Eckhart Tolle said: “I know many Zen Masters… all of them Cats.”

And here, three ZenCats listening to a teisho have arranged themselves with such impeccable dharmic precision that one suspects the whole scene was choreographed by something beyond mere kittenhood. 🙂

But first — what the photograph doesn’t show. These three had known loss. A sibling, gone. And with it, a wariness that only grief can plant in those small bodies. They had reason to stay back, stay wary. It took a long time — quiet sitting, no agenda, no forcing — before they would come close at all. That patience, that slow and gentle rebuilding of trust, is not the backstory to this photograph. It is the teaching.

In Mahayana Buddhism, the doctrine of Trikaya (Sanskrit for “three bodies”) describes the three manifestations of Buddhahood:

Dharmakaya (Truth Body): the formless, unmanifested absolute — ultimate reality, emptiness, Buddha-nature itself.

Sambhogakaya (Enjoyment Body): the luminous “reward” body, radiant presence experienced in deep meditative states.

Nirmanakaya (Transformation Body): the physical manifestation that appears in the world to teach and guide beings.

The balcony photograph is nothing less than Trikaya in fur.

One eager beaver kitten leaning forward with attention. Shoshin in fur form. Beginner’s mind, ardent faith, great doubt — personified in a tiny body. Not striving, just interested. Pure attention meeting the moment. This is the Nirmanakaya: the Buddha who enters the world, who takes form, makes eye contact, leans in. Shakyamuni under the Bodhi tree had this same quality — fully landed in form, fully present.

The one bang on the Middle Way. Not meditating — just being the meditation. The very picture of shikantaza (just sitting). Half-lidded eyes, no goal, no attainment, nothing to reject. Sitting is sitting. Cat is cat. This is the Sambhogakaya: luminous enjoyment body, radiating without broadcasting, bliss without agenda. Amitabha’s infinite light simply shining.

One lounging in the back row. Stretched out, utterly unbothered. Upekkha so complete it naps through the teisho — which is itself the teisho. “The sound of the talk is the sound of the breeze. The breeze is nice. I shall nap.” This is the Dharmakaya: the unborn, unmanifest ground of all three. Not sleeping, not waking — prior to both. The Dharmakaya doesn’t meditate. It is what meditation is.

Eagerness, detachment, equanimity — all expressed in fur and whiskers. One cat-nature. Three expressions. The form that engages. The presence that radiates. The ground that holds it all.

The balcony is the zendo. The morning light is the dharma. The railing is the boundary between samsara’s hillside busyness and this small square of equipoise. No separation between practice and life. No special posture required. Just this — fur, light, hillside humming in the distance — already complete.

They lost a sibling. They had every reason to remain closed, remain wary. And yet here they are — one leaning in with trust, one sitting in luminous presence, one resting into the ground of being. That journey — from grief and wariness to this open, sunlit arrangement — is perhaps the deepest teaching of all.

Cats don’t try to be enlightened. They simply are what they are, completely. Which, as this photograph shows, turns out to be the three bodies of Buddhahood — arranged casually on a balcony, waiting for breakfast.

Who still doubts that a cat cannot be a Zen Master?

The answer, as always, comes in purrfect silence. 🐾