TRADICIÓN · rama de Budismo
Huayan
La escuela se nombra por el sutra en que se funda, y el sutra lleva en chino el mismo nombre. Thomas Cleary, traductor del Avatamsaka, lo dice en el apéndice 1 de su versión: «In Huayan Buddhism, the school whose philosophy is based on The Flower Ornament Scripture, the cosmos, or realm of reality, is a central idea, one which may be used to clarify certain features of the scripture.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 1826». En el resumen que hace de cada libro la sitúa en Asia oriental y le da fundadores en China: «A most important concept mentioned early on in the book on the ten stages is that of the “six characteristics,” as it was known in the Huayan school of Buddhism in East Asia. Not explicitly developed in the scripture but rather illustrated throughout, this idea was singled out by the founders of the Huayan school in China as a major element of their philosophy.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 59». En la Introduction la describe sin nombre chino, por su origen y su permanencia, y la llama en inglés escuela del Flower Ornament: «Certainly one of the most colorful and dramatic rehearsals of Buddhist teachings, The Flower Ornament Scripture became one of the pillars of East Asian Buddhism. It was a source of some of the very first Buddhist literature to be introduced to China, where there eventually developed a major school of philosophy based on its teachings. This school spread to other parts of Asia, interacted with other major Buddhist schools, and continues to the present. The appreciation of The Flower Ornament Scripture was not, however, by any means confined to the special Flower Ornament school, and its influence is particularly noticeable in the literature of the powerful Chan (Zen) schools.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 9».
Lo que Cleary adjudica a esa filosofía son dos esquemas. El primero son las seis características, que el sutra ilustra sin desarrollarlas y que la escuela tomó como herramienta de mirada: «According to this philosophy, the six characteristics are a comprehensive way of viewing things so as to overcome the tendency to lapse into partial or one-sided perceptions.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 59». El segundo son cuatro planos de realidad, de los que la ficha de obra solo trae con verbatim la definición de los dos primeros: «The realm of phenomena refers to all things and events. The realm of noumenon refers to the essence of things in themselves, the principle of voidness or emptiness—the lack of inherent nature or intrinsic reality in conditional, dependent things.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 1827». De ahí saca Cleary la manera en que esa filosofía mira a cada ser como muchos según sus relaciones: «All beings and phenomena, being relative, are looked upon in this way in Huayan philosophy: based on the same principle, a person or thing may be seen as multiple when considered in terms of relationships, being in a sense a different person or thing in terms of each different relationship.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 1828».
La voz de dentro llega por un comentarista chino, y siempre en la versión libre que Cleary hace de él. Cleary declara de quién es la comparación que abre su Introduction: «This discussion will be based on the “Discourse on the Flower Ornament,” a famous commentary by an eighth century Chinese lay Buddhist, Li Tongxuan.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 10». En esa versión, Li Tongxuan nombra su propia enseñanza escuela de la enseñanza completa del Flower Ornament y la opone a la del Brahmajala: «In the Brahmajala Scripture, by following the teaching of the emanation bodies of Buddha we arrive at the original body: in the school of the complete teaching of the Flower Ornament, the original body is shown all at once; the fundamental realm of reality, the body of rewards of great knowledge, cause and effect, and noumenon and phenomena are equally revealed.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 12», y enuncia la interpenetración como rasgo del sutra entero: «and existence are not applied singly—noumenon and phenomena, emptiness and existence, interpenetrate, reflecting each other. All the books of the whole Flower Ornament Scripture interpenetrate, all the statements intertwine. All the sayings in the scripture point to the same thing—when one becomes all become, when one disintegrates all disintegrate.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 13». Cleary da el lugar de ese comentario frente al otro gran comentario chino, «There are two major Chinese commentaries on the complete translation of The Flower Ornament Scripture, the one by Li Tongxuan, a layman, and one by his contemporary Zhengguan, a monk.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 1843», y lo adscribe a una escuela que no llama Huayan: «point of view of what is known as the School of Essence and places tremendous emphasis on sudden enlightenment.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 1844».
Las dos obras sitúan la escuela frente a sus vecinas, y no del mismo modo. Cleary dice que el aprecio por el sutra no se quedó en ella y que su influencia se nota sobre todo en el Chan (p. 9, arriba), y que el trabajo de Li Tongxuan lo apreciaron sobre todo los estudiantes de esa escuela: «Li Tongxuan’s work, with its emphasis on totality and immediate realization of the essential unity of being, was highly appreciated especially by students of the Chan school of Buddhism.» «The Flower Ornament Scripture, el Avatamsaka Sutra completo (tr. Thomas Cleary, Shambhala, 1993) · p. 46». Red Pine, en una nota del editor al Platform Sutra, la opone a la Tientai por su doctrina de la naturaleza búdica: «These last two lines champion the view of the buddha nature held by the Huayen School of Buddhism as opposed to that of the Tientai School, which held that even rocks can become buddhas.» «The Platform Sutra, la enseñanza zen de Hui-neng; traducción y comentario de Red Pine (Counterpoint, 2006) · p. 73».
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Afirmaciones
14 entradas«In Huayan Buddhism, the school whose philosophy is based on The Flower Ornament Scripture, the cosmos, or realm of reality, is a central idea, one which may be used to clarify certain features of the scripture.» — Cleary, en el apéndice 1 de su traducción, nombra Huayan a la escuela cuya filosofía se funda en este sutra y hace del cosmos o reino de la realidad su idea central.
