Cultural comparison between China and Japan

Comparison of Chinese and Japanese Cultures: Scenery in Fortress Besieged

Living in Japan, I often unconsciously do comparative studies of Chinese and Japanese cultures. Recently, I am studying the scenery in the besieged city-the relationship between Chinese and Japanese couples. I don't know, but the comparison is really funny: Japanese couples are like mother and son, while China couples are like father and daughter.

No, I just had a long talk with my friend God on the phone. When I talk about her "three sons", there are always endless topics. Just gave her "eldest son" a birthday last week and bought a big cake. The eldest son was overjoyed. Don't get me wrong, my friend actually only has two sons, both in kindergarten. This "eldest son" is her title of respect for her Japanese husband. Friends often complain that these two little ones are easy to take care of, and the most difficult thing to serve is this "eldest son". When a friend gave birth to a child, the "eldest son" fell asleep at home, let alone went to the hospital to take care of it. My friend rode his bike to buy food in the street only a week after he was discharged from the hospital, and my glasses almost fell off. Strangely, Japanese women did not "sit on the moon", but they still lived a hundred years, more than men 10 years. In addition, it is the mother's job to have children and feed them, and dad should always do it when he takes them to play. Of course, friends clean at home on rest days and let the older ones take the younger ones out to play. Needless to say, after driving, I took my son to the department store. First, a person ate a large portion of ice cream, and then three packs of French fries. After eating, three people wiped their mouths. The little one went to the children's play area and broke out in a sweat. The older one is not idle either. He went to the toy counter and bought a bunch of model cars. All three were in high spirits. Busy as soon as you enter the door. But after playing for a while, the two younger ones felt too difficult and bored, so they went to play something else, and the older one had a good time there.

The meal is ready and my friend is about to shout. Suddenly, I feel so quiet. Looking at it again, the two little ones were already lying on the ground asleep, while the "eldest son" was concentrating on giving cards to the car. Finally, when it was done, the older one proudly said to his wife who had a car, "OK, I've put it together." Friends don't know whether to praise him or give him a big slap. My friend told me sadly that he would never grow up.

Most mothers are ambitious, so it is no exaggeration to describe Japanese wives as "ambitious". People say that Japanese men have only two women in their lives: one is their mother and the other is their wife. I was spoiled and cared for by my mother since I was a child; Old, spoiled and disciplined by his wife. Japanese mothers are no less eager for their children's success than Chinese mothers. If Chinese mothers discipline their sons with preaching and sticks, Japanese mothers are better at influencing their sons with tenderness. Children in Japanese kindergartens are neither older than their parents nor richer than children in China kindergartens. Japanese children are more delicious than lunch boxes. Opening the lunch box at noon is more beautiful, fragrant and special than the lunch cooked by their mother. It is strange that the son who grew up eating this lunch full of maternal love has no Oedipus complex. Japanese women are well aware of this. If you want to be his wife, you must learn to be his mother first. If you can make "mother's taste", then rest assured that this man can't run away.

The wife takes care of the family affairs and takes care of her husband in every possible way. They moved and encouraged their husbands with tenderness, and her husband knew the pressure behind this tenderness. You can't work hard in the company. This gentleness is not paid for nothing. A man who works hard outside will occasionally slip out of his wife's gentle and stern eyes and find a lover to relax. At this time, Japanese women will not "cry and hang themselves three times" like China women. They will wait and see with a tolerance that "children will make mistakes." Men will turn a blind eye if they just play. If a person is really trapped, he will fight to the death with the invaders; In the worst case, there is a last resort. If you dare to divorce, the compensation will ruin you. Japanese men are not romantic enough to "love mountains and rivers and love beautiful people", and this kind of marriage is absolutely afraid to leave.

Let's take a look at China and his wife. Students often ask me: I heard that men and women are equal in China, men have no position in the family, and there are many "henpecked husbands", right? I will ask him: it is said that Japan is a male chauvinist society and Japanese women have no position at home? They often blink their eyes and open their mouths, not knowing how to answer.

