초의의순 / 草衣意恂 Choui Uisun

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초의의순 / 草衣意恂 Choui Uisun (1786-1866)

Choui 초의 (艸衣; also written 草衣, literally meaning “grass clothes”)
Uisun 意洵 (later he wrote it as 意恂)

(Magyar átírás:) Cshoi Iszun

Seon Master Choui Uisun (1786~1866)
http://eng.templestay.com/board/board.asp?bt=9&idx=133&cid=21
http://www.koreanbuddhism.net/master/priest_view.asp?cat_seq=10&priest_seq=3&page=1

A representative Seon master of the late Joseon dynasty, Seon Master Choui became known as the “Korean Tea Sage” for reviving Korea's traditional tea ceremony. In addition, owing to his remarkable skill in poetry, calligraphy and painting, from the Buddhist perspective he is judged highly as an both an artist and a man of letters, erudite in all aspects of the culture of his age.

Career

The late Joseon era society of Master Choui's age, founded on the world view of Sung Confucianism, had devolved to the squabbling of power politics and the correctives offered by the appearance of "practical knowledge" (silhak) were losing their power. In addition, with the second wave of nationwide suppression against the burgeoning religion of Catholicism having inflamed the public sentiment, the king's power was also in decline, bringing about a state of affairs that could not easily be rectified. Buddhism as well barely survived, lacking any energy for vital reform or self-strengthening, owing to the Joseon dynasty's policy of sungyu eokbul, “revere Confucianism, suppress Buddhism.” It was during such times that one monk showed exceptional skill in both his writing and actions, excelling even among those traditional scholars imbued with the wide-spread bigotry of arrogance and contempt that most held toward monks at that time. This monk was none other Master Choui Uisun.

Master Choui was born April 5, 1786, in Samhyang township, Muan County, Cheonnam Province. At the age of five, he fell into some water and was on the verge of drowning before a monk rescued him, thus forging his intimate connection with Buddhism. At the age of 15, he was tonsured under Master Byeokbong Minseong at Unheung Temple in Nampyoung. At Daeheung Temple in Haenam, he studied the Tripitaka (Buddhist Scriptures) and at 21 he concluded his studies of the monastic curriculum.

In 1801, Dasan Jeong Yagyong, the consummate scholar of the “practical knowledge” (silhak) school of late Joseon and exceptionally erudite author of a compendium exceeding 500 volumes on the fields of chemistry, history, politics, military affairs, economics and others, was exiled to Gangjin in Cheonnam Province, accused of being a leading figure in the Catholic church. Master Choui's life and thought were deeply influenced by Dasan. Through his relationship with Dasan, he learned Confucianism and matured in his prose and poetry, developing a close friendship in the process. Even after his thirties, Master Choui exchanged intellectual discussion and friendship with a wide range of the highest Confucian intellects of his age, men who had participated directly in the cultural and political history of late Joseon. One of his closest friends was Chusa Kim Jeonghui (1786~1856), scion of a prominent traditional Confucian family, and pioneer of the imported Ching culture, based primarily on the fields of epigraphy and textual study. Upon Chusa's banishment to Jeju Island, Master Choui even went so far as to visit him five times to offer him consolation. Coming into his forties, as his own fame began to spread, Master Choui returned Daeheung-sa Monastery in Duryun Mountain, where he built the Ilji-am Hermitage on a valley on the east side of the Monastery. There, he spent roughly forty years writing and practicing samatha/vipassana (jigwan) meditation until on August 2, 1866, at the age of 81, he passed into nirvana.

There are also many other surviving works written by Master Choui, whose time of composition is unknown. These works include the representative critique, the Sunmun Sabyeon Man-eo the Choui Seon-gwa (Choui's Seon Teachings), a gloss on the main points of Hyesim's Seonmun Yeomsong the Jinmuk Josa Yujeokko (A Biography of Master Jinmuk) and others. After the Master's death, a compilation of his prose works, the Ilji-am Munjip (Collected Works from Ilji-am) , came out in 1890, and a two-volume collection of his poetry, called the Choui Shigo (Anthology of Poems by Master Choui), was published in 1906.

Doctrinal Distinction

Master Choui's ideas can largely be separated between his ideas on Seon and his ideas on “the way of tea.” To begin with, we can examine his Seon thought through his Seonmun Sabyeon Man-eo , written as a critique of the Seonmun Sugyeong, a work written by his contemporary, Seon Master Baekpa (1767~1852), addressing practice methods and theories based on the capacities of practitioners. Master Baekpa's argument, based on his estimation of the respective merits of Seon, divides the “three categories of Seon” in a hierarchy of patriarchal Seon (Josa Seon), tath ā gata Seon (Yeorae Seon), and theoretical Seon (Uiri Seon), and classifies patriarchal Seon and tath ā gata Seon as “extraordinary Seon” (Gyeogoe Seon). It is this categorization itself that Master Choui refutes as fundamentally incorrect. He argued his difference of opinion with Master Baekpa, that there should be four categories of Seon—patriarchal Seon and tath ā gata Seon, extraordinary Seon and theoretical Seon. The controversy regarding the different approaches to meditation that began in the late 1700s with Master Choui's critique of Master Baekpa's Seonmun Sugyeong would rage for almost a century.

