| Title | : | Zen and Japanese Culture |
| Author | : | |
| Rating | : | |
| ISBN | : | 0691017700 |
| ISBN-10 | : | 9780691017709 |
| Language | : | English |
| Format Type | : | Paperback |
| Number of Pages | : | 584 |
| Publication | : | First published January 1, 1938 |
Zen and Japanese Culture Reviews
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Дзен се интересува преди всичко от интуитивната реакция, а не от логиката и аналитичното. Тази интуитивност е неразривно свързана с японското разбиране за религия, изкуство и метафизика. Не чрез разсъдък, а чрез действие и хармония, човек достига най-висшите нива на просветление. От този идеал се е формирало художественото чувство у японците. Минималистичните рисунки, които са включени в богатото приложение, свидетелстват за това. С резки и сигурни движения на четката, художникът очертава лодка в морето. Празният фон отзад е всичко. Едното е част от всичко и всичко се крие в едното.
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First published in Japan in 1938 and later in the USA in 1959, this 478-page “Zen and Japanese Culture” by Professor Suzuki is still worth reading for those interested in the inception and impact by Zen on Japanese culture and identity. From its 11 chapters, it would elaborately inform us on this famous Buddhist cult generously supplemented by related ancient episodes, poems, characters, etc. in various key topics, for instance, Swordmanship, Haiku, Love of Nature, etc. Many scholars and readers, I think, have long since written and shared their learned reviews on this remarkable classic in books, journals and web pages; mine might be possibly repetitive. Therefore, I would present my review by means of three selected excerpts so that we can understand more on the topic in question.
Swordmanship... The abbot's name was Ryuko; he belonged to the Soto sect of Zen and was a renowned master of the day. When Tesshin spoke to him regarding the enterprise, the abbot advised him against it, ... The young man, however, was obdurate against taking the advice kindly.
Ryuko continued: "Look at myself. I also wanted to be better known in the world. ... We each have to know where we are and be content with the situation."
This incensed Tesshin very much, so that he excitedly exclaimed: "Do you think my sword is of no worth? Swordsmanship is not like your discipline. ... Besides, I am firmly convinced of my attainment in swordsmanship. I am not afraid of any encounter which may turn up in my tour."
Ryuko could not help smiling at his self-conceit. "You had better start with the one who is right in front of you. If you come out victorious, you may undertake the grand tour throughout the whole country. In case, however, you lose, you must promise to become a monk and be my disciple."
At this Tesshin, laughing heartily, said, "You may be great in your Zen, but surely you are no swordsman. If you wish to try your luck, however, I am ready."
Ryuko gave him a bamboo stick that had been found nearby and then provided himself with a hossu. Tesshin, full of confidence, tried to knock the Zen master down with one blow of his stick. But the stick completely missed the opponent, who was no longer within reach. Tesshin was exasperated and tried again and again to reach him, but all to no purpose. Instead, he frequently felt the hossu gently sweeping over his face.
Ryuko finally remarked, "What would you say now?"
... (pp. 130-31)
HaikuThe predecessor of Basho was Saigyo (1118-90), of the Kamakura period. He was also a traveler-poet. After quitting his official career as a warrior attached to the court, he devoted his life to traveling and poetry. He was a Buddhist monk. Whoever has traveled through Japan must have seen the picture of a monk in his traveling suit, all alone, looking at Mount Fuji. …the picture suggests many thoughts, especially about the mysterious loneliness of human life, which is, however, not the feeling of forlornness, nor the passive sense of solitariness, but a source of appreciation of the mystery of the Absolute. The poem then composed by Saigyo runs:
The wind-blown
Smoke of Mount Fuji
Vanishing far away!
Who knows the destiny
Of my thought wafting with it!
