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Kusen

The Blue Cliff Record, Case 23

The Case:
Once, when Pao Fu and Ch’ang Ch’ing were wondering in the mountains, Pao Fu pointed and said “Right here is the summit of the mystic peak”.
Ch’ang Ch’ing said “Indeed it is. What a pity”.

Pointing has a chequered history in zen, fingers pointing to the moon, and suchlike. It’s said that the ideogram for zen represents an eye on the end of a pointed finger. Given that meditation is often described in terms of seeing, seeing things as they are, then the temptation is to see the eye of meditation and the eye of zen as the same eye, the difference being that zen is an actional ‘seeing’ rather than a contemplative one, but still attending to how things are.

From this perspective, Pao Fu is pointing at suchness.

But what if the eye on the pointed finger isn’t seeing how things are, but is seeing the pointing? Given that Pao Fu isn’t pointing at anything -and who, or what else is ‘right here’ if it isn’t him? –
couldn’t we say that he is pointing at his nature – which is pointing? Hence Ch’ang Ch’ing’s ‘disappointment’.

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Kusen

95. Hsiang Lin

Master Dogen said that the way to realisation was through the body. But which body?

Blue Cliff Record, Case 17:

A monk asked Hsiang Lin, “What was the meaning of Bodhidharma’s coming from the West?”

The Master said, “Sitting for a long time is hard, isn’t it?”

Bodhidharma famously sat facing the wall at Shaolin Temple for nine years. In answering the monk, the Master is drawing a comparison between his body, practicing, and the body of practice of Bodhidharma.

And given that we always sit with the body of practice, how can we say either that this body is the same, or different?

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Kusen

94. Genjokoan

In the Genjokoan, Master Dogen gives a famous definition of delusion and enlightenment, saying that delusion is carrying the self forward to experience the myriad things, whereas in enlightenment the myriad things come forward and experience themselves.

I would say that we carry the Self forward primarily through language: “That is a wall”, “That is my confusion”, “There is that familiar unpleasant feeling, bitter in taste”.

And once we use the scalpel of words on part of experience, that detached part can be the object of our love or [more usually] of our hate. And, hard as we try, we can’t kill it again.

Buddhism is, for at least a moment, the restraint of this tendency. It’s not that we become intimate with our experience, because that’s dualistic, but that experience, somehow, is restored to life unfabricated.

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Kusen

Posture Instructions

Since the online publication of Issho Fujita’s marvellous collection of essays, ‘Polishing A Tile’, it seems impertinent for others to give instructions about sitting posture except in one respect, the breath, which Fujita doesn’t seem, to refer to in detail.

Breathing is quite problematic as a topic. We don’t want to get into a mentality of trying to build up power in the dan tien in order to achieve something. So instead, we tend not to talk about it at all, saying only that we should breathe naturally, and that our breath will naturally settle down if we take up the correct posture. However, there’s a difference between awareness and intention. Between awareness and technique.

When we try to breathe abdominally, there’s a tendency to use muscular effort to push our belly out, but not notice that we do. Just as people who try to stretch the back of their neck by tucking their chin in, rather than allowing the natural uncompressing of the spine when the weight is dropping correctly through the sit bones, willing our posture to be a particular way is liable to create tension, tension we’re unlikely to notice.

I think also, if we imagine our breath coming in through our nose, going down through our chest and into our belly, there’s a tendency too to inhibit movement in our chest and back.

For me, it’s very helpful to be able to feel the whole pelvic area, not, as it were, as an object, but from the inside. If we can,we’ll notice the willed-ness of our abdominal breathing, but we’ll also notice what doesn’t move. Our lower back. Our pelvic floor. And once we get that awareness, there’s a number of things we can do. We can, for example, picture a golden ball at the centre of our pelvis. When we breathe in, the ball gets bigger, pushing the belly forward, pushing back against the bones of the spine and pelvis, pushing down to the pelvic floor. When our body moves in accordance with this, it’s different from willed movement. Once you regain your sense of movement, you won’t need the image any more.

An alternative, and one which I prefer, is to breathe from the perineum. This is the first chakra and where our weight drops down, between the genitalia and the anus. That is, you feel the in breathe coming in through your perineum, filling your pelvic bowl, pushing the belly gently forward, the lower back gently back, animating and enlivening the whole area, then passing upwards to the chest, the upper back, the neck, the head and all the while, no tension.

