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For copyright reasons, the frontispiece and all other illustrations in this volume have been blacked out. We are in the process of applying for permission to reproduce these illustrations electronically. Once permission is gained, the illustrations will be made available. We apologize for the inconvenience.

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CONTRIBUTORS

J. W. de Jong, Professor, Faculty of Asian Studies, The Australian National University, Canberra

Neal Donner, Assistant Professor, Department of Religious Studies, Uni­ versity of Virginia at Charlottesville

Haga KdsHiRd, Professor, Tokyo University of Education Karaki JunzC, Literary Critic

Miyuki Mokusen, Jungian Analyst; Associate Professor, Department of Religious Studies, California State University, Northridge

Nishitani Keiji, Professor Emeritus, Kyoto University; Member, The Japan Academy

Osaka KoryO, Headmaster, The Institute for the Promotion of Lay Training in Zen

Marco Pallis, Musician; Author

Huston Smith, Thomas J. Watson Professor of Religion & Adjunct Professor of Philosophy, Syracuse University

John Steffney, Associate Professor, Cheyney State College

Norman Waddell, Lecturer in English Literature, Otani University

Froniispiete. Calligraphy by Ashikaga Shizan (1859-1959)

Along flowing waters, theway tocold mountain.

SSS Deep in clouds, the old temple’s bell.

These are well-known lines from a poem by the Zen master

Zekkai ChQshin (1336-1405), found in an anthology of his

Chinese poems, theShokmko. Zekkai was a great master of Chinese-

style Zen poetry. A disciple of Musd Kokushi, he later became abbot of the Shokoku-ji, one of the Kyoto “Gozan” temples,

the five main Zen institutions in the capital. “Cold mountain” alludes to the dwelling-place of the legendary poet Han-shan.

Zekkai was one of the most prominent figures in the Gozan

literary movement which developed inJapan early in the four­

teenth century and continued on into the fifteenth. Japanese

Zen monks devoted themselves diligently to the production of

Chinese literary forms, particularly poetry, and many eminent

Zen poets appeared. In 1368, Zekkai wenttoChinatostudy and

remained for nine years. He came to be esteemed there as a poet, and is said to have been held in such high regard that he was

even invited to the Ming court to discourse on the Dharma. Ashikaga Shizan, whose calligraphy is reproduced here, is

one of the representative Zen masters of modern Japan. This

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