From the Chiasmus Archive: October 16th, 2018 "THE ZEN REBELS: OBSCURE HERMITS AND EXISTENTIAL REFORMERS. ZHONGFENG MINGBEN (PART 5)"

(Zhongfeng Mingben calligraphy.  Image from the public domain)

With the fall of the Song Dynasty in 1279 which was then replaced with the Yuan Dynasty whose Emperor's were Mongols, reinstated the Esoteric Buddhism as the main religion of China at the time, which in turn brought the Tibetan Lamas as the main teachers and principals of the court as far as having influences within the structure of the Mongol rulers during the Yuan period. It is the appeal of Esoteric Buddhism, that at times maintains a fixture between China's ebbs and flows of the various ruling classes - a more mythical and magical aspect of Buddhism. That certainly held its appeal among the poor and wealthy of the Chinese at the time. Ultimately what the various Emperor's perceived under Esoteric Buddhism, was a form of magic, to encourage good luck, protection, rain at times of drought and even gaining insight, particularly for the wealthy class, to what will occur to them in the after life.  Within this period the Ch'an (Zen) schools become less prominent. But, no less significant. 

It is in these periods of Chinese Zen, which embraced and cultivated the two schools; the Caodong school and the Linji.  Both equally prominent whilst maintaining the core principles of the Buddhist Zen philosophy. The Caodong School (which later, in Japan, become known as Sōtō) - the sitting meditative idealism of Zen and the Linji School (Jpn: Rinzai) with its emphasis on the Koan riddles and strict emphasis via the Linji Yixuan teachings to break through to enlightenment.  Closing the mind off from dual aspects of self and ego - a rigorous and mentally physical form of Zen.  Able, if the pupil can pass all stages of Koan practice via a Master, gain a transmission from the Buddha mind to become the Buddha mind.  To be devoid of attachment of the ego-self and remove the dependence on letters and words (as an expressive perspective), which is believed leads to confusion and more relevantly a delusion of the self.  As, the Master would decree that the truth can only be seen, not grasped, but only from ones own mind.  So therefor this is the practice of both Zen schools to impress an insight to the pupil, as mentioned, of returning back to the original (Buddha) mind.  Either through sudden realization or gradual enlightenment. 

Regardless of the (Ch'an) Zen teachings to reach enlightenment through meditative practice and the intricate lineage back to the Bodhidharma over the many centenaries, it is one enduring aspect of the Zen philosophy, though its longevity in China, which still encouraged the The Zen rebels: obscure hermits and existential reformers and Zhongfeng Mingben is one of the most interesting.  He was born in the Southeast part of China and in his teenage years he decided he wanted to become a monk, from, like most young men and women, poorer families - seeking an alternative, away from peasantry.  He was attracted to Buddhism, to such an extend that when he was fifteen he apparently offered his little finger to Buddha (apparently inspired by a passage from the Lotus Sutra) - the story is told that he either burnt or attempted to server his finger.  Thus, it would have become infected.  He was later known to have a disfigured left hand.  For me, this sets down the confusion of the teenager, aspiring to be part of something greater, without being aware of its magnitude.  But, also a desperation. This, in my opinion would relate back to his poverty and the fact that his mother died at an early age. Wounded mentally, trying to find his place.  Zhongfeng eventually gained transmission (monk to master) at Shiziyuan Monastery on Tianmu Mountain to which he was offered an abbot to the monastery.  He then quickly flees seeking solitude as his (possible) crisis of identity reaches a crescendo.  Like others before him, this embracing of the Zen teachings, the emptying and refilling of the mind as a constant process of meditation - the returning back to the original mind.  Also sets in motion an existential dilemma.  Or, was it in Zhongfeng's case.  Simply turning his back on certain teachings, establishment and authority.  To rewriting aspects of the principles of Zen. Rethinking its attributes.  Maybe even rebelling the external and the internal of the self.  To maintain the cultivation of the self. 

He re-titled himself  "The illusionary man", which he draws from the early Indian Maya play about the tricksters creating an illusionary world. This combination of Chinese Zen and Zhongfeng's interest, which was an early part of his life, of Indian Buddhist texts - sets a precedence. Something very unique is occurring within Zhongfeng's temperament as a Zen Master.  Expressing that, yes we live in an illusionary landscape, but, there is no alternative to this illusion that we see before us. That it is us, the human mind, the reliance on the ego and the self that fuels into the illusion.  Builds it, maintains a dependency whilst we remain lost inside it.  Yet, Zhongfeng would teach, that one can still use the illusions, remove aspects of its dependence, learn to adapt and maintain a truth, that, as Zen teaches; resides only within one's own mind.  Therefore it cannot be sourced from the overall illusions of 'reality'.  Truth elsewhere does not exist.  He would also extend this into the idea that the what is known as the pure ground (ones place in this illusion) always stays the same.   It need not be questioned as it already exists.   Zhongfeng in turn pushes forward the Linji school of the Koan, the phrases, the riddles, focusing on the key points of the Koan.  Without describing what it means.  Removing the dialogue of intellectual discussion.   We now see, through "the illusionary man" the silent practice of Koans being utilized under Zhongfeng's attempt to make the self significant within this illusionary world without being subordinate to it.  I feel, this is important, despite the contradictions that may arise from Zhongfeng's distinction between two worlds i.e the self and non self living in an illusionary landscape.  It is why I like Zhongfeng, he seems to merge what is illusionary (everything around us) to what he express as a certainty (the self).  He didn't believe that Koan practice and the cultivating and meditation of the mind was to silence it - but rather to inspire one not to rely vocally on words, to utilize the rhythm of art more so calligraphy. In conveying an understanding that the original mind has always existed.  Despite this illusionary world.

Zhongfeng Mingben despite his contradictions and rebellious nature (with his long hair) encouraged clarity as a true Zen Master would ensure, an emphasis on pacifying thoughts through understanding the "illusionary" world is fleeting and significant at the same time, had a big impact on Japanese Zen in the years that followed.

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Author

Adrian Glass (2018)