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Bouddhisme · Mahāyāna · Zen / Chan

Huineng

惠能 / 慧能 · 六祖大鑒禪師 · 慧能 (Enō)

638 – 713Historicité débattue

Moine chinois de la dynastie Tang, vénéré comme sixième patriarche du chan et fondateur de l'école de « l'éveil subit ». La tradition le présente comme un bûcheron illettré qui l'emporta par un poème sur le principal disciple de son maître et reçut le manteau de Bodhidharma ; la critique moderne a montré que cette biographie fut construite par son partisan Shenhui. Le Sûtra de l'estrade, qui lui est attribué, est l'œuvre fondatrice du chan et du zen.

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Daikan Zenji (Huineng), templo Shōfukuji

Daikan Zenji (Huineng), templo Shōfukuji · Public domain

Dans ses propres mots

«Among people there are northerners and southerners; in buddha-nature there is neither north nor south. A barbarian's body is not like Your Reverence's, but what difference is there in buddha-nature?»

Sūtra de la plataforma, versión de Dunhuang, respuesta a Hongren (§3 de Yampolsky). Traducción propia del chino clásico.

The Platform Sūtra of the Sixth Patriarch — Huineng

Son idée centrale

Buddha-nature is equally present in everyone, regardless of origin, culture or learning: awakening is not a conquest but the recognition of what one already is.

Le voir en contexte

Biographie

6 min de lecture

Traduction assistée à partir de l'original espagnol, en attente de relecture par un traducteur natif.

Le patriarche qu'il fallut inventer

Peu de figures du bouddhisme sont aussi célèbres et aussi incertaines que Huineng, le « sixième patriarche » du chan. La tradition sait presque tout de lui : qu'il était un bûcheron illettré du sud de la Chine, qu'il s'éveilla en entendant un verset du Sûtra du diamant, qu'il l'emporta par un poème sur le principal disciple de son maître et reçut de nuit le manteau de Bodhidharma. L'histoire, elle, en sait très peu : qu'il exista un moine nommé Huineng, disciple du cinquième patriarche Hongren, qu'il enseigna à Caoxi, dans le nord du Guangdong, et qu'il mourut en 713 avec une réputation plutôt régionale. Tout le reste fut écrit plus tard, et en bonne partie par nécessité : celle d'une école qui cherchait un fondateur à la mesure de sa doctrine.

La vie que raconte le sûtra

Le récit canonique est l'autobiographie qui ouvre le Sûtra de l'estrade. Huineng, de son nom de famille Lu, naquit en 638 à Xinzhou, dans l'actuel Guangdong ; son père, un fonctionnaire de Fanyang destitué et exilé dans le Sud, mourut tôt, et l'enfant fit vivre sa mère en vendant du bois au marché de Nanhai. Un jour qu'il livrait un fagot dans une auberge, il entendit un client réciter le Sûtra du diamant, et son esprit « s'ouvrit ». Il apprit ainsi qu'à Huangmei enseignait Hongren, se rendit auprès de lui et, quand le maître le dédaigna comme un « barbare du Sud », lui répondit que les hommes sont du Nord ou du Sud, mais que la nature de bouddha, elle, ne l'est pas. Hongren l'envoya décortiquer le riz au moulin, loin de la salle de méditation, et il y passa huit mois.

Les poèmes du mur

L'épisode central est un concours. Hongren demande à ses disciples un poème qui montre leur compréhension et promet le manteau à celui qui l'aura. Shenxiu, le moine le plus respecté, écrit de nuit sur le mur du corridor : le corps est l'arbre de l'éveil, l'esprit un miroir sur son support ; il faut l'essuyer sans cesse pour que la poussière ne s'y dépose pas. Huineng, qui ne sait pas lire, se le fait lire et dicte sa réponse. Dans la copie de Dunhuang, elle compte deux strophes, dont la première dit que l'éveil n'a pas d'arbre, que le miroir n'a pas de support et que, la nature de bouddha étant toujours pure, la poussière n'a nulle part où se déposer. Seules les éditions du Xe au XIIIe siècle lui mettent dans la bouche le vers que tout le monde connaît : « fondamentalement, il n'y a pas une seule chose ». La différence n'est pas mince : la formule la plus citée du zen n'est pas la plus ancienne.

Le manteau et la fuite

Selon le récit, Hongren efface le poème pour protéger son auteur, se rend de nuit au moulin, lui explique le Sûtra du diamant et lui remet le manteau et le bol, signes de la transmission. Il l'accompagne jusqu'au fleuve et lui conseille de fuir. Au col de Dayu, un ancien général, Huiming, le rattrape pour lui arracher le manteau et ne parvient pas à le soulever du sol ; la version tardive ajoute que Huineng lui demanda quel était son visage originel avant qu'il ne pense au bien et au mal. Les éditions postérieures le font vivre quinze ans caché parmi des chasseurs, mangeant des légumes cuits dans leurs marmites à viande, avant de se présenter au temple Faxing de Canton, où deux moines se demandaient si c'était le drapeau ou le vent qui bougeait : « ni le vent ni le drapeau ; ce qui bouge, c'est votre esprit ». Le maître du temple, Yinzong, l'aurait alors ordonné.

Le sermon de Dafan

Le texte qui le rendit célèbre se présente comme la transcription d'un sermon prononcé au temple Dafan de Shaozhou, devant le préfet Wei Qu, des moines, des lettrés et plus de mille auditeurs, et recueilli par son disciple Fahai. Il enseigne que l'éveil est subit parce que la nature propre est déjà pure, que méditation et sagesse ne font qu'un — comme la lampe et sa lumière —, et que la méthode se résume à l'absence de pensée, l'absence de forme et l'absence de demeure : non pas supprimer les pensées, mais ne pas s'y laisser prendre. Il confère en outre des « préceptes sans forme » et critique la méditation assise qui se borne à ne pas bouger. Huineng mourut en 713 au temple Guoen de sa ville natale, à soixante-seize ans selon le sûtra, et son corps fut transporté à Caoxi ; celui que l'on vénère au temple Nanhua comme sa momie, le jésuite Matteo Ricci l'avait déjà vu en 1589.

