Sheng Yen

Taking Refuge: Stepping Back From Our "Parts"

By: Bob Zeglovitch

This past Friday, we continued our exploration of what it means to take refuge. We began with Mingyur Rinpoche’s observation that everyone takes refuge in something, and that this “refuge” may consist of habitual emotional responses or thought patterns. (See the most recent blog post, dated August 4, 2025 for more detail). Mingyur Rinpoche gives as one example anger and a sense of self-righteousness. Such clusters of emotions and thoughts can be deeply ingrained, such that we return to them repeatedly, out of a deep familiarity and/or conditioning. Is there an odd and yet somewhat perverse comfort in returning to such states even when we know that they are not helpful? Or might they be a sort of vestigial part of our psyche, some aspect of which was adaptive and protective for us earlier in life? Because of our repeated return to these states, we suffer from the fundamental delusion that they are identical with our “self”—that they represent who “I am.” In fact, they are impermanent phenomena. Our development and life circumstances may change such that these states occur less frequently (or not at all), or with less intensity, or can be seen as not “I” but instead just like a bit of weather passing through the sky. We can also develop a new relationship with them that allows for greater balance and freedom.

One way of thinking about these clusters of emotion and thought is that they are like autonomous subpersonalities, or “parts.” This is the view taken by the Internal Family Systems (IFS) psychotherapeutic model, developed by Richard Schwartz. These parts may spring from our unconscious and take us over. One aspect of the work in this system is to recognize and befriend these parts, not shunning them but inviting them to relax.

The particular instruction for the beginning of our meditation session was drawn from a talk and guided meditation given by Loch Kelly, a meditation teacher trained in the Tibetan tradition who is also deeply versed in IFS. Everyone was asked to become curious about four possible “parts” that they might recognize as part of their inner landscape. There was no need to believe the IFS model’s assumption that we all have separate sub-personalities. Instead, participants were asked to play with this possibility, perhaps recognizing these parts as inner voices that we may hear, or even just imagining that there might be parts of them that fit the descriptions. The instruction was as follows regardingthese four parts: (1) See if you can notice that part of you that wants to “get it” and “accomplish it”—the good intentioned doer part of you. Thank that part for its hard work and let it know that it can relax, that it will benefit from the meditation but is not needed now; (2) Perhaps there is that part of you that is doubting or dejected, a part that is based in some shame. This is the inner voice that may say: “I’ll never get it, but other people may—or “I’m not good enough or deficient in some way.” Thank this part and let it know that it doesn’t have to “get it.” Invite this part to relax and not to worry—let it know that it can rest and does not need to be involved. (3) See if you can notice that part of you that is the ego-manager, the smart and thinking part. This may be the part of you that thinks it knows something about the dharma and its benefits and the way it works, and feels it must keep checking with thought to know and confirm. Let this part know that it can rest and be a beginner. (4) Perhaps there is a part that may be afraid of letting go, that does not want to be out of control and is worried about entering a void or becoming nobody. You can thank this part of it concern for safety and let it know that you are not being abandoned or going out of control, but exploring a beneficial quality of the mind and that you will be back. Ask this part for a few minutes of space to explore.

The beauty of this instruction at the outset of a meditation session is that it invites mental relaxation in precisely those areas where we might unconsciously be taken over by the energy of one or more of these parts of ourselves. You may sit down and be lost almost immediately. Of course, you might commence your meditation session, relax these various parts, only to have one or more of them surface vigorously mid-session. If that happens, see if you can recognize that this is just a part of yourself and follow the basic instructions of thanking this part and inviting it to relax. Relaxation is an often-overlooked quality to invite in meditation. For more on this subject, click on the “tag” Relaxation at the end of this post, which will take you to related posts. See also the February 11, 2025 entry on the Readings page of this website, for comments by Chan Master Sheng Yen on the importance of relaxation in the practice of Silent Illumination.

After our sitting and walking, we engaged in a structured reflection drawn from Schwartz’s book Introduction to Internal Family Systems. Participants were asked to take a few moments to think about the relationships that they have formed with their different thoughts, emotions, or inner voices. They were then given a list of parts or voices that most people experience and are sometimes concerned about. Participants were asked to reflect, as they heard each item on the list, on how they relate to it—how they feel toward it, what they do or say when they experience it, whether they have exiled it from their life, and how much their relationship with it affects their life. The list of items, abbreviated from Schwartz’s longer list, was as follows:

The inner voice that criticizes your appearance or performance

Anxiety that freezes your mind in high performance situations

The urge to eat or drink too much

Jealous or possessive feelings about your partner

Yearning for intimacy

Worries that flash worst case scenarios in your mind

A nagging sense of worthlessness

The voice that tells you that you are not working hard enough and won’t let you relax

The urge to take care for everyone and neglect yourself

The anger that surges forth when you feel hurt by someone

Loneliness that comes up when you are not distracted or with people

The need to be in control of everything or everyone

The happy or “together” mask that you hide behind

The perfectionist inside you that can’t allow any mistakes or blemishes

Dissatisfaction with your place in life or your achievements

In our discussion immediately following this reflection, we were naturally led back to the topic of taking refuge. One of our sangha members commented that it felt like refuge when he “stepped back” from these voices. His use of the phrase “step back” was uncanny for two reasons. First, it is the precise language that Schwartz uses in relation to IFS work. He comments that “the more you notice—step back from—rather than become or identify with your thoughts and emotions, the more you relax into being the “you” who is not your thoughts and emotions.” Second, we find the notion of “stepping backward” in core Zen and Chan texts. In his Fukanzazengi (Universal Recommendation for Zazen), Dogen tells us we should “learn the backward step that turns your light inwardly to illuminate your self.” The Chinese Chan Master Hongzhi, who is credited with originating the practice of Silent Illumination that is closely related to Zen “just sitting”, instructed: “Just take a backward step and open your grasping hands.” Who is present when we step back from those clusters of thoughts and emotions that we take to be “my” self”, or parts of “my” “self”? What qualities manifest here? Is there a sense of protection here? This points us, I think, in the direction of the refuge of Buddha, our original nature that is always “just there” and yet generally blocked from view.

How does this model of multiplicity of “selves” relate to the Buddhist understanding of “not self”? This is an interesting question that exceeds the scope of this post, but which we will perhaps take on down the road. One thing does seem relatively clear: playing with recognizing and relaxing various inner “parts” or “voices” can only serve to loosen our identification with hardened emotional and thought patterns, and our attachment to this monolithic “I” that causes suffering.

Taking Refuge

By: Bob Zeglovitch

Over the next few weeks, we will be investigating what it means to “take refuge” in the Triple Treasure of Buddha, Dharma, and Sangha. It is our natural human reflex to seek shelter and protection amidst the difficulties and dangers in life. The Tibetan teacher Yongey Mingyur Rinpoche reminds us that everyone takes refuge in something—often in relationships, locations or activities that offer the body and mind a sense of security and protection. While these refuges may be of relative help to us, they are part of our worldly and samsaric realm—subject to impermanence and therefore ultimately unreliable. Mingyur Rinpoche adds that we might also seek refuge in neurotic habits or afflictive emotional states like anger, self-righteousness, or chronic helplessness. If we look closely we may well recognize such states that we have habitually made a “nest” of. He counsels us to inquire as to where we actually look for happiness and where we seek security and comfort. It is helpful to understand where we try to find refuge so that we can be inspired to turn in another direction.

How does Buddha, Dharma and Sangha provide a more reliable source of protection? In the beginning of our practice, we may have an idealistic notion of how this may be true, based on something that we have read or aspire to, or somebody who inspires us. While this may be a shallow understanding, it can get us started on the path. We may have an early intuition about these sources of refuge that we feel we can trust. It is wholesome to rely on this gut feeling and to test this reliance and develop and refine our practice so that the three jewels become manifest in our lives. If we decide to formally take refuge in a Buddhist tradition, the ritual can serve as a support to our practice, confirming our intention.

While there are classic “dharma answers” to the question of how the Triple Treasure serves as refuge, which we will explore in the coming weeks, we can also let the answers emerge over time from our practice rather than settling for a formulaic answer as some kind of objective truth. “I take refuge” is an action step that will likely mean different things to us at different points in our practice. Over time, the refuge comes to be felt as a deep inner resource—as our true nature— rather than something abstract and “out there”.

In the Chan lineage of Sheng Yen which we have been learning about recently, the verse for taking refuge incorporates a lovely flavor of the bodhisattva vow, so that our taking refuge is done in the spirit of a wish that all beings realize the fruits of Buddha, Dharma and Sangha:

I take refuge in the Buddha,
and I wish all sentient beings,
will awaken to the great Path,
and make the supreme resolution.

I take refuge in the Dharma,
and I wish all sentient beings,
will penetrate the sūtras,
their wisdom as deep as the ocean.

I take refuge in the Sangha,
and I wish all sentient beings,
will be brought together
in great harmony,
without any obstructions at all.

