He is carved as an
amorphous stone,
Suggesting he stared
into the rock until
any distinction between
himself and the rock
vanished. . .
But the sculptor couldn't
help but add a face.
Daruma [Free Verse]
6
Tag Archives: Zen
“Circular Portrait” by Ikkyū [w/ Audio]
The monk’s entire body is present
in this great circle.
Xutang’s true face and eye
emerge from it.
The blind singer’s love song delights
flowers for ten thousand springs.
Translation by Kazuaki Tanahashi and David Schneider in Essential Zen (1994) HarperSanFrancisco.
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“Ox” by Ikkyū [w/ Audio]
Among other creatures this is what I was.
Abilities depend on the realm;
realm also depends on abilities.
At birth I forgot completely by which path
I came.
I don't know, these years, which school
of monk I am.
Translation by Kazuaki Tanahashi and David Schneider in Essential Zen. 1994. HarperSanFrancisco.
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“Without desire everything is sufficient” by Ryōkan Taigu
Without desire everything is sufficient.
With seeking myriad things are impoverished.
Plain vegetables can soothe hunger.
A patched robe is enough to cover this bent old body.
Alone I hike with a deer.
Cheerfully I sing with village children.
The stream under the cliff cleanses my ears.
The pine on the mountain top fits my heart.
Translation by Kazuaki Tanahashi and Daniel Leighton in Essential Zen (1994) HarperSanFrancisco.
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BOOKS: “The Book of Five Rings” by Miyamoto Musashi [trans. by Thomas Cleary] [w/ Yagyu Munenori’s “Book of Family Traditions”]
The Book of Five Rings: A Classic Text on the Japanese Way of the Sword by Miyamoto MusashiMy rating: 5 of 5 stars
Publisher Site – Shambhala Publications
This edition, i.e. The Shambhala Pocket Library edition, contains two guides to strategy, tactics, and philosophy of combat by famous early Edo Period swordsmen. The titular work is Miyamoto Musashi’s The Book of Five Rings, but the volume also contains Yagyu Munenori’s The Book of Family Traditions. The naming of the book is meant to capitalize on the continuing popularity of Musashi, who remains well-known to this day not only because of his own works and legend, but because of an afterlife in pop culture that ranges from Eiji Yoshikawa’s novel to a recent Netflix animated series. That said, one shouldn’t conclude Yagyu Munenori was some sort of slouch. He was, in fact, a martial arts teacher to the Shogun’s son, and he founded a branch of his family’s martial arts school that continues to this day.
It is interesting to see these two guides back-to-back, being by authors whose lifespans largely overlapped, though – in other ways – their lives were quite different. While there is some conceptual overlap in these guides, the two definitely show two very different minds at work, Musashi the pragmatic eccentric and Yagyu the Zen philosopher of noble standing.
Miyamoto Musashi is probably the most famous swordsman in Japan’s history. Oddly enough, he’s not known for his experience in battle (he lived at the tail end of the Warring States period and was only in a couple battles), but – rather – for his 62 duels. The Book of Five Rings and other works he left behind are certainly important factors in his continuing fame. Musashi was a bit of a renaissance man: painter, poet, and sculptor in addition to a swordsman. He also left behind a school of swordsmanship, Niten Ichi-ryū.
The Book of Five Rings is divided into five parts: earth scroll, water scroll, fire scroll, wind scroll, and void scroll.
The earth scroll provides an overview of martial science and an introduction to Musashi’s school, which is noted for its simultaneous use of both the large and short sword. A section is devoted the rhythm of martial arts, a crucial topic. It also includes what might be considered Musashi’s 9-point budō kun (a list of warrior precepts.)It’s worth mentioning a couple of these:
#7 Become aware of what is not obvious.
#9 Do not do anything useless.
The Water scroll describes Musashi’s approach to swordsmanship. It covers a range of elements of a martial art including footwork, the focus of one’s eyes, physical posture, mental posture, techniques, and approaches to cutting and thrusting.
The Fire scroll deals with the strategic or interactive aspects of the battle.
The Wind scroll explores other martial arts. Musashi discusses martial arts that use an unusually long sword, an atypically short sword, that focus on powerful strikes, and those that focus on many rapid strikes. He contrasts other martial arts with his own on subjects such as their focus with the eyes and their footwork.
The void scroll deals with, well, emptiness. It’s actually a short wrap-up.