Shenhui et la fabrique du sixième patriarche

La critique moderne commença vers 1930, lorsque le philosophe Hu Shi retrouva parmi les manuscrits de Dunhuang les œuvres de Shenhui (684-758), un moine qui se disait disciple de Huineng. En 732, lors d'une assemblée publique à Huatai, Shenhui accusa l'école de Shenxiu — la plus puissante de la capitale — d'usurper la succession : le véritable héritier de Hongren était son maître, l'inconnu du Sud, et le véritable enseignement était l'enseignement subit, non le graduel. Hu Shi en conclut que le Sûtra de l'estrade lui-même était l'œuvre de Shenhui ou de son cercle ; la copie de Dunhuang contient même une prophétie selon laquelle, vingt ans après la mort du maître, quelqu'un risquerait sa vie pour défendre sa doctrine, ce qui est exactement ce que fit Shenhui. Philip Yampolsky, qui édita et traduisit en 1967 le texte de Dunhuang, nuança la thèse : le sûtra fut composé vers 780, à partir de matériaux de provenance diverse ; Yanagida Seizan proposa d'en attribuer la compilation à l'école de la Tête de Bœuf, idée que John McRae fit sienne. McRae, dans ses études sur l'école du Nord et dans Seeing through Zen, montra que l'opposition entre subit et graduel était avant tout une arme polémique, et formula la règle selon laquelle on lit aujourd'hui Huineng : ce n'est pas vrai, et c'est pour cela que c'est plus important.

Trois versions d'un livre

Le Sûtra de l'estrade est le seul texte chinois d'un maître à avoir reçu le titre de jing, « sûtra », réservé à la parole du Bouddha, et il n'a cessé de grossir. La plus ancienne copie conservée, trouvée à Dunhuang et aujourd'hui à la British Library, date du milieu du IXe siècle et compte environ douze mille caractères ; d'autres copies de Dunhuang sont conservées en Chine. En 967, le moine Huixin la réorganisa en deux fascicules et onze sections, version qui s'est conservée au Japon ; en 1056, Qisong en prépara une autre, aujourd'hui perdue ; et en 1291, Zongbao publia celle qui allait devenir canonique, de plus de vingt mille caractères en dix chapitres, avec les épisodes des chasseurs, du drapeau et du visage originel. Morten Schlütter a montré que ces amplifications répondaient aux querelles des écoles chan de l'époque Song. Au XIIIe siècle, Dōgen la rejeta comme apocryphe ; la lignée de Linji, d'où procède le zen de Hakuin, et celle de Caodong, d'où procèdent celui de Dōgen et celui de Shunryu Suzuki, continuent de reconnaître en Huineng leur racine commune.

Sources: Yampolsky, Philip B. (ed. y trad.). The Platform Sutra of the Sixth Patriarch: The Text of the Tun-huang Manuscript. Nueva York: Columbia University Press, 1967; reed. 2012 (ISBN 9780231159562). · McRae, John R. Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism. Berkeley: University of California Press, 2003. ISBN 0520237986. · McRae, John R. (trad.). The Platform Sutra of the Sixth Patriarch, translated from the Chinese of Tsung-pao. Berkeley: Numata Center for Buddhist Translation and Research, 2000. ISBN 1886439133. · McRae, John R. The Northern School and the Formation of Early Ch'an Buddhism. Honolulu: University of Hawai'i Press (Kuroda Institute), 1986. · Schlütter, Morten y Stephen F. Teiser (eds.). Readings of the Platform Sūtra. Nueva York: Columbia University Press, 2012. ISBN 9780231158206.

Chronologie

La vie, année après année

Chaque point est un événement documenté. Cliquez pour le lire, avec sa source et son degré de certitude.

  1. 638 · 0 ans

    Birth in Xinzhou

    Born in Xinzhou (Guangdong) into the Lu family; his father, an official from Fanyang, had been demoted and banished to the south.

    Tradition

  2. v. 661

    Reaches Huangmei and meets Hongren

    After hearing the Diamond Sūtra he travels to Mount Huangmei; Hongren sends him to the mill. Date inferred from traditional chronology.

    Tradition

  3. v. 661

    Poem contest and transmission of the robe

    He answers Shenxiu's poem, receives the robe at night and flees south.

    Tradition

  4. v. 676

    Ordination at the Faxing temple

    After years in hiding he appears in Canton during the wind-and-banner dispute and is ordained by Yinzong; Wang Wei's stele already mentions Yinzong.

    Tradition

  5. v. 677

    Teaches at Caoxi

    He settles at the Baolin temple (now Nanhua) at Caoxi, near Shaozhou, where he will teach until his death.

    Probable

  6. v. 700

    The sermon at the Dafan temple

    According to the sūtra, he preaches before prefect Wei Qu and over a thousand listeners; Fahai records the sermon. Date unknown.

    Tradition

  7. 713 · 76 ans

    Death at the Guoen temple

    He dies on the third day of the eighth month of the second Xiantian year, aged seventy-six according to the sūtra; his body is taken to Caoxi.

    Documenté

  8. 732

    Shenhui at Huatai

    At a public assembly Shenhui proclaims Huineng sixth patriarch and attacks Shenxiu's school; the construction of the figure begins.

    Documenté

  9. v. 780

    Compilation of the Platform Sūtra

    Date proposed by Yampolsky for the composition of the text preserved at Dunhuang.

    Probable

  10. 796

    The court recognises the Southern line

    According to Zongmi, an imperial commission recognises the Southern school as the orthodox transmission and Shenhui as seventh patriarch.

    Probable

  11. v. 816

    Posthumous title Dajian

    Emperor Xianzong grants him the title Chan Master Dajian, “Great Mirror”; Liu Zongyuan composes the stele.

    Probable

  12. 967

    Huixin's version

    Huixin reorganises the sūtra into two fascicles and eleven sections.

    Documenté

  13. 1291

    Zongbao's version

    Zongbao publishes the edition that will enter the Ming canon and become canonical.

    Documenté

  14. 1589

    Matteo Ricci at the Nanhua temple

    The Jesuit sees the mummified body venerated as Huineng's and describes it in his journals.

    Documenté

  15. 1930

    Hu Shi and modern criticism

    Hu Shi publishes Shenhui's works found at Dunhuang and attributes the Platform Sūtra to his circle.

