![]() God's oneness created within himself an infinity of parts or souls. The master is always unmoved from his oneness, and always operates from unconditional love. This is why a tree falling in the forest makes no sound, when nobody is around, or even if someone is around, it makes no sound in the silent heart of a master. No sounds can be heard, for there are no sounds to be heard, and nobody ever to hear them. Oneness can only ever be just oneness, nothing else can exist to itself. Love has no sounds, and ultimately neither has one hand clapping. The only answer is to be found within the second koan. We just need to find the answer to this riddle. Logically we could say that the wording of the question says that there is clapping, and that there is a sound. The obvious answer would logically be silence in both cases, but the very question implies within the asking that there must be a sound of some sort. Logically there is no answer for both of these above koans, or for any other koan, for that matter. When a Zen master tells us to drop it, we are meant to drop our mind, or whatever it is holding, or still clutching desperately onto, and drop down into the waiting loving arms of our own hearts. It does this by allowing us to drop down from our mind to feel the real truth that exists within our hearts. "Huna," means secrets in the form of truth, knowledge and wisdom that exist within us all, but that are often beyond what we are yet allowing ourselves to generally normally see.Ī koan opens up this light for us, and connects us to our own truths. The word, "Ka", on its own means, "the light." It more refers to something that is hard for us to become aware of, rather than anything that is actually hidden from us. This word, although it means, "the secret, or a secret", does not mean it in the English sense of the word. They have a similar word to this word in their word, "ka huna." This is their version of this same famous koan that I have referred to above, about the sound of one hand clapping. "What is the sound of one person loving?" They mean here a conundrum, a silent paradox, or simply just, a hidden riddle. In Hawaiian, this is referred to as, '' nana huna. The Hawaiian's have, for example, their own Huna koans. Koans are usually associated with Buddhism, and especially Zen Buddhism, but they are also a vital part of some other cultures. Obviously, if there is a sound, it is the sound of God's oneness loving, and it could never be heard with our outer ears, but more only ever silently felt, or heard by the inner ears of our own hearts. "What is the sound of one hand clapping?" This particular koan is a simple enough question, indeed. Only by silencing the noise of our minds, can we ever begin to achieve this. We should silence our mind, and feel the truth, as it arises silently from within our hearts. We should never seek the answer, by taking it further away in our minds, or with our minds. In this statement, is the secret of all koans as well. Hakuin once said that, not knowing how near the truth is, most people will often seek it far away. Whether this koan really originated with him or not, we can perhaps not ever be totally sure. Hakuin Ekaku was a famous Japanese Zen master, who lived within the seventeenth and eighteenth centuries. The slow mesmeric motion of its luminous lines dissolve the film into silence.The koan of the paradoxical idea of one hand being able to clap, has been attributed to the Zen master Hakuin. The film ends with the erection of a large public sculpture : White Koan. Solid volumes, formal and mathematical, are animated and become organic. The word transforms into a line of colour that defines the space better than volume. Words are made to become vibrations, returned to their essence, becoming the energy of their potential meaning. The sculptures seen here are all cones/koans that transform matter into energy, volume into vibration. One hand clapping meaning series#A series of sculptures are filmed that connect the idea of emptying the mind with the dematerialising of volume or matter. It is a play on the words – cone and koan – both of which have at least a phonetic resemblance. The title of the film is a well known Japanese “koan”, a zen riddle given to Buddhist monks as an aid to meditation. All of these sculptures attempt in one way or another to empty the mind, dematerialise volume, and transform matter into energy. An example of seminal work combining language and time, the film documents Lijn’s work with cones from 1964 till 1972. ![]()
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