John Tarrant introduces the Queensland Magpie singing fire sirens and walks us through the ancient forests he knew as a child. How do we live the life we live in the face of this vast change? What is this?
John shares his interest in investigations onto reality – inquiry koans, koan types. The Watou of zen stories and more recorded at winter Sesshin January 2020.
John Tarrant Roshi presents on the opening night of Bare Bones Winter Sesshin 2011. The koan is “Little Jade.” A woman calls to her servant girl, “Little Jade,” not because she wants something, but just so her lover can hear her voice.
I want to describe the process that I went through over the last year, of making the painting, and I want to do that in the spirit of when something
arises, don’t believe it, and shine your light on it. So in a year, a lot of things can arise not to believe, and they did. But even, if you’re in the meditation hall, five minutes is
probably long enough for plenty to arrive not to believe in.
I think this is a time when things are kind of changing and incredibly uncertain, and that fidelity to what’s really true to us is important and valuable. And we don’t have to pretend that when difficulties are here, they’re not here. But also, we don’t have to pretend that they cancel the illumination, because nothing does, really. Even if we’re dying, the brightness of life is still there. And after we’re dead, we’ll worry about that later, [laughs] when the time comes in the bardos.
Transcript: So. The storehouse of treasures opens by itself. You can take them and use them any way you wish. And there’s a certain kind of, I don’t know, as if we get ashamed for existing, ashamed for being ourselves, ashamed for feeling what we feel, ashamed for thinking what we think, and a lot of what meditation does is it allows us to look, well is that really right, is that what I want.
The Heart Sutra in the context of its relationship to koans and what koans are. I want to pursue that line a little bit. And the first thing to say about – probably the first attitude people have to koans is that they are a sort of tool, a gadget of some kind, and you use them and you concentrate on them, and you use them – a can opener for the mind
Two swords are crossed (like in the movies, which actually I don’t think happens in real life, but it’s very popular in the movies. It was popular in the movies like 1200 years ago.) Two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher. Farther, higher, up , further, more. So two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher.
So we’ve been talking about old poems that are also a map of the path, but they’re a map of the kind where you have to see what rises in your meditation to meet them to find out how useful they are to you. Today we’re on the fifth of the ranks, the fifth poem. Five ranks by an old Zen teacher, and this is the final one, so you now know conclusively that there are only five stages to the path. And it goes:
Art Sensei Allison Atwill presents on the koan “Ch’ien is separated from her soul” at the Winter 2011 Bare Bones Sesshin. Allison describes her creative process and how the koan becomes a work of art. January 19, 2011.