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Kan
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"Koan" redirects here. For other uses, see Koan (disambiguation).
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Current events A kan (?) (/ko.n/; Chinese : ; pinyin: Part of a series on
Random article gng'n; Korean : kong'an ; Vietnamese : cng Zen Buddhism
Donate to Wikipedia n) is a story , dialogue , question, or statement, which
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is used in Zen practice to provoke the "great doubt"
Interaction and test a student's progress in Zen practice.

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Contents
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About Wikipedia Persons [show]
1 Etymology
Community portal
Doctrines [show]
Recent changes 2 Origins and development
2.1 China Traditions [show]
Contact page
2.1.1 Commenting on old cases Awakening [show]
Tools 2.1.2 Literary practice Teachings [show]
What links here 2.1.3 Observing the phrase Practice [show]
Related changes 2.1.4 Interaction Schools [show]
Upload file 2.1.5 Contemporary koan-use
Related schools [show]
Special pages 2.2 Japan
Permanent link VTE
2.2.1 Koan manuals
Page information
2.2.2 Contemporary koan curricula
Wikidata item Part of a series on
2.2.3 Suppression in the Soto-school
Cite this page Buddhism
3 Doctrinal background
Print/export 4 Koan-practice
Create a book 4.1 Hua-tou or breakthrough-koan
Download as PDF 4.2 Insight
Printable version 4.3 Testing insight - or learning responses
4.3.1 Sassho Checking questions
In other projects 4.3.2 Jakugo Capping phrases History [show]

Wikiquote 4.4 Post-satori practice Dharma Concepts [show]

5 Varieties in koan-practice Buddhist texts [show]

Languages
5.1 Chinese Chn and Korean Seon Practices [show]
5.2 Japanese Rinzai Nirva [show]
Catal 5.2.1 Importance of koan-study
etina Traditions [show]
5.2.2 Koan curricula
Deutsch Buddhism by country [show]
5.2.3 Post-satori practice
Espaol Outline
5.2.4 Breathing practices
Esperanto Buddhism portal
Euskara 5.3 Japanese Soto
5.4 Sanbo Kyodan and White Plum Asanga VTE
Franais
6 Classical kan collections
Italiano 6.1 The Blue Cliff Record
6.2 The Book of Equanimity
Latvieu 6.3 The Gateless Gate
Ltzebuergesch 6.4 The True Dharma Eye

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Magyar
7 Examples of traditional kans
Nederlands
7.1 Does a dog have Buddha-nature

7.2 The sound of one hand
Norsk bokml
7.3 Original Face
Polski
Portugus 7.4 Killing the Buddha
7.5 Other koans
Sicilianu 8 See also
Simple English 9 Notes
Slovenina 10 References
Slovenina 10.1 Book references
/ srpski 10.2 Web references
Srpskohrvatski /
11 Sources
Suomi 12 Further reading
Svenska 13 External links
Trke

Ting Vit Etymology [ edit ]

Edit links The Japanese term kan is the Sino-Japanese reading of the Chinese word gong'an (Chinese : ;
pinyin: gng'n; WadeGiles: kung-an ; literally: "public case"). The term is a compound word,
consisting of the characters "public; official; governmental; common; collective; fair; equitable" and
"table; desk; (law) case; record; file; plan; proposal."

According to the Yuan Dynasty Zen master Zhongfeng Mingben ( 12631323), gng'n
originated as an abbreviation of gngf zh nd (, Japanese kfu no antokuliterally the
andu "official correspondence; documents; files" of a gongfu "government post"), which referred to a
"public record" or the "case records of a public law court" in Tang-dynasty China. [1][2][note 1]
Kan/gong'an thus serves as a metaphor
for principles of reality beyond the private opinion of one
person, and
a teacher may test the student's ability to recognize and understand that principle.

Commentaries in kan 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]

Gong'an was itself originally a metaphoran article of furniture that came to denote legal precedents.
For example, Di Gong'an () is the original title of Celebrated Cases of Judge Dee , the famous
Chinese detective novel
based on a historical Tang dynasty judge. Similarly, Zen kan collections are
public records of the notable sayings and actions of Zen
disciples and masters attempting to pass on their
teachings.

Origins and development [ edit ]

China [ edit ]

Commenting on old cases [ edit ]

Gongans developed during the Tang dynasty (618907) [5]

from the recorded sayings collections of Chn-
masters, which quoted many stories of "a famous past Chn figure's encounter with disciples or other
interlocutors and then offering his own comment on it".[6]
Those stories and the accompanying comments
were used to educate students, and broaden their insight into the Buddhist teachings.

Those stories came to be known as gongan, "public cases". [6] Such a story was only considered a gongan
when it was commented upon by another Chn-master.[6]
This practice of commenting on the words and
deeds of past masters confirmed the master's position as an awakened master in a lineage of awakened

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masters of the past.[7]

Literary practice [ edit ]

Koan practice developed from a literary practice, styling snippets of

encounter-dialogue into well-edited
stories. It arose in interaction with "educated literati".[8] There were dangers involved in such a literary
approach, such as ascribing specific meanings to the cases.[8] Dahui Zonggao is even said to have burned
the woodblocks of the Blue Cliff Record , for the hindrance it had become to study of Chn by his
students.[9]
Kan literature was also influenced by the pre-Zen Chinese tradition of
the "literary game"a
competition involving improvised poetry.[10]

The style of writing of Zen texts has been influenced by "a variety of east Asian literary games":[11]

1. The extensive use of allusions , which create a feeling of disconnection with the
main theme;
2. Indirect references, such as titling a poem with one topic and composing a verse
that seems on the surface to be totally unrelated;
3. Inventive wordplay based on the fact that kanji (Chinese characters)
are
homophonic and convey multiple, often complementary or contradictory meanings;
4. Linking the verses in a sustained string based on hidden points of connection or
continuity, such as seasonal imagery or references to myths and legends.[11]

Observing the phrase [ edit ]

