There are three kinds of kashaya, so-called the five strip robe, the seven strip robe, and the large robe of . So there are three kinds, five strip robe and seven strip or seven jaw robe or okesa and the side is the same but more strips from nine jaw to 25 jaws so there are three kinds and this text explains the usage of those three kinds of robes Maybe, yeah, let me read first.

[01:07]

The monks of the excellent practice reshape only these three types of robes, or kashaya, 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, like such as clothing for bathing. And also, in order to hide this side of shoulder, for example, human monks, they have certain clothing. And so there are a few more, but as a robe or a kesa, only three kinds.

[02:08]

And first, I'll introduce the five-jaw, or five-strip robe, or okesa. It's for walking or coming and going anywhere for errands, large or small. The monks wear the five-strip robe. The five-strip robe is for doing something, working and going somewhere to do some errands. And next is seventh strip rope 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.

[03:18]

And so teaching and guiding human and heavenly beings to enable them to allow respect and trust. 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 Raja Okasa. And it also said, also when they stay in a toilet room, since in the Indian Sangha, monks had their own handkerchief or hat to stay and meditate.

[04:40]

They didn't have a... sangha hall, like a sangha hall or a monk's hall, or like a 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 a five-street robe. And when they joined the assembly, the monks wear the seven-striped robe. So when they get together in a public place, they put on seven-jaw orchestra. And when they enter the imperial palace or town, the monks should wear that large robe. So those three kinds of robes have different usage or different purpose on different occasions.

[05:49]

Also there are another way to use those three kinds of robes that this text said next. Also, from 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 five-strip robes. 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 things, depending upon the temperature, to protect their body.

[06:57]

This came from Buddha's teaching. I'll introduce a part of the Vinaya. When Buddha made this rule, monks could have only three kinds of love. But let me finish reading this quote. Once in ancient times, on a mid-winter night, it was cold and bangles were cracking. In the early evening, the tatarata wore the five-striped robe on the five-jaw okesa, and later in the night, when it became colder, he put on the seven-strip robe only.

[08:00]

At the end of night, when it became increasingly colder, he added the large robe. This is what Buddha did when it was very cold. So not only different occasions, but depending upon the temperature, Buddhist monk put only one layer of okesa 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 a quote. I'd like to introduce how this robe was kind of created.

[09:08]

This story appeared from Vinayaka and you know, the Buddhist Sangha in India was kind of a, how can I say, divided into many so-called sects. After, 100 days after Buddha's death, there was a separation, first separation between Mahasannika and Theravada. And these two sets further divided into many until 20. And each set had its own veneer. And after the separation, they develop their own rules or regulations depending upon their conditions within the Sangha.

[10:13]

So each set has slightly different, basically the same, but slightly different set of rules. usually 250 for monks and 350 for human monks. And several of those vinyas from different sects were translated into Chinese, maybe five or six. And when we study Vinaya in Japan, we use those Chinese translation of Vinaya. But in general, in Japan, Japanese Buddhism, Vinaya is not so popular because of the history of Japanese Buddhism.

[11:16]

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. 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 coincide traditional Buddhism, still they use the Vinaya because that was established by Shakyamuni Buddha himself. So as a kind of a Mahayana teaching, they need a little, how can I say, work.

[12:35]

Why, even though they are Mahayana, they receive Vinaya precept, even though those belong to so-called Mahayana side, Vinayana. And one kind of a reason or excuse to use Vinaya or Mahayana monks' threefold pure precept. That is part of the 16 precepts we receive. So that came from Mahayana tradition. I think that was established within Yogacara school. As a Mahayana or Bodhisattva, we consider there are three, you know, four pure precepts. First, in my translation, excuse me,

[13:39]

Dogen, then, mentioned the three. Of course, we received those three precepts. Sanju-jōkai is the name. The name of this precept of three precepts. And the first one, in Japanese, is shō-nitsu-mikai. Shou, Ritsu, Gi, Kai. And the second is Shou, Zen, Bou, Kai. And the third is Shou, Shujoukai.

[14:48]

In shō means, I translate this shō as embracing. This intention in Shishobo, you know Shishobo, Shishobo is in the translation within Moon in a good, Shishobo is translated as all method of guidance of Bodhisattva. That is Shishobo. show and hold. I made a translation of Shishobo with Alan Sanaki, and we translate this Shishobo as poor embracing actions instead of poor method of guidance.

