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# 1629 Wednesday, November 26, 2003 - Editor: Joyce (Know_Mystery)

 

 

I dip my robes in the Cherry Blossoms so that I may remember them when they are gone.

~  Kino Aritomo  ~


(Editor's Note: Ron Brown ~ Spiritual Friends supplied the Way of Tea material in this issue)

 

Chado - The Way of Tea

What is the Tea Ceremony? An Introduction to the Tea Ceremony

Zen is not about Sundays. There is no Sabbath...nor special day. Zen is not about  church. There is no special place where one can be at rest. Zen is not about God or Buddha. There is no entity greater than any other. Zen is about life.

 

"Of great importance to the Way of Tea is the concept of kokoroire. Written with two characters, the first character represents "heart-spirit-mind": the second, "to put in." In other words, the host puts his whole being into the intent of creating an atmosphere wherein the guest can find tranquility’’  

 

As is Zen, so is tea.

 

There is nothing special about a Tea Ceremony. The ceremony is like any other event in your life: it is one moment. It is like the cherry blossoms of the spring. They bloom and, for a few moments, radiate with an elegant beauty. Then they are gone.

 

But we do not lose sight of the beauty just because the flower has disappeared. The simple glory of the flower stays with us. I think that the tea ceremony is very much like this flower. For one brief moment, our lives are everything we would want them to be: elegant, ordered and peaceful.

 

Yet when the Tea Ceremony ends, do our lives fall into disorder? Do we lose all sense of grace? Of course not. The Ceremony is not the source of these things which we want our lives to be, it is simply a focus for achieving them.

 

The flower is not beauty...beauty is the feeling it evokes in us.

 

The tea is not peace...peace is the feeling it evokes in us.

 

We take the tea with us. Thus when the ceremony has ended, we will still remember it and all it has evoked in us. It is simply an example of peace in our lives. It exemplifies the single minded effort that is necessary.

 

When one serves tea, that is all that one does. In order to serve the tea properly, one must have the proper mind. If one's mind is not directed, it will wander to other things. The tea will be too hot or too cold, too strong or too weak. Steps will be eliminated, not by choice, but by mistake. This is not the proper way to serve tea.

 

All activities are like this. How can one drive safely during rush hour if one's mind is lost in thought about a late homework assignment? Everything we do should be a single minded effort, directed towards the task at hand.

 

So, while we don't drink tea everyday...Tea is part of our everyday lives.

 

Chad Brinkley

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_3.html)

