Song of the Precious Mirror Samadhi
In this article, we will explore the relevance of Song of the Precious Mirror Samadhi in various contexts and its impact on today's society. Song of the Precious Mirror Samadhi has captured the attention of many people in recent years, generating debates and reflections around its meaning and implications. Throughout history, Song of the Precious Mirror Samadhi has played a crucial role in the evolution of societies and the formation of individual and collective identities. From its emergence to the present, Song of the Precious Mirror Samadhi has been the object of study, admiration, controversy and reinterpretation in fields as diverse as science, technology, art, politics and popular culture. In this article, we will examine how Song of the Precious Mirror Samadhi has shaped our world and will continue to do so in the future.
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The Song of the Precious Mirror Samadhi (Chinese: 寶鏡三昧歌; pinyin: Bǎojìng sānmèi gē; Wade–Giles: Pao-ching San-mei-ke; Japanese: Hōkyō Zammai; also translated as Song of the Jeweled Mirror Samadhi and Sacred Mirror Samadhi) is a Zen poem in Classical Chinese that appeared during the Song Dynasty. The work is often attributed to Dongshan Liangjie (Japanese: Tōzan Ryōkai), the co-founder of the Caodong/Sōtō branch of Zen Buddhism, although modern research suggests this is unlikely.
Dating and attribution
The poem is first mentioned in Juefan Huihong's biographical compilation of 1119, the Chanlin sengbao zhuan (Chronicle of the Sangha Treasure in the Groves of Chan), written over 200 years after Dongshan Liangjie's death. Huihong, however, does not attribute the poem to Dongshan. He writes instead that the poem was given to Dongshan by his teacher, Yunyan Tansheng. Huihong further speculates that Yunyan's teacher, Yaoshan Weiyan, probably entrusted it to him in turn. Huihong relates that he came upon the poem in 1108, when it was given to a scholar Zhu Yan by a monk, whom he does not identify.
The scholar Morten Schlütter notes that the poem's provenance is doubtful given the way it came to Huihong, and furthermore the style differs substantially from works of the era that Huihong attributes it to. Most later historical sources, such as the Zengaku daijiten, the Bussho kaisetsu daijiten, and Shinsan zenseki mokuroku, attribute the poem to Dongshan Liangjie rather than Yunyan, although again, neither is likely to be the true author.
According to Schlütter "the text is very different in style and character from the early Caodong records, and it clearly cannot be taken as evidence for the presence of a silent illumination approach in the early Caodong tradition. the inclusion of the “Baojing sanmei” in the Sengbao zhuan together with Huihong’s attached remarks, however, does indicate that the “Baojing sanmei” circulated as a work of the early Caodong tradition by the beginning of the twelfth century."
See also
References
- ^ a b c Schlütter, Morten (2010), How Zen Became Zen: The Dispute Over Enlightenment and the Formation of Chan Buddhism in Song-Dynasty China, University of Hawaii Press, pp. 158, 230, ISBN 978-0-8248-3508-8
External links
- Lecture on The Most Excellent Mirror—Samadhi, Columbia Zen Buddhist Priory
- Text and Background of the Song of Precious Mirror Samadhi by Ch'an Master Tung-shan Liang-chieh
- Jewel Mirror Samadhi translation study
