There are three kinds of kashaya, so-called the five-strip robe, the seven-strip robe, and the large robe of moa. So there are three kinds, five-strip robe and seven-strip or seven-jaw robes, or okesa, and the side is the same, but more strips, from nine jaws to twenty-five jaws. So, there are three kinds. And this text explains the usage of those three kinds of robes. Maybe... Yeah, let me read first.

[01:06]

The monks of the excellent practice receive only these three types of robes, or kashayas, and never keep other robes. They used only those three robes, sufficient to protect their bodies. Actually, there are a few more kinds of clothing Buddhist monks used, such as clothing for bathing. And also, in order to hide this side of the shoulder, especially for female monks, there are 13 clothing. So there are a few more, but as a robe or okesa, only three kinds. and first introduced the five-jo, or five-strip robe, or okesa, is for working or coming and going anywhere for errands, large or small.

[02:32]

The monks wear the five-strip robe. So five-strip robe is for doing something, working and going somewhere to do some errands. And next is seven-strip robe for entering the assembly for various wholesome practices. So, when monks get together to do some practice or ceremonies, or listen to Buddha's teachings, they put on seven-jaw okesa. And, so, teaching and guiding human and heavenly beings to enable them to allow respect and trust.

[03:34]

The monks wear the large robe, such as the robe with nine or more strips. So when monks or teachers give Dharma discourses, or monks are invited to the king's palace, very formal occasions, they put the larger okesa. And it's also said, also when they stay in a private room, since in Indian sangha, monks have their own hermitage or hut to stay and meditate.

[04:37]

They didn't have sangha hall, like a sangha hall or a monk's hall. Zendo, like we have here, originated from China, Chinese Zen tradition. So in India, monks had their own small hermitage. So when they stay in their personal room, they wear five strip robes. And when they join the assembly, the monks wear the seven-strip robe. So when they get together in a public place, they put on seven-jaw okesa. And when they enter the imperial palace or town, the monks should wear the large robe. So those three kinds of robes have different usage or different purpose on different occasions.

[05:45]

Also, there are another way to use those three kinds of robes. That is what this text says next. Also, since it is mild, Nice and warm. The monks wear the five-strip robe. So it's not too cold. It's mild and warm. The monks wear only the five-strip robe. And when it is cold, they put on the seven-strip robe over the five-strip robe. And when it is severely cold, they put on the large robe over the others. So when it was really cold, they put all those three, depending upon the temperature, to protect their body.

[06:53]

This came from Buddha's teaching. I'll introduce the path of the Vinaya. When Buddha made this move, monks could have only three kinds of robes. But let me finish reading this quote. Once in ancient times, on a mid-winter night, it was cold and bamboos were cracking. In the early evening, the Tathagata wore the five-strip robe, only a five-jaw okesa, and later in the night, when it became colder, he put on the seven-strip robe on it. At the end of night, when it became increasingly colder, he added the large robe.

[08:07]

So this is what Buddha did when it was really cold. So not only different occasions, but depending upon the temperature, Buddhist monks put on only one layer of ukesa, or two or three. And the Buddha thought, in future ages, when the cold is beyond endurance, good monks should be able to wear these three robes to protect their bodies. This is the quote. I'd like to introduce how this love was created. This story appeared from Vinaya. you know, the Buddhist Sangha in India was kind of, how can I say, divided into many so-called sects after, 100 years after,

[09:28]

Buddha's death, there was a separation, a fast separation between Mahasanghika and Theravada. And these two sects further divided into many, until 20. And each sect has its own Vinaya. And after the separation, they develop their own rules or regulations depending upon their conditions within the sangha. So each set has slightly different, basically the same, but slightly different set of rules. 254 monks and 354 human monks. And several of those deniers from different sects were translated into Chinese, maybe five or six.

