That is a poem. As I said, this Kesa Kudoku actually was written in 1240, the year 1240. and I introduced six writings or chapters of Sho Dogenzo he wrote in this year. And within those six chapters, it seems there's one kind of a hidden motif of Dogen, and that is a mountain. And then we had the first genzoe here on Sanseikyo, that was also written in 1240.

[01:12]

I think at Green Gorge, I talked about this poem. This poem is by Su Shi, the very well-known Chinese poet in Song dynasty. And at that time, I didn't know. But later, when I worked on the translation of Eihei Koroku, or in English, the extensive record of Dogen, I found his verse. Dogen composed his verse following Wanshi, Chinese Soto Zen master Dogen very much respected. And Dogen composed his own poem following Wanshi's poem. And Wanshi's poem was based on Sushi's poem.

[02:17]

So there are three poems. And Dogen then didn't quote the original poem by Sushi. But it's helpful to know what we want to say, so I first introduce Su Shi's poem. This is a poem, very famous poem, about Mount Lu. Mount Lu is a well-known mountain in China for its beauty, and it's also a sacred mountain. Sushi, or his another poem, another name is Su-Don-Po, or in Japanese, To-Ba, So-To-Ba. And, you know, another chapter of Shobo Gendo he wrote in 1240 was Keisei Sanshoku, The Sound of Valley Stream and Colors of Mountains.

[03:28]

The entire chapter of that entire chapter was about Sushi's poem. You know, the poem, let's see, which is the most... Anyway, it's okay. The sound of a stream is his long, broad tongue. Tongue? The mountain, his immaculate body. These evenings, 84,000 verses. How will I tell them tomorrow?" So this poem was also written by Sushi, and Dogen made comments on this poem in Heisei Sanshoku. And this is another poem by Sushi on Mount Rue. It says, Let me first read the entire poem.

[04:32]

Regarding from one side an entire range, from another a single peak, far, near, high, low, all its parts, different from the others. If the true face of Mount Rue cannot be known, It is because the one looking at it is standing in its midst. Do you understand the meaning? Good. This is a translation by American scholar, Vinter Grant, from the book entitled, Mount Wu Revisited. This is a book on sushi. Anyway, I don't agree with her translation of the last two lines.

[05:39]

That is, if the true face of Mount Rue cannot be known, it is because the one looking at it is standing in its midst. In this translation it says, But I don't think this is if clause. So if I translate these two lines, it says something like this. I don't know the true face of Mount Wu simply because I am in the mountain. I think it's different. If the true face of Man cannot be known, it means because I'm still in the mountains, I cannot see the true face of the mountain. But if I get out of the mountain, then I can see it. But I don't think that is what he's saying. That means he cannot see the true face.

[06:44]

The true face, in this case, is the true face of Man, the true face of ourselves. And seeing the true face is another expression of awakening. But I think what Sushi is saying is It's not possible to see the true face of Mount Rue because I am in the mountain. Excuse me. I must be careful. Could you write down Tsu Chi's name and Mount Rue revisited? Okay. In English. Another name is Su Dong Po. Let's see. And another thing. L-U.

[08:09]

L-U, please. Is that also Hwangpo? Is that the same? H-U-A-N-G-P-O? No, Hwangpo is the name of a great master, linguistic teacher, Obaku. This is Sushi Owasu Donpo, Watoba. Asu. I think this is not if-clause, because Sushi used the word, when he said, it cannot be known, he used the expression, fu and shiki. Not know. And this expression, appeared in the dialogue between Bodhidharma and Emperor Wu. When Emperor Wu said, who are you in front of me, Bodhidharma said, Fushiki, I don't know.

[09:18]

So this expression, Fushiki, is a kind of a positive expression, not knowing. So, not knowing is kind of an expression of sushi's awakening. We cannot know, and that is okay. That means to see the true face of Mantru as an object is not possible, and that is fine. This means, to me, I think, this means, this Mount Rue is a, wow, it's pretty, is, I think, an entire network of interdependent origination. And we are in the mountains, therefore we cannot see this entire mountain from

[10:25]

outside. When we see mountains from inside, the appearance, shape of mountains is always changing depending upon where we are. In the first line, he said, regarding from one side an entire range. That means When we see this mountain from a certain point, this is a part of the range. So it's not a single peak. It's not independent. It's a part of the continuation of the mountains. And Mount Lu is only part of it. When we see the same mountain from another angle, this mountain looks really like one single peak.

