Tokyo: Buddhist Books International, 1990.
- Grosnick, William H. "Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga: A Precedent for the Hsin-Nien Distinction of The Awakening of Faith." Journal of the International Association of Buddhist Studies 6, no. 2 (1983): 35–47. https://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/8605/2512.
Affiliations & relations
- La Salle College · workplace affiliation
- Department of Religious Studies · workplace affiliation
