D.T. Suzuki

The paper covers reaction to American Zen Buddhism from Jewish, Christian, and Zen Buddhist perspectives. The positive reactions were Jews using Buddhism to come to grips with the Holocaust, Christians using satori via Zen to gain a closer connection to God or Jesus, and Zen Buddhists for Zen's commitment to lay persons. The negative reactions of both Jews and Christians were Buddhism being a foreign religion. Christians suspected Zen of expanding into the territory of their converts. Christians, depending on the perspective, also had issues with Buddhism having a god which could be viewed as a different god and not having a god which could be viewed as atheistic. Zen Buddhists criticized American Zen for its lack of monastic institutions and degradation of the dharma. All of the religions seemed to agree that drug-use was not the real Zen and argued Beats did not know Zen or their native religions.

This essay seeks to reevaluate D.T. Suzuki’s understanding of non-dualism, under the assumption that his critique of such has become the defining aspect of his religious philosophy from the perspective of Western scholarship. The essay will demonstrate that while a critique of non-dualism is an important element of Suzuki’s thought it is not the final goal of his soteriology. It will be shown that the negation of dualism is the first step in a two step process where the initial negation must also be negated in order to reach the ultimate stage of reiseiteki seikatsu 霊性的生活, the “spiritual life.” As Suzuki frequently described the central characteristic of Western society as dualistic and discriminatory, a refining of Suzuki’s ideas on dualism and discrimination will also offer up a more nuanced picture of his opinions on ethnic identity.

In the twentieth century, few people have influenced perceptions of Zen in the West as much as Daisetz Teitaro Suzuki. Thus far, studies of Suzuki have not addressed the literary forms he used to convey his construction of Zen, thereby ignoring one of the most important ways in which he rendered his ideas attractive to non-Japanese audiences. To address this gap, my article investigates how two accounts of Japanese Zen Buddhism, Suzuki’s An Introduction to Zen Buddhism (1934) and Janwillem Van de Wetering’s memoir The Empty Mirror (1973), frame Zen Buddhist stories known as encounter dialogues. I argue that Suzuki uses these stories 1) to condition the relationship between author and reader as that between a master and a student; and 2) to portray Zen as an a-historical practice centered on “experience.” In The Empty Mirror, however, framed encounter dialogues remain ideal portrayals that contrast with the protagonist’s life in a Zen monastery. The manner in which Van de Wetering uses frame-stories thus implicitly critiques Suzuki’s influential narrative of Zen, and suggests a manner of writing and thinking about this religion that takes into account both the ideals and failures of Zen Buddhist practitioners.

The method of quiet-sitting developed by Okada Torajirō (1872-1920), called the Okada Shiki seiza hō, was very influential from 1910 to 1920. Okada taught that inner spirituality grew from inside the individual through the practice of his method, and by his teaching he set out to create a new culture and education in Japan , rejecting not only the Japanese tradition but also the foreign ideas being imported into Japan from Western countries since the mid- nineteenth century.  The emphasis seemed to attract a range of people, such as intellectuals and students struggling with the contradictions they perceived in Japan's modernization and the fetters of their own tradition. A number of scholars have argued that the movement rapidly disappeared after Okada’s sudden death. But some disciples continued their practice of quiet-sitting. The Seiza-sha in Kyōto was one of them that carried on the quiet-sitting sessions and played the most important role among followers of the Okada method. It was established by Kobayashi Nobuko (1886-1973) after the death of her husband, Kobayashi Sanzaburō (1863-1926), a doctor who used the method of quiet sitting in his treatment of patients. Seiza-sha published a journal titled Seiza and functioned as the center of a network of quiet-sitting followers in many parts of the country.
    Seiza-sha has recently donated part of its documentary holdings to the International Research Center for Japanese Studies. This article introduces the catalogue of the materials that were donated and describes the activities and the human network of the Seiza-sha and the many ways in which it functioned as a salon where Buddhist intellectuals and literary people interacted. The network also spread among non-Japanese, some of whom subsequently introduce into their own countries Zen Buddhism and physical techniques, such as a method of breathing and sitting. While exchanging with people who sought a universal religion transcending established religions and nations, Kobayashi Nobuko tried to strictly keep the style of quiet sitting prescribed by Okada. There were also some people who attempted to connect the practice to nationalism in the course of Japan's Fifteen Year War between 1931 and 1945. The Seiza-sha documents include an interesting case of interchange between domestic history and international trends in the 1920s and after.

