This was done by a 17th century, a Chinese, a Pāgni. Pāgni. Pāgni. Do you find it? Yeah, I can see it. Those are the bamboo trees. And here, those are the leaves. Synthetic and the power of the fresh wood. This is good. Here is what follows.

[01:07]

You see, just a peach in the dark. You reach it. It's moving. So my interpretation would be, Reality using action. It is a form. You don't think it is a formless. So the birds are moving. That is also... Here. It's supposed to sit on the top of the mountain. So, my dear, symbolize new people practicing Zen here in the top of the mountain. This stand by Satao.

[02:11]

Satao also 17th century Satao. He had a exhibition in northern few years ago of Sata's work. Sata's exhibition also in Taiwan and Hong Kong, and even Paris. I love her. She exists and publishes a book on sexist work. This was... She was a monk. I think she's a monk, but also interested in Taoism. So this gives you a feeling to warm you up. In my work on creativity and Taoism, I also have this picture.

[03:18]

I feel when I look at it, it gives me the feeling of tranquility. This is done by Dian Khai. Dian Khai. The 13th century. So, so, this Dian Khai was a Dian Buddhist. I will hear also what's done by Lien Kao. You see, the Zen painting sometimes, the story also called the Zen painting. This is the painting which Zen, the Zen is in the brushwood.

[04:23]

I feel this is a Zen story. So you must see the explanation of it. Shadows also use the color, but that the color is different. It's shining, yet does not shine. See, without a shard, this man said, you didn't save him. 16th century. He also studied Zen Buddhism. This is color, without color. today my topic is the rule played by time will enhance art and the poetry

[06:12]

The highest attainment of Chinese poetry and art is often attributed to the self-awakening of the poet and the artist. Thus we see that the teachings of Ren have been applied profoundly in the work of both poets and artists. To illustrate this, let us first read a poem written by Wang Wei. I think those who like Chinese poems know Wang Wei. Wang Wei, ninth century, Wang Wei. A long way.

[07:24]

A long way. Here it is. Eighth century. I didn't devote myself to questions, is the wrong way I. Nothing in the world concerns my mind. The brilliance on pine woods glows in my sight. The mountain moon shines upon my heart. That's quite related to the situation here. You are asking me to explain the reason of failure and success.

[08:27]

The Fisher-Nassau goes deep into the river. Let me explain this point once more. Of late, I deeply devoted myself to creation. Nothing in the world concerns my mind. Why lie, poor heart, in wine-seed, wine-seed? But these bonafide words will blow my sesh. A mountain moon shines upon my heart. You ask me to explain the reason of failure and success. After we read this poem, you may be enchanted with how profoundly wrongly the Pope argues his inner realm. untainted, and free from dichotomy of opposite failure and success.

[09:54]

His answer is just like a bamboo shadow, so which the stone steps without the stones, or without stone, the dust. And yet, it is this irrelevant reply that reveals the depth of the underlying harmony and opens the minds of others. Let me recite it. It's my feeling, it's my feeling. His answer is just like a bending shovel, slipping the stone steps We want to stir up the dust, and yet it is with irrelevant reprieve that we use the depths of underlying harmony and opens the mind of others.

[11:00]

During my stay in New York City, where I once lived, Officer Suzuki was there also. One day, I came out to Dr. Suzuki. At the runway, the poet was applying the teaching of Kuwait. Kuwait, Japanese Kuwait, Chinese Kuwait. All right. Charlie is pronouncing his square in I. O-I. O-I. Good. You know, rather, he's Patrick. But that's as good as you can calculate, consider the pairing. And I was delighted to accept this suggestion of what I had seen in the play.

[12:23]

So let me recite it once more. You ask me to explain the reason of failure and success. This is a song. That's his answer. To use this in the reader. Because an illustration of high-ranking teaching has been applied in terrific. Let us look at the inscription on a painting by Chateau. Chateau, I have it there. Chateau. Chateau. Yeah. This painting and its inscription was done as a model for his knitting.

