In my paper I discuss the difference between prajña and vijñana from various angles. Firstly, I examine Majjhima-nikaya No. 43, Mahavedalla-sutta, the sutta expounding the difference between prajña and vijñana. This sutta points out that prajña and vijñana exist within the same mind framework, at the same time; and act upon the same objects at the same time; however, they are different ways of understanding because prajña is‘to become aware of something’whereas vijñana is‘to recognize something by distinguishment, ’and thus, while prajna can be strengthened by training, our perception of vijñana must be re-examined.
Since T'ang (_??_) period, painting was regarded as a humble job in China. It is said that people would despise Yen Li-pên, (_??__??__??_) a higher government official, by calling him a painter. In Ming (_??_) period there were too many examples like this to enumerate. However, inTung-t'ing-ching-chi (_??__??__??__??__??_)which is considered to be written in late Southern Sung (_??__??_). there is a descripition such as“if you read many books, go through long distance, learn from great works of the former ages and produce a picture, painting is no longer a humble job.” This is from Shuofu (_??__??_) which was compiled in late Ming (_??_) period presuably to support as theory by Tung Ch'i-ch'ang (_??__??__??_) who would esteem Southern tsung paintings and despise Nothern tsung paintings. That is probably the reason why the article of Tung-t'ien-ching-chi was not compiled in Ssu-k'u Ch'üan-shu (_??__??__??__??_) by the Emperor Ch'ien Lung (_??__??_).