Big difference of The Asahi and The Nikkei was in the paper this morning conspicuously.

Big difference of The Asahi and The Nikkei was in the paper this morning conspicuously.
The Asahi carries an article with the tone which the developing country which is a true exchange operation country seems glad about when Japan is a target in the index with being proved in the G20 joint statement original plan in page 3.
On the other hand, The Nikkei carries the following article on page 17 by the index with “Wong and Chinese Yuan rise at the dollar ““receiving an exchange report at the U.S. ".

But of the article that Akutagawa's “The Turntable of Civilization” is proving a thing with the right of 100 % however, it is

The preamble abbreviation

U.S. Treasury's report was published on the 12th by such under the conditions.
It criticizes the posture of the Korean authority which doesn't publish the fact of the intervention on the foreign exchange markets by report's supposing " that it believes that the Korean authority of a lot of market participants held down Wong's rise pace in 2012 latter halves of the year and at the beginning of 13 " to Korea.
The market player received, saying “the tone of the criticism was “more " strengthened from the report in the last time ".
On the other hand, it avoided the authorization of “the exchange operation country” therefore in China but it pointed out it, saying “the disproportion of the exchange rate was reducing but was very much underestimated ".

The omit the last part

It doesn't know that the false moralism which Akutagawa points out derives from where but without knowing a fact about the partner country, there is not true friendship.

If Asahi is supposed not to have intentionally told the fact which Nikkei told, it isn't exaggerated even if it says that it is fascism by the false moralism.

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Le Daigo-ji

Le Daigo-ji (醍醐寺, Daigo-ji?) est un temple bouddhiste de l'école Shingon dans le quartier Fushimi-ku, à Kyoto, au Japon. Il fait partie des monuments historiques de l'ancienne Kyoto classés au patrimoine mondial de l'humanité. L'image principale du temple (honzon) représente Yakushi.

Histoire

Le Daigo-ji a été fondé en 874, au début de la période Heian, par Rigen-Daishi (Shōbō).
Le 22e jour du 9e mois de la 8e année de l'ère Enchō (930), l'empereur Daigo tombe malade puis abdique1. Une semaine plus tard, il se fait moine et prend le nom bouddhiste Ho-Kongo. Il décède peu après, à l'âge de 46 ans2. Il est enterré dans l'enceinte de Daigo-ji, ce qui explique pourquoi le nom posthume de cet empereur est devenu Daigo-Tenno3.

Trésors nationaux

Plusieurs bâtiments, y compris le kondo (hall principal) et la pagode à cinq étages, sont classés trésors nationaux du Japon.
Le Daigo-ji possède 18 trésors nationaux désignés spécifiquement (bâtiments et œuvres d'art), et plusieurs dizaines d'œuvres classées « œuvres culturelles importantes ».
En 1994, il est inscrit avec d'autres monuments historiques de l'ancienne Kyoto sur la liste du patrimoine mondial de l'UNESCO.
La pagode à cinq étages du Daigo-ji a été construite en 951 et est le plus vieil édifice de Kyoto encore subsistant. Elle est l'un des rares bâtiments à avoir survécu à la guerre d'Ōnin dans les années 1400.

Le jardin

Plus de sept siècles après la fondation du temple, Toyotomi Hideyoshi a tenu une importante fête des fleurs de cerisiers en 1598 au sous-temple Sambō-in.
Les couleurs vives de feuilles d'érable attirent de nombreux touristes et visiteurs en automne. Le mausolée de l'empereur Suzaku, connu sous le nom Daigo no misasagi est situé à proximité de Daigo-ji.

Daigo-ji

Daigo-ji (醍醐寺 'Daigo-ji') es un templo budista Shingon de Fushimi-ku, Kioto, Japón. Su objeto de devoción principal (gohonzon) es Bhaisajyaguru, el Buda de la Medicina. Daigo, literalmente "ghi", se usa de manera figurativa como metáfora de los pensamientos más profundos de la religión budista y significa "lo mejor de lo mejor".

Historia

Daigo-ji fue fundado en el año 874, a principios del período Heian, por Rigen-daishi (Shōbō).
Después de haber caído enfermo y abdicado en el año 930, el emperador Daigo entró al templo como monje budista, para lo cual se cambió el nombre a Hō-kongō; falleció poco después, a los cuarenta y seis años de edad. El nombre del templo fue cambiado a Daigo y el antiguo emperador fue sepultado en el lugar.

