Blossoms of Interconnection

Yonkiron, or dependent origination, presents the universe not as a collection of separate objects but as a vast, interconnected web of relationships. Contemporary science has remarkably affirmed this view—quantum theory reveals that there are no truly isolated entities in the cosmos, which operates not as an assemblage of fragments but as "the organic whole composed of interdependence of everything" ¹ . Korean modern poets recognized the profound resonance between this ancient Buddhist concept and contemporary cosmology, using it to express the cosmos-eco-system as an organism of interdependence ¹ .

Yunhwoiron, traditionally understood as the cycle of rebirth (samsara), undergoes a fascinating transformation in these poetic works. While in orthodox Buddhism, samsara often carries negative connotations as a realm of suffering from which to escape, Korean ecological poets have reimagined it as "a good and beautiful circulation" ¹ . This re-envisioning allows them to express the continuous connection and interdependence between self and other, organism and material, part and whole—often accompanied by what the deep ecology movement would recognize as an expanded concept of love and self-realization ¹ .

The symmetrical imagination draws from the Buddhist worldview's characteristic principle of symmetry, similar to the contemporary scientific concept of 'fractal' geometry, where patterns repeat at different scales. This perspective reveals that "the part and the whole, the parts and the parts are related by the principal of symmetry" ¹ . Through this lens, poets can simultaneously humble the self by contrasting it with the vast cosmos, while also elevating the self by recognizing its fundamental connection to that same cosmos "as a holistic organism" ¹ .

The theoretical framework of Buddhist ecology finds its most vivid expression in the works of iconic Korean poets, particularly Manhae Han Yong-woon (1879-1944) and Midang Seo Jeong-ju (1915-2000). These poets did not merely espouse Buddhist ideas but embodied them through their artistic practice, creating what scholars have identified as a distinctive "tradition of aesthetic yet ecological-ethical poetry" .

Manhae: Liberation Through Interconnection

Manhae, who was both a Buddhist monk and independence activist, developed his ecological vision during the painful era of Japanese colonization. His poetry embodies several key ecological principles drawn from Buddhism :

First, his work consistently demonstrates a life-centered philosophy rooted in the Buddhist ethic of non-violence (ahimsa). This extends beyond mere avoidance of harm to an active celebration and reverence for all living beings .

Second, Manhae's poetry explores the realization of non-substantiality of existence through the concept of dependent origination. This understanding dissolves the illusion of separate, enduring selves and reveals the profound interdependence of all phenomena .

Third, his work champions equality through the theory of Buddha-Nature, the concept that all beings inherently possess the potential for enlightenment. This becomes the spiritual foundation for ecological democracy, where all life forms possess intrinsic worth .

Midang: Mythological Recycling of Life

Midang's poetry, emerging in the post-Korean War period, shares Manhae's ecological concerns but expresses them through a more mythological and religious imagination. His approach to Buddhist ecology includes :

A sense of awe toward the birth of life itself, again grounded in the ethics of non-violence but expressed as wonder at the continuous emergence of life in all its forms .

The concretization of non-substantiality through mythical and religious imagination, making the abstract philosophical concept tangible and emotionally resonant .

The pursuit of emotional bonding through the aesthetics of life, creating what might be termed an "ecology of affection" where intellectual understanding of interconnection transforms into heartfelt connection .

Studying Buddhist ecological imagination in poetry requires a multifaceted methodological approach that bridges traditionally separate disciplines. Scholars in this field typically employ several key frameworks:

The primary methodology involves interdisciplinary analysis that brings Buddhist studies, ecological philosophy, and literary criticism into dialogue. This approach recognizes that "Buddhist ecology provides a view to escape from the emphasis on communalism that can undermine individual autonomy of ecology" while simultaneously avoiding "orientalist approach in another sense of generalizing and incorporating Buddhist ideas into ecological problems" .

Another crucial framework is eco-apologetics, which has dominated Korean Buddhist ecological studies until recently. This approach primarily focuses on "finding alternative principles of Buddhism that could overcome the problems of western ways of thinking" that have contributed to ecological crisis ² . However, scholars note that this method has sometimes neglected deeper engagement with "the features and mechanism of capitalism that have destroyed ecosystem" ² .

A promising emerging methodology is what might be termed practical application, which shifts focus from theoretical defense of Buddhism's ecological credentials to exploring "what attitude and action we should take to approach all living beings and natural objects" ³ . This represents a significant evolution in the field from apology to application.