[13:34]

He first began his lesson in Chinese painting with his uncle who taught this, who taught him. This is the picture. Nothing is beautiful, nothing is powerful. Yet, this great painter uses this to demonstrate the best work of painting that young artists should learn. And that artist could not discover it himself. The orphaned rangers, those who study the art of painting, should proceed as if they were searching for rain. They must not hold on to characterative thinking, but must enter into the thought of the first principle.

[14:38]

When they will become great masters of art, Let me recite this color poem once more. Those who started art-appending should proceed as if they were searching for fame. You'd like a chance, eh? You say it. There must not hold on to the calculative thinking that must enter into the sense of the first principle. The first principle. The first principle. The first principle.

[15:40]

Now, what is this first principle? According to the sutra of Lanka, Lanka Sutra, we have the following. I checked. This is my own translation. The first principle refers to the realm of wisdom through self-awakening by the wise. It cannot be identified as the realm achieved through languages and illusions. Let me recite it once more. The first principle refers to the realm of wisdom through self-awakening by the wise. It cannot be identified as the realm achieved through languages and illusions.

[16:56]

So, yesterday, in our seminar, I mentioned Hogan, Chinese firehound. I did. Pop. Yeah. Hogan. I found out the Hogan School of Leng. Well, I was asked, what is the first principle? Mustard. Said, if I should tell you, it would become second principle. Very nice. So language cannot be rich. If the language touches my language, there's no more first principle. In other words, the first principle is inexpressible and cannot be rich.

[18:01]

You know, calculated thinking and karma, truth. We use the ultimate reality, which may be identified as athata and sunatha. And to reach it, we must reach prajna, or pāya. To renew the interpretation of pāya, given by Sanjaya, which I did during the first election, we have learned that pāṅra is wondrous separate non-being. It is the ultimate source to be searched for in the standard of thought. Mahāyāna and Hināyāna told it. We may understand

[19:02]

But what is in the Chinese philosophy of art is called, first principle, is closely related to the teaching of Panyu. Panyu paves the way for the highest achievement of art. The highest achievement of art is the identity of artist in himself and the object of reality of things. This identity is not the concept of the dialectical mediation or synthesis of man and the universe.

[20:09]

It is the direct spontaneous, unimpeded mutual solution which takes place in the absolute moment. That's time. Identity here is no longer a principle as a statement about identity. It is as Heidegger says, explaining into the essential origin of identity, and unquote, explaining into the essential origin of identity. The origin of identity is the one of the event of appropriation. Yesterday we struck on the event appropriation of this term.

[21:15]

In which man and the being, capital B, are mutually appropriate to one another. In Taoist philosophy, we have heaven and earth and I live together. And all things and I are one. We have Chinese here. He is heaven. He, you, no. Heaven, earth, and I. Being sent is together. All things, wah-wah, is no. That is the second chapter of the Word of John. The second chapter of the Word of John is very, very important to me. I think that the Word of John is the realm of one is the realm of identity.

[22:32]

in which man and the universe and other things are mutually appropriate to each other, through the spirit which takes place in absolute moment. This oneness is poetic theory, which gathers the world's regions of earth, the sky, divinities, and morals. This superfluousness was killed by Kādeka. May I ask you to excuse me? I have very possessive eyes, I tell you. This Ramesh is poetic saying, saying is quotation, capital C, calling, which gathers the world's readings of earth, sky, divinity, and the mortals into the simple realm of the four.

[24:02]

The simple realm of the thought that is also Kavagur's expression. In Chinese art, this realm is primordial non-differentiation. This realm is primordial non-differentiation, which is essential to the Eastern aesthetics. Branch to Tao Chai? Tao Chai. Tao. Tao Chai. of the 4th century.

[25:17]

A great Chinese poet of the 4th century experienced this primordial non-differentiation the essential source of identity. He wrote, I gather chrysanthemums under Eastern Cathedral and silent praise in the distance at September Mountain. The mountain there is beautiful, in some shed, the birds flocking together, home, two by two.