There is nothing right or wrong about what a person is willing to do and what a person is willing to suffer. However, I don't know when "a good wife and mother" became a slightly derogatory word in China. If anyone is a good wife and mother, then the subtext is that she will only walk around the kitchen table at home, serve her husband and children, and will not make progress in her work. Parents don't want their daughter to be so worthless. They often educate their daughters not only at work, but also at home not to lose to men. So, the daughters tried their best, bared their teeth, punched and kicked, and finally beat the man out of the water, holding his head for mercy, obediently tied an apron and went into the kitchen, saying bitterly while cooking: Good men don't fight with women. China women who have been oppressed by men for thousands of years are finally proud.

If a woman who just turned over and liberated in the 1950 s and 1960 s is still a good wife and mother while working; The seventies and eighties can be said to be true equality between men and women, with husband and wife working together and managing housework together. 2 1 century, the new girl finally turned the world upside down. My friend Xiao Li is a doctor at the Medical University. Some time ago, she said sadly, "My wife is coming to Japan." I smiled and said, "You should be happy that there is a ready-made meal now." He said with a wry smile, "I don't know who cooks for whom." Sure enough, after his wife came, Xiao Li changed the habit of bringing rice at noon and bought a lunch. One question: "I used to cook two meals in the evening, eat one and bring one the next day." Now, I have finished eating two mouths. What should I bring? " Xiao Li's child is two years old and has been in China, taken care of by his grandparents. I advised him to take the children: "Your wife doesn't go to school or work. Just take the children. " Xiao Li was so scared that he waved his hand again and again: "They will grab candy to eat then. Who should I fool? " Love your wife as you love your daughter. China men are really the gentlest and most painful husbands in the world. They can't get in the door except football. But should we look for reasons from China women? After all, men are born of women. ...

The Oedipus complex of Japanese men has created a wife like a mother; And China men like innocent girlish girls, and each has his own place. Fortunately, fortunately ... (Source: Japan Oriental Times Author: Xiao Zhong/Tokyo, Japan)

The Influence of Comparative Zen on Chinese and Japanese Cultures

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Author: Jin Danyuan [2001-1-27 8: 43:19]

The author once pointed out in my book Zen and Realm:

"Zen is not equal to Zen, Zen is not equal to Zen. ..... From Zen to Zen and then to Zen, it can be said that it is a development, a cultural situation and an extension. But in fact, Zen is a method, Zen is a branch of Buddhism, and Zen is the truly vital artistic heritage. " (Note: See Zen and Empathy, page 6, Shanghai Literature and Art Publishing House, 1993. )

Although Buddhism was introduced to Japan from China earlier, Zen was introduced to Japan after the Five Dynasties, especially in the Song Dynasty and its descendants, and most of them were branches of Nanzong. For example, during the period of Houyi in Japan, Rong monk entered the Song Dynasty and spread to Linjizong, Emperor Houhe rose, Daoyuan monk entered the Song Dynasty and spread to other places. It is recorded in both Chinese and Japanese documents. Zen Buddhism, to be more exact, has a profound and universal influence on the culture of China and Japan. However, the penetration and influence of Zen in Chinese and Japanese cultures are different, even quite different. The author tries to compare this proposition in order to explore the different effects of cultural exchanges between China and Japan.

First, the influence of Zen on China literati, literature and art.

Although Zen is not a religion, there is a sub-religious emotion in the aesthetic form of Zen, which is biased towards artistic aesthetics. Religion, especially sub-religious emotion, has a close relationship with artistic activities from the beginning, even isomorphic. For example, both of them are for spiritual relief and comfort. From the perspective of Genesis, they are interactive and complementary. For another example, both of them are pursuing the unrealistic ideal of truth, goodness and beauty, relying on imagination and transcendence. Compared with intellectuals of other nationalities, China literati seem to pay more attention to aesthetic needs and moral purification. In this way, the cultural attribute of Zen Buddhism is reflected in the mentality of China scholar-officials, which shows the contradiction between the two laws, that is, Buddhism is also vulgar, and Confucianism is also Taoist, thus vividly showing the way of China people's life, that is, "being good at the world and being poor in the world and being immune to it."