[10:31]

And when we study Vinaya in Japan, we use those Chinese translations of Vinaya. But in general, in Japanese Buddhism, Vinaya is not so popular, because of the history of Japanese Buddhism. The history of Vinaya is kind of interesting, especially within Mahayana traditions. You know, according to some scholars, Mahayana Buddhism originated from a lay Buddhist movement. So, originally, Mahayana Buddhism didn't have Vinaya, because they didn't have monks.

[11:44]

They didn't need Vinaya. But somehow later, when Mahayana Buddhism became larger and larger, Mahayana Buddhism also had monks. And somehow, although Mahayana Buddhists criticized traditional Buddhism, still they used the Vinaya, because that was, you know, established by Shakyamuni Buddha himself. So, as a kind of Mahayana teaching, they need a little, how can I say, work, why even though they are Mahayana, they receive Vinaya precepts even though they belong to so-called Mahayana side, Hinayana. And one kind of reasoning or excuse

[12:49]

to use Vinaya for Mahayana monks are threefold pure precepts. That is part of our 16 precepts we received. So that came from Mahayana tradition. I think that was established within Yogacara school. As a Mahayana or Bodhisattva, Consider there are three, you know, four pure precepts. First, in my translation... Excuse me. Dōgen-senji mentioned these three. Of course, we received those three precepts. So, Sanju Jōkai is the main. is the name of this set of three precepts.

[14:00]

And the first one, in Japanese, is Shō Ritsu Gi Kai. Shō Ritsu Gi Kai. And the second is Shō Zen. Bo Kai. And third is Sho Shujo Kai. Sho Shujo Kai. In shō means, I translate this shō as embracing.

[15:03]

This is the same shō in Shishōbō. You know Shishōbō? Shishōbō is in the translation within Moon in a Dew Drop, Shishōbō is translated as four methods of guidance of bodhisattva. That is, shi, sho, and ho. I made a translation of shishobo with Alan Senaki, and we translate this shishobo as four embracing actions. instead of four methods of guidance, because of my interpretation of this practice. Anyway, this sho means embracing, including. And ritsu means denier.

[16:13]

Denier. And gi is formless. Sengi in Fukanza-Zen-Gi. Gi is forms. So, Ritsu means regulation, and Gi is the forms to do things, how we behave, how to do, like a procedure of doing ceremonies. And each and every form, that is Ritsu-Gi. And so, shō ritsugi kai means the precept of embracing vinaya and forms. This is a kind of excuse for Mahāyāna Buddhists to embrace or include and accept vinaya.

[17:16]

And sometimes, in English, this is called the precept of not doing evil. But actually this precept means embracing vileness. So in my translation of Kyozo Kaimon, I translate this as a precept of embracing moral cause. And the second one is a precept of embracing zen is good, or wholesome. Ho is dharma. Here, dharma means actions or activities. So sometimes this is translated as a precept of doing

[18:23]

everything good, doing good. And third is a precept of embracing Shakyamuni's living beings. Those are three precepts. And as a Mahayana Buddhist or Bodhisattva, we should maintain these three precepts. Embracing all moral codes, and embracing all good actions, and embracing all living beings. Those are threefold pure precepts. And the meaning of these three is just following the moral codes or linear precepts. is not enough.

[19:25]

Sometimes we can use keeping the Vinaya or regulations or rules as an excuse not to help others. We could use, because I'm Buddhist, I have to keep these precepts, so I cannot help you right now. So the next one means we should do good things, even if it's not written within Vinaya. If it's a good thing, we have to actively do good things. Do you have something to say? No. Dhammapada is different. The verses of the precepts of the seven Buddhas from Dharmapada is not doing anything evil, practice everything good, and purify your mind.

[20:35]

That is Buddha's teachings. So the third is different. The basic idea is the same, but the third precept is different. You know, that is a part of sutra. It's not part of Vinaya. So, I'm not sure, but as far as I know, it's not quoted in Vinaya. Pardon? Originally, the idea of threefold pure precepts appeared in the text of Yogacara school. I think the title of the text is Yogacara Boon, I think.

