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Deborah J. Brasket

~ Living on the Edge of the Wild

Deborah J. Brasket

Tag Archives: Buddhism

“Vast Emptiness, Vastly Full”

02 Sunday Aug 2020

Posted by deborahbrasket in books, Poetry, Spirituality

≈ 17 Comments

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Blogging, Buddhism, D. E. Harding, Derek Walcott, inspiration, Love After Love, On Having No Head, personal, Philosophy, poetry

Gustav Klimt

There are a few refrains that I turn to again and again when I want to get a clearer sense of who I am beyond what appears in a mirror or an ordinary, limited sense of self.

Some are from Buddhist or Taoist texts that I’ve written about or alluded to on these pages:

“Able to be the mother of the world”

“Not-two” Or “Not-I”

“Oh so delicious!”

Some are from poems I wrote to capture a particular state of mind where I was “there”–Not-I.

“I am clean, uncluttered space . . .”

“Drifting mindless round the bend, bursting out, bursting in.”

“Vast emptiness, vastly full” is another refrain I turn to that helps me to move beyond a constrictive sense of self to something that feels freer and truer.

It comes from the book On Having No Head, Zen and the Rediscovery of the Obvious by D. E. Harding. Some excerpts follow.

The best day of my life—my rebirthday, so to speak—was when I found I had no head. This is not a literary gambit, a witticism designed to arouse interest at any cost. I mean it in all seriousness: I have no head.

It was eighteen years ago, when I was thirty-three, that I made the discovery. Though it certainly came out of the blue, it did so in response to an urgent enquiry; I had for several months been absorbed in the question: what am I?

. . . . What actually happened was something absurdly simple and unspectacular: I stopped thinking . . . . Reason and imagination and all mental chatter died down. For once, words really failed me. Past and future dropped away. I forgot who and what I was, my name, manhood, animalhood, all that could be called mine. It was as if I had been born that instant, brand new, mindless, innocent of all memories. There existed only the Now, that present moment and what was clearly given in it. To look was enough. And what I found was khaki trouser legs terminating downwards in a pair of brown shoes, khaki sleeves terminating sideways in a pair of pink hands, and a khaki shirtfront terminating upwards in—absolutely nothing whatever! Certainly not in a head.

It took me no time at all to notice that this nothing, this hole where a head should have been was no ordinary vacancy, no mere nothing. On the contrary, it was very much occupied. It was a vast emptiness vastly filled, a nothing that found room for everything—room for grass, trees, shadowy distant hills, and far above them snowpeaks like a row of angular clouds riding the blue sky. I had lost a head and gained a world.

. . . .  I seemed to stop breathing altogether . . . .  alone and unsupported, mysteriously suspended in the void . . .  utterly free of “me”, unstained by any observer. Its total presence was my total absence, body and soul. Lighter than air, clearer than glass, altogether released from myself, I was nowhere around.

. . . . [I]t felt like a sudden waking from the sleep of ordinary life, an end to dreaming. It was self-luminous reality for once swept clean of all obscuring mind. . . . . In short, it was all perfectly simple and plain and straightforward, beyond argument, thought, and words . . . . the sensation of having dropped an intolerable burden.

I’ve had that sensation of being “vast emptiness, vastly full” and it feels more real, more “me”, than my ordinary sense of self. The full-blown experience doesn’t last long, but the sense of it, the memory, the feel of it when I enter those words vast emptiness, vastly full is heady. It takes me somewhat out of myself and into a sense of being that is freer and fuller. And truer. It brings me home to myself.

Which is probably why I love that poem Love After Love by Derek Walcott so much.

The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other’s welcome,

and say, sit here. Eat.

. . . . Feast on your life.