Though the differences between their fundamental viewpoints were quite distinct, both of them shared a common goal to both sincerely clarify and offer solutions to the problems faced by the Buddhist community. They offered significant contributions in arousing an atmosphere committed to clarifying the core tenets of the sect and rediscovering the “Seon spirit.” Having developed this type of Seon theory, in being neither partial only to Seon meditation or doctrinal study (gyo), Master Choui's practice of samatha/vipassana meditation (jigwan) reveals the distinguishing characteristic of his Seon thought. This fact is expressed in the following passage taken from Sin Heon's Choui Daejongsa Tapbimyeong (Stone Pagoda Engravings about the Lineage Master Choui):

The other day, a monk asked me, “Master, are you solely devoted to the practice of Seon?” to which I replied, “As there in no difference whether I devoted myself only to Seon or to studying the scriptures, why would I insist upon only Seon? For those who devote themselves only to the scriptures, it is very difficult not to forget the principles of the teaching, those who insist upon only practicing Seon, it is difficult to acquire the principles of Seon.”

In this way, Master Choui advocated the practice of jigwan together with a combination of doctrinal study and Seon, more than a devotion solely to the practice of Seon.

We can observe Master Choui's other main line of thought in his view on the way of tea, as expressed in the Dongdasong. As it was cast in the form of a Buddhist song (gesong, or gatha) that praised the tea (da) produced in Korea, which the Chinese referred to as Dongguk (Nation of the East), this work was called the Dongdasong, or Ode to the Tea of the East. With few references to the proper methods for preparing tea or the proper implements used therein, Master Choui reveals his intention to avoid the formalistic complexities of the tea ceremony. His “way of tea” was an ordinary routine of life that involved lighting a fire, boiling some water and then drinking the properly prepared combination of well-steeped water and quality tea. He noted also that the nature of tea was inherently unselfish and impartial to desires, and he said that this nature was something likened to a “pure original source.”

Master Choui stated that it was in this way that tea possessed a sublime and exquisite essence, and if one did not become attached to that essence, one could arrive at a perfectly free state of transcendent perfection (Sanskrit: pāramitā). Accordingly, he stated, “Since you drink of tea's undefiled spirit and energy, the day of great enlightenment can't be far off.'”

In addition, Master Choui said that tea and Seon are not two separate things and that in drinking a cup of tea, one must experience the “meditative bliss of experiencing the joy of the dharma” (beophui seonyeol). Such words reveal the thought in the dictum, “the one exquisite flavor of tea and Seon” (daseon ilmi). Like this, Master Choui's “way of tea” stands as a testament to his image as a sincere truth seeker, enjoying his Seon practice while simultaneously engaged in asceticism. We can say that this Seon master's modern attitude, one that does not separate but rather seeks to connect the world of enlightenment and the world of our daily life, shown to us by a Seon monk, is a Buddhist response to the modern thought that was being led by the Confucian school of silhak. Moreover, it could also be said that his Buddhist practice was a means by which the Buddhism that had previously been cast to the mountains and kept a distance from the mundane world, could creep just a little closer to the masses.

See more at:
http://en.wikipedia.org/wiki/Uisun

PDF: COLLECTED POEMS OF CHOUI (UISUN, 1786–1866) 艸衣詩藁
In: The Collected Works of Korean Buddhism
© 2012 by Compilation Committee of Korean Buddhist Thought, Jogye Order of Korean Buddhism
10. VOLUME 9: 詩選集 SEON POEMS: SELECTED WORKS
http://www.international.ucla.edu/media/files/09_Seon-Poems_web-ac-l3s.pdf > pp. 537-544.

Ch'oŭi Ŭisun : A Liberal Sŏn Master and an Engaged Artist in Late Chŏson Korea
by Young Ho Lee
Fremont, CA: Asian Humanities, 2002. Jain Publishing Company. 2010. 374 pages

Scholars of Choson Korea tend to view Buddhism negatively, or at best ignore it, and at present there is a lack of research on this crucial topic. Through appreciation of the life and thought of Ch'oui Uisun (1786-1866), this study is an attempt to recover and supplement the intellectual history of religious culture in Korea, focusing on late-eighteenth to mid-nineteenth century Buddhism, which is the direct root of modern Korea's traditional spirit.

Ven. Jinwol has given us the most complete study yet to be presented in English regarding the extraordinary Buddhist teacher Ch'oui Uisun. As the Confucian dominated Choson dynasty weakened in the face of European and North American cultural and political expansions, the long suppressed Buddhist tradition of Korea became more visible. It was Ch'oui Uisun who best shows the strength of the religion, even after centuries of repression. Known as the "Master of Tea" he surprisingly conjoined the image of "one taste" of tea with meditation and enlightenment. Through his teachings, poetry, and example, Ch'oui Uisun became an exemplar for a Buddhist monastic in the changing world of the early 19th century that we often refer to as "Modern". Maintaining a firm stance within his understanding of the nature of the world, he lived a life that turned away from dualism and sectarian debate. His reminder of this ability to interconnect with all facets of experience, has been often used as a guiding principle by those who came after him.