    Documenté

  16. 1967

    Yampolsky's edition

    Philip Yampolsky publishes the Dunhuang text with translation and study; the same year Yanagida Seizan's study of early Chan histories appears.

    Documenté

Œuvres

Œuvres essentielles

Les œuvres sans lesquelles on ne comprend pas son héritage.

The Platform Sūtra of the Sixth Patriarch — Huineng

Compilation postérieure · v. 780

The Platform Sūtra of the Sixth Patriarch

六祖壇經 (Liuzu tanjing) · 六祖大師法寶壇經 (Liuzu dashi fabao tanjing) · título de Dunhuang: 南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經

The master's autobiography (the woodcutter, the poem contest, the transmission of the robe), a sermon on wisdom (prajñā), the formless precepts, the unity of meditation and wisdom and the triple principle of no-thought, no-form and no-abiding, followed by dialogues with disciples and the account of his death. It is the only text by a Chinese master to bear the title of sūtra and the founding work of all later Chan and Zen.

Non disponible Voir le livre Lire le texte intégral

13 éditions

Platform Sūtra: the Dunhuang version — Huineng

Manuscrit · v. 780

Platform Sūtra: the Dunhuang version

南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經一卷 (copia Stein 5475 y otras de Dunhuang)

Some twelve thousand characters in a single fascicle, without chapters (Suzuki and Yampolsky divided it into 57 sections). Huineng answers Shenxiu with two stanzas, not with the famous “from the beginning there is not a single thing”; the episodes of the hunters, the banner and the original face are missing. Its language is full of copying errors that scholars have had to correct.

Non disponible Voir le livre

3 éditions

Édition critique · 1291

Platform Sūtra: the Zongbao version (1291)

六祖大師法寶壇經 (versión de Zongbao 宗寶, 1291; Taishō n.º 2008)

Ten chapters and over twenty thousand characters: it adds the fifteen years among hunters, the wind-and-banner episode, the question to Huiming about his original face and many dialogues with disciples. It is the basis of the first English translation (Wong Mou-lam, 1930) and of McRae's (2000).

Non disponible Voir le livre Lire le texte intégral

3 éditions

Toute son œuvre (11)

Citations

Citations localisées dans une œuvre précise. Chacune porte sa provenance et son degré de fiabilité.

Among people there are northerners and southerners; in buddha-nature there is neither north nor south. A barbarian's body is not like Your Reverence's, but what difference is there in buddha-nature?

人即有南北，佛性即無南北；獵獠身與和尚不同，佛性有何差別？

VérifiéeSūtra de la plataforma, versión de Dunhuang, respuesta a Hongren (§3 de Yampolsky). Traducción propia del chino clásico.

1 / 8

Idées essentielles (résumé éditorial)

Par respect du droit d'auteur, ces idées sont résumées avec nos propres mots et ne sont pas présentées comme des citations littérales.

  • Buddha-nature is equally present in everyone, regardless of origin, culture or learning: awakening is not a conquest but the recognition of what one already is.
  • Awakening is sudden because there is nothing to build: what gradual practice tries to polish is already pure; the degrees lie in people, not in the truth.
  • Meditating is not blanking the mind nor staying motionless: it is not being caught in thoughts while thinking, not stopping at any form while perceiving.
  • Meditation and wisdom are not two stages but the substance and function of the same thing, like the lamp and its light.
  • The Pure Land, the Buddha and the precepts are not outside: if the mind is pure, the place where one stands is the Pure Land.
Citations apocryphes ou d'attribution contestée (1)

  • «From the beginning there is not a single thing.»

    Huineng's most famous line does not appear in the oldest copy of the Platform Sūtra (Dunhuang, ninth century), where the third line says that buddha-nature is always pure; it appears in the Huixin (967) and Zongbao (1291) versions. It is not false as a text of the tradition, but it cannot safely be attributed to the historical Huineng.

Dernières paroles

Attribution traditionnelle

«Stay well; now I take leave of you. When I am gone, do not weep after the fashion of the world… When I am gone, simply practise according to the Dharma and it will be as when I was alive; if I remained in the world and you disobeyed the teaching, there would be no use in my staying.»

汝等好住，今共汝別。吾去以後，莫作世情悲泣……吾去以後，但依法修行，共吾在日一種；吾若在世，汝違教法，吾住無益。

Final words that the Dunhuang copy of the Platform Sūtra attributes to Huineng at the Guoen temple in Xinzhou, in the eighth month of the second Xiantian year (713), after reciting the “verse of true liberation in seeing the buddha of one's own nature”; the text adds that he died in the third watch of the night, aged seventy-six. It is an account composed decades later; the Zongbao version expands it. Translation by the researcher from the Chinese.

Source: Wikisource en chino: 南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經 (texto de la copia de Dunhuang, compilado por Fahai).

Interroger

Ce que répond son œuvre

Douze grandes questions de l'humanité et ce que ses textes permettent d'y répondre, références à l'appui. Nous ne lui prêtons jamais de paroles.

  • Qu'est-ce que l'Absolu ? Dieu existe-t-il ?

    The buddha is in one's own nature, ever pure, not outside

    Un Absolu impersonnelIl le dit expressément

    The Platform Sūtra, which presents itself as Huineng's sermon recorded by his disciple Fahai but is a later compilation, locates the ultimate in each person's «own nature» (zixing). In the Dunhuang version it invites listeners to take refuge in the three bodies of the buddha within their own body: the buddha is not outside but in one's own nature, which is ever pure. No creator god appears, nor any being who governs the world; nor an Absolute that could be spoken of as an object, since one's own nature is seen, not defined. The most famous verse, in Zongbao's late version, sums it up by saying that from the beginning there is not a single thing.

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  • Qui suis-je ? Existe-t-il un vrai soi ?

    Seeing one's own nature is buddhahood: the original face, prior to good and evil

    Le Soi est l'AbsoluIl le dit expressément

    The Platform Sūtra turns on one formula: seeing one's own nature (jianxing) and attaining buddhahood. That nature does not distinguish between north and south, between a barbarian and an abbot, as Huineng answers Hongren in the Dunhuang version; it is complete in each person and ever pure. What is taken for the self, the one that clings to thoughts and forms, is the confusion that hides it: when one is confused, the buddha is a living being; when one awakens, the living being is buddha. Zongbao's late version condenses the question in the scene at the Dayu pass: without thinking of good or evil, at this very moment, what is your original face? The true self is not the ego but that awakened nature.

