To my knowledge there are no anthologies of Ch’an poetry in Chinese, Japanese or English which describe in detail the method of practice and the experience of Ch’an Furthermore, there are few prose sources in English dealing with the same topics On the other hand, there are numerous books in English that relate the episodes of the kung-ans(koans)The prevailing view that comes from reading these stories is that the practice of Ch’an is methodless, and since there is no way to describe the experience of Ch’an, it is suggested that we just go ahead and practice by studying the kung-ans The purpose of these poems is different in that they specifically show you how to practice, what attitudes to cultivate and what pitfalls to beware of Finally, they attempt to describe the ineffable experience of Ch’an itself These poems flow directly from the minds of the enlightened Ch’an masters; we get a glimpse into their experience at the time of, and after their enlightenment In contrast, in reading a kung-an we get an objective story of what happened and we don’t really know what was in their minds. It is my hope that this collection of poems will give those who are interested in the practice a new way of looking at Ch’an and a more balanced view of the scope of Ch’an literature The present selection is offered to make this tradition available to Western readers who may otherwise not be aware of their existence.
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法鼓山大殿三寶佛 3D立體雕刻水晶桌飾
『禮敬三寶佛』,願得智慧法財,眾生生命圓滿和諧。
法鼓山大殿供奉的三寶佛,是指東方藥師佛、中央釋迦牟尼佛、西方阿彌陀佛。三尊佛像法相面容相同,差異在於手印的不同,中間的釋迦牟尼佛即佛陀;右尊藥師佛右手是「與願印」,左手為持定印;左尊的阿彌陀佛是雙手結「法界定印」,不同手印代表佛的悲願和德行。釋迦牟尼佛右手結「說法印」,左手持定印,代表佛的悲願與德行。其總條流暢,佛面圓滿,面容慈祥,尤其寬廣的雙肩與結實的胸膛、穩重的結跏趺坐,展現恢弘、莊嚴的氣勢。產品特色.木座上刻有【本來面目】四個字,『聖嚴』法師落款
產品規格.內容:水晶桌飾1個、木座1個.材質:人造水晶玻璃 + 山毛櫸木座.尺寸: 水晶:底座長約 8 x 寬 5 x 高 6.5公分,斜梯形 木座:長約 10 x 寬 7 x 高 2.3公分.製造地:臺灣
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From The Preface By Dan Stevenson EN. SHENG YEH is a master in the Caodong and Linji lineages of Chan〈Zen〉 school, who for twenty five years now has been guiding students from Taiwan, the United States, and Europe in the practice of Chan Buddhism. Hoofprint of the Ox provides a systematic introduction ─ in Sheng yen,s own words ─ to the principles that inform his particular style of Chan training.... In the final analysis, it is an unabashedly normative work ─ a book on Chan practice addressed to an English speaking audience with a personal interest in Buddhism. To the extent that this audience is also primarily Western, Hoofprint is more than passive report of Sheng yen,s personal convictions. It situates those convictions in responsive relation to specific expectations about Chen practice current among Western students, with specific points to be made.