In the tranquil setting of one afternoon, Sariputra and Maudhara, the first disciples of the Shakyamuni Buddha, introduce an ascetic named Tigaro to the profound teachings of enlightenment. Little did they know that this encounter would unveil a tapestry of insights and narratives, offering timeless wisdom that transcends doctrines and narrow beliefs.
Upon meeting the Buddha, Tigaro’s skepticism manifests through his query: “What exactly is your doctrine?” His disdain for theories is palpable as he voices his disbelief. However, the Buddha, with a serene countenance, responds with an unexpected question, challenging Tigaro’s perspective: “Then you don’t believe yourself? What about those who don’t believe in any theory? Do you believe in unbeliefism?” This exchange sets the stage for an enlightening discourse on the nature of truth and belief.
With a calm and understanding demeanor, the Buddha delves into his teachings, addressing the perils of rigid doctrines. He elucidates how attachment to perceived truths stifles freedom and engenders conflict. Through poignant storytelling, exemplified by the narrative of a young widower and his son, the Buddha illustrates the consequences of attachment and false perceptions.
In the heartrending tale, a young widower cherishes his 5-year-old son deeply. However, tragedy strikes when one day the father must depart on business, leaving his son alone. Bandits ravage the village on that very day, and upon his return, the widower discovers his home burned and his son presumed dead. Overwhelmed by grief, he cremates what he believes to be his son’s remains and carries the ashes with him daily, a poignant symbol of his attachment.
A month later, the son miraculously returns, only to find his father clinging to the ashes. Despite his son’s pleas and knocking on the door, the widower, consumed by his attachment to his perceived reality, remains oblivious. In a heartbreaking moment, the son departs once more, unable to break through his father’s delusion. The narrative poignantly illustrates the impermanence of existence and the tragedy of clinging to false perceptions.
The essence of Buddha’s teachings transcends philosophical abstraction. Rooted in direct experience and empirical truth, Buddhism offers a profound understanding of oneself and the world. The Buddha invites practitioners to explore the depths of their minds, guiding them toward liberation from suffering.
The Buddha employs a metaphorical finger pointing to the moon to elucidate the nature of his teachings. He emphasizes that his teachings serve as a guide, directing attention toward ultimate truth rather than being the truth itself. This analogy underscores the importance of experiencing reality directly, beyond the confines of doctrinal interpretations.
As Tigaro seeks guidance on overcoming painful feelings, the Buddha imparts practical wisdom. He elucidates the nature of feelings and their origins, offering a pathway to transcend suffering through awareness and understanding.
In the presence of disciples such as Sariputra and Maudhara, the Buddha’s teachings resonate as a beacon of wisdom and self-discovery. The narrative serves as an invitation to embark on a journey beyond doctrines and limiting beliefs, toward a profound understanding of reality. In embracing the impermanence of existence and cultivating awareness, individuals can unlock the profound truth that lies within—an eternal truth accessible to all who seek it with an open heart.
This complex world is neither exclusively rosy nor entirely thorny. The rose, soft, beautiful, and fragrant, grows on a stem filled with thorns. What is rosy remains so, and what is thorny persists. One should not interfere with the thorns due to the presence of the rose, nor disparage the rose because of the thorns.
To an optimist, the world appears absolutely rosy; to a pessimist, it seems entirely thorny. However, a realist views the world neither as entirely rosy nor wholly thorny. From a realistic perspective, the world is a blend of beautiful roses and prickly thorns.
An understanding person appreciates the rose’s beauty without becoming infatuated, acknowledging the thorns’ nature and taking precautions not to be wounded.
Similar to a pendulum swinging between right and left, four inevitable conditions prevail in life — gain and loss, fame and defame, praise and blame, happiness and pain.
Gain and Loss: Businesspeople experience both gain and loss. While it’s natural to be pleased with profits, one must exhibit moral courage and maintain a balanced mind in the face of losses. Anticipating losses and being prepared helps reduce disappointment.
Fame and Defame: Fame and defame are inevitable in life. Seeking undue praise or avoiding criticism can lead to unfulfillment. True greatness is indifferent to external approbation.
Praise and Blame: Wise individuals remain unaffected by praise or blame, recognizing that opinions vary. The Buddha’s teachings emphasize responding to false accusations with patience and understanding.
Happiness and Pain: Genuine happiness is not solely derived from material possessions, power, or external circumstances. Inner happiness is found in non-attachment and leading a blameless life.