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  • Pourquoi souffrons-nous ?

    Confused, we are suffering beings; awakened, we are buddhas

    L'ignorance de ce que nous sommesCela se déduit de sa doctrine

    The Platform Sūtra does not develop a theory of suffering: it locates it in confusion (mi) about one's own nature. In the Dunhuang version, the difference between the ordinary being and the buddha is only one of confusion and awakening; one confused thought suffices to be an ordinary being and one awakened thought to be a buddha. Confusion consists in being caught in thoughts, in stopping at forms and in seeking outside what is within: a buddha, a Pure Land, merit. Hence the method is summed up in no-thought, no-form and no-abiding. We suffer because we do not know what we are and identify with what passes through the mind, not because there is anything to purify in a nature that is already pure.

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  • Que se passe-t-il après la mort ?

    One's own nature is neither born nor dies; there is no reason to weep

    Ce que je suis ne naît ni ne meurtIl le dit expressément

    The Platform Sūtra narrates Huineng's farewell at its end. When he announces his death and some disciples weep, he rebukes them: if they knew where he was going, they would not weep; the nature of the Dharma has neither birth nor extinction, neither going nor coming. He leaves them a verse and asks that after his departure they hold no lamentations and wear no mourning, since that is not in accord with the teaching. Zongbao's version places the same theme at the beginning: on hearing the Diamond Sūtra, Huineng exclaims that one's own nature is pure from the origin and neither arises nor perishes. Death affects what is composed and dissolves; what the sermon invites one to see never began. The text does not dwell on rebirth, which it takes for granted for those who remain confused.

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  • Comment atteint-on la libération ou le salut ?

    Sudden awakening: seeing one's own nature, with no degrees in the truth

    Par la connaissance directeIl le dit expressément

    The Platform Sūtra defends sudden awakening against gradual practice. In the verse contest that opens the story, Shenxiu compares the mind to a mirror that must be cleaned ceaselessly, and Huineng answers that buddha-nature is always pure: there is no dust to remove. What liberates is seeing one's own nature, and that happens all at once, because there is nothing to build; the degrees, says the sermon, lie in people, not in the teaching. Meditation and wisdom are one body: meditation is the substance of wisdom and wisdom the function of meditation. It is not a matter of emptying the mind, but of not being caught in thoughts while thinking.

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  • Faut-il un maître ?

    Confused, the master ferries us across; awakened, we cross alone

    Le maître est à l'intérieurIl le dit expressément

    The Platform Sūtra acknowledges the role of the good spiritual friend and at the same time relativises it. The sermon explains that wisdom is in each person from the beginning; if someone cannot awaken by themselves, they should seek a great friend to show them the way to see their nature, but that friend only points to what is already within. Zongbao's version condenses this in the boat scene: when Hongren offers to row him across, Huineng replies that when one is in error the master ferries us to the other shore, and once awakened we cross alone. The story is also a legitimation: Huineng receives Hongren's robe, despite being an illiterate woodcutter, because he has seen his nature.

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  • Le monde est-il réel ?

    The myriad phenomena are in one's own nature: not the wind, it is the mind

    Manifestation du divinIl le dit expressément

    The Platform Sūtra states that the myriad phenomena are in one's own nature, as the sky contains the sun, moon and stars: the nature of mind is vast as space and embraces everything, good and bad, without clinging to anything. The world is not rejected or considered a deception; it is seen from the nature that contains it. Zongbao's version adds the scene at the Faxing temple, where two monks argue whether the wind or the banner is moving, and Huineng tells them that what moves is their mind. What we call the world depends on how the mind looks at it: confused, it scatters into things; awakened, it sees them arise from its own nature without stopping at them.

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  • Qu'est-ce que l'amour ?

    Saving the countless beings of one's own mind: the vow is made within

    Une compassion sans limitesCela se déduit de sa doctrine

    The Platform Sūtra incorporates the four great bodhisattva vows, the first of which is to save all beings, but gives them a characteristic twist. In the Dunhuang version, Huineng asks the assembly to make the vow to save the countless beings of one's own mind: confused, deceitful, evil or jealous ideas are the beings to be liberated, and each must be liberated by means of one's own nature. Compassion does not disappear, but becomes inseparable from awakening: whoever sees their nature also liberates others. Zongbao's version goes so far as to say that compassion is Avalokiteśvara and generous joy is Mahāsthāmaprāpta: the bodhisattvas are qualities of the mind, not external figures.

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  • Sommes-nous libres ou tout est-il déterminé ?

    He does not debate free will: confusion and awakening are decided in each thought

    Ne s'est pas prononcé

    The Platform Sūtra does not raise the question of free will or determinism, and hardly deals with karma. What it says nearby is something else: the difference between confusion and awakening is decided in each thought. A confused thought makes one an ordinary being; the next, awakened, makes one a buddha. The practice of no-thought does not consist in suppressing thinking but in not being caught in any thought, so that the mind is not swept along by what arises. From this one can infer a form of freedom that is not choosing between alternatives but not being carried away. But it would be forcing the text to attribute to it a doctrine of will or destiny.

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  • Pourquoi méditer ou prier ?

    Sitting motionless is not meditation: not stopping at any thought is

    La méditation n'est pas une techniqueIl le dit expressément

    The Platform Sūtra criticises those who believe that meditating is sitting without moving and emptying the mind. According to the sermon, this practice turns meditation into one more form of attachment, and it recalls that Vimalakīrti rebuked Śāriputra for sitting in repose in the forest. Huineng redefines the terms: «sitting» means that no thoughts arise before any external object, and «meditation» means seeing one's own nature within without agitation. Meditation and wisdom are one body, like the lamp and its light. Practice is not a technique repeated to reach another state, but not being caught in thoughts while thinking, in any activity. External prayer does not save either: the Pure Land is in the pure mind.

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  • La raison peut-elle connaître l'ultime ?

