Good afternoon, everyone. Since 57, in the middle of page 57, it says, the third chapter of Shobo, or Two Dharma Eye Pleasuring, Kesa Kudoku, Verge of Kataya. This is the chapter. So the rest of this writing is kind of a post script. But at the end of page 60, it dog and then you write the date. She wrote this chapter. Anyway, let me read this post script.

[01:04]

This describe dog engines in China. When I was staying in Song China, when I practiced on the long platform in the monks' hall, I saw the monks next to me at the end of morning zazen each day. hold their kashaya or okesa respectfully and their head doing gassho, venerate it and quietly reciting a verse. Dogen Zenji went to China in 1223.

[02:09]

And so when he had this experience, he was maybe 23, 24. So he was still very young. So probably, you know, this is very beginning. After his practice in China, he found that the monks next to him put the orchestra on the top of their head and recite this verse. The verse is the one we chanted. each morning that is in Japanese my English is probably I already read it this morning he mentioned this verse three places in this writing how great

[03:25]

the robe of liberation is. It is the formless robe and the field of happiness. Respectfully wearing the Tathagata's teaching, I vow to save the . I don't think I have to explain. At that time, I felt that I had never before seen such a gracious thing. My body was filled with delight, and tears of joy silently fell and moistened the lapel of my robe. So he was very moved.

[04:33]

Often Dogen Zenji was considered kind of a very intellectual and logical and almost cold. But when we So, you know, writing about his own personal experience, he was very almost emotional person. We can see another aspect of Dogen Renji's personality. This is because when I read the Agama Sutra, Agama Sutra is a Chinese equivalent of Parinikāya. Agama Sutra, long ago, although I found the description of respectfully placing kashaya on the head.

[05:41]

I have not been able to clarify the form of how to do it. So even though he read about this, you know, generation of okesa, but he couldn't find how to do it. But when he went to China, monks in the monastery did every morning. That's why he was so moved. At that time, I saw it with my own eyes. I was filled with joy and thought to myself, How sorrowful. In my homeland, that means Japan, in my homeland, I never had a teacher who taught this. And I never had a friend who encouraged me to do this.

[06:44]

How regrettable it is that so much time was wasted. Again, there's a space between was and wasted. I'm not a good typist. How sad. Now I am seeing and hearing it, seeing what the monks did, venerating orchestra and chanting the verse. I'm hearing it. I should rejoice for the good karma from my past lives. If I had vainly stayed in my homeland, how would it have ever been possible for me to sit next to the Sangha treasures who have received and are wearing the true Buddha's robe? I had a mixture of extreme joy and sadness.

[07:53]

That made me shed thousands, tens of thousands of tears. At the time, I vowed to myself, although I am unworthy, by all means, I will become a legitimate heir of Buddha Dharma. correctly transmit the true dharma and out of compassion to the people in my country, that means people in Japan, I will enable them to see and hear the world and dharma that have been authentically transmitted by Buddha ancestors. When he was in his early 20s, first he saw and heard, you know, the Chinese monks liberated their okesa and chant this robe chant.

[09:04]

He took a vow to, you know, become a legitimate dharma heir of this lineage and transmit this okesa, or Buddha's robe, to Japan to allow Japanese people to share the same practice. My vow at that time, when he wrote this, he was 40 years old, so it was almost 20 years later. So my vow at that time was not in vain. Now there are many bodhisattvas, both home-leavers and householders. who have received and maintained the kashaya. So after he came back from China to Japan and started his own sangha, first, when he wrote this, he was still at Koshojin, not a heijin.

[10:15]

he gave a precept and also a orkessa to both priests or monks and lay people. And so in his sangha, in his assembly, there are many monks and also lay people who wear orkessa So he said, I am so glad about this. People who have received the kashaya should place it on the head. Again, there's space between the and head, to wear it every day and night. should be especially excellent. There are causes and conditions of seeing and hearing one phrase or one verse of Dharma through trees and stones.

[11:27]

This seeing and hearing one phrase or one verse of Dharma through trees and stones refers to Jataka story. not a Jataka story, but this story appeared in the Mahayana Parinirvana Sutra. This is a story about Bodhisattva who practiced in Himalaya. When he was practicing by himself, He was searching the Dharma, of course. And one time, he heard the verse in Japanese.

