when we discuss about Okesa. That is a poem. As I said, this Kesakudoku actually was written in 1240, the year 1240. And I introduced six writings or chapters of Shodo Genzo he wrote this year. And within those six chapters, it seems there's one kind of a hidden motif of Dogen. And that is a mountain. And then we had the first Genzoe here on Sanseikyo that was also written in 1240.

[01:12]

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

[02:17]

So there are three poems. And Dogen Zenji didn't quote the original poem by Sushi, but it's helpful to know what Dogen wants to say. So I first introduce Sushi's poem. This is a poem, very famous poem, about Mount Rui. Mount Lu is a well-known mountain in China for its beauty, and it's also a sacred mountain. Let's see. Sushi's, or his other poem, another name is Donpo, or in Japanese, Toba. Toba. And, you know, another chapter of Shobogen which he wrote in 1240 was Keisei Sanshoku, The Sound of Valley Stream and the Colors of Mountain.

[03:28]

The entire chapter of that, entire chapter was about suicide poems. you know, the poem, let's see, which is the most, anyway, it's okay. The sound of a stream is his long, broad tongue. The mountain, his immaculate body. These evenings, 84,000 verses, how will I tell them tomorrow? So this poem was also written by Tsurushi, and Dogen made comment on this poem in Keisei Sanshoku. And this is another poem by Tsurushi on Mount Rū. Let me first read the entire poem.

[04:32]

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

[05:39]

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

[06:44]

You know, true face, in this case, this true face of man, true face of ourselves. And seeing true face is another expression of awakening. But I think what Suzy is saying is it's not possible to see the true face of Mount Roo because I am in the mountain. Excuse me. I must be careful. Could you write down Sun Chi's name and Mount Roo revisited? OK. Oops. In English. Or another model is .

[07:46]

Let's see. And another thing, what is it? Mount Riu, how do you, R-Y-U? A-R-U. Thank you. Mount Riu, please. Is that also Huan Po, is that the same? H-U-A-N-G-P-O? No, Huan Po is the name of a great master, Lingdai teacher, O-Baku. This is Tsu-Shi or Tsu-Don-Po, or To-Ban. I think, you know, this is not if-close because Sushi used the word. When he said, it cannot be known, he used the expression fu and shiki. Not known.

[08:58]

And this expression appeared in the dialogue between Bodhidharma and the Emperor Wu. When Emperor Wu said, who are you in front of moon? Bodhidharma said, who is Shiki? I don't know. So this expression, who is Shiki, is a kind of a positive expression, not knowing. So not-worn is kind of an expression of Sushi's awakening. We cannot know, and that is okay. That means to see the true face of Mantru as an object is not possible, and that is fine. you know, this means to me, I think this means this Mount Roo is I think entire network of interdependent origination.

[10:14]

And we are in the mountain. Therefore, we cannot see this entire mountain from outside. When we see mountain from inside, the appearance, shape of mountain is always changing depending upon where we are. In the first line, he said, regarding from one side an entire range, That means when we see this mountain from certain point, this is part of the range. So it's not a single peak. It's not independent. It's a part of the continuation of the mountain. And the mountain is only part of it.

[11:16]

But from another, a single peak. When we see another gaseous mountain from another angle, this mountain looks really like one single peak. There's a famous mountain in Kyoto named Mount Hiei. That Mount Hiei is the same. I practiced at Antaiji. Antaiji located in the west side of Kyoto, and Mount Hiei was east side. So from Antaiji, I could see Mount Hiei every morning, every day. always. Then we see Mount Hiei from Kyoto side. It's really one single peak. It's the highest peak among the other, you know, around Kyoto. There are not so many high mountains.

[12:18]

Mount Hiei and another one, Mount Atago, are two a little bit high, only 800 or 900 meters. So not very high, but still higher than others. So Mount Hiei seems like one single peak. But then we see the same mountain from opposite side, the side of Lake Bua. We cannot see which one is Mount Hiei. It's really part of a range. So this means depending upon where we are in the network of interdependent origination, you know this network seems very different and we cannot see it as object because we are part of it we have to see this world only from inside so i cannot see the entirety of this world

[13:23]

And that was, I think, Sushi's awakening to the reality. So it's not a matter of we can see the true face of Mount Roo, which one, in a single peak or a part of a range, which true face of Mount Roo we cannot see. And to know that we cannot see, to know that we cannot know, is knowing of the true nature or true face of Mount Roo. So this is same as, for example, you know, when I studied physics when I was a high school student, depending upon how to observe, light can be a single article and also light is a wave. When we see light, light, As a single particle, it's independent thing. But when we see it as wave, there's no independent things.