[21:37]

And Chinese people accept this idea of three-fold pure precept. So anyway, this means just keeping the vinaya regulation is not enough. So we should actively do good things. And the third precept means keeping moral code and doing good things. Sometimes doing good things or helping others may be contradicted with regulations. But as a voice spectrum, sometimes we have to do good things, even if it's against the moral code. Sometimes, not usually. And this avoiding immoral things and doing good things should be should be for the sake of all beings, not simply for the sake of this person.

[22:48]

That is the meaning of the third precept. So this is the way, as a bodhisattva, we need to avoid evil things and practice good things, and our practice should be dedicated to all living beings, for the sake of all living beings. That is the basic idea of the Three-Fold Pure Precept. And in India, the Vinaya, in Indian Mahayana, Vinaya is included within this first precept, in Three-Fold Pure Precept. I don't have much time to talk about the history of Vinaya. And in China, they created, not in India, but in China they created a so-called Mahayana precept. And this is not called Ritsu or Vinaya, but it's called Kai.

[23:54]

Kai is a translation of Sheela. So Sheela and Vinaya are a little different. And in Mahayana, our precept is called Sira, not Kai. And Sira is one of the six paramitas of the Bodhisattva practice. Sira. And, anyway, when Buddhism was introduced to China, they accepted you know, basically Mahayana Buddhism. And some people studied Vinaya extensively. And there are some excellent scholars of Vinaya. And their tradition, their group was called Rishu

[24:56]

Ritsu-shu, same Ritsu. Ritsu-shu. We pronounce instead of Ritsu-shu, but Rishu. Risshu. And the most important teacher in this school, Risshu or Vinaya school, was Nanzang Dosen. In China, yes. He is He lived about in the 7th century, around the same time as Genjo. What is Genjo in Chinese? Han Chong or something. The person who went to India and stayed there for 17 years and came back and made many translations.

[26:09]

Actually, Nam Zang Do, Nam, Zang, Dōsen helped Hanchuan's translation work. So, he studied Yogacara teachings and also Vinaya. And his Nanzan Dōsen school was considered to be richshu. But because there are a few more schools, his school was called... The place, this Nanzan was the name of where he lived. Southern Mountain. His school was called Nanzan Bishu. And his teaching was based on Abhinaya. named Shigun Ritsu.

[27:28]

Shigun means four portions or four sections. I don't know why they call it Shigun, four sections. There are other Vinaya such as Go-Bun-Ritsu, that means five sections. But somehow, Nanzan Dosen basically studied this Vinaya, Shi-Bun-Ritsu. So his school was also called Shi-Bun-Risshu. And this is the person in Kesaku-Roku, Togen Zenji criticized the Chinese Vinaya school scholars. He actually pointed to this person, Nanzang Dosen. And his tradition, Nanzang Dosen tradition, transmitted to Japan in the 8th century.

[28:29]

by the very well-known Chinese priest whose name was Gan Jin. Have you heard that name, Gan Jin? This is a person who was a very well-known, respectable teacher who studied Dōsenshū, Vinaya school, and also Tendai teaching. And until at that time, when I start to talk about this story, really long story, until that time, Buddhism was pretty well established, but in Japan they didn't have teacher who gave vinaya, or ordination actually. And in order to formal ordination ceremony, receiving vinaya, they need ten teachers.

[29:39]

And in Japan, they didn't have such good teachers. So... Japanese Buddhist community wanted to invite a Vinaya teacher from China. And few Japanese monks went to China. and tried to find a Vinaya teacher who was willing to come to Japan and transmit the Vinaya. And they found this person, Gan Jin. And Ganjin was already a very well-known teacher, but somehow very much respected, so his students and Chinese people didn't want him to go to a kind of a barbarian country.

[30:49]

But somehow Ganjin accepted the request and made a decision to go to Japan. Since they need at least ten teachers, he went to Japan with ten of his disciples. And they tried to sail the ocean to come to Japan, but I think five times they failed. because of the storms or some kind of, you know, obstacles, hardships. So it took them almost 20 years to come to Japan. Each time they tried, they failed. And finally Ganjin became blind. So he was very, I think, very old, but somehow they came to Japan. And that was the time the living Buddha in Todai-ji Temple in Nara was built.

