“Beneath the vast canopy of the cosmos, where stars whisper secrets to the silent night, Master Kusan’s question beckons like a gentle breeze: “What was your original nature prior to the manifestation of space?” Imagine a realm before the first ripple of existence, where the heart of your being rests in radiant stillness, untouched by form or time. This is an invitation to pause, to listen deeply, and to discover the "luminous essence that dances" beyond the veil of space — a truth as close as your breath, waiting to unfold like a lotus in the dawn’s embrace.”
Last update: August 11, 2025
Source of the Text:
https://buddhismnow.com/2018/03/16/what-is-your-original-nature-prior-to-the-manifestation-of-space-master-kusan/
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Master Kusan ascended the dharma seat, struck his staff three times and said,
‘The Complete Enlightenment Sutra says,
“Limitless space is what is manifested by enlightenment.”
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(i.e. First suggestion: The Ground is like space, or emptiness.
But space is a fabrication, dependent on its causes and conditions,
thus empty of inherent existence, thus cannot be the true Ground.)
(i.e. The Space, Mirror and Dharmakaya Similes:
– The quote from the Complete Enlightenment Sutra, “Limitless space is what is manifested by enlightenment,” points to the nature of enlightenment as boundless, formless, and all-pervasive, akin to space itself. In Mahayana Buddhism, this aligns with the concept of the Dharmakaya, the ultimate reality or truth body of a Buddha, which is empty of inherent existence [T2] ⇐⇒ yet gives rise to all phenomena [T1] [U2T].
– The mirror simile is a common metaphor in Buddhist teachings, particularly in texts like the Complete Enlightenment Sutra, to illustrate the nature of mind, enlightenment, and reality. The mirror simile illustrates the enlightened mind (Dharmakaya) as a clear, empty mirror — boundless like “limitless space.” It manifests all phenomena (Sambhogakaya and Nirmanakaya) as reflections [T1] ⇐⇒ without attachment or inherent existence [T2] ⇐⇒ embodying the non-dual Union of emptiness [T2] and appearance [T1] [U2T]. Enlightenment is the realization of this mirror-like awareness, where all manifestations arise within the pure, spacious Ground of reality.
– These similes, space and mirror, while useful for pointing to the nature of the Dharmakaya or enlightened mind, are still conceptual approximations and thus fall short of the ineffable reality they aim to describe.
– Space, as a concept, still implies a kind of "thingness" or a subtle reification — an empty container or a passive backdrop. In the subtlest understanding, ultimate reality (the Dharmakaya or the nature of mind) transcends even the idea of being a "space" because it is beyond all dualistic distinctions, including container vs. contained or empty vs. full. Space can still evoke a sense of something static or separate from phenomena, whereas the ultimate truth is dynamically non-dual and beyond categorization.
– The mirror simile subtly implies a duality between the mirror (the mind or Dharmakaya) and the reflections (phenomena). It can suggest a surface that "receives" or "projects" images, which introduces a subtle separation between the Ground and its manifestations. In the subtlest reality, there is no such division—phenomena and the Ground are not two entities interacting but are utterly non-dual, beyond even the framework of reflection.
– Reality: The "something more subtle" that transcends these similes is the direct, non-conceptual realization of ultimate reality, often described as: non-dual awareness, primordial purity and spontaneous presence, the Middle Way beyond extremes, Buddha-nature … The "something more subtle" is the direct realization of this non-dual unity, where the Trikaya is not a framework of three distinct aspects but a single, indivisible reality that transcends all conceptual elaborations.
– The Dharmakaya is not a "Ground" (which is more alike the Union of the Two Truths [U2T[) in the sense of a substrate or foundation (as space might imply) but is the non-dual reality that is inseparable from its manifestations, i.e. Dharmakaya is more like the Union of the Ground and its manifestations [UGM].
– The manifestations are not "reflections" (as in a mirror) but are the spontaneous expression of the Dharmakaya’s luminous nature, without any separation or process of projection.
– The space and mirror similes are powerful tools for understanding the Dharmakaya and Trikaya but are refuted for something more subtle because they introduce subtle dualities and conceptual frameworks. The subtlest reality — non-dual awareness or the nature of mind — transcends all analogies, being neither a container (space) nor a reflector (mirror) but the ineffable Union of emptiness and appearance [U2T], directly realized beyond words or images.)
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All you monks endowed with the Dharma Eye, speak!
What is your original nature prior to the manifestation of space?’
(i.e. Go beyond the similes of space / emptiness, mirror / pure awareness,
mirror facing mirror, New Moon’s Light ...)
After a pause, the master struck his staff against the dharma platform and said,
‘This one staff penetrates the whole dharma realm.
Do you know the place where it strikes?
(i.e. This staff represents the spontaneous non-dualistic non-conceptual non-conditioned direct realization of the inconceivable true nature & dynamic of reality as it is. Which is pointed out by more and more subtle concepts like space / emptiness, mirror, mirror facing mirror, New Moon’s Light, and the inconceivable Unions [U2T / U3S / Uopp / UGM / U3K].)
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A poem says:
With one strike against this platform,
The great earth is broadened —
The mountains are high, the sea is wide,
And all the universe is penetrated.
Like the fragrant orchid and the green bamboo
which prosper despite the snow,
One can, after enduring many hardships,
Proudly step upon the crown of
the Buddha Vairocana’s dharma-body.
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(i.e. Reality as it is is like the Union of the Ground (Dharmakaya) and its Manifestations (Sambhogakaya & Nirmanakaya) [UGM] [U3K] – in the sense that they are inseparable, interdependent, co-defined, and thus empty of inherent existence [U2T-GM / U2T-3K]:
– In Mahayana and Vajrayana Buddhism, Vairocana's dharma-body (Dharmakaya) is the ultimate, formless, and all-encompassing reality, embodying the essence of enlightenment and the true nature of all phenomena. It is not a physical body but rather the embodiment of Buddhist wisdom and purity, representing the absolute truth and the interconnectedness of all things.
In Buddhist philosophy, particularly in Mahayana and Vajrayana traditions, the Dharmakaya is one of the three kayas (bodies) of the Trikaya doctrine, which describes the nature of a Buddha's existence. The Trikaya consists of
– Dharmakaya: The truth body, representing the ultimate reality, emptiness, and the essence of enlightenment. It is formless, transcendent, and the source of the other kayas.