Korean Tea Classics
ed./trans. Brother Anthony of Taizé, Hong Keong-Hee, Steven D. Owyoung. Seoul: Seoul Selection. 2010.
Seon (Zen) Monk Cho Ui 초의 (艸衣; also written 草衣, literally meaning “grass clothes”) (1786-1886); he was a disciple of Dasan, and studied tea for 40 years, which slowly culminated for him in a realization of tea and Buddhism. He wrote two tea books: Dasinjeon (Introduction to Tea) 茶神傳 (1830), and Dongdasong (Praise for Eastern Tea) 東茶頌 (1837).
http://chadao.blogspot.hu/2010/01/korean-tea-texts-classical-and-modern-i.html
http://chadao.blogspot.hu/2010/01/korean-tea-texts-classical-and-modern.html
http://chadao.blogspot.hu/2010/02/korean-tea-texts-classical-and-modern.html

The Argument on Seon in Late Joseon Period
From Book "Seon Thought in Korean Buddhism", 1998
Written by Han Ki-tu, Professor, Dept. of Buddhist Studies, Won-gwang University
https://web.archive.org/web/20120726232320/http://buddhism.org/board/read.cgi?board=SeonMasters&nnew=2&y_number=44

A. Preface

Ever since Seon was introduced to Korea, there was a drive to prove the superiority of Seon over Kyo throughout the Korean Buddhist world, especially in the late Goryeo Dynasty.
After the seventh century CE, when Seon had taken root in China and was well established, various disputes arose within the Seon School. These arguments began with the difference of opinion between Master Huineng of Southern Seon and Master Shenxiu of Northern Seon. Then the conflict between the Mahayana Seon claimed by the Northern Order and Seon of the Tathagata (Kor. Yeorae Seon) of the Southern Order became prominent in the Seon world. That is, Master Heze Shenhui claimed that the Seon of the Tathagata is superior to Mahayana Seon, and the former is named so, for it is equal to the Tathagata.
But the newly established Hongzhou Order of Master Mazu's lineage criticized Master Shenhui, calling him a master of mere intellectual understanding, one who searches for meaning and reason. And the Hongzhou Order developed an independent Seon purport, which investigates the Dharma transmitted by Master Bodhidharma This is the Seon of the patriarchs (Kor. Josa Seon), and this Seon was claimed as being superior to and surpassing the Seon of the Tathagata.
This claim is based on the idea that Seon is superior to Kyo. The realization of Seon as being “a direct transmission, outside the texts, not relying on words and letters, direct transmission from mind to mind, seeing into one's nature and attaining Buddhahood” is not achieved through texts but through a transmission from mind to mind. Here, the awakening of the Tathagata is the center in the Seon of the Tathagata, but what is more important is the Seon purport of the patriarchs in the Seon of the patriarchs. This purport of Seon later even influenced academic lecturers who studied Kyo, so that these Kyo scholars who did not have any Seon practice emphasized the superiority of Seon.
In Korea, the main dispute was started by scholarly monks who lived in the southern and southwestern areas of the peninsula of Korea. They published personal records on various theories of Buddhism in 18th century and from this the disputes arose in the Seon families during the reigns of King Jeongjo (r. 1777-1800), King Soonjo (r. 1801-1834), King Heonjong (r. 1835-1849), King Cheoljong (r. 1850-1863) and King Gojong (r. 1864-1907).
The leading roles were taken by Master Baekpa Geungseon (1767-1852), Master Choui Uiseon (1786-1856), lay scholar Chusa (1786-1856), Master Udam Honggi (1822-1881), Master Seoldu Yuhyeong (1822-1881), Master Chugwon Jinha (1861-1926) and lay scholar Jeong Dasan (1762-1836), each one participating more or less directly. Beginning with Master Baekpa's Hand Glass of Seon Literature (Kor. Seonmun-sugyong), the monks took up and started arguing about Seon. Let us investigate the main point of their argument.

B. The Beginning: Master Baekpa Geungseon's Hand Glass of Seon Literature

Master Baekpa wrote Hand Glass of Seon Literature in order to lay out a standard by which to discriminate the relative superiority of the various forms of Seon. The book considers three phrases of Master Linji's teaching as the standard, depending foe its source mainly on Records of Linji. In addition there are other references such as Master Chiso's Insight of Man and Heaven (Kor. Incheon-anmok), Master Hwanseong Jian's Essentials of Five Orders of Seon (Kor. Seonmun-ojong-kangyo), Master Cheonchaek's Precious Storehouse of Seon (Kor. Seonmun-bojang-nok), and Essentials of Seon (Kor. Seonmun-kangyo).
Before we examine whether the Seon thesis revealed in Hand Glass of Seon is a correct way of looking at things or not, it is important to first understand the general idea of the book.
The book reveals that all Seon can be originally discriminated into three kinds, that is, Seon of the patriarchs, Seon of the Tathagata, and Seon of meaning and reason (Kor. Uiri Seon), a theory derived from the Seon teachings of the three phrases of Linji. Master Baekpa evaluates and analyses the phrases, coming to the conclusion that the first phrase is the Seon of the patriarchs, the second phrase is the Seon of the Tathagata, and the third is the Seon of meaning and reason.

