The method of wearing the kashaya. The usual way of wearing kashaya is to cover the left shoulder and uncover the right. So this means right shoulder is uncovered and left shoulder is covered. This is a usual way of wearing okesa. I don't think I have to explain this. You can see. And there is a way to cover both shoulders, which is a form for the tatagata and elders. Though both shoulders are covered, sometimes the chest is exposed and sometimes covered.

[01:03]

They cover both shoulders when they wear the large robe of more than 60 pounds. This means There is another way to put on okesa. You see the Buddha on the main altar in the Buddha Hall. The Buddha from Gandhara, the stone Buddha. He covered both shoulders. That is what this meant. And another example, sometimes the chest is exposed. Next to the main altar, there is a standing Buddha. I think that is Amitabha. If you see the statue of Amitabha standing next to the main altar, his chest is exposed. And both shoulders are covered.

[02:08]

These are the two methods of putting the orchestra in that way. And the large role of more than 60 panels is in the three categories The row from 9 jo to 13 are called... 15 until 19 is called midumi. And from 21 to 25 jo are called... English. I don't know.

[03:09]

Anyway, the large robe, more than 15 jō, okesa, has 60 panels, because each panel has four, and each strip, each jō, Four, right? Four panels. And four, 15 times four makes 60. So this 60 panel means the large orchestra are more than 15 jobs, or 15 streets. Elders or teachers, we are Okesai in that way. And when we wear kashaya, we put both edges over the left arm and shoulder.

[04:16]

I think we can see this. This side and this side are both left arm and shoulder. And the front edge goes over the left shoulder. this side, over the left shoulder. And the front edge goes over the left shoulder and hangs over the left upper arm, this side. When we put on a large robe, the front edge passes over the left shoulder and hunts down behind the back when the orca is large. This orca is not so large, so it's still around here. But some people, the orca is much larger and goes behind the shoulder. This is what it means. There are many other ways of wearing kasaya.

[05:23]

We should make inquiry of people with a long experience of practice. So if you have a question about how to put on an orchestra, you should ask someone who has own experience. That means it's not a matter to be written. You should receive instruction from actual living example. So I don't think I need to talk more than this about the method we are using in Keshe Island. And from the next paragraph, he kind of starts to complain about something. The year 1240, he wrote six chapters of the Shobo Gendo, and almost all of them he criticized others.

[06:29]

those chapters, you will see. And that kind of a very severe criticism against so-called establishment and people who had authority, maybe could be one of the reasons he had to withdraw and move to the countryside. Anyway, when he was 14 years old, he was very critical against authority. So I'll just read paragraph by paragraph. For several hundred years, through Liang, or Ryo in Japanese, Chen or Qin, Sui or Zui, or Tan or Tou.

[07:45]

In the parentheses is Japanese pronunciation. And Song or Song dynasties. These are the names of the dynasties in China. If you want to know the years, Liang is from 502. 502 to 557, you know, this is Liang. This is the dynasty, you know, the famous Emperor Wu was the founder of this dynasty. This is Liang. And next one, chin, is from 557 to 589. And next one, sui or zui, is from 581 to 618.

[08:50]

And this is sui. Chin or chin. And tongue is from 618. 18 to 907. And Song, there are two Song dynasties. One is so-called Northern Song. And because they moved the capital from the north to the south and southern, Southern Song. Northern Song was from 960 to 1127. And Southern Song is 1127 to 1279. 1279. This is the year the Mongols invaded China and occupied China and established the Mongol government.

[10:27]

So when Dogen Zenji visited China, that was during the Southern Song Dynasty. Anyway, so almost, let's see, 700, 800 years. Many scholars of both Mahayana and Hinayana, Hinayana vehicles, renounced the work of lecturing on sutras, recognizing that those were not the ultimate teachings. and wishing to study the authentically transmitted Dharma of the Buddha ancestors. Without faith, they took off their former shabby robes and received and maintained the authentically transmitted kashaya of Buddha ancestors. This is truly giving up the false and returning to the genuine.