This paper explores how the concept of Absolute Nothingness as developed in the thought of three key Kyoto School thinkers Nishida Kitarō, Tanabe Hajime and Nishitani Keiji has influenced the practice of sound art. The paper examines the influence of these three philosophers on D.T. Suzuki and John Cage, the Mono-ha movement, and the Fluxus movement before examining how these influences have shaped sound art practice.

"George Derfer, Zhihe Wang and Michel Weber (eds.), The Roar of Awakening. A Whiteheadian Dialogue Between Western Psychotherapies and Eastern Worldviews, Frankfurt / Paris / Lancaster, ontos verlag, 2009. (251 p. ; ISBN: 978-3-86838-039-2 ; 89 €)
The primary goal of this volume is to describe the contemporary state of affairs in Western psychotherapy, and to do so in a Whiteheadian spirit: with genuine openness to the relative ways in which creativity, beauty, truth and peace manifest themselves in various cultural traditions. To do so, it chooses to explore afresh a cross-elucidatory path that was born with the field of history of religion (and Religionwissenschaft): what have we, and can we, learn from a dialogue with Eastern worldviews? In order to generate meaningful contrasts between these different systems of thought, all the papers address the following core issues. On the one hand, how does the given system understand the interaction of individuality, society, and nature (or cosmos)? Especially: what is its standpoint with regard to the nature of consciousness and with regard to the mind/body problem?; how far is it dualistic?; how are destiny and historicity assessed? On the other hand, what is the paradigm of all mal-adjustment (or pathology) and what is its typical tuning-in (or curative) pattern? What are furthermore the ins and outs of the diagnostic and therapeutic assessments involved? Wherever possible, some (meta)theoretical and clinical issues are addressed from the vantage point of selected material from abnormal psychology or psychiatry.
Table of contents
Contents
Contributors
Foreword — George Derfer, Zhihe Wang and Michel Weber
Introduction — Michel Weber
I. The View from the East
1. Consciousness: The Vedantic Approach to Life and Reality, Francis-Vincent Anthony
2. Dual-Aspect Framework for Consciousness, RamLakhan Pandey Vimal
3. The Paradoxes of Radical Asceticism: Jainism as a Therapeutic Paradigm, Jeffery D. Long
4. Yoga Therapeutics: Philosophical, Scientific and Humanistic Approaches, Ashok Kumar Malhotra
5. Can Indian spiritual practices be used in psychotherapy?, R L Kapur
II. Transcultural Dialogue
6. Ineradicable Frustration and Liberation in Tiantai Buddhism, Brook Ziporyn
7. An Exploration and Analysis into Chinese Traditional Psychotherapy Ideas—A Concurrent Comment on the Integrative point of view of Whitehead’s Organic Philosophy, Fengqiang Gao and Yingmin Chen
8. The Kyoto School and self-awareness in the field of the absolute nothingness —A comparison with Whitehead’s philosophy, Eiko Hanaoka
9. Jung and Hisamatsu Re-envisioning Religiosity: Jungian Psychotherapy and the Kyoto School, Tokiyuki Nobuhara
10. Reconstructing the Meaning of Being Human: A Postmodern Reinterpretation of Frankl in the Framework of Whitehead’s Philosophy, Yoshihiro Hayashi
11. The Development of Binswanger’s Daseinsanalysis, Shoji Muramoto
12. The Intercultural and Daseinsanalytical Psychiatry of Kimura Bin, Bernard Stevens
13. A Certain Form of Psychotherapy (Kenosis, Prajna, Jung, and Hillman), David T. Bradford
14. Vedanta, Process and Psychotherapy, Joseph Grange
15. On Zen Buddhism, Clive Sherlock
"

