Zen in the Japanese arts

/, Literature, Blesok no. 28/Zen in the Japanese arts

Zen in the Japanese arts

#1 The first painting that I would like to consider was made by Hakuin and was a portrait of Bodhidharma. The most dominant feature in this painting is the powerful first stroke at the bottom of the painting. That stroke deserves a particular address. As I said above, one of the key concepts of all Mahahana schools is emptiness. Buddha-mind is mind that directly perceives emptiness.
Naturally, emptiness would have to be represented in the painting. Before the lines are drawn, the surface is only a paper. But, since the first line is drawn, the paper is no longer a paper but becomes the representation of the emptiness. Out of emptiness everything emerges. Form comes from emptiness. But, emptiness could not be depicted without form. Therefore, the first stroke is the one out of which emptiness and form emerge. Such is the first stroke of Hakuin – the first thick, black line at the bottom of the painting. Only after that, as from that first separation of form and emptiness, the other forms emerged.
Bodhidharma was the first Chinese Patriarch. Naturally, he was fully enlightened. Yet, in Hakuin’s painting, he was not depicted as perfect, as Pure Land paintings usually depict buddhas and bodhisattvas. Again, unlike Pure Land paintings (Indian and Tibetan as well), where buddhas and bodhisattvas are always depicted as youthful and beautiful, to symbolize spiritual perfection, here Bodhidharma is old and dry. There is nothing formal in this painting. The lines are free and uneven. The painting is, also, very simple. There are no decorations at all. But, that could only testify that the author was mature and far beyond all youthful concerns. Only the essence remained in this painting. Looking at the master’s technique, it becomes apparent that there is no pretense in any move. Every stroke looks natural, without a slightest care for technical perfection. Yet, because of the absence of details and precision, the expression is not limited. Perhaps the most striking characteristic of this painting is the realization that Hakuin genuinely had no pretense at all. His Buddha-mind spontaneously expressed itself. There is no trace of wish to make a point, to “prove his rank” or to create a masterpiece. There is no sign of hindrance in the expression, no hesitation, no stirring. I must exit for a moment from my technical discussion to convey a personal experience. More than ten years ago I bought a book with this picture on the cover. At that time I considered it too simple. As years went by, I found more and more depth in it. Now I could confidently say that its depth has no bottom.
Perhaps it is not out of context to say a few words about the expression of Bodhidharma’s face. His eyes are too big, probably because #2 that was the image of a person who had no eyelids. But, besides that, the whole appearance has something comical in it – the eyes are turned aside, Bodhidharma appears to have no teeth, his forehead is too high… It is not a picture that one accustomed to Indian, Tibetan or East Asia’s Pure Land paintings of Buddhas, Bodhisattvas and Arahats would expect to depict a Patriarch. But, this is in accord with one important characteristic of Zen Buddhism: since we all possess Buddha-mind, which means, we are all inherently enlightened, there is no need of venerating Buddhas or Patriarchs. In fact, that would only be destruction for it presupposes a mind that thinks in terms of duality. Zen art does not suggest higher respect for Buddha than for any other being. Zen art has no hesitation to look at Buddhas from the comical side. Zen art does not suggest holiness, for holiness is a term that has a meaning only in the world of dualities.

AuthorDraško Mitrikjeski
2018-08-21T17:23:35+00:00 October 1st, 2002|Categories: Essays, Literature, Blesok no. 28|0 Comments