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Huineng. (J. Eno; K. Hyenŭng 慧能) (638-713). Chinese Chan master and reputed sixth patriarch (LIUZU) of the CHAN ZONG. While little is known of the historical figure, the legendary Huineng of the LIUZU TAN JING ("Platform Sutra of the Sixth Patriarch") is an ubiquitous figure in Chan literature. According to his hagiography, Huineng was born in Xinzhou (present-day Guangdong province). As a youth, he cared for his poor mother by gathering and selling firewood. One day at the market he heard someone reciting the famous VAJRACCHEDIKĀPRAJNĀPĀRAMITĀSuTRA ("Diamond Sutra") and immediately decided to enter the monastery. Huineng subsequently visited HONGREN, the fifth Chan patriarch, on East Mountain in Qizhou (present-day Hubei province). After spending eight years in the threshing room, the illiterate Huineng heard a monk reciting a verse that had just been posted on a wall of the monastery, a verse written secretly by Hongren's senior disciple, SHENXIU: "The body is the BODHI TREE, / The mind is like a bright mirror's stand. / Be always diligent in polishing it, / Do not let any dust alight." Immediately recognizing that the writer's understanding was deficient, Huineng in response composed a verse reply, which he asked a colleague to write down for him: "BODHI fundamentally has no tree, / The bright mirror also has no stand. / Fundamentally there is not a single thing, / Where could any dust alight?" After reading the verse the next day, Hongren secretly called Huineng to his room in the middle of the night and recited a line from the "Diamond Sutra," which prompted in Huineng a great awakening. Hongren then secretly transmitted the robe and bowl of Chan's founder and first patriarch, BODHIDHARMA, to Huineng, making him the sixth (and ultimately last) patriarch of the Chan school; but he ordered his successor to go into hiding, lest he be harmed by followers of Shenxiu. Huineng then fled south. In 677, he received the full monastic precepts from the dharma master Yinzong (d.u.) at the monastery of Faxingsi in Nanhai (present-day Guangdong province). The next year, Huineng relocated to the monastery of Baolinsi on CAOXISHAN, the mountain that remains forever associated with him, where he attracted many students and followers. In 815, Emperor Xianzong (r. 805-820) bestowed upon him the posthumous title Chan master Dajian (Great Speculum). The monks QINGYUAN XINGSI, NANYUE HUAIRANG, HEZE SHENHUI, and YONGJIA XUANJUE are said to have been Huineng's preeminent disciples. Huineng is claimed to have been the founder of the so-called "Southern school" (NAN ZONG) of Chan, and to have instructed his students in the "sudden teachings" (DUNJIAO), the explication of which prompted much of the Chan school's subsequent soteriological developments and intrasectarian polemics. Although we have little historical evidence about either Huineng the person or his immediate disciples, all the various strands of the mature Chan tradition retrospectively trace their pedigrees back to him, making the legend of the sixth patriarch one of the most influential in the development of the Chan school.

Huineng


TERMS ANYWHERE

Baolin zhuan. (J. Horinden; K. Porim chon 寶林傳). In Chinese, "Chronicle of the Bejeweled Forest (Monastery)"; an important early lineage record of the early Chinese CHAN tradition, in ten rolls; also known as Da Tang Shaozhou Shuangfeng shan Caoxi Baolin zhuan or Caoxi Baolin zhuan. The title refers to Baolinsi, the monastery in which HUINENG, the legendary "sixth patriarch" (LIUZU) of Chan, resided. The Baolin zhuan was compiled by the obscure monk Zhiju (or Huiju) in 801, and only an incomplete version of this text remains (rolls 7, 9, 10 are no longer extant). As one of the earliest extant records of the crucial CHAN legend of patriarchal succession (cf. FASI, ZUSHI), the Baolin zhuan offers a rare glimpse into how the early Chan tradition conceived of the school's unique place in Buddhist history. Texts like the Baolin zhuan helped pave the way for the rise of a new genre of writing, called the "transmission of the lamplight records" (CHUANDENG LU), which provides much more elaborate details on the principal and collateral lineages of the various Chan traditions. The Baolin zhuan's list of patriarchs includes the buddha sAKYAMUNI, twenty-eight Indian patriarchs beginning with MAHAKAsYAPA down to BODHIDHARMA (the Baolin Zhuan is the earliest extant text to provide this account), and the six Chinese patriarchs: Bodhidharma, HUIKE, SENGCAN, DAOXIN, HONGREN, and HUINENG (the Baolin zhuan's entries on the last three figures are no longer extant). For each patriarch, the text gives a short biography and transmission verse (GATHA).

Bei zong. (J. Hokushu; K. Puk chong 北宗). In Chinese, "Northern school"; a designation for an early tradition of the CHAN school that flourished in the seventh and eighth centuries, and referring specifically to the lineage of SHENXIU and his disciples. The doctrines of the "Northern school" are known to have focused on the transcendence of thoughts (linian) and the five expedient means (fangbian; S. UPAYA); these teachings appear in "Northern school" treatises discovered at Dunhuang, such as the DASHENG WUSHENG FANGBIAN MEN, YUANMING LUN, and Guanxin lun. The appellations "Northern school" and "Southern school" (NAN ZONG) began to be used widely throughout the Tang dynasty, largely due to the efforts of HEZE SHENHUI and his followers. As a result of Shenhui's polemical attacks on Shenxiu and his followers, later Chan historians such as GUIFENG ZONGMI came to speak of a "Northern school" whose teachings promoted a "gradual awakening" (JIANWU) approach to enlightenment (see SUDDEN-GRADUAL ISSUE); this school was distinguished from a superior "Southern school," which was founded on the prospect of "sudden awakening" (DUNWU). While such a characterization is now known to be misleading, subsequent genealogical histories of the Chan tradition (see CHUANDENG LU) more or less adopted Shenhui's vision of early Chan wherein the legendary sixth patriarch (LIUZU) HUINENG, rather than Shenxiu, became the bearer of the orthodox transmission from the fifth patriarch HONGREN. The LIUZU TAN JING played an important role in making this characterization of a gradualist Northern school and a subitist Southern school part of the mainstream tradition. Despite Shenhui's virulent attacks, Shenxiu and his disciples YIFU (661-736), PUJI (651-739), and XIANGMO ZANG played a much more important role in the early growth of Chan than the later tradition generally acknowledges. There is strong evidence, in fact, that Shenxiu was considered by his contemporaries to be the legitimate successor to the fifth patriarch Hongren and he and his followers were part of the metropolitan elite and wielded deep influence at the Chinese imperial court. The Northern school also seems to have been a force in Tibetan Buddhism during the eighth century and the Northern-school monk Heshang MOHEYAN was the Chinese protagonist in the famous BSAM YAS DEBATE.

benlai mianmu. (J. honrai no menmoku; K. pollae myonmok 本來面目). In Chinese, "original face"; an expression used in the CHAN school to describe the inherent state of enlightenment and often synonymous with buddha-nature (BUDDHADHATU; C. FOXING). The term is best known in the GONG'AN attributed by the tradition to the sixth patriarch (LIUZU) HUINENG (638-713), "Not thinking of good, not thinking of evil, at this very moment, what is your original face before your parents conceived you?" (The last line is often found translated as "what is your original face before your parents were born," but the previous rendering is preferred.) This gong'an is often one of the first given to RINZAI ZEN neophytes in Japan as part of their meditation training; the term, however, does not appear in the earlier DUNHUANG version of the LIUZU TAN JING ("Platform Sutra of the Sixth Patriarch"), but only in later Song-dynasty recensions, suggesting it is actually a Song-period locution.

Huineng. (J. Eno; K. Hyenŭng 慧能) (638-713). Chinese Chan master and reputed sixth patriarch (LIUZU) of the CHAN ZONG. While little is known of the historical figure, the legendary Huineng of the LIUZU TAN JING ("Platform Sutra of the Sixth Patriarch") is an ubiquitous figure in Chan literature. According to his hagiography, Huineng was born in Xinzhou (present-day Guangdong province). As a youth, he cared for his poor mother by gathering and selling firewood. One day at the market he heard someone reciting the famous VAJRACCHEDIKĀPRAJNĀPĀRAMITĀSuTRA ("Diamond Sutra") and immediately decided to enter the monastery. Huineng subsequently visited HONGREN, the fifth Chan patriarch, on East Mountain in Qizhou (present-day Hubei province). After spending eight years in the threshing room, the illiterate Huineng heard a monk reciting a verse that had just been posted on a wall of the monastery, a verse written secretly by Hongren's senior disciple, SHENXIU: "The body is the BODHI TREE, / The mind is like a bright mirror's stand. / Be always diligent in polishing it, / Do not let any dust alight." Immediately recognizing that the writer's understanding was deficient, Huineng in response composed a verse reply, which he asked a colleague to write down for him: "BODHI fundamentally has no tree, / The bright mirror also has no stand. / Fundamentally there is not a single thing, / Where could any dust alight?" After reading the verse the next day, Hongren secretly called Huineng to his room in the middle of the night and recited a line from the "Diamond Sutra," which prompted in Huineng a great awakening. Hongren then secretly transmitted the robe and bowl of Chan's founder and first patriarch, BODHIDHARMA, to Huineng, making him the sixth (and ultimately last) patriarch of the Chan school; but he ordered his successor to go into hiding, lest he be harmed by followers of Shenxiu. Huineng then fled south. In 677, he received the full monastic precepts from the dharma master Yinzong (d.u.) at the monastery of Faxingsi in Nanhai (present-day Guangdong province). The next year, Huineng relocated to the monastery of Baolinsi on CAOXISHAN, the mountain that remains forever associated with him, where he attracted many students and followers. In 815, Emperor Xianzong (r. 805-820) bestowed upon him the posthumous title Chan master Dajian (Great Speculum). The monks QINGYUAN XINGSI, NANYUE HUAIRANG, HEZE SHENHUI, and YONGJIA XUANJUE are said to have been Huineng's preeminent disciples. Huineng is claimed to have been the founder of the so-called "Southern school" (NAN ZONG) of Chan, and to have instructed his students in the "sudden teachings" (DUNJIAO), the explication of which prompted much of the Chan school's subsequent soteriological developments and intrasectarian polemics. Although we have little historical evidence about either Huineng the person or his immediate disciples, all the various strands of the mature Chan tradition retrospectively trace their pedigrees back to him, making the legend of the sixth patriarch one of the most influential in the development of the Chan school.

Huineng

Caodong zong. (J. Sotoshu; K. Chodong chong 曹洞宗). One of the so-called "five houses and seven schools" (WU JIA QI ZONG) of the mature Chinese CHAN tradition. The school traces its own pedigree back to the sixth patriarch (LIUZU) HUINENG via a lineage that derives from QINGYUAN XINGSI and SHITOU XIQIAN, but its history begins with the two Tang-dynasty Chan masters who lend their names to the school: DONGSHAN LIANGJIE and his disciple CAOSHAN BENJI. The name of this tradition, Caodong, is derived from the first characters of the two patriarchs' names, viz., Caoshan's "Cao" and Dongshan's "Dong." (The disciple's name is said to appear first in the school's name purely for euphonic reasons.) One of the emblematic teachings of the Caodong tradition is that of the "five ranks" (WUWEI), taught by Dongshan and further developed by Caoshan, which was a form of dialectical analysis that sought to present the full panoply of MAHAYANA Buddhist insights in a compressed rubric. During the Song dynasty, the Caodong school also came to be associated with the contemplative practice of "silent illumination" (MOZHAO CHAN), a form of meditation that built upon the normative East Asian notion of the inherency of buddhahood (see TATHAGATAGARBHA) to suggest that, since enlightenment was the mind's natural state, nothing needed to be done in order to attain enlightenment other than letting go of all striving for that state. Authentic Chan practice therefore entailed only maintaining this original purity of the mind by simply sitting silently in meditation. The practice of silent illumination is traditionally attributed to HONGZHI ZHENGJUE (see MOZHAO MING) and ZHENGXIE QINGLIAO, who helped revive the moribund Caodong lineage during the late eleventh and early twelfth centuries and turned it into one of the two major forces in mature Song-dynasty Chan. The silent-illumination technique that they championed was harshly criticized by teachers in the rival LINJI ZONG, most notably Hongzhi's contemporary DAHUI ZONGGAO. In Japan, the ZEN master DoGEN KIGEN is credited with transmitting the Caodong lineage to the Japanese isles in the thirteenth century, where it is known as the SoToSHu (the Japanese pronunciation of Caodong zong); it became one of the three major branches of the Japanese Zen school, along with RINZAISHu and oBAKUSHu. In Korea, just one of the early Nine Mountains schools of SoN (see KUSAN SoNMUN), the Sumisan school, is presumed to trace back to a teacher, Yunju Daoying (d. 902), who was also a disciple of Dongshan Liangjie; the Caodong school had no impact in the subsequent development of Korean Son, where Imje (C. Linji zong) lineages and practices dominated from the thirteenth century onwards.