    An illiterate woodcutter sees his nature: truth does not depend on letters

    L'ultime est au-delà du mentalIl le dit expressément

    The Platform Sūtra's story is itself an answer: Huineng, a woodcutter from the south who cannot read, hears the Diamond Sūtra recited and awakens; later he dictates his verse because he cannot write it, and surpasses the scholar Shenxiu. The sermon explains that wisdom is in each person from the beginning and that the sūtras are in one's own nature: whoever does not see it, though they recite, does not understand. Zongbao's version formulates it in the dialogue with the nun Wujinzang: the subtle meaning of the buddhas has nothing to do with letters. This does not mean rejecting the scriptures, which the sermon itself comments on; it means that understanding is a direct seeing, not a conclusion of thought.

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  • Se retirer du monde ou le transformer ?

    One can practise at home: there is no need to be in a monastery

    La contemplation dans l'actionIl le dit expressément

    The Platform Sūtra, preached according to the story before an assembly of monks, officials and laypeople, states that whoever wishes to practise can do so at home: it does not depend on being in a monastery. If one practises at home with an upright mind, one is like the people of the east who do good; if one is in the monastery without practising, one is like the people of the west with a crooked heart. The formless verse Huineng teaches the laity translates the path into ordinary life: gratitude to parents, respect between superiors and inferiors, patience, correction of one's own faults. The practice of no-thought is exercised in the midst of things, without stopping at them. Awakening does not require leaving the world but not being caught in it.

    Comparer cette question avec d'autres maîtres

Affinités et tensions

Affinités et tensions

Calculées question par question à partir de ses positions. La raison de chaque accord ou de chaque désaccord s'affiche d'un clic.

Anecdotes et récits

Anecdotes et récits

Récit hagiographiquec. 660

The woodcutter who heard the Diamond Sūtra

Huineng supported his widowed mother by selling firewood in the market of Nanhai, near present-day Canton. A customer bought a bundle and asked him to carry it to the inn; on leaving, money in hand, he heard a guest reciting a text and his mind, says the sūtra, opened at once. He asked what it was: the Diamond Sūtra, he was told, which the fifth patriarch Hongren was teaching to over a thousand disciples on the mountain of Huangmei, assuring them that reciting it was enough to see one's own nature. Later versions add that a stranger gave him ten ounces of silver so that his mother would be provided for while he travelled, and that the line that awakened him was “one should give rise to a mind that rests on nothing”. The episode fixes two traits of the character: awakening does not come from study, and the one who awakens is a poor illiterate from the south.

Origine du récit: Autobiography in the Platform Sūtra, already in the Dunhuang copy (ninth century); there is no independent testimony.

Source: Wikisource en chino: 南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經 (texto de la copia de Dunhuang, compilado por Fahai).

Récit hagiographiquec. 661

The poem contest

Hongren gathered his disciples and asked each to compose a poem showing his understanding: to whoever had it he would give the robe and the teaching, and he would be the sixth patriarch. No one dared except Shenxiu, the head monk, who did not venture to present it in person and wrote it at night on the south corridor wall, where a painter was to depict scenes from the Laṅkāvatāra: the body is the tree of awakening, the mind a bright mirror on its stand; it must be wiped at all times so that no dust settles. Hongren praised it in public and had everyone recite it, but privately told Shenxiu that he had not yet entered the gate. Huineng, treading rice at the mill, heard a boy reciting it, asked to be led to the wall and, since he could not write, dictated his reply. The Dunhuang copy attributes two stanzas to him; later versions a single one, the “not a single thing”. The story is read today as a polemical construction: Shenxiu's verse defends not a gradual path but constant practice, and the opposition served the Southern school to discredit the Northern.

Origine du récit: Autobiography in the Platform Sūtra, already in the Dunhuang copy (ninth century); there is no independent testimony.

Source: McRae, John R. Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism. Berkeley: University of California Press, 2003. ISBN 0520237986.

Récit hagiographiquec. 661

Three knocks on the mortar

In the Zongbao version Hongren rubs out Huineng's poem with his sandal, saying that this one too has not seen the nature, to protect him from the monks' envy. The next day he goes to the mill, where the young man works with a stone tied to his waist to weigh more on the pestle, and asks whether the rice is ready. “It has long been ready,” he answers; “it only needs sifting.” The master knocks three times on the mortar with his staff and leaves. Huineng understands: at the third watch of the night he goes to the master's room, where Hongren, screening them with his robe so that no one sees, expounds the Diamond Sūtra to him; on hearing that one should give rise to a mind that rests on nothing, he attains great awakening and receives the robe and bowl. It is a scene of secret initiation built on a coded language that Chan literature would later cultivate in kōans.

Origine du récit: Only in the late versions of the Platform Sūtra (Huixin 967 and above all Zongbao 1291) and in Song-period case collections (Wumenguan, 1228); absent from the Dunhuang copy.

Source: Wikisource en chino: 六祖大師法寶壇經 (versión de Zongbao, 1291), con una página por capítulo.

Récit hagiographiquec. 661

Huiming's original face

Fleeing south with the robe, Huineng was overtaken at the Dayu pass by a band of pursuers; the first to arrive was the monk Huiming, a former general of the fourth rank, a rough man. Huineng laid the robe and bowl on a rock: if faith was transmitted with them, let him take them by force. Huiming could not lift them. Then he asked for the teaching, not the robe. Huineng told him to set aside every thought and, after a long silence, asked him: not thinking of good, not thinking of evil, at this very moment, what is your original face? Huiming awakened on hearing it. The Dunhuang copy knows the pursuer—there he is called Huishun and had also been a general—but not the question, which became one of the most famous kōans of the Wumenguan (case 23).

Origine du récit: Only in the late versions of the Platform Sūtra (Huixin 967 and above all Zongbao 1291) and in Song-period case collections (Wumenguan, 1228); absent from the Dunhuang copy.

Source: Wikisource en chino: 六祖大師法寶壇經 (versión de Zongbao, 1291), con una página por capítulo.

