Buddhist Ethics and Happiness
Featuring works by: Beeli (Bittergod Art), Chris King, Kalam Dhari, Liset van Dommelen, Siew Guang Hong, Terry Murray
Arranged by: Ong Xiao Yun
“By basing your thoughts on the Teacher,
On Dhamma, Saṅgha, and your own virtues,
You will surely attain to gladness,
And rapture and happiness as well.
Then when you are suffused with gladness,
You’ll make an end to suffering.”
(SN 9:11, Unwholesome thoughts)
I was inspired by the art works to write briefly about Buddhist ethics. A few of the artists also lead and innovate art with contemplative practices in their respective fields. Mainly the art works are about;
inspiration from nature, way of living
concern about the environment.
concern about animals.
connecting with trees, flowers, sea creatures, animals and space.
nature cycles of life, birth and death.
rejoicing at others’ accomplishments.
expanding mindful and awareness mediation with the environment.
time spend thinking about the teachings of the Buddha.
To be interconnected to the trees, flowers, animals, insects or space. As different examples illustrates through different situations such as a domestic environment and a war time situation. Think Franz Kafka novel, The metamorphosis, can be a practice of mental exercise taking the form of physical metamorphosis, helping us to reflect on social exclusion and the development of empathy and in another example, the process of overcoming self-alienation. Writer Victor Thasiah discussed that for Thich Nhat Hanh, during the Vietnam war, he was able to overcome self-alienation by building a close rapport and deep affinity with wild nature, identifying with flora and fauna, winds and clouds in healing recovering human nature.
Buddhist can practice the five precepts which are the guides to the wholesome living. There is also the eightfold noble path which is the path leading to the cessation of suffering in the fourth noble truth. All these and all other Buddha’s teachings were for the practice of awakening in communities and the world. To secure as Bhikkhu Bodhi puts it, the supreme security from bondage. To cultivate our virtues aids in easier progress in meditation(bhāvana) and wisdom, in order to secure our personal happiness such as blameless principle with regards to precepts, generosity or danā, altruistic joy, equanimity, These lead to contribution, living a meaningful life in the universal welfare for people, animals and the environment. To practice mettā bhāvana cultivates kindness, goodwill which will gradually reduced, trying not to have ill will, feel anger, jealously or fear. This is supporting the practice of the precepts since we can consciously take action not to express or act on unwholesome(akusala) or unskillful thoughts.
The root of gradual spiritual training in Buddhist ethics is sila, moral virtue and moral discipline or also translated as ethical conduct. It is right speech, right action and right livelihood from the eightfold noble path. The moral discipline provides the foundation for concentration. The ability to discern wholesome(arising from non-greed, non-hatred and non-delusion, stable, contented) and unwholesome thoughts(arising from greed, hatred and delusion), paying attention to our mind, speech and action so that we can be aware of what is beneficial to ourselves, others and what is not beneficial to ourselves and others. The Buddha taught that unwholesome things led to misery and suffering, wholesome(Kuala) or skilful things leads to welfare and happiness.(The Kālāma Sutta)
To abide by good conduct and practice wholesome actions, also means that the motives are good, exercising self restraint and harmless intentions to the self and others. Peter Harvey provided 3 criteria for differentiating good and bad actions. The first is the motivation of the action, which is also intention. Intention of renunciation(distancing oneself from cravings and clinging), intention of good will and intention of harmlessness. The second is the direct impact of the action in terms of causing suffering or happiness. If we seek to practice right effort, we can make the effort to abandon unwholesome practices in our lives. The third is the action’s contribution to spiritual development which either leads to or away from Nibbana as well as karmic and rebirth consequences.
The developing of healthy mental attitudes. For example, if we constantly dwell on anger(with the present or the past such as memories) without recognising it, our mind will not be in peace. Patience is needed in the gradual spiritual training and not to feel too self-critical. Being aware of our own impact in our advancement and acceptance of negative thoughts instead of trying to get rid of them completely while living in the community and the environment is a good way in keeping the consistency of good conduct and character once we recognise some improvement. Ajahn Sumedho writes that, the spacious mind has room for everything. Noticing the space around people and things provides a different way of looking at them, and developing this spacious view is a way of opening oneself.
