DOCSLIB.ORG

An Introduction to Zen Words and Phrases Translated by Michael D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Introduction to Zen Words and Phrases Translated by Michael D 久須本文雄 Kusumoto Bun’yū (1907-1995) 禅語入門 Zengo nyūmon Tokyo: 大法輪閣 Daihōrin-kaku Co. Ltd., 1982 An Introduction to Zen Words and Phrases Translated by Michael D. Ruymar (Michael Sōru Ruymar) 1 What follows is a translation of Kusumoto Bunyū’s (久須本⽂雄) 1982 book Zengo Nyūmon (禅 語⼊⾨, An Introduction to Zen Words and Phrases, Tokyo: Daihōrin-kaku Co. Ltd.), absent its glossary of monastic terms. The main text consists of 100 words and phrases selected by Dr. Kusumoto for exegesis from a variety of sources, but particularly from classic kōan (Zen case) collections like the Blue Cliff Record, the Gateless Barrier, and the Book of Serenity, as well as from the collected writings or sayings of renowned Zen Masters from both China and Japan, like Zen Masters Linji and Dōgen, or, again, from the poetry of such as Han Shan (Cold Mountain) and others. As a genre, there are numerous books of this kind available in Japan, and I have become familiar with two excellent Zengo texts now available to English readers: (i) Moon by The Window: The calligraphy and Zen insights of Shodo Harada (Wisdom Publications, 2011), !and (ii) Zen Words Zen Calligraphy (Tankosha, 1991). It is evident from the breadth and depth of his commentaries that Dr. Kusumoto brought a lifetime of study to bear on the matter contained herein. Though sketchy, he was born in 1908 and graduated in 1933 from what is now Hanazono University, one of several prestigious institutions at which he was destined to lecture in his areas of specialization: Chinese philosophy and Zen studies. He practiced Zen at Enpuku-ji Temple in Kyoto, and, in his book, expressed gratitude both to Hidane Jōzan Rōshi (Zengo 37), and to Hisamatsu Shin’ichi (Zengo 76). His association with Dr. Hisamatsu (1889-1980), an ardent practitioner of the so-called Japanese tea ceremony (茶道: chadō or sadō, the Way of Tea) may account for the numerous references to Tea praxis scattered throughout his book. Hisamatsu was the founder of the FAS Association, a name taken from its motto “to awaken to Formless Self, to stand for the standpoint of All mankind, to create Super-historical history,” where the “Formless Self” (musō no jiko, 無相の⾃⼰) is the awakened mind-dharma (shinbō, ⼼法) which penetrates the three times and ten directions. On weekends and during summer breaks, Dr. Hisamatsu’s students would regularly avail themselves of the excellent facilities at the Urasenke School of Tea in Kyoto, and one has to wonder whether Dr. !Kusumoto was among them, from time to time. I can claim no special qualifications to translate Dr. Kusumoto’s text. I was attracted to his book as a way to come to grips with the metaphors, paradoxes and sheer oddness which abound in Zen expressionism, but I can’t claim success in that. Then I thought that adding comments to the selections would bring me to some degree of clarity, but that hasn’t been the case in any fundamental way. Consequently, I offer my comments herein to Zengo 1 to 82 and 89 (the last I translated and the first I commented on) only as ‘legs painted on a snake’ in the hope that someone else may find some value therein. I wouldn’t have finished the translation (as I did in 2006) if I hadn’t come across McGill University Professor Victor Sōgen Hori’s outstanding Zen Sand: The book of capping phrases for Kōan practice (University of Hawai’i Press, 2003), which I quote throughout. Finally, I’m not an academic. I did this work very spottily across much time. Even so, I don’t think this translation does Dr. Kusumoto a complete disservice. On a more positive note, what I have come to appreciate in this effort is that, whether theist, atheist or agnostic, Zen offers a path to a non-egoic experience of a seamless reality in which we live, breathe and have our being, whether we choose to admit it or not, such that, in a pragmatic sense, it makes no difference whether God, Brahman or Buddha Nature etc. are regarded as an ontological reality, as organized religions (other than Buddhism) profess, or are reduced to shorthand for the entirety of the known and unknown laws of Nature by materialistic atheists like Albert Einstein, or are simply viewed as useful reifications of the formless, free and unhindered svachitta (jishin, ⾃⼼: self-mind) of one who has grasped that engi soku ze kū, kū soku ze engi (縁起即是空 空即是縁起: conditioned genesis is emptiness, emptiness is conditioned genesis), !as in Zen. – Sōru (2014) ! ! Author’s Foreword Non-dependence on words and letters, a special transmission outside of the scriptures, direct pointing to the heart-and-mind of