Koan

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A kō•an (公案; Japanese: kōan, Chinese: gōng-àn) is a story, dialogue, question, or statement in the history and lore of Chan (Zen) Buddhism, generally containing aspects that are inaccessible to rational understanding, yet that may be accessible to intuition. A famous kōan is, "Two hands clap and there is a sound; what is the sound of one hand?" (oral tradition, attributed to Hakuin Ekaku, 1686-1769, considered a reviver of the kōan tradition in Japan).

Contents 1 In Brief 2 Examples 3 Roles of the kōan in Zen practice 4 Etymology and the evolving meaning of kōan 5 The role of kōans in the Soto, Rinzai, and other sects 6 Interpretation of kōans 6.1 The sound of one hand 6.2 The Gateless Gate 6.2.1 Case 1: Zhaozhou's dog 6.2.2 Case 6: Buddha holds out a flower 6.2.3 Case 7: Zhaozhou washes the bowl 6.2.4 Case 8: Keichu's wheel 6.2.5 Case 29: Huineng's flag 6.2.6 Case 37: Zhaozhou's cypress 6.3 Other traditional kōans 6.3.1 What is the Buddha? 6.3.2 Killing the Buddha 6.3.3 The abbot's gift 6.4 Contemporary kōans 7 See also 8 Notes 9 External links

[edit] In Brief

Kōans originate in the sayings and doings of sages and legendary figures, usually those authorized to teach in a lineage that regards Bodhidharma (c. 5th-6th century) as its ancestor. Kōans are said to reflect the enlightened or awakened state of such persons, and sometimes said to confound the habit of discursive thought or shock the mind into awareness. Zen teachers often recite and comment on kōans, and some Zen practitioners concentrate on kōans during meditation. Teachers may probe such students about their kōan practice using "checking questions" to validate an experience of insight (kensho) or awakening. Responses by students have included actions or gestures, "capping phrases" (jakugo), and verses inspired by the kōan.

As used by teachers, monks, and students in training, kōan can refer to a story selected from sutras and historical records, a perplexing element of the story, a concise but critical word or phrase (話頭 huà-tóu) extracted from the story, or to the story appended by poetry and commentary authored by later Zen teachers, sometimes layering commentary upon commentary. Less formally, the term kōan sometimes refers to any experience that accompanies awakening or spiritual insight.

English-speaking non-Zen practitioners sometimes use kōan to refer to an unanswerable question or a meaningless statement. However, in Zen practice, a kōan is not meaningless, and teachers often do expect students to present an appropriate response when asked about a kōan. Even so, a kōan is not a riddle or a puzzle.^[1] Appropriate responses to a kōan may vary according to circumstances; different teachers may demand different responses to a given kōan, and a fixed answer cannot be correct in every circumstance. One of the most common recorded comments by a teacher on a disciple's answer is, "Even though that is true, if you do not know it yourself it does you no good." The master is looking, not for an answer in a specific form, but for evidence that the disciple has grasped the practical use of the kōan in daily life, or in other words, has actually given up some previous attachment.

The word kōan corresponds to the Chinese characters 公案 which can be rendered in various ways: gōng'àn (Chinese pinyin); kung-an (Chinese Wade-Giles); gong'an (Korean); công-án (Vietnamese); kōan (Japanese Hepburn); often transliterated kōan). Of these, "kōan" is the most common in English. Just as Japanese Zen, Chinese Ch'an, Korean Son, and Vietnamese Thien, and Western Zen all share many features in common, likewise kōans play similar roles in each, although significant cultural differences exist.