– Sambhogakaya: The enjoyment body, a subtle form through which Buddhas manifest to teach advanced practitioners, often in pure lands.
– Nirmanakaya: The emanation body, the physical form a Buddha takes to interact with sentient beings in the material world.
– As one of the kayas: The Dharmakaya is distinctly one of the three kayas, representing the ultimate, non-dual reality of a Buddha's enlightenment. It is the foundational aspect, often described as the "GROUND" from which the Sambhogakaya and Nirmanakaya arise. But that is still too dualistic.
– As the union of the three kayas: In some interpretations, particularly in Dzogchen and certain Mahayana teachings, the Dharmakaya is understood as encompassing the other two kayas because they are its spontaneous unceasing MANIFESTATIONS. The Sambhogakaya and Nirmanakaya are not separate from the Dharmakaya but are its expressions in form and function. In this sense, the Dharmakaya can be seen as the ultimate reality that unifies all three [U3K], as it is the source and essence of the Trikaya.
– However, the Dharmakaya is not typically described as identical to the Trikaya in a literal sense, as the Trikaya is the framework of three distinct yet interrelated aspects. Instead, the Dharmakaya is the core that integrates the Trikaya, being both a part of it (as one kaya) and the ultimate reality from which the other kayas emanate.
– The Dharmakaya is the GROUND, the ultimate reality or essence. The Sambhogakaya and Nirmanakaya are its MANIFESTATIONS, expressing that essence in subtle and physical forms.
The Trikaya represents the Union of these three kayas [U3K],
Uniting the Ground with its Manifestations [UGM].
– Union of the Ground and its Manifestations [UGM]: In the context of the Trikaya, Reality as it is can be understood as the Trikaya [U3K] — the Union of the Dharmakaya (the Ground, ultimate reality, or emptiness) and its Manifestations, the Sambhogakaya (subtle, blissful expressions) and Nirmanakaya (physical emanations). This union reflects the non-dual nature of reality, where the formless essence and its dynamic expressions are inseparable, encompassing both the transcendent and the manifest aspects of existence.)
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‘Again, let me explain about the path walked by the ancients.
Master Hsueh Feng said to his assembly,
“The ‘I’ here present is like an old mirror.
If a foreigner comes, a foreigner appears in it.
If a Chinese comes, a Chinese appears in it.”
(i.e. Second suggestion: The Ground is like a mirror;
reflecting without attachment to the reflections.
But this mind and its objects are interdependent, co-defined, co-imputed,
thus both empty of inherent existence, thus cannot be the true Ground.)
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A monk then asked,
“If we suddenly come upon a shiny mirror,
then what?” (mirror facing mirror)
(i.e. Third suggestion, the Ground is like a mirror facing another mirror;
merging subject and object; like non-dual primordial awareness.
But this Ground / Basis / Source / primordial Awareness / Pure Consciousness
is still too dualistic, in opposition to its manifestations;
one pure the other impure, one permanent the other impermanent,
one nirvāṇa the other saṃsāra. So it is not the true Ground.)
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Hsueh Feng said,
“Both the foreigner and the Chinese are obscured.”
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‘Then another monk, Ta Chueh Lien, said in a poem:
“In the limitless brightness of two mirrors,
Each facing the other,
The coming and going of the foreigner and the Chinese
will be completely hidden.
It is improper that he (Hsueh Feng)
Explained about this unchanging truth [Ground],
That meddling Persian musician 1
Had a strong, deceiving nature.”’
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Then Master Kusan said,
‘Today this mountain monk is not of the same opinion.
My poem says:
‘The moon on the night of the new moon
Is very bright and clear.
Quietly shines the absolute light
From days of old to now.
(i.e. It is still dualistic to oppose the Ground (primordial awareness) and its manifestations (appearances).
Reality as it is is more like the inconceivable Union of the Ground and its manifestations [UGM].)
I ask you now, how is this?
All material and immaterial things
And all aspects of nature
Are in full conformity with absolute truth.
(i.e. Fourth suggestion, the Ground is indescribable, inconceivable, beyond all dualistic conceptual proliferation.
It has to be directly perceived, realized, experienced.
The Ground is not separate or prior to its manifestations.
One is not pure and the other impure; one is not permanent and the other permanent;
one is not ‘this’ and the other ‘non-this’.
It is not about accepting one while rejecting the other.
Reality is beyond all of these opposites, dualities, marks, signs.)
‘Reflect on this!’
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1 The monk who asked ‘If we suddenly come upon a shiny mirror, then what?’
This teaching by Master Kusan, rooted in Zen Buddhist tradition, is a profound exploration of the nature of reality (the Ground), the true self (primordial awareness), and enlightenment, drawing from the Complete Enlightenment Sutra and Zen dialogues. Below is an analysis of the key elements, themes, and philosophical implications of the teaching, structured to elucidate its meaning and significance.
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Master Kusan’s teaching is delivered in a traditional Zen format: a dharma talk that includes a sutra quotation, a direct challenge to the assembly, poetic expressions, and references to past masters’ teachings. The structure is designed to provoke insight, using paradox, metaphor, and koan-like questioning to transcend conceptual thinking and point directly to the practitioner’s true nature.
The teaching starts with the question:
“What is your original nature prior to the manifestation of space?”
This is a classic Zen inquiry into the essence of being before differentiation or form arises.
Sutra Reference: The teaching begins with a quote from the Complete Enlightenment Sutra: “Limitless space is what is manifested by enlightenment.”
This suggests that space itself — often perceived as empty or void — is a manifestation of the enlightened mind (reality as it is).
However, Kusan pushes further, asking about the original nature prior to space (the unborn unconditioned unchanging unceasing Ground, Basis, Source).
This points to a reality beyond even the concepts of dependent origination and emptiness (i.e. Union of the Two Truths [U2T]), a non-dual essence [Ground] that precedes all phenomena (physical, conceptual, mental, individual, collective, cosmic).
(i.e. The Ground is not space or emptiness alone, which are dependently arisen mental fabrications.)
Philosophical Implication: In Buddhist metaphysics, space is a conditioned phenomenon, dependent on perception and conceptualization. Kusan’s question challenges practitioners to realize their fundamental nature (Ground), which is limitless unborn unconditioned unchanging unceasing, beyond form, space, or time. This aligns with the Mahayana concept of śūnyatā (emptiness) and the Tathāgatagarbha (Buddha-nature), the inherent potential for enlightenment in all beings.