Tesoros nacionales

Varias estructuras, incluyendo el kondō y la pagoda de cinco niveles, son Tesoros nacionales de Japón. El templo posee dieciocho tesoros nacionales diseñados de manera específica, incluyendo los edificios y otros lugares, y alberga varias docenas de bienes culturales importantes. Las pinturas sobre las paredes han sido estudiadas por académicos y en 1960 obtuvieron el Premio Imperial de la Academia Japonesa, uno de los honores más prestigiosos de la nación.
Como parte de los "Monumentos históricos de la antigua Kioto", es considerado un Patrimonio de la Humanidad.
La pagoda de cinco niveles del templo se construyó en 951 y es el edificio más antiguo de Kioto. Es una de las pocas estructuras que sobrevivió a la Guerra de Ōnin en el siglo XV.

Jardín

Más de siete siglos después de su fundación, Toyotomi Hideyoshi celebró un famoso evento de observación de cerezos en 1598 en el subtemplo Sambō-in.
Los colores brillabtes de las hojas de los árboles atraen a turistas y locales en la temporada de otoño. El mausoleo del Emperador Suzaku, conocido como Daigo no misasagi, se encuentra en las cercanías de Daigo-ji.

Der Daigo-ji

Der Daigo-ji (jap. 醍醐寺) ist ein buddhistischer Tempel im Stadtbezirk Fushimi von Kyōto, Japan.
Er zieht sich über zwei Bezirke. Der obere und ältere wurde ursprünglich im Jahr 874 auf dem Gipfel des Berges Daigo vom Mönch Shobo (auch bekannt als Rigen Daishi) etabliert. Der untere und jüngere Teil am Hang des Berges vervollständigte den Tempel als solchen und wurde vor allem durch die Tennō Daigo und Murakami vorangetrieben. Diese Arbeiten dauerten von 904 oder 907 bis etwa 952 und schlossen mit der fünfstöckigen Pagode (Goujonoto) ab. Sie wurde durch Bürgerkriegsunruhen im 15. Jahrhundert schwer beschädigt, wurde aber seit dem späten 16. Jahrhundert immer weiter restauriert. Sie ist gegenwärtig das älteste noch erhaltene Bauwerk in Kyōto. Alle anderen Gebäude des Tempels waren zwischenzeitig mindestens einmal vollständig durch Feuer zerstört.


Die Goujonoto
Seit der Vervollständigung des Daigo-ji ist er der Haupttempel des Ono-Zweigs der Shingon-Sekte. Über viele Generationen standen Mitglieder der Daigo-Linie der Minamoto dem Tempel vor.
Sechs der zum Daigo-ji gehörenden Gebäude sind nationale Kulturgüter Japans:
(im oberen Bezirk)
Yakushido, die Halle des Yakushi Buddha, 907 auf Befehl von Kaiser Daigo errichtet.
Kiyotakigu-haiden, die Gottesdiensthalle
(im unteren Bezirk)
Gojunoto
Kondo, die Haupthalle
Omote-shoin, die Empfangshalle
Sanpoin-garamon, ein Tor
Besonders bekannt ist der Tempel auch für den Sanpoin-Teien, einen von Toyotomi Hideyoshi im Jahr 1598 neu angelegten Garten von großer Kunstfertigkeit und Schönheit. 1994 wurde der Daigo-ji zusammen mit anderen historischen Stätten in Kyōto von der UNESCO zum Weltkulturerbe Historisches Kyōto (Kyōto, Uji und Ōtsu) ernannt.

Daigo-ji

Daigo-ji (醍醐寺 Daigo-ji) is a Shingon Buddhist temple in Fushimi-ku, Kyoto, Japan. Its main devotion (honzon) is Yakushi. Daigo, literally "ghee," is used figuratively to mean "crème de la crème" and is a metaphor of the most profound part of Buddhist thoughts.

History

Daigo-ji was founded in the early Heian period.In 874, Rigen-daishi (Shōbō) founded the temple.
After having fallen ill and abdicated in 930, Emperor Daigo entered Buddhist priesthood at this temple. As a monk, he took the Buddhist name Hō-kongō; and shortly thereafter, died at the age of 46. He was buried in the temple, which is why his posthumous name was Daigo.

National treasures

Several structures, including the kondō and the five-storey pagoda, are National Treasures of Japan. The temple possesses 18 specifically designated national treasures, including the buildings and other works as well; and the temple holds several dozen important cultural assets. Wall paintings at the temple were the subject of academic research which earned the Imperial Prize of the Japan Academy in 1960.