As the crystallization of oriental wisdom, Zen, as a spiritual dimension and a way of sustenance, has both the elegance of Confucianism and the nothingness of Taoism. In China's local cultural philosophy, patriarchal ethics, loyalty and forgiveness, self-cultivation, applying what you have learned and taking the world as your responsibility have always been the most important and dynamic components of Confucianism. The purpose of Confucianism is to adjust the relationship between individuals and groups, to make positive progress, and to "cultivate one's morality, govern the country and level the world", which has been cherished by scholars of all ages. However, Laozi and Zhuangzi have always attached importance to the interest of natural opportunities and have a quiet mind. "Things are not things in things." Zhuangzi's philosophy, in particular, pays more attention to "natural law is more valuable than truth" and "governing by doing nothing", and emphasizes the highest personality ideal of "carefree travel". The purpose of Tao is to adjust the relationship between man and nature. Therefore, the unity of Zhuang and Zen has its qualitative convergence and possibility, which is more in line with the internal logic. Confucianism and Taoism are essentially a kind of humanistic philosophy in the ancient East, so Confucianism and Taoism have been complementary since ancient times. Just as the so-called "Yin and Yang are the Tao" in Zhouyi, they are both indispensable in China traditional culture. However, Confucianism's personality model of turning personal destiny into social ideal, positive and enterprising, and self-cultivation inward clearly shows their own contradictions with Tao's nothingness and passive seclusion. Therefore, wandering between Confucianism and Taoism, sometimes looking for right and left, and sometimes caught in the cracks, China's scholar-bureaucrat mentality is bound to reflect the duality of the contradiction between the two laws. Most of the traditional intellectuals in China are politically prosperous, or eager in their official career, or have received some courtesy that can prove their "imperial kindness". Therefore, they are often proactive and determined to innovate, not only persistently pursuing their political ambitions, but also "every man is responsible for the rise and fall of the world", and a great sense of mission to help the people arises spontaneously. However, when their official career is frustrated, down and out, useless or even unknown, they often turn to nature, send their feelings to mountains and rivers, wander in rivers and lakes, and return to nymphs. As a result, they were born aloof, "Heaven and man are one, perfect for each other" (Note: Yang Xiong: The Method of Asking for Heaven). )。 It is often only at this time that China's scholar-officials typically become poets and philosophers' painters in the true sense, returning to what Kant said, with neither clear purpose nor purpose. Among them, the unique cultural mentality of Zen can often play a regulatory role. Since Wei and Jin Dynasties, with the extensive translation and introduction of Buddhist scriptures, the concepts of "empty teaching" and "middle way" of Zen Buddhism have gradually penetrated into the minds of China literati, and their harmonious adjustment between Confucianism and Taoism has become more obvious. For Confucianism's entry into WTO, the detachment of Taoism and the interest of Zen virtually balanced the paranoia of both sides, and objectively played a psychological coordination role for the scholar-officials facing the dilemma of making progress and retiring, thus consolidating the special rebellious mentality of the "scholar-officials" class in China. Ji Kang and Ruan Ji, for example, are famous for their "little courtesy without Tang Wu". When they were persecuted, they said, "The poor have lives, but what do they want?" They swam between mountains and rivers, "watching them return to the flood and waving five strings", and realized the pleasure of "pitching and being complacent, swimming in the heart is too mysterious" But in their hearts, they always remember that "the monarch is quiet and the ministers are obedient" (note: Ji Kang: "There is no sorrow and joy in the sound". ), "It is not easy for the monarch and the minister to get their places" (Note: Ruan Ji: On Music. )。 