During the Song dynasty (9601297) the use of gongans took a decisive turn. Dahui Zonggao (1089
1163)[note 2] introduced the use of kanhua , "observing the phrase". In this practice students were to
observe (kan ) or concentrate on a single word or phrase (huatou ), such as the famous mu of the mu-
koan.[12]

In the eleventh century this practice had become common. [5]

A new literary genre developed from this
tradition as well. Collections
of such commented cases were compiled which consisted of the case itself,
accompanied by verse or prose commentary.[13]

Dahui's invention was aimed at balancing the insight developed by reflection on the teachings with
developing samatha , calmness of mind.[14] Ironically, this development became in effect silent
illumination,[15] a "[re-absorbing] of koan-study into the "silence" of meditation (ch'an )".[16] It led to a
rejection of Buddhist learning:

Some extent of Buddhist learning could easily have been recognized as a precondition for
sudden awakening
in Chan. Sung masters, however, tended to take the rejection literally
and nondialectically. In effect, what they instituted was a form of Zen fundamentalism: the
tradition came to be increasingly anti-intellectual in orientation and, in the process, reduced
its complex heritage to simple formulae for which literal interpretations were thought
adequate.[17]

This development left Chinese Chan vulnerable to criticisms by neo-Confucianism, which developed after
the Sung Dynasty. Its anti-intellectual rhetoric was no match for the intellectual discourse of the neo-
Confucianists.[18]

Interaction [ edit ]

The recorded encounter dialogues, and the koan collections which derived from this genre, mark a shift
from solitary practice to interaction between master and student:

The essence of enlightenment came to be identified with the interaction between masters

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and students. Whatever insight dhyana

might bring, its verification was always
interpersonal. In effect, enlightenment came to be understood not so much as an insight, but
as a way of acting in the world with other people[19]

This mutual enquiry of the meaning of the encounters of masters and students of the past gave students a
role model:

One looked at the enlightened activities of one's lineal forebears in

order to understand
one's own identity [...] taking the role of the participants and engaging in their dialogues
instead[20][note 3]

Kan training requires a qualified teacher who has the ability to judge a disciple's depth of attainment. In
the Rinzai Zen school ,
which uses kans extensively, the teacher certification process includes an
appraisal of proficiency in using that school's extensive kan curriculum.

Contemporary koan-use [ edit ]

In China and Korea, "observing the phrase" is still the sole form of koan-practice, though Seung Sahn
used the Rinzai-style of koan-practice in his Kwan Um School of Zen .[21]

Japan [ edit ]

Japanese Zen, both Rinzai and Soto , took over the use of koan-study and -commenting. In Soto-Zen,
koan commentary was not linked to seated meditation.[22]

Koan manuals [ edit ]

When the Chn-tradition was introduced in Japan, Japanese monks had to master the Chinese language
and specific expressions used in the koan-training. The desired "spontaneity" expressed by enlightened
masters required a thorough study of Chinese language and poetry.[23] Japanese Zen imitated the Chinese
"syntax and stereotyped norms".[24]

In the officially recognized monasteries belonging to the Gozan

(Five Mountain System) the Chinese
system was fully continued. Senior monks were supposed to compose Chinese verse in a complex style of
matched counterpoints known as bienli wen . It took a lot of literary and intellectual skills for a monk to
succeed in this system.[25]

The Rinka-monasteries ,
the provincial temples with less control of the state, laid less stress
on the correct
command of the Chinese cultural idiom. These monasteries
developed "more accessible methods of koan
instruction".[25] It had three features: [25]

1. A standardized koan-curriculum;
2. A standardized set of answers based on stereotypes Chinese sayings;
3. A standardized method of secretly guiding students through the curriculum of koan and answers.

By standardizing the koan-curriculum every generation of students proceeded to the same series of
koans.[25] Students had to memorize a set number of stereotyped sayings, agy, "appended words".[26]
The proper series of responses for each koan were taught by the master in private instruction-sessions to
selected individual students who would inherit the dharma lineage.[27]

Missanroku and missanch, "Records of secret instruction" have been preserved for various Rinzai-
lineages. They contain both the koan-curricula and the standardized answers.[28][note 4] In Soto-Zen they
are called monsan , an abbreviation of monto hissan , "secret instructions of the lineage".[28] The monsan
follow a standard question-and-answer format. A series of questions is given, to be asked by the master.
The answers are also given by the master, to be memorized by the student.[31]

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Contemporary koan curricula [ edit ]

In the eighteenth century the Rinzai school became dominated by the legacy of Hakuin , who laid a strong
emphasis on koan study as a means to gain kensho and develop insight. [22]
There are two curricula used
in Rinzai, both derived from the principal
heirs of Rinzai: the Takuju curriculum, and the Inzan
curriculum.[32] According to AMA Samy , "the koans and their standard answers are fixed."[33]

Suppression in the Soto-school [ edit ]

During the late eighteenth and nineteenth century the tradition of koan-commentary became suppressed in
the Soto-school, due to a reform movement that sought to standardise the procedures for dharma
transmission.[22]
One reason for suppressing the koan-tradition in the Soto-school may have been to
highlight the differences with the Rinzai-school, and create a clear identity.[22] This movement also
started to venerate Dogen
as the founding teacher of the Soto-school. His teachings became the standard
for the Soto-teachings, neglecting the fact that Dogen himself made extensive use of koan-
commentary.[22]

Doctrinal background [ edit ]

The popular western understanding sees kan as referring to an unanswerable question or a meaningless
statement.
However, in Zen practice, a kan is not meaningless, and not a riddle or a puzzle. Teachers do
expect students to present an appropriate response when asked about a kan.[34][35][36] [37]

Koans are also understood as pointers to an unmediated "Pure Consciousness", devoid of cognitive
activity.[38] Victor Hori criticizes this understanding:

[A] pure consciousness without concepts, if there could be such a thing, would be a
booming, buzzing confusion, a sensory field of flashes
of light, unidentifiable sounds,
ambiguous shapes, color patches without significance. This is not the consciousness of the
enlightened Zen master.[39]

