>Could it be that some of us are just a tad overeducated? :>)
>Good to leave some room in the cup for more tea.
>Nicholas et al
>
>Zen (note the proper noun indicator, the 'big Z'), Chen (big C), dhyan (and
>the lack of it here). You may know of this chain, I would write the former
>here in Japanese (actually, an idiographic 'ate-ji' lifted from Chinese),
>the next in Chinese (another picture-form), and the latter in Sanskrit (the
>only language of these three capable of truly representing abstraction), if
>we all had the necessary language kits installed. Seeing may then be
>believing, but that would be contrary to this... The transformation of
>non-substance to substance is more 'substantial' than is that of water
>turned into ice, or even crude oil into plastic. Like turning the Buddha
>dharma into Bodhidhamma (or, even yet more removed from the intangible
>reality of dharma, into statues of the Buddha), or like the 20th century
>turning into the 21st; anyway, immensely significant. What is left behind,
>what appears - wow!
>
>Here is one (e.g., Ashtanga) way to look back (to whatever degree that may
>be done) to the origins (whatever they may be) of 'Zen' (whatever that is) -
>'Dhyan'(meditation) is the study of deep concentration, calmness and
>tranquility of the mind, of attaining complete control over ones mind.
>How do we achieve that?
>In the fundamental stages of meditation one has to decide upon some target
>upon which one can concentrate.
>Look at the target, recite a small mantra with the help of the mouth, and
>listen to the mantra with ears, think of nothing else except the target.
>Sooooooooooo, perhaps the process begins with setting your shakuhachi down
>to really see and understand first as an object (not a tool) of
>contemplation, using your own voice and body to connect your conscious self
>to the concrete instrument which can serve you multifariously.
>
>Okay, dudes and dutchesses out there who know me as the source of this
>commentary would say 'there he goes again!' (actually, 'still' rather than
>'again'), the Indo-Japanese German-American on an extended trip with
>something expressed by R. H. Blyth (somewhere in Chapter One of Vol. I of
>the definitive 4-volume 'Haiku' - sorry, lent it out, no page no.
>available), Koizumi Fumio (p. 148 of 'Fieldwork', in Japanese and reissued
>recently), linguists and poets of 19th-century Germany (at least one of my
>better-known ancestors among them) who had just uncovered an 'order' that
>liberates one from the ordered. I refer to India (but not the elephant,
>curry or sitar). If the topic is bamboo, India has nothing in particular to
>add to the discussion; if you are talking about sound, we either start there
>or end up there.
>
>Entertaining it would all be to (in addition to YunMen, as Nicholas
>suggests) Panini, Patanjali and Nagarjuna - all the haiku, senryu, koan, etc
>in English on the 'Web, and the plays on words (in English, also many in
>Japanese & Chinese?) that we toss back and forth. And entertaining it is to
>us, we think, therefore we are.
>
>This is all very closely related to my earlier comment which drew not even a
>nibble (thank the gods, for I have no time to get into protracted dialogue
>with my brothers & sisters of the bamboo order on this), but there is really
>a whale at the end of the thread, one a wise mortal would possibly not risk
>biting into. Nonetheless, for your reference, my comment of 12/26/04 (a sad
>day for all so many, I also lost a few old friends from my year as a young
>music student in Sri Lanka) -
>------------------------
>Dominic, Justin, Bamboo Brothers & Sisters
>
>'Re meri is Tsu for Tozan' - worthy of inscription in marble in the gallery
>of ko-an, a most significant observation for all of us - Kinko, Tozan,
>kazoo, and pachinko player; contemplating the background and ramifications
>of this can lead one to a significant understanding of the tradition(s) of
>shakuhachi, indigenous music, national language, and all forms of and
>developments in communication through sound and symbol in Japan, past,
>present (and future?)
>
>----------------------
>
>If this all sounds like a koan, of course it would be - there are 12
>distinctly different meanings (and sets of kanji characters to go with them)
>and many other connotations given for the word 'koan' in my 'Ko-ji-en'
>Japanese dictionary; this fact itself is also so inextricably part of the
>above (two not-at-all-unconnected) issues. Whoa! Sorry about all this! It
>would be more fun in a hands-on music-and-language workshop setting, which I
>will again have the pleasure of experienceng a few times in the coming
>months in Japan and India, also on planned trip to USA in September.
>
>Finally, wishing a HAPPY NEW YEAR to you and our friends in the four nations
>most in need of such ---
>
>SELAMAT TAHUN BARU (Bahasa Indonesia)
>SUBA ALUT AVURUDDAK VEVA (Sinhala)
>PUTHANDU VAZHTHUKKHAL (Tamil)
>SAWATDII PII MAI (Thai)
>
>Tim Hoffman
>
>
>
>----- Original Message -----
>From: "Nicholas Pierotti" <eurydice@cruzio.com>
>To: <Shakuhachi@communication.ucsd.edu>
>Sent: Friday, January 07, 2005 11:19 PM
>Subject: Re: [Shaku] Re: shakuhachi V1 #738
>
>
>> Such a storm of words we have all generated! And so much Zen! Somewhere
>> I hear YunMen laughing!
>>
>> Thank you for reminding us, Jeff.
>>
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>
>_____________________________________________
>
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-- Peter Ross http://www.cloudhandsmusic.com APDO 542-4100 Grecia, Costa Rica Central America 011 (506) 494-5170 _____________________________________________List subscription information is at: http://communication.ucsd.edu/shaku/listsub.html
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