1) The “Three Phrases of Master Linji” is the Standard of Seon

Master Baekpa goes on to argue that this correct view of the three phrases solves all problems of searching for standards of Seon. The first phrase is the phrase before host and guest are divided and it is achieved when a practitioner has insight into the true void and sublime existence. Such a practitioner has a high faculty, and becomes a master of Buddhas and patriarchs, when attaining the first phrase. It is a stage of Seon of the patriarchs.
The second phrase is such in which confrontation is ceased and which removes any clue of argument. It is to reach the "three mysterious gates" of Linji, and they are the mystery in the word, the mystery in the function, and the mystery in the mystery. The first signifies the essence of language, the second the final use of language, the third the place where no language is to be found. The third phrase started from theory, but there is no language found in the end, hence the final mystery is analyzed by Master Baekpa to be that of the true stage.
The background of the true stage of the mystery is a place of truth where there is no foolishness. The three mysteries show that the way of Son starts from language and reaches the stage which cannot be expressed by language.
The third phrase is bound by form and conception. It signifies dealing with expedient means. To borrow the expression of Records of Linji, it is “giving speech to arahats when they meet arahats, and to hungry ghosts when they meet hungry ghosts.” This describes the stage of teaching sentient beings in endless ways, and finding that these beings firmly believe the ways that they are being taught in.
The third phrase corresponds to the Buddhist logic of "being, non-being, and in between." This stage is the Seon of meaning and reason.

2) Master Baekpa's Interpretation

Having delineated the three phrases and accepted them as the standard, Master Baekpa classifies Seon traditions. One of the characteristics of the Seon tradition is the system of transmission which the Buddha used with Mahakasyapa. This method is the mind-to-mind transmission at three different locations and it is this that is the theory of Extraordinary Seon.
But Master Baekpa thinks that the description of Extraordinary Seon consists of elements from the Seon of the Tathagata and the Seon of the patriarchs.
According to Master Baekpa, the first phrase corresponds to Vulture's Peak, where the Buddha held up a flower and Mahakasyapa smiled, and it is the principle reason of Seon of the patriarchs. The second phrase falls under Stupa of Many Sons, where the Buddha sat with Mahakasyapa, and it is the principle of Seon of the Tathagata The last phrase corresponds to the Sala Tree Grove at Kusinara, where Mahakasyapa saw the Buddha's feet, and it is the stage of both Seon of the patriarchs and Seon of the Tathagata.
This idea caused many arguments. But it was not only Master Baekpa who began the idea.

(1) New Influence and Original Duty
"New influence" means "practice newly." It signifies ignorant new practice depending on the expedient means of the Buddha, for the practitioner's faculty is low. Accordingly, practice only by new influence produces results which are bounded by "corrupt practice," that is, practice which is the result of the dirt of habit.
"Original duty" signifies finding out how to be a Buddha through reflection, without separate cultivation, and to develop the true aspect of original duty. Therefore, one is bounded by the practice of dirty habit if there is only new influence, but can possibly reach the original stage of Seon if one finds out one's original duty by reflection. It is a state of abiding in original duty, and it is regarded by Master Baekpa as being included in the Seon of the Tathagata
Master Baekpa explains that when one reaches the stage of firm progress of one's original duty, then it is possible to reach the Seon of the patriarchs. That is, when new influence exists along with the vitality of original duty to overcome old habits, this is the Seon of the Tathagata In addition, to achieve the key point in one's Nature is Seon of the patriarchs. The Seon of meaning and reason is a state of only new influence without finding one's original duty.

(2) Live Sword and Dead Sword
The expressions "live" and "dead" are one of the important family treasures of the Seon family. These expressions come from a Seon phrase accepted as one of the Linji tradition which is revealed in The Blue Cliff Records (Kor. Pyogam-nok). "Dead sword" signifies the cutting of all defilements and erroneous thoughts with one sword and making all equal, and the "live sword" is to save all people with a sword that is kept in its scabbard.
Master Baekpa revealed that the "dead sword' signifies the Seon of the Tathagata, and the "live sword" Seon of the patriarchs. And "to use both dead and live" is a stage of both the Seon of the Tathagata and the Seon of the patriarchs. He further stated that this view has continued right from the time of the Buddha up to the time of the Sixth Patriarch Master Huineng.
Master Baekpa also pointed out that Master Huineng transmitted the Seon of the patriarchs of the "live sword" to his disciple Master Nanyue Huairang, and the Seon of the Tathagata of the "dead sword" to Master Qingyuan Xingsi.

(3) Analysis of a Stanza of Diamond Sutra
Master Baekpa analyzes a stanza of four lines of Diamond Sutra as follows:

Those who by my form did see me,
And those who followed me by voice
Wrong the efforts they engaged in,
Me those people will not see.

"Those who by my form did see me corresponds to mystery in the function" of the three phrases of Seon of the Tathagata, and the phrase of "being" in the Seon of meaning and reason. "And those who followed me by voice" corresponds to "mystery in the essence" and the in between phrase. 3" Wrong the efforts they engaged in" corresponds to "mystery in the mystery" and the phase of non-being. Last Me those people will not see" corresponds to the Seon of the Tathagata.

(4) The Analysis of the Four Vows
The Four Vows are the fountainhead of Mahayana Buddhism. The Four Vows are as follows:

I vow to save all beings.
I vow to end all sufferings.
I vow to learn all Dharma teachings.
I vow to attain Enlightenment.

