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This article is not concerned with whether buddha-nature and tathāgatagarbha thought is actually deleterious to critical philosophical work. Rather, the concern is to demonstrate that, far from embracing buddha-nature doctrine, the eighth-century founders of Southern Chan had serious concerns with it. Evidence for this is found in: (1) the writings of Shenhui, notably in his opposition to the doctrine of the "buddha-nature of insentient objects" (wuqing foxing 無情佛性); and (2) the Platform Scripture of the Sixth Patriarch (Liuzu tanjing 六祖壇經), particularly in the variant versions of Huineng's famous "enlightenment verse." Thus the Southern School may be viewed as a forerunner of the Critical Buddhist anti-dhātuvāda polemics. The article closes with comments on the ongoing problems Chinese Buddhist exegetes had in marrying the metaphysical monism of Yogācāra and tathāgatagarbha teachings with the anti-foundationalist thrust of Madhyamaka and Prajñāpāramitā literature.
Comparing the Sanskrit fragments and the Ratnagotravibhāga, which quotes the Mahāparinirvāṇa-sūtra (that is the Mahāparinirvāṇa-mahāsūtra), the original Sanskrit word fóxìng is buddhadhātu, tathāgatadhātu or tathāgatagarbha. Takasaki Jikidō's research on the tathāgatagarbha theory led him to conclude that the Mahāparinirvāṇa-mahāsūtra is the first known text in which the word buddhadhātu is used in this meaning.
In the fifth century A.D., Buddhism began to extricate itself from its quasi-Daoist pigeonhole by clarifying definitive differences between Buddhist and Daoist thought, shedding Daoist vocabulary and literary styles while developing new distinctively Buddhist terminology and genres. Curiously, despite the fact that Mahāyāna Buddhism had few adherents in Central Asia and was outnumbered by other Buddhist schools in India as well, in China Mahāyāna became the dominant form of Buddhism, so much so that few pejoratives were as stinging to a fellow Buddhist as labelling him ‘Hīnayāna’ (literally ‘Little Vehicle,’ a polemical term for non-Mahāyānic forms of Buddhism). By the sixth century, the Chinese had been introduced to a vast array of Buddhist theories and practices representing a wide range of Indian Buddhist schools. As the Chinese struggled to master these doctrines it became evident that, despite the fact that these schools were all supposed to express the One Dharma (Buddha’s Teaching), their teachings were not homogenous, and were frequently incommensurate.
By the end of the sixth century, the most pressing issue facing Chinese Buddhists was how to harmonize the disparities between the various teachings. Responses to this issue produced the Sinitic Mahāyāna schools, that is, Buddhist schools that originated in China rather than India. The four Sinitic schools are Tiantai, Huayan, Chan and Pure Land (Jingtu). Issues these schools share in common include Buddha-nature, mind, emptiness, tathāgatagarbha, expedient means (upāya), overcoming birth and death (saṃsāra), and enlightenment. (Source: Routledge Encyclopedia of Philosophy, Vol. 1)distinctive view of ultimate truth (don dam bden pa; paramārthasatya) and propagated this view widely and earned much scorn for it, leading to one of the most controversial doctrinal-sectarian disputes in Tibetan Buddhist history. His explication of other-emptiness, which he equates with the ultimate truth, is deemed radical and wholly unacceptable by many of his contemporaries and later Tibetan scholars because it stands in sharp contrast to the mainstream fourteenth-century and early-fifteenth-century Tibetan interpretations of self-emptiness, the notion that all phenomena including ultimate truth do not exist inherently. The
self-emptiness interpretations are based primarily on Indie sources such as the Prajñāpāramitāsūtras, Nāgārjuna's (c. 200) Madhyamakakārikā, and Candrakīrti's (c. 570-640) Madhyamakāvatāra. In contrast, Dolpopa generally does not claim that middle wheel treatises (’khor lo bar pa’i gzhung) such as the Prajñāpāramitāsūtras are the fundamental sources for his presentation of an other-emptiness view. Rather, he bases his formulation of other-emptiness on tantric sources such as the Kālacakra,2 last wheel suūtras {'khor lo tha ma’i mdo) such as Saṃdhinirmocanasūtra,3 and Indic commentarial sources4 traditionally credited to figures such as Maitreya, Asaṅga (c. 300), and Vasubandhu (c. 300).