According to Hori, a central theme of many koans is the 'identity of opposites':[40][41]

[K]oan after koan explores the theme of nonduality. Hakuin's well-known koan, "Two
hands clap and there is a sound, what is the sound
of one hand?" is clearly about two and
one. The koan asks, you know what duality is, now what is nonduality? In "What is your
original face
before your mother and father were born?" the phrase "father and mother"
alludes to duality. This is obvious to someone versed in the Chinese tradition, where so
much philosophical thought is presented in the imagery of paired opposites. The phrase
"your original face" alludes
to the original nonduality.[40]

Comparable statements are: "Look at the flower and the flower also looks"; "Guest and host
interchange".[42]

Koan-practice [ edit ]

Study of kan literature is common to all schools of Zen, though with varying emphases and
curriculae.[43] The Rinzai-school uses extensive koan-curricula, checking questions, and jakogo
("capping phrases", quotations from Chinese poetry) in its use of koans.[44] The Sanbo Kyodan , and its
western derivates of Taizan Maezumi and the White Plum Asanga , also use koan-curricula, but have
omitted the use of capping phrases.[43] In Chinese Chn and Korean Seon, the emphasis is on Hua Tou ,
the study of one koan throughout one's lifetime.[21] In Japanese Soto-Zen, the use of koans has been
abandoned since the late eighteenth and nineteenth century.[45]

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Hua-tou or breakthrough-koan [ edit ]

In the Rinzai-school, the Sanbo Kyodan, and the White Plum Asanga, koan practice starts with the
assignment of a hosshi or "break-through koan", usually the mu-koan or "the sound of one hand
clapping".[32] In Chinese Chn and Korean Seon, various koan can be used for the hua-tou practice.

Students are instructed to concentrate on the "word-head", like the phrase "mu". In the Wumenguan
(Mumonkan), public case #1 ("Zhaozhou's Dog"), Wumen (Mumon) wrote:

... concentrate yourself into this 'W' ... making your whole body one great inquiry. Day and
night work intently at it. Do not attempt nihilistic or dualistic interpretations."[46]

Arousing this great inquiry or "Great Doubt" is an essential element of kan practice. It builds up "strong
internal pressure (gidan ), never stopping knocking from within at the door of [the] mind, demanding to be
resolved".[47] To illustrate the enormous concentration required in kan meditation, Zen Master Wumen
commented,

It is like swallowing a red-hot iron ball. You try to vomit it out, but you can't.

Analysing the koan for its literal meaning won't lead to insight, though understanding the context from
which koans emerged can make them more intelligible. For example, when a monk asked Zhaozhou
(Joshu) "does
a dog have Buddha-nature or not?", the monk was referring to the understanding of the
teachings on Buddha-nature , which were understood in the Chinese context of absolute and relative
reality.[48][49][note 5]

Insight [ edit ]

The continuous pondering of the break-through koan ( shokan [50]) or Hua Tou , "word head", [51] leads to
kensho , an initial insight into "seeing the (Buddha-)nature .[52]

The aim of the break-through koan is to see the "nonduality of subject and object":[40][41]

The monk himself in his seeking is the koan. Realization of this is the insight; the response
to the koan [...] Subject and object - this is
two hands clapping. When the monk realizes that
the koan is not merely an object of consciousness but is also he himself as the activity of
seeking an answer to the koan, then subject and object are no longer separate and distinct
[...] This is one hand clapping.[53]

Various accounts can be found which describe this "becoming one" and the resulting breakthrough:

I was dead tired. That evening when I tried to settle down to sleep, the instant I laid my
head on the pillow, I saw: "Ah, this outbreath is Mu!" Then: the in-breath too is Mu!" Next
breath, too: Mu! Next breath: Mu, Mu! "Mu, a whole sequence of Mu! Croak, croak; meow,
meow - these too are Mu! The bedding, the wall, the column, the sliding-door - these too
are Mu! This, that and everything is Mu! Ha ha! Ha ha ha ha Ha! that
roshi is a rascal! He's
always tricking people with his 'Mu, Mu, Mu'!...[54][note 6]

But the use of the mu-koan has also been criticised. According to AMA Samy , the main aim is merely to
"'become one' with the koan".[56] Showing to have 'become one' with the first koan is enough to pass the
first koan.[56] According to Samy, this is not equal to prajna :

The one-pointed, non-intellectual concentration on the hua-tou

(or Mu) is a pressure-
cooker tactics, a reduction to a technique which can produce some psychic experiences.

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These methods and techniques are forced efforts which can even run on auto-pilot. They
can produce experiences but not prajana wisdom. Some speak of investigating the hua-
tou, but it is rather a matter of concentration, which sometimes can provide insights, yet no
more than that.[56]

Testing insight - or learning responses [ edit ]

Sassho Checking questions [ edit ]

Teachers may probe students about their kan practice using sassho , "checking questions" to validate
their satori (understanding) or kensho (seeing the nature). [57] For the mu-koan and the clapping hand-
koan there are twenty to a hundred checking questions, depending on the teaching lineage.[58] The
checking questions serve to deepen the insight of the student, but also to test his or her understanding.[58]

Those checking questions, and their answers, are part of a standardised set of questions and
answers.[29][59][56] Students are learning a "ritual performance",[59] learning how to behave and response
in specific ways,[29][59][56] learning "clever repartees, ritualized language and gestures and be submissive
to the masters diktat and arbitration."[56]

Jakugo Capping phrases [ edit ]

In the Rinzai-school, passing a koan and the checking questions has to be supplemented by jakugo ,
"capping phrases", citations of Chinese poetry to demonstrate the insight.[60][61] Students can use
collections of those citations, instead of composing poetry themselves.[60][61]

Post-satori practice [ edit ]

After the initial insight further practice is necessary, to deepen the insight and learn to express it in daily
life.[62] In Chinese Chn and Korean Seon, this further practice consists of further pondering of the same
Hua Tou.[web 1] In Rinzai-Zen, this further practice is undertaken by further koan-study, for which
elaborate curriculae exist.[32][63] In Soto-Zen, Shikantaza is the main practice for deepening insight.