Podría decirse que nadie ha hecho más por transmitir el zen a Occidente que el autor japonés Daisetsu Teitarō Suzuki (1870-1966), mejor conocido como D.T. Suzuki. Al mismo tiempo, Suzuki no está exento de críticas. En una retahíla de libros y artículos académicos desde los 1980, ha sido duramente criticado por su representación del zen. En este artículo nos detenemos brevemente a considerar la vida y obra de este prolífico estudioso. Veremos cómo, a pesar de las serias críticas que ha recibido, su contribución a la transmisión del zen al Oeste le garantiza un lugar la historia intelectual del siglo XX. 

http://espanol.buddhistdoor.net/daisetsu-teitaro-suzuki-el-zen-de-suzuki/

Satori Zen is of immense interest to anyone pursuing authentic metaphysical knowledge because it claims to offer an astonishingly straightforward path to full Spiritual Enlightenment. And in terms of outright simplicity and immediate applicability, there is no other spiritual technique quite like it, in any other tradition anywhere. But does it do what it claims to do ? Can you really ‘power your way into heaven’ by brute meditative force ? And does this then mean that satori is equivalent to Supreme Spiritual Enlightenment ? This essay will examine the key elements and claims of Satori Zen in the light of independent and objective metaphysical knowledge.

Abstract: Eckhart proposed that the ultimate of ultimates was not a perceptible God reachable through mystical experience, but an inconceivable and unfathomable ‘something’ beyond all human possibility.  His proposition rests on an important distinction between the mutually exclusive paths of mysticism and spiritual knowledge. Eckhart’s teaching is analysed as if it were an independent metaphysical proposition, detached from its historical and scholarly context. The overall explanatory perspective is that of a dedicated interest in metaphysical gnosis, as part of a quest for the resolution of the human condition. Eckhart provides some valuable assistance in this regard, identifying the ‘Intellect’ – the principial force behind ordinary intellection - as a crucial spiritual capacity. Eckhart is likely to remain misunderstood and misinterpreted because those who are attracted to his teachings have no authentic metaphysical grounding of their own, and are therefore unable to recognise and appreciate – let alone elucidate - the key features of a spirituality that extends beyond mystical experientialism.

For Thomas Merton, the need to reconcile the divide between Christianity and Buddhism is seen through his writings, which are a legitimate theological and philosophical attempt to bridge the gap between two very distinct and different cultures and religions. Buddhism traditionally is a deep quagmire of philosophical and metaphysical teachings that seem very foreign and incomprehensible to the Western mind.

Chapter 6 in _Silence, Music, Silent Music_, ed. Nicky Losseff and Jenny Doctor (Aldershot, UK: Ashgate Publishing, 2007), in (slightly corrected) proof form. Writings and compositions by John Cage and Charles Ives are examined from a perspective grounded in the philosophy of William James.  Particular attention is given to Ives’s two “contemplations” on Central Park and Unanswered Questions; to Cage’s account of silences in his earlier music, of which Experiences II and the Sonatas and Interludes are taken as examples; and to the genesis of the “silent piece” and its relation to Cage’s experience in the anechoic chamber.  Figures that indirectly link Cage with James, such as Gertrude Stein and Daisetz Suzuki, are also discussed.

Sustainability has been a contemporary vanguard for necessitating ethical questions in design. For some time, I have been questioning what it means to be an ethical designer and becoming increasingly troubled by persistence for a common framework for all designers to pursue the ‘right’, ‘better’, ‘more effective’ or ‘sustainable’ approach or outcome (see Akama 2012 and Lisa Norton’s reply in Design Philosophy Paper). Utilitarian ways to measure and standardize accountability, such as the Triple Bottom Line, Life Cycle Analysis, Corporate Social Responsibility, and versions of similar models, also suggests this desire for universality. My concern comes from such pervasiveness for consistency. When this dominates, it becomes an ethical monologue, creating a silent and peripheral ‘other’. Speaking from the periphery, I consider ways to practice mindfulness that foregrounds being and becoming with, instead of accounting and obligating, where sustainability means a surrendering to impermanence and inter-relatedness.