[31:59]

That was the age of Emperor Shon. Emperor Shon appeared in this Kesa-kudoku. And Emperor Shon received Bodhisattva precepts from Ganjin. And in Japan, Vinaya school was established by this person, Gan Jin. Vinaya school, or this school. Their major study and practice is studying and keeping Vinaya. Yes, the main temple of this ritual, founded by Ganjin, is still in Nara. And the name of the temple is Tosho Daiji. It's a really beautiful temple.

[33:01]

If you have a chance to go to Nara, I recommend you to visit. the temple, Toshodaiji. Toshodaiji means the temple founded by a sage who came from China, or Tong. And they have a really beautiful statue of Gandhi. He was blind, but the statue was very vivid, lively. And I think several years ago, the statue of Ganjin went back to China to do some kind of commemorative event. This was about 800? Yeah. Eighth century. Eighth century. But in Japanese Buddhism, the Vinaya school did not become so popular.

[34:10]

Because in the 9th century, the founder of Tendai school, whose name was Saicho, or Dengyo Daishi, had some kind of a conflict. with the tradition of Vinaya school. Before that, in order to become a Buddhist monk officially, all monks had to go to one of the three places where they had a platform of receiving Vinaya. And one of them is at Tosho Daiji, near Ganjin, founded, and another one in the east, in Kanto, and second one, and third one was in Kyushu. So only three platforms for receiving Vinaya in Japan. So then this person, Saicho, established his own school.

[35:12]

His students, in order to receive ordination, they had to go to Nara and practice studying officially Buddhist monks. And the problem was some of his students didn't come back. So he wanted to have his own platform for ordination, ordination platform. And he asked to the emperor, but he didn't get permission to have his own ordination platform until seven days after his death. So he kept asking, and after his death it was permitted. And Saicho's point was, because Japan is a purely, exclusively Mahayana country, we should only receive Mahayana precepts.

[36:19]

we should not receive Vinaya or Hinayana precepts. So, in Saicho's tradition, so-called Tendai school, they only give or receive Mahayana or Bodhisattva precepts. That is from precept sutra, so-called Bonmo-kyo, or Lama Net Sutra. in which 10 major precepts and 48 minor precepts are described. And this Bongo Kyo is a basic text of Mahayana precepts. And in China, Chinese Buddhists receive both Vinaya precepts and Bodhisattva precepts. That means they accept the idea of threefold pure precepts.

[37:25]

So as a part of the first precept, Shoritsugikai, the precept embracing all moral codes, as a content of moral codes, they received Vinaya. That is a kind of a theoretical or philosophical reason why they could receive both Vinaya precepts and Mahayana or Bodhisattva precepts. So in Chinese tradition, unless you receive Vinaya precepts, you cannot be an officially Buddhist monk. So only in Japan, from the traditions from Saicho, we receive only Bodhisattva precepts. And this is very unusual in any tradition of Buddhism, only in Japanese Buddhism. So this is really a kind of exceptional tradition.

[38:34]

I think that was one of the reasons when Dogen Zenji went to China, he had some difficulty to join Chinese monasteries. Because he was, or became ordained as a Tendai tradition, he only received Bodhisattva precepts. So he never received Vinaya precepts. And in China, unless you received Vinaya precepts, you were not really considered as a Buddhist monk. So that was a source of difficulties, I think, Dogen Zenji had. Please. So was it only the Tendai school that had Bodhisattva precepts only, or all schools of Japanese Buddhism? Originally Tendai school, and many other schools, like Dogen Zenji was first ordained at Tendai school. Not only Dogen, the leaders of the new Buddhism in that era, in what we call the Kamakura age, such as the founders of Pure Land Buddhism, such as Honen and Shinran, and Nichiren, the founder of Nichiren school,

