Ajari Tanaka's 2018 Visit Retrospective...

On what seems like yesterday, a small group of Mandala Vermont students gathered to welcome Ajari Tanaka at the Burlington Airport.

And right on schedule, he arrived and his annual visit started.

And very soon thereafter, he was safe and comfortable in his host's home.

On the mornings of Monday and Tuesday Ajari Tanaka oversaw the review of our Gumonji-ho text that we had been working on translating into English for the past three years.

On Wednesday, Thursday and Friday mornings he turned his attention to the Dhama Name Ceremony scheduled for Friday evening.

And in the evenings of Monday through Thursday, Ajari Tanaka led meditations at our Burlington Dojo for small but very grateful group of local students and one intrepid visitor.

And on Friday night five students who have made a strong connection to Ajari Tanaka and the Mandala Vermont sangha received their dharma names. 

And now the fruition of this year's visit began... 

Over the next two days, with Ajari Tanaka presiding we transmitted the Gumonji-ho to the authorized students in the sangha. At the risk of being melodramatic, it was historic for our sangha and also Buddhism in the West.

And before long, our practice and study time of the Gumonji-ho was complete. Seventeen Mandala Vermont students were authorized and trained to practice the same practice that Shingon's founder, Kobo Daishi Kukai used to discover his own enlightenment.

The only thing left was some celebration.

And then a day of relaxation, souvenir shopping and fun in Burlington.

But then the time abruptly came.

And we had to say good-bye for another year...

The last dinner together...Tonight is

Tonight is Ajari Tanaka's last night in Vermont. So, to mark the occasion, a group of us went with him out to a Burlington favorite. It's been a great visit, can't believe its already coming to a close.

The Class of 2018...

Participants in Mandala Vermont's first transmission of the Gumonji-ho.

We did it...

Today we completed our first transmission of the Gumonji-ho in our sangha.

Wow...

Ajari Tanaka 2018

Dharma Names, 2018...

Tonight Ajari Tanaka gave Dharma Names to five sangha members. The names came from the "Kujo Shakujo", a short sutra used during fire ceremonies (goma) at Tanakahata Fudo, Ajari Tanaka's first training temple in Hino City.

These dharma name recipients received a gift from our sangha of a Shingon rosary that Ajari brought with him from Japan.

It was a pretty happy night.

Ajari Tanaka surrounded by the names he selected for our Dharma Name Event.

Preparations...

Ajari Tanaka practicing Oshakyo after completing the artwork for our Dharma Name Ceremony.

Day #3

Finished the edits to the Gumonji-ho this morning and later on in the evening Ajari Tanaka lead a group of eight of us in recitation practice of the Kannon-gyo. After he spoke at length on a number of subjects.

Ajari Tanaka's 2018 Vermont Visit, Day #2 - evening edition

This evening nine sangha members gathered for our first practice session with Ajari Tanaka. These intimate gatherings are so wonderful as we all get to have a very personal experience of our teacher.

And the good news is we have them scheduled every evening this week through this Thursday...

Ajari Tanaka's 2018 Vermont Visit, Day #2

Spent the morning with Ajari Tanaka reviewing our draft of the Gumonji-ho. Plowed through way more that I thought we would and it verified that all the earlier work was fruitful.

Tomorrow we will continue and, if luck stays with us, we will complete the review and be ready to print the text.

It will be a real milestone for Mandala Vermont. This is our first true translation project. We started with the original Japanese text and now, after three years of work we have what appears to be a quality English language version of the Gumonji-ho.

My gratitude to Ajari Tanaka for his patient help with this project and for the multi-lingual sangha member who did the fundamental, instrumental translation work cannot be captured in words...

I'm so happy our sangha will now be able to practice this same sadhana that Master Kukai used to discover his own enlightenment.

The traveler has returned...

A small group of sangha folks stayed up way past their bedtimes to meet Ajari at the airport. Strangely enough another sangha member happened to be on the same flight from Chicago that brought Ajari Tanaka to Burlington.  Hilarious.

So he's here again. He's really here...

We all couldn't be happier that he arrived safely.  And better yet he looks great and seemed very energetic after his long flight. Now the best part starts, all the things we have scheduled for his visit.

Simply fantastic...

So it begins again...

"Yume", Dream by Ajari Jomyo Tanaka

Ajari Tanaka arrives here in Vermont tonight at just a few minutes after 9:00 PM. He will be with us for ten days and this year is devoted to finalizing a project we have been working on for three years.