 


~~~  The preparation and drinking of tea could be an expression of the Zen belief that every act of daily life is a potential act that can lead to enlightenment. The principles which govern the Japanese Tea Ceremony are harmony, respect, purity, and tranquility, which combine with what might be called the Zen aesthetic of emptiness to give the Tea Ceremony its distinctive feel. In Zen, everything which is not necessary is left out; this is as true of the mind as it is as of the physical setting. The spirit of austere simplicity pervades the Tea Ceremony. Each utensil has a specific purpose, and only those utensils which are necessary for the Ceremony are brought into the tea room. Nothing superfluous is added. Moreover, before making a bowl of tea, the host ritually cleanses each utensil, just as the student of Zen empties or "cleans" the mind through study of Buddhism.

 

In Tea, this is known as the principle of purity. Practitioners of Tea rid their minds of attachment and worldly concern, and, in short, of every unnecessary thing. The host focuses entirely on serving a cup of tea; the guest, entirely on receiving it with gratitude. In so doing, both guest and host focus completely on the present moment, another fundamental practice of Buddhism.

 

In Tea, there is space between things, both in the physical setting of the tea room and in the Ceremony itself. To a Buddhist, this is the way the universe itself is structured, and in tea this is the principle of harmony with the rhythms of nature. This is what Senno Rikyu meant when he admonished his disciples, "In summer suggest coolness, in winter, warmth" - not to avoid the changing of the season, but rather, as Soshitsu Sen XV suggests, to practice a way of enjoying each season as it comes (Tea Life, Tea Mind, 36).

 

Zen further suggests that in order to attain the Zen ideal of emptiness of mind, we need a discipline or way to guide our practice. Tea provides such a discipline. In Tea, mind and body are disciplined by adding certain restraints, which, in a sense, leads to a greater freedom. Like zazen, Tea espouses an idea of naturalness or freedom which is not the same as sloppiness or an "anything goes" mentality. Shunryu Suzuki reminds us that "nothing exists without form and color" (Zen Mind, Beginner's Mind, 108) and so Tea, like zazen, is formalized. Certain actions are appropriate to the different stages of the Tea Ceremony, other actions are not; movement too is formalized, and even the aesthetics of the tea room are governed by formal principles. It is by practicing Tea within this disciplined formality that host and guests obtain a true sense of tranquility. ~~~

 

Jonathan Conant

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_1.html)


'Make a delicious bowl of tea;

lay the charcoal so that it heats the water;

arrange the flowers as they are in the field;

in summer suggest coolness;

in winter, warmth;

do everything ahead of time;

prepare for rain;

and give those with whom you find yourself every consideration.'

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/4/1_4_1.html)


Japanese characters for WA (Harmony)

KEI (Respect)

SEI(Purity)

JYAKU (Tranquility)

These four principles guide the rules of the Way of Tea and signify the highest ideals of the Way of Tea.  Furthermore, they are the important principles of humanity. In the busyness of everyday activities, it is valuable for each one to take time and ponder upon each principle and utilize it for one’s spiritual cultivation. Thus, through a bowl of tea, one can acquire peace of mind, and contribute to the establishment of world peace. Sen Soshitsu , Urasenke Grand Tea Master XV, has been traveling all over the world with the goal, Peace through sharing a bowl of tea.

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/3/1_3_1.html)


 Harmony

                 between ourselves and nature

                 between all the different aspects

                         of our surroundings

                 between  nature's seasons and our

                         man-made environment

                 between us and other people

 

Harmony never means that everything becomes alike.

The point is to achieve a balanced relationship, not

between things which are identical, but between

things which are complementary.

 

                        ... Harmony with contrast,

                        as in the black ink of

                        the words and the

                        space of the

                        white paper.

 

                Harmony weaves everything together

                        into an intricate,

                        yet oh-so-simple web.

 

 

        Respect

                        for the moment

                        for each person

                        for time

                        for ourselves

                        for the objects we use

                        for nature

 

                                Respect could

                                be defined as

                                the act of giving

                                particular attention

                                to the recipient.

 

 

                        In showing respect, we demonstrate

                        our understanding of the

                        interconnectedness of all things.

 

                        And having shown respect, we

                        understand even better

                        why it is valued.

 