[edit] Examples

• A monk asked Zhàozhōu, "Does a dog have Buddha nature or not?" Zhaozhou said, "Wú".
  • ("Zhaozhou" is rendered as "Chao-chou" in Wade-Giles, and pronounced "Joshu" in Japanese. "Wu" appears as "mu" in archaic Japanese, meaning "no", "not", "nonbeing", or "without" in English. This is a fragment of Case #1 of the Wúménguān. However, note that, a similar kōan records that on another occasion, Zhaozhou said "yes" in response Case#18 of the Book of Serenity.)
• Huìnéng asked Hui Ming, "Without thinking of good or evil, show me your original face before your mother and father were born".
  • (This is a fragment of case #23 of the Wumenguan.)
• A monk asked Dongshan Shouchu, "What is Buddha?" Dongshan said, "Three pounds of flax".
  • (This is a fragment of case #18 of the Wumenguan as well as case #12 of the Blue Cliff Record.)
• A monk asked Zhaozhou, "What is the meaning of Bodhidharma's coming from the west?" Zhaozhou said, "The cypress tree in the courtyard".
  • (This is a fragment of case #37 of the Wumenguan as well as case #47 of the Book of Serenity.)

[edit] Roles of the kōan in Zen practice

• Kōans collectively form a substantial body of literature studied by Zen practitioners and scholars worldwide. Kōan collections commonly referenced in English include the Blue Cliff Record (Chinese: Bìyán Lù; Japanese: Hekiganroku), the Book of Equanimity (also known as the Book of Serenity; Chinese: Cōngróng Lù; Japanese: Shoyoroku), both collected in their present forms during the 12th century); and The Gateless Gate (also known as The Gateless Barrier; Chinese: Wúménguān; Japanese: Mumonkan) collected during the 13th century). In these and subsequent collections, a terse "main case" of a kōan often accompanies prefatory remarks, commentary, poems, proverbs and other phrases, and further commentary, etc. about prior emendations. Kōan literature typically derives from older texts and traditions, including texts that record the sayings and doings of sages; from Transmission of the Lamp records, which document the monastic tradition of certifying teachers; and from folklore and cultural reference points common among medieval Chinese. According to Victor Hori — a native English speaker who has experienced extensive kōan training in Japanese monasteries — kōan literature was also influenced by the pre-Zen Chinese tradition of the "literary game" — a competition involving improvised poetry.^[2] Over centuries, contemporary collections continued to inspire commentary, and current kōan collections contain modern commentaries. New kōans on occasion are proposed and collected — sometimes seriously, sometimes in jest.
• A kōan or part of a kōan may serve as a point of concentration during meditation and other activities, often called "kōan practice" (as distinct from "kōan study", the study of kōan literature). Generally, a qualified teacher provides instruction in kōan practice to qualified students in private. In the Wumenguan (Mumonkan), public case #1 ("Zhaozhou's Dog"), Wumen (Mumon) wrote "...concentrate yourself into this 'Wu'...making your whole body one great inquiry. Day and night work intently at it. Do not attempt nihilistic or dualistic interpretations."^[3] Arousing this great inquiry, or "Great Doubt" is an essential element of kōan practice. In an attempt to illustrate the enormous concentration required in kōan meditation, Zen Master Wumen further commented: "It is like swallowing a red-hot iron ball. You try to vomit it out, but you can't."
• A kōan may be used as a test of a Zen student's ability. For monks in formal training, and for some laypersons, a teacher invokes a kōan and demands some definite response from a student during private interviews.
• Kōans are presented by teachers to students and other members of the community, often including the teacher's unique commentary. A kōan may seem to be the subject of a talk or private interview with a student. However, a kōan is said to supersede subject-object duality and thus cannot necessarily be said to be the "subject" of such encounters. The dialog, lecture, or sermon may more resemble performance, ritual duty, or poetry reading.

[edit] Etymology and the evolving meaning of kōan

Kōan is a Japanese rendering of the Chinese term (公案), transliterated kung-an (Wade-Giles) or gōng'àn (Pinyin). Chung Feng Ming Pen (中峰明本 1263-1323) wrote that kung-an is an abbreviation for kung-fu an-tu (公府之案牘, Pinyin gōngfǔ zhī àndú, pronounced in Japanese as ko-fu no an-toku), which referred to a "public record" or the "case records of a public law court"^[4] in Tang-dynasty China. Kōan/kung-an thus serves as a metaphor for principles of reality that go beyond the private opinion of one person. A teacher's test also resembles the judgement of a student's ability to recognize and actualize that principle. Moreover, commentaries in kōan collections bear some similarity to judicial decisions that cite and sometimes modify precedents. An article by T. Griffith Foulk claims "...Its literal meaning is the 'table' or 'bench' an of a 'magistrate' or 'judge' kung..."^[4] Apparently, kung-an was itself originally a metaphor — an article of furniture that came to denote legal precedents.

