Chinese Chan, Part 1
Bodhidharma
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A semi-legendary figure, traditionally regarded as the first patriarch of Chan
Buddhism in China, arriving from India in the 5th or 6th century.
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Credited with introducing the principles of Zen, including meditation, and was
associated with the practice of “Wall Gazing.” He authored the Treatise on the Two
Entrances and Four Practices.
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His teachings emphasize the direct transmission of unique or special insight beyond
scriptures, forming the basis of Chan/Zen’s distinctive approach.
Huike
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The Second Patriarch of Chinese Chan Buddhism, a key disciple of Bodhidharma,
known for his deep dedication and understanding of Zen.
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Legendary for offering his arm to Bodhidharma as a demonstration of his sincerity,
symbolizing extreme commitment to seeking the truth.
Sengcan
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Recognized as the Third Patriarch of Chan Buddhism, known for his composition,
the Xinxin Ming (Relying on Mind), a key Zen text.
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His teachings focus on non-duality and the inherent Buddha nature, emphasizing a
mind free from attachment and aversion.
Hongren
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The Fifth Patriarch of Chan Buddhism in China, known for his teachings that
emphasized the inherent Buddha nature in all sentient beings.
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Played a crucial role in the transmission of Chan, being the teacher of Huineng.
According to the legend, he gave the robe and bowl to Huineng instead of his disciple,
Shenxiu.
Huineng
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The Sixth Patriarch of Chan Buddhism in China, known for his teachings on sudden
enlightenment and the intrinsic Buddha nature of all beings.
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Central figure in the Platform Sutra, where his sermon outlines key Chan concepts
like direct mind-to-mind transmission and the non-duality of nature.
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His doctrine, contrasting with the gradualist approach, greatly influenced the
development of Chan/Zen Buddhism.
“Wall Gazing” (Biguan)
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A meditation practice attributed to Bodhidharma, the first Chan patriarch, involving
facing a wall in seated meditation for extended periods.
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Emphasizes deep concentration and letting go of distractions, with the aim of realizing
the inherent nature of the mind.
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Served as a foundational practice in early Chan, symbolizing the direct, introspective
approach characteristic of Zen meditation.
Mind-to-Mind Transmission
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A foundational concept in Zen, denoting the direct transmission of enlightened
awareness from teacher to student, bypassing scriptural or doctrinal teachings.
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Exemplified in the legendary encounter between Bodhidharma and his successor,
Huike.
Bodhi Tree
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The tree under which Siddhartha Gautama, the historical Buddha, is said to have
attained enlightenment in Bodh Gaya, India.
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Traditionally identified as a ficus religiosa or sacred fig tree, the Bodhi Tree is a
symbol of enlightenment and spiritual awakening in Buddhism.
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The Bodhi Tree was referenced in Shenxiu and Huineng’s verses about enlightenment.
Emperor Wu (Liang Wudi)
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A 6th-century emperor of the Liang Dynasty in China, noted for his patronage of
Buddhism and his famous encounter with Bodhidharma.
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His conversation with Bodhidharma, where Bodhidharma responds “I don’t know” to
the emperor’s question about the holy truth, is a seminal moment in Zen lore.
Chinese Chan, Part 2
Shenxiu
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Often associated with the Northern School of Chan, Shenxiu’s teachings focused on
constant cultivation of the mind. This was termed as the method of “gradual
enlightenment.”
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Although defamed by Huineng’s disciple Shenhui, he was a prominent leader of the
Metropolitan Chan according to the Dunhuang manuscript. He was summoned to the court
in Chang’an by Empress Wu.
Shenhui
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Shenhui played a pivotal role in promoting Huineng’s teachings, the unilineal monosuccession from the Buddha through Bodhidharma to Huineng, and the concept of sudden
enlightenment (as opposed and superior to gradual enlightenment).
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Known for his public debates critiquing the “Northern School” of Chan (a term
Shenhui popularized), advocating the legitimacy of Huineng’s “Southern School.”