As a prominent fourteenth-century Tibetan doxographer, Dolpopa, however, does not repudiate self-emptiness per se; rather, he speaks of two types of emptiness5 that have separate referent points. For him, self-emptiness refers only to conventional phenomena such as tables, chairs,
and negative defilements that do not inherently exist6 or that are empty of their own entities. Dolpopa argues that since conventional phenomena cannot withstand analysis, in that their individual entities are essentially empty or deconstructed, as the existence of their nature is thoroughly investigated, they are empty of inherent existence. Therefore, he claims
that self-emptiness is not ultimate truth.7
On the other hand, he passionately demonstrates that other-emptiness exists inherently and ultimately. Furthermore, it is identified with the tathâgata-essence (de bzhin gshegs pa’i snying po, tathdgatagarbha or buddha-nature (sangs rgyas kyi rigs; buddhagotra) endowed with enlightened qualities that exists in all beings. Dolpopa argues that this form of emptiness is not empty of its own entity, since it ultimately and permanently exists. Also, ultimate truth is empty of all conventional phenomena that are antithetical to ultimately existent other-emptiness. So, while self-emptiness, which he refers to as "empty-emptiness" (stong pa’i stong pa), is primarily taught in the Prajñāpāramitāsūtras of the middle wheel teachings, it is not ultimate truth, as it is empty of its own entity and it is not free from conceptual thought. On the other hand, other-emptiness, which he dubs "non-empty-emptiness" (mi stong pa’i stong pa), while not primarily taught in the Prajñāpāramitāsūtras, is delineated in last wheel teachings of the Buddha, such as Tathāgatagarbhasūtra, Śrīmālādevīsūtra, and others to refer to the naturally enlightened buddha-nature that is empty of all conventional phenomena. This is Dolpopa’s position on the two types of emptiness and the hierarchy of Mahāyāna literature in a nutshell and much of the discourse that follows on other-emptiness in the history of Tibetan Buddhist scholasticism has its roots in Dolpopa’s doctrinal formulation of other-emptiness vis-à-vis self-emptiness.
While Dolpopa certainly gets the well-deserved credit for making other-emptiness "a place of fundamental importance in the expression of
his philosophy"8 in Tibet, his controversial interpretation of Mahāyāna texts and the relative early availability of his writings to international scholars has perhaps led some to assume that Dolpopa’s thought is more original than it really was. Fortunately, the recent release of dozens of Kadam (bka’ gdams) volumes of previously unknown philosophical texts that predate Dolpopa allows us to reconsider this issue. Among the new texts that might be pertinent to a reconstruction of the early history of other-emptiness discourse in Tibet is the writing of Rinchen (rin chen ye shes, 13th-14th c.) in conjunction with the previously available Buton’s (bu ston rin chen grub, 1290-1364) Precious Garland of Rebuttals (’phrin yig gi lan rin po che’i phreng ba).9 I argue that Dolpopa’s unique doctrinal views with respect to ultimate truth and their related Indie sources are found in Rinchen’s doctrinal formulation of Mahāyāna literature. Furthermore, there is a good reason to argue that Dolpopa’s unique views were directly influenced by the Kadam scholar.10 Therefore, in this article, I analyze their points of convergence and divergence on the issues of buddha-nature,
I do not intend here to try to resolve all of the many questions involved in determining the author of the AFM (such an undertaking is well beyond the scope of a short paper), but I would like to address an argument that Professor Lai raised in the first of his articles—namely his contention that the AFM's exposition of the relationship of hsin (mind) and nien (thought, thought-moment) bears such an "unmistakable sinitic stamp" that it must have been authored in China. I will try to show that the AFM's central conception of an "unmoved," pure mind (hsin) existing as the basis of the deluded movement of thoughts (nien) has an important Indian precedent in the cittaprakṛti and ayoniśomanaskāra notions of the Ratnagotravibhāga-mahāyānottaratantraśāstra (hereafter referred to as the RGV), a text with which the AFM's author may well have been familiar. I do not intend this as a criticism of Professor Lai's research—the parallels he finds between Chinese thought regarding hsin and nien prior to the period of the Six Dynasties and the elucidation of these notions in the AFM deserve serious attention. I simply would like to show that similar parallels—if not direct textual influences—exist between the AFM and the Indian-composed RGV, so that there is no compelling reason to conclude that the AFM theory of mind (hsin) and thoughts (nien) demonstrates Chinese authorship. (Grosnick, "Cittaprakṛti and Ayoniśomanaskāra in the Ratnagotravibhāga," 35–36)
Critical Buddhism was inevitable. That it was given voice by prominent Japanese scholars noted for their work in non-East Asian Buddhism was also inevitable. That it has provoked strong, even hostile, reactions was inevitable as well. Inevitable means that the causes and conditions that gave rise to Critical Buddhism can be analyzed and understood to show that it has a context, a history, and a necessity. Critical Buddhism is necessary. Thinking about what arises through causes and conditions, especially in terms of how that impacts on cultural and social realities, is a principal component of both Critical Buddhism and Buddhism properly practiced.