Varieties in koan-practice [ edit ]

Chinese Chn and Korean Seon [ edit ]

Main article: Hua Tou

In Chinese Chn and Korean Seon, the primary form of Koan-study is kanhua , "reflection on the
koan",[64] also called Hua Tou , "word head".[51] In this practice, a fragment of the koan, such as " mu ", or
a "what is"-question is used by focusing on this fragment and repeating it over and over again:[web 2][21]

Who is it who now repeats the Buddha's name?

Who is dragging this corpse about?

What is this?
What is it?
What was the original face before my father and mother were born?
Who am I?[web 3]

The student is assigned only one hua-tou for a lifetime. [51] In contrast to the similar-sounding "who am
I?" question of Ramana Maharshi, hua-tou involves raising "great doubt": [web 1]

This koan becomes a touchstone of our practice: it is a place to put our doubt, to cultivate
great doubt, to allow the revelation of great faith, and to focus our great energy.[51]

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Japanese Rinzai [ edit ]

Kan practice is particularly important among Japanese practitioners of the Rinzai sect.

Importance of koan-study [ edit ]

This importance is reflected in writings in the Rinzai-school on the koan-genre. Zhongfeng

Mingben[note 7] (12631323), [65] a Chinese Chn-master who lived at the beginning of the Yuan Dynasty ,
revitalized the Rinzai-tradition,[66]
and put a strong emphasis on the use of koans. He saw the kung-ans as
"work of literature [that] should be used as objective, universal standards to test the insight of monks who
aspired to be recognized as Ch'an masters":[12]

The koans do not represent the private opinion of a single man, but rather the hundreds and
thousands of bodhisattvas of the three realms and ten directions .
This principle accords
with the spiritual source, tallies with the mysterious meaning, destroys birth-and-death, and
transcends the passions. It cannot be understood by logic; it cannot be transmitted in words;
it cannot be explained in writing; it cannot be measured by reason. It is like the poisoned
drum that kills all who hear it, or like
a great fire that consumes all who come near it. What
is called "the special transmission of the Vulture Peak" was the transmission of this; what is
called the "direct pointing of Bodhidharma at Shao-lin-ssu" is this. [67]

Mus Soseki (12751351), a Japanese contemporary of Zhongfeng Mingben, relativized the use of
koans.[68]
The study of koans had become popular in Japan, due to the influence of
Chinese masters such
as Zhongfeng Mingben. Despite belonging to the Rinzai-school, Mus Soseki also made extensive use of
richi (teaching), explaining the sutras, instead of kikan (koan). According to Mus Soseki, both are
upaya , "skillful means" meant to educate students.[68] Mus Soseki called both shkogyu, "little jewels",
tools to help the student to attain satori .[68][note 8]

Koan curricula [ edit ]

In Rinzai a gradual succession of koans is studied. [73]

There are two general branches of curricula used
within Rinzai, derived
from the principal heirs of Rinzai: the Takuju curriculum, and the Inzan
curriculum. However, there are a number of sub-branches of these, and additional variations of curriculum
often exist between individual teaching lines which can reflect the recorded experiences of a particular
lineage's members. Koan curricula are, in fact, subject to continued accretion and evolution over time, and
thus are best considered living traditions of practice rather than set programs of study.

Koan practice starts with the shokan , or "first barrier", usually the mu-koan or the koan "What is the
sound of one hand clapping?"[50] After having attained kensho , students continue their practice
investigating subsequent koans.[74] In the Takuju-school, after breakthrough students work through the
Gateless Gate (Mumonkan), the Blue Cliff Record (Hekigan-roku), the Entangling Vines (Shumon
Kattoshu), and the Collection of Wings of the Blackbird (, Chin'u sh).[75] The Inzan-school uses
its own internally generated list of koans.[75]

Hakuin's descendants developed a fivefold classification system: [73]

1. Hosshin, dharma-body koans, are used to awaken the first insight into sunyata .[73] They reveal
the dharmakaya , or Fundamental.[76] They introduce "the undifferentitated and the
unconditional".[77]
2. Kikan, dynamic action koans, help to understand the phenomenal world as seen from the
awakened point of view;[78] Where hosshin koans represent tai, substance, kikan koans represent
yu, function. [79]

3. Gonsen, explication of word koans, aid to the understanding of the recorded sayings of the old
masters.[80]
They show how the Fundamental, though not depending on words, is nevertheless

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expressed in words, without getting stuck to words.[81]

4. Hachi Nanto, eight "difficult to pass" koans. [82]
There are various explanations for this category,
one being that these koans cut off clinging to the previous attainment. They create another Great
Doubt, which shatters the self attained through satori.[83] It is uncertain which are exactly those
eight koans.[84] Hori gives various sources, which altogether give ten hachi nanto koans: [85]

Miura and Sasaki:

Nansen's Flower (Hekigan-roku Case 40)
A Buffalo Passes the Window (Mumonkan Case 38)
Szan's Memorial Tower (Katt-sh Case 140)
Suigan's Eyebrows (Hekigan-roku Case 8)
Enkan's Rhinoceros Fan (Hekigan-roku Case 91)
Shimano:
The Old Woman Burns the Hut (Katt-sh Case 162)
Asahina Sgen:
Goso Hen's "Hakuun Said 'Not Yet'" (Katt-sh Case 269)
Shuzan's Main Cable (Katt-sh Case 280).
Akizuki:
Nansen Has Died (Katt-sh Case 282)
Kenps Three Illnesses (Katt-sh Case 17).
5. Goi jujukin koans, the Five Ranks of Tozan and the Ten Grave Precepts.[86][82]