Platform Sūtra
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Traditionally attributed to Huineng, the Sixth Patriarch of Chan Buddhism. The actual
composition was much later, around 780. It is the only Chinese “sutra” considered not to be
words by the Buddha.
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Central to the development of Chan’s doctrinal underpinnings, especially the principles
of sudden enlightenment, no-thought, and the direct mind-to-mind transmission.
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It emphasizes direct experience over doctrinal study, drawing from Huineng’s
experience of awakening without meditation.
“No-Mind”/”No-Thought” (Wuxin)
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A concept referring to a state of consciousness beyond thought and emotion, free from
attachment and dualistic thinking.
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It is a key idea in Platform Sutra, and likely a break away from previous Chan/Zen
teachings, which emphasized maintaining awareness of the mind.
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Central to martial arts and artistic practices influenced by Zen, where actions flow from
intuition and training rather than conscious planning.
“Sudden Enlightenment”
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A principle in Zen Buddhism emphasizing an immediate awakening to one’s true
nature. Exemplified in the approach of the “Southern School” of Chan Buddhism and the
Linji/Rinzai Zen kōan practice.
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Contrasts with gradual enlightenment, asserting that enlightenment can occur
instantaneously without progressive stages.
“Northern School”
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A term used in Chan Buddhism to describe the faction associated with Shenxiu, a
contemporary of Huineng.
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Advocated a “gradual” approach to enlightenment, focusing on ethical behavior and
step-by-step practice.
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Historically depicted as the rival of the “Southern School,” though modern scholarship
questions the accuracy of this dichotomy.
“Ox-Herding” Pictures
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A series of images and accompanying verses used in Zen Buddhism to illustrate the
stages of a practitioner’s path towards enlightenment.
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Depicts the process of searching for, finding, taming, and transcending the ox,
symbolizing the mind and the journey to enlightenment.
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Widely used as a teaching tool, the ox-herding pictures metaphorically represent the
challenges and progress in Zen practice.
The Shitou-Caodong Line
Shitou
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An early Chan master, known for his poem “The Song of the Grass-Roof
Hermitage,” which reflects Shitou’s emphasis on the physical body and the integration of
Taoist naturalness and Buddhist emptiness. He founded the Shitou School of Chan.
Dongshan
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Contemporary of Linji, co-founder of the Caodong (Sōtō) school, known for his poetic
style and concern with the Buddha nature of inanimate objects.
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Dongshan’s legacy includes the development of a distinct Caodong/Sōtō doctrinal and
teaching style, balancing philosophical depth with practical meditation.
Caodong
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A Chan/Zen Buddhist school, founded by Dongshan and Caoshan in China, known for
its gentle, reflective approach and silent illumination.
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Emphasizes both emptiness and interconnectedness, the interplay and integration of the
ultimate and the phenomenal.
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As Sōtō in Japan, introduced by Dōgen, it became known for its zazen practice and
philosophical depth.
Hongzhi
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A Song Chinese Chan master, known for his teachings on silent illumination
(mozhao), a serene, objectless meditation practice in the Caodong/Sōtō Zen tradition.
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Hongzhi studied with Kumu (“dead wood”), who sat so still in meditation that his body
resembled dead wood.
Silent Illumination
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A meditative approach emphasized in the Caodong/Sōtō school.
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Silent illumination is both a form of meditation and a spiritual perspective. It involves
“objectless” meditation, with no focus on images, deities, etc., and no goals.
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Counterpart to kōan practice, it highlights the inherent enlightenment and non-duality
of being and non-being by withdrawing from particular objects and apprehending a unified
reality.
Zuochan/Zazen
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A meditative discipline in Chan/Zen Buddhism, especially in the Caodong/Sōtō school,
emphasizing seated meditation.
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Practiced in various forms, including counting breaths or just sitting (shikantaza)
The Mazu-Linji Line
Mazu Daoyi
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Mazu is known for his teachings on the significance of daily life and the irrelevance of
meditation.
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His direct and sometimes unconventional methods (“Shock Therapy”), including
shouting and striking, were pivotal in the development of the Hongzhou school of Chan, the
first empire-wide school. Mazu’s teachings deeply influenced later Chan and Zen traditions,
especially the Linji/Rinzai school.
