{"id":113,"date":"2010-11-12T10:41:00","date_gmt":"2010-11-12T10:41:00","guid":{"rendered":"http:\/\/www.patheos.com\/blogs\/wildfoxzen\/2010\/11\/painting-a-needle-with-a-pointed-life\/"},"modified":"2010-11-12T10:41:00","modified_gmt":"2010-11-12T10:41:00","slug":"painting-a-needle-with-a-pointed-life","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/wildfoxzen\/2010\/11\/painting-a-needle-with-a-pointed-life.html","title":{"rendered":"Painting a Needle with a Pointed Life"},"content":{"rendered":"\n<\/head>
(What follows is an article for the Sweetcake Enso<\/a> blog check it out \u2013 great stuff there. This will also be a chapter in my \u201cforthcoming\u201d book, The Healing Point of Sitting Zen<\/i>. Thanks to Seigen for her very helpful work on the draft and for finding the art work inserted below. Feedback welcome.)<\/span><\/div>\n
<\/div>\n
Twenty years ago I spent most of a year at Bukkokuji, a Zen monastery in Obama, Japan. The teacher, Harada Tangen (Unfathomable Mystery), was the only surviving successor of Harada Daiun (Great Cloud) Roshi (1871 \u2013 1961) the Zen monk who reintroduced koan introspection to Soto Zen and launched the Harada-Yasutani lineage with the Maezumi, Kapleau, Yamada and Aitken branches now so influential in the West. \n

The most striking feature of Roshi Sama, as Tangen\u2019s students called him, was his powerful hara-based, joyful energy. His dharma<\/a> talks and dokusan, in their unfathomable mysteriousness, almost always included his most important two words of Zen \u2013 \u201cIchi tantei!\u201d Or \u201cOne doing!\u201d
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
Dokusan with him was unpredictable in many ways, including whether Roshi Sama, who had studied English more than 50 years previously in high school, would have access to his mind\u2019s English language file or not. But it didn\u2019t matter much. Whatever I said to him, presenting the Mu koan, or cold, tired, hungry, clear, confused, or lonely \u2013 all might be met with him a hearty \u201cOne doing!\u201d Or, depending on the day, it might also be the Japanese, \u201cIchi tantei!\u201d
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
And despite his koan Zen orientation, his \u201cone-doing\u201d was exactly right from my previous training in Dogen Zen. In what follows, I will explore Tangen\u2019s \u201cOne doing!\u201d from the perspective of Dogen\u2019s Zen, starting with a passage from Actualizing the Fundamental Point<\/i>Healing Point of Sitting Zen<\/i> poem.
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
The question that I want to explore is how to live life to the full. What I\u2019ve learned from thirty-some years of Zen practice is that in order to live life to the full, it is critical to be clear about one point \u2013 where am I standing?\u00a0 Am I outside looking in or inside looking out? Put another way, is Zen about the business of being free within <\/i>this life of suffering, living fully in it, or being free from<\/i> this life of suffering, transcending the world?\u00a0<\/p><\/span><\/div>\n


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Kimsooja<\/a>, A Needle Woman<\/i>, Tokyo, <\/i>1999, video still.<\/span> <\/p><\/div>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/i>
In order to investigate these questions, let\u2019s dip into how Dogen\u2019s thinking is translated and how the translations, perhaps due to constraints of English, lean to the transcendent or the immanent, sometimes of the same passage.<\/span><\/i><\/span><\/span><\/p>\n

