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The Path to Bodhidharma
The Path to Bodhidharma The teachings of Shodo Harada Roshi 1 Table of Contents Preface................................................................................................ 3 Bodhidharma’s Outline of Practice ..................................................... 5 Zazen ................................................................................................ 52 Hakuin and His Song of Zazen ......................................................... 71 Sesshin ........................................................................................... 100 Enlightenment ................................................................................. 115 Work and Society ............................................................................ 125 Kobe, January 1995 ........................................................................ 139 Questions and Answers ................................................................... 148 Glossary .......................................................................................... 174 2 Preface Shodo Harada, the abbot of Sogenji, a three-hundred-year-old Rinzai Zen Temple in Okayama, Japan, is the Dharma heir of Yamada Mumon Roshi (1890-1988), one of the great Rinzai masters of the twentieth century. Harada Roshi offers his teachings to everyone, ordained monks and laypeople, men and women, young and old, from all parts of the world. His students have begun more than a dozen affiliated Zen groups, known as One Drop Zendos, in the United States, Europe, and Asia. The material -
Finnigan Karma Moral Responsibility Buddhist Ethics
Forthcoming in Vargas & Doris (eds.) Oxford Handbook of Moral Psychology 1 Karma, Moral Responsibility, and Buddhist Ethics Bronwyn Finnigan ANU The Buddha taught that there is no self. He also accepted a version of the doctrine of karmic rebirth, according to which good and bad actions accrue merit and demerit respectively and where this determines the nature of the agent’s next life and explains some of the beneficial or harmful occurrences in that life. But how is karmic rebirth possible if there are no selves? If there are no selves, it would seem there are no agents that could be held morally responsible for ‘their’ actions. If actions are those happenings in the world performed by agents, it would seem there are no actions. And if there are no agents and no actions, then morality and the notion of karmic retribution would seem to lose application. Historical opponents argued that the Buddha's teaching of no self was tantamount to moral nihilism. The Buddha, and later Buddhist philosophers, firmly reject this charge. The relevant philosophical issues span a vast intellectual terrain and inspired centuries of philosophical reflection and debate. This article will contextualise and survey some of the historical and contemporary debates relevant to moral psychology and Buddhist ethics. They include whether the Buddha's teaching of no-self is consistent with the possibility of moral responsibility; the role of retributivism in Buddhist thought; the possibility of a Buddhist account of free will; the scope and viability of recent attempts to naturalise karma to character virtues and vices, and whether and how right action is to be understood within a Buddhist framework. -
A Departure for Returning to Sabha: a Study of Koan Practice of Silence Jea Sophia Oh West Chester University of Pennsylvania, [email protected]
West Chester University Digital Commons @ West Chester University Philosophy College of Arts & Humanities 12-2017 A departure for returning to sabha: a study of koan practice of silence Jea Sophia Oh West Chester University of Pennsylvania, [email protected] Follow this and additional works at: https://digitalcommons.wcupa.edu/phil_facpub Part of the Buddhist Studies Commons Recommended Citation Oh, J. S. (2017). A departure for returning to sabha: a study of koan practice of silence. International Journal of Dharma Studies, 5(12) http://dx.doi.org/10.1186/s40613-017-0059-7 This Article is brought to you for free and open access by the College of Arts & Humanities at Digital Commons @ West Chester University. It has been accepted for inclusion in Philosophy by an authorized administrator of Digital Commons @ West Chester University. For more information, please contact [email protected]. Oh International Journal of Dharma Studies (2017) 5:12 International Journal of DOI 10.1186/s40613-017-0059-7 Dharma Studies RESEARCH Open Access A departure for returning to sabha: a study of koan practice of silence Jea Sophia Oh Correspondence: [email protected] West Chester University of Abstract Pennsylvania, 700 S High St. AND 108D, West Chester, PA 19383, USA This paper deals with koan practice of silence through analyzing the Korean Zen Buddhist film, Why Has Boddhidharma Left for the East? (Bae, Yong-Kyun, Why Has Bodhidharma Left for the East? 1989). This paper follows Kibong's path along with the Buddha's journey of 1) departure, 2) journey in the middle way, and 3) returning with a particular focus on koan practice of silence as the transformative element of enlightenment. -