[11:34]

And there's a famous mountain in Kyoto named Mount Hiei. That Mount Hiei is the same. I practiced at Antaiji. Antaiji is located in the west side of Kyoto, and Mount Hiei was east side. So from Antaiji, I could see Mount Hiei every morning, every day, always. Then we see Mount Hiei from Kyoto side. It's really one single peak. It's highest peak among the other, you know, around Kyoto. There are not so many high mountains. Mount Hiei and another one, Mount Atago, are two little bit high. It's only 800 or 900 meters. So not very high, but still higher than others. So Mount Hiei seems like one single peak.

[12:39]

But then we see the same mountain from opposite side, the side of Lake Biwa. We cannot see which one is my mount here. It's really part of our range. So this means, depending upon where we are in the network of interdependent origination, this network seems very different. And we cannot see it as an object, because we are part of it. We have to see this world. only from inside. So I cannot see the entirety of this world. And that was, I think, Sushi's awakening to the reality. So it's not a matter of we can see the true face of Mount Lu, which one, in a single peak or a part of a range, which is the true face of Mount Lu. We cannot see.

[13:41]

And to know that we cannot see, To know that we cannot know is knowing of the true nature or true face of Mount Rue. So this is same as, for example, when I studied physics when I was a high school student, depending upon how to observe, light can be a single article, and also light is a wave. When we see light as a single particle, it's an independent being. But when we see it as a wave, there are no independent things. It's a part of the entire movement. And Mount Lu is the same, and our life, each one of us is the same. We are independent, like a single peak from one side.

[14:45]

But from another side, we are just a part of a wave or a movement. No single independent entity called shohaku from another side. So we don't know which is the true face of this person. And to know the true face of this person is to know that I cannot know. I think... Okay. Regarding from one side, an entire range. From another, a single peak. Far, F-A-R, comma, near, comma, high, and low. all its parts different from the others.

[15:53]

If, this original translation, if the true face of Mount Rue cannot be known, it is because the one looking at it is standing in its midst. This is an original poem by Tsurushi. And Dogen Zenji, I mean, before that, Wanshi Zenji, Wanshi in Chinese pronunciation, Honshi, Wanshi is a very well-known Chinese Tōzen master, about 100 years before Dōgen. And Dōgen Zenji really respected this person.

[17:03]

And this person, Wanshi, is famous for his poetry. Wanshi wrote a correct 100 koans, koan stories, and made vases on each koan. That was called Wanshin Juko. And later, around the same time with Dogen, another Chinese master whose name was Bansho Gyoshu in Japanese pronunciation. made commentaries on these 100 Koan and Wanshi poems, or verses. And that became Shoyoroku, or the Book of Serenity. So the verses in Book of Serenity were written by Honji, or Wanshi. So he is also a very well-known poet.

[18:06]

And Dogen Zenji quotes Wanshi's poem following, I think, Tsushi's poem of Mount Lu. So I introduce first, next, Wanshi's poem. And Dogen Zenji composed his own poems following Wanshi's. So these three are connected each other. And Vance's poem is as follows. With coming and going, a person in the mountains understands that the blue mountains are his body. The blue mountains are the body and the body is the self. So, where can one place the senses and their objects?

[19:18]

This is Manjushri's poem. Let me read it again. With coming and going, a person in the mountains understands that The Blue Mountains are his body. The Blue Mountains are the body, and the body is the self. So where can one place the senses and their object? You know, senses and their object is same as from the Stamipada, the consciousness and Nama Rupa. There's no such separation. So this poem means a person in the mountains, a person in the midst of the mountains, coming and going within the mountains. And as Sushi said, we cannot see the true face of one true. And it's not a matter whether we can see it or not, but this person at least understands

[20:26]

that the Blue Mountains are his body. So in this case, this is a mountain. So for the person who are born and are living and dying in this mountain, this entire network of interdependent origination is his body. because there is no such separation between the person and all the threads or connections. And the Blue Mountains are the body, and the body is the self. So our practice is not to see, to find, the true face, or true face of this network, or true face of each one of us. Because it depends upon where we are.