Master Huineng has advised us to discover the Four Vows in our Self Nature. To that Master Baekpa gives the following analysis.
“I vow to save all beings” teaches us not to ponder the three poisons of our own mind. For this, Master Baekpa's quotes the teaching of Master Huineng, "Do not think of good or evil."
"I vow to end all sufferings" teaches us to cut off defilements by not, thinking of good.
"I vow to learn all Dharma teachings” teaches us that to vow to attain awakening is the greatest vow of learning.
"I vow to attain Enlightenment" teaches us to vow to attain Buddhahood. The way to vow is completed only when one from the stage of the true void reaches sublime existence.

(5) The Division of the Five Orders of Seon into Three Kinds of Seon
Insight of Man and Heaven and Essentials to Five Orders of Seon are books which generally focused on revealing the family traditions of the Five Orders. However, many Seon families criticized this attitude. In order to see this problem clearly, the family traditions of identification of the main traditions of general Seon need to be considered objectively. Especially Korean Seon students regarded this understanding of the Seon traditions of the Five Orders of Seon as one process in and a part of Seon study.
Master Baekpa used the division of the three categories of Seon in order to discriminate their relative superiority. This certainly caused a problem to the Buddhist world of the time and to later generations as well. Also Master Baekpa's evaluation of other orders was totally based on his understanding of the attitude taught in Linji Seon, so it was not objective.
The Five Orders are Fayan Order (Kor. Beoban), Weiyang Order (Kor. Wiang), Caodong Order (Kor. Jodong), Yunmen Order (Kor. Unmun), and Linji Order (Kor. Imje). The first three are of the lineage of Master Qingyuan Xingsi, and they are considered to belong to the Seon of the Tathagata. The last two are of the lineage of Master Nanyue Huairang, and they are classified as belonging to the Seon of the patriarchs. The Five Orders, according to Master Baekpa have different family tradition as follows:

1) Fayan Order reveals "Mind Only."
2) Weiyang Order reveals "essence and function."
3) Caodong Order reveals the way of elevation.
4) Yunmen Order reveals cutting.
5) Linji Order reveals the crux and function.

What is notable here is that the Heze Order (Kor. Hataek) or Southern Order of Master Heze Shenhui is omitted Master Baekpa thought that this order belongs to the Seon of meaning and reason, which is centered around mere logic. This order does not seek original duty but merely depends on new influence.

(6) The Core Point of Hand Glass of Seon Literature
To summarize the content of Hand Glass of Seon Literature, the book explains the three kinds of Seon on the basis of three phrases of Linji. Both Seon of the patriarchs and Seon of the Tathagata are regarded as the principle of Extraordinary Seon, but the Seon of meaning and reason falls under the limitation of logic. Accordingly, Seon of meaning and reason is nothing but a theory of expedients through study. Hence it is nothing but a view of Seon, which is not different from Kyo study.

C. The First Refutation of Hand Glass of Seon Literature:
Master Choui Uisun's Four Defenses and Random Words

When Master Baekpa's Hand Glass of Seon was introduced to the Buddhist world, Master Choui Uisun of Taedun-sa Monastery first criticized Master Baekpa in his Four Defenses and Random Words (Kor. Sabyeon-maneo).
In this book, Master Choui pointed out Master Baekpa's fault of merely judging the superiority of the various types of Son according to language, saying, "Old masters said that Seon is Buddha Mind So when one achieves the mind, both teachings of masters and all worldly noises are the purport of Seon, and if one loses one's mind, then both 'The Buddha held up a flower and Mahakasyapa smiled' and 'a direct transmission outside the texts' of Seon are merely traces of Kyo."

(1) The Real Meaning of the “Three Phrases of Master Linji”
Master Baekpa reveals that the ranks of all of Son are, through the three phrases of Linji, divided into three different types of Son. And he provides, for the first phrase, the Son of the patriarchs, for the second phrase the Son of the Tathagata, and for the third phrase the Son of meaning and reason, and he proposes an argument on Son to substantiate his claim.
In answer to this, Master Ch'oui interprets the meaning of the three phrases from fundamentally different viewpoints. Unlike Master Baekpa who understood the three phrases separately, Master Ch'oui regarded the third phrase as a phrase in which the first and the second phrases join together. Hence, according to Master Ch'oui, the third phrase is valuable, and should not be regarded as a mere dead phrase which can be thrown away.

(2) The Origin of Seon of the Patriarchs and Seon of the Tathagata
From where do the Seon of the patriarchs and Seon of the Tathagata originate? Master Baekpa finds the origin in a discussion between Master Yangshan Huiji and Master Xiangyan Zhixian, the disciples of Master Weishan Lingyou who is the fifth generation of Master Nanyue Huairang. Master Yangshan divided Seon of the patriarchs and Seon of the Tathagata and he valued the former highly.
But according to Master Choui, there is really no way to distinguish between the two. Unlike Master Baekpa's position, Master Choui does not consider the two in a relationship of superiority and inferiority.

