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, which is the 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 tathagata 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 panelists. This means there's another way to put on a okesa, you know, using the Buddha on the main altar in the Buddha home, you know, the Buddha from Gandhara, the stone Buddha. They... I mean, not the Buddha. He covered both shoulders. That is what this means. And another example, friend, sometimes the chest is exposed. The Mecchistudha's main altar, the 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 row of more than 60 panels means in the three categories From 9 Joe to 13 are called . Anyway, and 15 until 19 is called . And from 21 to 25 Joe are called . I don't know.

[03:10]

Anyway, the right row, more than 15 jou, okesa, have 60 panels, because each panel has four. And each strip, each joule has four, right? Four panels. And 15 times 4 makes 16. So this 16 panel means the large orchestra more than 15 joules, or 15 strips. Tathagata or elders or teachers wear okesan 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, or over the left shoulder. And hang, let's see. The front edge goes over the left shoulder and hangs over the upper arm, this side. Uh, when we put on a large rope, the front edge passes over the left shoulder and hangs down behind the back when the oxide large distal. This oxide is not so large, so it's, uh, sterile and clear. But when we put the oxide like that and go 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 their own experience of practice. So if we have question about how to put on a kasaya, we should ask someone who has own experience. That means it's not a matter to be written. You should receive instruction from actual reading example. So I don't think I need to talk more than this about the method of hearing kashaya. And next, from next paragraph, we find or start to complain about some people. Then, as I said, in the year 1240, he wrote six chapters of Shodo Bendo, and almost all of them he criticized others.

[06:30]

Maybe I don't need to talk about it. If you read those, you know, podcasts, you will see. And that's kind of a very severe criticism against you know, for the establishment. And Tutupu had authority. Maybe it could be one of the reasons he had to move to the countryside. Anyway, when he was 40 years old, he was very critical against authority. So I just read a paragraph by paragraph. For several hundred years, through 梁 or 梁 in Japanese, 千 or 千, 水 or 水, or 湯 or 湯, are in the parentheses in Japanese pronunciation.

[07:48]

and Song dynasty. These are the names of the dynasties in China. If you want to know the years, Liang is from 502. 502 to 503. 5.7 in Euclidean . This is the dynasty, you know, the famous Emperor Wu would be under this dynasty. This is Riyang. And next one, Qing, is from 557 to 589. And next one, suni or zun, is from 581 to 618.

[08:57]

And this is hui, qin or qin. And tong is from 618 to 907. And Song is from, 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, you know, the Mongols invaded to China and occupied China and established Mongol government.

[10:28]

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

[11:35]

You know, the first of those dynasty, 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 force and Zen is from the point of view. So not all Chinese and Japanese Buddhists agree with this. So. 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]

Then school people said they transmit Buddha's mind, but people or teaching schools transmit Buddha's words. 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, so-called the masters, before started to become Zen practitioners, they were the monks in other so-called teaching schools. And they changed their practice and become so-called Zen monks and Zen masters.

[14:04]

At that time, they also changed 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, that we should see the truth or reality of all beings directly and awake into that reality.

[15:14]

That is kind of a how can I say, point of Zen. And that how, you know, Zen people think Zen is superior to other schools. Of course, each and every Buddhist school thought they are most superior. in any Buddhist schools. But an interesting point is none of them said other schools are not Buddhist. that they say we are superior to others, that our practice, our teaching and practice is more kind of a point, the essence of our teaching, or can, I can say, work larger group of people, or the practice is more genuine.

[16:26]

You know, those are the way, you know, each Buddhist school kind of establish their own school. Because both the world of Buddhas and the world of living beings are neither being nor non-being. that teachings, practices, practitioners, and principles of Mahayana and Hinayana cannot be contained within the limited view of ordinary human beings in this place. This means that we should see and study and practice dharma with our dharma eye, not with our human sentiment. However, as Yujiro Dogen always said, 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 then is kind of criticizing Chinese people who created Chinese Buddhism, in a sense, like American Zen or 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 allowed body-mind want to receive kashaya or okesa, they should receive and maintain the kashaya that has been authentically transmitted from India by bodhidharma.

[19:06]

they must not receive and wear kashaya with a newly-created design. And so Dobin Kweetsari, 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, Nanzan Dou Shen. That was the person Dogen Zenji criticizing. So he is a kind of a critical against denier tradition in China and in Japan. So again, we could see he is speaking from the forecourt Mahayana precept point of view against a denier 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 Qunin of Kaosi without missing a single generation. The robes worn by their Dharma children and descendants are the authentically transmitted Kashyaya. The ones that have been newly designed in the Tang Dynasty China, that refer to the time of Namzang Dosheng, are not the authentically transmitted Kashyaya. So he points out the newly designed orchestra during the Tang Dynasty in China, but he didn't mention what is wrong.

