buddhism in contemporary art module (4 weeks) contemp art buddhist m… · buddhism in contemporary...
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Emily Newman, PhD Texas A&M University-Commerce
Buddhism in Contemporary Art Module (4 Weeks) Week 1: Buddhist Iconography Readings:
Jacquelynn Baas, “Introduction,” in Smile of the Buddha: Eastern Philosophy and Western Art From Monet to Today (Berkeley, CA: University of California Press, 2005), 1-11.
The Heart Sutra and selected commentaries, Thich Nhat Hanh, The Heart of Understanding: Commentaries on the Prajnaparamita Heart Sutra (Berkeley, CA: Parallax Press, 1989), 1-2, 5-26.
Anne Barclay Morgan, “Buddhism and Contemporary Sculpture: The Manifestation of Awareness,” Sculpture 23, no. 7 (September 2004): 46-51.
Artists: Hu Qinwu, Gonkar Gyatso, Charmion von Wiegand, Sanford Biggers, Long-Bin Chen, Arlene Schechet Week 2: Focus Readings:
Namiko Kunimoto, “The Buddhist Hero,” in Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga, 74-79.
Chris Thompson, “What Happens When Nothing Happens,” Felt: Fluxus, Joseph Beuys, and the Dalai Lama (Minneapolis, MN: University of Minnesota Press, 2011), 139-192.
Ann Hamilton, Interview, in Buddha Mind in Contemporary Art. Jacquelynn Baas and Mary Jane Jacob, eds. (Berkeley, CA: University of California Press, 2004), 178-185.
Apinan Poshyananda, “Montien Boonma: Paths of Suffering” and Melissa Chiu, “An Architecture of the Senses: Montien Boonma's Installations in Context,” Montien Boonma, (New York: Asia Society, 2003), 8-48.
Artists: Kazuo Shiraga, Joseph Beuys, Ann Hamilton, Montien Boonma Week 3: Sound Readings:
Jacquelynn Baas, “The Sound of the Mind,” Smile of the Buddha: Eastern Philosophy and Western Art From Monet to Today (Berkeley, CA: University of California Press, 2005), 158-205.
Kay Larson, “9. The Infinity of Being” and “10. Zero,” Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists (New York: Penguin Books, 2013), 240-294.
Artists: John Cage, Laurie Anderson, Nam June Paik, Yoko Ono, Kimsooja
Emily Newman, PhD Texas A&M University-Commerce
Week 4: Social Practice Readings:
Suzanne Lacy, “Having it Good: Reflections on Engaged Art and Engaged Buddhism,” Leaving Art: Writings on Performance, Politics, and Publics, 1974–2007 (Durham, NC: Duke University Press, 2010), 284-299.
Stephen Batchelor, “Seeing the Light: Photography as Buddhist Practice,” in Buddha Mind in Contemporary Art. Jacquelynn Baas and Mary Jane Jacob, eds. (Berkeley, CA: University of California Press, 2004), 141-146.
Francesca Herndon-Consagra, “Living Things: Buddhist Art in a Building by Tadao Andō,” Reflections of the Buddha (St. Louis: Pulitzer Foundation for the Arts, 2011), 7-17.
Artists: Atta Kim, Moriko Mori, Lee Mingwei, Rirkrit Tiravanija, Sopheap Pich, Jakkai Siributr, Xu Bing Significant Exhibition and Projects:
• Awake: Art, Buddhism and the Dimensions of Consciousness organized by Jacquelynn Baas and Mary Jane Jacob (2001-3)
• “Commodification of Buddhism” at the Bronx Museum of Art (2003) • The Buddhism Project in NYC (2003), • “Invisible Thread: Buddhist Spirit in Contemporary Art” at Snug Harbor Cultural
Center (2004)
Emily Newman, PhD Texas A&M University-Commerce
Supplemental Reading: Adkins, Terry. “Sanford Biggers.” Bomb, no. 117 (Fall 2011): 22-29. Augaitis, Diana, ed. Kimsooja: Unfolding. Vancouver: Vancouver Art Gallery and Berlin:
Hatje Cantz, 2013. Baas, Jacquelynn. Smile of the Buddha: Eastern Philosophy and Western Art From
Monet to Today Berkeley, CA: University of California Press, 2005. Baas, Jacquelynn and Mary Jane Jacob, eds. Buddha Mind in Contemporary Art.
