The Zen Experience Part 40

ZEN AND CREATIVITY

Zen gained from Taoism the insight that total reliance on logical thought stifles the human mind. Logic, they found, is best suited to a.n.a.lyzing and categorizing--functions today increasingly delegated to the computer. Whereas the logical mode of thought can only manipulate the world view of given paradigm, intuition can inspire genuine creativity, since it is not shackled by the nagging a.n.a.lytical mind, which often serves only to intimidate imaginative thought. Zen struggled relentlessly to deflate the pomposity of man's rationality, thereby releasing the potential of intuition. Although much research has arisen in recent times to pursue the same effect--from "brainstorming" to drugs--Zen challenged the problem many centuries ago, and its powerful tools of meditation and the koans still taunt our modern shortcuts.

ZEN AND MIND RESEARCH

That Zen ideas should find a place in psychoa.n.a.lysis is not surprising.

Meditation has long been used to still the distraught mind. j.a.panese researchers have studied the effects of meditation on brain activity for many years, and now similar studies are also underway in the West.

The connection between Zen "enlightenment" and a heightened state of "consciousness" has been examined by psychologists as diverse as Erich Fromm and Robert Ornstein. But perhaps most significantly, our recent research in the hemispheric specialization of the brain--which suggests our left hemisphere is the seat of language and rationality while the right dominates intuition and creativity-- appears to validate centuries-old Zen insights into the dichotomy of thought. Zen "research" on the mind's complementary modes may well light the path to a fuller understanding of the diverse powers of the human mind.

ZEN AND THE ARTS

At times the ancient Chinese and j.a.panese art forms influenced by Zen seem actually to antic.i.p.ate many of the aesthetic principles we now call "modern." Sixteenth-century Zen ceramics could easily pa.s.s as creations of a contemporary potter, and ancient Chinese and j.a.panese inks and calligraphies recall the modern monochrome avant-garde. Zen stone gardens at times seem pure abstract expressionism, and the Zen- influenced landscape gardens of j.a.pan can manipulate our perception using tricks only recently understood in the West. j.a.panese haiku poetry and No drama, created under Zen influence, antic.i.p.ate our modern distrust of language; and contemporary architecture often echoes traditional j.a.panese design--with its preference for clean lines, open s.p.a.ces, emphasis on natural materials, simplicity, and the integration of house and garden.

Aesthetic ideals emerging from Zen art focus heavily on naturalness, on the emphasis of man's relation to nature. The Zen artists, as do many moderns, liked a sense of the materials and process of creation to come through in a work. But there is a subtle difference. The Zen artists frequently included in their works devices to ensure that the message reached the viewer. For example, Zen ceramics are always intended to force us to experience them directly and without a.n.a.lysis. The trick was to make the surface seem curiously imperfect, almost as though the artist were careless in the application of a finish, leaving it uneven and rough. At times the glaze seems still in the process of flowing over a piece, uneven and marred by ashes and lumps. There is no sense of "prettiness": instead they feel old and marred by long use. But the artist consciously is forcing us to experience the piece for itself, not as just another item in the category of bowl. We are led into the process of creation, and our awareness of the piece is heightened--just as an unfinished painting beckons us to pick up a brush, This device of drawing us into involvement, common to Zen arts from haiku to ink painting, is one of the great insights of Zen creativity, and it is something we in the West are only now learning to use effectively.

ZEN AND PERCEPTION

One of the major insights of Zen is that the world should be perceived directly, not as an array of embodied names. As noted, the Zen arts reinforce this att.i.tude by deliberately thwarting verbal or a.n.a.lytical appreciation. We are forced to approach them with our logical faculties in abeyance. This insistence on direct perception is one of the greatest gifts of Zen. No other major system of thought champions this insight so clearly and forthrightly. Zen would have our perception of the world, indeed our very thoughts, be nonverbal. By experiencing nature directly, and by thinking in pure ideas rather than with "internalized speech," we can immeasurably enrich our existence. The dawn, the flower, the breeze are now experienced more exquisitely--in their full reality. Zen worked hard to debunk the mysterious power we mistakenly ascribe to names and concepts, since the Zen masters knew these serve only to separate us from life. Shutting off the constant babble in our head is difficult, but the richness of experience and imagery that emerges is astounding. It is as though a screen between us and our surroundings has suddenly dropped away, putting us in touch with the universe.

THE ZEN LIFE

The heart of Zen is practice, "sitting," physical discipline. For those wis.h.i.+ng to experience Zen rather than merely speculate about it, there is no other way. Koans can be studied, but without the guidance of practice under a master, they are hardly more than an intellectual exercise. Only in formal meditation can there be the real beginning of understanding. Zen philosophy, and all that can be transmitted in words, is an abomination to those who really understand. There's no escaping the Taoist adage, "Those who speak do not know, those who know do not speak." Words can point the way, but the path must be traveled in silence.

NOTES

PREFACE TO ZEN

1.Chang Chung-yuan, Tao: A New Way of Thinking (New York: Perennial Library, 1977), p. 4.

2.Ibid., p. 6.

3.Ibid., p. 50.

4.Ibid., p. 145.

5.Ibid., p. 153.

6.Quoted in Max Kaltenmark, Lao Tzu and Taoism (Stanford, Calif.: Stanford University Press, 1969), p. 20.

7.Burton Watson, Introduction to The Complete Works of Chuang Tzu (New York: Columbia University Press, 1968), p. 7.

8.Arthur Waley, Three Ways of Thought in Ancient China (Garden City, N.

Y.: Doubleday, undated reprint of 1939 edition), p. 15.

9.Gai-fu Feng and Jane English, trans., Chuang Tsu (New York: Vintage Books, 1974), p. 55.

10.Ibid. 309

11.Wm. Theodore de Bary, Wing-tsit Chan, and Burton Watson, Sources of Chinese Tradition, Vol. 1 (New York: Columbia University Press, 1960), p. 240.

12.Ibid., pp. 243-244.

13.Quoted by Fung Yu-lan, A Short History of Chinese Philosophy (New York: Macmillan Publis.h.i.+ng Co., Inc., 1948), p. 230.

14.Quoted in ibid., p. 235.

15.D. Howard Smith, Chinese Religions (New York: Holt, Rinehart and Winston, 1968), p. 106.

16.Frederick J. Streng, Emptiness: A Study in Religious Meaning (Nashville: Abingdon Press, 1967), pp. 159-60.

17.Arthur F. Wright, Buddhism in Chinese History (Stanford: Stanford University Press, 1959), p. 63.

18.Walter Liebenthal, Chao Lun: The Treatises of Seng-chao (Hong Kong: hong Kong University Press, 1968), p. 62.

242 / NOTES 10, 11)1(1,, pp. fifi f)7.

20.Helnrich Dumoulin, A History of Zen Badtihism (Boston: Beacon Press, 1000), i. 60,

21.Quoted by Fung Yu Ian, Short History of (Chinese Philosophy, p, 252,

1.BODHIDHARMA: FIRST PATRIARCH OF ZEN 2.

1.Translated by D. T. Suzuki, Essays in Zen Buddhism, First Series (New York: Grove Press, 1961), p. 1 79. This is a translation of a pa.s.sage from the Records of the Transmission of the Lamp compiled in 1004 by Tao-yuan. A simpler version of the story can be found in the original source doc.u.ment, the Further Biographies of Eminent Priests (Hsu kao-seng chuan), prepared around the year 645 by Tao hsuan, and translated In Cat's Yawn, published by the First Zen Inst.i.tute of America, New York, 194 7. The story is repeated also in the Ch'uan fg- pao chi, prepared ca, 700 10 by Tu Fei,