“BASO, DOITSU (MA-TSU TAO-I) 709-788
“Baso, Doitsu (Ma-tsu Tao-i) 709-788. Third most influential master in the history of Zen, after Bodhidharma and Eno. He had at least eighty, and maybe as many as one hundred thirty, enlightened successors, including Hyakujo Ekai and Nansen Fugan.
BIOGRAPHY Of MA TSU-BASHO
His family name was Ma – Mazu meaning Ancestor Ma or Master Ma.He was born in 709 northwest of Chengdu in Sichuan. During his years as master, Mazu lived in Jiangxi, from which he took the name "Jiangxi Daoyi".
In the Transmission of the Lamp, compiled in 1004, Mazu is described as follows:
His appearance was remarkable. He strode along like a bull and glared about him like a tiger. If he stretched out his tongue, it reached up over his nose; on the soles of his feet were imprinted two circular marks.
According to the Transmission of the Lamp, Mazu was a student of Nanyue Huairang (677-744) at Mount Heng in Hunan
A story in the entry on Nanyue Huairang in the Transmission of the Lamp is regarded as Mazu's enlightenment-account, though the text does not claim it as such.An earlier and more primitive version of this story appears in the Anthology of the Patriarchal Hall which was transcribed in 952:
Reverend Ma was sitting in a spot, and Reverend Rang took a tile and sat on the rock facing him, rubbing it. Master Ma asked, "What are you doing?" Master [Huairang] said, "I'm rubbing the tile to make it a mirror." Master Ma said, "How can you make a mirror by rubbing a tile?" Master [Huairang] said, "If I can't make a mirror by rubbing a tile, how can you achieve buddhahood by sitting in meditation?"
This story echoes the Vimalakirti Sutra and the Platform Sutra in downgrading purificative and gradualist practices instead of direct insight into the Buddha-nature.
In the Transmission of the Lamp, compiled in 1004, Mazu is described as follows:
His appearance was remarkable. He strode along like a bull and glared about him like a tiger. If he stretched out his tongue, it reached up over his nose; on the soles of his feet were imprinted two circular marks.
According to the Transmission of the Lamp, Mazu was a student of Nanyue Huairang (677-744) at Mount Heng in Hunan
A story in the entry on Nanyue Huairang in the Transmission of the Lamp is regarded as Mazu's enlightenment-account, though the text does not claim it as such.An earlier and more primitive version of this story appears in the Anthology of the Patriarchal Hall which was transcribed in 952:
Reverend Ma was sitting in a spot, and Reverend Rang took a tile and sat on the rock facing him, rubbing it. Master Ma asked, "What are you doing?" Master [Huairang] said, "I'm rubbing the tile to make it a mirror." Master Ma said, "How can you make a mirror by rubbing a tile?" Master [Huairang] said, "If I can't make a mirror by rubbing a tile, how can you achieve buddhahood by sitting in meditation?"
This story echoes the Vimalakirti Sutra and the Platform Sutra in downgrading purificative and gradualist practices instead of direct insight into the Buddha-nature.
TEACHINGS MA TSU-BASHO
Mazu Daoyi's teachings and dialogues were collected and published in his Jiangxi Daoyi Chanshi Yulu "Oral Records of Chan Master Daoyi from Jiangxi".
Buddha Nature
Though regarded as an unconventional teacher, Mazu's teachings emphasise Buddha-nature:
[L]et each of you see into his own mind. ... However eloquently I may talk about all kinds of things as innumerable as the sands of the Ganges, the Mind shows no increase... . You may talk ever so much about it, and it is still your Mind; you may not at all talk about it, and it is just the same your own Mind.
Shock techniques
Mazu Daoyi, in order to shake his students out of routine consciousness, employed novel and unconventional teaching methods. Mazu is credited with the innovations of using katsu (sudden shouts), keisaku (unexpected strikes with a stick) and unexpectedly calling to a person by name as that person is leaving. This last is said to summon original consciousness, from which enlightenment arises.Mazu also employed silent gestures, non-responsive answers to questions, and was known to grab and twist the nose of a disciple. Utilizing this variety of unexpected shocks, his teaching methods challenged both habit and vanity, a push that might inspire sudden kensho.
Subitism and dhyana (zazen)
A well-known story depicts Mazu practicing zazen but being rebuked by his teacher, Nanyue Huairang, comparing seated meditation with polishing a tile.According to Faure, the criticism is not about dhyana as such, but "the idea of "becoming a Buddha" by means of any practice, lowered to the standing of a "means" to achieve an "end"".The criticism of seated dhyana reflects a change in the role and position of monks in Tang society, who "undertook only pious works, reciting sacred texts and remaining seated in dhyana".Nevertheless, seated dhyana remained an important part of the Chan tradition, also due to the influence of Guifeng Zongmi, who tried to balance dhyana and insight.
Buddha Nature
Though regarded as an unconventional teacher, Mazu's teachings emphasise Buddha-nature:
[L]et each of you see into his own mind. ... However eloquently I may talk about all kinds of things as innumerable as the sands of the Ganges, the Mind shows no increase... . You may talk ever so much about it, and it is still your Mind; you may not at all talk about it, and it is just the same your own Mind.