Facing pain, whether from old age, disease, separation, or death, requires equanimity. The Buddha himself endured physical suffering but maintained a balanced mind. Death, inevitable for all, should be faced with perfect equanimity.
Amidst these dualities, a balanced mind is crucial. The Buddha’s teachings encourage cultivating equanimity in the face of worldly conditions.
Once, the Blessed One resided in Savatthi, at Jeta’s Grove in Anathapindika’s monastery. Addressing the assembly of monks, he spoke, “Monks!”
Respectfully, the monks replied, “Yes, Lord.”
The Blessed One shared guidance on cultivating a focused mind, highlighting five essential themes for monks to consider at the appropriate times.
Firstly, if unwholesome thoughts arise during meditation, connected to desire, aversion, or delusion, the monk should shift attention to a different theme associated with what is skillful. By doing so, the disturbing thoughts subside, allowing the monk to steady, settle, unify, and concentrate the mind.
If, despite this shift, unskillful thoughts persist, the monk should examine the drawbacks: recognizing them as unskillful, blameworthy, and causing stress. Through this scrutiny, the undesirable thoughts fade away, and the monk attains mental steadiness.
In the rare case that unwholesome thoughts persist, the monk should practice indifference, paying no mind to them. By disregarding these thoughts, the monk frees the mind from their influence and achieves concentration.
Should the unskillful thoughts persist even with indifference, the monk is advised to focus on relaxing thought-fabrication concerning those thoughts. This practice enables the abandonment of the troublesome thoughts and promotes mental stability.
In the event that unwholesome thoughts persist during the relaxation of thought-fabrication, the monk is encouraged to employ a more forceful approach. With teeth clenched and tongue pressed against the roof of the mouth, the monk should beat down, constrain, and crush the unskillful thoughts with awareness. This resolute effort results in the abandonment of disturbing thoughts and the attainment of mental concentration.
A monk who successfully applies these methods is recognized as having mastery over thought sequences. Such a monk can choose to think or not think as desired, having severed craving and liberated themselves from the fetters. Through a deep understanding of conceit, they have reached the cessation of suffering and stress.
Upon hearing these teachings, the monks were gratified, finding delight in the Blessed One’s words.
Master Hongyi (弘一大师, October 23, 1880 – October 13, 1942) was originally named Li Shutong (李叔同) and was born into a prosperous family in the bustling northern city of Tianjin on October 23, 1880. The family, originally hailing from Hongdong County, Shanxi, had relocated to Tianjin during the Ming Dynasty.
Li Shutong’s grandfather, a prosperous banker and salt merchant, and his father, Li Shizhen (李世珍), a scholar deeply immersed in Chan Buddhism and the teachings of Ming Neo-Confucian philosopher Wang Yangming (1472-1529), reflected the family’s intellectual and financial standing.
In contrast, Li Shutong’s mother had a modest upbringing as the daughter of a farmer in Pinghu, Zhejiang Province. She became Li Shizhen’s fourth wife in their multi-courtyard household, marrying him at the age of 20 when he was 68.
Tragically, Master Hongyi’s father passed away when he was just four years old. Subsequently, his mother faced challenges in maintaining her position within the complex dynamics of the household while residing under her eldest son’s roof. Fortunately, Li Shutong found support from two of his elder half-brothers during his early years, allowing him to access a quality education and a firm foundation in the Confucian classics.
The young Li Shutong mastered the art of calligraphy and after his ordination as Master Hongyi, he continued to engage in this artistic tradition. This calligraphy, produced during the period of his life when he was known as Master Hongyi, reads from right to left “Zijing Qixin” (自净其意). It means “to cleanse one’s mind” and is an extract from a famous verse
Influenced by his formative experiences, Li Shutong eloquently expressed a profound perspective on life through poetry at the tender age of 15, capturing the fleeting nature of wealth and honor: “Life is truly like the setting sun on the western hills; wealth and nobility are as transient as frost on the grass.” His personal life, marked by an unconventional marriage, served as a poignant reflection of the internal conflict between societal expectations and his genuine affections.
Li Shutong’s participation in the Hundred Days’ Reform and subsequent rumors prompted his relocation to Shanghai, where he thrived in the dynamic literary scene. Becoming a prominent figure in Shanghai’s cosmopolitan lifestyle, he joined the Chengnan Wenshe and co-founded the “Five Friends of Tianya.”
His impact extended beyond literature. Collaborating with the painter Ren Bonian, he established the Shanghai Calligraphy and Painting Association, marking a pivotal moment in Chinese art history. Li Shutong’s engagement in Liyuan activities showcased his versatility as a performer in plays such as “Bai Shuitan” and “Huang Tianba.”