[21:21]

That is a problem when we think about the history of the orchestra in Soto tradition after Dogen Zenri. So he thinks particular form or style of okesa is authentically or corruptly transmitted okesa. And of course, because he was always wearing that kind of orkessa, people practiced with him new. What is the authentic orkessa? But until by the time, by 17th, 18th century, people didn't know what sort of orchestra Dogen Zenji was wearing. So they had to kind of a touch of the true or authentic form of the orchestra in the 17th, 18th century in Japan.

[22:32]

And that search is a kind of source of new holy. That is what we are wearing now. Anyway, I'll talk later about that point. So just keep in your mind, Dobezenji has some criticism against a certain kind of orgesa. In ancient times and present, the kashaya worn by the monks who came from India are all like the Buddha ancestors authentically transmitted kashaya. 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 of the precepts 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 Tendo-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.

[24:40]

That means that in the age of Dogen, the authentic orkessa 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 teachers and students share the same awakening, same practice, same understanding. That is authentically transmitted or kesa, but he doesn't describe what was the form of that or kesa. 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 must share 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, I mean body and mind, in order to practice to attain unsurpassable awakening, that is anuttara samyaksambodhi, that is Buddha's awakening.

[27:10]

So this is that talisman, protection of our body and mind. If our body and mind is dyed with one phrase or one verse of dharani and dharma, then dye-with is an expression that means really penetrating. even one phrase of Dharma penetrate to our body and mind. It will become the seed of radiant, radiant light for long . Radiant light is Buddha's wisdom, light of wisdom. And that will finally lead us to the unsurpassable awakening. So this means studying dharma, studying teachings, is of course a seed to attain God's wisdom.

[28:24]

And if our body and mind is dyed with one dharma, And one goodness, this dharma and goodness in this case means our actions, our practice, and putting on or wearing orkessa is one of our practices. will finally lead us to the answer possible. With the satsang wearing kashana, it will be the same. So studying dharma by reading sutras or Buddhist texts and practice, any kind of practice, you know, Wearing orchestra 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, you know, reality of our life. And yet, the virtue created from our practice will certainly have time to lighten. and allow us to be emancipated, even though things are impermanent and changing. But the one action we do, either good and not good, or not evil, harmful, or whatever word you like, There are certainly results.

[30:40]

If we plant acid of persimmon, you will get persimmon fruits. If we plant the apple seedlings, we will get apple fruits. sometime in the future. This is a principle of cause and result. So if we plant a seed of Anuttara Samyak Sandori, that is some understanding and awakening and also practice, then no matter how long it might be, it will bear fruits. you know it might be tomorrow, or it might be 10 years later, or it might be 40 years later, or it might be in the next lifetime, or millions of years later.

[31:46]

But sometimes the seeds we bring about the fruits. That is the principle of code and The kashaya is also neither man-made nor not man-made, neither with abiding, not without abiding. I'm sorry. Yeah, like. Let's see, neither with abiding or without abiding. It is that only a Buddha together with Buddha can penetrate, and yet the virtue attained

[32:46]

by a practitioner who receives and maintains kashaya will be, without fail, completed and will bring about the ultimate result. So this, you know, Bogenzenji wrote another chapter of the show, Bogenzo, entitled Jinshin Inga. deep faith, deeply believing or trusting in cause and result. That is the title of the 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.

[33:50]

That means we may not see the result within this lifetime. So without faith, we may negate or deny this principle of cause and result. 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. Okay. Mm-hmm. Mm-hmm. In all of these cases, this is not the individual necessarily wearing the okesa at that moment.

[35:09]

But it may be the result of many people wearing them over many generations for the without fail or the ultimate results occurs. Yeah, and also, you know, because of, if you introduce one example, because of in the past lives, our past lives, we may be some, already planted some seed that we can't hear. and reading Shobu Gendo, or wearing okesa, or sitting in the window. That can be the result of something we did in the past lives. So in the future lives, we may, without faith, we attain the unsurpassable awakening. But of course, we cannot see the result always.

[36:13]

We cannot see the past right, and we cannot see the future right. So we need to believe. So I think you said in the beginning, when we started this, that he was writing this to help define so to speak. And it kind of feels a little bit like a bargaining piece, you know? I mean, there's a lot of that kind of wrapped in there, distinctions and what you'll get. If you do that, then this will happen. You know, I mean, it just seems very different with other money in that regard. uh yeah that is one point that this particular chapter is different from other uh This is not so philosophical and not so poetic either.

