Interview: Rev. Ken Yamada
May 21st, 2008 by Menachem Wecker
Rev. Ken Yamada is a minister at Berkeley Higashi Honganji Buddhist Temple in Berkeley, Calif. He began with the following caveat: “As a Buddhist minister, I’m not an expert on art, but I do have a personal interest in Buddhist art and I sometimes refer to art as a means to teach Buddhism, which is the whole point of ‘Buddhist art.’ So that is my humble perspective in trying to provide feedback to your questions.”
MW: To what extent, if at all, is creating art a religious experience in Buddhism, as opposed to simply an act of creating works that then take on religious significance?
RKY: Both approaches represent two sides of the same coin. Artists create work meant to take on religious meaning. And the creation of art is also meant to be a religious experience.
For example, an artist skilled in his craft, may carve a statute or paint a picture meant to depict a Buddha or a scene of a story in a sutra, which are then seen by others for their religious meaning.
For those people who see the art only in terms of a beautiful object (such as viewers at a museum), the artwork is not really “Buddhist” in my opinion.
The creation process ideally also is a religious experience. When a carver works on a statue, one form of practice is to perform a simple chant, such as “Nam Am Da Bu” while carving, over and over. This practice cultivates a calm, clear mind of appreciation. Consequently from this mind, a peaceful-looking Buddha emerges from the block of wood. The mind of the carver is just as important as skill in creating a statue of the Buddha.
MW: Is there a such thing as Buddhist art per se? If so, what does it entail? Are there any subjects that are off limits to Buddhist artists?
RKY: Traditionally, Buddhist art are representations of the symbols and images found in the sutras, which are the scriptures based on the historic Buddha’s sermons. For example, they will be different Buddhas, specific symbols such as lotus blossoms (which represents “wisdom”), or devil-like images (which represent anger and ignorance).
However, Buddhism is very liberal in the sense that anything can be a teaching (Dharma) to us. Therefore, nothing is really off limits in terms of what subject or image form the basis of the art, as long as it expresses Truth as taught by the Buddha, such as “interdependence” or “nirvana” or “impermanence,” etc. Sometimes these teachings are deeply buried in the symbolism expressed by the art, so artwork must be studied, analyzed and meditated upon before these truths are realized by the viewer. This process too, of using art to move a person to think about life in a deep and profound way, is another means by which art serves its religious purpose. Mandalas are an obvious example of this process, as they are meant to be stared at and reflected upon continuously.
MW: One often hears the term idolatry thrown around in certain circles with respect to Buddhist art. Is this just a term that is used in the West to discriminate against Eastern art? Are sculptures worshiped in their own right, or do they represent divinities larger than themselves?
RKY: Buddhist statues and images are not meant to be worshiped, nor are they to be seen as representing Gods or spirits. To view them as such is a misunderstanding. Unfortunately, you may see idol worship today in Buddhist temples, especially in Asia, and a lot of superstition and good fortune seeking.
We tell the kids that we all have a little Buddha living inside of us, but it is sleeping. When we experience life and start to understand ourselves and the world around us, then this Buddha begins waking up. That is to say we start to become wiser and more compassionate, just like a Buddha. Consequently, these Buddhist statues represent different dimensions of life, different sides of ourselves and the deep truths about the world. For example, there’s a Buddha of wisdom and compassion, there’s a Buddha of self-reflection and a Buddha of healing. Depending on the art, they may represent our aspiration to be enlightened, to be relieved of our suffering, or our connection to our fellow man. These images simultaneously represent Truth, they teach us, and they inspire us. A common image of the Buddha represents Shakyamuni Buddha, who is the person who lived 2,500 years ago. However, there are many different Buddhas. These other Buddhas represent, not gods or spirits, but different dimensions of enlightenment.
A big challenge continues to be the translation and interpretation of Buddhism from Eastern languages into English with a decidedly Christian bent. Consequently many of the initial translations were off the mark because they were translated by Westerners raised in a Christian oriented society. Today and into the future, the words, symbols and practices will continue to be interpreted and researched as people work out the nuances and a proper understanding. This is an endless process, especially as culture, language and societies change over time. I think this challenge was a big influence in how people thought the Buddha statue in temples was a God-like being.
MW: What are some of the most important venues for showing Buddhist art and culture? Who are some of the most important Buddhist artists working today?
RKY: In my opinion, the most important, that is to say, “living art” is found in Buddhist temples. They are actively serving their purpose. Of course, there are beautiful and priceless works of art sitting in museums, but in a way, they are dead if they are only being viewed for their beauty. If they serve to awaken and enlighten people, then they come alive.
I don’t know the names of any Buddhist artists. There are some people I suppose who are famous artists, and there are books on the subject, but from a religious perspective, it’s contradictory to praise somebody for creating a great Buddhist work of art. Artists don’t usually even put their name or signature on a statue of a Buddha, for example, because the statue represents wisdom or teachings that are much greater than one’s own self, and putting your stamp on it represents the boast of that ego that “I” need to take credit for creating this art. Remember how I mentioned that from a peaceful mind emerges the Buddhist statue from a block of wood? We might even say that this statue came from, not the artist, but from the Buddha within us. To take the metaphor even further, this art came from the infinite.
MW: To what extent does the American Buddhist community differ culturally and religiously from Buddhist communities in other parts of the world?
RKY: This is a big topic, but suffice it say that it is the nature of Buddhism to evolve and adapt to one’s time and place. Therefore there are different rituals and practices that are being created as we speak. A simple example is chanting in English and sitting in chairs for meditation. A more complex example might be how Buddhism is taking on an almost psycho-therapy type process for some people. But deep down, all Buddhist practices regardless of time or place should serve its original purpose, which is to enlighten people and to help them deal with the suffering and hardships of life.
MW: Buddhist art often shares space in American museums with Hindu art. Does this serve to confuse people who are not knowledgeable about the differences between the two?
RKY: Hinduism and Buddhism have a close connection, historically, spiritually and culturally, having evolved and existed in a similar time period. Many of the words are the same such as karma, but they are interpreted differently. Of course the look of the art is similar given the same time period and culture.
MW: American media often addresses the conflicts between Tibet and China. Are there any art movements in Tibet addressing these political developments?
RKY: I have no knowledge on this subject.
MW: To what extent is art a part of Buddhist education in America? To what extent is the Buddhist community aware of contemporary and ancient Buddhist art?
RKY: From my experience, art is hardly ever used in Buddhist education, where philosophy and doctrine dominate. It is an under-utilized and under-appreciated resource that can provide great value to people’s understanding of life. I think the main problem is that there isn’t a great enough understanding of what Buddhist art is all about.