[12:31]

I forget. I'm sorry. Anyway, it says everything is impermanent. Pardon? Yes, of course. Thank you. But he thought that is not the complete teaching. So he thought there must be another half. So he was looking for who recited that verse. And he found the word is rasetsu. Rasetsu, I don't know in English.

[13:34]

Rasetsu, it's like a demon, or a monster. And he asked to the monster, could you recite another half, second half of that verse? But the monster said, I cannot because I am hungry. I'm too hungry to chant the verse. So the Bodhisattva said, I'll feed you later if you teach me the second half of verse. And so what do you want to eat? The master said, I only eat human flesh and I only drink human blood. Then the Bodhisattva said, if you teach me the verse, I'll offer my body. So please recite the second half of the verse.

[14:39]

So the most chanted, the second half of the verse, that is . Do you have English? Can I take this? Thank you very much. Show what's in the work.

[15:50]

Show what's arising and what is perishing. So, since arousing and pressing, coming and going, what is internalized means? Or conditioned dharmas, arousing and pressing. And this note is a song word, . That means, . And is . So . That means, . That is nothing aroused, nothing polished.

[17:01]

It is said in the Heart Sutra, who show, who met. For sure, full, that means no arising and no perishing, no defilement, neither defile nor pure, neither increasing nor decreasing. That is the fact of the heart circle. So this is the same thing. Sure and most, or arising and perishing, not perished, is gone. And that Jack, this Mitsu is the same Mitsu. And Jack is, that is Jack, solemnity or calm, silence, serene, Mitsu. So the perishing of, arising and perishing is, what is the word?

[18:05]

That's not silent, serene, serenity. That serenity after arriving on the person is bleached. That is called raku. Raku is opposition of kron. Kron is suffering or dekka. So raku is sukkah. Suka. What is suka in English? Happiness, pleasure, joy. This was the second half of the verse. When the Bodhisattva heard this second half of the verse, he asked the monster to wait for a while before being eaten.

[19:18]

And he, with his blood, he wrote this verse on the tree, everything around there, on the trees and rocks, to allow other people later can see this truth from the trees and stones. And after he finished writing his poems on the trees and stones, he said, now I'm ready. You know, you can eat me. Then the story, this is the story, of course. The story said the monster was Vrahmat. So instead of eating, I mean, the monster become the appearance of Dravma.

[20:20]

And can I say what happened? I forget. But anyway, that is the end of the story. So this expression, Buddha's teaching for Dharana can be hearing and seeing and hearing one faith or one verse of Dharma through trees and stones because of that Bodhisattva's offering his life and leaving the truth of this verse on every trees and stones. We now, we can see the truth of this verse through the trees and stones and everything. That means each and everything we see in the nature is what is showing us this truth.

[21:22]

So when we see the trees, flowers, our verse singing, we can see this teaching. So we don't really need to read or study Buddhist texts to understand this truth. Actually, this, you know, the things or teachings written in sutras or Buddhist scriptures is just a copy of that actual living reality that is impermanent and changing. And yet, everything is within a silene metz, that is metz. maybe 70 is enough everything is slain everything is before arising and perishing and what everything is arising and perishing that is the truth of seeing the reality from two sides arising and perishing, coming and going and not arising and not perishing never coming, never going always here

[22:43]

That is the same understanding of Dogen, that we should see things from U and Mu, and Uso and Muso, form and no form, or U busho and Mu busho. OK. Could one bring the two aspects of the truth together and say that ? That is what Dogen is saying, I think. So to see and hear them, then the truth or reality Buddha or Buddhist teaching showed us. To see and hear them is not limited to the nine realms, the six realms of samsara.

[23:48]

and the Realms of Sri Lanka, Pratyekabuddha, and Bodhisattvas. So that means this reality, this truth, is not limited only within the Realms of living beings. Even trees and stones express and experience the same reality. So reality is all over. And yet, the virtue of authentic transmission of kashaya must be difficult to wait throughout the ten directions, even though the reality of all beings, reality of impermanence and egolessness, is what we can see from everything. in everywhere, but encounter and receive the transmission of authentic okesa is very difficult. We need to find a teacher who transmitted this okesa.

