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Date of the document's last update/modification 03/09/93
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This file is the work of Stan Rosenthal. It has been placed here, with his kind
permission, by Bill Fear. The author has asked that no hard copies, ie. paper
copies, are made.
Stan Rosenthal may be contacted at 44 High street, St. Davids, Pembrokeshire,
Dyfed, Wales, UK. Bill Fear may be contacted at 29 Blackweir Terrace, Cathays,
Cardiff, South Glamorgan, Wales, UK. Tel (0222) 228858 email
[email protected].
Please use email as first method of contact, if possible. Messages can be sent
to Stan Rosenthal via the above email address - they will be forwarded on in
person by myself - B.F.
NOTE:
You may find and odd sentence or missing information every now and again in the
files. Hopefully not to frequently. This is because the files were originally
written on a machine using CP/M and had to be converted to dos format. Many of
the 5.25 disks were very old and had bad sectors - thus missing info.
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This aspect of Zen teaching, the existence of the positive in the negative
is difficult for many people to comprehend, especially since it is also
taught that both the positive and the negative (Yang and Yin) co-exist in
interactive interdependency in what is termed the 'Tai Chi' (symbolised
by the Yin and Yang aspects linked together in the two halves of a circle.
But even more than this, it is further taught that the Tai Chi is only a
way of conceptualizing the infinite or absolute which contains 'all that
which is, and all that which is not'. This concept seems to be unique to
Taoism and Buddhism, and it is usually only advanced students who enter
'mondo' (question and answer, or discussion) on topics such as these, and
such matters are not frequently discussed during normal sesshin. The reason
for this (apart from the complexities involved) is that Zen students arae
not encouraged to consider abstract or mystical matters until they are quite
advanced. Such matters as 'the infinite', and 'eternity', are termed 'the
song of the absolute', and we are warned in the precepts,
"Be diligent in your practice,
and on hearing the music of the absolute,
do not be so foolish as to try to sing its song."
This statement is in fact a reference to the difference between experiential
learning (learning through experience) and cognitive learning (learning
through study). In meditation we lose awareness of the ego, and might sthus
sometimes lose awareness of the 'self'. Although this does happen without
meditation (and without Zen) for some people, it is more usual for it to
occur in a meditative state. It is an essential precursor to deep meditation,
and to a state or attitude known as 'kufu' (the technique beyond technique).
What the student is being told in the above precept is that although such
states can and do occur, they are experiential rather than cognitive, which
is to say that their value is in the experience rather than thinking about
or discussing the experience. If this seems vague or esoteric, it shuld
be considered in the same way as or riding a bicycle, both of which improve
with practice rather than with discussion. Although we usually know that
this is true, many people nevertheless do discuss how they swim, cycle,
paint, etc, but the reason is quite often to seek the approval or praise
of others. Whilst it can be constructive to receive honest criticism, when
we request it, we usually hope that it will be favourable, and we therefore
need to ask ourselves what is our true motive for asking. It should not
surprise us if we find that the answer is insecurity.
It is a strong Zen belief that insecurity is a major inhibiter of human
development, and that the 'establishment' or ruling faction is most social
structures use insecurity as a means of gaining and retaining control over
their members. In brief, many people will be prepared to accept considerable
lack of personal growth for the sake of security, particularly since we
cannot have experienced the result of growth or development which has not
yet occurred ... so it is that many of us settle for the security which
results from what we believe is the 'status quo'. Zen teaches that there
is no real security other than that which we can find or develop within
ourselves. The advice given in the precepts is quite simply,
"Seek security within yourself,
rather than in others."
Whilst many people spend a lifetime seeking a security which in reality
does not exist, others might spend their time in a tranquil way, neither
seeking nor finding others. Whilst neither of these is strictly a Zen Taoist
path, the latter is certainly closer to Taoist teaching than the first.
However, it is a Zen Taoist teaching that although we should not strive
with egotistical motive, life can be much more rewarding, both to oneself
and others, if we are able to find or develop a purpose in life which has
meaning for us, and if possible, to society. The precept tells us,
"Seek a meaningful purpose in what you do."
Just what is considered to be a 'meaningful purpose' is difficult to define.
