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source” of Zen Buddhism has entered into the history and life of Japanese people and deeply penetrated into the cultural values in every phase of the Japanese life
aspects.
88
It is even stated that “imagining Japan without Zen Buddhism is just like seeing an empty desolate place”. As Suzuki mentioned in the following:
If we want to see the degree to which Buddhism has entered into the history and life of the Japanese people, let us imagine that all the temples and the treasures sheltered therein
completely destroyed. Then we should feel what a desolate place Japan would be, in spite of all her natural beauty and kindly disposed people. The country would then look like a
deserted house with no furniture, no pictures, no screens, no sculptures, no tapestries, no gardens, no flower arrangements, no Nō plays, no art of tea and so on.
89
In other words, it can be said that Kawabata’s writings which written in a rich sense of haiku and Japanese culture are also influenced by the presence of
Zen Buddhism teaching. Related to this fact, the development of Zen Buddhism in Japan and also its significant influence toward Japanese literature, particularly
Kawabata’s writings need to be discussed further.
3. The Development of Zen Buddhism and Its Influence towards Japanese Literature
Buddhism becomes one of the major religions in Japan besides Shintō. Buddhism was born in India during the fifth and sixth centuries B.C. which
consists of a number of different sects. These sects emphasize different teachings of Buddha which affects the different attitude toward the nature of the universe
and how the spiritual enlightenment or satori is achieved. One of those sects is Zen Buddhism.
88
Suzuki, Zen and Japanese Culture 217.
89
ibid., p. 218.
41
Historically, Zen Buddhism originated from the teachings of Siddhartha Gautama and was brought from China in 1191.
90
The word ‘Zen’ itself is derived from the Japanese’s zazen which meant to sit and meditate. Besides, it is also a
translation of the Chinese’s ch’an, which in turn is the translation of the Indian’s dhyāna which meant meditation.
91
Based on the definition, at first Zen Buddhism began as a particular sect of Buddhism that known as an essentially meditative
one, but in its development it radically transformed the tradition of Buddhist discipline into dual practice of meditation and activity.
Later, some regard that Zen is a philosophical Buddhism teaching. Yet, Zen itself is not a philosophical teaching though there are some of great
Mahāyāna Buddhism philosophies that lie behind it.
92
The term philosophy in this context is only used to set the philosopher free from his own conceptual prison
which makes him in a total state of slavery. Thus, it can be said that Zen Buddhism philosophy is a non-philosophical teaching since it is “a philosophy to
undo philosophy”. Further, the spirit of Zen Buddhism is expressed in another paradoxical statement as quoted below:
“Before you have studied Zen, mountains are mountains and rivers are rivers; while you are studying it, mountains are no longer mountains and rivers are no longer rivers; but
once you have had enlightenment, mountains are once again mountains and rivers are rivers.”
93 90
Sidharta Gautama is known as a wealthy prince in a place that is now called India in the sixth century B.C. At the age of 29, deeply troubled by the suffering that he sees around him and
goes to seek understanding. After 6 years of struggling as an ascetic, he is able to achieve enlightenment. He believes that everything is subject to change and that suffering and
discontentment are the result of attachment to circumstances and things which, by their nature, are impermanent. This has made him called Buddha or ‘the one who is awake’.
91
Suzuki, Zen Buddhism: Selected Writings of D.T. Suzuki. ed. William Barrett. New York: Doubleday and Company, Inc, 1956 vii.
92
ibid., pp. xv-xviii.
93
ibid., xvi.
42
Based on the statement above, it can be said that the purpose of Zen is to free people from the bondage of their own conceptual prison about things in the
universe that always be put in the dualism concepts, such as: young and old, pretty and ugly, rich and poor, full and empty, death and life and so on. It offers an
alternative way which is full of freedom, naturalness and spontaneity.
94
This Zen Buddhism way invites ones to be natural and gain enlightenments naturally as
well as the sun rises warmly from the mountain peaks at dawn. It means that ones should be free, spontaneous and genuine in having an intense natural interaction
with the world and its all entities in order to achieve a harmonious life. Later, Zen Buddhism proposes an alternative perspective in dealing with
the dynamics of life. Zen Buddhism suggests people to gain ‘direct’ enlightenments through their personal experiences rather than to gain them
through books or Holy Scriptures.