[24:57]

So even if we wear it only one day, only one day, Well, all right. The virtue, the virtue of Weringo Kesa must be most excellent, most superior. So he was really, how can I say, believe this, preciousness of receiving Okesa and wearing Okesa and liberating Okesa. So this is nothing to do with his philosophy. This came from his heart and his experience and almost his emotion. And he tried to, you know, transmit this okesa.

[26:08]

And within his lifetime, he had many disciples and lay students who wear the okesa. So about that he was happy. you know, because of his vow he took in China when he was 24 years old. Still, you know, almost 800 years later, we still chant the same vow, and we still venerate orchestra in the same way. So our practice is really the continuation of Dogen Venge's vow. And the Togon Zenji vow about O-Kesa came from Shakyamuni Buddha's vow about O-Kesa. He Togon mentioned in this writing, you know, five sacred virtues or merit of Kesa from Higekyo or the Mahakaluna Punarika Sutra.

[27:20]

So Dogen Zenji, you know, succeed his vow from the Buddha. And so also if we consider ourselves as Dogen Zenji's disciples or student, we also need to succeed his vow and continue this tradition. that is what he wanted to say throughout you know this writing so he's asking to us to continue his vow and there's one more paragraph or two more that's it In the tenth month of the seventeenth year of Kateri, Jiangjia-ting era of the Great Song China, that is 1224, there were two Korean monks came to Kaizen-fu, that is the name of their dobon-ren practice at Mount Tendo or Tien-tung.

[28:34]

One was named Chi-Gen. Chi-Gen is Japanese, and Chi-Chuan is Chinese pronunciation. Probably, I should find a Korean pronunciation of these people's name, but I cannot find, so if you know, please let me know. And the other, another person's name is King-Un, or Chang-Yun. These two monks eagerly discussed the meaning of Buddhist scriptures. And they were also men of letters, so they are very intellectual people. They know much about Buddhist teachings. However, like rei people, they had neither kashaya nor eating bowls. So they didn't have okesa or ryoki.

[29:38]

How sad, although they are... Their form was like that of a monk. They did not have the Dharma of Bhikkhu or monk. This is probably because they were from a small, remote country, similar to Japan. You know, at that time, China was the center of the world, and smaller countries around China are called barbarians. by Chinese people. And yet, that was true, in a sense, as a level of civilization. Japanese people learned almost everything from China at that time. When Japanese people who have only the form of monks visit other countries, they must be the same as Shigen and his friend.

[30:54]

So he wanted to promote using the correctly or authentically transmitted orchestra in Japan. Shakyamuni Buddha venerated Kashaya and never set it aside for 12 years. It said right after Shakyamuni Buddha left the palace, so even before he attained Buddhahood, somehow it said Jushin, Jushin is a god of a tree, somehow gave the Kashaya to Shakyamuni Buddha. It's kind of strange if we think logically, because it was before the kashaya was made. But somehow the kashaya from Kashyapa Buddha was given to Shakyamuni by God.

[31:58]

And while he was practicing by himself before attaining Buddhahood, he always took on that role. So, and it is true that after he had, I mean, Shakyamuni had his sangha and invented and created kashaya, rest of Shakyamuni Buddha's life, he continued to, you know, wear kashaya. So because we are his distant descendants, we should study and follow his example. So Dogen wants to follow Buddha's example and continue to wear okesa. To turn our head around,

[33:00]

from vainly worshipping gods, kings, and monsters for the sake of fame and profit. and to dedicate ourselves to veneration of the Buddha Lord is our joy." So in this last sentence, he said that changing or transforming that system of value from worshiping worldly things for the sake of formal profit. If we venerate this kashaya made out of materials without any marketplace, as a system of value, this is opposite. But to venerate something valueless, Valueless means priceless.

[34:05]

We cannot value, we cannot measure, we cannot put a price on it. It is most precious. So that is our joy. So our practice as a Buddha's students is to make this transformation of a system of value. But we worship or venerate. I don't know. Worship and venerate is the same thing or not. But we venerate something that has no market value. That is our life. We cannot buy our life. So we have to value and venerate our life. not only our life as individual, but our life can exist or can continue to be because of the connection, interdependence with all other beings.