This again is not because of any shortcoming in Zen Taoist teaching, but
because each of us has a different concept of what is meaningful, and that
which is meaningful to one person, may be meaningless to another. The reason
for this is that 'meaning' is subjective.
When responding to a situation, we respond, not necessarily to what it is,
but to what it means to us. Similarly, finding a purpose in life, or in
what we do with life, is not so much a matter of 'what life is', but what
life means to us. Without a meaningful purpose we can enter what is known
as the 'existential vacuum', this being a state in which existence itself
is empty and without meaning. Some people mistakenly think that this is
what is meant by the Buddhist term 'Nirvana', however Nirvana is not a state
devoid of meaning, but a state which is beyond subjective or objective meaning,
and which, if it has any meaning at all, has a meaning which is neither
subjective nor objective, but is absolute. Zen Taoism believes that it
is very rarely, if ever, possible to develop 'absolute meaning' during one's
earthly life, since this period of our existence is material or finite,
and it is the finite which exists within the infinite or absolute, rather
than the reverse.
It is probably given to very few people that they develop the ability to
achieve absolute meaning during their earthly lives. Such an occurrance
is so rare however, that it is beyond the comprehension even of most students
who have practiced for many years, and it is therefore very unlikely that
discussion on this or similar matters would occur during normal sesshin
unless a specific request were made to the Jikijitsu (Director of Ceremonies)
by the student group. In common with other matters which might be the concern
of a particular student, but possibily beyond the comprehension of the majority,
such matters as this might however be a topic for dokusan or nisan.
Whilst the nature of absolute meaning might not be commonly discussed during
normal sesshin, the concept of meaningful purpose in life could be a topic
for sosan (a short talk or lecture given by the Roshi during sesshin) or
subsequent mondo. It is believed in Zen that human beings have free will,
and that this is directed in its natural state towards the provision of
meaning and the development of a meaningful purpose in life. It is also
believed that where this fails to occur, the will may degenerate to power
or nihilistic pleasure, or directly to the existential vacuum mentioned
previously. A meaningful purpose in life is therefore considered to be
important to the psychological health and wellbeing of any individual.
As was also stated previously, just what constitutes a meaningful purpose
in life can only be determined by the individual, but Zen Taoism believes
that there are three essential prerequisites to a meaningful life. Because
they are essential they are known as 'the three treasures'. The relevant
precept tells us also that Zen Taoism does not condemn or criticise the
material aspect of our lives, provided it does not take precedence over
the development of meaningful purpose in life. The precept reads,
"Know that even great worldly wealth,
and the accumulation of material things
are of little worth,
compared with the priceless treasures;
love, peace and the freedom to grow."
Such terms as 'love', 'peace' and 'the freedom to grow' serve as an example
of the subjective nature of meaning, for they are meaningful to some, but
possibly in different ways, and meaningless to others. However, even those
people for whom such terms as these are meaningful might have extreme difficulty
or reluctance in discussing or describing them. In this sense at least
it is not unfair to describe Zen as being somewhat 'mystical', for the word
'mystical' is really nothing other than a term we employ to describe processes
which we cannot fully comprehend through logical analysis. Whilst this
is probably true of many esoteric, spiritual or affective mental processes,
it is probably nowhere more true than in relationship to the Zen concept
which bears the name 'Kufu', and which is probabbly the aspect of Zen which
is most concerned with the realization of individual creative potential.
Even those whose successful application of Zen is in the creative (or martial)
arts are usually unaware of how it works, or unable to explain the process
of kufu, through which it functions.
'Kufu' is described in many ways, but it is in fact a difficult state to
define or describe with accuracy, and in much of the Zen literature it is
refered to as,
"the technique beyond technique",
or more poetically, as
"The one technique which still remains
when all techniques are learnt".
In order to understand such references, it is useful to know that virtually
all forms of Zen expression are very much the products of their culture
and period, and that they are expressed in a manner designed to appeal to
a particular 'student population'. When we also know that the particular
expressions quoted immediately above were popularized in the 'Kamakura Period',
the period in which the samuri warriors of Japan were beginning to express
an interest in the philosophical teachings and techniques of Zen, it perhaps
becomes easier to understand why so many of the best known references to
'Kufu' relate to swordsmanship and the other martial arts. The reality
though is that this particular concept is probably the most wide reaching
and diverse in application of all the Zen Taoist concepts, for 'Kufu'
represents a particular aptitude which has a psychological and somatic
(physical) manifestation which is possibly the most 'Zen' of all the Zen
concepts, namely,
'Transcendence of subject/object dichotomy'.