[40:00]

and Eisai, the first Japanese priest who went to China and transmitted Rinzai Zen, all from Tengai tradition. So all their schools receive only Mahayana or Bodhisattva precepts. And both schools are kind of a major part of Japanese Buddhism after the 13th century. The schools in Nara, such as Nishi-shu, or several other schools, are very small. So a major part of Japanese Buddhism, we only received Bodhisattva precepts or Mahayana precepts. So today, people in Theravada or Tibetan or Chinese or Korean monk people,

[41:13]

do not consider Japanese priests as Buddhist monks. And that is kind of correct, because we don't receive denial. I'm not sure about Eisai. emphasis on studying and keeping Vinaya, I mean ritu. But I don't know what kind of ritu he mentioned, but at least Dogen Zenji never received Vinaya. So it's a kind of mystery to me. He didn't receive Vinaya, so he was not considered to be actually, officially a monk, but still his teacher gave him Dharma transmission. And his dharma brother recognized that Dogen was Nyojo's dharma heir.

[42:23]

I think it's a very unusual thing. Were there factors within Gyatso's culture that may have been influenced in him not really taking root or becoming a Buddhist? It might be some influence from Japanese culture. Somehow we don't like regulations. I don't think that means Japanese people are immoral. I think even today Japan is a very safe country. So Japanese people are not so terrible. But I think in Japanese culture, there are another kind of foundation of ethics.

[43:25]

So they don't expect, or we don't, we didn't, or Japanese people didn't expect Buddhism as a foundation of morality or ethics. You know, until early 20th century, the basic ethics or ethical code within Japanese culture, Japanese society, was Confucianism. So actually, they didn't use Buddhism as a foundation of morality. And another source of Japanese ethics or morality was older than the moral and ethical teachings from China, either Buddhism or Confucianism. In Japan, certain families live within certain places for many generations.

[44:27]

So, within the community, the hierarchies and the function of each family are already fixed. So everyone knows everyone. And they have a kind of a custom to do everything. And if anyone did something against that tradition, couldn't live within that community. So it's really important to follow the tradition within the community we call Nura, or village. That is another source or foundation of Japanese ethics. So, they still use Buddhist precepts as a foundation of social ethics in Japan. So, that was, I think, another reason. In Japanese Buddhism, precepts were not so much emphasized.

[45:36]

And in my case, I was not so much interested in Vinaya until the middle of the 1980s. I received a precept, a bodhisattva precept. But around that time, I didn't even remember that I had ten precepts. And I had no ethical problem. Did the absence of the influence of Vinaya have an impact on how Zen developed philosophically? Could you say it again? Because Vinaya was not important in the end of the 2000s, did that have an impact on how Zen developed philosophically? Not really.

[46:50]

Some Zen priests or Zen masters emphasize on Vinaya. But not really too much influence from Vinaya. I said I was not so much interested in Vinaya or precepts until the middle of the 1980s. I lived in Massachusetts for five years. from 75 to 81, and I went back to Japan. And around the middle of the 80s, there are many kinds of programs in American Zen centers. And many people left the Zen centers. And some of them came to Japan.

[47:52]

and visit me. One of them said, you know, those kind of ethical problems occurred because Japanese teachers only taught going beyond good and bad. They didn't teach, you know, the ethical, you know, teaching of morality or ethics. I was kind of shocked. I mean, in Japan that was not a problem. Not so many Buddhist monks cause ethical problems. Even though we don't so much care about vinyas or precepts. Somehow, within Japan, we do kind of well. But somehow it didn't work in this country, so I kind of started to think what should be the ethical foundation of Buddhist practice in this country.

[49:11]

That was why I started to study Vinaya and Bodhisattva or Mahayana precepts. And I found a copy of Shibun Ritsu, and I started to read and study it. It's a really interesting text. I'm sorry, the English translation of Vinaya from China, Chinese, is not available yet. But there is an English translation of Pali Vinaya. And basically Pali and Chinese Vinaya are the same. As I said, there are some differences. But if you are interested in Vinaya, I recommend you to read English translation of Pali Vinaya. Basically, you know, When Shakyamuni Buddha made regulations or rules, then his disciples made mistakes.