[21:31]

It looks different. And we cannot say which one is the true face. But the important point is coming and going, that means living within this mountain, as, you know, this entire network, entire mountain is our body. our self. So there is no way to separate our self as a consciousness or subject and others as an object of sense organs. So this is the entire one thing, oneness. And this is how you know, from what the Buddha said in the Stanipata, how Nama Rupa disappeared. This is Rangchen's poem. And Dogenzen's poem is as follows.

[22:37]

He says, a person in the mountains, So he uses one of his expressions. A person in the mountains should love the mountains. A person in the mountains should love the mountains. With going and coming, the mountains are his body. The mountains are the body, until here Logan says the same thing as Wanshi. But next he said, but the body is not the self. So, where can one find any senses or their objects? Basically same thing, but I really like this expression.

[23:44]

A person in the mountains should be the person who loves the mountains. Third line? The mountains are the body, but the body is not the self. Why she said the body is the self? But Dogen said, body is not the self. It's kind of a delicate point, but if we think this entire network is our body, and if we say, this is my self, it's a kind of dangerous thing. Like, sometimes we, even in Zen, we have an expression such as big self. I think the expression big self and small self is dangerous.

[24:46]

Big self can mean, you know, Atman. If we think this entire network is my self, and we are the small self part of it, then It's different from what Buddha taught. If we think this is one fixed thing as a part of this network, and this network as another fixed thing, then it sounds like Atman. So even though I draw the circle, there is no such circle If we make a circle, that means we make separation between inside and outside of the circle. So, in order to talk something, we have to make a circle, but please understand there is no such circle.

[25:58]

It's just a connection of all beings. And so, fear can one find any senses or their object. So this, you know, living and dying, or being born, living and dying, within this network of interdependent origination, is our life. And according to these three poems, this is Mount Lu, And we are living within the Mount Rue. And this entire mountain, including ourselves. And another word for this Mount Rue is, uh, myriad dharmas. Myriad dharmas or ten thousand dharmas. All the things in Genjo-Koan.

[26:59]

And we are part of the myriad things. That is what Manpuru means to me, at least. And the chapters of Shobo Genzo he wrote in 1240, somehow he used expressions from these poems without explanation. For example, in Raihai Tokuzui, have you read Raihai Tokuzui? Raihai Tokuzui is attaining the marrow through making prostrations. In this chapter, Dogen Zenji quotes a story about a Chinese woman Zen master whose name was Massan, and her male disciple, Kamkei Shikan.

[28:16]

And one part of their conversation was, The first is the top, the pinnacle of Mount Massan, where this Zen Master lived. And the Massan, the woman Zen Master said, Furocho, Furocho means the top is never exposed. Then Kankeshikan asked another question. That is the master of the mountain, like in the original story. And Masan said, it's not the matter of form of man and woman, or male and female. In the original story, the expression in the question was, fat is the master of the mountain, that means massan herself.

[29:31]

But in Raihaita Guzui, if we read it carefully, Dogen Zen changed that one word. Instead of master of the mountain, He used, a person in the mountain. Person in the mountain. That is from Vanshi's poem. Vanshi's and Dogen's poem. So without, you know, saying anything, Dogen then somehow changed a little tiny expression. And if we are not careful, we overlook it. But if we read it carefully and we know Dogen changed even that only one word, we understand the mountain in that conversation between Mastan and her disciple is about this mountain, not a particular mountain in China.

[30:42]

So that expression, person in the mountain, appeared in Raihai Tokuzui. And of course, the entire writing of Keisei Sanshoku is about this mountain. And in Sanseikyo, or Mountains and Water Sutra, Dogen says something like, although we say that mountains belong to the country, country or nation. We usually think mountains belong to a nation or a country. But actually, he said, actually, they belong to those who love them. I think if you read Sansekyo carefully, you find this expression. And Dogen never say this came from this poem of Sushi or Banshi or himself.

