DOCSLIB.ORG

Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu Poetics of Silence: Hongzhi Zhengjue (1091-1157) and the Practice of Poetry in Song Dynasty Chan Yulu Christopher Byrne Department of East Asian Studies McGill University, Montreal May 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy. © Christopher Byrne 2015 ABSTRACT This dissertation fulfills two aims: First, it provides the first comprehensive analysis of the poetic genres written by Chan Buddhist monks as part of their religious vocation and as collected within yulu (recorded sayings) during the Song dynasty (960-1279). Second, it demonstrates how Chan’s claim to an ineffable insight “not dependent on words and letters” (buli wenzi) paradoxically informs the literary character of its monastic poetry. My research focuses on the poetry of master Hongzhi Zhengjue (1091-1157), who, along with being one of the most prolific poets among Chan masters, is renowned for advocating the meditative practice of “silent illumination” (mozhao) that defines his Caodong sect. I argue that the principle of silence defines the nature of Hongzhi’s poetics as the primary theme and image of his verse. By organizing my literary analysis of yulu according to genre, I demonstrate how each poetic genre adopts conventions particular to its own literary and religious functions, while engaging with the principle of “beyond words” that characterizes yulu collections as a whole. In Chapter One, I illustrate how poetry has remained an integral and significant component of Chan yulu collections since they began to be published as independent works during the early Song dynasty. I then argue that Hongzhi’s doctrinal verses (Chapter Two) poetically express a philosophical paradigm, in which silent meditation and linguistic expression can be seen as complementary aspects of a single practice. In Chapter Three, I show how songgu—verses written in response to Chan gong’an (J. koan)—formed the literary focal point of Chan gong’an collections and how their composition was a central aspect of monastic training and pedagogy, as also reflected in the poetic character of the dialogical sermons that epitomize yulu. In Chapter Four, I examine how the social-occasional poetry of Chan masters like Hongzhi was collected as, and transformed into, Buddhist gatha (Ch. jisong) during the Song, expressing a non-dualistic doctrinal perspective within poetry (a.) exchanged with monks, nuns, laymen and laywomen, (b.) written in the reclusive mode, and (c.) composed for the ritual and economic activities of the monastery. Finally, in Chapter Five, I analyze a sample of the hundreds of portrait encomia (zhenzan) Hongzhi inscribed on his own portrait as a means of promoting the master as an embodiment of total silence in which the distinction between language and silence itself is ultimately dissolved. I conclude that Hongzhi’s poetry represents a distinctively Chan poetics crafted to merge the non-discriminative wisdom of silence with literary expression. i RÉSUMÉ Cette thèse répond à deux objectifs: d'abord, elle fournit la première analyse exhaustive des genres poétiques écrits par un moine bouddhiste Chan dans le cadre de sa vocation religieuse et recueillis dans les yulu (recueil de paroles) au cours de la dynastie Song (960-1279). Deuxièmement, elle démontre comment la revendication de Chan pour un concept inexprimable «ne dépend pas des mots et des lettres» (buli wenzi) nous renseigne paradoxalement sur le caractère littéraire de sa poésie monastique. Mes recherches portent sur la poésie de Maître Hongzhi Zhengjue (1091-1157), qui, tout en étant l'un des poètes les plus prolifiques parmi les Maîtres Chan, est réputé pour défendre la pratique méditative de «l'illumination silencieuse» (mozhao) qui définit sa secte Caodong. Je soutiens que le principe du silence définit la nature de la poésie de Hongzhi comme le thème et l'image primordiaux de ses poèmes. En organisant mon analyse littéraire des yulu selon le genre, je démontre comment chaque genre poétique adopte des conventions particulières à ses propres fonctions littéraires et religieuses, tout en attirant l’attention sur le principe «au-delà des mots» qui caractérise les collections de yulu dans leur ensemble. Dans le premier chapitre, j’illustre la façon dont la poésie est restée une partie intégrante et importante des collections de yulu Chan depuis qu'ils ont commencé à être publiés comme oeuvres indépendantes, au cours du début de la dynastie Song. Je soutiens ensuite que les versets doctrinaux de Hongzhi (deuxième chapitre) expriment d’une façon poétique un paradigme philosophique, dans lequel la méditation silencieuse et l'expression linguistique peuvent être considérés comme des aspects complémentaires d'une même pratique. Dans le troisième chapitre, je montre comment les songgu—des versets écrits en réponse au gong’an Chan (J. koan)—forment le point focal littéraire des collections de gong’an Chan et comment leur composition était un aspect central de la formation et de la pédagogie monastiques comme reflété également