Caoshan Benji. (J. Sozan Honjaku; K. Chosan Ponjok 曹山本寂) (840-901). Chinese CHAN master and reputed cofounder of the CAODONG line of Chan; also known as Danzhang. Caoshan was a native of Quanzhou in present-day Fujian province. After leaving home at age eighteen and fully ordaining at twenty-five, Caoshan visited the Chan master DONGSHAN LIANGJIE and became his disciple. Caoshan was later invited to Mt. Heyu in Fuzhou (present-day Jiangxi province), and there he established his unique style of Chan. He later renamed the mountain Mt. Cao (or Caoshan) after the sixth patriarch HUINENG's own residence of CAOXISHAN. Caoshan's line of Chan came to be known as Caodong, which is derived eponymously from the first Sinograph in both Caoshan and Dongshan's names. One of the most emblematic teachings of the Caodong tradition is that of the "five ranks" (WUWEI), taught by Dongshan and further developed by Caoshan, a form of dialectical analysis that JUEFAN HUIHONG (1071-1128) considered to be the origin of "lettered Chan" (WENZI CHAN). Caoshan was later given the posthumous title Great Master Yunzheng. Although Caoshan had many disciples, his own lineage did not survive into the Song dynasty and the Caodong line was carried on by the lineage of Yunju Daoying (d. 902), a fellow student of Dongshan.

Caoxishan. [alt. Caoqishan] (J. Sokeizan; K. Chogyesan 曹溪山). A sacred mountain in the south of China, located in Shaozhou, present-day Guangdong province, and closely associated with the CHAN ZONG. According to legend, an Indian brAhmana who arrived at the mountain in 502 was so moved by the taste of its spring water that he suggested that a monastery be constructed there. The monastery was built and named Baolinsi, or Bejeweled Forest Monastery. The brAhmana also predicted that a great teacher would one day preach the DHARMA at the monastery and awaken beings as numerous as the trees in the forest. This tale may be attributed to followers of the legendary sixth patriarch (LIUZU) of the Chan school, HUINENG, who purportedly arrived at Baolinsi in 677. Upon his arrival, Huineng is also said to have established separate quarters for meditative practice within the monastery's compounds, which later came to be known as Huoguoyuan or NANHUASI. The mountain's name of Caoxi is sometimes also used as a toponym of Huineng, its most famous inhabitant. Caoxishan (in its Korean pronunciation of Chogyesan) is also an important Buddhist mountain in Korea and is the site of the famous practice monastery of SONGGWANGSA. See also CHOGYE CHONG.

Chan. (J. Zen; K. Son; V. Thièn 禪). In Chinese, the "Meditation," or Chan school (CHAN ZONG); one of the major indigenous schools of East Asian Buddhism. The Sinograph "chan" is the first syllable in the transcription channa, the Chinese transcription of the Sanskrit term DHYANA (P. JHANA); thus chan, like the cognate term chanding (chan is a transcription and ding a translation, of dhyAna), is often translated in English simply as "meditation." For centuries, the title CHANSHI (meditation master) was used in such sources as the "Biography of Eminent Monks" (GAOSENG ZHUAN) to refer to a small group of elite monks who specialized in the art of meditation. Some of these specialists adopted the term chan as the formal name of their community (Chan zong), perhaps sometime during the sixth or seventh centuries. These early "Chan" communities gathered around a number of charismatic teachers who were later considered to be "patriarchs" (ZUSHI) of their tradition. The legendary Indian monk BODHIDHARMA was honored as the first patriarch; it was retrospectively claimed that he first brought the Chan teachings to China. Later Chan lineage histories (see CHUANDENG LU) reconstructed elaborate genealogies of such patriarchs that extended back to MAHAKAsYAPA, the first Indian patriarch, and ultimately to the Buddha himself; often, these genealogies would even go back to all of the seven buddhas of antiquity (SAPTABUDDHA). Six indigenous patriarchs (Bodhidharma, HUIKE, SENGCAN, DAOXIN, HONGREN, and HUINENG) are credited by the established tradition with the development and growth of Chan in China, but early records of the Chan school, such as the LENGQIE SHIZI JI and LIDAI FABAO JI, reveal the polemical battles fought between the disparate communities to establish their own teachers as the orthodox patriarchs of the tradition. A particularly controversial dispute over the sixth patriarchy broke out between the Chan master SHENXIU, the leading disciple of the fifth patriarch Hongren, and HEZE SHENHUI, the purported disciple of the legendary Chinese monk Huineng. This dispute is often referred to as the "sudden and gradual debate," and the differing factions came to be retrospectively designated as the gradualist Northern school (BEI ZONG; the followers of Shenxiu) and the subitist Southern school (NAN ZONG; the followers of Huineng). The famous LIUZU TANJING ("Platform Sutra of the Sixth Patriarch"), composed by the followers of this putative Southern school, is an important source for the history of this debate. Following the sixth patriarch, the Chan lineage split into a number of collateral lines, which eventually evolved into the so-called "five houses and seven schools" (WU JIA QI ZONG) of the mature Chan tradition: the five "houses" of GUIYANG (alt. Weiyang), LINJI, CAODONG, YUNMEN, and FAYAN, and the subsequent bifurcation of Linji into the two lineages of HUANGLONG and YANGQI, giving a total of seven schools. ¶ The teachings of the Chan school were introduced to Korea perhaps as early as the end of the seventh century CE and the tradition, there known as SoN, flourished with the rise of the Nine Mountains school of Son (KUSAN SoNMUN) in the ninth century. By the twelfth century, the teachings and practices of Korean Buddhism were dominated by Son; and today, the largest Buddhist denomination in Korea, the CHOGYE CHONG, remains firmly rooted in the Son tradition. The Chan teachings were introduced to Japan in the late twelfth century by MYoAN EISAI (1141-1215); the Japanese tradition, known as ZEN, eventually developed three major sects, RINZAISHu, SoToSHu, and oBAKUSHu. The Chan teachings are traditionally assumed to have been transmitted to Vietnam by VINĪTARUCI (d. 594), a South Indian brAhmana who is claimed (rather dubiously) to have studied in China with the third Chan patriarch SENGCAN before heading south to Guangzhou and Vietnam. In 580, he is said to have arrived in Vietnam and settled at Pháp Van monastery, where he subsequently transmitted his teachings to Pháp Hièn (d. 626), who carried on the Chan tradition, which in Vietnamese is known as THIỀN. In addition to the Vinītaruci lineage, there are two other putative lineages of Vietnamese Thièn, both named after their supposed founders: VÔ NGÔN THÔNG (reputedly a student of BAIZHANG HUAIHAI), and THẢO ĐƯỜNG (reputedly connected to the YUNMEN ZONG lineage in China). Chan had a presence in Tibet during the early dissemination (SNGA DAR) of Buddhism, and the Chan monk MOHEYAN was an influential figure at the Tibetan court in the late eighth century, leading to the famous BSAM YAS DEBATE.

Chin'gam Hyeso. (眞鑑慧昭) (774-850). A Korean SoN master and pilgrim during the Silla dynasty, also known as Chin'gam Sonsa. Hyeso is famous for introducing a traditional Indian Buddhist chanting style (K. pomp'ae; C. FANBAI) to Korea. In 804, Hyeso accompanied the official embassy to China, where he studied under a disciple of the eminent CHAN master MAZU DAOYI in the HONGZHOU school of early Chan. In China, Hyeso is said to have been often referred to as the Sage of the East (Dongfang shengren) and the Black-Headed Ascetic (Heidoutuo) because of his dark skin. In 810, Hyeso received full monastic precepts at the monastery of SHAOLINSI on SONGSHAN, where he met a fellow Korean monk TOŬI. Hyeso later traveled to Zhongnanshan, where he practiced sAMATHA and VIPAsYANA meditation for three years. In 830, he returned to Korea and became the king's personal teacher. He later established the monasteries of Changbaeksa on Soraksan and Okch'onsa on CHIRISAN, where he constructed an image hall for the sixth patriarch (LIUZU) HUINENG. King Chonggang (r. 886-887) gave him the posthumous title Chin'gam (True Mirror) and changed the name of his monastery from Okch'onsa to SSANGGYESA (Paired Brooks Monastery). Hyeso is also renowned for introducing tea and tea culture to the Korean peninsula and green tea from the mountains surrounding SSANGGYESA is still renowned in Korea for its quality. Chin'gam Hyeso is also reputed to have introduced the distinctive "Indian style" of chanting to Korea around 830, and current pomp'ae specialists trace their lineage back to him.

Chodang chip. (C. Zutang ji; J. Sodoshu 祖堂集). In Korean, "Patriarchs' Hall Collection"; one of the earliest "lamplight histories" (CHUANDENG LU), viz., lineage records, of the CHAN tradition, compiled in 952 by the monks Jing (K. Chong) (d.u.) and Yun/Jun (K. Un/Kyun) (d.u.) of the monastery of Chaojingsi in Quanzhou (in present-day Fujian provine). The Chodang chip builds on an earlier Chan history, the BAOLIN ZHUAN, on which it seems largely to have been based. According to one current theory, the original text by Jing and Yun was a short work in a single roll, which was expanded into ten rolls early in the Song dynasty and subsequently reissued in twenty rolls in the definitive 1245 Korean edition. The anthology includes a preface by the compilers' teacher and collaborator Zhaoqing Shendeng/Wendeng (884-972), also known as the Chan master Jingxiu, who also appends verse panegyrics after several of the biographies in the collection. The Chodang chip provides biographies of 253 figures, including the seven buddhas of the past (SAPTATATHAGATA), the first Indian patriarch (ZUSHI) MAHAKAsYAPA up to and including the sixth patriarch (LIUZU) of Chan in China, HUINENG, and monks belonging to the lineages of Huineng's putative disciples QINGYUAN XINGSI and NANYUE HUAIRANG. In contrast to the later JINGDE CHUANDENG LU, the Chodang chip mentions the lineage of Qingyuan before that of Nanyue. In addition to the biographical narrative, the entries also include short excerpts from the celebrated sayings and dialogues of the persons it covers. These are notable for including many features that derive from the local vernacular (what has sometimes been labeled "Medieval Vernacular Sinitic"); for this reason, the text has been the frequent object of study by Chinese historical linguists. The Chodang chip is also significant for containing the biographies of several Silla-dynasty monks who were founders of, or associated with, the Korean "Nine Mountains School of Son" (KUSAN SoNMUN), eight of whom had lineage ties to the Chinese HONGZHOU ZONG of Chan that derived from MAZU DAOYI; the anthology in fact offers the most extensive body of early material on the developing Korean Son tradition. This emphasis suggests that the two compilers may themselves have been expatriate Koreans training in China and/or that the extant anthology was substantially reedited in Korea. The Chodang chip was lost in China after the Northern Song dynasty and remained completely unknown subsequently to the Chinese Chan and Japanese Zen traditions. However, the 1245 Korean edition was included as a supplement to the Koryo Buddhist canon (KORYo TAEJANGGYoNG), which was completed in 1251 during the reign of the Koryo king Kojong (r. 1214-1259), and fortunately survived; this is the edition that was rediscovered in the 1930s at the Korean monastery of HAEINSA. Because the collection is extant only in a Koryo edition and because of the many Korean monks included in the collection, the Chodang chip is often cited in the scholarly literature by its Korean pronunciation.

Chogye chong. (曹溪宗). In Korean, the "Chogye order"; short for Taehan Pulgyo Chogye chong (Chogye Order of Korean Buddhism); the largest Buddhist order in Korea, with and some fifteen thousand monks and nuns and over two thousand monasteries and temples organized around twenty-five district monasteries (PONSA). "Chogye" is the Korean pronunciation of the Chinese Caoxi, the name of the mountain (CAOXISHAN) where the sixth patriarch (LIUZU) of CHAN, HUINENG, resided; the name is therefore meant to evoke the order's pedigree as a predominantly Chan (K. SoN) tradition, though it seeks also to incorporate all other major strands of Korean Buddhist thought and practice. The term Chogye chong was first used by the Koryo monk ŬICHoN to refer to the "Nine Mountains school of Son" (KUSAN SoNMUN), and the name was used at various points during the Koryo and Choson dynasties to designate the indigenous Korean Son tradition. The Chogye order as it is known today is, however, a modern institution. It was formed in 1938 during the Japanese colonial administration of Korea, a year after the monastery of T'aegosa was established in central Seoul and made the new headquarters of Choson Buddhism (Choson Pulgyo ch'ongbonsan). This monastery, later renamed CHOGYESA, still serves today as the headquarters of the order. The constitution of the order traces its origins to Toŭi (d. 825), founder of the Kajisan school in the Nine Mountains school of Son; this tradition is said to have been revived during the Koryo dynasty by POJO CHINUL, who provided its soteriological grounding; finally, the order's lineage derives from T'AEGO POU, who returned to Korea at the very end of the Koryo dynasty with dharma transmission in the contemporary Chinese LINJI ZONG. In 1955, following the end of the Korean War, Korean Buddhism entered into a decade-long "purification movement" (chonghwa undong), through which the celibate monks (pigu sŭng) sought to remove all vestiges of Japanese influence in Korean Buddhism, and especially the institution of married monks (taech'o sŭng). This confrontation ultimately led to the creation of two separate orders: the Chogye chong of the celibate monks, officially reconstituted in 1962, and the much smaller T'AEGO CHONG of married monks.