This essay will examine some—but certainly not all—of the factors that have contributed to Critical Buddhism. Some arguments and observations will be offered that, while not retellings from the writings of the Critical Buddhists, run parallel to them. These parallels, which I offer as supplements, recast some of their arguments and focus on issues and areas germane to their undertaking. After discussing the inevitability of Critical Buddhism in the context of twentieth-century Japanese Buddhist scholarship, I will turn to some of the events that took place in China during the seventh and eighth centuries that were decisive for the prevalence in East Asia of the type(s) of Buddhism they criticize. This will be followed by a critique of what has happened to the notion of enlightenment in East Asian Buddhism, particularly in the Ch’an and Zen traditions, with reference to the problem of hongaku (original enlightenment) and the authority of lineage transmission. Then, stepping back into a wider context, I will suggest that, far from being the idiosyncratic, misguided departure depicted by its detractors, Critical Buddhism is the inevitable revisiting of a theme that has been central to Buddhism since its onset. All the above points concern inevitabilities: the trajectory and accomplishments of Japanese scholarship in this century coupled with the crisis of Buddhism in the modern world; the decisive historical events that have established a pervasive ideological underpinning in East Asian Buddhism that Matsumoto and Hakamaya have labeled dhātu-vāda, combined with the exclusion of other, counteracting Buddhist tendencies found elsewhere in the Buddhist world, such as Buddhist logic; the undermining of certain foundational Buddhist notions, such as enlightenment, as a result of or in tandem with the growth of dhātu-vāda ideology; the persistent self-criticism and self-reevaluation that Buddhism has subjected itself to, often glorifying the critique and the critics (Nāgārjuna being the most famous example)—all these points have made it inevitable that Critical Buddhism appear today in Japan (and elsewhere). Finally, while examining an aspect of Matsumoto’s critique of The Record of Lin-chi, I will suggest some tactical distinctions that should be considered by those critical of Critical Buddhism (Lusthaus, "Critical Buddhism and Returning to the Sources," 30–31)
drawn primarily from two of the four major orders of Tibetan Buddhism:
- the old order called Nying-ma-ba,[2] which reached its full development in the fourteenth century with the scholar-yogi Long-chen-rap-jam[3]
- a highly scholastic order called Ge-luk-ba,[4] founded by the fourteenth century scholar-yogi Dzongka-ba.[5]
Long-chen-rap-jam was born in 1308 Do-drong[6] in south central Tibet, received ordination at Samyay[7] Monastery, and studied the doctrines of both the old and new schools. A great scholar, he became abbot of Sam-yay Monastery early in his life but retired from that position to live in the mountains. Receiving the full corpus of the teachings of the Old Translation School of Nying-ma, he wrote prolifically, and even when he was exiled for a decade to Bhutan for his closeness with the opponents of the ruling power, he established and restored monasteries.[8]
Dzong-ka-ba was born in 1357 in the northeastern province of Tibet called Am-do,[9] now included by the occupying Chinese Communists not in the Tibetan Autonomous Region but in Ch'ing-hai Province. He studied the new and old schools extensively, and developed his own tradition called Ge-luk-ba. Dzongka- ba and his followers established a system of education centered especially in large universities, eventually in three areas of Tibet but primarily in Hla-sa, the capital, which in some ways was for the Tibet cultural region what Rome is for the Catholic Church. For five centuries, young men came from all over the Tibetan cultural region to these large Tibetan universities to study (I say "men" because women were, for the most part, excluded from the scholastic culture). Until the Communist takeovers, these students usually returned to their own countries after completing their degrees.
Valley sounds are the long, broad
tongue.
Mountain colors are not other than
the unconditioned body.
Eighty-four thousand verses are
heard through the night.
What can I say about this in the
future?
Let’s take a look at the poem, using the above translation by Kazuaki Tanahashi (Treasury of the True Dharma Eye: Zen Master Dōgen’s Shōbō Genzō [Shambhala, 2012], 86)
Valley sounds are the long, broad tongue. "Valley sounds" are the sounds of a stream.