dans le caractère poétique des sermons dialogiques incarnés par les yulu. Dans le quatrième chapitre, j’examine comment la poésie sociale occasionnelle des Maîtres Chan comme Hongzhi a été recueillie et transformée en gatha bouddhiste (Ch. jisong) au cours de la dynastie Song, exprimant un point de vue doctrinal non-dualiste au sein de la poésie (a.) échangée avec les moines, les religieuses, les hommes et les femmes laïques, (b.) écrit dans le mode reclus, et (c.) composées pour les activités rituelles et économiques du monastère. Enfin, ii dans le cinquième chapitre, j’analyse un échantillon parmi des centaines de portraits encomia (zhenzan) que Hongzhi a inscrits sur son propre portrait comme un moyen de promouvoir le Maître comme une incarnation du silence total dans lequel la distinction entre le langage et le silence lui-même est finalement dissoute. Je conclus que la poésie Chan de Hongzhi représente une poésie distincte conçue pour fusionner la sagesse non-discriminatoire du silence avec l'expression littéraire. iii ACKNOWLEDGEMENTS I would like to thank the many organizations that have provided generous funding for my doctoral research: Fonds québécois de la recherche sur la société et la culture (FQRSC), Chiang Ching-Kuo Foundation (CCK), Paul Hsiang Fellowship, the Department of East Asian Studies at McGill University, and the Chung-Hwa Institute of Buddhist Studies (CHIBS). A Huayu scholarship from the Ministry of Education of the Republic of China allowed me to study in Taipei and significantly improve my Mandarin at the beginning of my degree, which was very much needed. I would also like to express my general gratitude and indebtedness to the province of Québec. Not only did a major portion of my funding come from the province, but without the province’s policies in support of education, low tuition, families, and healthcare, it is highly improbable that I would have ever begun graduate studies and completed a doctoral degree. My greatest indebtedness for the completion of this doctoral project is to my supervisor Grace Fong. From the moment I walked into her office with the ambitious idea of pursuing a doctoral degree in Chinese literature, Prof. Fong has been extraordinarily generous and supportive in innumerable ways. She has taken considerable amounts of her time to provide assistance and has arranged many invaluable opportunities for my education and research along the way. I have benefited immensely from her intellectual rigor, keen sense of language, fine attention to detail, and vast scholarly knowledge, as she has continually pushed me to re-think my conceptualizations, refine my translations, and revise my arguments. I can only take full credit for the clumsy ideas and expressions that remain. Two other scholars have played a significant role in my academic training and the formulation of this project early on: Victor Sōgen Hori and Robin Yates. Prof. Hori’s undergraduate course on Zen Buddhism was what led me to graduate school where I first began to study Chan/Zen poetry during a Master’s degree that he supervised. My studies with Prof. Hori gave me a solid formation in Buddhist philosophy and scholarly analysis and argument that have been the backbone of my doctoral studies, and I continue to benefit from his insights. Besides taking charge of my education in Chinese history, Prof. Yates has located and obtained many essential sources and reference works, in addition to correcting many misunderstandings in my work and weeding out countless errors and typos (my apologies). Many others have assisted me during my degree. I would like to thank a number of scholars who have read and/or discussed portions of my research as it was unfolding, including: Steven Heine, Ellen Widmer, Morten Schlütter, Miriam Levering, Beata Grant, Jason Protass, Jeffrey Moser, Ken Dean, Christopher Nugent, Timothy Chan, and Li E. Among my fellow graduate students at McGill, I would like to particularly thank Wang Zhifeng, Rongdao, Lin Fan, Sébastien Rivest, Melissa Curley, Wei Tao, and Ryan Jones for their assistance and thoughtful discussions. A special thanks to Wang Wanming who aided me with the translation of most of the poems within this dissertation and who has tirelessly corrected my Mandarin pronunciation over the years. Thanks also to Jöelle Grundman for translating my abstract. Throughout the many years I have been at McGill, I have had the extraordinary opportunity not only to participate in the academic community but to work alongside administrators, grounds- persons, facilities personnel, daycare teachers, library staff, and others—cutting grass, folding iv towels, printing journals, changing diapers, scheduling lectures, and more. My research would not have been possible without them, and I learn from them daily. I am especially grateful to all those who helped me maintain access to essential resources and services throughout the entire research and writing process. My greatest support over the years has come from my parents, Thomas and Katherine Byrne, and my wife, Tara Mawhinney.
