Los peces nacen en el agua, el hombre nace en el Tao.Si los peces, nacidos en el agua, buscan la sombra profunda del estanque o la alberca, todas sus necesidades son satisfechas.Si el hombre, nacido en el Tao, se hunde en la profunda sombra de la no-acción, para olvidar la agresión y las preocupaciones, no le falta nada, su vida es segura.
Moraleja: "Todo lo que necesita el pez es perderse en el agua.Todo lo que necesita el hombre es perderse en el Tao".


queridos amigos los haikus que humildemente escribo están en este sitio: www.haikusilvestre.wordpress.com
gracias ! Namasté

19 feb. 2014

arte zen

27 - Kanshû Sôjun (1895-1954)
The Snail
Ink on paper
28,5 x 39,5 cm

Master, wherever it goes, The own house, the snail. The snail is here an image of a Zen monk. Allusion to zuisho saku shu (Be a master where ever you are) from the 47th chapter of the Mumonkan (C. Wumen guan), a collection of 48 kôans written by Zen master Mumon (1183-1260).

18 - Nantembo (1839-1925)
Ink on paper
115,5 x 32,2 cm

The moon is high, the town unclear, Much frost, few willows.

Landscape painting in Japan has been dominated since the 14th century by Zen masters and was strongly influenced by Chinese ideals. Four-Seasons-Paintings (J. shiki sansuizu) were extremely popular and landscapes served as mirrors of permanently changing atmospheric effects thus recalling the insignificance of the own existence, whereas paintings of Scholars' Studios (J. shosaizu) were more closely related to monastic life. Such studios in the confines of the monasteries served as hermitages, as older masters' draw backs where they found silence to meditate. The secluded scholar's studio was seen as an ideal place of self-realization.

1 - Nantembo (1839-1925)
Now Listen!
Ink on paper
125,5 x 29 cm
Now listen!

You know the sound of two clapping hands. What is the sound of one? - The obvious and rational answer would be: There is no sound at all! But what is no sound, what is silence? - Answers like Two hands are a metaphor of duality, one hand represents unity or The sound of one hand is the sound of the true self are pointless and the Zen master might tend to refuse them. The answer cannot be given unless the disciple becomes the sound of one hand and thus comes to realize the deeper meaning. If you can't hear the sound of one hand anything else is worthless, says Hakuin Ekaku (1685-1769), who was the first to give this kôan to his disciples. I made up my mind to instruct everyone by saying, Listen to the Sound of a Single Hand. I realized that this kôan was more effective in instructing people than any of the methods I had used before. (Yampolsky 1971, 163). Nantembô's hand print is the most immediate and resolute of all his ink traces, as Zen painting and calligraphy was called in Japan. This is a unique form of selfportrait. (Addiss 1989, 202)

23 - Nantembo (1839-1925)
Renpatsu Unsui Zu
Procession of monks
Ink on paper
120,3 x 32 cm

Wandering monks from the four seas, Begging bowls resounding like thunder. With staff and hat, Roving through the village.

Young Zen monks are called unsui (clouds and water), deriving from kôun ryûsai (passing clouds and flowing water) as they move from place to place restless like wind and water. The visual impression is remarkable, and has lent itself to one of the most charming and beloved subjects in Zen painting. Although the theme is known to have been painted by Zen monk-artists before, it was Nantembô who simplified the composition. One of Nantembô's most delightful subjects Stephen Addiss

9 - Nantembo (1839-1925)
Ink on paper
118,5 x 31,7 cm

Is this a cake? - A dumpling? - The ring around a bucket? What does it represent? - Tell me!

The image of the circle is a here substitute for the word circle and has to be identified by the viewer as part of the poem, thus establishing a unique relationship between text and image. The naïve questions refer to the direct and immediate world of a child, which according to Nantembô, had much in common with Zen: If you become like a child, you can understand.

The dynamic circle of the ensô stands for many Zen ideas. On the surface, it may represent the full moon, the empty tea cup, the turning wheel, the eye or face of the Buddha or Bodhid-harma, the dragon chasing its tail, and other poetic visual representations. On a deeper level, the circle may symbolize the emptiness of the void, the endless circle of life, and the fullness of the spirit. Deeper still is the representation of the circle as the moment of enlightenment, the moment when the mind is free enough to simply let the body or spirit create, the moment when the perfection of the circle is committed to the emptiness of the page, and the moment of the chaos that is creation.

33 - Bunshô Gitei (1905-1999)
Ink on paper
36 x 6 cm

Happiness comes

Tanzaku A long strip of cardboard. Its standard dimensions were determined at approxi-mately the end of the Muromachi period (mid 16th century).