[16:07]

because of my interpretation of this practice. Anyway, this shō means embracing, including. And ritsu means vinaya. Vinaya. And gi is forms. Sengi in Fukanza-zen-ji. He is forms. So ritsu means regulations, and gi is the purpose to do things, how we behave, how to do, like a procedure of doing ceremony. And each and every poem, that is ritsu gi. And so is the precept of embracing Vinaya and poems.

[17:10]

These things are kind of an excuse for Mahayana Buddhists to embrace or include and accept Vinaya. And sometimes in English, this is called the precept of not doing evil. but actually this precept means embracing Vinaya. So I translate, in my translation of Kyōjū Kaimon, I translate this as a precept of embracing moral cause. Moral cause. Moral cause. And second one is a precept of embracing zen bo, zen is good, or wholesome, ho is dharma.

[18:19]

Here dharma means action or activities. So sometimes this is translation as precept of doing everything good, doing good. And third is a precept of embracing Shizuo's living beings. Those are three precepts. And as a Mahayana Buddhist or bodhisattva, we should maintain these three precepts, you know, embracing all moral codes and embracing all good actions and embracing all living beings. Those are three particular precepts. And, you know, the meaning of these three is just following the moral code or Vinaya, precept, is not enough.

[19:32]

You know, sometimes we can use, you know, 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 what the next one means, we should do good things, even if it's not written with denial. If it's a good thing, we have to actively do good things. We have something to do. No. Dhammapada is different. The verses of the precept of the seven Buddhas from Dhammapada is not doing anything evil.

[20:39]

Practice everything good and purify your mind. That is Buddha's teaching. So the third is different. So the basic idea is the same, but the Farad precept is different. Was that version used in the earlier Vinaya? 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. OK. Adding these three pure precepts, precepts, did that happen in China? No. Originally, the idea of three-fold pure precepts appeared in the text of Yogacara school.

[21:41]

I think the title of the text is Yoga Shichiron. after the yoga student. Yogacara booming, I think. And Chinese people accept this idea for the pure precept. So anyway, this means just keeping the Vinaya, the duration is not enough. So we should actively do good thing. And the third point is that we, you know, keeping moral code and doing good things, sometimes doing good things or helping others may, how can I say, contradicted with regulations. But as a board of trustees, sometimes we have to do good things, even if it's against the moral code. Sometimes, not New Zealand. And avoiding immoral things and doing good things should be for the sake of all beings, not simply for the sake of this person.

[22:57]

That is the meaning of the third precept. So this is the way, you know, 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 pure precepts. And in India, the Vinaya, in Indian Mahayana, Vinaya is included within this first precept, in Philippine 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 the so-called Mahayana precept. And this is not called ritsu or vinaya, but it's called kai.

[24:03]

Kai is translation of seerah. So seerah and vinaya is a little different. And in Mahayana, our precept is called seerah, not kai. And seerah is one of the six parameters as a voice of the practice. Seerah. And anyway, when Buddhism was introduced to China, they accepted basically Mahayana Buddhism. And some people studied Vinaya extensively. And there are some excellent scholars of binariyans. And their tradition, their group, was called Ritsu.

[25:07]

Ritsu school, saying Ritsu. Ritsu-shu. We pronounce instead of Ritsu-shu, but Risshu. Risshu. And the most important teacher in this school, Risshu or Vinaya school, was Nanzan Doten. In China, yes. This is about, he is, he lived about in seventh century, around the same time with Genjo. What is Genjo in Chinese? Han Chuan or something. The person who went to India and stayed there for 17 years and came back and made many translations.

[26:18]

Atari nan zan dou sen helped Han Chuan the translation work. So he studied Yogacara teaching and also Vinaya. And his Nanzen Dosen school was considered to be issue. But because there are a few more schools, his school was called taking the place, this Nanzan was the name of where he lived, Southern Mountain. His school was called Nanzan Rishu, and his teaching was based on Adunara, named Shigun Ritsu.

[27:24]

Shibun means four portions or four sections. I don't know why they called it shibun, four sections. There are other vinaras, such as gobundis, that means five sections. But somehow, Yanzan Doten basically established this vinara, shibundit. So his school was also called Shibun Rishu. And this is the person in Kesa Kuroku, Togenden Mikuritsai, the Chinese Vinaya School scholars. He actually pointed this person, Nanzan Doshin. And his tradition, Nanzan Doten tradition, transmitted to Japan in the 8th century by the very well-known Chinese priest whose name was Ganji.