[This is a draft chapter in a 2017 edited book by Rachel B Egenhoefer, The Routledge Handbook of Sustainable Design. https://www.routledge.com/Routledge-Handbook-of-Sustainable-Design/Egenhoefer/p/book/9781138650176]

Uncovering socio-religious amalgamations, it has been revealed that things such as meditation, ‘Zen art’ like the ensō, poems, and conveying certain moments of epiphany, were aesthetic additives to Zen developed though the Kamakura (1185–1333) to the Takugawa or Edo (1600–1868) periods. Most of these ideas were primarily introduced during the Heian era (794-1185) with the first Japanese imperial anthology, Konkishu. Such was left to permeate the religions of Japan and assimilate themes to the context of things such as Zen and satori. The Zen master then became a poetic figure and romanticized the idea of Jōshū’s ‘Ordinary Zen’. 
The Heian period precursors the time of Dōgen, and is usually described in such a way:

The last division of classical Japanese history. It is the period in Japanese history when Buddhism, Taoism and other Chinese influences were at their height. The Heian period is also considered the peak of the Japanese imperial court and is noted for its art, especially poetry and literature.

It is here we begin to see the descriptions of satori and their quality as ineffable. The Zen tradition has a philosophical corpus which in the modern context has mostly been expressed through various arts. Within these arts, there is an underlying connotation for emotive expression. Therefore to ‘see’ Zen, one would not seek scholarly approach but look to sumi-e prints (Japanese ink wash), haiku, karenasui (dry landscaping), ukiyo-e (floating world prints), nanga or bunjinga (literati painting), or kōan introspection, which usually depicts nature and life in raw form. Even then, unless the art is embodied by the observer it can only be looked upon as a disconnected visual representation. What it represents is by its very definition is self-defeating in so much as the ‘beauty’ consists in its being ephemeral. The practitioner is attempting to capture a moment where the moment is already gone. The perspective of recalling an experience such as satori changes it leaving the faintest trace. Yet, the common notion of Zen relishes in the paradox of this contradicting gesture and is labeled as yūgen.

Suzuki Daisetsu interprets the Noh play Yamamba to be about the Buddhist principles of compassion. However, the play, through its narrative and use of multiple identities does not represent these principles in an ‘artistic’ way but transcends art to create a new reality. I point out that this perspective of Suzuki is very much grounded in a modern romanticist view of art.
鈴木大拙は能『山姥』を仏教の枠組みで解釈する必要を述べ、この能の主題は仏教の慈悲の教えであると解釈している。この能の独特な語りと多様なアイデンティティーから、『山姥』は慈悲の教えを単に「芸術的」に表象しているのではなく、芸術の枠組みを超え新たな現実を創造すると鈴木は分析する。この点から鈴木の見解が近代のロマンティストの芸術の見方に傾向していることを論証。

Zen menyangkut segala hal tentang pikiran, dan karena di dalam pikiran kita bisa dijumpai banyak hal. Namun begitu, pikiran bukanlah hal yang harus dibagi-bagi menjadi banyak fakultas. Zen tidak meninggalkan apapun. Zen tidak mengajarkan kepada kita tentang analisis intelektual, tidak pula mengajarkan doktrin-doktrin yang dijejalkan ke pikiran para pengikutnya untuk diikuti. Karenanya, Zen akan terdengar cukup membingungkan jika anda tetap memilih untuk memperbincangkannya. Zen adalah tidak mempelajari apa-apa. Zen adalah pikiran kita sehari-hari. Zen adalah terbebasnya pikiran dari beban yang tidak wajar.

Pocas organizaciones japonesas han tenido un mayor impacto en la visibilidad del budismo zen post-Meiji en Occidente que la escuela zen Sanbōkyōdan. De este linaje surgen algunos de los maestros zen occidentales más influyentes como Philip Kapleau, Robert Baker Aitken Roshi, Bernard Tetsugen Glassman y David R. Loy por nombrar solo algunos. Pero, además, Sanbōkyōdan juega un papel singular en la aparición en escena del llamado «movimiento del zen cristiano», una tendencia de gran relevancia en Europa y Estados Unidos, a la cual se adscriben la práctica totalidad de los maestros del zen «cristianizado».

excerpt from introduction to "Global Origins of the Modern Self, from Montaigne to Suzuki," from the SUNY Press website. The book shows how authors across five continents and four centuries conceived of selfhood in modernity through different ideas about how to relate the individual to the world.