As part of the "Historic Monuments of Ancient Kyoto," it is designated as a World Heritage Site.
The five-storey pagoda at Daigoji temple was built in 951 and is the oldest building in Kyoto. It was one of few buildings to survive the Onin War in the 15th century.
[edit]Garden

More than seven centuries after its founding, Toyotomi Hideyoshi held a famous cherry-blossom-viewing party in 1598 at the Sambō-in sub-temple.
The bright colors of maple leave attract tourists and others in the Autumn season. Emperor Suzaku's mausoleum, known as Daigo no misasagi, is located near Daigo-ji.

Daigo-ji is laid out in three parts: Sambō-in, Shimo-Daigo (Lower Daigo), and Kami-Daigo (Upper Daigo).These are progressively older, wilder, and further up the mountain. Sambō-in and Shimo-Daigo are at the base of the mountain, easily accessible, and attract the most tourism; Kami-Daigo is on top of the mountain, requires a long, strenuous hike to reach, and is accordingly less visited. The streets around Sambō-in can be freely traveled, but entering Sambō-in proper, the museum, Shimo-Daigo, or Kami-Daigo all require separate admission – the first three have combined ticketing, while Kami-Daigo is separate.

Sambō-in is a collection of walled complexes, connected by streets lined with cherry blossoms.
It contains the temple proper (including a noted tea garden), a museum, and other complexes, and is very lively during cherry blossom season. Shimo-Daigo is one large enclosure, containing detached halls, including the oldest surviving building in Kyoto, together with open spaces.

The omit the last part
From Wikipedia

When it is possible to die after seeing Sakura in Daigo-ji, it was circulated.

Daigo-ji is one of the places which Akutagawa loves.
When it is possible to die after seeing Sakura in Daigo-ji, it was circulated.
Akutagawa feels the same way completely.
However, because Sakura this year was a strange climate, it had the feeling where various Sakura bloomed apart.
But however, were excellent
Sakura in Daigo-ji last year was wonderful really.
It made wonderful Sakura last year 27 sheets of photograph collections with the sentences which Sakura in the Daigo-ji brought about and it ended a publishing procedure a short while ago.
but be terrible work to Akutagawa who is strange to the PC
Later, within several hours, it reaches to all over the world.
Please, appreciate.

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Shobogenzo… "Tesouro do Olho do Dharma Verdadeiro"

Origem: Wikipédia, a enciclopédia livre.
A Wikipédia possui o
Shōbōgenzō (正法眼蔵lit. "Tesouro do Olho do Dharma Verdadeiro") foi escrito pelo mestre Zen japonês Dogen entre 1231 e 1253 (ano da morte de Dogen). Diferentemente dos escritos anteriores sobre Zen provenientes do Japão, o Shobogenzo foi escrito em japones e não em chinês como era o costume. Outros trabalhos de Dogen, como o Eihei Koroku e o Shobogenzo Sanbyakusoku foram escritos em chinês. O Shobogenzo Sanbyakusoku (ou Shinji Shôbôgenzô) é composto de cerca de trezentos koans, e não deve ser confundido com o Shobogenzo que é objeto do presente artigo (também conhecido como Kana Shobogenzo).

Kana Shōbōgenzō

Os diferentes textos―referidos como fascículos―que compõe o Kana Shōbōgenzō foram escritos entre 1231 e 1253―o ano da morte de Dogen (Dōgen, 2002, p. xi).
Veja também

Shōbōgenzō…La Custodia della Visione del Vero Dharma

Da Wikipedia, l'enciclopedia libera.

Shōbōgenzō (正法限蔵), La Custodia della Visione del Vero Dharma (o Il Tesoro dell’Occhio del Vero Dharma, secondo un'altra possibile traduzione) è il titolo dell'opera maggiore di Eihei Dōgen (1200-1253) monaco buddista giapponese, una delle figure spirituali più significative dell'Estremo Oriente cui si rifà idealmente il Sōtō Zen, una delle scuole del buddismo zen giapponese.
Esistono diverse redazioni dell'opera che, secondo le intenzioni dell'autore, avrebbe dovuto essere composta di cento sezioni o libri: ne restano oggi numerose edizioni più o meno inclusive, che vanno dalle dodici sezioni (le ultime in ordine di tempo redatte dall'autore) alla più ampia, composta da novantacinque libri.
Il titolo scelto da Dōgen non è originale ma è ripreso da altre opere della Cina del periodo Song (960-1279) e richiama l'Occhio del Vero Dharma, ovvero la visione di Buddha, il risvegliato, colui che apre gli occhi alla realtà autentica (dharma).