According to Akizuki there was an older classification-system, in which the fifth category was Kojo,
"Directed upwards". This category too was meant to rid the monk of any "stink of Zen".[87] The very
advanced practitioner may also receive the Matsugo no rokan, "The last barrier, and Saigo no ikketsu ,
"The final confirmation".[87] "The last barrier" when one left the training hall, for example "Sum up all of
the records of Rinzai in one word!"[87] It is not meant to be solved immediately, but to be carried around
in order to keep practising.[87] "the final confirmation" may be another word for the same kind of koan.[87]

Post-satori practice [ edit ]

Completing the koan-curriculum in the Rinzai-schools traditionally also led to a mastery of Chinese
poetry and literary skills:

[D]isciples today are expected to spend a dozen or more years with a master to complete a
full course of training in koan commentary. Only when a master is satisfied that a disciple
can comment appropriately on a
wide range of old cases will he recognize the latter as a
dharma heir and give him formal "proof of transmission" (J. inka shomei ). Thus, in reality,
a lot more than satori is required for one to be recognized as a master (J. shike , roshi ) in
the Rinzai school of Zen at present. The accepted proof of satori is a set of literary and
rhetorical skills that takes many years to acquire.[88]

After completing the koan-training, Gogo no shugyo , post-satori training is necessary:[89]

[I]t would take 10years to solve all the kans [...] in the sd. After the student has solved
all koans, he can leave the sd and live on his own, but he is still not considered a roshi.
For this he has
to complete another ten years of training, called "go-go-no-shugy" in
Japanese. Literally, this means "practice after satori/enlightenment", but Fukushima
preferred the translation "special practice". Fukushima would explain that the student builds
up a "religious personality" during this decade.
It is a kind of period that functions to test if
the student is actually able to live in regular society and apply his koan understanding to

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daily life, after he has lived in an environment that can be quite surreal and detached from
the lives of the rest of humanity. Usually, the student lives in small parish temple during
this decade, not in a formal training monastery.[web 4]

Breathing practices [ edit ]

Hakuin Ekaku ,
the 17thcentury revitalizer of the Rinzai school, taught several practices which serve to
correct physical and mental imbalances arising from, among other things, incorrect or excessive koan
practice. The "soft-butter" method (nanso no ho ) and "introspection method" (naikan no ho ) involve
cultivation of ki centered on the tanden (Chinese: dantian ). These practices are described in Hakuin's
works Orategama and Yasen Kanna , and are still taught in some Rinzai lineages today.

Japanese Soto [ edit ]

Though few Soto practitioners concentrate on kans during meditation,

the Soto sect has a strong
historical connection with kans, since many
kan collections were compiled by Soto priests.

During the 13thcentury, Dgen, founder of the Soto sect in Japan, quoted 580 kans in his teachings.[90]
He compiled some 300 kans in the volumes known as the Greater Shbgenz. Dgen wrote of
Genjokan, which points out that everyday life experience is the fundamental kan.

However, according to Michel Mohr,

...kan practice was largely expunged from the Soto school through the efforts of Gent
Sokuch (17291807), the eleventh abbot of Entsuji, who in 1795 was nominated abbot of
Eiheiji".[45]

Sanbo Kyodan and White Plum Asanga [ edit ]

The Sanbo Kyodan school and the White Plum Asanga , which originated with the Soto-priest Hakuun
Yasutani, incorporates koan-study. The Sanbo kyodan places great emphasis on kensho , initial insight
into one's true nature,[91] as a start of real practice. It follows the so-called Harada-Yasutani koan-
curriculum, which is derived from Hakuin 's
student Takuju. It is a shortened koan-curriculum, in which
the socalled "capping phrases" are removed. The curriculum takes considerably less time to study than the
Takuju-curriculum of Rinzai.[92]

To attain kensho, most students are assigned the mu-koan. After breaking through, the student first studies
twenty-two "in-house"[75] koans, which are "unpublished and not for the general public",[75] but are
nevertheless published and commented upon.[93][web 5] There-after, the students goes through the Gateless
Gate (Mumonkan), the Blue Cliff Record , the Book of Equanimity , and the Record of Transmitting the
Light.[75] The koan-curriculum is completed by the Five ranks of Tozan and the precepts. [94]

Classical kan collections [ edit ]

Kans collectively form a substantial body of literature studied by Zen practitioners and scholars
worldwide. Kan collections commonly referenced in English include:

The Blue Cliff Record (Chinese: Byn L; Japanese: Hekiganroku), 12th century;
The Book of Equanimity (also known as the Book of Serenity; Chinese: Cngrng L; Japanese:
Shoyoroku), 12th century;
The Gateless Gate (also known as The Gateless Barrier ; Chinese: Wmngun; Japanese:
Mumonkan ) collected during the 13thcentury).

In these and subsequent collections, a terse "main case" of a kan often accompanies prefatory remarks,
poems, proverbs and other phrases, and further commentary about prior emendations.

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The Blue Cliff Record [ edit ]

The Blue Cliff Record (Chinese: Byn L; Japanese: Hekiganroku) is a collection of 100 kans
compiled in 1125 by Yuanwu Keqin ( 10631135).

The Book of Equanimity [ edit ]

The Book of Equanimity or Book of Serenity (Chinese: Cngrng l; Japanese:

Shyroku) is a collection of 100 Kans by Hongzhi Zhengjue (Chinese: ; Japanese: Wanshi
Shgaku) (10911157), compiled with commentaries by Wansong Xingxiu (11661246). The full title is
The
Record of the Temple of Equanimity With the Classic Odes of Venerable Tiantong Jue and the
Responsive Commentary of Old Man Wansong (Wansong
Laoren Pingchang Tiantong Jue Heshang Songgu Congrong An Lu) (Taisho Tripitaka Vol. 48, No. 2004)

The Gateless Gate [ edit ]

The Gateless Gate (Chinese: Wumenguan; Japanese: Mumonkan) is a collection of 48 kans and
commentaries published in 1228 by Chinese monk Wumen () (11831260). The title may be more
accurately rendered as Gateless Barrier or Gateless Checkpoint ).