Ajari Tanaka's original, Japanese language version of the Gumonji-ho

Three years ago a student of Ajari's with considerable skill in Chinese asked Ajari if she may try to translate his version of the Gumonji-ho.  Ajari agreed and the process began. After a year we had the first rough draft. We reviewed this with Ajari Tanaka and he helped us make many improvements. We spent the next year improving many of the texts elements and crafting it into a form suitable for practice. Last year we did another round of reviews with Ajari. This really helped us refine the text and produce what we believe is very close to the final version.

Mandala Vermont's English Language Version of the Gumonji-ho

Next week we will again spend a significant amount of time with Ajari Tanaka finalizing this text.  And our project will come to fruition next weekend, September 15 & 16, during which time this practice will be introduced to our sangha for the first time.  This has long been an aspiration of many of Ajari's students and we are very happy to soon be able to practice the same sadhana that Master Kukai used to gain his enlightenment.

We are very lucky indeed...

"TRAH", the seed syllable of Kokuzo Bodhisattva

HUM #4: The Ultimate Meanings of the Syllable "U"

"...no existence is found to be in want [of Buddhahood] is the ultimate meaning of the letter U."

(Hakeda, p. 250)

This is Kukai's opening statement on the meaning of the syllable U, and by it he leaves little to doubt. Kukai's view and core teaching is the non-duality of not only buddhahood and sentient beings, but the entire phenomenal world. Using the logic of causality, this non-duality naturally expands to a view of all phenomena as interrelated and unified despite the apparent diversity.

In the following passage, Kukai reinforces this view:

"Through the eyes of the Buddha, the truth can be perceived that both the Buddhas and all sentient beings are abiding on the same ground of deliverance. There is no distinction between this or that; they are non-dual and equal."

(Hakeda, p. 252)

And he completes this progression, with this statement:

"...they are, like a perfect circle, perfect in themselves [as to their intrinsic nature]."

(Hakeda, p. 252)

But along side this, Kukai also begins to make a distinction. He directly addresses the gulf between enlightened and ordinary existence by quite clearly speaks to suffering and the entrapment of samsara.

"Those who are born in the triple world,

Or suffering beings, fallen in the Six Transmigratory Paths,

Appear here and disappear there in samsara.

Without stopping even for a moment.

Sacrificing substance for shadow,

They live in pursuit of illusions."

(Hakeda, p. 253)

So in parallel with the view of universal inherent buddhahood, Kukai speaks to the reality of suffering. But he also indicates the limitation of the states associated with suffering.

"Such transient states of their existence

May appear to be devastating and injurious;

Yet their intrinsic nature thereby is unaffected."

(Hakeda, p. 253)

Drawing a clear distinction between intrinsic nature (buddhahood) and manifestation (existence marked by suffering), Kukai comes very near his teaching on "ri" or "principle" that is the central attribute of the Taizo-kai mandala. "Ri" stands for the inherent and unmanifest buddhahood in existence. Ri is juxtaposed with "chi" or wisdom, which is the manifest buddhahood represented in the Kongo-kai mandala.

Kukai expands on this theme in the following verse on samsaric existence:

"From the beginningless beginning

They have been living in the space of Mind.

Yet being covered by their illusions

And being entangled by their defilements,

They are unmanifest like a mirror inside a box..."

(Hakeda, p. 253)

Wow. So Kukai indicates that are obscurations and karmic hindrances are not capable of damaging our intrinsic enlightened nature, they are capable of masking them to the point they are unknowable.

Really, wow...

Bringing this line of thinking full circle, Kukai writes:

"Suchness or the Nature of Dharma

Is the essence of our mind and is eternal.

What being with mind is wanting in this principle?

The wisdom of mind and the principle are identical;

The principle is not independent of the mind.

The mind and the principle are one."

(Hakeda, p. 254)

Ajari Tanaka has spent years teaching interested students how to practice and encouraging the sangha that has grown up around him to do just that and not give up. He knew, without saying it, that it was how we could rescue our mirror of enlightenment from the box we accidentally put it in.

All quotes sourced from:

Kukai: Major Works, Yoshito S. Hakeda, Columbia University Press, 1972

 

HUM #3: The Ultimate Meanings of the Syllable "A"

Taking the next step in our exploration of Kobo Daishi Kukai's teachings on the meaning of the syllable Hum we will delve into the ultimate meanings of the syllable "A". Again we will use Yoshito S. Hakeda's translation that is included in his book, "Kukai: Major Works".

