Chan

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Zen developed as an amalgam of Mahāyāna Buddhism and Taoism.[16] Dumoulin (2005) argues that Zen also has roots in yogic practices, specifically kammaṭṭhāna, the consideration of objects, and kasiṇa, total fixation of the mind.[17]

The entry of Buddhism into China was marked by interaction and syncretism with Taoic faiths, Taoism in particular.[18] Buddhism’s scriptures were translated into Chinese with Taoist vocabulary, because it was originally seen as a kind of foreign Taoism.[19] In the Tang period Taoism incorporated such Buddhist elements as monasteries, vegetarianism, prohibition of alcohol, the doctrine of emptiness, and collecting scripture into tripartite organisation. During the same time, Chan Buddhism grew to become the largest sect in Chinese Buddhism.[20]

The establishment of Zen is traditionally credited to the monk Bodhidharma (ca 500 CE), who is recorded as having come to China to teach a “special transmission outside scriptures” which “did not rely upon words”. Bodhidharma settled in the kingdom of Wei where he took as disciples Daoyu and Huike. Shortly before his death, Bodhidharma appointed Huike to succeed him, making Huike the first Chinese patriarch and the second patriarch of Zen in China. The transmission then passed to the second patriarch (Huike), the third (Sengcan), the fourth patriarch (Dao Xin) and the fifth patriarch (Hongren). The sixth and last patriarch, Huineng (638–713), was one of the giants of Zen history, and all surviving schools regard him as their ancestor. However, the dramatic story of Huineng’s life tells that there was a controversy over his claim to the title of patriarch: after being chosen by Hongren, the fifth patriarch, he had to flee by night to Nanhua Temple in the south to avoid the wrath of Hongren’s jealous senior disciples. In the middle of the 8th century, monks claiming to be the successors to Huineng, calling themselves the Southern school, cast themselves in opposition to those claiming to succeed Hongren’s student Shenxiu (神秀). It is commonly held that at this point—the debates between these rival factions—that Zen enters the realm of fully documented history. The Southern school eventually became predominant and their rivals died out. Modern scholarship, however, has questioned this narrative.

The following are the six Patriarchs of Zen (Chan) in China as listed in traditional sources:

Bodhidharma (達摩, Chinese: Damo, Japanese: Daruma) about 440 - about 528
Huike (慧可, Japanese: Eka) 487 - 593
Sengcan (僧燦, Japanese: Sōsan) ? - 606
Daoxin (道信, Japanese: Dōshin) 580 - 651
Hongren (弘忍, Japanese: Kōnin) 601 - 674
Huineng (慧能, Japanese: Enō) 638 - 713

Zen/Chan in China

In the following centuries, Chan grew to become the largest sect in Chinese Buddhism and, despite its “transmission beyond the scriptures”, produced the largest body of literature in Chinese history of any sect or tradition. The teachers claiming Huineng’s posterity began to branch off into numerous different schools, each with their own special emphasis, but all of which kept the same basic focus on meditational practice, personal instruction and personal experience.

During the late Tang and the Song periods, the tradition continued, as a wide number of eminent teachers, such as Mazu (Wade-Giles: Ma-tsu; Japanese: Baso), Shitou (Shih-t’ou; Japanese: Sekito), Baizhang (Pai-chang; Japanese: Hyakujo), Huangbo (Huang-po; Jap.: Obaku), Linji (Lin-chi; Jap.: Rinzai), and Yunmen (Jap.: Ummon) developed specialized teaching methods, which would variously become characteristic of the five houses (五家) of Chan. The traditional five houses were Caodong (曹洞宗), Linji (臨濟宗), Guiyang (潙仰宗), Fayan (法眼宗), and Yunmen (雲門宗). This list does not include earlier schools such as the Hongzhou (洪州宗) of Mazu.

Over the course of Song Dynasty (9601279), the Guiyang, Fayan, and Yunmen schools were gradually absorbed into the Linji. During the same period, the various developments of Chan teaching methods crystallized into the gong-an (koan) practice which is unique to this school of Buddhism. According to Miura and Sasaki, “it was during the lifetime of Yüan-wu’s successor, Ta-hui Tsung-kao 大慧宗杲 (Daie Sōkō, 1089-1163) that Koan Zen entered its determinative stage.”[21] Gong-an practice was prevalent in the Linji school, to which Yuanwu and Ta-hui (pinyin: Dahui) belonged, but it was also employed on a more limited basis by the Caodong school. The teaching styles and words of the classical masters were collected in such important texts as the Blue Cliff Record (1125) of Yuanwu, The Gateless Gate (1228) of Wumen, both of the Linji lineage, and the Book of Equanimity (1223) of Wansong, of the Caodong lineage. These texts record classic gong-an cases, together with verse and prose commentaries, which would be studied by later generations of students down to the present.

Chan continued to be influential as a religious force in China, and thrived in the post-Song period; with a vast body of texts being produced up and through the modern period. While traditionally distinct, Chan was taught alongside Pure Land Buddhism in many Chinese Buddhist monasteries. In time much of the distinction between them was lost, and many masters taught both Chan and Pure Land. Chan Buddhism enjoyed something of a revival in the Ming Dynasty with teachers such as Hanshan Deqing (憨山德清), who wrote and taught extensively on both Chan and Pure Land Buddhism; Miyun Yuanwu (密雲圓悟), who came to be seen posthumously as the first patriarch of the Obaku Zen school; as well as Yunqi Zhuhong (雲棲株宏) and Ouyi Zhixu (藕溢智旭).

After further centuries of decline, Chan was revived again in the early 20th century by Hsu Yun, a well-known figure of 20th century Chinese Buddhism. Many Chan teachers today trace their lineage back to Hsu Yun, including Sheng-yen and Hsuan Hua, who have propagated Chan in the west where it has grown steadily through the 20th and 21st century.

It was severely repressed in China during the recent modern era with the appearance of the People’s Republic, but has more recently been re-asserting itself on the mainland, and has a significant following in Taiwan and Hong Kong as well as among Overseas Chinese

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2 Comments

  • What is the painting and painter for the chanmount.png image here?

  • Hi Dennis

    I’m sorry but I don’t remember. It’s a picture I downloaded long ago before I had this blog.

    It is probably from a Gallery in Shanghai. There was a small exhibition by two young painters and I found the paintings marvelous so I downloaded the one you can see on the page.

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