[37:15]

But this shows that she's 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. Yeah, so we can see this is different from kind of the Dogen we are familiar with, but not completely different. I think soon we will see that aspect also. And on this part also, you know, ultimate result is awakening. ,, well, I'll talk about it later.

[38:16]

But here it said the is also neither manmade nor not manmade. Just manmade or not manmade is Sa and Musa. Sa is to make. So Musa is not making. That means this okesa is something made. Made means conditioned.

[39:17]

This orchestra is made with certain product, 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 ushoji. Ushoji. And without abiding is ushoji. You know, again, this is famous, uttara and muttara.

[40:19]

Again, talk about u and mu, u and mu. And later, let's see. Please. Yeah. This is the same as in the... 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, you know, his basic teaching is appearing here. And let's see. He said something in page 22.

[41:20]

Paragraph 26. Okay. Second sentence of verse 22. We should clearly clarify the material, color, and measurements of all Buddha's Kashyana. We should study whether it has certain quantity, certain quantity in real. And is without quantity in real. And next one, quantity wise, has a certain form or is without form.

[42:26]

This is Uso and Muso. And Muso, same thing. So is the form. Uso 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 very 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 discuss each and everything from u and mu.

[43:38]

And important point is both are negated. Neither woo nor moon. Or both woo and moon. Negated and affirmed. This means negation of woo is moon. And negation of moon is woo. So he who he U and he move is and U and move. So U, move. Uda, U, noa, move. Both U, noa, move. That kind of, you know, how they say in English that if there are four, something like a tetra, yeah.

[44:46]

This is the expression from the philosophy we are teaching of Sunyata. And in the Diamond Sutra, it says, I think all of you know, this is really famous saying from the Prajnaparamita Sutra, and Diamond Sutra is one of them, said, Forever are material characteristics. There is delusion. This material characteristics, if so, this so, we so. And here it's a sho-so. software is illusion. Because the films in scene is illusion.

[45:50]

Because, you know, it's always changing. But we, from the scene and the film, we make an image, you know, and create 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, something changes. So the form I see and create in our mind as a form of this particular kind of flower. But in Genjo Koan, when this flower falls, it will fall.

[46:51]

So there is a, you know, interaction between this and this, that we literally grasp what we see. That is form. So that means that whatever is soul or form is delusion. And we should see that. Then we can be released from our thinking or attachment to that particular feeling. So Subuti, wheresoever are material characteristics, there is delusion. But whoso, whoso, perceives that all characteristics, all characteristics are so-so, but so-so, are in fact no characteristics

[47:53]

This is when we see all the forms as no form. That is seeing the tathagata. This is a teaching of a shingata or anything. So we see this form is not really a form. Form is delusion. So we should see this poem as not poem, or no poem, but without poem. Then we see the Tathagata that is beyond any poem or poemless. Tathagata without poem. And in this case, this Tathagata that we did as a person, but Tathagata in the reality of it is. So when we see the form, but really see the form is not form.

[48:59]

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 sunyata. We should see sunyata or emptiness to be liberated from our clinging to certain forms. That is basic teaching of Diamond Sutra and its common understanding of teaching of Mahayana teachability. 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.

[50:14]

He discussed about everything from using u and mu, and either u or mu. That is what I'm going to talk. He made a comment on this phrase from the Diamond Sutra. On Saturday morning, I briefly introduced, but I tried to discuss about what Pat Dogen is saying about this phrase in Shodogen do Kongutsu. Thank you, Tori. Seeing Buddha. Seeing Buddha.

[51:16]

You know, this from the Diamond Surfing Tathagata, same thing. The phrase or sentence in Diamond Surfer is, Ten. Soto. Isso. Ten. Nyorai. Ti.

[52:24]

Ten. So, so, he, so, can, nyorai, see all forms, forms as not form or no form, is seeing Tathagata. In Shôbōgenzō, can Dōgenzō quote this sentence? Any problem? This one? Tenshō-sō. Tenshō-sō. He. He. H-I.

[53:27]

Yeah. He. Sō. Same he as he in Hishinryō. So seeing all forms as no form or not form is seeing . Excuse me. is the usual way, not the usual, but correct way of reading this sentence. But as usual, Dogen then twisted this way of reading. Uh, where shall we start? Uh, he introduced common understanding of this sentence and saying, uh, they think

[54:34]

To see the many forms, shoso, many forms, to see the many forms as known form is just to see the Patagata. This is translation by Nishijima. In other words, they think, this is Dogen's comment about a common understanding of this phrase. They think the words describe seeing the many forms, not as forms, as no forms, but as the Tathagata. Truly, a faction of small thinkers, small thinkers, will inevitably study the words like that. But the reality of the words which the Buddha intended is not like that.

