When the Shoe Fits - Oshorajneesh.com

When the Shoe Fits - Oshorajneesh.com When the Shoe Fits - Oshorajneesh.com

oshorajneesh.com
from oshorajneesh.com More from this publisher
06.06.2013 Views

CHAPTER 9. DUKE HWAN AND THE WHEELRIGHT When a living Freud is forgotten how can you remember a dead Jesus? Ask Hindus, they have one thousand interpretations of the Gita already. And every year interpretations go on being added, new interpretations, and nobody agrees with anybody else. Shankara says that the message is of renunciation, that the Gita’s message is of renunciation, inaction. Lokmanya Tilak says that the message is of action – just the opposite. And Ramanuja says that the message is of devotion, not action, not renunciation. And so you go on: one thousand interpretations, nobody agreeing with anybody else. And when you read the Gita that will be one thousand and one interpretations, because that will be yours. You will bring your mind into it and mind feels strengthened by knowledge, information. Mind is never in any danger except in the presence of a living master. Then it is just on the verge of death. You escape Krishnas, and you carry Gitas in your head. You escape Jesus and you always keep the Bible in your pocket. The Bible can be kept in your pocket, not Jesus. The Bible will belong to you, but with Jesus you will have to belong to Jesus. That is the difference: you can own a Bible, you cannot own Jesus. You will have to be owned by him. And thirdly, science can be written. There is no problem. Because it is not a skill, it is theorising, it is theoria. It can be written, it is description, it is not a mystery. The whole basis of science is to de-mystify everything. It has principles, laws, they can be written; and if you decipher the law, everything is known. Religion is not like science, it is more like art – it is symbolic. The first thing is that it is not realistic, it is symbolic. Once it happened that a friend came to see Picasso. The friend was in the military, in the army. He looked into Picasso’s studio, and he said: What nonsense! Everything is unreal, not even a single painting represents reality. You cannot find anything like,Picasso’s painting in reality. It is not there. It is only Picasso’s feeling of the reality. Science tries to discover the objective, art goes on trying to find the subjective in the objective. You look at a flower; if you ask a scientist about it he will talk of the chemical compounds of the flower. Of course they are there, but they are not the flower, because they don’t carry the beauty, they don’t carry the meaning. For the beauty you have to ask the artist but then he will not talk about chemical compounds, or anything else. He will give you a poem, and it will be nearer the truth than anything a scientist can give, but it will not be objective. Picasso listened quietly, because he was a soldier, this friend, and you cannot expect a soldier to understand too much subjectivity – he lives in the world of objects. Later on they talked of other things, and then the soldier showed a picture of his girl friend to Picasso, a small picture. Picasso started laughing and he said: Is that girl so small? It would be very difficult to make love to such a small girl. The soldier said: What are you saying? This is just a picture. So Picasso said: A picture is not objective, it is symbolic, it simply represents, indicates, shows. It is not a description, it is not exact in proportion; it is just an indication, a hint. Remember, religion is more like art than like science. And it is even more subtle than art because art represents the objective and religion represents the subjective. Art has symbols to show the When the Shoe Fits 124 Osho

