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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. -
The Zen Koan; Its History and Use in Rinzai
NUNC COCNOSCO EX PARTE TRENT UNIVERSITY LIBRARY Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/zenkoanitshistorOOOOmiur THE ZEN KOAN THE ZEN KOAN ITS HISTORY AND USE IN RINZAI ZEN ISSHU MIURA RUTH FULLER SASAKI With Reproductions of Ten Drawings by Hakuin Ekaku A HELEN AND KURT WOLFF BOOK HARCOURT, BRACE & WORLD, INC., NEW YORK V ArS) ' Copyright © 1965 by Ruth Fuller Sasaki All rights reserved First edition Library of Congress Catalog Card Number: 65-19104 Printed in Japan CONTENTS f Foreword . PART ONE The History of the Koan in Rinzai (Un-chi) Zen by Ruth F. Sasaki I. The Koan in Chinese Zen. 3 II. The Koan in Japanese Zen. 17 PART TWO Koan Study in Rinzai Zen by Isshu Miura Roshi, translated from the Japanese by Ruth F. Sasaki I. The Four Vows. 35 II. Seeing into One’s Own Nature (i) . 37 vii 8S988 III. Seeing into One’s Own Nature (2) . 41 IV. The Hosshin and Kikan Koans. 46 V. The Gonsen Koans . 52 VI. The Nanto Koans. 57 VII. The Goi Koans. 62 VIII. The Commandments. 73 PART THREE Selections from A Zen Phrase Anthology translated by Ruth F. Sasaki. 79 Drawings by Hakuin Ekaku.123 Index.147 viii FOREWORD The First Zen Institute of America, founded in New York City in 1930 by the late Sasaki Sokei-an Roshi for the purpose of instructing American students of Zen in the traditional manner, celebrated its twenty-fifth anniversary on February 15, 1955. To commemorate that event it invited Miura Isshu Roshi of the Koon-ji, a monastery belonging to the Nanzen-ji branch of Rinzai Zen and situated not far from Tokyo, to come to New York and give a series of talks at the Institute on the subject of koan study, the study which is basic for monks and laymen in traditional, transmitted Rinzai Zen. -
A Beginner's Guide to Meditation
ABOUT THE BOOK As countless meditators have learned firsthand, meditation practice can positively transform the way we see and experience our lives. This practical, accessible guide to the fundamentals of Buddhist meditation introduces you to the practice, explains how it is approached in the main schools of Buddhism, and offers advice and inspiration from Buddhism’s most renowned and effective meditation teachers, including Pema Chödrön, Thich Nhat Hanh, the Fourteenth Dalai Lama, Sharon Salzberg, Norman Fischer, Ajahn Chah, Chögyam Trungpa Rinpoche, Shunryu Suzuki Roshi, Sylvia Boorstein, Noah Levine, Judy Lief, and many others. Topics include how to build excitement and energy to start a meditation routine and keep it going, setting up a meditation space, working with and through boredom, what to look for when seeking others to meditate with, how to know when it’s time to try doing a formal meditation retreat, how to bring the practice “off the cushion” with walking meditation and other practices, and much more. ROD MEADE SPERRY is an editor and writer for the Shambhala Sun magazine. Sign up to receive news and special offers from Shambhala Publications. Or visit us online to sign up at shambhala.com/eshambhala. A BEGINNER’S GUIDE TO Meditation Practical Advice and Inspiration from Contemporary Buddhist Teachers Edited by Rod Meade Sperry and the Editors of the Shambhala Sun SHAMBHALA Boston & London 2014 Shambhala Publications, Inc. Horticultural Hall 300 Massachusetts Avenue Boston, Massachusetts 02115 www.shambhala.com © 2014 by Shambhala Sun Cover art: André Slob Cover design: Liza Matthews All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. -
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. -
The Koan : Texts and Contexts in Zen Buddhism