[14:30]

It's a part of entire movement. And Mount Roo is the same. And our life, each one of us is the same. We are independent, like a single peak on one side. But from another side, we are just, you know, a part of a wave or movement. No single independent entity called shohaku. from another side. So we don't know which is true face of this person. And to know the true face of this person is to know that I cannot know. I think. OK. Regarding from one side an entire range from another,

[15:33]

a single peak, far, near, high, and low, all its parts different from the others. If this original translation, if the true face of Mount Rome cannot be known, it is because the one looking at it is standing in its midst. Okay. This is original poem by Sushi. In Chinese pronunciation, Wang Shi is a very well-known Chinese Zodoh Zen master about 100 years before Dogen.

[16:55]

And Dogen Zongzi really respected this person. And this person, Wang Shi, is famous for his poetry. And he, Wanshi, wrote, collected 100 koans, koan stories, and made verses on each koan. That was called Wanshi Juko. And later, around the same time with Dogen, another Chinese master whose name was Banshou Gyoshu, in Japanese pronunciation, made commentaries on these 100 Koan and Wanshi's poems, or verses. And that became Shororoku, or the Book of Serenity. So the verses in Book of Serenity were written by Honji, or Wanshi.

[18:01]

So he is also a very well-known poet. And Dogen Zenji quote Wanshi's poem, following, I think, Soshi's poem on Mount Rū. So I introduce first next Wanshi's poem. And Dogen Zenji composed his own poem following Wanshi's. So these three are connected each other. And Wanshi's poem is as follows. With coming and going. With coming and going. A person in the mountains understands that the blue mountains are his body. The blue mountains are the body, and the body is the self.

[19:07]

So where can one place the senses and their object? This is Manji's poem. Let me read it again. With coming and going, a person in the mountains understands that the blue mountains are his body. The blue mountains are the body, and the body is the self. So prayer can, one, trace the senses and their object. You know, senses and their object is same as from the stamkata, the consciousness, and namarupa. There's no such separation. So this poem means a person in the mountains, the person in the midst of the mountains, coming and going within the mountains.

[20:12]

And as Soshi said, we cannot see the true face of one true. And it's not another, whether we can see it or not. But this person at least understands that the Blue Mountains are his body. So in this case, This is the mountain. So for the person who are born and are living and dying in this mountain, this entire network of interdependent origination is his body. because there is no such separation between the person and all the threads or connections. And the Blue Mountains are the body, and the body is the self. So our practice is not to see, to find,

[21:20]

The true faith of this network, the true faith of each one of us, because depending upon where we are, it looks different. And we cannot say which one is true faith. But important point is coming and going, that means living within this mountain as this entire network, entire mountain is our body, our self. So we have no way to separate ourselves as a consciousness or some depth, and others as a consort of sense organs. So this is entire one thing, oneness. And this is how, you know, from what Buddha said in the Stantipata, how you know normal normal disappear this is uh when she's playing and logan then problem is at first he says a person in the mountains

[22:43]

So he uses Banshee's expression, a person in the mountains should love the mountains. A person in the mountains should love the mountains. With going and coming, the mountains are his body. The mountains are the body, and here Dogen says the same thing as one she. But Metis, he said, but the body is not the same. So where can one find any senses or their objects? Basically same thing, but I really like this expression, a person in the mountain should be the person who loves the mountain.

[23:51]

Third line, the mountains are the body, but the body is not the self. Banshee said the body is the self. But Dogen said, body is not a cell. It's kind of a delicate point that if we think this entire metalwork is our body, and if we say this is my cell, it's a kind of tender thing. Sometimes we, even in Zen, we have expressions such as big self. I think the expression big self and small self is dangerous. Big self can happen. If we think this entire network is my self and we are the small self part of it, then it's different from what Buddha taught.