[50:22]

Until someone made mistake, Buddha didn't set certain ethical code. But when someone did something not good, Buddha said, don't do it again. The correction of those Buddha's admonitions became denial. And with each root, there is a story. How, who did such mistakes? And what were the mistakes like? And those stories are really interesting. So, Vinaya is a kind of a collection of Buddhist mistakes. And I really admire, you know, people who made Vinaya, because they didn't hide it. They, you know, recorded those mistakes.

[51:28]

for the sake of future generations. So I really admire and I really like the Vinaya text. It's really interesting. Please. Actually, I don't have the name of a translator. Does someone know the English translation of Paribinaya? It has six volumes and all six are red covers. It's quite an old translation. I didn't bring the copy. I made photocopies. because of the incident I had last year. Last year we studied Buddha Nature. I brought one box of books as a reference, and after I finished this Genzo-e at the city center, I went to Berkeley, and I had a one-day workshop

[52:41]

And Alan Tanaki packed my box of books, and he put it on the front of Sanga Hall. because he packed it after I went to bed. And when we left, the books disappeared. It wasn't there. Someone took it. And I have a story for the person who took it. It's only Buddhist books. And in order to not make the books too heavy, I put the laundry So, nothing valuable. And also, I'm very sorry for our people at the Baku Agent Center. You know, they made so much effort to replace all those books.

[53:43]

I really appreciate your effort. Andrea was one of the persons. So, this year I try not to bring so many copies of books. So, I made photocopies where I need it. So I don't have the copy here, but I can tell you later. I think you can find the translation in the library here. You can find them. It's not the entire thing, but it has to be, that death is a fact of purification, the volume, and the expression of life.

[54:46]

OK. Well, why am I talking about this? So I start to talk about Vinaya, Sanju Joka. roughly 20 minutes. That is why I started to talk on Sanjujokai, to introduce the part of the story, how Buddha created the orchestra. and why he made a rule that monks only have three sorts of okesa. I have a copy of both Pali and Chinese, and the story is basically the same, but a little different. And the difference is kind of interesting to me. So let me read the English translation of Pali Vinaya, how Buddha and Ananda created the design of this robe.

[55:54]

This is a part of Mahavagga, the story that follows. Then the Lord, Lord means Buddha, They called Buddha Lord. I don't know why. Anyway, then the Lord having stayed in Rajagaha. Rajagaha is Pali in pronunciation for Rajagriha in Sanskrit. Rajagaha. So as long as he found suitable set out on tour through Dakinagiri, the place of the name. The Lord saw the field of Magadha. So this is in the country of Magadha.

[56:56]

So Buddha saw the field of Magadha, this field is rice field or rice paddy, laid out in strips strips, laid out in lines, laid out in embankments, laid out in squares. There are many depictions. And seeing this, he addressed The Venerable Ananda saying, so Buddha was walking together with Ananda within the rice field, and told to Ananda, Now, do you, Ananda, see the field of Magadha laid out in strips? This translation, there's a kind of abbreviation, laid out in squares.

[58:02]

repetition. And Ananda said, yes, Lord, yes, I see the scenery. Then, are you able, Ananda, to provide robes like this for the monks before this There was a kind of incident that King of Magadha, whose name was Bimbisara, one day not walking, but he was on a horse or a chariot, so a Buddhist monk. And he get off and tried to make prostration to that Buddhist monk, because he was a Buddhist student. But he found this person was not a Buddhist

[59:07]

Buddha's disciple. So he was kind of ashamed. So the king asked Buddha, because, you know, Buddhist monk was wearing the same kind of monk with other religious traditions. So the king required Buddha to make something particular for Buddhist. in order to make kind of a judgment whether this person is a Buddhist monk or not a Buddhist monk. That was a requirement from the king. And this is right after, I think, shortly after that request. So I think Buddha was thinking what kind of road he should create for his sangha.

