Chinese Zen Buddhism

Foreword to Lewis Hyde and Max Gimblett, The Disappearing Ox (Port Townsend, WA: Copper Canyon Press).

In this paper, I investigate the phenomenology of awakening in Chinese Zen Buddhism. In this tradition, to awaken is to ‘see your true nature’. In particular, the two aspects of awakening are: (1) seeing that the nature of one’s self or mind is empty or void and (2) an erasing of the usual (though merely apparent) boundary between subject and object. In the early Zen tradition, there are many references to awakening as chopping off your head, not having eyes, nose (...) and tongue, and seeing your ‘Original Face’. These references bear a remarkable resemblance to an approach to awakening developed by Douglas Harding. I will guide the reader through a series of Harding’s first-person experiments which investigate the gap where you cannot see your own head. I will endeavour to show that these methods, although radically different from traditional meditation techniques, result in an experience with striking similarities to Zen accounts of awakening, in particular, as experiencing oneself as empty or void and yet totally united with the given world. The repeatability and apparent reliability of these first-person methods opens up a class of awakening experience to empirical investigation and has the potential to provide new insights into nondual traditions. (shrink)

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)

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)

In Chan/Seon/Zen (禪, hereafter referred to as Chan) Buddhism, the gongan (公案), a word that can be literally translated as “public case”, is conceived as both the tool by which enlightenment is brought about and an expression of the enlightened mind itself. Among the diverse styles of gongan, perhaps the most puzzling is a form of its key phrase, huatou (話頭), that utilizes specific things in the world. These things are either real and empirically observable, or conversely, unreal and merely (...) hypothetical. A typical example is the figure of the “cypress tree in the front yard”. This paper tries to demonstrate that such a huatou has a structural similarity to the dṛṣṭānta (喩), an element within the three-part syllogism of Buddhist logic, insomuch as it functions as an epistemic instrument for the disclosing of a truth. (shrink)

Review of the Chinese Zen Master Ouyi Zhixu.

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)

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)

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)

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)

Chan Buddhist discourse refers repeatedly to many kinds of animals, particularly dogs and cats, as symbols or in fables in order to comment ironically on human attitudes and behavior. These creatures are appreciated for their positive qualities yet are also scathingly criticized for representing a lack of discipline and self-control. This paper considers how a couple of Chan gongan cases featuring animals are related to the Mahayana doctrine of universal Buddha-nature. Does Chan accept and approve or reject and refute the (...) orthodox view, does it craft a standpoint of ironic inconclusiveness that deliberately bypasses and reorients traditional doctrinal disputes, or do these cases primarily express an allegorical message regarding possibilities or challenges for humans seeking to attain an experience of enlightenment? (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)

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)

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)

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)

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)

This article examines the issue of the paradoxicality of institution, de-institutionalization, or the counter-institutionalization in classical Chan thought by focusing on the texts of Hongzhou School. It first analyzes the problem of 20th century scholars in characterizing the Chan attitude toward institution as iconoclasts, and the problem of the recent tendency to return to images of the Chan masters as traditionalists, as opposed to iconoclasts. Both problems are examples of imposing an oppositional way of thinking on the Chan masters. The (...) essay then introduces a new paradigm for interpreting the Chan attitude toward institution, the model of de-institutionalization, which borrows certain insights from Derrida’s idea of the counter-institutional. However, the new model is supported by the Chan heritage of Mahayana Buddhist philosophy. This model can more consistently construe the Chan understanding of the paradoxicality of institution, the subtle Chan relationship of being “with and against” institution, and the Chan “middle way” to make institution remain open to its outside and to transformation. (shrink)