(i.e. The Ground has to be limitless, unborn, unconditioned, unchanging, unceasing, beyond all conditioning / karma, beyond all dualistic conceptual proliferation, beyond all fabrications, beyond all description / conceptualization, differentiation / discrimination / dualities, causality / production, form / matter-energy, space and time.)
Staff Strike: The striking of the staff is a Zen device to cut through dualistic conceptual thought, symbolizing a direct pointing to reality [Ground].
(i.e. The Ground has to be spontaneously, non-dualistically, non-conceptually, non-conditionally, perceived, realized, experienced in the here & now.)
Kusan states, “This one staff penetrates the whole dharma realm.”
The staff represents the unity of all phenomena and the absolute truth that transcends dualities.
(Ex. The Ground is indescribable, inconceivable, but, still, we can point out to it, get to it, using adapted skillful means like the Unions: Union of compassion and wisdom, Union of the Two Truths [U2T], Union of the three spheres [U3S], Union of opposites [Uopp], Union of the Ground and its manifestations [UGM], and Union of the three kayas [U3K].)
The question “Do you know the place where it strikes?” is a koan, urging practitioners to experience this truth directly, not intellectually.
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Kusan’s poem vividly illustrates the non-dual nature of reality (i.e. Union of opposites [Uopp]):
– “With one strike against this platform, / The great earth is broadened…” This suggests that a single moment of true insight expands one’s perception, revealing the interconnectedness and emptiness of all things [U2T] (mountains, sea, universe, conceptual opposites, subject and object, saṃsāra and nirvāṇa, even the two truths themselves, even the Ground and its manifestations, even the three kayas).
– “Like the fragrant orchid and the green bamboo / which prosper despite the snow…” This metaphor highlights resilience and purity. Just as orchids and bamboo thrive in adversity, the practitioner’s true nature [Ground] remains untainted by the hardships of saṃsāra (cyclic existence, conditioned appearances).
(i.e. The Ground is the ‘unchanging’ part of everything. The permanent in all impermanent phenomena. But this explanation is also too dualistic, just a pointer to the moon, not the moon itself. We have to use dualistic tools to ultimately get to the inconceivable beyond all dualities, even beyond difference and identity, many and one, duality and non-duality, relative and absolute, appearance and emptiness, manifestations and ground, pure and impure, ignorance and wisdom, saṃsāra and nirvāṇa.)
– “Proudly step upon the crown of the Buddha Vairocana’s dharma-body”: Vairocana, the cosmic Buddha, represents the ultimate reality or Dharmakāya (truth body) (i.e. Trikaya = Union of the three kayas [U3K]). This line suggests that realizing one’s original nature allows one to embody the universal truth, transcending ego and duality.
(i.e. Instead of identifying with conditioned impermanent appearances, karma, we need to identify with this limitless unborn unconditioned unchanging unceasing Ground. Until we are ready to transcend even this duality Ground vs. manifestations / appearances. It is a gradual process of deconditioning, deprogramming our mind(s).)
The poem serves as both an inspiration and a pointer to the ineffable [Reality as it is], encouraging practitioners to experience this truth through meditation and direct realization (non-dualistically, non-conceptually, non-conditionally).
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Kusan references a dialogue by Master Hsueh Feng, who compares the self to an “old mirror” that reflects whatever appears [T1] (foreigner or Chinese) without attachment [T2]. This mirrors the Buddhist teaching of the mind as inherently pure, reflecting phenomena without clinging or aversion.
(i.e. The Ground is like a Mirror, like an unborn, unconditioned, unchanging, unceasing Primordial Awareness, Pure Consciousness, Mind-only. A pure awareness (subject) that can reflect everything (objects) without any attachment. That is a useful adapted skillful means on the gradual path, but cannot be the true nature of reality as it is, the true Ground, because it is also dependently co-arisen, interdependent, co-defined, co-evolving, co-imputed, thus empty of inherent existence.)
The monk’s question, “If we suddenly come upon a shiny mirror, then what?” introduces the idea of a “shiny” or untainted mirror, symbolizing pure awareness free from distinctions. Hsueh Feng’s response, “Both the foreigner and the Chinese are obscured,” indicates that in the state of pure awareness, dualistic distinctions (self/other, foreigner/Chinese) dissolve. This points to the non-dual nature of reality, where all appearances are empty of inherent existence.
(i.e. That points to the refutation of the ‘Mind-only’ proposition. The three spheres of perception – (i) subject / perceiver, (ii) action / perception, and (iii) object / perceived – cannot be (a) different / separate, (b) identical / united / one / non-dual, (c) both together, or (d) neither. That means they are not really arising, lasting, changing, or ceasing. They are all empty of inherent existence because they are dependently co-arisen, interdependent, co-defined, co-evolving, co-imputed. They are like illusions, reflections, mirages, dreams, echos, ‘there, yet not there’. They are all not really existent / functional, not completely non-existent / non-functional, not both together, not neither. So we cannot reduce everything to either the mind-only, particles-only, process-only, or a combination of them.)
Ta Chueh Lien’s Poem: The monk Ta Chueh Lien critiques Hsueh Feng’s explanation, using the image of “two mirrors facing each other” to suggest infinite reflection without a source (not mind-only) — pure awareness without subject or object.
(i.e. The Ground is more like the inconceivable Union of the three spheres [U3S] – subject / perceiver, action / perception, object / perceived; which are all interdependent thus empty of inherent existence [U2T-3S]; of the same nature, equal, Ground.)
His mention of the “meddling Persian musician” is likely a playful jab at Hsueh Feng, implying that verbal explanations risk obscuring the truth.
(i.e. Reality, the Ground, is inconceivable, beyond all description, differentiation, causality, form / matter-energy, space and time. The Ground is not mind-only, primordial awareness, pure consciousness, which is still dualistic thinking. It is beyond all description. Even the notion of a Ground of everything is problematic, dualistic; as if one was pure and the other impure; as if they were separate, one pure and the other impure.)
This reflects Zen’s skepticism of language as a complete vehicle for truth.