        Purity

                of mind

                        (like the clear stream)

                of purpose

                        (has everything unnecessary been swept away?)

                of action

                        (at any one moment, we should be completely

                         focused on the action of that moment)

                of vision

                        (do I see my goal clearly?...)

 

 

        To be pure is to contain nothing

        that does not properly belong;

        so that we are not weighed down

        or distracted by that which

        contributes nothing to the good

        of the whole.

 

        Tranquility

                the state of being free from agitation of mind

                and spirit.

 

                If we are in harmony with

                our surroundings and if we

                respect the moment and what

                it brings us, then we can

                achieve purity of mind, purpose

                and action, and thus carry

                with us a state of tranquility.

 

                Tranquility

                        through the practice of

                                Harmony

                                Respect and

                                Purity

                        is ours to choose,

                        and ours to create

                        within ourselves.

Melissa Huff

(http://www.art.uiuc.edu/galleries/japanhouse/tea/3/8/3_8_1.html)


A Message from Soshitsu Sen, Urasenke Grand Tea Master XV

Chado, the Way Of Tea, is based upon the simple act of boiling water, making tea, offering it to others, and drinking of it ourselves. Served with a respectful heart and received with gratitude, a bowl of tea satisfies both physical and spiritual thirst.

The frenzied world and our myriad dilemmas leave our bodies and minds exhausted. It is then that we seek out a place where we can have a moment of peace and tranquillity. In the discipline of Chado such a place can be found. The four principles of harmony, respect, purity and tranquility, codified almost four hundred years ago, are timeless guides to the practice of Chado. Incorporating them into daily life helps one to find that unassailable place of tranquility that is within each of us.

As a representative of this unbroken Japanese tradition of four hundred years, I am pleased to see that many non-Japanese are welcoming the chance to pursue its study. This growing interest in Chado among peoples of all nations leads me to strive even harder to make it possible for more people to enter the Way of Tea.

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/1/1_1_2.html)


Urasenke Grand Tea Master XV

An Explanation by Sen Soshitsu in Tea Life, Tea Mind:

“The simple act of serving tea and receiving it with gratitude is the basis for a way of life called Chado, the Way of Tea. When serving a bowl of tea in conformity with Tea etiquette, a cultural synthesis of wide scope and high ideals, is brought into play with aspects of religion, morality, aesthetics, philosophy, discipline, and social relations.

The student of Tea learns to arrange things, to understand timing and interludes, to appreciate social graces, and to apply all of these to daily experience. These things are all brought to bear in the simple process of serving and receiving a bowl of tea, and are done with a single purpose – to realize tranquility of mind in communion with one’s fellow men within our world. It is in this that the Way of Tea has meaning for today.

With a bowl of tea, peace can truly spread. The peacefulness from a bowl of tea may be shared and become the foundation of a way of life.” (Tea Life, Tea Mind, p. 9)

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/1/1_1_3.html)


The History of the Way of Tea - Focusing on Famous Tea Masters

 

Tea was first of all a medicine. The tea plant probably originated in the mountainous region of southern Asia and was brought to China. By the Tang Dynasty (616-907), tea was drunk mainly for the enjoyment of its flavor. Tea was so important that it was the subject of a three -volume work called Ch’a Ching, the Classic of Tea. At that time, tea leaves were pressed into brick form. To prepare tea, shavings were taken and mixed with various flavorings, such as ginger or salt, and boiled. Later, during the Song dynasty (1127-1280), green tea leaves were dried and then ground into a powder. This powered green tea was mainly used for ceremonial purposes in temples, but was also appreciated for its taste by laymen. 

 

Some tea was probably brought to Japan during the height of cultural contact with Tang China. Kukai, patriarch of the Shingon sect of Buddhism, brought tea in the brick form from China to the Japanese court in the early ninth century.

The drinking of tea was confined to the court aristocracy and Buddhist ceremonies until the twelfth century. Eisai (1141-1215), founder of Rinzai Zen, reintroduced tea to Japan upon his return from study in China. He also wrote Kissa Yojoki, a treatise that extolled the properties of tea in promoting both physical and spiritual health.

Eisai’s interest in tea was shared by his renowned disciple, Dogen (1200-1253), who is called the founder of the Soto sect of Zen Buddhism. When Dogen returned from China in 1227 he brought with him many tea utensils, and gave instructions for tea ceremonies in the rules which he drew up for regulating daily life at the Eiheiji temple founded by him in Fukui prefecture.

