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Genju

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plum branch

Parabola Magazine on Facebook had some wonderful quotes from and comments about John Cage on his birthday.  I particularly liked this one:

“The first question I ask myself when something doesn’t seem to be beautiful is why do I think it’s not beautiful. And very shortly you discover that there is no reason.”

— John Cage

A day or so later, Tricycle’s Facebook blog had a terrific article titled Disconnect the Dots by Cynthia Thatcher who explores the teachings given to Bahiya by the Buddha:

“When seeing,” the Buddha said, “just see; when hearing, just hear; when knowing, just know; and when thinking, just think.” (Udana 1.10)

Thatcher goes on to apply this practice of bare awareness to a painting by George Seurat:

Consider the painting again: close-up, you see meaningless flecks of tint that don’t represent anything. Beings and objects, time and place, have vanished. The Seine, the trees, the woman’s face—all have exploded into particles, scattered across space. But when you step back from the picture, recognizable shapes leap into view as the eye “pulls” the specks together.

The individual points of color, and the identities that coalesce when the eye connects them, occupy the same space. From one vantage point there is a vista of permanent beings and things. From another, there’s no solid ground—only empty sensation that you can’t name. The painting presents a visual metaphor for conventional truth versus ultimate reality; self versus nonself.

Suddenly, it all makes sense.  Sometimes, I pull too far away from the dots and lose the coalesced images; from that point out in the universe, everything is a lumpy blur, even beauty.  Then it’s easy to find reason why something isn’t beautiful.  The balance between the flecks of brush strokes and the pulled-together specks is tricky.  One seems so much more reliable than the other, as self is less anxiety-provoking than non-self.  And yet, self cannot coalesce without nonself – and certainly cannot do so unless I’m willing to take a step back and out of my own vision.

Thank you for practising,

Genju


Filed under: 108 thoughts, reflections, Western Teachers Tagged: 108buddhas, brush art
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chrysanthemum

One of the difficulties I have with painting is to resist doing too much.  For a while I spent more time copying the exact number of petals in a flower, for example, as a way to slow down that compulsion to load on the petals.  It has become a practice to see what is “just enough.”  Brush strokes, cooking, talking, and so on… what signals that moment when just what is needed has been delivered?  This, of course, is the flip side of Mindful Consumption.  Mindful Offering.

A long time ago, when we had just moved into our farmhouse and were still socialized enough to have relatives visit, my parents, cousins, and cousin-lings came for lunch.  A rather large presence, my elder cousin swept into the kitchen, lifted lids off pots of simmering curries, looked at the pot of rice and proclaimed, “We can’t feed everyone with what you’ve cooked!  Besides what would they think… rice in a small dish like that!”  She can be a fearful deity in the kitchen and I tend to take a submissive stance with her.  So we dispatched Frank to the far reaches of rural Ontario to find more white rice.  Brave soul, he returned with a couple of pounds of grain and she cooked it all up.  We ended up freezing tons of the stuff and eventually threw it all out.  But our reputation as generous hosts was intact.

This is deeply trained stuff.  “Good enough” is often taken to mean I’m only just doing what is required to get something done – and half-heartedly at that.  The idea that we may do more by titrating our offerings to the actual need of the situation or person is a tough sell. Not only does it require letting go of imagined judgements but it also requires trusting that we have listened deeply for what is truly being asked of us.

An interesting sidebar which may be related in the deep interconnected recesses of my brain: My ordination dharma name is Chân Diệu Thi.  On the certificate, it is translated as “True Wonderful Fulfillment.”  While on a personal retreat at Blue Cliff Monastery, I was helping out in the kitchen.  The monastics were teasing me about my need to get everything done (feeling fulfilled, I guess) before zazen when one asked for my dharma name.  I told her and gave the translation at which point there was rapid-fire discussion in Vietnamese among the monastics.  Apparently, the more accurate translation is True Wonderful Offering.  As disappointed as I am not to be fulfilled, I must admit this is a better challenge for my practice.  How to be True in my Offerings…

Thank you for practising,

Genju


Filed under: 108 thoughts, reflections Tagged: 108buddhas, brush art
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orchid

It felt a little too conventional practising the Orchid brush stroke.  But that’s OK; that happens when I spend time copying paintings even though this is an acceptable – and expected – process of learning in the world of shodo.