[28:47]

He had a name, Ganjin. This is a person who was a very well-known, respectable teacher who studied Dawson's Rishu, or Vinaya school, and also Tendai teaching. And until at that time, when I started to talk about this story, very long story, until that time, Buddhism was pretty well established. But in Japan, they didn't have teacher who gave or ordination, actually. And in order to formal ordination ceremony, this is in Vinaya, they need 10 teachers.

[29:49]

And in Japan, they didn't have good teachers. The Japanese Buddhist community wanted to invite a Vinaya teacher from China. And a 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, Ganji. And Ganjin was already very, you know, a well-known teacher, but somehow and very not respected. So his students and Chinese people didn't want him to, you know, go to a kind of a barbarian country.

[30:58]

But somehow Ganjin accepted the request and made decision to go to Japan. At least 10 teachers, he went to Japan with 10 of his disciples. And they tried to sail the ocean to come to Japan, but I think five times they failed because of the storm or some kind of, you know, obstacle, hardship. 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.

[32:00]

And that was the time, you know, the Bibigura in Todaiji Temple in Nara was built. That was the age of Emperor Shōm. Emperor Shōm appeared in this Kesakuroku. And Emperor Shōm received Bodh Fatwa precept from Ganjini. And in Japan, Vinaya school was established by this person, Ganjini. Which school? Vinaya school or Gishun. Which school? Their major study and practice is, you know, keeping, studying and keeping Vinaya. Yes. The main temple of Ritsu, founded by Ganji, is still in Nara.

[33:04]

And the name of the temple is Toshodaiji. It's a really beautiful temple. If you have a chance to go to Nara, I recommend you to visit the temple, Toshodai-ji. Toshodai-ji means the temple founded by a strange king from China, or Tong. They have a really beautiful statue of Ganji. He was blind, but the statue was very vivid, lively. And I think several years ago, the statue of Ganji went back to China to do some kind of commemorative event. That's just about 800. Yeah. Eighth century.

[34:06]

Eighth century. But in Japanese Buddhism, the Vinaya school did not become so popular because in the ninth century, You know, the founder of Tendai school, whose name was Saicho, or Dengyo Daishi, had some kind of a conflict with the tradition of Denai school. Or 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 for receiving Vinaya. And one of them is at Toshio Daiji, where Ganji founded. And another one in the east, in Kanto, and second one.

[35:08]

And third one was in Kyushu. So only three platforms for receiving Vinaya in Japan. So then this person, Saicho, established his own school. His students, in order to receive ordination, they had to go to Nara and practice studying Vinaya in order to become 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.

[36:09]

And after his death, it was permitted. And Saito's point was, because Japan is a purely exclusively Mahayana country, we should only receive Mahayana precepts. who did not receive Vinaya or Hinayana precepts. So in South Church tradition, so-called Tendai school, they only give or receive Nihayana or Bodhisattva precepts. That is from Precept Sutra, so-called Vomno-kyo, or Raghma Net Sutra, in which 10 major precepts and 48 minor precepts are described. And this Vomno-kyo is a basic text of Mahayana precepts.

[37:13]

And in China, Chinese Buddhists receive both Vinaya Precept and Bodhisattva Precept. That means they accept the idea of three, four pure precepts. So as part of the first precept, shoritsugikai, the precept embracing all moral cause, they, as a content of moral cause, they receive denier. That is a kind of a theoretical or philosophical reason why they could receive both denier precept and mahayana or both capital precept. So in Chinese tradition, unless you receive Vinaya Precept, you cannot be an officially Buddhist monk.

[38:16]

So only in Japan, from the tradition from Haichō, we receive only Bodhisattva's research. And this is very unusual in any tradition of Buddhism, only in Japanese Buddhism. So this is really a kind of exceptional tradition. I think that was one of the reasons when Dogen Zenji went to China, he had some difficulty to join Chinese monastery. Because he was, he did not, because he was, or became along as a Pendai tradition, he only received a Bodhisattva Precept. So he never received Vinaya Precept. And in China, unless you receive denial of precepts, you are not really considered as a Buddhist monk.