Appreciation of tea did not remain confined to temples. Its popularity spread among the court nobles of Kyoto and among the warrior class. The tea gatherings of this era were boisterous affairs and included contests in which participants identified various teas and prizes were offered to the winners. These were usually accompanied by linked-verse sessions, liberal consumption of sake, and gambling, along with ostentatious displays of expensive tea utensils imported from China. Especially notorious for extravagant tea parties was the fourteenth-century nobleman, Sasaki Doyo. This flaunting of things Chinese was a fad among the warrior leaders, who went so far as to send their own special envoys to China to collect art objects.

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_1.html)

 

 

Nevertheless, contained in these gatherings were elements which were refined into the tea gathering of today.  For example, the banquet became the light meal that often precedes the drinking of tea, overindulgence in sake evolved into an exchange of a few small cups of it, gorgeous arrays of flowers and displays of painted screens were reduced to a simple arrangement of flowers and a single scroll hanging in the tokonoma. Today, appreciation of the host’s specially selected utensils is still of great importance.

The process of refinement of the procedures to make tea involved a complex interaction of various elements: the ceremonial tea of the temples; the extravagant social teas of the aristocracy; the rise, in the fifteenth and sixteenth centuries, of a newly prosperous and influential merchant class; and the powerful personalities of three men, Murata Shuko, Takeno Jo-o, and Sen Rikyu.

Murato Shuko (1422-1503) lived during the brilliant culture of the Muromachi period (1392-1573). Shuko was from Nara and had probably participated in tea gatherings that included popular amusement such as bathing. Later he came in contact with Noami, an artistic advisor of Shogun Ashikaga Yoshimasa who was versed in the procedures of tea as it was served in Kyoto. After this meeting he moved to Kyoto, entered the Buddhist priesthood, and studied Zen under the direction of the famous Ikkyu (1394-1481), abbot of Daitokuji, from 1474 until the death of the latter. There is evidence that Ikkyu was acquainted to some extent with Chinese as well as Korean tea procedures, and it seems likely that he imparted what he knew to his pupil. Within the Tea of Murata Shuko was the awakening of the concept that tea went beyond entertainment, medicinal value, or temple ceremony; that the preparation and drinking of tea could be an expression of the Zen belief that every act of daily life is a potential act that can lead to enlightenment. This belief manifested itself in the development of a new aesthetic for Tea, an aesthetic which sought beauty in the imperfect and in the simple object of everyday life.  Shuko once said that, more than a full moon shining brightly on a clear night, he would prefer to see a moon that was partially hidden by clouds. Likewise, Shuko found beauty in Japanese utensils, which had been considered inferior to those from China. In a letter to one of his disciples, he wrote, “It is most important to seek as many admirable traits in Japanese objects as in Chinese.”

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_2.html)

Read more at:

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_3.html)

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_4.html)

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_5.html)

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/2/1_2_6.html)


 

Sen Rikyu (1522-1591), the greatest sixteenth   century tea master, identified the spirit of the Way of Tea with four basic principles of harmony, respect, purity, and tranquility.

 

These four principles guide the rules of the Way of Tea and signify the highest ideals of the Way of Tea. Furthermore, they are the important principles of humanity. In the busyness of everyday activities, it is valuable for each one to take time and ponder upon each principle and utilize it for one's spiritual cultivation. Thus, through a bowl of tea, one can acquire peace of mind, and contribute to the establishment of world peace. Sen Soshitsu , Urasenke Grand Tea Master XV, has been traveling all over the world with the goal, Peace through sharing a bowl of tea.

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/3/1_3_1.html)

 

"A disciple of Sen Rikyu once asked this question:  'What precisely are the most important things that must be understood and kept in mind at a tea gathering?'

 

Sen Rikyu answered: 'Make a delicious bowl of tea; lay the charcoal so that it heats the water; arrange the flowers as they are in the field; in summer suggest coolness; in winter, warmth; do everything ahead of time; prepare for rain; and give those with whom you find yourself every consideration.'  

 

The disciple, somewhat dissatisfied with this answer because he could not find anything in it of such great importance that it should be deemed a secret of the practice, said, 'That much I already know....'

 

Rikyu replied, 'Then if you can host a tea gathering without deviating from any of the rules I have just stated, I will become your disciple.'" (Tea Life, Tea Mind, p. 30)

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/4/1_4_1.html)

  


 