… (p. 256)
Love of NatureThe famous Nirvana picture of the Tofukuji Zen monastery, at Kyoto, was painted by one of its monks, Cho Densu (1352-1431), one of the greatest painters of Japan. It is one of the largest hanging pictures of this class in Japan, measuring about 39 by 26 feet. ... When Cho Densu was engaged in this grand work, a cat used to visit him and sit by him watching the progress of the picture. The artist, who wanted ultramarine in mental form, playfully remarked, "If you are good enough to bring me the stuff I want, I will have your picture in this Nirvana." The cat had been generally missing, for some unknown reason, in Nirvana pictures executed until then. Hence Cho Densu's remark. And, miraculously enough, the following day the cat brought him the painting ingredient he wanted, besides, led him to the place where it could be found in abundance. The artist's delight was beyond measure, and to keep his word he painted the cat in his Nirvana picture, for which that cat has ever since had a nationwide reputation. ... (pp. 380-81)
In sum, this book may not be a page-turner; however it is still interestingly informative nowadays since we can start with any chapter we prefer, then we would find the author’s writing style appropriate to common readers for his narrations supplemented by 64+ black-and-white rare pictures with Japanese calligraphy belonging to that particular period. One more thing, I found his generous footnotes printed below innumerable pages helpful and delightful to read each topic and better understand. -
С изключение на няколко глави, в които авторът прекалено много се опитва да ни убеждава в неща, които някак си не изглеждат наистина така, както ги описва, книгата е много интересна и информативна. Харесвам най-вече частите с тълкуване на различни случаи, истории, приказки и така нататък, личните разсъждения на автора наистина могат да се слагат под въпрос, дори и без в предговора да съществуваше подобно "предупреждение".
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Още с книжката "Увод в дзен-будизма", която излезе в началото на деведесетте, Судзуки ми се отвърди като единствения читав авторитет по въпроса. Тогава родният пазар, повлиян от излизането на книгите на Кастанеда, започна да се пълни с всякакъв американски ню ейдж изотеричен бълвоч и будизмът не беше пожален.
Дайсетцу Судзуки за сметка на това е съвсем друга бира. Тази книга, както и предноспоменатата, не е лесна за четене. Не дава някакви отгговори и най-вече не се опитва да "обясни" дзен на европейския акъл. Текстът е трудносмилаем, голяма част от съдържанието е взето от университетски лекции водени от д-р Судзуки.
Разделено на глави, обхващащи различни аспекти на японската култура от средновековието до днес, авторът ни показва как дзен е повлиял на цялостните бит и култура на Япония и обратното - как японският начин на живот е развил будизма.
Обхваща типично японски неща, или по-скоро приети от японците и развити до нещо с което се отъждествяват, като кендо, стрелба с лък, чайна церемония, хайку и култ към природата. Като показва връзката на всяко с дзен-будизма и как са си повлияли взаимно.
Текстът е изпълнен с исторически и културни препратки и определено е най-изчерпателното нещо, което съм чел по въпроса. Дали помага да се доближим до разбирането на култура толкова изосновно различна от родната? Не съм сигурен. Или поне разбирането, както го виждам, трябва да стане на едно интоитивно ниво, почти като дзен-сатори, защото всяко обяснение извращава истинността на "такъвото". -
Oddly, I feel like I really enjoyed this book, despite the fact that it was quite difficult to read and I’m still fairly confused about the role of Zen in Japanese culture. I suspect that Suzuki may have intended this as his goal doesn’t seem to be understanding but rather discussion. His explanation of Zen largely boils down to the fact that Zen cannot be explained as it is individual and must be experienced, therefore he gives many examples of Zen from Japanese history in the hopes that we catch a glance of its shape. This doesn’t provide a particularly satisfying literary structure, and he could use some serious editing, but it does keep the reader on their toes as you really have no idea what’s coming up next (plus his rambling style is somehow endearing). As to how all of these examples and mini-essays relate to Japanese culture, I’m not entirely sure. Suzuki’s main argument appears to be: “Many famous and revered Japanese through history were Zen-men, therefore Zen has shaped Japanese culture.” He complicates this by adding examples from pre-Zen writers who he considers to have a Zen spirit. On the whole I’d say he fails to draw clear links between Zen and specific aspects of Japanese culture, which one would expect from such a book; then again, since Zen apparently defies logic and rationalization, perhaps he succeeds perfectly.
