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The Prajnaparamita Heart Sutra



The Prajnaparamita Heart Sutra

The Bodhisattva Avalokitesvara, while moving in the deep course of Prajnaparamita, shed light on the five skandhas and found them equally empty. After this penetration, he overcame all pain.

"Listen, Shariputra, form is emptiness, emptiness is form; form does not differ from emptiness, emptiness does not differ from form. The same is true with feeling, perception, intention and consciousness.

"Hear, Shariputra, all dharmas are marked with emptiness; they are neither produced nor destroyed, neither defiled nor immaculate, neither increasing nor decreasing. Therefore, in emptiness there is no form,

feeling, intention, or consciousness; no eyes, ears, nose, tongue, body, or mind;

no forms, sounds, smell, tastes, touches, or mental objects; nor is there the realm of the eyes, up to and including the realm of mind consciousness.

There is no ignorance or ending of ignorance; up to and including no decay and death or ending of decay and death. There is no suffering, no origination of suffering, no extinction of suffering, and no path; no knowledge and also no attainment.

"Because there is no attainment, the bodhisattvas, supported by the Prajnaparamita, find no obstacles for their minds. Having no obstacles, they overcome fear, liberating themselves forever from illusion and realising perfect Nirvana.

All Buddhas from the past, present, and future, through reliance upon Prajnaparamita, arrive at full, right, and universal Enlightenment.

"Therefore, one should know that Prajnaparamita is a great spiritual mantra, a great wisdom mantra, a supreme mantra, an unequalled mantra. It destroys all suffering because it is the incorruptible truth. A mantra of Prajnaparamita should therefore be proclaimed. This is the mantra:

"OM GATE GATE PARAGATE PARASAMGATE BODHISVAHA"

read more about this on my website
www.yellowdragon-kung.fu.co.uk


After perfecting his artistic style for the last 30 years Master Wong is looking to exhibit and sell his work, an artistic expression with spiritual resolve and self perfection, illustrating a Taoist artistic style which has inspired humanity over the last 1000 years, both culturally and spiritually, from the peak of the Tang Dynasty.

Master Wong expresses the interrelationship between Taoism and Buddhism's thoughts and ways of seeing reality. Master Wong has intertwined his Yellow Dragon martial art with his creative philosophy. Master Wong aims to combine the best of Eastern and Western philosophy in his artwork.

One main technique, that accentuates his Taoist artistic style is the splash ink method, originated from Wang Qia, the Tang Dynasty. The paint is spontaneously and subtly controlled: understood by the Taoist as a hypnotic state that highlights momentary existence and non existence - expressing the sentiment of the Prajnaparamita Heart Sutra that form is emptiness and emptiness is form, thus, depicting man's relationship and interconnectedness with the cosmos.

Master Wong developed his talents as an artist, into the spiritual realm by developing as a Taoist Master. When Master Wong was a young artist he did not merely want to be an artist, but rather sought to develop a deeper state of consciousness from his lifeexperiences, and so to create a deeper profundity in his artwork when returning to his practise.

“....spend ten years observing bamboo, become bamboo yourself, then forget everything and paint.” Martial arts,  Taoism and Buddhist training for over 30 years has meant that Master Wong has come to the point of self realisation where he is satisfied to express himself as an artist.

Master Wong's Taoist view integrates imagination with actuality through the most intangible forms, such as  clouds, trees, mountains, mist, ocean, waves and formless scenes of nature. Through these forms the viewer can be inspired to unlock and open their minds and hearts to an enlightened view of reality.

This contrasts the misinterpretation and misunderstanding by modern abstract artists who lack true spiritual understanding by expressing an outward inner urge that is more metaphysical angst, compared to the floating harmony of Master Wong's metaphysical certitude and direct existential grasp of reality. The purpose is to inspire and place the viewer in touch with their innate spiritual nature opening up their  desire for knowledge and enlightenment.

There is no East and West in Master Wong's work: everything is part of nature, so, he uses the medium, the more Western tradition of oil and canvas in order to convey the artistic styles more akin to Chinese philosophy. Master Wong's sentiments of the universal philosophy of human nature should have no limit. It does not therefore matter if it is a Chinese or Western technique, these are merely tools and through the creative spirit this is what should unite not culturally divide people.

When the Master uses the finger to point at the moon the student should not just be looking at the finger. The finger is just a tool pointing to the direction. Painting is the same, the medium that is used is not important, it is the mental expression behind the art work that gives a picture its spirit.

As the Zen expression goes: “Don't concentrate on the finger or you will miss the heavenly glory of the sky.”

Long time no see - on my recent trip to Seattle I met Grandmaster Lu for the first time in quite a while! You can see a little video clip of the event by clicking on the image below:










Some of Master Wong's paintings

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