Chan Master Xuelang Hong’en （1548 – 1608CE）was a notable Chinese Chan (Zen) master whose teachings contributed significantly to the development and spread of Chan Buddhism in China. He used the vivid metaphors “a monkey in a six-windowed room” to illustrate the interplay between perception and intrinsic Buddha-nature and inspired chan master Yangshan Huiji.
Master Yangshan asked Master Hong’en:
“Why can’t we swiftly recognize our true self?”
Hong’en replied:
“Imagine a room with six windows. Inside, a monkey leaps wildly. Five other monkeys outside each window chase it — calling and responding through every opening. With six monkeys and six echoes, how could you quickly spot the real one?”
Yangshan understood: Hong’en described our six senses (eye, ear, nose, tongue, body, mind) chasing external phenomena (sights, sounds, scents, tastes, touches, thoughts) — a chaotic dance obscuring true nature. He bowed gratefully but pressed:
“What if the inner monkey sleeps, and the outer monkeys seek it?”
Hong’en rose and declared:
“Like a scarecrow in a field!
‘A wooden man watches flowers and birds — why fear being surrounded by illusions?’”
At this, Yangshan awakened.
Philosophical Notes
The Six-Windowed Room:
The leaping monkey = unrestrained mind; echoing monkeys = senses enslaved by externals. True self drowns in sensory noise.
The Sleeping Monkey: Cessation as Gateway:
Yangshan’s counter-question (“inner monkey sleeps”) points to silencing sensory chase — the prerequisite for self-recognition.
Scarecrow Enlightenment:
Hong’en’s verse reveals awakening:
Scarecrow = Unmoving awareness
“Watching flowers/birds” = Perceiving without clinging
“Why fear illusions?” = Liberation through non-reactivity
When the inner monkey sleeps, you become the scarecrow:
Illusions swirl (flowers bloom, birds sing, monkeys shriek)
But nothing sticks — because wood has no mind to grasp.
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