man, and a seeing into one’s Nature which is the attainment of Buddhahood, are the distinguishing characteristics of Zen. That is the Zen Dharma transmitted to China by the First Patriarch, the Great Master Bodhidharma. Following the Sixth Patriarch, Zen Master Huineng, Zen split into Five Houses and Seven Schools, and eventually flourished. It was then brought to Japan by Patriarchs and Masters like Eisai, Dōgen and Yinyuan (Ingen), where it has prospered up to the present time. It was through that transmission of the lamp of Zen that Zen came to be instrumental in the development and formation of Japan’s spiritual cultures, and I expect !that its future role, too, will be truly great. Zen values the human mind. Brushing aside that which soils the mind and exhaustively seeking out one’s Original Mind or Buddha Nature - in other words, pure human nature, the Real Self - its sole aim is building true human character. Zen does not toy with words, whether written or spoken. Being a religion of action that relies on self-exertion (jiriki), it demands active religious experience, individual practice and individual attainment - to !know for yourself whether the water is hot or cold. While reading, it is vital to truly appreciate that Zengo are words and phrases which Zen monks have grappled with in deadly earnest in the course of rigorous training. We should grasp the life that throbs, and the ideas that live on, even now, within Zengo. I hope that, apart from your intellectual grasp of them, you will take up these Zengo, which harbour !that life and thought, as mottos for living. This book is a selection of one hundred Zengo of the highest strain, unpacked, easily and clearly explained in terms that are as ordinary as possible. The Meditation Hall jargon (zendō yōgo) appended at the end1 is a selection from the Zendō (Meditation Hall) of two hundred and eighty vocabulary items with definitions, for those who start to practice Zen and pursue the Truth, or those who are new to Zen in general. I will be happy if this is !even a little useful for understanding Zen, or for character building and the art of living. 1 Translator’s Note: The glossary of Meditation Hall jargon is not included in this translation but can be found by consulting the original text. ! ! From the Translator This is dedicated to the memory of Michael Angelo Ruymar, Mabel Marie Armstrong (Foster), Zen Master Kobori Nanrei Sōhaku, and many others I wish were here. I am grateful for the kindness of the Hosoya family and the Urasenke Foundation, without whom I would not have survived in Japan, or have learned anything whatsoever. The publisher of Zengo Nyūmon, Daihōrin-kaku, has generously permitted its English translation to be released in this format. Please respect the copyright which governs it and the appended commentaries, and do not divert any portion of this material for sale or purchase in any manner or medium. – Michael Sōru Ruymar (March 2014) Zengo! 1 無 ! Zengo: Mu Translation: No !Source: Mumonkan (The Gateless Barrier): 1 In Tang dynasty China there was a well-known monk named Zhaozhou Congshen (778-897) who lived a long life of one hundred and twenty years. His skilled elucidation of the Truth and his instruction to the congregation of monks was like light revealed from his mouth, as in the expression “his lips flashed light.” Because Reverend Zhaozhou did not use the “stick and shout,” just verbal instruction, his Zen-style was called “lip and !mouth” Zen. One time a monk asked Zhaozhou, “has a dog the Buddha-nature or not,” and Zhaozhou responded, “Mu!” i.e. “No!” The monk asked his question recalling Śākyamuni Buddha’s instruction that “all sentient beings have the Buddha-nature.” This is no different from the monk’s having pressed Zhaozhou, ‘if you say that “the dog has no Buddha-nature,” aren’t you calling the Buddha a liar? But if you say that “it has,” then !why was it born a beast?’ Zhaozhou responded “Mu,” but also with “U,” i.e. “it has,” to the identical question of another monk. Anyone would harbour doubts over Zhaozhou’s intention in responding with utter contradictories like “no” at one time and with “yes” at another to the same question. To Zhaozhou, however, there was nothing particularly odd in responding with “Yes” and with “No” to the monks’ inquiries. His “U” and “Mu” are not the u-mu of “it has,” or, “it has not.” In general, it is common sense to regard u and mu, “it has” and “it has not” as opposites. However, Zhaozhou’s U and Mu have an elevated dimension of meaning that surpasses the common-sensical. They allude to absolute Nothingness (zettai Mu) beyond dualistic ideations, as explained by Nishida Kitarō (1870-1945), the Zen-inspired founder of the Nishida School of Philosophy.