CHAPTER 9. DUKE HWAN AND THE WHEELRIGHT objective world. The artist paints a picture of a rose, but the rose is there. Van Gogh’s rose or Picasso’s rose may not be exactly as it is in the garden, but still it is a rose. You can find some similarity, you can find something which corresponds. But when a Buddha talks about NIRVANA, it is not in the outside world, you don’t have anything to correspond to it. When Jesus talks about the kingdom of God, it is not there in the objective world. Art represents the objective: the symbol is difficult, but you can still find something corresponding to it in the world. Religion symbolises the subjective, you cannot find anything like it in the world. Unless you go within yourself you will not be able to find the meaning, the significance. Then you will carry the word, and the word is not the reality. Then you may repeat the word ’God’ and you don’t know anything about God. It is more like an art, and even more like a craft. What is a Buddha doing? He is a craftsman, he makes gods out of you. Just like a sculptor he goes on hammering on the stone, cutting this and that piece, throwing away all that is inessential – then by and by an image is discovered. It was there. Before the artist started with his chisel and hammer it was there, but the inessential was there also. The inessential has to be broken and thrown away so that the essential comes up and is discovered. So what is a Buddha doing? You are like a stone; he will go on working with his chisel and hammer, he will cut away the inessential, and then the essential comes in its total glory. Then the magnificent is born, then the other world penetrates into this world. He is not bringing anything new into the world, he is simply changing you, transforming you. You are already carrying the other world within you but it is mixed too much with this world. A separation is needed: a separation of that which is essential from that which is non-essential; a separation of that which is you from that which you possess; a separation of the possessor from the possession; of the spirit from the body; of the centre from the circumference. It is like a skill. No painter can tell you how to paint, you have to live with the master. If you go to Picasso and say, ’How do you paint? Tell me something, give me some guidelines’ he cannot give you any guidelines because he himself is not aware. It is such a tremendous phenomenon, it is so unconscious, that when Picasso is painting he is not aware of any rules, regulations, any laws, any guidelines. He becomes his painting, he is no longer there, he is completely absorbed in it. You have to be with him. When he moves into his painting, and when the painter is lost, and only the painting remains, when the painting is no longer a conscious effort, when the unconscious takes over, you have to see the phenomenon to feel it, what it is. Then those are not the hands of Picasso, then the unconscious Tao, nature, has taken over. Picasso’s hands are instrumental, they work as vehicles, some other energy is there. Watch Picasso painting – he is no longer a man. He is not at all a part of you; he has become a creator, he is not a creature. That is why when the painting is born it brings something of the other world. But this is nothing. When a Buddha speaks he is not the speaker. When a Buddha moves he is not the walker. When a Buddha puts his hand on your head he is not the hand. Tao – you may call it God, whatsoever name you choose – has taken over. Now the hand is not of Buddha, it is instrumental. God is touching you through him and Buddha is not there at all, not standing between you and God. But this has to be experienced. It is impossible to learn anything from a dead Buddha. And if you cannot learn from a living one, how can you expect to learn from a dead one? It is a skill, the greatest skill, and it is so delicate and subtle that nothing can be done consciously, you have simply to be near and imbibe. This word has to be remembered – imbibe. A Buddha has When the Shoe Fits 125 Osho

CHAPTER 9. DUKE HWAN AND THE WHEELRIGHT<br />

objective world. The artist paints a picture of a rose, but <strong>the</strong> rose is <strong>the</strong>re. Van Gogh’s rose or<br />

Picasso’s rose may not be exactly as it is in <strong>the</strong> garden, but still it is a rose. You can find some<br />

similarity, you can find something which corresponds.<br />

But when a Buddha talks about NIRVANA, it is not in <strong>the</strong> outside world, you don’t have anything to<br />

correspond to it. <strong>When</strong> Jesus talks about <strong>the</strong> kingdom of God, it is not <strong>the</strong>re in <strong>the</strong> objective world.<br />

Art represents <strong>the</strong> objective: <strong>the</strong> symbol is difficult, but you can still find something corresponding<br />

to it in <strong>the</strong> world. Religion symbolises <strong>the</strong> subjective, you cannot find anything like it in <strong>the</strong> world.<br />

Unless you go within yourself you will not be able to find <strong>the</strong> meaning, <strong>the</strong> significance. Then you<br />

will carry <strong>the</strong> word, and <strong>the</strong> word is not <strong>the</strong> reality. Then you may repeat <strong>the</strong> word ’God’ and you<br />

don’t know anything about God. It is more like an art, and even more like a craft.<br />