[31:50]

He just put it there. So, unless we are careful, we don't really realize this is from that poem. Please. Do these three poems appear published together anywhere? Disappeared. So this is a part of Ehe Koroku. Part of the Dogen's extensive record of Ehe Dogen. Chapter, Volume 9. Volume 9 is a collection of Dogen Zenji's poems, or verses, from 90 koan stories. And this poem is number 25. And in the footnote, we quote Fusui's poem also. So you can find it. And in Uji, also, he used this expression from these three poems, that is,

[33:04]

Nonetheless, the nature of the truth of this yesterday and today lies in the time when you go directly into the mountains and look at the myriad peaks around you. Hence, there is no passing away. This is the part when Dogen discusses that time doesn't pass away. So in Uji, Uji's being time, Dogen said, we should go directly into the mountains and look at the myriad peaks around you. So that is what this means. And that is how we study Dharma. We are already in the mountains. And we get into the mountains, actually we are already in the mountains, and look around

[34:09]

All the peaks, that is the way we study Dharma, we practice. And this entire network of mountains is our life, or our body. And here, also, Togen never said this has some connection with Sochi's poem. And another one is Showa Kumaksa, or not doing anything evil. This is about Dogen's comment on the very well-known verse from Dharmapada. Not doing anything evil and practice everything good. keep the mind pure. This is the teaching of all Buddhas.

[35:14]

So this is about good and bad. But here, again, in this chapter he mentions about the mountains. This is a part he discusses about not doing. And in this case, not doing is not a prohibition of not doing evil. But he used this expression, not doing, or in Japanese, makusa, as what? Letting go of thought. Doing nothing. And he said, all evil beings are not doing. All evil, these, or doings, are not doing. Is not only the well, well, W-E-L-L, well, well seen the donkey, but also the well seen the well itself.

[36:33]

I have to explain what this means, but this came from another koan story, but don't care for now. I just point out the expression he used about the mountains. It is the donkey, donkey seeing the donkey, and a person seeing the person, The mountain seeing the mountain. So he used the expression, a person seeing the person, and the mountain seeing the mountain, without any explanation. So unless we know these three poems, we really don't know what this means. I think These chapters of Shogun Gendo were basically written for his students. So I think his students knew what this means.

[37:38]

But we don't know, unless we read the entire writing of Dogen and see the connection. Anyway, all these five chapters, he, without pointing out, he used the expression about the mountains, or a person in the mountains, or a person loves the mountains. So I think, you know, this collection of his verses on 19 koans are made Around the same time, that means probably around 1240, he made also those correctional verses on 90 koans. So his students knew what this means.

[38:42]

But Dogen Zenji didn't write the footnote. So we have to find the connection So Dogen's writing is again also like the network of interdependent origination. Everything is connected. But connection is transparent. So we have to find the thread. That's why we need scholars. Anyway, so... For him, our life, or our practice, or our study of Dharma is awakening to the reality that we are part of this entire network of interdependent origination, and Dogen called this a mountain. And we are already inside of it, and we see the entire mountain from inside.

[39:47]

So, depending upon the condition or point we are standing, the mountain looks different. But the important point is to see that we cannot see the entire mountain as an object or a Mammalupa. But our practice is to live together with all beings within the mountains. as my own body. To me, this is important or helpful to understand what Phap Dogen wrote in Kesakudoku about kesa, or kesa. You know, he used, when he talked about kesa, or kesa, or love, he, again, without explanations, I think he used the word okesa in at least four different meanings.

[40:54]

And one of the meanings is, you know, that entire network of interdependent origination, or Mount Lu, is a piece of okesa. Okesa is a collection of small pieces, and it's sewed together. So this is, from one side, this is one piece of okesa, but from another side, this is a collection of small pieces. And we are one piece of okesa. That is at least one thing he pointed out when he discussed about okesa. So Okesa is a symbol of this entire network of interdependent origination, or a symbol of the reality of all beings.

[41:59]

We are independent, individual beings, and yet at the same time we are We can exist only within the network of relationship with all beings. That is what okesa means. And another thing when Dogen pointed out when he used the word okesa is, of course, as a law of for Buddhist monks, created by Shakyamuni. I think you know this story, how this orgasm was invented. When Shakyamuni and Ananda walked by the rice paddies, Shakyamuni asked Ananda,

[43:06]

to if another child could make a loaf that has the same kind of pattern with the rice paddies, rice paddy or rice field. Rice field in Asian countries is a really important thing. Rice is the basis of the most important food, and not only the food, but it's the basis or foundation of the entire economy. And, well, I talk about rice field after I start to talk on this text. So, when he discusses about okesa, or kashaya, he referred to the Buddhist robe created by Shakyamuni and Ananda.