Not only yearn for prosperity and peace, but also bear in mind ethical principles. When Tao Yuanming realized that he had fallen into the dust net by mistake, he immediately returned to the garden. However, he felt that "he has lived in a cage for a long time and returned to nature", but at the same time he showed "King Kong's glare" and thought that "time throws people away and he will never win". At the same time, Xie Lingyun, Yan Yanzhi, Bao Zhao, Xie Ti, M: O, Shen Yue and others often wander at the crossroads of being born and joining the WTO, sometimes "a husband can be born and can hang his wings" and sometimes "the north wind blows and the rain blows, and the river is depressed". During the Tang and Song Dynasties, Zen flourished and sublimated. In the Tang Dynasty, Taoism and Buddhism merged and created the theory of artistic conception. In the Song Dynasty, Confucianism, Buddhism and Taoism were interrelated and unified into a neo-Confucianism system. The best scholar-officials often "see all the Chang 'an flowers in one day" when they are proud, and "I will let my hair loose tomorrow and take a fishing boat" when they are proud. Wang Wei, known as "the best writing in the world and the first painting in ancient and modern times", once sang a strong song when he was young. You can enter middle age, especially after being judged as a third-class thief because of the Anshi Rebellion (Note: See Old Tang Biography, Volume 1 14). ), he looked down on everything, indulged in Buddhism, "burning incense and sitting alone, focusing on meditation", concentrating on mountains and rivers and paying attention to the river bank. Su Shi, a famous scholar in Song Dynasty, is also a typical artist with dual personality. He not only worships Qu Zi, Kong Ming, Lu Zhi and other people who help the world, but also loves hermits such as Tao Yuanming, Xie Lingyun and Wang Wei, pursuing the subtlety of Zen and enjoying the pleasure of hermits. This rebellious mentality can be found everywhere among China literati, not only Meng Haoran and Chu Guangxi in the prosperous Tang Dynasty, but also Gao, Cen, Wang and Li. Liu Yuxi, Li Shangyin, Du Mu, Wen, Nie and Du Xunhe had the same ups and downs in the middle Tang Dynasty. Celebrities in the Song Dynasty, such as Mei, Liu Yong, Yan Shu and his son, Qin Guan, all had the ambition of "mending the sky" and often felt "helpless" in middle age. Even when Du Fu and Han Yu were worried about the country and the people all their lives, those Confucian scholars who "don't care about their health in times of crisis" also had the idea of "pushing physics to eat, drink, and be merry, why not travel in disguise". The infiltration and variation of Zen allowed China literati to express their "wild and comfortable" mentality. The combination of Zen and practical reason also made "broadmindedness and tolerance" unified and harmonious. Even people like Han Yu sometimes wrote, "Zhao Yan often says that many people lament", and sometimes said, "These things themselves can make life happy. Is it necessary to be a leader? "Later, when it developed into" crazy Zen ",the understanding of Zen began to be indifferent, quiet and lustless, and turned into indulgence. As the saying goes, "If the mind is always quiet and detached from others, and if there are differences, it can always enter the realm of indifference, then the restaurant will have sex, traverse the Dojo, and talk about Prajna Paramita" (Note: "Gui Zhizi: Biography of Vulgarians" Volume 31. )。 The secularization tendency of Zen greatly stimulated the leakage of the original life tension of literati who did not live in Buddhist temples but yearned for them. The unity of magnanimity and forbearance enables scholars to find a psychological balance mechanism of self-confidence, masturbation and self-satisfaction, thus making people's subjective consciousness stronger and more transcendent.