«A most important concept mentioned early on in the book on the ten stages is that of the “six characteristics,” as it was known in the Huayan school of Buddhism in East Asia. Not explicitly developed in the scripture but rather illustrated throughout, this idea was singled out by the founders of the Huayan school in China as a major element of their philosophy.» — Cleary, en el resumen de los libros, sitúa la escuela Huayan en el budismo de Asia oriental y adjudica a sus fundadores en China haber singularizado las seis características como elemento mayor de su filosofía; es el pasaje que sostiene la filiación de esta ficha.
«According to this philosophy, the six characteristics are a comprehensive way of viewing things so as to overcome the tendency to lapse into partial or one-sided perceptions.» — Cleary dice para qué sirven las seis características en esa filosofía: una manera comprensiva de mirar que impide recaer en percepciones parciales.
«Certainly one of the most colorful and dramatic rehearsals of Buddhist teachings, The Flower Ornament Scripture became one of the pillars of East Asian Buddhism. It was a source of some of the very first Buddhist literature to be introduced to China, where there eventually developed a major school of philosophy based on its teachings. This school spread to other parts of Asia, interacted with other major Buddhist schools, and continues to the present. The appreciation of The Flower Ornament Scripture was not, however, by any means confined to the special Flower Ornament school, and its influence is particularly noticeable in the literature of the powerful Chan (Zen) schools.» — Cleary hace nacer en China una escuela de filosofía fundada en las enseñanzas del sutra, dice que se extendió por Asia y sigue hasta hoy, la llama en inglés escuela del Flower Ornament y consigna que la influencia del sutra se nota sobre todo en el Chan.
«The realm of phenomena refers to all things and events. The realm of noumenon refers to the essence of things in themselves, the principle of voidness or emptiness—the lack of inherent nature or intrinsic reality in conditional, dependent things.» — Cleary, en el apéndice 1, define los dos primeros de los cuatro planos de realidad que atribuye a los filósofos chinos de la escuela Huayan; la frase que los enumera no tiene línea en la ficha de obra.
«All beings and phenomena, being relative, are looked upon in this way in Huayan philosophy: based on the same principle, a person or thing may be seen as multiple when considered in terms of relationships, being in a sense a different person or thing in terms of each different relationship.» — Cleary explica cómo mira la filosofía Huayan a todo ser relativo: uno es muchos según sus relaciones.
«This discussion will be based on the “Discourse on the Flower Ornament,” a famous commentary by an eighth century Chinese lay Buddhist, Li Tongxuan.» — Cleary declara que la comparación de escrituras que abre su Introduction sigue el Discourse on the Flower Ornament de Li Tongxuan, a quien llama budista laico chino del siglo VIII.
«In the Brahmajala Scripture, by following the teaching of the emanation bodies of Buddha we arrive at the original body: in the school of the complete teaching of the Flower Ornament, the original body is shown all at once; the fundamental realm of reality, the body of rewards of great knowledge, cause and effect, and noumenon and phenomena are equally revealed.» — Li Tongxuan, en la versión libre que Cleary hace de su Discourse, opone la vía del Brahmajala, que llega al cuerpo original por los cuerpos de emanación, a la escuela de la enseñanza completa del Flower Ornament, donde el cuerpo original se muestra de una vez; voz de dentro, por boca del traductor.
«and existence are not applied singly—noumenon and phenomena, emptiness and existence, interpenetrate, reflecting each other. All the books of the whole Flower Ornament Scripture interpenetrate, all the statements intertwine. All the sayings in the scripture point to the same thing—when one becomes all become, when one disintegrates all disintegrate.» — Li Tongxuan, en la misma versión libre, enuncia la interpenetración de noúmeno y fenómeno, de vacuidad y existencia, y de todos los libros del sutra entre sí.
«This outline of the perspective of The Flower Ornament Scripture in comparison with other important Buddhist scriptures generally follows the work of the earlier specialists in Flower Ornament doctrine.» — Cleary declara que su esquema comparativo sigue el trabajo de los primeros especialistas en la doctrina del Flower Ornament.
«Li Tongxuan’s work, with its emphasis on totality and immediate realization of the essential unity of being, was highly appreciated especially by students of the Chan school of Buddhism.» — Cleary dice que el trabajo de Li Tongxuan lo apreciaron sobre todo los estudiantes de la escuela Chan.
«There are two major Chinese commentaries on the complete translation of The Flower Ornament Scripture, the one by Li Tongxuan, a layman, and one by his contemporary Zhengguan, a monk.» — Cleary, en su introducción al apéndice 3, contrapone los dos comentarios chinos mayores al sutra completo, el del laico Li Tongxuan y el del monje Zhengguan.
«point of view of what is known as the School of Essence and places tremendous emphasis on sudden enlightenment.» — Cleary adscribe el comentario de Li Tongxuan a la llamada Escuela de la Esencia y a la iluminación súbita; el nombre Huayan del título de ese comentario queda en la plana anterior, sin línea en la ficha de obra.
«These last two lines champion the view of the buddha nature held by the Huayen School of Buddhism as opposed to that of the Tientai School, which held that even rocks can become buddhas.» — Red Pine, en una nota del editor dentro del pasaje del Tsungpao que traduce, lee los dos últimos versos del gatha del Quinto Patriarca como defensa de la naturaleza búdica según la escuela Huayen y la opone a la Tientai, que sostenía que hasta las rocas pueden volverse budas.