“Ordinary Mind”
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A term particularly emphasized in the teachings of Mazu Daoyi, suggesting that the
everyday, uncontrived mind is the mind of enlightenment.
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Encourages a natural, spontaneous approach to practice, focusing on the present
moment without attachment or aversion. Contrasts with seeking a special or altered state;
proposes that enlightenment is found in everyday activities and experiences.
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“Mind is Buddha”: Buddha is close to each person and to be realized in the mind (cf.
Two Aspects of One Mind).
Nanquan
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Mazu’s disciple, known for his profound and sometimes enigmatic teachings, including
the famous “cat-cutting” kōan.
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His approach often involved using everyday activities as opportunities for awakening,
blending humor and insight. Nanquan’s teachings and methods significantly influenced the
development of kōan literature and Zen pedagogy.
Zhaozhou
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Nanquan’s disciple, famous for his concise and enigmatic teachings, best exemplified
in the well-known kōan, “Does a dog have Buddha-nature?” with the response “mu/wu”
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He favored short, impactful statements over striking his students. Famous for stating he
could have saved “Nanquan’s cat”.
Huangbo
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Baizhang’s disciple, he is known for his slaps (shock therapy), was influential in the
development of the Linji (Rinzai) school.
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His recorded sayings, notably in “The Zen Teaching of Huangbo,” are considered
classics of Zen literature, emphasizing the ineffable nature of Zen experience.
Linji
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Huangbo’s disciple, founder of the Linji/Rinzai school, known for its dynamic teaching
methods including shouts and physical gestures; famously said “kill the Buddha.”
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His teachings emphasized sudden awakening and direct encounter with one’s true
nature, influencing subsequent Chan and Zen practice.
Dahui
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Dahui was a successor to Linji, known for his criticism of silent illumination and his
emphasis on gong’an/kōan introspection.
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He pioneered the use of huatou, the critical phrase of a kōan, as a meditation tool,
shaping the Linji/Rinzai practice.
Gong’an/Kōan
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An enigmatic or shocking encounter between masters and students, for the purpose of
transcending logical thinking and prompt enlightenment.
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It is a tool to catalyze enlightenment and is itself an expression of enlightenment.
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Originated in Chinese Chan Buddhism and became central in Japanese Zen, featured in
texts like “The Blue Cliff Record.”
Kanhua
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Literally “viewing the phrase,” a method in Linji tradition where one concentrates on a
koan or the critical phrase of a kōan.
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It involves an intense, single-minded focus on the phrase to precipitate a moment of
insight.
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Different from shikantaza or silent illumination, as it uses the kōan as a direct point of
entry into the mind’s depths.
Huatou
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Literally the “word-head” of a kōan, used as a tool for deep meditation. Often
associated with the Linji/Rinzai school.
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Encourages questioning and intense focus on the huatou to break through rational
thinking and experience direct insight.
Wu/Mu
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A key term in Zen, particularly in kōan practice, often translated as “no” or “not,” used
in the famous kōan “Does a dog have Buddha-nature?”
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Represents the concept of emptiness or the negation of conceptual thinking,
challenging logical and dualistic thought processes.
Japanese Zen
Eisai
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A Japanese Buddhist monk who introduced Rinzai Zen to Japan in the 12th century,
after studying in China.
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Known for promoting Zen practices along with the tea ceremony, integrating Zen
principles into Japanese culture and daily life.
Rujing
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A 12th-century Chinese Chan master, pivotal in the transmission of the Sōtō Zen
lineage to Japan through his student Dōgen.
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Known for his strict emphasis on zazen (sitting meditation), he greatly influenced
Dōgen’s views on practice and enlightenment.
Dōgen
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A 13th-century Japanese Zen master, founder of the Sōtō school in Japan, known for
his profound teachings and emphasis on zazen (sitting meditation) and shikantaza.
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Authored the Shōbōgenzō, a collection of essays that is one of the most important
philosophical works in Japanese Zen.
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His teachings focus on the oneness of practice and enlightenment, emphasizing that
everyday activities are expressions of Buddha nature.