[11:35]

you know, the first of those dynasties, Liang, was the time when Bodhidharma came to China. So that means the beginning of the history of Zen until the time of Dogen Zenji, 13th century. So this, you know, first and genuine is from the Zen point of view. So not all Chinese and Japanese Buddhists agree with this. Again, it's clear that Dogen Zenji is discussing or seeing the history of Buddhism from the point of Zen school, so-called Zen school, that is kind of, not against, but think they are superior than so-called teaching schools.

[12:54]

Zen school people said they transmit Buddha's mind, People or teaching schools transmit Buddha's words. They only understood intellectually Buddha's teachings recorded in the sutras. But in Zen tradition, they transmit from person to person, from teacher to teacher, and teacher to disciples. the mind or heart of Buddha. And then they kind of, many so-called Zen masters, before starting to become Zen practitioners, they were monks in other so-called teaching schools, and they changed

[13:57]

their practice and become so-called Zen monks and then masters. At that time, that Dogen Zen is saying they also change the kashaya or okesa. The true dharma of the Tathagata originated in India. I think this is true. Many of the masters in the past and present cut off the narrow views based on the human sentiment and limited measurement of ordinary human beings. So in order to see the true Dharma, Buddha Dharma, we should cut off our views based on human sentiment. That means our view created, produced by our discriminating mind.

[15:04]

But we should see the truth or reality of all beings directly and awaken to that reality. That is kind of a, how can I say, point of Zen. and how Zen people think Zen is superior to other schools. Of course, each and every Buddhist school thought they are most superior, you know, in any Buddhist schools. But an interesting point is none of them said, Other schools are not Buddhist, but they say we are superior to others, that our practice, our teaching and practice is more kind of a point, the essence of God's teaching, or can, how can I say, work larger group of people, or the practice is

[16:24]

most genuine. Those are the way each Buddhist school kind of established their own schools. Because both the world of Buddhas and the world of living beings are neither being nor non-being, the teachings, practices, practitioners and principles of Mahayana and Hinayana cannot be contained within the limited view of ordinary human beings in these days. This means that we should see and study and practice Dharma with our Dharma eye, not with our human sentiment. However, as usual, Dogen always says, however, in China, instead of regarding India as the root of the Dharma, some people consider their own newly made-up, limited, small views to be the Dharma.

[17:47]

Such things should not happen. So, Dogen Zen is kind of criticizing Chinese people who created Chinese Buddhism, in a sense. It's like an American Zen, or a Japanese Zen, in locality. At this place, he's particularly talking about Okesa. some people in China created a new kind of okesa, different from the okesa transmitted from India. Therefore, if people today who have a large body-mind,

[18:50]

want to receive kashaya or kesa, they should receive and maintain the kashaya that has been authentically transmitted from India by Bodhidharma. They must not receive and wear kashaya with a newly created design. And so, Dogen is criticizing who made a newly-created design, and that referred to, you know, this morning I mentioned the name of the founder of Chinese Vinaya school, Nanzang Duoshen. That was the person, Dogen Zenji Kuritsugin. So he is kind of critical against Vinaya tradition in China and in Japan. So again, we could see he is speaking from the so-called Mahayana precept point of view against the Vinaya precept, in this case.

[20:11]

The authentically transmitted kashaya refers to the one that has been authentically transmitted generation after generation from the Tathagata through Bodhidharma of Shaolin and the human of Kawashi without missing a single generation. The robes worn by their Dharma children and descendants are the authentically transmitted kashaya, the ones that have been newly designed in the Tang Dynasty China, that refer to the time of Nanzang Dosen, are not the authentically transmitted kashaya. So he points out the newly designed okesa during the Tang Dynasty in China, but he didn't mention

[21:20]

Fat is wrong. That is a problem when we think about the history of okesa in Sōtō tradition after Dōgen Zenji. So he thinks particular form or style of okesa is authentically or correctly transmitted okesa. And of course, because he always He was always wearing that kind of okesa. You know, people who practiced with him knew, you know, fat is that authentic okesa. But by the time, by 17th, 18th century, people didn't know what kind, what sort of okesa Dogen Zenji was wearing. So they had to kind of search for that true or authentic form of orchestra in the 17th, 18th century in Japan.

