When we study a new art form we are given forms of movement and told to repeat them endlessly. Our teachers are vigilant and correct our form when we stray but a hair’s breadth.
As we advance we are given ever more complicated forms to practice, yet we see our teachers break their own rules, seeming to do exactly what we are berated for.
I see shades of Form and No-Form argument in the following passage from Takuan Soho.
The mind that becomes fixed and stops in one place does not function freely. Similarly, the wheels of a cart go around because they are not held rigidly in place. If they were to stick tight, they would not go around. The mind is also something that does not function if it becomes attached to a single situation. – Takuan Soho
One must know the correct form intimately, from the subtle angle of a finger to the large movements of the torso, before we can perceive where to lesson our grip on that form.
You cannot throw the pieces of a cart in a pile and expect to use it as a cart. It must follow the form…but not too rigidly or it becomes a model of a cart—not the real thing itself.
It is the same when we practice any art form, we copy the masters endlessly, searching for those subtitles that belay their importance, hidden many times by large flourishing strokes of the brush or pen.
In the martial arts the form alone is not effective in actual combat.
When one has reached maturity in the art, one will have a formless form. It is like ice dissolving in water. When one has no form, one can be all forms; when one has no style, he can fit in with any style. – Bruce Lee
In a passage from his novel “Musashi“, Eiji Yoshikawa wrote:
Yoshino told Musashi he was rigid and would lose any battle in that state. She cut open her lute to show him how it could produce such varying sounds with only four strings.
It had a central wooden piece that was held in place but not firmly.
“If the cross piece were as taut and unbending as you are, one stroke of the pick would break a string, perhaps even the sounding board itself.”
Takuan Soho’s writing is infused with wit and multiple levels of meaning. In the following passage he discusses the ‘Mind of No-Mind’ motif.
The mind that thinks about removing what is within it will by the very act be occupied. If one will not think about it, the mind will remove these thoughts by itself and of itself become No-Mind.
If one always approaches the mind in this way, at a later date it will suddenly come to this condition by itself. If one tries to achieve this suddenly, it will never get there.
An old poem says:
To think, “I will not think”—
This, too, is something in one’s thoughts.
Simply do not think
About not thinking at all.
You have got to love that!
“N” is for No-Form, No-Thought, No-Mind