[35:14]

So to venerate our life means to venerate this network of interdependent origination. That is how we, as a person in the mountain, live together with all beings within the mountain. And we generate this network. That is, I think, basic teaching of Buddha and Mahayana Buddhism and also Dogen. Well, I'm done. I think this is until he attained Buddhahood, after he left home. It said he practiced

[36:16]

Historically, this is not really true. But first six years, he practiced a kind of meditation and ascetic practice. And next six years, he practiced by himself. Historically, this is not true. But that is a kind of a story, OK? Please. I am not sure, and no one is sure, but the Japanese law of dogma and youth is G?

[37:35]

G literally means to show. And shū is assembly. So this word literally means to show or present the assembly. And some scholars think this means he, you know, complete writings and give a presentation or a lecture on these writings. But there's no evidence that was true. But probably so, because his writing is very difficult. If he just read it, probably not many of his students understood. So I think he showed and read with his explanation. That is my guess. OK. Any questions, please?

[38:42]

Is this the first for you? Is this the first time you've completed a text with ? Actually, I cheated. We have 30 more minutes, please. Is this the most simple, the most basic one? Well, in Shogo Genzo, there are another chapter or facet, similar qualities, kesakudoku, such as senjou. Senjou means, what is senjou? Purification or washing.

[39:42]

In that chapter, he described how to use toilet. And in some men, he described how to wash our face and how to brush our teeth. These are the kind of song quality with Kesakuroku. He had very concrete actions. Those were designed so that it wouldn't disturb the other mom's track. If you were doing it by yourself, you wouldn't really need to know how to do those sort of things because you wouldn't I guess living in large groups of people, we can always find out the fault of each other. I just wondered if you realized that. It would be best to have a standard. Yeah. And those, the way how to those things within the community, Zen community or monastery is also important part of transmitting Dharma.

[40:58]

Because Dharma is not simply a kind of psychological awakening or intellectual understanding, but that what buddha taught and the fat broken genji wanted to transplant to japanese soil is not simply as awakening as a psychological experience or intellectual understanding that the Dharma he wanted to transplant to Japan is a kind of a lifestyle based on awakening and understanding of Dharma. We need to live in certain ways. That was, I think, his intention. So this kind of very concrete teaching, how to use ryoki, how to cook in the kitchen for Tenzo, and how to wear clothing, and how the robe should be,

[42:08]

not simply a form that is less important than a kind of awakening experience. We usually think that is most important in Zen practice, but in Dogen Zen teaching, that is not. Most important and basic thing is to live together with other people in the Sangha, in peace and harmony. following, not following, based on our awakening and zazen practice and our understanding of dharma. So community life based on dharma is what Dogen Zeji wants to introduce and establish in Japan. Does it make sense? So we have about 25 minutes, so I'd like to talk about Mihoi, please.

[43:33]

Well, maybe 25 minutes is not long enough. because I have to talk about the entire history of Soto Den. We'll talk about Nihori. I have to make a long history. It's very short. Dōgonzōji lived 1200 to 1243. And Dōgonzōji is Ezo. 1253. Yes, thank you. And Ezo's Dōgonzōji was Tetsu Nikai. And Tetsuragika was the teacher of Keizan Jokin.

[44:51]

And Keizan had many disciples. And from Keizan's assembly, Satozen spread all over Japan. Until Keizan, Sōtō, Zen traditions were small. Of course, there were more still disabled people of Dōgen, but the sangha were not so big. But Keizan lived in the early 14th century. And after Kaizen, I don't have time to mention all the names, but from maybe the end of 14th century to, let's see, end of 16th century, so almost 300 years, the history

[46:02]

you know, end of 14th, that means about 200 years. You know, the 15th century and 16th century, Japanese, Japan was kind of, you know, staying in small countries and they fought each other always for almost 200 years. And The so-called Tokugawa shogunate was founded in the beginning of 17th century. Until then, about a few centuries, the history of Sotozen is not clear. Although during this time, Soto then spread all over Japan. And by the time of the beginning of 17th century, Soto school, it said, has 15,000 temples.

[47:13]

15,000. Right? 15,000. 15,000. And still, even today, Satoshi has about this number. A little less. But the history of Soto Zen is not clear, and we don't find any important teacher during this about 200 years. So traditionally, we consider this 200 years a kind of a dark age. Nothing important happened. even though Sotozen quietly spread all over Japan.