[22:32]

And that search is a kind of source of Nihon-e. That is what we are in now. Anyway, I'll talk later about that point. So just keep in your mind, Dogen Zen has some criticism against a certain kind of okesa. In ancient times and present, the kashayas worn by the monks who came from India are all like the Buddha ancestors' authentically transmitted kashayas. None of them have worn kashaya like the one newly designed by the monks of the precept school in China. Those who do not have sufficient knowledge believe in the kashaya of the precept school.

[23:36]

Those who have clear understanding discard them. Now he starts to talk about authentic okesa. In general, the virtue of the kashaya transmitted by Buddhas and ancestors is clear and easy to trust. The authentic transmission has been truly continued. That means the okesa he has, he received from Tendon Nyojo Zenji is the authentic okesa. And so he has it. Its original form has been handed down and still exists in the present. Each person has inherited kashaya and transmitted dharma from a teacher until today.

[24:39]

That means that in the age of Dogen, the authentic okesa has been transmitted. Those ancestral masters who received kashaya were all teachers and disciples who have merged in verification and transmitted the Dharma. Merged in verification means both teacher and students share the same awakening, same practice, same understanding. That is an authentically transmitted okesa. But he doesn't describe what the form of that okesa. Probably he doesn't need to. Therefore, we should make the kashaya according to the dharma of making kashaya. which has been authentically transmitted by Buddha ancestors.

[25:45]

Because this alone is the authentic transmission, all ordinary and sacred beings, human and heavenly beings, and dragons and gods have been verifying it for a long time. I'm not sure about this. Having been born while this dharma has been spread, meeting with it, with the authentically transmitted okesa, covering our body with kashaya even once, and maintaining it even for a moment, that is certainly the talisman, for protecting our body to attain unsurpassable awakening without fail. So to put on this authentically transmitted okesa is a talisman to protect our not only body, but body and mind in order to practice

[27:03]

attain unsurpassable awakening, that is, Anuttara Samyak Sambodhi, that is, Buddha's awakening. So this is a charisma, protection of our body and mind. If our body and mind is dyed with one phrase or one verse of Dharani and Dharma, Dai-wisd is an expression that means really penetrate. In one phrase of Dharma, penetrate to our body and mind. It will become the seed of radiant, radiant light for long kalpas. Radiant light is Buddha's wisdom, light of wisdom. and that will finally lead us to the unsurpassable awakening.

[28:11]

So this means studying Dharma, studying our teachings is of course a seed to attain Buddha's wisdom. And if our body and mind is dyed with one Dharma and one goodness, this Dharma and goodness In this case, it means our actions, our practice. And putting on okesa, wearing okesa, is one of our practices. Will finally lead us to the unsurpassable goodness. Such as wearing kashaya, it will be the same. So, studying Dharma, by reading sutras or Buddhist texts, and practice, any kind of practice, you know, wearing okesa or doing prostrations, or gassho, or of course zazen, and other practice using our body and mind, are also a seed of prajna.

[29:31]

Although our mind and thought arise and perish in each moment without abiding. That is impermanent. Everything changing and impermanent. And our body also arises and perishes in each moment without abiding. Nothing never stays. It's always changing, moment by moment. That is the reality of our life. And yet, the virtue created from our practice will certainly have time to ripen and allow us to be emancipated, even though things are impermanent and changing. But the one action we do, either good and not good, not evil, harmful, or whatever word you like. There's certainly a result.

