The Book Of One, The Spiritual Path of Advaita by Dennis Waite, Published by O Books,46 West Street, Alresford, Hants, SO24 9AU, UK, 288 pages, paper back, £9.99 or $17.95.
Talk 212 :
Whether ultimate reality is fullness of the Self or Emptiness has always been a fascinating problem. It had been for long a debate between Buddhists and Advaitins, and among Buddhists themselves (Yogacara with the Mind-Only theory and Madhyamika with the Shunyata or Emptiness theory).
Hui-neng, the Sixth Patriarch of Ch’an (Chinese Zen) but sometimes is regarded as the real father of this tradition, in his famous Platform Sutra said that “seeing one’s own original nature is enlightenment.” His view was condemned by other Buddhists as heretic because orthodox Buddhism believed in (absolute) No-Self. His Platform Sutra was burned after his death.
From The Heart of the Buddha’s Teaching: By Thich Nhat Hanh
Nirvana, the Third Dharma Seal, is the ground of being, the substance of all that is. A wave does not have to die in order to become water. Water is the substance of the wave. The wave is already water. We are also like that. We carry in us the ground of interbeing, nirvana, the world of no-birth and no-death, no permanence and no impermanence, no self and no nonself.Nirvana is the complete silencing of concepts. The notions of impermanence and nonself were offered by the Buddha as instruments of practice, not as doctrines to worship, fight or die for. “My dear friends,” the Buddha said,” the Dharma I offer you is only a raft to help you to cross over to the other shore.” The raft is not to be held onto as an object of worship. It is an instrument for crossing over to the shore of well-being. If you are caught in the Dharma, it is no longer the Dharma. Continue reading
Regardless of what you think, say or do, the
perfection of Freedom was, is and always will
be who and what you really are.
Agni and Indra pour from heaven a sea with
seven foundations, whose opening is above.
Sapthahudhnam Arnavam Jihmabaran
— Rig Veda VIII40.5
One could say that in artistic terms, “wabi-sabi” is a term describing the Zen-like esthetic, made popular by the tea ceremony. Wabi-sabi is hard to translate into English, but as Koren tells (pp. 21-22), sabi originally meant “chill,” “lean,” “withered.” Wabi meant the misery of living alone in solitude, cheerless, alone. Later, they acquired more positive values. Together, the words indicate the simplicity of the hermit, the spiritual opporunities of solitude, the beauty of inconspicuous and the overlooked.
This book tells about the esthetic of Wabi-Sabi. In Koren’s words: