1) Name and Course Information: Timothy Shea Art and Art History ARHS 321/ASPA 398 (Cross-listed, Interdisciplinary Connections) Arts of Asia: Zen

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1 1 1) Name and Course Information: Timothy Shea Art and Art History ARHS 321/ASPA 398 (Cross-listed, Interdisciplinary Connections) Arts of Asia: Zen 2) Course Description and Objectives: Arts of Asia: Zen is an upper-level course that examines the historical development of Buddhism in India and the genesis of Chinese Chan and Japanese Zen Buddhism from the eighth through the twentieth century as well as its translation and transposition in the modern West. In each case, this course will examine Zen-related artistic practices through the lens of the religious, historical, and cultural contexts that surround artistic practice and production. Accordingly, students will have the opportunity to work with major religious texts central to the Chan/Zen tradition, accounts of historical controversies on the nature of enlightenment and legitimate transmission of the Dharma (Buddhist teachings), and various aesthetic practices including martial arts, calligraphy, poetry, painting, architecture, gardens, and the Japanese tea ceremony. Bridging the gap between textual study, historical analysis and Zen practice, the course also aims to explore the Chan/Zen emphasis on meditation as the means of achieving enlightenment, and the possibilities of Zen meditation, both historically and in contemporary society, for understanding the place of the self in the world and, ultimately, for compassionate, socially responsible intervention in the world. 3) Description of Workshops Attended: In order to develop the course, I attended five (5) workshops. Perhaps the most important to the day-to-day operation of my class has been the workshop Integrating Active Learning. In this workshop, we discussed a wide variety of classroom strategies that focus on engaging students in problem-based, in-class assignments that both foster interaction between students and improve individual student learning. The workshop introduced Team-Based Learning (TBL) as a model that combined a progressive series of assignments and mini-lectures to increase student learning. I have already implemented parts of the TBL approach in the first few weeks of class and adapted other parts of the problem-based approach to guide students through particularly difficult texts and foster group discussion. Each of the four writing workshops with Suzanne Lane have also been central to my course design, with new attention to teaching writing and evaluating, sequencing and scaffolding writing assignments. The writing workshops explored teaching writing as a process that begins with purposeful, sequenced assignments, has properly scaffolded instruction to help students acquire the knowledge necessary in a given discipline, and ends with productive evaluation and revision. I have paid particular attention to scaffolding my writing assignments since I will be introducing multiple genres, and I have also worked to sequence the assignments so that students can build on their writing throughout the semester.

2 2 4) Designed for Different Instructors: As an upper-division course, Arts of Asia: Zen was not designed explicitly to be taught by other instructors in the department. The course depends on having an instructor with a specific area of specialization. 7) Existing Course into a New Core Course: The changes I made to Arts of Asia: Zen include: new units, new lecture material, new texts for reading assignments, and new writing assignments. Division of the course into three units is central to the changes I have made, highlighting three different eras of Chan/Zen Buddhism its emergence in China out of Indian Buddhism, its flourishing in China and Japan, and finally, its translation into the modern world. In each period, the course allows students to look at how Zen monks, practitioners, and artists positioned themselves within the changing cultural, historical, and political contexts of a given society. This is at the center of the Interdisciplinary Connections thematic category of Culture, Art, and Society. To implement this, I have integrated reading from a book of source material with writings from various Zen figures in China and Japan that spans more than a thousand years of Zen history. Through in-class and online discussions, these readings allow the class to look more carefully at and discuss the philosophical and religious questions that have animated Zen Buddhism and Zen practice. My lecture material and writing assignments have also changed to reflect this interdisciplinary approach, adding new writing assignments in multiple genres, including a comparative historical analysis of Zen thinkers and a final project that asks students to use the ideas of Zen Buddhism to address a problem of suffering here in Los Angeles County by doing research and submitting a letter to an LA County politician. In this course, we are addressing the historical and art historical questions related to Zen Buddhism as well as asking students to position themselves with respect to the material we cover and their own context here at Loyola Marymount University. 11) Syllabus: Loyola Marymount University Professor: Timothy Shea Course title: Arts of Asia: Zen Office: The Fritz B. Burns Fine Arts Center (1 st Floor Art History Business Office) Office hours: 1:30-3:30pm, Tuesday and Thursday; by appointment timothy.shea@lmu.edu Course time: Tues./Thurs. 9:25am-10:40am Course location: Burns 211 Course fees: The lab fee associated with this course ($20.00) will be used to cover costs incurred during a site visit and/or for a guest speaker. COURSE DESCRIPTION: Arts of Asia: Zen is an upper-level course that examines the historical development of Buddhism in India and the genesis of Chinese Chan and Japanese Zen Buddhism from the eighth through the twentieth century as well as its

