1957, this was done by 17th century, the Chinese, Huang Yi. Huang Yi. The Huang Yi, 17th century. One stroke, the bamboo wood, trees, and here, two strokes, the leaves. Simplistic and the power of brushwork. Here is the waterfalls.

[01:07]

This is just a peachy barricade. Image, yet, it's moving. So, my interpretation would be, reality is in action. It is a form, maybe it is a formless, so the birds are moving. That is also done by Qi Wuxia. Here, Qi Wuxia dies to sit down at the top of the mountain. So, my death symbolizes new people practicing here at the top of the mountain. This is done by Shitao.

[02:10]

Shitao, also 17th century Shitao. We had an exhibition another few years ago of Shitao's work. Shitao's exhibition also in Taiwan, and Hong Kong, and even Paris. Another exhibition, publishing book on Shitao's work. This is Shitao. Shitao was a monk. I think he was a monk, but also interested in Taoism. So, this will give you a feeling, warm you up. In my work on creativity and Taoism, I also have this picture.

[03:18]

I feel when I look at it, it gives me the feeling of tranquility. This is done by Liang Kai. This is done by Liang Kai. This is done by Liang Kai. Here, also, was done by Liang Kai. You see, Zen painting sometimes a story, also called Zen painting. This is the painting which Zen is in the brushwork.

[04:23]

I think this is Zen story. So, you might see the explanation of it. Shitao's torso is the color, but that's the color. It's different. It's shining, yet it's not shining. The color seems without shining. This man, Shen Yun, 16th century. He also studied Zen Buddhism. This is color, without color. Today, my topic is the role played by Pai Wu in Chinese art and poetry.

[06:12]

The highest attainment of Chinese poetry and art is often attributed to the self-awakening of the poet and the artist. Thus, we see that the teachings of Zen have been applied profoundly in the work of both poets and artists. To illustrate this, let us first read a poem written by Wang Wei. I think those who like Chinese poems will know Wang Wei. Wang Wei, 9th century, Wang Wei. Wang Wei, Wang Wei.

[07:24]

Wang Wei, 9th century, 8th century. Wang Wei, 9th century, 8th century. Of late, I deeply devote myself to questions, is Wang Wei I. Nothing in the world concerns my mind. The breeze from pine woods blows my chest. The mountain moon shines upon my heart. That's quite a related situation here. You ask me to explain the reason of failure and success. The fisherman's song goes deep into the river.

[08:35]

Let me recite this poem once more. Of late, I deeply devote myself to questions. Nothing in the world concerns my mind. Nothing in the world concerns my mind. The breeze from pine woods blows my chest. The mountain moon shines upon my heart. You ask me to explain the reason of failure and success. The fisherman's song goes deep into the river. After we read this poem, you may be enchanted with how profoundly Wang Wei, the poet,

[09:42]

unfolds his inner realm, untainted and free from dichotomy of opposites, failure and success. His answer is just like a bamboo shadow sweeps the stone steps without stirring up the dust. And yet, it is this irrelevant reply that reveals the depth of the underlying harmony and opens the minds of others. Let me recite this. This is my feeling. His answer is just like a bamboo shadow sweeping the stone steps without stirring up the dust.

[10:46]

And yet, it is this irrelevant reply that reveals the depth of the underlying harmony and opens the minds of others. During my stay in New York City where I once lived, Professor Suzuki was there also. One day I pointed out to Dr. Suzuki that Wang Wei, the poet, was applying the teaching of kun. Kun. Japanese is kun. Chinese is gong la. Chinese is kun. Gong la. Kun.

[11:47]

Chinese pronunciation is kun la. Kun la. Kun la. In writing his poetry, Dr. Suzuki carefully considered the poem and I was delighted to accept this suggestion of what I have seen in the poem. So let me recite it once more. He asked me to explain the reason of failure and success. The fisherman saw that his answer grew stiff in the ruler. As an illustration, the Han Yang teaching has been applied in painting.

