Wow, it's very beautiful, it's nice. But, the painting, which is, which has been drawing on the campus, in a sense is merely a form, which it is drawn on campus, which has certain frame. Even this form is stimulating experience for you, when you see it.

[01:22]

It is a rich source of experience for you, who is looking at how beautiful. At that time, form is not merely form, and you are not Lucas-san, not merely Lucas-san. You must be the person, who must appreciate it, and also, this painting is complete, or tried to complete, incomplete, what you have.

[02:44]

But, you don't know what it is, in other words, how do you, how is it, how is it, you are very impressed by this painting. Where is the beauty of this painting? Please explain this, the beauty, which this painting possesses. But, it's pretty difficult to explain. The form, which a great painter create, on the campus,

[03:53]

has great relationship with the space. When, it cannot be, it cannot help, the neighbor man appreciates it, and completes the incomplete of his own. At that time, you say, how nice it is. But, this beauty is something, which you cannot arrest, but guide it, direct it.

[05:15]

You can be, it can be directed, it can be guided. Beauty cannot be, beauty is something, which you can be guided, which you can be directed. I think this is beauty. At that time, form is, form is the conception of beauty. In presence of painting, which, which is drawn by great painter.

[06:30]

I think, you know, our practice is something like that. As the first verse of Kesa says, how great is the love of revelation. We have to see anyway, at any cost, something in terms of revelation. In other words, you have to see something in terms of the function of its own. Not in terms of the conception. At that time, form is no form.

[08:00]

Because, form is something that you cannot be guided, or directed when you see it. Cannot be arrested, you cannot be satisfied. You cannot be satisfied. You cannot be satisfied. You know the, our practice, our practice is not only principle, not principle.

[09:32]

Or what you can attain enlightenment through this. The practice is something which you cannot be arrested, arrested, but you can be guided, you can be directed through this practice. Because your practice is, must be vivid living. Practice is not something conception, regarded as form, regarded as space. Other space, other forms, exist only in space.

[10:53]

A space exists in form. In the conception of form, the other is always implied. Then, the practice is, nothing is a sort of form, exterior form. Exterior shape or configuration. But as mentioned before, the Zazen and the full lotus position,

[12:32]

other form, has great principle by which Zazen itself exists, or you yourself exists when you practice it. Zazen, Zazen, Zazen, Zazen. Zazen, Zazen, Zazen, Zazen. A form is in all forms, and yet it doesn't remain even its own form.

[13:41]

A form without no color, no pattern of it, is what is called formlessness in profound meaning. A form without no color, no pattern, is what is called the formlessness. And then, the Zazen in the lotus position as a form, is something that you cannot arrest it. But you can be guided, you can be directed by this form, by this lotus position.

[14:43]

Now, this is, I think, practice, which we have practiced day in and day out. So, briefly speaking, the conception of form has two meanings. One is the emptiness of its own nature, which encompasses the illusory, baseless quality of its essence. Because form doesn't exist without the existence of space.

[16:05]

The form exists in the space, in the universe, form exists in all, all sentient beings. If you attach a certain form, you cannot understand, you cannot understand form. Because it has full function of its own. You cannot have anything from the form, which you can be guided, which you can be directed in your daily life.

[17:13]

A form must be free. When a form is free, a form is emptiness. The twelfth verse says, how great is the love of revelation. Revelation is, all sentient beings exist in the world of revelation, freedom. In other words, you have to see something freely, without attachment of a certain idea. The second is, a form is in all forms, and yet it doesn't remain even its own form.

[18:35]

At that time, this form is completely free from all sentient beings, all boundaries, which is called form, which is called space. In other words, it is the form, when it becomes oneness with life in eternal flux. At that time, you can be very impressed by form, such as architect or painting, saying how great it is.

[19:41]

Because the building has close relationship with space, regarded as oneness with life in eternal flux. In other words, it shows up omnic unity. Omnic unity of coherent, inherent harmony of its essence. So, from this point, Zazen posture as a form is not merely form.

