[Funayama 2013] Funayama Tōru 船山徹. Butten wa dō Kan’yaku sareta no ka: sūtora ga kyōten ni naru toki 仏典はどう漢訳されたのか スートラが経典になるとき. Tokyo: Iwanami shoten: 2013.
— 189-190
[Funayama 2013] Funayama Tōru 船山徹. Butten wa dō Kan’yaku sareta no ka: sūtora ga kyōten ni naru toki 仏典はどう漢訳されたのか スートラが経典になるとき. Tokyo: Iwanami shoten: 2013.
— 188-192
Funayama treats the Fan Fan yu 翻梵語 T2130 as a work of the Liang dynasty. He refers to prior studies, especially by Ono Genmyō, whom he says was the first to notice the importance of the work. Funayama himself points out that a section of the text on monastic robes (*kaṭhina) called Jiaxina yi fa 迦絺那衣法 (fascicle 3) is entirely a reproduction of the lost Chu yao lü yi 出要律儀, which slightly predates Fan Fan yu. The format of this section is clearly different from other parts of T2130. The Chu yao lü yi has been variously regarded as a work of Baochang 寶唱, or an imperial commission. It was highly regarded and frequently quoted by Vinaya masters of subsequent generations. In the Chu yao lü yi, a figure referred to as the "shenglunzhe" 聲論者 is often cited as a source of information; Funayama speculates that this was probably a Chinese scholar-monk of the Liang. Funayama gives as an example an entry on Rājagr̥ha 羅閱城 (1006a22).