The influence of Zen on China's literature and art is self-evident. Not to mention that the maturity of China's theory of "artistic conception" is closely related to Buddhism, and the word "artistic conception" originated from Buddhism. For example, we can find the origin of the artistic conception of poetry, ci and painting from Buddhist terms such as "knowing the situation like a dream" and "I abandon my inner wisdom and think it is not the situation". The passage in Jiao Ran's "Poetry": "The husband's feelings are different, the reality is difficult to understand, it is obviously not desirable, and the scenery is also; Can smell but not see, the wind is also; Although it depends on my figure, it is wonderful not to be physically and mentally exhausted. " He contributed to China's theory of artistic conception. Moreover, China has always said that "there is no difference between Zen and poetry". He not only introduced Zen into poetry, but also introduced Zen into the art of poetry and painting, so as to achieve the enlightenment of since the enlightenment's Buddha nature and make China's art achieve the spiritual experience of super-intelligence and super-utility like Zen. Although there is no Zen in some poems, Zen can be seen everywhere, such as Wang Wei's "People are idle and osmanthus flowers fall, and the night is quiet and the mountains are empty." The moon is full of birds, and the spring stream is ringing. "There is no one in the stream, and there are many falls." "There seems to be no one on the empty mountain, but I think I hear a voice. Sunlight enters the Woods and reflects from the green moss to me. " Hu Yinglin called it: "You swim into Zen ... you forget your life experience, and all your thoughts are silent. This is not a wonderful interpretation." (Note: Hu Yinglin: Poetry and Internal Compilation). For example, Du Fu's "Jiangshan is waiting to turn, flowers and willows are selfless", "Fish in deep water are blessed, birds in the forest know where to return", "Water doesn't live up to expectations, and clouds don't have time to care", and Shen Deqian's "Talking about Poetry" says that "all are interested in reason", which is considered to be higher than Zen language and poetry and is a real introduction to Zen. Similarly, Su Shi's misty rain in Lushan Mountain and Zhejiang Tide has not been hated by thousands of people. There is nothing else to do when we arrive, Lushan Mountain is misty and rainy, Zhejiang Tide ",and Wang Anshi's" Jiangbei Qiuyin is half open, and it is cloudy and rainy. " Castle peak fills the air, there is no suspicious road, suddenly see Qian Fan ". In Tang and Song poetry, it can be said that it can be found everywhere, and the list is endless. This kind of work that attracts Zen to poetry has actually been painted with the color of "artistic conception". In the superficial empty, quiet, idle and light atmosphere, there is a deep meaning of "solvable and unsolvable", that is, there are "empty illusions" in the poem intentionally or unintentionally. Inadvertently, Lin Ji's "One San Xuan, One Mystery and Three Essentials" and Cao Dong's "Participating Sentences" were also brought into Tang and Song poetry. This is bound to give birth to "overtones", "images outside the image" and "scenery outside the scene", which makes people feel inexhaustible. Therefore, Yan Yu called the real "wonderful enlightenment" "having a clear eye and a clear head" and thought that "natural enlightenment has depth, limitations and thorough enlightenment, but only a little knowledge" (Note: Yan Yu: "Cang Shi Hua Bian"). )。 China's paintings are not only directly related to the Buddha statues, but also freehand. Scholars' paintings, such as The Wind in the Five Dynasties, also contain Zen. Therefore, in the Ming Dynasty, Dong Qichang compared the two schools of Chinese painting with the two schools of Zen: "There are two schools of Zen, which began in the Tang Dynasty. There are two paintings in the north and south, also from the Tang Dynasty. But he's not a north-south ear. The paintings of mountains and rivers by the father and son of Beizong spread to Zhao Gan, Zhao Boju, Bo, Ma and Xia dynasties in the Song Dynasty. During the Southern Sect, Wang Moshu began to spread to Zhang, Jing, Guan, Dong, Ju, Guo Zhongshu, Mijia and his son, and even to the four great masters of the Yuan Dynasty, just like after the sixth ancestor, there were pony, cloud gate and children and grandchildren. " (Noe: Dong Qichang: Essays on Painting Zen Rooms. Moreover, it is pointed out that the paintings of the Southern School are "lofty and not vulgar", and the so-called "Yunfeng stone traces are puzzling, the brushwork is vertical and horizontal, and the characters are natural", and most of the painters are "hermits". In the Tang Dynasty, Zhang Xuan said that "nature is made by foreign teachers, and the heart comes from China" is also intrinsically related to Zen's emphasis on the experience of the heart, while Zhang Yanyuan said that "concentrate on daydreaming, realize nature wonderfully, forget things and forget yourself, and get wisdom from the shape". ) is the enlightenment after the combination of Zen and Zhuang. China's calligraphy, especially the artistic expression of cursive script, is also permeated with Zen. For example, Zhang Xu's "Uncle Xing Lai is a saint, and his words are especially discordant when he is drunk", and Huai Su's "If you are surprised, you will be caught in a storm" and so on. In expressing their true interest in nature, they are all deeply influenced by Zen. In addition, famous calligraphers such as Miracle, Gao Xian, Guan Xiu and Jing Yun. Their calligraphy is full of Zen. Scholar-officials in the Song Dynasty participated in Zen, and a large number of calligraphers close to Zen master, such as Su Shi, Ouyang Xiu and Mi Fei, often gained the experience of "beauty beyond strokes" from Zen theory and interest, surpassing themselves and making the realm of calligraphy and painting come out with the realm and significance of Zen, which is even more numerous. In a word, the influence of Zen Buddhism on China literati and various arts is enormous, which has been discussed for a long time, so I don't need to go into details. The secularization tendency of Zen makes secular people and art more oriental, which not only shapes the generation and development of China literati's personality, but also affects the overall trend of China's art. At the same time, it also finds a way for China intellectuals to "escape Zen" in their contradictory mentality. All this is not only hard to find in western culture, but even India has no such precedent.