Il contenuto dell'opera

È evidente dunque l'intenzione di chi utilizza questo titolo, e dunque anche di Dōgen, di scrivere una summa del vero insegnamento buddista. Ogni sezione parte da un particolare punto di osservazione della realtà, solitamente usando come traccia espressioni di antichi sūtra indiani e cinesi o espressioni caratteristiche di famosi monaci e maestri del passato.
Gli argomenti trattati vanno dal tempo alla vita e morte, dalla pratica religiosa al funzionamento intrinseco della realtà, dalla natura alla legge di causa effetto, ognuno analizzato, scrutato ed esposto con un rigore logico che è insieme caratteristico e peculiare dell'Autore e fonte di ispirazione non solo per chi segue esplicitamente la Via buddista ma anche per pensatori e filosofi delle più varie formazioni.

Approfondimenti

Gli studi sullo Shōbōgenzō conoscono una particolare fioritura a partire dal XVIII secolo e soprattutto dopo l'apertura del Giappone all'influenza occidentale anche sul piano filologico e metodologico. Oggi molti sono gli studi e gli approfondimenti dello Shōbōgenzō in Giappone, negli Stati Uniti d'America e in Europa, sia a livello accademico filosofico sia a livello della riflessione religiosa.
Il maestro zen Gudo Nishijima roshi, avendone iniziato lo studio con Sawaki Kōdō, ha sviluppato una esegesi quadropartita nella quale osserva il Dogen esporre l'aspetto ideologico, poi materiale, in terza posizione nel modo dell'azione ed infine poetico, per poter rappresentare l'ineffabilità della realtà. La sua versione dell'opera è oramai disponibile in giapponese moderno, in inglese, in tedesco ed in spagnolo, queste ultime ad opera dei suoi allievi occidentali.

Struttura dell'opera

Lo Shobogenzo esiste in parecchie versioni, le tre principali sono l'edizione in 12 capitoli, l'edizione in 75 capitoli e l'edizione in 95 capitoli. Le prime due sono edizioni antichissime che non furono mai stampate, ma furono tramandate attraverso copie manuali. L'edizione in 95 capitoli include tutti i capitoli delle altre due edizioni con una eccezione: il capitolo intitolato Ippyaku Hachi Homyo Mon. Questa edizione, essendo la più completa, fu pubblicata nell'era di Genroku (1688- 1704) e fu stampata su tavole di legno nel 1816. Ciò ebbe per effetto di fissarne i contenuti a quello stadio, e fu questa edizione che divenne la versione studiata in Giappone a partire da questo momento sino alla Seconda Guerra Mondiale. Dopo la guerra, certi giovani studiosi dell'epoca stabilirono che l'edizione in 75 capitoli fosse quella più genuina, poiché stesa dallo stesso Maestro Dogen. Scoprirono una vecchia copia che constava di 75 capitoli, che stabilirono fossero stati scritti dalla stessa mano di Dogen Zenji. Una successiva analisi sulla scrittura del testo fece nascere dubbi su questa pretesa, che ancora oggi attende di venir confermata.

Le Shōbōgenzō « Le Trésor de l'œil de la Vraie Loi »

Le Shōbōgenzō (正法眼蔵, Japonais: Shōbōgenzō, Chinois: Zhenfa-yuancang), littéralement « Le Trésor de l'œil de la Vraie Loi », est une œuvre du maître zen japonais Dogen Zenji, écrite entre 1231 et 1253 (année de la mort de Dogen). À la différence des écrits zen antérieurs provenant du Japon, le Shōbōgenzō est écrit en japonais et non en chinois. D'autres travaux de Dogen, notamment l'Eihei Koroku et le Shōbōgenzō Sanbyakusoku sont écrits en chinois. Le Shōbōgenzō Sanbyakusoku (ou Shinji Shōbōgenzō) se compose de plus de trois cents kōan, et est distinct du Shōbōgenzō qui est l’objet du présent article.