Chogyesa. (曹溪寺). In Korean, "Chogye Monastery"; the administrative headquarters of the CHOGYE CHONG, the largest Buddhist order in contemporary Korea, and its first district monastery (PONSA). In an attempt to unify Korean Buddhist institutions during the Japanese colonial period, Korean Buddhist leaders prepared a joint constitution of the SoN and KYO orders and established the Central Bureau of Religious Affairs (Chungang Kyomuwon) in 1929. Eight years later, in 1937, the Japanese government-general decided to help bring the Buddhist tradition under centralized control by establishing a new headquarters for Choson Buddhism (Choson Pulgyo Ch'ongbonsan) in the capital of Seoul. With financial and logistical assistance from the Japanese colonial administration, the former headquarters building of a proscribed Korean new religion, the Poch'on'gyo, was purchased, disassembled, and relocated from the southwest of Korea to the site of Kakhwangsa in the Chongno district of central Seoul. That new monastery was given the name T'aegosa, after its namesake T'AEGO POU, the late-Koryo Son teacher who received dharma transmission in the Chinese LINJI ZONG. After the split in 1962 between the celibate monks of the Chogye chong and the married monks (taech'o sŭng), who organized themselves into the T'AEGO CHONG, T'aegosa was renamed Chogyesa, from the name of the mountain where the sixth patriarch (LIUZU) of Chan, HUINENG, resided (see CAOXISHAN). This monastery continues to serve today as the headquarters of the Chogye chong. In addition to the role it plays as the largest traditional monastery in the city center of Seoul, Chogyesa also houses all of the administrative offices of the order.

Chuanfa zhengzong ji. (J. Denboshoshuki; K. Chonpop chongjong ki 傳法正宗). In Chinese, "Record of the Orthodox Tradition's Transmission of the Dharma"; edited by FORI QISONG (1007-1072) and published in 1591; an influential history of the CHAN tradition, the Chuanfa zhengzong ji largely follows the genealogies delineated in the JINGDE CHUANDENG LU, with the crucial difference of accepting a roster of only twenty-four, not twenty-eight, patriarchs (ZUSHI) in the Chan tradition. In its first roll, the Chuanfa zhengzong ji begins with the biography of the Buddha, and follows in the next few rolls with the biographies of his successors, starting with MAHAKAsYAPA and the twenty-four Indian patriarchs of Chan, continuing through to the sixth Chinese patriarch HUINENG. In rolls seven and eight, approximately thirteen hundred short biographies of monks who trace their lineages back to Huineng are provided. The last roll offers more than two hundred biographies of important meditators, ascetics, and Chan masters who predate Huineng, as well as brief notes on monks who thus do not belong to the "orthodox" Chan lineage outlined above. One of the primary purposes of this text was to argue against the dominant "twenty-eight Indian patriarchs" model borrowed from the apocryphal FUFAZANG YINYUAN ZHUAN (the model used, for instance, in the Jingde chuandeng lu) and substantiate instead the alternative paradigm of twenty-four Indian patriarchs.

Denkoroku. (傳光録). In Japanese, "Record of the Transmission of the Light"; a text also known by its full title, Keizan osho denkoroku ("A Record of the Transmission of the Light by Master Keizan"). The anthology is attributed by Soto tradition to KEIZAN JoKIN, but was most probably composed posthumously by his disciples. The Denkoroku is a collection of pithy stories and anecdotes concerning fifty-two teachers recognized by the Japanese SoToSHu as the patriarchs of the school, accompanied by the author's own explanatory commentaries and concluding verses. Each chapter includes a short opening case (honsoku), which describes the enlightenment experience of the teacher; a longer section (called a kien) offering a short biography and history of the teacher, including some of his representative teachings and exchanges with students and other teachers; a prose commentary (teisho; C. TICHANG) by the author; and a concluding appreciatory verse (juko). The teachers discussed in the text include twenty-seven Indian patriarchs from MAHĀKĀsYAPA to PrajNātāra; six Chinese patriarchs from BODHIDHARMA through HUINENG; seventeen Chinese successors of Huineng in the CAODONG ZONG, from QINGYUAN XINGSI to TIANTONG RUJING; and finally the two Japanese patriarchs DoGEN KIGEN and Koun Ejo (1198-1280). The Denkoroku belongs to a larger genre of texts known as the CHUANDENG LU ("transmission of the lamplight records"), although it is a rigidly sectarian lineage history, discussing only the single successor to each patriarch with no treatment of any collateral lines.

Eno 慧能. See HUINENG

Fahai. (J. Hokai; K. Pophae 法海) (d.u.). In Chinese, "Sea of Dharma": a disciple of HUINENG, the sixth patriarch (LIUZU) of the CHAN ZONG. Fahai is said to have been the head monk of the monastery of Tafansi in Shaozhou Prefecture, where Huineng is presumed to have delivered a sermon on the "sudden" teachings (DUNJIAO) of the Southern school (NAN ZONG) of Chan. Fahai is dubiously credited with compiling the written record of this sermon, the LIUZU TAN JING ("Platform Sutra of the Sixth Patriarch"). A rather late "brief preface" (luexu) to the Liuzu tan jing is also retrospectively attributed to Fahai. The story of this figure may have been based on a monk by the same name who was affiliated with the NIUTOU ZONG of Chan.

fozu. (J. busso; K. pulcho 佛祖). In Chinese, "buddhas and patriarchs," referring to the ancestors of the Buddhist tradition. Many traditions of Buddhism, especially those in East Asia, trace their pedigree back through an unbroken lineage of patriarchs (cf. ZUSHI) to the Buddha or buddhas. Positing such a succession of teachers directly connects the contemporary tradition both temporally and geographically to the founder of the religion himself and thus authenticates the school's presentation of the Buddhist tradition. The buddhas in these rosters typically refer to the seven buddhas of antiquity (SAPTATATHĀGATA), the last of whom in the succession is sĀKYAMUNI, the founder of the current dispensation (sĀSANA) of Buddhism. sākyamuni in turn is followed by a succession of Indian patriarchs (ZUSHI), whose numbers vary: in East Asia, the CHAN ZONG ultimately accepts a list of twenty-eight Indian patriarchs, beginning with MAHĀLĀsYAPA and ending with BODHIDHARMA; the TIANTAI ZONG accepts twenty-four Indian patriarchs, beginning with Mahākāsyapa and ending with SiMha bhiksu. These Indian predecessors would then be followed in turn by a list of Chinese patriarchs, of whom six are best known in the Chan school (ending with the sixth patriarch, LIUZU, HUINENG) and nine in the Tiantai school. Especially for a school like Chan, which claims not to base its presentation of Buddhism on the scriptures of the religion (see BULI WENZI) but instead on its direct connection to the mind of the Buddha (foxin), the existence of such an unbroken lineage of "buddhas and patriarchs" is a principal means of legitimating the school. See also FOZU TONGJI; JINGDE CHUANDENG LU.

Guangxiaosi. (光孝寺). In Chinese, "Radiant Filiality Monastery"; located in Guangzhou, it was formerly the residence of Prince Zhao Jiande of the Western Han dynasty. In 401 CE, during the Eastern Jin dynasty (317-420), the GANDHĀRA monk, Dharmayasas (Tanmoyeshe), is said to have converted the residence into a monastery. When BODHIDHARMA (c. early fifth century), the legendary founder of the CHAN school, traveled to China, he is said to have arrived in Guangzhou and visited the monastery before proceeding north. But the monk most closely associated with Guangxiaosi was a native of the region, HUINENG (638-713 CE), the putative sixth patriarch (LIUZU) of Chan Buddhism. Chan doxographies state that Huineng initially arrived at the monastery, which was then called Faxingsi, as a novice during the 660s. Huineng's arrival coincided with an ongoing debate among some resident monks: when the breeze blew a banner located nearby, was it the breeze or the banner that moved? Huineng famously replied that it was actually the minds of the two monks that moved. The story is commemorated in a hall constructed at the monastery named Banner Hall. Huineng is said to have accepted his monastic vows under a BODHI TREE located at the monastery, thus fulfilling a prophecy made over a century earlier, and later became its abbot. Huineng's monastery was renamed Guangxiaosi during the Song dynasty; by the Yuan dynasty, it had achieved fame for being the former residence of Zhao Jiande, as well as for housing the aforementioned bodhi tree and Banner Hall. During the Ming dynasty, the monastery was favored by poets seeking refuge from the summer heat. Three of the Pearl River delta's most celebrated poets, Ou Daren, Li Minbiao, and Liang Youyu, founded a poetry society while residing at the monastery. Guangxiaosi was rebuilt during the Qing dynasty (1644-1911 CE) in its present form. The monastery is also famous for housing the first iron STuPAs in China, which still exist. The west courtyard houses the square West Iron Pagoda, which was cast in 963 CE, during the Five Dynasties period. Only three of the original seven stories still exist. The East Iron Pagoda, cast in 967 CE, was also seven stories high and is preserved on the monastery grounds.

Heze Shenhui. (J. Kataku Jinne; K. Hat'aek Sinhoe 荷澤神會) (684-758). Chinese CHAN master and reputed main disciple of the sixth patriarch HUINENG; his collateral branch of Huineng's lineage is sometimes referred to as the Heze school. Shenhui was a native of Xiangyang in present-day Hubei province. He became a monk under the master Haoyuan (d.u.) of the monastery of Kuochangsi in his hometown of Xiangyang. In 704, Shenhui received the full monastic precepts in Chang'an, and extant sources provide differing stories of Shenhui's whereabouts thereafter. He is said to have become a student of SHENXIU and later visited MT. CAOXI where he studied under Huineng until the master's death in 713. After several years of traveling, Shenhui settled down in 720 at the monastery of Longxingsi in Nanyang (present-day Henan province). In 732, during an "unrestricted assembly" (WUZHE DAHUI) held at the monastery Dayunsi in Huatai, Shenhui engaged a monk by the name of Chongyuan (d.u.) and publicly criticized the so-called Bei zong (Northern school) of Shenxiu's disciples PUJI and XIANGMO ZANG as being a mere collateral branch of BODHIDHARMA's lineage that upheld a gradualist soteriological teaching. Shenhui also argued that his teacher Huineng had received the orthodox transmission of Bodhidharma's lineage and his "sudden teaching" (DUNJIAO). In 745, Shenhui is said to have moved to the monastery of Hezesi in Luoyang, whence he acquired his toponym. He was cast out of Luoyang by a powerful Northern school follower in 753. Obeying an imperial edict, Shenhui relocated to the monastery of Kaiyuansi in Jingzhou (present-day Hubei province) and assisted the government financially by performing mass ordinations after the economic havoc wrought by the An Lushan rebellion in 755. He was later given the posthumous title Great Master Zhenzong (Authentic Tradition). Shenhui also plays a minor, yet important, role in the LIUZU TAN JING ("Platform Sutra of the Sixth Patriarch"). A treatise entitled the XIANZONGJI, preserved as part of the JINGDE CHUANDENG LU, is attributed to Shenhui. Several other treatises attributed to Shenhui were also discovered at DUNHUANG. Shenhui's approach to Chan practice was extremely influential in GUIFENG ZONGMI's attempts to reconcile different strands of Chan, and even doctrine, later in the Tang dynasty; through Zongmi, Shenhui's teachings also became a critical component of the Korean Son master POJO CHINUL's accounts of Chan soteriology and meditation.

Hongren. (J. Konin/Gunin; K. Hongin 弘忍) (601-674). Chinese Chan master and the reputed fifth patriarch of the Chan zong. Hongren was a native of Huangmei in Qizhou (present-day Hubei province). Little is known of his early life, but he eventually became the disciple of the fourth patriarch DAOXIN. After Daoxin's death in 651, Hongren succeeded his teacher and moved to Mt. Fengmao (also known as Dongshan or East Mountain), the east peak of Mt. Shuangfeng (Twin Peaks) in Huangmei. Hongren's teachings thus came to be known as the "East Mountain teachings" (DONGSHAN FAMEN), although that term is later applied also to the lineage and teachings of both Daoxin and Hongren. After his move to Mt. Fengmao, disciples began to flock to study under Hongren. Although Hongren's biography in the CHUAN FABAO JI certainly exaggerates when it says that eight to nine out of every ten Buddhist practitioners in China studied under him, there is no question that the number of students of the East Mountain teachings grew significantly over two generations. The twenty-five named disciples of Hongren include such prominent figures as SHENXIU, Zhishen (609-702), Lao'an (d. 708), Faru (638-689), Xuanze (d.u.), and HUINENG, the man who would eventually be recognized by the mature Chan tradition as the sixth, and last, patriarch. The legendary account of Hongren's mind-to-mind transmission (YIXIN CHUANXIN) of the DHARMA to Huineng can be found in the LIUZU TAN JING. Later, Emperor Daizong (r. 762-779) bestowed upon Hongren the title Chan master Daman (Great Abundance). The influential treatise XIUXIN YAO LUN ("Treatise on the Essentials of Cultivating the Mind") is attributed to Hongren; it stresses the importance of "guarding the mind" (SHOUXIN). In that text, the relationship between the pure mind and the afflictions (KLEsA) is likened to that between the sun and the clouds: the pure mind is obscured by afflictions just as the sun is covered by layers of clouds; but if one can guard the mind so that it is kept free from false thoughts and delusions, the sun of NIRVĀnA will then appear. The text suggests two specific meditation techniques for realizing this goal: one is continuously to visualize the original, pure mind (viz., the sun) so that it shines without obscuration; the other is to concentrate on one's own deluded thoughts (the clouds) until they disappear. These two techniques purport to "guard the mind" so that delusion can never recur.

