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 : Summer 2019
36 BUDDHADHARMA: THE PRACTITIONER'S QUARTERLY meaning manifest in and as its very form, automatically. As such, any form can be a vehicle for realization. The thirteenthcentury Zen master Dogen, who famously critiqued a white circular painting of Nagarjuna’s fullmoon samadhi as nothing but “a painted rice cake,” also ultimately averred, “If you say a painting is not real, then the myriad things are not real. If the myriad things are not real, then buddhadharma is not real. As buddhadharma is real, a painted rice cake is real” (translation by Kazuaki Tanahashi). In this sense, the Buddhist object or image is nothing other than a sign. It is the dharma itself—a physically compounded and tempo rally contingent embodiment of emptiness, just like everything else in the world. This is what Kukai meant by his notion of the world– body of buddhahood expressing itself for its own enjoyment (hoss- hin seppo), which Dogen reworded to specifically indicate that insen tient matter can preach the dharma by its very nature (mujo seppo). For practitioners, Buddhist objects and images appear not as mere aesthetic cultural expressions or even as expedient instruments for awakening, but as concrete manifestations of enlightened suchness. Within each Buddhist lineage there are certain iconic forms that are believed to condense the teachings into material or graphic form. All things may manifest the dharma, but some things are more dharma than others. Like the Zen kesa robe that wraps up the entirety of the teachings in its material form (literally), so too do these images—these icons and mandalas and paintings and scrolls—also manifestly express the true Buddha Way. To gaze upon them is to be enlightened—if viewed in the right spirit (that is, with Dogen’s True Dharma Eye) or even just in a single glance (as Kukai would put it). As with robes, bowls, transmission certificates, portraits, and staffs, the whole transmis sion lies in the very thing itself. In the Tibetan tradition, former possessions are used in the final test to identify reincarnated rinpoches. Here too, the transmission of the dharma itself is not just associated with these articles but rather