Load more

Recommended publications
  • An Analytical Study of the Way of the Practice of Truc Lam Zen School in Vietnam
    AN ANALYTICAL STUDY OF THE WAY OF THE PRACTICE OF TRUC LAM ZEN SCHOOL IN VIETNAM Bhikkhuni Bui Thi Thu Thuy (TN. Huệ Từ) A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts (Buddhist Studies) Graduate School Mahachulalongkornrajavidyalaya University C.E. 2017 ii An Analytical Study of The Way of The Practice of Truc Lam Zen School in Vietnam Bhikkhuni Bui Thi Thu Thuy (TN. Huệ Từ) A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts (Buddhist Studies) Graduate School Mahachulalongkornrajavidyalaya University C.E. 2017 (Copyright of Mahachulalongkornrajavidyalaya University) iii iv Thesis Title : An Analytical Study of the Way of The Practice of Truc Lam Zen School in Vietnam Researcher : Bhikkhuni Bui Thi Thu Thuy Degree : Master of Arts (Buddhist Studies) Thesis Supervisory Committee : Phramaha Somphong Khunakaro, Dr., Pāli IX, B.A. (Educational Administration), M.A. (Philosophy), Ph.D. (Philosophy) : Asst. Prof. Dr. Sanu Mahatthanadull, B.A. (Advertising), M.A. (Buddhist Studies), Ph.D. (Buddhist Studies) Date of Graduation: March 10, 2018 Abstract This thesis is qualitative research with three objectives: l) to study the origin and development of the Way of the Practice of TLZS, 2) to analyze the content of the way of practice of TLZS and 3) to study the influences of the way of the practice of TLZS in Vietnam. The research methodology used is primarily documentary; data were collected from Vietnamese Zen texts; Taisho Tipiṭaka sources. The need for the current study is significant and provides a comprehensive, emphasize the meaning and value of the way of practice TLZS in the history of Vietnam.
    [Show full text]
  • Just This Is It: Dongshan and the Practice of Suchness / Taigen Dan Leighton
    “What a delight to have this thorough, wise, and deep work on the teaching of Zen Master Dongshan from the pen of Taigen Dan Leighton! As always, he relates his discussion of traditional Zen materials to contemporary social, ecological, and political issues, bringing up, among many others, Jack London, Lewis Carroll, echinoderms, and, of course, his beloved Bob Dylan. This is a must-have book for all serious students of Zen. It is an education in itself.” —Norman Fischer, author of Training in Compassion: Zen Teachings on the Practice of Lojong “A masterful exposition of the life and teachings of Chinese Chan master Dongshan, the ninth century founder of the Caodong school, later transmitted by Dōgen to Japan as the Sōtō sect. Leighton carefully examines in ways that are true to the traditional sources yet have a distinctively contemporary flavor a variety of material attributed to Dongshan. Leighton is masterful in weaving together specific approaches evoked through stories about and sayings by Dongshan to create a powerful and inspiring religious vision that is useful for students and researchers as well as practitioners of Zen. Through his thoughtful reflections, Leighton brings to light the panoramic approach to kōans characteristic of this lineage, including the works of Dōgen. This book also serves as a significant contribution to Dōgen studies, brilliantly explicating his views throughout.” —Steven Heine, author of Did Dōgen Go to China? What He Wrote and When He Wrote It “In his wonderful new book, Just This Is It, Buddhist scholar and teacher Taigen Dan Leighton launches a fresh inquiry into the Zen teachings of Dongshan, drawing new relevance from these ancient tales.