[30:40]

If we plant a seed of persimmon, you will get the persimmon fruits. If we plant the apple seedlings, we will get apple fruits sometime in the future. a principle of cause and result. So if we plant a seed of Anuttara Samyak Sambodhi, that is some understanding and awakening and also practice, then no matter how long it might be, it will bear fruits. It might be tomorrow, or it might be 10 years later, or it might be 30 years later, or it might be in the next lifetime, or millions of years later.

[31:45]

But sometimes the seed will bring about the fruits. That is the principle of cause and without causality. The kashaya is also neither man-made nor not man-made, neither with abiding, not without abiding. I'm sorry. neither with abiding nor without abiding. It is thought only a Buddha together with Buddha can penetrate, and yet the virtue attained by a practitioner who receives and maintains kashaya will be, without fail, completed

[32:57]

and will bring about the ultimate result. So this, you know, Dogen Zenji wrote another chapter of the Shogun Genzo entitled, Jin Shin In Ga. Jin Shin In Ga means, what does it mean? Deeply, or deep faith, deeply believing or trusting in cause and result. That is the title of Chapter of Shobo Genzo. And so this principle of cause and result is something we should believe in, we should trust, we should have faith in. That means we don't really, we may not see the result within this lifetime. So without faith, you know, we may negate or deny this principle of cause and result.

[34:11]

And in the case of our practice to attain Buddhahood, it's really clear that we don't get the result within this lifetime. At least to me. So, ultimate results. In all of these cases, this is not the individual necessarily wearing the okhasa at that moment, but it may be the result of many people wearing them over many generations, for the without fail, for the ultimate results occurs.

[35:21]

Yeah, and also, you know, because of, he introduced one example, because of in the past lives, our past lives, we may be some, already planted some seed, that's why we can be here, and leading Shobo Genzo. or wearing okesa or sitting in the zendo. That can be the result of something we did in the past lives. So, in the future lives, we may, without fail, attain the unsurpassable awakening. But, of course, we cannot see the result always. We cannot see the past lives and we cannot see the future lives. we need to believe. So, I think you said in the beginning when we started this that he was writing this to help define and clarify the Soto school, Zen school.

[36:35]

And it kind of feels a little bit like a marketing piece, you know? I mean, there's a lot of that kind of wrapped in there, distinctions and what you'll get. I mean, it just seems very different from his other writings in that regard. Yeah, that is one point. This particular chapter is different from other chapters of Shobo Genzo. This is not so philosophical, and not so poetic either, but this shows but his faith in Buddhist teaching, and in this case, Buddhist law. So here we can see another face of Dogen. He's a very faithful Buddhist, especially in his tradition.

[37:39]

So we can see this is different from the kind of Dogen we are familiar with. but not completely different. I think soon we will see that aspect also. And this part also, you know, the ultimate result is awakening, unsurpassable awakening. Well, I'll talk about it later, but here I said You know, the kashaya or okesa is also neither man-made nor not man-made. This man-made or not man-made is. And musa, size to make.

[38:58]

So musa is not making. That means this okesa is something made. Made means conditioned. This orchestra is made with certain fabric, with certain method, by certain person or people. So this is really man-made thing. And yet, at the same time, this is not man-made. And also, neither with abiding. Abiding is which shows you. And without abiding is Mu, Sho, Ju.

[40:08]

You know, again, this is the same as Usa and Musa. These again talk about Wu and Mu, Wu and Mu. And later, Let's see. Please. Yeah, this is the same as in the... Right. In the case of Buddha nature, he said Wu Buddha nature and Mu Buddha nature. This is really the same thing. So we have to remember his basic teaching is appearing here. Let's see. He said the same thing in page 22, paragraph 26.

[41:20]

OK, second sentence of page 22. We should clearly clarify the material, color, and measurements of all Buddha's kashaya. We should study whether it has certain quantity. Certain quantity is u. And what is without quantity is 無量. And next one, quantity. What has a certain form, what is without form. This is 無相 and 無相. and Muso, same thing.