"Long, broad tongue" refers to the Buddha and his teachings, known as the Dharma. Restated unpoetically: natural phenomena such as streams are capable of expressing the highest truth. (Read entire article here)
First, rejecting all existing forms of Buddhism in Japan as unauthentic, he attempted to introduce and establish what he believed to be the genuine Buddhism, based on his own realization which he attained in Sung China under the guidance of the Zen Master Ju-ching (Nyojō, 1163-1228). He called it "the Buddha Dharma directly transmitted from the Buddha and patriarchs." He emphasized zazen"`UNIQ--ref-00000001-QINU`"'(seated meditation) as being "the right entrance to the Buddha Dharma" in the tradition of the Zen schools in China since Bodhidharma, originating from Śākyamuni Buddha. Yet he strictly refused to speak of a "Zen sect," to say nothing of a "Sōtō sect," that he was later credited with founding. For Dōgen was concerned solely with the "right Dharma," and regarded zazen as its "right entrance." "Who has used the name 'Zen sect'? No buddha or patriarch spoke of a 'Zen sect.' You should realize it is a devil that speaks of 'Zen sect.' Those who pronounce a devil's appellation must be confederates of the devil, not children of the Buddha.",'"`UNIQ--ref-00000002-QINU`"'He called himself "the Dharma transmitter Shamon Dōgen who went to China"'"`UNIQ--ref-00000003-QINU`"'with strong conviction that he had attained the authentic Dharma that is directly transmitted from buddha to buddha, and that he should transplant it on Japanese soil. Thus he rejected the idea of mappo"`UNIQ--ref-00000004-QINU`"', i.e., the last or degenerate Dharma, an idea with wide acceptance in the Japanese Buddhism of his day. It may not be too much to say of Dōgen that just as Bodhidharma transmitted the Buddha Dharma to China, he intended to transmit it to Japan.
Secondly, though Dōgen came to a realization of the right Dharma under the guidance of a Chinese Zen master whom he continued to revere throughout his life, the understanding of the right Dharma is unique to Dogen. With religious awakening and penetrating insight, Dōgen grasped the Buddha Dharma in its deepest and most authentic sense. In doing so, he dared to reinterpret the words of former patriarchs, and even the sutras themselves. As a result, his idea of the right Dharma presents one of the purest forms of Mahayana Buddhism, in which the Dharma that was realized in the Buddha's enlightenment reveals itself most profoundly. All of this, it is noteworthy, is rooted in Dōgen's own existential realization, which he attained in himself through long and intense seeking. Based on this idea of the right Dharma, he not only rejected, as stated above, all existing forms of Buddhism in Japan, but also severely criticized certain forms of Indian and Chinese Buddhism, though, it is true, he generally considered Buddhism in these two countries as more authentic than that in Japan.
The third reason Dōgen is unique in the history of Japanese Buddhism, is because of his speculative and philosophical nature. He was a strict practicer of zazen, who earnestly emphasized shikantaza"`UNIQ--ref-00000005-QINU`"', i.e., just sitting. His whole life was spent in rigorous discipline as a monk. He encouraged his disciples to do the same. Yet he was endowed with keen linguistic sensibility and a philosophical mind. His main work, entitled Shōbōgenzō"`UNIQ--ref-00000006-QINU`"', "A Treasury of the Right Dharma Eye," perhaps unsurpassable in its philosophical speculation, is a monumental document in Japanese intellectual history. In Dōgen, we find a rare combination of religious insight and philosophical ability. In this respect, he may be well compared with Thomas Aquinas, born twenty five years after him.
He wrote his main work, Shōbōgenzō, in Japanese, in spite of the fact that leading Japanese Buddhists until then had usually written their major works in Chinese. Dōgen made penetrating speculations and tried to express the world of the Buddha Dharma in his mother tongue by mixing Chinese Buddhist and colloquial terms freely in his composition. The difficult and unique style of his Japanese writing is derived from the fact that, in expressing his own awakening, he never used conventional terminology, but employed a vivid, personal style grounded in his subjective speculations. Even when he used traditional Buddhist phrases, passages, etc., he interpreted them in unusual ways in order to express the Truth as he understood it. In Dōgen, the process of the search for and realization of the Buddha Dharma and the speculation on and expression of that process are uniquely combined.'"`UNIQ--ref-00000007-QINU`"'
In this paper I shall discuss Dōgen's idea of Buddha nature, which may be regarded as a characteristic example of his realization. (Abe, "Dōgen on Buddha Nature", 28–30)The present paper offers just such crucial material: eight folios from a Sanskrit manuscript of MSABh from Tibet. This is the first part of a series of studies dealing with the subject.