References:
Chaper 9, “Vanasaṃyutta Connected Discourses in the Woods”, Translated by Bhikkhu Bodhi. The Connected Discourses of the Buddha, Wisdom Publication
Nourishing the Roots, Essays on Buddhist Ethics, Bhikkhu Bodhi, Wheel Publication No. 259/260, BPS Online Edition © (2009)
Collapsing Space and Time: Thich Nhat Hanh’s Ecological Humanism, Victor Thasiah, Journal of Buddhist Ethics, Volume 29, 2022
An introduction to Buddhist ethics, Peter Harvey, Cambridge University Press, 2000, 46
Ajahn Sumedho, The anthology, Volume 2, Seeds of understanding, Chapter 29, Noticing Space, 2014, Amaravati Buddhist Monastery
The art works
Liset van Dommelen
Awareness exploring series
Sizes go from 50 cm (all of them) and then 110 cm long and longer.
Charcoal on rice paper
2020
Liset van Dommelen is a printmaker and has developed her own guided meditation for her tree rubbings series. Its kind of like connecting to the texture of the trees, the bodies of the trees. She will like to invite her participants to slow down, focus, take the time to look deeply at their environment. She travels outdoor to do her printmaking(monotype) on trees or dead animals. A trip to monasteries in Thailand with monks left a lasting impression on her and she follows the Plum Village tradition of Thich Nhat Hanh online. Liset wants to share with everyone her experience and encounters of Buddhism through her print making by incorporating mindfulness practice in the natural environment with gestures such as touch.
Artist Statement
Awareness exploring series, The tree rubbing on the photo has been too much damaged during the trip (living in a small VW van has it’s challenges). I myself will go on printmaking outdoors. (dead animal prints and rubbings from trees ,buildings etc. After a few year of focusing on my awareness, and sharping my senses I will go further on focusing on to ponder a Thich Nhat Hanh quote: “If you touch one thing with deep awareness, you touch everything.” while printing. The photo with the tree rubbing is made in Sweden 2020 during the first year of the pandemic. I have other versions of tree rubbings to start to test the guided meditation. (the rubbings are made all over Europe) They are now glued on 1 very light stick. Sizes go from 50 cm (all of them) and then 110 cm long and longer. charcoal on rice paper. They are easier to transport and the guided tree meditation comes with it on a A4 piece of paper.
Beeli
(Bittergod Art)
This water runs deep
21.0 x 29.7 cm
Micron pen and gold, silver gel pen on paper
2022
Beeli shares in her joy of her Dhamma sister having an enlighten moment of experiencing and knowing the arising and cessation of pleasant and unpleasant emotions. She drew this beautiful pen drawing illustrating this enlighten moment with the waterfall. Beeli is a buddhist and have been practising mindfulness in the Plum Village tradition of Thich Nhat Hanh.
Artist Statement
This artwork is titled "This water runs deep." It was inspired by a sharing in a dharma circle. A dharma sister was talking about being enlighten in a moment. Of seeing sadness and happiness at the same time; feeling joy and peace and being able to witness it all. It's like seeing a beautiful waterfall and knowing that the water must have travel a long long way to become what it is. From being a cloud to rain to seas and rivers and so on. I wanted to create a sense of continuity and flow in this piece as various form changes and inter-be.
Terry Murray
Buddha Under the Bodhi Tree
600 cm H 700cm W. 250 cm D
assemblage & acrylic paint
2021
Terry Murray beautiful and refine wood sculpture, Buddha Under the Bodhi Tree, depicts a meditating figure under a tree like structure. The tree form is stylised. As the art work title suggest, Buddha’s enlightenment is likely the event that is depicted in this sculptural scene. The Dhammacakkappavattana Sutta was taught by the Buddha after his enlightenment. Terry Murray is an artist, educator and labyrinth designer. He works with materials including reclaim wood and meaningful found objects. He practices in the Plum Village tradition guided by the teachings of the Buddha and Thich Nhat Hahn. He conducts mindfulness workshops.
Here are 2 interesting links to the Sutta. Dawn of the Dhamma: Illuminations from the Buddha's First Discourse by Ajahn Sucitto. You can read and view venerable’s manuscript illustrations in this digital book. The second link is the the Dhammacakkappavattana Sutta with both Pali and English version, side by side. There is a direct translation for individual words of Pali.