[13:01]

Let us look at the inscription on a painting by Chateau. Chateau, I have a date now. Chateau. Chateau. Yeah. 18th century. This painting and its inscription was done as a model for his making when he first began his lesson in Chinese painting with his uncle who taught him. This is the picture. Nothing is beautiful. Nothing is powerful. Yet, this great painter used this to demonstrate the best work of painting that young artists should learn.

[14:04]

And I discovered this colophon written by Chateau himself. The colophon reads this. Those who study the art of painting should proceed as if they were searching for rain. They must not hold on to calculative thinking but must enter into the thought of the first principle. Then they will become great masters of art. Let me recite this colophon once more. Those who study the art of painting should proceed as if they were searching for rain. You would like to try? You say it.

[15:07]

Yeah. They must not hold on to the calculative thinking but must enter into the thought of the first principle. The first principle. Chinese principle. The first principle. Now, what is this first principle? According to the sutra of Lanka, Lanka Sutra, we have the following. I checked and this is my own translation.

[16:12]

The first principle refers to the realm of wisdom through self-awakening by the wise. It cannot be identified as the realm achieved through languages and illusions. Let me recite once more. The first principle refers to the realm of wisdom through self-awakening by the wise. It cannot be identified as the realm achieved through languages and illusions. So, yesterday in our seminar I mentioned Hogan, Chinese fire iron. Chinese fire. Yes. Hogan.

[17:22]

The founder of the Hogan school of man. Once I was asked, what is the first principle? And I started. So that if I should tell you, it would become second principle. It's very nice. So, language, it cannot be reached. Language, touch me by language. There's no more first principle. In other words, the first principle is inexplicable and cannot be reached through calculated thinking and karma, truth. It is the ultimate reality which may be identified as Tathāta and Samyata. And to reach it, we must reach Prajna or Pāyō. To review the interpretation of Pāyō given by Senzao, which I did during the first lecture, we have learned that Pāyō is wondrous subtle non-being.

[18:48]

It is the ultimate source to be searched for in the study of both Mahayana and Hinayana Buddhism. We may understand that what in the Chinese philosophy of art is called first principle is closely related to the teaching of Pāyō. Pāyō paves the way for the highest achievement of art. The highest achievement of art is the identity of artist himself and the object of reality of things.

[19:53]

This identity is not a concept of the dialectical mediation or synthesis of man and the universe. It is a direct, spontaneous, unimpeded mutual solution which takes place in the absolute moment as time. Identity here is no longer a principle as a statement about identity. It is, as Heidegger says, a spring into the essential origin of identity. And unquote, a spring into the essential origin of identity.

[20:56]

The origin of identity is the realm of the event of appropriation. Yesterday we struck upon the event of appropriation, Heidegger's term. In which man and a being, capital B, are mutually appropriate to one another. In Buddhist philosophy, we have heaven and earth and I live together. And all things and I are one. 天与云并生,瓦瓦与云为一。 We have Chinese here. 天与云并生,瓦瓦与云为一。 天与云并生,瓦瓦与云为一。

[22:07]

That is the second chapter of work of John's. The second chapter of the work of John's is very, very important to me. I think the roots of all sorts of things. The realm of one is the realm of identity. In which man and the universe and all things are mutually appropriate to each other. Through the spring which takes place in absolute moment. This oneness is poetic saying which gathers the realms, region of earth, sky, divinities and morals. This full fullness was given by Heidegger.

[23:10]

May I ask for your exclusion? I don't have so much. I can do it. Thank you. I have very sensitive eyes. This oneness is poetic saying. Saying is quotation, capital saying. Calling. Yeah. Which gathers the worlds, regions of earth, sky, divinity and morals. Into the simple one of the four. The simple one of the four that is also Heidegger's expression. In Chinese art, this one is primordial non-differentiation.

[24:17]

This one is primordial non-differentiation. Which is essential to the Eastern aesthetics. I am Tao Chan. Tao Chan. Tao. Tao Chan. Tao Chan. Of 4th century. 4th century. Great Chinese poet of 4th century.