For over thirty years I have been encountering a motif or set of motifs in Japanese culture that is, outside of folklore and the children's story, virtually unheard of in European literature. Japanese literature and theater are rife with stories in which the protagonists are not human but are, rather, plants, trees, animals, or supernatural beings. For many Westerners, such tales seem indicative of some kind of arrested development in the Japanese psyche, as if their culture had failed to become modern or, worse, "grow up."
When I ask my Japanese colleagues about this, most see no problem at all: both Shinto and Buddhism acknowledge that sentience can exist across a broad spectrum of life, from the simplest organic structures to supernatural entities that, though invisible, may direct our lives in ways we still don’t understand. Arguably, the Japanese themselves feel a kinship with these other entities to a degree that many people in Europe or North America do not, though such a sensibility is common among indigenous peoples around the world. As unique as they are, human beings do not occupy any God-given, privileged place in this scheme. Th e word animism is brought out to explain much of this, though the term itself is vaguely used.
I began to realize that a radically different metaphysical construct of the world gives rise to a distinctive poetics and dramaturgy, and that typical EuroAmerican critical tools fail to adequately interpret even Japanese discursive texts, to say nothing of many of their greatest works of poetry, fiction, and drama. (Poulton, "Flowers of Sentience," 20) (Read the entire article here)
Here, we give the tex of the Tattvasańgraha along with the Tattvasańgrahapañjikā in full. Unlike in the previous fragment, our commentary is brief, and due to its fragmentary nature, it is hard to understand. Having the Tattvasańgrahapañjikā next to our text greatly helps in reconstructing and understanding our text. (Harimoto and Kano, introduction, 5)
Notes:
Shakya Chokden articulated his position on other-emptiness in works written during the last thirty years of his life. In those works he advocated both Alīkākāravāda Yogācāra and Niḥsvabhāvavāda Madhyamaka systems as equally valid forms of Madhyamaka, regarding the former as a system of other-emptiness and the latter as a system of self-emptiness. Instead of approaching the two systems as irreconcilable, he presented them as equally valid and effective, emphasized their respective strengths, and promoted one or the other depending on context and audience. Partly for these reasons, his own philosophical outlook does not neatly fall into the categories of other-emptiness or self-emptiness, and placing him squarely into the camp of “followers of other-emptiness” (gzhan stong pa)—as some advocates of later sectarian traditions did—does not do justice to him as a thinker. (Source: DigitalCommons@University of Nebraska - Lincoln)
The present report overviews further findings from the set of miscellaneous texts in Śāradā palm-leaves from Zha lu ri phug. The palm-leaf set was first reported by Kano Kazuo (2008), who utilized nine folios in two photographic images (Sferra Cat. MT 42 II/1& 2) preserved at the Istituto Italiano per l’Africa e l’Oriente (IsIAO) in Rome with the help of Francesco Sferra. We have known on the basis of catalogue descriptions that there are further folio images from the same set preserved in other institutes, viz. the China Tibetology Research Center (中国藏学研究中心, CTRC) and the China Ethnic Library (中国民族图书馆, CEL). In other words, the photographic images of the set have been scattered and separately preserved in the three institutes. Ye Shaoyong and Li Xuezhu have independently paid special attention to these materials and researched them.[1]
It was during a lunch break on 2 August 2012 on the occasion of the 5th Beijing International Seminar on Tibetan Studies at CTRC that the present authors (Ye, Li, Kano) met together and became aware of the fact that we were studying folios from one and the same collection. We quickly decided collaboration by unifying each one’s results and sharing all related materials (As for the CTRC material, we share transcription prepared by Li). After collecting the folios together, we have come to know the number of folios of the set as 87 in total, in which 46 folios are found in CTRC images (Sang De Cat. No. 100, [3], [5] = Luo Cat., 136ff., No. 44, [3], [5]) and 41 are found in CEL images (Wang Cat. No.10, 15, 16, 17). The nine leaves in IsIAO images as reported by Kano (2008) overlap with those in CEL (Wang Cat. 10, 16). These folios contain more than fifteen works, most of which are, unfortunately, incomplete, and the remaining folios are yet to be found. There are also folios yet to be identified among the available ones. In the present report, we shall provide a preliminary survey on the Śāradā folios and an update of the report of Kano (2008) by supplying further identifications. (Ye, Li, and Kano, introduction, 30–31)