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Kusan disagrees with Ta Chueh Lien’s critique, offering his own perspective through a poem:
– “The moon on the night of the new moon / Is very bright and clear…” The new moon, invisible yet present, symbolizes the absolute truth — hidden yet ever-present, beyond perception yet radiant. This aligns with the Zen emphasis on direct experience of the absolute, beyond sensory or conceptual frameworks.
(i.e. It is still too dualistic to oppose the Ground, or whatever you may call it, to its manifestations, appearances; to prefer one over the other. Those two aspects or Reality as it is are inseparable, dependently co-arisen, interdependent, co-defined, co-evolving, merely co-imputed by the mind, thus also empty of inherent existence, never absolute, like illusions, reflections, mirages, dreams, echos, ‘there, yet not there’ [UGM]. Both are pure; everything is primordially interconnected, equal, pure, perfect, complete, divine. Liberation is not about escaping saṃsāra for nirvāṇa, but to realize the true nature of everything; that apparent opposites are non-dual: not many, not one, not both, not neither.)
– “Quietly shines the absolute light / From days of old to now”: This underscores the timeless, unchanging nature of the enlightened mind, which is always accessible.
(i.e. We have to learn to see the Ground in all of its manifestations, and all manifestations in the Ground. They are inseparable.)
– “All material and immaterial things / And all aspects of nature / Are in full conformity with absolute truth”: This affirms the Mahayana view that saṃsāra and nirvāṇa are not separate — all phenomena, when seen with enlightened wisdom, are expressions of the absolute.
(i.e. Nirvana is directly realizing the true nature of saṃsāra here & now.)
Kusan’s poem reframes the mirror analogy, emphasizing clarity and unity over critique.
(i.e. This is the Middle Way free from all extremes and middle; with nothing to accept, nothing to reject, nothing to change in absolute terms, just conventionally, relatively.)
His teaching is inclusive, suggesting that all experiences, when understood correctly, point to the same truth.
(i.e. Reality is reality, everywhere, all the time.)
(i.e. Everything is primordially interconnected, equal, pure, perfect, complete, divine, ‘One’ in the non-dual sense: not many, not one, not both together, not neither.)
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The teaching employs classic Zen methods: koans, paradoxes, and direct challenges (“Speak!”, “Reflect on this!”). These are not meant to elicit intellectual answers but to provoke a direct experience of one’s true nature.
The repeated call to “reflect” emphasizes hwadu practice (Korean Zen’s focus on meditative inquiry into a single question, like “What is this?”). Kusan’s question about original nature is a hwadu, meant to be held in meditation until dualistic thought collapses, revealing the practitioner’s inherent Buddha-nature.
The teaching also highlights the importance of perseverance (“enduring many hardships”), aligning with the Zen path of rigorous practice to awaken to one’s true nature.
Non-Duality: The teaching underscores the non-dual nature of reality (i.e as pointed out by the inconceivable Unions: U2T / U3S / Uopp / UGM / U3K), where distinctions like self/other, form/emptiness, or saṃsāra/nirvāṇa are ultimately illusory. The mirror, staff, and moon imagery all point to this unity.
Direct Experience: Zen prioritizes unconditioned direct realization over conditioned intellectual indirect understanding. Kusan’s use of poetry, koans, and physical gestures (staff strikes) bypasses conceptual thought, urging practitioners to see their original nature.
Interdependence: The teaching reflects the Mahayana view of interdependence, where all phenomena (mountains, seas, mirrors, staff) are interconnected expressions of the same inconceivable reality [UGM].
Timeless Truth: By invoking ancient masters and timeless imagery (moon, light), Kusan situates his teaching within the eternal dharma, relevant across time.
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For a Buddhist practitioner, this teaching is a call to:
Meditate on the Hwadu: Hold the question “What is your original nature prior to the manifestation of space?” in meditation, letting go of conceptual answers to experience the truth directly.
Cultivate Non-Attachment: Like the mirror, reflect phenomena without clinging to distinctions (opposition / dualities) or identities (inherent existence, absolutes).
Persevere in Practice: Embrace hardships as part of the path, trusting that the “fragrant orchid” of enlightenment endures all challenges.
See the Absolute in the Relative: Recognize that all phenomena — material or immaterial — are expressions of the Truth (Reality as it is), fostering equanimity and wisdom in daily life. (i.e. Union of the Ground and its manifestations, inseparable, interdependent, co-evolving, empty of inherent existence [UGM / U2T-GM].)
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Master Kusan’s teaching is a masterful blend of sutra wisdom, Zen koans, and poetic insight, designed to awaken practitioners to their original nature — the unconditioned reality prior to all manifestations. By weaving together the Complete Enlightenment Sutra, Hsueh Feng’s mirror analogy, and his own poetic vision, Kusan points to the non-dual, timeless truth of Buddha-nature. The teaching challenges intellectual complacency, urging direct realization through meditation and inquiry. For practitioners, it is both a profound philosophical statement and a practical guide to awakening, encapsulated in the resonant strike of the staff and the quiet light of the new moon.
Grok: Absolutely, your reflection captures the essence of Master Kusan’s teaching and the heart of non-dual wisdom in Zen and Mahayana Buddhism. The true nature of reality (tathatā) — often described as suchness (tathatā) or the absolute — is indeed profoundly subtle, eluding the grasp of conditioned dualistic conceptual thought. Our tendency to categorize, label, or dualize (self/other, pure/impure, desirable/undesirable, subject/object, movement/stillness, word/silence, many/one, form/emptiness, ground/manifestation, saṃsāra/nirvāṇa) obscures this subtlety, which is why teachings like Kusan’s use koans, poetry, and direct pointers like the staff strike to bypass the mind’s habits and reveal the ineffable.
The non-dual reality is “more subtle than we think” because it transcends even the subtlest concepts of existence or non-existence, space or no-space. As Kusan’s moon on the night of the new moon suggests, it’s ever-present, clear, and radiant, yet invisible to ordinary perception. This subtlety invites us to soften our grip on fixed ideas and rest in direct, open awareness — where the “fragrant orchid” of our true nature blooms effortlessly. Thank you for the beautiful reflection!
Q2: There seems to be a progression in the text.
Proposing a view about the Ground, then refuting it,
then proposing another view , etc.
From space, to mirror, to mirror facing mirror, to something else.