As a great synthesist for the School of Principles of the Northern and Southern Song dynasties, Zhu Xi’s influence over the School of Principles was demonstrated not only through his positive theoretical creation, but also through his choice and critical awareness. Zhu’s relationship with Confucianism and Buddhism is a typical case; and his activities, ranging from his research of Buddhism (the Chan School) in his early days to his farewell to the Chan School as a student of Li Dong from (...) Yanping and then to his critical awareness of the Chan School, developed in his association with Wang Yingchen, set the entire course of his relationship with Confucianism and Buddhism. It fostered his antagonistic attitude towards the Chan School, which lasted his entire life. Zhu approached the Chan School mainly as an objective social and cultural phenomenon; his discrimination between Confucianism and Buddhism was from an epistemological point of view; and his refutation of the Chan School was mainly from the point of view of language and methodology, an antagonistic attitude of how to face learning. Therefore, his opposition to the Chan School not only directly fostered an awareness of the Confucians of the Ming dynasty against Buddhism, who simply viewed the latter as an external and objective existence, but to a certain extent resulted in the disappearance of the transcendence of the School of Principles, and caused a total change in academic direction during the Ming and Qing dynasties and the formation of the Qianjia Hanxue . What is more, such an opposition to Buddhism continues to influence people’s understanding of the School of Principles. (shrink)

I thank Professors Finnigan and Garfield (Jay) and the editors of Philosophy East and West for inviting me to join in this discussion of Chinese Buddhism. I have not taken many opportunities in my career to write about Zen Buddhism and Daoism, although I have been fascinated by their connection. I remember quite clearly a discussion I had with Jay some years back in which I broached the idea that Daoism had contributed important dialectical steps leading to the formulation of (...) Zen, which I join the Chinese tradition in regarding as the highest version of the Buddhist insight. Jay argued to me at that time that the necessary insights were actually all available in Nāgārjuna. I am accordingly pleased to see him .. (shrink)

Despite the fact that Chan, especially koan Chan is highly unconventional and perplexing, there are still some principles with which to interpret and appreciate the practice. Each of the five houses or lineages of Chan has its idiosyncratic hermeneutic rules. The Linji House has Linji si liao jian, si bin zhu and si zhao yong among others while the Yunmen House follows Yumen san ju as one of its house rules. Moreover, there is a general inner logic that seems to (...) apply to understanding Chan encounters across lineages. The opportune moment (Chan Ji) of responding swiftly and skillfully and yet always grounding oneself in the openness and flow of the mind highlights the inner logic of the cognition and behavior of Chan Buddhists. This paper attempts to read koans from The Blue Cliff Record in the light of Chan Buddhist hermeneutics. Some aspects and patterns of Chan encounters may appear as rituals that serve either as a provisional means for common people or as an embodiment of enlightened behaviors. Routinized ritualization of Chan life, however, runs counter to the fundamental spirit of freedom and spontaneity of Chan way of life. Much can and needs to be elucidated about the mystified koan Chan experience before we finally resort to the transpersonal experience of noble silence. (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)

The role of Chan Buddhism for mind therapy is distinguished from psychotherapy by the objectives in diminishing or removing the deluded perceived self and the psychological self of attachments and cravings, which are considered as the more basic origins for psychological suffering and problems. The Buddhist concepts of impermanence, no-self and emptiness are discussed to explain the Buddhist explanation for human suffering. A four-stage theory is described to explain the common Buddhist meditation experience toward the realization of no-self. Removing psychological (...) attachment is found to be of explanatory value for many enlightenment episodes of Chan masters. Meditation concentration and reduction of self-attachment will mutually reinforce each other toward a complete therapy of the mind. An innovative approach for psychotherapy in going further to tackle a person's basic life attachments is suggested. (shrink)

Koan Zen is a philosophical practice that bears a strong family resemblance to Wittgenstein's approach to philosophy. In this paper I hope to show that this resemblance is especially evident when we compare the Zen method of koan with Wittgenstein's suggestion, towards the end of his Tractatus, about what would constitute the only correct method in philosophy. Both koan Zen and Wittgenstein's method set limits to the reach of philosophical discourse. Each rules metaphysical speculation out of bounds. Neither, however, represents (...) a rejection of the metaphysical. Where Wittgenstein enjoins silence in the face of the unsayable, a silence that allows the metaphysical to show itself, koan Zen calls for concrete demonstrations of that which cannot be captured in rational discourse. I attempt to illustrate this through discussion of a number of koans that serve as reminders that the philosopher (and Zen master) should say nothing except what can be said. (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)

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)

Drawing on Zen as well as on Nietzsche's thought and its ramifications in and for western culture, this book is a fervent call for a re-visioning of philosophy ...