Zen Buddhism, and Its Relation to Art — A Closer Reading
Edition facts
Zen Buddhism, and Its Relation to Art — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 11,065 words, 49 min estimated reading time, and 2 detected text sections.
The text analysis averages about 17.5 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Zen Buddhism,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
many sects in China, the chief of which were:
This was the form of Buddhism which appealed to the uneducated. It taught that a Buddha named Amida presides over the Western Paradise, where he will receive the souls of those that worship him. The conception of this Paradise closely resembles the Christian idea of Heaven and may have been derived from it.
(2) The _Tendai_ Sect, founded at the end of the sixth century. Its teaching was based on a scripture of enormous length called the _Saddharma Pundarīka Sūtra_, which is translated by Kern in the Sacred Books of the East. It was perhaps the broadest and most representative sect. It laid great stress on the ethical side of Buddhism.
We now come to _Zen_.
In the year 520 A.D. there arrived at Canton a missionary from Southern India. His name was Bodhidharma and he appears to have been the younger son of an Indian Prince.
The reigning Emperor of China was a munificent patron of Buddhism. He had built monasteries, given alms, distributed scriptures, defended the faith. Hearing that a Buddhist prince had arrived from India he summoned him at once to his Capital. The following conversation took place in the Palace at Nanking:
_Emperor_: You will be interested to hear that I have built many monasteries, distributed scriptures, given alms, and upheld the Faith. Have I not indeed acquired merit?
_Bodhidharma_: None at all.
_Emperor_: In what then does true merit consist?
_Bodhidharma_: In the obliteration of Matter through Absolute Knowledge, not by external acts.
_Emperor_: Which is the Divine and Primal Aspect of Reality?
_Bodhidharma_: Reality has no aspect that is divine.
_Emperor_: What are you, who have come before my Throne?
_Bodhidharma_: I do not know.
The Emperor could make nothing of him. Monasticism, a huge vested interest, decried him, and after a short stay in Nanking he started northward, towards the Capital of the Wei Tartars, who then ruled over a large part of China. The Wei Emperor, like his Chinese confrère, was also a great patron of Buddhism, and he, too, desired an interview with the Indian priest. But Bodhidharma had done with Emperors, and settled in a small country temple, where he lived till his death nine years later. Some say that he tried to visit the Capital of the Weis, but was prevented by the intrigues of the monks there.
He left behind him a few short tractates, the substance of which is as follows:
There is no such person as Buddha. Buddha is simply a Sanskrit word meaning “initiate.” The Absolute is immanent in every man’s heart. This “treasure of the heart” is the only Buddha that exists. It is no use seeking Buddha outside your own nature. Prayer, scripture-reading, fasting, the observance of monastic rules--all are useless. Those who seek Buddha do not find him. You may know by heart all the Sūtras of the twelve divisions, and yet be unable to escape from the Wheel of Life and Death. One thing alone avails--to discover the unreality of the World by contemplating the Absolute which is at the root of one’s own nature.
Some one asked him: “Why may we not worship the Buddhas and Bodhisattvas?” He answered:
“Ogres and hobgoblins can at will assume the outward form of Bodhisattvas; such are heretical and not of the true Buddha. There is no Buddha but your own thoughts. Buddha is the Way. The Way is Zen. This word Zen cannot be understood even of the wise. Zen means ‘for a man to behold his fundamental nature.’”[2]
[2] Zen (_Sanskrit: dhyāna_) means literally “contemplation.”
The highest truths cannot be written down or taught by speech. A man who cannot write a word, can yet contemplate his own heart and become wise. Knowledge of 1,000 Sūtras and 10,000 Shāstras cannot help him to realise the Absolute within him.
He was asked: “Can a layman with wife and children, one given over to the lusts of the flesh, achieve Buddhahood?” He answered:
“Provided he contemplate his own inner-nature, he will achieve Buddhahood. It does not matter about his lusts. Even a butcher can achieve Buddhahood, if he searches in his own heart.”
“What,” cried his listeners, “a butcher, who lives by taking life, and _he_ achieve Buddhahood?” The master replied:
“It is not a question of the man’s trade. If he has learnt to know his own nature he will be saved.
“I have come from India only to teach you that Buddha is Thought. I care nothing for monastic rules or ascetic practices. As for walking on water or through fire, climbing sword-wheels, fasting, sitting upright for hours without rest--all such practices are heretical; they belong to the World of Being.
