How do we know what we know?How do we know what we know?

Have you ever wondered exactly how we know what we know? Is the reality we experience actually real? The Himalayan Buddhist tradition has an extensive history of investigating these very questions, many of which are reflected in the art in the Rubin Museum’s collection. These artwork and the stories represented within them can help us understand the concept of “perception.”

The Buddha’s Investigation The Buddha’s Investigation 

Depiction of the historical Buddha performing teaching mudra. Shakyamuni Buddha; Tibet; 14th century; Ground mineral pigment on cotton; Rubin Museum of Art; C2002.27.4

While living the extravagant lifestyle of a prince, Siddhartha Gautama realized that despite having all the pleasures of the world, he still felt dissatisfied with his life. This dissatisfaction led him to reject the comforts of his royal status and he set out to find the true nature reality. After six long years of spiritual struggle, the awakened Buddha discovered that the cause of his suffering was his ignorance of the true nature of reality.

Essentially, the Buddha realized that all beings’ perceptions lead them to believe that the world is static and unchanging, while in actuality everything is in a constant state of flux. This seeming permanence makes us cling to those things we enjoy while rejecting what we find unpleasant. When those things, feelings, and people we cling to leave, it causes us to mourn their loss. Out of the original conclusion stemmed a massive exploration investigating all facets of perception and changing it can lead to the end of suffering.

Can Perception Be Trusted? Can Perception Be Trusted? 

Depiction of Buddhist Philosophers Nagarjuna and Arydeva

So if all beings are ignorant, can any perception be trusted? Some Buddhist philosophers would say perception cannot be trusted until ignorance is removed. Despite this seemingly too obvious answer to the utility of our everyday perception, Buddhists continued to investigate how perception works and to what extent it could be trusted.

Different Aspects of Perception Different Aspects of Perception 

Black Hayagriva; Central Tibet; 15th century; Pigments on cloth; 29 × 28 1/2 in. (estimated); Rubin Museum of Art; Rubin Museum of Himalayan Art; C2002.2.4

Many wrathful deities in the Rubin’s collection, such as Black Hayagriva above, challenge common perceptions of good and evil. In our conventional reality (compared to the ignorance-free ultimate reality of the Buddhas), perception is two-fold: first, there is the raw data picked up by the sense organs—that’s how an eye can perceive shape and form and an ear can hear sound; second, the rational mind-sense creates meaning from the raw sense data and categorizes it. For example, if somebody sees a hard object with four legs and a smooth, flat top, that person’s mind will infer that he or she is looking at a table.

Along with this rational function, the mind also works on an emotional level labeling every sensory input as either positive, negative, or neutral. If the data received from the senses is positive, the individual will long to maintain contact with it, whereas if it’s negative he or she will try to remove himself or herself from sensing the object. Buddhists would say that these emotional reactions to our sensory inputs have become habits ingrained in all beings over many lifetimes, creating powerful reactions to particular stimuli.

Furthermore, these categories from the rational mind and labels from the emotional mind reinforce each other distorting the mind and creating the cause for suffering. Through the process of following the Buddhist path and practicing meditation, we can begin to calm the mind and undo the habits that keep us ignorant of true reality.

Published March 15, 2017
PsychologyBuddhism

Sign up for our newsletter

Your gateway to Himalayan art and its insights, with stories and news from the Rubin.

Discover artworks, articles, and more by typing a search term above, selecting a term below, or exploring common concepts in Himalayan art.