[60:08]

And once he was walking in the rice paddies, maybe he had a kind of inspiration, it must be a good design for Buddhist work. So Buddha asked Ananda to make a robe, like a pattern of rice paddies. Then Ananda said, I am able, I can do it. Then the Lord, having stayed at Dakinagiri for as long as he found suitable, went back to Rajagaha. So he stayed at that place and returned to Rajaguiha later. Then the Venerable Ananda, having provided robes for several monks, so before Buddha came back, Ananda had already created the design and provided to monks, and approached the Lord.

[61:19]

Having approached, he spoke thus to the Lord, let the Lord see the robes provided by me." So he asked to the priest, check the robe I made. Then the Lord, on that occasion, having given reason to talk, addressed the monks, saying, monks, whoever is ananda, Shakyamuni Buddha praised Ananda's design. Monks clever is Ananda. Monks of great intelligence is Ananda, inasmuch as he can understand in detail. the meaning of that which was spoken of by me in grief. So Buddha didn't make detailed explanation of his idea, but somehow Ananda understood Buddha's inspiration and he created exactly what Buddha wanted.

[62:34]

And can make a cross scene, and can make a short cross scene, I don't know what cross seam means, but somehow, some kind of pattern. A cross seam, and can make a short cross seam, and can make a circular seam, and can make a short circular seam, and can make a central piece, and can make side pieces, and can make a neck piece, and can make a knee piece, and can make unarguable peace. So somehow Buddha described the law. And what is cut up must be roughly done together. Suitable for recluses and not coveted by opponents.

[63:41]

By opponent means no other people wanted to get such a robe. That is cut off into smaller pieces and sewed together. I allow you monks an outer cloak that is cut up, an upper robe that is cut up, an inner robe, inner robe that is cut up. Those are three robes. So outer cloak is so-called daie, or larger than nine-jaw okesa. This is how the design of okesa was made. And later, right after this, they had a problem. And there are always troublemakers in Buddhism.

[64:42]

Sanda. In the Pali Vinaya, right next section, the story about the problems. Then the Lord, having stayed at Rajagaha for as long as he found suitable, set out on tour for Vesali. The road was going along the high road between Rajagaha and Vesali. He saw several monks. So when Buddha was walking, several monks were also walking, coming along, smudad, smudad, s-m-o-t-h-e-r, smudad, up in rows.

[65:57]

mothered up in robes, having put a mattress of robes on their heads, and a mattress of robes on their backs, and a mattress of robes on their hips. So they are carrying so many robes. And seeing them, so Buddha saw those monks carrying so many robes. Seeing them, it occurred to the Lord, these foolish men, Buddha called his disciples foolish men. Very interesting to me. These foolish men turned too quickly to abundance of robes. Suppose I were to set a limit. were to establish bounds as to loads for the monks.

[67:00]

So Buddha thought he should limit the number of loads for monks. Then, shortly after, he had the experience mentioned in this quote in Kesakudoku. In Pali, it says, Then the Lord, walking on tour in due course, arrived at Vasari. The Lord stayed there in Vasari, in the Gautamaka shrine. Now, at that time, on the cold winter, cold winter nights, between the eights, I don't know what between the eights means, but this was in the winter, Now, at that time, on the cold winter nights, between the eight, let's see, in a time, in a time of snowfall, so, it was snowing, so it must be really cold.

[68:11]

In a time of snowfall, the Lord sat down in the open air, at night, with only one robe. The Lord was not cold. Do you believe? As the first watch of the night was ending, the Lord became cold. I understand this. The Lord put on a second robe. The Lord was not cold. As the middle watch of the night was ending, The Lord became cold. That means the temperature went down. The Lord, at the middle which of the night was ending, the Lord became cold.