Over the years, I’ve come to see this as an act of humility.  There is something egoless about copying a painting.  I differentiate that from the act of humiliation that I frequently embody when copying the great masters.  The former is a way to get beyond the freeze when breath, body and brush are not up for a dance.  The latter is what I put myself through in a moment of hubris:  “How hard can it be?  It’s just splotches of gray and a bunch of lines!”

Lately, I’ve welcome these moments of humility.  Like bowing when I enter the zendo, or the prostrations at morning service, I feel a release of all that binds me to that high need to achieve.  And part of that practice of abjecting myself to the Creative is to let in the shades of grey.  How else to give depth and spirit?

I like these orchids.  They asked of me something I tend to be stingy with: slow, unwavering attention to each brush stroke.  You can see the unleashed exuberance in buddha98 – chaos with a dabble of grace.  I like that too.  It just that if I want to do one, there has to be a momentary pause to create the intention to do just that and not the other.

Thank you for practising,

Genju

PS: I came across Sweetcake Enso in my visitor’s listing and would like to bring your attention to it.  Looks like some great work that will be travelling around the US!


Filed under: 108 thoughts, reflections Tagged: 108buddhas, brush art
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bamboo

There are Four Gentlemen who have a prominent place in my artistic life – such as it is.  They have been very patient as I wandered various paths of being schooled by the brush.  I’ve appealed to their rules and regulations frequently when sloppiness tried to pass for abstraction.  But I’ve never really become proficient under their guidance.  It’s probably more that I lack actual talent for composition and design than any lack of desire in my heart to be skillful at the formal aspects of brush painting.

The Four Gentlemen are the four styles of brushstrokes: bamboo, orchid, chrysanthemum, and plum branch.  Practising with the  brush strokes that make up a bamboo leaf, orchid, chrysanthemum blossom and plum branch it considered the foundation to learning how to paint in the Oriental style.  Tomoko Kodama, my “root teacher” of shodo, however, noticed that Westerners had a hard time controlling the brush itself rendering the Four Gentlemen more difficult than for her Asian students.  She attributed this to the latter group having grown up using the brush to write Japanese or Chinese characters – which are in fact, the elements of the four primary strokes.

She developed a series of practice strokes using the Roman alphabet – a stroke of genius – and for the past 40 years has been teaching her Canadian students these skills.  You can read more about her on her website; there’s even a DVD – narrated by yours truly.  I spent about 10 years as an inconstant student (only because of the rather bizarre registration policy of the art school which wouldn’t announce when the class schedule would be released until the last minute) and managed to be part of one show at the Japanese Embassy.   I learned from Tomoko how to play with the brush using the lines from both the alphabet and kanji characters, slowly translating them to flowers, people, landscape, and a variety of free form lines.  But the process often left me frozen with anxiety when my eye couldn’t find the lines in the object I was to paint or copy.  At such times, I resorted to the Four Gentlemen and learned how to be in partnership with the brush even if my eye for composition lagged or my impatience created a cluster of chaos on the paper.

Later I studied with one of Tomoko’s students – a brilliant and warm-hearted man whose work you can see here.  Peter encouraged me to stick with a single kanji character until I felt every brush stroke!  Then slowly, painstakingly, he would let me in on the secrets and nuances of how the character deconstructs just enough to create something new, yet familiar.

The 108buddhas have been a journey of melding the teachings of two very different teachers with one single love: the love of a simple line.  And it has been a journey in seeing buddha in all things.  Not that different from my path of practice.

Thank you for practising,

Genju

PS: The commonality between the buddha97 & 97a is subtle but they are there – single lines expressing the essence of both bamboo and buddha.  Buddha97b shows the common brush strokes more overtly.


Filed under: 108 thoughts, reflections Tagged: 108buddhas, brush art
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sin and virtue

Q: What is right and what is wrong varies with habit and custom.  Standards vary with societies.

Discard all traditional standards.  Leave them to the hypocrites.  Only what liberates you from desire and fear and wrong ideas is good.  As long as you worry about sin and virtue you will have no peace.