Load more

Recommended publications
  • Katsushika Hokusai and a Poetics of Nostalgia
    ACCESS: CONTEMPORARY ISSUES IN EDUCATION 2015, VOL. 33, NO. 1, 33–46 https://doi.org/10.1080/00131857.2014.964158 Katsushika Hokusai and a Poetics of Nostalgia David Bell College of Education, University of Otago ABSTRACT KEYWORDS This article addresses the activation of aesthetics through the examination of cultural memory, Hokusai, an acute sensitivity to melancholy and time permeating the literary and ukiyo-e, poetic allusion, nostalgia, mono no aware pictorial arts of Japan. In medieval court circles, this sensitivity was activated through a pervasive sense of aware, a poignant reflection on the pathos of things. This sensibility became the motivating force for court verse, and ARTICLE HISTORY through this medium, for the mature projects of the ukiyo-e ‘floating world First published in picture’ artist Katsushika Hokusai. Hokusai reached back to aware sensibilities, Educational Philosophy and Theory, 2015, Vol. 47, No. 6, subjects and conventions in celebrations of the poetic that sustained cultural 579–595 memories resonating classical lyric and pastoral themes. This paper examines how this elegiac sensibility activated Hokusai’s preoccupations with poetic allusion in his late representations of scholar-poets and the unfinished series of Hyakunin isshu uba-ga etoki, ‘One hundred poems, by one hundred poets, explained by the nurse’. It examines four works to explain how their synthesis of the visual and poetic could sustain aware themes and tropes over time to maintain a distinctive sense of this aesthetic sensibility in Japan. Introduction: Mono no aware How can an aesthetic sensibility become an activating force in and through poetic and pictorial amalgams of specific cultural histories and memories? This article examines how the poignant aesthetic sensibility of mono no aware (a ‘sensitivity to the pathos of things’) established a guiding inflection for social engagements of the Heian period (794–1185CE) Fujiwara court in Japan.
    [Show full text]
  • Buddhism in America
    Buddhism in America The Columbia Contemporary American Religion Series Columbia Contemporary American Religion Series The United States is the birthplace of religious pluralism, and the spiritual landscape of contemporary America is as varied and complex as that of any country in the world. The books in this new series, written by leading scholars for students and general readers alike, fall into two categories: some of these well-crafted, thought-provoking portraits of the country’s major religious groups describe and explain particular religious practices and rituals, beliefs, and major challenges facing a given community today. Others explore current themes and topics in American religion that cut across denominational lines. The texts are supplemented with care- fully selected photographs and artwork, annotated bibliographies, con- cise profiles of important individuals, and chronologies of major events. — Roman Catholicism in America Islam in America . B UDDHISM in America Richard Hughes Seager C C Publishers Since New York Chichester, West Sussex Copyright © Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Seager, Richard Hughes. Buddhism in America / Richard Hughes Seager. p. cm. — (Columbia contemporary American religion series) Includes bibliographical references and index. ISBN ‒‒‒ — ISBN ‒‒‒ (pbk.) . Buddhism—United States. I. Title. II. Series. BQ.S .'—dc – Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper.
