---
domain: harmonism
tags: [harmonism, philosophy, metaphysics, the-void, buddhism, sunyata, nagarjuna, convergence]
content_layer: bridge
doctrinal_status: clear
breadth: full
depth: developed
craft: clean
published: "2026-05-17"
---
# Nāgārjuna and the Void

**Bridge article for [[The Void]]**

*Reads [Nāgārjuna](https://grokipedia.com/page/Nagarjuna)'s Śūnyatāsaptati through the architecture of [[Harmonic Realism]]. See also: [[The Absolute]], [[The Cosmos]], [[Convergences on the Absolute]], [[Glossary of Terms#Qualified Non-Dualism|Qualified Non-Dualism]].*

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## The Convergence

The Void article in [[Harmonic Realism]] assigns the number 0 to the pre-ontological ground of reality — pregnant nothingness, prior to being and non-being, the silence from which creation continuously arises. When [[Harmonism]] names [Śūnyatā](https://en.wikipedia.org/wiki/Sunyata) among the cognates of this principle, the reference is not decorative. The [Mādhyamaka](https://grokipedia.com/page/Madhyamaka) tradition — Nāgārjuna's lineage — developed the most sustained and rigorous philosophical demonstration of what Harmonism compresses into the symbol 0: a reality that is neither existent nor non-existent, that cannot be captured by any conceptual determination, and that nonetheless functions as the condition of possibility for everything that appears.

The *Śūnyatāsaptati* (Seventy Stanzas on Emptiness) is among the most concentrated expressions of this demonstration. Written in the second century CE by the founder of Mādhyamaka, it argues in seventy-three stanzas that all phenomena — arising and ceasing, bondage and liberation, the aggregates, the sense fields, even [nirvāṇa](https://grokipedia.com/page/Nirvana) itself — are devoid of [svabhāva](https://grokipedia.com/page/Svabhava) (inherent existence, self-nature, own-being). Nothing possesses an independent, self-grounding essence. Everything that appears does so through [dependent origination](https://en.wikipedia.org/wiki/Pratityasamutpada) — arising in dependence on causes, conditions, and conceptual imputation, and therefore empty of the kind of self-standing being that the untrained mind reflexively attributes to things.

This is the same structural insight that [[The Void]] articulates from Harmonism's own ground: the Void is pre-ontological, prior to the categories of existence and non-existence, and all manifestation arises *within* it the way a dream arises within the dreamer. What Nāgārjuna calls emptiness of inherent existence, Harmonism calls the pregnant zero from which all numbers arise.

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## The Method: Negation as Philosophical Surgery

Nāgārjuna's method is [prasaṅga](https://en.wikipedia.org/wiki/Prasangika) — reductio ad absurdum applied to every philosophical position that claims to identify an ultimate ground in any *thing*. He does not propose a counter-thesis. He takes each claim about reality — that things arise from themselves, from others, from both, from neither; that time is real; that motion is inherent; that the self has svabhāva — and demonstrates that it collapses under its own internal logic. The result is not nihilism but the dissolution of the entire framework of reified concepts that prevents direct encounter with what is.

Stanza 2 sets the programme: all phenomena possess either existence or non-existence; all are "similar to nirvāṇa" because devoid of inherent existence. This is not a statement about what things *lack* — as though they were supposed to have inherent existence and sadly don't — but about what they *are*: dependently arisen, mutually constituted, and therefore empty. The dream metaphor recurs throughout (stanza 14: "just as in a dream"; stanza 36: "all composite phenomena are like an illusion, a gandharva town, a mirage"). By stanza 66, the full litany unfolds: produced phenomena are "similar to a village of gandharvas, an illusion, a hair net in the eyes, foam, a bubble, an emanation, a dream, and a circle of light produced by a whirling firebrand."

Harmonism recognises this method as *via negativa* operating at the level of ontology itself — not the mystic's surrender of experience (which [[The Void]] describes as the phenomenological encounter), but the philosopher's systematic dismantling of every concept that claims to capture being. The Mādhyamaka prasaṅga is the intellectual cognate of the contemplative dissolution the Void article describes: "the progressive dissolution of the experiencer itself — the systematic surrender of subject, object, and the capacity to experience as separate entities." Nāgārjuna accomplishes in logic what the meditator accomplishes in awareness.

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## The Two Truths and Harmonic Realism

The doctrinal hinge of the *Śūnyatāsaptati* appears at stanza 44, where Nāgārjuna invokes the [two truths](https://grokipedia.com/page/Two_truths_doctrine): conventional truth (*saṃvṛti-satya*) and ultimate truth (*paramārtha-satya*). Conventionally, phenomena function — causes produce effects, actions generate consequences, the [twelve limbs](https://en.wikipedia.org/wiki/Twelve_Nidanas) of dependent origination cycle forward. Ultimately, none of these processes possess svabhāva. The two truths are not two realities but two registers of one reality: the functional level at which the world operates, and the depth-level at which it is empty of the kind of independent self-existence the mind projects onto it.

