the unstruck sound: a buddhist perspective

7/21/2019 The Unstruck Sound: A Buddhist Perspective

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OZMO PIEDMONT The Unstruck Sound

Final Paper

CBS 5!" #istor$ o% Buddhis&

The Unstruck Sound: A Buddhist Perspective

O'&o Pied&ont

Pra(na Institute %or Buddhist Studies

March )* !)

Ta+le o% Contents1




Final Paper


), Introduction -

Personal account -

#indu Ori.ins" /UM 5Da0id 1ordon 5

2ondhe 5

Ed3ard Sali& Michael 5

, Mantra$ana" /UM 4

Mantra 4

Dalai 2a&a

6on.trul

Na&kai Nor+u 7

8, Buddhist Te9ts 7

Thera0ada 7

Mahaa:sakuludaa$isutta )!

Mahali sutta )!

Maha$ana ))

Shuran.a&a Sutra ))

-, Teachers and Teachin.s )-

Thera0ada Forest D3ellers )-

/(ahn Sa&edho )-Chan )5

Maha$ana Nun 1uo Cheen )5

1reat Master ;$au.uan. )5

Zen )<

Zen Master Bassui )<

Zen =in'ai Master 2in Chi )4

Zen 6oan" One hand clappin. )4

5, Conclusion )

=e%erences )7

The Unstruck Sound: A Buddhist Perspective

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1. Introduction

Se0eral $ears a.o* on a 0isit to the desert ho&e o% the reno3ned ps$choanal$st =o+ert

;ohnson* a student o% Carl ;un.* I happened upon an e9traordinar$ e0ent* one that 3ould lea0e a

pro%ound i&pression on &e, M$ %riend =o+ert led &e to the +e.innin. o% a path3a$ in the

&iddle o% the desert* +oth literall$ and %i.urati0el$* since this path 3ould lead &e to a stran.e

e9perience that 3ould open a door3a$ to ne3 spiritual perceptions and understandin.s, #e

instructed &e to %ollo3 this path alone and %ind 3here it 3ould lead, >ith so&e dread and

trepidation* I set out on 3hat I thou.ht 3ould +e a pleasant* i% not challen.in.* da$ o% si.htseein.

and rela9ation, Instead* I %ound the door3a$ to a &$ster$ that continues to re0eal itsel% e0en

toda$,

The path3a$ initiall$ led to a 3onder%ul oasis* %illed 3ith 3ater%alls* pal& trees* %lo3ers*

and cool shade to protect &e 3hile I &editated in peace%ul rela9ation, But little did I kno3 3hat

la$ ahead, On &$ (ourne$ +ack to the rende'0ous point 3ith =o+ert* I +eca&e a3are o% a

peculiar sound %ro& &$ %eet as the$ pressed into the desert sand, The air 3as so still and

cr$stalline that &$ steps see&ed to re0er+erate all around in the silence o% the spaciousness, I

listened &ore intentl$ to this unusual sound* and to &$ surprise* I +e.an to hear another sound

acco&pan$in. the steps* a sound that did not co&e and .o 3ith the &o0e&ent o% sand displaced

+$ &$ %eet* +ut rather 3hat see&ed like the hu& o% +illions o% crickets on a su&&er?s e0e* a

sound I had heard as a +o$ on &$ 0isits to &$ .randparents? house in the plains o% Missouri*

3hen 3e pla$ed hide and seek a&on. the trees on their %ront la3n in the earl$ e0enin. a%ter

dinner, But here there 3ere no crickets* onl$ sun* sand* rocks and cactus, /s I +eca&e a3are o%

this hu&&in. sound all around* it +eca&e louder* as a rushin. o% 3ater, I 3ondered i% it 3as

co&in. %ro& a ri0er +ed I sa3 in the distance, I approached the ri0er +ed* seein. it 3as dr$ and

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3ithout an$ &o0e&ent, I +eca&e perple9ed +$ 3hat see&ed to +e this continual sound* 3hich

3as steadil$ increasin. in intensit$* like a thunderous strea& o% chi&in. +ells, But it 3as

constant* ne0er endin., I suddenl$ +eca&e o0er3hel&ed +$ 3hat I reali'ed 3as the Unstruck

Sound, Man$ &$stics in histor$ ha0e re%erred to this sound +$ &an$ na&es" e,., the @Music o%

the Spheres*A the @Soundless SoundA* the @Pri&ordial SoundA* or the @Sound o% CreationA, I had

al3a$s assu&ed it 3as s$&+olic %or a Truth that 3as +e$ond 3ords, No3 I 3as e9periencin.

so&ethin. directl$* and I 3ondered 3hat it trul$ &eant,

Follo3in. this e9perience* I read #indu te9ts on $o.ic practices associated 3ith this

soundless sound, The #indu tradition euates it 3ith the /UM* the pri&ordial sound o% the

uni0erse 2ondhe !!* 3hich is likened to the hu& o% the ato&s and the &usic o% the spheres*

an ener.$ that holds the 3hole &aterial 3orld to.ether, In Sanskrit* the Unstruck Sound is

called @NadaA and there is a spiritual practice and &editation utili'in. this sound called /nahata

Nada o.a, The ph$sical 0er+ali'ation o% the /UM sound is considered to &ost closel$

rese&+le the actual Unstruck Sound 3hich co&es out o% the Silence* passes throu.h each o%

three s$lla+les /:U:M* leadin. +ack into the pure stillness o% open e9istence* ones true nature

1ordon* !!:!!4,

The French &$stic Ed3ard Sali& Michael !)! stu&+led upon this pri&ordial @NadaA

sound +$ accident late in his li%e* openin. hi& to a pro%ound &$stical e9perience o% at:one:&ent

3ith the Uni0erse, This trans%or&ati0e e9perience inspired hi& to .i0e up his artistic career as a

%ine arts painter in order to help others e9perience this cos&ic connectedness, #e descri+es the

