Influence in East Asia
John McRae notes that in contrast to India and Tibet where the Vimalakīrti Sūtra left little discernable impact, the sūtra became one of the favorites in East Asian Buddhism. However, he also states that the sūtra was not used as an object of devotion, and that no school was ever formed around it, so that it does not seem to have enjoyed the degree of popularity of some other sūtras.
Richard B. Mather describes the popularity of the Vimalakīrti Sūtra in China as having multiple causes. Among those noted are its "brash" humor, its criticism of śrāvakas and Abhidharma, and the universality and flexibility of its outlook. Mather states that despite its disparagement of śrāvakas, the sūtra is strongly supportive of the Saṃgha, and the text intends to sanction the pursuit of the bodhisattva path by both monastics and laity without opposition to one another.
Hu Shi, an important figure in Chinese language reform in the early 20th century, wrote that the Vimalakīrti Sūtra was among Kumārajīva's three most influential translations (the other two being the Diamond Sūtra and Lotus Sūtra). As a literary work, he praised this version of the sūtra as "half novel and half drama, with the greatest impact on literature and fine arts." Nan Huaijin also regards this translation of the Vimalakīrti Sūtra as unique in Chinese literature, and forming "virtually its own literary realm."
According to Nan Huaijin's description of the Ch'an/Zen monastic system, the abbot of the monastery customarily lived in a small room patterned after that of Vimalakīrti's room. This room, as well as the abbot himself, were colloquially referred to as the fāngzhàng (Ch. 方丈), or "ten-foot square," as Vimalakīrti's room is described in the Vimalakīrti Sūtra.
Read more about this topic: Vimalakirti Sutra
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