PS - It took me a year to read this book 😳 -
p6: [...] we human beings cannot live without language, for we are so made that we can sustain our existence only in group life. Love is the essence of humanity, love needs something to bestow itself upon; human beings must live together in order to lead a life of love.
p10: Satori must be the outgrowth of one's inner life and not a verbal implantation brought from the outside.
p13: (Tenno Dogo) "If you want to see, see right at once. When you begin to think, you miss the point."
p23: To be poor, that is, not to be dependent on things worldly - wealth, power, and reputation - and yet to feel inwardly the presence of something of the highest value, above time and social position: this is what essentially constitutes wabi.
p23-24: Life itself is simple enough, but when it is surveyed by the analyzing intellect it presents unparalleled intricacies.
p24: Very likely, the most characteristic thing in the temperament of the Eastern people is the ability to grasp life from within and not from without.
p25: The idea of aloneness belongs to the East and is at home in the environment of its birth.
p32: When we see the moon, we know that it is the moon, and that's enough. Those who proceed to analyze the experience and try to establish a theory of knowledge are not students of Zen. They cease to be so, if they ever were, at the very moment of their procedure as analysts. Zen always upholds its experience as such and refuses to commit itself to any system of philosophy.
p50: But as a social being man cannot remain content with mere experience; he wants to communicate it to his fellow beings - which means that intuition is to have its contents, its ideas, its intellectual reconstruction. -
Very informative and exciting read. Recommending this to anyone who wants to expand their knowledge of Japanese history and what shaped the country's culture. The author explains the essence of Zen Buddhism very well in my opinion.
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Lots of thoughts. Review to follow.
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Essays exploring zen elements and influences in Japanese swordsmanship, tea ceremony, and poetry.
Not so much of a practical guide, but generally a thorough, academic work that remains an engaging read despite its age. -
Procrustes
پروکروُستی
غولی است در اساطیرِ یونان، که تختِ خواب های آهنین داشت و اسیرانش را اگر کوتاه بودند، می کشید
.و اگر بلند بودند، کوتاه می کرد تا اندازه ی آن تختِ خواب شوند
«تختِ خواب پروکروُستی»
.به هر معیار خود ساخته یی اطلاق می شود که انطباقِ با آن اجباری باشد
ذن و فرهنگ ژاپنی ، د. ت. سوزوكی، برگردان ع. پاشايی – تهران : ميترا 1378 - ص 180
یزدانپناه عسکری: معیار خود ساخته = فهرست انسانی
***
.شوُونیَتا (تهیت - دل بی دلی) ، پیوند تنگاتنگی با مسأله ی مرگ و زندگی (زنده گی) دارد ، که اکثر ِ ما امروزه چندان توجهی به آن نمی کنیم
ذن و فرهنگ ژاپنی ، د. ت. سوزوكی، برگردان ع. پاشايی – تهران : ميترا 1378 - ص 154
AP یزدانپناه عسکری: شوُونیَتا (تهیت - دل بی دلی) = سیالیت
. . . -
"One of the most beautiful books ever writen about Zen."
This is definitely one of the best pieces of art that have arrived in my hands. Absolutely no doubt on me when I say this.
There is a lot of things to talk about, but especially the Way, — the way the author explores the concepts of Zen and the whole philosophy of it is revealed in a beautiful, direct, unique form.
I thought I knew better about Zen than what I know now;
at the same time, now I know I do not know.
And that's perfect.
Zen and Japanese Culture is a masterpiece — something you definitely want to read to absorb the eastern perspective and understanding of Universal Existence (especially if you are from the West).
«Mushin», «Myo», «Suki», «Zentai Sayu» and many other relevant concepts are explained with really detailed but at the same time really simple examples.
"Zen & The Swordsmanship", "Zen & Nature", "Zen and The Art of Tea"... each chapter is beautiful in its own way, adding colour and fullfilling the whole sphere Suzuki is being able to paint — without actually trying to paint it.
Also, as a special gift and non-valuable treasure, you can find some of the original words and dialogues between ancient zen masters, which Suzuki researched and perfectly immortalized, plus the majestic detail of adding his personal opinions and comments about them.
This book is an endless source of Wisdom.
To be honest, this is the only book that has reached the same level for me as the best book ever written in my opinion — Musashi's «Go Rin No Sho».
I could go all-in into the details, but it's too much.
No way to capture its essence by words.
I guess that's part of Zen too.
But if you are reading this, trust me.
Go for it.
Get this book.
Thank me later. -
D.T. Suzuki was easily one of the world's foremost historians on Zen Buddhism. Several years ago I listened to an audiobook of the chapter called "Zen and the Samurai". It was only recently I discovered that was part of this entire volume.
