by Arnie Kozak
• The top of the Buddha’s head has a raised area that symbolizes enlightened mind.
• The hands and the feet are equal in length and scale.
• The nose is long, straight, and noble.
• There is a mark in the center of the forehead—the Eye of Wisdom.
• The ears are elongated.
Buddha images portray grace and great beauty. One of the most famous Buddha images is Wat Pho (the Temple of the Reclining Buddha), in Thailand. The gold-plated reclining Buddha is more than 150 feet long and 49 feet high and represents the Buddha’s paranirvana. The temple grounds contain more than 1,000 Buddha images.
MANDALAS AND SAND PAINTINGS
A sand painting is exactly what it sounds like—a painting made of sand. Sand paintings represent the impermanence of all things. Mandalas are maps of the spiritual world. They are usually represented in artwork as a graphic symbolic pattern. The pattern is usually in the form of a circle with intricate designs within. The patterns are representative of the sacred place where the Buddha or deity abides. They are used for contemplation and meditation and are designed to awaken spiritual potential.
According to Buddhist scholar Michael Willis, mandala literally means “circle” or “enclosure,” but it represents more than this—it is a sort of cosmic diagram that provides a structure to guide meditation practice. A typical mandala would have outer rings of concentric circles representing the oceans and mountains. Inside these circles would be a square form with four gates, one on each side representing the cardinal directions. Each has its own characteristic color: white for the east, red for the west, green for the north, and yellow for the south. In the middle of the form resides a special meditation deity.
Sand Mandalas
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The most spectacular mandalas are also the most ephemeral. Tibetan Buddhists monks will labor for weeks creating an elaborate mandala made of colored sand. These mandalas can be six, eight, or ten feet in diameter. Once completed, the sand is swept away in a closing ritual and then deposited in a nearby body of water.
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Willis explains, “Elaborate mandalas painted on cloth scrolls or on temple walls were once common in many parts of the Himalayas, the best preserved examples being found in Bhutan, Nepal, and those parts of India which are culturally Tibetan, such as Ladakh.”
Sand paintings are often mandalas. Tibetan lamas create them to promote healing. Sand paintings are made with vegetable-dyed sand, flowers, herbs, grains, stone, and sometimes jewels. A platform is laid out, and once the platform is in place the lama will start a healing ceremony that blesses the area. The sand and other materials are placed on the platform over a period of time in a meditative process. When the sand painting is finished, it is dismantled, demonstrating the impermanence in action. After a ceremony, the sand is swept into a large vessel and deposited in a river or a lake, again with ceremony.
THANGKAS
Thangkas are paintings. They are often done on canvas and turned into scrolls, framed in silk, and hung from a dowel. The dowel can be made of wood with decorative metal knobs on the ends. Thangkas are also often mandalas. They depict images of different deities, such as the bodhisattva Avalokiteshvara or any of the numerous Tibetan deities. As compared to sand painting mandalas, thangkas are a more permanent art form. They are often used as meditative devices and are hung by an altar.
GARDENS
Japanese gardens are some of the most exquisite gardens to be found. Their simplicity, stark beauty, and serenity are moving and inspire peace. For centuries, Japanese Zen masters created gardens out of rocks and sand, raking the sand into patterns that could be destroyed quickly, like the sand paintings, to emphasize the impermanence of all things. These gardens are designed for contemplation and meditation. In a dry element garden, movement can be depicted using sand, and rocks can be used to represent mountains or islands in the sand streams. Bridges are a common element in many Japanese gardens as well.
Garden design under the Japanese became a spiritual activity. Gardens in Zen monasteries became objects for meditation and an appreciation for natural beauty. While constructed, these gardens represent more than human creation. The best-known designer of Zen gardens was Muso Soseki who lived in the thirteenth and fourteenth centuries. Ponds were created to represent the mind, and in one walking garden sharp rocks were juxtaposed with soft moss to represent the confluence of beauty and monastic austerity. Raked rock gardens are also striking examples of Zen symbolism, with rocks representing thoughts in the sea of the mind.
CREATING HAIKUS AND CALLIGRAPHY
Art Forms
Haiku is Japanese poetry form that traditionally follows a pattern of five–seven–five syllables. This is generally a good way for haiku beginners to start but it is not a rigid rule. Instead, it is important that the haiku uses no spare words—no unnecessary words and syllables.
Haikus are written in a moment of inspiration where the self-conscious mind drops and the poet is in touch with the unity of all things. Haiku is a mindfulness meditation. Haikus are about everyday life and usually have a nature theme. One of the lines usually contains a word that indicates the season to which the haiku refers, thereby giving it a sense of time and place. Wild plums, for instance, would indicate summer.
Basho
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Basho is known as a great haiku poet. He was born Matsuo Munefusa in seventeenth-century Japan. In his youth, Basho was a samurai but exchanged his sword for his poetry. He lived in a hut made of banana leaves, which is how he came by his pseudonym. Basho means “banana leaves.”