Five kans in the collection derive from the sayings and doings of Zhaozhou Congshen , (transliterated as
Chao-chou in Wade-Giles and pronounced Jsh in Japanese).

The True Dharma Eye [ edit ]

The True Dharma Eye 300 (Shbgenz Sanbyakusoku) is a collection of 300 kans compiled by Eihei
Dgen.

Other kan collections compiled and annotated by Soto priests include:

The Iron Flute (Japanese: Tetteki Tosui, compiled by Genro in 1783)

Verses and Commentaries on One Hundred Old Cases of Tenchian (Japanese: Tenchian
hyakusoku hyoju, compiled by Tetsumon in 1771.)

Examples of traditional kans [ edit ]

Does a dog have Buddha-nature [ edit ]

Main article: Mu (negative)

A monk asked Zhozhu, "Does a dog have Buddha nature or not?" Zhaozhou said, " W".

("Zhaozhou" is rendered as "Chao-chou" in Wade-Giles ,

and pronounced "Joshu" in Japanese. "Wu"
appears as "mu" in Japanese, meaning "no", "not", "nonbeing", or "without" in English. This is a fragment
of Case #1 of the Wmngun.
However, another koan presents a longer version, in which Zhaozhou
answered "yes" in response to the same question asked by a different monk: see Case #18 of the Book of
Serenity.)

The sound of one hand [ edit ]

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

Hakuin Ekaku

Victor Hori comments:

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...in the beginning a monk first thinks a kan is an inert object upon which to focus
attention; after a long period of consecutive repetition, one realizes that the kan is also a
dynamic activity, the very activity of seeking an answer to the kan. The kan is both the
object being sought and the relentless seeking itself. In a kan, the self sees the self not
directly but under the guise of the kan ... When
one realizes ("makes real") this identity,
then two hands have become one. The practitioner becomes the kan that he or she is trying
to understand. That is the sound of one hand.[web 6]

Original Face [ edit ]

Main article: Original face

Hunng 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 .)

Killing the Buddha [ edit ]

If you meet the Buddha , kill him. ()

Linji

Thinking about the Buddha as an entity or deity is delusion, not awakening. One must destroy the
preconception of the Buddha as separate and external before one can become internally as their own
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.

One is only able to see a Buddha as he exists in separation from Buddha; the mind of the practitioner is
thus still holding onto apparent
duality.

Other koans [ edit ]

A student asked Master Yun-Men (A.D. 949) "Not even a thought has arisen; is there still a sin or
not?" Master replied, "Mount Sumeru !"
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 the ancestral teacher's (i.e., Bodhidharma 's)
coming from the west?" Zhaozhou said, "The cypress tree in front of the hall." (This is a fragment of
case #37 of the Wumenguan as well as case #47 of the Book of Serenity.)

See also [ edit ]

Buddhism

Kirigami
Koans mentioning Subhuti , Tanzan , and Tetsugen
List of koans by Yunmen Wenyan
Mu-koan
Original face
Wild fox koan
Christianity

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Apophatic theology
Other

Hacker koans , humorous expressions of hacker culture

Notes [ edit ]

1. ^ Assertions that the literal meaning of kung-an is the table, desk, or bench of a magistrate appear on p
18 of Foulk 2000. See also [3]

2. ^ ; Wade-Giles: Ta-hui Tsung-kao ; Japanese: Daie Sk

3. ^ This role-taking is described by the Swedish psychologist of religion Hjalmar Sundn , though McRae
does not seem to be aware of this
4. ^ In 1916 Tominaga Shho, using the pseudonym "Hau H", published a critique of the Rinzai koan-
system, Gendai sjizen no hyron, which also contained a translation of a missanroku . The missanroku
[29] [30]
part has been translated by Yoel Hoffmann as "The Sound of the One Hand" (see ).
5. ^ The
controversy over whether all beings have the potential for enlightenment is even older. Vigorous
controversy still surrounds the matter of Buddha nature. See "Tao-sheng's Theory of Sudden
Enlightenment", Whalen Lai, in Sudden and Gradual (subtitle) Approaches to Enlightenment in Chinese
Thought,
p. 173 and 191. The latter page documents how in 429 or thereabouts (more than 400years
before Zhaozhou), Tao-sheng was expelled from the Buddhist monastic community for defending the idea
that incorrigible
persons (icchantika ) do indeed have Buddha-nature (fo-hsing ).
6. ^ Maura O'Halloran also gives an account of herself becoming mu.[55]
7. ^ , Wade Giles: Chung-feng Ming-pen; Japanese Chh Myhon
8. ^ The term shkogyu comes from a Chinese poem in which a lady calls the attendant using the word
xiaoyu, Jap. shkogyu, to warn her lover.[69] The poem figures in an interaction between Wuzi Fayan
(10241104) and his student Yuanwu Keqin , the teacher of Dahui Zonggao . Yan-wu was assigned the
koan "The verbal and the nonverbal are like vines clinging to a tree". Yuanwu gained satori with the
phrase "She keeps calling out to [her maid] Xiaoyu although there is nothing the matter. [70]
It is only
because she knows Tanlang [her lover] will hear her voice".[71] The same koan was assigned to Dahui
Zonggao.[72]

References [ edit ]

Book references [ edit ]

1. ^ Sasaki 1965, p.4-6.
2. ^ Foulk 2000, p.21-22.
3. ^ McRae 2003, p.172173, note 16.
4. ^ Foulk 2000, p.2122.
5. ^ a b Schltter 2008, p.111.
6. ^ a b c Schltter 2008, p.109.
7. ^ Schltter 2008, p.1109.
8. ^ a b McRae 2003, p.131.
9. ^ Yampolski 2003a, p.20.
10. ^ Hori 2003, p.Chapter 4.
11. ^ a b Heine 2008, p.52.
12. ^ a b Griffith Foulk 2000, p.22.
13. ^ Schltter 2008, p.110.
14. ^ Griffith Foulk 2000, p.23.
15. ^ Wright 2000, p.208.
16. ^ Wright 2000, p.209.
17. ^ Wright 2000, p.209210.
18. ^ Wright 2000, p.210211.
19. ^ Kasulis 2003, p.30.