[25:25]

Experienced this primordial non-differentiation. The essential source of identity. He wrote. I gather chrysanthemums under eastern hedgerow. I sign and place in a distance at Sutton Mountain. The mountain air is beautiful in sunset. The birds flocking together. Home. Two by two. Among all these things there is a real meaning. I want to express it. Words fail me. Let me recite this poem once more.

[26:32]

I gather chrysanthemums under eastern hedgerow. I sign and place in a distance at Sutton Mountain. The mountain air is beautiful in sunset. The birds flocking together. Home. Two by two. Among all these things there is a real meaning. I want to express it. Words fail me. That's a very good poem. I gather chrysanthemums under eastern hedgerow. I sign and place in a distance at Sutton Mountain. The mountain air is beautiful in sunset. The creative preserving of truth in the work.

[27:43]

Creative preserving of truth in the work is the expression given by Heidegger. Truth here is unconcealable. Truth is unconcealable. The revelation of being. Capital being of what is. The revelation of being of what is. It is neither the truth of particular being in portrait nor the symbolic representation of truth. It is the unconcealment of the truth of all that is. It is the unconcealment of the truth of all that is. In Kant's aesthetics, truth belongs to the transcendental reality of things in themselves.

[29:04]

Kant put things-in-themselves. Which is separate from a sensible appearance and inaccessible to human experience. And inaccessible to human experience. The work of art belongs to the realm of sensible appearance. It is therefore only a symbolic representation of truth of what is. And not the experience of truth itself. So, let me recite once more. These two sentences are important. The work of art belongs to the realm of sensible appearance. It is therefore only a symbolic representation of truth of what is.

[30:11]

And not the experience of truth itself. Hegel went beyond Kant with his notion of intellectual intuition so which mankind reach absolute reality. Art, or Hegel, belongs to the realm of absolute. However, it is a lower form of the absolute which in its highest development is pure thought or pure idea. The lictum. The openness for all that is present and absent. In Carbider's later works. This quotient heart of the lictum where the possibility of truth is at first secured is the place of stillness.

[31:23]

The place of stillness. Chateau, the great master of Chinese painting, quoted earlier in his talk. Once said. This is the projection of the image of imageless. Or, the establishment of truth as unconcealment in the work. In the I Ching, as in the Book of Change, we all know.

[32:29]

One of the ancient Confucian classics we read, quotation. Ten thousand things will be transformed and purified, end quote, end unquote. When hellenos unify into harmonious atmosphere, ten thousand things will be transformed and purified, end quote. This fusion into harmonious atmosphere has been applied to the union of brush strokes and ink wash, as Chateau says. When the brush strokes and ink wash are unified. This creates a harmonious atmosphere.

[33:33]

When one applies harmonious atmosphere to paint the mountain, the mountain is spiritualized. Apply it to paint a stream, the stream moves. Apply it to man, speaker, he is free from mundane defilement. So this all would end up the mountain. He is free from the defilement of the world. Let me recite this quotation from Chateau once more. When the brush strokes and ink wash are unified, this creates a harmonious atmosphere. When one applies harmonious atmosphere to paint a mountain, the mountain is spiritualized. Apply it to paint a stream, the stream moves.

[34:39]

You see, apply it to this bird, this dark bird. The bird is moving, moving, you can see. Apply it to man, speaker, he is free from mundane defilement. The harmonious atmosphere can only be achieved when the non-differentiated one has been reached and the artist himself has been transformed. The harmonious atmosphere can only be achieved when the non-differentiated one has been reached and the artist himself has been transformed. Moreover, the non-differentiated realm, the aesthetic feeling of sublimity is obtained.

[35:46]

This great aesthetic quality distinguishes Chinese art. When the artist's mind reaches the purity and transparency of the non-differentiated realm, it is no longer entangled with awkward things or confused by ordinary events. His mind is set free, and the reality of the brushwork is revealed. This cannot be achieved through a search for merely sensuous feelings or symbolic meaning. The sublimity of aesthetic feeling is far beyond this.

