Zen Buddhism, and Its Relation to ArtWaley, Arthur
Religion
Zen Buddhism, and Its Relation to Art
Waley, Arthur
Buddhist art; Zen Buddhism
The object of the Zen teachers, as of some eccentric schoolmasters
whom I have known, seems at first sight to have been merely to puzzle
and surprise their pupils to the highest possible degree. A peculiar
“brusquerie” was developed in Zen monasteries. The literature of the
sect consists chiefly in an endless series of anecdotes recording
the minutest happenings in the lives of famous Zen monks and their
(apparently) most trivial sayings. But behind these trifling acts
and sayings a deep meaning lay hid. The interpretation of such
teaching depends on a complete knowledge of the symbolism used. I
am not inclined to agree with those students of Zen who assert that
its written teaching are wholly devoid of intellectual content or so
completely esoteric as not to admit of explanation in words. Like other
Buddhist philosophers the Zen masters were chiefly concerned with the
attempt to define the relation between the One and the Many, between
the subjective and objective aspects of life.
The idealism of Zen does not mean that the phenomenal world has no
importance. To those who have not reached complete self-realisation
the urgencies of that world remain paramount and are the only
stepping-stones upon which he can climb higher.
On the day of his arrival at the monastery a novice presented himself
before the abbot, begging to be allowed to begin his spiritual
exercises without further delay. “Have you had supper?” asked the
abbot. “Yes.” “Then go and wash your plate.”
THE ZEN MASTERS.
Let us begin with Enō, a master of the seventh century. He lost his
parents when he was young and earned his living by gathering firewood.
One day when he was in the market-place he heard some one reading the
Diamond Sūtra.[6] He asked where such books were to be had and was
told “From Master Kōnin on the Yellow Plum-blossom Hill.” Accordingly
he went to Kōnin’s Monastery in Anhui and presented himself before the
Master. “Where do you come from?” “From the South.” “Bah! In the South
they have not Buddha in their souls.” “North and South,” replied Enō,
“are human distinctions that Buddha knows nothing of.”
[6] Translated by W. Gemmell, 1912. Its use by Kōnin shows that Zen did
not long avoid the use of scriptures.
Kōnin accepted him as a lay-brother and put him to pound rice in the
bakery.
Kōnin was growing old and wished to choose his successor. He therefore
instituted a poetical competition in which each monk was to epitomise
in a quatrain the essence of Zen. The favourite candidate was the
warden Shinshū, who sent in the following verses:
_The body is the trunk of the Bodhi-tree;
The mind is the bright mirror’s stand;
Scrub your mirror continually,
Lest the dust eclipse its brightness._
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account