Panel presentations at the 77th Annual Convention of the Japanese Association for Religious Studies 第77回学術大会パネル報告
Chair and commentator: Yoshinaga Shin'ichi 吉永進一
Presenters: Hioki Naoko 日沖直子, Suemura Masayo 末村正代, Okamoto Yoshiko 岡本佳子, Moriya Tomoe 守屋友江
English titles follow after Japanese abstracts.

Lacan introduced Freud in his first seminar by depicting him as the Zen master, as one who does not preach from the pulpit, but requires the students to learn for themselves. In this paper, I examine the common basis of the pedagogical methods of Zen and Lacan, tracing the Western background through the model of Plato's Socrates and Nietzsche.

Pode-se dizer sem hipérbole que ninguém fez mais para tornar o zen conhecido no Ocidente, e dar forma à compreensão ocidental dessa antiga tradição budista, do que o estudioso japonês Daisetsu Teitarō Suzuki (1870-1966), mais conhecido como D. T. Suzuki. Por mais de seis décadas, esse prolífico autor trabalhou incansavelmente para promover e disseminar o conhecimento e a prática do zen através de uma infinidade de livros e ensaios, e como tradutor da literatura budista para o chinês, o japonês e o sânscrito. Tanto a influência de Suzuki na interpretação do zen no Ocidente quanto seu impacto na cultura popular moderna foram formidáveis. Figuras proeminentes na história intelectual do século passado, como

"Please note, the version published by the Journal of Black Mountain College Studies was edited by that journal and the version that appears in there is thus different to the version that appears on this page. My original longer version can be read or downloaded from this page. The version published by the Journal of Black Mountain College Studies can be viewed by clicking on the link.

The development of the influential artistic and philosophical theories of John Cage has been a subject of particular interest in the study of the composer. Nevertheless, questions still remain regarding elements of that development, the sources Cage borrowed from, and the meanings of his theories. The landmark research of David Patterson provided a clearer picture of the chronology of that development, but could not cover all angles. This paper focuses on Cage’s friendship with the comparative-mythologist Joseph Campbell (1904–1987). Focusing chiefly on the years between 1942 and 1952, it combines recent and original research to provide an updated history of Campbell’s influence on Cage and aspects of the development of Cage’s theories. Because of the importance of the theories of C. G. Jung to Campbell’s work, it also details Cage’s references to Jung. By concentrating on Campbell and his circle rather than the figures Cage more frequently cited as influences, the importance of Campbell to the development of Cage’s theories is revealed. As usual with Cage’s borrowings, what is discovered is not that he faithfully adopted theories but that he creatively—sometimes opportunistically—adapted them. These findings have particular relevance for researchers investigating Cage’s two summers spent teaching at Black Mountain College in 1948 and 1952, as well as to investigations into the development of Cage’s interest in Asian traditions.
This paper is divided into three sections. The first supplies relevant background information on Campbell’s life and work; the second presents a chronology of Cage’s readings, highlighting his connections to Campbell. The final section analyzes specific compositions and lectures by Cage, detailing how he used material drawn from texts written or edited by Campbell or Jung and providing relevant explanations of that material.

Keywords: John Cage, Joseph Campbell, C.G. Jung, Black Mountain College, Asian Religions in America, D.T. Suzuki, Alan Watts, Heinrich Zimmer, Nancy Wilson Ross, The Perilous Night, the story of the prince and the shaggy nag, I Ching, Bollingen, Pantheon Books, The King and the Corpse, The Hero with a Thousand Faces, The Integration of the Personality, Lecture on Something, Defense of Satie."

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Arguably, no one has done more to bring Zen Buddhism to the West than the Japanese author Daisetsu Teitarō Suzuki (1870-1966), better known as D.T. Suzuki. At the same time, Suzuki is not without critics. In a string of books and scholarly articles since the 1980s, he has been heavily criticized for his portrayal of Zen. In this article, we pause briefly to consider the life and work of this prolific scholar. We will see how, despite the serious criticism he has received, his contributions to the transmission of Zen to the West guarantees him a place in 20th century intellectual history.