[42:37]

So is form. Ryo is quantity. This is a point I talked on Saturday morning by introducing the Dogen Zenji's comments on the phrase from the Diamond Sutra. And I think this is really important to understand what is okesa in the teachings of Dogen Zenji. So I'd like to talk on that point a little more. So Dogen also discussed each and everything from wu and mu.

[43:38]

And important point is both are negative, neither wu nor mu, or both wu and mu. negated and affirmed. This means negation of u is mu, and negation of mu is u. So, he, u, he, u, and he, mu is, and u and mu. So, u, mu, muda, u, noa, mu, Both will know more, that kind of, how do you say in English, if there are four. Something like a tetra, yeah.

[44:46]

This is the expression from the philosophy or teaching of Sunyata. And in the Diamond Sutra, it says, I think all of you know this really famous saying from the Prajnaparamita Sutra, and Diamond Sutra is one of them. It says, Shigurki, where so ever are material characteristics, there is delusion. This material Characteristics is soul. This soul, with soul. And here it says, sho-so. Sho-so is illusion. The forms we see is illusion.

[45:50]

Because, you know, it's always changing. But when we see and when we make an image, and create a certain kind of concept, it's like we are taking a photo. The real thing is changing, and one moment later, this is different. Exactly what it is, what this is, is only this moment. Next moment, it's different. And yet, when we take a photo, and print it out, suddenly change. So the form I see and create in our mind are the form of this particular kind of flower. But in Genjo Koan, when this flower falls, we feel sad.

[46:51]

So there is a, you know, interaction between this and this. But we usually grasp what we see, that is form. So what Diamond Sutra says is, whatever is soul or form is delusion. And we should see that. Then we can be released from our clinging or attachment to that particular thing. So subhūti, wheresoever are material characteristics, there is delusion. But fūsō perceives that all characteristics, all characteristics are shosō, that's all, form, are in fact no characteristics,

[47:53]

Tashi Tathagata. This is when we see all the forms as no form. That is seeing Tathagata. This is a teaching of Shunyata or emptiness. So we should see this form is not really a form. Form is delusion. So we should see this form as not form, or no form, or without form. Then we see the Tathāgata, that is beyond any form, or formless. Tathāgata without form. And in this case, this Tathāgata doesn't mean a doer as a person, but Tathāgata means the reality as it is. So when we see the form, but really see the form is not form.

[48:58]

So this form should be negated and be liberated from our attachment to that form or hatred or anger to that form, particular thing and person or anything. That is a liberation according to the teaching of Shunyata. We should see Shunyata or emptiness to be liberated from our clinging to certain forms. That is the basic teaching of the Diamond Sutra. And it's a common understanding of the teaching of in Mahayana teaching Buddhism. Of course, Dogen Renji was not against that teaching, but his understanding about this phrase is kind of unique, and it's important to understand what he meant, you know, he discussed about everything

[50:17]

is from using u and mu, and neither u nor mu. That is what I'm going to talk about. She made a comment on this phrase from the Diamond Sutra. On Saturday morning, I briefly introduced, but I'd like to discuss about Fat Dogen is saying I got this phrase in Shobo Gendo Ken Gutsu. I'm sorry. Ken Gutsu. The phrase or sentence in Diamond Sutra is,

[51:20]

Ken Shoso Hiso Ken Nyorai Si Ken SHO, SO, HI, SO, KEN, MYO, RAI. Seeing all forms, forms as not form or no form, is seeing Tathagata. In Shogun Genzo, Dogenzen quotes this sentence.

[53:09]

Any problem? This one? Tensho-sō, hi. H-I. Hi, sō. Same hi as hi in hishiryo. is carrying your line, Tathagata. So seeing all forms as no form, or not form, is seeing Tathagata. is usual way, not usual, but correct way of reading this sentence. But as usual, Dogenrenji twisted this way of reading.