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“Divine Bodies” at the Asian Art Museum

16 Monday Apr 2018

Posted by deborahbrasket in Art, Culture, Photography, Spirituality

≈ 2 Comments

Tags

art, Asian Art Museum, Buddhism, Divine Bodies, Hinduism, photography, sacred art, sculpture, transcendence, transcience, transformation

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During my trip to San Francisco last weekend we visited the Asian Art Museum, which was featuring an exhibition of “Divine Bodies,” sacred artwork from Asia. The theme was transformation and transcendence, and the various aspects of divinity as embodied by the Beautiful, the Sensuous, the Fierce, and the Gentle.

I’ll share a few of my favorites below.

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A wooden statue of Avlokiteshvara, the compassionate bodhisattva who “gazes down” at the people with eyes full of sympathetic understanding, embodies The Gentle aspect of the Divine.

Below, another “Gentle,” this time of the Buddha, with outstretched hand and lowered gaze. The faces, the gazes, of these two are so similar they could be the same embodiment, although from different times and cultures.

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Some of my favorites were the female deities.

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Here Parvati, wife of Shiva, represents the female energy of the universe. She embodies The Beautiful, The Sensuous, and The Gentle, with the partial figure of her babe on her knee.

The two below embody The Sensuous, the first representing the link between the female form and fertility, with the woman holding a flowering tree branch. The second is the Buddhist deity Guhyasamaja, meaning “hidden union” of apparent opposites: male and female, mind and body, wisdom and compassion.

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The phallic emblem below is a powerful representation of Shiva as the cosmic creator.

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The following two represent The Fierce aspect of the Divine, powerful enough to transmute the negative force of attachment into wisdom, although these were found on other floors of the museum.

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The Divine Body exhibition also included some intriguing modern art installations. My favorite was Impermanence: The Time of Man by David Hodge, a multichannel video installation with various people off the street speaking about the transience of their own lives, in all its frightening and illuminating aspects.

Another by Dayanita Singh featured the transformations of Mona Ahmed, who says that God gave her a man’s body but a woman’s spirit, and that is why they call her Hijra. In India this is considered a third gender and is closely associated with the divine. Her faces follow.

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I can see why the artist found her face so fascinating and timeless.

Compare it to the ancient one below, seemingly the same embodiment, transcending time as well as gender.

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Scattered throughout the exhibition were quotations mounted on the walls. Two follow.

“Mind has no body distinct from his soul, for that called body is a portion of the soul discerned by the five senses.” – William Blake, poet and artist.

“And while I stood there I saw more than I can tell, and I understood more than I saw; for I was seeing in a sacred manner the shapes of things in the spirit, and the shape of all shapes as they must live together like one being.” – Black elk, Oglala Lakota (Sioux) spiritual leader

I found so much more at this museum that fascinated and inspired me, but I’ll save the rest for a later post.

 

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Stepping Barefoot into Reality with D.T. Suzuki

03 Thursday Aug 2017

Posted by deborahbrasket in Human Consciousness, Love, Recommended Books, Spirituality

≈ 2 Comments

Tags

books, Buddhism, D.T. Suzuki, Essays in Zen Buddhism, Metaphysics, Philosophy, spirituality, Zen

I love this photo of the Zen sage D.T Suzuki. He was one of my first “gurus” if I, or he, believed in such things. His “Essays in Zen Buddhism” certainly was a huge influence in my life, as he was for so many, including Martin Heidegger, Thomas Merton, Carl Jung, Alan Watts, and John Cage.

So I was excited to find this photo and article about him on Maria Popova’s fascinating website Brainpickings. Many of the quotations she includes were ones I highlighted in my dog-eared copy so long ago. I highly recommend you reading her article on “How Zen Can Help You Cultivate Your Character.”

What I love about Suzuki’s approach to Zen is its emphasis on the psychological and the practical, and the turning away from the merely logical and rational, or verbal.

“The truth of Zen is the truth of life,” he writes, “and life means to live, to move, to act, not merely to reflect.”