Kukai opens this section of his essay stating that the syllable A has three ultimate meanings. They are "being", "empty" and "uncreated" (Hakeda, p. 249).

The first ultimate meaning, being, is described in fairly straight forward terms. Regarding it, Kukai states:

"The letter A in the Sanskrit alphabet represents the first sound. If it is the first [in contrast to others], it is relative. we therefore define it as "[relative] being."

(Hakeda, p. 249)

Regarding the connotation of "empty" of the syllable A, Kukai explains:

"A also has the meaning of non-arising. If anything arises in dependence, it does not have its own independent nature. We therefore define it as "empty."

(Hakeda, p. 249)

Here are echos of Kukai's comments on the syllable H. He restates the lack of a true, original cause for phenomena, but that they arise from an infinitely complex and numerous web of causes. Also the term "non-arising" is similar to the use of the term "born" in the follow line in the Heart Sutra:

"O Sariputra, all things are characterized by emptiness; They are neither born nor do they perish..."

(Hakeda, p. 269)

So, this second ultimate meaning has a bit of a prajnaparamita flavor.

And in the third definition of the ultimate meaning of the syllable A, Kukai expands on the term "uncreated" It is important to remember that he introduced this term in the discussion of the syllable H in the following passage:

"...when we observe in various ways the causes and conditions of arising of all things, we see that all of them are of the uncreated."

(Hakeda, p. 248)

Kukai opens as follow:

"By "uncreated" is meant the Realm which is one and real, that is, the Middle Way [Absolute]. Nagarjuna said: "Phenomena are empty, temporal, and also middle."

(Hakeda, p. 249)

As with his treatment of the syllable H, here in the context of the syllable A we are met with a view that perceives and contains an order of reality that transcends the mundane.

Next Kukai begins to point to the distinct character of the syllable A:

"As the sound A is inherent in all other sounds, the mother of all sas it were, so what is truly and ultimately meant by the letter A pervades all things."

(Hakeda, p. 249)

Again, remember Kukai's final conclusion about the syllable H and its relevance to phenomena.

"...all things are of the World of Dharma; that is, the World of Dharma is the essence of all things..."

(Hakeda, p. 248)

He goes on, returning to the challenge of causation, the central connotation of the syllable H.

"...there is not a single phenomenon that is not the product of coordinating causes. What is produced by coordinating causes necessarily has its beginning and root. We see that these coordinating causes that affect the development of a phenomenon have in turn their manifold causes. Which should we regard as the root?"

(Hakeda, p. 249)

The above passage clearly reinforces the premise established in his analysis of the ultimate meanings of syllable H, that the nature of causality is so complex and multitudinous as to be beyond comprehension. Kukai, sums up this line of thought, reiterating that no original cause can be known.

"When we observe thus, we come to know that which is the limit, the "originally uncreated," which is the root of all phenomena."

(Hakeda, p. 249)

Next Kukai gives what, in my estimation is the most profound teaching in the entire essay.

"Just as we hear the sound A when we hear all sounds, so we perceive that which is the limit, the "originally uncreated," when we perceive the arising of all phenomena. He who perceives that which is the limit, the "originally uncreated," will come to know his mind as it really is. To know one's as it really is is [to gain] all-inclusive wisdom."

(Hakeda, p. 240)

Here Kukai clearly indicates that our simple perception of the world around us is no other than apprehending the nature of things. And, more importantly that perception is the path, the key to not only understanding our minds completely, but discovering our own buddhahood.

Wow, right?

I know our discussion of this is at best basic. But please forgive that and give this masterwork by the founder of Shingon a read. You won't be disappointed.

All quotes sourced from:

Kukai: Major Works, Yoshito S. Hakeda, Columbia University Press, 1972

Hum #2: The Ultimate Meanings of the Syllable "H"

Continuing our exploration of the meanings of the syllable Hum, we will turn to the second section of Master Kukai's work on the subject. In this second section of "The Meanings of the Word Hum", Kukai describes what he refers to as the 'ultimate meanings' of the four syllables - H, A, U and M. Here we will begin by reviewing Kukai's teaching on the syllable H. And, as is our habit, we will use Prof. Hakeda's translation from his "Kukai: Major works".

Right at the onset of his discussion of the syllable H, Kukai diverges from the invariant meaning, stating quite directly:

"The letter H connotes that the first cause of all things is unobtainable."