This is structurally cognate to the relationship between the [[The Void|Void]] (0) and the [[The Cosmos|Cosmos]] (1) in Harmonism's formula. The Cosmos is the register at which phenomena arise, relate, and dissolve. The Void is the register at which none of it possesses independent being — everything is held within the pregnant ground. Conventional truth maps to the dimension of manifestation; ultimate truth maps to the pre-ontological silence. And [[The Absolute]] — the ∞ that is the identity of both — corresponds to what Nāgārjuna points toward when he says (stanza 68): "Because all things are empty of inherent existence, the Peerless [Tathāgata](https://en.wikipedia.org/wiki/Tathagata) has shown the emptiness of inherent existence of dependent arising as the reality of all things."

Stanza 65 delivers the epistemological core: "Understanding the non-inherent existence of things means seeing the reality, i.e., emptiness." To see emptiness *is* to see reality. Not to see through an illusion to something behind it, but to see the very nature of what appears. This convergence is precise: Harmonism's Void is "not the absence of something but the presence of everything in its unmanifest form." Nāgārjuna's śūnyatā is not the absence of phenomena but the disclosure of their actual nature — dependently originated, luminously empty.

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## Where Nāgārjuna and Harmonism Diverge

The convergence is deep. The divergences are equally instructive.

**The internal strain of universal emptiness.** Before the divergences over manifestation and construction, a logical strain runs through the Mādhyamaka system that Nāgārjuna's own apparatus cannot fully resolve. If emptiness *is* — if it functions as the ultimate truth of phenomena — then it possesses a being that distinguishes it from what it is not, which means it is not solely empty: there is something that is empty, namely emptiness itself. If emptiness *is not* — if it has no ontological status whatsoever — then it cannot serve as the ground or truth of anything, including dependent arising, and the Mādhyamaka cannot say what it intends to say. Nāgārjuna's response is the famous *śūnyatāśūnyatā* — the emptiness of emptiness — articulated explicitly at *[Mūlamadhyamakakārikā](https://en.wikipedia.org/wiki/Mūlamadhyamakakārikā)* 13.7–8. The move displaces the strain rather than resolving it: if even emptiness is empty, the criterion of "empty" loses its purchase, and the system can no longer say what is meant by the very term it deploys.

This is the logical structure that the classical Indian critique pressed against the Mādhyamaka in the first millennium. [Śaṅkara](https://grokipedia.com/page/Adi_Shankara)'s charge of *aspaṣṭārtha-vāda* ("doctrine of obscure meaning"), the [Nyāya](https://grokipedia.com/page/Nyaya) school's argumentation, the [Mīmāṃsā](https://grokipedia.com/page/Mimamsa) realists — all converged on the same diagnosis: universal emptiness is structurally self-undermining. Either it includes itself, in which case it undermines its own authority; or it excludes itself, in which case it is no longer universal. Harmonism does not adopt the alternative these critics proposed — Brahman alone as truth, the Cosmos as *māyā* — that asymmetry simply mirrors the Mādhyamaka's own from the opposite direction. But the diagnosis Harmonism shares: the asymmetric resolution is the error. The strain dissolves once the polarity is correctly read. The Void *is*, the Cosmos *is*, and neither is more or less true than the other. Both are constitutive of [[The Absolute]]. The mistake is not the recognition of emptiness; the mistake is the asymmetric inference from emptiness to ultimacy.

The most contemplatively mature successors of the Mādhyamaka register the strain implicitly. The Tibetan [Dzogchen](https://grokipedia.com/page/Dzogchen) tradition speaks of *kadag* — primordial purity — as luminous emptiness rather than mere emptiness, restoring the positive register that the prasaṅga method had bracketed. The [Tathāgatagarbha](https://en.wikipedia.org/wiki/Buddha-nature) texts affirm Buddha-nature as positive presence rather than absence. Zen's post-realization stage, encoded in the [Ten Ox-Herding Pictures](https://en.wikipedia.org/wiki/Ten_Bulls), recovers "mountains are mountains again" — the manifest world in its full reality after the contemplative purification. These are not departures from the Mādhyamaka's deep insight. They are its completion. Harmonism's formula 0 + 1 = ∞ articulates structurally what these traditions arrived at through long contemplative refinement: the polarity is constitutive, and neither pole is supreme.

**The status of manifestation.** Nāgārjuna's repeated metaphors — dream, illusion, mirage, gandharva city, foam, bubble — serve a therapeutic purpose: they loosen the grip of [reification](https://en.wikipedia.org/wiki/Reification_(fallacy)) and enable the practitioner to see emptiness directly. But the metaphorical register risks implying that the manifest world is *merely* illusory — a position that the [Prāsaṅgika](https://en.wikipedia.org/wiki/Prasangika) tradition explicitly rejects but that popular Buddhism often absorbs. Harmonism addresses this risk structurally: the Cosmos is assigned the number 1, not 0. Manifestation has genuine ontological weight — it is the pole of divine immanence, structured, material, energetic, alive. [[Harmonic Realism]] affirms that the Cosmos is inherently harmonic and irreducibly multidimensional — matter and energy, physical body and energy body — dimensions that cannot be dissolved into emptiness without remainder. The Void is not *more real* than the Cosmos; both are constitutive of [[The Absolute]]. The formula 0 + 1 = ∞ holds the two poles in architectonic tension rather than collapsing one into the other.