A well-known example of this legal usage is The Cases of Judge Dee (狄公安 Di Gongan in Chinese) a Ming dynasty novel based on a real Tang dynasty judge. In the same way, Zen kōan collections are public records of the notable sayings and actions of Zen disciples and masters attempting to pass on the teaching, whether successfully or not.

Before the tradition of meditating on kōans was recorded, Huangbo Xiyun (720-814) and Yun Men (864-949) are both recorded to have uttered the line "Yours is a clear-cut case (chien-cheng kung-an) but I spare you thirty blows", seeming to pass judgement over students' feeble expressions of enlightenment. Xuedou Zhongxian (雪竇重顯 980-1052) — the original compiler of the 100 cases that later served as the basis for the Blue Cliff Record — used the term kung-an just once in that collection (according to Foulk^[4]) in Case #64.

Yuanwu (圜悟克勤 1063-1135), compiler of the Blue Cliff Record (碧巌録) in its present form, "gained some insight" by contemplating (kan) kōans.^[5] Yuanwu may have been instructed to contemplate phrases by his teachers Chen-ju Mu-che (dates unknown) and Wu-tzu Fa-yen (五祖法演 ?-1104). Thus, by the Sung Dynasty, the term kung-an had apparently taken on roughly its present meaning from the legal jargon.

Subsequent interpreters have influenced the way the term kōan is used. Dogen Zenji wrote of Genjokōan, which points out that everyday life experiences is the fundamental kōan. Hakuin Ekaku recommended preparing for kōan practice by concentrating on qi breathing and its effect on the body's center of gravity, called the tanden or hara in Japanese — thereby associating kōan practice with pre-existing Taoist and Yogic chakra meditative practices.

[edit] The role of kōans in the Soto, Rinzai, and other sects

Kōan practice — concentrating on kōans during meditation and other activities — is particularly important among Japanese practictioners of the Rinzai sect of Zen. However, study of kōan literature is common to both Soto and Rinzai Zen. There is a common misconception that Soto and related schools do not use kōans at all, but while few Soto practictioners concentrate on kōans while meditating, many Soto practitioners are indeed highly familiar with kōans.

In fact, the Soto sect has a strong historical connection with kōans. Many kōan collections were compiled by Soto priests. During the 13th century, Dogen, founder of the Soto sect in Japan, compiled some 300 kōans in the volumes known as the Greater Shobogenzo. Other kōans collections compiled and annotated by Soto priests include The Iron Flute (Japanese: Tetteki Tosui, compiled by Genro in 1783) and Verses and Commentaries on One Hundred Old Cases of Tenchian (Japanese: Tenchian hyakusoku hyoju, compiled by Tetsumon in 1771.) However, according to Michael Mohr, "...kōan practice was largely expunged from the Soto school through the efforts of Gento Sokuchu (1729-1807), the eleventh abbot of Entsuji, who in 1795 was nominated abbot of Eiheiji".^[6]

A significant number of people who meditate with kōans are affiliated with Japan's Sanbo Kyodan sect, and with various schools derived from that sect in North America, Europe, and Australia. Sanbo Kyodan was established in the 20th century, and has roots in both the Soto and Rinzai traditions.

[edit] Interpretation of kōans

Zen teachers and practitioners insist that the meaning of a kōan can only be demonstrated in a live experience. Texts (including kōan collections and encyclopedia articles) cannot convey that meaning. Yet the Zen tradition has produced a great deal of literature, including thousands of kōans and at least dozens of volumes of commentary. Nevertheless, teachers have long alerted students to the danger of confusing the interpretation of a kōan with the realization of a kōan. When teachers say "do not confuse the pointing finger with the moon", they indicate that awakening is the standard — not ability to interpret.