Sin and virtue refer to a person only.  Without a sinful or virtuous person what is sin or virtue?  At the level of the absolute there are no persons; the ocean of pure awareness is neither virtuous nor sinful.  Sin and virtue are invariably relative.

(You will know you are beyond sin and virtue) by being free from all desire and fear, from the very idea of being a person.  To nourish the ideas: “I am a sinner,” “I am not a sinner,” is sin.  To identify oneself with the particular is all the sin there is.  The impersonal is real, the personal appears and disappears.  “I am” is the impersonal Being.  I am this is the person.  The person is relative and the pure Being – fundamental.

True virtue is divine nature (swarupa).  What you are really is your virtue.  But the opposite of sin which you call virtue is only obedience born out of fear.

Sri Nisargadatta

from Who Am I? in I Am That



Filed under: 108 thoughts, Eastern Teachers, reflections Tagged: 108buddhas, enso, Nisagardatta
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no sin, no self

The idea that Buddhism doesn’t have a concept of “sin” has floated through various readings and dharma talks.  It’s also been thrown around dharma discussions by people who come to Buddhism because of the apparent lack of punitive measures.  It intrigues me because I wonder how we slide pass things like the precepts, karma and all that stuff that points to taking responsibility for our actions and making a commitment to not create suffering. True, many practitioners I know (and hold dear) will take a pick-and-choose approach to Buddhism – as they did with Christianity until the drop down menu ran out.  And I openly place myself in that camp all the while knowing deep down that the drop down menu really has only one option.

Like most things, I’ve accepted this pronouncement that there is no concept as “sin” in Buddhism without any real reflection.  It probably has more to do with a need for Buddhism to be different from Catholicism than any deep examination of Buddhist concepts.  Let’s admit it: I want a practice where my actions don’t stamp me with the ink traces of disregulated behaviour.  In other words, I don’t want there to be any evidence of my wrongdoing.  And blindly accepting that Buddhism has no concept such as “sin” allows me all kinds of angles to play when I’ve crossed the line.

Sin is a word that evokes some deep fear and reactions against old learning and experience.  So, I asked myself: what might happen if you let go of that fear?

The online dictionary gives this definition:

sin

noun, verb, sinned, sin·ning.

–noun
1.
transgression of divine law: the sin of Adam.
2.
any act regarded as such a transgression, esp. a willful or deliberate violation of some religious or moral principle.
3.
any reprehensible or regrettable action, behavior, lapse, etc.; great fault or offense: It’s a sin to waste time.

I don’t think we like having the edges of our nature defined so strongly but that begs the question.  Does Buddhism have a concept such as “sin”?  Based on the definition, I’d have to say it does.  There are precepts – five, ten, sixteen, three hundred, four hundred of them.  To transgress the precepts is to commit a regrettable action (I’m chickening out and going to the least fearful definition).  So what’s the big deal?  If I have a self, it’s going to transgress, i.e., it’s going to sin.  What arises is not anything other than what has stuck to the word “sin” culturally and religiously – all that hellfire and damnation.  In fact, a “sin” or “sinning” is the only way I can experience my humanity and cultivate self-compassion; it may be the door to seeing the self.  The more important issue is in how I meet that transgression or close that door to insight.

I need to get past the fear of being blamed with no recourse to protecting myself if I am to understand what it means to be upright.  Digging under the word and all its accretions, sin is really just another way of saying, “How was your commitment to practice here?”  And, I think, that is where Buddhism offers more to work with.  To extrapolate from Daido Loori’s book “Heart of Being,” the practice of Buddhism (and Zen) trains us in a different concept of control.  Not the punitive control of crime and punishment but a control that arises out of “championing improvement.”  No stain, no gain, no penance, no absolution.  Simply the insight that to champion improvement is to take up the Eightfold Path as the set of precepts they are.

Thank you for practising,

Genju


Filed under: 108 thoughts, reflections, Western Teachers Tagged: 108buddhas, Loori, precepts
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tending the home fries

The Kid returned home Monday night from her escapades in New Zealand over the last 8 months.  She flew in via Vancouver so of course, we waited for her at the International Arrival gate.  Who wouldn’t?  She got home, scarfed down her favourite food from one of our favourite restaurants in Ottawa – General Tsao’s Chicken from So Good in Chinatown.  After regalling us with tales of the Netherworld, she went to bed.  I figured wouldn’t see her for a few days.  But there she was the next morning, Burmese cookbook in hand and getting ready to cook for us for a month in compensation for squatter’s rights on the spare bedroom… sorry, her old bedroom.  I think I can live with this.  No scruples.

