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Shōyōroku / Congrong lu · CASE 99

Unmon's Bowl and Bucket

The Book of Serenity

Edition
Names

Names without a verified counterpart remain in their source form.

Banshō's pointer

Chess has a special wit; wine requires a special stomach. The cunning hare has three burrows; the crafty clerk has ten thousand lucky schemes. There is still one with a complication. Now say: who is it?

Case

A monk asked Unmon, “What is the dust-mote-by-dust-mote samadhi?”3 Unmon said, “Rice in the bowl; water in the bucket.”

Hongzhi's verse

Rice in the bowl; water in the bucket. Open the mouth and show the gall, seeking one who knows oneself. Intend to think, and at once you fall into the second and third mechanisms. Face to face, suddenly ten thousand li apart. Master Shaoyang is still a little short. The meaning that cuts gold—who shares it with him? The heart that is not stone—he alone can be like this.

Banshō's commentary on the case

The Huayan says: One dust mote enters right absorption; from all dust motes, samadhi arises. It also says, “Each dust mote is thus; each phenomenon is thus.”3 At the place of his question, this monk directly wanted Unmon to bring it out before his face. Unmon said, “Rice in the bowl; water in the bucket.” Now say: did he bring it out, or not? Some immediately recognize it, send off the matter in harmony with the sound, and present the pivotal working through the phrase. Some say, “In the bowl, every grain of rice is round; in the bucket, every drop of water is wet.” There is still another kind who asks, “What mortal urgency is there?” and says, “There is rice in the bowl; there is water in the bucket.” Foguo said, “I have rinsed my mouth for three years precisely because of your kind.” Setchō said, “A many-mouthed master finds it difficult to put down his mouth.” It turns out that he was timid—look! Tendō splits open the skin of the face. A monk asked National Teacher Zhong, “What is the great meaning of the Buddha Dharma?” The teacher said, “Ten thousand bodhisattvas in Manjushri Hall.” The monk said, “This student does not understand.” The teacher said, “Great Compassion's thousand hands and eyes.”4 Fojian versified: That year vegetables were cheap; radish heads covered the ground. One coin bought one; whoever got one ate until fully stuffed.5 Here you immediately see Tendō and Unmon extending a single hand and lifting a three-legged cooking pot whose leg is broken. The “Appended Statements” of the Yijing say: The way of principled people is sometimes to go forth, sometimes to remain; sometimes to be silent, sometimes to speak. When two people unite in heart, their sharpness cuts gold. Words from united hearts have fragrance like orchids. The commentary says: Gold is a firm and hard thing, yet their sharpness can cut it—this expresses the extremity of sharpness.6 The “Cypress Boat” poem in the Bei section of the Book of Odes says: My heart is not stone; it cannot be turned. My heart is not a mat; it cannot be rolled. The commentary says: Though stone is hard, it can still be turned; though a mat is flat, it can still be rolled. The speaker means that the heart's resolve exceeds stone and mat in firmness and levelness.6 Now say: National Teacher Zhong, Fojian, Unmon, and Tendō—why are they in such mortal urgency? Piece after piece of sincere heart, yet few know the person; heap upon heap directly before the face, yet those who see are rare.

Footnotes 4
  1. Samadhi is contemplative absorption; the Huayan formulation uses each tiny particular to express interpenetration. It is a doctrinal-poetic model, not a scientific claim about physical dust. ↩
  2. The thousand hands and eyes of Great Compassion are iconographic expressions of responsive capacity. They do not describe ordinary human anatomy. ↩
  3. Cheap radishes and eating until full evoke abundance and accessibility, but historical food prices also reflect harvests, labor, transport, and unequal purchasing power. ↩
  4. The Yijing and Book of Odes citations lend classical authority to unity and resolve. Their presence establishes Banshō's intertext, not the universal truth of his interpretation. ↩
About this version and its sources
Full source citation
Source title: 雲門鉢桶. Base: CBETA T2004, T48n2004_p0291b05–p0291c04. Angle brackets represent inline notes.
Method
Direct critical-edition translation from the cited received base text. Source claims, hagiography, uncertainty, and unresolved readings remain identified in the notes and project record.
Editorial uncertainty
Independent philological and reader review remain pending.
Rights
Project translation © Tulsa Zen Center Critical Edition contributors. Source text is cited by edition; redistribution policy requires final organizational approval.
Revision identifier
c25a606e94ca