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中峰明本 Zhongfeng Mingben (1263-1323)
(Rōmaji:) Chūhō Myōhon
中峰明本书法(柳叶体) Zhongfeng Mingben's Calligraphy
Mingben's stūpa on Mount Tianmu
PDF: Illusory Abiding: The Cultural Construction of the Chan Monk Zhongfeng Mingben
by Natasha Heller
A groundbreaking monograph on Yuan dynasty Buddhism, Illusory Abiding offers a cultural history of Buddhism through a case study of the eminent Chan master Zhongfeng Mingben. Natasha Heller demonstrates that Mingben, and other monks of his stature, developed a range of cultural competencies through which they navigated social and intellectual relationships. They mastered repertoires internal to their tradition—for example, guidelines for monastic life—as well as those that allowed them to interact with broader elite audiences, such as the ability to compose verses on plum blossoms. These cultural exchanges took place within local, religious, and social networks—and at the same time, they comprised some of the very forces that formed these networks in the first place. This monograph contributes to a more robust account of Chinese Buddhism in late imperial China, and demonstrates the importance of situating monks as actors within broader sociocultural fields of practice and exchange.
Harvard East Asian Monograph Series, 2014
Glossary-Index: http://publications.asiacenter.harvard.edu/files/asia_center_publications_program/files/heller_index.pdf
Zhongfeng Mingben and the Case of the Disappearing Laywomen
by Natasha Heller
Chung-Hwa Buddhist Journal (2013, 26: 67-88)
PDF: "The Chan Master as Illusionist: Zhongfeng Mingben's Huanzhu Jiaxun"
by Natasha Heller
Harvard Journal of Asiatic Studies, Volume 69, Number 2, December 2009
http://www.academia.edu/2851616/The_Chan_Master_as_Illusionist_Zhongfeng_Mingbens_Huanzhu_Jiaxun
http://muse.jhu.edu/journals/jas/summary/v069/69.2.heller.html
To examine the metaphor of illusion in Chinese Buddhism, Natasha Heller focuses on “Huanzhu jiaxun” 幻住家訓 (The family instructions of “Illusory Abiding”) by the Chan monk Zhongfeng Mengben 中峰明本 (1263–1323). Considering Mingben's usage of the term “illusory” (huan ) in relation to its history in non-Buddhist and Buddhist sources, she examines how he addressed the use of language, with special reference to the Chan concept of “observing the key phrase” (kanhua). Mingben remained within the established philosophical discourse on illusion but, Heller argues, shifted away from metaphors related to the concept; instead he emphasized the character huan to suggest an alternative to intellectual analysis of words. He thereby advanced the discussion of kanhua Chan while affirming the ultimate illusoriness of such practice.
"7: Between Zhongfeng Mingben and Zhao Mengfu: Chan Letters in Their Manuscript Context" by Natasha Heller, Buddhist Manuscript Cultures III, New York: Routledge, 2009, pp. 109–123.
Natasha Lynne Heller, Illusory abiding: The life and work of Zhongfeng Mingben (1263–1323), Harvard University, 2005
http://sunzi.lib.hku.hk/ER/detail/hkul/3632032
My dissertation examines the figure of Zhongfeng Mingben, one of the most eminent Chan monks of the Yuan dynasty. While Mingben never left southeast China, he attracted followers from throughout China and from abroad. These followers were not only Buddhist monks but also elite lay men and women. Mingben refused to head large monasteries, but instead traveled and lived in the small cloistered communities that he founded in the Jiangnan region. Thus he was a figure of both religious and cultural importance but also one who stood outside the monastic mainstream. Mingben's approach to the study of Chan rejected reliance on the textual tradition and instead demanded rigorous, long-term attention to the cultivation of mind. This underlying religiosity was central to all his pursuits, in both Buddhist and literati realms. My study is divided into three parts. The first two chapters consider the context and construction of Mingben's life. Chapters three and four analyze his contributions to Chan through his teachings and through the monastic code he authored. Chapters five through seven consider Mingben in relation to his literati followers, with special attention to his use of cultural forms to convey his core teachings.