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Haikus do not usually refer to a participant: in other words—no self. This usually extends to mean no adjectives, because adjectives can imply a judge (a beautiful tree implies an opinion, therefore someone who holds the opinion).
Here is an example of haiku from Basho:
Winter rain
falls on the cow-shed;
a cock crows.
Notice that the haiku does not follow the five-seven-five rule but a similar beat is found: three-five-three. Haikus are not intended to be brilliant and pithy. They are strokes of inspiration and honesty coming from the heart. Most of all, haikus are reverent toward the sanctity of the small things, and of everything. Children love to create haiku poetry, which says a lot about the simplicity and honesty to be found in the haiku form.
ZEN ART AND CALLIGRAPHY
Many of the Zen arts trace their origins to China, but they receive their fullest expression in Japan. These art forms include painting, calligraphy, poetry, photography, archery, swordsmanship, tea ceremony, flower arranging, and garden design. Typically, Zen art eschews narrative for an aesthetic sensibility that simultaneously conveys openness and compactness. The aim of the art is to inspire insight rather than devotion. In this way Zen art is similar to a koan.
Zen painting takes as its subjects landscapes, depictions of famous Zen stories, koans, and Zen masters. For example, landscape paintings seek to depict the enormity of the universe and the smallness of humanity in the context of nature.
There is a tradition of art practice within Zen. Art arises spontaneously and manifests the buddha-nature within you. Art practice is mindfulness training. The art relies on a foundation of technical training that is then expressed in spontaneous practice. Zen art tends to be simple, sometimes stark, and always lovely.
Shien
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A sequence of ten ox-herding pictures are attributed to Kakuan Shien, twelfth-century Zen master from China. Early ox-herding pictures exist, but Kakuan Shien is known for creating an entire sequence of ten that has survived to this day.
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Calligraphy (Zenga)
Japanese calligraphy is an art form spiritually expressed through Zen. The artist must be in touch with buddha-nature to create an expression of enlightenment. The brush stroke must come from a union with the world; no separation must exist—no I and pen, just the act
itself.
Japanese calligraphy dates back to the seventh century, where it was part of art practice and meditation in monasteries. Often, the subject of a Japanese calligraphy and painting would be a koan. One of the most common examples of Zenga is the open circle, called enso. The simplicity of the enso was particularly popular during the Edo period of Japan in the eighteenth century. Enso symbolized enlightenment, emptiness, and life itself. In the series of ox-herding pictures by Kakuan Shien, for example, the eighth step in the sequence (both ox and self forgotten) is represented by enso.
During the execution of the calligraphy, the slightest hesitation on the part of the artist will cause the ink to blot on the thin rice paper, and the calligraphy will be ruined. Technique is learned and perfected over many years before such spontaneity is possible. Once the boundary between art supplies, art, and self are gone the art can be executed.
FLOWER ARRANGING
Japanese flower arranging is called ikebana. Ikebana evolved in Japan over the course of many centuries. The written history of ikebana can be traced back to the fifteenth century, to the first ikebana school. Many years of training are required before someone achieves the technique necessary to perform ikebana well. Many different ways of fastening the flowers into an arrangement are possible, using various techniques. The essence of ikebana is simplicity, and in contrast to Western flower arrangement very few flowers, leaves, and stems are used to achieve the desired effect. Ikebana uses the flowers, the container, and the space around the flower arrangement as part of the artistic impression.
There are different styles of ikebana. Some styles use low containers and the flowers are piled on top. Other styles use tall, narrow vases and the flowers have a tossed-about look to them. Ikebana strives to use seasonal flowers and foliage in a naturalistic presentation. Traditional forms of ikebana use three points to represent the realms of heaven, human, and earth.
BUDDHIST EDUCATION
Training for the Future
Buddhist educational facilities provided educational opportunities across Asia. That tradition continues in the West to this day. Today, Naropa University in Boulder, Colorado, is based on Nalanda University, the ancient Indian university. The mission statement of Naropa University affirms its intention to promote awareness of the moment through intellectual, artistic, and meditative disciplines; to create and foster a learning community that reveals wisdom; to cultivate communication; to stay true to the origins of the original Nalanda University; to encourage integration of modern culture with ancient wisdom; and to remain nonsectarian and “open to all.” The Buddhist educational system seems to be as alive today as it was millennia ago.
VISITING MONASTERIES AND RETREAT CENTERS
When laypeople visit monasteries they often wonder how they can be respectful and what behavior is expected of them. Although many people are curious as to what goes on in a Buddhist monastery and would like to speak with the monks or watch a meditation session, they are afraid they will be pestered for donations or be pressured to “convert.”
However, you could say that Buddhism is a program of attraction rather than evangelism. Traditionally, Buddhism was a missionary religion, although in the West, Buddhists do not try to convert others to Buddhism. They might speak enthusiastically of their personal practices if asked, but it is highly unlikely that you would be solicited for money or anything else at a monastery or through mail, email, or other means. A donation (dana) might be suggested at certain monasteries, much like a museum will have a suggested donation box in the admission area.