Even so, kōans emerge from a literary context, and understanding that context can often remove some — but presumably not all — of the mystery surrounding a kōan. For example, evidence^[7] suggests that when a monk asked Zhaozhou "does a dog have Buddha-nature or not?", the monk was asking a question that students had asked teachers for generations. The controversy over whether all beings have the potential for enlightenment is even older^[8] — and in fact, vigorous controversy^[9] still surrounds the matter of Buddha nature.

No amount of interpretation seems to be able to exhaust a kōan, so it's unlikely that there can be a "definitive" interpretation. Teachers typically warn against over-intellectualizing kōans, but the mysteries of kōans compel some students to reduce (but not necessarily eliminate) the uncertainties — for example, by clarifying metaphors that were likely well-known to monks at the time the kōans originally circulated. In that spirit, we present some interpretations that are certainly not the last word.

[edit] The sound of one hand

Two hands clap and there is a sound. What is the sound of one hand?

— Hakuin Ekaku

"...in the beginning a monk first thinks a kōan is an inert object upon which to focus attention; after a long period of consecutive repetition, one realizes that the kōan is also a dynamic activity, the very activity of seeking an answer to the kōan. The kōan is both the object being sought and the relentless seeking itself. In a kōan, the self sees the self not directly but under the guise of the kōan...When one realizes ("makes real") this identity, then two hands have become one. The practitioner becomes the kōan that he or she is trying to understand. That is the sound of one hand." — G. Victor Sogen Hori, Translating the Zen Phrase Book^[10]

This particular kōan has a number of famously spurious or incorrect answers in American pop culture. These include Bart Simpson flapping his fingers against his palm, snapping fingers, slapping the teacher's face, the sound of dead air (usually crickets) as a joke falls flat (a "white out", in the Japanese), and other drollery.

[edit] The Gateless Gate

Wumenguan (無門關, pronounced Mumonkan in Japanese, often translated into English as The Gateless Gate but more accurately rendered as Gateless Barrier or Gateless Checkpoint) is a collection of 48 kōans and commentaries published in 1228 by Chinese monk Wumen (無門). Five kōans in the collection derive from the sayings and doings of Zhaozhou Congshen, (transliterated as Chao-chou in Wade-Giles and pronounced Jōshū in Japanese).

[edit] Case 1: Zhaozhou's dog

A monk asked Zhaozhou, "Does a dog have Buddha-nature or not?"

Zhaozhou replied, "Wú."

Translators often render Zhaozhou's answer as mu from Japanese retellings. Normally, wu and mu mean no, not, without, or nonexistence. Centuries earlier, the same Chinese character appeared at the end of verse 40 of Lao Zi's Daodejing (Tao Te Ching) in a line sometimes translated as "existence emerges from nonexistence". Mahayana Buddhist doctrine codified in the Nirvana Sutra held that all sentient beings, including animals, possess the capacity for enlightenment. However, the commentary of teachers in the Linji (Rinzai in Japanese) tradition tends to emphasize that this kōan dialog consists of a challenge the monk posed to Zhaozhou to demonstrate Buddha-nature without becoming entangled in doctrine; and that this interpretation only has meaning to a meditator who contemplates the kōan. Teachers routinely reject common speculations by students, including the assertion that wu signifies that "It is unknowable whether the dog has Buddha-nature", that "The question has no meaning", that Zhaozhou intended to convey the sound of a barking dog, the way we would say "woof!", and other erroneous interpretations. However, some teachers have accepted prefabricated responses such as shouting "mu!" or barking like a dog. Nevertheless, students offering such canned responses may not withstand the "checking questions" that such teachers pose in further inquiry. Moreover, many other teachers demand an entirely improvised response.

A related kōan in the Book of Serenity reinforces the teaching that Zhaozhou's response does not refer to affirmation or negation:

One time a monk asked Zhaozhou, "Does a dog have Buddha-nature or not?"

Zhaozhou answered, "No."

Another time, a monk asked Zhaozhou, "Does a dog have Buddha-nature or not?"

Zhaozhou answered, "Yes."

[edit] Case 6: Buddha holds out a flower

When Shakyamuni Buddha was at Vulture Peak, he held out a flower to his listeners.