Berkeley, CA: University of California Press, 2004. Baas, Jacquelynn and Mary Jane Jacob, eds. Learning Mind: Experience into Art.
Berkeley, CA: University of California Press, 2010. Carver, Lisa. Reaching Out with No Hands: Reconsidering Yoko Ono. Milwaukee, WI:
Backbeat Books, 2012. Cash, Stephanie. “In the Studio with Sanford Biggers.” Art in America. March 2011: 90-
99. Chiu, Melissa. Montien Boonma: Temple of the Mind. New York: Asia Ink/Asia Society,
2003. Chiu, Melissa and Michelle Yun. Nam June Paik: Becoming Robot. New York: Asia
Society, 2014. Cotter, Holland. “Art Review: Finding Surprises as They Are Turned up by the Karma
Wheel.” New York Times. November 11, 2003, E30. Dickson, Jane. “Arlene Schechet,” BOMB, September 7, 2010.
http://bombmagazine.org/article/3624/arlene-shechet. Gao Minglu, "Meaninglessness and Confrontation in Xu Bing's Art," in Fragmented
Memory: The Chinese Avant-Garde in Exile, ed. Julia F. Andrews and Gao Minglu. Columbus: Wexner Center for the Arts, Ohio State University, 1993, 28-31.
Galligan, Gregory. “The Fabric of Memory.” Art in America. (November 2014): 152-59. George, Olivia. Invisible Thread: Buddhist Spirit in Contemporary Art. Staten Island, NY:
Snug Harbor Cultural Center, 2004. Harper, Glenn. "Exterior Form--Interior Substance: A Conversation with Xu Bing."
Sculpture 22.1 (2003): 46-51. Hearn, Maxwell K. Ink Art: Past as Present in Contemporary China. New York:
Metropolitan Museum of Art, 2013. Hyde, Lewis. Lee Mingwei: The Living Room. Boston: Gardner Museum, 2000. Jacob, Mary Jane. Grain of Emptiness: Buddhism-Inspired Contemporary Art. New
York: Rubin Museum of Art, 2010. Kuspit, Donald. “Beuys, Fat, Felt, and Alchemy,” Art in America 68 (May 1980): 78-99. Larson, Kay. Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of
Artists. New York: Penguin Books, 2013. Mesch, Claudia, and Viola Michely. Joseph Beuys: The Reader. Cambridge, MA: MIT
Press, 2007. Mill, Jonathan and Iris Moon. Atta Kim: Water Does Not Soak in Rain. New York: Hatje
Cantz, 2009. Morin, France, ed. The Quiet in the Land. New York: The Quiet in the Land, Inc. 2009.
Emily Newman, PhD Texas A&M University-Commerce
Munroe, Alexandra, “Buddhism and the Neo-Avant-Garde: Cage Zen, Beat Zen, and Zen,” in The Third Mind: Artists Contemplate Asia, ed. Alexandra Munroe. New York: Guggenheim Museum Publications, 2009, 199-215.
Nagy, Peter. Mirror Mirror. New York: Elizabeth Harris Gallery, 1999. Obrist, Hans-Ulrich. Rirkrit Tiravanija. Zurich: JRP|Ringier, 2007. Pasini, Francesca. Kimsooja: To Breathe/Respire. New York: Charta, 2006. Pearlman, Ellen. Nothing and Everything – The Influence of Buddhism on the American
Avant Garde: 1942-1962. Berkeley, CA: Evolver Editions, 2012. Porter, Jennelle, et. al. Arlene Shechet. New York: Prestel, 2015. Quattrone, Raffaele. “A Dialogue with Gonkar Gyatso,” Wall Street International.
December 30, 2014. http://wsimag.com/art/12630-a-dialogue-with-gonkar-gyatso. Richards, Judith, ed. Walk Ways. New York: Independent Curators International, 2002. Ritter, Gabriel ed. Between Action and the Unknown: The Art of Kazuo Shiraga and
Sadamasa Motonaga Dallas, TX: Dallas Museum of Art Publications, 2015. Sheriff, Natasja. “Everything is Nothing: The Artwork of Sopheap Pich” Hyperallergic.