Yagyu’s guide is much more philosophical and mind-centric. It’s not that Musashi doesn’t deal with such topics, but he also devotes considerable space to more practical nuts and bolts of swordsmanship and strategy. It’s also true that Yagyu gets into technical considerations such as control of distancing (if in a bit more poetic way than Musashi.) One can get a feel for the nature of Yagyu’s Book of Family Traditions [on the Art of War] by seeing how it is organized into three parts: “The Killing Sword,” “The Life-Giving Sword,” and “No Sword.” The latter two indicating the author’s belief in the importance of not equating warrior and killer (nor winning with killing) as well as not fixating on the sword.
These two men had great insight into strategy and the tactics of swordsmanship, their guides are worth being read and reread. And the two authors do offer two intriguingly different approaches to a similar subject.
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BOOKS: “Essential Zen” ed. by Kazuaki Tanahashi & David Schneider
Essential Zen by Kazuaki TanahashiMy rating: 5 of 5 stars
Google Books Page
This is a collection of short writings (poems, koans, and prose excerpts) on Zen Buddhism arranged into loosely themed sections. The writings tend toward the artistic, creative, and metaphorical, with relatively few straightforward descriptions of technique or philosophy. The writings range from those of Chinese and Japanese monks who lived hundreds of years ago to present-day poets and Zen practitioners. Among the more frequently drawn from sources are: Hanshan, Ikkyu, Dogen, Ryokan, Hakuin, Gary Snyder, Robert Aitken, Seung Sahn, John Daido Loori, Thich Nhat Hanh, and Peter Levitt. But there are many others, including some who have only a single piece included.
There’s a substantial “Notes” section that gives source, translation, and — in some cases — background information. Most of the translations (both Japanese and Chinese) are by the editors, Kazuaki Tanahashi and David Schneider. There are illustrations, but they are all ensō (circular brush paintings) and related forms.
This is a highly readable and insightful collection of short writings, and I’d highly recommend it for individuals interested in Zen or Eastern Philosophy more generally.
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Death Poem of Ikkyū [w/ Audio]
I borrowed these one month ago, yesterday.
I'm returning them today.
I borrowed five and return four --
Repaid, but for Original Emptiness.
NOTE: This is one of three Death Poems attributed to Ikkyū, supposedly the middle one.
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BOOKS: “The Art of Writing” Trans. / Ed. by Tony Barnstone and Chou Ping
The Art of Writing: Teachings of the Chinese Masters by Tony BarnstoneMy rating: 5 of 5 stars
Publisher Website
This thin volume is packed with insights on writing — especially, but not exclusively, poetry. It consists of four chapters. The first two are the ars poetica of Lu Ji and Sikong Tu, respectively (i.e. The Art of Writing and The Twenty-Four Styles of Poetry.) The second half of the book consists of two chapters of collected sayings and poetry commentary excerpts.
I haven’t read a book so dense with quotable lines in a while. Some of the advice offered is universal and timeless (e.g. avoid cliches and read voraciously,) but some of it reflects a uniquely Chinese perspective rooted in Taoist and Zen sentiments (e.g. how to use wu wei [effortlessness] in one’s writing and so forth.)
There is a preface and each of the sections has its own editorial opening, but these never feel like padding (which often happens with books that come out to less than a hundred pages of content.) Instead, this ancillary material is concise and helps to offer historic and cultural context.
I’d highly recommend this book for writers and those interested in Eastern aesthetics and literature. That said, you don’t necessarily have to be interested in both. Any writer could pick up some beneficial tips while reading this book, and it’s compact, highly readable, and even humorous in places.
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Fēnggān [Senryū]
the monk rode in
on a bright-eyed tiger, and
started hulling rice.
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FIVE WISE LINES [October 2024]
If any thing is sacred the human body is sacred
walt whitman; Leaves of grass; “I sing the body electric”
Strong in their softness are the sprays of the wisteria creeper;
Saying of Master Jukyo as Translated by Trevor Leggett in Zen and the Ways
The pine in its hardness is broken by the weak snow.
When there is mutual ignorance, confidence indeed is king.
Trevor leggett; Zen and the Ways
Do not see the gate and think it is the house. The house is something which is reached by passing through and going beyond the gate.
YAgyu Munenori’s Art of War (As translated by trevor leggett in Zen and the ways)
Students of the Ways must see clearly that in an untrained man the intellect is like a barrister. It argues clearly and logically, but the aim is not truth, but to reach a predetermined conclusion.
Trevor Leggett; Zen and the Ways
Tiger Riding for Beginners 