序文『弓と禅』Zen in the Art of Archery[鈴木大拙]

Daisetz Teitaro Suzuki



One of the most significant features we notice in the practice of archery, and in fact of all the arts as they are studied in Japan and probably also in other Far Eastern countries,

それらが実用的な目的(utilitarian purposes)だけや純粋にアスレティックな楽しみ(aesthetic enjoyments)のために行わているのではなく、心の修練を意味し、実際に心を究極のリアリティ(the ultimate reality)に接触するようにもたらすことを意味するのである。

is that they are not intended for utilitarian purposes only or for purely aesthetic enjoyments, but are meant to train the mind; indeed, to bring it into contact with the ultimate reality.

それ故、弓道は単に的(the target)に中(あ)てるためだけに稽古されるのではない。

Archery is, therefore, not practiced solely for hitting the target;

剣士(the swordsman)は、敵に打ち勝つためだけに剣を稽古するのではなく、舞い手(the dancer)はあるリズミカルな身体の動きを演じるためだけに舞うのではない。

the swordsman does not wield the sword just for the sake of outdoing his opponent; the dancer does not dance just to perform certain rhythmical movements of the body.

心はまず第一に無意識的なもの(the Unconscious)に合わせなければならない。

The mind has first to be attuned to the Unconscious.

もし人が本当にある道(an art)をマスターしようと願うなら、その技術的な知識(technical knowledge)だけでは十分ではない。

If one really wishes to be master of an art, technical knowledge of it is not enough.

人は技術を超えなければならず、その結果、〔術を行う〕道は、無意識(the Unconscious)に至って「術なき術(artless art)」になるようになるのである。

One has to transcend technique so that the art becomes an "artless art" growing out of the Unconscious. 

弓道の場合には、射手(the hitter)と的(the hit)とはもはや二つの対立した物(two opposing objects)ではなく、一つのリアリティ(one reality)である。

In the case of archery, the hitter and the hit are no longer two opposing objects, but are one reality.

弓道家(the archer)は、向かっている的(the bull's eye)を中(あ)てることに従事する人間として意識することを止める。

The archer ceases to be conscious of himself as the one who is engaged in hitting the bull's eye which confronts him.

この無意識の状態は、完全に空(empty)となって自己(the self)から抜け出て、自らの技術的な技を行える者になった時にのみ、実現できる。

This state of unconsciousness is realized only when, completely empty and rid of the self, he becomes one with the perfecting of his technical skill, 


though there is in it something of a quite different order which cannot be attained by any progressive study of the art.


What differentiates Zen most characteristically from all other teachings, religious, philosophical, or mystical, 


is that while it never goes out of our dairy life, yet with all its practicalness and concreteness Zen has something in it which makes it stand aloof from the scene of worldly sordidness and restlessness.


Here we come to the connection between Zen and archery,


and such order arts as swordsmanship, flower arrangement, the tea ceremony, dancing, and the fine arts.

馬祖(ばそ、788年没)によって宣言されたように、禅は「平常心(everyday mind)」である。

Zen is the "everyday mind", as was proclaimed by Baso (Ma-tsu, died 788);

この「平常心」は「疲れれば眠り(sleeping when tired)、空腹になれば食らう(eating when hungry)」という以上ではない。

this "everyday mind" is no more than "sleeping when tired, eating when hungry."


As soon as we reflect, deliberate, and conceptualize, the original unconsciousness is lost and a thought interferes.


We no longer eat while eating, we no longer sleep while sleeping.

(the arrow)は弦(the string)を離れても、的(the target)に向かって真っすぐに飛んで行くのではなく、的はそれがあるところの場所にはない。

The arrow is off the string but does not fly straight to the target, nor does the target stand where it is.


Calculation which is miscalculation sets in.

弓道でやること全体は間違った方(thr wrong way)へ行く。

The whole business of archery goes the wrong way.

射手の混乱した心(confused mind)は、活動のあらゆる方向とあらゆる方面でそれ自身を裏切ってしまう。

The archer's confused mind betrays itself in every direction and every field of activity.