    [Show full text]
  • Treasury of the Eye of the True Dharma Book 29 Mountains and Waters Sutra
    Treasury of the Eye of the True Dharma Book 29 Mountains and Waters Sutra Prof. Carl Bielefeldt Stanford University These mountains and waters of the present are the expression of the old buddhas. Each, abiding in its own dharma state, fulfills exhaustive virtues. Because they are the circumstances "prior to the kalpa of emptiness", they are this life of the present; because they are the self "before the germination of any subtle sign", they are liberated in their actual occurrence. Since the virtues of the mountain are high and broad, the spiritual power to ride the clouds is always mastered from the mountains, and the marvelous ability to follow the wind is inevitably liberated from the mountains. * * * * * Preceptor Kai of Mt. Dayang addressed the assembly saying, "The blue mountains are constantly walking. The stone woman gives birth to a child in the night."1 The mountains lack none of their proper virtues; hence, they are constantly at rest and constantly walking. We must devote ourselves to a detailed study of this virtue of walking. Since the walking of the mountains should be like that of people, one ought not doubt that the mountains walk simply because they may not appear to stride like humans. This saying of the buddha and ancestor [Daokai] has pointed out walking; it has got what is fundamental, and we should thoroughly investigate this address on "constant walking". It is constant because it is walking. Although the walking of the blue mountains is faster than "swift as the wind", those in the mountains do not sense this, do not know it.
    [Show full text]
  • 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.
    [Show full text]
  • Lineage-Patriarchen-Soto-Zen.Pdf
    De lineage van de Patriarchen Sōtō Zen 1. Bibashi Butsu Daioshō 2. Shiki Butsu Daioshō 3. Bishafu Butsu Daioshō 4. Kuruson Butsu Daioshō 5. Kunagommuni Butsu Daioshō 6. Kashō Butsu Daioshō 7. SHAKAMUNI BUTSU DAIOSHO –> (Shakyamuni, Gautama, Siddhata, ca. 563 v.C. - 483 v.C.) 8. Makakashō Daioshō 9. Ananda Daioshō 10. Shōnawashu Daioshō 11. Ubakikuta Daioshō 12. Daitaka Daioshō 13. Mishaka Daioshō 14. Bashumitsu Daioshō 15. Butsudanandai Daioshō 16. Fudamitta Daioshō 17. Barishiba Daioshō 18. Funayasha Daioshō 19. Anabotei Daioshō 20. Kabimora Daioshō 21. Nagyaharajunya Daiosho (Nagarjuna) 22. Kanadaiba Daioshō 23. Ragorata Daioshō 24. Sōgyanandai Daioshō 25. Kayashata Daioshō 26. Kumorata Daioshō 27. Shayata Daioshō 28. Bashubanzu Daioshō 29. Manura Daioshō 30. Kakurokuna Daioshō 31. Shishibodai Daioshō 32. Bashashita Daioshō 33. Funyomitta Daioshō 34. Hannyatara Daioshō 35. BODAIDARUMA DAIOSHO (Bodhidharma, P'u-t'i-ta-mo, Daruma, Bodaidaruma, ca. 470-543) 36. Taisō Eka Daioshō (Hiu-k'o, 487-593) 37. Kanchi Sōsan Daioshō (Seng-ts'an, gest. 606 ?) 38. Daii Dōshin Daioshō (Tao-hsin, 580-651) 39. Daiman Kōnin Daioshō (Gunin, Hung-jen, 601-674) 40. Daikan Enō Daioshō (Hui-neng, 638-713) 41. Seigen Gyōshi Daioshō (Ch'ing-yuan Hsing-ssu, 660-740) 42. Sekitō Kisen Daioshō (Shih-t'ou Hsi-ch'ein, 700-790) 43. Yakusan Igen Daioshō (Yüeh-shan Wei-yen, ca. 745-828) 44. Ungan Donjō Daioshō (Yün-yen T'an-shing, 780-841) 45. Tozan Ryokai Daioshō (Tung-shan Liang-chieh, 807-869) 46. Ungo Doyo Daioshō (Yün-chü Tao-ying, gest. 902) 47. Dōan Dōhi Daioshō 48. Dōan Kanshi Daioshō 49. Ryōzan Enkan Daioshō (Liang-shan Yüan-kuan) 50.
    [Show full text]
  • 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.
