Chinese Zen Buddhism

I want to know whether Chan masters and students depicted in classical Chan transmission literature can be interpreted as asking open (or what I will call “genuine”) questions. My task is significant because asking genuine questions appears to be a decisive factor in ascertaining whether these figures represent models for dialogue—the kind of dialogue championed in democratic society and valued by promoters of interreligious exchange. My study also contributes to a more comprehensive understanding of early Chan not only by detailing (...) contrasts between contemporary interests and classical Chan, but more importantly by paying greater attention to the role language and rhetoric play in classical Chan. What roles do questions play in Chan encounter dialogues, and are any of the questions genuine? Is there anything about the conventions of the genre that keeps readers from interpreting some questions in this way? To address these topics, I will proceed as follows. First, on a global level and for critical-historical context, I survey Chan transmission literature of the Song dynasty in which encounter dialogues appear, and their role in developments of Chan/Zen traditions. Second, I zoom in on structural elements of encounter dialogues in particular as a genre. Third, aligning with the trajectory of performative analyses of Chan literature called for by Sharf and Faure, I turn to develop and criticize a performative model of questions from resources in recent analytic and continental philosophy of language and I apply that model to some questions in encounter dialogue literature. (shrink)

This essay attempts to reconcile the debate between Hu Shi's historical perspective and D.T. Suzuki's practice perspective concerning Zen Buddhism.

In Philip J. Ivanhoe’s introduction to his Readings from the Lu-Wang School of Neo-Confucianism, he argues convincingly that the Ming-era Neo-Confucian philosopher Wang Yang-ming (1472–1529) was much more influenced by Buddhism (especially Zen’s Platform Sutra) than has generally been recognized. In light of this influence, and the centrality of questions of selfhood in Buddhism, in this article I will explore the theme of selfhood in Wang’s Neo-Confucianism. Put as a mantra, for Wang “self-awareness is world-awareness.” My central image for this (...) mantra is the entire cosmos anthropomorphized as a doctor engaged in constant self-diagnosis, in which effort s/he is assisted by an entire staff of the nerves/nurses—individual humans enlightened as Wangian sages. In short, I will argue that the world for Wang could be meaningfully understood as a mindful, self-healing body within which humans are the sensitive nerves, using our mindful awareness to direct attention to the affected areas when injury or disease occurs. We are, and must thus recognize that we are, the bold but sensitive nervous system of the cosmos, sharing (like neurons) our loving excitement, carrying out (like a medical nurse) the doctor’s orders for the self-care of our cosmic body/medical corps. (shrink)

The aesthetic spirit in Paik Nam June’s video art, TV Buddha, originated in the aesthetics of Zen Buddhism, and the parameters that established Paik’s aesthetic comprised the indigenous Eastern aesthetic idea of dongjing 動靜. Yi 逸 is the paramount aesthetic in Zen Buddhism, suggesting the transcendence of preexisting tracks and conventions. Paik’s behavioral music, to which he was dedicated before pioneering video art in earnest, was related to yi in terms of the complete aspects of forms, themes, and so on, (...) evidently under the influence of avant-garde musical composer John Cage. The Zen Buddhist aesthetic—and Paik’s artistic motto—is to capture the essence of the self and the world through the destruction of stereotypes. Paik’s artistic uniqueness lies in his attempts to combine his traditional culture and spirit—the culture and ideas of Korea and Eastern Asia—with cutting-edge technology. The hallmark of Paik’s video art can be understood as a suggestion of philosophical subjects guided by the interrelation between a graphical presentation on a TV screen and the whole installation setup. The philosophical subject in TV Buddha is Zen Buddhist meditation symbolized in the structure of dongjing. (shrink)