[44:07]

And I think third is, how can I say, is a symbol of Dharma transmission. I talk about it in the very beginning of this text. And fourth, I think, is actual love we receive and we wear every day, our own okesa, our own youth. So there are four different things, I think, or four different aspects of okesa. And again, Dogen Zenji uses without explanation what he is referring to now. So, when I read this text, I was confused.

[45:15]

What was Dogen Zenji talking about? But if we see those four different, not things, but aspects of Okesa, then I think it's not so difficult, what Dogen is saying. And those four, to me, is interesting. First one, Okesa as a symbol of this entire network. as one piece of okesa, is saying about three pleasures. Three pleasures means Buddha, Dharma, and Sangha. And in our tradition, I don't think only in our tradition, but there are three kinds of three pleasures. Dogenben mentioned this in

[46:17]

Kyoju Kaimon, or his comment on the 16 precepts. There are three kinds of three treasures. Kyoju Kaimon, so when you receive the precept, all of us hear the name of those three kinds of three treasures. And the first one is in Japanese, Ittai-Sanbo. Ittai Sambho. Sambho is three treasures. And Ittai means one body. And in my translation of Kyojo Kaimon, I translate this Ittai Sambho as the absolute three treasures. That means three treasures refer to this entire network.

[47:21]

Buddha is a Dharmakaya. Dharmakaya means the way all beings are, is Dharma. And all beings are Buddha's body. That is what Dharmakaya means, Dharma body. And the way all beings are within this network is called Dharma. as the second treasure, is how things are within this network. And in Ittai-sango, or Absolute Three Treasures, sanga means each and everything in this entire network of interdependent origination is sanga. That means all beings,

[48:23]

in this entire universe is Sangha. This is the first kind of Three Treasures. And the second kind of Three Treasures is Genzen Sambo. Genzen means manifesting. Gen is the same as gen in genjo koan, appear or manifest. And zen is in front. So genzen means manifesting or appearing. So I translate this as manifesting, Three treasures.

[49:26]

And this means Buddha as Genzen Sambu is Shakyamuni Buddha, who was born in India 2,500 years ago. Actual person in the history. So, within the three Buddha bodies, this is Nirmanakaya. And Dharma, as a Genzen Sambo, means or refers to what the Buddha taught when he was alive. So Buddha's teaching is Dharma. And sangha means people who practiced with Shakyamuni Buddha, was sangha, as manifesting three treasures. And the third one is in Japanese called juu-ji-san-bu.

[50:32]

Jyu means to dwell, dwell, or to stay. And ji is to maintain. So this means, this refers to, you know, after Shakyamuni Buddha died, and his disciples, other original sangha, all passed away, So there's no actual verbal teaching from Shakyamuni Buddha himself. And yet, that was a big problem for early Buddhists, because when Shakyamuni Buddha died, they lost one of the three treasures. But they started to find What is really Buddha?

[51:44]

And they found Buddha is not the five skandhas, five aggregates of the person. But his awakening and his teaching about the reality he awakened to was actually Buddha. That was the origin of the idea of dharmakāyā as Buddha. But as a... I forget. I translate this jūji-sambho as maintaining, manifesting, maintaining, in order to maintain this tradition or teaching of Buddha. Even after Shakyamuni Buddha died, we still have three treasures. And of the three treasures, the Buddha statues... A statue is just a statue.

[52:53]

It's not really a Buddha. But we revere it. venerate the Buddha statue as a form or image of Buddha. So we enshrine the Buddha statue in the Buddha hall, and we make prostration to the statue. That is the Buddha treasure, as maintaining three treasures. And Dharma is written form of Buddha's teaching, that is sutra. Sutras and other Buddhist texts are called Dharma treasure. So printed text is Dharma treasure in which Buddha's teaching and through Buddha's teaching the Dharma as reality itself is expressed.