    [Show full text]
  • PACIFIC WORLD Journal of the Institute of Buddhist Studies
    PACIFIC WORLD Journal of the Institute of Buddhist Studies PACIFIC WORLD Journal of the Institute of Buddhist Studies Third Series Number 17 2015 Special Issue: Fiftieth Anniversary of the Bukkyō Dendō Kyōkai Pacific World is an annual journal in English devoted to the dissemination of his- torical, textual, critical, and interpretive articles on Buddhism generally and Shinshu Buddhism particularly to both academic and lay readerships. The journal is distributed free of charge. Articles for consideration by the Pacific World are welcomed and are to be submitted in English and addressed to the Editor, Pacific World, 2140 Durant Ave., Berkeley, CA 94704-1589, USA. Acknowledgment: This annual publication is made possible by the donation of BDK America of Moraga, California. Guidelines for Authors: Manuscripts (approximately twenty standard pages) should be typed double-spaced with 1-inch margins. Notes are to be endnotes with full biblio- graphic information in the note first mentioning a work, i.e., no separate bibliography. See The Chicago Manual of Style (16th edition), University of Chicago Press, §16.3 ff. Authors are responsible for the accuracy of all quotations and for supplying complete references. Please e-mail electronic version in both formatted and plain text, if possible. Manuscripts should be submitted by February 1st. Foreign words should be underlined and marked with proper diacriticals, except for the following: bodhisattva, buddha/Buddha, karma, nirvana, samsara, sangha, yoga. Romanized Chinese follows Pinyin system (except in special cases); romanized Japanese, the modified Hepburn system. Japanese/Chinese names are given surname first, omit- ting honorifics. Ideographs preferably should be restricted to notes.
    [Show full text]
  • View of the Study
    UNIVERSITY OF CINCINNATI Date: March 2, 2005 I, MICHAEL DAVID FOWLER, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano It is entitled: Toshi Ichiyanagi’s Piano Media: Finding Parallelisms to Patterns in Japanese Culture. This work and its defense approved by: Chair: James Culley Kenneth Griffiths Frank Wienstock _______________________________ 2 Toshi Ichiyanagi’s Piano Media: Finding Parallelisms to Patterns in Japanese Culture A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment for the degree of DOCTOR OF MUSICAL ARTS IN PIANO in the Keyboard Division, of the College Conservatory of Music 2005 by Michael D. Fowler Dip.Mus., University of Newcastle, 1994 B.Mus. (Hons), University of Newcastle, 1996 M.M. University of Cincinnati, 1999 Committee Chair: James Culley 3 ABSTRACT This thesis is concerned with the musical analysis of Toshi Ichiyanagi’s 1972 solo piano composition Piano Media, and an examination of musical processes and considerations that mirror and parallel patterns of traditional Japanese culture. Through brief studies of language construction, Zen, Pachinko and traditional aesthetics, analogies and references can be used to highlight congruent musical structures and predilections in Ichiyanagi’s work. The final goal is to define the work not only within musical terms of analysis, but also within a cultural context. 4 Copyright © 2004 by Michael Fowler All Rights Reserved 5 CONTENTS Chapter I. INTRODUCTION . 9 Overview of the Study PART 1. SELECTED ELEMENTS OF JAPANESE CULTURE II. THE CULTIVATION OF THE JAPANESE SENSIBILITY THROUGH THE ARTS .
