433
Yonemura, “…the enlightened mind realizes that all phenomena and distinctions
are illusory, including the distinction between observing or deifying the Buddhist
discipline of not killing any living thing.”
10
Montaigne’s Essais are at the ultimate other extreme of the Gestalt of the unconditional self. A self-portrait that utilizes language and the written form to attempt to
say everything about oneself; to reveal contradictions in human nature and then
10 See “Kensu (Hsien-tzu)” in Japanese Ink Paintings -From American Collections: The Muromachi
Period An Exhibition in Honor Of Shujiro Shimada, Edited by Yoshiaki Shimizu and Carolyn
Wheelwright, The Art Museum, Princeton University Press, Princeton, NJ, 1976, p. 82.
Fig. 47.2 “Saint Anthony the Abbot in the Wilderness,” (ca. 1435) by Stefano di Giovanni di
Consolo, known as il Sassetta (1392–1450), Metropolitan Museum of Art, New York. (Public
Domain)
47.3 Interpretations of the Enlightened Self
Yonemura, “…the enlightened mind realizes that all phenomena and distinctions
are illusory, including the distinction between observing or deifying the Buddhist
discipline of not killing any living thing.”
10
Montaigne’s Essais are at the ultimate other extreme of the Gestalt of the unconditional self. A self-portrait that utilizes language and the written form to attempt to
say everything about oneself; to reveal contradictions in human nature and then
10 See “Kensu (Hsien-tzu)” in Japanese Ink Paintings -From American Collections: The Muromachi
Period An Exhibition in Honor Of Shujiro Shimada, Edited by Yoshiaki Shimizu and Carolyn
Wheelwright, The Art Museum, Princeton University Press, Princeton, NJ, 1976, p. 82.
Fig. 47.2 “Saint Anthony the Abbot in the Wilderness,” (ca. 1435) by Stefano di Giovanni di
Consolo, known as il Sassetta (1392–1450), Metropolitan Museum of Art, New York. (Public
Domain)
47.3 Interpretations of the Enlightened Self