[25:11]

If we think this is one fixed thing as a part of this network and this network as another fixed thing, then It sounds like Atman. So even though I, you know, draw the circle, there's no such circle. If we, you know, make a circle, that means we make separation between inside and outside of the circle. So, in order to talk something, we have to make a circle. But, please understand, there is no such circle. It's just a connection of all beings. And so, fear can, one, find any senses or their object. So, this, you know,

[26:13]

living and dying, or being born, living and dying within this network of interdependent origination. is our life and uh according to these three points this is mount mount louis and we are living using the man to do and this entire mountain including ourselves and another word for this man to do is uh media dramas in media dharmas or ten thousand dharmas all the things in gongjo koan and we are part of the immediate things that is what uh you know man true means to me at least and uh

[27:17]

The chapter of Shodo Genzo he wrote in 1240, somehow he used expression from these poems without explanation. For example, in Daihai Tokuzui, Have you read Raihai Tokuzui? I mean, Raihai Tokuzui is attaining the marrow through making prostrations. In this chapter, Dogenzen quotes a story about a Chinese woman Zen master whose name was Masan, and her male disciple, Kankei Shikan. And one part of their conversation was, that is the top, the pinnacle of Mount Massan, where Mr. Master lived.

[28:34]

And the Massan, the woman, the Master said, Furocho, Furocho means the top is never exposed. Exposed? Then Kankyoshikan asked another question. What is the master of the manteni like in the original story? And Masan said, it's not the matter of form of man and woman, or male and female. In the original story, the expression in the question was, Fat is the master of the mountain. That means Mat-san herself. But in Daihaitan-kobu, if we read it carefully, it will then change one word.

[29:43]

Instead of master of the mountain, he was a person in the mountain. Person in the mountain, that is from Wanshi's poem. Francis and Dogen's poem. So without saying anything, Dogen then somehow changed a little tiny expression. And if we are not careful, we overlook them. But if we read it carefully and we know Dogen changing, Even that only one word, we understand the mountain in that conversation between Mount Masan and her disciple is about this mountain, not particular mountain in China. So that expression, person in the mountain, appeared in Raihai Tokuzui.

[30:51]

And of course, the entire writing of Keisei Sanshoku is about this mountain. And in Sansei-kyo, Mountains and Water, etc., Dogen says something like, although we say that mountains belong to the country, country or nation, we usually think mountains belong to a nation or a country. But actually, he said, actually they belong to those who love them. I think if you read Sansekyo carefully, you find this expression. And Dogen never say this came from these poems of Sushi or Wanshi or himself. He just put it there. So unless we are careful, we don't really realize this is from that point, please.

[32:01]

Do these three poems appear published together anywhere? Disappeared. And so this is part of Ehe Korg. I'm sorry, yeah. Part of Dogen's extensively called Ehe Dogen. It's a chapter, Volume 9. Volume 9 is a collection of Dogen Zenjutsu poems or verses on 90 Koan stories. And this poem is number 25. And in the footnote, we quote the first of the poem also, so you can find it. And in Uji, also, he wrote this expression from these three poems.

[33:03]

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

[34:11]

That is the way we study dharma and we practice. And this entire network of mountains is our life or our body. And what here also Dogen never said, this has some connection with Shoshin's poem. And another one is shoak maksa, or not doing anything evil. This is about Dogen's comment on the very, very known verse from Dhammapada, not doing anything evil and practice everything good. OK, next. keep the mind pure. This is the teaching of all Buddhas. And so this is about good and bad.

[35:17]

But here again in this chapter he mentioned about the mantras. This is the part he discusses about not doing. And in this case, not doing is not a prohibition of not doing evil. But he used this expression, not doing, or in Japanese, makusa, as what? Letting go of thought. Doing nothing. And he said, all evil deeds are not doing. All evil deeds or doings are not doing. Is not only the world well?

[36:21]

The green LL. World. World thing the donkey, but also the world thing the world itself. Well. I have to explain explicitly that this came from another Koan story, but don't care for now. I just point out the expression he used about the mountains. It is the donkey, donkey seeing the donkey, and a person seeing the person, and the mountain seeing the mountain. So he used the expression, a person seeing the person, and the mountain seeing the mountain, without any explanation. So unless we know these three points, we really don't know what this means.

[37:23]

I think, you know, the chapter of Shogo Rendo was basically written for his students. So I think his students knew what this means, but we don't know, unless we bring the entire writing of Dōgen and see the connection. So anyway, all these five chapter without pointing out to him the expression about the mountains or a person in the mountains or a person love the mountains. So I think, you know, this collection of his verses on 19 koans are made around the same time.