[48:13]

And yet after 17th century, after the Tokugawa Shogunate government was established, the government supported and also controlled all Buddhist orders. And they used Buddhist temples as a kind of government office to check the peoples, like a census, like a town office. And also, of course, financially supported Buddhist temples. So, almost all Buddhist orders, they started to re-establish the system, organizational system, and also teaching system.

[49:20]

An important thing in Zen tradition is around the same time, the beginning of 17th century, one Chinese Zen master whose name was Obaku Ingen. came from China to Japan because the Hmong dynasty in China was kind of conquered by, in this case, not Hmong, but a certain nation from the north. So some Chinese people left their home, and some of them came to Japan. And those, Orobaku Ingen was one of them.

[50:22]

And because Ingen was a well-known Chinese Zen master, Both Japanese Renzai and Soto Zen monks thought Ingen's style of practice must be authentic. authentic Zen. But so many of Japanese Zen monks went to Ingen's monastery in Moji. Moji is near from Kyoto. In Soto tradition, the most important Zen masters such as Gesho Soko or his disciple Manzan Dohaku

[51:34]

And one of them's Darnold's brother, Tokuo Ryoko. All of those people are from Daijoji in Kanazawa. And Tokuo Ryoko, he was one of my Darnold ancestors in my lineage. Those people tried to re-establish the teaching and the monastic practice in Soto tradition. And they thought somehow during that dark age, the authentic practice is missing, lost. So they went to Orobaku, Indian monastery, to learn. authentic Zen practice from China. But after a certain period of time, they found that Obaku Zen, or Indian style of practice, are very much different from Dogen's.

[52:55]

So later people started to criticize so-called Aobaku Zen, the Chinese style of practice. But Aobaku Zen for us to Japanese thought of as a new practice is very... I mean, today was mokugyo for chanting. The mokugyo was introduced by Ingen. So before that, we didn't have mokugyo. And I'm not sure it's true or not, but I heard that kyosaku, you know kyosaku, right? It's also introduced by Ingen. So, next generation from those people, like Min-sam, Zui-ho, or other younger people, criticized the style of Orbach then and tried to return to Dogen.

[54:09]

In order to do so, they studied Dogen's writings, of course, and Dogen's singing. And they started to compile Shōbō Genzo and try to publish it, print and publish it. And that was done in the early 19th century. And the person who finally published Shōbō Genzo was Gento Sokutsu. He is the 50th Abbot of Heiji, and he is in the lineage of Tokugawa Roko, failing as my lineage. Actually, this person, Gento Sokuchu, became the adopter of Ensuji that was founded by Tokuo Ryoko, Ensuji in Okauma.

[55:24]

That was, of course, her Ryokan practice. You know Ryokan, right? Ryokan practice was his teacher, not his teacher's name, Kokusen. As from Ryokan's teacher Kokusen's blade, Gento's structure became the abode of that temple. So the lineage was kind of connected with everything. Anyway, this person, Gento Sokuchin, later became the abbot of a heiji, and he tried to work, return everything to Dogen Zenji's style. So he changed the Shingi, the English term, at a heiji before him.

[56:25]

And he made a new Shingi, his own Shingi, following Dogen Zenji's tradition. That is called . Anyway, this person thought the orchestra used in sort of a community at his time was not authentic. somewhat different from what Dogen Zenji motioned. In Kesa Kuroko, Dogen said, we should receive quite authentically transmitted Kesa, and we should not use the newly designed Kesa in China. But at the time, they didn't know, they couldn't know what

[57:28]

is Dogen's Okesa. That is a correctly transmitted Okesa. So, in Soto tradition, we supported Gento's kind of activity to, how can I say, kind of reforming Soto practice and restore Dogen's practice, Dogen's style. I started to study about Orkessa. And at that time, in other Buddhist schools, few, not many, but few great teachers studied Vinaya. And because orkestra is a part of liberal study, they also studied about orkestra.

[58:35]

And a few most important names of those scholars in other schools maybe it's not important, but was Holpern. He was, he belongs to Kevon School. Kevon, the school based on Abatamsaka Sutra. And another important person is Jun Onko. This person was a Shingon priest, Shingon school. You know Shingon? Japanese Vajrayana school. And this Jihun Onko was a great scholar also. He studied Sanskrit.