Arthur Waley opens his 1922 essay by noting that books on the Far East frequently mention Zen Buddhism as a 'school of abstract meditation' that influenced art and literature, yet provide little detail about what Zen actually was. He attributes this gap to the scarcity of translated native literature, much of which is written in early Chinese colloquial—a language largely neglected by European scholars and, in his view, by Japanese translators as well. Waley states that his paper, though not claiming profundity, is based on original texts and aims to furnish information not previously accessible.
Buddhist Background and the Rise of Zen
Waley first outlines the two main forms of Buddhism that reached China: the Lesser Vehicle (Hīnayāna) and the Greater Vehicle (Mahāyāna). The Lesser Vehicle, with scriptures partly recording Shākyamuni's actual words, offered no divine assistance; adherents aspired only to become Arhats, 'ascetics ripe for annihilation.' The Greater Vehicle, by contrast, fabricated lengthy sermons attributed to the Buddha and introduced merciful Bodhisattvas who renounced Buddhahood to help mankind. By the sixth century A.D., over two thousand Mahāyāna works had been translated into Chinese. Waley then notes that among the many Chinese sects, Zen supplied a 'key' that made art discussable in a new language after the twelfth century.
The Rokutsūji School and Mokkei's Innovations
Waley highlights the Rokutsūji monastery, refounded around 1215 A.D. by the Zen priest Mokkei on the shores of Hangchow's Western Lake. Mokkei, he writes, was 'the first to practise the swift, ecstatic type of monochrome' associated with Zen, using hurried swirls of ink to capture visions produced by wine, tea, or absorption. Waley describes two kinds of Zen paintings: representations of animals, birds, and flowers achieved through intense visualization rather than life study, and illustrations of episodes from Zen teachers' lives, which were essentially dramatic. He cites the example of Tanka burning a wooden Buddha statue for firewood, noting the same controversy appears in the Nō play Sotoba Komachi.
Zen's Influence on Nature and Artistic Legacy
Waley connects Zen to the passionate love of nature in Far Eastern poetry and art, arguing that because the Buddha-nature is immanent in everything—'stone, river and tree'—humans possess an intimate means of contact with nature. The songs of birds, noise of waterfalls, and wind in pine-trees are 'utterances of the Absolute.' He notes that Zen art did not flourish long in China, but in Japan it inspired major painters of the fourteenth and fifteenth centuries, including Sesshū and, in a decadent way, Kanō masters like Tsunenobu. Waley also mentions the problem of distinguishing works by Mokkei from those by his Japanese successor Mokuan II.
Waley's essay is a concise, text-based introduction rather than a comprehensive survey. Readers should note that his claims about Zen's artistic influence are grounded in specific examples—Mokkei's monochrome, Tanka's iconoclasm—and his reliance on early Chinese colloquial sources. The excerpts do not cover later developments or provide a full account of Zen doctrine; the essay's value lies in its focused, evidence-driven observations about a little-documented subject.
This essay on Zen and art made me think of my grandfather’s worn Bible, margins filled with hesitant pencil. He never explained, only pointed. Reading about Mokkei’s misty mountains, I felt that same quiet certainty—truth resting just beyond clear sight—that I found years later in The Supernatural in the New Testament, Possible, Credible, and Historical Or, An Examination of the Validity of Some Recent Objections Against Christianity as a Divine — Reading Notes. Both books ask for faith in the unseen, patiently.
-
Kevin Brown - 4 weeks ago
This is an enlightening exploration of how Zen Buddhism profoundly influenced Japanese art. The author, a noted scholar, elegantly connects the philosophy of Zen with aesthetics, revealing the spiritual depth in paintings, gardens, and poetry. A beautiful and insightful read that enhances appreciation for both art and Zen. -
Susan Vazquez - 3 weeks ago
The book provides a good introduction to the relationship between Zen and art, with many interesting examples. However, it feels a bit dated and the illustrations are sparse, making it hard to fully visualize the works discussed. Still, the core ideas are presented clearly, suitable for those new to the topic. -
Joshua Boone - 2 weeks ago
While the author's expertise is evident, the book suffers from a repetitive structure and a somewhat subjective tone. It often describes rather than analyzes, and the lack of visual aids is a major drawback for an art-related text. A more structured approach with images would have been greatly beneficial.
How will you remember this book?
Save your reaction, strongest insight, and memorable passage.
Emma Torres
3 weeks ago