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D. T. Suzuki was born Teitarō Suzuki in Honda-machi, Kanazawa, Ishikawa Prefecture, the fourth son of physician Ryojun Suzuki. The Buddhist name Daisetsu , meaning "Great Humility", the kanji of which can also mean "Greatly Clumsy", was given to him by his Zen master Soen (or Soyen) Shaku . [ 4 ]
An Introduction to Zen Buddhism is a 1934 book about Zen Buddhism by Daisetz Teitaro Suzuki. First published in Kyoto by the Eastern Buddhist Society, it was soon published in other nations and languages, with an added preface by Carl Jung. The book has come to be regarded as "one of the most influential books on Zen in the West". [1]
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The Zen Studies Society was established in 1956 by Cornelius Crane to help assist the scholar Daisetz Teitaro Suzuki in his work and to help promulgate Zen Buddhism in Western countries. [1] It operates both New York Zendo Shobo-Ji in New York City and Dai Bosatsu Zendo Kongo-Ji in the Catskills area of New York State.
The D. T. Suzuki Museum (鈴木大拙館, Suzuki Daisetsu Kan) opened in Kanazawa, Ishikawa Prefecture, Japan in 2011. Dedicated to the life, writings, and ideas of Kanazawa-born Buddhist philosopher D. T. Suzuki , the facility, designed by Yoshio Taniguchi , includes a contemplative space overlooking the Water Mirror Garden.
Daisetz Teitaro Suzuki: The Diamond Sutra: Various Translation of the Diamond Sūtra: 1934 Gregory Schopen The Manuscript of the Vajracchedikā Found at Gilgit, in Studies in the Literature of the Great Vehicle: Three Mahāyāna Buddhist Texts, ed. by L. O. Gómez and J. A. Silk Centers for South and Southeast Asia
[3] [1] The Laṅkāvatāra Sūtra was often quoted and paraphrased by Indian philosophers like Chandrakirti and Shantideva, and it also figured prominently in the development of East Asian Buddhism. [4] [5] [1] [6] It is notably an important sūtra in Zen Buddhism, as it discusses the key issue of "sudden enlightenment". [7]
Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
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