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Analysing the Caodong Roundels
Protagonists:
Master Dongshan Liangjie (洞山良价) [807–869 CE] – Founder of the Caodong School of Chinese Ch’an Buddhism – Trigrams & Hexagrams Master Caoshan Benji (曹山本寂) [840-901 CE] – Disciple & Co-Founder – Roundels On occasion, I am asked about the famous Japanese Zen Master - Dogen Zenji (道元禅師 – Dao Yuan Ch’an Shi) [1200-1253 CE] – and whether I think the Soto Zen School that he founded in Japan is premised upon a correct interpretation of Ch’an. After carefully reading his biography – and the details of his visit to Song Dynasty China - including his adventures training in the Linji (Rinzai) and Caodong (Soto) lineages, I am of the opinion that he was probably focusing upon a literal interpretation of the teachings found within Master Cao’s roundel symbolism. Of course, I am not commenting upon how Soto Zen was moulded by its interface with Japanese culture – or on how Soto Zen is interpreted and taught today (as that is a matter for the Japanese people to decide) – but rather upon the essence of Dogen’s inner journey. I suspect that his “Shikantaza” (只管打坐 – Zhi Guan Da Zuo) practice – or literally “Only Discipline Hit Seat” (to “hit the mark” through the practice of seated meditation) probably has its roots in a close study of Master Cao’s roundel system – especially in its thunderbolt orientation. This orientation reorganises the Five Ranks into three levels of integrative attainment: a) A confused mind (Rank 1) - contains an unknown void aspect (Rank 2). b) Void clearly re-emerges as realised emptiness – but is limited only to the head (Rank 3). c) Void and form interface (Rank 4) and integrate (Rank 5) - expanding into an all-embracing awareness. The shaded roundels of the Caodong system were devised by Master Cao and their meaning is contained within the trigrams and hexagrams used by Master Dong. 1) The real comprising the seeming: Trigram = ☴ (巽 – Xun) – Wind (Gentle, Flexible, Growth) Trigram construction: Top line = Yang (unbroken) Middle line = Yang (unbroken) Bottom line = Yin (broken) line Roundel construction: Top two-thirds = shaded (yang) – bottom one-third = non-shaded (yin) 2) The seeming comprising the real: Trigram = ☱ (兑 – Dui) – Damage (Marsh, Lake, Disruption) Trigram construction: Top line = Yin (broken) Middle line = Yang (unbroken) Bottom line = Yang (unbroken) Roundel construction: Top two-thirds = non-shaded (yin) – bottom one-third = shaded (yang) 3) Resurgence of the real: Hexagram = 大过 (Da Guo) – Great Excess (Marsh [Lake] over Wind) Hexagram construction: Sixth line = yin (broken) Fifth line = yang (unbroken) Fourth line = yang (unbroken) Third line = yang (unbroken) Second line = yang (unbroken) First line = yin (broken) Roundel construction: One-third (central-dot) yang – two-thirds (outer ring) yin 4) The seeming uniting with the real: Hexagram = 中孚 (Zhong Fu) – Centralised Confidence (Wind over a Marsh [Lake]) Sixth line = yang (unbroken) Fifth line = yang (unbroken) Fourth line = yin (broken) Third line = yin (broken) Second line = yang (unbroken) First line = yang (unbroken) Roundel construction: An unshaded structure – pure yin 5) Integration of the real and the seeming: Hexagram = 离 (Li) – Brightness [Adherence] (fire over fire) Sixth line = yang (unbroken) Fifth line = yin (broken) Fourth line = yang (unbroken) Third line = yang (unbroken) Second line = yin (broken) First line = yang (unbroken) Roundel construction: Entirely shaded structure – pure yang It is important to consider that the Five Ranks of Prince and Minister are not separate (and self-contained) categories - or similar to the coloured-belt grading system existent within modern, Japanese martial arts. Although often presented in a lineal one-to-five format – this is only a matter of conveyance – and can often give a false impression as to the meaning and function of the Five Ranks. Each of the eight trigrams contains the essence of the other seven trigrams. Each of the sixty-four hexagrams contains the essence of the other sixty-three hexagrams. This is why each of the Five Ranks contains the essence of the other four positions. As Richard Hunn (1949-2006) explains – this Five Ranks schematic is “concomitant” in nature. Similarly, each of the five roundels contains the essence of the other four and this explains the alternative arrangement of the “Thunderbolt” – which is used to explain how this Caodong system operates: Position three of the Five Ranks represents the “turning about” in the deepest recesses of the mind – as explained within the Lankavatara Sutra. The first and second positions are transformed into the third - and through the third - into the fourth and fifth positions. As the fourth and fifth positions fully “integrate” at the highest level of full enlightenment – then the apparent duality of the deluded mind is transcended, and the Five Ranks no longer operate in their original form (which is designed to lead a confused mind to clarity). When the mind is “clear” there exists no delusional ground for the mind, body, and environment to be artificially divided into “Five Ranks”. Indeed, the use of the Trigrams, Hexagrams and shaded roundels are designed to represent a practitioner looking at the material world – through the deep-mind. This is because human perception of the physical world (including the body) occurs through the (living) human mind.