[26:19]

Among all these things there is a real meaning. I won't express it. Words fail me. Let me recite this poem once more. I gather Christmas months under the Easter hedgerow and silent gaze in the distance at September mountain. The mountain air is beautiful in sunset. The birds flocking together home two by two. Among all these things, there is a real meaning. I want to express it. Words fail me. That's very good. This inexpressible inner experience is the experience of art as the origin of truth. That is the creative preserving of truth in the world.

[27:43]

Creative preserving of truth in the world is an expression given by Heidegger. Truth here is unconcealment. Truth is unconcealment. The revelation of being, capital being, of what is. The revelation of being of what is. It is neither the truth of particular things reported nor the symbolic representation of truth. It is the unconcealment of the truth of all that is. It is the unconcealment of the truth of all that is. Here counts as ethics.

[28:55]

Truth belongs to the transcendental reality of things in themselves. Count for the things that in their themselves. What is separate from the sensible appearance and the inaccessible to human experience? The work of art belongs to the realm of the sensible appearance. It is therefore only a symbolic representation of truth of what is, and not the experience of truth itself. So, let me recite once more these two tenets so important.

[29:59]

The work of art belongs to the realm of scientific appearance. It is therefore only a symbolic representation of truth, of what is, and not the experience of truth itself. Hegel, and beyond Kant, with his vision of intellectual intuition, thought which now can reach absolute reality. or Hegel, belong to the realm of absolute. However, it is a lower form of the absolute which in its highest development is pure thought or pure idea. The Nikton, the openness for all that is present and absent.

[31:03]

in carnivorous, naked works. This quiescent heart of the victim, or the possibility of truth, is the first security, is the place of stillness, the place of stillness. Sattar, the great master of Chinese painting, quoted earlier in his talk, when he said, that caresses and tranquility are produced through non-depreciating concealment. But you can watch both concealed and revealed. This is the projection of the image of immeasurableness, or the establishment of truth, as unconcealment in the world.

[32:17]

In religion, as in the book of James, we all know, one of the ancient Confucian classics we read Quotation, when heaven and earth unify into harmonious atmosphere, periphyllum stones will be transformed and purified. All heaven and earth unify into harmonious atmosphere, periphyllum stones will be transformed and purified. This fusion into harmonious atmosphere has been applied to the union of brushstrokes and ink wash, as Sakao says. When the brushstrokes and ink wash are unified, it moves. Brushstrokes and ink wash move.

[33:29]

This creates a harmonious atmosphere. When one applies harmonious atmosphere to paint the mountain, the mountain is spiritualized. Apply it to paint the stream, the stream views. Apply it to Rain's figure. He is free from mundane defilement. So this is the origin of Dr. Monty. He is the very founder of the environment of the world. Let me recite this quotation from Sakai once more. When the brushstrokes of ink wash are unified, this creates a harmonious atmosphere. And when we apply this harmonious atmosphere to paint a mountain, The mountain is spiritualized.

[34:32]

Applied to a kind of stone. The stone moves. You see, applied to this bridge. It was a dark bridge. But there it's moving. I'm moving. You can see. Applied to man's fever. It will spring from mundane defilement. The harmonious atmosphere can only be achieved when the non-differentiated realm has been reached and the artist himself has been transformed. The harmonious atmosphere can only be achieved when the non-differentiated realm has been reached and the artist himself has been transformed. Moreover, the non-differentiated realm, the aesthetic feeling of sublimity is obtained.

[35:46]

This great aesthetic caliber distributes itself to Chinese art. When the artist's mind reaches the pinnacle and the transparency of the mind-differential at the realm, it is in the mind untangled with outward truths, all confused by every modern events. His mind is separate, and the reality of the first verse is revealed. This cannot be achieved through a search for a very selfless feeling or a symbolic meaning. The separator of our self-feeling is far beyond this.