Introduction Koan Tradition: Self-Narrative an d Contemporary Perspective s STEVEN HEINE AND DALE S. WRIGHT Aims The term koa n (C . kung-an, literall y "public cases" ) refer s t o enigmati c an d often shockin g spiritual expressions based o n dialogica l encounters between masters and disciples that were used as pedagogical tools for religious training in th e Ze n (C . Ch'an) Buddhist tradition . Thi s innovative practic e i s one of the best-known and most distinctive elements of Zen Buddhism. Originating in T'ang/Sung China, the use of koans spread t o Vietnam, Korea, an d Japa n and now attracts international attention. What is unique about the koan is the way i n whic h i t i s thought t o embod y th e enlightenmen t experienc e o f th e Buddha an d Ze n masters through a n unbroken lin e of succession. Th e koan was conceived as both the tool by which enlightenment is brought abou t an d an expression of the enlightened mind itself. Koans ar e generally appreciate d today as pithy, epigrammatic, elusiv e utterances that see m to hav e a psycho- therapeutic effec t i n liberatin g practitioner s fro m bondag e t o ignorance , a s well a s fo r th e wa y they ar e containe d i n th e complex , multilevele d literary form o f koan collectio n commentaries . Perhap s n o dimensio n o f Asian reli - gions has attracted s o much interest and attention i n the West, from psycho - logical interpretations and comparative mystical theology to appropriations i n beat poetry and deconstractive literary criticism. -
Navayana – a Reformation of Buddhism
Journal of Ethnophilosophical Questions and Global Ethics – Vol. 1 (1), 2017 Navayana – A reformation of Buddhism Timo Schmitz Buddhism traditionally has three variants: Theravada, Mahayana, and Vajrayana. The oldest one is Theravada, which is an orthodox tradition practiced in South Asia, later Mahayana developed as lay- follower tradition, mainly in East Asia. However, in times of globalization, Buddhism is confronted with new issues and also found its way to the West, as well as to political spheres. As George Boeree states: “Many of us, easterners and westerners, have been profoundly influenced by our study of Buddhism, and yet do not find ourselves attached to any one particular sect or interpretation of Buddhism. Further, many of us, especially westerners, find the fundamental ideas of Buddhism deeply meaningful, but cannot, without being dishonest with ourselves, accept certain other ideas usually associated with Buddhism” (Boeree, 2002). In recent years, new branches such as Secular Buddhism or Engaged Buddhism have found its way into philosophical and practical main streams. The need to reform Buddhism arouse out of the fact that Buddhism gained attraction for non-conformity and non-dogmatism, something which religion in the West seemingly could not give Westerners, just to find out that Buddhism has the same matters. As Timo Schmitz points out: “Many people want to find the way to Buddhism because they are against any doctrines. Therefore, one can study the Theravada teachings, which leads to a disadvantage in the eyes of many Westerners since it focusses on monk communities. Other people are fascinated by Vajrayana, but since it has a very organized structure, concerning hierarchy and practice, one will probably see the Vajrayana tradition to be a religiously-organized branch, which in the Western view can be seen as dogmatic again. -
Soto Zen: an Introduction to Zazen
SOT¯ O¯ ZEN An Introduction to Zazen SOT¯ O¯ ZEN: An Introduction to Zazen Edited by: S¯ot¯o Zen Buddhism International Center Published by: SOTOSHU SHUMUCHO 2-5-2, Shiba, Minato-ku, Tokyo 105-8544, Japan Tel: +81-3-3454-5411 Fax: +81-3-3454-5423 URL: http://global.sotozen-net.or.jp/ First printing: 2002 NinthFifteenth printing: printing: 20122017 © 2002 by SOTOSHU SHUMUCHO. All rights reserved. Printed in Japan Contents Part I. Practice of Zazen....................................................7 1. A Path of Just Sitting: Zazen as the Practice of the Bodhisattva Way 9 2. How to Do Zazen 25 3. Manners in the Zend¯o 36 Part II. An Introduction to S¯ot¯o