Hyenŭng 慧能. See HUINENG

imwotko. (C. shi shenme; J. kore ikan; K. /si simma 是甚麼). In vernacular Korean (and specifically the dialect of Kyongsang province), "What is this?"; the foundational contemplative question (K. hwadu; C. HUATOU) used within the Korean SoN (C. CHAN) tradition. This hwadu was taught by both KYoNGHo SoNGU (1849-1912) and YONGSoNG CHINJONG (1864-1940) as part of their attempts to revive Korean kanhwa Son (C. KANHUA CHAN) practice at the turn of the twentieth century. Imwotko is a dialectical contraction of the standard vernacular Korean phrase "Igosi muosin ko" ("What is this?"), which is the translation of the classical Chinese question "What is this?" (C. SHI SHENME; K. si simma) that was frequently raised by teachers in the Chinese Chan tradition. For example, the sixth patriarch HUINENG (638-713) is said to have asked, "There is this one thing that supports the heavens above and opens the earth below. It is as bright as the sun and moon and as dark as a lacquer barrel. It is constantly inside all my activities. What is that thing?" And MAZU DAOYI (709-788) asked, "It is not mind, not buddha, not a thing. So, what is it?" Imwotko differs from the enigmatic expressions of the enlightenment experience that appear in many of the Son exchanges between master and disciple; it is instead presumed to ask the fundamental question about what existence itself means, such as what is my original face (K. pollae myonmok; C. BENLAI MIANMU). By asking this most basic of existential questions, imwotko is thought to generate the sensation of doubt (K. ŭijong; C. YIJING) more readily than might the standard Son GONG'AN and is often thus the first hwadu given to beginning meditators, and especially laypersons, in Korean Son training. But because the doubt generated by imwotko may not be as intense and sustained as that generated by the standard kongan, monks and nuns will typically shift from imwotko to one of those cases as their meditation progresses.

Lengqie shizi ji. (J. Ryoga shishiki; K. Nŭngga saja ki 楞伽師資). In Chinese, "Records of the Masters and Disciples of the Lankāvatāra"; a genealogical anthology associated with the Northern school (BEI ZONG) of the early CHAN tradition, compiled by JINGJUE (683-c. 760). The Lengqie shizi ji contains the biographies and sayings of eight generations of masters (twenty-four in total), who received the "transmission of the lamp" (chuandeng) as patriarchs (ZUSHI) in the Chan school. The transmission narrative presented in this text differs markedly from that found in the LIUZU TAN JING ("Platform Sutra"), which becomes normative in the mature Chan tradition. The recipients of the special transmission of the Chan teachings in the Lenqi shizi ji belong instead to the Northern school. Jingjue places GUnABHADRA before BODHIDHARMA in the Chan patriarchal lineage (probably because of his role in translating the LAnKĀVATĀRASuTRA, an important scriptural influence in the early Chan school); in addition, SHENXIU is listed as the successor to the fifth Chinese patriarch, HONGREN, in place of HUINENG. The Lenqie shizi ji also contains a set of rhetorical questions and doctrinal admonitions known as zhishi wenyi (lit. "pointing at things and inquiring into their meaning") in the biographies of Gunabhadra, Bodhidharma, Hongren, and Shenxiu. Jingjue quotes from numerous sources, including his teacher Xuanze's (d.u.) Lengqie renfa zhi ("Records of the Men and Teachings of the Lankāvatāra," apparently extant only in these embedded quotations in the Lenqie shizi ji), the DASHENG QIXIN LUN, the XIUXIN YAO LUN, Bodhidharma's ERRU SIXING LUN, and the Rudao anxin yao fangpian famen attributed to DAOXIN (which also seems to exist only as quoted, apparently in its entirety, in the Lenqie shizi ji). As one of the earliest Chan texts to delineate the transmission-of-the-lamplight theory as espoused by the adherents of the Northern school of Chan, the Lenqie shizi ji is an invaluable tool for understanding the development of the lineage of Chan patriarchs and the early history of the Chan school. See also CHUANDENG LU; LIDAI FABAO JI.

Lidai fabao ji. (J. Rekidai hoboki; K. Yoktae poppo ki 歴代法寶). In Chinese, "Record of the Dharma-Jewel throughout Successive Generations"; an influential genealogical history of the early CHAN tradition, composed by disciples of the Chan master BAOTANG WUZHU in the JINGZHONG ZONG. The history of the Chan school as related in the Lidai fabao ji begins with the arrival of Buddhism in China during the Han dynasty, which is followed by a brief discussion of the lineages of dharma transmission in the FU FAZANG YINYUAN ZHUAN and LENGQIE SHIZI JI. The Lidai fabao ji then provides the biographies of the six patriarchs (ZUSHI) of Chan in China: Bodhidharmatrāta [alt. BODHIDHARMA], Huike, Sengcan, Daoxin, Hongren, and Huineng. Each biography ends with a brief reference to the transmission of the purple monastic robe of Bodhidharma as a symbol of authority. The manner in which this robe came into the hands of Zhishen (609-702), a disciple of the fifth patriarch Hongren, is told following the biography of the sixth, and last, patriarch Huineng. According to the Lidai fabao ji's transmission story, Huineng entrusted the robe to Empress WU ZETIAN, who in turn gave it to Zhishen during his visit to the imperial palace. Zhishen is then said to have transmitted this robe to Chuji [alt. 648-734, 650-732, 669-736], who later passed it on to his disciple CHoNGJUNG MUSANG (C. Jingzhong Wuxiang). The robe finally came into the possession of Musang's disciple Baotang Wuzhu, whose teachings comprise the bulk of the Lidai fabao ji. After the Lidai fabao ji was translated into Tibetan, Wuzhu's teachings made their way to Tibetan plateau, where they seem to have exerted some influence over the early development of Tibetan Buddhism. The Lidai fabao ji was thought to have been lost until the modern discovery of several copies of the text in the manuscript cache at DUNHUANG. Cf. CHUANDENG LU; LENGQIE SHIZI JI.

Liuzu tan jing. (J. Rokuso dangyo; K. Yukcho tan kyong 六祖壇經). In Chinese, "Platform Sutra of the Sixth Patriarch," the written transcription of the sermons of the sixth patriarch (LIUZU) HUINENG (638-713); the composition is attributed to the monk FAHAI; also known as the Nan zong dunjiao zuishang dasheng mohe bore boluomi jing, Liuzu dashi fabao tan jing, Fabao tan jing, or simply Tan jing ("Platform Sutra"). The Liuzu tan jing is one of the most influential texts of the CHAN tradition. The text is ostensibly a record of the lectures delivered by the reputed sixth patriarch Huineng at the monastery of Dafansi in Shaozhou (present-day Guangdong province). The lectures contain the famous story of Huineng's verse competition with his rival SHENXIU, which wins Huineng the Chan patriarchy (see ZUSHI), in which Huineng distinguished his own "sudden teachings" (DUNJIAO) of a so-called Southern school (NAN ZONG) of Chan from the "gradual teachings" (jianjiao) of Shenxiu's Northern school (BEI ZONG). As Huineng defines the term later in this sermon, the "sudden teaching" involves an approach to Buddhist training that is free from all dualistic forms of practice (see ADVAYA) and that correspondingly rejects any and all expedient means (UPĀYA) of realizing truth. This sudden teaching comes to be considered emblematic of the so-called Southern school (Nan zong) of Chan, which retrospectively comes to be considered the mainstream of the Chan tradition. The teachings of the text also focus on the unity of concentration (SAMĀDHI) and wisdom (PRAJNĀ), in which concentration is conceived to be the essence (TI) of wisdom and wisdom the functioning (YONG) of concentration; "no-thought" (WUNIAN), which the text defines as "not to think even when involved in thought"; seeing one's own nature (JIANXING); and the conferral of the formless precepts (WUXIANG JIE). Indeed, the "platform" in the title refers to the ordination platform (jietan; cf. SĪMĀ) where Huineng conferred these formless precepts. Although the Liuzu tan jing has been traditionally heralded as the central scripture of the Nan zong, and certainly is beholden to the teachings of the Southern-school champion HEZE SHENHUI, the text seems to have been influenced as well by the teachings of both the Northern and Oxhead schools (NIUTOU ZONG). Within the Chan tradition, a Yuan-dynasty edition of the Liuzu tan jing, which included an important preface by FORI QISONG, was most widely disseminated. SIR MARC AUREL STEIN's rediscovery in the DUNHUANG manuscript cache of a previously unknown, and quite different, recension of the text, dating to the mid-ninth century, did much to launch the modern scholarly reappraisal of the received history of the Chan school. See also DUNWU.

Mazu Daoyi. (J. Baso Doitsu; K. Majo Toil 馬祖道一) (709-788). Chinese CHAN master of the Tang dynasty and retrospective patriarch of the HONGZHOU ZONG of the broader Chan tradition. Mazu was a native of Hanzhou in present-day Sichuan province. At an early age, he became a student of the Chan master Chuji (alt. 648-734, 650-732, 669-736) of Zizhou (also in present-day Sichuan province) and received the full monastic precepts later from the VINAYA master Yuan (d.u.) at nearby Yuzhou. Mazu is said to have later visited the sixth patriarch HUINENG's disciple NANYUE HUAIRANG (677-744), under whom he attained awakening. According to the famous story, which is frequently recited in Chan literature, Mazu was awakened when his teacher Nanyue likened Mazu's sitting in meditation to the act of polishing of a roof tile: just as a roof tile cannot be polished to make a mirror, sitting meditation, says Nanyue, cannot lead to buddhahood. In his thirties, Mazu began teaching at various monasteries in the southern regions of Fujian and Jiangxi province. In 769, he began his residence at the monastery of Kaiyuansi (also known as Youqingsi) in Zhongling (in present-day Jiangsu province) and attracted many students. Emperor Xianzong (r. 805-820) later gave him the posthumous title Chan Master Daji (Great Serenity). His teachings are recorded in the Mazu Daoyi chanshi guanglu. Mazu developed the idea of "original enlightenment" (BENJUE) from the DASHENG QIXIN LUN ("Awakening of Faith According to the Mahāyāna") in a radical direction. He asserted that "everyday mind is the way" (pingchangxin shi dao) and that "mind itself is the Buddha" (zixin shi fo), arguing that sentient beings have never in fact been deluded but have always been awakened buddhas. Although Mazu did not intend to advocate maintaining a deluded state of mind but wanted instead to recognize the value of the ordinary life as the ground of enlightenment, his emphasis on the inseparable relationship of enlightenment and ignorance drew severe criticisms, especially from GUIFENG ZONGMI (780-841), who believed that Mazu's teachings fostered antinomianism for suggesting that practice was not necessary in order to awaken.

Nanhuasi. (南華寺). In Chinese, "Southern Florate Monastery"; located in present-day Guangdong province close to Nanhua Mountain and facing the Caoqi River. The monastery was built by an Indian monk in 502 CE during the Liang dynasty and was originally named Baolinsi (Bejeweled Forest Monastery). It went through several name changes until it was renamed Nanhuasi in 968 CE during the Song dynasty, and it has carried that name ever since. In 677 CE, during the Tang dynasty, HUINENG, the so-called sixth patriarch (LIUZU) of the CHAN school, is said to have come to Nanhuasi, where he founded the so-called "Southern school" (NAN ZONG) of Chan. From that point on, the monastery became an important center of the Chan school, and Huineng's remains are enshrined there, as are those of the Ming-dynasty Chan monk HANSHAN DEQING (1546-1623 CE). The monastery contains a stone slab that supposedly displays indentations left by Huineng's constant prostrations during his devotional services. The monastery is also famous for housing a bell named the Nanhua Bell, which weighs six tons and can be heard up to ten miles away.