3 3 translation and transposition in the modern West. In each case, this course will examine Zen-related artistic practices through the lens of the religious, historical, and cultural contexts that surround artistic practice and production. Accordingly, students will have the opportunity to work with major religious texts central to the Chan/Zen tradition, accounts of historical controversies on the nature of enlightenment and legitimate transmission of the Dharma (Buddhist teachings), and various aesthetic practices including martial arts, calligraphy, poetry, painting, architecture, gardens, and the Japanese tea ceremony. Bridging the gap between textual study, historical analysis and Zen practice, the course also aims to explore the Chan/Zen emphasis on meditation as the means of achieving enlightenment, and the possibilities of Zen meditation, both historically and in contemporary society, for understanding the place of the self in the world and, ultimately, for compassionate, socially responsible intervention in the world. This course is part of the Interdisciplinary Connections area of the core curriculum at LMU and therefore emphasizes the education of the whole person through interdisciplinary approaches to learning. The course will pursue the topic of Zen and the arts of Asia with an interdisciplinary approach that attends to the Jesuit-Marymount commitment to learning that will lead to transformation. In this course, we will expand understanding through the integration of art historical, philosophical, and historical approaches to Zen. Accordingly, the course will provide a forum for the examination of the ways that individuals have grappled creatively with the political, cultural and social forces that shape society. LEARNING OUTCOMES: Following a successful completion of this course, students will be able to: 1. Understand the historical development of Zen Buddhism and its related arts In this course we will look carefully at the history of Buddhism and the central texts and historical figures of Indian, Chinese and Japanese Buddhism that make up the rich tradition of Chan/Zen Buddhism. Through readings, lecture presentations, in-class activities, discussion and writing assignments, students will also have the opportunity to learn about and analyze Buddhist and Zen Buddhist artworks from the eighth through twentieth centuries. 2. Engage critically and reflectively in scholarly discourse Over the course of the semester, students will have the chance to read widely in the fields of art history, history, and philosophy. After in-class discussion and lecture, students will be able to apply several key theoretical models in their analysis of Chan/Zen Buddhism and its related arts. 3. Identify and understand Chan/Zen Buddhist thinking about/approaches to the self Throughout the course, students will engage in a process of exploration of the self through Chan/Zen Buddhism. In each of the three major sections of the course, student will balance an historical approach to the development of Chan/Zen Buddhism with reflection on the self and the meaning of the self in contemporary society. In the final project, students will activate both approaches by seeking a

4 4 solution to a problem of suffering in contemporary society through the lens of the self. 4. Demonstrate the ability to recognize and analyze similarities and differences between at least two disciplinary perspectives or modes of knowing Students will work between the disciplines of art history, history, and philosophy, utilizing primary and secondary source material to examine the Chan/Zen Buddhist tradition. Discussion, in-class activities and lecture presentations will allow students to explore these disciplinary approaches to Chan/Zen Buddhism. 5. Know discrete characteristics of each discipline Each of the writing assignments for this course will introduce students to new ways of looking at and analyzing the art, philosophy, and history of Chan/Zen Buddhism. Through in-class discussion, readings, and writing assignments, students will be able to distinguish between the different discourse communities in each discipline and apply a particular disciplinary or interdisciplinary approach to the study of Chan/Zen. 6. Be able to integrate different disciplinary approaches to explain or solve a phenomenon, issue, or problem Throughout the course, students will look at a variety of historical contexts in which individuals artists, writers, monks and philosophers looked to Chan/Zen Buddhism as a way to understand, explain, or solve problems. In class activities and writing assignments, particularly the final writing project in which students will write a letter advocating on behalf of an issue of social and/or cultural concern, students will also have to look to Chan/Zen Buddhism to explain particular problems and creatively design a solution. 7. Value different ways of knowing and thinking about the issues and value the use of multiple perspectives and viewpoints to address a given issue Focusing on the broad areas of Asia and Zen, this course asks students to examine their own understandings of these broad categories and to struggle toward a new awareness of these concepts but also students own position in relation to Asia and Zen. This reflexivity will be central to facilitating meaningful discussion as the class works through the course material and comes to new understandings of Chan/Zen Buddhist philosophy. 8. Demonstrate an understanding of the core concepts of the interdisciplinary thematic connection, Culture, Art, and Society. Chan/Zen Buddhism has been, and remains, intertwined with the processes of social, cultural, and political change. Throughout the course, students will have the opportunity to grapple with questions of the place of Chan/Zen Buddhism in society and the expression of Chan/Zen Buddhism in the arts both of which introduce problems surrounding the relationship between politics, religion, and the arts.