[55:40]

This is typical . It's different from how he write in . Remember, to see the many forms and to see there are no form is to meet the tathagata. At once, at once, there is the tathagata and there is the non-tathagata. You see the difference between usual reading and Dogen's world reading? In the usual reading, all forms or many forms are negated. This should be negated. And we should see no form. Then you see the tathagata. But here, Dogen Renjin's saying is to see forms, all forms, and also to see no form, both, is to see Tathagata.

[56:48]

So seeing form is not negated. That is the point. So in order to see tathagata, or true reality, we should see both forms and no forms, or uso and miso. So neither is negated, and yet neither is affirmed. We should see both mean each are negated each other. So to see it both way mean negate both way, that means We sing, but we don't sing. That make sense? I don't think so. Anyway, and next, Dogen Renji quote, saying comments of the Master Hogen. Hogen is the founder of Hogen School of Chinese Zen.

[57:53]

Hågen's comment is, if we see the many forms as known form, we are not then meeting the Tataigata. So Hågen negate meeting the Tataigata. He said, if we see Many forms or all forms as not formed, we don't see the Tathagata. And Dogen's comment on this saying by the Master Hogen, I don't have time to read the entire comment, so I just introduce a few sentences. The many forms, shoso, the many forms are the form of the Tathagata. So he does not negate forms.

[58:58]

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 patagata. 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 see form as form is Tathagata. Just seeing form as form. We should never see this concrete form as non-form. So Doven is opposite.

[60:00]

We never see forms as non-form. Form is form, period. Then we say form is non-form. We are still thinking. We try to connect form and non-form together. And that is what we do in our mind, using our thinking mind, discriminating mind. We want to put those two concepts, many forms and no form, together. That is still, you know, thinking. But, so Dogen try to show us we should see the reality, not thinking about the reality. We should see the reality, experience the reality. Then what we see is only forms. If we see forms as no form, we are thinking. even though this is a form, but this is illusion, impermanent, empty, so we should negate this form.

[61:10]

This is not a paper. When we think in that way, and that is the fact we usually do when we study the teaching of emptiness, When we do in such a way, when 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. To see all forms as no form, as Dogen said, is leaving the father and running away. We escape from the real thing we are facing, too.

[62:15]

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 tathāgata, this concrete form, each and every form that is, of course, impermanent and in a sense delusional or illusion, but this concrete form is just the form of the tathāgata. We say that the many forms should be the many forms.

[63:22]

So forms is just forms, are just forms. This is truly a supreme discourse of the great viku and the experience of the masters of many districts. And 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 very important point to understand Dogen. Whatever he discuss about the Zen, And now he's discussing about Okesa. And in Shobo Genzo, how is, what is how in English? Eating bowl, oil.

[64:23]

He discussed exactly the same thing as this. So for him to see emptiness, And to practice emptiness and actually to leave out emptiness and to experience emptiness is to really see the form, each and every form we encounter. It's not a matter of 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 śūnyatā or emptiness. And we think that is a way we can liberate from the clinging to this object. For example, about the Zen. In Shōbōgenzō Dōgenrenji, Dōgenrenji discuss about the story of Polishing Attai of Baso and Nangaku.

[65:33]

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

[66:37]

What are you doing? And the non-log said, I'm polishing a tile to make a mirror. Mirror. In this case, tile is derivational means, and mirror is Buddha the Enlightenment, or wisdom. Then Vassal asked, how can you make a mirror by polishing a tie? Then Nangak answered, why can you become a Buddha? By polishing yourself. And by doing that then. The common understanding of this story is Nanak admonished Vaso not to cling to the form of the Zen, because enlightenment and Buddha is beyond form or formless. So don't cling to the form of even sitting.

[67:42]

That was common understanding of the meaning of this story. But in Shōbō Gendo, the Zen Shin, Zōgen Zenji, kind of a, how can I say, almost completely change the meaning of the story. If you are interested, please try to read. They are interesting, but they can't print. Are you saying, like, when Nargajuna said, if you grab anything, it's in the wrong way? It's painful. You grab a snake and you fail to turn around. 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 will be no medicine for that sickness.