Nanyang Huizhong. (J. Nan'yo Echu; K. Namyang Hyech'ung 南陽慧忠) (675?-775). Chinese CHAN master of the Tang dynasty; a native of Yuezhou in present-day Zhejiang province. He is said to have studied under the sixth patriarch (LIUZU) HUINENG (638-713) as a youth and to have eventually become one of his dharma successors. After Huineng's death, Nanyang led an itinerant life, traveling from one monastery to the next until he settled down on Mt. Baiya in Nanyang (present-day Henan province), whence he acquired his toponym. He is said to have remained in seclusion on the mountain for some forty years. In 761, he was invited to the palace by Emperor Suzong (r. 756-762), who honored Nanyang as his teacher. He took up residence at the monastery of Qianfusi, but later moved to Guangzhaisi at the request of Emperor Daizong (r. 762-779). Nanyang later established the monasteries of Yanchangsi and Changshousi and installed a copy of the Buddhist canon (DAZANGJING) at each site. Juizong lived during a period of great efflorescence in the Chan school, but he was not closely identified with any one school. He is, however, said to have been critical of the teachings of the Chan master MAZU DAOYI (709-788) and other HONGZHOU ZONG teachers in Sichuan in the south of China, who rejected the authority of the traditional Buddhist scriptures; he is also said to have criticized the Hongzhou interpretation of "mind is buddha" as being akin to the sREnIKA HERESY, in which the body is simply an impermanent vessel for an eternal mind or soul. The notion that "inanimate objects can preach the dharma" (wujing shuofa) is also attributed to Nanyang.

Nanyue Huairang. (J. Nangaku Ejo; K. Namak Hoeyang 南嶽懷讓) (677-744). Chinese CHAN monk of the Tang dynasty, Huairang was a native of Jinzhou in present-day Shandong province. At an early age, Huairang is said to have gone to the monastery of Yuquansi in Jingzhou (present-day Hubei province) where he studied VINAYA under the vinaya master Hongjing (d.u.). Later, he visited SONGSHAN and continued his studies under Hui'an (also known as Lao'an or "Old An"; 582-709), a reputed disciple of the fifth patriarch HONGREN (601-674). Hui'an purportedly introduced Huairang to the sixth patriarch (LIUZU) HUINENG (638-713), from whom Huairang eventually received dharma transmission. In 713, Huairang began teaching at the monastery of Boresi on Mt. Nanyue (present-day Hunan province), whence his toponym. There, Huairang acquired his most famous disciple, MAZU DAOYI (709-788). As most of what is known of Huairang comes from the work of Mazu and Mazu's students, some scholars contend that the obscure figure of Huairang was used as a convenient means of linking Mazu's successful HONGZHOU ZONG line with the legendary sixth patriarch Huineng. The Chan lamplight records (CHUANDENG LU) trace the GUIYANG ZONG and LINJI ZONG, two of the traditional "five houses" (see WU JIA QI ZONG) of the mature Chan tradition, back to Nanyue Huirang.

Nan zong. (J. Nanshu; K. Nam chong 南宗). In Chinese, "Southern School," an appellation used widely throughout the Tang dynasty, largely due to the efforts of HEZE SHENHUI (684-758) and his lineage, to describe what they claimed to be the orthodox lineage of the CHAN ZONG; in distinction to the collateral lineage of the "Northern School" (BEI ZONG) of SHENXIU (606-706) and his successors. Heze Shenhui toured various provinces and constructed ordination platforms, where he began to preach that HUINENG (638-713), whom he claimed as his teacher, was the true sixth patriarch (LIUZU) of the Chan school. In 732, during an "unrestricted assembly" (WUZHE DAHUI) held at the monastery of Dayunsi in Huatai, Shenhui engaged a monk by the name of Chongyuan (d.u.) and publicly criticized what he called the "Northern School" of Shenxiu's disciples PUJI (651-739), YIFU (661-736), and XIANGMO ZANG (d.u.) as being merely a collateral branch of BODHIDHARMA's lineage, which advocated an inferior gradualistic teaching. Shenhui argued that his teacher Huineng had received the orthodox transmission of Bodhidharma's lineage and the "sudden teaching" (DUNJIAO), which was the unique soteriological doctrine of Bodhidharma and his Chan school. Shenhui launched a vociferous attack on the Northern School, whose influence and esteem in both religious and political circles were unrivaled at the time. He condemned Shenxiu's so-called "Northern School" for having wrongly usurped the mantle of the Chan patriarchy from Huineng's "Southern School." Shenhui also (mis)characterized the teaching of the "Northern School" as promoting a "gradual" approach to enlightenment (JIANWU), which ostensibly stood in stark contrast to Huineng's and thus Shenhui's own "sudden awakening" (DUNWU) teachings. As a result of Shenhui's polemical attacks on Shenxiu and his disciples, subsequent Chan historians, such as GUIFENG ZONGMI (780-841), came to refer reflexively to a gradualist "Northern School" that was to be rigidly distinguished from a subitist "Southern School." Modern scholarship has demonstrated that, in large measure, the centrality of the "Southern School" to early Chan history is a retrospective creation. The Chan patriarchal lineage going back to Chan's putative founder, Bodhidharma, was still inchoate in the eighth century; indeed, contemporary genealogical histories, such as the LIDAI FABAO JI, CHUAN FABAO JI, LENGQIE SHIZI JI, and BAOLIN ZHUAN, demonstrate how fluid and fragile the notion of the Chan lineage remained at this early period. Because the lineages that eventually came to be recognized within the later tradition were not yet cast in stone, it was therefore possible for Shenhui to advocate that a semilegendary, and relatively unknown figure, Huineng, rather than the leading Chan figures of his time, was the orthodox successor of the fifth patriarch HONGREN and the real sixth patriarch (liuzu). While this characterization is now known to be misleading, subsequent histories of the Chan tradition more or less adopted Shenhui's vision of early Chan history. The influential LIUZU TAN JING played an important role in this process of distinguishing a supposedly inferior, gradualist Northern School from a superior, subitist Southern School. By the eleventh century, with the composition of the mature Chan genealogical histories, such as the CHODANG CHIP (C. ZUTANG JI) and JINGDE CHUANDENG LU, this orthodox lineage was solidified within the tradition and became mainstream. In these later "transmission of the lamplight" records (CHUANDENG LU), the "Southern School" was now unquestioned as the orthodox successor in Bodhidharma's lineage, a position it retained throughout the subsequent history of the Chan tradition. Despite Shenhui's virulent attacks against the "Northern School," we now know that Shenxiu and his disciples were much more central to the early Chan school, and played much more important roles in Chan's early growth and development, than the mature tradition realized.

Puji. (J. Fujaku; K. Pojok 普寂) (651-739). In Chinese, "Universal Quiescence"; CHAN monk and disciple of SHENXIU (606?-706) in the so-called "Northern School" (BEI ZONG) of the early Chan tradition. In his youth, Puji is said to have studied a wide range of Buddhist scriptures before ordaining at the age of thirty-eight. Soon afterwards, he left to study with Shenxiu at Yuquansi (Jade Spring Monastery) on Mt. Dangyang in Jingzhou. As the best-known disciple of Shenxiu, Puji was one of the subjects of a series of polemical attacks by the HEZE SHENHUI (684-758) beginning in 732. Shenhui denounced Puji and other disciples of Shenxiu as representing a mere collateral branch of BODHIDHARMA's lineage and for promoting what Shenhui called a "gradual" (jian) approach to enlightenment. Shenhui instead promoted a "sudden teaching" (DUNJIAO), which he claimed derived from a so-called "Southern school" (NAN ZONG) founded by HUINENG (638-713), whom Shenhui claimed was the true successor of the fifth patriarch HONGREN (601-74). Later Chan historians such as GUIFENG ZONGMI (780-841) came to refer to a "Northern school" (Bei zong) of Chan to describe this lineage of Shenxiu's, to which Puji, Yifu (661-736), and XIANGMO ZANG (d.u.) were said to have belonged.

Qingyuan Xingsi. (J. Seigen Gyoshi; K. Ch'ongwon Haengsa 青原行思) (d. 740). A Chinese CHAN master of the Tang dynasty, Qingyuan is said to have been a native of Jizhou in present-day Jiangxi province. Little is known of his career besides the fact that he was ostensibly the student of the sixth patriarch (LIUZU) HUINENG. He later resided at the monastery of Jingjusi on Mt. Qingyuan (present-day Jiangxi province) and acquired many students, of whom SHITOU XIQIAN (700-790) is the most famous. Like many of the reputed disciples of Huineng (e.g., YONGJIA XUANJUE and NANYUE HUAIRANG), Qingyuan's relation with Huineng is dubious. Later, three major "houses" (jia) of the Chan tradition, YUNMEN, CAODONG, and FAYAN, traced their lineages back to Huineng via Shitou and his teacher Qingyuan (see WU JIA QI ZONG). Qingyuan was given the posthumous title Chan master Hongji (Universal Salvation).

Shenxiu. (J. Jinshu; K. Sinsu 神秀) (606?-706). Chinese CHAN master of the Tang dynasty and putative founder of the "Northern school" (BEI ZONG) of early Chan Buddhism. Shenxiu was a native of Kaifeng in present-day Henan province. As an extraordinarily tall man with well-defined features, Shenxiu is said to have had a commanding presence. In 625, Shenxiu was ordained at the monastery of Tiangongsi in Luoyang, but little is known of his activities in the first two decades following his ordination. In 651, Shenxiu became a disciple of HONGREN (601-674), cofounder of the East Mountain Teachings (DONGSHAN FAMEN) and the monk later recognized as the fifth patriarch of the Chan school; indeed, by many early accounts, such as the CHUAN FABAO JI and LENGQIE SHIZI JI, Shenxiu became Hongren's legitimate successor. According to the famous story in the LIUZU TANJING ("Platform Sutra of the Sixth Patriarch"), however, Shenxiu lost a verse-writing contest to the unlettered HUINENG (638-713), whom Hongren then in secret sanctioned as the sixth patriarch. However, it is unclear how long Shenxiu studied with Hongren. One source states that it was for a period of six years, in which case he would have left Hongren's monastery long before Huineng's arrival, making the famous poetry contest impossible. Regardless of the date of his departure, Shenxiu eventually left Hongren's monastery for Mt. Dangyang in Jingzhou (present-day Hubei province), where he remained for over twenty years and attracted many disciples. Shenxiu and his disciples were the subjects of a polemical attack by HEZE SHENHUI (684-758), who disparaged Shenxiu as representing a mere collateral branch of BODHIDHARMA's lineage and for promoting what Shenhui called a "gradual" (jian) approach to enlightenment. Shenhui instead promoted a "sudden teaching" (DUNJIAO), which he claimed derived from a so-called "Southern school" (NAN ZONG) founded by Huineng, another (and relatively obscure) disciple of Hongren, whom Shenhui claimed was Hongren's authentic successor and the true sixth patriarch (LIUZU). Later Chan historians such as GUIFENG ZONGMI (780-841) began to use the designation "Northern school" (Bei zong) to describe the lineage of Shenxiu and his disciples YIFU (661-736), PUJI (651-739), and XIANGMO ZANG (d.u.). While Shenhui's characterization of Shenxiu and his supposed "gradualism" is now known to be misleading, subsequent histories of the Chan tradition (see CHUANDENG LU) more or less adopted Shenhui's vision of early Chan; thus Huineng, rather than Shenxiu, comes to be considered the bearer of the orthodox Chan transmission. As one mark of Shenxiu's high standing within the Chan tradition of his time, in 700, Shenxiu was invited to the imperial palace by Empress WU ZETIAN, where the empress prostrated herself before the nonagenarian monk. She was so impressed with the aged Chan master that she decided to build him a new monastery on Mt. Dangyang named Dumensi. She also gave him the title of state preceptor (GUOSHI). Upon his death, he was given a state funeral. He is one of only three Buddhist monks whose biography is included in the Tang shi ("Tang Annals"). This is clearly not the profile of an imposter within the Chan lineage. Shenxiu's teachings are known to have focused on the transcendence of thoughts (linian) and the five expedient means (fangbian; S. UPĀYA); these teachings appear in "Northern school" treatises discovered at Dunhuang, such as the YUANMING LUN, Guanxin lun, and DASHENG WUSHENG FANGBIAN MEN. Shenxiu was an expert on the LAnKĀVATĀRASuTRA, a text favored by Hongren and the early Chan tradition, and is also thought to have written a substantial commentary on the AVATAMSAKASuTRA. Despite the uncomplimentary portrayal of the "Northern school" in mainstream Chan materials, it is now recognized that Shenxiu and his disciples actually played a much more important role in the early growth and development of the Chan school than the mature tradition acknowledged.