(3) The Origin of Extraordinary Seon and Seon of Meaning and Reason
Master Choui points out that Master Baekpa commits an error of changing the traditional purport of Seon on his own authority without any proper reason. Master Choui indicates that Seon of the patriarchs is Extraordinary Seon, and Seon of the Tathagata is Seon of meaning and reason. Hence one can traditionally divide Seon into Extraordinary Seon and Seon of meaning and reason, and into Seon of the patriarchs and Seon of the Tathagata. This idea was already asserted by Master Hoam and Yeondam earlier to Master Choui.
Thereby, according to Master Choui, it is false to divide Seon into Seon of the patriarchs, Seon of the Tathagata, and Seon of meaning and reason, because the last two Seon fundamentally agree with each other. He claimed that one should not make the mistake of regarding the Seon of meaning and reason as inferior to Seon of the Tathagata,

D. The Second Refutation of Hand Glass of Seon Literature:
Master Udam Honggi's Records of Right Awakening of Seon Family
Master Udam Honggi was the 10th generation after Master Buhyu, and the Dharma grandson of Master Baekpa because Master Udam was taught by Master Hanseong Pungmyeong, the disciple of Master Baekpa But Master Udam realized that Master Baekpa's position was wrong and wrote Records of Right Awakening of Seon Family (Kor. Seonmun-jeungjeong-nok).

(1) About the Titles of Seon
Master Udam agreed with Master Baekpa's opinion and both of them regarded the first and second phrases of Linji as Seon of the patriarchs and Seon of the Tathagata, respectively. But he, like Master Choui, claimed that Seon of the patriarchs and Seon of the Tathagata should be regarded as the reasoning of Extraordinary Seon and of Seon of meaning and reason, respectively.

(2) The Metaphor of Son: Live Sword and Dead Sword
Live and dead swords are one of basic traditional metaphors used in Seon. To kill with the sword means to kill the thief of ignorance, and to make alive in order to represent the Buddha of Dharma-body. But Master Udam pointed out that Master Baekpa applied "dead" and "live" to the Seon of the Tathagata and Seon of the patriarchs respectively and in this way he made the direction of the Seon tradition unclear.
Master Udam found these expressions used as standard descriptions in the records of Master Shitou and Master Mazu. In Records of Shitou, it is written that "It is not achieved by doing this or by not doing this. Hence it is a dead sword." And in Records of Mazu, it is written, "It is achieved by doing this and by not doing this. Hence it is a live sword."
Hence Master Udam thinks that if the phrase of Master Shitou "It is not achieved by doing this" belongs to the third phrase, then the phrase "or by not doing this" belongs to the first phrase. Therefore, the first phrase contains the dead sword. And in the case of Master Mazu, "It is achieved by doing this" belongs to the third phrase and "and by not doing this" belongs to the first phrase. Hence both the first and the third phrases are "live sword" and they can coexist.
Master Udam finally concludes that both dead and live phrases belong to the first phrase of Linji, and it was wrong of Master Baekpa to distinguish certain aspects as belonging to the Seon of the Tathagata or to the Seon of the patriarchs.

(3) The Beautiful Coloring of Seon
In the Diamond Sutra, it is revealed that "there is no fixed Dharma which is 'the utmost, right and perfect enlightenment.'" Therefore, Master Udam thinks that the teachings of the Buddha and the patriarchs are not bound by anything, and it is the beautiful coloring of the Buddha and patriarchs, that they are free.
Master Udam considers that the coloring of the Buddha and patriarchs are divided into three; the substance, the function, and in between. And the original names for the three phrases of Linji consist of the substance, the function and in between. The meanings of these three essentials are arranged by meaning and reason which, because they are difficult to be revealed by mere words, are seen as three mysteries.
Meaning and reason vary according to the level of faculties of the people involved To people of high faculty, meaning and reason are revealed as essentials and called the first phrase of Linji. The second phrase of Linji reveals three mysteries as well as reflection on the first phrase. But the reflection (the second phrase) and the body (the first phrase) for Master Udam are interconnected, and both of them are finally one.

E. The Defense of Hand Glass of Seon Literature:
Master Seoldu Yuhyong's Origin of Son and the Course

Master Seoldu Yuhyong is the fourth generation after Master Baekpa. Master Seoldu claimed that the Seon views of Four Defenses and Random Words and Records of Right Awakening of the Seon Family are all wrong when one looks at the origin of Seon, and that a practitioner will finally come back to Master Baekpa's position. Accordingly, Master Seoldu wrote Origin of Seon and the Course (Kor. Seonwon-soyu) with the aim of searching for the origin of Seon. As he reveals in the preface, he claims that one should search for the origin of Seon and return to the spirit. And when the origin is revealed, it will be seen that the origin is not the position of Master Choui, but the three kinds of Seon claimed by Master Baekpa.