Second, the role of Zen in Japanese popular culture and its enlightenment

If the great influence of Zen Buddhism on Japanese literati and literature and art is mainly manifested in the elegant secular culture, it will not only involve the elegant side, but also spread to the vulgar side in China, and even have a far-reaching impact on folk culture.

In the book Zen Mind and Realm, the author once thought that famous monks such as Rong, who introduced Lin Jizong to Japan, and Dao Yuan, who will be extradited to Japan, were "thieves in Japanese religious and academic circles". This is because the Zen Buddhism of China, which they transplanted to Japan, is not only more mature but also more philosophical than the Buddhism introduced to the Oriental Islands in ancient times. In addition, even Tiantai Sect and Yan array Sect brought back by Dasheng Konghai in the early period of the Ping 'an Dynasty are hard to match. Or it can be said that what Rong, Daoyuan and others brought back to Japan was the real China Buddhism, the crystallization of China's people's hearts beyond the boundaries of Buddhism, an aesthetic Zen with psychological balance, and the most exquisite and profound ideological system and methodology in the eastern world at that time. For Japan, which had not fully entered the heyday of feudal civilization at that time, it was tantamount to Prometheus stealing skyfire. More interestingly, after Zen Buddhism was introduced to Japan from China, although it began to spread to various branches of Southern Zen, on the one hand, Southern Zen also emphasized "practice" and "gradual practice" in essence, with "practice" as the main factor; On the other hand, the inherent Buddhism in Japan, after repeated understanding, research and popularization by Zen masters and intellectuals with high cultural literacy, led to the gradual establishment of Japanese Zen and oriental Zen interest, which not only emphasized that "gradual" is the basis of "epiphany", but also that "epiphany" is an inspirational explosion after "gradual" maturity. While paying attention to epiphany, we attach great importance to the skills of gradual cultivation. Moreover, this Zen method and its sublimated Zen meaning have almost become a symbol of Japanese character and personality model. It is still influencing Japanese culture and Japanese character and taste intentionally or unintentionally.

Suzuki Teitaro Daisetz once quoted the words of western scholars as evidence, such as pointing out that charles eliot once said in his masterpiece "Japanese Buddhism": "Zen has great power for art, knowledge and political life in the East. Zen is also a manifestation of Japanese character. All other Buddhism is not as Japanese as Zen. " (Note: Quoted from Modern Japanese Thought Series, Suzuki Teitaro Daisetz Volume, Zhu Mo Research Office 1965 Edition. This summary is really incisive and reasonable. Japanese scholar Mr. Nakamura once talked about China people's thinking from the perspective of accepting Buddhism in his book The Way of Thinking of Orientals. He thought that when studying China people's thinking mode, special attention should be paid to accepting Buddhism and its influence. He thought that China people's emphasis on specific perception, personality, ancient conservatism, hierarchical identity and natural nature was related to Zen and its externalization, such as the universe. Taking the true form as its true colors, taking the Zen case-solving as a model and taking the ancient as a rule, this paper talks about "knowing the destiny" and "returning to nature" (Note: See Wang: the characteristics of Chinese people's way of thinking from the form of accepting Buddhism, philosophical research 1990 "Study on the History of China Philosophy" album. )。 In fact, most of these characteristics were later accepted by the Japanese. Moreover, if China people's acceptance of Zen Buddhism affects our literature and art, mainly in terms of literati and literati art, then Japanese people's acceptance of China Zen Buddhism, or China Zen Buddhism, has a more universal and far-reaching influence on Japanese people.