In the early and middle Tang dynasty, a reform movement took place within Buddhism that resulted in the formation of a new sect, the Chan school. It was not a sect that paralleled the other schools, as did the Weishi School and the Huayan School. It claimed to be a "door of acceptance" and called other sects "doors of teaching." The two terms are opposed to and juxtaposed against each other. After the Chan sect became popular, the influence of other (...) sects gradually declined or even faded entirely, and eventually "Chan" became a synonym for the religion and study of Buddhism. (shrink)

The Chan sect is one of the most important sects in the history of Chinese Buddhism. According to the traditional interpretation, it is believed that this sect originated at the time of the Northern dynasties [ca. 386-589]. In fact, we ought to consider the Tang dynasty [618-907] as the time when it truly took shape as one of the sects of schools of Buddhism. It reached the peak of its development during the time between the An Lushan-Shi Siming Rebellion [755-763] (...) and the early years of the Northern Song dynasty [ca. 960-1000]. It continued to spread throughout the time of the Song and Yuan dynasties and thereafter and its growth was never interrupted. This school of Buddhist thought not only affected the neo-Confucianism of the Song times but was moreover brought to Korea and Japan. Therefore, we feel, a preliminary investigation and study of the philosophical thought of the Chan sect is something that simply must be undertaken. This essay will merely conduct an introductory exploration of the fundamental ideas of the Chan sect and will not attempt to focus on historical narrative. (shrink)

Starting from 1924, Hu Shih had been engaged in writing Manuscript of the History of the Chan Sect of Chinese Buddhism. Up until 1934 he was still talking about his subjective, idealistic study of the Chan sect's history. His writings on the study made up a sizable portion of all his works.

Review of the Chinese Zen Master Ouyi Zhixu.

Steven Heine’s latest book on the history of kōans, Like Cats and Dogs: Contesting the Mu Kōan in Zen Buddhism, is his second monograph dedicated to a single kōan case record. The author’s first such offering, Shifting Shape, Shaping Text: Philosophy and Folklore in the Fox Kōan, focused on the second case record of the thirteenth-century Gateless Gate collection. Published at the end of the 1990s the text was a response, in many ways, to the two authors who dominated the (...) field of Zen studies during that decade, Bernard Faure and William Bodiford, particularly in regard to the historical relation between monastic Chan/Zen and popular forms of supernatural belief and practice... (shrink)

Zen/Chan, which used to be a Far Eastern philosophy-cum-religion, has evolved into a global cultural phenomenon. Despite the many views expressed by numerous thinkers in the world, the consensus on Chan and Chan enlightenment remains an agnostic Oriental mysticism. By exploring Chan and enlightenment from a combined perspective of history, philosophy, psychology, religion and linguistics, this article proposes a hitherto unexpressed view. Chan enlightenment is a prenatal physico-psychological existence, which grows out of a fetal subject’s perception of the womb. Although (...) this primordial mode of perception is unconscious, it is cosmic in nature because for the fetal subject the womb is the whole world with which it feels to be at one. This unconscious oneness may be termed the ‘cosmic unconscious’. Once born, no one can return to the prenatal mental state, but through personal cultivation and Chan practice one can experience a fleeting moment of the cosmic unconscious. In the final analysis, the essence o.. (shrink)

The Wu Gongan is primarily known for its minimalist expression based on Zhaozhou's “No” response to a monk's question of whether a dog has Buddha-nature. Crucial for the key-phrase method of meditation of Dahui Zonggao, the term Wu is not to be analyzed through logic or poetry. However, an overemphasis on the nondiscursive quality overlooks sophisticated rhetoric through metaphors used for the anxiety of doubt caused by Wu undermining conventional assumptions that is compared to a cornered rat; and the experience (...) of enlightenment generated by the power of Wu likened to a sword cutting through all delusions. (shrink)

The Chan tradition is renowned as the “meditation” school of East Asia. Indeed, the Chinese term chan 禪 is an abbreviated transliteration of dhyāna, the Sanskrit term arguably closest to the modern English word “meditation.” Scholars typically date the emergence of this tradition to the early Tang dynasty , although Chan did not reach institutional maturity until the Song period . In time, Chinese Chan spread throughout East Asia, giving birth to the various Zen, Sŏn, and Thiền lineages of Japan, (...) Korea, and Vietnam, respectively. Today these traditions continue to promote, at least in theory, meditation practices, and these have been the subject of considerable scholarly .. (shrink)