[38:26]

That means probably around 1240 he made also those collection of verses on 19 koans. So his student knew what this means. But Dogen Zenji didn't write the footnote. So we have to find the connection within the, you know. So Dogen's writing is all, again, also like the network of interdependent domination. Everything is connected, but connection is transparent. So we have to find the thread. At five we need scholars. Anyway, so For him, our life or our practice or our study of Dharma is very open to the reality that we are part of this entire network of interdependent origination, and Dogen called this a mountain, and we are already inside of it.

[39:43]

and we see the entire mountain from inside. So depending upon the condition or point we are standing, the mountain looks different. That important point is to see that we cannot see the entire mountain as object or nama-lupa, but our practice is to live together with all beings within the mountains as my own body. To me, this is important and helpful to understand what Dogen writes in Kesa Kudoku about Kesa, or Kesa. You know, he used, from him, to talk about Kesa, or Kesa, or all. I mean, without explanations, I think he used the okesa, the word okesa, in at least four different meanings.

[40:54]

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

[41:59]

We are independent, individual beings, and yet at the same time we can exist only within the network of relationship with all beings. That is what okesa means. And another thing Dogen pointed out when he used the word okesa is, of course, as a robe for Buddhist monks created by Shakyamuni. I think you know my story, how this Okaza was invented. When Shakyamuni and Ananda walk by the light paddies, Shakyamuni asks Ananda if Ananda could make a road that has the same kind of pattern with the light paddy or light field.

[43:19]

You know, rice field in Asian country is really important thing. Rice is a basis of, you know, most important food. And not only the food, but it's a basis or a foundation of entire economy. And, well, I talk about rice field after I start to talk on this text. So when he discuss about Okesa or Kashaya, he refer to the Buddhist Rome created by Shakyamuni and Ananda. And I think is, how can I say? is a symbol of dharma transmission.

[44:23]

I talk about it in the very beginning of this text. And fourth, I think, is actual love we receive and we wear every day, our own ukesa, our own youth. So there are four different things I think, or four different aspects of Okesa. And again, Dogen Denji uses without explanation what he is referring now. So when we read this text, at least I read this text, I was confused. What was Dogen Denji talking about? But if we think, you know, those four different, not things, but aspects of orkessa, then I think it's not so difficult, but Dogen's saying.

[45:32]

And those four, to me, is interesting. You know, first one, you know, Okesa as a symbol of this entire network, as one piece of Okesa, is saying about free treasures. Three treasures means Buddha, Dharma, and Sangha. And in our tradition, I don't think only in our tradition, but there are three kinds of three treasures. Dogen did mention this in Kyojo Kaino, or his comment on the 16 precepts. There are three kinds of free treasures. So when you receive the precept, all of us hear the name of those three kinds of free treasures.

[46:38]

And the first one is in Japanese, Ittai-sanbō. Sambho is three treasure, and Ittai means one body. And in my translation of Kyōjū Kainon, I translate this Ittai Sambho as an absolute three treasure. That means three treasure refer to this entire network. Buddha is a dharmakaya. Dharmakaya means the way all beings are, is dharma. And all beings are Buddha's body. That is what dharmakaya means, dharma body.

[47:40]

And the way all beings are within this network is called dharma. The second treasure is how things are within this network. And in Itthai Sangha, or Absolute Three Treasures, Sangha means each and everything in this entire network of interdependent ordination is Sangha. That means all beings in this entire universe is Sangha. This is the first kind of three treasures. And the second kind of three treasures is Genzen Sanbi. Genzen means manifesting.

[48:56]

Gen is the same gen as gen in genjo koan, appear or manifest. And zen is in front. So genzen means manifesting or appearing. And so I translate this as manifesting. three treasures. And this means Buddha as Genzen Sanbu is Shakyamuni Buddha, who was born in India 2,500 years ago, actually person in the history. So within the three buddha body, this is nirmanakaya. And dharma, as a genzen sambo, means or refers to what Buddha taught when he was alive.

[50:08]

So Buddha's teaching is dharma. And Sangha means people who practice with Shakyamuni Buddha. Both Sangha as manifesting three treasures. And third one is in Japanese called Jiu-Jisanbe. Jiu means to dwell, or to stay. And ji is to maintain. So this means, this refers to, you know, after Shakyamuni Buddha died, and his disciples, as an original thunder, all passed away.