Nada o% inner sound in the %ollo3in. 3a$"

G>hen the aspirant e&plo$s this Nada inner Sound as the &ain support %or his

&editation* he &ust %ollo3 all its slender %luctuations* su+tle 0ariations o% note*

and &$sterious (e3el:like .litterin.s* second +$ second* 3ith the ut&ost

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dili.ence, #e 3ill disco0er that this unusual Sound 3ith its stran.e 0i+rations*

celestial t3inklin.s* and* a+o0e all* eni.&atic continuit$ 3ill +eco&e a &ost precious support %or his concentration in all his %uture &editationsH>hen the

aspirant has reco.ni'ed this Nada Inner SoundJ and %a&iliari'ed hi&sel% 3ell

enou.h 3ith it* he 3ill percei0e that* contrar$ to the e0er:chan.in. inner and outer conditions that he 3as used to up to that &o&ent* this &$stical Sound has a

stran.e unearthl$ continuit$ a+out itHit can also +e co&pared to the so%t 3hisper

o% the 3ind and the continuous hissin. noise o% the ocean 3a0es* 3ith a shrillGultraG Sound on top o% it* co&posed o% all the har&onics in the Uni0erse, On

hi.her spheres* this sacred Nada 3ill ha0e a stran.e sort o% sil0er$ aspect to it*

so&e3hat si&ilar to the uninterrupted (in.lin. Sound o% 0er$ little pieces o% .lass*

3ith other s&aller* e0er &ore su+tle Sounds superi&posed on it* until %inall$ these%iner Sounds see& to disappear into in%init$, Michael !)!

Michael then .oes on to descri+e the actual &echanics o% &editation upon the unstruck sound"

GIn the +e.innin.* the seeker should %i9 his attention on the part o% the Sound that

is &ost shrill and* as e9plained in the pre0ious chapter* oscillatin. sli.htl$so&e3hat like the t3inklin. o% a star, It 3ill +e easier to hear that 3a$, 2ater*

3hen the aspirant .ets &ore %a&iliar 3ith it* he 3ill +e.in to hear t3o or &ore

Sounds at the sa&e &o&ent, /t %irst he &a$ not uite reali'e* or +e reall$ sure*that he is hearin. t3o Sounds si&ultaneousl$, #o3e0er* i% at such ti&es he listens

care%ull$* he 3ill note that one o% these t3o sounds is sli.htl$ &ore o+0ious*

3hereas the other is a little &ore hi.h:pitched and &ore su+tle, #e should listen

care%ull$ to +oth Sounds %or a 3hile until it +eco&es a+solutel$ clear to hi&3hich o% these t3o Sounds is the &ore su+tle and hi.h pitched, It is to this one he

&ust then .entl$ let his attention turn and concentrate on, #e &ust not +e te&ptedto %ollo3 the &ore o+0ious o% these t3o Sounds an$ &ore :: e0en thou.h it 3illkeep intrudin. and dra3in. hi& +ack to it, Michael !)!

This attention to the &ore su+tle aspects o% the Sound +eco&e a spiritual practice o% &ind%ulness

to the &ore su+tle aspects o% one?s li%e* the &ore re%ined and spiritual aspects o% one?s true

nature,

These concepts see& to re%lect certain +asic truths in Buddhis& such as %indin. one?s true

nature and disco0erin. that 3hich is +e.innin.less and endless* that 3hich is pure* eternal and

unconditioned, Until recentl$ I had not read an$ re%erences in Buddhis& related to this Sound,

>hile stud$in. Buddhist histor$ and &editation techniues at the Pra(na Institute o% Buddhist

Studies* I +eca&e a3are once a.ain o% this soundless sound that is al3a$s present, I 3ondered i%

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there 3ere an$ teachin.s o% Buddhis& related to it, I +e.an to in0esti.ate* and to &$ surprise* I

%ound &an$ re%erences related to this soundless sound %ro& a Buddhist perspecti0e, The

%ollo3in. essa$ 3ill sho3 ho3 teachin.s o% the Unstruck Sound ha0e a stron. .roundin. in

Buddhist Dhar&a* includin. Thera0ada and Maha$ana te9ts alon. 3ith se0eral Buddhist

teachers %ro& a 3ide ra.e o% linea.es 3ho incorporate this a3areness into their spiritual

.uidance* includin. Ka(ra$ana* Thera0ada* Chan* =in'ai and Soto Zen,

2. Mantrayana: AUM

Ori.inall$* Buddha prohi+ited an$ use o% #indu Kedic &antras or &a.ical spells, But

3ith the e&er.ence o% Mantra$ana Buddhis& also called Ka(ra$ana Buddhis&* Tantric

Buddhis&* Northern Buddhis&* and Ti+etan Buddhis& in the 4th Centur$ CE* &antra 3as

incorporated into Buddhist chantin. and &editations %or the purposes o% +rin.in. +lessin.s*

protection* or e&po3er&ent* and could also +e used as a &ental instru&ent to con(ure up a

particular hol$ +ein. so as to de0elop that +ein.s spiritual ualities #ar0e$* )77!* p, )8<,

Mantras are sacred 3ords o% po3er* &ostl$ &eanin.less s$lla+les orstrin.s o% s$lla+les* 3hich .i0e an arran.e&ent o% sound o% .reat potenc$H>hen

pronounced in the ri.ht 3a$* 3ith the ri.ht attitude o% &ind* the sound:

arran.e&ent o% a &antra is seen as Ltunin. in? the practitioner?s &ind to a +ein. he3ishes to 0isuali'eH&akin. the practitioner?s &ind so in tune 3ith a hol$ +ein.