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Kusen

93. The Reality of Our Lives

All Buddhist language is an attempt to take us out of conceptual thinking, and to point us to the reality of our lives.

Because we are meaning-making-story-telling beings, we are always painting a world. Even if a teacher directs us to the activity of painting, we make a picture of his activity.

The whole lineage is this dialectic of freeing words and trapping words.

It is as if we are within a mountain made up of the bones of our ancestors. Our awakening voices, together, make what is solid empty.

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Kusen

92. Senika

Senika appears in the Nirvana sutra as a kind of fall guy. He’s a Brahmin who believes that the body is the temporary home of the soul, which lives on after the death of the body.

Certainly, his soul has lived on, buried deep in our language. We make statements like ‘I am doing zazen’ or ‘I am living my life’ or ‘I need to be kinder to myself,’ and imagine we are saying something true.

Lying within the buried soul of Senika is the belief that the world is constituted of things, with attributes, acting.

This is the ground of delusion. Unless we can escape from it, buddhist teaching is entirely nonsensical.

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Kusen

91. The Head and the Body

Artwork by Blair Thomson
Kusen 91 collaboration ‘wholeness dispersed no. 1’ by Blair Thomson

Those who fall to the ground, get up relying on the ground.

Interdependent origination is difficult for us because we have an unexamined idea of time: it is like an arrow, going from past to future, yet past, present and future don’t have equal weight. The past is like an accumulating avalanche, flooding into the empty space of the future. The present is the interface between the two. The ground is invisible.

When we sit, there is the opportunity to experience time in a different way. The head of the present moment is balanced on the body of the ground, and it can go anywhere.

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Kusen

90. A Quality of This Moment

Artwork by Blair Thomson
Kusen 90 collaboration by Blair Thomson

Zazen is often called the mountain still state, the balanced state.

What we need to understand is that the state is momentary. It is a quality of this moment.

Not the person, the moment.

This moment rolls in and out of balance. When out of balance, self, world and linear time all arise, together. When in balance, it is not that the self and the myriad things are negated or affirmed but, as the shin jin mei tells us, they cease to exist in the old way.

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Kusen

89. Tsuki

The Buddha’s true dharma body is just like space;

Manifesting its form according to circumstances,

it is like the moon in water

The image of the moon in water is one of the most familiar in Buddhism. The moon is Buddha, the water is the mind. When the water is tranquil, the moon is reflected perfectly.

It’s a dualistic image, obviously, and Dogen radicalises it by saying that the moon’s light is equally reflected, however the water is. What is important is not the form of the moon, but its expression. It illuminates the water. It illuminates the clouds. It illuminates the heavens. It illuminates itself. And apart from this illumination, there is no moon.

In the masterly Tsuki, Dogen revitalises the image as the active inter penetrating expressing everything.

The first line of the poem says something similar, but in a different way. When we come into the dojo and take our place, the space that was there before doesn’t disappear. It isn’t displaced elsewhere. Buddha doesn’t appear and the person vanishes. It isn’t like that. Both arise together.

We are space and person. Buddha and karmic existence. Particular and universal.

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Kusen

James Green, The Recorded Sayings of Zen Master Joshu, page 73

A monk asked, “I wonder if a man of true practice can be perceived by gods or demons or not?”

The master said, “They can perceive him”

The monk said “Where is his fault?”

The master said, “Faults are wherever they are looked for”

The monk said, “In that case, it is not practice”

The master said, “It is practice”

Commentary:

Joshu is difficult to understand because the exchanges are deceptively ordinary, and appear to be nothing much, when actually they are life and death exchanges about the essence of buddhism.

In this case, the monk’s question is rhetorical. “gods and demons” refers to 2 of the 6 realms of samsara, so what the monk is really saying -dressed up as a question – is that zazen is a special state outside samsara. There are similarities with the famous question “does an enlightened person fall into cause and effect or not?”; that is, is an enlightened person free from karma?

In turn, what underpins this is the question “Why do we practice?” The monk’s position would be that the point of practice is personal liberation. And in that one can succeed, or one can fail.
Joshu’s position is radically different; it is that zazen is not a personal practice. It cannot be seen in terms of personal gain or loss. To think that there is a special state is to be blind to the full dynamic functioning of everything- the ‘internality’ which is the imagined site of the special state is as much a part of this as the trees or the traffic. It isn’t a matter of trying and failing, but understanding, through faith, that zazen is the enactment and expression of this dynamic functioning.