Obaku Zen

This is the first detailed English-language study of the Obaku branch of Japanese Zen. Beginning with the founding of the sect in Japan by Chinese monks in the seventeenth century, the volume describes the conflicts and maneuverings within the Buddhist and secular communities that led to the emergence of Obaku as a distinctive institution during the early Tokugawa period. Throughout the author explores a wide range of texts and includes excerpts from important primary documents such as the Zenrin shuheishu and the Obaku geki, translated here for the first time. She provides an impressive portrait of the founding Chinese leadership and the first generation of Japanese converts, whose work enabled the fledgling sect to grow and take its place beside existing branches of the closely related Rinzai Zen sect. Obaku's distinctive Chinese practices and characteristics set it apart from its Japanese counterparts. In an innovative investigation of these differences, the author uses techniques derived from the contemporary study of new religious movements in the West to explain both Obaku's successes and failures in its relations with other Japanese Buddhist sects. She illuminates the role of government support in the initial establishment of the main monastery, Mampuku-ji, and the ongoing involvement of the bakufu and the imperial family in Obaku's early development. Hers is a thorough and well-governed analysis that brings to the fore a religious movement that has been much neglected in Japanese and Western scholarship despite its tremendous influence on modern Japanese Buddhism as a whole.

The stereotype of Zen Buddhism as a minimalistic or even immaterial meditative tradition persists in the Euro-American cultural imagination. This volume calls attention to the vast range of "stuff" in Zen by highlighting the material abundance and iconic range of the Soto, Rinzai, and Obaku sects in Japan. Chapters on beads, bowls, buildings, staffs, statues, rags, robes, and even retail commodities in America all shed new light on overlooked items of lay and monastic practice in both historical and contemporary perspectives. Nine authors from the cognate fields of art history, religious studies, and the history of material culture analyze these "Zen matters" in all four senses of the phrase: the interdisciplinary study of Zen's matters (objects and images) ultimately speaks to larger Zen matters (ideas, ideals) that matter (in the predicate sense) to both male and female practitioners, often because such matters (economic considerations) help to ensure the cultural and institutional survival of the tradition. Zen and Material Culture expands the study of Japanese Zen Buddhism to include material inquiry as an important complement to mainly textual, institutional, or ritual studies. It also broadens the traditional purview of art history by incorporating the visual culture of everyday Zen objects and images into the canon of recognized masterpieces by elite artists. Finally, the volume extends Japanese material and visual cultural studies into new research territory by taking up Zen's rich trove of materia liturgica and supplementing the largely secular approach to studying Japanese popular culture. This groundbreaking volume will be a resource for anyone whose interests lie at the intersection of Zen art, architecture, history, ritual, tea ceremony, women's studies, and the fine line between Buddhist materiality and materialism.

Iron Eyes focuses on the Japanese Zen master Tetsugen Doko (1630–1682), the best-known exponent of Ōbaku in Japan and the West. Ōbaku Zen arose during the seventeenth century and became the third major Zen sect in Japan. Ōbaku monks encouraged the laity to deepen their knowledge of and commitment to Buddhism. Tetsugen is credited with producing the first complete wood block edition of the Chinese Buddhist scriptures in Japan. Legend has it that Tetsugen had to raise the money for the project three times: twice his great compassion led him to give away the money he had raised to the starving victims of natural disasters. This Zen story is well-known in Japan and has gained popularity among contemporary Buddhists in the West. The first part of this book offers an introduction and a series of analytical chapters describing Tetsugen's life, work, and teachings, as well as the legends related to him. The second part comprises annotated translations of his major teaching texts, important letters and other historical documents, a selection of his poetry, and several traditional biographies.

Written by prominent scholars, this text covers rituals from the early Chan period to modern Japan and key developments that occurred in the Linji/Rinzai and Caodon/Soto schools. It describes how rituals mould the lives of its practitioners in accordance with the ideal of Zen awakening.

This volume focuses on Chinese Chan Buddhism and its spread across East Asia, with special attention to its impacts on Korean Sŏn and Japanese Zen. Zen enthralled the scholarly world throughout much of the twentieth century, and Zen Studies became a major academic discipline in its wake. Interpreted through the lens of Japanese Zen and its reaction to events in the modern world, Zen Studies incorporated a broad range of Zen-related movements in the East Asian Buddhist world. As broad as the scope of Zen Studies was, however, it was clearly rooted in a Japanese context, and aspects of the "Zen experience" that did not fit modern Japanese Zen aspirations tended to be marginalized and ignored. Approaches to Chan, Sŏn, and Zen Studies acknowledges the move beyond Zen Studies to recognize the changing and growing parameters of the field. The volume also examines the modern dynamics in each of these traditions.

A companion volume to 'The Koan' and 'The Zen Canon' this text concentrates primarily on texts from Korea and Japan that brought the Zen tradition to fruition.

A lively collection of folk tales and Buddhist teaching stories from four noted premodern Japanese Zen masters: Taigu Sôchiku (1584–1669), Sengai Gibon (1750-1831), Hakuin Ekaku (1686-1769), and Taigu Ryôkan (1758-1831). Zen Master Tales collects never before translated stories of four prominent Zen masters from the Edo period of Japanese history (1603-1868). Drawn from an era that saw the “democratization” of Japanese Zen, these stories paint a picture of robust, funny, and poignant engagement between Zen luminaries and the emergent chоnin or “townsperson” culture of early modern Japan. Here we find Zen monks engaging with samurai, merchants, housewives, entertainers, and farmers. These masters affirmed that the essentials of Zen practice—zazen, koan study, even enlightenment—could be conveyed to all members of Japanese society in ordinary speech, including even comic verse and work songs. Against the backdrop of this rich tableau, Zen Master Tales serves not only as a text for Zen students but also as a wide-ranging window onto the fascinating literary, material, and social history of Edo Japan. In his introduction, translator Peter Haskel explains the history of Zen “stories” from the tradition’s Golden Age in China through the compilation of the classic koan collections and on to the era from which the stories in Zen Master Tales are drawn. What was true of the Chinese tradition, he writes—“its focus on the individual’s ordinary activity as the function, the manifestation of the absolute”—continued in the Japanese context. “Most of these Japanese stories, however unabashedly humorous and at times crude, impart something of the character of the Zen masters involved, whose attainment must be plainly manifest in even the most humble and unlikely of situations.”