June 11, 2013. http://hyperallergic.com/73086/everything-is-nothing-the-artwork-of-sopheap-pich/.
Smith, Walter. “Nam June Paik’s TV Buddha as Buddhist Art,” Religion and the Arts 4, no. 3 (2000): 359-373.
Tezuka, Miwako, ed. Rebirth: Recent Work by Mariko Mori. New York: Japan Society, 2013.
Thompson, Chris. Felt: Fluxus, Joseph Beuys, and the Dalai Lama Minneapolis, MN: University of Minnesota Press, 2011.
Tiravanija, Rirkrit and Antoinette Aurell. Cook Book. Bangkok: River Books Press, 2010. Westfall, Stephen. Charmion von Wiegand: An Artist’s Path from Mondrian to Mantra.
New York: Michael Rosenfield Gallery, 2007. Wright, Simon. Gonkar Gyatso: Three Realms. Brisbane, Australia: Griffith Artworks,
2012. Yoon, Jungu. Spirituality in Contemporary Art: The Idea of the Numinous. London:
Zidane, 2010.
Emily Newman, PhD Texas A&M University-Commerce
Artists Presented: Hu Qinwu (b. 1969, China)
Long-Bin Chen (b. 1964, Taiwan, works in New York)
Arlene Schechet (b. 1951, New York)
Gonkar Gyatso (b. 1961, Tibet, works in London)
Charmion von Wiegand (1896-1983, b. Chicago, lived in New York)
Sanford Biggers (b. 1970, LA, works in New York)
Kazuo Shiraga (1924-2008, Japan)
Joseph Beuys (1921-1986, Germany)
Ann Hamilton (b. 1956, Ohio)
Montien Boonma (1953-2000, Thailand)
John Cage (1912-1992, LA, worked in New York)
Yoko Ono (b. 1933, Tokyo, works in New York)
Nam June Paik (1932-2006, Seoul, worked in New York)
Laurie Anderson (b. 1947, Illinois, works in New York)
Kimsooja (b. 1957, South Korea, based in New York/Paris/Seoul)
Moriko Mori (b. 1967, Tokyo, works in London)
Rirkrit Tiravanijab (b. 1961, Thai born Buenos Aires, works in NY/Berlin/Chiang Mai)
Atta Kim (b. 1956, South Korea, works in New York/Seoul)
Lee Mingwei (b. 1964, Thailand, works in New York)
Sopheap Pich (b. 1971, Cambodia)
Jakkai Siributr (b. 1969, Bangkok)
Xu Bing (b. 1955, Beijing)
Spirituality in Contem
porary ArtBUDDHISM
MO
DULE
Class One: Buddhist Iconography
•Readings: •
Jacquelynn Baas, “Introduction,” in Smile of the Buddha:
Eastern Philosophy and Western Art From
Monet to Today
(Berkeley, CA: University of California Press, 2005), 1-11. •
The Heart Sutra and selected comm
entaries, Thich Nhat Hanh, The Heart of Understanding: Com
mentaries on the
Prajnaparamita Heart Sutra (Berkeley, CA: Parallax Press,
1989), 1-2, 5-26. •
Anne Barclay Morgan, “Buddhism
and Contemporary
Sculpture: The Manifestation of Awareness,” Sculpture 23, no. 7
(September 2004): 46-51.