This article explores the assumptions Suzuki Daisetsu had about translating from Japanese into English. These assumptions are explored through semiological references and are discussed in the context of Daisetsu’s ideological background.
この論文では鈴木大拙が日本語から英語に禅の翻訳をする際に用いた理論を考察。記号論の観点を用いて分析すると同時に鈴木のイデオロギー背景に言及して、鈴木の禅翻訳の成功を支えた技法を検証。

In the first half of the 20th century, John Cage became a fervid reader of  Meister Eckhart’s fascinating sermons: this work aims to highlight several philosophical connections between the American musician and the German mystic. The discussion revolves around three significant moments of Cage’s artistic journey, each matching with a step of the “detachment path” described by Eckhart. At the beginning of every chapter, a speech figure shows in advance the heart of a specific consonance between the two protagonists. Oxymoron reveals the contradiction that dwells in  4’33’’ “musical noises” and in the idea of "the death of the ego", recognized by the mystic as preliminary to spiritual rebirth. Synesthesia proposes a new way to engage the five senses, decisive to appreciate Cage’s 0’00’’, and key, in Eckhart's opinion, to discover the interrelatedness between man and the other creatures. Finally, ellypsis keeps imagination alive, encouraging to fill the inescapable gaps of the third and last chapter, which dares to speak about Godness and Silence. Furthermore, each consonance benefits from a fruitful connection with Oriental thinking, inspired by the Japanese philosopher Daisetz Suzuki. Along with teaching in-person Zen cornerstones to John Cage, Suzuki has the merit of having provided a closer look at Meister Eckhart’s uniqueness, choosing his preachings as the principal Western "interlocutors" of his Buddhism lessons.


Prendendo le mosse dall'incontro tra John Cage e i sermoni di Meister Eckhart, avvenuto nella prima metà del 1900, questo lavoro nasce con lo scopo di evidenziare i profondi nessi concettuali che legano il musicista al mistico cristiano. Il ritmo della trattazione è scandito da tre momenti topici del percorso artistico cageano, che si intrecciano con le tappe della "via del distacco", lungo la quale le anime si avventurano guidate da Eckhart. Se a concludere ogni consonanza tra Cage e il maestro renano è un riferimento all'Oriente ispirato da Daisetz Suzuki, a introdurla è invece una figura retorica, con il compito di fornire un'inaudita chiave d'accesso al pensiero dei due autori: l'ossimoro anticipa la contraddizione dei "rumori musicali" di 4'33'' e della "morte dell'io psicologico", descritta da Eckhart come l'unica strada per la rinascita spirituale; la sinestesia chiede di ascoltare con una sensibilità nuova, necessaria per apprezzare 0'00'' di Cage e centrale, secondo il mistico, per rapportarsi con il mondo; in ultimo, l'ellissi si fa carico dell'ardua impresa di evocare gli ineffabili temi del Silenzio e della Divinità.

La communication traitera de l'influence d'Aline Mayrisch sur Henri Michaux pour illustrer les représentations du vide dans la création littéraire et artistique de ce dernier. Épouse du patron d'une grande entreprise sidérurgique, Aline Mayrisch, femme de lettres, fut critique littéraire et artistique. Comme l’abbaye de Pontigny, son château de Colpach au Luxembourg était un véritable lieu d'accueil pour les écrivains, les intellectuels et les artistes. Michaux et Aline partageaient la curiosité pour l’Orient. Elle se sentait particulièrement attirée par la doctrine Zen, où une élite japonaise trouve le secret du recueillement et de la paix intérieure. Elle a découvert des points communs entre le mysticisme asiatique et celui du Moyen Âge européen. Sans Aline, Michaux n’aurait jamais fait de poèmes et produit de peintures sur le thème du vide.

BOOK REVIEW: ZEN WISDOM FOR CHRISTIANS. By Christopher Collingwood. Foreword by Father Patrick Kundo Eastman Roshi. London and Philadelphia: Jessica Kingsley Publishers, 2019. Pp. 264. Reviewed by Daniel Millet Gil for Christian-Buddhist Studies. PEER-REVIEWED.