Remember that the traps of “idealism” and “materialism” must be avoided – even if there exists an element of both within the perception of reality. The act of perception does not “create” the material reality being perceived. The material world pre-exists the birth of an individual, exists independent of the living individual, and continues to exist following the demise of the individual. Any preferred metaphysical explanation as to pre-existence, existence and post-existence is irrelevant to the task at hand – namely realising (and integrating with) the empty mind ground. The roundel imagery of Master Cao is interesting as its symbolism departs from the structure of the Trigrams and Hexagrams advocated by Master Dong – whilst remaining opposite and complementary to the entire schema. This “difference” is holistic rather than “antagonistic”. 1) The real comprising the seeming: Roundel construction:
Top two-thirds = shaded (yang) – bottom one-third = non-shaded (yin) Yang (shaded) = Void (Host) Yin (unshaded) = Form (Guest) The first roundel reflects the trigram – “☴” – exactly and there is no deviation. The proportions of yang to yin in this instance is precisely “2-1” in both trigram and roundel. This proportionality is strictly maintained by Master Dong throughout the entire schema – but not by Master Cao (as we shall see). All is an unsteadying “movement” (or “shifting”) experienced within the mind and body – but the presence of something more substantial and satisfying is suspected. 2) The seeming comprising the real: Roundel construction:
Top two-thirds = non-shaded (yin) – bottom one-third = shaded (yang) Yang (shaded) = Void (Host) Yin (unshaded) = Form (Guest) The second roundel does not directly (or literally) reflect the trigram – “☱” – as there is a noticeable deviation. Whereas Master Dong’s trigram maintains the “2-1” proportionality of yang to yin – Master Cao chooses to reflect the opposite in his roundel - so that the inverse proportionality of “2-1” is represented of yin to yang. The trigram and the roundel complement one another in their opposite (but reconciling) tendencies. This is due to the minutiae of the yin-yang ideology – whereby each aspect is contained deep within the other – and that there is no actual (or permanent) dualism and dichotomy operating throughout the universe. Yin contains yang – just as yang contains yin – with one aspect routinely flowing into its opposite. The practitioner “submits” to that which is permanent (using a spiritual method) whilst existing in the midst of an ever shifting inner and outer world (represented by the shaded and unshaded areas of the roundel). 3) Resurgence of the real: Roundel construction:
One-third (central-dot) yang – two-thirds (outer ring) yin Yang (shaded) = Void (Host) Yin (unshaded) = Form (Guest) The third roundel does not directly (or literally) reflect the hexagram – “” – as there is a noticeable deviation. Whereas Master Dong’s hexagram maintains the “2-1” proportionality of yang to yin – Master Cao chooses to reflect the opposite in his roundel - so that the inverse proportionality of “2-1” is represented of yin to yang. However, this deviation is stark – representing something of a target used in archery – with a bull’s-eye that must be struck cleanly by the arrow of self-cultivation. The shaded dot in the middle (Confucius and his disciples talk continuously of “hitting the mark”) represents the congealing of yang energy in the centre of the mind. Confusion – including the distracting paraphernalia of the material world (including the body) - is firmly and effectively pushed to the periphery of perception. This is the “turning about” – but further training is required to stabilise and legitimise this attainment. As matters stand – the realisation of “emptiness” exists (or is limited to) the head or interior of the experiencing mind. All other sensory stimulus must be artificially pushed away to maintain a clear focus. 4) The seeming uniting with the real: Roundel construction:
An unshaded structure – pure yin Yang (shaded) = Void (Host) Yin (unshaded) = Form (Guest) The fourth roundel does not directly (or literally) reflect the hexagram – “” – as there is a noticeable deviation. Whereas Master Dong’s hexagram maintains the “2-1” proportionality of yang to yin – Master Cao chooses to reflect a 100% “yin” roundel. This is because the Five Ranks are more a measure of depth of insight rather than separate steps. The empty mind within must reconcile with the material world without – but how is this to be achieved? The only option at this stage is to allow the inner (empty) mind to peacefully coexist with the outer (full) material world. The two ways of perceiving reality interface without either conflict or reconciliation. As coming to terms with the material world is the issue at this stage – Master Cao emphasises the “yin” element of the “guest”. How is “stillness” to reconcile “movement” – “void” with “form”? 5) Integration of the real and the seeming: Roundel construction:
