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Zen Buddhism, and Its Relation to Art

Chapter 22: (2) NATIVE.
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About This Book

This essay outlines the evolution of Buddhism in China and the emergence of Zen as a practice prioritizing direct insight over scripture and ritual. It recounts early teachings that identify an immanent Buddha-nature discoverable through meditation, contrasts conservative, devotional, and meditative schools, and traces how later teachers codified postures and progressive exercises. The author then links Zen principles—immediacy, simplicity, and the negation of conceptual elaboration—to aesthetic tendencies in painting, poetry, calligraphy, garden design, and related arts, explaining how spiritual practice informed forms, techniques, and aesthetic ideals.

MOKKEI—Kokka. 37, 112, 122, 177, 185, 238, 242, 265, 268, 291, 293, 314.

RASŌ.—Shimbi Taikwan XX.

MOKUAN.—(Mokkei II).—Kokka 295, Shimbi Taikwan Vol. IX. (Nos. 21 and 22 in the collection of Chinese Paintings at the British Museum are probably by Mokuan.)

RYŌKAI.—Kokka 40, 114, 145, 152, 220, 227, 229.

RIKAKU.—Kokka 269.

MUJUN.—(An important thirteenth century Zen writer.) Kokka 243.

INDRA.—(A Hangchow priest, presumably an Indian; flourished c. 1280.) Kokka 35, 110, 223, 310. Shimbi Taikwan IX.

APPENDIX II.
MOKUAN.

The Nikkōshū[11], a diary by the priest Gidō, has the following entry under the year 1378 (month and day uncertain):

To-day Donfu[12] came, and we fell to talking of Mokuan. It seems that he was once known as Ze-itsu. But on becoming a pupil of the priest Kenzan[13], he changed his name to Mokuan. Afterwards he went to China and entered the Honkakuji[14], where he became the disciple of Ryō-an[15] and was made librarian. Here he published at his own expense (lit. “selling his shoes”) the Second Collection of Sayings by Korin.

Subsequently he lived at the Shōtenji at Soochow, and was warden there under Nanso[16], dying soon afterwards.

When he first came to China he spent some time at the Jōji Monastery at Hangchow and from there visited the Rokutsūji on the shores of the Western Lake. This monastery was inhabited by the followers of Mokkei. The abbot greeted Mokuan with a smile, saying to him: “Last night I dreamt that our founder Mokkei came back again. You must be his reincarnation”; and he gave to Mokuan Mokkei’s two seals, white and red. Henceforward he was known as Mokkei the Second.

APPENDIX III.

Reproductions of paintings illustrating Zen legend.

BODHIDHARMA.

(1) With tightly closed lips, as he appeared before the Emperor of China in 520. Masterpieces of Sesshū, Pl. 47.

(2) Crossing the Yangtze on a reed. Perhaps the best example may be seen not in a reproduction, but in No. 22 of the original Chinese Paintings at the British Museum.

(3) Sitting with his face to the wall. He sat thus in silence for nine years in the Shōrin Monastery on Mount Sung. Kokka 333.

EKA.

Second Patriarch of the sect. Severed his own arm and presented it to Bodhidharma. In spite of his fanaticism (or because of it) the Founder did not at first regard him with complete confidence and recommended to him the study of the Langkāvatāra Sūtra, not considering him ripe for complete, non-dogmatic Zen. Eka waiting waist-deep in the snow for the Founder to instruct him. Masterpieces of Sesshū, Pl. 45.

ENŌ.

Sixth Patriarch. See above, p 15. Kokka, 289, 297.

TOKUSAN, died 865 A.D.

Shimbi Taikwan, I, 13, shows him with his famous Zen stick. He is also sometimes depicted failing to answer an old market-woman’s riddle; and tearing up his commentary on the Diamond Sūtra.

TANKA.

A painting by Indra (Kokka 173) shows him burning the wooden statue of Buddha at the Erin Temple.

BIBLIOGRAPHY.

(1) EUROPEAN.

The only writer who has made extracts from the works of Bodhidharma is Père Wieger, whose remarks (in his Histoire des Croyances religieuses en Chine, pp. 517-528) show a robust and likeable bigotry.

Of Zen literature he says: “Nombre d’in-folio remplis de réponses incohérentes, insensées.... Ce ne sont pas, comme on l’a supposé, des allusions à des affaires intérieures, qu’il faudrait connaître pour pouvoir comprendre. Ce sont des exclamations échappées à des abrutis, momentanément tirés de leur coma.

