ZEN. IN THE ART OF ARCHERY by. EUGEN HERRIGEL. Translated from the German by. R. F. C. HULL. First Published In a lecture which I had delivered to the German− Japanese Society in Berlin appeared in the magazine Nippon under the title "The Chivalrous Art of Archery". Author: Berresford Ellis Peter Title: L'impero dei Celti Year: Link download: Author: Berresford Ellis. ZEN IN THE ART OF ARCHERY by EUGEN HERRIGEL Translated from the German by R. F. C. HULL First Published PREFA.
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Eugen Herrigel's “Zen in the Art of Archery” has been widely read as a study of Japanese culture. By reconsidering and reorganizing Herrigel's text and related. This books (Zen in the Art of Archery [PDF]) Made by Eugen Herrigel About Books Since its original publication in , Zen in the Art of. Zen in the Art of Archery is a book by German philosophy professor Eugen Herrigel, published Zen in the Art of Archery: A Practitioner's View (pdf) ( Speech).
Wise, deeply personal, and frequently charming, it is the story of one man s penetration of the theory and practice of Zen Buddhism.
Eugen Herrigel, a German professor who taught philosophy in Tokyo, took up the study of archery as a step toward the understanding of Zen. Zen in the Art of Archery is the account of the six years he spent as the student of one of Japan s great Zen masters, and the process by which he overcame his initial inhibitions and began to look toward new ways of seeing and understanding. As one of the first Westerners to delve deeply into Zen Buddhism, Herrigel was a key figure in the popularization of Eastern thought in the West, as well as being a captivating and illuminating writer.
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Like this presentation? Why not share! An annual anal Embed Size px. Start on. Show related SlideShares at end. The master makes a present of his allegedly best bow to the student view spoiler [ we've only got Herrigal's word for it hide spoiler ] when it is time for him after six or so years to return to Germany view spoiler [ I guess in those days one could still take a bow on board an aeroplane as hand luggage view spoiler [ but not on to a Zeppelin, that would just be asking for trouble hide spoiler ] hide spoiler ] One can see in this an episode of the meeting or miscommunication between East and West, specifically that Japan became entranced with it's own medieval marital heritage as a result of exposure to the European Gothic revival - the Japanese liked all the castles and the knights and armour, but felt that the whole Romantic side with long-haired pre-Raphaelite ladies was all a bit soppy and not martial enough -their taste was for fewer Ladies in Lakes and more decapitations.
In which case this book is a German response to a Japanese response to a European fantasy of a mythic past. But that's the nature of cultural history I guess, the dream of having been a butterfly dreaming that one was human more important than what may not have been.
Zen in the Art of Archery , published in , is his entertaining account of the process of learning archery. The relationship between archery and Zen that Herrigel presents can be criticised on at least three grounds: his archery teachers relationship to Zen, the problem of translation - Herrigel's Japanese was very limited, his translator struggled with the explanations while the teacher did not speak German and Herrigel's own desire for a mystical experience in particular to achieve a personal understanding of Meister Eckhart 's spiritual experiences.
Allowing such doubts then truly this volume is the direct ancestor of Zen and the Art of Motorcycle Maintenance and numerous martial arts films. Stripped away of archery and Zen we still have a memoir of a forty-year old ex-patriot attempting to learn something intuitive that is being taught to him by an indirect method.
It is a story in which years pass before Herrigel is allowed to move on from firing at a target only two meters away, and my phrase completely misses the point. Herrigel spent several years learning what he needed to learn before his teacher considered it was time for him to shot over the normal thirty meter distance.
The target in the beginning was not the target, the centre of the target was Herrigel himself.
His breathing, stance, relaxation and grip. Once that was in place and he could be a natural counterpart to the long Japanese bow and arrow then the training could be expanded to include the interrelationship with a target thirty meters distant. As to whether any of this is of interest in understanding Zen, I don't know. However the effort of learning and explaining to the reader the attempt to come to an intuitive feeling for a physical activity is fascinating.
The relationship between the teacher and the taught involving; and if as Yamada Shoji argues The Myth of Zen and the Art of Archery the archery teacher had no formal insight, background in or knowledge of Zen many of their conversations become inadvertently humorous. Further there was deep cultural misunderstanding on at least one occasion.
Herrigel saw his teacher shoot twice at a target in the dark and was deeply impressed that both hit the centre and even more that the second arrow split the first. This we know from Robin Hood is very good and Herrigel's feel for the event is mystical. In the Japanese archery tradition apparently, at least as it is taught, splitting your arrow is very bad simply because you've ruined your own arrow.
For me from my sadly limited experience of archery the incident is a demonstration of a thoroughly practical nature.
If you have a thorough understanding of yourself, your bow and how to shoot, developed over years, standing in an enclosed space opposite the target then why wouldn't you hit the target? At a certain point of self-knowledge your eyes are irrelevant rather as a blind person can negotiate a familiar space without banging in their furniture or bumping into walls. In another moment that I thought particularly fine when Herrigel shoots well his teacher breaks off the lesson and sends him home - he didn't want Herrigel to be distracted by reversion to the mean.
I am not sure how far Herrigel's accommodation to the NS regime went, he was made Rector of the university of Erlangen during the 30s which suggests he was at the very least regarded as a safe pair of hands.