(Hakeda, p. 248)

He continues, developing the view behind this opening assertion.

"All things have evolved contingent upon a series of causes; we should therefore know that they have ultimately no point of departure on which to rely."

(Hakeda, p. 248)

Moving beyond the initial, invariant meaning which recognizes that all phenomena are caused, and that those immediate causes might be knowable, Kukai points out that as we move outward from the arising of a particular phenomena, the web of causes contributing to its arising become so numerous as to be unknowable. From this view he draws an conclusion of import:

"Hence, we regard the absence of any particular cause as the origin of all things."

(Hakeda, p. 248)

He recasts the above conclusion, introducing an important term, "uncreated":

"...when we observe in various ways the causes and conditions of arising of all things, we see that all of them are of the uncreated."

(Hakeda, p. 248)

Next, based on the recognition that all things arise from an infinitely numerous and complex web of causes too great to be comprehended, Kukai brings this very big notion back down to the personal level, a level that can be applied to our own life and meditations.

Kukai says the following:

"We should know that [predications of] all things are of our mind only and that the real feature of our mind is all-inclusive wisdom"

(Hakeda, p. 248)

Here we find the expression or activity of all phenomena, which have arisen from the absence of "any particular cause" are none other than our own mind. And this mind of ours is not different from "all-inclusive wisdom". It is important to remember that "all-inclusive wisdom" is a synonym of Mahavairocana, the universal buddha nature inherent in all phenomena. 

Having established this line of thought from the uncaused nature of the phenomenal world, to our minds and universal buddhahood, Kukai draws the next conclusion: the unity or equality of all phenomena and its full participation in buddha nature.

"...all things are of the World of Dharma; that is, the World of Dharma is the essence of all things..."

(Hakeda, p. 248)

Awesome, right? And this is only the ideas associated with one of the four syllables comprising "Hum".

Master Kukai's essay on the syllable Hum is an amazing piece of dharmic literature. Please read it if you have a chance.

All quotes sourced from:

Kukai: Major Works, Yoshito S. Hakeda, Columbia University Press, 1972

HUM: The Invariant Meanings

"The contents of the word are broad, yet no confusion can be found; the form of the word is simple, yet nothing is missing."

From Kukai's, "The Meanings of the Word Hum"
(Hakeda, p. 262)

Recently, we had our third in a series of discussions on the important works of Shingon's founder, Kobo Daishi Kukai. Last week we tackled "The Meanings of the Word Hum". As has been our habit we used Professor Hakeda's translation from his book, "Kukai: Major Works". This particular piece is very challenging and contains a lot of deep dharma.  But it is also very rewarding to at least try to understand the teachings it contains. Like the other works in Kukai's Trilogy, the "sambu no sho", this essay reflects very clearly Kukai's own thought.

In the opening of the essay, Kukai explains that there are two sets of meanings associated with the syllable Hum. He calls these the invariant and ultimate meanings. In addition Kukai explains that the syllable Hum is composed of four syllables - H, A, U and M, each with their own distinct definition.

Today, we will confine our exploration to the invariant meanings.

Kukai gives summary definitions of his invariant meanings of the four syllable as follows:

The Syllable "H"

• It stands for the Sanskrit word hetva which means 'cause.'
• If we see the letter H, we know that all things have come to be because of causes;

(Hakeda, p. 247)

The Syllable "A"

• The sound A is the mother of all letters; it is the essence of all sounds; and it stands for the fountainhead of all-inclusive Reality.
• If we see the letter A, we know that all things are empty and nil [as isolated entities apart from the all-inclusive Reality].

(Hakeda, p. 247)

The Syllable "U"

• The letter U stands for [the Sanskrit una,] "wanting."
• If we see the letter U, we know that all things are impermanent, that they induce suffering, that they are empty and without permanent entity, etc.

(Hakeda, p. 247-248)

The syllable "M"

• The letter M stands for the Sanskrit word Atman, which can be translated as "entity."
• The letter M reminds us of [the perverse view] that all things pertain to permanent selves, such as I, thou, they. We call this 'augmentation' [of a false assumption].

(Hakeda, p. 248)

Master Kukai is somewhat dismissive of these invariant meanings as he closes this section of the essay with the following passage:

"People in the world know only the invariant meanings and have never come to understand the ultimate meanings; they therefore remain in the cycle of samsara."