Shitou Xiqian. (J. Sekito Kisen; K. Soktu Hŭich'on 石頭希遷) (700-790). In Chinese, "Rare Transformation Atop a Stone"; master in the Tang-dynasty CHAN ZONG, who was an important ancestor in the lineages of the CAODONG ZONG, YUNMEN ZONG, and FAYAN ZONG, three of the five major houses of the mature Song-dynasty Chan tradition (see WU JIA QI ZONG). Xiqian is claimed to have studied with the sixth patriarch (LIUZU) HUINENG (638-713) while still a youth and was present at the master's deathbed. He subsequently traveled to Qingyuanshan in modern-day Jiangxi province to study with a monk who was claimed to have been one of the sixth patriarch's most eminent disciples: QINGYUAN XINGSI (d. 740). Xingsi is said to have thought highly of his new disciple, famously calling him a unicorn among the other horned animals in his congregation, and eventually made Xiqian his principal dharma heir (FASI). In 742, after his teacher's death, he traveled to Mt. Nanyue (present-day Hunan province), where he lived in a hermitage built on top of a large boulder, hence his cognomen Shitou ("Atop a Stone"). In 762, he traveled to Tanzhou near present-day Changsha, before returning to Mt. Nanyue, where he passed away at the age of ninety. Although during his lifetime Xiqian seems to have been a fairly obscure teacher in a little-known regional lineage, he retrospectively came to be viewed as one of the two most influential teachers of the classical Chan period, along with MAZU DAOYI (709-788). This inflated appraisal is largely a result of the prominence of Xiqian's third-generation successor DONGSHAN LIANGJIE (807-869), one of the two teachers after whom the Caodong school is named. Xiqian is the author of the CANTONG QI, regarded by the Chinese Caodong zong and Japanese SoToSHu as one of their foundational scriptures. Xiqian's short verse, in a total of 220 Sinographs, is highly regarded for its succinct and unequivocal expression of the teaching of nonduality.

sixth patriarch. See LIUZU; HUINENG.

Son'ga kwigam. (C. Chanjia guijian; J. Zenke kikan 禪家龜鑑). In Korean, "Mirror of the Son House"; one of the most widely read SoN texts not only in Korea but also in Japan and China, composed by the Choson-period Son master CH'oNGHo HYUJoNG (1520-1604), a.k.a. SoSAN TAESA, to whom most modern Korean Son teachers trace their lineage. Hyujong composed the text around 1564 by adding his own commentary to excerpts he had culled from about fifty different Buddhist scriptures and CHAN and Son texts. The text was originally written in literary Chinese, but was first published in a 1569 Korean vernacular (onhae) edition. The first literary Chinese edition was published in 1579; the Chinese edition was introduced into China and Japan and has been frequently reprinted since in all three countries. The text is also included as the last section of Hyujong's Samga kwigam ("Mirror of the Three Houses" [of Confucianism, Daoism, and Buddhism]), but that version records only the excerpts without Hyujong's commentary. Hyujong wrote the Son'ga kwigam as a concise primer of Korean Buddhist doctrines and practices for his students. According to Hyujong's preface and the postface of his disciple SAMYoNG YUJoNG (1544-1610), the primary motive for composing the text was to advocate the fundamental harmony between Son and the scriptural teachings of Buddhism (KYO). While supporting the unity between these two major strands of the Buddhist tradition, Hyujong's treatment ultimately subordinates Kyo beliefs to Son practices. This approach is adopted from that of the eminent Koryo state preceptor POJO CHINUL (1158-1210). In particular, the text proposes the practical model of "relinquishing Kyo and entering into Son" (sagyo ipson), by integrating doctrinal studies and the technique of "questioning meditation" (K. kanhwa Son; C. KANHUA CHAN) into Chinul's preferred soteriological schema of sudden awakening/gradual cultivation (K. tono chomsu; C. DUNWU JIANXIU). In addition, the Son'ga kwigam also offers the technique of reciting the name of the buddha AMITĀBHA (K. yombul; C. NIANFO) as an alternative practice for those of inferior spiritual capacity who are not yet able to cultivate the kanhwa Son technique. The text also outlines the styles and lineages of the "five houses" (see WU JIA QI ZONG) of the mature Chan school: in particular, the text promotes the LINJI ZONG as the true heir of the sixth patriarch (LIUZU) of Chan, HUINENG (638-713), and presents a different lineage from the traditional one by suggesting that the four Chan lineages of Linji zong, GUIYANG ZONG, FAYAN ZONG, and YUNMEN ZONG all originated from MAZU DAOYI (707-788). The text thus provides a basic framework for the doctrines and practices that most of the modern Korean tradition follows, and thus remains widely read and studied in Korea today.

srenika heresy. (C. Xianni waidao, J. Senni gedo, K. Sonni oedo 先尼外道). A heresy that originated with srenika VATSAGOTRA, an ascetic wanderer (PARIVRĀJAKA) and contemporary of GAUTAMA Buddha, who claimed that the impermanent physical body was simply a temporary vessel for a permanent self (ĀTMAN); also known as the Senika heresy. In the Aggi-Vacchagottasutta ("Discourse to Vatsagotra on the [Simile of] Fire"), the seventy-second sutta in the Pāli MAJJHIMANIKĀYA, Vacchagotta (the Pāli equivalent of Vatsagotra) has a celebrated exchange with the Buddha concerning ten "indeterminate questions" (AVYĀKṚTA)-i.e., whether the world is eternal or not eternal, infinite or finite, what is the state of the TATHĀGATA after death, etc. The Buddha refuses to respond to any of the questions, since an answer would entangle him in an indefensible philosophical position. Instead, to convey some semblance of the state of the tathāgata after death, the Buddha uses the simile of extinguishing of fire: just as, after a fire has been extinguished, it would be inappropriate to say that it has gone anywhere, so after the tathāgata has extinguished each of the five aggregates (SKANDHA), they cannot be said to have gone anywhere. At the conclusion of the discourse, Vatsagotra accepts the Buddha as his teacher. (The Ānandasutta of the SAMYUTTANIKĀYA explains that the Buddha kept silent in response to Vatsagotra's questions about the nature of the self in order to prevent him from falling into the extremes of either sĀsVATAVĀDA, "eternalism," or UCCHEDAVĀDA, "annihilationism.") The DAZHIDU LUN (*MahāprajNāpāramitāsāstra) identifies the Vacchagotta of the Pāli suttas with srenika Vatsagotra, the namesake of what in MAHĀYĀNA sources is termed the srenika heresy. The locus classicus for this heresy appears in the MAHĀPARINIRVĀnASuTRA. There, when srenika raises the question about whether there is a self or not, the Buddha keeps silent, so srenika himself offers a fire simile, but with a radically different interpretation from what is found in the Aggi-Vacchagottasutta. He instead compares the physical body and the self to a house and its owner: even though the house may burn down in a fire, the owner is safe outside the house; thus, the body and its constituents (skandha) may be impermanent and subject to dissolution, but not the eternal self. The srenika heresy is a frequent topic in the CHAN literature of East Asia. NANYANG HUIZHONG (675?-775), a successor of the sixth patriarch (LIUZU) HUINENG (638-713), is said to have criticized the "mind itself is buddha" (zixin shi fo) teaching of MAZU DAOYI (709-788) and other HONGZHOU ZONG teachers as being akin to the srenika heresy. The Japanese SoToSHu ZEN master DoGEN KIGEN (1200-1253), in his BENDoWA and SHoBoGENZo, criticizes as equivalent to the srenika heresy the view that the mind-nature is eternal (shinsho joju) even though the body perishes. There is much scholarly debate about whether Dogen's criticism was directed at the "original enlightenment" (HONGAKU; cf. BENJUE) thought of the medieval TENDAISHu, or against the teachings of his rival Zen school, the DARUMASHu, whose similar declarations that the mind is already enlightened and that practice was not necessary opened it to charges of antinomianism.

Ssanggyesa. (雙溪[磎]寺). In Korean, "Twin Brooks Monastery"; the thirteenth district monastery (PONSA) in the contemporary CHOGYE CHONG of Korean Buddhism. Ssanggyesa was founded in 722 during the Silla dynasty by two monks, Taebi (d.u.) and Sampop (d.u.). The pair returned to Korea from Tang-dynasty China after having a dream that instructed them to enshrine the head of the sixth patriarch (LIUZU) HUINENG (638-713) of the Chinese CHAN school at a place where arrowroot flowers were blooming in the snow. Guided by a tiger (symbolizing the mountain spirit), they found the intended location on the mountain of CHIRISAN and constructed a monastery at the spot. The SoN monk CHIN'GAM HYESO (774-850) rebuilt the monastery with the new name of Okch'onsa (Jade Fount Monastery) after returning to Korea in 840 from studying Chan on the Chinese mainland. The name Ssanggyesa was eventually given to the monastery in 887 by the Silla king Chonggang (r. 886-887). Ssanggyesa is said to have been the site where Hyeso first introduced tea and tea culture to the Korean peninsula and the green tea grown in the mountains surrounding the monastery is still renowned in Korea for its quality. Ssanggyesa was burned to the ground during the Japanese Hideyoshi invasions (1592-1598) and the present monastery dates from the reconstruction spearheaded by PYoGAM KAKSoNG (1575-1660) in 1632.

Trần Thai Tông. (陳太宗) (1218-1277). Buddhist leader and literary figure of medieval Vietnam, who was also the founder of the Trần dynasty (1225-1400), one of the most illustrious dynasties in Vietnamese history. He ascended the throne as a child of eight after his uncle, Trần Thủ Độ, overthrew the Lý dynasty (1010-1225). During his youth he attempted to escape from the capital city to Mount Yen Tử to become a monk but was forced to return to court by his uncle. Trần Thai Tông related this incident and many events of his life in one of his writings, the preface to "A Guide to the Chan School." He reported that, even when he was a king, whenever he had free time he would gather together learned and virtuous monks to practice Chan and discuss the path of Buddhism. He also related that he often read the VAJRACCHEDIKĀPRAJNĀPĀRAMITĀSuTRA ("Diamond Sutra") and that when he came across the phrase "one should not generate a mind based on any object," he gained realization. This and other incidents suggest that he interpreted his religious experience in accordance with that of HUINENG, the sixth patriarch (LIUZU) of Chinese Chan. In 1258, Trần Thai Tông abdicated and became thượng hoàng (retired emperor). From then until his death, he devoted himself to practicing Chan and studying Buddhist scriptures. It was during this period that he composed most of his works, including the KHÓA HƯ LỤC.

VajracchedikāprajNāpāramitāsutra. (T. Rdo rje gcod pa shes rab kyi pha rol tu phyin pa'i mdo; C. Jingang jing; J. Kongokyo; K. Kŭmgang kyong 金剛經). In Sanskrit, the "Diamond-Cutter Perfection of Wisdom Sutra"; known in English as the "Diamond Sutra" (deriving from its popular abbreviated Chinese title Jingang jing, as above), one of the most famous, widely read, and commented upon of all MAHĀYĀNA sutras, together with two others that are also known by their English titles, the SADDHARMAPUndARĪKASuTRA ("Lotus Sutra") and the PRAJNĀPĀRAMITĀHṚDAYASuTRA ("Heart Sutra"). The "Diamond Sutra" was composed in Sanskrit, probably sometime between the second and fourth centuries CE. Despite its fame, much of its meaning remains elusive, beginning with the title. In Sanskrit, it is VajracchedikāprajNāpāramitā. The Sanskrit term VAJRA refers to a kind of magical weapon, sometimes described as a thunderbolt or a discus, and is said to be hard and unbreakable, like a diamond or adamant. Thus, the title might be rendered into English as "The Perfection of Wisdom That Cuts like a Diamond/Thunderbolt." The sutra opens with the Buddha residing in the JETAVANA with 1,250 monks and a large number of bodhisattvas. After returning from his begging round (PIndAPĀTA) and eating his meal, the Buddha is approached by the great ARHAT SUBHuTI, who asks him about the practice of the BODHISATTVA. The Buddha says that a bodhisattva must vow to lead all beings in the universe into NIRVĀnA, while fully recognizing that there are in fact no beings to be led into nirvāna. "If, Subhuti, a bodhisattva were to have the (mis)perception (SAMJNĀ) of a self (ĀTMAN), a being (SATTVA), a living entity (JĪVA), or a person (PUDGALA), he is not to be called 'a bodhisattva.'" This is one of many famous statements in the sutra, regarded by commentators as setting forth the doctrine of emptiness (although the technical term suNYATĀ does not appear in the sutra), i.e., that all phenomena are falsely imagined to have a self, a soul, and an "own-being," qualities that they, in fact, lack. Any meritorious deed, from the giving of a gift to the vow to free all beings, is not an authentic bodhisattva deed if it is tainted with the (mis)perception (saMjNā) of a sign (NIMITTA) of selfhood: thus the perfection of the act of charity (DĀNAPĀRAMITĀ) means that true bodhisattva giving occurs when there is no conception of there being a donor, recipient, or gift-for that kind of giving would produce immeasurable merit. The Buddha asks Subhuti whether the Buddha is to be seen through the possession of the thirty-two physical marks of a superman (MAHĀPURUsALAKsAnA) that adorn his body. Subhuti says that he is not, because what the Buddha has described as the possession of marks (LAKsAnA) is in fact the nonpossession of no-marks. This formula of question and response, with the correct answer being, "A is in fact not A, therefore it is called A" is repeated throughout the text. The sutra is not simply a radical challenge to the ordinary conception of the world, of language, and of thought; it is also a polemical Mahāyāna sutra, seeking, like other such sutras, to declare its supremacy and to promise rewards to those who exalt it. It is noteworthy that here, as in many other perfection of wisdom (PRAJNĀPĀRAMITĀ) sutras, the Buddha's interlocutor is not a bodhisattva, but an arhat, the wise Subhuti, suggesting that even those who have completed the path to nirvāna still have more to learn. The Buddha predicts that this sutra will be understood far into the future, even into the final five hundred years that the Buddha's teaching remains in the world. At that time, anyone who has even a moment of faith in this sutra will be honored by millions of buddhas. Indeed, even now, long before this point in the distant future, anyone who would teach just four lines of this sutra to others would earn incalculable merit. In a statement that appears in other perfection of wisdom sutras, the Buddha declares, "On whatever piece of ground one will proclaim this sutra, that piece of ground will become an object of worship. That piece of ground will become for the world together with its gods, humans, and demigods a true shrine to be revered and circumambulated." Scholars have seen in this statement the possibility that the perfection of wisdom sutras were something of a "cult of the book," in which the sutra itself was worshipped, serving as a substitute for more traditional sites of worship, such as reliquaries (STuPA). The sutra suggests that such practices were not always condoned by others; the Buddha goes on to say that those who worship the sutra will be ridiculed for doing so, but by suffering ridicule they will destroy the great stores of negative KARMAN accumulated over many lifetimes. The Buddha's exhortations seem to have been taken to heart. The recitation and copying of the sutra was widely practiced across Asia; many copies of the sutra were discovered at DUNHUANG, and the earliest printed book in the world is a xylographic print of the Chinese translation of the VajracchedikāprajNāpāramitā dated May 11, 868, that was found in the Dunhuang cache. On a rock cliff on the Chinese sacred mountain of Taishan, there is a massive carving of the VajracchedikāprajNāpāramitā covering some 2,100 Sinographs in 21,000 square feet (2,000 sq. m.). Miracle tales of the benefits of reciting and copying the sutra were also told across Asia. The VajracchedikāprajNāpāramitā also played an important role in the CHAN traditions of East Asia: e.g., it was the scripture that the fifth patriarch HONGREN expounded to HUINENG, bringing him to enlightenment and enabling Huineng to be his successor as the sixth patriarch (LIUZU) of Chan.