[54:01]

That is so written text as sutra and other scriptures are called Dharma treasure in maintaining three treasures. And Sangha treasure is people, you know, who have been studying and practicing Buddha's teaching after Buddha's death until today. Those are sangha treasures. And of course, the sangha we belong to, certain particular sangha we are part of, is of course sangha treasure for now. And now we are studying Dogen Zenji's writings to study Dharma. So in that case, for now, his writing is Dharma treasure.

[55:08]

And we have Buddha in this Buddha hall, that is Buddha treasure. So, you know, the kesa, okesa, as a symbol of this entire network is like a dharmakaya. So, dharmakaya of okesa. And Fen Dogen discusses about the okesa designed and invented by Shakyamuni and Ananda. It is like a manifesting three pleasures. Okesa as a manifesting three pleasures. And a symbol of Dharma transmission is an orchestra as a maintaining three treasures. And our particular orchestra, Owaraksu, where we are every day, is part of that maintaining three treasures. I think that is helpful to understand what Dogen discussed, because he doesn't explain in that way.

[56:21]

So, for many years, I'm confused. For example, he knew that this orchestra was created by Shakyamuni Buddha. But in the sutras, he said, you know, Buddha has been transmitted, or kesa, that means from Vibhashi Buddha, that means many billions of years before Shakyamuni. I questioned if Dogen Zenji really believed this or not. And also, the symbol of Dharma transmission. At least I couldn't believe such a thing really happened. From Shakyamuni to Mahakasyapa, and Mahakasyapa to Ananda.

[57:25]

This is the first thing he wrote in the Kesakudoku. And it said, the Buddha's robe. continued to be transmitted to the sixth ancestor of China, Huinan. I wonder if he really believed it or not. At least I don't. Anyway, that is my introduction. about before we start reading Keisaku Roku. So far, any questions? Then I start to talk about the text. No questions? OK, then I start. This text is my own translation.

[58:41]

I found three translations, three English translations of Kesakudoku. Maybe there are more, but I only had three. One is in Nishijima's translation of Shobo Gendo. And second is Tanahashi's translation in Enlightenment Unfold. And the third is in the book entitled Zen Master Dogen, translated by Yokoi Yuho and Daizen Victoria. Those three. I started to read those three translations, but I found that to understand, to make my understanding clear, better to make my own translation.

[59:49]

So I tried to make my, not tried, but I did, I made my own translation, and yet I didn't have much time. This is done only within a month or so. And Vicky Austin helped me to check grammatical mistakes and spelling type of mistakes. She didn't have much time, so we didn't go through together. So this is my own translation using my poor English, although the grammatical mistakes are corrected by Vicky. So this is still a stage of working draft. So any comments or suggestions are appreciated.

[60:52]

And this is not yet, I think, good enough English. This is not natural English. And I still have... How can I say? I'm still not comfortable with certain translations. For example, translations of Hung Zohei. Tentatively, I made a very literal translation of Funzo-e. If you read this translation, you'll find excrement-cleaning rug or robe. I'm not sure if this is a good word to use in English. Pardon? Rug. Rug, yeah. Fumi means excrement, and zo means cleaning.

[61:58]

So this is a literal translation. But when I sent this translation to Keijo Menik, and asked her, does she like this expression, excrement cleaning run? And she said, to say the word excrement. Please. That is one theory. And as Dogen write in these writings, this is not really, literally, excrement cleaning rug. This is the name of the rug that is abandoned or discarded.

[63:04]

So one of the translators used the expression, discarded rug, or something like that. Discarded or abandoned. One suggestion is, you know, this funzo doesn't literally mean to clean the excrement, but this refers to the, what do you call it, something like a junkyard, where people throw things, garbage, garbage heap. So, you know, monks found the material of loaves at the garbage, you know.

[64:05]

So, this is not really means to clean the excrement. That is part of it, but not Really. So, if you have some idea, good idea, please let me know. Because Tejo said, you know, she doesn't really want even to speak that word. So, even though that word is in this translation, I try to use the Japanese word, funzoe, instead of excrement cleaning rug. Actually, you know, funzo, is a Japanese pronunciation of Chinese word. So, funzo doesn't, to us Japanese, doesn't really mean excrement. We don't, this is a foreign word, so we don't have, you know, so much kind of a close association with actual excrement.