These Seven Rules of Rikyu have been revered and handed down as the most important guides for one's proper attitude in the Way of Tea. Even though we call them rules, they, at first, seem to be seven totally reasonable and unremarkable things. However, it would be rash to think it unnecessary to discuss them, for they are extremely difficult to observe in our daily life.

 

The Way of Tea is not merely an art or accomplishment or amusement, but is rather a way of life possessing a strong ethical and moral character. The Seven Rules of Rikyu, defining the attitude of one who practices Tea, are considered a fundamental teaching. As with most truths, the simpler the words, the stronger and more straightforward they are, a nd the more forcefully they strike our hearts."

 

"Of great importance to the Way of Tea is the concept of kokoroire. Written with two characters, the first character represents "heart-spirit-mind": the second, "to put in." In other words, the host puts his whole being into the intent of creating an atmosphere wherein the guest can find tranquility.

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/4/1_4_2.html)

 


 

The principles which govern the Japanese Tea Ceremony are harmony, respect, purity, and tranquility, which combine with what might be called the Zen aesthetic of emptiness to give the Tea Ceremony its distinctive feel. In Zen, everything which is not necessary is left out; this is as true of the mind as it is as of the physical setting. The spirit of austere simplicity pervades the Tea Ceremony. Each utensil has a specific purpose, and only those utensils which are necessary for the Ceremony are brought into the tea room. Nothing superfluous is added. Moreover, before making a bowl of tea, the host ritually cleanses each utensil, just as the student of Zen empties or "cleans" the mind through study of Buddhism. In Tea, this is known as the principle of purity. Practitioners of Tea rid their minds of attachment and worldly concern, and, in short, of every unnecessary thing. The host focuses entirely on serving a cup of tea; the guest, entirely on receiving it with gratitude. In so doing, both guest and host focus completely on the present moment, another fundamental practice of Buddhism.

 

Related to this is the principle of respect, which binds host and guests together in the way of Tea. The host offers his or her guest a sweet, carefully makes a bowl of tea, then presents it, respectfully asking the guest whether it is too hot. The guest receives the tea with thanks. If there are other guests present, the first guest does not assume the right to drink first, but excuses him or herself for drinking before the second guest. The second guest encourages the first to do so; regardless of social rank and standing, in the social dynamic of the Tea Ceremony, guest and host respect one another equally. In Tea, there is space between things, both in the physical setting of the tea room and in the Ceremony itself. To a Buddhist, this is the way the universe itself is structured, and in tea this is the principle of harmony with the rhythms of nature. This is what Sen no Rikyu meant when he admonished his disciples, "In summer suggest coolness, in winter, warmth" - not to avoid the changing of the season, but rather, as Soshitsu Sen XV suggests, to practice a way of enjoying each season as it comes (Tea Life, Tea Mind, 36).

 

Sen further suggests that in order to attain the Zen ideal of emptiness of mind, we need a discipline or way to guide our practice. Tea provides such a discipline. In Tea, mind and body are disciplined by adding certain restraints, which, in a sense, leads to a greater freedom. Like zazen, Tea espouses an idea of naturalness or freedom which is not the same as sloppiness or an "anything goes" mentality. Shunryu Suzuki reminds us that "nothing exists without form and color" (Zen Mind, Beginner's Mind, 108) and so Tea, like zazen, is formalized. Certain actions are appropriate to the different stages of the Tea Ceremony, other actions are not; movement too is formalized, and even the aesthetics of the tea room are governed by formal principles. It is by practicing Tea within this disciplined formality that host and guests obtain a true sense of tranquility.

 

Jonathan Conant

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_1.html)

 


 

Like a Catholic Mass, the Tea Ceremony is a ritual in which shared food symbolizes the common bond of humanity. The aim of both rituals is to cultivate one's mind and soul; the stained glass windows in a church are like the scrolls in the tokonoma which are there to please the senses and to educate the mind. Although far more inclusive and considerably less formal, learning to perform a tea ceremony properly takes years of training to develop the necessary understanding and appreciation.

 

Whether making or receiving a bowl of tea, participation in a tea ceremony requires complete concentration, both mental and physical. Each movement is prescribed so as to be the most efficient. Such physical control can exist only with a mind that is focused solely on the present actions. An undisciplined mind or body will not be able to perform or to appreciate the subtle beauty of the tea ceremony.

 

Just as the movements in the performance of a tea ceremony are explicitly described, so too are the aesthetics. Sen no Rikyu developed the style of tea, the taste of which has pervaded Japanese society, based on simplicity and almost rustic beauty. The flowers in the tokonoma, the scrolls, all the tea utensils, and even the tea house itself should be natural and unpretentious, even austere. This aspiration toward a wabi/sabi beauty is the aesthetic reflection of a philosophical acceptance of the insufficiency.

 