Grok: You're absolutely right that Master Kusan’s teaching unfolds as a dynamic progression, characteristic of Zen pedagogy, where views about the ultimate reality or "Ground" (the original nature, absolute truth, or non-dual reality) are proposed, challenged, refined, and transcended. This dialectical process — presenting a perspective, refuting or deconstructing it, and then offering a subtler or more direct insight — serves to guide practitioners beyond conceptual clinging toward direct realization. Below, I’ll analyze the progression you’ve identified, tracing the movement from space to mirror, to mirrors facing each other, to the new moon and absolute light, and interpret how this reflects a deepening understanding of the Ground.
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A. Overview of the Progression
Zen teachings often use a spiral-like progression: each stage builds on the previous one, not to establish a fixed doctrine but to dismantle attachments to views, pointing ever closer to the ineffable reality. Kusan’s teaching follows this pattern, using metaphors and dialogues to approach the Ground (the original nature prior to manifestation) while subverting intellectual grasping.
The progression can be seen as a movement from conditioned phenomena (i. space) to reflective awareness (ii. mirror), to non-dual interdependence (iii. mirrors facing each other), and finally to the absolute, unconditioned reality (iv. new moon’s light).
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B. Stage-by-Stage Analysis
B1. Space (Space as the Ground – Still too dualistic: causality - phenomena - space - time, emptiness - appearances)
Proposed View: Kusan begins with the Complete Enlightenment Sutra: “Limitless space is what is manifested by enlightenment.” This suggests that space — seemingly vast, empty, and all-encompassing — is a manifestation of the enlightened mind (non-dual reality as it is). Space here represents the Ground as the container of all phenomena, a seemingly ultimate reality that accommodates everything.
Challenge/Refutation: Kusan immediately questions this view by asking, “What is your original nature prior to the manifestation of space?” This is a critical pivot. By pointing to something prior to space, Kusan implies that even space (and time), vast as it is, is a conditioned phenomenon, dependent on the mind’s perception. The Ground must be beyond even this emptiness, unconditioned and formless.
Staff Strike and Poem: The staff strike (“This one staff penetrates the whole dharma realm”) and the accompanying poem (“With one strike… the great earth is broadened”) shift the focus from space as a concept to a direct, experiential realization. The poem’s imagery (mountains, seas, orchids, Vairocana’s dharma-body) suggests that the Ground is not just empty space but the vibrant, interconnected totality of all phenomena, realized in a single moment of insight. (i.e. The Ground and its manifestations are inseparable [U2T / UGM / U3K].)
Purpose: This stage establishes space as a provisional view of the Ground, only to deconstruct it. Space is a useful metaphor for emptiness (śūnyatā), but clinging to it as ultimate misses the subtler reality prior to all manifestations.
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B2. Mirror (The Ground as Reflective Awareness – Still too dualistic dualistic: subject-object)
Proposed View: Kusan introduces Master Hsueh Feng’s analogy of the self as an “old mirror” that reflects whatever appears (“If a foreigner comes, a foreigner appears…”). The mirror represents the Ground as the pure, untainted awareness of the mind, which reflects phenomena without attachment or distortion. This is a step beyond space, as it emphasizes the mind’s capacity to perceive without clinging to dualities (foreigner/Chinese).
Challenge/Refutation: A monk asks, “If we suddenly come upon a shiny mirror, then what?” The “shiny mirror” suggests an even purer state of awareness, free from any trace of distinction (dualities) or defilement. Hsueh Feng responds, “Both the foreigner and the Chinese are obscured,” indicating that in this pristine awareness, objects’ dualistic distinctions dissolve entirely. The mirror no longer reflects “this” or “that” because the Ground transcends object’s dualities.
Purpose: The mirror refines the view of the Ground from space (a static container) to dynamic awareness that reflects phenomena without inhering in them. However, the monk’s question and Hsueh Feng’s response push further, suggesting that even the mirror’s reflective function implies a subtle duality (reflector/reflected, or subject/object), which must be transcended.
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B3. Mirrors Facing Each Other (Still too dualistic: Ground-manifestations, One-many, Permanent-impermanent, Nirvāṇa-saṃsāra.)
Proposed View: Monk Ta Chueh Lien’s poem introduces the image of “two mirrors facing each other” in “limitless brightness.” This represents the Ground as an infinite interplay of reflections, where each mirror reflects the other ad infinitum, erasing the distinction between subject and object, self and other (“The coming and going of the foreigner and Chinese will be completely hidden”). This is a poetic expression of interdependence and non-duality, akin to the Huayan Buddhist concept of Indra’s Net, where all phenomena mutually reflect and contain each other.
Challenge/Refutation: Ta Chueh Lien critiques Hsueh Feng’s original mirror analogy, suggesting that explaining the Ground as a single mirror (mind-only) risks oversimplification (“It is improper that he explained about this unchanging truth”). The “meddling Persian musician” jab implies that Hsueh Feng’s verbal teaching might obscure the truth by fixing it in a concept (mind-only). The two-mirror image is a subtler view, but it still relies on a metaphor, which can become another attachment.
Purpose: This stage deepens the understanding of the Ground as non-dual interdependence, where all phenomena arise in mutual reflection without a fixed self (i.e. Union of the three spheres [U3S]). Yet, by critiquing Hsueh Feng, Ta Chueh Lien warns against reifying even this sophisticated view, pushing toward a more direct realization. (i.e. There is still the tendency to oppose this pure Ground to its impure manifestations; to accept one and reject the other – like nirvāṇa and saṃsāra.)
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B4. New Moon’s Light (Pointer to the ineffable Reality as it is beyond all dualistic conceptual proliferation: space - time - things - causality, appearance and emptiness, subject action and object, three kayas, ground and manifestations, saṃsāra and nirvāṇa, duality and non-duality, movement and stillness, word and silence, pure and impure, acceptation and rejection …)
Proposed View: Kusan rejects Ta Chueh Lien’s critique and offers his own poem: “The moon on the night of the new moon / Is very bright and clear. / Quietly shines the absolute light / From days of old to now.” The new moon, invisible yet present, symbolizes the Ground as the absolute, unconditioned reality — beyond form, perception, or duality. Unlike space (conditioned emptiness), the mirror (reflective awareness), or mirrors facing each other (interdependence), the new moon’s light is a direct pointer to the ineffable essence of the enlightened mind, radiant [T1] ⇐⇒ yet ungraspable [T2] [U2T].