that it can appear to hi& in a 0isuali'ed %or&Hthe hol$ +ein.s in0oked can +e

seen as not Le9ternal? to hi&* +ut as ps$chic %orces or le0els o% consciousness

latent 3ithin the practitioner?s o3n &ind, / &antra is seen as actin. like a ps$chic ke$ 3hich ena+les a person to ha0e po3er o0er Lph$sical? thin.s* or

ena+le hi& to 0isuali'e and co&&unicate 3ith a +ein.%orce 3hose &antra it is

#ar0e$* )77!* p, <!:<),

Mantra$ana Buddhis& is %ound &ostl$ in Ti+et* Northern China* Mon.olia* 6orea* and

;apan #ar0e$* )77!* p, )88:)85 and has &ade inroads to &an$ other countries throu.hout the

3orld, The &antra +eca&e an inte.ral part o% Mantra$ana practice, Indeed* the /UM has +een

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incorporated into &an$ Buddhist sacred phrases* such as the %a&ous @O& Mani Pad&e #u&A o%

the Ti+etan Ka(ra$ana tradition* 3hich is chanted throu.hout the 3orld* as e9e&pli%ied +$ #,#,

the Dalai 2a&a o% Ti+et* an incarnation o% /0alokitesh0ara* the Bodhisatt0a o% Co&passion* 3ho

chants alon. 3ith his %ollo3ers this &antra %or peace* li+eration* and %reedo& %ro& su%%erin. %or

all +ein.s, The Dalai 2a&a e9plains the &eanin. o% /UM as %ollo3s"

It is 0er$ .ood to recite the &antra OM M/NI P/DME #UM* +ut 3hile

$ou are doin. it* $ou should +e thinkin. on its &eanin.* %or the&eanin. o% the si9 s$lla+les is .reat and 0ast, The %irst* OM* is

co&posed o% three pure letters* /* U* and M, These s$&+oli'e the

practitioners i&pure +od$* speech* and &ind the$ also s$&+oli'e the pure

e9alted +od$* speech and &ind o% a Buddha Dalai 2a&a,

The Dalai 2a&a .oes on to e9plain ho3 the i&purities in the practitioner are trans%or&ed and

puri%ied throu.h the spiritual practice o% co&passion and the 3isdo& that sees the i&per&anence

o% all thin.s* +oth aspects s$&+oli'ed +$ this &antra, Throu.h the tantric 0ehicle o% &antra* one

is trans%or&ed and de0elops the seeds o% purit$* the essence o% the Buddha nature* into %ull

Buddhahood Dalai 2a&a,

The Ti+etan la&a ;a&.on 6on.trul ))8:)77* a pree&inent scholar o% the &antra$ana

tradition euates the pri&ordial essence to enli.hten&ent* transcendent 3isdo&* and the nada o%

pri&ordial sound"

The pri&ordial indestructi+le .reat 0ital essenceH3hich is the root or .round o%all o% c$clic li%e sa&saraJ and per%ect peace nir0anaJ* is kno3n as pri&ordialH

+ecause it has no +e.innin. or end as indestructi+leH+ecause it is indi0isi+le as

0ital essenceH+ecause it per0ades the 0arious appearances and as .reatH +ecause there is nothin. that it does not enco&pass, There are countless s$non$&s

%or the pri&ordial indestructi+le .reat 0ital essence* such as G.reat sealGH G.reat

+lissGH Gpri&ordial soundG nāda* Gall:per0adin. 0a(ra o% spaceGH Gordinar$a3arenessGH Gpristine a3areness channelGH Gpristine a3areness 3indGH

Gin0inci+le hamGHGin0inci+le 0ital essenceGH Gessence o% enli.hten&entG…and

Gtranscendent 3isdo&GH CP=* %, 7a8:+, 6on.trul* !!5* p, 8<

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http://en.wikipedia.org/wiki/Jamgon_Kongtrul

http://en.wikipedia.org/wiki/Jamgon_Kongtrul




Final Paper


/nother Ti+etan Buddhist la&a* Cho.$al Na&khai Nor+u speaks o% the @Hinner sound 3e can

onl$ %eel throu.h 0i+rations 3e don?t need ears %or hearin. or disco0erin. inner sound, Still

&ore i&portant is secret sound, Secret sound 3e disco0er onl$ 3hen 3e disco0er our real nature

Nor+u* /u.ust !!),A Thou.h these la&as identi%$ the Unstruck Sound as 0ital to spiritual

de0elop&ent* one &a$ 3onder i% there are Buddhist te9ts %ro& other linea.es supportin. their

clai&s

3. Buddhist Tets

The Thera0ada school o% Buddhis&* 3ith its e&phasis on personal li+eration throu.h

one?s o3n e%%orts .uided +$ the Dhar&a #ar0e$* p, * traces its ori.ins directl$ +ack to the

Buddha* and has %aith%ull$ preser0ed his teachin.s in the lan.ua.e o% Pali* a dialect si&ilar to

3hat the Buddha spoke* Old Ma.adhi #ar0e$* p, 8* in a Canon* or collection o% scriptures*

kno3n as the Tripitaka* re%errin. to three +askets o% pal&:lea%ed &anuscripts consistin. o% the

&onastic disciplines Kina$a:pitaka* the Discourses Sutta:pitaka and the Further Teachin.s

/+hidha&&a:pitaka #ar0e$* p, 8, The Suttas are discourses containin. the &ain

teachin.s o% the Buddha* and 3ere ori.inall$ orall$ preser0ed and trans&itted* +ut 3ere

e0entuall$ recorded in the Pali Canon* one o% the earliest records o% the Buddha?s discourses

3ritten do3n in Sri 2anka around ! BCE #ar0e$* p, 8, In the Mahasakuludayi Sutta is %ound

a passa.e 3herein the Buddha instructs his disciples a+out a &ethod 3here+$ the$ can acuire

puri%ied hearin. +e$ond hu&an hearin.* 3hich allo3s one to hear hea0enl$ sounds"