[54:16]

Where shall we start? He introduced common understanding of this sentence and saying, they think To see the many forms, shoso, many forms. To see the many forms as non-form is just to see the Tathagata. This is translation by Nishijima. In other words, they think. This is Dogen's comment about the common understanding of this phrase. They think the words describe seeing the many forms, not as forms, as no forms, but as the Tathagata.

[55:19]

Truly, a fraction of small thinkers, small thinkers, will inevitably study the words like that. the reality of the words which the Buddha intended is not like that. This is typical Dogon. It's different from how he writes in Kesakudoku. Remember, to see the many forms and to see there are no forms is to meet the Tathagata. At once, there is the Tathagata and there is the non-Tathagata. Do you see the difference between usual reading and Dogen's way of reading? In the usual reading, all forms or many forms are negated.

[56:25]

This should be negated. And we should see no form. Then we see the Tathagata. But here, Dogen Zenji is saying, to see forms, all forms, and also to see no form, both, is to see Tathagata. So, seeing form is not negated. That is the point. So, in order to see Tathagata, or to reality, we should see both forms and no forms, or uso and muso. So neither is negated and yet neither is affirmed. We should see both means each are negated each other. So to see both ways means negate both ways. That means we see but we don't see.

[57:31]

Does it make sense? I don't think so. Anyway, and next, Dogen Zenji quotes a saying, comments, of Zen Master Hogen. Hogen is the founder of Hogen School of Chinese Zen. Hogen's comment is, if we see the many forms as non-form, We are not then meeting the Tathāgata. So Hōgen negates meeting the Tathāgata. He said, if we see many forms or all forms as not form, we don't see the Tathāgata. And Tōgen's comment on these sayings by the master Hōgen, I don't have time to read the entire comment, so I'll just introduce a few sentences.

[58:40]

The many forms, shōsō, the many forms are the form of the papāgata. So he does not negate forms. He doesn't say we should see all forms as no form or not form, because form is delusion. But he's saying all forms are forms of Tathagata. So we should clearly see the form, each and every form. And there is no instance of them having mingled with a form that is not the form of the Tathagata. This is a typical dogma. That means we just see form as form. We don't need to say to see form as form is Tathagata.

[59:46]

Just seeing form as form. We should never see this concrete form as non-form. So, Dogen is opposite. We never see forms as non-form. Form is form, period. When we say form is no-form, we are still thinking. We try to connect form and no-form together. And that is what we do in our mind, using our thinking mind, discriminating mind. We want those two concepts Many forms and no form, together. That is still, you know, thinking. But, so, Dogen tried to show us we should see the reality, not thinking about the reality. We should see the reality, experience the reality.

[60:51]

Then, what we see is only forms. If we see form as no form, we are thinking. Even though this is a form, but this is an illusion, impermanent, empty, so we should negate this form. This is not a paper. When we think in that way, and that is what we usually do when we study the teaching of emptiness, When we do in such a way, we think about emptiness, in that way, we are still thinking. We don't see the emptiness itself. To see the form just as form, and to see no form just as no form, is to see the Tathagatami, to see real emptiness. Not thinking about it. And to see it as no form is leaving the father and running away.

[61:59]

To see all forms as no form, as Dogen said, is leaving the father and running away. That means we escape from the real thing we are facing too. So this is almost opposite. of the common understanding of the Diamond Sutra's saying. So we should really focus on the form we are facing. That is the way we see no form, because form is no form, whether we think or not. And that is to see Tathagata. they have asserted that because this concrete form is just the form of the Tathagata, this concrete form, each and every form, that is of course impermanent and in a sense delusion or illusion, but this concrete form is just the form of the Tathagata.

[63:16]

We say that the many forms should be the many forms. So forms are just forms. This is truly a supreme discourse of the Great Vehicle and the experience of the masters of many districts. A little later he said, the many forms are the form of the Tathagata, not non-form. Well, his comment continues, but this is a really important point to understand Dogen. Whatever he discusses about Zazen, and now he's discussing about Okesa, In Shobo Genzo Howe, Howe is, what is Howe in English?