1) The Three Kinds of Seon

Master Seoldu claims that it should be noted that there are two aspects to Seon: the "purport of Seon" and the "explanation of Seon." The purport of Seon signifies the realization of the Buddha Mind through Seon. As Master Seosan expounded in Mirror of Seon, "If one gets lost in speech, even 'holding up a flower and smiling' is all just the reactions of Kyo." It shows the “explanation of Seon.” But “On the other hand, if one realizes it within one's own Mind, then all of the crass words and refined talk of the world become the Seon teaching of ‘a direct transmission outside the texts.’” This is the purport of Seon.
The above quotations of Master Seosan were also already used by Master Choui when he refuted Master Baekpa. But quoting the same content, Master Seoldu puts a different commentary to it, that one should not, in fact, cast aside the “explanation of Seon” at random. Because we are able to understand the writings with the help of the "explanation of Seon" and we have an opportunity to clearly understand through these writings. This claim is meaningful in the sense that Master Seoldu developed the idea of Master Baekpa further.
Anyway, what is regarded as the most important of the "explanation of Seon" for Master Seoldu is the three kinds of Seon; Seon of the Tathagata, Seon of the patriarchs, and Seon of meaning and reason. Master Seoldu defends Master Baekpa's division of Seon into the three, saying that it is inevitable and the normal course of action to divide Seon and use it to explain and measure the faculties of sentient beings.
According to Master Seoldu, the logic that Seon of meaning and reason is not Extraordinary Seon is only right, hence it is also right that the Seon of meaning and reason is not regarded as equal to the Seon of the Tathagata or the Seon of the patriarchs. In this sense, it is right to divide Seon into these three kinds.

2) The Theory of “Transmission of the Mind in Three Places”

Master Baekpa interpreted the theory of transmission of the mind at three places as follows.

1) The First Place: The Buddha was giving a Dharma talk to the masses in the heaven and in the world at the Stupa of Many Sons when Mahakasyapa appeared. Then the Buddha sat with Mahakasyapa. This sitting is expressed as dead sword, for it is a place where no trace of Dharma is found.

2) The Second Place: The Buddha was giving a Dharma talk at Vultures' Peak, when the rain of many flowers fell from the sky. The Buddha held up a flower and only Mahakasyapa smiled. It is the principle of live sword, for the holding up of a flower is the Buddha's live Dharma speech to Mahakasyapa.

3) The Third Place: The Buddha was in Final Nirvana at the Sala Tree Grove at Kusinara, when Mahakasyapa arrived seven days after the Buddha's passing away. Mahakasyapa tapped the coffin three times and the Buddha stuck out his two feet and Mahakasyapa vowed three times. It is Seon purport which shows the Buddha's bestowing of both live and dead forms.

Master Seoldu explains that generations of patriarchs who received transmission of the mind at the three places did not distinguish between the “dead” or “live” sword. But it is after the Sixth Patriarch Huineng that the swords were divided and transmitted separately, for the faculties became varied. Hence the transmission was divided into “dead,” “live,” and "in between."

F. The Last Refutation of Hand Glass of Seon Literature:
Master Chugwon Jinha's Records of Reawakening of Seon Family

Master Chugwon Jinha was the last one who joined the argument over Seon. He learned the texts from masters Baekpa and Seoldu, but he developed his own logic of Seon, in which he criticizes the two masters in his Records of Reawakening of Seon Family (Kor. Seonmun-chaejeung-nok). He believed that the Seon thought of masters Choui and Udam was correct and that their arguments were right.
The master lived at a time in which national prestige was at a very low level because of annexation of the country to Japan. To Master Chugwon, the issue of the Seon argument could fall into the category of a leisurely discourse which was not right for the time. Hence it seems that he tried to reveal the problem of this argument on Seon in the sense of adjusting and arranging it rather than adding to and criticizing the problem. His position was simply to reveal the Seon position of masters Choui and Udam again as a form of conclusion.

1) The Problem of the Three Phrases and the Three Seon

Traditionally, masters have been used to the words of the Seon of the Tathagata and Seon of the patriarchs on the one hand, and Seon of meaning and reason and Extraordinary Seon on the other. But it is only Master Baekpa who put the first two Seon together and regarded them as Extraordinary Seon, looking down on the Seon of meaning and reason. Besides, Master Baekpa gave the wrong explanation about the three phrases of Linji because he arranged them wrongly and it seems wrong to contend for the superiority or the inferiority of the three Seon.
Master Chugwon pointed out that the titles Seon of the patriarchs and Seon of the Tathagata themselves are not correct. The very concept of Seon of the Tathagata being the teacher of humans and those in the heaven, and Seon of the patriarchs being for the Buddhas and the patriarchs seems wrong.
Master Chugwon emphasized that the superiority of Seon cannot be distinguished by revealing it, whether it is Seon of the patriarchs or Seon of the Tathagata, and Extraordinary Seon or Seon of meaning and reason. There must only be a difference whether the Seon is in a live phrase or in a dead phrase, and one cannot differentiate Seon of the patriarchs and Seon of the Tathagata.

2) The Problem of Seon of Meaning and Reason

In Seon, the expression "direct transmission outside the texts" is often used. Master Chugwon thought that Master Baekpa regarded “outside the texts” the same as the "extraordinary" of "Extraordinary Seon." But Master Chugwon considered Master Seoldu's "outside the texts and "extraordinary" the same from one point of view and different from another. According to Master Chugwon, Master Seoldu considered both Seon of the patriarchs and Seon of the Tathagata to be “outside the texts” and “extraordinary.”
Here, Master Chugwon thought that though the Seon of meaning and reason are not "extraordinary," it should be regarded as “outside the texts.” The Seon of meaning and reason is, in the strictest sense, “a direct transmission outside the texts.”
What matters here is whether Seon is free from every trace of Kyo or not. When the road to reason is cut off, there opens a road to the "extraordinary." Hence the way left for the Seon of meaning and reason is to cut the meaning and reason.