5 5 COURSE FORMAT/INSTRUCTIONAL METHODS: For this course, we will utilize a combination of in-class discussion, activities, and lecture as well as online discussion and writing via the course Blackboard site to examine Chan/Zen Buddhism. We will also integrate peer editing into writing assignments throughout the semester, culminating in the final research project. In this course, students will also work with art objects through a visit to a Los Angeles museum and, as applicable, visit Special Collections at the Hannon Library. REQUIRED TEXT/READINGS: The books below are required, and they are available for purchase at the LMU bookstore. Each of the books is also readily available for purchase online. Aside from these texts, we will have readings (PDF) posted on our course Blackboard site at mylmuconnect.lmu.edu. - Nelson Foster and Jack Shoemaker, eds. The Roaring Stream: A New Zen Reader. Hopewell, NJ: Ecco Press, ISBN X - Janwillern Van de Wetering, The Empty Mirror: Experiences in a Japanese Zen Monastery. New York: St. Martin s Griffin, ISBN COURSE REQUIREMENTS: EXAMS (30%): - Exam #1 (10%), September 25: Students will be responsible for knowing the basic principles, concepts, and early history of Buddhism and Chan Buddhism in China. As well, students will have to be able to identify and discuss a series of images from Buddhist art discussed in class and the readings. A study sheet will be distributed in class and posted online with detailed information about the exact material that students need to know for the exam. - Exam #2 (10%) October 30: Students will be responsible for knowing the relevant historical and cultural context for the spread of Chan and Zen Buddhism, the practices of Chan and Zen Buddhism, as well as a series of images related to Chan and Zen Buddhism in China and Japan, respectively. A study sheet will be distributed in class and posted online with detailed information about the exact material students need to know for the exam. - Exam #3 (Final, 10%), Thursday, December 11 (8:00am): Students will be responsible for knowing the relevant historical and cultural context for modern and contemporary developments of Chan/Zen Buddhism and Chan/Zen arts in China, Japan, and the United States. A study sheet will be distributed in class and posted online with detailed information about the exact material students need to know for the exam. SMALL WRITING ASSIGNMENTS (25%)

6 6 - Formal Analysis (5%, Due 9/9): Students will select an art object covered in the first section of the class and compose a formal analysis of words (text). We will discuss the genre of formal analysis in class, and detailed information will be handed out and posted online leading up to the assignment. - Revised Formal Analysis (5%, Due 9/23): After receiving feedback, students will revise the formal analysis and submit a final copy. - Concept Map and 50-word Précis (5%, Due 9/30): In the second section of the course, students will be analyzing two scholarly articles, mapping the argument using a concept map that I will provide, and writing a 50-word précis of the article. We will discuss the genre of précis, and detailed information will be handed out and posted online leading up to the assignment. **If you do not complete the original assignment on time, you will receive a zero for the entire assignment. o Peer-edit of Concept Map and Précis (in-class participation): Students will evaluate 2 other concept maps and précis, and will be graded on the quality of feedback given to peers word Wall Text (5%, Due 10/14): In the second section of the course, students will compose a wall text (short textual description next to objects in a museum) of words that corresponds to an art object from the reading for 9/30. We will discuss the genre of wall text in class, and detailed information will be handed out and posted online leading up to the assignment. - Comparative Historical Analysis (5%, Due 10/21): In the second section of the course, students will compose a comparative historical analysis of words (text) that compares the Chan and Zen ideas of two thinkers one from China and one from Japan that we have read from The Roaring Stream. We will discuss the genre of comparative historical analysis in class, and detailed information will be handed out and posted online leading up to the assignment. FINAL WRITING PROJECT (25%) In Buddhism, the Ten Paramitas, or perfections, come from some of the earliest known written Buddhist texts. Each perfection giving, morality, patience, zeal, focused meditation, wisdom, compassionate means, aspiration, spiritual power, knowledge is a cornerstone for following the way of a bodhisattva. Perhaps the most fundamental perfection is generosity (Sanskrit: dana), which encompasses all manner of giving, including active participation in social reform. The final product for this assignment is twofold: 1) write a letter (approximately 1-2 pages) to a politician in Los Angeles that endorses compassionate behavior regarding fellow human beings, animals, the city, the nation or the planet. Support a worthy issue such as feeding and sheltering the homeless, disaster relief for the unfortunate, reform measures for victims of crimes such as trafficking. Argue