Récit hagiographique676 (según la tradición)

The wind and the banner

After years hidden among hunters—cooking his vegetables beside the meat, secretly freeing the animals from the nets—Huineng decided the time to teach had come and went down to Canton, to the Faxing temple, where master Yinzong was commenting on the Nirvāṇa Sūtra. The wind was stirring the temple banner and two monks were arguing: one said the banner moved; the other, the wind. Huineng intervened: neither the wind nor the banner; what moves is your mind. Yinzong, impressed, invited him to the seat of honour, asked him about the teaching of Huangmei and, learning who he was, asked to see the robe, shaved his head and ordained him. The episode exists only in the late versions; Wang Wei's eighth-century stele already names Yinzong as the one who tonsured him, so the name is old even if the scene is not.

Origine du récit: Only in the late versions of the Platform Sūtra (Huixin 967 and above all Zongbao 1291) and in Song-period case collections (Wumenguan, 1228); absent from the Dunhuang copy.

Source: Wikisource en chino: 六祖大師法寶壇經 (versión de Zongbao, 1291), con una página por capítulo.

Récit hagiographiquec. 700

The three blows to Shenhui

The Dunhuang copy of the Platform Sūtra itself includes a scene awkward for the man scholars consider its inspirer. A young monk from Xiangyang named Shenhui comes to Caoxi and asks the master whether, when he sits in meditation, he sees or does not see. Huineng gets up, strikes him three times and asks in turn: “When I hit you, does it hurt or not?” Shenhui answers that it both hurts and does not hurt. Huineng replies that he likewise sees and does not see, and rebukes him for worrying about another's seeing instead of looking at his own nature. Shenhui bows, repents and stays to serve him. The scene works as a certificate: the future champion of the Southern school appears as a direct disciple, corrected and accepted by the master. That it is in the oldest text is one of the clues that led Hu Shi to see the hand of Shenhui's circle behind the sūtra.

Origine du récit: Dunhuang copy of the Platform Sūtra (§48–49 in Yampolsky); interpretation by Hu Shi (1930) and Yampolsky (1967).

Source: Wikisource en chino: 南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經 (texto de la copia de Dunhuang, compilado por Fahai).

Témoignage1589

Matteo Ricci before the sixth patriarch's body

In 1589 the Jesuit Matteo Ricci, who was trying to settle in south China, was lodged at the Nanhua temple in Caoxi, Huineng's monastery. There he saw the lacquered body venerated as the sixth patriarch's, seated in meditation, and described it in his journals for European readers, comparing the monk to Christian ascetics. Ricci did not stay: he declined the invitation to live in the temple and settled in nearby Shaozhou. His account is the first Western testimony of the mummy, which survived into the twentieth century and was damaged during the Cultural Revolution. Jorgensen has studied how the body, relics and robe formed part, from the eighth century, of the construction of the patriarch's cult.

Origine du récit: Ricci's journals, published in Latin by Nicolas Trigault (1615) and translated by Gallagher (1953); study by Jorgensen (2005).

Source: Ricci, Matteo y Nicolas Trigault. China in the Sixteenth Century: The Journals of Matthew Ricci, 1583–1610. Trad. Louis J. Gallagher. Nueva York: Random House, 1953.

Enseignements

Enseignements

Les notions qui structurent sa pensée, expliquées dans leur contexte.

Sudden awakening (dunwu)dunwu
The doctrine by which the Southern school defined itself against the Northern holds that awakening is not reached by accumulating practices but all at once, because one's own nature is already pure and only veiled by delusion: it is enough to recognise it. In the Platform Sūtra the difference between sudden and gradual lies not in the truth, which is one, but in people, some slower and some quicker. Shenhui turned the opposition into a weapon: he accused Shenxiu's school of teaching a gradual path of cleaning the mirror, which McRae and others have shown to be a caricature. From the ninth century the superiority of sudden awakening became common doctrine across Chan, and it remains at the centre of the Japanese Rinzai school, whose great reformer was Hakuin.

Controversy between the Northern and Southern schools (eighth century).

Source: McRae, John R. Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism. Berkeley: University of California Press, 2003. ISBN 0520237986.

No-thought, no-form, no-abidingwunian
The sermon sums up its method in three negations: no-thought (wunian) as principle, no-form (wuxiang) as substance and no-abiding (wuzhu) as root. None means suppressing experience. No-thought is “not thinking in the midst of thinking”: thoughts arise, but the mind does not stick to them; whoever tries to think nothing at all, the text warns, falls into error. No-form is being among forms without being caught in them. No-abiding is not stopping at any moment of experience, so that past, present and future are not chained into bondage. The formula, rooted in the prajñāpāramitā and akin to the Diamond Sūtra, shifts practice from stillness to freedom in the midst of activity.

Platform Sūtra, section 17 of the Dunhuang copy.

Source: Yampolsky, Philip B. (ed. y trad.). The Platform Sutra of the Sixth Patriarch: The Text of the Tun-huang Manuscript. Nueva York: Columbia University Press, 1967; reed. 2012 (ISBN 9780231159562).

Unity of meditation and wisdom (dinghui)dinghui
Against the classical sequence in which concentration (ding, samādhi) prepares wisdom (hui, prajñā), the Platform Sūtra holds that both are one body: meditation is the substance of wisdom and wisdom the function of meditation, like the lamp and its light. Whoever says that one first meditates and wisdom then arises, or the reverse, introduces a duality into the teaching. Hence the critique of seated meditation that consists in staying motionless or contemplating the mind or purity: “sitting” means the mind is not stirred by objects and “meditating” means inwardly seeing the immobility of one's own nature. It is the doctrinal basis of Chan's distrust of gradual methods.

A Chinese reinterpretation of the discipline-meditation-wisdom triad.

Source: Wikisource en chino: 南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經 (texto de la copia de Dunhuang, compilado por Fahai).

Seeing one's nature (jianxing)jianxing
The term Japanese Zen would read as kenshō designates the direct recognition of buddha-nature in oneself. The Platform Sūtra repeats it as the formula of awakening—“seeing the nature and becoming a buddha”—and associates it with the absence of intermediaries: no texts, rites or stages. The expression became the watchword of the Southern school; precisely because of it Dōgen, in the thirteenth century, declared the sūtra apocryphal, since in his view it separated awakening from practice. Hakuin, by contrast, made kenshō the explicit goal of kōan work.

Doctrine of buddha-nature (foxing) in Chan.

