Zen Tales - A Huge Collection is Here. - English for …
It could be, as it has been reported, that Basho simplyheard a frog plunging into water (a rather probableoccurrence as he lived in a marsh where two rivers joined)just at the moment a Zen master asked him a question on hisprogress in his meditations. Yet he didn't begin his poemwith his reality of "in the marsh" or "by theriver" but used "old pond" because in a quietpond a disturbance most closely resembles the way sound movesand is most accurate. Again the third image is the tie forhis metaphor of water for sound. Bodies (get that one?) ofwater have sometimes stood as metaphors for ears because ofthe way water reflects and distorts sound.
This page of this web site has a good collection of Zen Tales
His love of Zen, Japanese art and culture is a constant source of inspiration. An impressive collection of ukiyo-e, Japanese woodblock prints, includes many so-called “big-head” portraits, or o-kubi-e, where the face is depicted from close range and fills the frame of the picture. Lyon has studied these works and Japanese woodblock printing technique, distilling elements into his own photo-realist figure studies and large-scale portraits of family members, friends, acquaintances, and even students.
At this Koji underwent an experience and expressed himself in the followingverse:" (Two Zen Classics 262-3)
Evolution of Daruma Art in Japan
The truth is: probably all of the above can weaken one's ability to writegood haiku. Ouch, that hurts. However, I felt rescued when I came across written by hand and illustrated by Betty Drevniok, whowas at the time she wrote the book (early 80s I am guessing as it has no date init), president of the Haiku Society of Canada. Among the many great tips forwriting haiku (and obtaining the questionable Zenniness of Zen) I came away withher precept: "Write [haiku] in three short lines using the principle ofcomparison, contrast, or association." On page 39 she used an expression Ihad been missing in the discussion of haiku when she wrote: "This techniqueprovides the pivot on which the reader's thought turns and expands."Technique! So there are tools one can use! I thought joyfully.
Digital Dictionary of Japanese Buddhism
However, many of us, recognized that "haiku moments" were very muchlike other flashes of inspiration which, when transported into other media,became paintings, stories, dreams or even new color schemes or recipes. And manyothers shared the frustration of having a truly life-altering moment of insightand then never being able to write a decent haiku that expressed the wonder andmajesty of that moment. They would ask, what was wrong with me? Was I notspiritually prepared enough? Was I too common? Too inattentive? Too word-numb?Maybe too many of my Christian beliefs kept me from the Zen nirvana of haiku?
These Zen Buddhist Koans Will Open Your Mind | HuffPost
Another plus for this viewpoint was it allowed endless articles to be writtenfor magazines on the Zen aspects of haiku writing, and even fuzzier articles ofhow to prepare for, find, recognize, and advertise one's haiku moments. Bookswere even compiled around this semi-religious idea.
Zen Brain: Exploring The Connection Between …
REFERENCES: See, for example:
by Bernard Faure (History of Religions, Vol. 25, No. 3, 1986, pp.187-198) or
by Yukio Lippit (Japan Society, 2007), or
by Jeffrey L. Broughton (University of California Press, Aug.1999), or
, artwork by Nantembo (1839-1925) at the Bachmann-Eckenstein Exhibition 1991).
Faure writes: "The oldest treatment of the [river crossing] theme dates from the beginning of the thirteenth century and it contains an inscription by Rujing (1163-1228), the master of the founder of the Soto school of Zen in Japan, Dogen (1200-1253). A second painting, preserved in Japan, shows an inscription by the Chan master Wuzhun Shifan (1177-1249). There is also an estampage on stone, dated from the mid-eleventh century, from the Shaolin monastery. A first study of the theme was made by Li Chu-tsing. Li focuses on a painting by Ding Yunpeng, preserved in the Charles A. Drenowatz Collection in Zurich."
Say Bachmann-Eckenstein: "Bodhidharma's mysterious crossing the Yangzi River on a rush leaf has first been mentioned in the 13th century: The Wudeng huiyuan, edited in 1252 by Dachuan Puji (1179-1253), the Wujia zhangzong zan, compiled two years later by Xisou Shaotan (d. 1279) and the Shishi tongjian, in 1270 by Ben Jue state Bodhidharma's breaking off a rush leaf and crossing the Yangzi river. But these sources do not indicate the use of the rush leaf as a vehicle. This aspect probably was introduced later to compensate Bodhidharma's fruitless visit at the emperors court. Earlier sources as the Jingde chuandeng lu (J. Kidoroku) compiled by Xutang Zhiyu (J. Kido Chigu, 1185-1269), in the years 1004-07 or the Chuanfa zhengzong ji, 1060 do not mention any rush leaf at all. (Brinker/Kanazawa 1993, 208). Zen practice has had little use for miraculous deeds, stressing instead the enlightenment of the everyday world. The Chinese character that originally meant both reed boat and reed lost its first meaning over the course of time. This inspired the idea that Daruma had crossed on a reed rather than in a reed boat. (Addiss 1989, p 57)."