He goes on to explain:

“In the actual living of life there is no logic, for life is superior to logic. We imagine logic influences life, but in reality man is not a rational creature so much as we make him out; of course he reasons, but he does not act according to the result of his reasoning pure and simple. There is something stronger than ratiocination.”

“Zen is to be explained, if at all explained it should be, rather dynamically than statically. When I raise the hand thus, there is Zen. But when I assert that I have raised the hand, Zen is no more there.”

“Zen therefore ought to be caught while the thing is going on, neither before nor after.”

We must see directly into the thing in itself as itself, into the “suchness” of life: “responding to a call, listening to a murmuring stream, or to a singing bird, or any of our most ordinary everyday assertions of life.”

To do this: “We must first of all acquire a new point of view of looking at things, which is altogether beyond our ordinary sphere of consciousness.”

When we do: “The old world of the sense has vanished, and something entirely new has come to take its place. We seem to be in the same objective surrounds, but subjectively we are rejuvenated, we are born again.”

Yet this new “sphere of consciousness” must be grounded in our practical, ordinary lives.

“Psychologically there is a most intimate and profound relationship between a practical turn of mind and a certain type of mysticism .  .  .  If mysticism is true its truth must be a practical one, verifying itself in every act of ours, and most decidedly, not a logical one.”

He goes on to quote the Zen poet Hokoji:

“How wondrously supernatural,

and how miraculous this!

I draw water, and I carry fuel.”

This too is what I love about Suzuki’s approach to Zen, his emphasis on work, and on work as love.

“For the soundness of ideas must be tested finally by their practical application. When they fail in this–that is, when they cannot be carried out in everyday life producing lasting harmony and satisfaction and giving real benefit to all concerned–to oneself as well as to others–no ideas can be said to be sound and practical.”

“The fact is that if there is any one thing that is most emphatically insisted upon by the Zen maters as the practical expression of their faith, it is serving others, doing work for others: not ostentatiously, indeed, but secretly without making others know of it. Says Eckhart [Christian mystic], ‘What a man takes in by contemplation he must pour out in love.’ Zen would say, ‘pour out in work,’ meaning by work the active and concrete realization of love.”

Throughout his essays he quotes generously from Zen masters and poets, and from Christian mystics and other Western thinkers and philosophers. Thus he weaves together common threads as well as pointing out differences between Zen and Western philosophies and spiritual practices.

Popova calls his essays “a moral toolkit for modern living, delivered through a grounding yet elevating perspective on secular spirituality.”

I would have to agree with that. Certainly I used it as a “toolkit” for my own own understanding of Zen and its application to ordinary life.

Suzuki writes:

“Life as it is lived suffices. It is only when the disquieting intellect steps in and tries to murder it that we stop to live and imagine ourselves to be short of or in something. Let the intellect alone, it has its usefulness in its proper sphere, but let it not interfere with the flowing of the life-stream. If you are at all tempted to look into it, do so while letting it flow.

Zen . . . must be directly and personally experienced by each of us in his inner spirit. Just as two stainless mirrors reflect each other, the fact and our own spirits must stand facing each other with no intervening agents. When this is done we are able to seize upon the living, pulsating fact itself.

That is what I work to do:

To grasp the fact of life and its sufficeness with bare hands.

To “step barefoot into reality” as the poet puts it.

Although, too often this is forgotten in the busyness of things, the turmoil and petty pleasures that swirl around us all and steal our attention.

But I’m beginning to understand that even these upsets and petty pleasures have a place within the larger scheme of things, if only we would see them as such:

Oh, how wondrously supernatural,

and miraculous this!

The spilled cup, the dime novel.”

In a life that suffices, nothing is wasted.

 

 

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After sailing around the world in a small boat for six years, I came to appreciate how tiny and insignificant we humans appear in our natural and untamed surroundings, living always on the edge of the wild, into which we are embedded even while being that thing which sets us apart. Now living again on the edge of the wild in a home that borders a nature preserve, I am re-exploring what it means to be human in a more than human world.

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