By David Lynch
During this "unexpected delight,"* filmmaker David Lynch describes his own equipment of taking pictures and dealing with principles, and the sizeable artistic merits he has skilled from the perform of meditation. Now in a gorgeous paperback version, David Lynch's "Catching the large Fish" presents an extraordinary window into the across the world acclaimed filmmaker's tools as an artist, his own operating sort, and the enormous inventive merits he has skilled from the perform of meditation. "Catching the large Fish" comes as a revelation to the legion of fanatics who've longed to raised comprehend Lynch's own imaginative and prescient. And it really is both compelling to people who ask yourself how they could nurture their very own creativity. Catching principles " principles are like fish. so that it will capture little fish, you could remain within the shallow water. but when you must seize the large fish, you've obtained to head deeper. Down deep, the fish are extra robust and extra natural. They're large and summary. And they're very attractive. i glance for a definite type of fish that's vital to me, one who can translate to cinema. yet there are every kind of fish swimming down there. There are fish for company, fish for activities. There are fish for every thing. every little thing, something that could be a factor, comes up from the inner most point. glossy physics calls that point the Unified box. The extra your consciousness-your awareness-is improved, the deeper you cross towards this resource, and the larger the fish you could catch." -from "Catching the large Fish"
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Extra info for Catching the Big Fish: Meditation, Consciousness, and Creativity
While their remaining writings are not especially extensive, T'aego, Hyegun, and Hyegun's famous student Muhak (Chach'o ; 13271405) had large numbers of disciples and their Imje kong'ancentered teaching methods, especially the focus on Chaochou's mu, had a deep impact on the later Son tradition. The high quality and broad scope of Kihwa's writings would lead him to be later recognized as one of Korean Buddhism's most important scriptural commentators, as well as one of the best poets and essayists of the combined Koryo and Chos6n periods.
If a practitioner has been studying the ramifications of Buddhanature theory for a decade or so in the course of research on the major Mahayana sutras, then Chaochou's pronouncement of the nonexistence of the Buddhanature in a sentient being is naturally going to have a deeply unsettling effect on his consciousness, and the "mu" kong'an can become the "barrier" that Wumen intended it to be. The SPE offers all of these, along with a discussion of the grounding theories of Zen soteriology, in relatively compact form.
91 He makes no note, however, of the far greater role that the sutra played in Korean Buddhism. Since the SPE was Tsungmi's favorite text, there is discussion of the text in numerous places, as well as a bibliography of Tsungmi's commentarial works on the sutra. This is a thoroughly mistaken misrepresentation of the actual Ch'an/Son/Zen message. It is also evident from the biographical material of the Chinese Ch'an and Korean Son masters that a significant percentage of them gave regularly scheduled lectures on the sutras and sastras.