A Master of His Own: The Calligraphy of the Chan Abbot Zhongfeng Mingben (1262-1323)
by Uta Laurer (1961-)
(Studien zur Ostasiatischen Schriftkunst, 5.) 164 pp, 43 plates. Stuttgart: Franz Steiner Verlag, 2002.
http://books.google.hu/books?id=fvVIrEt9DHYC&printsec=frontcover&hl=hu&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Contents
- Terminology 11
- Table of the Eight Standard Strokes of Chinese Characters 12
- I Traditions and Prerequisites of Chan Calligraphy
- 1. The Tradition of the Scholar Officials 13
- 2. Buddhist Tradition apart from Chan 20
- 3. Chan Calligraphers 28
- 4 Aesthetic Concepts in Chan Calligraphy 32
- 5. Aesthetic Concepts in Scholar Official Calligraphy 40
- 6. Some Common Points between Chan and Scholar Official
- Calligraphy 46
- II Biographical and Historical Framework
- 1. The Biography of Zhongfeng Mingben 49
- 2. Zhao Mengfu and other Literati 58
- 2.1. Zhao Mengfu 59
- 2.2. Xianyu Shu 64
- 2.3. Deng Wenyuan 67
- 2.4. Feng Zizhen 69
- 2.5. Yu Ji 71
- 2.6. Zhang Yu 72
- 2.7. Yang Weizhen 74
- 2.8. Kangli Naonao 76
- 2.9. Rao Jie 78
- 3. Zhongfeng Mingben's Buddhist Connections 79
- 3.1. Qu Tingfa 79
- 3.2. Yuan Jian 80
- 3.3. King Ch'ung-son 80
- 3.4. Chushi Fanqi 81
- 3.5. Yi'an 81
- 3.6. Jueji Yongzhong 82
- 3.7. Ka'6 S6nen 84
- 3.8. Tesshfi Tokusai 85
- 3.9. Enkei Soyfi 86
- 3.10. Muin Genkai 86
- 3.11. Gydkai Honj6 86
- III The Oeuvre of Zhongfeng Mingben
- 1. Discussion of the Works 88
- 2. The Willow-leaf Style 89
- 3. Calligraphic Works 92
- 3.1. Portraits of Zhongfeng Mingben with Self-inscription 92
- 3.I.1. The K6genji Portrait 93
- 3.1.2. The Yabumoto Portrait 100
- 3.1.3. The Senbutsuji Portrait 105
- 3.1.4. The H6unji Portrait 107
- 3.1.5. The Marui Portrait 109
- 3.1.6. Some Observations on the Spread of Zhongfeng 111
- Mingben's Image and Calligraphy
- 3.II. Inscriptions and Colophons to other Paintings 114
- 3.II. 1. Bodhidharma Crossing the Yangzi River 114
- 3.11.2 Guanyin Paintings 116
- 3.III. Sermons 119
- 3.III. 1. Sermon for Enkei Soy5 119
- 3.IV. Letters 120
- 3.IV.1. Letter to Sh6kai D6gen 120
- 3.IV.2. Subscription to Rebuild the Huanzhu Temple
- at Wumen 121
- 3.IV.3. Letter to Lord Otomo Sadamune 122
- 3.IV.4. Letter to Baoshi zhe 124
- 3.IV.5. Letter to Monk Sai 125
- 3.V. Sobriquets 127
- 3.V.1. Sobriquet for Huian 127
- Diamond Sutra by Zhao Mengfu with Colophon by Zhongfeng
- Mingben 128
- Developments in Zhongfeng Mingben's Calligraphy 130
- IV Conclusions
- 1. Zhongfeng Mingben's Pivotal Role between Literati and Chan
- Calligraphy 132
- 2. The Impact of Zhongfeng Mingben's Calligraphy in Japan 134
- Appendix
- Autobiography of Zhongfeng Mingben, Written when he was
- 60 Years old 138
- Bibliography 146.