Insight: the Path of Bodhidharma
INSIGHT: THE PATH OF BODHIDHARMA SEPTEMBER 19, 2014 – FEBRUARY 15, 2015 Credited with introducing Chan (Zen in Japanese) Buddhism to China in the sixth century, the Indian monk Bodhidharma (known as Daruma in Japan) has become a well-known subject in Buddhist art. As Chan Buddhism gained popularity, various legends associated with the Chan patriarch evolved, and artists began to depict those legends alongside his conventional portraits. Traditional depictions of Bodhidharma were executed in ink monochrome with free, expressive brush strokes, alluding to his teaching on the spontaneous nature of reaching enlightenment through meditation. During the Edo period (1603-1868) in Japan, the depiction of this pious monk’s stern expression went through a radical change as he was often paired with a courtesan of the pleasure quarters—a parody to expose the hypocrisy of society. Today, Bodhidharma is still widely represented both in fine art and as a pop culture icon of good luck. Through an array of objects from paintings and sculptures to decorative objects and toys, Insight: The Path of Bodhidharma illustrates the visual and conceptual shift in depictions of this religious figure from the 17th century through today. BODHIDHARMA AS CHAN PATRIARCH One of the most common portrayals of Bodhidharma is a bust portrait revealing only the upper half of his body. In a three- quarter profile, he was frequently depicted in ways that emphasize his non-East Asian heritage and iconoclastic persona with large glaring eyes, a prominent nose and beard—sometimes an earring and red hooded robe. The primary goal of Bodhidharma’s teaching is to reach personal enlightenment through meditation that clears one’s mind from distracting thoughts and worldly concerns. -
Hakuin on Kensho: the Four Ways of Knowing/Edited with Commentary by Albert Low.—1St Ed
ABOUT THE BOOK Kensho is the Zen experience of waking up to one’s own true nature—of understanding oneself to be not different from the Buddha-nature that pervades all existence. The Japanese Zen Master Hakuin (1689–1769) considered the experience to be essential. In his autobiography he says: “Anyone who would call himself a member of the Zen family must first achieve kensho- realization of the Buddha’s way. If a person who has not achieved kensho says he is a follower of Zen, he is an outrageous fraud. A swindler pure and simple.” Hakuin’s short text on kensho, “Four Ways of Knowing of an Awakened Person,” is a little-known Zen classic. The “four ways” he describes include the way of knowing of the Great Perfect Mirror, the way of knowing equality, the way of knowing by differentiation, and the way of the perfection of action. Rather than simply being methods for “checking” for enlightenment in oneself, these ways ultimately exemplify Zen practice. Albert Low has provided careful, line-by-line commentary for the text that illuminates its profound wisdom and makes it an inspiration for deeper spiritual practice. ALBERT LOW holds degrees in philosophy and psychology, and was for many years a management consultant, lecturing widely on organizational dynamics. He studied Zen under Roshi Philip Kapleau, author of The Three Pillars of Zen, receiving transmission as a teacher in 1986. He is currently director and guiding teacher of the Montreal Zen Centre. He is the author of several books, including Zen and Creative Management and The Iron Cow of Zen. -
Contents Transcriptions Romanization Zen 1 Chinese Chán Sanskrit Name 1.1 Periodisation Sanskrit Dhyāna 1.2 Origins and Taoist Influences (C
7/11/2014 Zen - Wikipedia, the free encyclopedia Zen From Wikipedia, the free encyclopedia Zen is a school of Mahayana Buddhism[note 1] that Zen developed in China during the 6th century as Chán. From China, Zen spread south to Vietnam, northeast to Korea and Chinese name east to Japan.[2] Simplified Chinese 禅 Traditional Chinese 禪 The word Zen is derived from the Japanese pronunciation of the Middle Chinese word 禪 (dʑjen) (pinyin: Chán), which in Transcriptions turn is derived from the Sanskrit word dhyāna,[3] which can Mandarin be approximately translated as "absorption" or "meditative Hanyu Pinyin Chán state".[4] Cantonese Zen emphasizes insight into Buddha-nature and the personal Jyutping Sim4 expression of this insight in daily life, especially for the benefit Middle Chinese [5][6] of others. As such, it de-emphasizes mere knowledge of Middle Chinese dʑjen sutras and doctrine[7][8] and favors direct understanding Vietnamese name through zazen and interaction with an accomplished Vietnamese Thiền teacher.[9] Korean name The teachings of Zen include various sources of Mahāyāna Hangul 선 thought, especially Yogācāra, the Tathāgatagarbha Sutras and Huayan, with their emphasis on Buddha-nature, totality, Hanja 禪 and the Bodhisattva-ideal.[10][11] The Prajñāpāramitā Transcriptions literature[12] and, to a lesser extent, Madhyamaka have also Revised Romanization Seon been influential. Japanese name Kanji 禅 Contents Transcriptions Romanization Zen 1 Chinese Chán Sanskrit name 1.1 Periodisation Sanskrit dhyāna 1.2 Origins and Taoist influences (c. 200- 500) 1.3 Legendary or Proto-Chán - Six Patriarchs (c. 500-600) 1.4 Early Chán - Tang Dynasty (c. -