人間は考える葦(a thinking reed)であるが、彼の偉大な仕事は、彼が計算せず考えない時になされる。

Man is a thinking reed but his great works are done when he is not calculating and thinking.


"Childlikeness" has to be restored after long years of training in the art of self-forgetfulness.


When this is attained, man thinks yet he does not think.

彼は、にわか雨(the showers)が空から降ってくるように考える。

He thinks like the showers coming down form the sky;

彼は、海で波(the waves)が渦巻くように考える。

he thinks like the waves rolling on the ocean;

彼は、星(the stars)が夜の天空に輝くように考える。

he thinks like the stars illuminating the nightly heaven;

彼は、新緑の葉(the foliage)が春のそよ風に憩いながら出るように考える。

he thinks like the green foliage shooting forth in the relaxing spring breeze.


In deed, he is the showers, the ocean, the stars, the foliage.

人が、この「精神的な」発展の段階に達した時には、彼は人生の禅の道を行う者(a Zen artist)である。

When a man reaches this stage of "spiritual" development, he is a Zen artist of life.

彼は、絵師(the painter)のように、キャンバスや絵筆を必要とせずに、描く。

He does not need, like the painter, a canvas, brushes, and paints;

彼は、弓道家(the archer)のように、弓と矢と的、その他の装備も、要求しない。

nor does he require, like the archer, the bow and arrow and target, and other paraphernalia.


He has his limbs, body, head, and other parts.


His Zen-life expresses itself by means of all these "tools" which are important to its manifestation.


His hands and feet are the brushes and the whole universe is the canvas on which he depicts his life for seventy, eighty, or even ninety years.


This picture is called "history."


Hoyen of Gosozen (died 1104) says:


"Here is a man who, turning the emptiness of space into a sheet of paper, the waves of the ocean into an inkwell, and Mount Sumeru into a brush, writes these five characters: 

so - shi - sai - rai - i

To such, I spread my zagu※2 and make my profound bow."


One may well ask,


"What does this fantastic pronouncement mean? Why is a person who can perform such a feat considered worthy of the utmost respect?"


A Zen master would perhaps answer,


"I eat when hungry, I sleep when tired."


If he is nature-minded, he may say,


"It was fine yesterday and to-day it is raining."



For the reader, however, the question may still remain unsolved,


"Where is the archer?"

この素晴らしい小著において、ヘリゲル氏 --ドイツ人の哲学者であり、日本に行って、禅を理解することを目指して弓道の稽古をした-- は、彼自身の経験に基づいて、一つの絵を描いてみせた。

In this wonderful little book, Mr. Herrigel, a German philosopher who came to Japan and took up the practice of archery toward an understanding of Zen, gives an illuminating account of his own experience.


Through his expression, the Western reader will find a more familiar manner of dealing with what very often must seem to be a strange and somewhat unapproachable Eastern experience.

Daisets T. Suzuki

マサチューセッツ州 イプスウィッチにて
Ipswich, Massachusetts
May 1953

祖師西来意(so shi sai rai i)
この五つの漢字は、言語的に翻訳すれば「禅の開祖が西方から来た動機(the first patriarch's motive for coming from the west)」を意味する。このテーマは禅問答の主題としてしばしば取り上げられる。それは、禅において最も根本的な事柄について問うのと同じである。これが理解されれば、禅はこの身体それ自身である。

These five characters in Chinese, literally translated, mean "the first patriarch's motive for coming from the west." The theme is often taken up as a subject of mondo. It is the same as asking about the most essential thing in Zen. When this is understood, Zen is this body itself.


Zagu is one of the articles carried by the Zen monk. It is spread before him when he bows to the Buddha or to the teacher.

新訳 弓と禅 付・「武士道的な弓道」講演録 ビギナーズ 日本の思想 (角川ソフィア文庫)
Zen in the Art of Archery: Training the Mind and Body to Become One

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