/.ain* Uda$i* I ha0e declared this &ethod to &$ disciples* %allen to 3hich

&ethod &$ disciples could 3ith the puri%ied hea0enl$ ear ele&ent +e$ond hu&an*

hear sounds +oth hea0enl$ and hu&an* %ar and near, 2ike a po3er%ul dru&&er*

3ould instantl$ +reak the ne3s in the %our directions, In the sa&e &anner I ha0e

declared this &ethod to &$ disciples* %allen to 3hich &ethod &$ disciples could

3ith the puri%ied hea0enl$ ear ele&ent +e$ond hu&an hear sounds +oth hea0enl$

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and hu&an* %ar and near, Thus too &$ disciples a+ide ai&in. per%ect kno3led.e

%or e&ancipation Ma((hi&a Nika$a

In another sutta* the Mahali Sutta DN <* the Buddha?s disciple* Mahali* asks 3hether one can

achie0e hea0enl$ hearin. throu.h &editation and concentration, The Buddha a%%ir&s it is

possi+le sa$in.* @The$ are real* those hea0enl$ sounds* pleasant* %itted to satis%$ one?s desires*

e9citin. lon.in. in one?s heart* 3hich he could not hear, The$ are not thin.s o% nou.htA Mahali

Sutta DN <, #o3e0er* he cautions one should not +eco&e attached to such +eauti%ul hea0enl$

sounds* since there are hi.her and s3eeter conditions o% consciousness one can reach throu.h the

practice o% the Ei.ht%old Path 3hich leads to /rahatship and Nir0ana" @Hin that e&ancipation o%

&ind* that e&ancipation o% heart* 3hich is /rahatship that* Mahli* is a condition hi.her still and

s3eeter still,,,Keril$ it is this No+le Ei.ht%old Path* that is to sa$" ri.ht 0ie3s* ri.ht aspirations*

ri.ht speech* ri.ht action* a ri.ht &eans o% li0elihood* ri.ht e%%ort* ri.ht &ind%ulness* and ri.ht

ecstas$ in sel%:concentration, This* Mahli* is the path* and this the &ethod* %or the reali'ation o%

these conditionsA Mahali Sutta DN <, E0en thou.h the Buddha had placed the hearin. o%

hea0enl$ sounds in a secondar$ position in relation to the attain&ent o% hi.her states o%

consciousness* one 3onders 3hether this hea0enl$ sound is that o% the Unstruck Pri&ordial

Sound* 3hich 3hen listened to* is proclai&ed in a Maha$ana tradition as the &ost e%%ecti0e

&ethod %or attainin. Nir0ana and li+eration,

The Maha$ana linea.e e&er.ed +et3een )5! BCE and )!! CE* e&phasi'in. the

Bodhisatt0a:path* as 3ell as* 0isuali'ation practices directed at the Buddha as a .lori%ied*

transcendent +ein.* and a ne3 philosoph$cos&olo.$ +ased on the e&ptiness o% pheno&ena as

e9pressed in Sutras 3ritten in Sanskrit as authoriti0e teachin.s o% the Buddha hi&sel%* 3hich

3ere attained throu.h inspired 0isions* &editations* and drea&s* +ased on the sa&e per%ect

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3isdo& o% the Buddha?s Dhar&a* 3hich 3ere understood as hidden teachin.s o% the Buddha,

The$ 3ere +elie0ed to ha0e e&er.ed as a second turnin. o% the >heel o% Dhar&a deepenin. the

teachin.s o% the ori.inal earl$ Suttas in Pali, These ne3 Sutras portra$ a hea0enl$ Buddha

surrounded +$ other Buddhas and Bodhisatt0as* e9istin. in &an$ re.ions o% the uni0erse* 3ho

are the&sel0es sa0ior +ein.s 3orth$ o% de0otion and pra$er #ar0e$* pp, 7:7), In this ne3

re0ealed Dhar&a o% the Sutras o% Maha$ana* the Sound o% Silence no3 +eco&es the &ost

e9cellent &eans to reali'e li+eration and Nir0ana,

In the Maha$ana Shuran.a&a Sutra !)) the Buddha is discussin. 3ith 5 sa.es and

+odhisatt0as their practices o% conte&plation, Since the$ all had attained enli.hten&ent* he asks

each one 3hat practice 3as &ost help%ul to the&, The last one to co&&ent is /0alokitesh0ara*

the Bodhisatt0a o% co&passion* 3ho recounts ho3 he had +een instructed +$ a prior Buddha*

3ho 3as also called /0alokitesh0ara* to use the or.an o% the ear to listen and +eco&e enli.htened

Cheen* !),

Thereupon /0alokitesh0ara Bodhisatt0a rose %ro& his seat* prostrated hi&sel% 3ith his head at the %eet o% the Buddhaand declared" I still re&e&+er that lon. +e%ore nu&+ers o%

aeons countless as the sand .rains in the 1an.es* a Buddha

called /0alokitesh0ara appeared in the 3orld, >hen I 3as3ith #i&* I de0eloped the Bodhi Mind and* %or &$ entr$ into

Sa&dhi* I 3as instructed +$ #i& to practice &editation +$

&eans o% the or.an o% hearin., Shuran.a&a

/0alokitesh0ara no3 e9plains the actual &ethod +$ 3hich he attained Enli.hten&ent"

/t %irst +$ directin. the or.an o% hearin. into thestrea& o% &editation* this organ was detached from its object,

and +$ 3ipin. out the concept o% +oth sound and

strea&:entr$ , both disturbance and stillness became clearlynon-existent. Thus ad0ancin. step +$ step +oth hearin. and

its o+(ect ceased co&pletel$* +ut I did not stop 3here the$

ended, >hen the a3areness o% this state and this state itsel%

3ere reali'ed as non:e9istent* both subject and object

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merged into the void * the a3areness o% 3hich +eca&e all e&+racin.,