[64:21]

Eating bone, oreo. He discussed exactly the same thing as this. So, for him to see emptiness and to practice emptiness and actually to live out emptiness and to experience emptiness is to really see the form, each and every form we encounter. It's not a matter of, you know, when we see this form and think, oh, this looks like a form, but this really does not exist as a form. That is kind of a common understanding of shunyata or emptiness. And we think that is the way we can liberate it from the clinging to this object. For example, about Zazen, in Shobo Genzo Zazenshin, Dogen Zenji, discussed about the story of polishing a tile of Baso and Nangaku.

[65:33]

It's a very famous story, so I think you already know. Baso was sitting in Zazen every day by himself, all day. And Nangaku was his teacher. and came to visit him and asked, what are you doing? And Baso is saying, I'm sitting. And what do you expect? What do you intend? What is your intention when you practice Dazen? And Baso answered, I'm becoming a Buddha. Then the Nangaku picked up a piece of stone, a tile, and started to polish it on the stone. Baso didn't understand what this means, so he questioned, what are you doing, Master?

[66:37]

What are you doing? And the Nangaku said, I'm polishing a tile to make a mirror. mirror. In this case, tile is derived from human beings, and mirror is Buddha's enlightenment or wisdom. Then Baso asked, how can you make a mirror by polishing a tile? Then Nangak answered, why can you become a Buddha by polishing yourself? and by doing the Zen. The common understanding of this story is Nangaku admonished Baso not to cling to the form of the Zen, because enlightenment and Buddha is beyond form, or formless.

[67:38]

So don't cling to the form of even sitting, That was common understanding of the meaning of this story. But in Shobo Genzo Zazenshin, Bogen Zenji kind of, how can I say, almost completely changed the meaning of the story. If you are interested, please try to read. They are interesting, but difficult. Please. Yeah, he said the teaching of emptiness is a medicine to allow... teaching of emptiness is a medicine to allow you to become... to be healed from that clinging to the form. But if you are clinging to emptiness, there is no medicine for that sickness.

[68:46]

But is it also different from Nagarjuna? Is there a significance of profound... Yeah, in a sense, it's different from Nagarjuna. When we study Nagarjuna, we don't know what to do. You know, everything is negated. He's saying we should be liberated from any idea. But he doesn't say then what we should do. And what Dogen is saying, for example, in this case, polishing tai, in our zazen, is zazen is a form that expresses no form. Does it make sense? So we have to practice zazen. But in common understanding of that story is Nangaku admonished Basho's attachment or clinging to the form of Zazen.

[70:09]

But Dogen said, form of Zazen is itself expression of no form. So we have to keep sitting. But of course, if we bring it into the form, it's not dozen. And basically, the same question in regard to Dogen and his understanding of emptiness, or his explanation of it, in regard to the Sixth Chinese Patriarch. Is there a great departure? How are they different? It's kind of too vague question. If you point out certain teachings or sayings of the Six Patriarchs, our ancestors and Dogen, I think I can answer, but further difference between Huinan and Dogen is too vague. Okay. So, The reason why he discusses in this way is, when we study the teaching of emptiness or sunyata, we try to become free, liberated from the forms.

[71:37]

And if we are not careful, it becomes a kind of escape. to the somewhere beyond this world of forms. Does that make sense? And we are seeking that kind of somewhere else in our Dazen. And that is a mistake. And also in the case of, you know, Okesa, Okesa, one of the names of Okesa is Muso-e. That means robe without form. If Okesa is robe without form, probably we have to wear this particular form of robe. Whatever form is okay, or even without any form, not a problem.