[59:39]

And also he studied Okesa. And he very much emphasized on the authentic . And his tradition or school was called Shobo Ritsu. Shobo is two dharma . He studied about Okesa and he tried to find what is the most authentic Okesa. And he lived at a temple named Kokiji that was between Nara and Osaka. And it said this person, Jim Onko, encouraged Pato to show authentic Kokesa.

[60:49]

And that authentic Kokesa was called Nohoi. Nohoi, A-beams. No means thus or as it is. Ho is dharma. So noho means following the dharma or being in accordance with dharma. So the Lord being in accordance with dharma is the meaning of this word noho. Okay. So some of the sort of scholar monks studied about authentic Kokesai from Jun and Hotan's writings.

[61:54]

And they also studied many of the liberal texts. And their effort, how can I say, was kind of a weird food as a mokushitsu, mokushitsu ryoyo. This person is close to the 50th Abbot of Heiji, Gento Sokuchi. To support his movement to restore Dogen Zenji's style of practice, this person studied about Okesa, and he wrote a text named Hōbuku Kakushō. Hō, buku, kaku, shō.

[63:12]

Hō is dharma, fuku is world, clothing. And kaku and shō means to collect, collect. That means the robes people used at his time was mistaken. So we should corrupt the robes. And he quote, we... writings from denier text and show this is a correct, authentic Okesa. This is still most important text about Okesa in Sōtō lineage. And Mokushitsudo was student, not denier, but student was gettan,

[64:14]

Maybe kanji's not necessary. Maybe better to give her the dates. is 1775 to 1833. And this text is written in 1821, 21. And Mokushita's student is Getan Zenryu. His birth date is unknown, but he died 1865.

[65:23]

And Getan Zenryu wrote kind of a commentary on this text, Hōbukakusho. And he received the text of from his teacher . And actually this was a teacher of . That's a connection with us. Nishihari Zenji's date is 1821 to 1910.

[66:25]

And Nishihari Bokusan was the first person who published this text, Horoboku Kakusho. So the tradition of in Soto language was transmitted through this language. And these people lived in Nagoya. So Nagoya, you know Nagoya, right? Nagoya is a kind of a center of this movement of . So the movement of came to the era until . Well, now I start to talk about .

[67:32]

Even though the text was transmitted ,, the movement of really did not become so popular. It's limited within the priest circle. Sawakiroshi practiced when he was young. If I start to talk about his life, Sawakiroshi's life is too long. So when he was young, around before he was 20, He practiced with a priest whose name was Fueyoka Ryo-un. He was the disciple, not disciple, but student of Nishiari Bokusan. And so from Saki Roshi was still a teenager, he saw that this teacher, Fuoka Ryoun, wearing word Nehoe, and Saki Roshi was very impressed about the Okesa.

[68:52]

But he had to go to war. He was drafted and went to war. And he was a soldier for seven years, from when he was 20 years to 27. And he was almost killed during the war. But somehow he survived and he graduated, as I said, he graduated only from the elementary school. He was from very humble family. So he didn't have money. And he really wanted to study Buddhist teachings. So he studied Yogacara teaching at Horyoji in Nara. Horyu-ji was the temple I mentioned, built by, founded by Shotoku Taishi, so one of the oldest Buddhist temples in Japan.

[69:59]

And that was a so-called study monastery of Hososhu, that is a Japanese Yogacara school. And then Sawakiroshi studied yoga at that monastery. So that was in his 30s. He had a chance to meet nuns. And those nuns asked Sawakiroshi to give lectures about anything about Buddhism, because they didn't have chance to study Buddhism. So he, I mean, Sawakiroshi gave lectures on Dogen Denzu writings. But certain time, those nuns asked Sawakiroshi to teach about certain text. And that was the text on Okesa. And those nuns were, it said, fourth generation from Jiyun Onko.

[71:06]

So they, the Okesa, they were wearing both Nihoe. So because Saki, he had a memory of Nihoe when he was young. with his first teacher, Fuyoka Ryoun. Sawakiroshi really wanted to study about Nihoe. And because Nara is close to Jiyun Onko Temple called Kiji, Sawakiroshi often walked to that temple, and it says Jiyun Onko collected 1,000 orkesa, I mean, he encouraged his students to sew okesa. And at Kokiji, 1,000 okesa was stored. And Sawakiyoshi often visited that temple and studied actual okesa, how to make it.