Wang Wei. (J. o I; K. Wang Yu 王維) (701-761). Chinese poet, painter, and musician during the Tang dynasty and close associate of masters in the early CHAN school; his cognomen was Mojie. In 721, Wang Wei passed the imperial civil service examination and was appointed as assistant director of the Imperial Music Office. By 759, shortly after the An Lushan rebellion, he had risen to the high bureaucratic rank of right assistant director of the Department of State Affairs. Wang Wei is known to have maintained close relationships with several major figures in the thriving Chan tradition and wrote the funerary inscriptions for such monks as JINGJUE (683-c. 760), author of the LENGQIE SHIZI JI, and the sixth patriarch (LIUZU) HUINENG. Although there is no direct evidence of Buddhist influences in his writing, it is commonly asserted that his close relations with these Chan figures contributed to Wang Wei's subtle and reflective descriptions of nature in his landscape poetry.

wu jia qi zong. (J. goke shichishu; K. oga ch'ilchong 五家七宗). In Chinese, "five houses and seven schools." According to the traditional historical narratives of the CHAN tradition, the lineages of the sixth patriarch (LIUZU) HUINENG's two major disciples NANYUE HUAIRANG and QINGYUAN XINGSI grew into five houses and eventually seven schools. The five houses refer to the lineages of the GUIYANG [alt. Weiyang] ZONG, LINJI ZONG, CAODONG ZONG, YUNMEN ZONG, and FAYAN ZONG of the Tang dynasty. Each of these "houses" (jia) is said to have had its own unique teaching style (jiafeng) and was respectively named after its purported founder or "patriarch": the Guiyang was named after GUISHAN LINGYOU and his disciple YANGSHAN HUIJI, the Linji after LINJI YIXUAN, the Caodong after DONGSHAN LIANGJIE and his disciple CAOSHAN BENJI, the Yunmen after YUNMEN WENYAN, and the Fayan after FAYAN WENYI. Among these houses, the Linji became predominant during the Song dynasty, when it further split into two separate lineages known as the HUANGLONG PAI (named after HUANGLONG HUINAN) and the YANGQI PAI (named after YANGQI FANGHUI). These two Song-dynasty lineages, together with the original listing of five houses, constitute the so-called seven schools. According to the Chan historian GUIFENG ZONGMI, the early Chan lineages known as the NIUTOU ZONG, Heze zong (see HEZE SHENHUI), JINGZHONG ZONG, BAOTANG ZONG, BEI ZONG, and NAN ZONG were eventually supplanted by the flourishing lineages of Nanyue's disciple MAZU DAOYI (i.e., the Guiyang and Linji) and Qingyuan's disciples SHITOU XIQIAN (i.e., the Caodong and Yunmen) and XUEFENG YICUN (i.e., the Fayan).

wunian. (T. bsam pa med pa; J. munen; K. munyom 無念). In Chinese, "no-thought"; a Chinese meditative term that appears in the sixth-century DASHENG QIXIN LUN but finds its locus classicus in the eighth-century CHAN classic, the LIUZU TAN JING. The putative author of the Liuzu tan jing, the sixth patriarch (LIUZU) HUINENG, defines "no-thought" as "not to think even when involved in thought." Thought, therefore, is not the issue, but rather the attachment to thought, which would encourage the proliferation of conceptualization throughout all of one's sensory experience and thus render one a hapless victim of the conceptualizing tendency (cf. PRAPANCA). The Liuzu tan jing also explains no-thought in terms of "non-form" (wuxian) and "non-abiding" (wuzhu) and parses the term as follows: wu ("no") refers to the absence of duality and nian ("thought") to thinking about thusness (TATHATĀ). HEZE SHENHUI used the term "no-thought" to criticize the teaching of the "transcendence of thoughts" (linian) espoused by SHENXIU and his followers in the so-called Northern school (BEI ZONG). According to Shenhui, whereas the "transcendence of thoughts" (linian) emphasized the progressive wiping away of afflictions (KLEsA) and conceptual thinking, "no-thought" (wunian) by contrast implied that there was no need for such effort since one had only to "see one's nature" (JIANXING) in order to attain enlightenment. Thus, wunian became a central feature of those who espoused a "sudden" theory of enlightenment (see DUNWU). In some radical cases, the notion of wunian was used as theoretical justification for the abandonment of all ritual and practice, including meditation and the conferral of monastic precepts. This extreme form of "no-thought" doctrine played an important role in the LIDAI FABAO JI and the antinomian teachings of the Sichuan early-Chan lineages of the JINGZHONG ZONG and BAOTANG ZONG, the latter of which may have had some influence in the development of RDZOGS CHEN thought in Tibet.

xingzhe. (J. anja; K. haengja 行者). In Chinese, "postulant." According to the Shishi yaolan, a postulant refers to an unordained lay practitioner, a minimum of sixteen years of age, who works in a monastery until he or she is formally ordained. Within the CHAN traditions of East Asia, the sixth patriarch (LIUZU) HUINENG (638-713) is usually presumed to have been a postulant at the time he achieved enlightenment and received transmission from the fifth patriarch HONGREN. In premodern China, a postulant referred to a layperson who lived and worked in the monastic compounds before ordination; the postulant was still permitted to grow his or her hair and might in some cases even have a spouse. Postulants were expected to observe the five lay precepts (C. wujie; S. PANCAsĪLA), but with the third precept against improper sexual conduct strengthened to require celibacy. In Korea, postulants (haengja) work in the monastery for at least six months before being allowed to ordain as novices. In Japan, a postulant (anja) may or may not be expected to ordain and works under the guidance of the administrative monks (yakuso) at the monastery or temple. ¶ The term xingzhe may also be used generically to refer to anyone who studies or practices Buddhism.

yixing sanmei. (S. ekavyuhasamādhi; J. ichigyo zanmai; K. irhaeng sammae 一行三昧). In Chinese, "single-practice SAMĀDHI." The term yixing sanmei seems to first appear in a passage in the Chinese translation of the SAPTAsATIKĀPRAJNĀPĀRAMITĀSuTRA: "The DHARMADHĀTU has only a single mark; to take the dharmadhātu as an object is called one-practice samādhi." Two practices are then recommended by the text for cultivating yixing sanmei, viz, the perfection of wisdom (PRAJNĀPĀRAMITĀ) and recollection of the Buddha's name (S. BUDDHĀNUSMṚTI; C. NIANFO). The concept of yixing sanmei was later incorporated into the apocryphal Chinese treatise DASHENG QIXIN LUN and the influential meditation manual MOHE ZHIGUAN. TIANTAI ZHIYI, the author of the Mohe Zhiguan, identified the practice of constant sitting, the first of the so-called four kinds of samādhi (sizhong sanmei), with yixing sanmei. Famous teachers of the early CHAN community, such as DAOXIN, HUINENG, and HEZE SHENHUI, also emphasized the importance of yixing sanmei, which they identified with seated meditation (ZUOCHAN) and the cultivation of prajNāpāramitā. According to the LIUZU TANJING ("Platform Sutra of the Sixth Patriarch"), Huineng interpreted yixing sanmei as the maintenance of a straightforward mind (yizhi xin) while walking, standing, sitting, and lying. Shenhui identified yixing sanmei with "no mind" (WUXIN; see also WUNIAN).

Yongjia Xuanjue. (J. Yoka Genkaku; K. Yongga Hyon'gak 永嘉玄覺) (675-713). Chinese CHAN monk renowned for his writings on meditation, also known as Mingdao, Yishujue, and Great Master Zhenjue (True Awakening); Yongjia is his toponym, the name of his hometown in Zhejiang province. Yongjia made a name for himself at a young age as an expert on meditation and the TIANTAI practices of calmness and insight (see sAMATHA and VIPAsYANĀ). He is said to have later received a seal of approval (YINKE) from the sixth patriarch (LIUZU) of Chan, HUINENG, after studying under the master for only one day and a night; hence, his cognomen Yishujue (Single-Night Enlightened, or Overnight Guest). His teachings are primarily known through the influential works attributed to him, such as the ZHENGDAO GE and Yongjia ji. Yongjia was given the posthumous title Great Master Wuxiang (No Marks).

Yuanming lun. (J. Enmyoron; K. Wonmyong non 圓明論). In Chinese, "Treatise on Perfect Illumination"; attributed to AsVAGHOsA, but almost certainly a transcription of a lecture by a teacher associated with the Northern school (BEI ZONG) in the nascent Chinese CHAN tradition. Several copies of this text have been discovered at DUNHUANG, and a private copy is extant in Japan. The treatise consists of nine chapters written largely in catechistic format. The treatise elucidates the causes and results of the path, the nature of the DHARMADHĀTU as the manifestation of one's own mind, false and correct views, the importance of UPĀYA, and the practice of meditation. The Yuanming lun serves as an important source on the teachings of the early Chan tradition before its coalescence around the mythology of the "sixth patriarch" (LIUZU) HUINENG and the so-called Southern school (NAN ZONG).

Yunmen Wenyan. ( J. Unmon Bun'en; K. Unmun Munon 雲門文偃) (864-949). Chinese CHAN monk and founder of the YUNMEN ZONG, one of the so-called five houses and seven schools (WU JIA QI ZONG) of the classical Chinese Chan tradition. Yunmen was a native of Jiaxing in present-day Zhejiang province. He was ordained at the age of sixteen by the VINAYA master Zhideng (d.u.) of the monastery Kongwangsi and two years later received the full monastic precepts at the precept platform in Piling (present-day Jiangsu province). After his full ordination, Yunmen returned to Kongwangsi and studied the DHARMAGUPTAKA vinaya (SIFEN LÜ) under Zhideng. Later, Yunmen visited Muzhou Daoming (d.u.), a prominent disciple of the eminent Chan master HUANGBO XIYUN, and continued his studies of Chan under XUEFENG YICUN. Yunmen eventually became Xuefeng's disciple and inherited his lineage. Taking his leave of Xuefeng, Yunmen continued to visit other Chan masters throughout the country, and in 911 he visited the funerary STuPA of the sixth patriarch (LIUZU) HUINENG on CAOXISHAN. Yunmen then visited Lingshu Rumin (d. 918), a famed disciple of the Chan master Fuzhou Da'an (793-883), at his monastery of Lingshu Chanyuan in Shaozhou (present-day Guangdong province) and continued to study under Lingshu until his death in 918. Yunmen was then asked by the ruler of the newly established Nan Han state (917-971), Liu Yan (r. 917-942), to succeed Lingshu's place at Lingshu Chanyuan. In 923, he established a monastery on Mt. Yunmen in the region, whence he acquired his toponym. He continued to reside on Mt. Yunmen for thirty years and frequently visited the palace of the Nan Han state to preach. In 938, Liu Cheng (943-958), monarch of the Nan Han, bestowed on him the title Great Master Kuangzhen (Genuine Truth). According to his wishes, no funerary stupa was prepared for Yunmen and his body was left in his abbot's quarters (FANGZHANG). Yunmen was especially famous for his so-called one-word barriers (YIZI GUAN), in which he used a single utterance to respond to a student's question. For example, once a monk asked him, "When you kill your parents, you repent before the Buddha. But when you kill the buddhas and patriarchs, to whom do you repent?" Yunmen answered, "Lu" ("exposed"). Eighteen of Yunmen's most famous Chan cases (GONG'AN) are collected in the BIYAN LU ("Blue Cliff Record"); his extended teachings are recorded in the Yunmen Kuangzhen chanshi guanglu.