PDF: The Recorded Sayings of Chan Master Zhongfeng Mingben
by Jeffrey L. Broughton with Elise Yoko Watanabe
Oxford University Press, 2023
Contents
Abbreviations ix
Introduction 1
Linji Chan in the South During the Mongol Yuan Dynasty: Zhongfeng Mingben and Yuansou Xingduan 1
Autobiography and Huatou Chan 7
The Format and Underlying Theme of Zhongfeng’s Autobiography 10
The Confining Bureaucratic Chan Style of Mt. Tianmu Versus the Unencumbered Chan Style of a Vagabond Budai (布袋) 14
Two Chan Records for Zhongfeng Mingben: Zhongfeng Extensive Record and Zhongfeng Record B 17
Understanding the Phantasmal (zhi huan 知幻) 23
Detaching from the Phantasmal (li huan 離幻): The Huatou 27
Zhongfeng’s Great Matter of Samsara (shengsi dashi 生死大事) 30
Zhongfeng: “I Am Not Awakened” 32
Entanglement of Huatou Chan and Pure Land Nianfo (Nembutsu): Zhongfeng and Tianru 35
Zhongfeng and the “Nanzhao” (Yunnan) Pilgrim Xuanjian (玄鍳; d.u.) 38
Zhongfeng and Japanese Zen 43
Zhongfeng, Tianru, and Ming- Dynasty Linji Chan 55
Translation 1: Selections from Instructions to the Assembly in Zhongfeng Extensive Record 63
Translation 2: Selections from Dharma Talks in Zhongfeng Extensive Record 71
Translation 3: Night Conversations in a Mountain Hermitage in Zhongfeng Extensive Record 83
Translation 4: House Instructions for Dwelling- in- the- Phantasmal Hermitage in Zhongfeng Extensive Record 168
Translation 5: In Imitation of Hanshan’s Poems in Zhongfeng Extensive Record 179
Translation 6: Song of Dwelling- in- the- Phantasmal Hermitage in Zhongfeng Extensive Record 212
Translation 7: Cross- Legged Sitting Chan Admonitions (with Preface) in Zhongfeng Extensive Record 214
Translation 8: Ten Poems on Living on a Boat in Zhongfeng Extensive Record 216
Translation 9: Ten Poems on Living in Town in Zhongfeng Extensive Record 220
Translation 10: Selections from Zhongfeng Dharma Talks in Zhongfeng Record B 225
Translation 11: Instructions to the Assembly from Zhongfeng Talks in Zhongfeng Record B 245
Chinese Text for Translation 1: Selections from Instructions to the Assembly in Zhongfeng Extensive Record 247
Chinese Text for Translation 2: Selections from Dharma Talks in Zhongfeng Extensive Record 250
Chinese Text for Translation 3: Night Conversations in a Mountain Hermitage in Zhongfeng Extensive Record 254
Chinese Text for Translation 4: House Instructions for Dwelling-in-the-Phantasmal Hermitage in Zhongfeng Extensive Record 280
Chinese Text for Translation 5: In Imitation of Hanshan’s Poems in Zhongfeng Extensive Record 284
Chinese Text for Translation 6: Song of Dwelling- in- the- Phantasmal Hermitage in Zhongfeng Extensive Record 294
Chinese Text for Translation 7: Cross- Legged Sitting Chan Admonitions (with Preface) in Zhongfeng Extensive Record 295
Chinese Text for Translation 8: Ten Poems on Living on a Boat in Zhongfeng Extensive Record 296
Chinese Text for Translation 9: Ten Poems on Living in Town in Zhongfeng Extensive Record 298
Chinese Text for Translation 10: Selections from Zhongfeng Dharma Talks in Zhongfeng Record B 300
Chinese Text for Translation 11: Instructions to the Assembly from Zhongfeng Talks in Zhongfeng Record B 309
Bibliography 311
Index 315
PDF: The Definition of a Koan
by Chung-feng Ming-pen
Translated by Ruth Fuller Sasaki
In: Miura, Issho and Ruth Fuller Sasaki. Zen Dust: The History of the Koan and Koan Study in Rinzai (Lin-chi) Zen. Kyoto: The First Zen Institute of America, 1966.
Mingben's Portraits
Unidentified Artist, Portrait of the Monk Zhongfeng Mingben (123.5 x 51.3 cm). 14 cent. Lent by Shôkoku-ji, Jishô-in, Kyoto
Portrait of Zhongfeng Mingben 中峰明本像,
121.9cm × 54.4cm,
early 14th century 14 世 纪初， Kyōto 京都， Senbutsu-ji Temple 選仏寺
Ming-pen
In:
Buddha tudat, Zen buddhista tanítások. Ford., szerk. és vál. Szigeti György, Budapest, Farkas Lőrinc Imre Könyvkiadó, 1999, 103. oldal
Démonok birodalma
A zen a tudat tiszta földjének tanítása. Ha meg akarod
érteni az élet-halálról szóló mély értelmű tanítást, ak-
kor be kell látnod, hogy a kétség vagy a zavarodottság
egyetlen gondolata nyomban a démonok birodalmába
taszít téged.
Csak higgy magadban!
Csak higgy magadban!
A tudat valójában tiszta
A tudat valójában tiszta és nyugodt, alapvetően rnen-
tes minden szennyeződéstől.
Meditáció
Ha meditációd közben gondolatok kavarognak a fejed-
ben, és az elképzeléseid összezavarnak, akkor ne foglal-
kozz velük egyáltalán, függedenül attól, hogy azok jók
vagy rosszak, igazak vagy hamisak.
