By Zen Master Seung Sahn
Somebody comes into the Zen middle with a lighted cigarette, walks as much as the Buddha statue, blows smoke in its face, and drops ashes on its lap. you're status there. What are you able to do?” it is a challenge that Zen grasp Seung Sahn is keen on posing to his American scholars who attend his Zen facilities. shedding Ashes at the Buddha is a pleasant, irreverent, and sometimes hilariously humorous residing list of the discussion among Korean Zen grasp Seung Sahn and his American scholars. such as dialogues, tales, formal Zen interviews, Dharma speeches, and letters utilizing the Zen Master’s genuine phrases in spontaneous, dwelling interplay along with his scholars, this publication is a clean presentation of the Zen educating approach to instant dialogue” among grasp and scholar which, by utilizing astonishment and paradox, results in an knowing of final fact.
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Extra info for Dropping Ashes on the Buddha: The Teachings of Zen Master Seung Sahn
Section 2 addresses Candrakīrti’s explanation of how Prāsaṅgikas accept epistemic instruments within the conventional context. I argue that, for Candrakīrti, being an epistemic instrument is a status that is conditioned and acquired and therefore lacks real foundations. 6 Sections 3, 4, and 5 explore Candrakīrti’s arguments in support of this account of two sorts of epistemic instruments and argue that, on Candrakīrti’s account, ontologically deceptive, empty, false, and illusion-like epistemic instruments are nonetheless epistemically efﬁcient and reliable; this is because, although they are empty of any given intrinsic natures (svabhāva, svalakṣaṇa), they are nonetheless epistemic instruments in relation to their principle epistemic objects (prameya).
5, Yonezawa (2008, 229): gal te khyod kyis dngos po thams cad mngon sum gyis dmigs nas dngos po thams cad ni stong pa’o zhes zlog par byed na ni mi rung ngo // de yang ‘thad pa ma yin te/ ci’i phyir zhe na/ dngos po thams cad kyi nang du mngon sum gyi tshad ma yang ‘dus pa’i phyir stong pa yin la/ dngos po la dmigs par byed pa gang yin pa de yang stong pa yin no// de’i phyir mngon sum gyi tshad mas dmigs pa med do// mi dmigs pa ‘gog pa yang mi ‘thad pas de la dngos po thams cad ni stong pa’o zhes smras pa gang yin pa de ‘thad pa ma yin no// ‘on te khyod kyi blo la rjes su dpag pa dang lung dang dpes ‘jal bas dmigs nas dngos po ‘di thams cad zlog par byed do snyam du sems na ‘dir smra bar bya ste/ “Suppose you were to say, after having apprehended everything by means of perception, that everything is empty.
Ed. 9. 30 MOONSHADOWS three (and Buddhas would know nothing of the real world). But that is wrong. Just as Bill is deceived in believing that there is water on the road, Charlie is incapable of seeing the mirage at all and so fails to know what Alice knows— that there is an actual mirage on the road, which appears to some to be water, but which is not. There is a truth about the mirage despite the fact that it is deceptive, and Alice is authoritative with respect to it precisely because she sees it as it is, not as it appears to the uninitiated.