7 7 carefully and convincingly about the need for worthy compassionate measures that can be taken. You will turn in the final letter to me along with an addressed and stamped envelope, and I will review the letter and then send it out. 2) In preparing to write this letter, you will conduct research on your topic and proposed measures beginning in the second section of the course. You will submit a longer analytical essay (8-9 pages) that explains the context for the issue that you chose and effectively argue, with considered reference to specific readings and texts from the course, how your proposed measures or reforms embody the approach of Zen Buddhism. The grade for the final project will consist of several smaller assignments across the second and third sections of the course, including the final draft of the essay and letter. Detailed instructions for each part of the assignment will be handed out in class and posted online. The components of the assignment are as follows: Brainstorming topic and problem (In-class discussion participation, 10/9) Concept Map and Outline (2%, Due 10/28) Rough Draft of Essay (6%, Due 11/11) Peer Editing Evaluations (3%, Due 11/18) Final Draft of Essay and Letter (14%, Due 12/4) PARTICIPATION (20%) Active participation by all students will be central to successfully completing this course. The participation grade will be calculated based on a combination of three factors: Attendance (see policy below); in-class discussion and activities; and online discussion and reflections/responses through the MyLMUConnect Blackboard site. All in-class and online discussions will be graded according to point-based discussion rubrics that will be distributed and explained in class. For in-class discussion, students will also participate in the grading process through evaluation of smaller group discussion. For online discussion the minimum participation to receive any points is 1 entry, 1 response. **Please be advised, you are allowed one unexcused absence from class; however, if you miss class, you will also potentially be missing out on participation points through in-class discussion and activities. POLICY FOR LATE WRITING ASSIGNMENTS: All assignments are due on the date specified on the syllabus or on the assignment sheet; specifically, assignments are due in class on the day indicated, otherwise they are considered late. Late assignments will be reduced one letter grade for every calendar day that they are late. **On the 4 th calendar day after an assignment is due (not including the due date), any assignment not submitted will be graded as a zero (0) and may not be submitted no exceptions. WORK LOAD EXPECTATIONS:

8 8 According to LMU s Credit Hour Policy ( At LMU, one credit hour is defined as a minimum of 3 hours of work by an average student per week for a 15-week semester (i.e., 45 hours for a full semester), supervised by an instructor, represented intended learning outcomes, and verified by evidence of student achievement. Therefore, a 3-credit hour (unit-semester hour) course at LMU will require the student to spend a minimum of 6 hours a week, on average, outside of class time researching, applying, and otherwise investigating the material presented during class time. In some cases, this work will involve discussion with classmates and/or independent study, reflection, reading, and writing. In other cases, this work may also involve the preparing of oral presentations or practice in cultivating skills that are related to course assignments. The final grade will reflect both attendance and participation during class as well as work outside class. Students should be prepared for the time and work commitment that is a part of classes at LMU. Because of the nature of this course, students will be required to attend a museum visit outside of the regular class time. To both support and augment your learning, you may consult with your professor during regularly scheduled office hours. Additionally, a variety of resources and support services are available, including but not limited to: the holdings and staff of the William Hannon Library, the staff and workshops at the Academic Resource Center, and a range of varied university events (i.e., lectures, symposia, exhibits, and performances). GRADING SCALE: The following grading scale will be used to determine the final course grade: A % Excellent (A) A B B Good to very good (B) B C C Satisfactory (C) C D Marginally acceptable (D) F below 59.9 Not acceptable (F) ** No incompletes will be given for the term. ATTENDANCE POLICY: Punctual attendance is required at every class and roll will be taken at the beginning of the class time. If you are late for a particular class, it is your responsibility to contact the professor at the end of that class period so that your attendance can be recorded. Only medically documented absences will be excused; please note, however, that the LMU Health Center does not document illness and documentation may need to be obtained from a medical center off-site. Documentation should be provided in the class immediately following the one that was missed. Students