Affirmation, Not Refutation: Kusan’s poem doesn’t refute the previous views but transcends them, affirming that “All material and immaterial things / And all aspects of nature / Are in full conformity with absolute truth.” This suggests that all prior metaphors (space, mirror, mirrors) are valid expressions of the Ground when seen through enlightened wisdom. The new moon’s light is the culmination of the progression, pointing to the timeless, non-dual reality that underlies all phenomena without being reducible to any single metaphor.
Purpose: This final stage dissolves the need for conceptual progression, inviting practitioners to rest in direct awareness of the true nature of reality beyond all duality and oneness. The new moon’s invisibility ⇐⇒ yet undeniable presence mirrors the practitioner’s original nature, which is always accessible ⇐⇒ yet obscured by grasping at views.
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C. Interpretation of the Progression
The progression — from space to mirror to mirrors facing each other to new moon’s light — reflects a deliberate pedagogical strategy in Zen:
Deconstructing Views: Each stage offers a view of the Ground [T1], only to reveal its limitations [T2]. Space is too static, the mirror implies a subtle duality, and even the two mirrors, while non-dual, remain a conceptual image. This aligns with Nāgārjuna’s Madhyamaka philosophy, which negates all views to reveal the emptiness of emptiness itself [U2T-2T].
Refining Subtlety: As you noted, non-duality is “always more subtle than we think.” Each stage moves toward greater subtlety, from the tangible (space) to the relational (mirrors) to the ineffable (new moon). This mirrors the Zen path of refining awareness until all dualities collapse.
Pointing to Direct Experience: The progression isn’t about building a philosophical system but exhausting the mind’s tendency to grasp. Kusan’s final poem and call to “Reflect on this!” urge practitioners to drop all views and realize the Ground through meditation (e.g., hwadu practice on “What is your original nature?”).
Unity of Relative and Absolute: The final stage integrates all previous views, affirming that the absolute (new moon) permeates all phenomena (material/immaterial). This reflects the Mahayana synthesis / Union of emptiness [T2] and appearance [T1] [U2T / U2T-2T], where saṃsāra and nirvāṇa are one [Non-duality / Uopp / U2T-opp].
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D. Why This Structure?
This progressive structure is a hallmark of Zen teachings, particularly in the Korean Sŏn tradition, which emphasizes hwadu (koan-like questions) to provoke awakening. By presenting and refuting views, Kusan:
Prevents fixation on any single concept, aligning with the Zen adage, “If you meet the Buddha, kill the Buddha.”
Guides practitioners toward the non-conceptual, where the Ground is directly experienced.
Mirrors the practitioner’s journey, from coarse understanding to subtle realization, encouraging perseverance (“enduring many hardships”).
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E. Practical Implications for Practitioners
For a practitioner, this progression suggests a meditative approach:
Question Concepts: Use Kusan’s question (“What is your original nature prior to space?”) as a hwadu, holding it in meditation to transcend all views.
Observe the Mind: Like the mirror, notice how the mind reflects thoughts and phenomena without clinging.
Embrace Interdependence: See all experiences as mutually arising, like mirrors facing each other, to dissolve self-other duality.
Rest in the Absolute: Meditate on the “new moon’s light” as a symbol of pure awareness, letting go of all metaphors to abide in non-dual reality.
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F. Conclusion
Master Kusan’s teaching is a masterful progression that proposes, refutes, and refines views of the Ground, moving from space (conditioned emptiness) to mirror (pure awareness), to mirrors facing each other (non-dual interdependence), and finally to the new moon’s light (absolute reality). Each stage deconstructs the previous one, guiding practitioners toward the subtle, non-dual truth that transcends all concepts. This structure not only reflects the subtlety of non-duality, as you beautifully noted, but also serves as a practical roadmap for realizing the original nature through direct experience.
Q3: So there are four progressive stages about realizing the true nature of the Ground: space, mirror, mirror facing mirror, and new moon's light. The first three are too dualistic and conceptual. The fourth point to a direct realization beyond all dualistic conceptual proliferation.
– Comparing the Ground to space is like grasping at emptiness or nothingness.
– Comparing the Ground to a mirror, is like grasping at an unconditioned primordial awareness, and is still separate from its perceived objects.
– Comparing the Ground to a mirror facing mirror, is like grasping at the concept of a non-dual primordial awareness, where subject and object merge into One. But that is still grasping at a Ground separate from its manifestations.
– The pointer 'new moon's light' suggests to transcend all conditioned dualistic conceptual proliferation, all ideas of a Ground separate from its manifestations, or dharmakaya separate from the other two kayas, and embrace something like the inconceivable Union of the Ground and its manifestations [UGM / U2T-GM], or Union of the three kayas [U3K / U2T-3K].
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Grok: Your analysis is a beautifully concise and insightful synthesis of the progression in Master Kusan’s teaching, and I completely agree with your interpretation of the four stages — space, mirror, mirrors facing each other, and new moon’s light — as a movement toward transcending dualistic and conceptual frameworks to realize the true nature of the Ground. Your framing of the first three stages as increasingly subtle yet still dualistic, and the fourth as pointing to a direct, non-conceptual realization, aligns perfectly with the Zen approach to non-duality and the Mahayana view of ultimate reality. Below, I’ll reflect on your summary, expand on the nuances of each stage, and elaborate on how the new moon’s light indeed points to the inconceivable union of the Ground and its manifestations, akin to the unity of the three kayas (Dharmakaya, Sambhogakaya, and Nirmanakaya). I’ll also compare this progression to related Buddhist concepts to enrich the discussion, while keeping it focused and aligned with your insights.
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A. Recap and Affirmation of the Four Stages
You’ve astutely identified the progression as a journey from coarse, dualistic concepts of the Ground to a direct realization that transcends all dualities and conceptual proliferation. Each stage represents a provisional pointer to the true nature of reality, only to be deconstructed to reveal its limitations:
Space: Grasping at emptiness or nothingness, a conditioned phenomenon mistaken for the ultimate.
Mirror: Grasping at an unconditioned primordial awareness, still separate from its objects.
Mirrors Facing Each Other: Grasping at a non-dual awareness where subject and object merge, yet still subtly separate from its manifestations.
