A singing to the heart of trust
It is from the chan master Jianzhi Sengcan, translation from Chinese by Dokushô Villalba and illustrations by Annette Burnotte. It was published in 2009.
In 1988, I translated into Spanish from French the version and comments of my master Taisen Deshimaru from Shin Jin Mei. Taisen Deshimaru used the comments of his master Kodo Sawaki and they were quite based on the ones made by Keizan Jokin. For that reason, the comments made by the master Deshimaru include long paragraphs from Shin Jin Mei Nentei by Keizan Jokin. This one is a very beautiful edition, with the handwriting of the master Deshimaru and large and illuminating comments.
From that moment, I have not stopped studying this work. Being moved by my insatiable curiosity, I found the original text in Chinese and decided to translate it directly from its original language. Twenty years have passed between the edition with the translation commented by my master and the one that I now write. I have needed some time for it. I have translated, one by one, the 584 Chinese ideograms which form the original text. My translation could not have been possible without the one of my master, since without the light of his comments, it would not have been possible to figure out the meaning of each ideogram and decide for one the many possibilities which each of them presents. I have used the Chinese version which was found in the Dunxuan caves. It has been divulged in Europe by professor Dusan Pajin, whose academic study about Xin Xin Ming is the most complete and rigorous one from all the ones which have been published in a Western language. My current translation owes a lot to the work developed by Dr. Pajin. I have also used the French version made by L. Wang and J. Masui -revised by professor P. Demiéville from the Collège of France- and it is included in the work Tch'an-Zen: Racines et floraisons, number 4 of the new series of the Hermes collection, published by Les Deux Océans, Paris, 1985. I have compared many other English and French translations, but these three ones that I have mentioned are the ones that I think are the most coherent and closest to the spirit of Zen.
With them, and from the original text in Chinese, I have prepared the translation the reader has on their hands.
About the illustrations:
The present edition would not have been possible without the inestimable contribution of the graphic work of my dear friend Annette Burnotte. She is a Belgian artist whose sensitivity and mastery in the use of the paint brush brings us closer to the classical spirit of that China which the text came from.