The Dharma allows us to hear

This is a print of a calligraphy by the famous Shin teacher Kaneko Daiei which my teacher gave to me at the end of a pilgrimage we made together to various temples and sites associated with the history of Pure Land Buddhism in Japan. I understand that it reads roughly: “Listening is practice, hearing is faith” (though I would be glad to hear anyone else’s translations).

In connection with this phrase I found the following passage in Rev. Chijun Yakumo’s book Thankyou Namo Amida Butsu (Nembutsu Press, LA 1995):

“We consider “listening/hearing” (chō-mon) to be extremely important in our Jōdo-Shinshū tradition of Buddha-dharma, so much so, that we receive wisdom through “listening/hearing.” But it is not really as simple as that.  Unfortunately, the truth is that often the only thing that increases is our knowledge, and we end up with scholars of Buddha-dharma and scholarly ministers and members, rather than true persons of wisdom.”

“There is a tradition in Jōdo-Shinshū in which:

To “go” is said to refer to “listening (chō).
To “come” is said to refer to “hearing” (mon).

In other words, although we may feel we are doing our best to get there by “listening”, actually, it is the dharma that is coming towards us and allows us to “hear”. (p.58-59)

 

Amida is Change

Last night I read the following words of my teacher Rev. Kemmyo T. Sato:

As you know, there is no eternal entity in Buddhism.  Every thing is always changing, interrelated and interdependent.”

This got me to thinking that Shin Buddhists, including myself, sometimes mistakenly conflate the activity of Dharmic nature, that is to say Amida, with the constancy of Dharmic laws or principles.  This then leads us to see Amida precisely as an eternal entity.  It is important to remember though that nirvana is the goal and Amida, and more specifically Amida’s Name, is the compassionate vehicle that leads us there.

Amida … ultimately represents the Dharma of impermanence itself, the powerful force that liberated Shakyamuni. ” - Rev. N. Haneda

… no Buddhist term or concept refers to or represents a fixed entity.  The self, like all else, is impermanent, is in a constant state of flux and flow and not static, fixed or constant as we would like.  The true nature of the Dharma, the true nature of Amida is also impermanence.  So, to come to know the self as it really is, is to come to know the self as one and the same with Amida; this is what is meant by self-reflection (examination) in Amida’s light, a process of examining the nature of the self in light of our understanding of the teaching.”
- Jerry Bolick (Source)

If we ask the question then, “Does Amida change?” perhaps we can say that “Amida is the constancy of change”, or “the unchangeable fact of change”.  And because of change our personal, isolated world of self can be embraced and penetrated by the unhindered Light and revealed as one facet of an infinite life and being.

 

Chanting: Historical Fragments

Surfing the net I came across the following from Venice Hongwanji Temple’s newsletter (.pdf):

In Shin Buddhism, there are no reasons why the chantings (sic) cannot be revised. Traditional chanting, both in melody and content are derived from the Tendai Sect. In the 15th century, Rennyo Shonin created a liturgy based upon the Shoshinge, and used more Japanese intonations. In the 16th (? ed. 17th I think!) century, the Patriarch Jakunyo reintroduced aspects of Tendai music and influences of Shingon chanting were brought into the Hongwanji tradition. In the 18th century, Patriarch Honyo reorganized and systematized Shin chanting as an independent tradition. Further musical theory in 1910 and 1933 have brought the tradition to what it is today. So there is no fundamental reason why, in the future or present, more modifications could not be made. Just remember, the Jodo Shinshu position is that modifications ought to arise out of spiritual experience and not for [a]esthetic reasons, novelty or convenience.”

(from The Book of Jodo Shinshu Chanting (BCA Ministerial Association Gonshiki Liturgy Committee))

Jishin and I have mentioned in the past that our temple follows the Higashi Honganji liturgical tradition and our styles of chanting are different to the Nishi Honganji.  Having said that however I’ve never known much about the specifics of these differences other than those I have noticed in actually listening to the services of each tradition.

Bearing in mind that the the Honganji split took place in 1602 we can possibly ascertain from the above quote that the differences are at least partially related to the Higashi’s non-involvement in the Nishi sect’s re/introduction of Tendai and Shingon styles into the liturgy and the re-organisation that they undertook in the 18th century.  That said I would hesitate to assume that the Higashi traditions liturgy is ‘older’ as it is perfectly possible that they undertook their own changes.

Elsewhere I also came across mention of a special Higashi Honganji ceremony that I have never previously encountered* (I attended the Hoonko ceremony of our head temple in Japan in 2006 and it had its own different tradition of liturgy involving a very high-toned, powerful style of chanting):

On November 28 [2007], Higashi Honganji Temple, the headquarters of the Shinshu Otani sect of Buddhism, in Shimogyo Ward, Kyoto, held the “Bando-bushi” service in Amida Hall. Bando-bushi is the closing service of “Hoonko,” a memorial service in honor of Shinran, the sect’s founder. Approximately 60 seated monks dynamically swayed their upper bodies, and their booming chants of the Buddhist invocation “Nembutsu” echoed in the hall.

During the sutra reading, one monk in the inner sanctuary led recitation of “Namu-amida-bu,” and other monks, called “Do-shu,” also began chanting Nembutsu at the top of their voices while moving their upper bodies back and forth and side to side. Amida Hall was packed with 4,500 followers, who brought their hands together in prayer before the wooden statue of Shinran and the principal image of the temple.

This unique prayer style is said to represent the image of the founder of the sect, Shinran, who continued offering fervent prayers on a boat rocking in the water when he was exiled to Echigo, the old name for the most part of Niigata Prefecture 800 years ago. Now, Higashi Honganji Temple is the sole temple that maintains this prayer style. (Kyoto Shimbun 2007.11.28)

* The Higashi splits further into several other groupings.  Our Shogyoji tradition is completely independent of any but has strong links of friendship and communication with the Tokyo Higashi Honganji.