What is a Buddha doing? He is a craftsman, he makes gods out of you. Just like a sculptor he goes<br />

on hammering on <strong>the</strong> stone, cutting this and that piece, throwing away all that is inessential – <strong>the</strong>n<br />

by and by an image is discovered. It was <strong>the</strong>re. Before <strong>the</strong> artist started with his chisel and hammer<br />

it was <strong>the</strong>re, but <strong>the</strong> inessential was <strong>the</strong>re also. The inessential has to be broken and thrown away<br />

so that <strong>the</strong> essential <strong>com</strong>es up and is discovered. So what is a Buddha doing? You are like a stone;<br />

he will go on working with his chisel and hammer, he will cut away <strong>the</strong> inessential, and <strong>the</strong>n <strong>the</strong><br />

essential <strong>com</strong>es in its total glory. Then <strong>the</strong> magnificent is born, <strong>the</strong>n <strong>the</strong> o<strong>the</strong>r world penetrates into<br />

this world. He is not bringing anything new into <strong>the</strong> world, he is simply changing you, transforming<br />

you.<br />

You are already carrying <strong>the</strong> o<strong>the</strong>r world within you but it is mixed too much with this world. A<br />

separation is needed: a separation of that which is essential from that which is non-essential; a<br />

separation of that which is you from that which you possess; a separation of <strong>the</strong> possessor from <strong>the</strong><br />

possession; of <strong>the</strong> spirit from <strong>the</strong> body; of <strong>the</strong> centre from <strong>the</strong> circumference. It is like a skill. No<br />

painter can tell you how to paint, you have to live with <strong>the</strong> master. If you go to Picasso and say,<br />

’How do you paint? Tell me something, give me some guidelines’ he cannot give you any guidelines<br />

because he himself is not aware. It is such a tremendous phenomenon, it is so unconscious, that<br />

when Picasso is painting he is not aware of any rules, regulations, any laws, any guidelines. He<br />

be<strong>com</strong>es his painting, he is no longer <strong>the</strong>re, he is <strong>com</strong>pletely absorbed in it. You have to be with<br />

him. <strong>When</strong> he moves into his painting, and when <strong>the</strong> painter is lost, and only <strong>the</strong> painting remains,<br />

when <strong>the</strong> painting is no longer a conscious effort, when <strong>the</strong> unconscious takes over, you have to see<br />

<strong>the</strong> phenomenon to feel it, what it is. Then those are not <strong>the</strong> hands of Picasso, <strong>the</strong>n <strong>the</strong> unconscious<br />

Tao, nature, has taken over. Picasso’s hands are instrumental, <strong>the</strong>y work as vehicles, some o<strong>the</strong>r<br />

energy is <strong>the</strong>re. Watch Picasso painting – he is no longer a man. He is not at all a part of you; he<br />

has be<strong>com</strong>e a creator, he is not a creature. That is why when <strong>the</strong> painting is born it brings something<br />

of <strong>the</strong> o<strong>the</strong>r world.<br />

But this is nothing. <strong>When</strong> a Buddha speaks he is not <strong>the</strong> speaker. <strong>When</strong> a Buddha moves he is<br />

not <strong>the</strong> walker. <strong>When</strong> a Buddha puts his hand on your head he is not <strong>the</strong> hand. Tao – you may<br />

call it God, whatsoever name you choose – has taken over. Now <strong>the</strong> hand is not of Buddha, it is<br />

instrumental. God is touching you through him and Buddha is not <strong>the</strong>re at all, not standing between<br />

you and God. But this has to be experienced. It is impossible to learn anything from a dead Buddha.<br />

And if you cannot learn from a living one, how can you expect to learn from a dead one?<br />

It is a skill, <strong>the</strong> greatest skill, and it is so delicate and subtle that nothing can be done consciously,<br />

you have simply to be near and imbibe. This word has to be remembered – imbibe. A Buddha has<br />

<strong>When</strong> <strong>the</strong> <strong>Shoe</strong> <strong>Fits</strong> 125 Osho

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!