3) The Problem of "Live and Dead"

“Dead sword” and, “live sword” mean “sitting with Mahakasyapa” and “holding up a flower” respectively. Masters Baekpa and Seoldu explained that “sitting with Mahakasyapa” signifies the Seon of the Tathagata, and "holding up a flower" signifies the Seon of the patriarchs. Master Chugwon, here criticizes that "dead" and “live” should be in the same family, and they must not be separated from each other.

G. Conclusion

1) The Starting Point of the Seon Argument

The argument on Seon in the late Joseon Dynasty was started by Master Baekpa Geungseon of Seonun-sa Monastery. Master Baekpa's idea of dividing Seon into three kinds created a dispute in the Korean Buddhist world which lasted through the 18th and 19th centuries. This argument can be criticized because it stirred up a problem of a pointless argument which was nothing but a desk theory. But it is certainly significant in the sense that the argument made the issue of searching for our Original Nature to be the Seon logic of the general Buddhist world.
Therefore, it is right to value the argument as a process of stretching for Korean Buddhist thinking before its modernization. The material on the basis of which the argument was begun was The Essence and the Songs of Seon (Kor. Seonmun-yeomsong) written in 1226 by Goryeo National Teacher Jingak Hyeshim. This book includes 1,125 hwadus and it is they that became the basis for reaching the way to awakening. On the basis of this book, there were various movements according to the different periods of time to search for simpler, better and newer methods for practicing the way.
The time of Master Baekpa was not exceptional. Master Baekpa wished to discriminate and show the superiority of Seon in order to reveal its true stages. To this end he wrote Hand Glass of Seon literature to arrange the basic texts of Seon which were most often used by students. The texts are: Master Chiso's Insight of Man and Heaven, Master Hwanseong Jian's Essentials of Five Orders of Seon, Master Cheonchaek's Precious Storehouse of Seon, and Essentials of of Seon.

2) The Application of Seon of the Patriarchs and Seon of the Tathagata

Master Baekpa established three ways of reaching the final stage of Seon of the patriarchs. He identified three kinds of faculties, that is, high, middle, and low faculties with the first, second, and third phrases of Linji respectively. In addition he regarded the characteristics of these three phrases to be expressed as Seon of the patriarchs, Seon of the Tathagata, and Seon of meaning and reason.
What is very particular here is that Master Baekpa put Seon of the patriarchs in a higher place than Seon of the Tathagata. But this position caused a fundamental problem in that everyone wondered how the Tathagata, that is, Sakyamuni Buddha, can be considered inferior to the patriarchs.
This position that Seon of the patriarchs is superior to Seon of the Tathagata has several meanings in Seon. Firstly, Seon sees that which has been transmitted by the patriarchs as superior to the stage which the Tathagata attained Secondly, the stages of true void and sublime existence should be realized together in Seon, and the former is the stage of Seon of the Tathagata, and the latter is of Seon of the patriarchs. Thirdly, the principles of the Seon of the patriarchs and of the Seon of the Tathagata are divided and explained separately in texts. Fourthly, the Flower Garland study also distinguishes the Seon of the patriarchs from the Seon of the Tathagata.

3) The Problem of Seon Argument of Master Baekpa's Lineage

Master Baekpa gave the explanation that Linji and Yunmen orders belong to the Seon of the patriarchs, and that Caodong, Weiyang, and Fayan orders belong to the Seon of the Tathagata, and Heze Order to Seon of meaning and reason. But these distinctions were very troublesome. Each of the Seon orders had its own family tradition, and it is not right to try to evaluate the superiority or inferiority of the different orders. Hence it is natural that Master Baekpa's idea was severely criticized.
In this sense, lay scholar Chusa Kim Jeong-hui criticized Master Baekpa saying that “The truth of Seon is like a light new dress without stitching, just like a heavenly dress. But the dress is patched and repatched by the inventiveness of humans, and so becomes a worn-out piece of clothing.” Chusa thought that one can only reveal the traditions of the Seon orders, but to discriminate between their relative superiority and inferiority is like fighting for food which has been begged for by a beggar. To discriminate between the Five Orders of Seon is to destroy the real meaning of Seon.

4) The Problem of Seon Argument of Master Choui's Lineage
As Master Baekpa made a mistake, masters Choui and Udam also committed an error. They claimed that Seon should be divided into Seon of the patriarchs and Seon of the Tathagata on the one hand, and into Extraordinary Seon and Seon of meaning and reason on the other. Then, it should be accepted by the masters that the Seon of meaning and reason and Seon of the Tathagata of the three phrases of Linji are the same. But they thought that the third phrase contains both Seon of the patriarchs and Seon of the Tathagata, and then it is not clear whether Seon of the Tathagata and Seon of meaning and reason fundamentally agree or not. If the source of Seon is nothing but the overcoming of opponents, then it only creates a misunderstanding of the true quality of Seon.
In this sense, any of the positions of Master Baekpa or those of Master Choui are not something for us to agree with. But in the process of searching for solutions to the problems created by this argument, we can develop an important and significant way to realizing the essence of Seon. Hence, the masters were pioneers who cultivated the way to understanding the purport of Seon. It was a new development in a new direction of Seon on a new stage through a new way of practice, just when the Korean nation faced a period of extreme hardship, and it is for this reason that the argument was so important in the Korean Buddhist world.