Oh.  The Burmese cookbook is Hsa*Ba.  I’d say it was food like Mom made but Mom, dear soul, didn’t know how to cook Burmese food. It is however food like my Kid makes.

I’ll be back tomorrow with more on the issue of sin, sinning, and being sin.

Oh and… please check out Lasha Mutual’s project 108 White Tara paintings which was mentioned on the Tricycle Editor’s Blog.

Thank you for practising,

Genju

PS: the title is not a typo.  Home Fries are a cultural delicacy, served with thick gravy and curd cheese.


Filed under: 108 thoughts Tagged: family
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selling out to sex and sin

OK.  We’re back on track with the 108buddhas.  Buddha91 is a mirror image of the kanji for Buddha.  At least, it’s my attempt to draw a mirror image which turns out to be a lot more difficult than one would think given it’s just lines.  Being true to one’s nature is like that too.  It’s quite simple to be true to ourselves and messy when we try to run contrary to it.

I receive many requests to review books; something about the title of this blog, I’m guessing.  What most folks may not realize is I’m not reviewing books on this blog.  I test drive them as maps for practice and it could take years before I feel I can write about it.  But then again, I keep thinking everyone actually reads what I write.*  So, on principle, I’ve turned down all requests until this latest one.  It’s about sex.  And sin. And, peripherally, about Zen.

Let me backtrack a bit now.  I only heard of Brad Warner when I started blogging but I was aware of his book, Sit Down and Shut Up, which I thought was a graphic novel about Jabba the Hutt.  I did follow online some of the weird escapades between Warner and the World back in October 2009.**  It was all too “Days of Our Endless Lives” and “All My Histronic Children” for me so I quickly lost interest, formed evil opinions, and wandered back to my original intent of writing: write.  every day.

When the agent for Warner’s new book sent me an email asking for a review of “Sex, Sin & Zen: A Buddhist Exploration of Sex from Celibacy to Polyamory and Everything in Between,” Warner’s latest foray into the world of punk literature wrapped in Zen, I thought about it.  Rejected it.  Then thought about it again.  I don’t like the “Angry Young Man” personna and find the “in your face just because you have one” wearisome.  But I wondered if I was being overly judgemental and if this may be a way to challenge myself.  So I succumbed to the seduction and said, “Yes.”  Despite my joy in getting a book for free, I have come to wonder if this will portent well for my life as an erst-while writer.***

Experiments testing Festinger’s theory of Cognitive Dissonance showed that if we get something for nothing and are asked to describe it positively, we find a way to elevate the object so it seems to have value because nothing else justifies our actions.****  Now the problem with being a poor Zen student is that I strive to do better when faced with the mirror of dissonance.

So here it is.  A review of the book that is annoying as hell to read and which will likely be another best seller for Warner for no reason other than that it’s a slippery, easy read and no one’s likely to notice that it’s caramel wrapped gratuitously in Zen.  But I don’t want to be too harsh.  There are redemptive moments in the book.

One is that it evokes a visceral reactivity which you have likely experienced by tracing all the asterisks in this post. Yes, this is what it’s like to read “Sex, Sin & Zen.”  Flopping up and down, to and from the asterisks he puts into his text induced literary vertigo.  If the asterisks were explanatory or moved the text along, it would have been tolerable.  Instead, they were just a device for coy sidebar commentary on how funny his last sentence was.  Or worse, he actually seems to think he has to explain his puns.  As I said yesterday, one element of being a good writer is trusting your reader and honoring their intelligence.  I doubt all of Warner’s audience lack the intelligence he thinks they do and the puns are blatant enough that the continuous cutsie giggling wore thin by the first three pages.  Why is this redemptive?  It is practice of Right Effort – and the latter 1/3 of the book rewards that effort.