Compiled by a leading scholar of Chinese poetry, _Clouds Thick, Whereabouts Unknown_ is the first collection of Chan poems to be situated within Chan thought and practice. Combined with exquisite paintings by Charles Chu, the anthology compellingly captures the ideological and literary nuances of works that were composed, paradoxically, to "say more by saying less," and creates an unparalleled experience for readers of all backgrounds. _Clouds Thick, Whereabouts Unknown_ includes verse composed by monk-poets of the eighth to the seventeenth centuries. (...) Their style ranges from the direct vernacular to the evocative and imagistic. Egan's faithful and elegant translations of poems by Han Shan, Guanxiu, and Qiji, among many others, do justice to their perceptions and insights, and his detailed notes and analyses unravel centuries of Chan metaphor and allusion. In these gems, monk-poets join mainstream ideas on poetic function to religious reflection and proselytizing, carving out a distinct genre that came to influence generations of poets, critics, and writers. The simplicity of Chan poetry belies its complex ideology and sophisticated language, elements Egan vividly explicates in his religious and literary critique. His interpretive strategies enable a richer understanding of Mahayana Buddhism, Chan philosophy, and the principles of Chinese poetry. (shrink)

Some common conceptions of Buddhist meditative practice emphasize the elimination of emotion and desire in the interest of attaining tranquility and spiritual perfection. But to place too strong an emphasis on this is to miss an important social element emphasized by major figures in the Mahāyāna and Chan/Zen Buddhist traditions who are critical of these quietistic elements and who stress instead an understanding of an enlightenment that emphasizes enriched sociality and flexible readiness to engage, and not avoid, life's fluctuations in (...) fortune and essential impermanence. It is argued here that these criticisms of quietism are bolstered by recent advances in the philosophy and psychology of the emotions that highlight the role of emotions in framing the context of decision making—that is, in sorting out the relevant from the irrelevant, identifying salience, and directing decisions when uncertainty prevents definitive judgment. This research makes clearer why self-liberation is fundamentally a matter of liberation from judgmental habit and inflexibility, and lends support to a view of enlightenment that emphasizes compassionate engagement with others. It also provides for a more plausible picture of the cognitive transformation involved in liberation and sheds light on the rationale for certain traditional Chan and Zen teaching tactics, such as those involving koan introspection. (shrink)

Along with the Chan’s “linguistic turn”, the significance of sutras, which were despised and even regarded as the obstacle to complete enlightenment, became accepted by the Chan. Due to Yanshou’s contributions, the principle that emphasized the diversity of teaching in terms of the relationship between meaning and expression in the Sui and Tang Dynasties has been changed into a system which stressed the importance of the root/branches relationship of the mind and words. According to Yanshou, the conflict between the Chan (...) and doctrinal teachings is resolved by highlighting the significance of words. Yanshou’s work greatly inspired the Chan’s interest in words in the Song Dynasty. (shrink)

The _Platform Sutra_ records the teachings of Hui-neng, the Sixth Patriarch, who is revered as one of the two great figures in the founding of Ch'an Buddhism. This translation is the definitive English version of the eighth-century Ch'an classic. Phillip B. Yampolsky has based his translation on the Tun-huang manuscript, the earliest extant version of the work. A critical edition of the Chinese text is given at the end of the volume. Dr. Yampolsky also furnishes a lengthy and detailed historical (...) introduction which contains much information hitherto unavailable even to scholars, and provides the context essential to an understanding of Hui-neng's work. He gives an account of the history and legends of Ch'an Buddhism, with particular attention to the traditions associated with Hui-neng, quoting or summarizing the most important narratives. He then discusses the various texts of the _Platform Sutra_, and analyzes its contents. (shrink)