[72:39]

If we are not careful, we think in that way. That is a revelation. That is enlightenment. Care for nothing. That is a kind of a part of Zen tradition as a liberated way of life. But that is not Dogen's practice. Dogen Zen practice is to, of course we should see emptiness, and we should be liberated from clinging to the emptiness, and yet being liberated from clinging to the emptiness, and forms, to see forms just as forms, and to take care of forms, to feel the forms, and to live together with that form wholeheartedly. That is why Dogen Zenji kind of emphasized on the formal practices, how to put on okesa, how to sew okesa, how to use ryoki, how to do gassho or prostration, even how to use toilet, or how to wash

[74:07]

our face and how to brush our teeth. All of these are forms. But these forms should be the gateway to awakening to the truth of emptiness or without form. So, clinging to no form, is kind of a more serious problem for us. So, in order to see the Tathāgata, that means the reality of all things, we should clearly see both form and no form. That's why whenever, for example, he discussed about Buddha nature, he said, U Buddha nature and Mu Buddha nature. Another thing is Gyo buddhanature.

[75:09]

Gyo is practice, is buddhanature. So without practice, there's no such thing as buddhanature. That is what Dogen said in Shobo Gendo's buddhanature, or busho. And he's saying about orchestra, the same thing. This is a robe of liberation, and this is a robe without form. Therefore, we have to venerate and value this particular form of okesan, because this is an expression of formless reality. Does it make sense? Good. Any questions? Okay, when I finish talking about that point, other part of Kesakudoku is not so difficult.

[76:18]

So we have five more minutes. Let me keep reading. Those who do not have the good karma from the past, even if they go through one lifetime or two lifetimes, this is page 15, about the middle, or even within countless lifetimes, will never see kashaya, wear kashaya, trust and receive kashaya, or clarify and understand what kashaya is. So we should see kashaya or okesa from two sides as a form, as a particular form, and also as no form. In China and Japan today, we see those who can wear kashaya on their body and there are those who cannot do it. This does not depend on whether they are wealthy or poor, whether they are foolish or wise.

[77:27]

We know that it depends on whether we have good karma from the past or not. So it's not because of our condition of being wise or foolish or rich or poor, but this is within a sequence of cause and result, please. Pardon me? Pardon? I'm sorry, I don't hear. Yeah, I think that is what he is going to say next.

[78:30]

You know, those people need to, you know, support or help or teaching by Bodhisattva, and Bodhisattva is ready to help. And in a sense, that is what Dogen is doing here, by writing this Kesakudoku. Let me keep reading. We may find something. Because of this, if we have already received kashaya or okesa and maintain it, we should be delighted for our good karma from the past.

[79:36]

Do not doubt the accumulation of merit and piling up of virtue in the future. If we have not yet received the kashaya, we should wish to receive it. Within this lifetime, we should make effort without delay to plant the first seed of goodness. Those who cannot receive and maintain kashaya because of some hindrance should practice repentance in front of all Buddha Tathagatas and the three treasures of Buddha, Dharma and Sangha. Let me finish this paragraph. How deeply people in other countries must wish that the Tathagata's Dharma and rope is authentically transmitted and exists in their countries as in China.

[80:40]

They must have deep regret and sorrow that it has not yet been authentically transmitted in their countries. How fortunate that we have been able to encounter the Tathagata, the world-honored one's Dharma and robe that have been authentically transmitted. This must be the power of the great virtue of Prajna nurtured in the past lives. So we are all in the process whether we have already encountered with okesa, and here we have to be really careful. You know, we have to see okesa as a form. That means this particular form of okesa, and okesa without form.

[81:43]

That means, you know, this entire network of interdependent origination with one piece of okesa. And in that sense, we have already been there. We have already encountered with okesa, in that sense. So if we interpret this, you know, Dogen's sayings as only This type of okesa that has been transmitted only in Dogen's lineage, our view is really narrow. And yet, if we take this out, and we only think okesa is this vast, boundless reality, then we lose the sight of concrete practice,

[82:44]

So we have to be careful in both ways. That's what Dogen is saying, we have to see Ogesa as formal and as non-formal. Does it make sense?

[83:01]

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