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El Do Como Praxis Didáctica En El Entrenamiento Zen Y Su Aplicación En Las Artes Tradicionales Japonesas

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El Do Como Praxis Didáctica En El Entrenamiento Zen Y Su Aplicación En Las Artes Tradicionales Japonesas UNIVERSIDAD COMPLUTENSE DE MADRID INSTITUTO UNIVERSITARIO DE CIENCIAS DE LAS RELIGIONES TESIS DOCTORAL El Do como praxis didáctica en el entrenamiento Zen y su aplicación en las artes tradicionales japonesas MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Santiago Rivas Cobas DIRECTOR José María Prieto Zamora Madrid, 2016 © Santiago Rivas Cobas, 2015 Universidad Complutense de Madrid INSTITUTO UNIVERSITARIO DE CIENCIAS DE LAS RELIGIONES El Do como praxis didáctica en el entrenamiento Zen y su aplicación en las artes tradicionales japonesas Memoria para optar al Grado de Doctor Presentada por: Santiago Rivas Cobas Bajo la dirección del catedrático de universidad Dr. José María Prieto Zamora Madrid, Septiembre 2015 Instituto Universitario de Ciencias de las Religiones Universidad Complutense de Madrid El Do como praxis didáctica en el entrenamiento Zen y su aplicación en las artes tradicionales japonesas TESIS DOCTORAL Por: Santiago Rivas Cobas Director: Dr. José María Prieto Zamora Madrid, Septiembre 2015 A Miguel José Gómez y Andrés Caro, maestros, sabios y amigos El budismo defiende la interdependencia entre todos los seres. Para mí esta tesis ha supuesto una constatación fáctica y vivencial de ello. Si bien el trabajo lleva mi firma, ha habido muchas personas detrás que lo han hecho posible: Eva Ortiz, consejera y compañera; mi hermano y mis padres, un ancla a la realidad; mi hermana, mis sobrinas: Sofía y su nueva hermanita, y Miguel por las alegrías que suponen; Maribel, José y David quienes me han acogido y apoyado sin reservas; Daniel Heredia Doval, gran amigo, compañero en el Camino y fuente de inspiración; Andrés Piquer y Pablo Torijano, cuyo apoyo, ánimo y amistad me hicieron creerme capaz de terminar; Caco, amigo y sabio; Julio, Flavia e Iria por su amistad; mis compañeros del Dôjô, compañeros en el Camino; y José María Prieto por su guía durante el proceso. Gracias a todos de corazón, esta tesis lleva mi firma, pero lo que de bueno hay en ella lleva vuestra rúbrica. Índice 1. Introducción ................................................................................................................ 13 Resumen ...................................................................................................................... 13 Summary ..................................................................................................................... 16 Objetivos Específicos ................................................................................................. 19 Estructura del texto ..................................................................................................... 19 Metodología ................................................................................................................ 21 Citas y referencias ....................................................................................................... 23 Estado de la cuestión e interés del tema...................................................................... 24 Hipótesis de partida .................................................................................................... 38 Resultados esperados .................................................................................................. 38 2. La noción de -Dô (道) como praxis didáctica en el entrenamiento Zen japonés y su origen taoísta. Construcción de la matriz de análisis...................................................... 39 2.1 Ensayo de la perspectiva: -Dô entendido como praxis didáctica en el Zen ......... 43 2.2 Zen ¿Uno o varios métodos? La diferencia entre el Sôtô y el Rinzai .................. 46 2.3- Esquema del método en tres ámbitos: Escenario, Personajes y Tema. Configuración de la matriz de análisis ........................................................................ 48 2.4- Vinculación de Dô en el Taoísmo y Zen: Aplicación de la matriz al “Zhuang Zi” .................................................................................................................................... 54 Escenario ................................................................................................................. 55 Personajes ................................................................................................................ 65 Tema ........................................................................................................................ 74 2.5- Conclusiones ........................................................................................................ 84 3- Comprobación del esquema en la actualidad: Análisis de casos representativos ...... 87 3.1- Análisis de la obra “Eat Sleep Sit: My year at Japan’s most rigorous Zen Temple”. Autor: Nonomura Kaoru. Ejemplo de aprendizaje Sôtô.............................. 87 Escenario ................................................................................................................. 88 Personajes ................................................................................................................ 96 Tema: ..................................................................................................................... 104 3.2- Análisis del documental “Zen temple: The Eiheiji”, director Yasunori Ono. Ejemplo de aprendizaje Sôtô ..................................................................................... 110 Escenario ............................................................................................................... 111 Personajes .............................................................................................................. 119 Tema ...................................................................................................................... 125 3.3- Análisis de la obra “De aprendiz a Maestro: Una lección sobre las dimensiones de mi propia estupidez”. Autor: Morinaga Soko. Ejemplo de aprendizaje Rinzai ... 133 Escenario ............................................................................................................... 134 Personajes .............................................................................................................. 137 Tema ...................................................................................................................... 143 3.4- Análisis del documental “The principles and practices of Zen”, director Mitsuhiro Wada. Ejemplo de aprendizaje Rinzai ..................................................... 149 Escenario ............................................................................................................... 149 Personajes .............................................................................................................. 156 Tema ...................................................................................................................... 160 3.5- Conclusiones ...................................................................................................... 165 4- Orígenes históricos del -Dô como praxis didáctica en los inicios del Zen japonés . 171 4.1- Contexto histórico: orígenes del método en Japón ............................................ 171 4.2- El Origen del Método en el Sôtô Zen: Análisis del “Shôbôgenzô” ................... 176 Escenario ............................................................................................................... 177 Personajes .............................................................................................................. 186 Tema ...................................................................................................................... 196 4.3- El Origen del Método en el Zen Rinzai: Análisis de “Diálogos en el sueño” ... 204 Escenario ............................................................................................................... 205 Personajes .............................................................................................................. 210 Tema ...................................................................................................................... 216 4.4-Conclusiones ....................................................................................................... 222 5- Prueba de la hipótesis aplicada a las artes tradicionales japonesas: Estudio del patrón en el Karate-Dô ............................................................................................................. 227 5.1. Breve contexto histórico: cambio de la denominación –Jutsu ( 術 ) a la denominación -Dô (道) ............................................................................................ 227 5.2- Interés que ofrece el análisis del Karate-Dô (空手道) ...................................... 231 5.3- Aplicación del patrón a un arte .......................................................................... 233 Escenario ............................................................................................................... 234 Personajes .............................................................................................................. 240 Tema ...................................................................................................................... 250 5.4- Conclusiones y posible extrapolación de estos resultados a otras artes ............ 258 6. Conclusiones Generales ............................................................................................ 263 6.1- Conclusiones directas del texto ........................................................................
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