95
In other words, it can be said that Zen Buddhism has a particular way to attain Buddhahood by pointing directly to one’s
own being as a part of natural entities. It means that one must be able to free himself from all conceptions, conventions and contradictions that are caused by
the intellect. Further, he needs to blend himself with the nature through the exploration of personal daily experience in order to return him to himself which is
part of nature.
96
As the result, it is hoped that the exploration of personal daily experience will lead to the achievement of spiritual enlightenment. This unique
spirit of Zen Buddhism can be found in this quotation below:
94
Suzuki, Zen and Japanese Culture 375.
95
ibid., p. 360.
96
Suzuki
,
An Introduction to Zen Buddhism. New York: Grove Press, Inc., 1977 33.
43
“Zen is a special transmission outside the Scriptures; No dependence upon words and letters; Direct pointing to the soul of the man; Seeing into one’s nature and the attainment
of Buddhahood.”
97
In addition, the presence of satori is very significant in the practice of Zen Buddhism teachings. Since satori is the essence of Zen Buddhism, it is even
mentioned that “there will be no Zen without satori and vice versa”.
98
Briefly, satori can be defined as the sudden flash of consciousness which can be gained
through the exploration of personal daily experiences in life.
99
Basically, satori is considered as a new birth which intellectually will lead one to a new point of view
in seeing the life itself. Further, Zen Buddhism often calls the satori moment as a personal moment of “returning to one’s own home” in which one will return him
to himself. This notion can be found in the quotation below:
“You have now found yourself; from the very beginning nothing has been kept away from you. It was yourself that closed the eye to the fact. In Zen, there is nothing to explain,
nothing to teach that will add to your knowledge. Unless it grows out of yourself, no knowledge is really of value to you, a borrowed plumage never grows.”
100
From the quotation above, it can be concluded that in Zen Buddhism teachings, one’s efforts in achieving satori means everything. Satori demands
personal exploration of everyday life experiences which will lead one to feel oneness with the nature and realize that nothing separated or stands alone since
everything is part of one whole natural unity.
101
The significance of satori in Zen Buddhism teachings influences the Japanese literature and its art convention which later becomes the essence of
97
Suzuki, Zen Buddhism: Selected Writings of D.T. Suzuki 9-10.
98
Suzuki, An Introduction to Zen Buddhism 94.
99
ibid., p. 95.
100
ibid., p. 97.
101
Suzuki, Zen and Japanese Culture 219.
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Japanese literary pieces in demanding a “spontaneous, fresh, sincere and genuine” response from the readers during their reading process.
102
In reading Japanese literary pieces, ones need to blend themselves with the nature through the use of
poetic natural symbols in the story. As a result, it is hoped that it will evoke the presence of poetry which maintains their flowing imagination. Further, the
presence of poetry will evoke and trigger the flash of satori. Related to its important role in Zen Buddhism teaching, satori is regarded as “the opening of the
mind flower” or “the removing of the bar”, or “the brightening up of the mind- works” which will enrich the inner life with a pocket seeds of wisdom.
103
The presence of Zen Buddhism teachings and the notion of emptiness also bring a significant influence toward Japanese literature and its art convention. It
can be seen in a form of haiku that takes emptiness as its inspirational source of Japanese literary tradition. As it can be seen in the haiku composed by a famous
Japanese poet named Matsuo Bashō 1644-1694 below:
old pond- a frog jumps in-
water’s sound furuike ya kawazu tobikomu mizu no oto
104
This haiku written by Bashō is considered as a suitable example of the term emptiness that is adapted by the Japanese taken from Zen Buddhism
teachings. It is because Bashō, as the writer, puts all of the natural images that can be found in the haiku in a contrast way to evoke the presence of poetry. Bashō
102
ibid., p. 220.
103
Suzuki, Zen Buddhism: Selected Writings of D.T. Suzuki 85.
104
Basho 8.
45
prefers to use the frog in its silent manner rather than emphasizes its noisy croak. Then, he uses the frog to echo the sound of splashing water in the quiet summer.