Siew Guang Hong
Genus Scylla
29.7 x 21.0 cm (3 variations)
Digital Prints
2022
In Siew Guang Hong digital print and Kalam Dhari’s drawing(below), they are both inspired by nature and lean towards representing them from a view that connects to elements of science, like dividing subject matters into smaller elements and adding together. For example in Siew Guang Hong digital print, the ‘Genus Scylla’, which is a speculative fiction, it feels like a futuristic piece that serves as the poignant warning to humans of the damage we had caused to the ecology. At the heart of the message, is about Buddhist teachings of kamma and the potential of humans to have a rebirth into the lower realm due to their unwholesome actions. The digital drawings are interesting, in black and white with shadings of grey. Siew’s art work title is adapted from the system of classification in taxonomy. Siew Guang Hong is a young artist that works in different mediums, such as ceramics, soft sculptures. He experiments with digital and motorised art forms. He is a Buddhist practicing in the Mahayana traditions with his family.
Artist Statement
genus Scylla (2022) directly explores the relationship between Man and Beast, breaching themes of ecology and ultimately essentialism of other sentient beings beyond the human realm. Man’s arrival on the planet has introduced an unprecedented super-predator onto Earth’s ecosystem, resulting in anthro-oriented damage to different species of animals. Siew examines these changes, such as genetic modification or pollution-induced mutation, and identifies elements of Remi Astruc’s grotesque, understanding humankind’s encroachment into the beastial "other" as fundamentally existential. This is because our compounding actions as a species holes power over the reality of the biologies around us. This is especially poignant in Siew’s selection of the crab as a focus. In palaeontology, crabs supposedly possess an ideal blueprint for crustaceans. This causes many non-crab species to eventually evolve into crab-like animals, in the theorised process of carcinisation. By hyperbolising morphological mutation and reverse carcinisation in his work, Siew insists on a speculative reality where mankind has effected change onto nature so great that even the biological tank that is the crab has to change its shape and way of life. In Mahayana Buddhism, man and beast are both sentient creatures bound to Samsara. In addition to the philosophical grotesqueness of the chimaera and the mutant, Siew evokes spiritual grotesqueness. The devastation man affects onto the Tiryag (animal) realm resounds greatly into human consciousness, as we are thought that each animal has the potential to be reborn as a human, and each of us have the potential to be reborn as the tortured beast.
“I know I am made from this earth, as my mother’s hands were made from this earth, as her dreams came from this earth and all that I know, I know in this earth, the body of the bird, this pen, this paper, these hands, this tongue speaking, all that I know speaks to me through this earth.”
Excerpt from poem, “The roaring inside her’, Women and Nature, Susan Griffin
Kalam Dhari
Untitled
Pen and ink on paper
40.5x50.8cm
2022
Kalam Dhari’s line work of ink drawing is organic and the composition looks spontaneous but well organised with patterns or lines, dots, curves and shadings to emphasise individual elements as a whole, their borders touching each other and extending out. Her art work is about coexistence and survival of the ecosystem. Shikha explained that she will like to move away from the stereotype representation of plant life and emphasise on its biology. She is an emerging artist from Hyderabad, India and has a background in architecture education. She is not a Buddhist.
Artist Statement
An abstract botanical representation of the survival instinct of the flower by spreading pollen. It epitomizes the orderly chaos of a system of survival existing in tandem.
Chris King
Tibetan Prayer Flags
Cardboard, latex paint
71 x 84 cm
2022
In the art work, Tibetan Prayer Flag by Chris King, a kind of mental spacious is emphasised. Each color forming the triangle represent different natural element for the artist. The earth, the water, the sun, the wind, the air and finally the vast universe. They overlap each other and form a movement with a pattern. The background woven cloth pattern brush strokes resembles a net. Chris King is an engineering and artist who incorporates reused materials into his art practice.
Artist Statement
Tibetan Prayer Flags: this piece is a byproduct of the process to create this year’s installation at The Boundless Way Temple “ Buddhas Over Worcester” outdoor art installation. I painted fabric for the flags, I carefully placed each flag in sequence on a cardboard sheet to catch the overspray to create this artwork. When I look at this work, I see the earth yellow color first and feel as if I am looking up, through the water green, the heat of the red sun interacting with the white air and wind, and then into the blue space of our vast universe. I played with the brush around the edges of the piece to replicate woven cloth patterns and to experiment with various color interactions.