9 9 are allowed one unexcused absence; each absence after that will effectively lower the participation grade by one letter grade. Excessive tardiness (ten minutes after class begins) will also lower the participation grade; three tardy arrivals equal one absence. Students who miss eight or more classes will receive a final course grade of C or lower. Students are responsible for all material missed in class. SPECIAL ACCOMMODATIONS: Students with special needs who require reasonable modifications, special assistance, or accommodations in this course should promptly direct their request to the Disability Support Services (DSS) Office. Any student who currently has a documented disability (ADHD, Autism Spectrum Disorder, Learning, Physical, or Psychiatric) needing academic accommodations should contact the DSS Office (Daum Hall 2 nd floor, ) as early in the semester as possible. All discussions will remain confidential. Please visit for additional information. ACADEMIC HONESTY: Academic dishonesty will be treated as an extremely serious matter with serious consequences that can range from receiving no credit for assignments/tests, failing the class, to expulsion. It is never permissible to turn in any work that has not been authored by the student, such as work that has been copied from another student or copied from a source (including Internet) without properly acknowledging the source. It is your responsibility to make sure that your work meets the standard of academic honesty set forth in the LMU Honor Code and Process which appears in the LMU Bulletin (see EXPECTATIONS FOR CLASSROOM BEHAVIOR: No food is allowed in Burns 211; only covered drinks are permitted Students are required to come to class on time Students should not leave the room during class time; this is a disruption to the professor as well as other students in the class. Please turn off and put out of sight all electronic devices (other than a calculator or computer, if/when allowed) during class-time. The interruptions and/or distractions they cause disrupt class and interfere with the learning process. Please also remember your commitment to the LMU community as outlined by student affairs: LMU s Community Standards (IV.D) defines prohibited conduct as disruptive behavior, and/or intentionally or recklessly interfering with normal University life, activities, processes or University-sponsored activities including, but not limited to: studying; teaching; research; classroom instruction; campus or residential life; University administration; judicial proceedings; or fire, police or emergency services. The Lion s Code (see LMU s Community Standards), i.e. As an LMU Lion, by

10 10 the Lion s Code, you are pledged to join the discourse of the academy with honesty of voice and integrity of scholarship and to show respect for staff, professors, and other students. EMERGENCY PREPAREDNESS: To report an emergency or suspicious activity, contact the LMU Department of Public Safety by phone (x222 or ) or at the nearest emergency call box. In the event of an evacuation, follow the evacuation signage throughout the building to the designated safe refuge area where you will receive further instruction from Public Safety or a Building Captain. For more safety information and preparedness tips, visit TENTATIVE NATURE OF SYLLABUS: If necessary, this syllabus and its contents are subject to revision; students are responsible for any changes or modifications distributed in class or posted on LMU's course management system MYLMU Connect. COURSE RESOURCES: BLACKBOARD: (accessed through mylmuconnect.lmu.edu or through the main page for MYLMU under system login, MYLMU Connect): A Blackboard site for the course has been set up so that students can access various information related to the class, such as the syllabus, assignments, readings and power points. I will also use the Blackboard list to send out course announcements and information regarding upcoming exhibitions. Because much of our communication will depend on the Blackboard site, please make sure that your settings are accurate and up-to-date with the account that you use daily. If you have questions about the use of Blackboard or if you have trouble accessing the site, please come to speak with me. LEARNING RESOURCE CENTER ( The Learning Resource Center at LMU offers students assistance in writing and study skills. I would highly recommend that you take advantage of this free service on campus should you feel that you need additional help in preparing for your exams or writing assignments. LIBRARY GUIDE ( This is a general research resource for students in Art History. When conducting art historical research, this library guide is a great place to start exploring the resources available to you at Hannon Library and beyond. The library guide also offers all of the resources you need to avoid plagiarism and the guidelines for citing your sources following the Chicago Manual of Style. Further information regarding plagiarism in the context of research and writing in the Humanities can be found in the Art History Library Guide under the tab Cite Your Sources CHICAGO MANUAL OF STYLE QUICK GUIDE:

11 11 COMMUNICATION: At times I will communicate with the entire class using campus systems, so it is essential that you regularly check your lion.lmu.edu address or forward your lion account to your preferred address. *** COURSE SYLLABUS: PART I: Buddhism and Zen: How did Zen emerge as a distinct type of Buddhism? Week 1: Introduction, Buddhism and Art Class One (8/26): Introduction to Course Class Two (8/28): The Historical Buddha and the Beginnings of Buddhism o The Foundations of Buddhism, p o A Short Guide to Writing about Art, p and Week 2: Buddhism and Buddhist Art Class One (9/2): Principles of Buddhism; Different Branches and Trajectories o The Art of Buddhism, p o The Foundations of Buddhism, p Class Two (9/4): Buddhist Art and Iconography o The Art of Buddhism, p Week 3: Laying the Groundwork for Chan Buddhism in China Class One (9/9): Spread of Buddhism, Roots of Chan Assignment: Formal Analysis Due o Dumoulin, Zen Buddhism: A History, p ; o Heart Sutra (PDF) Class Two (9/11): Bodhidharma o Charles Lachman, Why Did the Patriarch Cross the River? The Rushleaf Bodhidharma Reconsidered Asia Major, 6 (2), p o The Roaring Stream, Bodhidharma p. 3-9 Week 4: Chan Buddhism in a Chinese Context

12 12 Class One (9/16): Chan Practices o The Art of Buddhism, p o John R. McRae, The Antecedents of Encounter Dialogue in Chinese Ch an Buddhism in eds. Steven Heine and Dale S. Wright The Koan: Texts and Contexts in Zen Buddhism (Oxford: Oxford University Press, 2000), p Class Two (9/18): Tracing Chan Lineages in China o The Roaring Stream, Hui-Neng, p ; Wang Wei, p ; Shih-t ou, p ; Ma-tsu, p ; o Dumoulin, The Zen Movement after Hui-neng, in Zen Buddhism: A History, p Week 5: Defining Early Chan Buddhism Class One (9/23): Chan Buddhism o The Roaring Stream, Lin-chi, p ; Tung-shan, p Assignment: Revised Formal Analysis Due Class Two (9/25): Exam #1 Part II: Art and Zen Practice: How does art (and, how do artists) express Zen ideas and thinking? Week 7: Chan Buddhism s Golden Age Class One (9/30): Song Dynasty Chan Buddhism o Morten Schlutter, Chan Buddhism in the Song: Some Background, in How Zen Became Zen: The Dispute Over Enlightenment and the Formation of Chan Buddhism in Song-dynasty China, p (ebook, Hannon Library) o Yukio Lippit, Apparition Painting, RES: Anthropology and Aesthetics, No. 55/56 (Spring-Autumn, 2009), p Assignment: Concept Map and 50-word précis due (one for each article) Class Two (10/2): Thinkers and Artists of the Song Dynasty