The goal of tranquility through non-Assertion, Advocated by sextus empiricus, Is examined and his method criticized. His understanding of non-Assertion is compared with that of seng-Chao (383-414) and chi-Tsang (549-623). Zen buddhism shares the quest for tranquility, But offers more than sextus did to help us attain it, And avoids the excessively metaphysical thought of these two chinese buddhists. Wittgenstein, Whose goal was that philosophical problems completely disappear, And austin, Who rejected many standard western dichotomies, Offer a method superior to (...) that of sextus, Or to that of chi-Tsang and seng-Chao, But an ideal short of the tranquility sought by all the rest. The thought that zen buddhism and ordinary language philosophy may be looking in the same direction is supported by appealing to john canfield's article "wittgenstein and zen" and his analysis of "understanding without thought.". (shrink)

Zen and the roof were very unique Chinese Buddhist sect, which occur in the course of history with all kinds of relationships. Instrument such as the origins of Zen meditation all Guifeng Zongmi of "meditation device" is a Zhiyi "small Zhiguan" of transcription; Zen four Zudao Xin's "five heart to be" is also Zhiyi "card on the heart "The inherited; Zen lived north were Shenxiu Jingzhou Yuquan, Zhiyi Zhiguan seriously affected, and author of the same name with Zhiyi" view of (...) the heart on the "volume, this book later became the most respected Zen" Dharma Master disfigured on . " Accordingly, we can say the founder of Zen is to sell off in Tiantai. Song, Zen life extension urged phase-integration. Zen to teach the same, integrating the concept of mind were on the roof and the evil nature that; Ming, Zhi Xu mix Zhuzong idea that Zen's disease, non-roof can not be saved. In addition, Zen and the roof were also given ancestral place, Kokuseiji birthplace of ownership dispute. This article will discuss three aspects mentioned above for the points discussed. The Tiantai Section and the Zen Section are the most remarkable sects of Buddhism in China; various relations have emerged between them in the progress of history. For instance, Zuo Chan Yi of the Zen Section cites Xiao Zhi Guan from the doctrine of Tiantai, while the Zen Wu Men Xin Via is a successor of the Tiantai Zheng Xin Luen. Shen Xiou from the northern Zen once stayed in Yu Quan Temple, and, deeply influenced by Zhi Kai from the Tiantai Section, he wrote a book with the same title as one by Zhi Kai, Zheng Xin Luen, which has become the most honored writing among the later Zen Section. Accordingly, it is fair to say that the Zen Section emerged from the Tiantai Section. In the Sung Dynasty, Yian Shou combined the doctrine of Zen with the Tiantai doctrines of mind and evil nature. In the Ming Dynasty, Zhi Xu claimed the defects of Zen could only be remedied by the Tiantai Section. All the issues above are discussed in this paper. (shrink)

This book is the first to engage Zen Buddhism philosophically on crucial issues from a perspective that is informed by the traditions of western philosophy and religion. It focuses on one renowned Zen master, Huang Po, whose recorded sayings exemplify the spirit of the 'golden age' of Zen in medieval China, and on the transmission of these writings to the West. The author makes a bold attempt to articulate a post-romantic understanding of Zen applicable to contemporary world culture. While deeply (...) sympathetic to the Zen tradition, he raises serious questions about the kinds of claims that can be made on its behalf. (shrink)

The work argues that the koans of Zen Buddhism have several intriguing non-accidental parallels with the short stories of Catholic author Flannery O'Connor. Both typically portray characters in a state of non-enlightenment in which they are egoistically obsessed with something which prevents them from perceiving and properly responding to the real world around them. Both present the characters with some opportunity for enlightenment, which they may or may not take up. Both come in a variety of forms, in order to (...) portray and address a rich variety of ways in which such obsessions become obstacles to human self-understanding and fulfillment. And both are ultimately presented for the sake of the listener or reader, who may recognize in the stories parallels to their own state, and perhaps take a lesson therefrom on their own journey towards what Zen calls enlightenment, or what Christians call grace. (shrink)

Written casually and organized informally, this book is not properly a dictionary; its 351 entries include major Zen terms, names of historical figures, and topics of special interest to Western readers. --C. D.