[51:10]

So they have no actual Bible teaching from Shakyamuni Buddha himself. And yet, that was a big problem for, you know, early Buddhists because when Shakyamuni Buddha died, they lost one of the three treasures. But they started to find what is really Buddha. And they found Buddha is not the five skandhas, five aggregates of the person, but his awakening. and his teaching about the reality he awakened to was actually Buddha. That was the origin of the idea of Dharmakaya as Buddha. But as a... Well, I forget.

[52:17]

I translate this Jyotishambho as manifesting, maintaining, in order to maintain this tradition or teaching on Buddha. Even after Shakyamuni Buddha died, they still have three treasures. And of the three treasures, the Buddha statues, No statue is just a statue. It's not really a Buddha that we liberate, I mean, generate Buddha statue as a form or image of Buddha. So we enshrine Buddha statue in the Buddha hall, and we make prostration to the statue that is Buddha treasure, as maintaining three treasures.

[53:27]

And Dharma is a written form of Buddha's preaching that is sutra. Sutras and other Buddhist texts are called Dharma Vajra. So printed text is dharma treasure in Buddha's teaching. And through Buddha's teaching, the dharma as reality itself is expressed. That is so written text of sutra and other scriptures are called dharma treasure in maintaining free treasures. And Sangha treasure is people who have been studying and practicing Buddha's teaching after Buddha's death until today.

[54:30]

Those are Sangha treasures. And of course, you know, that Sangha belongs to certain particular Sangha. We are part of it. It's, of course, Sangha treasure for now. And now we are studying Dogen Zenji's writings to study dharma. So in our case, for now, his writing is dharma treasure. And we have Buddha in his dharma home, that is Buddha treasure. So, you know, the kesa, or okesa, as a symbol of this entire network is like a dharmakaya. So, dharmakaya or okesa. And when Darwin discussed about the okesa designed and invented by Shakyamuni and Ananda, that is like manifesting three treasures.

[55:43]

Okesa are the manifesting three treasures. And a symbol of Dharma Transformation is Okesa as a maintaining three treasures. And our particular Okesa or lakshmi we wear every day is part of that maintaining three treasures. I think that is helpful to understand what Dogen discussed, because he doesn't explain in that way. So for many years, I'm confused. For example, he knew that you know, this orkessa was created by Shakyamuni Buddha. But in the sutras, he quote, said, you know, Buddha had been transmitted orkessa.

[56:47]

That means from Vibhashya Buddha. That means many years before Shakyamuni. I questioned if Dogen Zenji really believed this. And also, the symbol of Dharma transmission, At least I couldn't believe, you know, such a thing really happened. From Shakyamuni to Mahakasyapa and Mahakasyapa to Ananda. And so this is the first thing he wrote in Tessakudoku. And it said the Buddha's love continued to be transmitted to the six ancestors of China, Hunan. I wonder if we really believe it or not. At least I don't.

[57:49]

Anyway, that is my introduction about before we start reading Kesakuroku. So for any question, Then I start to talk about the text. No question? OK. Then I start to talk about the text. This text is my own translation. I found three translations, three English translations of Kesakudoku. Maybe there are more. I only have three. One is in Nishijima's translation of Shovu Genzo.

[58:59]

And second is Tanahashi's translation in Enlightenment Unfold. And the third is in the book entitled The Master Dogen, translated by Yokoi Yuhon. and Victoria Daizen, Daizen Victoria, those three. And I started to read those three translations, but I found that to understand, not to make my understanding clear, better to make my own translation. So I tried to make my, not tried, but I did. I made my own translation, and yet I didn't have much time.

[60:02]

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

[61:07]

I'm still not comfortable with Serbian translation. For example, translation of Fungzoe. Tentatively, I translate, I made very literal translation of . If you read this translation, you'll find . I'm not sure if this is a good word for use in English. Pardon? Yeah. Tho means excrement, and zo means cloning. So this is a literal translation. But then I sent this translation to Tejo Munich. and asked her, how do you, does she like, you know, this expression, excrement cleaning lard?