•Artists: Hu Q
inwu, Gonkar G
yatso, Charmion von W
iegand, Sanford Biggers, Long-Bin Chen, Arlene Schechet
Thich Nhat H
anh, No M
ind N
o Lotus, c. 2000sK
obodaishi Kukai, S
umidera H
eart S
utra, c. late 8th-early 9th C
Hu Q
inwu, 11503, 2011
Hu Q
inwu, B
uddhist Volume 005, 2010-2011
Hu Q
inwu, B
uddhist Volumes, 2009
Long-Bin C
hen, Buddha H
urricaine, 2006,
Long-Bin C
hen,Sleeping B
uddha, 2003, 12x9x9 in
Long-Bin C
hen, Installation View
Long-Bin C
hen,Sleeping B
uddha, 2003, 12x9x9 in
Long-Bin C
hen,Sleeping B
uddha, 2003, 12x9x9 in
Arlene S
chechet, In the Studio,
1997, Hydrocal, acrylic paint skins
Arlene S
chechet, In the Studio,
1997, Hydrocal, acrylic paint skins
Arlene S
chechet, Mountain B
uddha, 1994, H
ydrocal, acrylic paint skins
Arlene S
chechet, Sitting B
uddha, 1995, H
ydrocal, acrylic paint skins
Arlene S
chechet, Crossing P
aths: Installations, 2001, at S
t John the Divine C
athedral, cloth tape, vinyl tape, approx 20” in diam
eter
Arlene S
chechet, Crossing P
aths: Installations, 2001, at S
t John the Divine C
athedral, cloth tape, vinyl tape, approx 20” in diam
eter
Arlene S
chechet, Crossing P
aths: Installations, 2001, at S
t John the Divine
Cathedral, cloth tape, vinyl tape, approx
20” in diameter
Arlene S
chechet, Flow B
lue Series:
Filigree, 1999, handmade paper, 35x25”
Arlene S
chechet, Flow B
lue Series:
Filigree, 1999, handmade paper, 35x25”
Long-Bin C
hen,Sleeping B
uddha, 2003, 12x9x9 in
Long-Bin C
hen,Sleeping B
uddha, 2003, 12x9x9 in
Gonkar G
yatsu, Golden W
heel, 2011, m
ixed media, 48x46x27”
Gonkar G
yatsu, Victory Banner,
2011, mixed m
edia, 48x46x27”
Gonkar G
yatsu, Untitled, 2012,
mixed m
edia, 16 x 18 x 12”
Gonkar G
yatsu, Buddha
Sakyam
uni Dissected, 2010,
mixed m
edia, 280 x 230cm
Gonkar G
yatsu, Sustainable H
appiness, 2012, m
ixed media, 60x14”
Gonkar G
yatsu, Buddha
Sakyam
uni Dissected, 2010,
mixed m
edia, 280 x 230cm
Gonkar G
yatsu, Shangri La, 2014, m
ixed media collage
on aluminum
backed honeycomb panel, ~30x30in
Gonkar G
yatsu, Shangri La, 2014,
mixed m
edia collage on aluminum
backed honeycom
b panel, ~30x30in
Charm
ion von Wiegand, The D
iamond
Path, 1966-7, gouache on paper
Charm
ion von Wiegand, Invocation to The A
di-B
uddha, 1968-70, oil on canvas, 50x27 in.C
harmion von W
iegand, The C
hakras Path, 1958-68,
Sanford B
iggers (in collaboration with D
avid Ellis, M
andala of the B-
Bodhisattva II, 2000, video,
http://ww
w.sanfordbiggers.com
/pages/videos.html
Sanford B
iggers, Prayer R
ug, 2005, colored sand poured unfixed directly on the floor 40x20 feet,
Sanford B
iggers, Lotus, 2007, etched glass
Sanford B
iggers, Blossom
, 2007, m
ixed media
Sanford B
iggers, Cheshire, 2007
Sanford B
iggers, Blossom
, 2007, m
ixed media
Sanford B
iggers, Hip H
op Ni S
asagu (In fond mem
ory of hip hop), 2004, singing bow
ls and video, http://ww
w.sanfordbiggers.com
/pages/videos.html
Class Two: Focus•
Readings: •
Namiko Kunim
oto, “The Buddhist Hero,” in Between Action and the Unknown: The Art of Kazuo Shiraga and Sadam
asa M
otonaga, 74-79. •
Chris Thompson, “W
hat Happens When Nothing Happens,” Felt:
Fluxus, Joseph Beuys, and the Dalai Lama (M
inneapolis, MN:
University of Minnesota Press, 2011), 139-192.
•Ann Ham
ilton, Interview, in Buddha Mind in Contem
porary Art. Jacquelynn Baas and M
ary Jane Jacob, eds. (Berkeley, CA: University of California Press, 2004), 178-185.
•Apinan Poshyananda, “M
ontien Boonma: Paths of Suffering” and
Melissa Chiu, “An Architecture of the Senses: M
ontien Boonma's
Installations in Context,” Montien Boonm
a, (New York: Asia Society, 2003), 8-48.
•Artists: Kazuo Shiraga, Joseph Beuys, Ann Ham
ilton, Montien
Boonma
Gutai A
rt does not alter the material.