The book is subtitled "An Approach to Sanity and Happiness on a Non-Sectarian Basis," and is a personal meditation and discourse on the appeal of the Zen outlook. The author wishes not only to exhibit the sense of Zen, but also to contribute to the erosion of fossilized Western prejudices. The criticisms are gentle; the style manifests wu-wei.--R. C. D.

The author interprets those facets of major American thinkers which resemble, lead to, or complement the insights of Zen; and if a pedantic scholar might quarrel with some of his readings, his own intention and insights are refreshing and provocative. Beginning with Jefferson, and passing through Thoreau, James, Peirce, Santayana, Dewey, and others, he traces the Zen-like themes to their most complete expression in G. M. Mead. In - their regard for non-dualism, participation, responsibility, dynamism, openness, concern for the "everyday," (...) compassion, zest, and being-at-one with self, others, and nature, Ames finds that Zen and American thought meet, and suggests that their differences can be mutually fertilizing. This gentle book is a success in a field too often plagued by non-conformist and cultish postures. --R. C. D. (shrink)

Chinese Chan or Zen Buddhism is renowned for its improvisational, atypical, and perplexing use of words. In particular, the tradition’s encounter dialogues, which took place between Chan masters and their interlocutors, abound in puzzling, astonishing, and paradoxical ways of speaking. In this chapter, we are concerned with Chan’s use of paradoxical language. In philosophical parlance, a linguistic paradox comprises the confluence of opposite or incongruent concepts in a way that runs counter to our common sense and ordinary rational thinking. One (...) naturally wonders about Chan masters’ rationales for their use of paradox. There are also concerns about whether the use violates the logical principle of noncontradiction to the effect that nothing can be both P and not-P all over in the same way at the same time. Chan became a viable Chinese Buddhist tradition during the Tang dynasty (618−907) and continued to develop for several centuries. The tradition had produced a huge literature; consequently, our investigation of its use of paradox cannot but be limited and selective. In the second section, I first sketch key ideas of Chan that are pertinent to our investigation and then examine the use of paradox in the sermons associated with certain Tang masters of the southern Chan. In the third section, I analyze the presence of paradoxical language in post-Tang encounter dialogues. The fourth section concludes. (shrink)

This work proposes a logical analysis for the kind of knowledge or insight provided by Buddhist enlightenment, which is often presented only in the form of contradictions and riddles. The comprehension of contradictions is perplexing to most western logic, and yet developed here is a theory demonstrating how a non truth-functional interpretation can be attached to certain naturalistic contradictions. In this way, the logical and psychological status of Enlightenment can be analysed in a manner consistent with the claims of much (...) Eastern thought. For example, it is argued that by breaking the logical principle of identity, it is possible to understand the contradiction "Everybody's friend is nobody's friend" in such a way as to learn something new about friendship, thereby causing us to modify our concept of friendship. In this way our grasp of contradictions can lead to conceptual change. -/- It is further noted that conflicts in all areas of life can be expressed by contradictions, so that our capacity in general to grasp naturalistic contradictions is also a basis for conflict-resolution -thus justifying the term 'Enlightenment'. This pragmatic comprehension of contradictions is thus shown to formalise, not only the Middle Way of Buddhism, but also Socratic dialectic. Finally, the analysis explains why gnomic utterances in every religion and Zen in particular, are sometimes expected to trigger spiritual enlightenment. (shrink)

