One of this century's leading works on Zen, this book is a valuable source for those wishing to understand its concepts in the context of Japanese life and art.

Bkaḥ-Ḥgyur: ka-ya [volume 1-25], Text number 1-729. Rgyud -- ra-a, kṣa, ki-tsi [volume 26-49], Text number 730-759. Śer-phyin -- tshi-ʼi [volume 50-55], Text number 760. Dkon-brtsegs -- yi-ri [volume 56-61], Text number 761. Phal-chn -- ai, ku-ke [volume 62-93], Text number 762-1029. Mdo-sna-tshogs -- khe-phe [volume 94-106], Text number 1030-1055. Ḥdul-ba.

Zen Buddhism as it has been discovered by the West in our time emerges as one of the great challenges to Western philosophy, psychology, and religion. The present volume, composed of the work of D. T. Suzuki, Zen's chief exponent in English, and presented to Western readers by William Barrett, is intended to introduce the general reader to the history and spirit of Zen.

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative (...) work is enhanced by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The small connective words “soku” and “sokuhi,” typically found in the writings of the Kyoto school thinkers, have baffled many a Western reader. Describing what he termed the “logic of sokuhi,” Daisetz T. Suzuki famously wrote: “To say ‘A is A’ is to say ‘A is not A.’ Therefore, ’A is A.’” “Soku” is a connective word, meaning “that is,” or “id est”; “hi” negates the compound-word, adding the meaning of “not.” Nishida adopted and situated the “logic of (...) sokuhi” in a philosophical context, especially in his final essay “Bashoteki ronri to shūkyōteki sekaikan” or “The Logic of Topos and the Religious Worldview”. This logic of sokuhi, however, came to Nishida’s attention only in the very last years of his life, leaving him very little time to develop it fully. In this paper, I explore the birth of this “logic of sokuhi” in Suzuki’s writings, its context and the import in the Diamond Sūtra, and Nishida’s elaboration of this logic. The goal of this paper is to elucidate this key phrase of Nishida’s thought and to evaluate its philosophical relevance. (shrink)

This special 10th anniversary edition of the David Suzuki classic, re-examines our place in the natural world in light of sweeping environmental changes and recent advances in scientific knowledge.