This book is certainly a scholarly work, and probably best suited to those with some background in Buddhism or Japanese culture. But like all of Suzuki's writing, the tone is approachable and human. I found the chapters on haiku particularly enlightening. Suzuki explains the foundations of the art form in a way that helps a westerner more fully appreciate it (although I suspect to completely appreciate it one needs to read older haiku in their native Japanese). Haiku is not something to be intellectualized. In essence, it is meant to be a direct translation of a visceral experience into a verbal form.
It was particularly interesting to read this book on the heels of finishing Charlotte Joko Beck's
Everyday Zen: Love and Work. The two certainly represent the contrast between Suzuki's traditional Eastern Zen, and Joko Beck's modern, more pragmatic Western Zen. Together they are a brilliant example of how the same fundamental truths can be expressed through different lenses.
I would be remiss if I didn't mention a hint of ethnocentrism that runs through the book. Western concepts and ideals are often slighted in favor of their Japanese counterparts. I admit I may be reading it as such because I am a Westerner myself. The irony of course is that many of the Western ideals Suzuki downplays have now become engrained in modern Japan, perhaps to even more of an extreme than in the west. There is a beauty to the way of thought Suzuki describes in this book, and the tragedy may be that it is slowly disappearing. But perhaps not, one can hardly deny that there still exists differences in Eastern and Western thought. Perhaps Eastern thought is still grounded in the fundamentals Suzuki explains, it has just evolved. -
Về thiết kế, trình bày sách: Cuốn này bản tiếng việt bìa làm đẹp hơn, cách trình bày, thiết kế trang sách ứng dụng cái “không” của thiền. Rất đẹp và tinh tế.
Về Nội dung: để nắm bắt trọn vẹn thì mình khuyên các bạn nên lên youtube xem giảng giải bát nhã tâm kinh trước khi đọc cuốn này vì Thiền và Phật giáo Đại Thừa có liên quan mật thiết với nhau. Cuốn sách này có thể cứu rỗi linh hồn bạn (save your soul) tuy nhiên do chúng ta là những con người vô minh, dùng trí óc để hiểu vấn đề của Thiền mà điều này lại đi ngược lại hoàn toàn những gì Thiền dạy do đó nếu so với những người khác về mặt luận lí chúng ta có thể hơn họ nhưng bản tâm chúng ta thật vẫn còn giống họ khá nhiều vì vẫn còn lớp bụi phủ lên nó.
Bản thân con người là những sinh vật vị kỷ, do vậy có những chuyện miệng thì nói buông nhưng trong lòng lại chẳng như vậy do tâm còn chấp ngã.
For my sad stories. -
This book took me soooo long to finish. A couple of dry sections here and there, but it helped me understand Zen Buddhism in a way that I never understood it before. Examples of Japanese and Chinese literature abound. Suzuki is clearly well-read in the Zen tradition, and the illustrations and explanations were helpful in understanding how Zen relates to Rikyu's tea ceremony, swordsmanship, Confucianism, nature, Haiku etc.
I did enjoy Suzuki's writing style a lot; With a topic as dense as Zen Buddhism, Suzuki never made me feel stupid at all. He knows he is writing to beginners who have no understanding of Zen, and so the book was not hard to follow. -
I was referred to this book by Alan Watts in his Way of Zen, to enrich the picture of Zen. Having always been attracted to the mysterious paradoxical Samurai, as examples of supreme calm and violence, the sections on sword fighting were especially amazing to read. It goes on at length into many aspects and nuances of Japanese culture, which can be entertaining if curious coming in.
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Not the good option to read for beginners in zen buddhism philosophy, but alluring option for people who already "practice" zen in daily life. Especially, I'd consider this book as a must-read for artists interested in Eastern cultures and their influence in modern art. I found this book when I was searching for Suzuki's books and eventually chose this one from my temptation to find out more about samurais and what is the philosophy behind this culture. Life of a samurai taught me not only what is behind it, but what is meditation and how it should be "properly done". Going further, I did not only understand that what I thought of as violence is actually peace, but what I thought is peace is actually a beautiful chaos of eternal movement. Some parts of the book refer to Chinese Confucianist culture influence on Japanese zen and how a secluded land of Japan developed its "own version" of buddhism by combining Indian and Chinese buddhism. Again, what I write here is a super-generalization of what is in the book. The book also mentions the buddhists gods and what they represent. The last chapters are elaborating upon the Japanese love of nature and its symbolization on Japanese poems.