Zen teaches that there is no duality. The way to happiness is to integrate all the dualism (life/death, happiness/sorrow, wealth/poverty) into an acceptance of one's immediate imperfect reality.

 

The Tea Ceremony might almost be considered a Zen mass as it is firmly rooted in that philosophical tradition. When participating in a Tea Ceremony, there is no room for outside deliberations; all attention is focused on the activity at hand, which is representative of life itself.

 

The Tea Ceremony can be seen as an ideal society in microcosm; the host and guests are in perfect agreement, and everything is done with the utmost mutual consideration. Seldom in social relations is there such harmony. The host directs his or her complete attention to the needs and comforts of the guest. The guest, in turn, devotes all his or her attention to total appreciation of the elements of the Tea Ceremony. This is done with all possible sincerity. Directing all the heart and mind toward providing for another person leaves no room for vanity or greed. The complete and sincere consideration for other people and nature which is displayed in the Way of Tea is an expression of true human morality.

 

Christine Heitsch

 

 (http://www.art.uiuc.edu/galleries/japanhouse/tea/1/5/1_5_2.html)

 


 

When we study Zen, we must clear our minds. In our daily lives we are constantly thinking, constantly choosing, constantly experiencing. Most of the time we are rushing from place to place, from thought to thought, from idea to idea. As a Zen abbot once observed, we spend most of our lives in movement. Sometimes, he said, it is best to stop that movement; to stop our thought, to cleanse our minds. We do not do this by denying our experience, or insisting it is evil or wicked, and thus trying to a void it. Rather, we change our approach. We rid our minds of every unnecessary thing. We free ourselves from our perceptions, which limit our horizons. We remove everything. This is the principle of emptiness, and it is important.

 

But whatever is necessary, we bring back in again. If everything which we had before is necessary, we bring everything back. This is important too. In doing this, our perceptions change, and we come to understand things in a new way. So, as Shunryu Suzuki says in his book, Zen Mind, Beginner's Mind, "true understanding will come out of emptiness." (p.111)

 

There is a saying in Zen: "So vast a mountain, not one bird calling." 

 

Throughout the expanse of nature, not a sound can be heard. This is an expression of the spirit of emptiness; Zen cultivates the ability to choose this.

 

Really, we are continually surrounded by sounds - the murmur of a brook, the blowing of the wind through the trees, the calling of the birds - but if our practice is correct, we can stop them. When we practice zazen, we do not think. In our daily lives thoughts simply come to our minds. This is natural. But when we meditate, we clear our mind, and no thoughts reach it. Just so, if our practice is correct, we can choose to stop the sounds which constantly surround us. So, if not one bird can be heard calling, even on a vast mountain, then our mind is clear. 

 

Many people seem to believe that this is somehow unnatural. This is because they are continually thinking, and continually hearing. They believe that, where one thing ends another must immediately begin, but this is not exactly how the universe is constructed. Sounds are continuous; often they even overlap. But there is also a sense of the space between things. It exists between objects and between sounds as well as between thoughts. This too is the principle of emptiness, and when we clear our minds we are cultivating the space between things, and living in that space. This is not unnatural; really, only the approach and the perception are different.

 

Jonathan Conant

 

(http://www.art.uiuc.edu/galleries/japanhouse/tea/3/4/3_4_1.html)  


Panhala ~ Joe Riley 

Grace
 
Thanks & blessings be
to the Sun & the Earth
for this bread & this wine,
this fruit, this meat, this salt,
this food;
thanks be & blessing to them
who prepare it, who serve it;
thanks & blessings to them
who share it
(& also the absent & the dead).
Thanks & Blessing to them who bring it
(may they not want),
to them who plant & tend it,
harvest & gather it
(may they not want);
thanks & blessing to them who work
& blessing to them who cannot;
may they not want - for their hunger
sours the wine & robs
the taste from the salt.
Thanks be for the sustenance & strength
for our dance & work of justice, of peace.
 
~ Rafael Jesus Gonzalez ~
 
 
(In Praise of Fertile Land, edited by Claudia Mauro)


Mind Power

to believe deeply in something
is to make it happen
yet there is a need to flow
along with it's nature
and it will then become
all as it should be
with peace and joyful mind
within each passing moment of time

~  et33  ~

http://groups.yahoo.com/group/et333/

top of page

Nonduality: The Varieties of Expression



Photography & Writings by Jerry Katz

HOME


All 5000+ pages on Nonduality.com may be accessed here and here.

SPONSORS


ONE, by Jerry Katz

Photography by Jerry Katz

Dr. Robert Puff

THE NATURAL BLISS OF BEING

       

Rupert Spira

DISSOLVED, Tarun Sardana

HIGH JUMP, Tarun Sardana


Greg Goode -
After Awareness: The End of the Path