    [Show full text]
  • Reflections on Zen and Ethics Jan Van Bragt Introduction Quite a Few
    Reflections on Zen and Ethics1 Jan Van Bragt Introduction Quite a few years ago already, the fast-growing Zen world in the United States was shocked by the news of scandals discovered in some U.S. Zen halls, sexual and financial abuses committed by Zen Masters. I have forgotten all the details already, but the facts confronted us all with an intriguing question, namely: How is it possible that Zen Masters (Rôshis) – people who are supposed to be enlightened – commit such unethical, immoral acts? From the Zen world two. rather contradictory, answers were soon heard. One, (the answer explicitly voiced by Abe Masao): “A Zen Master who commits such acts proves thereby that he is not enlightened.” The presupposition here seems to be that transcendental wisdom is intrinsically linked to morality and directs the subject to spontaneously lead a highly ethical life. – The problem here is only that doubt is thrown at the system of attestation of the enlightenment of the disciple by the master (inka). The second answer is rather the opposite of the first: “Enlightenment has nothing to do with ethics,” and further: “Zen has nothing to do with ethics.” I must confess that I never heard this answer explicitly formulated, in all its definiteness, by any of my Zen friends. The nearest thing I ever heard directly was a statement made, at the 1991 meeting of the Japan Society for Buddhist-Christian Studies, by Nishimura Eshin, presently president of Hanazono University at Kyoto: “Zen has nothing to do with social engagement.” For the sake of possible later
    [Show full text]
  • The Ven. Eido Tai Shimano Roshi, Founder of Two American Rinzai Zen
    The Ven. Eido Tai Shimano Roshi, founder of two American Rinzai Zen temples, died February 18 shortly after presenting teachings at Shogen-ji Junior College in Gifu, Japan. He was 85. He moved to Hawaii in 1960 after many years of intensive practice at Ryutaku-ji in Mishima, Japan with the late Soen Nakagawa Roshi. He settled in New York City in 1965, and was asked to become president of the Zen Studies Society, which had been established in 1956 to assist the Buddhist scholar D.T. Suzuki in his pioneering efforts to introduce Zen to the West. He established New York Zendo Shobo-Ji, on the Upper East Side of Manhattan, on Sept. 15, 1968, and International Dai Bosatsu Zendo Kongo-Ji, in the Catskill Mountains of Upstate New York, on July 4, 1976. Eido Roshi received Dharma Transmission from Soen Nakagawa Roshi on Sept. 15, 1972, and served as the abbot of New York Zendo and Dai Bosatsu Zendo until his retirement in 2010. He was the author of Points of Departure; Golden Wind; and Zen Word, Zen Calligraphy. He brought out a translation of The Book of Rinzai: the Recorded Sayings of Master Rinzai, and translated several volumes of Eihei Dogen’s Shobogenzo. He gave teachings and held retreats throughout the world, and was the recipient of the Bukkyo Dendo Kyokai award, honoring his remarkable achievements and contributions in bringing the teachings of Buddhism to the West. In the Postscript to his section of the book Namu Dai Bosa: A Transmission of Zen Buddhism to America, edited by Louis Nordstrom, Eido Roshi wrote: “On the Way to Dai Bosatsu I met many travelers.
    [Show full text]
  • Zen Is a Form of Buddhism That Developed First in China Around the Sixth Century CE and Then Spread from China to Korea, Vietnam and Japan
    Zen Zen is a form of Buddhism that developed first in China around the sixth century CE and then spread from China to Korea, Vietnam and Japan. The term Zen is just the Japanese way of saying the Chinese word Chan ( 禪 ), which is the Chinese translation of the Sanskrit word Dhyāna (Jhāna in Pali), which means "meditation." In the image above one sees on the left the character 禪 in Japanese calligraphy and on the right an ensō, or Zen circle. In Japan the drawing of such a circle is considered a high art, the expression of a moment of enlightenment by the Zen master calligrapher. The tradition known as Chan Buddhism in China, and Zen Buddhism in Japan, brings together Mahāyāna Buddhism and Daoism. This confluence of Buddhism and Daoism in Zen is most obvious in the Chinese script on the left which reads: "The heart-mind (xin 心) is the buddha (佛), the buddha (佛) is the path (dao 道), the path (dao 道) is meditation (chan 禪)." The line is from a text called the Bloodstream Sermon attributed to the legendary Bodhidharma. An Indian meditation master, Bodhidharma had come to China around 520 CE and in time would come to be regarded as the first patriarch of Chan Buddhism. In Bodhidharma’s Bloodstream Introduction to Asian Philosophy Zen Buddhism Sermon (in the Chan Buddhism online selections) it is evident that Bodhidharma had absorbed something of Daoism after he came to China. The Mahāyāna Buddhist teachings that are most evident in Bodhidharma’s text are the teachings of emptiness (Śūnyatā) from the Prajñāpāramitā Sūtras as well as the notion of the buddha-nature (dharmakāya) that is part of the Mahāyāna teaching of the three bodies (trikāya) of the Buddha.