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20. ^ McRae 2003, p.130.

21. ^ a b c Lachs 2012.
22. ^ a b c d e Griffith Foulk 2000, p.25.
23. ^ Bodiford 2006, p.9293.
24. ^ Bodiford 2006, p.93.
25. ^ a b c d Bodiford 2006, p.94.
26. ^ Bodiford 2006, p.9697.
27. ^ Bodiford 2006, p.9798.
28. ^ a b Bodiford 2006, p.98.
29. ^ a b c Hoffmann 1975.
30. ^ Bodiford 1993, p.264, note 29.
31. ^ Bodiford 2006, p.102106.
32. ^ a b c Hori 2000.
33. ^ Samy, p.4.
34. ^ Sasaki 1965, p.xi.
35. ^ Hagen 2000.
36. ^ Aitken 1991, p.xiii, 26, and 212.
37. ^ Loori 1994, p.p64.
38. ^ Hori 2000, p.282.
39. ^ Hori 2000, p.284.
40. ^ a b c Hori 2000, p.289-290.
41. ^ a b Hori 2000, p.310 note 14.
42. ^ Hori 2000, p.289.
43. ^ a b Ford 2006, p.35-43.
44. ^ Hori 2006.
45. ^ a b Mohr 2000, p.245.
46. ^ Shibayama 1974.
47. ^ Sekida 1985, p.138139.
48. ^ Shibayama 1974, p.Commentary on case #1.
49. ^ Swanson 1997.
50. ^ a b Hori 2005b, p.132.
51. ^ a b c d Ford 2006, p.38.
52. ^ Hori 2000, p.287.
53. ^ Hori 2000, p.288-289.
54. ^ Satomi & King 1993, p.106.
55. ^ O'Halloran 2007, p.78.
56. ^ a b c d e f Samy, p.5.
57. ^ Hori 2006, p.132133.
58. ^ a b Hori 2006, p.133.
59. ^ a b c Stephenson 2005.
60. ^ a b Hori 1999.
61. ^ a b Hori 2003.
62. ^ Sekida 1996.
63. ^ Hori 2005b.
64. ^ Schltter 2000, p.168.
65. ^ Dumoulin 2005b, p.155.
66. ^ Dumoulin 2005b.
67. ^ Mingben 2006, p.13.
68. ^ a b c Dumoulin 2005b, p.164165.
69. ^ Dumoulin 2005b, p.165.
70. ^ Schltter 2000, p.186.
71. ^ Schltter 2000, p.198 note 96.

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72. ^ Schltter 2000, p.197 note 94.

73. ^ a b c Besserman & Steger 2011, p.148.
74. ^ Yampolski 2005, p.186.
75. ^ a b c d e Ford 2006, p.42.
76. ^ Hori 2005b, p.136.
77. ^ Hori 2005b, p.136137.
78. ^ Besserman & Steger 2011, p.148-149.
79. ^ Hori 2005b, p.137.
80. ^ Besserman & Steger 2011, p.149.
81. ^ Hori 2005b, p.138.
82. ^ a b Hori 2005b, p.135.
83. ^ Hori 2005b, p.139.
84. ^ Hori 2003, p.23.
85. ^ Hori 2003, p.23-24.
86. ^ Besserman & Steger 2011, p.151.
87. ^ a b c d e Hori 2005b, p.143.
88. ^ Griffith Foulk 2000, p.42.
89. ^ Hori 2005b, p.145.
90. ^ Bodiford 1993, p.144.
91. ^ Sharf 1995c.
92. ^ Ford 2006, p.4243.
93. ^ MacInnes 2007.
94. ^ Sharf 1995c, p.432.

Web references [ edit ]

1. ^ a b Nonduality Magazine (2010), Interview with Stuart Lachs
2. ^ Dharmanet, Huatou
3. ^ hsuyun.org, The Hua-Tou Practice
4. ^ Muho Noelke, Part 10: What does it take to become a full-fledged St-shu priest and is it really worth
the whole deal?
5. ^ Ruben L. F. Habito (2007), Foreword to Flowing Bridge: The Miscellaneous Koans
6. ^ G. Victor Sogen Hori (1999), Translating the Zen Phrase Book. Nanzan Bulletin 23, 1999, p.
4458

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Aitken, Robert Baker (1991). The Gateless Barrier: The Wu-Men Kuan (Mumonkan). New York: North
Point Press/Farrar.
Besserman, Perle; Steger, Manfred (2011). Zen Radicals, Rebels, and Reformers. Wisdom Publication
Bodiford, William M. (1993). St Zen in Medieval Japan. University of Hawaii Press.
Bodiford, William M. (2006). Koan practice. In: "Sitting with Koans". Ed. John Daido Loori. Somerville,
MA: Wisdom Publications.
Ford, James Ishmael (2006). Zen Master Who?: A Guide to the People And Stories of Zen. Wisdom
Publications.
Foulk, T. Griffith (2000). The form and function of kan literature. A historical overview. In: Steven Heine
and Dale S. Wright (eds.)(2000), The Kan. Texts and contexts in Zen Buddhism. Oxford University Press.
Griffith Foulk, T. (2000). The
Form and Function of Koan Literature. A Historical Overview. In: "The Kan.
Texts and contexts in Zen Buddhism", Steven Heine and Dale S. Wright, eds. Oxford: Oxford University Press.
Hagen, Steven (2000). Introduction. In: The Iron Flute. 100 Zen Kans. Nyogen Senzaki and Ruth Stout
McCandless (trans.).
Heine, Steven (2008). Zen Skin, Zen Marrow. Oxford: Oxford University Press.
Hoffmann, Yoel (1975). The Sound of the One Hand. Yoel Hoffmann (trans.). Basic Books. ISBN978-0-
465-08079-3.