Ikkyū
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A 15th-century eccentric Japanese Zen monk, renowned for his unorthodox, often
provocative style and deep commitment to Zen practice.
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Known for his poetry and calligraphy, Ikkyū challenged the formalities of institutional
Zen and emphasized direct, personal experience.
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His life and teachings reflect a rebellious spirit against formalism, highlighting Zen’s
capacity to encompass a wide range of human experiences.
Hakuin
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An 18th-century Japanese Zen master, credited with reviving the Rinzai school and
emphasizing rigorous kōan practice.
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Known for his dynamic teaching style, artwork, and calligraphy, and for introducing
the system of kōan introspection used in Rinzai today.
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His influence reshaped Rinzai Zen, stressing the importance of deep kōan practice
combined with daily life activities for enlightenment.
Shikantaza
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A form of zazen in Sōtō Zen, literally meaning “just sitting,” emphasizing alert,
effortless, and non-conceptual meditation.
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It involves no objects, anchors, or content, focusing solely on the act of sitting with
pure awareness.
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Aims at experiencing the innate Buddha Nature, being fully present and letting go of all
thoughts and judgments.
Shōbōgenzō
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A foundational text in Japanese Sōtō Zen Buddhism, composed by the renowned Zen
master Dōgen.
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Consists of a series of fascicles written in the 13th century, covering various aspects of
Zen practice and philosophy.
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Known for its depth, complexity, and poetic style, it’s a key work in understanding
Dōgen’s teachings and Sōtō Zen.
Satori
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A Japanese Zen term for awakening or enlightenment, implying a profound experience
of insight into the true nature of existence.
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Often described as a direct, intuitive realization beyond intellectual understanding,
frequently spontaneous or triggered by meditation practice.
Kenshō
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A Zen Buddhist term meaning “seeing one’s true nature,” often considered an initial
insight or awakening, leading to satori.
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Involves recognizing the non-duality of self and other, often described as a glimpse into
the nature of emptiness or Buddha nature.
Hongaku Theory
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A concept in Mahayana Buddhism, particularly in Tendai and later Zen, meaning
“original enlightenment,” suggesting that all beings are inherently enlightened.
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Challenges the need for external practices or teachings for enlightenment, focusing
instead on realizing the already existing Buddha nature.
Sanzen/Dokusan
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Sanzen refers to formal meetings with a Zen master for personal guidance, often
involving kōan study or meditation practice.
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Dokusan, a variant, is a private interview between student and teacher, focusing on the
student’s progress in Zen practice.
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Both are integral to Rinzai and Sōtō Zen training, providing personalized instruction
and facilitating deeper understanding.
Eihei-ji Temple
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One of the two primary temples of the Sōtō Zen school in Japan, founded by Dōgen in
1244.
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Known for its strict monastic discipline and continuous practice of zazen (sitting
meditation), embodying Dōgen’s teachings.
Tea Ceremony
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While not originally a Zen practice, the Japanese tea ceremony (chanoyu) has been
deeply influenced by Zen aesthetics and philosophy.
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Emphasizes mindfulness, simplicity, and the harmony of host and guest, resonating
with Zen principles of presence and attentiveness.
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The ceremony’s ritualistic and meditative aspects reflect the Zen focus on everyday
activities as a means to spiritual awakening.
Tendai School
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A major school of Mahayana Buddhism in Japan, founded by Saichō, based on the
Chinese Tiantai tradition.
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Known for its comprehensive approach, incorporating diverse practices and teachings
including Lotus Sutra devotion, meditation, and esoteric rituals.
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Influential in the development of distinct Japanese Buddhist traditions, including Pure
Land, Nichiren, and Zen schools.
Śūnyatā
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Meaning emptiness in Sanskrit
How to prepare for your written essays:
*Be able to identify Japanese Zen Art and its significance / meaning.
*Be able to list the Chan patriarchs in order including their teachings, quotations, sutras,
practices, disciples, etc
* Be able to give the Chinese and Japanese equivalent for terminology, figures, and traditions
when applicable.