For the tea-ceremony in Japan see Okakura’s Book of Tea (Foulis, 1919). The “military” Zen of Japan is well described by Nukariya Kaiten in his The Religion of the Samurai, 1913.

(2) NATIVE.

Most of this paper is derived from the section on Zen (Series II, Vol. 15, seq.) in the “Supplement to the Collection of Buddhist Scriptures,” Dai Nihon Zoku Zō Kyō.

Much of the information with regard to the Rokutsūji School is taken from the article by Mr. Saga to which I have already referred. For the Rokutsūji (“Temple of the Six Penetrations”) see Hsien Shun Lin-an Chih (“Topography of Hangchow, 1265-1275 A.D.”), ch. 78, f. 9 recto.

I have also used Yamada’s Zenshū Jiten (Dictionary of Zen) and the Hekiganroku, edited by Sōyen, 1920.

SHORT INDEX.

(Chinese pronunciations given in brackets.)

Amida, 8.

Baso (Ma Tsu), 20.

Bodhidharma (Ta-mo), 8 seq., 29.

Bodhisattvas, 8.

Buddhapriya (Chio-ai), 11.

Dai Bonten Monbutsu-ketsugi Kyō, 14.

Daigu (Ta-yü), 20.

Diamond Sūtra, 15.

Dhyāna, see Zen. Also, 10.

Eka (Hui-k’o), 29.

Enkwan (Yen-kuan), 14.

Enō (Hui-nēng), 15, 29.

Fujaku (P’u-chi), 17.

Haikyū (P’ei Hsiu), 18.

Hokkekyō, see Saddharma, etc.

Honkakuji (Pēn-chio-ssŭ), 28.

Joji (Ching-tz’u), 28.

Kern, 8.

Kōnin (Hung-jēn), 15.

Korin (Ku-lin), 28.

Mahāyāna, 7.

Mokkei (Mu-ch’i), 22, 27.

Mujun (Wu-chun), 27.

Nanso (Nan-ch’u), 28.

Ōbaku (Huang Po), 18.

Okakura, 30.

Rasō (Lo-ch’uang), 23, 27.

Rikaku (Li Ch’üeh), 27.

Rinzai (Lin-chi), 20.

Rokutsūji (Liu-t’ung-ssŭ), 22.

Ryō-an (Liao-an), 28.

Ryōkai (Liang K’ai), 23, 27.

Saddharma Pundarīka Sūtra, 8.

Saga T. 28, 30.

Samādhi (San-mei), 12.

Sanshō (San-shēng), 21.

Shākyamuni, 7.

Shina Gaku, 28, 30.

Shinshū (Shēn-hsiu), 16.

Shōtenji (Ch’ēng-t’ien-ssŭ), 28.

Tanka (Tan-hsia), 23, 29.

Tendai (T’ien-t’ai), 8.

Tokusan (Tē-shan), 29.

Wieger, 30.

Wu Hou, 17.

Zen (Ch’an), 7, etc.

Footnotes

[1] First century A.D.

[2] Zen (Sanskrit: dhyāna) means literally “contemplation.”

[3] Dr. McGovern tells me that Zen would seem to be more immediately derived from the Nihilistic School of Nāgārjuna (1st century A.D.).

[4] Concentration.

[5] Dai Bonten Monbutsu Ketsugi Kyō.

[6] Translated by W. Gemmell, 1912. Its use by Kōnin shows that Zen did not long avoid the use of scriptures.

[7] Old T’ang History, 191.

[8] 1592-1673 A.D.

[9] On the attitude of the Mongol rulers to Zen, see an article by Prof. Kunishita, Tōyōgakuhō, xi., 4, 87.

[10] See Kümmel, Die Kunst Ostasiens Pl. 118.

[11] See my Nō Plays of Japan (Allen & Unwin, 1921), p. 19. The passage here translated is taken not from the current, two-chapter abridgement of Gidō’s Diary, but from the Kokuchoshū, a miscellany by the 15th century priest Zuikei, who quoted many passages from the lost portion of the Diary. See Mr. Saga Tōshū, Shina Gaku, I., 1.

[12] 1314-1384.

[13] Died 1323. Both he and Donfu were Japanese priests who visited China.

[14] At Chia-hsing in Chehkiang.

[15] Entered this temple in 1334.

[16] Visited Japan; was at the Shōtenji from 1342-1345.


Transcriber's Note

A duplicate title page has been removed from the text.

"Externise" on p. 23 is a variant form of "externalise", and has been left as printed.

The diacritics in "Saddharma Pundarīka Sūtra" on p. 8 were marked in pen on the printed copy, and may not have been printed.