(Hakeda, p. 248)

Be that as it may, they are very useful to us as we begin to develop our understanding of the syllable Hum. They cleave to what we might label the "exoteric" view of these syllables. The syllable "H" represents the classic Hinayana teaching on cause and effect. The letter "U" invokes the three marks of existence. The syllable "M" points to anatman, a core realization within Shakamuni Buddha's teaching. The lone outlier is the syllable "A". Invoking the "fountainhead of all-inclusive Reality" suggests a distinctly esoteric meaning.

Among the practices introduced to our sangha by Ajari Tanaka, the syllable Hum looms large. Building an understanding of its meaning and significance is essential. This first attempt is just that. Simply an effort to ground ourselves in the fundamentals, the important teaching associated with the syllable Hum.

We only hope it is helpful to your exploration of Shingon. And please stay tuned...

All quotes sourced from:

Kukai: Major Works, Yoshito S. Hakeda, Columbia University Press, 1972 

Sound, Word & Reality

Recently the Mandala Vermont sangha has begun to hold some discussion groups. The first one focused on Master Kukai's quintessential work, "Attaining Enlightenment in this Very Existence". It was really great for a group of our students to gather and discuss this important work. With it freshly read, the participants had specific topics ready for the group to mull over and consider. We had such a good time we decided to do it again.

So, for our second topic we picked "The Meanings of Sound Word and Reality", the Shoji Jisso Gi. This work, along with "Attaining Enlightenment in this Very Existence" and "The Meanings of the Word Hum" are considered Kukai's Trilogy, the "sambu no sho" (Hakeda p. 76) which comprise the "basic texts" (Hakeda p. 46) of Kukai's thought.

"The Meanings of Sound Word and Reality" is substantially more challenging than the previous, so our exploration of it is all that more compelling. The purpose of this post is to highlight some of the most accessible elements of this essay, freely admitting that the depth of this Dharma masterpiece will have to wait for a keener mind to thoroughly explain.

To begin, in the following quote Master Kukai tersely defines the terms used in his title. As these terms form the basis of the teaching it is helpful to appreciate how he carefully establishes their basic meaning.   

No sooner does the breath issue forth and touch the air [in the mouth] than a vibration invariably arises; this we call a sound (sho). The vibration depends on the sound; a sound, therefore, is the essential element of vibration. When a certain sound is uttered, it is not in vain; it invariably indicates the name of something; we call this a word (ji). A name invariably corresponds to an object standing for the name; we call this reality (jisso). To distinguish the three categories - sound, word, and reality - is called defining (gi).

(p. 236)

Here Master Kukai plainly establishes the elemental relationship of vibration and sound. Ajari Tanaka has often spoken about the import and impact of vibration, especially in the context of our recitation practices. Regarding the vibration associated with the sounds of recitation practice, Ajari would often say, "It will change your brain." Here Master Kukai establishes not only the unity of vibration and sound but its continuity with meaning and reality.

The next quote is the opening paragraph of the essay. It is a profoundly succinct statement of non-duality and it is almost like a dharmic formula...

The Tathagata reveals his teachings by means of expressive symbols. These expressive symbols have their constituent elements in the six kinds of objects. These objects have their origin in the Three Mysteries of the Dharmakaya Buddha. The universal Three Mysteries pervade the World of Dharma and are perpetual. The Existence, with the Fivefold Wisdom and the Four Forms, comprises the ten worlds and misses nothing.

(p. 234 - 235)

In this passage Master Kukai asserts that the Dharmakaya reveals its innermost realization by means of expressive symbols. These expressive symbols are none other than the phenomenal world and the beings that inhabit it. These are none other that the Dharmakaya itself. Therefore the ultimate buddha shares the ultimate wisdom with the beings by means of beings and the phenomenal world which are none other than emanations of that same buddha. Kinda amazing...

The next passage begins to bring this down to the level of our path. Identifying the enlightened and those yet to be, Master Kukai describes the Dharmakaya Buddha's compassion in the form of adhisthana or "kaji" (in the Japanese), most commonly rendered into English as "grace" or "blessing".

Those who have realized Him are called Enlightened Ones and those who are lost, sentient beings. Sentient beings are infatuated and blind and know no way of attaining enlightenment on their own. Through grace (kaji), therefore, the Tathagata shows them the way to return. The basis of the way to return cannot be established in the absence of superior teachings. The superior teachings cannot arise in the absence of sound and word. When sound and word are distinct, reality [the symbolized] will be revealed clearly.

