ZEN MESTEREK ZEN MASTERS
« Zen főoldal
« vissza a Terebess Online nyitólapjára
誠拙周樗 Seisetsu Shūcho (1746–1820)
伊予国下灘村（現愛媛県宇和島市津島）に生まれ、 7 歳にして宇和島仏海寺霊印和尚につき得度。長じて豊後福聚寺東巌和尚、続いて伊予竜山荊林和尚に参じて 18 歳にして省悟あり。
さらに武蔵国永田の東輝庵（現宝林寺）に月船禅慧に参じて嗣法。円覚寺に移錫して正伝庵、仏日庵の塔主を経て天明元年（ 1781 ）円覚寺僧堂前版職（師家）に任ぜられる。時に 37 歳。
天明 5 年（ 1785 ）に円覚寺正続院に前版寮を新築して一撃斎と号し、また開山仏光国師五百年遠諱を営む。 寛政九年（ 1797 ）秋に紀伊由良興国寺に法灯国師五百年遠諱を修し、文化 3 年（ 1806 ）春には武蔵山田広園寺開山俊翁令山禅師四百年遠諱に『無門関』を提唱し、同寺を開単す。同五年に前版寮を法嗣清蔭音竺に委ねて山内伝宗庵に移り、また相模金井の玉泉寺に隠居したものの、文化 6 年（ 1809 ）には上京して相国寺に開基足利義満四百年遠諱に前版職として『夢窓録』を提唱、さらに同 10 年には招かれて天龍寺に『碧巌録』を提唱。同 12 年に円覚寺に再住開堂の式を行い住山、ときに 71 歳であった。
文政 3 年（ 1820 ）には相国寺から新僧堂前版職の拝請を受けて上京、僧堂開単慶讃仏事を行い『碧巌録』を提唱したが体調すぐれず、 6 月 19 日に遺偈を書して同 28 日に相国寺玉竜庵に示寂。世寿 76 歳。 相国寺心華院と円覚寺正伝庵、相州玉泉寺に分塔す。法嗣に志山、清蔭、淡海、泊船、龍門、拙庵等。著作は『忘路集』『誠拙語録』『虚行実記』『正法眼』等。
大正 8 年（ 1919 ）の一百年遠諱に大用国師の諡号を賜った。
「その道力においても、見識においても、社会的活動の幅広さにおいても、白隠系を代表した隠山・卓洲等の英豪に伍して遜色なかったばかりか、溌剌たる禅機においては彼らを凌ぐものがあった。」とは、 150 年遠諱に寄せた別峰朝比奈宗源老大師の辞である。
http://www.engakuji.or.jp/onki.html
Engaku-ji (円覚寺) temple
During the Edo period there was a time of decline, but the master Seisetsu Shūcho 誠拙周樗 (1745–1820) restored the temple's important buildings and revived its Zen training, laying the foundations of Engaku-ji as it is today. He was the Dharma brother of 仙厓義梵 Sengai Gibon (1750-1837) under Rinzai zen master
月船禅慧
Gessen Zen'e (1702-1781).
http://zen.rinnou.net/head_temples/06engaku.html
D.T. SUZUKI from "Zen and Japanese Culture", pp. 309-310.
The Buddhist stanza generally found affixed at the end of a
Mahayana sutra reads:
All composite things are impermament, They belong in the
realm of birth and death; When birth and death is
transcended, Absolute tranquility is realized and blessed
are we.
Tranquility, therefore, in the art of tea is a spiritual
quality transcending birth and death, and not a mere
physical or psychological one. This must carefully be kept
in mind when the tea is spoken of as a step toward devoting
one's life to a higher level from which one is to view our
ordinary world and to live in it as if not in it. The
following is the view on the tea held by Seisetsu
(1746-1820), a Japanese Zen master of the late Tokugawa
era:
"My Tea is No-tea, which not No-tea in opposition to Tea.
What then is this No-tea? When a man enters into the
exquisite realm of No-tea he will realize that No-tea is no
other than the Great Way (ta-tao) itself. In this Way there
are no fortifications built against birth and death,
ignorance and enlightenment, right and wrong, assertion and
negation. To attain a state of no-fortification is the way
is the way of No-tea. So with things of beauty, nothing can
be more beautiful than the virtue of No-tea. Here is a
story: A monk came to Joshu, who asked, 'Have you ever been
here?' 'No, Master,' was the answer. Joshu said, 'Have a
cup of tea.' Another monk called, and the master again
asked, 'Have you ever been here?' 'Yes, Master' was the
answer. The master said, 'Have a cup of tea.' The same 'cup
of tea' is offered to either monk regardless of his former
visit to Joshu. How is this? When the meaning of such a
story as this is understood to its depths, one enters into
the inner sanctuary of Joshu and will appreciate the
bitterness of tea tempered with the salt of sweetness,
Well, I hear a bell ringing somewhere."
As long as there is an event designated as 'Tea' this will
obscure our vision and hinder it from penetrating into
'Tea' as it in itself. When a man is all the time conscious
of of performing the art called tea serving, the very fact
of being conscious constrains every movement of his, ending
in his artificially constructing a 'fortification.' He
always feels himself standing against this formidable thing
which starts up a world of opposites, right and wrong,
birth and death, Tea and No-tea, ad infinitum. When the
teaman is caught in these dualistic meshes, he deviates
from the Great way, and tranquility is forever lost. For
the art of tea is of the Great way; it is the Great Way
itself.
Jittoku Pointing at the Moon (Jittoku shigetsu),
ink on paper, hanging scroll, 100cm × 27cm
by Seisetsu Shûcho, 1746-1820 誠拙周樗
達磨画彩色 Daruma, 39cm × 98cm
Hotei, 28cm × 107cm