Zhengdao ge. (J. Shodoka; K. Chŭngdo ka 證道歌). In Chinese, "Song of the Attainment of the Way"; attributed to YONGJIA XUANJUE (675-713); also known as the Chanmen biyao jue ("Secret Essentials of the Chan Tradition"). Along with the XINXIN MING, the Zhengdao ge is cherished by the CHAN tradition as one of the classic verse expressions on the process of meditation and the experience of enlightenment. Its contents purport to convey Yongjia's awakening after only a single day and night of tutelage under the sixth patriarch (LIUZU) HUINENG, whence Yongjia's cognomen Ishujue ("Single-Night Enlightened," or "Overnight Guest"). The poem consists of fewer than two thousand Sinographs and follows a traditional regulated-verse style. The verse describes enlightenment as the realization that the true nature of all things is in fact the buddha-nature (FOXING), which is emptiness itself, transcending all the dichotomies of existence or nonexistence or truth and falsity. This enlightenment is said to occur suddenly, "in a snap of the fingers" (danzhi), the verse says, and it is this sudden enlightenment (DUNWU) that has been transmitted through the twenty-eight Indian and six Chinese patriarchs (ZUSHI) of the Chan tradition. Aspects of the style and vocabulary used in the poem, which seem to antedate the eighth century, have led to questions about the authenticity of its attribution to Yongjia. Several copies of this text were found at DUNHUANG, and numerous commentaries of this text are extant, dating from the Song dynasty. The Song-dynasty teacher DAHUI ZONGGAO claimed that the verse was held in such high esteem that it had even been back-translated into Sanskrit.

Zongmen liandeng huiyao. (J. Shumon rentoeyo; K. Chongmun yondŭng hoeyo 宗門聯燈會要). In Chinese, "Essential Collection of the Lamplight Connections within the [Chan] Tradition"; composed by Huiweng Wuming (d.u.), a third-generation disciple of the CHAN master DAHUI ZONGGAO, in 1183. This work is a collection of anecdotes and teachings culled from the biographies and discourse records (YULU) of over six hundred patriarchs and teachers (ZUSHI) of the Chan tradition. Huiweng begins the collection with the seven buddhas of the past (SAPTABUDDHA), the twenty-eight Indian patriarchs, and the six patriarchs of China (see CHUANDENG LU). His collections also include the various lineages and collateral lines that split off from the sixth patriarch (LIUZU) HUINENG's disciples QINGYUAN XINGSI (up to the seventeenth generation) and NANYUE HUAIRANG (up to the fifteenth generation). In addition to its role as a genealogical history, the Zongmen liandeng huiyao was favored by many followers of Chan as a reliable and convenient collection of Chan cases (GONG'AN).

zuochan. (J. zazen; K. chwason 坐禪). In Chinese, "seated meditation." Zuochan is a combination of the Chinese term "to sit" (zuo) and the character CHAN, a transcription of the Sanskrit term DHYĀNA (meditation); often referred to in English-language sources by the Japanese pronunciation zazen. As its etymology implies, zuochan refers to sitting with legs folded on top of each other and eyes slightly closed in meditation. This meditative practice may be generically considered to be directed at samādhi, one of the three trainings (C. sanxue; S. siksātraya), along with morality (sĪLA) and wisdom (PRAJNĀ), or alternatively at dhyāna, one of the six PĀRAMITĀs emblematic of BODHISATTVA practice, along with charity (DĀNA), precepts (sīla), forbearance (KsĀNTI), effort (VĪRYA), and wisdom (prajNā). Sitting has long held pride of place within the Buddhist tradition as the archetypal position (ĪRYĀPATHA) most suited to sustained meditation training. The prototype for zuochan is the Buddha's own seated meditation under the BODHI TREE, as well as the legendary Indian monk BODHIDHARMA's "wall gazing" (BIGUAN) for nine years in a cave. Because of these associations with both the Buddha and Bodhidharma, the founder of the Chan school, zuochan was widely considered to be the primary practice within the CHAN, SoN, and ZEN traditions. In China, zuochan came to be viewed as such a stereotypical aspect of the Chan school, broadly conceived, that Chan teachers began to critique its necessity and importance; these critiques suggested instead that Chan practice was not to be confined just to zuochan, but should also be conducted throughout the three other standard deportments of walking, standing, and lying down. For example, the LIUZU TANJING ("Platform Sutra"), attributed to the sixth patriarch HUINENG, includes such a rectification of the meaning of zuochan when it says that "'seated' means, externally, to refrain from generating thoughts related to wholesome or unwholesome objects; 'meditation' means, internally, to see that the self-nature is unmoving." In this redefinition, zuochan means not just "seated meditation" but instead encompasses a way of understanding that is to be carried through all aspects of one's experience.

zushi. (J. soshi; K. chosa 祖師). In Chinese, "patriarch" (lit. "ancestral teacher"), referring to eminent teachers in lineages that are claimed to trace back to sĀKYAMUNI Buddha or even earlier buddhas. Indian Sanskrit texts dating from the 2nd century CE onward refer to a tradition of five "masters of the dharma" (dharmācārya) who succeeded the Buddha as head of the SAMGHA: MAHĀKĀsYAPA, ĀNANDA, MADHYĀNTIKA, sĀnAKAVĀSIN, and UPAGUPTA . Later sources expand this list into a roster of nine eminent masters who "handed down the lamplight of wisdom successively through the generations." Often, these genealogies were extended as far back as the seven buddhas of antiquity (SAPTATATHĀGATA). It is widely presumed that this notion of dharma-transmission lineages developed from the earlier VINAYA concept of the "preceptor" (UPĀDHYĀYA), a senior monk who confers the lower ordination (pravrajyā, see PRAVRAJITA) to new novices (sRĀMAnERA) and higher ordination (UPASAMPADĀ) to monks (BHIKsU). This personal connection between preceptor and disciple created incipient ordination families connected to specific preceptors, connections that later could be extended to dharma transmission as well. ¶ In East Asia, these lists of Indian dharma masters continued to be expanded and elaborated upon so that they also included the preeminent indigenous figures within each lineage, thus connecting the Chinese patriarchs of each lineage with their Indian predecessors. Most of the indigenous traditions of East Asian Buddhism, including the CHAN ZONG, TIANTAI ZONG, JINGTU ZONG, and HUAYAN ZONG, draw their legitimacy at least partially from their claims that their teachings and practices derive from an unbroken lineage of authoritative teachers that can be traced back geographically to India and temporally to the person of the Buddha himself. The specific names and numbers of patriarchs recognized within each lineage typically change over time and vary widely between the different traditions. Of these lists, the list of patriarchs recognized in the Chan school has received the lion's share of scholarly attention in the West. This Chan list varies widely, but a well-established roster includes twenty-eight Indian and six Chinese patriarchs. These six Chinese patriarchs (liu zu)-BODHIDHARMA, HUIKE, SENGCAN, DAOXIN, HONGREN, and HUINENG-are credited by the classical tradition with the development and growth of Chan in China, but early records of the Chan school, such as the LENGQIE SHIZU JI and LIDAI FABAO JI, reveal the polemical battles fought between disparate contemporary Chan communities to place their own teachers on this roster of patriarchal orthodoxy. It is important to note that all of these various lists of patriarchs, in all the different traditions, are created retrospectively as a way of legitimizing specific contemporary lineages or teachers and verifying the authenticity of their teachings; thus their accounts of the chronology and history of their lineages must be used critically. The compound zushi can mean either "patriarch" (lit., ancestral teacher) or in other contexts "patriarchs and teachers," as in the stock phrase "all the buddhas of the three time-periods and patriarchs and teachers throughout successive generations" (sanshi zhufo lidai zushi), which explicitly traces a school's ancestral lineage from the past to the present and into the future. Some modern Buddhists, especially in the West, deplore the sexism inherent in the term "patriarch," preferring instead to render it with the gender-neutral term "ancestor." See also CHUANDENG LU; FASI; PARAMPARĀ; YINKE.

KEYS (10k)

   4 Huineng

NEW FULL DB (2.4M)

   28 Huineng

1:There is no Bodhi tree, ~ Huineng,

2:Before you think good or evil, who are you? ~ Huineng,

3:Within our impure mind the pure one is to be found." ~ Huineng,

4:Empty your mind. Now, without thinking of good or bad, what was your original face before your parents met? ~ Huineng,

*** WISDOM TROVE ***

*** NEWFULLDB 2.4M ***

1:There is no Bodhi tree, ~ Huineng,

2:The meaning of life is to see. ~ Huineng,

3:The secret is within your self. ~ Huineng,

4:It is your minds that are moving. ~ Huineng,

5:Look within!... The secret is inside you. ~ Huineng,

6:Our Essence of Mind is intrinsically pure, ~ Huineng,

7:Before you think good or evil, who are you? ~ Huineng,

8:The truth is to be lived, not just mouthed. ~ Huineng,

9:Before you think good or evil, who are you? ~ Huineng,

10:Within our impure mind the pure one is to be found. ~ Huineng,

11:Since in reality all is void, Whereon can the dust fall? ~ Huineng,

12:Because wisdom is innate, we can all enlighten ourselves. ~ Huineng,

13:"Within our impure mind the pure one is to be is to found." ~ Huineng,

14:To meditate means to realize inwardly the imperturbability of the Essence of Mind. ~ Huineng,

15:By amending our mistakes, we get wisdom. By defending our faults, we betray an unsound mind. ~ Huineng,

16:To be bigoted & argue with others, is to subject one's essence of mind to the bitterness of mundane existence. ~ Huineng,

17:Confused by thoughts, we experience duality in life. Unencumbered by ideas, the enlightened see the one Reality. ~ Huineng,

18:As one lamp serves to dispel a thousand years of darkness, so one flash of wisdom destroys ten thousand years of ignorance. ~ Huineng,

19:The complete teachings of all Buddhas - past, present, and future - are to be found within the essence of every human being. ~ Huineng,

20:A finger points at the moon, but the moon is not at the tip of the finger. Words points at the truth, but the truth is not in words. ~ Huineng,

21:"A finger points at the moon, but the moon is not at the tip of the finger. Words points at the truth, but the truth is not in words." ~ Huineng,

22:Words are not truth. Truth is like the moon, and words are like my finger. I can point to the moon with my finger, but my finger is not the moon. Do you need my finger to see the moon? ~ Huineng,

23:Sit all together in meditation. Become peacefully calm and quiet, without motion, without stillness, without birth, without destruction, without coming or going, with no judgments of right or wrong, neither staying nor going. This, then, is the Great Way. ~ Huineng,

24:Zazen is seated meditation-the opposite of contemplation-the emptying of the mind of all thoughts in order simply to be. In the midst of all evil, not a thought is aroused in the mind-this is called za. Seeing into one's Self-nature, not being moved at all-this is called Zen. ~ Huineng,

25:Truth has nothing to do with words. Truth can be likened to the bright moon in the sky. Words, in this case, can be likened to a finger. The finger can point to the moon's location. However, the finger is not the moon. To look at the moon, it is necessary to gaze beyond the finger, right? ~ Huineng,

26:When our mind works freely without any hindrance, and is at liberty to 'come' or to 'go', we attain Samadhi of Prajna, or liberation. Such a state is called the function of 'thoughtlessness'. But to refrain from thinking of anything, so that all thoughts are suppressed, is to be Dharma-ridden, and this is an erroneous view. ~ Huineng,

27:He says the only people he ever really wants to meet fort a drink somewhere are all either dead or unavailable. He says he never even wants to have lunch with anybody, even, unless he thinks there's a good chance it's going to turn out to be Jesus, the person- or the Buddha, or Huineng, or Shankaracharya, or somebody like that. ~ J D Salinger,

28:Good friends, how then are meditation and wisdom alike? They are like the lamp and the light it gives forth. If there is a lamp there is light; if there is no lamp there is no light. The lamp is the substance of light; the light is the function of the lamp. Thus, although they have two names, in substance they are not two. Meditation and wisdom are also like this. ~ Huineng,

29:The capacity of the mind is broad and huge, like the vast sky. Do not sit with a mind fixed on emptiness. If you do, you will fall into a neutral kind of emptiness. Emptiness includes the sun, moon, stars, and planets, the great earth, mountains and rivers, all trees and grasses, bad people and good people, bad things and good things, heaven and hell; they are all in the midst of emptiness. The emptiness of human nature is also like this. ~ Huineng,