(p. 235)
Here we also find that the Dharmakaya's grace, which comes in the form of "superior teachings" is dependent on sound and word. These two, being "distinct" reveal reality to the practitioner. Thus clarifying the way to return to one's inherent enlightment.
The next passage goes deeper still...

So-called Sound-Word-Reality is, indeed, the universal Three Mysteries of the Dharmakaya Buddha, the innate manda [essence] of all sentient beings. Mahavairocana Tathagata, therefore, by revealing the import of Sound-Word-Reality, arouses sentient beings from their long slumber.

(p. 235)
Here Master Kukai asserts that sound, word and reality are the Dhamakaya and that it is also the essence of all sentient beings. That's us, without exception. But most importantly, he teaches that by paying attention to ourselves and the world around us we will receive the highest teachings. And by doing so, most importantly, we can awaken.
This is only a taste of what is in this important work by Master Kukai. There is much more to learn, know and incorporate into one's own practice. If you read it please research any idea not fully understood. And please read it again and again, because it is very high dharma.

____________________________________________

{All quotations come from "Kukai: Major Works" (Yoshito S. Hakeda, Columbia University Press, 1972 and are marked with the page numbers only.}

February 15th

February 15th was the anniversary of Shakamuni Buddha's passing. This date is know as his Parinirvana, the anniversary of his leaving this world without residue.

Fortunately it fell on a Thursday so our Sangha could observe it on the precise date.

As is our norm, we gathered at the home of our dear friends in Burlington who host our Burlington Dojo. This dojo houses almost all of the art, altar furniture and ritual objects that Ajari Tanaka gifted us when he moved from Vermont back to Japan. Though it is small, it is also elegant and represents much of what Ajari has transmitted.

We began out practice with the Goshinbo, and then repeated the Shakamuni Gohogo 108 times. We followed with a prayer that honors the Buddha's relics. Then we sat in Susoku-kan - a simple meditation that hearkens back to the origins of Buddhist meditation. After resting this way for a good while, we recited the Shakamuni mantra 108 times, finishing by dedicating the merit of our practice.

In preparation for this date, I had re-read the Mahaparinibbana Sutta. This sutra documents the Buddha's final days and his passing. And after our practice I spoke briefly about one of the most challenging teachings in the sutra. In these passages Shakamuni's long time attendant Ananda does not catch an indirect  request posed by the Buddha and leads to dire consequences. Student, teacher and history suffer because of the lapse of the student's mindfulness and awareness.

We used this teaching to reflected on what we all might have missed in our training thus far with Ajari Tanaka. As well as what we might be missing in our lives because we just weren't paying sufficient attention.

For me it helped to refocus on what is most important in my effort to help Ajari make Shingon available to interested students.

The event was pretty special and I am grateful for the small group that gathered to observe it. Reviewing the sutra reminded me that it was the first sutra that Ajari Tanaka said we should study.

It also reminded me how much I am looking forward to his next visit.

And when he's back, I hope you all can join us...

The Buddha's Parinirvana

The observance of the Buddha's passing, his Parinirvana is coming up later this month on February 15th. The period just prior to and  Shakamuni's death is chronicled in the Mahaparinibbana Sutta. This sutra is the story of both the Buddha's final teachings and a pilgrimage he took to connect to students and places important to him before he passed. It is also the very first sutra that Ajari Tanaka pointed out to his students as something we should explore.

So in preparation for the Buddha's Parinirvana observances we've gone back to it, giving it a fresh read.  And in so doing, many things jump off the pages. The teachings are rich and applicable. The journey with his loyal attendant Ananda is entrancing. There are even times when we discover that the Buddha was a hard teacher and did not suffer his students mistakes.

But the following passage, stands out, worthy of note...

There are, Ananda, these eight liberations. What are they? Possessing form, one sees forms. That is the first. Not perceiving material forms in oneself, one sees them outside. That is the second. Thinking: "It is beautiful", one becomes intent on it. That is the third. By completely transcending all perception of matter,...thinking: "Space is infinite", one enters and abides in the Sphere of Infinite Space. That is the fourth. By transcending the Sphere of Infinite Space, thinking: "Consciousness is infinite", one enters and abides in the Sphere of Infinite Consciousness. That is the fifth. By transcending the Sphere of Infinite Consciousness, thinking: "There is no thing", one enters and abides in the Sphere of No-Thingness. That is the sixth. By transcending the Sphere of No-Thingness, one reaches and abides in the Sphere of Neither-Perception-Nor-Non-Perception. That is the seventh. By transcending the Sphere of Neither-Perception-Nor-Non-Perception, one enters and abides in the Cessation of Perception and Feeling. That is the eighth liberation.
(Walshe, p. 250)

This passage is full of teachings, but one in particular is a theme that Ajari Tanaka returns to again and again. In the above quotation, the Buddha talks of going on and on in one's path. Experiencing realizations only to keep practicing, going from discovery to discovery. Transcending one phase after another until the ultimate is uncovered.