>ith %urther eli&ination o% the 0oid and its o+(ect +oth creation and annihilation 0anished giving way to the

state of Nirvna 3hich then &ani%ested,

Suddenl$ I leaped o0er +oth the &undane andsupra&undane* there+$ reali!ing an all-embracing brightness

per0adin. the ten directions* and acuired t3o unsurpassed

&erits, The %irst 3as in accord with the fundamental "rofound #nlightened Mind o% all the Buddhas hi.h up

in the ten directions and possessed the sa&e &erci%ul

po3er as the Tath.ata, The second 3as in sym$athy with

all living beings in the si9 real&s o% e9istence here +elo3 inthe ten directions and shared 3ith the& the sa&e plea %or

com$assion. Shuran.a&a

So the Bodhisatt0a /0alokitesh0ara sa$s here that he %irst detached the or.an o% hearin. %ro& the

o+(ect o% hearin.* 3hich he +eca&e a3are is +oth non:e9istent and 0oid* 3hich in turn led hi& to

the reali'ation o% Nir0ana" an all:e&+racin. +ri.htness* i,e, Enli.hten&ent* and a s$&path$ 3ith

all li0in. +ein.s* i,e, co&passion, /t this point the Buddha asks the 3isest o% all +odhisatt0as*

Man(ushri* to critiue all the a%ore&entioned practices and sa$ 3hich one he thinks is the +est,

Man(ushri ans3ers that he considers the +est is the practice 3ith the %acult$ o% hearin.* since

hearin. is al3a$s present and can +e practiced - hours a da$"

=e0erentl$ I declare to the Tatha.atha 3hat /0alokitesh0ara said"@%hen one dwells in silence* =olls o% dru&s in ten directions*

/ll can +e si&ultaneousl$ heard, Thus is hearin. co&plete,

Seein. cannot penetrate a screen* Neither can taste nor s&ellFeelin. co&es onl$ in contact* /nd thou.ht in %ocus lack,

&ut sound whether near or far, 't all times can be heard(

The other senses are i&per%ect* Onl$ hearin. is trul$ per0asi0e,

The presence and a+sence o% sound* Percei0ed +$ the ear as e9istent or not/+sence o% sound &eans nothin. heard* Not hearin. de0oid o% its nature,

'bsence of sound is not the end of hearing * /nd presence o% sound is not its

+e.innin., )he faculty of hearing is unborn, *ndying and one with the )ruth,E0en 3hen thou.hts stop* #earin. does not end, For hearin. is +e$ond all

thou.ht* Be$ond +oth &ind and +od$, Shuran.a&a

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>hen one .oes into the silence* one disco0ers the sound that can al3a$s +e heard* 3hich is ne0er

endin.* is un+orn* und$in.* and one 3ith the Truth* i,e, the Unstruck Sound, 2ater he .oes on to

descri+e ho3 to attain this hearin. throu.h the techniue o% in0ertin. +$ turnin. one?s attention

3ithin throu.h one:pointed &editation"

To hear $our true sel%* $ou &ust invert * >hat $ou use to hear the Buddha?s 3ords,#earin. has no nature It o3es its na&e to sound,

+reed from sound by inverting hearing * >hat do sic $ou call this thin.Q

>hen one sense returns sic to its source, /ll other senses 3ill +e li+erated,Seein. and hearin. are +oth illusions* 2ike %allin. %lo3ers in the sk$,

earing without sound * The illusionar$ sense 0anishes,

>hen o+(ect is no &ore* the su+(ect is no &ore,/nd pure is the &odhi attained , Its pure* +ri.ht li.ht per0ades all,

It?s shinin. stillness %illin. the 0oid, Shuran.a&a

There%ore* +$ in0ertin. one?s attention in3ard* throu.h &editation* one +eco&es %reed %ro&

e9ternal sound* hearin. the soundless sound* ena+lin. one to return to the Ulti&ate source o% all

sound* the Bodhi, This Bodhi is euated 3ith enli.hten&ent 3hich is in turn euated 3ith the

Tatha.ata* or Buddha"

2ike3ise are the senses* Deri0ed %ro& one /la$a store consciousness,I% one returns to the source* So 3ill the other senses %ollo3,

>ith all illusions ended* &odhi is thereby attained ,

De%ile&ent represents sentient +ein.s* #nlightenment re$resents the )athagata.

Shuran.a&a

Man(ushri ends +$ praisin. the conte&plation o% sound as superior to all other &ethods in

attainin. Nir0ana* declarin. that all the Buddhas and Bodhisatt0as ha0e also &astered this

teachin.* 3hich he considers as the +est one to practice in this corrupted era"

Buddhas o% all 3orlds* Man$ as 1an.es sands*

Thus entered this Nir0ana, 'll the $ast )athagatas, ave this method $erfected. 'll the $resent &odhisattvas, ave this teaching mastered.

/ll $ou %uture sentient +ein.s* Should learn this dhar&a 3ell,

12




Final Paper


/0alokitesh0ara did not practice alone For I Man(usri 3as 3ith hi&,

The Enli.htened and >orld:honoured One* /sked &e %or the +est e9pedient* +orthose in the /harma ending era, %ho wish to esca$e from this Samsara( 0n their

search for Nirvana, 0t1s best to contem$late sound2 Shuran.a&a,

!. Teachers and Teachin"s

Thou.h the Shuran.a&a Sutta is %ro& the Maha$ana linea.e* Buddhist practitioners and

leaders %ro& 0arious linea.es ha0e incorporated the &editation on the Unstruck or Soundless

Sound into their teachin.s, One such &onk co&es %ro& the Forest D3ellin. tradition o%

Thera0ada linea.e, >hen the Buddhist teachin.s 3ere %irst 3ritten do3n in the %irst centur$

BCE* learnin. 3as considered &ore i&portant than &editation* 3ithout 3hich the ori.inal

teachin.s 3ould +e lost* adherin. to the &onastic rules* Kina$a* and austere practices ai&in. to

culti0ate non:attach&ent and 0i.or* li0in. o%% al&s* eatin. one &eal a da$* and li0in. under a tree