Gutai A
rt imparts life to the m
aterial. G
utai Art does not distort the m
aterial. In G
utai Art, the hum
an spirit and the m
aterial shake hands with each other but
keep their distance. The material never
comprom
ises itself with the spirit; the
spirit never dominates the m
aterial. W
hen the material rem
ains intact and exposes its characteritics, it starts telling a story, and even cries out. To m
ake the fullest use of the m
aterial is to make use
of the spirit. By enhancing the spirit, the
material is brought to the height of the
spirits.
-Yoshihara Jiro, G
utai Art M
anifesto, Decem
ber 1956
Kazuo S
hiraga, Fighting in the Mud,
1955, First Gutai exposition
Kazuo S
hiraga, Fighting in the Mud,
1955, First Gutai exposition
Kazuo S
hiraga painting w
ith his feet, 1963
Kazuo S
hiraga, Untitled, 1959
Kazuo S
hiraga painting w
ith his feet, 1963
Kazuo S
hiraga, Kannon Fudara Jōdo, 1959
Joseph Beuys, Fat C
hair, 1964B
euys, Ake-P
ack, 1969
Beuys, A
ke-Pack, 1969
Beuys, The P
ack, 1969
Beuys, H
ow to E
xplain Pictures to a D
ead Hare, 1965
Beuys, C
oyote, I Like Am
erica and A
merica Likes M
e, 1974
Beuys, 7000 O
aks, 1982-7
as seen in 2008
Ann H
amilton, Tropos, 1993-4
Ann H
amilton, M
edidation Boat, 2005-2009, Luang P
rabang, Laos
Ann H
amilton, M
edidation Boat, 2005-2009, Luang P
rabang, Laos
Ann H
amilton, M
edidation Boat, 2005-2009, Luang P
rabang, Laos
Montien B
oonma, Tem
ple of the Mind, 1995,
395x220cm
Montien B
oonma, Tem
ple of the M
ind, 1995, 395x220cmM
ontien Boonm
a, House of
Hope, 1996-7, 400x300x600cm
Montien B
oonma, H
ouse of H
ope, 1996-7, 400x300x600cm
Montien B
oonma, A
lm, 1992,
68x300x200cm
Montien B
oonma, Lotus S
ound, 1992, 350x300x300cm
Class Three: Sound•
Readings: •
Jacquelynn Baas, “The Sound of the Mind,”
Smile of the Buddha: Eastern Philosophy and
Western Art From
Monet to Today (Berkeley, CA:
University of California Press, 2005), 158-205. •
Kay Larson, “9. The Infinity of Being” and “10. Zero,” W
here the Heart Beats: John Cage, Zen Buddhism
, and the Inner Life of Artists (New York: Penguin Books, 2013), 240-294.
•Artists: John Cage, Laurie Anderson, Nam
June Paik, Yoko O
no, Kimsooja
John Cage, 4'33”, 1952.
John Cage, W
here R=R
yoanji, 1983.
John Cage’s collection of rocks and
scores relating to the Ryoanjis prints
Rock G
arden, Ryoanji, K
yoto. M
uromachi period. c. 1480.
Yoko Ono, C
ut Piece, C
arnegie Hall, N
Y, 1965
Yoko Ono (Japan, b. 1933) Instruction P
aintings, ongoing from 1961
Sun P
iece:
Watch the sun until it becom
es square. 1962 w
inter
Nam
June Paik, Zen for H
ead, 1962K
azuo Shiraga painting w
ith his feet, 1963
Nam
June Paik, TV-
Buddha, 1974
Nam
June Paik, Zen for TV, 1963
Nam
June Paik, TV-B
uddha, 1974
Nam
June Paik, TV
Buddha R
e-Incarnated, 1994
Nam
June Paik, TV
Buddha R
e-Incarnated, 1994
Laurie Anderson, D
uets on Ice, performance in
New
York City and G
enoa, Italy, 1973-4.