    [Show full text]
  • Chinese Character
    - ijj. _ TRtrONG e*i HOC sir PHAM TP HO CHI MINH HO CHI MINH CITY UNIVERSITY OF EDUCATION Qlj TAP CHI KHOA HOC JOURNAL OF SCIENCE ISSN. KHOA HOC XA HQl VA NHAN VAN SOCIAL SCIENCES AND HUMANITIES 1859-3100 Tap16,S6 7 (2019): 15-25 Vol. 16, No. 7(2019)- 15-25 Email: tapci)ikhoahoc%hcmue.edu.vn; Website. http:/Ackh.hcmue.edu.vr Research Article LANGUAGE AND LITERATURE'S IDENTITY OF EAST ASIAN COUNTRIES IN "CHINESE CHARACTER CULTURAL SPHERE" IN THE ANCIENT AND MIDDLE AGES Phan Thu Van Ho Chi Minh City University of Education Corresponding author: Phan Thu Van -Email: [email protected] Received: April 18. 2019; Revised' May 21. 2019; Accepted: June 10, 2019 ABSTRACT Korean, Japanese and Vietnamese literature all used Chinese characters, received Chinese literary influence, and tried to create national writing based on Chinese characters' application. In this article, I will delve into the issue of influential language, literature and literaty genres within the Chinese character cultural sphere, while also detailing the specific nature and temperament of the developmental process in regards to each country's literature Keywords: identity. East Asean literature, Chinese character cultural sphere (iH^X'fbS). 1. Introduction Chinese characters are the root of Han culture and are considered the fifth largest invention of the Chinese nation. The four oldest types of scripts that have ever appeared in the world are: the Egyptian script, the Sumerian script, the Babylonian script and the Chinese script, but only Chinese characters are still alive today, all the others are now dead languages.
    [Show full text]
  • ZEN at WAR War and Peace Library SERIES EDITOR: MARK SELDEN
    ZEN AT WAR War and Peace Library SERIES EDITOR: MARK SELDEN Drugs, Oil, and War: The United States in Afghanistan, Colombia, and Indochina BY PETER DALE SCOTT War and State Terrorism: The United States, Japan, and the Asia-Pacific in the Long Twentieth Century EDITED BY MARK SELDEN AND ALVIN Y. So Bitter Flowers, Sweet Flowers: East Timor, Indonesia, and the World Community EDITED BY RICHARD TANTER, MARK SELDEN, AND STEPHEN R. SHALOM Politics and the Past: On Repairing Historical Injustices EDITED BY JOHN TORPEY Biological Warfare and Disarmament: New Problems/New Perspectives EDITED BY SUSAN WRIGHT BRIAN DAIZEN VICTORIA ZEN AT WAR Second Edition ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Oxford ROWMAN & LITTLEFIELD PUBLISHERS, INC. Published in the United States of America by Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowmanlittlefield.com P.O. Box 317, Oxford OX2 9RU, UK Copyright © 2006 by Rowman & Littlefield Publishers, Inc. Cover image: Zen monks at Eiheiji, one of the two head monasteries of the Sōtō Zen sect, undergoing mandatory military training shortly after the passage of the National Mobilization Law in March 1938. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Victoria, Brian Daizen, 1939– Zen at war / Brian Daizen Victoria.—2nd ed.