%ar %ro& the 0illa.es* and sleepin. in the sittin. position #ar0e$* pp, 8:85 The &onk /(ahn

Su&edho +elon.s to the Forest D3ellers tradition, #e happened upon the soundless sound +$

accident in )744 3hile 3alkin. in the uiet ni.htti&e streets o% En.land* ha0in. le%t his ho&e in

Thailand* 3hose ni.hts 3ere uite nois$ due to the ;un.le sounds, #e +e.an in0esti.atin. this

soundless sound* due to its constanc$ and holistic ualities* 3hich onl$ later he disco0ered as

+ein. discussed in the Shuran.a&a Sutra"

I al3a$s use the practice o% listenin. to the sound o% silence R that su+tle*

continuous* inner rin.in. tone in the +ack.round o% e9perience R +ecause e0er$ti&e I open to the &ind* that?s 3hat I hear, Its presence contains and e&+races the

+od$* the e&otional ualit$* and the thinkin. &ind all at once, Its not like /:B:C

or an$thin. in tande& or seuence* +ut in (ust the 3a$ it is* as a 3hole* itincludes it doesn?t pick and choose* as in @I 3ant this +ut I don?t 3ant that,A ;ust

noticin.* trustin.* and 0aluin. this a+ilit$ that each o% us has, Its so&ethin. to

reall$ treasure and culti0ate Su&edho* !!4* p, )8<

The Maha$ana Buddhist nun 1uo Cheen !)! anal$'es the Shuran.a&a Sutra +ased on the

teachin.s o% +oth /(ahn Su&edho and the 1reat Master ;$au.uan. %ro& the Chan linea.e,

13




Final Paper


Buddhis& arri0ed in China around 5! CE +$ 3a$ o% tra0elin. %orei.n &erchants, It 3as

in%luenced in its de0elop&ent +$ Con%ucian philosoph$ o% societal ethics* %ilial piet$* and

ancestor 3orship* as 3ell as +$ the Taoist philosoph$?s lo0e o% nature* 3ith an e&phasis on

har&on$* hu&ilit$* and co&passion* +$ %ollo3in. a &$sterious %orce o% nature called the Tao

#ar0e$* p, )-, In the Chan linea.e .reat e&phasis is placed on &editation to disco0er ones

Buddha Nature 3hich is present in all thin.s* and that the 3orld is not di%%erent %ro& e&ptiness*

thusness* /+solute Mind* or Nir0ana #ar0e$* pp, )5):)5, This Buddha Nature is also

descri+ed as the Suchness o% =ealit$ +$ 1uo Cheen* 3ho sho3s ho3 the Shuran.a&a Sutra

descri+es the sound o% silence as the sensor$ o+(ect o% stillness* a superior &editation to consider*

since @Hsounds cannot +e eli&inated, No &atter 3here $ou are or ho3 uiet it is* there are

sounds that cannot +e eli&inated, The Lsound o% silence? can there%ore +e ackno3led.ed as an

i&possi+le:to:eli&inate sound* the sensor$ o+(ect o% sound,ACheen* p, 5 She .oes on to state

that the nature o% all sound is illusor$ and te&porar$* arisin. out o% the Suchness o% =ealit$

Cheen* p, 4, One &ust not +e satis%ied in hearin. an$ sound* +ut rather one should return to the

nature o% hearin. itsel%* that 3hich is our Buddha nature, >e &ust learn @Hto hear the nature o%

hearin.* instead o% the sensor$ o+(ects o% sound,A Cheen* p, The nature o% hearin. neither

co&es nor ceases* is not ph$sical* nor an aspect o% consciousness,ACheen* p, )! One &ust

learn to listen* not to the sensor$ o+(ects o% sound* +ut rather to the nature o% hearin.* that 3hich

has the a+ilit$ to listen, The on.oin. in0esti.ation +eco&es L>ho is it that listensQ? Cheen* p,

)) One re0erses the hearin.* to hear one?s inherent nature instead o% the o+(ects o% sound,

Cheen* p, )-

Zen Buddhis& o% ;apan e0ol0ed out o% the Chan Buddhis& %ro& China* around the <th C,

CE* e&phasi'in. &editation as the pri&ar$ &eans to Enli.hten&ent throu.h either sudden

14




Final Paper


reali'ation o% one?s Buddha Nature* as in the =in'ai school* or .radual un%oldin. o% reali'ation*

as in the Soto school #ar0e$* p, )54, ;apanese Zen 3as hea0il$ in%luenced +$ the indi.enous

reli.ion o% Shintois&* 3hich 3orshiped di0ine +ein.s as personal or i&personal %orces %ound in

nature* and a deep appreciation o% natural +eaut$ and ritual purit$ #ar0e$* p, )<) It places a

.reat %ocus on intuiti0e kno3in.* sel% disco0er$* ethical discipline* and a disre.ard %or death,

The =in'ai school had an a%%init$ 3ith the 3arrior class o% ;apan* the Sa&urai* 3hereas the Soto

school 3as &ore popular 3ith the co&&on people* kno3n as the 3a$ o% the %ar&er #ar0e$* p,

)<5, The )-th C, CE ;apanese Zen teacher Bassui Tokusho ad0ocated &editation 3ith @listenin.

to the listenerA as a 3a$ to return to one?s ori.inal nature o% Buddhahood* dra3in. %ro& the

Shuran.a&a Sutra and the 7th C CE teachin.s o% 2in:chi I:hsuan as a (usti%ication %or this practice

Bra0er&an* !!* p, )-, 2in:chi* the %ounder o% the =in'ai Zen linea.e* also encoura.ed his

students to @listen to the listenerA to reali'e enli.hten&ent* sa$in."

