Dear all
This week we will read sections 17 and 18. In this part of the sutra, Huineng lays out what he considers to be the basics of dharma teaching – no thought, no form and no attachment. He does, however, clarify that no thought does not mean having a completely empty mind but rather that we should not think about thoughts and just let them flow without attaching to them.
Often, when I wake up, my mind starts spinning with thoughts and I find I can just let them do their thing, like a hamster wheel running, without needing to interfere. Thoughts are not the problem, but our taking them as real and solid.
Red Pine notes that he likes to think of no form as the root of a tree, no form as the trunk and no thought as the leaves. He also points to the importance of negation and the word no, which is also an important component of The Heart Sutra (and, for those of a certain age and inclination, the 1993 Eurodance classic No Limit!).
Huineng says that once a thought is interrupted, the dharma body becomes separated from the material body which, to me, has huge echoes from the Hsin Hsin Ming of “Separate by the smallest amount, however, and you are as far from it as the heaven is from earth”.
Likewise he says that “if you can just be free of forms, the body of your nature is perfectly pure”. Red Pine emphasises the connection of this with The Diamond Sutra which we are seeing is a continuing thread in this work. Huineng states that the ‘no’ here, and likewise in The Heart Sutra, negates duality and afflictions.
His words are very clear here on p143 (149 in the Kindle version) that thoughts are just the natural function of mind. However, once we start to add layers on top of the thoughts (thinking about thoughts) we make them into objects and concepts with their own reality outside of ‘suchness’ (Jp. Immo).
In section 18, Huineng says that in Zen we do not contemplate the mind or purity, neither are we dispassionate.
We cannot know the mind, only what arises, and thinking about the purity of practice separates us from what is already pure. Similarly, if we think about being dispassionate (which can be defined as “not influenced by strong feelings or emotions”) we can fall prey to acting as if we are dispassionate rather than just allowing things to be as they are in a natural way.
Huineng is also pointing to traditional Buddhist practices and emphasising the differences with what he is teaching in terms of thought watching, contemplating purity and impurity and trying to cultivate dispassion as something in and of itself, rather than as a fruit of practice.
Questions
1. How do you view Huineng’s statement ‘To be free of form in the presence of forms’? What does that look like in practice?
2. What do you see as the difference between dispassion (or we might say ‘non-attachment’) when we try to present that rather than when it arises naturally? Or, to put it another way, what does it look like when someone is trying to be dispassionate rather than being natural or genuine?
Wishing you all a good week.
Gassho
Kokuu
-sattoday/lah-
This week we will read sections 17 and 18. In this part of the sutra, Huineng lays out what he considers to be the basics of dharma teaching – no thought, no form and no attachment. He does, however, clarify that no thought does not mean having a completely empty mind but rather that we should not think about thoughts and just let them flow without attaching to them.
Often, when I wake up, my mind starts spinning with thoughts and I find I can just let them do their thing, like a hamster wheel running, without needing to interfere. Thoughts are not the problem, but our taking them as real and solid.
Red Pine notes that he likes to think of no form as the root of a tree, no form as the trunk and no thought as the leaves. He also points to the importance of negation and the word no, which is also an important component of The Heart Sutra (and, for those of a certain age and inclination, the 1993 Eurodance classic No Limit!).
Huineng says that once a thought is interrupted, the dharma body becomes separated from the material body which, to me, has huge echoes from the Hsin Hsin Ming of “Separate by the smallest amount, however, and you are as far from it as the heaven is from earth”.
Likewise he says that “if you can just be free of forms, the body of your nature is perfectly pure”. Red Pine emphasises the connection of this with The Diamond Sutra which we are seeing is a continuing thread in this work. Huineng states that the ‘no’ here, and likewise in The Heart Sutra, negates duality and afflictions.
His words are very clear here on p143 (149 in the Kindle version) that thoughts are just the natural function of mind. However, once we start to add layers on top of the thoughts (thinking about thoughts) we make them into objects and concepts with their own reality outside of ‘suchness’ (Jp. Immo).
In section 18, Huineng says that in Zen we do not contemplate the mind or purity, neither are we dispassionate.
We cannot know the mind, only what arises, and thinking about the purity of practice separates us from what is already pure. Similarly, if we think about being dispassionate (which can be defined as “not influenced by strong feelings or emotions”) we can fall prey to acting as if we are dispassionate rather than just allowing things to be as they are in a natural way.
Huineng is also pointing to traditional Buddhist practices and emphasising the differences with what he is teaching in terms of thought watching, contemplating purity and impurity and trying to cultivate dispassion as something in and of itself, rather than as a fruit of practice.
Questions
1. How do you view Huineng’s statement ‘To be free of form in the presence of forms’? What does that look like in practice?
2. What do you see as the difference between dispassion (or we might say ‘non-attachment’) when we try to present that rather than when it arises naturally? Or, to put it another way, what does it look like when someone is trying to be dispassionate rather than being natural or genuine?
Wishing you all a good week.
Gassho
Kokuu
-sattoday/lah-
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