[36:51]

In the Eastern aesthetics, the urge to see the image of imageless and to hear the sound of soundless is particularly stressed for the highest attainment of art. Chinese philosophers do not search for the image in the image, but rather seek to reveal the imageless in the image. For them, sound is not expressed in sound, but rather the soundless is revealed in the sound. Thus, sound is set forth for soundless and image for imageless. Let me recite this last sentence.

[37:55]

For them, sound is not expressed in sound, but rather the soundless is revealed in sound. Thus, the sound is set forth for soundless and the image for imageless. In the words of John Zer, yesterday we said John Zer, John Zer, great philosopher after Lao Tzu, just like Plato to Socrates, John's position to Lao Tzu. In the works of John Zer, we find an illustration of the soundless revealing the sound. Earthly music, this is also in the second chapter, this part is hard to understand.

[39:01]

Many people read it, cannot understand that many people mean Chinese, Chinese cult. Earthly music is described as the sound from all the crevices of the mountain forests and the hollows of the huge trees. The music of men is described as that of bamboo flutes and pipes. But within these crevices and instruments, there is music of heaven. But in the music of men, within these crevices and instruments, there is the music of heaven. The men of ignorance can only hear the music of earth and the music of men. But when man has experienced the essence of identity, he will enjoy the symphony of the great nature of heaven through the music of earth and the music of men.

[40:19]

I remember in John's poetry, we have the song of the birds sent the message of the truth. The fragrance of the flower brings the first principle. So, that's the same thing. In Harvard's words, the same, should I say, real existence means to belong to the precipitant of beings themselves.

[41:22]

This precipitant, as the real nature of language, is being itself, capital B. To belong to being itself is to grasp, this is my interpretation, to belong to being itself is to grasp the music of heaven. That is, to identify with it. When Marxist catches the music of heaven, he abides the fountain of creativity. As Johnson says, this quotation, Those who rely upon arc, the line, compasses, and the square to make a correcter form, ninja, the natural construction of things.

[42:25]

Those who use chords to bind and glue, to piece together, interfere with the natural character of things. There is an ultimate reality in things. Things, in their ultimate reality, are curved without help of arcs, straight, without lines, round, without compasses, and reciprocal, without right angles. In this manner, all things create themselves from their own inward reflection, and none can tell how they come to do so. May I recite this passage once more? This is very important. Those who rely upon arc, the line, compasses, and the square to make a correcter form,

[43:31]

ninja, the natural construction of things. Those who use chords to bind and glue, to piece together, interfere with the natural character of things. There is an ultimate reality in things. Things, in their ultimate reality, are curved without help of arcs, straight, without lines, round, without compasses, and reciprocal, without right angles. In this manner, all things create themselves from their own inward reflection, and none can tell how they come to do so. I have a neighbor in my house build a hive.

[44:34]

Those bees make a hive, a six-size chamber. Who teach these little insects to make exactly the same six-size chamber? And what instruments these bees have? A natural reflection, a natural reality. The bees make such nice hives. This creativity is based upon the principle of letting. Or letting things be as they are. Let the things be as they are. This is a Heidegger's expression. The artist does not interfere with things with his preconceptions or predeterminations, as Heidegger says.

[45:42]

The singing of the poets is turned away from all purposeful self-assumption. It is not a ruling in the sense of desire. Their song does not solicit anything to be produced. In the song, the word's inner space concedes space within itself. Let me recite this once more. In Heidegger's saying, the singing of the poets is turned away from all purposeful self-assumption. It is not a ruling in the sense of desire. Their song does not solicit anything to be produced.

[46:47]

In the song, the word's inner space concedes space within itself. To achieve wave, the artist must himself be identified with the bee after bee. That is, he must experience the identity or belonging together of singing and a bee. This is the expression of Heidegger. Belonging together of singing and a bee. This is the essence, teaching of Heidegger. Belonging together of singing and a bee. Singing and a bee.

[47:50]

This identity is the origin of the truth of art. Or, as mentioned above, the revelation of the imageless of the image, the soundless of sound. The image in the image, the imageless in the image and the soundless in sound may be understood as the identification of the void and the real which is achieved by absolute mind. When we say that something is real, it is not a relative reality. When we say that it is void, it is not a relative void. What is real is void. What is void is real. This is not trade-away. Januster.