13 13 o The Roaring Stream, Hsueh-tou, p ; Su T ong-po, p ; Yuan-wu, p ; Hung-chih, p ; Ta-hui, p Week 8: Chan to Zen, Shift to Japan Class One (10/7): Chan/Zen, between China and Japan o The Roaring Stream, Dogen, p ; Enni Ben en, p ; Daikaku, p o The Art of Buddhism, p Class Two (10/9): Constituting Zen Buddhism and Zen Art o The Roaring Stream, Keizan, p ; Muso, p o Yukio Lippit, Awakenings: The Development of the Zen Figural Pantheon, in Awakenings: Zen Figure Painting in Medieval Japan (New York: The Japan Society, 2007), p Week 9: Extension of Zen Buddhism in Japan Class One (10/14): Zen Portraits and Statuary o D.T. Suzuki, The Buddhist Statues and Pictures in a Zen Monastery, in Manual of Zen Buddhism, p (mostly images) Assignment: Word Wall Text Due Class Two (10/16): Zen Practitioners o The Roaring Stream, Daito, p ; Jakushitsu, p ; Bassui, p ; Ikkyu, p o Alexander Kabanoff, Ikkyu and Koans in The Koan: Texts and Contexts in Zen Buddhism, p Week 10: The Importance of Aesthetics to the Zen Tradition Class One (10/21): Tea Ceremony o The Roaring Stream, Baisao, p Assignment: Comparative Historical Analysis Due Class Two (10/23): Zen Landscapes, Architecture, Gardens

14 14 o Joseph D. Parker, Buddhist Illusion and the Landscape Arts in Zen Buddhist Landscape Arts of Early Muromachi Japan ( ), p o Allen S. Weiss, Transient Symbols, in Zen Landscapes: Perspectives on Japanese Gardens and Ceramics, p Week 11: Zen in the Edo Period Class One (10/28): Edo Period Zen o The Roaring Stream, Basho, p Assignment: Concept Map and Outline Due Class Two (10/30): Exam #2 Part III: Transition, Translation and Transposition: How is Zen articulated in the modern and contemporary world? Week 12: Zen and East Asian Buddhist Modernism Class One (11/4): Continuing Zen in the Monasteries o Audrey Yoshiko Seo, Ushering Zen into the Twentieth Century, in The Art of Twentieth-Century Zen: Paintings and Calligraphy by Japanese Masters, p o The Empty Mirror, Chapters 1-5 Class Two (11/6): Buddhist Modernism o David L. McMahan, Buddhism and the Discourses of Modernity, in The Making of Buddhist Modernism (Oxford: Oxford University Press, 2009), p o The Empty Mirror, Chapters 6-9 Week 13: Zen, Art, and the West Class One (11/11): Introducing Zen to the World o Shaku Soyen, Law of Cause and Effect, as Taught by Buddha, reprinted in ed. Richard Hughes Seager The Dawn of Religious Pluralism: Voices from the World s Parliament of Religions, 1893 (La Salle, Illinois: Open Court, 1993), p o The Empty Mirror, Chapters 7-9 Assignment: Rough Draft of Final Essay Due

15 15 Class Two (11/13): Transposition of Zen Arts o Jane Falk, The Transmission of Zen as Dual Discourse: Shaku Soen and Okakura Kakuzo, in Writing as Enlightenment: Buddhist American Literature into the Twenty-first Century (Albany: SUNY Press, 2011), p (ebook, Hannon Library) o The Empty Mirror, Chapters Week 13: Re-reading Chan/Zen in Mid-century Art Class One (11/18): Zen Buddhism, World War II and the Japanese Avant-garde o Alexandra Munroe, Circle: Modernism and Tradition in Japanese Art after 1945: Scream Against the Sky (1994) Assignment: Peer Editing Evaluations Due Class Two (11/20): Zen and the New York Neo-Avant-garde Readings: o McMahan, Buddhist Romanticism: Art, Spontaneity, and the Wellsprings of Nature in The Making of Buddhist Modernism, p o The Empty Mirror, Chapters Week 14: Re-reading Chan/Zen in Contemporary Chinese Art, A Case Study Class One (11/25): Xiamen Dada and Chan Buddhism in Chinese Contemporary Art o Huang Yongping, excerpt from Xiamen Dada Postmodern? (1986) o Britta Erickson, Silent Selves and Pseudo-Characters Art and Asia Pacific 2(2000) Class Two (11/27): No Class, Thanksgiving Holidays Week 15: Zen in an American Monastery Class One (12/2): Zen Buddhism in the World o Robert Aitken, Compassionate Means: The Upaya Paramita in The Practice of Perfection: The Paramitas from a Zen Buddhist Perspective o The Empty Mirror, Chapters Class Two (12/4): Course Conclusion and Exam Prep Assignment: Final Project Due

16 16 FINAL EXAM: 8:00am, December 11, 2014 in our classroom