[39:19]

So that's all the sort of dichotomy, I think, Goven didn't have. So was it only the Tendai school that had Bodhisattva precepts only, or all schools of Japanese? the original Tendai school, and many other schools, like, you know, Dogen Dengi was first ordained at Tendai school. Not only Dogen, the leaders of the new Buddhism in that era, you know, we call the Kamakura age, such as the founders of Kuala Lumpur, such as Honen and Shingen, and Nichiren, the founder of Nichiren School, and Eisai, the first Japanese priest who went to China and transmitted Rinzai Zen, all from a Tendai tradition.

[40:24]

So all their schools receive only Mahayana or Bodhisattva precepts. So, and both schools are kind of a major part of Jain Buddhism after 13th century. The schools in Nara, such as Linxiu or several other schools are very small. So major part of Japanese religion, they only, we only receive the Bodhisattva precept or Mahayan precept. So today, you know, people in Theravada or Tibetan or Chinese or Korean monk people, do not consider Japanese priest as a Buddhist monk.

[41:29]

And that is kind of correct, because we don't receive Vinaya. I'm not sure about Asai. As I put emphasis on studying and keeping Vinaya, I listen. But I don't know what kind of listen he mentioned. But at least Dogen Benji never received Vinaya. So it's kind of a mystery to him. You know, 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, you know, his Dharma brother, you know, recognized that Dogen was Nyojo's Dharma heir.

[42:33]

I think it's a very unusual thing. It might be some influence from Japanese culture. Somehow we don't like regulations. I mean, I don't think that means Japanese people are immoral. I think even today, Japan is a very safe country. So Japanese people are so thrilled. But I think in Japanese culture, there are other kind of a foundation of ethics.

[43:35]

So they don't expect, or 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 thought of Japanese ethics or morality was older than, you know, moral or ethical teaching from China, either Buddhism or Confucianism. You know, in Japan, you know, certain family live within certain place for many generations.

[44:37]

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 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 called Mura, or village. That is another source or foundation of Japanese ethics. So... Buddhist precepts are the foundation of social ethics in Japan. So that was, I think, another reason. In Japanese Buddhism, precepts were not so much emphasized.

[45:46]

And in my case, I was not so much interested in Vinaya. until the middle of 1980. I received, you know, precepts, and one set of precepts. But around that time, I didn't even remember what other ten precepts. And I had no ethical problem, please. Did the absence of Did that have an impact on how Zen developed philosophically? Did that have an impact on how Zen developed philosophically? Like the absence of that was great. Not really.

[47:00]

Some, you know, the priest or the master emphasis on Buddha. But not really. It's too much influence from Buddha Buddhism. I said I was not so much interested in Gunara or precepts until the mid-1980s. I lived in Massachusetts for five years from 1975 to 1981, and I went back to Japan. And around the mid-1980s, there were many kinds of problems in American Zen centers. And many people left prison centers. And some of them came to Japan and visited me.

[48:03]

One of them said, you know, those kind of ethical problem occurred because Japanese teachers only taught going beyond good and bad. 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. And we, not so many Buddhist monks call it ethical problem. Even though we don't who might care about Vinaya's precept. Somehow, within Japan, we do kind of work well. somehow it didn't work, you know, in this country. So I kind of started to think, you know, what should be the ethical foundation of Buddhist practice in this country.

[49:19]

That's 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 Pari Vinaya. And basically, Paris and China are the same. There are, as I said, there are some differences. But if you are interested in Vinaya, I recommend you to read the English translation of Pali Vinaya. Basically, you know, Vinaya and Shakyamuni Buddha made regulations or rules, then his disciples made mistakes.

[50:31]

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 admirations became denial. And in each Each rules there is a story How who did such mistakes and thought or the mistakes were right? And those stories are really interesting So when I was a kind of a correctional British mistakes and I really admire, you know people who Made vanilla because they didn't hide it they, you know, recorded those mistakes for the sake of future generations.

[51:42]

So I really admire and I really like the Vinaya text. It's really interesting. Please. Actually, I don't have the name of the translator. Does someone know the English translation of Caridinia? It has six volumes, and all six are red covers. Quite old translations. I didn't draw the copy. I made a photocopy. because of the problem, not problem, incident I had next, last year. And last year we studied the show of Buddha Nature. I brought one box of books as a reference, and after I finished this Gendoe at Sikki Center, I went to Barclay, and I had a one-day workshop.