For example, in <\/span><\/i>Actualizing the Fundamental Point<\/i>, Dogen says<\/span><\/i>, <\/i>\u201cSince the Buddha way by nature <\/span><\/i>goes beyond<\/i><\/b> abundance and deficiency, there is arising and perishing, delusion and realization, living beings and buddhas\u201d (Shohaku Okumura translation).<\/span><\/i>
<\/i>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/i>
From this translation it sounds like the Buddha way is transcendent \u2013 going beyond<\/u> fullness and lack and all the other this and thats of this life. Other translations seem to support this. Tanahashi and Wenger have \u201c<\/b>leaping clear of\u201d and <\/span><\/b>Nishijima and Cross say \u201c<\/b>transcendent over.\u201d<\/span><\/b> <\/b>However, <\/span><\/b>other translators see the Buddha way as immanent: Cleary has the Buddha way \u201cspringing forth from\u201d abundance and deficiency. <\/span><\/b>Kim prefers \u201c<\/b>leaps out of.\u201d<\/span><\/b>
\u00a0
Looking at the original exacerbates the issue. Dogen used these characters: \u8c4a\u5039\u3088\u308a\u8df3\u51fa (hoken yori choshutu suru). The phrase at issue here can be read \u201cgo beyond\u201d or<\/b> \u201cleap out from.\u201d Perhaps there is a third place option, something that isn\u2019t fully encompassed by either side of the freedom-from-suffering or freedom-within-suffering teeter totter. What would that be?
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
In another work by Dogen, Healing Point of Zazen<\/i>, Dogen quotes a poem by an earlier Soto Zen master, Hongzhi. The most relevant part for our inquiry is this:<\/span> <\/p>\n

Essential function of buddha after buddha,
Functioning essence of ancestor after ancestor \u2013
It knows without touching things;
It illumines without facing objects.
Knowing without touching things,
Its knowing is inherently subtle\u2026<\/span> <\/p><\/blockquote>\n

Remember, we\u2019re exploring the question of how to live life to the full and what the Buddha and Zen masters suggest in terms of where we stand in relation to our life. In other words, is the Buddha Way transcendent or immanent?
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0
The first point of this poem fragment is that the essential function and the essential functioning are marked by a kind of knowing that doesn\u2019t touch or face the things of the world. It appears to be transcendent, yet it is \u201cknowing.\u201d
\u00a0\u201cKnowing without touching things\/Its knowing is inherently subtle.\u201d What kind of knowing is this? In his commentary on this poem, Dogen cautions us that \u201c\u2018\u2026Knowing\u2019 does not mean perception; for perception is of little measure.\u201d <\/span><\/span><\/p>\n

<\/p>\n

\n
<\/a><\/span><\/div>\n


<\/span> <\/p><\/div>\n

Kimsooja<\/a>, A Needle Woman, Delhi, 1999, video still.<\/span><\/div>\n

\u00a0<\/span>
Our ordinary perception is small. Habitual unawakened perception can stand apart form the world, but this is different than the kind of knowing that doesn\u2019t touch or face things of the world. Perception is also dependently arising \u2013 eye, eye consciousness, and red maple leaf interact. I (subject) see (sense organ transfers information to the mind that recognizes) the red maple leaf. As such, ordinary perception is a mental image, a shadow of the world and so is divided, and what is divided is suffering.
\u00a0<\/span>
While perception is not Hongzhi\u2019s knowing, it is also not understanding, because, Dogen says, \u201c\u2026understanding is artificially constructed.\u201d For example, look at an enso, any enso. What do you see? Black color and zero form \u2013 and then the mind projects a meaning (including lack of meaning) based on some understanding. According to Wikipedia, the enso \u201c\u2026 symbolizes the Absolute enlightenment, strength, elegance, the Universe, and the void.\u201d<\/span><\/span><\/p>\n

However, maybe for you (like me), it just looks like a zero. Maybe you like zeros and maybe you don\u2019t (I do). Maybe you see a corporate logo (like ZenCorp.org) and all the associations and understanding that arise with that.<\/span><\/p>\n

I suspect that in understanding the enso, you are not much more free or big happy than before you went to all the trouble to artificially construct something. Me either. However we artificially construct an understanding of the enso before us, there seems to be only a limited measure of essential functioning there. If so, then we know that we\u2019re not sitting in the bull\u2019s eye of Buddha\u2019s essential functioning. In other words, given that the process of understanding involves a constructed meaning, understanding is not the knowing of which Hongzhi speaks.<\/span><\/p>\n

Then what is right? Dogen says, \u201cTherefore, this \u2018knowing\u2019 is \u2018not touching things\u2019 and \u2018not touching things\u2019 is \u2018knowing.\u2019 <\/span><\/p>\n

Knowing is not perception or understanding because it does not touch things and because it does not touch things, it is knowing. This begs the question, where can we go, how can we position ourselves, such that we are not outside, touching things? How about if we position ourselves \u201cinside\u201d and perceive and understand from there? However, this won\u2019t do either because it falls into the same limitations of perception and understanding. <\/span> <\/p>\n