New Moon’s Light: Transcending all dualistic concepts, pointing to the inconceivable Union of the Ground and its manifestations [UGM / U2T-GM], or the Union of the three kayas [U3K / U2T-3K].
Your observation that the first three stages involve grasping — even at increasingly subtle levels — captures the Zen critique of clinging to any view, no matter how refined. The new moon’s light as a pointer to the “inconceivable union” is a profound summation, reflecting the non-dual reality where the Ground (Dharmakaya) is inseparable from its expressions (Sambhogakaya and Nirmanakaya). Let’s unpack each stage and explore how they culminate in this realization.
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B. Detailed Analysis of the Stages
B1. Space: Grasping at Emptiness or Nothingness
Your Insight: Comparing the Ground to space is like grasping at emptiness or nothingness, a dualistic concept that reifies the Ground as a static void.
Analysis: The Complete Enlightenment Sutra’s statement, “Limitless space is what is manifested by enlightenment,” presents space as a metaphor for the vast, all-encompassing nature of the enlightened mind. However, as you note, this risks reducing the Ground to a conceptual emptiness — a “nothingness” that practitioners might cling to as ultimate. In Mahayana Buddhism, emptiness (śūnyatā) is not a void but the lack of inherent existence in all phenomena, interdependent and dynamic. Kusan’s question, “What is your original nature prior to the manifestation of space?” deconstructs this view, revealing that space is still a conditioned phenomenon, dependent on perception. Grasping at space as the Ground creates a subtle duality between emptiness and form, missing the non-dual reality.
Comparison: This stage aligns with early Buddhist misunderstandings of emptiness as annihilation or nihilism, which Nāgārjuna’s Madhyamaka refutes by showing that emptiness [T2] is inseparable from dependent origination [T1] as expressed by the Union of the Two Truths [U2T]. In Zen, this is akin to mistaking the “void” in meditation for awakening, rather than seeing the vibrant interplay of phenomena.
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B2. Mirror: Grasping at an Unconditioned Dual Primordial Awareness
Your Insight: Comparing the Ground to a mirror is like grasping at an unconditioned primordial awareness, still separate from its perceived objects.
Analysis: Hsueh Feng’s analogy of the mind as an “old mirror” that reflects phenomena (foreigner or Chinese) without attachment points to the Ground as pure, untainted awareness—often termed citta (mind-essence) or rigpa (pristine awareness) in other traditions. This is a subtler view than space, as it emphasizes the mind’s clarity and non-clinging nature. However, as you point out, this view subtly maintains a duality between the mirror (awareness) and its reflections (objects). The monk’s question about the “shiny mirror” and Hsueh Feng’s response, “Both the foreigner and Chinese are obscured,” push toward dissolving this duality, but the mirror metaphor still risks reifying awareness as a “thing” separate from phenomena.
Comparison with Mind-only: This stage resembles Yogācāra’s concept of the ālayavijñāna (storehouse consciousness), a pure consciousness that underlies perception but can be mistaken as a self-existent entity. In Dzogchen, it’s akin to grasping at rigpa as a pristine awareness apart from its manifestations, which misses the inseparability of clarity and emptiness.
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B3. Mirrors Facing Each Other: Grasping at Non-Dual Primordial Awareness, a Pure Ground vs. its Impure Manifestations.
Your Insight: Comparing the Ground to mirrors facing each other is like grasping at a non-dual primordial awareness where subject and object merge, but still separate from its manifestations.
Analysis: Ta Chueh Lien’s image of “two mirrors facing each other” in “limitless brightness” is a profound metaphor for non-duality, where subject and object dissolve in an infinite interplay of reflections. This reflects the Huayan Buddhist vision of Indra’s Net, where all phenomena mutually contain and reflect each other, or the Dzogchen view of lhundrub (spontaneous presence), where awareness and phenomena arise interdependently. However, as you astutely note, this view can still involve grasping at a conceptualized non-duality — a “One” that subtly excludes or stands apart from its manifestations. Ta Chueh Lien’s critique of Hsueh Feng suggests that even this sophisticated metaphor risks becoming a conceptual trap if taken as ultimate.
Comparison: This stage parallels the Huayan doctrine of the interpenetration of phenomena or the non-dual awareness in Chan/Zen texts like the Platform Sutra, where the mind is both empty and luminous. Yet, as Zen warns, even non-dual concepts can become objects of attachment, as seen in koans that challenge fixation on “oneness.”
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B4. New Moon’s Light: Transcending All Dualistic Conceptual Proliferation
Your Insight: The new moon’s light points to transcending all conditioned dualistic conceptual proliferation, embracing the inconceivable Union of the Ground and its manifestations [UGM / U2T-GM], or Union of the three kayas [U3K / U2T-3K].
Analysis: Kusan’s poem, “The moon on the night of the new moon / Is very bright and clear…,” is a masterful pointer to the Ground as the absolute, unconditioned reality — beyond form, perception, or conceptualization. The new moon, invisible [T2] yet radiant [T1] [U2T], symbolizes the Dharmakaya [UGM] (truth body), the formless essence of enlightenment that permeates all phenomena. As you beautifully articulate, this stage transcends the dualities of the previous stages (emptiness vs. form, awareness vs. objects, non-dual oneness vs. manifestations) to realize the inconceivable Union of the Ground and its expressions [UGM]. Kusan’s affirmation, “All material and immaterial things / And all aspects of nature / Are in full conformity with absolute truth,” underscores that the Ground [U2T] is not separate from its manifestations (Sambhogakaya, the body of enjoyment, and Nirmanakaya, the body of transformation) [UGM]. This is the ultimate non-dual reality, where appearance and emptiness, subject action and object, saṃsāra and nirvāṇa, absolute and relative, ground and manifestations, or three kayas, are one [U2T / U3S / Uopp / UGM / U3K] in the non-dual sense: not different / separate / multiple / dual, not identical / united / one / non-dual, not both together, not neither.
Three Kayas Context: Your reference to the Union of the three kayas [U3K] is spot-on. In Mahayana and Vajrayana Buddhism, the three kayas represent the multifaceted nature of enlightenment:
– Dharmakaya: The formless, absolute truth, the Ground itself (new moon’s light).
– Sambhogakaya: The radiant, subtle body of bliss and wisdom, manifesting in meditative visions or teachings (akin to the clarity of non-dual awareness in the mirrors).