The Story of the Buddha and the Roots of Buddhism
The Story of The Buddha and the Roots of Buddhism Born in Nepal in the 6th (500’s) century B.C., Buddha was a spiritual leader and teacher whose life serves as the foundation of the Buddhist religion. A man named Siddhartha Gautama and he had achieved full awareness -- would one day become known as Buddha. thereby becoming Buddha. Buddha means "enlightened one" or "the awakened.” Siddhartha lived in Nepal during Early Years of His Life the 6th to 4th century B.C. While scholars The Buddha, or "enlightened one," was agree that he did in fact live, the events of his born Siddhartha (which means "he who life are still debated. According to the most achieves his aim") Gautama to a large clan widely known story of his life, after called the Shakyas in Lumbini in modern day experimenting with different teachings for Nepal in the 500’s B.C. His father was king years, and finding none of them acceptable, who ruled the tribe, known to be economically Gautama spent a fateful night in deep poor and on the outskirts geographically. His meditation. During his meditation, all of the mother died seven days after giving birth to answers he had been seeking became clear him, but a holy man prophesized great things explained that the ascetic had renounced the for the young Siddhartha: He would either be world to seek release from the human fear of a great king or military leader or he would be death and suffering. Siddhartha was a great spiritual leader. overcome by these sights, and the next day, To keep his son from witnessing the at age 29, he left his kingdom, wife and son miseries and suffering of the world, to lead an ascetic life, and determine a way Siddhartha's father raised him in extreme to relieve the universal suffering that he now luxury in a palace built just for the boy and understood to be one of the defining traits of sheltered him from knowledge of religion and humanity. -
And Daemonic Buddhism in India and Tibet
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 The Raven and the Serpent: "The Great All- Pervading R#hula" Daemonic Buddhism in India and Tibet Cameron Bailey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE RAVEN AND THE SERPENT: “THE GREAT ALL-PERVADING RHULA” AND DMONIC BUDDHISM IN INDIA AND TIBET By CAMERON BAILEY A Thesis submitted to the Department of Religion in partial fulfillment of the requirements for the degree of Master of Religion Degree Awarded: Spring Semester, 2012 Cameron Bailey defended this thesis on April 2, 2012. The members of the supervisory committee were: Bryan Cuevas Professor Directing Thesis Jimmy Yu Committee Member Kathleen Erndl Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my parents iii ACKNOWLEDGEMENTS I would like to thank, first and foremost, my adviser Dr. Bryan Cuevas who has guided me through the process of writing this thesis, and introduced me to most of the sources used in it. My growth as a scholar is almost entirely due to his influence. I would also like to thank Dr. Jimmy Yu, Dr. Kathleen Erndl, and Dr. Joseph Hellweg. If there is anything worthwhile in this work, it is undoubtedly due to their instruction. I also wish to thank my former undergraduate advisor at Indiana University, Dr. Richard Nance, who inspired me to become a scholar of Buddhism. -
What Is a Koan
WHAT IS A KOAN AND WHAT DO YOU DO WITH IT? Jeff Shore Koan practice is a catalyst to awaken as Gautama Buddha did. Early Chan (Chinese Zen) encounters and statements are precursors of koans. Eventually these impromptu encounters and statements led to the practice of focusing on the koan as one’s own deepest question. The point is to directly awaken no-self, or being without self. This was done through rousing the basic religious problem known as great doubt. This doubt calls into question the very nature of one’s being, and that of all others. Over time, koan cases and commentaries developed to explore and express awakening from a dream world or nightmare of isolation and opposition. Particularly in Japan, koan curricula developed to foster awakening and to refine it in all aspects of life. Scholars have examined koan practice in light of its history, texts, social and political contexts, and sectarian conflicts. The aim here is to clarify what koans are and how they are used in authentic practice. The koan tradition arose out of encounters between teachers and disciples in Tang Dynasty (618-907) China. The koans now used in monastic training and in lay groups worldwide grew out of this tradition. Admirers tend to consider koan practice a unique and peerless spiritual treasure. Critics see koan practice as little more than a hollow shell. There are good reasons for both views. By inviting readers to directly open up to their own great doubt, this paper provides a sense of what koan practice is from the inside. -