    [Show full text]
  • California Buddhist Centers - Updated January 1, 2007
    California Buddhist Centers - Updated January 1, 2007 - www.BuddhaNet.net -------------------------------------------------------------------------------- Abhayagiri Buddhist Monastery Address: 16201 Tomki Road, Redwood Valley, CA 95470 CA Tradition: Theravada Forest Sangha Affiliation: Amaravati Buddhist Monastery (UK) EMail: [email protected] Website: http://www.abhayagiri.org -------------------------------------------------------------------------------- All One Dharma Address: 1440 Harvard Street, Quaker House Santa Monica CA 90404 Tradition: Zen/Vipassana Affiliation: General Buddhism Phone: e-mail only EMail: [email protected] Website: http://www.allonedharma.org Spiritual Director: Group effort Teachers: Group lay people Notes and Events: -------------------------------------------------------------------------------- American Buddhist Meditation Temple Address: 2580 Interlake Road, Bradley, CA 93426 CA Tradition: Theravada, Thai, Maha Nikaya Affiliation: Thai Bhikkhus Council of USA -------------------------------------------------------------------------------- American Buddhist Seminary Temple at Sacramento Address: 423 Glide Avenue, West Sacramento CA 95691 CA Tradition: Theravada EMail: [email protected] Website: http://www.middleway.net Teachers: Venerable T. Shantha, Venerable O.Pannasara Spiritual Director: Venerable (Bhante) Madawala Seelawimala Mahathera -------------------------------------------------------------------------------- American Young Buddhist Association Address: 3456 Glenmark Drive, Hacienda
    [Show full text]
  • Nomenclature of Post Graduate Courses in Buddhist Studies
    UNIVERSITY OF JAMMU CHOICE BASED CREDIT SYSTEM FORPOST GRADUATE PROGRAMME IN THE DEPARTMENT OF BUDDHIST STUDIES W.E.F. THE ACADEMIC YEAR 2020-21 Nomenclature of Post Graduate Courses in Buddhist Studies Nomenclature of courses will be done in such a way that the course code will consist of eleven characters. The first character ‘P’ stands for Post Graduate. The second character ‘S’ stands for Semester. Next two characters will denote the Subject Code. Subject Subject Code Buddhist Studies BS Next character will signify the nature of the course. T- Theory Course D- Project based Courses leading to dissertation (e.g. Major, Minor, Mini Project etc.) L- Training S- Independent Study V- Special Topic Lecture Courses Tu- Tutorial The succeeding character will denote whether the course is compulsory “C” or Elective “E”. The next character will denote the Semester Number. For example: 1 will denote Semester— I, and 2 will denote Semester— II Last two characters will denote the paper Number. Nomenclature of P G Courses PSBSTC101 P POST GRADUATE S SEMESTER BS BUDDHIST STUDIES (SUBJECT CODE) T THEORY (NATURE OF COURSE) C COMPULSORY 1 SEMESTER NUMBER 01 PAPER NUMBER O OPEN 1 Semester wise Distribution of Courses and Credits SEMESTER- I (December 2018, 2019, 2020 & 2021) Course code Paper Credits PSBSTC101 History of Buddhism in India 6 PSBSTC102 Fundamentals of Buddhist Philosophy 6 PSBSTC103 Pali Language and History 6 PSBSTC104 Selected Pali Sutta Texts 6 SEMESTER- II (May 2019, 2020 and 2021) Course code Paper Credits PSBSTC201 Vinaya
    [Show full text]
  • Zen) Buddhism
    THE SPREAD OF CHAN (ZEN) BUDDHISM T. Grif\ th Foulk (Sarah Lawrence College, New York) 1. Introduction This chapter deals with the development and spread of the so-called Chan School of Buddhism in China, Japan, and the West. In its East Asian setting, at least, the spread of Chan must be viewed rather dif- ferently than the spread of Buddhism as a whole, for by all accounts (both traditional and modern) Chan was a movement that initially ] ourished within, or (as some would have it) in reaction against, a Buddhist monastic order that had already been active in China for a number of centuries. By the same token, at the times when the Chan movement spread to Korea and Japan, it did not appear as the har- binger of Buddhism itself, which was already well established in those countries, but rather as the most recent in a series of importations of Buddhism from China. The situation in the West, of course, is much different. Here, Chan—usually referred to (using the Japanese pronun- ciation) as Zen—has indeed been at the vanguard of the spread of Buddhism as a whole. I begin this chapter by re] ecting on what we (modern scholars) mean when we speak of the spread of Buddhism, contrasting that with a few of the traditional ways in which Asian Buddhists themselves, from an insider’s or normative point of view, have conceived the transmission of the Buddha’s teachings (Skt. buddhadharma, Chin. fofa 佛法). I then turn to the main topic: the spread of Chan.
    [Show full text]