– Nirmanakaya: The physical, manifested body of the Buddha in the world (the phenomena reflected in the mirror or contained in space).
– The new moon’s light points to their inseparability: the Dharmakaya is not a separate “Ground” but the essence of all manifestations, just as the new moon’s light is present in every phenomenon yet ungraspable. This aligns with the Tathāgatagarbha (Buddha-nature) doctrine, where the Ground is immanent in all beings and phenomena, and vice versa [UGM].
Comparison: This stage resonates with the Dzogchen teaching of kadag (primordial purity) and lhundrub (spontaneous presence) united, where the Ground is both empty [T2] and dynamically manifest [T1] [U2T / U2T-GM]. It also echoes the Chan/Zen emphasis on seeing one’s nature (kenshō), where all distinctions collapse in direct realization, as in the Sandokai’s “The absolute [T2] and relative [T1] fit together like a box and its lid [U2T / U2T-GM].”
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C. Why the First Three Stages Are Dualistic and Conceptual
Your critique of the first three stages as “too dualistic and conceptual” is precise.
Each involves a subtle form of grasping:
Space: Reifies emptiness as a “thing” (nothingness), creating a duality between empty space and forms within it. This is a coarse dualism, as it separates the Ground from phenomena.
Mirror: Posits a pure awareness (mirror) distinct from its reflections (objects), maintaining a subject-object duality, even if subtle. The “shiny mirror” begins to dissolve this, but the metaphor still implies a separation.
Mirrors Facing Each Other: Approaches non-duality by merging subject and object in mutual reflection, but the concept of “oneness” or interdependence can become a new object of attachment, subtly separate from the myriad manifestations it reflects.
These stages, while progressively subtler, remain within the realm of prapañca (conceptual proliferation), the tendency of the mind to fabricate distinctions and cling to views. Zen, following Nāgārjuna’s Middle Way, deconstructs all such views to reveal the Ground as beyond conceptualization.
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D. The New Moon’s Light: Inconceivable Union
Your interpretation of the new moon’s light as pointing to the “inconceivable Union of the Ground and its manifestations [UGM]” and the “Union of the three kayas [U3K]” is a profound encapsulation of Kusan’s intent. This stage transcends:
Dualistic Conceptual Proliferation: By using the new moon — a symbol of presence without visibility — Kusan cuts through all dualities (Ground vs. manifestations, absolute vs. relative). The “absolute light” is not a thing to grasp but the ever-present reality that shines through all phenomena (like the Buddha-nature present in everything).
Separation of Dharmakaya: In earlier stages, the Ground (space, mirror, mirrors) risks being seen as a separate essence (Dharmakaya) apart from its expressions. The new moon’s light reveals that the Dharmakaya is inseparable from the Sambhogakaya (wisdom’s radiance) and Nirmanakaya (phenomenal appearances), just as the moon’s light is immanent in the night sky yet ungraspable.
Grasping at Views: By affirming that “all material and immaterial things” conform to absolute truth, Kusan negates any need to cling to metaphors or doctrines. The Ground is not elsewhere — it is this moment, this experience, seen with enlightened wisdom.
This realization aligns with the Zen teaching of “ordinary mind is the Way” (Nanquan) and the Mahayana view that “form is emptiness, emptiness is form” (Heart Sutra). The new moon’s light is a poetic koan, urging practitioners to drop all concepts and directly experience this union in meditation or daily life.
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E. Comparisons to Other Buddhist Traditions
To deepen the context, let’s compare this progression to related Buddhist frameworks:
Madhyamaka (Nāgārjuna): The progression mirrors Nāgārjuna’s negation of all views (drishti). Space (emptiness) is negated as a concept, the mirror (awareness) as a self-existent entity, and mirrors (non-duality) as a reified oneness. The new moon’s light reflects the ultimate truth beyond all extremes, where emptiness [T2] and dependent origination [T1] are one [U2T / U3S / Uopp / UGM / U3K].
Huayan Buddhism: The mirrors facing each other evoke the Huayan metaphor of Indra’s Net, but Kusan’s final stage goes beyond to the “one true Dharmadhatu” — the non-dual reality where all phenomena are the Dharmakaya itself [UGM / U3K].
Dzogchen: The stages parallel Dzogchen’s path: space is like kadag (primordial purity) misunderstood as voidness, the mirror is like rigpa (awareness) seen dualistically, mirrors facing each other are like lhundrub (spontaneous presence), and the new moon’s light is the inseparability of kadag and lhundrub in trekchö (cutting through) practice.
Tathāgatagarbha: The new moon’s light resonates with the Uttaratantra Shastra’s view of Buddha-nature as luminous and all-pervading, yet obscured by adventitious defilements. The Union of the three kayas [U3K] reflects the Tathāgatagarbha’s immanence in all beings.
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F. Practical Application for Practitioners
Your analysis suggests a clear meditative path:
Recognize Conceptual Grasping: In meditation, observe how the mind clings to ideas of emptiness (space), awareness (mirror), or non-duality (mirrors). Use Kusan’s hwadu (“What is your original nature prior to space?”) to question these views.
Dissolve Dualities: Practice seeing phenomena as reflections in the mirror of awareness, then dissolve the distinction between mirror and reflection, as in the shiny mirror or mirrors facing each other.
Rest in Non-Conceptual Awareness: Meditate on the new moon’s light as a symbol of pure, non-dual awareness. Let go of all concepts, resting in the Union of Ground and manifestations [UGM / U2T-GM], where every experience is the Dharmakaya [U3K / U2T-3K].
Integrate in Daily Life: See all activities — thoughts, sensations, interactions — as expressions of the absolute, like the new moon’s light shining through the night. This is the “full conformity with absolute truth” Kusan describes.
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G. Conclusion
Your summary of the four stages — space, mirror, mirrors facing each other, and new moon’s light — captures the progressive deconstruction of dualistic and conceptual views in Master Kusan’s teaching. The first three stages, while increasingly subtle, involve grasping at emptiness, awareness, or non-duality, each tainted by subtle dualism. The new moon’s light transcends these, pointing to the inconceivable union of the Ground and its manifestations, or the unity of the three kayas, where the Dharmakaya is inseparable from all phenomena. This aligns with the Zen path of direct realization and the Mahayana vision of non-dual reality, beautifully summarized in your insight that the true nature is “always more subtle than we think.”