Zen Masters at Play and on Play: a Take on Koans and Koan Practice
ZEN MASTERS AT PLAY AND ON PLAY: A TAKE ON KOANS AND KOAN PRACTICE A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brian Peshek August, 2009 Thesis written by Brian Peshek B.Music, University of Cincinnati, 1994 M.A., Kent State University, 2009 Approved by Jeffrey Wattles, Advisor David Odell-Scott, Chair, Department of Philosophy John R.D. Stalvey, Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgements iv Chapter 1. Introduction and the Question “What is Play?” 1 Chapter 2. The Koan Tradition and Koan Training 14 Chapter 3. Zen Masters At Play in the Koan Tradition 21 Chapter 4. Zen Doctrine 36 Chapter 5. Zen Masters On Play 45 Note on the Layout of Appendixes 79 APPENDIX 1. Seventy-fourth Koan of the Blue Cliff Record: 80 “Jinniu’s Rice Pail” APPENDIX 2. Ninty-third Koan of the Blue Cliff Record: 85 “Daguang Does a Dance” BIBLIOGRAPHY 89 iii ACKNOWLEDGEMENTS There are times in one’s life when it is appropriate to make one’s gratitude explicit. Sometimes this task is made difficult not by lack of gratitude nor lack of reason for it. Rather, we are occasionally fortunate enough to have more gratitude than words can contain. Such is the case when I consider the contributions of my advisor, Jeffrey Wattles, who went far beyond his obligations in the preparation of this document. From the beginning, his nurturing presence has fueled the process of exploration, allowing me to follow my truth, rather than persuading me to support his. -
Not Falling, Not Obscuring: Dogen and the Two Truths of the Fox Koan
NOT FALLING, NOT OBSCURING: DOGEN AND THE TWO TRUTHS OF THE FOX KOAN ________________________________________________________________________ A Thesis Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS ________________________________________________________________________ By Patrick H. Wyant January, 2013 Thesis Approvals: Shigenori Nagatomo, Thesis Advisor, Religion Marcus Bingenheimer, Religion ABSTRACT Within recent Japanese Buddhist scholarship there is a debate over the interpretation of Karmic causality evidenced in the 75 and 12 fascicle editions of Dōgen‟s Shōbōgenzō, one salient example being that found in the daishugyō and shinjin inga fascicles on the fox kōan from the mumonkon. At issue is whether a Buddhist of great cultivation transcends karmic causality, with the earlier daishugyō promoting a balanced perspective of both “not falling into” and “not obscuring” causality, while shinjin inga instead strongly favors the latter over the former. Traditionalists interpret the apparent reversal in shinjin inga as an introductory simplification to aid novices, while some Critical Buddhists see Dōgen as instead returning to the orthodox truth of universal causality. I argue that Dōgen philosophically favored the view found in daishugyō, but moved away from it in his later teachings due to misinterpretations made by both senior and novice monks alike. ii TABLE OF CONTENTS ABSTRACT ....................................................................................................................... -
Chapter 5 Buddhist Illusion and the Landscape Arts
Page 155 Chapter 5 Buddhist Illusion and the Landscape Arts Truths are illusions that we have forgotten are illusions. —Friedrich Nietzsche Practice illusion by means of illusion. —The Perfect Enlightenment Sutra While the Kitayama Zen views of landscape paintings we have surveyed were grounded in the venerable Chinese Mahayana and Zen Buddhist traditions, they also developed their own distinctive vision of the landscape arts. Chinese Zen monks and nuns had modified classical Indian and Chinese Buddhist ontology to emphasize the two premises of the illusory, ultimately empty character of reality and the nondualistic interplay of the realms of samsaric suffering and the enlightened bliss of nirvana. 1 The Kitayama Five Mountains monks applied these premises to artistic creation and interpretation through such canonical Buddhist terms describing meditative states as "the samadhi of [seeing that all is] like an illusion" (C. juhuan sanmei; J. nyogen zammai), and "the samadhi of playfulness" (C. yuge san mei; J. yuge zammai). In this and the final chapter we explore the central role played by these two Buddhist themes in the Kitayama religioaesthetic vision of the landscape arts: Mahayana ontological and heuristic theories of illusion; and a mode of Zen enlightened activity characterized by unimpeded playfulness. It was through syncretic integration of these Buddhist theories of reality and of artistic interpretation with both Chinese painting theory and Taoist and other conceptions of landscape that the Japanese Zen monks developed their