[62:18]

And she said, she even don't want to say the word excrement. Please. Diane Riggs, who's working on Prince Lloyd in Japan, said this, went from Sanskrit to Chinese, They did the word, but the kanji wasn't right. And then it has nothing to do with this. That is one theory. OK, you heard it. And as Dogen write in his writings, this is not really, literally, an experiment cleaning rug. This is the main of the rugs that is abandoned or discarded. So one of the translators used the expression discarded rug or something like that. Discarded or abandoned. One suggestion is, you know, this funzo doesn't literally mean to clean the excrement, but this refers to the, what do you call it?

[63:37]

something like a junkyard, where people throw things, garbage, garbage heap. So, you know, monks found the material of robes at the garbage, you know, what, the what? Yeah. So this is not really means to clean the excrement. That is part of it, but not really. So if you have some idea, good idea, please let me know. because Teijo said, you know, she doesn't really want even to speak that word. So even though that word is in this translation, I try to use the Japanese word instead of exclaiming.

[64:45]

Actually, you know, is a Japanese pronunciation of Chinese word. So doesn't To us Japanese, that's really an excrement. We don't, this is a foreign word, so we don't have, you know, so much kind of close association with actor excrement. So we don't feel so bad using the word hunzo. But if we have to use the Japanese word, probably I also have a kind of resistance to use that word. So maybe better to find another expression in English. Maybe discarded might be a good one. These are the books about Okesa.

[65:47]

These four are about Kesakudoku. And these are the source of information when I studied Kesakudoku. This one is Shizawa Iwanrosi's Teisho on Kesakudoku. This is a big book. Actually, this is not only Kesakudoku. This includes three volumes. And Kishidawa Iyan Roshi is one of the teachers of Suzuki Shunryu Roshi. He studied with Kishidawa Iyan Roshi. And this one is a teisho by, maybe better to write their names. Well, in English order, Inami Kishijawa.

[66:58]

And the second book is A Record of Teisho by Senryu Kamatani. Senryu Kamatami Roshi was a student, not a disciple, not a student of Hashimoto Eiko Roshi. Another student or disciple of Hashimoto Eiko Roshi was Yoshida Eshun. She's a woman. I think Yoshida Eishun Roshi was the first person who came to San Francisco Zen Center to teach sewing .

[68:05]

So both Kamatani Senryu Roshi and Yoshida Eishun Roshi are children of Hashimoto Eiko Roshi. And the third one is a tensho by Sawaki Kodo-roshi. Sawaki Kodo-roshi is my teacher's teacher. And those... Yes, of course. And is teacher. And these three roshis, Kishidawa Iyan Roshi and Hashimoto Eko Roshi and South Kodo Roshi, those three teachers,

[69:11]

about contemporaries, and all three practiced under Oka Sotan Roshi's guidance. Oka Sotan, or Sotan, Oka. He was the abbot of Shuzhenji Monastery not so far from Dinsouin in Shizuoka Prefecture. Shuzhenji. And he is also president of Komazawa University. At that time, the name was different. The name was something like Sotoshi Daigakurin or something. Later it became Konosawa University. So he was the master and also scholar.

[70:16]

And he also became the kanin of a heiji. So those three roshis are all connected. And Katagiri's Danyin Roshi practiced with Hashimoto Eiko Roshi at a heiji. And Katagiri Roshi practiced at a heiji. Hashimoto Roshi was a godo of a heiji. And Narasaki Tsugen Roshi and his elder brother Ikko Roshi also studied with Hashimoto Eiko Roshi. So Katagiri. And Sugen Narasaki. Sugen Narasaki is a current adult of the Yoji, and Ikko Narasaki Roshi was the former adult of the Yoji, their brothers.

[71:28]

So, you know, in the lineage of Tsukiroshi, Katagiri Roshi, and Uchimaru Roshi, my lineage, you know, use this style of Okesa called Nyoho-e. And at the last lecture of this Genzoe, I'd like to talk about Nihore. Until then, I focus on Dogen's teaching, Dogen Zen's teaching about the virtue of Kesa. Could I ask just one question? Hm? What is the story of Bokusan? Oh. Yes, Nishihari Bokusan was Okasotan teacher. And Kishidawai Yanrosi was dharma heir of Nishihari Zenji, Nishihari Bokusan.

[72:43]

But because Nishihari Zenji died, Kishidawai Yanrosi practiced and studied with Okasotan. So you say, Nishihari Zenji, so give me a stamp of hate. Nishiyari Zenji was the abbot of Soji. Yes. And another book, this is a commentary of Kesa Shodoku by Uman Dogen's scholar, Yaoko Muzuno. She is a scholar of Japanese literature, classic Japanese literature. And somehow she was, when she was young, she became interested in Shobo Genzo.