Style

Le Shōbōgenzō est une œuvre difficile d’accès de par son style empreint de poésie extrême-orientale, les métaphores sont nombreuses et peuvent dérouter le lecteur surtout lorsque celui-ci connaît mal le contexte historique et culturel. Cette difficulté d’accès existe aussi sans doute pour le lecteur japonais, car des maîtres de l’école sōtō vont écrire plus tard le Shushōgi, une œuvre plus simple pour le lecteur laïc, qui a généralement moins de temps et de motivation à consacrer à l’étude des textes.
L’argumentaire du Shōbōgenzō mêle des genres variés : sermons, soutras, kōan, études, conversations... ces citations sont empruntées à l’enseignement de toutes les écoles bouddhistes mais aussi à d’autres traditions et à d’autres époques. Seul bémol à cette observation : cette diversité n’a pour origine que celle de la culture chinoise, car les textes utilisés par Dogen, aussi variés soient-ils, sont presque tous chinois. Les personnages cités sont eux aussi majoritairement des Maîtres Chinois. Rien d’étonnant à cela, car le bouddhisme japonais vient de Chine ; de plus, pour Dogen, il ne faisait aucun doute que la culture nippone était secondaire par rapport à celle de l’empire du milieu.

Éditions

Les éditions modernes du Shōbōgenzō contiennent quatre-vingt-quinze fascicules (éditions Kōzen et Honzan), cependant des versions précédentes ont compté : soixante-quinze (édition Kyūsō), soixante (édition Sôgo), ou vingt-huit fascicules (édition Himitsu). Dogen lui-même a considéré que seulement douze de ces fascicules étaient complets. Certains des fascicules ont été écrits par Dogen lui-même, alors que d'autres ont été probablement écrits par ses disciples.

Traductions

La traduction la plus complète en français est celle des éditions Sully qui présente la traduction et les commentaires de Yoko Orimo sur 92 fascicules. En anglais, la traduction de Nishijima/Cross Master Dogen's Shōbōgenzō est la seule traduction complète du Shōbōgenzō (95 fascicules). Le projet de l'université Stanford basé sur les textes de l’école Soto, est un projet ambitieux pour traduire les textes de Dogen et d'autres textes de l’école Soto, plusieurs fascicules ont été traduits, et beaucoup d'autres traductions de différents textes sont disponibles.

Fascicules

Voici la liste des fascicules avec leur date d'écriture. L'ordre des fascicules donnés est celui des versions modernes et a varié selon les éditions et les époques.
Les soixante-quinze chapitres des anciens manuscrits (kyūsō)

El Shōbōgenzō (正法眼蔵), lit. "Tesoro del Verdadero Ojo del Dharma"

El Shōbōgenzō (正法眼蔵), lit. "Tesoro del Verdadero Ojo del Dharma" (o también "Tesoro del Verdadero Ojo de la Ley"), es la colección de Dōgen Zenji de fascículos de budismo Zen, escritos entre 1231 y 1253 -- el año de la muerte de Dōgen (Dōgen, 2002, p. xi). A diferencia de los escritos Zen anteriores creados en Japón, el Kana Shōbōgenzō fue escrito en lengua japonesa y no en chino. Otras obras de Dōgen, como el Eihei Koroku y el Shobogenzo Sanbyakusoku están escritas en lengua china. El Shobogenzo Sanbyakusoku se compone de más de 300 kōan (preguntas sin respuesta lógica, destinadas al pensamiento intuitivo), y es diferente del Kana Shōbōgenzō expuesto aquí.(Véase: Heine, Dogen and the Koan Tradition).
Las ediciones modernas del Shōbōgenzō contienen noventa y cinco fascículos, a pesar de que colecciones más tempranas de la tradición Zen Sōtō variaran en número (setenta y cinco, sesenta, veintiocho). El mismo Dōgen consideraba que sólo doce de estos fascículos estaban completos. Los ensayos del Shōbōgenzō eran expuestos como sermones. Algunos de los fascículos fueron registrados por Dōgen, mientras que otros fueron probablemente registrados por sus discípulos.

El Dōgen Zenji Zenshu contiene todos los 95 fascículos en japonés, sin traducir. El Nishijima/Traducción cruzada, Master Dogen's Shobogenzo, y Shobogenzo, The Eye and Treasury of the True Law, por Kosen Nishiyama y John Stevens, son las únicas traducciones al inglés del Kana Shobogenzo al completo. El Soto Zen Text Project con sede en Standford, un proyecto ambicioso para traducir los textos de Dogen y otros de Sōtō, ha completado numerosos fascículos, y están disponibles muchas otras traducciones de fascículos individuales. Shasta Abbey también está realizando la traducción completa del Shobogenzo y otras obras de Zen Soto. Véanse referencias y enlaces externos.