[36:51]

In the Eastern athletics, the urge to see the inmates of inwardness And to hear the sound of soundness is a particular stress for the highest attenuant of all. Chinese philosophers do not search for the image in the image, but sit to reveal the image or less in the image. For them, sound is not expressed in sound, but rather the soundless is revealed in sound. Thus, sound is at first for soundless and image for imageless. Let me recite this last sentence very well.

[37:55]

For the sound is not expressed in sound, but rather the soundless is revealed in sound. Yet the sound is separate for the soundless and the image for imageless. In the works of Dronza, yesterday we saw Dronza, Dronza, great philosopher, after Laud, just like a play to Socrates, Laud's position to Laud. In the works of Dronza, we find an illustration of the finalist, the medieval son. Airplane music.

[38:57]

This is also in the second chapter. This part is hard to understand. Many people who read it cannot understand that many people mean Chinese. Chinese scholars. Airplane music is described as the sound from all the crevices of the mountain forests and the colors of the green trees. The musical man is described as that of bended roots and pipes. But within these creatures and instruments there is musical heaven. But in the musical, well, musical man, pardon me, but within these creatures and instruments there is the musical heaven, the man of ignorance, to only hear the music of earth and the music of man.

[40:01]

But Frank Long has experienced the essence of identity. He may enjoy the symphony of the Christian ritual, the cerebral music of earth and the music of man. I remember in 2014, we have the sound of the glories send the message of the truth. The fragrance of the flower, the first crucible. So, that's so new. He followed those words.

[41:07]

Soon, children of soul, real existence, means to belong to the physical of beings themselves. This prescience of the very nature of language is being itself, capital B. To belong to being itself is to grasp. This is my interpretation. To belong to being itself is to grasp the music of Henry. That is, to identify with it. When the artist catches the newness of heaven, he abides the fountains of creativity. As John James says, this quotation, those who rely upon arc, the line, compasses, and the square to make a correct film endure

[42:20]

the natural construction of things. Those who use squares to bind and glue to piece together in the sphere with the natural character of things. There is an ultimate reality in things. These, in their ultimate reality, are curved, without help, are ox, strict, without line, blind, without compasses, and a rectangle, without life and mood. In this manner, all things create themselves from their own inward reflection, and one can tell how they come to do so. And we cite this passage much more.

[43:22]

It's very perfect. Those who rely upon the ark, the line, harnesses, and square to recollect upon, in India, the natural construction of things Those who use cords to bind and glue to piece together in their figure with the natural character of being. There is an ultimate reality in things. There is an ultimate reality that occurred without thread of ox, straight with that line, round without compasses, and rectangle without right and wrong. In this manner, all things create themselves from their own inward reflection, and none can tell how they come to do so. I have a neighbor in my house built a hive.

[44:34]

There's a verse like a hive, six hives, tender, whole, huge, with little insects, to let a dracula return six hives. And what is to lose with these hands? By natural reflection, a natural reflection reality, the beast made such nice house. This creativity is based upon the principle of life. Let the things be as they are. Let the things be as they are. This is part of the Shakespeare. The artist does not interfere. with his preconceptions or predeterminations.

[45:39]

As Heidegger says, the story of the poets is turned away from all purpose-based self-assertion. It is not a willing messiah of desire. Their sound does not solicit a material to be produced. Here, the sound reverberates in the space, conceives, spells, redeems itself, and unquits. Let me recite this what's known in Harvard very soon. The season of the poets is turned away from our purpose of self-absorption. There is nothing we do in the service of desire. We are some that have not solicited anything to be produced.

[46:47]

In the same, the words in this space consume each space we do with self-enormity. corrective way, the artist must himself be identified with the being that could be. That is, he must experience the identical or belonging together of thinking and being. This is the effect of Harleger. Belonging together of thinking and being. This is the essence, the teaching of habit. Grounding together of energy and the being. Energy and the being.