Everyone was silent.

Only Mahakashyapa broke into a broad smile.

The Buddha said, "I have the True Dharma Eye, the Marvelous Mind of Nirvana, the True Form of the Formless, and the Subtle Dharma Gate, independent of words and transmitted beyond doctrine. This I have entrusted to Mahakashyapa."

From Wu-Men's comment about this kōan: "Gautama insolently insults noble people. He sells dog meat labeled as mutton and thinks it commendable." Wu-Men actually intends his scathing insult as a form of high praise, thwarting any student's attempt to rationally explain the kōan as feeble.

[edit] Case 7: Zhaozhou washes the bowl

A monk asked Zhaozhou to teach him.

Zhaozhou asked, "Have you eaten your meal?"

The monk replied, "Yes, I have."

"Then go wash your bowl", said Zhaozhou.

At that moment, the monk was enlightened.

This kōan is beloved of students, perhaps because it seems to negate the need to understand obscure doctrines. Wu-Men comments in verse "Because it's so clear / it takes long to realize", and straightforward it may seem, but this kōan is an idiom and the student is assumed to be aware of its cultural context. If one does not know this context, the kōan cannot be understood.

The meal of consideration is a traditional meal of rice. It was customary for monks to maintain samadhi (the practice which produces complete meditation) while eating this meal, and so Zhaozhou is not asking whether the monk has eaten: he asks instead whether the monk was able to remain in samadhi throughout the meal. The monk affirms, and then realizes he has already received the teaching.

But it may be possible for this kōan to be understood without any reference to cultural context, as it may have nothing to do with "samadhi" or any special mental state. One by one, each thing is perfect and complete, so in this very moment, truth has already appeared. Therefore, there's nothing to do except respond to the situation right in front of us. Zhaozhou was simply asking the monk whether he had finished eating, because after a meal, the common response is to wash the dishes. In the Zen tradition, there's no need to understand obscure doctrines. All that the tradition points to is this: responding moment-to-moment to the just-now situation, like a mirror reflecting whatever appears in front of it.

(This kōan is one of the "12 Gates" taught in the Kwan Um School of Zen.)

[edit] Case 8: Keichu's wheel

Getsuan said to his students, "Keichu, the first wheel-maker in China, made two wheels having fifty spokes each. Suppose you took a wheel and removed the nave uniting the spokes. What would become of the wheel? If Keichu had done so, could he be called the master wheel-maker?"

This kōan alludes to the Tao Te Ching, one of the main texts of Taoism:

We put thirty spokes together and call it a wheel;

But it is on the space where there is nothing that the usefulness of the wheel depends.

[edit] Case 29: Huineng's flag

Two monks were watching a flag flapping in the wind. One said to the other, "The flag is moving."

The other replied, "The wind is moving."

Huineng overheard this. He said, "Not the flag, not the wind; mind is moving."

Of the two monks, Wumen says they were trying to buy iron; Huineng, out of compassion, gave them gold instead. This kōan demonstrates the realization that in naming an object one may cloud one's understanding of the true nature of mind by falling into externalization and believing that the true nature of the flag, the wind, and the mind are different. Hui Neng always taught the One Vehicle Buddhism of One Mind which teaches that wisdom (sanskrit: prajna) comes from the Essence of Mind and not from an exterior source.

[edit] Case 37: Zhaozhou's cypress

A monk asked Zhaozhou, "Why did Bodhidharma come to China?"

Zhaozhou replied, "The cypress in the courtyard."

After Zhaozhou's death, a monk asked Huijiao (a disciple of Zhaozhou's) about the cypress kōan. Huijiao denied that Zhaozhou ever said it. The disciple did indeed know Zhaozhou's kōan (it was very famous already), but felt it would be better to retire the kōan for this particular monk. This denial has become a kōan itself.

Reportedly, Chinese translators have tended to render the type of tree in the kōan as "cypress" while Japanese translators have rendered it as "the oak tree in the courtyard".^[11]

[edit] Other traditional kōans

[edit] What is the Buddha?