[21:07]

Zazen is, must be, a form which is called lotus position, that you can be guided and directed in your daily life. And also this form has, because this form has a principle by which you yourself exist. If you practice in that way, if you see something in that way,

[22:10]

all forms will guide you, will show you a certain direction, or in which direction to go. But you cannot get it. When you see, as mentioned before, the great painting, a great architect, you are completely impressed by this and those.

[23:23]

In other words, this painting or this architect cannot help guiding you, guiding the incomplete of yourself. Or completely incomplete of you, when you appreciate it. That time, the painting or architect is like the field where many things are cultivated. So, second verse says, the field of blessedness.

[25:05]

In other words, the mellow quality of field. If you put a grain of rice in the mellow quality of field, it will grow so well, completely. Completely. So... In the sutra, which is called Hyakuron, written by Nagihara Juna, particularly in the chapter which is entitled Dependence and Blessedness,

[26:33]

he says, no form is to avoid to think of all forms, to keep away from all perceptions. With detachment of all phenomena in the past, future and present, all things have no substance of their own. So, there is nothing to attach. This is what is called no form. I think this is a very interesting point because Nagihara Juna explains the conception of no form in the chapter of Dependence and Blessedness.

[27:48]

The Dependence is a little different from our usual sense of its own. In Buddhism, repentance is divided into three kinds. One is self or repentance according to manners. In other words, the chanting sutra or confessing. In front of the Buddha, in front of the priest, this is what is called Sakho Sangye. In the Dependence, there are n manners in mind. According to a certain manner, the chanting sutra or confession in front of God, in front of Buddha, in front of the priest, you repent, you confess what you have done.

[29:16]

The second is Shuso Sangye, means to hold repentance before the mind until the sign of Buddha's presence annihilates the sin. Through the ceremony of repentance, you can see a certain figure of Buddha or Kannonbori Sattva who might tell you, I forgive you. This is Shuso Sangye. So until the sign of Buddha's presence annihilates the sin, you hold repentance before the mind. This is Shuso Sangye.

[30:22]

The second is Musho Sangye. Musho Sangye is repentance of no birth. In other words, the sutra says, if you want to seek for the truth, you should concentrate on the truth in the presence of Zazen. Zazen, sitting, with impermanence. Musho means no birth. Sangye is repentance. So, the Sixth Patriarch, in the Platform of the Sixth Patriarch Sutra, he says Musho Sangye, the repentance of no form.

[31:31]

I think it has the same meaning as Musho Sangye, the repentance of no birth. It means there is no obstacle, no object to repent, to confess. Just to sit, with no form, no birth. In other words, if you want to repent, confess your sin, you should sit with impermanence. I think this is the meaning of repentance in Buddhism.

[32:38]

Not confessing in front of Buddha, in front of the priest, or chanting the sutra, or thinking, concentrating on some Buddha's image. Buddhist repentance is to sit with impermanence. So, I think the Musho, no formlessness, experience of formlessness is to experience Zazen practice with impermanence. At that time, Zazen itself shows up, brings about the field where cultivating, where is cultivating the blessedness.

[33:50]

This is the second verse. Then, the third verse, I will read the Tathagata's teaching. I think to experience no form, what the practice of formlessness is to experience Zazen, sitting meditation. It means to accept Buddha's teaching, and also save all sentient beings. This practice can help all sentient beings, saving all sentient beings, guiding you, directing you.

[35:03]

But you cannot get it, what it is. But practice is something like that. Practice is something that you cannot be guided, you cannot be directed. But, no, excuse me, you can be, you can be directed, you can be guided, but you cannot be arrested. This is practice. This practice cannot help saving all sentient beings, not only you, but also others. The Buddhist law is the symbol of formlessness, and the field, the will is cultivating blessedness.

[36:15]

And, the symbol of coherent harmony, which cannot help guiding all sentient beings, directing all sentient beings, saving all sentient beings. This is Buddhist law. I think I will have to explain, describe more about the Buddhist law, but unfortunately I don't have enough time to explain. Some other day I would like to explain more about the history, the law of Buddhist law in history, historical law.