[52:50]

And Alan Sniper packed my books, and he put it on the front of Thunder Hall. because he packed it after I went to bed. And when we left, the books were disappeared. It wasn't there. Someone took it. And I was sorry for the person who took it. It's only Buddhist books. And in order to not make the books too heavy, I put them roundly. And also I'm very sorry for our people at the Blackwell Zen Center. You know, they made so much effort to replace all those books.

[53:52]

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 a photocopy there. I knew. So I don't have the copies here. But I can... Uh, tell you later. Oh, I think you can find the professor in the library here. We have the books in our library downstairs. You don't find them. Okay. We also have the copies in the book store. It was translated by the Polytech Society, and it's now being published by Buddha's publication, something, EPS. Okay. Is it entire translation? Well, I am talking about this. Oh, I start to talk about it when I find a joke already.

[55:00]

The reason why I started to talk on Sanjogaya to introduce the part of the story of the created the orchestra, and why he made a loose. Marx only has three-fourths of an orchestra. 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 world. This is a part of Mahavagga.

[56:09]

The story is as 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 the pronunciation for Rajagriha in Sanskrit. Rajagaha. For as long as he found suitable, set out on tour for Dakinagiri. the place of the name. The Lord saw the field of Magadha. So this is in the country of Magadha. So Buddha saw the field of Magadha. This field is rice field or rice paddy, laid out in strips, strips, laid out in lines.

[57:25]

laid out in embankments, laid out in squares. There are many definitions. 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, and rolled out in squares. It's repetition. And Ananda said, yes, Lord. Yes, I see the scenery. Then, are you able, Ananda, to provide robes like this for the monks?

[58:31]

Before this, there was a kind of an incident that King of Magadha, whose name was Bimbisara, one day not walking, but he was on the horse or chariot, saw a Buddhist monk. And he get off and try to make prostration to that Buddhist monk. because he was a Buddhist student. But he found this person was not a Buddhist disciple. So he was kind of ashamed. So the king asked Buddha because Buddhist monk was wearing the same kind of monk with other religious tradition.

[59:40]

So the king required Buddha to make something particular for Buddhist. in order to make kind of a judgment whether this person is Buddhist monk or not 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 robe he should create for his sangha. And once he was working in the rice paddy, maybe he had kind of inspiration to make a good design for Buddhist robe. So Buddha asked Ananda to make a robe. like the pattern of rice paddy.

[60:44]

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 that way and returned to Varaguha 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. Having approached, he spoke thus to the Lord, Lord, let the Lord see the robes provided by me. So he asked Buddha, let the prince check the robe I made.

[61:48]

Then the Lord, on that occasion, having given reasoned talk, addressed the monks, saying, "'Monks, Kureba is Ananda.'" So Shakyamuni Buddha praised Ananda's design. "'Monks, Kureba 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. and can make a cross seam and can make a short cross seam.

[62:54]

I don't know what cross seam is, 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 an elbow piece. So somehow Buddha described the rope. And the photo is cut up, must be roughly downed together. suitable for recruits and not coveted by opponents. By opponent means no other people wanted to get such a role.

[63:58]

That is cut off into small pieces and sold together. I allow you monks an outer cloak that is cut up, an upper robe that is cut up, an inner robe that is cut up. Those are clean robes. So outer cloak is so-called daine, or larger than nine-jou okesa. This is how the design of the orchestra was made. And later, right after this, they had a problem. And there are always troublemakers in Buddhist thunder. There is it.

[65:04]

Yeah, in the Thali Vinaya, like next section, it's a story about the problems. Then the Lord, having stayed at Ravagaha for as long as he found suitable, set out on tour for Vesaghi. As the road was going along the high road between Rajagaha and Vesari, he saw several monks. Often Buddha was walking, several monks were also walking, coming along. Smoothered, Smoothered, S-M-O-T-H-E-R. Smoothered up in robes. Smoothered up in robes. Had them put a mattress of robes on their heads.

[66:21]

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, They were foolish men. Buddha called his disciples foolish men. Very interesting to me. They were foolish men at times too quick to abandon their roles. Suppose I were to accept a limb. were to establish bounds as to robes for the monks. So Buddha thought he should then have a number of robes for monks.

