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Shingon Refractions: Myoe and the Mantra of Light, by Mark Unno
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About the Author
Mark Unno teaches East Asian religions at the University of Oregon. He is on the editorial board of the Journal of Religious Ethics and the advisory board of Buddhist-Christian Studies. He has been the featured speaker at numerous conferences and academic venues on Asian Buddhism, Comparative Religion, Buddhism and Psychotherapy, and Buddhism in America. He lives in Eugene, Oregon.
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Product details
Paperback: 352 pages
Publisher: Wisdom Publications (June 9, 1997)
Language: English
ISBN-10: 0861713907
ISBN-13: 978-0861713905
Product Dimensions:
6 x 1 x 9 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#1,868,197 in Books (See Top 100 in Books)
A really well written exploration of Myoe and the Mantra of light. The text gives more than sufficient information for practical and theoretical use. It is comfortably academic without being stiff.
The established view of the history of Japanese Buddhism, particularly the Kamakura Era, is one where stodgy old forms of Buddhism, such as Tendai and Shingon, become corrupt. Newer forms such as Zen and Pure Land Buddhism arise in revolt, and help to democratize Buddhism. This view is reinforced by many textbooks over the years.Mark Unno, through very impressive scholarly research, sheds new light on this view and throws some elements into doubt. Through the historical monk, Myoe, Mr. Unno adds new dimensions to Kamakura Era Buddhism that were rarely understood in the West.His coverage of this little-known is quite interesting, as well as his devotion to a Shingon practice called the Mantra of Light. Like his contemporary, Honen, Myoe tries to promote the Mantra of Light as an egalitarian practice, and helps to color a generally one-sided picture.The first part of this book is quite fascinating, and taught me quite a bit about Kamakura Era Buddhism I didn't know, and helped dispel some persistent myths (notably lineages of various Japanese sects). Mr. Unno's research is impressive, and his argument sound.The only down-side to this book was the second-half, where we read Myoe's own writings. Some of the writings were quite dry, and it would have helped either to summarize some points, or simply print exceprts instead of whole treatises.Anyone who wishes to study Medieval Japanese Buddhism, or just Shingon/Kegon sects in general will find this book quite a good read. Newcomers to Buddhism may be intimidated however.Enjoy!
An ancient Buddhist mantra, originating early in Buddhist history in India states "Praise be to the flawless,all-pervasive illumination of the great mudra [seal of the Buddha]. Turn over to me the jewel, lotus, and radiant light." As the use of this mantra developed, its recitation was frequently combined with a ritual involving the sprinkling of a pure grade of sand.In "Shingon Refractions", Mark Unno, an assistant professor of East Asian Religions at the University of Oregon, has written an account of what was to me this little-known practice as it developed in Japanese Buddhism. As the title of the book suggests, the mantra was used in the Japanes school of Shingon Buddhism. Shingon is a Tantric, esoteric form of Buddhism akin to the Buddhism most Westerners associate with Tibet. Subsequent developments of Buddhism in Japan, including Zen, Pure Land, and Nichren, are generally more familiar to Westerners interested in Buddhism than is Shingon. But Shingon, Professor Unno teaches the reader, is a growing movement and the mantra of light has been adopted by Buddhists in many other traditions.The principal character in Professor Unno's account is a monk of thirteenth-century Japan, Myoe Koben (1173-1232) who also had been unfamiliar to me. Myoe was a scholar-monk ordained in two different traditions of Japanese Buddhism. In the final years of his life, he became greatly interested in the mantra of light and wrote about it extensively. Translations of six of Myoe's writings are included in this book.Professor Unno gives a brief account of the history of the mantra of light and an all-too-brief account of the various schools of Japanese Buddhism. He follows this introduction with a detailed account of how Myoe developed the mantra, and the use of the sand, and of the significance he attached to it. It is Professor Unno's account of the significance of the mantra that makes this book come alive for the modern reader. Professor Unno gives a distinctly modern cast to this ancient mantra. Unno describes how Myoe, ordained in two traditions, did not view any form of Buddhism dogmatically but rather saw each apparently competing tradition from the perspective of the Buddhist doctrine of emptyness. Myoe was an eclectic who drew from scriptures and practices of the different forms of Buddhism then arising in Japan, including both Zen and Pure Land, as well as the tantric practices of Shingon. Myoe did not tie his teachings to a specific human lineage, but instead went back to the Buddha and ultimately to the teaching of emptiness. He taught a form of Buddhism accessible to the learned and the ignorant, to the saint and to the sinner. His Buddhism stressed equality among persons and, in particular, expanded the role of women. Perhaps most importantly, Myoe taught a faith-based Buddhism emphasizing the importance, in a degenerate age, of faith in the Dharma. The mantra and the sand ritual were not magical acts but rather owned their force to the expressions of faith they conveyed. That is why Myoe was open to the use of other teachings, mantras, and practices which originated in faith.Unno gives a good account of a difficult topic which was new to me and, I suspect, will be new to many Western students of Buddhism. He illuminates his discussion with quotations from Myoe and by comparisons between Myoe and other Buddhist and Taoist writers. He draws some modern analogies that had particular meaning for me -- such as in his story (pp. 82-83)of a young girl who hears a performance of a Beethoven piano sonata and is inspired to persevere with diligence and faith over the years to master the instrument. This faith and perseverence to learn the piano after becoming aware of a distant goal -- playing Beethoven -- is analogized beautifully to faith in the Dharma.Some of the translations of Myoe's works helped me with this book, particularly the essay "Recommending Faith in the Sand of the Mantra of Light" and the "Chronicle of Things Not to be Forgotten", the latter prepared by a student of Myoe. Some of the other Myoe texts were too detailed and difficult for one coming to the subject for the first time.Professor Unno has written an insightful if difficult study of an area of Buddhism that seemed to me highly remote. More develpment of background of Japanese Buddhism and of the mantra itself would have been welcome. I couldn't avoid thinking, as I read this book, that Professor Unno was gearing his presentation to appeal to the needs and predelictions of modern Westerners who try to follow the Dharma in the United States. This is certainly an appropriate way to frame a historical account, but I found at times that Professor Unno was more interested in contemporary Buddhist practice than in a historical exposition of the mantra of light.This book is not suitable for the casual reader or for those coming to Buddhism for the first time. It will appeal to readers with some familiarity with and feeling for Buddhism and the Dharma.
work on disciple myoe and his doctrines on shingon buddhism. a great overview who's person is only second to kulkai
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