The second redemptive part of the book is that he manages to fold some good explanations about Zen into the strum und drang of his commentary on sex and sin.  (In trying to be fair to Warner, I did some “research” and checked out his Suicide Girls and Hard Core Zen blogs.  The chapters are for the most part the posts with a bit more Buddhist-y commentary thrown in.)  Although he’s pretty insightful about the sex part, he gives sin short shrift, confusing it with guilt and consigning it to an idiosyncrasy of Christians and other non-Eastern religious/cultural groups.  Clearly, Warner has not sorted out the intricacies in Asian cultures which rely on the loyalty/betrayal axis as means of social control.

Despite the useful Zen, there is the issue of being true to oneself (he does deal with this in a well done chapter on nonself).  His teaching presonna is diminished by constantly backing away from what he claims is the spirit of the precept against sexual misconduct.  Warner seems to want to straddle both sides of the bed – a feat he may well be capable of given his lusty paeans to casting off trappings and doing what feels right for oneself.  He would like us to see that the Zen Buddhist concepts are important to engaging in respectful relationships.  And yet, he backs off actually making it clear that self-delusion about those very concepts can result in significant damage.  Too often Warner slides away from an honest inquiry into the precepts by trying to appease those in his readership who may lean towards an open attitude to the physicality of relationships.  This liberal approach to sexual exploits results less in liberation and more in exploitation but he’s not going to go there.  It’s equally annoying when he makes a statement and then backs off by saying he has no real knowledge of what he’s said but is just saying it.  After a while one begins to feel stuck in foreplay.

The final redemptive part of the book is his interview with Nina Hartley, the porn star zen brat whose website contains adult explicit material so please don’t go there unless you really want to and now I have to go scrub my hard drive before Frank gets home.  The interview with Hartley was terrific – growing up in a zen center with two narcissistic parents who became zen priests and ending up a porn star and author.  The interview worked because Warner could do little but go along for the ride.  Hartley, who is sexually multi-oriented, makes it really clear (on her website which  I only went to for “research” and read really quickly so the images haven’t lingered much but I wish I had some eraser eye drops right about now)… where was I.. yes, Hartley makes it really clear that when she’s “with” men she can “switch” depending on “how their energy mingles.”  But with women she’s in the driver’s seat.  “nuff said.

I really can’t fault Warner too much; he does let go of the silliness by Chapter 23.  One does have to earn a living and dana doesn’t allow for much disposable income.  He has a talent for making the obscure accessible if you`re willing to get past the antics and props; he does have a following who seem able to see the Buddha nature in him.  You must admit, someone who likes being on the edge, yet who can foster acceptance for his attitude and his attempts to be iconoclastic, is getting across some dharma.  Unfortunately what could have been a turning word for me wasn’t.  I think I would have enjoyed the book if I (1) didn’t have to wade through the rather juvenile editorializations; (2) grit my teeth past the gratuitous iconoclastic bombast; and, (3) got more of a sense that he could be as courageous about the dharma and precepts as he is about the drama of being an angry, wounded, tragic anti-hero.  But then again, if we’re talking about being honest and true to who you are, may be Warner is.

Thank you practising & I promise I won’t do this again.  Maybe.

Genju

*Thank you for reading what I write.

**If you want to read more about this, there’s tons.  Just Google.

***It’s likely a sign of my poor status as a Zen student that I am so attached to outcome.

**** I’d quote research but I’m too lazy and Wikipedia, the Oracle of All Wisdom, has a good summary of Cognitive Dissonance Theory anyway.


Filed under: 108 thoughts, readings, Western Teachers Tagged: book review, Brad Warner, zen
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what have i done

The gatha of impermanence or Evening Gatha begins:

The day has ended
What have I done…

Depending on my day, the inflection on that second line can vary from reflective to panic-stricken.  Lately, it’s been more the latter as I struggle with the right and left hand of a preceptual issue: not telling lies and mindful speech.

Last week, I noticed I left out buddha57 from the stream of 108buddhas.

I practiced writing that out as straightforwardly as I could.  No apologetics.  No explanatory cutsie precursive remarks.  No BS.  I’ve been noticing how the placement of words in a string can really prevent me from taking responsibility for what I’ve done (or not done).

Take this sentence for example: In my rush to get everything set up before I left for the Upaya Chaplaincy program, buddha57 was left out of the stream of 108buddhas.