From: Tallahasee Chan Center Liturgy Book

Here is a classical image for taking refuge from the Buddhist tradition, a carving from Gandhara (present day northwest Pakistan and eastern Afghanistan), circa 2nd Century AD. While the dharma wheel, or dharmacakra, is generally understood to represent the teachings of the Buddha, the presence of three wheels in this image reflects the Triple Treasure of Buddha, Dharma, and Sangha. The sense of the practitioners finding shelter under the three wheels is palpable.

Veneration of the Three Jewels, Chorasan, Gandhara, 2nd century AD, schist – Ethnological Museum of Berlin, Creative Commons CC0 License

Here is a more contemporary image that for me captures a visceral feeling of refuge. This is an illustration by Mary Sully (1896-1963), a recently discovered Dakota artist who created works that she called “personality portraits.” The image below is from her “portrait” for Gustave Hartman, a noted New York City judge who devoted his life to Jewish causes. Hartman established a haven for Jewish children who lost their parents in the World War One. In Sully’s image, she displays a metaphor for Hartman consisting of a white amphitheater that provides shelter to young plants to allow them to grow. While this is depicting a worldly refuge, perhaps it can point us to a more archetypal and dharma sense of refuge, where practice is a kind of shelter that allows for our spiritual growth and development while encountering life’s dangers.

Judge Hartman, by Mary Sully (c.1935), Minneapolis Institute of Art collection (2023.56.3). Use permitted under the terms and conditions of a Creative Commons CC BY 4.0 License.

May we all find refuge in our deepening and embodied practice and understanding of Buddha, Dharma and Sangha.

For Mingyur Rinpoche’s excellent discussion of taking refuge, see the article in Lion’s Roar hyperlinked here. If you are curious about Mary Sully’s art and the amazing story of its discovery and the cultural cross currents which are expressed through it, visit marysully.foundation.

Shitou's Harmony of Difference and Equality--The Background

By: Bob Zeglovitch

This Friday at JSU we will begin a long and slow process of unpacking, at some level, the meaning of the Harmony of Difference and Equality (“Harmony”), a seminal Chan teaching poem that is recited regularly in Soto Zen temples around the world. The authorship of Harmony is attributed to Shitou Xigian (700-790). All existing branches of Zen throughout the world are said to descend either from Shitou or from his contemporary Mazu Daoyi. Shitou was a student of Dajian Huineng, the illiterate and legendary “Sixth Ancestor” in China. See the blog entry dated September 21, 2023 and titled “Fukanzazengi: No Dust, No Mirror” for a description of the famous but likely apocryphal poetry contest that is recounted in the Soto Zen tradition as the basis for Huineng’s dharma transmission. After Huineng’s death, Shitou became a student of Huineng’s successor, Qingyuan Xingsi.

The title of Harmony is the same as that of a 2nd-century Taoist text on alchemy by the poet Wei Po Yang. This text detailed esoteric practices that were supposed to enable one to gain immortality or to become a deity. It was obviously still a recognized text in Shitou’s time, and we can see his borrowing of the title as part of the process through which Indian Buddhism mingled with Taoist understandings to form a new and culturally responsive form. Chan Master Sheng Yen (1931-2009) notes that when Buddhism came to China, Sakyamuni Buddha was given a Taoist name—-The Perfectly Enlightened Highest Deity—in order to form a connection between Buddhist teaching and Taoist tradition. Shitou was therefore drawing a metaphoric connection between becoming a deity and becoming a Buddha. Sheng Yen also notes that there is an allusion within the title of Harmony to becoming a buddha through meditation, which bears some similarities to Taoist practices.

The title of this poem in Japanese is Sandokai. Harmony of Difference and Equality is only one of many English translations. Some others include: Merging of Difference and Unity; Harmony of Difference and Sameness; Identity of Relative and Absolute; Agreement of Difference and Unity; and Inquiry Into Matching Halves.

At the risk of enormous oversimplification, Harmony delves into the relationship between the ultimate empty, boundless and wondrously unfathomable nature of reality on the one hand, and the particular and relative form world that is familiar to us on the other.

Our effort to better understand the meaning of the Harmony will be undertaken with the utmost humility. In this connection, Chan master Sheng Yen, who was a renowned scholar and practitioner, noted in his commentary on Harmony that it is a difficult work, and that since he was not Shitou, he was sure that he had not fully and clearly explained the poem. We will be using helpful commentary by Shohaku Okumura, a highly regarded Soto Zen teacher and scholar, from the book Living By Vow. Other excellent resources on this poem are Sheng Yen’s The Infinite Mirror and Suzuki Roshi’s Branching Streams Flow In the Darkness.