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Books > Religion & Spirituality > Non-Christian religions > Religions of Indic & Oriental origin > Buddhism > Zen Buddhism
In the early part of this century, the discovery of a walled-up
cave in northwest China led to the retrieval of a lost early Ch'an
(Zen) literature of the T'ang dynasty (618-907). One of the
recovered Zen texts was a seven-piece collection, the "Bodhidharma
Anthology." Of the numerous texts attributed to Bodhidharma, this
anthology is the only one generally believed to contain authentic
Bodhidharma material.
Jeffrey L. Broughton provides a reliable annotated translation of
the "Bodhidharma Anthology" along with a detailed study of its
nature, content, and background. His work is especially important
for its rendering of the three Records, which contain some of the
earliest Zen dialogues and constitute the real beginnings of Zen
literature.
The vivid dialogues and sayings of Master Yuan, a long-forgotten
member of the Bodhidharma circle, are the hallmark of the
"Records." Master Yuan consistently criticizes reliance on the
Dharma, on teachers, on meditative practice, and on scripture, all
of which lead to self-deception and confusion, he says. According
to Master Yuan, if one has spirit and does not seek anything,
including the teachings of Buddhism, then one will attain the
quietude of liberation. The boldness in Yuan's utterances
prefigures much of the full-blown Zen tradition we recognize today.
Broughton utilizes a Tibetan translation of the "Bodhidharma
Anthology "as an informative gloss on the Chinese original. Placing
the anthology within the context of the Tun-huang Zen manuscripts
as a whole, he proposes a new approach to the study of Zen, one
that concentrates on literary history, a genealogy of texts rather
than the usual genealogy of masters.
Includes an introduction that traces the history of Buddhism and
its teachings.
This title provides a prominent Zen teacher's unique perspective on
a Tibetan Buddhist practice made popular by Chogyam Trungpa and
Pema Chodron."
'In Japan we have an expression, 'Float like Cloud, Flow like
Water'. Its meaning is: to live free and unconstrained' In this
short introduction to Zen Buddhism, a practising Japanese monk
shares the many lessons he has learned from life inside a temple.
With charm and humour, he guides us through everything from
meditation to tea-drinking ceremonies, the meaning of koans to
preparing Zen food. Accompanied by the author's own illustrations,
this book invites you to change your perception through the wisdom
of monastic life.
The Song of the Wind in the Dry Tree is a book of commentaries
given by Zen Master Philippe Coupey from two 13th-century Japanese
texts. In Part I, he's chosen twelve poems from the Sansho Doei, a
collection of poetry composed by Master Dogen Zenji between 1245
and 1253. In Part II, Coupey comments on the complete text of
Komyozo Zanmai, written in 1278 by Dogen's disciple and successor,
Master Koun Ejo. Reciting and commenting on the sayings of the
elders is a style of practice that Zen has fostered. Teachers in
this tradition hold that ancient poems and writings actually
transmit and enrich the fundamental teachings. These writings bring
life and renewed vitality to authentic experiences of the Zen
tradition, outside of time, to contemporary Zen practitioners. The
author's fresh interpretation of these two classic texts should be
taken as the resonance of an intimate and fundamental experience
which, beyond space and time, is addressed to our heart, shedding
light on our own quest and ratifying the discoveries that we may
have made along the way. Clearly, then, the message of this book is
not intended to come under the heading of scholarship or to add to
our intellectual baggage, but to enrich our spiritual life. The
twelve poems that Philippe Coupey has chosen from Dogen's Sansho
Doei are clear and obvious observations of nature. They comprise a
rich facet of Dogen's poetic sensitivity, set entirely in the
immediacy of real life, a direct experience of ordinary
consciousness. Dogen's poems refer to nature; nonetheless, they
speak of the experience of awakening at every opportunity. "Even if
the poems of the Sansho Doei] refer to nature, to landscapes,
seashores, the passing of springtime," Coupey tells us, "it is
always consciousness that is the subject. Free, natural, ordinary
consciousness that is neither for nor against." In Part II,
Philippe Coupey's commentary on Ejo's teaching, Komyozo Zanmai, he
explains that this timeless teaching is a pure jewel that
encapsulates and exudes the purest essence of transmitted Zen. In
Coupey's view, this 13th century treatise is absolutely not
different from that which Zen disciples have received through the
ages and are in turn, transmitting today. These sayings of the
masters Dogen and Ejo, constitute a precious form of transmission.
"This is how zazen, the Way, should be studied," Coupey asserts.
The truth of Chan Buddhism - better known as "Zen" - is regularly
said to be beyond language, and yet Chan authors - medieval and
modern - produced an enormous quantity of literature over the
centuries. To make sense of this well-known paradox, Patriarchs on
Paper explores several genres of Chan literature that appeared
during the Tang and Song dynasties (c. 600-1300), including
genealogies, biographies, dialogues, poems, monastic handbooks, and
koans. Working through this diverse body of literature, Alan Cole
details how Chan authors developed several strategies to evoke
images of a perfect Buddhism in which wonderfully simple masters
transmitted Buddhism's final truth to one another, suddenly and
easily, and, of course, independent of literature and the
complexities of the Buddhist monastic system. Chan literature,
then, reveled in staging delightful images of a Buddhism free of
Buddhism, tempting the reader, over and over, with the possibility
of finding behind the thick facade of real Buddhism-with all its
rules, texts, doctrines, and institutional solidity-an ethereal
world of pure spirit. Patriarchs on Paper charts the emergence of
this kind of "fantasy Buddhism" and details how it interacted with
more traditional forms of Chinese Buddhism in order to show how
Chan's illustrious ancestors were created in literature in order to
further a wide range of real-world agendas.
There is a common misconception that to practice Zen is to practice
meditation and nothing else. In truth, traditionally, the practice
of meditation goes hand-in-hand with moral conduct. In "Invoking
Reality," John Daido Loori, one of the leading Zen teachers in
America today, presents and explains the ethical precepts of Zen as
essential aspects of Zen training and development.
The Buddhist teachings on morality--the precepts--predate Zen,
going all the way back to the Buddha himself. They describe, in
essence, how a buddha, or awakened person, lives his or her life in
the world.
Loori provides a modern interpretation of the precepts and
discusses the ethical significance of these vows as guidelines for
living. "Zen is a practice that takes place within the world," he
says, "based on moral and ethical teachings that have been handed
down from generation to generation." In his view, the Buddhist
precepts form one of the most vital areas of spiritual practice.
A small and admiral memoir that records the experiences of a young Dutch student who spent a year and a half as a novice monk in a Japanese Zen Buddhist monastery.
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