I% $ou 3ish to +e %ree and untra&&eled in the 3orld o% +irths and deaths,,,reco.ni'e ri.ht no3 the &an 3ho is listenin. to &$ ser&on* 3ho is a+o0e shape

and %or&* not rooted or planted in an$ place* nor a+idin. in an$ a+ode, et he is0er$ &uch ali0e and alert* respondin. readil$ to all situations 3ith his unli&itedresource%ulness* per%or&in. his %unction accordin. to the circu&stances 3ithout

+ein. pinned do3n to an$, #e eludes $our e&+racin.* e0ades $our seekin.,

#ence he &a$ +e called the 1reat SecretH=i.ht no3* this man is clearl$ +e%oreour e$es 3ith a +ri.htness uniuel$ his o3n,,, >u* !!8,

Zen Buddhist teachers ha0e also used the sound o% silence in koans* 3hich are riddles to

+e re%lected upon in &editation* directin. the practitioner +ack to his or her ori.inal nature, In the

+ook 3en +lesh, 3en &ones there is a stor$ illustratin. the use o% the soundless sound 3hen the

teacher asks his pupil"

ou can hear the sound o% t3o hands 3hen the$ clap to.ether, No3 sho3 &e the

sound o% one hand,G

The pupil .oes o%% to &editate on this &atter, #e hears so&e .eisha &usic throu.h

his 3indo3 and thinks that this is the ans3er, So he returns to his teacher* and on

15




Final Paper


+ein. asked the uestion he pla$s the .eisha &usic as his ans3er, No The teacher

sends hi& a3a$ to &editate %urther,>hile conte&platin. the uestion a.ain* the pupil hears 3ater drippin. %ro& a

.utter, Back he .oes to the teacher and i&itates the sound o% one hand as

drippin. 3ater, No GThats the sound o% drippin. 3ater* not the sound o% onehand*G sa$s the teacher* and sends hi& a3a$ to practise &ore,

The pupil keeps tr$in., The sound o% one hand is the si.hin. o% the 3ind, No

The sound o% one hand is the hootin. o% an o3l, NoThe sound o% one hand is the chirpin. o% locusts, No

/t last* a%ter al&ost a $ear* he 3ent to his teacher, G>hat is the sound o% one

handQG asked the teacher, But no3 the pupil 3as di%%erent he had transcended all

sounds and co&e to the sound#ess sound* the sound o% one hand* and hede&onstrated his realisation to the teacher, =eps* )754

In the +ook )he Sound of the 4ne and5 678 3en 9oans with 'nswers* #o%%&ann* )744 the

correct ans3er is .i0en to this sa&e koan" @/ns3er" The pupil %aces the &aster* takes a correct

posture* and 3ithout a 3ord* thrusts one hand %or3ard,A

$. %onc#usion

The Unstruck Sound has +een sho3n to +e a 3ell supported teachin. 3ithin 0arious

Buddhist linea.es* te9ts* and teachers* includin. Thera0ada* Maha$ana* Ka(ra$ana* Forest

Meditation D3ellers* Chan* =in'ai and Soto Zen, The %acult$ o% listenin.* +ein. %ore0er

constant in one?s perception is an e9cellent 3a$ o% turnin. 3ithin to disco0er one?s true nature,

Since the Unstruck Sound is not tied to the o+(ects o% listenin.* +ein. itsel% the o+(ect o% the

nature o% hearin.* it is the easiest 3a$ to turn in3ard to %ind the ori.in o% listenin. %ro& 3hich all

e&er.es* the suchness o% e&ptiness, >hether one is @listenin. to the listenerA or @hearin. the

sound o% silenceA* the Unstruck Sound can ulti&atel$ lead to Enli.hten&ent Itsel%* sho3in. the

door to Nir0ana and the =eali'ation o% Buddhahood,

16




Final Paper


&e'erences

Bra0er&an* /urthur, !! Mud and >ater" The Collected >orks o% Teachin.s o% Zen Master

Bassui, >isdo& Pu+lications" So&er0ille* M/,

Cheen* 1uo, !)! @>ho?s 2istenin.QA Uploaded 8)4!)!, SC=IBD,

/ccessed )!!)

http"es,scri+d,co&1uoCheen545!

Cheen* 1uo, !) @Meditatin. upon the Sound o% Silence" the /stral Bell Sound #eard Behind

the Silence o% MeditationsA,

http"theco&passionnet3ork,+lo.spot,co&

/s %ound inH

http"333,$outu+e,co&3atchQ0Pr5TTn3lc$3

Dalai 2a&a* #is #oliness Ten'in 1$atso* The Fourteenth Dalai 2a&a o% Ti+et,

@On the &eanin. o%" OM M/NI P/DME #UM,AFro& a lecture .i0en +$ #is

#oliness The Dalai 2a&a o% Ti+et at the 6al&uck Mon.olian Buddhist Center* Ne3

;erse$, Transcri+ed +$ N.a3an. Tashi Tsa3a* Drepun. 2oselin.* MUN1OD*

INDI/,

/ccessed Fe+, )<* !),

http"333,sacred:te9ts,co&+udti+o&ph,ht&

1ordon* Da0id, !!:!!4 @/:U:M:SilenceHthe ancient sound o% LOM?A

/ccessed Fe+, )<* !),

http"333,spiritsound,co&au&,ht&l

17

http://es.scribd.com/Guo_Cheen_5750

http://thecompassionnetwork.blogspot.com/

http://www.youtube.com/watch?v=Pr5TTnwlcyw

http://www.sacred-texts.com/bud/tib/omph.htm

http://www.spiritsound.com/aum.html

http://es.scribd.com/Guo_Cheen_5750

http://thecompassionnetwork.blogspot.com/

http://www.youtube.com/watch?v=Pr5TTnwlcyw

http://www.sacred-texts.com/bud/tib/omph.htm

http://www.spiritsound.com/aum.html




Final Paper


#ar0e$* Peter, )77!, 'n 0ntroduction to &uddhism5 )eachings, history and $ractices.