In the precepts, this process is referred to in conjunction with both
creativity and receptivity, the precept being,
"Be creative and receptive,
transcending subject/object dichotomy."
Although it is not easy to explain this concept briefly, it is useful to
have at least some idea of its meaning. To this end, we can think of the
first part of the phrase as advising us not to forget that an essential
part of the creative process is receptivity. To understand the latter part
of the phrase, it is helpful to think of it in terms of its constituent
elements, these being:
transcendence; to overcome or rise above
dichotomy; to separate or divide into two
subject; the part of speech frequently represented by 'I'
object; the part of speech frequently representing what is
accomplished by subject, or the person or thing to whom it
is done.
Therefore (in somewhat oversimplified terms) the phrase,
'Transcendence of subject/object dichotomy' represents the ability
to overcome (transcend) that which divides or separates (the dichotomy)
us (the subject) from what we do, or the person or thing (the object)
to which we are trying to relate.
Referring once again to the 'techniques' mentioned in the literature of
Zen, and shown earlier, it should now be more apparent that Kufu itself
is not a technique at all, or at least, that it is not a technique in the
sense of the techniques of painting or swordsmanship, but is in fact something
which we might develop 'when all techniques are learnt'; something which
might enable us to reach beyond the level of technical ability (although
that ability should not be belittled) to the level of creative, aesthetic
or artistic accomplishment.
An area of life in which the influence of Zen has been of particular
significance is creativity, as witnessed by the now quite frequent use of its
philosophy of aesthetics, and adaptation of its unique visual imagery in the
fine and graphic arts. Similarly, in literature, the terse, esoteric, but
nevertheless hightly aesthetic nature of Zen poetry has been a considerable
influence on many modern poets.
For many westerners, the word 'Zen' conjures up two pictures, one being
of a person sitting deep in meditation, and the other being warriors locked
in combat. These two pictures are in fact very symbolic of Zen, for both
can represent the battle we might engage in when trying to discover our
own true nature. Sometimes this battle will be quite ferocious, whilst
at other times it can be a quiet and thoughtful process. In either case
however, Zen is of course much more than either meditation or the martial
arts; it contains a deep philosophy which can be applied to virtually any
situation, and has been the source of inspiration to countless individuals
and many aspects of Western as well as Eastern society. Its influences
range from the creative or fine arts, to the martial arts; from drama to
pottery, and from literature to philosophy.
It is probably the martial arts, rather than the fine or creative arts which
have served to introduce Zen to the west, and today there is worldwide interest
in the various forms of Karate, Judo, Ninjitsu, Kendo, Iaido and Aikido.
In world literature there is now a wakening appreciation of Zen poetry
epitomised by the Haiku, Waka and Tanka, whilst in music the sound of the
Shakuhatchi is no longer strange to our ears. The effect of Zen upon the
graphic arts such as surface pattern and fashion is well known to those with
an interest in such matters, and in psychology, sociology and international
politics, the Zen Taoist influence has been strengthened by the work of such
eminent writers as Erich Fromm, Carl Gustav Jung, Abraham Maslow and Dag
Hammarskjold to name but four. In ceramics the work of the potter Bernard
Leach echos the techniques as well as the philosophy of his teacher, Shoji
Hamada, the Zen potter who made rakuware famous.
To those who are unfamiliar with Zen Taoism or Zen Buddhism, it seems strange
that a single philosophy could encompass and influence so many areas of
life, but to the practitioners of Zen there is nothing surprising in this
at all....in fact they would probably be surprised if it were not so. This
is not to imply that everything in the world has been influenced by Zen,
and neither is it to claim that the most eminent people in every field of
work have been influenced by Zen, but it can be said in all honesty that
Zen Taoism (the oldest form of Zen) and Zen Buddhism have between them
influenced very many people, who through their own application of Zen philosophy
have made real their own creative potential, and made a positive mark upon the
world, not least of which are the outspoken and sometimes particuleative
or fine arts, to the martial arts; from drama to pottery, and from literature
to philosophy.
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