Zen teachers asked this question have given various answers. Here are some of them:

• "Three pounds of flax." —Attributed to Dòngshān Shǒuchū (洞山守初) in case 18 of The Gateless Gate
• "Dried dung." —Attributed to Yúnmén Wényǎn in case 21 of The Gateless Gate

[edit] Killing the Buddha

If you meet the Buddha, kill him.

— Linji

If you are thinking about Buddha, this is thinking and delusion, not awakening. One must destroy preconceptions of the Buddha. Zen master Shunryu Suzuki wrote in Zen Mind, Beginner's Mind during an introduction to Zazen, "Kill the Buddha if the Buddha exists somewhere else. Kill the Buddha, because you should resume your own Buddha nature."

[edit] The abbot's gift

A Zen monk, early in his training, is preparing to leave the monastery and switch locations, for that is common in the Zen practice. Before he leaves he goes to the abbot of the monastery to say goodbye. He does so, but the abbot says he has a gift for him. Now, it is part of the Japanese way to accept gifts and be appreciative; to do otherwise is rude and, therefore, wrong. The abbot takes a pair of tongs and picks up a red hot coal from the adjacent fire pit on which he has a tea kettle.

The young monk starts to contemplate what he should do, and after a few moments, runs out of the hall distressed, for he cannot figure out what he is supposed to do. He can take the coal and be burned, or he can refuse the gift of the abbot. Both, in his mind, are things he cannot do.

He meditates on the problem for the next week, and comes back to say goodbye. However, the same scene is played again, and the same frustration is found when he tries to figure out what the abbot wants him to do.

He meditates further on the subject and feels he has discovered how to respond to the abbot's gift. He returns, for the third time, to say goodbye to the abbot, and as before the abbot picks up a red hot coal and presents it as a gift to the young monk. The young monk simply replies, "Thank you."

The abbot breaks a grin, nods his head, and returns the coal to the fire pit. "You may go now", he says.

[edit] Contemporary kōans

• Anecdotes of recent Zen teachers have started to make their way into Zen lore as kōans, for example:

One day, a student of Shunryu Suzuki-Roshi confronted him at Sokoji, in his office, and said, "if you believe in freedom why do you keep your bird locked up in a cage?" Suzuki Roshi went over and opened the door of the cage and the bird flew out of the cage and out of the window. [2] It is said that then Shunryu Suzuki turned to the student and said "That bird is free - you owe me a bird."

• An introductory kōan used by several Diamond Sangha teachers is, "Who hears?"
• The pretended-Zen novel The Dharma Bums by Jack Kerouac contains humorous parodies of famous kōans such as:

"'Does a dog have Buddha nature or not?' 'Woof'".

"If you have ice cream I will give you some.

If you have no ice cream I will take it away from you."

(It is an ice cream kōan.)

• Hacker culture has recorded a number of humorous anecdotes that use the literary form of Chinese and Japanese kōans, but which describe non-religious breakthrough understanding or the merely inexplicable. See Hacker koan.

[edit] See also

• Dharma
• Original face
• Tanzan, Subhuti and Tetsugen

[edit] Notes

Dates are as per Zen's Chinese Heritage, subtitled The masters and their teachings by Andy Ferguson, published in 2000 by Wisdom Publications.

[edit] External links

• The Gateless Gate 48 Zen koans compiled in the early 13th century
• Book of Serenity A collection of 100 koans, originally compiled in the 12th century
• Zen Koans Link Explorer Links and information about Koans
• Life at the Monastery - a humorous look at koans
• Zen Buddhism Koan Study Pages
• Koan Collections and Studies
• Zen Koans: Transcending Duality - a list of koans
• What is the sound of one hand clapping?
• One Drop Reveals the Ocean - a talk given by Geoffrey Shugen Arnold regarding Zhaozhou's Cypress
• The Unconditioned in Buddhism, Zen, and Our Own Lives
• Zen Koans
• On Zen (Ch’an) Language and Zen Paradoxes Chung-ying Cheng discusses how to "make good sense of Zen language and its puzzles and paradoxes" such as found in koans.
• Zen Koans Database