[73:48]

And she tried to understand Shobo Genzo, but she found it not possible. without knowledge about Zen and Buddhism. Shobogen was really not possible even for a scholar of Japanese liturgy. So when she continued reading Shogo Gendo, she found Kesa Kuroku and Denne, and she found the sentence that if when we receive and generate and where the Kesa is saying I've received Shogo Gendo. or Buddha's mind, or Buddha's body, actual body. And Mizuno sensei made decision to try to wear okesa in order to understand Shogo Genzo.

[74:55]

And she tried to find a teacher from whom she can receive okesa. and she found Hashimoto. First she read about Nihore in Sawakiroshi's book, but she even didn't know how to find Sawakiroshi. So she tried to find pictures, and somehow she found Hashimoto Ikoroshi. So she... learned how to sew raku-su and okesa and received them from Hashimoto Roshi. And she continued to study Shogogen-do also. So she was very faithful in sewing okesa. And later she, of course, found Sawaki Roshi. He was a professor at Komazawa University.

[75:57]

And around the time Saratiroshi died, that was 1965, Mizuno Yaoku Sensei started a kind of a group of sewing orchestra named Fukubenkai. And that is still continues. and Diane Riggs. She participated in some activity of Fukudemutai and wrote a report about their activities. So these four The commentaries on Kesakudoku, and I recommend you, if you can read Japanese, please read those. Unfortunately, not many people read Japanese, so I have to talk.

[77:03]

And these two... a book written by one of Sawaki Roshi's, not disciple, but student, Kyuma Echu Roshi. Under the kind of assembly or a community of Sakyaroshi disciples, many people are dedicated to sawing Okesa and Raku-su. And this person is one of them. Kyūma Echi is still alive. He has a temple near Nagoya. And he studied about Okesa, and he wrote books, two books about Okesa.

[78:16]

One is about how to sew Okesa and Raku-su. And this is... explanation of Okesa, information about Okesa, with many illustrations and photos. So even if you don't read Japanese, it might be interesting for you. So I leave this book on this table. So if you want, please take a look at it, please. You mentioned that if you want to see a rice field and a case that looks like a rice field, look at that. Yeah. It's very structured. This is a rice field. It was on that page. Yeah. Something like this. Anyway, I named this book on this table, so if you want, please take a look at it.

[79:18]

So there are quite a few books on Okesa in Japanese, but not many in English. Tomoe Katagiri wrote a book on Nihore. I think that is only one English book about Okesa. Is there another? No. I see. So those are the books on Okesa. And Okesa, or Buddhist Rome, is a part of within the category of three basket of Buddhist writings, kyō, ritsu, ron, sutra, shastra, or commentary on the sutra, and vinaya.

[80:26]

The materials about... materials or information about the orchestra is part of vinaya. So when we study about Okesa, we need to study Dinara. And if you are interested in Dinara, there's one English translation of the entire Vinaya from Kali or Theravada tradition. You can find many sections about orchestra and many presets about role. Those stories are really interesting, so I recommend you to read. If you have time and interest and energy, you know, English translation of Hinaya, a really interesting text.

[81:29]

And Dogenzen quotes some part of Hinaya, of course not from Pali, but from Chinese tradition, and I will introduce some of them. Well, We have five more minutes. Any questions? Please. Do you study the Theravada monks, the way they wear their robes? Me? Yes. Or someone? Have you studied? I never studied. about other laws in Theravada tradition. So I don't know anything about their laws in Theravada or also in Tibet.

[82:32]

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

[83:44]

Anyway, that's my discussion. Buddhism was Theravada, and they did a whole thing on the cloth itself. It was found in a rubbish heap, in a real, but it was, the meaning was that not even, it was cast away, even the castoffs cast it away, so even the beggars would throw away this patch, and no one would use it at all, and then the monks would. Yeah, that is the original idea of . So that is the thing. The Vinaya in the first Chinese tradition is the same. And the Dogen Renji mentioned about that tradition from Shakyamuni Buddha's time. So we need that part here. Dogen said, not Dogen said, but Dogen quotes from Abhinaya that there are ten kinds of funzo-e.

[84:52]

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

[85:09]

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