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I picked up this book because it isn't a translation, and I also confused him with another Suzuki who is famous for another zen book (Shunryu).
I found most interesting :
Ch4 zen and Kendo (art of swordsmanship)
Discusses the samurai spirit, the sword representing the elimination of all in the way, others and self. So, he explained that they carried two swords: a long one for combat and a short one for suicide!!
Goes on to talk about "Immovable intelligence" where art merges with zen, where life and death merge.
Ch6 zen and Sado (art of tea)
There is a saying that zen and tea are the same (茶禅一味）and he elaborates that both aim at simplification, and the 4 observances:
harmony, reverence, purity, and tranquility (和敬清寂）
Harmony = "gentleness of spirit" which he explains is to not contradict anyone.
Reverence = reflection of one's own unworthiness (realization of limitations physical, intellectual, moral and spiritual) which leads to sincerely not slight others, or simplicity of heart.
Purity = cleanliness, to free one's mind from the defilements of the senses.
Tranquility = fearlessness, unconscious mastery of creative possibilities.
It reminds me of the "four agreements" by a christian author! -
This is a summary (mind you, still long) of thoughts and viewpoints of Zen Buddhism on very different topics ranging from poetry to watercolors to fencing. It seems to be written for gaijin people, that is, people foreign to Japan. This is good because Zen it is a pretty difficult thing to grasp out of the blue.
Actually I arrived to this book as a complete beginner in the field, knowing very little but the bare basics. And I think that by the end I really at least admired the depth of the thinking, despite sometimes feeling that I was just scratching the surface of it. The author's writing is extremely clear and it's a book that has a long shelf life, so to say. You can jump into portions of it long after reading them for the first time and still find some viewpoint or nuance that you might have overlooked last time.
So, as a summary, I'd warmingly recommend this book to anybody interested in the matter and wanting to go beyond the 'Zen is chilling music and inner peace' stereotype. It is so much more, and this book may help you navigate for a bit in the beginning of it. -
Really appreciated Jaffe’s introduction, which points out some of the problematic angles of Daisetz’s book and discusses them in context. The author himself admits to a fair bit of repetition, and this becomes obvious as the book progresses, but is not I think unusual for a book this size on Zen.
I skipped the second Swordsmanship chapter (having read Takuan’s letters previously and being not that interested in swordsmanship itself) and didn’t bother with the final chapter on nature as Jaffe’s introduction made me think there wouldn’t be much in this segment for me.
There is a fair amount of generalization of cultures and races in this book, and the tendency Jaffe mentions with regards to Daisetz’s embellishment does seem quite palpable. Having said that, I really enjoyed the chapters on art and tea, where Daisetz’s prose really seems to shine. These two sections gave me much to think about, and for that I’m glad to have read them. -
There is much in this that is useful. Unfortunately, Suzuki sticks to the title a bit too closely and what results is a necessity to wade through nativist/ethno-nationalist drivel to get at the useful bits. I mean, if what I understand to be one of the useful bits about zen is true, then zen shouldn't be relevant at all to national borders or nationalism or nativism. So why did I read the book at all? I guess I needed the book to at least partially realize the latter.
Suzuki is better in other settings. -
Read during my college years, this is a very old book that was originally meant to explain some of the less visible or otherwise confounding for the westerner aspects of Japanese art. Nonetheless it is one of the few books that give you an actually useful knowledge of Zen and its philosophy by showing you how its concepts were applied in art and culture. Absolutely a gateway book for anyone interested in learning more about Zen.
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A long read, but for those into the intersection of Japanese culture and Zen Buddhism, this is a good book. A bit too long and repetitive at parts, its still a introspective, thoughtful, entertaining read...
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چندسال پیش این کتاب رو خوندم. یکی از بهترین و شاعرانه ترین کتاب ها درباره ذن و فرهنگ ژاپنه. ترجمه هم شده، ع. پاشایی ترجمه کرده. اما نایابه ترجمش
در ذهن مطلقا آزاد از اندیشه حتی ببر هم جایی نمی یابد تا چنگال های تیزش را در آن فرو کند -
This is really a curate's egg of a book. Parts of it are excellent, but I found much of it turgid and sections of the (lengthy) chapters on swordsmanship to be rather disturbing.