Zen .............................47 1. History and Teachings of S¯ot¯o Zen 49 2. Texts on Zazen 69 Fukan Zazengi 69 Sh¯ob¯ogenz¯o Bend¯owa 72 Sh¯ob¯ogenz¯o Zuimonki 81 Zazen Y¯ojinki 87 J¯uniji-h¯ogo 93 Appendixes.......................................................................99 Takkesa ge (Robe Verse) 101 Kaiky¯o ge (Sutra-Opening Verse) 101 Shigu seigan mon (Four Vows) 101 Hannya shingy¯o (Heart Sutra) 101 Fuek¯o (Universal Transference of Merit) 102 Part I Practice of Zazen A Path of Just Sitting: Zazen as the 1 Practice of the Bodhisattva Way Shohaku Okumura A Personal Reflection on Zazen Practice in Modern Times Problems we are facing The 20th century was scarred by two World Wars, a Cold War between powerful nations, and countless regional conflicts of great violence. Millions were killed, and millions more displaced from their homes. All the developed nations were involved in these wars and conflicts. -
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. -
Zen Buddhism in Japan, Brings Together Mahāyāna Buddhism and Daoism
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. After Buddhism first came to China from India around the first century CE, it eventually developed into several unique Chinese schools of Buddhism, influenced by the introduction of Mahāyāna Buddhism from India as well as by certain aspects of Chinese culture and philosophy. 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 his writings it is evident that Bodhidharma had absorbed something of Daoism. -
Critical Sermons of the Zen Tradition Dr Hisamatsu Shin’Ichi, at Age 87
Critical Sermons of the Zen Tradition Dr Hisamatsu Shin’ichi, at age 87. Photograph taken by the late Professor Hy¯od¯o Sh¯on¯osuke in 1976, at Dr Hisamatsu’s residence in Gifu. Critical Sermons of the Zen Tradition Hisamatsu’s Talks on Linji translated and edited by Christopher Ives and Tokiwa Gishin © Editorial matter and selection © Christopher Ives and Tokiwa Gishin Chapters 1–22 © Palgrave Macmillan Ltd. Softcover reprint of the hardcover 1st edition 2002 978-0-333-96271-8 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2002 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. -
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 -
Prayer Beads in Japanese Soto Sect
4 Prayer Beads in Japanese Sōtō Zen Michaela Mross WHen a lay parishioner visits a Buddhist temple, he or she usually car- ries a Buddhist rosary.1 It marks a parishioner versus the occasional visi- tor and is considered a necessary item of proper attire. For most Japanese, not wearing a rosary when putting the hands in prayer or reverence seems to be improper.2 Likewise, the official webpage of the Sōtō Zen school instructs lay followers to not forget prayer beads when attending funerals or memorial services. Parishioners should further put a rosary on the lowest shelf of their home altar, ready to be used during prayers.3 Also, the members of the choirs singing Buddhist hymns at Sōtō tem- ples wear short rosaries while singing and playing a bell. Thus, prayer beads serve “as sources of identification,” to borrow John Kieschnick’s words.4 The rosary is an especially interesting object because— besides the robe or o- kesa— “prayer beads are kept closer to the practitioner than any other ritual object. They become physical evidence of faith, devotion, and practice.”5 In contrast to Tendai, Shingon, or Pure Land clerics, Sōtō clerics rarely use prayer beads in ritual settings. Moreover, images of Zen masters usu- ally do not depict monks or nuns holding prayer beads; instead, a fly-whisk or another kind of staff signifies their status as a Zen cleric. Therefore, Buddhist rosaries are typically not associated with Zen. Nevertheless, prayer beads have been used for various purposes in the Sōtō school as well. This chapter aims to illuminate some of the functions and interpre- tations of the rosary in Japanese Sōtō Zen.