[68:46]

Please. But is it also different from Nagarjuna? Yeah, in a sense, it's different from Nagarjuna. When we studied Nagarjuna, we don't know what to do. Everything is negative. He's saying we should be liberated from any idea. then that he does say then what we should do. And what Dogen is saying, for example, in this case, pushing Tai in our Zazen is Zazen is a form that express more form. That make sense? So we have to practice Zazen.

[69:50]

But the common understanding of that story is Nanggaku admonished Basso's attachment or clinging to a form of Dazen. But Dogen said, form of Zazen is itself expression of no form. So we have to keep sitting. But of course, if we're clinging to the form, it's not Zazen. And basically the same question in regard to Dogen and his understanding that he's in this . Is there a great departure? It's kind of a two-way question. If you point out a certain teaching or sense of the six patriarchs, or ancestor and Dogen, I think I can answer.

[71:02]

But what the difference between Shuinan and Dogen is two-way. Okay. So the reason why he discuss in this way is, when we study the teaching of emptiness or sumyapara, we try to become free, liberated from the poems. And if we are not careful, it become a kind of escape. to the somewhere beyond this world of forms. That make sense? And we are seeking that kind of somewhere else in our design. And that is a mistake. And also, in the case of, you know, Okesa, you know, Okesa, one name, one known name for Okesa is Muso, that means robe without form.

[72:20]

If robe, if Okesa is robe without form, why we have to, you know, wear this particular form of robe? You know, whatever form is okay. Even without any form, what's the problem? You know, that... If we are not careful when we think in that way, that is a revelation. That is enlightenment. You know, care for nothing. That, you know, that is... That's a kind of a part of Zen tradition as a liberated way of life. But that is not Dogen's practice. Dogen's practice is to Of course we should see emptiness and we should be liberated from the clinging to the emptiness and being liberated from clinging to the emptiness and forms.

[73:28]

To see forms just as forms and to take care of forms, to view 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 our face and how to brush our teeth. All of them, these are forms. But these forms should be the gateway to awakening, to the truth of emptiness or without forms.

[74:29]

So clinging to no form is kind of more serious problem for us. So in order to see the tathagata, the reality of all things, we should clearly see both forms and no form. But whenever he discuss about Buddha nature, he said, oh Buddha nature and no Buddha nature. And another thing is your Buddha nature, your practice is Buddha nature. So without practice, there's no such things called buddhameja. That is what Dogen said in the Shodogen Buddhameja, or the show. And he's saying about the orchestra the same thing. This is a robe of liberation, and this is a robe without form.

[75:34]

Therefore, we have to venerate and value this particular form of okesa, because this is an expression of formless reality. That make sense? Good. Any question? OK. When I finish talking about that point, other part of is not so difficult. 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.

[76:42]

or even within countless lifetimes, we'll never see kashaya, wear kashaya, trust and receive kashaya, or clarify and understand what kashaya is. So we should see kashaya or orchestra 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. 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 the sequence of cause and result.

[77:54]

Please. Pardon me? Pardon? I'm sorry, I don't hear. Yeah, I think that is what he's going to say next. you know, those people need to, you know, support or help or coaching by Bodhisattva, and Bodhisattva are ready to help. And in a sense, that is what Dogen is doing here, by writing this Kesakudoki. Pardon me, Okesa?

[79:00]

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 delight. for our good karma from the past. Do not doubt the accumulation of merit and piling up of virtue in the future. If we have not yet received the kasana, 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 targatas and the three treasures of Buddha, Dharma, and Sangha.

[80:21]

Let me finish this paragraph. How deeply people in other countries must wish that the Tataigata's dharma and rope is authentically transmitted and exists in their countries as in China. They must have deep regret and soul that it has not yet been authentically transmitted in their countries. How fortunate that we have been able to encounter the Tathāgata, the world-honored ones' dharma and robe that have been authentically transmitted. This must be the power of the great virtue of prādhinā nurtured in the past lives. So we are all in the process, whether we have already encountered with Okesan, and here we have to be very careful.

[81:30]

you know, we have to see Okesa as a form. That means this particular form of Okesa and Okesa without form. That means, you know, this entire network of interdependent origination is one piece of Okesa. And in that sense, we have already been there. You know, we have already... encounter with Okesa in that song. So if we interpret this Dogen's sayings as only this type of Okesa that has been transmitted only in Dogen's lineage, our view is very narrow. So, and yet if we take this out and we already think Okasai this, you know, vast, boundless reality, then we lose your sight of concrete practice.

[82:44]

So we have to be careful in both ways. That's why Dogen said we have to see Okasai as form and as no form. OK, thank you.

[83:01]

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