Excuse followed by elevation followed by a neutralization of responsibility.  I may be wrong but the sentence evokes compassion for the image of a mistake made in a pressured life trying to cultivate something worthy and churning out these pieces of art and prose.  Nothing wrong with the compassion; but I feel it’s obtained through a manipulation.  It sucks you into subtly falling into my angst as I slide my oversight over to the background.

Now, even reading that first sentence, you might have felt something about buddha57 being left out.  Perhaps you would have felt indifference; who really cares if buddha57 is missing, just put it in somewhere!  Perhaps you would have felt annoyed; after all this is supposed to be a practice of Attention!  Attention!  Attention!  Perhaps you would have felt compassion for my obsessive nature; only the Catholic Church could have invented a sin called Scrupulosity!

Both sentences invite an interaction; the first by opening to and the second by closing out possibilities.  If my intention is to tell you I messed up the first is true to that intention, the other not.  If my intention is to ask for forgiveness (yes, even us zennies need forgiveness at times), the first requires trust; the second controls your feelings so that you are more likely to forgive the oversight.  If my intention is to elicit sympathy in the face of the oversight, the first might be seen as defensive and closed, the second more available for understanding.

An honest writer is sensitive to the intention of each word.  She knows the difference between stimulating reflective thought and eliciting loyalty for her perspective.  A courageous writer trusts what might emerge from the interaction of the written word and the true nature of the reader.  She knows her intention when she selects a specific word, when she brings it into the presence of its companions, when she watches them tumble together and when she leaves them alone to orchestrate the smooth flow of an idea.

The form and structure of the precepts can be taught just as the craft of writing can be taught.  But honest writing cannot be taught any more than living into the spirit of the precepts can be taught.  Which brings me to the other thing I have done which has caused me some loss of sleep.  More on that tomorrow.

Thank you for practising,

Genju


Filed under: 108 thoughts, reflections Tagged: 108buddhas, practice
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compost 5

Is it now an Enso-Friday?  Or a Poem-Friday?

Anyway, this is what I get when I want to use up all the ink by holding all four brushes close, squishing the hair bristles together, and GO!

Pre-composting is like pre-satori – it can be fun and turn out some neat stuff.  I’m reading Wild Ivy, Hakuin’s autobiography and am considering the implications of pre- and post-satori experiences, not to mention repeated experiences of satori.  James Austin had a lot to say about that in his Zen Brain talk on ego- and allo-centric processing and the kensho experience.  But more on all that when I finish the book.  What I am struck by, in this moment, is the resonance I feel with Hakuin’s Song of Zazen.  A balm, especially after all the chatter this week about what can only be summarized as “sex, pray, more sex.”

How easily we forget the interpenetration of water and ice.

How quickly we get lost on dark path after dark path – pre- and post-satori.

Hakuin’s Song of Zazen
Translated by Norman Waddell

All beings by nature are Buddha,
As ice by nature is water.
Apart from water there is no ice;
Apart from beings, no Buddha.
How sad that people ignore the near
And search for truth afar:
Like someone in the midst of water
Crying out in thirst,
Like a child of a wealthy home
Wandering among the poor.
Lost on dark paths of ignorance,
We wander through the Six Worlds,
From dark path to dark path–
When shall we be freed from birth and death?
Oh, the zazen of the Mahayana!
To this the highest praise!
Devotion, repentance, training,
The many paramitas–
All have their source in zazen.
Those who try zazen even once
Wipe away beginning-less crimes.
Where are all the dark paths then?
The Pure Land itself is near.
Those who hear this truth even once
And listen with a grateful heart,
Treasuring it, revering it,
Gain blessings without end.
Much more, those who turn about
And bear witness to self-nature,
Self-nature that is no-nature,
Go far beyond mere doctrine.
Here effect and cause are the same,
The Way is neither two nor three.
With form that is no-form,
Going and coming, we are never astray,
With thought that is no-thought,
Singing and dancing are the voice of the Law.
Boundless and free is the sky of Samádhi!
Bright the full moon of wisdom!
Truly, is anything missing now?
Nirvana is right here, before our eyes,
This very place is the Lotus Land,
This very body, the Buddha

Have a colourful weekend!

Thank you for practising,

Genju


Filed under: 108 thoughts, reflections Tagged: 108buddhas, enso, Hakuin, zazen
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