For a full PDF, please go to: <http://nirc.nanzan-u.ac.jp/nfile/2878>
This is based on my paper at the panel on “Local Buddhisms and Transnational Contacts, 1868–1945” (IAHR, 30 March 2005), as “Japanese Zen on the State: A Comparative Study of D. T. Suzuki and Inouye Shūten, 1898–1915.” The panel was with Richard Jaffe, Donald Lopez, Thomas Tweed, and Ishii Kōsei as a respondent.

Detrás de toda creación artística existe un proceso a través del cual el autor lleva a cabo la construcción de su obra. Esta parte, que permanece invisible a ojos del espectador, resulta imprescindible a la hora de poder comprender el sentido completo de cada uno de estos trabajos: desde las causas que llevaron al artista a decidir realizar su proyecto, pasando por la evolución que éste sufrió a lo largo de su ejecución y, para concluir, la forma que el proyecto finalmente adoptó.
No obstante, el proceso de creación no es exclusivo del entorno artístico. Cada individuo puede desarrollar su propia creatividad, con el fin de mejorar su existencia. Para ello, deberá de conocer las reglas con las que se rige: la necesidad de buscar una idea, los recursos que nos ofrece el entorno y las herramientas personales de las que disponemos; asimismo la formación de un criterio propio que nos ayude a identificar y a criticar los elementos con los que construir nuestro discurso. Conocer estas instrucciones de uso será conocer nuestro propio funcionamiento. Trabajar creativamente es cultivar el arte de la invención, de la fantasía, de la clarividencia; nos convierte en personas con iniciativa. Todas estas cualidades, que pueden funcionar individualmente, encontrarán su ampliación en la puesta en común de cada uno de los creadores que las pongan en práctica. Ello fomentará proyectos para la acción social que ayuden a mejorar nuestra sociedad y nuestra cultura.
El análisis de estos procedimientos servirá sin duda para poder ahondar en el estudio de la creatividad, con el fin de proponer nuevas formas de enseñanza en el ámbito educativo. En la actualidad, cada vez se hace más evidente la necesidad de fomentar propuestas que puedan enriquecer el potencial creador del individuo. Conocer estos procesos creativos provocará un mejor conocimiento de nosotros mismos, puesto que el proyecto creativo es sin duda extrapolable a los diferentes proyectos a los que el ser humano ha de enfrentarse a lo largo de su vida.

Behind all artistic creation there is a process by which the author carries out the gestation of its work. This part, which remains invisible to the eyes of the observer, is essential to understand the full meaning of each of these works: from the causes that led the artist to decide the development of its project, to the evolution that the creator suffered during its realisation and, the shape that the project finally adopted.
However, the process of creation is not exclusive of the artistic environment. Each individual can develop its own creativity, with the aim of improving its existence. To do this, the creator must know the rules of this issue: the need to look for an idea, the resources offered by the environment and the personal tools at its disposal; as well the formation of an own criteria to help us to identify and evaluate the elements with which make our discourse. The knowledge of this instruction manual will imply to know our own operating mode. The creative work is to cultivate the art of invention, fantasy and perspicacity, it transform us in self-starters. All of these features, which can work individually, will find their amplification by sharing the experiences of each one of the creators who put them into practice. This encourages projects for social actions that could help to improve our society and our culture.
Analysis of these procedures will certainly be useful to deep into the study of creativity with the aim of proposing new ways of teaching in education. At present, it is becoming more evident the need of encouraging proposals that can enrich the creative potential of the individual. To know these creative processes will help individuals to a better understanding of the self. This is because of the creative project can be definitely extrapolated to different kind of projects that the human being has to face throughout its life.

Traducción al español de la reseña de ZEN WISDOM FOR CHRISTIANS de Christopher Collingwood. Londres and Filadelfia: Jessica Kingsley Publishers, 2019. 264 pp. Prólogo del padre Patrick Kundo Eastman Roshi. Por Daniel Millet Gil, Ph.D. para la revista académica Christian Buddhist Studies, 2020 (próxima publicación).