[37:34]

But this time I have described the Buddhist law just briefly. Tonight, I would like to explain the second verse of the Buddhist law, which is called the Kesa in Japanese. First of all, I will read this verse of the Kesa.

[38:45]

How great is the Kesa, a virtuous garden for beyond form and emptiness. A well where the Tathagata's teaching and save all sentient beings. Second verse is a virtuous garden for beyond form and emptiness. The other day I mentioned the meaning of the original word of Kesa, which is a corruption of Sanskrit, Kachaya. It means a dyed color, dyed cloth, not solid color.

[40:00]

The Kesa has another name, the Gedapuku, which means robe of liberation. Then how great is the robe of liberation? The robe of liberation is Kesa. The second verse is a virtuous garden for far beyond form and emptiness. In Japanese, we say Musou Fukuden E. Musou means formlessness, formlessness, no form. Fukuden E means the garment of the field of the blessedness, blessedness.

[41:18]

Then how great is the robe of liberation? The robe of liberation is the robe of formlessness and the robe of the field of blessedness. I think in the sutra, the conception of formlessness has two meanings. One is that a thing is an emptiness of its own nature,

[42:39]

which encompasses the illusory, baseless quality of its essence without any form. A form with neither its color nor its pattern is what is called formlessness in the superficial meaning. Anyway, superficially speaking, a thing is an emptiness of its own nature, which encompasses the illusory, baseless quality of its essence. There is no room to be left for a conception of form.

[43:54]

A form with neither its color nor its pattern is what is called formlessness. The conception of a form is a very interesting subject to discuss, particularly concerning with the conception of space. As you know so well, a form is not merely form. The form implies something more than exterior shape or configuration.

[45:11]

Rather, the form itself possesses a principle by which a form exists. In other words, I think a form possesses a what would you say a something

[46:42]

of force something like force which is ordered into a coherent harmony harmony of its essence. You know, the Lately, the

[47:47]

The miniskirt for women and men ladies has been very popular in the United States, not only in the United States, but also in Japan too. The Japanese are very quick to accept new thoughts or new modern fashions coming from Europe, not only America, and to imitate very quickly. Then, as soon as possible,

[48:57]

as soon as when the miniskirt is very popular in the United States, Japanese people are very already aware of the miniskirt, regardless of the idea of whether it is suitable for them or not. Two years ago, I went to New York and I saw many beautiful ladies wearing the miniskirt. I was very interested in seeing that beautiful lady wearing miniskirt. But sometimes I saw Japanese ladies, Japanese young ladies wearing the miniskirt.

[49:59]

When American ladies wear the miniskirt, I found something in harmonious balance in her. But I couldn't find in Japanese ladies. The miniskirt is completely balanced off for Japanese ladies. Even when they wear miniskirt in United States, not in Japan, if they wear miniskirt in Japan, I'm afraid you will find more, more, what would you say,

[51:05]

no rich source of experience. Completely no balance, completely balanced off. I think even Japanese ladies wear the same material, same material, which is called miniskirt. As well as American ladies wear. The same thing. And the miniskirt has the same form, the same pattern,

[52:08]

as that American lady wears. But in Japan, when Japanese ladies wear the miniskirt in Japan, why did we have to find the unbalance in them? They don't wear different things, the same things, which has the same pattern, same form. I have some form, which is called Katagiri. Including hand, the head, the face,

[53:17]

or body, leg. But this form, which is called Katagiri, is not merely form. The form, which is called Katagiri, has absolutely a principle by which I myself exist, right now, right here. The same is to be said to my dress. I will wear, this is a traditional dress, in Japan. I think this dress is suitable in Japan, for Japan,

[54:18]

for Japanese priests. But in the United States, I think, I don't know whether this suit is suitable or not. Then, one of the Mexican ladies told me, when I came, when I was, the lady on my way to the United States, on the board, told me, Are you supposed to wear such a traditional dress in the United States? I said, yes. She said, oh, it's nonsense. Maybe nonsense. It has something in common with

[55:21]

many skirts, when Japanese ladies wear. I will wear the traditional Japanese traditional dress in the United States. But, you know, as mentioned before, form itself possesses a principle by which the form itself exists. It means, in a sense, the form itself exists beyond time and culture, history, or something, or tradition, something like that. Or place.