Laurie Anderson, P
erformance U
nited States P
art II, 1980The O
rpheum, N
ew York; (right) album
covers United S
tates I-IV, 1984
Laurie Anderson, U
nited States P
art I, 1980, Orpheum
Theater
Kim
sooja, Needle W
oman, 1999 -
present, video stillshttp://ww
w.youtube.com
/watch?v=S
pes0Uk8btY
http://ww
w.art21.org/videos/segm
ent-kimsooja-in-system
s
Kim
sooja, A Beggar W
oman - M
exico C
ity, 2000, video stillK
imsooja, A B
eggar Wom
an - Cairo,
2001, video still
Kim
sooja, A Beggar W
oman:Tiim
es S
quare, March 11, 2005, perform
ance
Kim
sooja, A Beggar W
oman:Tiim
es S
quare, March 11, 2005, perform
ancesound
Class Four: Social Practice•
Readings: •
Suzanne Lacy, “Having it Good: Reflections on Engaged Art and
Engaged Buddhism,” Leaving Art: W
ritings on Performance,
Politics, and Publics, 1974–2007 (Durham, NC: Duke University
Press, 2010), 284-299. •
Stephen Batchelor, “Seeing the Light: Photography as Buddhist Practice,” in Buddha M
ind in Contemporary Art. Jacquelynn Baas
and Mary Jane Jacob, eds. (Berkeley, CA: University of California
Press, 2004), 141-146. •
Francesca Herndon-Consagra, “Living Things: Buddhist Art in a Building by Tadao Andō,” Reflections of the Buddha (St. Louis: Pulitzer Foundation for the Arts, 2011), 7-17.
•Artists: Atta Kim
, Moriko M
ori, Lee Mingwei, Rirkrit Tiravanija, Sopheap
Pich, Jakkai Siributr, Xu Bing
Mariko M
ori, Nirvana, 1997
Mariko M
ori, Dream
Temple, 1999
Mori, W
ave UFO
, 2003
video
Rirkrit Tiravanija, P
ad Thai, 1991-6
Visitors cooking for themselves at R
irkrit Tirvanija’s installation of tw
o replicas of his N
ew York flat at The S
erpentine G
allery, London 2005R
irkrit serving Thai Curry at The
Hugo B
oss Prize, 2002
ME
NU
- Thursday March 17
Temperm
ental (sic) Pum
pkin Soup
Pum
pkins (roasted and pureed) O
nions Vegetable S
tock G
arlic C
oconut milk
Chipotle peppers (in adobe sauce)
Curry pow
der (Indian) C
innamon
Sea salt
Honey
Mint (fresh)
In a big stockpot saute onions till caramelized
Add curry pow
der B
lend chipotle peppers and garlic, add to onion m
ixture A
dd vegetable stock, bring to a boil A
dd coconut milk
Add pureed pum
pkin and cinnamon
Season w
ith salt and a bit of honey to taste R
educe heat and let soup simm
er till flavors are w
ell integrated G
arnish with fresh chopped m
int (optional)
Rirkrit Tiravanija,
Fear Eats the S
oul, G
avin Brow
n's Enterprise
opening reception (in the soup kitchen). 2011
The Land, located 20 minutes from
Chiang M
ai, Thailand, begun in 1998, founded by R
irkrit Tiravanija and Kam
in Lertchaiprasert
Atta K
im, The M
onologue of Ice, 2011
Atta K
im, The M
onologue of Ice, 2011
Lee Mingw
ei, The Living Room
, 2000
Lee Mingw
ei, Sonic B
lossom, 2000
Sopheap P
ich, Candles, 2010 and B
uddha 2 (2009)
Sopheap P
ich, Cycle 2, Version 3, 2008
Jakkai Siributr, K
arma C
ash & C
arry, 2010
Jakkai Siributr, K
arma C
ash & C
arry, 2010
Jakkai Siributr, M
obius, 2013
Jakkai Siributr, S
hroud, 2011
Jakkai Siributr, S
hroud, 2011
Xu B
ing, Book from
the Sky, 1987-1991
Xu B
ing, Book from
the Sky, 1987-1991
Xu B
ing, Square W
ord Calligraphy S
igns, 1994-2000
Xu B
ing, Where D
oes the Dust Itself C
ollect? 2004
Xu B
ing, Where D
oes the Dust Itself C
ollect? 2004
The Bodhi (True Wisdom
) is not like the tree; The m
irror bright is nowhere shining; As there is nothing from
the first, W
here does the dust itself collect? - Huineng (638-713)
The body is the Bodhi tree; The soul is like the m
irror bright, Take heed to keep it always clean, And let no dust collect upon it.
- Yuquan Shenxiu (606?706)