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Recent Conclusions on the Theory of Humanistic Buddhism: Looking at Venerable Master Hsing Yun from Hear Me Out: Messages from a Humble Monk
The book Hear Me Out: Messages from a Humble Monk was written by Venerable Master Hsing Yun and published in 2015. The book, among the nearly thirty million Chinese characters written by the Venerable Master so far, has two distinct features. Firstly, it is a work of Buddhist apologetics in the contemporary era, written in response to the recent accusations against the Buddhist Compassion Relief Tzu Chi Foundation made by the Taiwanese media. The special causes and conditions of its writing endow this book with a distinctive theme, and with a high degree of realism and relevance.
Humanistic Features in Contemporary Chan Practices: Using Fo Guang Chan as an Example
From the transmission and lineage of the Chinese Chan School, the Fo Guang Shan Buddhist Order founded by Venerable Master Hsing Yun derives from the Linji School. The “Fo Guang Chan” initiated by Venerable Master Hsing Yun, emphasizes equal attention to faith and practice, the development of meditation and wisdom, and the practice of compassion and wisdom. This is evident in its method of teaching, curriculum design, setting, and delivery. It fully integrates with modern society, contemporary knowledge and conditions, and has started a new practice of Chan.
The Relationship Between Buddhism and Chinese Culture
Buddhist culture is part of Chinese traditional culture. The issue of culture has recently become a hot topic of discussion in intellectual and cultural circles. Concerning this discussion, my understanding is shallow and my thoughts immature. However, I believe that the development of human culture is a continuous process, thus traditional and contemporary culture cannot be completely separated. We should draw out all the valuable essentials of traditional culture to enrich and develop a socialist-oriented national culture. My view is that traditional Chinese culture should also include Buddhist culture. At present, there is a biased opinion of equating the former with Confucian culture, and entirely eradicating the role and contribution of Buddhist culture in traditional Chinese culture. This is unfair and not reflective of historical facts.
Humanistic Buddhism and Contemporary Chinese Art
As we enter into the third decade of the twenty-first century, at least two observations can be made. On the one hand, the human condition faces its own extinction as artificial intelligence and climate change substitute basic human habits and habitats. These substitutions simulate—but can arguably never replace—natural human ones. It is not surprising, then, that fundamental aspects of the human world buried by progress into the ashcan of history have risen from the dead. The current renewal of human tribalism and authoritarian systems challenge assumptions of what “progress” and “modernity” as defined by Western Enlightenment is and can be. Indeed, cultural critics have discussed the phenomenon of postmodernity as characterizing the late twentieth century. Can we speak of neo-tradition and post-progress as veins running through the early twenty-first century? We clearly feel the pulse of these veins, but remain unsure of their paths or purpose.
Venerable Master Hsing Yun’s Humanistic Buddhism–New Dawn of True Dharma
The title “venerable master” as used by contemporary Chinese Buddhists appears to have been demeaned and misused, to the extent of sometimes being generally used in reference to male and female monastics. In fact, the word “master” has the Sanskrit root of “śāstṛ,” and is a rather highly esteemed title in Buddhism. As the Itivṛttakasūtra5explains, the title refers to sagely monastics who have attained at least the stage of stream-entere, and up to that of a buddha. Their presence in this world ensures that the wisdom of the Dharma can guide others towards transcending the mundane, bringing boundless benefit and joy to them.