[65:13]

So we don't feel so bad using the word funzo. But if we have to use the Japanese word, probably I also have a kind of resistance to use that word. So maybe it's better to find another expression in English. Maybe discarded bag might be a good one. These are the books about okesa. These four are about kesakudoku. And these are the source of information when I studied kesakudoku. This one is Kishidawa Iwanroshi's Teisho on Kesakudoku. It's a big book. Actually, this is not only kesakudoku. This includes three volumes.

[66:14]

And Kishidawa Ian Roshi is one of the teachers of Suzuki Shunryu Roshi. He studied with Kishidawa Ian Roshi. And this one is a teisho by... Maybe better to write their names. Well, in English order, he and Kishizawa. And the second book is Record of Teisho by Senryu Kamatani. Roshi.

[67:21]

Senryu Kamatani Roshi was a student, not a disciple, not a Dalai Lama, but a student of Hashimoto Eiko Roshi. Another student or disciple of Hashimoto Eiko Roshi was Yoshida Eshun. She's a woman. I think Yoshida Eshun Roshi was the first person who came to San Francisco Zen Center to teach sewing, okesa and rakusu. So both Kamatani Senryu Roshi and Yoshida Eshun Roshi were students of Hashimoto Eiko Roshi. And the third one is a tensho by Sawaki Kodoroshi is my teacher's teacher.

[68:34]

And those And Joshin-san is Brian-san's teacher. And these three Roshis, Kishidawa Iwan Roshi, and Hashimoto Eko Roshi, and Saoki Kodo Roshi, those three teachers are contemporaries. And all three practiced Under Oka Sotan Roshi's guidance, Oka Sotan, or Sotan Oka, he was the adult of Shuzenji Monastery, not so far from Rinsoin, in Shizuoka Prefecture.

[69:48]

Shuzenji. And he is also a president of Komazawa University. At that time, the name was different. The name was something like Sōtōshū Daigakurin or something. Later it became Komazawa University. So he was a Zen master and also a scholar. And he also became the Kannon of Eheiji. So those three Roshis are all connected. And Katagiri's Dainin Roshi practiced with Hashimoto Eko Roshi at Eheiji. When Katagiri Roshi practiced at Eheiji, Hashimoto Roshi was a godo of Eheiji. And Nagasaki Tsugen Roshi and his elder brother Ikko Roshi also studied

[70:55]

with Hashimoto Eiko Roshi. So Katagiri. And Tsugen Narasaki. Tsugen Narasaki Roshi is a current avatar of the Yoji and Ikko Narasaki Roshi. was the former adult of their brothers. So, you know, in the lineage of Suzuki Roshi, Katage Roshi, and Uchamara Shimae lineage use this style of Ukesa called Nyohoe.

[72:05]

And at the last lecture of this Genzo-e, I'd like to talk about Nyohoe. Until then, I focus on Dogen's teaching, Dogen Zen's teaching about the virtue of Ukesa. Yes, just one question. Where is Nishiyari Bokusan? Is he Okasotan's teacher? Yes, Nishiyari Bokusan was Okasotan's teacher. And Kishizawa Iyanroshi was the dharma heir of Nishiyari Zenji, Nishiyari Bokusan. But because Nishiyari Zenji died, Kishizawa Iyanroshi practiced and studied with Okasotan. So you said, in her book, Nishiyari Zenji, so he was the abbot of the Heian Shogunate? Nishiyari Zenji was the abbot of Soji-ji. Yes. And another book, this is a commentary of Kesa Kudoku by a woman Dogen scholar, Yaoko.

[73:21]

Ya-o-ko. Mizuno. She is a scholar of Japanese literature, classic Japanese literature. And somehow, when he was young, he was, she, I'm sorry, she became interested in Shobo Genzo, and she tried to understand Shobo Genzo, Without knowledge about Zen and Buddhism, Shobo Genzo is really not possible, even for a scholar of Japanese literature. So, when she continued reading Shobo Genzo, she found Kesa Kudoku and Denmei, and she found a sentence that

[74:24]

If we receive and venerate and wear the kesa, it is the same as receiving Shogogenzo, or Buddha's mind, or Buddha's body, actual body. And Mizuno-sensei made a decision to try to wear a kesa in order to understand Shogogenzo. And she, I'm sorry, she tried to find a teacher from whom she can receive Okesa. And she found Hashimoto. First, she read about Mihoe in Sawakiroshi's book, but she even didn't know how to find Sawakiroshi. So she tried to find teachers, and somehow she found Hashimoto Eko Roshi.

