Zen experience defies all thinking and linguistic description and simply affirms what is evidently real. "The ordinary way -- that precisely is the Way". After questioning the nature of reality, the Zen student discovers that what remains is what is. Although it seems that Zen would not lend itself to philosophical discussion, that all conceptualization would dissolve in light of this empiricism, in this volume, the author demonstrates that the "silence" of Zen is in fact pregnant with words. A variety of topics are discussed: the experience of satori, ego and egolessness. Zen sense and nonsense, koan practice, the influence of Zen on Japanese painting and calligraphy and much more.
目次
Essay I-The True Man Without Any Rank I. Zen and the Problem of Man II. The Functional Relationship between Subject and Object III. Consciousness and Supra-Consciousness IV. The Structure of the Empirical Ego V. 'The Whole is One Single Mind' VI. The Field Structure of Ultimate Reality VII. The Zen Image of Man Essay II-Two Dimensions of Ego Consciousness I. The First Person Pronoun'I' II. Zen Theory of Consciousness III. The Ego-less Ego Essay III-Sense and Nonsense in Zen Buddhism I. Zen Nonsense II. Meaningful or Meaningless? III. Speech and Language in a Zen Context IV. The Ontology of Meaning in Mahayana Buddhism V. The Problem of Semantic Articulation Essay IV-The Philosophical Problem of Articulation I. The Problem of Articulation II. Articulation as a Dynamic Process III. Language and Articulation IV. Absolute Freedom of Articulation Essay V-Thinking and A-thinking Through Koan I. Mistrust in Thinking II. Elimination of Discursive Thinking III. The A-thinking Thinking IV. Soto Zen and Rinzai Zen V. Koan Essay VI-The Interior and Exterior in Zen I. Painting and Calligraphy in the Far East II. Pseudo-Problems in Zen III. Experience of Satori IV. The Externalization of the Internal V. The Internalization of the External Essay VII-The Elimination of Color in Far Eastern Art and Philosophy I. The Colorful and the Colorless World II. The Black-and-White Art