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Hori, Victor Sogen (1999). "Translating the Zen Phrase Book" (PDF). Nanzan Bulletin (23).
Hori, Victor Sogen (2000). Koan
and Kensho in the Rinzai Zen Curriculum. In: Steven Heine and Dale
S. Wright (eds)(2000): "The Koan. Texts and Contexts in Zen Buddhism. Oxford: Oxford University
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Hori, Victor Sogen (2003). Zen Sand: The Book of Capping Phrases for Kan Practice (PDF). University
of Hawaii Press.
Hori, Victor Sogen (2005b). The
Steps of Koan Practice. In: John Daido Loori, Thomas Yuho Kirchne
(eds), Sitting With Koans: Essential Writings on Zen Koan Introspection. Wisdom Publications.
Kasulis, Thomas P. (2003). Ch'an Spirituality. In: Buddhist Spirituality. Later China, Korea, Japan and
the Modern World; edited by Takeuchi Yoshinori. Delhi: Motilal Banarsidass.
Lachs, Stuart (2012), Hua-t'ou: A Method of Zen Meditation (PDF)
Loori, John Daido (1994). Two Arrows Meeting in Mid Air. The Zen Kan. Vermont/Tokyo: Charles E. Tuttl
Loori, John Daido (2006). Sitting with koans. Essential writings on the practice of Zen koan
introspection. Boston: Wisdom Publications.
MacInnes, Elaine (2007). The Flowing Bridge: Guidance on Beginning Zen Koans. Wisdom
Publications.
McRae, John (2003). Seeing Through Zen. The University Press Group Ltd.
Mingben, Zhongfeng (2006). The definition of a koan. In: "Sitting with koans. Essential writings on the
practice of Zen koan introspection". Boston: Wisdom Publications.
Mohr, Michel (2000). Emerging
from Nonduality. Kan Practice in the Rinzai tradition since Hakuin. In:
"The Kan. Texts and contexts in Zen Buddhism", Steven Heine and Dale S. Wright, eds. Oxford: Oxford
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Wisdom Publications.
Samy, AMA (n.d.), Koan, Hua-tou, and Kensho (PDF)
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Satomi Myodo. State University of New York Press. ISBN0-7914-1971-1 .
Sasaki, Ruth Fuller (1965). Introduction. In: Isshu Miura and Ruth Fuller Sasaki (1965), "The Zen Kan".
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the Empty Eon" versus "A Dog Has No Buddha-Nature". Kung-an
Use in the Ts'ao-tung Tradition and Ta-hui's Kung-an Introspection Ch'an. In: "The Koan. Texts and
Contexts in Zen Buddhism". Steven Heine and Dale S. Wright, eds. Oxford: Oxford University Press.
Schltter, Morten (2008). How Zen became Zen. The Dispute over Enlightenment and the Formation
of Chan Buddhism in Song-Dynasty China. Honolulu: University of Hawai'i Press. ISBN978-0-8248-
3508-8.
Sekida, Katsuki (1985). Zen Training. Methods and Philosophy. New York, Tokyo: Weatherhill.
Sekida (translator), Katsuki (1996). Two
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The Blue Cliff Records. Translated with commentaries by Katsuki Sekida. New York / Tokyo:
Weatherhill.
Sharf, Robert H. (1995c). "Sanbokyodan. Zen and the Way of the New Religions" (PDF). Japanese
Journal of Religious Studies (22/3-4).
Shibayama (1974). The Gateless Barrier. Zen comments on the Mumonkan. Translated from Chinese
and Japanese into English by Sumiko Kudo. Shambhala Publications.
Stephenson, Barry (June 2005), "The Koan as Ritual Performance" , Journal of the American Academy
of Religion, 73 (2): 475496
Swanson, Paul L. (1997). Why
They Say Zen Is Not Buddhism. Recent Japanese Critiques of Buddh
Nature. In: Pruning the Bodhi Tree. The Storm over Critical Buddhism. Jamie Hubbard and Paul L.
Swanson, eds. University of Hawaii Press.
Wright, Dale S. (2000). Koan
History. Transformative Language in Chinese Buddhist Thought. In:
"The Koan. Texts and Contexts in Zen Buddhism". Steven Heine and Dale S. Wright, eds. Oxford:
Oxford University Press.
Yampolski, Philip (2003a). Chan.
A Historical Sketch. In: Buddhist Spirituality. Later China, Korea,
Japan and the Modern World; edited by Takeuchi Yoshinori. Delhi: Motilal Banarsidass.
Yampolski, Philip (2005). Hakuin
Ekaku and the Modern Koan System. In: John Daido Loori, Thomas

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Yuho Kirchner (eds), Sitting With Koans: Essential Writings on Zen Koan Introspection. Wisdom
Publications.

Further reading [ edit ]

Loori, John Daido. Sitting with Koans: Essential Writings on the Zen Practice of Koan Study. Wisdom
Publications, 2005. ISBN 978-0-86171-369-1
Steven Heine, and Dale S. Wright, eds. The Kan: Texts and Contexts in Zen Buddhism. Oxford and
New York: Oxford University Press, 2000. ISBN 0-19-511749-2
Hoffmann, Yoel.tr. The Sound of the One Hand. Basic Books, 1975. ISBN 978-0-465-08079-3 This
book contains examples of how some Zen practitioners answer
the koans "correctly". Originally
published in Japan almost a century ago as a critique of fossilization of Zen, that is formalization of
koan
practice.
Samy, AMA (n.d.), Koan, Hua-tou, and Kensho (PDF)
Stephenson, Barry (June 2005), "The Koan as Ritual Performance" , Journal of the
American Academy of Religion, 73 (2): 475496

External links [ edit ]

Zen Buddhism Koan Study Pages

Koan Collections and Studies

VTE Zen [show]

VTE Buddhism topics [show]

Categories : Zen Buddhist terminology Metaphors Riddles Zen texts Kan

Spiritual practice

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