[75:26]

So she learned how to sew raksu and okesa and received them from Hashimoto Roshi. And she continued to study Shogo Gendo also. So she was very faithful in sewing okesa. And later she, of course, found Saoki Roshi. He was a professor at Komazawa University. And around the time Sawati Roshi died, that was 1965, Mizuno Yaoko sensei founded, started a kind of a group of sewing orchestra named Fukudenkai. And that is still continues. and what her name, Diane Riggs.

[76:28]

She participated in some activities of Fukudenkai and wrote a report about their activities. So, these four are the commentaries on kesakudoku, and I recommend you, if you can read Japanese, please read those. But unfortunately, not many people read Japanese, so I have to talk. And these two are books written by one of Sawaki Roshi's student, Kyuma Echiu Roshi. Under the kind of assembly or community of Sawakiroshi's disciples, many people are dedicated to sowing okesa and rakusu.

[77:54]

And this person is one of them. Kyuuma Echiyu was still alive. He has a temple. near Nagoya. And he studied about Okesa, and he wrote books, two books about Kesa, Okesa. One is about how to solve Okesa and Rakusu. And this is an explanation of Okesa, information about Okesa. with many illustrations and photos. So even if you don't read Japanese, it might be interesting for you. So I leave this book on this table. So if you want, please take a look at it. Please. I want to mention that if you want to see a rice field and a kesa that looks like a rice field,

[78:59]

It was on the page of Keisoku. Yeah. So cool. Something like this. Anyway, I read this book on this table. So if you want, please take a look at it. So there are quite a few books on okesa in Japanese, but not many in English. Tomoe-san Katagiri wrote a book on Nyoho-e. I think that is the only one English book about okesa. Are there another? No? I see. So those are the books on okesa. And okesa, or Buddhist law, is a part of, within the category of three baskets of Buddhist writings.

[80:18]

Kyo, Ritsu, Ron, Sutra, Shastra, or Commentary on the Sutra, and Vinaya. The materials Our information about Okesa is part of Vinaya. So when we study about Okesa, we need to study Vinaya. And if you are interested in Vinaya, there is one English translation of the entire Vinaya from Pali or Theravada tradition. you can find many sections about orchestra and many precepts about role. Those stories are really interesting, so I recommend you to read. If you have time and interest and energy, you know, English translation of Minaya is really interesting text.

[81:29]

And Dōgen-sen quotes some parts of Vinaya, of course not from Pali, but from Chinese tradition, and I will introduce some of them. Well, we have five more minutes. Any questions? Please. Did Theravada monks, the way they wear their robes? Me? Yes, or someone. Have you studied? I never studied about other robes in Theravada tradition. So I don't know anything about their robes in Theravada or also in Tibet.

[82:34]

Of course, they have their own style of Okesa, but I don't know much about that. So it might be interesting to study all the traditions of Buddhist lords. Now, what we study here is traditions through Dogen. It might be interesting to study about Buddhist lords from other traditions. like Tibetan, Chinese, and Theravada. You said earlier, though, the first day that the Pali Sutras, or the Palikan, that you were studying that to... Yeah, I tried to read as many sutras, but I... and I also have been reading English translation of Pali Vinaya. But I have not really studied about the role in Theravada tradition.

[83:44]

OK? Because anyway, that's my introduction to Buddhism was Theravada. And they did a whole thing on the cloth itself was found in a rubbish heap, in a riddle. But the meaning was that not even Yeah, that is the original idea of Fumizo-e. So that is the same. You know, the Vinaya through Chinese tradition is the same. And Dogen Renji mentioned about that tradition from Shakyamuni Buddha's time. So we read that part here. Dōgen said, not Dōgen said, but Dōgen quotes from Abhinaya that there are ten kinds of funzō-e.

[84:52]

In this case, funzō-e is a material, not a robe itself. So we'll read about that tradition. Okay? Time to read? Okay, thank you very much.

[85:09]

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