Bring an Offering
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If you visit a monastery it is customary to take a small offering, such as a bouquet of flowers or an offering of food. You may also donate money. These are part of the generosity practice (dana) aimed to overcome the fire of greed.
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Most monasteries welcome visitors and most visits are free of charge. Classes, retreats, and lectures might charge something to cover meals and lodging, and depending on the institution, instruction may be part of the fee or be addressed separately through dana. Having said this, some retreats have become very expensive and are out of reach to the person of average means. Fancy retreats at spa locations are becoming more and more common. In typical American style, the dharma has become a status symbol in some, but not all, circles. Some monasteries have stores where they sell art, meditation supplies, and clothing to help generate money to support the monastery. Most sitting sessions will be free of charge. Check the Internet for a monastery or Buddhist center near you if you would like to visit. You can probably find information on the website that will put you at ease before you visit. Call ahead or email with any questions you might have. Most centers will have a scholarship program.
BUDDHISM IN THE WEST
A Growing Practice
In the West, Buddha and Buddhism are attractive forces for both personal growth and social change. You can embrace Buddha without embracing Buddhism. Buddha requires no beliefs and no affiliations and so doesn’t conflict with your own belief system whether you are devoutly religious or an atheist. Buddha’s teachings are universal, transcending time and culture. If you have a mind, then Buddha is relevant to you. Many of the presentations of Buddhism in the West are more Buddha than Buddhism. For example, you will find mindfulness meditation being taught at major medical centers with no Buddhist context or affiliation.
ARE YOU A BUDDHIST?
How do you become a Buddhist? What does it mean to be a card-carrying Buddhist? Buddhism represents a great diversity of traditions, so there is no one way to become a Buddhist and perhaps, ironically, no need to become a “Buddhist.” There is a curious situation in America where many teachers who teach Buddhist meditation would not consider themselves “Buddhist” although they lead lives entirely consistent with the principles and practices of this religion. Buddhism in America has become quite popular and many people might identify themselves as such.
One prerequisite to identification as a Buddhist would be to take refuge in the Triple Jewel: the Buddha, the dharma, and the sangha. Buddha is not just the historical person of the Buddha; it is what the Buddha represents—the potential for awakening that you have. Taking refuge in Buddha is not idolatry. Buddhists look to the Buddha as a role model, especially in America (although in Asian contexts it can appear that people are really praying to the Buddha as a god by requesting intercessory prayers). Dharma is the body of teachings that the Buddha taught and the truths that these teachings point to. Sometimes dharma is translated as “The Way”—the way to live to get beyond suffering. Sangha is the community of like-minded practitioners on the same path—it is the people you might practice with at a local meditation gathering in your community, such as a Zen Temple, and all the people all over the world stretching back in time 2,500 years. Taking refuge is an initiation into an awakened life. It is like getting on a raft that will carry you across the river of samsara (endless suffering).
You can also join a sangha by becoming a monk. Monastic initiation is more involved than lay initiation. Some Americans choose to become a monk or a nun in one of these Asian traditions. To do this, you would have to renounce aspects of your life and take on the monastic vows. In the Zen tradition, you would shave your head and devote yourself to a life of service to your Zen master and your zendo (Zen Temple). There is also lay ordination. Initiation into the Triple Jewel is, perhaps, the closest these diverse traditions have to a universal initiation. For most religions, becoming a member of that religion requires adopting a set of beliefs and a corresponding faith in those beliefs. Buddhism is different in this way. There are some core principles that reflect the teachings of the Buddha and you must be on board with these to be considered a “Buddhist,” but these are not articles of faith, like believing in a virgin birth, a creator god, or even an enlightened prophet. They are more practical. Noted Buddhist author and scholar Stephen Batchelor suggests there can be Buddhism without beliefs in ideas such as r
ebirth.
WHAT MAKES YOU NOT A BUDDHIST
Dzongsar Jamyang Khyentse Rinpoche, author of What Makes You Not a Buddhist, provides four criteria to consider. To be a Buddhist, one must believe in all four of the following tenets or seals: all compounded things are impermanent; all emotions are pain; all things have no inherent existence; and nirvana is beyond all concepts. While these might be considered “beliefs,” each is based on direct experience, the kind of experience that can arise from your practice of meditation. If you meditate, you will notice that things are constantly changing—the quality of your breathing, the energy in your body, and the ceaseless flow of thoughts in your mind. The tenet that “all emotions are pain” seems harder to accept. After all, joy is not “painful.” But this joy won’t last (since everything is impermanent), and somewhere in the back of your mind there is the recognition and fear that this experience won’t last. Emotions, in this case, might be distinguished from feelings, with emotions being a complex of intense feelings that are suffused with thoughts and embedded in a story that eventually has something to do with desire. “All things have no inherent existence” is the teaching on emptiness, and again is less a belief than an experience that arises in meditation. “Nirvana is beyond all concepts” can also be experienced in meditation.