Satori Zen is of immense interest to anyone pursuing authentic metaphysical knowledge because it claims to offer an astonishingly straightforward path to full Spiritual Enlightenment. And in terms of outright simplicity and immediate applicability, there is no other spiritual technique quite like it, in any other tradition anywhere. But does it do what it claims to do ? Can you really ‘power your way into heaven’ by brute meditative force ? And does this then mean that satori is equivalent to (...) Supreme Spiritual Enlightenment ? This essay will examine the key elements and claims of Satori Zen in the light of independent and objective metaphysical knowledge. (shrink)

Although Chan, or Zen, Buddhism traditionally claimed itself as a special transmission outside doctrinal teachings that eschews the written word, it has long been praised for its improvisational, atypical, intriguing, and intricate use of words. Prominent Chan masters are characteristically skillful in employing paradoxical and aporetic phrases, figurative and poetic expressions, negations, questions, repetitions, and so forth, to express their thoughts, indicate their awakened states of mind, cut off the interlocutor’s habitual dualistic thinking, or evoke in him or her an (...) experience of awakening. This fact, among others, has led some contemporary scholars to claim that the Chan experience of awakening does not... (shrink)

This paper analyzes how space is metaphorized in some Chan poems, and it investigates how space metaphor contributes to Chan culture. It concentrates onorientational metaphors, metaphor associated with an upward or/and a downward orientation. Orientational metaphors tend to be grounded in dichotomized thought, e.g., “GOOD IS UP” vs. “BAD IS DOWN”, “DIVINE IS UP” vs. “MORTAL IS DOWN”, etc. This paper will demonstrate that in some Chan poems, orientational metaphors do not function this way. Instead, what is foregrounded is the (...) kind of spatial relationship created by opposite orientations, namely, the broad, ever-extending space. To demonstrate how this metaphorical understanding of space is achieved, this paper addresses three particular space-related issues: how certain entities representing dimensional space serve to function as a cognitive metaphor that is common in Chan poetry as a genre; how up-down orientations can interact and form a metaphorical pattern in a text; and how spatial image schemas can be identified, interact with one another, and underpin the pattern of metaphor communicating the idea of that broad, ever-extending, imaginal space. All in all, this study aims to demonstrate how space metaphor, as a signifying force, functions in Chan poems and how suchmetaphor represents Chinese Chan culture. (shrink)

This dissertation investigates three related issues---deconstructive strategy, liminology of language, and pragmatics of indirect communication---in two great traditions of Chinese philosophy and religious thought. These three issues have drawn contemporary Western thinkers' close attentions and have entailed a variety of discussions. The dissertation attempts to bring the traditions of the Zhuangzi and Chan Buddhism into a postmodern focus concerning these three areas. It borrows insights, ideas and terms from contemporary and/or postmodern discourse to rediscover or reinterpret these two traditions. In (...) doing so, it carefully redefines and analyzes those ideas and terms, and places them strictly in the Daoist and Chan Buddhist contexts. It bases its philosophical investigation, its rediscovery or reinterpretation of two traditions, on the solid study and critical examination of ancient texts and history of thought. One thread running through the investigation of these three areas in the Zhuangzi and Chan Buddhism is the study and exploration of different linguistic strategies, the otherness of language uses. Although there is no "linguistic turn" in the thought of the Zhuangzi and in the mainstream of Chan, linguistic strategies play an indispensable role and serve the purpose of soteriological practice. The result of this investigation shows that these two traditions are great resources for the study of these three related issues. The treatise not only allows us to understand the central teachings of the Zhuangzi and Chan anew, but also lets these two traditions speak for themselves, addressing postmodern issues from their own perspectives. The conclusion is two-fold. On the one hand, the novel interpretation of the Zhuangzi and Chan challenges many conventional understandings of these two traditions concerning three areas. It highlights certain aspects of these two traditions that we have largely neglected before. On the other hand, the articulation of Daoist and Chan Buddhist views contributes to, enriches, and throws light on contemporary Western discussions of these issues, and even invites certain criticisms of postmodern discourse. (shrink)