“The person with wisdom fundamentally does not dwell anywhere. The bright moon cherishes being carried away by the flowing water. The clouds part and the mountains appear. The moon sets and the water is cool. Each bit of autumn contains vast interpenetration without bounds.”
Color and form, all sensory perception,
therefore are like the reflection of the moon on water:
because there is appearance without existence,
because nothing permanent can be found,
because it's features, uncongealing, uncrystallizing,
uncompounded , remain but a film of light-form,
the constructs of the eye, the visual faculty and cognition,
suffused by emptiness, are but hollow fictions, reflections of the moon on water.
A while back I thought I had a pretty good sense—I thought I knew something. Today I have grave doubts about my knowledge—and even about who I am. So please read this content with that advisement.
The intent is to seek experiential common ground between Dzogchen and Soto traditions. Within this container the formless beauty and song of Hongzhi's Silent Illumination share thread and verve with Longchenpa's Treasuries'.
I am not advocating one tradition over another. What might make sense for me may not make sense you. In the end isn't it all non sense?
I take refuge in the immediacy of the moment
I take refuge in this moment's marrow
I take refuge in the panorama of being
“Sometime go outside and sit,
in the evening at sunset, where there is a slight breeze that touches your body,
And makes the leaves and trees move gently.
You're not trying to do anything, really. You're simply allowing yourself to be,
Very open from deep within, Without holding on to anything whatsoever.
Don't bring something back from the past, from a memory. Don't plan that something should happen. Don't hold on to anything in the present
Nothing you perceive needs to be nailed down.
Simply let experience take place, very freely, So that your empty, open heart Is suffused with the tenderness of true compassion.”