Source: Dōgen. Shōbōgenzō, fascículo «Shizen biku» (四禪比丘), en la recensión de doce fascículos; trad. inglesa en Nishijima, Gudo y Chodo Cross, Master Dogen's Shobogenzo, vol. 4, Windbell, 1999.

Formless precepts (wuxiang jie)wuxiang-jie
The full title of the Dunhuang copy says that Huineng not only preached but “conferred the formless precepts”. The sermon includes a liturgy: refuge in the three bodies of the buddha of one's own nature, the four great vows, a formless repentance and the triple refuge understood as refuge in the awakening, rightness and purity of one's own mind. For McRae and Yampolsky this part reveals that the text served as a manual for ordaining lay people and as a certificate of lineage membership: whoever received the sūtra received the transmission.

Mass lay ordinations in eighth- and ninth-century Chan.

Source: Yampolsky, Philip B. (ed. y trad.). The Platform Sutra of the Sixth Patriarch: The Text of the Tun-huang Manuscript. Nueva York: Columbia University Press, 1967; reed. 2012 (ISBN 9780231159562).

Transmission of the robe and patriarchal lineagechuanyi
The idea of a chain of patriarchs from the Buddha to Bodhidharma and, in China, from Bodhidharma to Huike, Sengcan, Daoxin, Hongren and Huineng, with a robe as physical proof of transmission, is the core of the story. Shenhui used it in 732 to delegitimise the Northern school; the Platform Sūtra reproduces it with the verses of the six patriarchs and at the same time declares that the robe is no longer to be transmitted. Scholars consider it an eighth-century construction modelled on Confucian genealogy; its success was total: all later Chan and Zen lineages, including Dōgen's and Hakuin's, pass through Huineng.

Chan historiography (eighth to eleventh centuries).

Source: McRae, John R. Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism. Berkeley: University of California Press, 2003. ISBN 0520237986.

Vidéos

Vidéos

Enregistrements, entretiens et documentaires. Les vidéos sont lues depuis YouTube ; elles ne sont pas hébergées ici.

  • The Platform Sutra of Chan Buddhism - Jun Wang

    Conférence· EN· 2018

    Debashish Banerji

  • Sixth Patriarch's Dharma Jewel Platform Sutra (1) by Rev. Heng Sure from BRF2018

    Conférence· EN· 2019

    DharmaRealmLiveChaîne officielle

  • Reflections from the Platform Sutra of the Sixth Patriarch - Ven. Dr Juewei

    Conférence· EN· 2020

    Buddhist Library

  • The Platform Sutra of the Sixth Patriarch L1

    Conférence· EN

    Khenpo Sodargye's TeachingsChaîne officielle

  • SBZC with Bill Powell "The Platform Sutra" class #1

    Conférence· EN· 2021

    Santa Barbara Zen CenterChaîne officielle

  • Class on the Platform Sutra

    Conférence· EN

    kansaszencenterChaîne officielle

  • The Mind Has No Stand: Zen, Huineng, Teaching & Text

    Analyse· EN· 2021

    Eric Gerlach

  • Huineng - The 6th Chinese Ancestor of Zen Buddhism

    Conférence· EN

    Great Mountain Zen CenterChaîne officielle

  • 【六祖壇經的生活實踐】 主講：慧知法師

    Conférence· ZH

    VIBPS 溫哥華佛光山 Vancouver IBPSChaîne officielle

  • 慧知法師紐約佛學講座-《六祖壇經》的生活智慧

    Conférence· ZH

    FGS IBPS New YorkChaîne officielle

  • 佛教紀錄片：六祖惠能的最後一年 （智慧東方）

    Documentaire· ZH· 2017

    佛弟子

  • ¿Quién fue Hui Neng?

    Enregistrement de tiers· ES

    Cosas del Zen

Galerie

Galerie

Images dont la licence a été vérifiée. Chacune conserve son auteur et son attribution.

Manuscrits

Manuscrits

Témoins manuscrits et textes anciens, avec leur dépositaire et leurs conditions de consultation.

  • ZH · Chino (escritura regular, copia manuscrita) · c. 780

    南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經

    Témoin conservé
    Copia de hacia 830–860, la más antigua conocida, en formato de cuadernillo
    Dépositaire
    British Library (Londres) · Or.8210/S.5475
    Numérisation
    idp.bl.uk/…

  • ZH · Chino · c. 780

    六祖壇經 (copia de Dunhuang)

    Témoin conservé
    Segunda copia completa de Dunhuang, de mejor calidad textual
    Dépositaire
    Museo de Dunhuang · Dunbo 077
Manuscrits →

Relations

Relations

Influences, filiations et affinités. On distingue la relation documentée de la similitude identifiée par analyse.

  • A reçu l'influence de

    Bodhidharma

    The sūtra presents him as the sixth link of the lineage beginning with Bodhidharma and records his transmission verse.

    Relation documentée

  • Disciple de

    Hongren (601–674), quinto patriarca

    His teacher at Huangmei, according to all sources, including Wang Wei's stele.

    Relation documentée

  • Contemporain de

    Shenxiu (c. 606–706)

    Hongren's chief disciple and figure of the Northern school; the poem contest pitting them against each other is legendary.

    Relation documentée

  • Maître de

    Shenhui (684–758)

    He proclaimed himself his disciple and was the architect of his fame; the Dunhuang copy includes him among his ten disciples.

    Relation documentée

  • A influencé

    Dōgen

    Heir of a Caodong lineage going back to Huineng; in the Shōbōgenzō (“Shizen biku”) he rejected the Platform Sūtra as apocryphal.

    Relation documentée

  • A influencé

    Hakuin Ekaku

    His Rinzai lineage goes back to Huineng through Linji; the kenshō Hakuin demands is the sūtra's “seeing the nature”.

    Similitude identifiée par analyse

  • A influencé

    Shunryu Suzuki

    A Sōtō master, of Dōgen's lineage which goes back to Huineng.

    Similitude identifiée par analyse

  • A influencé

    Thich Nhat Hanh

    His Vietnamese Lâm Tế (Linji) lineage goes back to Huineng.

    Similitude identifiée par analyse

  • A reçu l'influence de

    Nāgārjuna

    The sūtra's logic of emptiness—denying tree and mirror—extends the prajñāpāramitā and Madhyamaka; tradition counts Nāgārjuna among the Indian patriarchs.