Shōbōgenzō…“Die Schatzkammer des wahren Dharma-Auges“

Shōbōgenzō (japanisch 正法眼蔵; deutsch lit.: „Die Schatzkammer des wahren Dharma-Auges“) ist der Titel des Hauptwerks des japanischen Zen-Meisters Dōgen, das er im Zeitraum vom August 1231 bis zum Januar 1253 (seinem Todesjahr) verfasste. Das Shōbōgenzō ist die zentrale Schrift für die Anhänger des Sōtō-Zen.
Eine über die Schule des Sōtō-Zen in Japan hinausgehende Bedeutung erlangte die Schrift im 20. Jahrhundert, nachdem der Philosoph Watsuji Tetsurō (1889-1960) sie in seiner 1924 erschienenen Abhandlung Shamon Dōgen (沙門道元; deutsch „der Mönch Dōgen“) als Produkt des „originär japanischen Denkens“ bezeichnet hatte und sie „aus den Fängen der Sekte (des Sōtō-Zen)“ entreißen wollte. In der Folge wurde das in diesem Werk vorgetragene Denken von zahlreichen japanischen Denkern neu beleuchtet.
Typische literarische Stilmittel, die chinesische Intellektuelle der Song-Zeit auszeichnen, wie die Schriften hochgebildeter Adliger in Japan zur gleichen Zeit vermischen sich mit einem eigenen und unverwechselbaren Stil. Die Zitate zeigen die große Bandbreite der Werke, die Dōgen gelesen hat. Es handelt sich dabei um klassische chinesische Literatur von Konfuzius bis zu damals zeitgenössischen Werken, wobei buddhistische Literatur dominiert.
Übersetzungen [Bearbeiten]

deutsch
Dōgen: Shōbōgenzō: ausgewählte Schriften: anders Philosophieren aus dem Zen. Übersetzt, erläutert und hrsg. von Ryōsuke Ōhashi und Rolf Elberfeld. Frommann-Holzboog, Stuttgart 2006 (sorgfältige Auswahlübersetzung mit Erläuterungen; Rezension online; PDF; 66 kB)
Meister Dōgen: Shobogenzo. Die Schatzkammer des wahren Dharma-Auges. 4 Bände, Kristkeitz, Heidelberg-Leimen 2001-2008 (kommentierte Übersetzung aus dem japanischen Urtext)
Dogen Zenji: Shōbōgenzō, Der Schatz des wahren Dharma. Gesamtausgabe, übersetzt von Joseph Renner u.a. Angkor Verlag, Frankfurt 2008, ISBN 978-3-936018-58-5 (Gesamtausgabe in einem Band, enthält auch die beiden Bände aus dem Theseus Verlag)
englisch
Gudo Wafa Nishijima, Chodo Cross (Hrsg.): Master Dogen's Shobogenzo. 4 Bände, Windbell, London 1994–1999
Literatur [Bearbeiten]

Steven Heine: Did Dōgen Go to China? What He Wrote and When He Wrote It. Oxford University Press, Oxford 2006, ISBN 978-0-19-530570-8 (grundlegende Studie zur Entstehungsgeschichte der Werke Dōgens)
Weblinks [Bearbeiten]

Genjo-Koan (Eihei Dogen)
Deutsche Seite zum Shōbōgenzō des Kristkeitz Verlags
Zehn Kapitel aus dem Shōbōgenzō: Genjokoan, Zazengi, Zazenshi, Zenki, Gabyo, Shoji, Bodaisattashishoho, Osakusendaba, Hotsubodaishin und Hachidaininkaku
Dogen Sangha Berlin Blog Erläuterungen zum Shobogenzo

Shōbōgenzō…"Treasury of the True Dharma Eye"

Shōbōgenzō
From Wikipedia, the free encyclopedia
Part of a series on Zen

Shōbōgenzō (正法眼蔵 lit. "Treasury of the True Dharma Eye") The term Shōbōgenzō has three main usages in Buddhism: (1) It can refer to the essence of the Buddha's realization and teaching, that is, to the Buddha Dharma itself, as viewed from the perspective of Mahayana Buddhism, (2) it is the title of a koan collection with commentaries by Dahui Zonggao, and (3) it is used in the title of three works by Dōgen Kigen.
Contents
1 Shōbōgenzō of Mahayana and Zen
2 Dahui's Shōbōgenzō
3 Dogen's Three Shōbōgenzōs
3.1 Kana Shōbōgenzō
4 See also
5 Reference Notes
6 References
7 External links

Shōbōgenzō of Mahayana and Zen

In Mahayana Buddhism the term Shōbōgenzō refers generally to the Buddha Dharma, and in Zen Buddhism, it refers specifically to the realization of Buddha's awakening that is not contained in the written words of the sutras (Pali: suttas).

