When Master Xu Yun (1840-1959) Sharpens the Understanding!

[Shi Da Dao]

Whereas Zen fits-in with Japanese cultural notions of mysticism and Shinto ‘other worldliness’ – Master Xu Yun was renowned for his no nonsense approach to gong-an (koan) and hua-tou, etc. Chinese Ch’an, by comparison, is a highly practical affair and any assumption of ‘mysticism’ is a misreading of the Chinese approach. Of course, to the Western mind both schools of interpretation may appear ‘mysterious’, but this is because the principle of the ‘unfamiliar’ is being mistakenly perceived as ‘mystical’. Once both approaches are understood as equally valid but different approaches to realising the empty essence of the mind – then a certain clarity of thought regarding each is achieved. Both have their uses and are valid for their own socio-economic conditions.



Master Xu Yun would severely criticise anyone who just ‘sat’ with a gong-an – repeating its content over and over again in the mind but never returning the words to their empty mind ground of origination. This demonstrates the marked difference between the Chinese Ch’an method and the Japanese Zen equivalent – where ‘sitting’ with a koan is expected and awarded. The Japanese koan has become an iron wall upon which the ego is smashed – whereas within Chinese Ch’an the gong-an is a definite ‘pathway’ one follows to a specific ‘destination’. This is the difference between the Linji Ch’an School and the Rinzai Zen School. As for the Cao Dong Ch’an School and the Soto Zen School – the study of the ‘Book of Changes’ (Yijing) is essential within China and virtually unheard of in Japan. Just as Linji Ch’an Masters never advocated the enforced (and exclusive) wrestling with gong-an – the Cao Dong Ch’an Masters never advocated (an exclusive) ‘silent sitting’ in their approach. Both schools practised gong-an consideration, seated meditation, hard work in the fields and enlightened dialogues of ‘Dharma Combat’.



This difference in approach denotes a certain diversity of approach similar to how certain Chinese martial arts from Fujian province spread to the Island of Okinawa and were developed in ‘Karate’. When these styles spread to Japan – they were altered yet again and took-on a definite ‘Japanese’ feel similar to extant sword-styles used on the battlefield. The original circular movements of the Chinese martial arts became the ‘straight-lined’ punches and kicking of modern Japanese Karate which took on the nature of direct ‘sword-blows’! As each culture is defined by its differences to other cultures, and given that these differences are vital for human creativity, progression and development – it is good for humanity that China and Japan possess such diverse ways of interpreting root cultural activities in such different ways! What is important is that both countries partake in constructive dialogue with Buddhist monastics visiting one another’s training halls every year to learn and develop further understanding! The two systems of Ch’an and Zen share a common root, are cultural distinctive and yet certainly not in competition with one another! They are simply different generations of the same family!