    Similitude identifiée par analyse

  • Contemporain de

    Śāntideva

    Rough contemporaries at the two ends of Asia, both centred on the nature of mind and the wisdom of emptiness.

    Similitude identifiée par analyse

  • Idées proches de

    Laozi

    The sūtra's valuing of flow, non-fixation and immediacy recalls Daoist themes; the influence is debated.

    Similitude identifiée par analyse

Lié depuis d'autres fiches

Sources

Sources

Bibliographie et catalogues consultés pour cette fiche.

  1. Wikidata, «Huineng», QID Q345012 (VIAF 32007548; LCCN n50078883).
  2. Yampolsky, Philip B. (ed. y trad.). The Platform Sutra of the Sixth Patriarch: The Text of the Tun-huang Manuscript. Nueva York: Columbia University Press, 1967; reed. 2012 (ISBN 9780231159562).
  3. McRae, John R. Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism. Berkeley: University of California Press, 2003. ISBN 0520237986.
  4. McRae, John R. (trad.). The Platform Sutra of the Sixth Patriarch, translated from the Chinese of Tsung-pao. Berkeley: Numata Center for Buddhist Translation and Research, 2000. ISBN 1886439133.
  5. McRae, John R. The Northern School and the Formation of Early Ch'an Buddhism. Honolulu: University of Hawai'i Press (Kuroda Institute), 1986.
  6. Schlütter, Morten y Stephen F. Teiser (eds.). Readings of the Platform Sūtra. Nueva York: Columbia University Press, 2012. ISBN 9780231158206.
  7. Jorgensen, John. Inventing Hui-neng, the Sixth Patriarch: Hagiography and Biography in Early Ch'an. Leiden: Brill (Sinica Leidensia 68), 2005. ISBN 9004145087.
  8. Thompson, John M. «Huineng (Hui-neng) (638–713)». Internet Encyclopedia of Philosophy.
  9. Hu Shi 胡適 (ed.). Shenhui heshang yiji 神會和尚遺集 (Obras conservadas del monje Shenhui). Shanghái: Yadong tushuguan, 1930.
  10. Wang Wei 王維. «Neng chanshi bei» 能禪師碑 (Estela del maestro de chan Neng), mediados del siglo VIII, recogida en el Quan Tang wen; inscripción encargada por Shenhui.
  11. Schlütter, Morten. «A Study in the Genealogy of the Platform Sūtra». Studies in Central and East Asian Religions 2 (1989): 53–114.
  12. Wong Mou-lam (trad.). Sutra Spoken by the Sixth Patriarch, Wei Lang, on the High Seat of the Gem of Law. Shanghái: Yu Ching Press, 1930.
  13. Wikisource en chino: 南宗頓教最上大乘摩訶般若波羅蜜經六祖惠能大師於韶州大梵寺施法壇經 (texto de la copia de Dunhuang, compilado por Fahai).
  14. Wikisource en chino: 六祖大師法寶壇經 (versión de Zongbao, 1291), con una página por capítulo.
  15. Huineng (atrib.), Fahai (comp.). 六祖壇經 (Liuzu tanjing), edición de la dinastía Ming colacionada por Deqing. Project Gutenberg, e-book n.º 23844, 2007.
  16. Ricci, Matteo y Nicolas Trigault. China in the Sixteenth Century: The Journals of Matthew Ricci, 1583–1610. Trad. Louis J. Gallagher. Nueva York: Random House, 1953.
  17. Dumoulin, Heinrich. Zen Buddhism: A History. Vol. 1: India and China. Nueva York: Macmillan, 1988.
  18. Red Pine (Bill Porter) (trad.). The Platform Sutra: The Zen Teaching of Hui-neng. Emeryville (CA): Shoemaker & Hoard, 2006. ISBN 9781593760861.
  19. Dōgen. Shōbōgenzō, fascículo «Shizen biku» (四禪比丘), en la recensión de doce fascículos; trad. inglesa en Nishijima, Gudo y Chodo Cross, Master Dogen's Shobogenzo, vol. 4, Windbell, 1999.
  20. Yanagida Seizan 柳田聖山. Shoki zenshū shisho no kenkyū 初期禅宗史書の研究. Kioto: Hōzōkan, 1967.
  21. Yanagida Seizan (ed.). Rokuso dangyō shohon shūsei 六祖壇經諸本集成. Kioto: Chūbun shuppansha, 1976.
  22. Chan, Wing-tsit (trad.). The Platform Scripture. Nueva York: St. John's University Press, 1963.
Ayant droit
Texto chino original en dominio público. Traducciones modernas con derechos: Columbia University Press (Yampolsky), Numata Center/BDK (McRae), Counterpoint (Red Pine), Shambhala (Cleary; Price y Wong), Editorial Kairós (Laureano Ramírez), Edaf.

En attente de confirmation

Ce que cette fiche n'a pas encore pu établir. Nous préférons le dire plutôt que de combler.

  • Traducción inglesa de Wong Mou-lam (Shanghái, Yu Ching Press, 1930): es de dominio público en EE. UU. (publicada en 1930, libre desde el 1 de enero de 2026), en la UE y en España (Wong Mou-lam, 1886–1934), pero no se ha localizado un escaneo con OCR limpio de la edición de 1930; las de Luzac (1944, 1953) y Shambhala llevan la revisión de Christmas Humphreys (m. 1983), protegida. Buscar en Internet Archive o HathiTrust la edición de 1930.
  • Versión base de la traducción española de Laureano Ramírez (Kairós, 2010; hay ediciones anteriores) — comprobar si es la de Dunhuang o la de Zongbao.
  • Signatura y digitalización de la copia del Museo de Dunhuang (Dunbo 077) y de la de Lüshun; no verificadas en un catálogo accesible.
  • Fecha y circunstancias exactas del título póstumo (815/816) y de las estelas de Liu Zongyuan y Liu Yuxi: se han tomado de la bibliografía secundaria (Dumoulin), no de las fuentes.
  • Vídeos en español: solo se ha encontrado material divulgativo breve; no hay conferencias académicas en español con canal solvente.
  • Las ediciones francesas, alemanas e italianas del sūtra no se han cotejado en catálogo.

Recherche effectuée le 2026-10-25