[56:25]

If the form is, form were merely the existence of form, which has no relation with anything else, I think it is completely nonsense to use it, to deal with it. Even a miniskirt has inseparable

[57:44]

relation with the form, which is called a certain type of lady, Japanese lady or American lady, with climate or circumstances, all circumstances, tradition or habits. We may say that all, including the tradition or habits or the climate or circumstances, education, might be called space,

[58:48]

a conception of space. Even this building, which is called Zendo, this building has a form, a certain form. A form has a principle by which this building exists and also it has inseparable relationship with a space, inside space, inside of this building, or there are laser spaces.

[59:51]

So even a form, a small form has very close relation with the space or time universe or sentient beings. As long as something exists, there is nothing to

[61:03]

have no form, there is nothing to exist without a form. Then, what form possesses a principle by which it itself exists means to have relation with all sentient beings as the present

[62:07]

defined the moving infinity or the oneness with life in eternal flux. A form must be so. In the domain of oneness, state of oneness with life in eternal flux, even a form has no particular substance which you can be arrested.

[63:11]

Then, superficially speaking, as a sutra says, a thing is of emptiness with all nature which encompasses the illusory, baseless quality of its essence. And second meaning according to this sutra is that a form is in all forms and yet it doesn't remain even its own form.

[64:22]

A form is in all forms and yet it doesn't remain even its own form. In the first in the first meaning of formlessness, we have to understand we have to understand our conception of form as formlessness because as long as a form is a principle by which it exists in itself, it implies that

[65:29]

there is a huge expanse of like ocean having a close relationship with all sentient beings. It means, in other words, the form is always vividly living vividly living in space. In that time, space has a close relationship with the conception of form. The space is a great the place great place where where everything is

[66:31]

everything is living, pulsating pulsating regarded as oneness with life in eternal flux. The space is not something like a conceptual place. The space is a space is a a something what you cannot be arrested but guided and lifted into a into a truth

[67:39]

or a certain direction you cannot catch it, you know. When you understand the form as a conception you can catch it this is form when you understand the form as a vivid function function functional form you cannot you cannot catch it in your hand because form is always vivid pulsating in space

[68:40]

only where something is something cannot be you cannot be arrested but only guided and directed a certain space in the domain of the of eternal flux so I mentioned before a space is something which you can't make everything alive vividly pulsate

[69:43]

regarded as oneness with life in flux in eternal flux regarded as the moving infinity like a bird like a fish if a form is something like that form has a certain particular conception, a substance which is called a form then in the first meaning of the formlessness first of all we have to understand a form regarded as formlessness, this is very important

[70:51]

in other words in terms of the conception of revelation then first verse it says how great is the love of revelation in the light of revelation in the world of revelation we have to see the form in that time the form has come to become the formlessness of formlessness in other words at that time form, it means the form is living vividly in space then

[71:57]

in the second meaning of the formlessness the sutra says a form is in all forms and yet it doesn't remain even in its own form so form is one is all in Buddhist terminology one is all, all is one the when you understand the form concerning with the space which means the reality which means

[73:01]

a great reality that a form is living vividly with the existence of a space in Japanese architect they the important point is how to use the space how to live the space which building possesses even though you can build a house

[74:08]

beautifully superficially in appearance important point is how to build the space of which the building possesses or when you can use the space fully I think this building may be good okay when the form

[75:24]

is living vividly in space a form make possible to consider the whole of its own into coherent harmony

[76:29]

which a form itself possesses at that time at that time the form requires special appreciation and experience and and

[77:30]

tries to complete the incomplete of a person who is appreciating it it looks like a painting photography

[78:02]

@Text_v004
@Score_JJ