Further, the frog is used to represent the nature tranquility that is awakened by the sound of splashing water as the frog leaps into the pond. It creates a very different
sound that is so refreshing and sudden for the readers-as if they are listening to it. Later, that sound fulfills the realm of the readers’ flowing imagination about the
water ripples that spread throughout the pond and then disappears as the water stopped splashing. As its further impact, this haiku has given a true beautiful
nature sketch to the readers that evoke the presence of poetry about the certainty of changes and finally leads to the achievement of satori about the transience of
life. It is aligned with the essence of Zen Buddhism teachings about emptiness that offers an alternative perspective in seeing things as the way they are.
105
This true nature sketch is related to the Japanese idea of “poetic essences” or hon’i
which is handed down in Japanese literary tradition.
106
Further, these poetic essences are able to capture and appreciate the true nature of things that evokes
the presence of poetry in Japanese literary works. Besides, it is aligned with the statement of medieval poet named Fujiwara Shunzei 114-1204 which is quoted
by Hashimoto Fumio found in Marra’s book that believes in the significant presence of poetry in literary works, particularly haiku, due to its role in creating
an amazing experience of a vivid imagination through the poet’s words in order to make the readers see, smell, touch, hear or even taste various things in haiku.
107
105
Suzuki, Zen and Japanese Culture 218.
106
Haruo Shirane, Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashō. Stanford: Stanford University Press, 1998 295
107
Marra, Essays on Japan: Between Aesthetics and Literature 65.
46
Next, this notion is also adopted by many Japanese writers who later established shin kankaku ha or Neo-Sensualist school.
108
One of those writers is Yasunari Kawabata that applies the new techniques of literary expression in his
writings through the use of language as a means to express the depth of human’s feeling through sensory experience.
109
It can be seen in one of his writings entitled “Goldfish on the Roof” that can be found in his compilation of short stories found
in Palm of the Hand Stories:
There was a large mirror at the head of Chiyoko’s bed. Every night, when she let her hair down and buried one cheek in the pillow, she would
gaze quietly at the mirror. A vision of thirty or forty lion-head goldfish would appear there, like red artificial flowers submerged in a water tank. Some nights the moon was
also reflected among them.
110
From the quotation above, it can be seen that Kawabata opens the story in a simple way by telling the readers about the minimalist setting of the story in
order to evoke the readers’ imagination. Since the very beginning, Kawabata obviously asks the readers to jump into the mysterious realm that he created in the
story and then use their flowing imagination and full senses as he starts narrating the story. In telling his story, Kawabata makes the readers really feel the poetry
found in the story through their own sensory experiences. He wants them to feel the pillow’s tenderness and the smooth of Chiyoko’s hair when she lays her head
on the pillow or even make them see a vivid vision of the forty red lion-heads that look like red artificial flowers in their realm of imagination. Moreover, he wants
108
Cornyetz 18.
109
Starrs, Modernism and Japanese Culture, New York: Palgrave Macmillan, 2011 153.
110
Kawabata, Palm of the Hand Stories, trans. Lane Dunlop and J. Martin Holman New York: North Point Press, Farrar, Straus and Giroux, 1988 76.
47
the readers to feel and share Chiyoko’s melancholy feeling when she is gazing at the moving red reflection of thirty or forty lion-head goldfish at the mirror. As it
can be seen through the story above, the beautiful narration that he weaved throughout the story is able to give a sudden flash of satori about the transience of
life as the beautiful reflection of those thirty or forty red lionhead goldfish appeared and disappeared as well as the presence of the moon that plays hide and
seek with the clouds for some nights. Kawabata’s way in describing the complexity of human’s feeling is very poetic and considered as an exotic quality
of Japanese literary tradition which makes him won Nobel Prize of Literature in 1968. Moreover, the story above has proven Kawabata’s top-class quality both as
a Japanese writer and as a world-class writer due to his ability in aligning Japanese literary tradition and human values rooted in Japanese culture and its
dense Zen flavor. Hence, it can be drawn that Japanese literary pieces, particularly
Kawabata’s writings, are painted with the unique colors dipped in the thick influence of Zen Buddhism teachings. Further, these teachings also influence the
way Japanese in seeing the notion of death itself.
4. The Japanese View on Death