Strictly speaking, Zen has transcended the religious interface in the hearts of Japanese people and become a spirit similar to religion (sub-religion), which always flashes the flexible use of meditation, transcendental way of thinking and unyielding self-confidence. South Zen's self-reliance and self-restraint have become a national spirit of self-improvement in Japanese culture. The cultivation of Zen is embodied in Japanese popular culture and even folk customs as the kung fu of personality cultivation and the soul of cultural connotation. After the introduction of Zen into Japan, apart from its religious significance, it had a profound impact on secular life in two aspects. First, China Confucianism and Zen Buddhism, which have been deeply rooted in Japanese hearts, complement each other. In this respect, North Korea is the same. In other words, both Japan and Korea accepted Zhu Cheng's neo-Confucianism to varying degrees. This is quite similar to the sublimation of Zen by China literati, which is mainly manifested in the intellectual class's balance of their own mentality and the use of life art, and the second is the artistic creation of Zen communication. On the one hand, it greatly stimulated and enriched the maturity of Japanese artistic styles such as songs, stories, calligraphy and painting, and stimulated the prosperity of "Wushan literature" and haiku; On the other hand, it expands the meaning of the concept of "art" and extends Zen to folk customs (or folk art) by means of poetry, such as tea ceremony, flower arrangement, bushido, fencing, garden architecture, humor in life and other folk fields. Therefore, judging from the history of China after Ming and Qing Dynasties, due to the decline of Zen, the method of Zen is not well known and accepted by ordinary people. In fact, since the Qing Dynasty, Japanese people have understood Zen more than China people. Moreover, this experience and the externalization of Zen are more popular than those in China, and even ordinary Japanese (not just senior intellectuals) consciously or unconsciously review and imitate this experience in diet, daily life, etiquette, psychology and other aspects. In the process of this experience, the most important thing is to constantly emphasize the "harmony" of the oriental style after Confucianism and Zen complement each other, that is, China's so-called "harmony between man and nature", and at the same time, he has never stopped explaining and applying "enlightenment".