Shock techniques
Mazu Daoyi, in order to shake his students out of routine consciousness, employed novel and unconventional teaching methods. Mazu is credited with the innovations of using katsu (sudden shouts), keisaku (unexpected strikes with a stick) and unexpectedly calling to a person by name as that person is leaving. This last is said to summon original consciousness, from which enlightenment arises.Mazu also employed silent gestures, non-responsive answers to questions, and was known to grab and twist the nose of a disciple. Utilizing this variety of unexpected shocks, his teaching methods challenged both habit and vanity, a push that might inspire sudden kensho.
Subitism and dhyana (zazen)
A well-known story depicts Mazu practicing zazen but being rebuked by his teacher, Nanyue Huairang, comparing seated meditation with polishing a tile.According to Faure, the criticism is not about dhyana as such, but "the idea of "becoming a Buddha" by means of any practice, lowered to the standing of a "means" to achieve an "end"".The criticism of seated dhyana reflects a change in the role and position of monks in Tang society, who "undertook only pious works, reciting sacred texts and remaining seated in dhyana".Nevertheless, seated dhyana remained an important part of the Chan tradition, also due to the influence of Guifeng Zongmi, who tried to balance dhyana and insight.
USE OF KOANS
Appearances
Mazu appears in early Chan anthologies of lineage, encounter dialogue and koans:
Transmission of the Lamp, compiled in 1004 by Shi Daoyuan (Chinese: 释道原) [
Blue Cliff Record. compiled with commentary by Yuanwu Keqin (1063–1135) circa 1125;[32][c]
The Gateless Gate compiled circa 1228 by Wumen Huikai (1183–1260).
Other anthologies where Mazu appears include:
Records of Pointing at the Moon (compiled 1602),
Recorded Saying of the Ancient Worthies (compiled 1271),
Records of the Regular Transmission of the Dharma (1062).
Examples[edit]
Mazu was particularly fond of using the kōan "What the mind is, what the Buddha is." In the particular case of Damei Fachang, hearing this brought about an awakening. Later this same statement was contradicted by Mazu when he taught the kung'an "No mind, No Buddha".:
A monk asked why the Master [Mazu] maintained, "The Mind is the Buddha." The Master answered, "Because I want to stop the crying of a baby." The monk persisted, "When the crying has stopped, what is it then?" "Not Mind, not Buddha", was the answer.
Other examples of kōans in which Mazu figures are as follows:
When sick Mazu was asked how he felt; he replied, "Sun Face Buddha. Moon Face Buddha."
P'ang asked Mazu, "Who is it who is not dependent upon the ten thousand things?" Matsu answered, "This I'll tell you when you drink up the waters of the West River in one gulp".
A monk asked Mazu, "Please indicate the meaning of Ch'an directly, apart from all permutations of assertion and denial." Mazu told him to ask Zhiang. Zhiang paused, then said for him to ask Baizhang. Baizhang seemed to say he didn't understand. The monk returned to Mazu and related what happened. Mazu observed dryly that Zhiang had white hair, while Baizhang's was black.
Mazu appears in early Chan anthologies of lineage, encounter dialogue and koans:
Transmission of the Lamp, compiled in 1004 by Shi Daoyuan (Chinese: 释道原) [
Blue Cliff Record. compiled with commentary by Yuanwu Keqin (1063–1135) circa 1125;[32][c]
The Gateless Gate compiled circa 1228 by Wumen Huikai (1183–1260).
Other anthologies where Mazu appears include:
Records of Pointing at the Moon (compiled 1602),
Recorded Saying of the Ancient Worthies (compiled 1271),
Records of the Regular Transmission of the Dharma (1062).
Examples[edit]
Mazu was particularly fond of using the kōan "What the mind is, what the Buddha is." In the particular case of Damei Fachang, hearing this brought about an awakening. Later this same statement was contradicted by Mazu when he taught the kung'an "No mind, No Buddha".:
A monk asked why the Master [Mazu] maintained, "The Mind is the Buddha." The Master answered, "Because I want to stop the crying of a baby." The monk persisted, "When the crying has stopped, what is it then?" "Not Mind, not Buddha", was the answer.
Other examples of kōans in which Mazu figures are as follows:
When sick Mazu was asked how he felt; he replied, "Sun Face Buddha. Moon Face Buddha."
P'ang asked Mazu, "Who is it who is not dependent upon the ten thousand things?" Matsu answered, "This I'll tell you when you drink up the waters of the West River in one gulp".
A monk asked Mazu, "Please indicate the meaning of Ch'an directly, apart from all permutations of assertion and denial." Mazu told him to ask Zhiang. Zhiang paused, then said for him to ask Baizhang. Baizhang seemed to say he didn't understand. The monk returned to Mazu and related what happened. Mazu observed dryly that Zhiang had white hair, while Baizhang's was black.
SUCCESSORS of MA TSU-BASHO
Among Mazu's immediate students were Baizhang Huaihai (720-814)[g][h][i] Nanquan Puyuan (748-835), and Damei Fachang (752-839).
A generation later his lineage through Baizhang came to include Huangbo Xiyun (d.850), and his celebrated successor Linji Yixuan (d.866).[42] From Linji Yixuan derived the Linji school and the Japanese sect, the Rinzai school.
A second line was Guishan Lingyou (771-853), to whom the Guiyang school was named, and therein Yangshan Huiji (807-883).
A generation later his lineage through Baizhang came to include Huangbo Xiyun (d.850), and his celebrated successor Linji Yixuan (d.866).[42] From Linji Yixuan derived the Linji school and the Japanese sect, the Rinzai school.
A second line was Guishan Lingyou (771-853), to whom the Guiyang school was named, and therein Yangshan Huiji (807-883).
No comments:
Post a Comment