Li Shutong’s literary repertoire included numerous poems and songs, among them the renowned poem “Farewell” (《送别》, Song Bie), which later inspired the widely sung “The Farewell Song” (《送别歌》, Song Bie Ge).
The Farewell Song
Outside the long pavilion, along the ancient route, fragrant green grass joins the sky, The evening wind caressing willow trees, the sound of the flute piercing the heart, sunset over mountains beyond mountains.
At the brink of the sky, at the corners of the earth, my familiar friends wander in loneliness and far from home, One more ladle of wine to conclude the little happiness that remains; don’t have any sad dreams tonight.
Li Shutong’s charcoal drawing titled ‘Maiden’
“A Half-naked Woman” by Li Shutong, collected by CAFA Art Museum, China
However, Li Shutong’s life underwent a profound transformation. Confronted with personal and financial challenges, he voluntarily entered a self-imposed exile in Japan. The success of the Xinhai Revolution in 1911 further complicated his circumstances, resulting in financial ruin. Undeterred by these setbacks, Li Shutong maintained composure and supported his family by teaching in Tianjin and Shanghai.
His teaching career, notably at Zhejiang First Teachers’ College, left an indelible mark. Li Shutong played a pivotal role in introducing Western painting to China, earning him the title of the forefather of Chinese oil painting. As the first Chinese art educator to incorporate nude models in his painting classes and introduce Western music to China, his influence was far-reaching. Some of his personally groomed students, including contemporary Chinese artist, educator, and musician Feng Zikai (丰子恺), and Singaporean artist Chen Wenxi (陳文希), went on to become accomplished artists in their own right. His impact on students, such as the renowned painters Pan Tianshou and Shen Benqian, underscored his lasting influence.
During this period, Li Shutong delved deeper into Buddhism. In 1916, he embarked on a 21-day fast at a temple in Hangzhou to experience aspects of the spiritual path. This experience prompted his decision to embrace the ordained life, leading to his monastic vows at Hupao Temple. His disciplined lifestyle, which included fasting therapy for deeper insights, marked a significant spiritual transformation.
Li Shutong’s transition from a worldly existence to a monk, detailed in a letter to his second wife, Yu, reflected his detachment from transient fame and wealth. His decision to leave behind a worldly life for monastic vows occurred only a month after joining the Order. He was known by the monastic names Yanyin (演音) and Hongyi (弘一) after undergoing full ordination rites at Lingyinsi, the largest monastery in Hangzhou.
His departure, though painful for those close to him, exemplified Master Hongyi’s profound understanding of Buddhism. In a conversation with his second wife, he elucidated the nature of love, defining it as compassion, aligned with Buddhist teachings that emphasize letting go of attachment and cultivating compassion.
Master Hongyi’s transformation from the proud and arrogant Li Shutong to a humble and receptive teacher was evident in his approach to teaching Dharma. Contrary to expectations of flawless mastery, Master Hongyi sought feedback from student monks and welcomed constructive criticism without defending himself.
By early 1942, the toll of austerities and fasts began affecting Master Hongyi’s health, and by mid-May, his condition deteriorated rapidly.
The paranirvana of Master Hongyi
Three days before his passing at Busi Temple in Quanzhou, Fujian Province, on October 13, 1942, Master Hongyi inscribed his final calligraphic strokes, creating the work known as “Sorrow and Joy Comingle,” “Worldly Sorrows and Joy Are Intertwined,” or “Sorrow or Joy Are Inextricably Bound to Each Other” (《悲欣交集》, Beixin jiaoji).
Master Hongyi’s philosophical framework posited three distinct stages in human life: material, intellectual, and spiritual. The material phase pertains to mundane existence, the intellectual phase characterizes the life of ordinary intellectuals, while the spiritual phase encompasses the religious realm.
Material, intellectual, spiritual; beauty, profundity, deity. These concepts are intricately tied to the principles of abstinence, composure, and wisdom in Buddhism.
Abstinence, in this context, denotes the renunciation of materialistic pursuits. Composure signifies the practice of deep meditation—tranquil and remote—a path that ultimately leads to the attainment of wisdom. The imagery of Venerable Hongyi experiencing both sorrow and joy (欣) symbolizes the dynamic interplay between these various dimensions of life.
Li Shutong: From Prodigy to Monk – A Journey Beyond Wealth and Artistry
Peace LiLy 