Three weeks ago I wrote about the tendency in Western Zen to downplay the ongoing role of Korea in the development and direction of our religion. In that indictment I cited particularly the seminal importance, and extra-goryeonic obscurity, of Zen Ancestor Wonhyo – a Korean national hero who is only now receiving sustained Western attention.
And now I discover this video. Documenting a Wonhyo-themed pilgrimage through rural Korea by Tony MacGregor - Canadian writer for Seoul's English-language Korea Times - it's saturated with the kind of breathtaking imagery we often see in connexion with Japanese topics, but rarely Korean ones. Just the celebration of that nation's own spiritually-imbued landscape is worth the click, and makes for a very meditative visit.
The commentary is a little unfocused, and can get a bit precious in that way we Westerners have when we talk about Buddhism. But in some ways, that very wandering – mirroring Macgregor's literal ramble – is another reward, offering a wider vista on the subject. Particularly welcome is a brief account of tae guk kwon, that muscular Korean take on tai chi chuan that figured so highly in a memorable scene from Spring, Summer, Fall, Winter… and Spring.
Toward the film's end, another meander takes us to an impromptu teisho by Sudoksa Bangjang Seol Jong Sunim, which is simultaneously predictably conservative (his topic is finding a teacher) and, from a Confucian perspective, revolutionary. Since the same could be said of Wonhyo, MacGregor seems to be underscoring his hero's continuing influence on Sôn, or Korean Zen.
In any event, I greatly enjoyed this documentary and suspect others will as well. As a lesson on an important Ancestor; an exposition of Korea's too-long ignored Zen heritage; and a tranquil tour of its compelling countryside, it's time well-spent.
San Francisco is the capital of Western Zen. The sangha there – the Western one; Asian residents were already practicing for over a century – is one of the oldest in the world, founded by Shunryu Suzuki in 1961. Today, most Zen teachers in this hemisphere have some connection with it, whether formal or incidental. (That's Soto teachers; Western Rinzai is less centralised, Korean Zen is bipolar – it has two power centres – and Thich Nhat Hanh's Vietnamese lineage is anchored in France.)
Today's SFZC is a freakin' 900-pound gorilla among spider monkeys, with three houses, an expansive endowment, and a giant sangha consisting largely of priests and priests-in-training. We hermits like to sneer about "enlightenment factories", but this-here really is.
On the other hand, it's nice to have a secure, established hub you know will be there tomorrow: reassuringly conservative, largely unchanging, eschewing relevance and doctrinal debate, and grinding out priests like a latter-day Ireland, who in turn produce reams of teachings for world consumption. In sum, SFZC – its history, its current role, the nature and limits of its authority – is a big topic among Zenners. Few of us exercise don't-know-mind in its regard.
But I'm not going to weigh in. Instead I'm going to direct you to their Dharma Talks podcast; for my money, one of Rome on the Bay's most valuable products. (To begin with, I don't have any money, and all of the teishos in SZFC's bottomless digital databank are free.)
The talks cover every Zen topic under the sun, in every style, as SFZC's diverse clerical corps take turns at the mic. A few of these lectures have about saved my life, when it needed saving. Others leave me more or less unchanged, but they're all useful and productive.
Anyway, dig it, brothers and sisters: there are a lot of them.
SFZC's podcast homepage includes links to such automatic delivery options as iTunes and RSS, as well an archive of the podcasts themselves – one per week right back to 2007 – for individual download.
So if you're up for 300-odd ordained-types throwing down some serious Zen, swing on by San Francisco's perpetual Teisho Slam. Whatever you need, you'll find it there.
Here's one you gotta see. No, I mean you gotta see it. Because I can't describe it. (Goes on to describe movie.)
Kim Ki-duk's Spring, Summer, Fall, Winter… and Spring seems to end suddenly after half an hour, then you look at your watch and 103 minutes have gone by. Movie buffs consider this a mark of excellence. What then to say about a film that still does this to you the third time you see it?
The basic story turns on the relationship between a hermit monk (shout out to the Homeless Brothers!) and an orphan left in his charge. Together they care for a temple in the middle of a remote mountain lake that doesn’t quite seem to be in this dimension; the sun speeds up and slows down, the temple rooms have no walls, and the pier it's built on drifts – upwind – without actually moving. (Or is the world drifting past it?)
Like Heraclitus' river, Spring, Summer is so packed with encoded clues that it's a new movie each time you watch it. The temple pet alone is fascinating. First it's a dog, then a cock, then a cat, and finally a snake. Why does the teenager steal the rooster? Why does the old man replace it with a cat? Is it solely to set up one of the best enlightenment metaphors ever filmed? (Plus that cat is an awesome actor. Uncredited,
of course. The Man strikes again.) And what's up with that (apparently winterised) snake?
And the koans keep coming: stunning tai-chi performed on ice by a "broken" man; a boat anchor used as penitence, from a boat that's never anchored; humiliated people literally losing their faces. And just when you're sure the whole thing takes place in some kind of snow globe, two police detectives show up. Carrying guns. And cell phones.
Unlike other "weird" movies, this one is never pretentious. Instead, Kim invites us on an Easter egg hunt, with permission to find a few even he may have missed; he's sangha, not teacher. And the insight is conveyed virtually without dialogue. What lines there are, are pithy and important. Take the old man's entire summation of the futility of greed: "The things you like, others also like."
Kim, who also plays the old hermit's successor (or predecessor, or maybe the old monk himself), gets seamless performances from his
actors: Jong-ho Kim as the mischievous, engaging child; Jae-kyeong Seo as an earnest, intense teenager; Young-min Kim as a man on the horns of yearning; and especially Yeong-su Oh, as the old hermit. Even the cops, walk-ons meant to inject you and me into the temple's universe, are skilfully out of synch. All of it gives Spring, Summer a fly-on-the-wall documentary feel, imparting a realism to the surrealism that, well, you have to see to get.
As a dissertation on samsara, it all could have been dull as dukkha, but in the end it's a very Korean film, full of humanity and passion. Just watching the director pull it off is worth the price of admission.
Finally, please be advised that none of this is accurate. Like sitting itself, the Spring, Summer, Fall, Winter… and Spring that can be named is not Spring, Summer, Fall, Winter… and Spring.
I'm currently writing three books, any one of which is likely to show up on this blog from time to time. For the benefit of readers who encounter them, these books are:
100 Days on the Mountain. There's an ancient Zen tradition, called A Hundred Days on the Mountain, of retreating to a mountain and meditating for a hundred days. Almost no-one does this anymore; the only teacher I know from the last many centuries who did was Seung Sahn, who sat his hundred days on a Korean mountain in 1948. Taking my inspiration from his story, I set out to do it myself on the other side of the North Pacific. 100 Days on the Mountain is my account of that experience.
Rough Around the Edges: A Journey Through Washington's Borderlands. In which I set out to trace the borders of Washington as nearly as possible in an old rear wheel drive pickup. The journey takes me into deep solitude 'way out in the middle of nowhere, where the land itself is the story, and the people I meet only characters in it. As was I. And my truck.
Growing Up Home. I've reached the age when men become grandfathers, but am not allowed to be one myself because I never had kids. (Apparently that's a prerequisite. Who knew?) Therefore, I am forced to publish in book form my stories of wisdom gained much against my will. The essays make short reading (Selling Point #1), are Certified Wise by an authentic old man (Selling Point #2), and you can put them down anytime you want and go back to your own youthful misadventures (Selling Point #3). Or your nostalgia for same.
(Photo courtesy of Wikimedia Commons and the New York Zoological Society.)