This is the structural difference between [[Glossary of Terms#Qualified Non-Dualism|Qualified Non-Dualism]] and the Mādhyamaka. Nāgārjuna's emptiness applies symmetrically — nirvāṇa is as empty as saṃsāra (stanza 2 makes this explicit). Harmonism agrees that the Void cannot be reified as a higher substance. But the formula goes further: the Void is 0, the Cosmos is 1, and neither alone is the Absolute. Reality is constituted by their union. This is not a correction of Nāgārjuna — his framework operates within a different set of concerns — but it is a structural completion. The Mādhyamaka sees the emptiness of both poles with extraordinary clarity; Harmonism sees the same emptiness *and* insists that the fullness of manifestation is equally constitutive of the Real. The dream metaphor illuminates the Void-aspect of reality. The formula illuminates the whole.

**The constructive dimension.** Nāgārjuna's method is purely deconstructive. He famously claims no thesis of his own — every thesis, if it possessed svabhāva, would refute itself. This is philosophically honest and therapeutically powerful: it prevents the mind from settling on any reified concept, including "emptiness." But it leaves the constructive task unaddressed. Having seen that all phenomena are empty, what does one *build*? How does one live? The *Śūnyatāsaptati* points toward the soteriological goal — liberation from the twelve limbs of dependent origination, the cessation of suffering — but offers no architecture for integrated human flourishing within the manifest world.

Harmonism, by contrast, moves from *via negativa* to *via positiva*. The [[Wheel of Harmony]] is precisely the constructive architecture that the deconstructive insight makes possible. Once the reified self is seen through — once the practitioner recognises that svabhāva was always a projection — the question becomes: how does one live in alignment with the actual structure of reality? The Wheel answers: through [[Glossary of Terms#Presence|Presence]] as central pillar, through disciplined engagement with the seven peripheral pillars, through the spiral of [[Glossary of Terms#Way of Harmony|the Way of Harmony]]. The Mādhyamaka clears the ground; Harmonism builds the temple. Both operations are necessary. Neither alone is sufficient.

**Soteriology vs. alignment.** Nāgārjuna's concern is fundamentally soteriological — the cessation of [duḥkha](https://en.wikipedia.org/wiki/Dukkha) (suffering) through the dissolution of ignorance ([avidyā](https://en.wikipedia.org/wiki/Avidya_(Buddhism))). The twelve limbs of dependent origination are analyzed not as a cosmological model but as a diagnostic of how suffering perpetuates itself through the chain of ignorance → formations → consciousness → name-and-form → six senses → contact → feeling → craving → grasping → becoming → birth → aging-and-death. Break any link — preferably ignorance itself — and the chain dissolves.

Harmonism shares the recognition that ignorance generates suffering and that clear seeing is the fundamental remedy. But its telos is not cessation — it is [[Glossary of Terms#Harmony|Harmony]]: the meta-telos that subsumes liberation, flourishing, alignment, and creative engagement with the Cosmos. Where the Buddhist path aims to extinguish the flame, Harmonism aims to align it. [[Glossary of Terms#Dharma|Dharma]] in the Harmonist sense is not escape from manifestation but sovereign participation in it. The practitioner does not dissolve the twelve limbs; they inhabit the Wheel — which is itself a structure of conscious, non-reified engagement with every dimension of human life. The Void is honoured as the ground; the Cosmos is honoured as the field of Dharmic action; the Absolute is the unity that makes both intelligible.

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## Nāgārjuna as Cartographic Witness

Within Harmonism's [[Glossary of Terms#Five Cartographies|Five Cartographies]] model, Nāgārjuna belongs to the Indian cartography — the tradition that mapped the anatomy of the soul through the most extensive philosophical and contemplative apparatus the ancient world produced. His specific contribution is at the metaphysical-epistemological junction: he demonstrates, with philosophical rigour unmatched in his era, that no phenomenon possesses independent self-nature. This is not a denial of reality. It is the clearest articulation available of what [[The Void]] means at the level of philosophical argument.

The *Śūnyatāsaptati* is recommended reading for any practitioner who wants to understand the Void not merely as a contemplative experience or a doctrinal claim but as a philosophically demonstrated truth. Nāgārjuna's seventy-three stanzas accomplish what few philosophical texts manage: they leave the reader with nowhere to stand — and in that groundlessness, if one is fortunate, the ground itself becomes visible.

The recommended edition is David Ross Komito's *Nāgārjuna's Seventy Stanzas: A Buddhist Psychology of Emptiness* ([Snow Lion Publications](https://en.wikipedia.org/wiki/Snow_Lion_Publications), 1987), which pairs an accessible English translation with commentary by Geshe Sonam Rinchen from within the Prāsaṅgika lineage. The commentary illuminates what the stanzas compress.

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*See also: [[The Void]], [[The Absolute]], [[Convergences on the Absolute]], [[Harmonic Realism]], [[The Landscape of the Isms]], [[Buddhism and Harmonism]]*