    [Show full text]
  • Copyrighted Material
    INDEX Aodayixike Qingzhensi Baisha, 683–684 Abacus Museum (Linhai), (Ordaisnki Mosque; Baishui Tai (White Water 507 Kashgar), 334 Terraces), 692–693 Abakh Hoja Mosque (Xiang- Aolinpike Gongyuan (Olym- Baita (Chowan), 775 fei Mu; Kashgar), 333 pic Park; Beijing), 133–134 Bai Ta (White Dagoba) Abercrombie & Kent, 70 Apricot Altar (Xing Tan; Beijing, 134 Academic Travel Abroad, 67 Qufu), 380 Yangzhou, 414 Access America, 51 Aqua Spirit (Hong Kong), 601 Baiyang Gou (White Poplar Accommodations, 75–77 Arch Angel Antiques (Hong Gully), 325 best, 10–11 Kong), 596 Baiyun Guan (White Cloud Acrobatics Architecture, 27–29 Temple; Beijing), 132 Beijing, 144–145 Area and country codes, 806 Bama, 10, 632–638 Guilin, 622 The arts, 25–27 Bama Chang Shou Bo Wu Shanghai, 478 ATMs (automated teller Guan (Longevity Museum), Adventure and Wellness machines), 60, 74 634 Trips, 68 Bamboo Museum and Adventure Center, 70 Gardens (Anji), 491 AIDS, 63 ack Lakes, The (Shicha Hai; Bamboo Temple (Qiongzhu Air pollution, 31 B Beijing), 91 Si; Kunming), 658 Air travel, 51–54 accommodations, 106–108 Bangchui Dao (Dalian), 190 Aitiga’er Qingzhen Si (Idkah bars, 147 Banpo Bowuguan (Banpo Mosque; Kashgar), 333 restaurants, 117–120 Neolithic Village; Xi’an), Ali (Shiquan He), 331 walking tour, 137–140 279 Alien Travel Permit (ATP), 780 Ba Da Guan (Eight Passes; Baoding Shan (Dazu), 727, Altitude sickness, 63, 761 Qingdao), 389 728 Amchog (A’muquhu), 297 Bagua Ting (Pavilion of the Baofeng Hu (Baofeng Lake), American Express, emergency Eight Trigrams; Chengdu), 754 check
    [Show full text]
  • Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism
    Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism Kevin Buckelew Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Kevin Buckelew All rights reserved Abstract Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism Kevin Buckelew This dissertation explores how Chan Buddhists made the unprecedented claim to a level of religious authority on par with the historical Buddha Śākyamuni and, in the process, invented what it means to be a buddha in China. This claim helped propel the Chan tradition to dominance of elite monastic Buddhism during the Song dynasty (960–1279), licensed an outpouring of Chan literature treated as equivalent to scripture, and changed the way Chinese Buddhists understood their own capacity for religious authority in relation to the historical Buddha and the Indian homeland of Buddhism. But the claim itself was fraught with complication. After all, according to canonical Buddhist scriptures, the Buddha was easily recognizable by the “marks of the great man” that adorned his body, while the same could not be said for Chan masters in the Song. What, then, distinguished Chan masters from everyone else? What authorized their elite status and granted them the authority of buddhas? According to what normative ideals did Chan aspirants pursue liberation, and by what standards did Chan masters evaluate their students to determine who was worthy of admission into an elite Chan lineage? How, in short, could one recognize a buddha in Song-dynasty China? The Chan tradition never answered this question once and for all; instead, the question broadly animated Chan rituals, institutional norms, literary practices, and visual cultures.
    [Show full text]
  • Buddhist Studies
    Journal of the International Association of Buddhist Studies Volume 24 • Number 1 • 2001 MINORUHARA In memoriam J.W. de Jong 1 JINHUA JIA Doctrinal Reformation of the Hongzhou School of Chan Buddhism 7 NADINE OWEN Constructing Another Perspective for Ajanta's Fifth-Century Excavations 27 PETER VERHAGEN Studies in Indo-Tibetan Buddhist Hermeneutics (1) Issues of Interpretation and Translation in the Minor Works of Si-tu Pan-chen Chos-kyi-'byun-gnas (16997-1774) 61 GLENN WALLIS The Buddha's Remains: mantra in the ManjusrTmulakalpa 89 BOOK REVIEW by ULRICH PAGEL Heinz Bechert [et al.]: Der Buddhismus I: Der Indische Buddhismus und seine Verzweigungen 127 Treasurer's Report 2000 135 JINHUA JIA Doctrinal Reformation of the Hongzhou School of Chan Buddhism* Hu Shi asserts that "Chinese" Chan proper first took on complete shape in the Hongzhou school.1 This assertion has been generally accepted, and the Hongzhou school is regarded as the beginning of "classical" or "golden-age" Chan. However, when discussing exactly what marks the beginning of this new type of Chan, or in other words, what kind of reformation Mazu Daoyi JSffill-- (709-88) brought to the Chan tradition, there have been quite different explanations. YANAGIDA Seizan |7PEBIIll[ posits that the m6st salient characteristic of the Hong­ zhou school is that it is a Chan of everyday life and a religion of humanity.2 IRIYA Yoshitaka A^ilfij regards the ideas, "function is identical with [Buddha-]nature" and "daily activities are wonderful functions," as the core of Daoyi's teaching.3 John McRAE assumes that "encounter dialogue" distinguishes the "classical" Chan of Mazu from the "pre-classical" Chan of the Northern, early Southern, and Niutou schools.4 Bernard FAURE takes the disappearance of one-practice samadhi (yixing sanmei — ffzLW) as "an indicator of the 'epistemologi- cal split' that opened between early Chan and the 'classical' Chan of the * I thank Professors Paul W.