Entirely shaded structure – pure yang Yang (shaded) = Void (Host) Yin (unshaded) = Form (Guest) The fifth roundel does not directly (or literally) reflect the hexagram – “” – as there is a noticeable deviation. Whereas Master Dong’s hexagram maintains the “2-1” proportionality of yang to yin – Master Cao chooses to reflect a 100% “yang” roundel. The “void” is finally realised within the “form” and the “form” is fully reconciled within the “void”. The empty mind ground – as the fore-runner of all perception – expands from being only located in the head (the vision of which is preserved in the third position by a practitioner who has removed themselves from as much direct contact with outside world as possible) to spreading throughout the entire body (and through the six-senses interacting with the six sense-objects) into and through the environment. This is the experience of the expansion of the mind – which is the integration of the “void” (yang or completely shaded roundel) with the “form” (yin – or completely unshaded roundel). The fifth roundel represents “yang” (shaded) as it is the integration of the “void” with all other aspects of material reality which permanently alters the practitioner’s perception of the world. Master Dong’s system of trigrams and hexagrams appears to represent a pre-Song Dynasty (traditional) Confucian attempt at integrating the “Indian” (non-Chinese) religion of Buddhism into Chinese society. Master Cao’s symbols, by way of comparison, are very much in accordance with the Song Dynasty development of neo-Confucianism and the use of various shaded and unshaded roundels used to demonstrate an ideal world and the place of the cultivated scholar within it. The Daoist religion would also make use of a similar set of roundels to symbolise the self-cultivation that leads to the achievement of Immortality – and there is a debate as to which religion in China first used roundels. Although this debate usually only focuses on Song Dynasty developments within Confucianism and Daoism – very rarely are the (earlier) roundels of Master Cao taken into account. It could be that the roundels of Master Cao are the fore-runners of what later developed within Song Dynasty Confucianism and Daoism. The single straight line (___) – which represents “yang” is not a solid line. This symbol evolves from an elongated crack formed in an oracle bone (achieved through pyromancy). Therefore, a “yang” line represents a “crack” in the time and space of the material world. Through this crack the hidden world of the “divine” can be glimpsed. Through this crack in the fabric of time and space - the hidden world of the timeless “divine” can be manifested in the material world. The single broken line (_ _) – which represents “yin” should not be viewed only as “broken”. Again, this broken-line emerges from the cracks obtained from the oracle bones. A crack in the fabric of time and space is “hindered” in the middle - by a solid component (which blocks the “divine” ). The divine can manifest through a broken-line – but its efficacy is reduced. The blocking aspect, of course, represents the material world – but all is not lost as it is possible for this block to be removed in a future reading. Later, the unbroken-line became associated with “yang” and the broken-line with “yin” (the original Yijing - or “Change Classic” - is far older than the ideology of yin-yang). The structure of the trigram and hexagram are identical in structure and meaning - as both are constructed from the base (or “ground”) upward: Upper single line (trigram) - or two lines (hexagram) = Divine Sky Middle single line (trigram) - or two lines (hexagram) = Human World Bottom single line (trigram) - or two lines (hexagram) = Broad Earth The roundel imagery lacks the inherent (and rigid) structure of the trigrams and hexagrams – but allows for a far more fluid interpretation of reality. Furthermore, once the basic interpretive language of the roundel system is understood, anyone can understand the meaning without possessing the education of a Confucian scholar. The rigidity of Master Dong’s trigrams and hexagrams is complemented by the fluidity of the roundels designed by Master Cao – together these two systems transmit the essence of the Caodong School of Chinese Ch’an Buddhism. ©opyright: Adrian Chan-Wyles (ShiDaDao) 2024. |