[67:22]

Then shortly after he had the experience mentioned in this quote in Kesakudoku, in Kari it says, Then the Lord, working on tour in dear cause, arrived at Basari. The Lord stayed there in Basari in the Gorotamaka 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 of snowfall, so it was snowing, so it must be really cold. In the time of snowfall, the road shut down in the open air.

[68:30]

At night, with only one road. The Lord was not called. 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 road became cold, the temperature went down. The road at the middle watch of the night was ending, the road became cold. The road put on a third floor. The road was not cold.

[69:34]

And as the last watch of the night was ending, as the sun was rising in the flash of dawn, the Lord became cold. So the Lord put on a fourth robe. The Lord was not cold. I don't really understand the fourth robe. So it seems to have four robes. But when he made the rules, he said, then it occurs to the Lord, even those who in this Dhamma and this spring are sons of respectable families, are susceptible to cold. Afraid of cold, even these are able to keep themselves going with three loaves.

[70:35]

So that was the reason he made the regulation to allow only three loaves for months. But I don't really understand the lack of loaves. And in the Chinese, vinaya, it's only three, as it's mentioned in Kesakuroku. So I don't really understand why it would have both law. If you're studying Pali vinaya and find some answer, please let me know. Pardon? Pardon? And another interesting difference between Pali and Chinese version was when Buddha praised Ananda after Ananda made that design of Okesa.

[71:40]

Buddha said, after praising him, Buddha said, all the paratars in the past and his disciples, we had also, we had put on the robes like this. And all the buddhas, all the tathagatas and his disciples in the future also wear the robe like this. You know, this part is not in Pali version. So, you know, Khen Dogen said, you know, that Kashaya or Okesara was translated from first Buddha, Kashyapa Buddha to Shakyamuni.

[72:50]

I think the source of Dogen's understanding came from this Vinaya, because Shakyamuni said in Vinaya, and all Buddhists believed or trusted the reading within Vinaya was what really happened until recently. These days we are too skeptical to everything, but somehow all the Buddhists believe this will really happen. So that's why Dogen mentioned that an orchestra was transmitted from Hashatabuddha, the sixth of the seven first Buddhas, to Shakyamuni. even though it is said here, created by Shakyamuni and Ananda. So here we need to kind of change the mode of our thinking.

[73:57]

And I think this is a kind of important point. And the idea of past seven Buddhas and also idea of dharmakaya, dharmakaya and sandogakaya was created later than Shakyamuni Buddha. So Shakyamuni Buddha was original Buddha or god in the history. And later, after Shakyamuni is dead, you know, Buddhists create those images of past Buddhas as a predecessor of Shakyamuni and Dharmakaya as a kind of, how can I say, idea of Buddha, Buddha's image.

[75:05]

Buddha not as a collection of five skandhas or human human form but because Buddha awakened to the reality of all beings that is formless so actually that essence or true form of Buddha is formless should be without form and that is idea of I think Dharmakaya so Dharmakaya origin of the idea of Dharmakaya, of course, was Shakyamuni Buddha. And Nidamara Kaya, Sambhogakaya, is a Buddhist in the past and present in the other Buddha lands. Also, a kind of a creation from the image of Shakyamuni after Shakyamuni's death, where they could find Buddha.

[76:10]

And the idea of Dharmakaya means the way things are, the reality itself is nothing other than Buddha. 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 one. So Shakyamuni was not only one Buddha. But there are a number of Buddhas, a number of Dubellans. That was an idea of, you know, three bodies of Buddha. And after, you know, the idea of three Buddhas, Dharmakaya, Sandogakaya, Nirvanakaya, Shakyamuni was considered as a Nirvanakaya. That is a kind of a... manifestation of Dharmakaya. And in some tradition of Buddhism, Dharmakaya Buddha, such as Vairochana, is, in a sense, greater than Shakyamuni.

[77:21]

And Nirvana Kaya is considered to be a kind of a Zonkic version of Dharmakaya. So in some schools, instead of Shakyamuni, their main Buddha was Virojana or Amitabha or Ashurya or other Buddhas or Bodhisattvas. But at least Dogen Zenji said Shakyamuni was even the father of Virojana. So in our tradition, main Buddha is Shakyamuni, the historical person. Well, I think time is good. Thank you very much. Now I'm not sure that I can finish this.

[78:24]

Thank you.

[78:49]

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