[48:58]

Dahlung. Dahlquinn. Dahlung. Dahlquinn. Dahlung. [...] of eleven countries, one said, such a reality is action, the real world is substance, therefore we may say that everywhere on earth the real world abides. All things in the universe are

[50:03]

activities of such a reality who is capable of embracing this. The four seas follow each other in succession. The sun and moon shine constantly. This quotation is very interesting, let me recite it once more. Such a reality is the action and the real world is a substance. Tianyong, that's a buddhist term, Tianyong, I just translate literally. Therefore we may say that everywhere on earth the real world abides. All things in the universe are activities of such a reality. Who is capable of embracing this? The four seasons follow each other in succession. The sun and the moon shine constantly.

[51:14]

Illicit as words in the fundamental problem of philosophy. This is the recent, we have the translation published not long ago, two or three years ago. Fundamental problems of philosophy. We have Absolute negation must be absolute affirmation. Mahayana Buddhism attend to the idea that the wheels are green, the flowers are red, and unquote. Absolute negation must be absolute affirmation. Mahayana Buddhism attend to the idea that the wheels are green, and the flowers are red, and unquote.

[52:31]

Based upon this understanding we may read the last point in the chapter entitled The Thinker as Poet from Poetry, Language, and Thought, Heidegger writes. I usually lay in that book or translate a half-sutta. Some of my friends who use German well enough polish a little, so a little different. First line, tallest plaza. Brooks land, second line. Two lines, that's Heidegger's poem. Cliffs last, cliffs last. Long streams, long, long streams. So this is the first part. Second part. Field rate, W-A-I-T, field rate.

[54:00]

Springs spring, springs spring. Wind derails, wind derails. Abundance acts, abundance acts. Let me recite this famous poem. Tallest plaza. Brooks land, cliffs last, long streams. Second. Field rate. Springs spring. Wind derails. Abundance acts. So yesterday I mentioned my talk. Here is what I write. At 80th birthday celebration for Heidegger in Freiburg, a Japanese scholar, Suji Morai, professor from Kyoto, a disciple of Heidegger, compared his enchantment with this poem to what he had experienced in a rock garden in Ryuanji, Kyoto.

[55:26]

This rock garden, the quality of simplicity, directness and purity. He, Heidegger, is immediate reflection from a poet's mind and it is devotion to quietude that leads to the mind of new mind, which is taiyo. When a poet has achieved the mind of new mind, his subjectivity interferes with objective reality of things. This further intervention between subjectivity and objectivity awakens in a single flash.

[56:31]

The spontaneous outburst of poetic feeling is identified with preontological experience and is manifested in the poet's work. In this sense, then, we see the function of taiyo or prajna. And that taiyo is what leads to the highest attainment of poetry and painting or music. A German poet, Renner Maria Reichel, says of the task of the poet,

[57:42]

We are the bees of the young vegetable. We ceaselessly gather the honey of the vegetable to stir it up in the great golden beehive of the young vegetable. Let me recite once more. We are the bees of the young vegetable. We ceaselessly gather the honey of the vegetable to stir it up in the great golden beehive of the young vegetable. This is page 138. You can check poetry, language, and thought. I hope that this seminar may have served the purpose of gathering the honey in the golden beehive of the young vegetable. Thank you.

[58:59]

Any questions? Heidegger often, in his article you have us read, talks about a work as the battleground of the earth and the world. Does that kind of feeling come out of Oriental art as well? Or is that a Western feeling? The essence of the origin of art, I think, he stressed the conflict of the earth and the world.

[60:25]

Through the conflict of opposites, artists are awakened. So I would apply this to the Madhyamaka, the identity of constant contradiction. So this identity of constant contradiction awakens the artists or poets. So this is the time of absolute movement. In this paper of the origin of art, he involves so many things, but we have to pick up the basic principles. What does Heidegger mean by earth and world?

[61:49]

Pardon me? What does Heidegger mean by earth and world? It is not quite clear in this essay.

[62:08]

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