Review: Kazmier Maslanka’s Mathematical Visual Poem titled: 10000 Dharmas Return...
By Alberto Indiana
Kazmier Maslanka’s mathematical visual poem 10,000 Dharmas Return ... is a profound synthesis of Zen philosophy, mathematical logic, and cosmic awareness. Through a striking visual composition and a structured mathematical equation, Maslanka challenges viewers to contemplate the interconnectedness of all things, the dissolution of self, and the infinite expanse of existence as understood through Buddhist thought.
At the core of the piece lies the ancient Chinese kōan: 10,000 Dharmas return to the One. Where does the One return? This enigmatic phrase, fundamental to Zen teachings, encapsulates the paradox of unity and multiplicity. Maslanka translates this philosophical inquiry into an artistic and mathematical formulation by presenting an equation in which an image of a cockroach is divided by an image of the artist himself, producing the result of one. Inside the numeral one, the Chinese character for Buddha’s Mind is embedded, further linking the mathematical operation to spiritual enlightenment and underscoring the Buddhist principle that all beings share an essential nature.
Maslanka’s work aligns with the Zen traditions conveyed by Zen Master Seung Sahn, whose teachings on non-duality, perception, and ultimate reality deeply resonate within this visual poem. Seung Sahn’s interpretation of the kōan—presented during the 1981 Kyol Che Opening Ceremony—explores the nature of host and guest, self and other, perception and reality. In his Dharma speech, Seung Sahn recalled a famous dialogue between Zen Master Lin Chi and his monks, wherein the inquiry into host and guest mirrored the very question of the kōan: When the 10,000 Dharmas return to the One, where does the One return? His poetic response—When a dog barks, know that the guest is at the front gate—suggests that reality is neither fixed nor separate; rather, it is revealed through direct experience.
This question of ultimate reality is further examined through Maslanka’s engagement with Chapter 31 of the Diamond Sutra, which emphasizes the illusory nature of conceptual distinctions. In this passage, the Buddha clarifies that all references to self, other selves, or living beings are merely conventional expressions—figures of speech rather than ultimate truths. This notion resonates deeply with the structure of 10,000 Dharmas Return ..., where the mathematical operation dissolves perceived boundaries, demonstrating that all things ultimately resolve into an undifferentiated unity.
Maslanka’s composition extends this Zen inquiry through both form and content. The background merges celestial and terrestrial perspectives, creating a portal-like effect. At its center, the summer night sky reveals the location of the supermassive black hole at the heart of the Milky Way, positioned between the constellations Sagittarius and Scorpio. This cosmic void—where conventional notions of time and space collapse—mirrors the Zen dissolution of self. The infinite blackness gradually transitions into the hues of dusk, culminating in an orange-hued horizon that encircles the composition. This visual continuum suggests a perpetual cycle of return, evoking the Buddhist concept of impermanence and transformation.
Maslanka’s use of mathematical language is deeply poetic. By demonstrating that any entity divided by itself equals one, he posits an equality between the most revered and the most reviled: the human and the cockroach. This recalls Seung Sahn’s analogy of beings as cookies from the same dough—different in form but identical in substance. Furthermore, Seung Sahn’s teachings challenge us to see beyond intellectualism, cautioning against attachment even to the mind itself. Just as the Sixth Patriarch critiqued those clinging to the flag or the wind in the famous kōan—stating instead that it is the mind that moves—Maslanka’s equation urges viewers to transcend binary thinking and recognize the unity beneath dualistic constructs.
An essential characteristic of Maslanka’s mathematical visual poetry is the inherent symmetry present across the equal sign. This fundamental property in mathematics echoes the symmetry found in all manifestations of sentient beings, reinforcing the Buddhist principle that distinctions between individuals are ultimately illusions. The balance in the equation reflects the equilibrium of existence—what appears as separate is, at its core, part of the same structure. This symmetry, a guiding principle in both mathematical logic and Zen thought, underscores the concept that all things return to unity, and unity itself dissolves into the boundless.
The conceptual depth of 10,000 Dharmas Return ... is further enriched by Maslanka’s personal Zen journey, which includes extensive dharma study under the guidance of Chun Jin Sunim at Tongdosa Monastery in Korea and the meditation and dharma influence of Hyon Gak Sunim and Sam Harris. His discussion of limits in mathematics—where the self approaches zero and one transforms into infinity—elegantly bridges abstract mathematical principles with Buddhist soteriology, wherein the dissolution of ego leads to enlightenment.
In the realm of mathematical visual poetry, Maslanka’s work stands as a powerful convergence of rigorous logic and metaphysical inquiry. 10,000 Dharmas Return ... does not merely illustrate a Zen kōan; it enacts it, using mathematical division, cosmic imagery, and Buddhist script to embody the dissolution and return it contemplates. The result is an artwork that transcends mere representation, actively generating an experience of deep contemplation. As Maslanka invites viewers to step through this constructed portal, he challenges them to reconsider their relationship with the infinite, the self, and the fundamental unity of existence—a testament to the transformative power of artistic and philosophical inquiry.