[47:50]

This identity is the origin of the truths of art. Art, as mentioned up there, the revelation of the imageless of the image, the soundless of sound. the image in the image of the image of rest in the image and the sound of rest in sound may be understood as the identification of the word and the real which is achieved by absolute mind or we say that samsung is real it is not a narrative reality or we say that is Word, it is not a relative word. What is real is a word, but what is a word is real. This is not a real word. John Lester, darling, very quite darling, very quite,

[49:04]

The real world is substance. Therefore, we may say that anywhere on earth the real world applies. All those in the universe are activities of such a reality which is capable of embracing this. That's too much. follow Nityādhā in succession, succession. The sign of the new sign is constant. This order is very interesting, but we will decide once more. Subtle reality is the action, and the real word is a sub-sentence. Tīya-ruṁ. That's the oldest term, tīya-ruṁ. I just translate it literally. Therefore, we know so that everywhere on earth the real world abides.

[50:52]

All groups in the universe are activities of subtle reality. Who is capable and bearers of vision? The four series follow each other in succession. The sun and the moon shine constantly. He uses those words in the fundamental problem of philosophy. We have the English translation published long ago, three years ago. Fundamental problem of philosophy. We have Absolute negation must be absolute affirmation.

[52:00]

Mahālāna Buddhism attend to the idea that the willows are green, the flowers are red. And, of course, absolute negation must be absolute affirmation. Mahārāj [...] We may read the last poem in the chapter entitled, The Fulker as Poet from Poetry, Language, and Thought.

[53:04]

Harvester writes, Anything well in that book was translated half-setter, some of my friends. Hermes, German, well enough literature, you know, so a little different. First line, forest fighter. Books run second line. Two lines of lines that the father goes through. Poor me. Clips last. Clips last. Run streams, row on stream. versus the first one. Second part. Third rate. W-A-I-T. W-A-I-T. Spring, spring. Spring, spring.

[54:06]

Wind, wind. Wind, wind. Abundance acts. Abundance acts. Let me recite this famous poem. Forest, gather. Brooks, plow. Cliffs, laugh. Round, sweep. Second. Cleaves, break. Streams, spring. Wind, it dwells. Abundance, act. For those who do not know my talk, here is what I write. At the 8th birthday celebration for Khaled, we will try with a Japanese scholar, a professor, a curator, a disciple of Khaled, compare his and

[55:17]

changement with this poem to what we had experienced in a rock garden in Liyangyi period. This rock garden, the quality of simplicity, directness, and purity. He, apparently, sees limited reflection from the poet's mind, and it is division through quietude that leads to the mind of new mind, which is time. When the poet has achieved the mind of new mind, his subjectivity Interpieces with objective reality of them. This perfect interpretation between subjectivity and objectivity are the two in a single breath.

[56:31]

The spontaneous outburst of poetic feeling is identified with pre-ontological experience and is manifested in the poet's work. In this sense, then, we see the function of Panyu or Prajna. And that time there is what leads to the highest attainment of poetry, that painting or music. As German poet, Rainer Maria Reichelt, source of the task of the poet. Where are the bees of the invisible?

[57:50]

We seriously gather the honey of the visible to stir it up in the great gilding behind of the invisible. Make me recite once more. We are the bees of the invisible. We seek to resurrect rather the corner of the visible to stir it up in the great golden behind of the invisible. This is the page 138. You can check poetry, language. I hope that this seminar may have served the purpose of gathering the holy into the golden beehive of the invisible.

[58:57]

Thank you. A request. We are back. Thank you, thank you, thank you. I hear often the article you've had on screen talks about a look at the battleground of the earth and the world.

[59:59]

Is that kind of feeling, does that kind of feeling come out of original art as well? Is that a Western feeling? The essence of the original art, I think, He stressed the conflict of the earth and the world. So with the conflict of the opposite, artists are awakened. I will apply this to the Mavilanika, the identity of the cause and the contradiction. So this identity of cause and contradiction are written by artist or poet. So this is the time or action to move it.

[61:07]

In this paper of the Origin of Art, we are involved in so many things, but we have to pick up the dispersing principles. What does Heidegger mean by earth and world? Pardon me? What does Heidegger mean by earth and world? It is not quite clear in this essay, you know,

[62:09]

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