In general Buddhist usage, the term "treasury of the Dharma" refers to the written words of the Buddha's teaching collected in the Sutras as the middle of the Three Treasures of the Buddha,

Dharma, and Sangha. In Zen, the real treasure of the Dharma is not to be found in books but in one's own Buddha Nature and the ability to see this Correct View (first of the Noble Eightfold Path) of the treasure of Dharma is called the "Treasure of the Correct Dharma Eye".

In the legends of the Zen tradition, the Shōbōgenzō has been handed down from teacher to student going all the way back to the Buddha when he transmitted the Shobogenzo to his disciple Mahākāśyapa thus beginning the Zen lineage that Bodhidharma brought to China.

The legend of the transmission of the Shōbōgenzō to Mahākāśyapa is found in several Zen texts and is one of the most referred to legends in all the writings of Zen. Among the famous koan collections, it appears as Case 6 in the Wumenguan (The Gateless Checkpoint) and Case 2 in the Denkoroku (Transmission of Light). In the legend as told in the Wumenguan, the Buddha holds up a flower and no one in the assembly responds except for Arya Kashyapa who gives a broad smile and laughs a little. Seeing Mahākāśyapa's smile the Buddha said,

I possess the Treasury of the Correct Dharma Eye , the wonderful heart-mind of Nirvana, the formless true form, the subtle Dharma gate, not established by written words, transmitted separately outside the teaching. I hand it over and entrust these encouraging words to Kashyapa.

Dahui's Shōbōgenzō

Dahui Zonggao, the famous popularizer of koans in the Sung period of China, wrote a koan collection titled 正法眼藏 Zhengfa Yanzang(Treasury of the Correct Dharma Eye, W-G.: Cheng-fa yen-tsang, J.: Shōbōgenzō)
Dahui's Shōbōgenzō is composed of three scrolls prefaced by three short introductory pieces.
Upon arriving in China, Dogen Kigen first studied under Wuji Lepai, a disciple of Dahui, which is where he probably came into contact with Dahui's Shōbōgenzō.

Dogen's Three Shōbōgenzōs

In Japan and the West, the term Shōbōgenzō is most commonly known as referring to the titles of two works composed by Japanese Zen master Dōgen Kigen in the mid-13th century. It is also a collection of Dogen's talks compiled by his student Koun Ejō, called Shōbōgenzō Zuimonki.

The first written and completed in 1235, the Shinji Shōbōgenzō, also known as the Mana Shōbōgenzō or Shōbōgenzō Sanbyakusoku is a collection of 301 koans (public cases) and is written in Chinese, the language of the original texts from which the koans were taken.

In his Dogen's Manuals of Zen Meditation, Carl Bielefeldt acknowledges that Dogen likely took the title from Dahui for his first Shōbōgenzō koan collection and kept it for his following Shōbōgenzō commentary collection:Indeed the fact that Dōgen styled his effort "Shōbō genzō" suggests that he had as his model a similar compilation of the same title by the most famous of Sung masters, Ta-Hui Tsung-kao. Unlike the latter, Dōgen was content here simply to record the stories without interjecting his own remarks. A few years later, however, he embarked on a major project to develop extended commentaries on many of these and other passages from the Ch'an literature. The fruit of this project was his masterpiece--the remarkable collection of essays known as the kana, or "vernacular", Shōbō genzō. (p. 46.)
The later Kana Shōbōgenzō consists of an overlapping assortment of essays and commentaries written in Japanese; different versions of the Kana Shōbōgenzō contain different sets of texts. (See: Heine, Dogen and the Koan Tradition)
When referring to Dogen's works, the term Shōbōgenzō by itself more commonly refers to the Kana Shōbōgenzō.

Kana Shōbōgenzō

The different component texts―referred to as fascicles―of the Kana Shōbōgenzō were written between 1231 and 1253―the year of Dōgen's death (Dōgen, 2002, p. xi). Unlike earlier Zen writings originating in Japan, including Dōgen's own Shinji Shōbōgenzō and Eihei Koroku, which were written in Chinese, the Kana Shōbōgenzō was written in Japanese.

