using the arrow buttons.
by clicking on the page.
the page around when zoomed in by dragging it.
the zoom using the slider when zoomed-in.
by clicking on the zoomed-in page.
by entering text in the search field, and select "This Issue" or "All Issues"
by clicking on thumbnails to select pages, and then press the print button.
displays sections with thumbnails and descriptions.
displays a slider of thumbnails. Click on a page to jump.
allows you to browse the full archive.
about your subscription?
Buddhadharma : Fall 2006
buddhadharma| 63 |fall 2006 Some say they can recall a thousand years Some say they have already visited the next thousand years On a windy day I am waiting for a bus • A baby dragonfly perches on a bulrush tip The entire world surrounds it, watching • Be like a dandelion seed floating in the breeze Be like a bearded late autumn reed seed Set out alone, create a great new world • Mother hen outside the egg baby chick inside the egg– the two are really one single body • What can I do? Peach blossom petals have been drifting all day long into the empty house • Perpetual movement! Endless change! You are all there is left to be enlightened about Ah, ten years of study–all for nothing • It’s cold. It’s the mind. Korean to death for a crime against Japanese law. The incident haunted him so much that he quit his job, left his wife and two children, and became a monk. Eventually, Master Hyobong became Supreme Patriarch of the Unified Jogye Order. During his time as a monk, Ko Un helped estab- lish Korea’s first Buddhist newspaper, and some- times he’d fill leftover space with his poems. These reached the attention and commendation of one of Korea’s master poets, Midang. But, ultimately, Ko Un decided he couldn’t practice both Buddhism and poetry fully. He left the monastery, but not the way of the Buddha. When he returned to the ravaged roads, he found nihilism blocking his path. Nihilism wasn’t just a philosophical concept but a daily reality in Korea’s devastated landscape, within and with- out. Another botched suicide attempt led him to the shores of Cheju Island, where he taught at a charity school. Then, after a decade, he discovered activism. Ko Un came to spearhead a group of artists and writers opposed to the dictatorial military regimes ruling his nation. For this, he was incarcerated four times, once in a military prison, where he lived with the threat of each day being his last. Today, he actively supports the eventual unifica- tion of his country. You can taste that engage- ment in these poems and in their commonplace language – nothing precious or academic. Ko Un is like a force of nature. To date, he’s published more than 135 books. Yet each of his poems is universal in its vivid particularity, each has its own teaching. Poem or brush drawing, whichever the moment calls for, each is unpremed- itated and unrepeatable, born from the core of cre- ation available within each moment. Tapping into the active imagination. The wellsprings of art. The traveler along the way of art can trod the way of Buddha, the art of awakening. There’s no contradiction. It’s all an art. All an invitation to awakening. And if you look with the eyes of such an artist-poet, you might glimpse the ink still dry- ing on the surface of these bright pages. Question: From whose brush? (Hint: That question is asked by the rain. Answered by the wind.) — Gary Gach ©Cho,seihon,jan.2006,seoul,Korea