    [Show full text]
  • 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.
    [Show full text]
  • True Model of a Natural Chan Practitioner
    NCOUNTERS with Master E Ⅹ Sheng Yen Encounters with Master Sheng Yen Ⅹ Pocket Guides to Buddhist Wisdom E-26 Publisher: Dharma Drum Mountain Culture and Educational Foundation 5F., No. 186, Gongguan Rd., Beitou District Taipei City 112-44, Taiwan Tel: 886-2-2893-4646 Fax: 886-2-2896-0731 www.ddm.org.tw Speakers: Du Zhengmin, Ding Min, Shan Te-hsing Editorial & Production: Cultural Center, Dharma Drum Mountain Revision: International Translation Office ISBN: 978-986-96684-4-6 1st Edition: March 2019 Preface o share with the public the thoughts and life experiences Tof Dharma Drum Mountain founder Master Sheng Yen (also known as Shifu, meaning “Master”), the Sheng Yen Education Foundation embarked on a series of talks beginning in September of 2009. Fifty-two talks were given at the Sheng Yen Lecture Hall (located in the official residence where Master Sheng Yen lived in his final years). The talks were titled A Living Example, Countless Teachings— Encounters with Master Sheng Yen and we invited all his monastic and lay disciples to share with us their stories about Shifu, how he taught them through his living example and words. Listening to these speakers’ personal accounts of the interactions between teacher and student allowed the audience to commemorate Master Sheng Yen’s journey, and once again hear his gracious teachings. The talks include stories of Master Sheng Yen’s everyday life, how he would give detailed guidance to his disciples regarding their speech and actions. There are also accounts of his travels to share the Buddhadharma locally and overseas, reaching out to the public, and teaching them skillfully and flexibly based on the existing circumstances.
    [Show full text]
  • Department of South Asian Languages and Civilizations 1
    Department of South Asian Languages and Civilizations 1 Department of South Asian Languages and Civilizations Chair • Whitney Cox Professors • Muzaffar Alam - Director of Graduate Studies • Dipesh Chakrabarty • Ulrike Stark • Gary Tubb Associate Professors • Whitney Cox • Thibaut d’Hubert • Sascha Ebeling • Rochona Majumdar Assistant Professors • Andrew Ollett • Tyler Williams - Director of Undergraduate Studies Visiting Professors • E. Annamalai Associated Faculty • Daniel A. Arnold (Divinity School) • Christian K. Wedemeyer (Divinity School) Instructional Professors • Mandira Bhaduri • Jason Grunebaum • Sujata Mahajan • Timsal Masud • Karma T. Ngodup Emeritus Faculty • Wendy Doniger • Ronald B. Inden • Colin P. Masica • C. M. Naim • Clinton B.Seely • Norman H. Zide The Department The Department of South Asian Languages and Civilizations is a multidisciplinary department comprised of faculty with expertise in the languages, literatures, histories, philosophies, and religions of South Asia. The examination of South Asian texts, broadly defined, is the guiding principle of our Ph.D. degree, and the dissertation itself. This involves acquaintance with a wide range of South Asian texts and their historical contexts, and theoretical reflection on the conditions of understanding and interpreting these texts. These goals are met through departmental seminars and advanced language courses, which lead up to the dissertation project. The Department admits applications only for the Ph.D. degree, although graduate students in the doctoral program may receive an M.A. degree in the course of their work toward the Ph.D. Students admitted to the doctoral program are awarded a six-year fellowship package that includes full tuition, academic year stipends, stipends for some summers, and medical insurance. Experience in teaching positions is a required part of the 2 Department of South Asian Languages and Civilizations program, and students are given opportunities to teach at several levels in both language courses and other courses.
    [Show full text]