[69:12]

The Lord put on a sad robe. The Lord was not cold. And as the last watch of the night was ending, as the sun was rising in the flesh of dawn, the Lord became cold. So the Lord put on a false robe. The Lord was not cold. I don't really understand the false robe. So it seems Buddha had four robes. But when he made the rules, he said, then it occurs to the Lord, even those who in this Dharma and this spring are sons of respectable families, are susceptible to cold, afraid of cold.

[70:16]

Even these are able to keep themselves going with three laws. So that was the reason he made the regulation to allow only three laws for months. But I don't really understand the fourth law. And in the Chinese Vinaya, it's only three, as it's mentioned in Kesakudoku. So I don't really understand why Buddha had four robes. If you study Pali Vinaya and find some answer, please let me know. Pardon? Maybe so. And another interesting difference between Pali and Chinese version was when Buddha praised Ananda after Ananda made that design of okesa,

[71:27]

Buddha said, after praising him, Buddha said, all the Tathagatas in the past and his disciples, we add, also we add or put on the love as this. And all the buddhas, all the Tathagatas and his disciples in the future also wear the robes like this. You know, this part is not in Pali version. So, you know, Ken Dogen said, you know, the kashaya or okesa was transmitted from past buddha Kashyapa Buddha to Shakyamuni, I think the source of Dogen's understanding came from this Vinaya.

[72:44]

Because Shakyamuni said in Vinaya, and all Buddhists believed or trusted, that everything within Vinaya really happened. Until recently. These days we are too skeptical to everything. But somehow all the Buddhists believe this really happened. So that's why Dogen mentioned that, you know, Okesa was transmuted. from Kasyapa Buddha, the sixth of the seven first buddhas, to Shakyamuni. Even though Ukesa was, as it is said here, created by Shakyamuni and Ananda. So here we need to kind of change the mode of our thinking. And I think this is a kind of important point.

[73:49]

The idea of the past seven Buddhas, and also the idea of Dharmakaya, Dharmakaya and Sambhogakaya, were created later than Shakyamuni Buddha. So Shakyamuni Buddha was the original Buddha, of course, in the history. And later, After Shakyamuni is dead, Buddhists create those images of past Buddhas as a predecessor of Shakyamuni, and Dharmakaya as a kind of, how can I say, ideal of Buddha, Buddha's image. Buddha not as a collection of five skandhas or human form.

[75:02]

But because Buddha awakened to the reality of all beings, that is formless. So actually the essence or true form of Buddha is formless, should be without form. And that is the idea of, I think, Dharmakaya. So the origin of the idea of Dharmakaya, of course, was Shakyamuni Buddha. And Nirmala Kaya, Sambhogakaya, is that buddhas in the past and present in the other buddha land. Also, a kind of creation from the image of Shakyamuni. After Shakyamuni's death, here they could find buddhas. And the idea of Dharmakaya means the way things are, the reality itself is nothing other than Buddha.

[76:09]

That is the idea of Buddha's body as Dharmakaya. And there must be many Buddhas who practice like Shakyamuni and attain Buddhahood in different realms. So, Shakyamuni was not only one Buddha, but there are a number of Buddhas, a number of Buddhalands. That was the idea of the three bodies of Buddha. The idea of three Buddhas, Dharmakaya, Sambhogakaya, and Nirmalakaya, Shakyamuni was considered as Nirmalakaya, that is a kind of manifestation of Dharmakaya. And in some traditions of Buddhism, Dharmakaya Buddha, such as Vairochana, is in a sense greater than Shakyamuni. Nirvana kāyā is considered to be a kind of a limited version of dharma kāyā.

[77:17]

So in certain, some schools, instead of Shakyamuni, their main Buddha was Vairochana, or Amitābha, or Ashubhya. or other Buddhas or Bodhisattvas. But at least Dogen Zenji said Shakyamuni was even the father of Vairochana. So in our tradition, the main Buddha is Shakyamuni, the historical person. Well, I think it's time to quit. Thank you very much. Now I'm not sure whether I can finish this.

[78:11]

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