Ajari Tanaka echos this teaching by telling his students over and over, that in their practice they need to just continue, "please continue". Master Kukai also emphasizes this same teaching:

Walk on and on until perfect quiescence is reached;
Go on and on until the primordial Source is penetrated.
The triple world is like and inn;
The One Mind is our original abode.

From Kukai's, "The Secret Key to the Hearts Sutra"
(Hakeda, p. 273)

_________________________________________________

Bibliography
"Thus Have I Heard", translated by Maurice Walshe, Wisdom Publications, 1987
"Kukai: Major Works", Yoshito Hakeda, Columbia University Press, 1972 

Practice

“From the endless cycle of samsara how can we be freed?  The only way is to practice meditation and correct thinking.”

Kukai, from “The Secret Key to the Heart Sutra” 

(Hakeda, p. 263)

Especially in his later works the founder of Shingon, Kobo Daishi Kukai, often expressed key elements of Buddhism in terse, crystal clear terms.  The above quotation is perhaps one of the most succinct statements about the essentials of the path to liberation in all of recorded Dharma.  

In the second section of his exposition on Kukai’s “Thought” entitled, “ Essentials of Kukai’s Esoteric Buddhist Thought and Practice”,  Professor Hakeda defines two aspects of “Kukai’s Esoteric Buddhism”.  The first is kyoso, the “theoretical aspect ” and secondly is jiso, the “practical aspect ” (Hakeda, p. 76).   Further, Professor Hakeda elaborates that the practical dimension of Kukai’s Buddhism is also broken down into two aspects.  First is kai or “observance of the precepts” and secondly was jo or “ sitting in meditation” (Hakeda, p. 93).  

From the earliest days of his teaching in the West, Ajari Tanaka has emphasized practice of what Professor Hakeda has defined as “jo”.  Since those early days, Ajari Tanaka has worked uninterruptedly to transmit to a small group of his students a collection of meditations and recitation practices that he has established as the core of our training.  Again and again in his discussions and talks with these students, Ajari Tanaka has established practice as the first and single most important commitment his students need to make.  “Step by step, day by day, everyday, one hour, two hours, little by little,” Ajari Tanaka will often say, encouraging his students to develop a daily practice of meditation and to keep to it, allowing practice to become part of the fabric of our everyday lives.  Ajari repeatedly tells his students that through this consistent daily practice we can come to not only grow in our self knowledge, but also find genuine happiness while uncovering our enlightenment.

In the Shingon tradition practice is particularly rich and unusually potent.  For students unfamiliar to Shingon it can be surprisingly technical and refreshingly varied.  Traditionally practice is summarized and referred to as the “Three Mysteries”.  Though the term, the “Three Mysteries” has numerous connotations, most beyond the scope of this discussion, in general the Three Mysteries can be summarized as the meditation practices associated with body, speech and mind.  In his Hizo Hyoaku, or “The Precious Key to the Secret Treasury” Kukai explains,

“The Three Mysteries are: the mystery of body - to make the mudras and to invoke the presence of the sacred object of meditation: the mystery of speech - to recite the mantras in secret, pronouncing them distinctly without making the slightest error: the mystery of mind - to be absorbed in yoga, keeping one’s mind in a wholesome state like that of the bright, pure, and full moon, and to meditate on the enlightened Mind” 

(Hakeda, p. 220). 

In Shingon, practice involves the whole person in the effort toward enlightenment. The body, the voice and the creative powers of the mind are all utilized to uncover and develop what is essential and inherent in each of us.  As students of Ajari Tanaka we should make every effort to establish a consistent daily practice, faithfully making use of the meditation methods according to those instructions we have received.  With the guidance of the teacher, the help of our fellow students and the support of Shingon’s methods of meditation our commitment and effort can become our path to happiness, and self knowledge.