It means: the existence of self depends on the existing self to observe; Only the existing self can observe the existence of the self. The true (original) state of life can only be seen when it seems to be visible and seems invisible (beyond the invisible); Only by transcending seeing and seeing and entering the seemingly invisible state of no self can we see the most primitive and true state of life.
Here, not with the naked eye, but with the eyes of the mind (the internal visual function of the self), we quietly stare at and affirm the objective self (the self is not me, without me, it is an objective reality-real, intangible, colorless and non-empty). Have the will to see, but can't see; It is impossible to see without the will to see.
Only by raising the will to see, and then putting this will down (not giving up, but not clinging to seeing), in a seemingly invisible, invisible and invisible state; Only by looking without looking, looking without looking, and surpassing the state of looking without looking can we observe the most authentic state of life-Tathagata. ?
The objective self is neither in the body nor in the body. Ask outside, you can't find it, ask inside, no, it's in the depths of life. There is nothing inside and outside, beyond inside and outside; Non-color is not empty, beyond color empty; No one is without me, surpassing others and me.
Extended data
Lu Ling He said in "Couplets Meet the Sea": "Archaeologists say that couplets are the legacy of Taofu, which began in Meng and Shu and flourished in the Ming Tombs (according to Zhu Yuanzhang). I don't know what this means. If there is a sentence in class, Zhuge Wuhou's Indifference and Kong Beihai's Always Full have long been related. "
He thinks that Meng Chang's alliance is only the beginning of the alliance, not the whole alliance, which is good. But he pushed the beginning of couplets to the end of Han Dynasty, which was a little early. Because before the formation of metrical poems, even a very correct sentence like Kong Rong's "The guest is always full, and the wine in the bottle is not empty" can only be regarded as general duality.
Today's so-called "couplets" began in the Tang Dynasty and will not be later than the late Tang Dynasty. Because in the early Tang Dynasty and the prosperous Tang Dynasty, metrical poems had been completely finalized, and both the five laws and the seven laws required that the two couplets in the middle must be opposed. In order to play neatly, there is also a set of rules. This laid a good and solid foundation for the emergence of couplets.
From antithesis of poems to antithesis of couplets, we should start with choosing sentences. During the Six Dynasties, Zhong Rong's poems were representative of the wonderful sentences selected from a work for comment. But at that time, it was not just choosing the right sentence. There are more and more cases in which metrical poems are perfect and sunrise is perfect.
This is undoubtedly a promotion to the emergence and development of couplets in Tang Dynasty. Coupled with excellent calligraphy, couplets began to emit strange brilliance. As for books devoted to dialogue, it is said that there were books in the late Sui Dynasty. It is said that Du Gongzhan wrote four volumes of Bamboo Weaving at the request of Yang Di, but neither Sui Zhi nor Tang Zhi published it. Until Song Zhi began to record, Song people did not see any quotations or old engraved banknotes circulating in the world. Now, we can only learn the general situation of Gao Shiqi from his family in Kangxi period of Qing Dynasty.
According to Gao, this book was found in the waste paper pile in the imperial palace, but "the world has doubts about its reliability" (paranormal record). If this book really exists, its influence on the emergence and development of couplets in the Tang Dynasty is self-evident. Tang people also like book walls. Li Bai (? "Cursive Song" said that Huai Su wrote: "Starting from the wall, a row is as big as a bucket."
Bin Chen's "China Character Calligraphy" also said: "(Tang) literati tried to collect bachelor's couplets in summer, and ordered (Liu) public rights to be engraved on the temple wall, with a word diameter of five inches." This matter is recorded in the Biography of Liu Gongquan, a Book of the New Tang Dynasty. When writing a poem in the Tang Dynasty, someone wrote a sentence on paper or on the wall, slowly looking for the right one to match it. Today, this is equivalent to making couplets.
References:
China couplet network