Zen emphasizes cultivation and perseverance, which has played a great role in China's martial arts, qigong and medicine. Qi cannot be separated from ideas, and ideas cannot be separated from the objective existence of qi or gas field. The so-called "heaven", "wandering in the abdomen, under the mud pill palace" and "a week of luck" are all related to intentional defense. The cultivation of kung fu and the emphasis on intentional defense have also played a great guiding role in the rise of Japanese samurai culture. Japanese samurai culture reached its peak in Muromachi era, which was inevitably related to Zen worship at that time. Kamakura warriors are proud of knowing how to bow and horse, and the first important thing to learn to bow and horse is inner enlightenment. Japanese judo is somewhat similar to China's Tai Ji Chuan and Bagua Palm. Its basic element is to pursue both rigidity and flexibility in martial arts within the family. Combining rigidity with softness, a judo master must let his mind enter a quiet and peaceful state, resist violence with "non-violence", understand nature with intuition, resist in seemingly "non-resistance" and defeat his opponent when he is surprised. And this is exactly what Zen said, "breaking the three levels", that is, breaking the three levels of persistence. The so-called "a bunch of broken three levels is still an imminent posterior approach", and naturally it will be smooth. Of course, we must work hard, persevere in practice, and at the same time be calm and enter the realm of epiphany and wonderful enlightenment. Japanese tea ceremony also comes from China. It is said that the founder of Lin Ji School in Japan first brought tea varieties from China to Japan and then planted them in temples. Later, the Japanese Zen Master Camp learned to make tea from China. Zen monks from China also went to Japan to teach tea ceremony and became masters. Later, the famous Master Yixiu and his disciple Zhuguang carried forward the tea ceremony and made it a Japanese art of life. The deep relationship between tea and Buddhist temples can be seen. However, the Japanese tea ceremony is quite different from that in China. Although China people pay attention to taste when drinking tea, which reflects the elegance of secular culture, there is no set of rituals. The differences of tea culture in different places reflect different folk customs in different places. For example, the "three teas" of the Bai nationality are different from those of the Han nationality, which is caused by the differences in national living habits. In Japan, the tea ceremony has gradually developed into an opportunity and method to practice Zen lessons and cultivate noble sentiments, and there is a set of etiquette, the rules of which are much more complicated than the China tea ceremony. Although there has been a saying about congou tea, congou tea in China is mainly about eating tea, and the so-called congou tea is also made in the process of tasting tea, which often shows a moderate elegance and accomplishment. It is not only rest, comfort, recuperation and enjoyment, but also the embodiment of elegance and understanding in tea tasting. Moreover, with the evolution of the historical situation, in modern times, there are fewer and fewer people in China who pay attention to tea drinking and tea ceremony (instead of focusing on the advantages and disadvantages of tea and the simple way of eating tea), and most of them still maintain this concern, which are typical old-fashioned literati in China, or idlers with affluent economy. Japanese tea ceremony has always retained the spirit of Zen. Without Zen, there would be no Japanese tea ceremony With the appearance of the Pearl Zen Master, the Japanese tea ceremony injected its own oriental flavor, and the kung fu was outside the tea. Borrowing tea from tea ceremony has become a way of "Tao" and has a set of extremely elegant etiquette. It is not only enjoyment and rest, but also an important life course to cultivate personality, conduct and interest. In addition to tea tasting, its whole set of etiquette also includes: how to create a quiet, harmonious and solemn atmosphere, how to cook, how to contribute and how to receive. There are hundreds of rules made by the Japanese for tea ceremony, including handling flowers, selecting tea leaves, using water spoons, charcoal, teapots and tea bowls. Its main significance is not to drink tea, but to complete a set of etiquette and realize the concept of quietness, respect, harmony and "no self" Zen through tea tasting, so as to taste life, discover oneself, get rid of evil and be good, transcend vulgar thoughts and be summarized in silence. For example, Zean's "Three Chapters of Tea Pavilion" has such a description: "Ye Jia's smile, one of Ceng Zi's promises, is as mysterious as its meaning, but it is also self-evident. When you arrive at the teahouse, prepare tea sets, perform etiquette, and take off your clothes. It is not cumbersome or extravagant. It is a tea ceremony with a new state of mind, not forgetting the scenery of the four seasons, not flattering, not greedy, not extravagant, simple and true. " Its purpose is to "enjoy the harmony between heaven and earth and move mountains and rivers on the stove", so "the harmony between heaven and earth is the way of tea ceremony" (note: quoted from Buddhism and Oriental Art, 855 pages, Jilin Education Press, 1989). )。 Famous figures in Japanese history, such as Yi Xiu monk, Morino Rixiong, and even tough and rude Toyotomi Hideyoshi, are obsessed with the tea ceremony and strongly advocate recuperation for it. Mori Noriky once sang a song: "Only when you touch your heart, can you know that this is a tea ceremony." The tea man said in the second volume of Ye Yin: "The original intention of the tea ceremony is to make the six roots clean. Enjoy hanging shafts, arranging flowers, smelling incense, smelling water, tasting tea, and being dignified. Five are clean, the heart is naturally clean, and the ultimate goal is to make the heart clean. " (Note: Quoted from Buddhism and Oriental Art, 858 pages, Jilin Education Press, 1989. Therefore, the Japanese tea ceremony is actually the externalization of the art of life, the aestheticization of Zen interest and Zen theory, which requires that tea tasting should be indifferent to utility and have an absolute realm of "nothing".

Japanese poetry mostly learns from and imitates China.