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Kimsooja<\/a>, A Needle Woman, Shanghai <\/i>1999, video still.<\/span> <\/p><\/div>\n


If the knowing of the Buddha\u2019s isn\u2019t realized from either outside looking in or inside looking out, then where do we optimally stand in our practice? Indeed, before breaking through the separation of subject and object, it seems impossible, like stopping the sound of the far-off temple bell. But it is not. It is very simple and close, now.<\/span><\/span><\/p>\n

Glowing appellations of the simple-and-close don\u2019t reach it. This is not some ga-ga bliss trip. Dogen continues, \u201cSuch \u2018knowing\u2019 should not be called universal knowledge; it should not be categorized as \u2018self-knowledge.\u2019\u201d <\/span><\/p>\n

It should not be called self-knowledge if that implies setting the self apart from other. That would be to transcend the things of the world.<\/span><\/p>\n

What is the knowing that is the essential function of Buddhas? How can we do it? Dogen gives us two more clues. First, \u201c\u2026this \u2018not touching things\u2019 means \u2018When light comes, hit the lightness. When darkness comes, hit the darkness.\u2019\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

This admonition is attributed to a wild-and-whacky monk who was close to Rinzai, Puhua. He is known for wandering from town to town, ringing his bell and singing, \u201cWhen brightness comes, hit the brightness. When darkness comes, hit the darkness.\u201d <\/span><\/p>\n

\u201cHit\u201d in this context suggests the nuance of \u201chit\u201d that is \u201c\u2026to come in contact with\u201d and not in a violent way.\u00a0 <\/span>In other words, i<\/span>n whatever circumstance arises, meet it directly. If it is light, become light. If it is dark, become dark \u2013 with no space between, like a ball meeting a window. That is where to stand. But Puhua meant more, I suspect, than \u201cbecome\u201d \u2013 vigorously express light, vigorously express dark. Just one doing!<\/span><\/p>\n

Dogen concludes with the second clue.\u00a0 \u201cThis \u2018not touching things\u2019 means \u2026 \u2018sitting and breaking the skin born of mother.\u2019\u201d<\/span><\/p>\n

The essential function of the buddhas and ancestors, then, is hitting light when light comes, hitting dark when dark comes. In so doing, we break the hardening of all the categories, even the notions of the origins of this body from the body of our mother. Not that we didn\u2019t come from there. Just that sitting means we break the skin, just like the baby\u2019s head crowns in the birth process. Interestingly, the line doesn\u2019t say whether we break in or break out, through or down \u2013 because that would suggest a separation.<\/span><\/p>\n

So where does this leave us standing?\u00a0 On my first day at Bukkokuji, after morning zazen and service, everyone shot to their cleaning assignments. The work leader, Kodo, grabbed a broom and danced along the main side-walk in front of the Buddha Hall, furiously brushing away the dirt and leaves. Zen temples are usually rather constrained and sober so I couldn\u2019t help myself but to stand and stare at his dynamic presentation. Seeing me by the side of the passage watching him, Kodo continued his work but came directly at me, vigorously sweeping as he went. Stopping abruptly a foot away from where I stood, he said in rough English, \u201cMe Mohammad Ali and I float like butterfly, sting like bee.\u201d\u00a0<\/span><\/p>\n

And away he went showing me just one doing.<\/span><\/p>\n

<\/span> <\/p>\n

<\/a><\/span><\/div>\n

<\/span> <\/div>\n
Kimsooja<\/a>, <\/span>A Needle Woman, Tokyo, <\/i>1991<\/span><\/span>, video still.<\/i><\/span><\/div>\n
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(What follows is an article for the Sweetcake Enso blog check it out \u2013 great stuff there. This will also be a chapter in my \u201cforthcoming\u201d book, The Healing Point of Sitting Zen. Thanks to Seigen for her very helpful work on the draft and for finding the art work inserted below. Feedback welcome.) Twenty […]<\/p>\n","protected":false},"author":182,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-113","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nPainting a Needle with a Pointed Life<\/title>\n<meta name=\"description\" content=\"(What follows is an article for the Sweetcake Enso blog check it out - great stuff there. 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