Ca&+rid.e Uni0ersit$ Press" Ne3 ork* N,,

#o%%&ann* oel* trans, )he Sound of the 4ne and5 678 3en 9oans %ith 'nswers, Ne3 ork"

Basic Books, )744,

/s accessed inH

http"lindasue.ri&es,suite)!),co&the:'en:sound:o%:the:one:hand:

a<8)7Vi9'')&nZdIZO7

6on.trul 2odrW Ta$X* ;a&.Wn, author* co&piler Elio 1uarisco translator In.rid Mc2eon

translator* editor !!5, )he treasury of knowledge5 book six, $art four5 Systems of

&uddhist )antra, Ithaca* Ne3 ork* US/" Sno3 2ion Pu+lications,

/s %ound 3ithin 6on.trul 2odro Ta$e author* co&piler 6alu =inpoche Translation

1roup translators )775* !!8, )he )reasury of 9nowledge, &ook 4ne( Myriad

%orlds5 &uddhist :osmology in 'bhidharma, 9;lacakra, /!og-chen,

http"en,3ikipedia,or.3ikiNada$o.a

2ondhe* Susha&a, !! ' )ribute to induism5 )houghts and %isdom S$anning :ontinents

and )ime 'bout 0ndia and her :ulture. Pra.un Pu+lications" Ne3 Delhi* India,

/s accessed Fe+, )<* !)

http"333,hindu3isdo&,in%o#induMusic,ht&

Mahali Sutta DN <* TripitakaSutta PitakaDi.ha Nika$aSilakkhandha:0a..a,

/ccessed Fe+, )4* !),

http"tipitaka,3ikia,co&3ikiMahaliSutta

18

http://lindasuegrimes.suite101.com/the-zen-sound-of-the-one-hand-%09a226319#ixzz1mnZdIZO9


http://en.wikipedia.org/wiki/Nada_yoga

http://www.hinduwisdom.info/Hindu_Music.htm

http://tipitaka.wikia.com/wiki/Mahali_Sutta



http://en.wikipedia.org/wiki/Nada_yoga

http://www.hinduwisdom.info/Hindu_Music.htm

http://tipitaka.wikia.com/wiki/Mahali_Sutta




Final Paper


Ma((hi&a Nika$a, II, 8,4, Mahaa:sakuludaa$isutta,&

44 /d0ice to the 3anderin. /scetic Sakuluda$i, Sister Upala0anna Trans,,

Kipassana,In%o, Source" Metta Net* Sri 2anka* http"333,&etta,lk

/ccessed Fe+, )4* !).

http"333,0ipassana,in%o!44:&ahasakuluda$i:e),ht&

Michael* Ed3ard Sali&, !)!, )he <aw of 'ttention - Nada =oga and the %ay of 0nner

>igilance* Inner Traditions" Ker&ont,

Nor+u* Cho.$al Na&khai, /u.ust !!) @>orkin. 3ith Circu&stancesA* The Mirror "

Ne3spaper o% the International D'o.chen Co&&unit$, Edited +$ 2i' 1ran.er and Nao&i

Zeit',

http"tse.$al.ar,or.theteachin.sd'o.chen

/s accessed 3ithin

http"333,&uktinath,or.hinduis&o&:au&,ht&

=eps* Paul* co&piler, )754 3en +lesh, 3en &ones5 ' :ollection of 3en and "re-3en %ritings.

Ne3 ork" /nchor,

/s accessed inH

http"lindasue.ri&es,suite)!),co&the:'en:sound:o%:the:one:hand:

a<8)7Vi9'')&neFP(Ml

Shurangama Sutra. !)) Taisho Tripitaka* No, 7-5, >ordPress,co&, Translated durin. the

Tan. D$nast$ +$ Shra&ana Para&iti %ro& central India, Chapter < /0alokites0aras

Dhar&a:1ate REnli.htened throu.h the .ate3a$ o% ear,

19

http://www.metta.lk/

http://www.vipassana.info/077-mahasakuludayi-e1.htm

http://www.melong.com/

http://tsegyalgar.org/theteachings/dzogchen/

http://www.muktinath.org/hinduism/om-aum.htm

http://lindasuegrimes.suite101.com/the-zen-sound-of-the-one-hand-%09a226319#ixzz1mneFPjMl


http://www.metta.lk/

http://www.vipassana.info/077-mahasakuludayi-e1.htm

http://www.melong.com/

http://tsegyalgar.org/theteachings/dzogchen/

http://www.muktinath.org/hinduism/om-aum.htm






Final Paper


/0alokitesh0ara?s Methods and Ko3s%ro& Shuran.a&a Sutra P/=T ) o%

/0alokitesh0aras Meditation on #earin. %ro& Shuran.a&a Sutra P/=T o%

http"333,e:san.ha,co&alphoneshuran.a&a,ht&lV/0alokites0ara

http"a&ita+ha+uddha,3ordpress,co&!))!<!a0alokites0aras:&editation:on:

hearin.:%ro&:suran.a&a:sutra

Su&edho* /(ahn, !!4, LThe Sound o% Silence?, >isdo& Pu+lications" So&er0ille* M/,

>u* ;ohn, !!8, )he ?olden 'ge of 3en. >orld >isdo& Pu+lisher" Bloo&in.ton* Indiana,

/s %ound in,,,

Sa$in.s o% Other Tan. D$nast$ Ch?an Masters,

http"333,sel%disco0er$portal,co&c&OtherChanMasters,ht&

20

http://www.e-sangha.com/alphone/shurangama.html#Avalokitesvara

http://amitabhabuddha.wordpress.com/2011/06/02/avalokitesvaras-meditation-on-%09hearing-from-surangama-sutra/


http://www.e-sangha.com/alphone/shurangama.html#Avalokitesvara



the unstruck sound: a buddhist perspective

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