Modern editions of Shōbōgenzō contain 95 fascicles, though earlier collections in the Sōtō Zen tradition varied in number (75, 60, and 28). Dogen began a process of revision late in his life that resulted in 12 of these, but it is thought that he intended to cover them all. There is debate over whether these revisions represented a shift in his views. The essays in Shōbōgenzō were delivered as sermons in a less formal style than the Chinese-language sermons of the Eihei Koroku. Some of the fascicles were recorded by Dōgen, while others were likely recorded by his disciples.

The Dōgen Zenji Zenshu contains all 95 Japanese fascicles, untranslated. There are now four complete English translations of the Kana Shobogenzo. A translation by Gudo Nishijima and Chodo Cross is available under two titles, Master Dogen's Shobogenzo and Shōbōgenzō: The True Dharma-Eye Treasury.

The latter is freely distributed digitally by Bukkyo Dendo Kyokai (BDK) with many other Mahāyāna texts. Kosen Nishiyama and John Stevens have a translation titled Shobogenzo (The Eye and Treasury of the True Law). Shasta Abbey has a free digital translation of the Shobogenzo and offers other Soto Zen works. A translation by a "team of translators that represent a Who’s Who of American Zen" and edited by Kazuaki Tanahashi, Treasury of the True Dharma Eye: Zen Master Dogen's Shobo Genzo, was released in mid-2011. Additionally, the Stanford-based Soto Zen Text Project, a project to translate Dogen and other Sōtō texts, has completed several fascicles, freely distributed in digital format.

Flower Sermon

Flower Sermon
From Wikipedia, the free encyclopedia
Part of a series on Zen

The lotus flower, the species of flower said to have been used during the Flower Sermon.
Among adherents of Zen, the origin of Zen Buddhism is ascribed to a story, known in English as the Flower Sermon, in which Śākyamuni Buddha (Siddhartha Gautama) transmits direct prajñā (wisdom) to the disciple Mahākāśyapa.

In the original Sino-Japanese, the story is called nengemishō (拈花微笑, literally "pick up flower, subtle smile").

In the story, Śākyamuni gives a wordless sermon to his disciples (sangha) by holding up a white flower. No one in the audience understands the Flower Sermon except Mahākāśyapa, who smiles. Within Zen, the Flower Sermon communicates the ineffable nature of tathātā (suchness) and Mahākāśyapa's smile signifies the direct transmission of wisdom without words.

Śākyamuni affirmed this by saying:I possess the true Dharma eye, the marvelous mind of Nirvana, the true form of the formless, the subtle harma ate that does not rest on words or letters but is a special transmission outside of the scriptures. This I entrust to Mahākāśyapa.

Zen developed as a form of Buddhism that concentrated on direct experience rather than creeds, doctrines, or intellectual analysis.

Zen is essentially an exploratory methodology for mapping consciousness, a meditative tradition that foregrounds direct experience of tathātā which may only be afforded by the entrance of the "gateless" Dharma Gate.

Jung and Kerényi (2002: p.179) demonstrate a possible commonality in intent between the Flower Sermon and the Eleusinian Mysteries:One day the Buddha silently held up a flower before the assembled throng of his disciples. This was the famous "Flower Sermon." Formally speaking, much the same thing happened in Eleusis when a mown ear of grain was silently shown.

Even if our interpretation of this symbol is erroneous, the fact remains that a mown ear was shown in the course of the mysteries and that this kind of "wordless sermon" was the sole form of instruction in Eleusis which we may assume with certainty.
The story of the Flower Sermon may have been created by Chinese Ch'an Buddhists.

" today last year " 2012/4/15

" today last year " which reaches every day from goo.
" Timetable of the galaxy train " 2012/4/15

As for the reader, like the knowing, Akutagawa discovered Kyoto in re-re-re through the beauty of the colored leaves and it is not through Sakura.

And then, as for the this much and frequent Kyoto exploration, Sakura became applied.
(Smiling wryly)

This year, it is Akutagawa who is heart-to-heart communicationing needless to say in the spring in Kyoto through Sakura.

For example, if the following picture is not to heart-to-heart communication to Daigo-ji, the place where carries without being decided and being known.

It is two sheets of pictures like the miracle if saying exaggeratedly.

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