[72:08]

And he wanted to wear the same kind of orchestra, but he couldn't find anyone who could. So for him, but one time, one of the women, who came to listen to Sawakiroshi's lecture said, I can show an okesa like that. That person's name was Kitamura Satoko. That was mentioned in the biography of Sawakiroshi. Anyway, that was the beginning, the first okesa Sawakiroshi was given. That was 25-jo-okesa. And he said, when he was pretty old, he still used that okesa. Anyway, since then, Sakiroshi studied about Nihoye extensively and very deeply, and he always encouraged people to sew okesa.

[73:16]

And when he started to study and practice with Koka Sotan Roshi, You know, he always wear the new hallway. And when he visited Shuzhenji, the Okaso town was the abode of Shuzhenji. And there, Kishidawa Iyan Roshi and Hashimoto Eko Roshi practiced under the guidance of Oka Sotan. And Sawaki Roshi often visited to practice with Oka Roshi. And Hashimoto Roshi, Hashimoto Eko Roshi, still he was a young tron monk, but he was impressed with Sawaki Roshi's Nihoe. And he started to study about Nihoe with Sawaki Roshi. And both Sawaki Roshi and Hashimoto Roshi became famous teachers.

[74:18]

And in Sawaki Roshi's and Hashimoto Roshi's lineage, we still wear this style of okesa called nihoe. I'm not sure about the connection Yoshida Eshin Roshi came to San Francisco, but Yoshida Roshi was a disciple of Hashimoto Eko Roshi. And Kasai Joshin-san was a disciple of Sawaki Roshi. Please. Joshin-san first was a nun with Yoshida Roshi. Then she met Sawaki Fodoroshi. Yeah, she changed the teacher. And she became Sawaki Roshi's disciple.

[75:20]

What is the connection? Suzuki Roshi invited Yoshidaeshun Roshi. Yeah, Suzuki Roshi had a woman student who wanted to be ordained, and he'd never ordained a woman. So he sent her to Kaizenji. Katagiri Roshi, I think, told him about Kaizenji. I see. Because he was an Enneadribu Hashimoto Roshi. He was good. Yes. So he sent his student to Kaizenji, where his style was, if you want to be ordained, you sit in the Uga Hall and you sew . If she was there a couple of years and when she came back, as I understand it, Yoshida Roshi came with her at that time because he was curious about where did she come from. Who is this person who wants to be ordained in the Sokyo-Gan coming from America? How did that happen? So she came to visit, and when she was here, she talked enthusiastically to Suzuki Roshi, and asked him, he should do more Chi Mai, and he should have people sell their bureaucracy, and he should sell Neohoi cases for all the months that he had ordained already.

[76:38]

And he did, and then he came out. So it's not Suzuki Roshi, but Yoshida Roshi came from, came with that person from here. I see. So originally that's a collection for Katagiri Roshi. I think so. Katagiri Roshi and Hashimoto Roshi's collection. I see. I understand. Suzuki Roshi as Virginia Baker, Baker Roshi's wife. Yes. They were Kyoto's that please study so and so. I see. So she began studying . I see. Well, it's already time to stop talking. Please. What? . Oh, okay.

[77:43]

This is a book written by one of my Dharma brothers, whose name was Sekiguchi Doujun. He is an excellent, of course he's a monk, but he's an excellent scholar also. And because he was curious about the history of Okesa in Soto Zen lineage, He had a temple near Nagoya, very close with the temple of Okamoto Corbin, one of Sawaki Roshi's human disciples, and Kyuma Echiu, the person who wrote those two books. So he had a chance to study about Okesa. And he wanted to make sure that Nehoe is an Okesa Dogen Zenji, you know, called Shoden-e, or correctly or authentically transmitted Okesa.

[79:01]

So he visited many of the temples where they stored very old orcasas. And he, how can I say? He checked more than 30 very old orchestras in Soto lineage. And one of them was, you know, the orchestra was sung by Dogen Zenji and transmitted through Keizan to Daichi Zenji and stored in a temple in Kyushu. He found that that was a 25-jou okesa, and usually it has lining. 25 has lining, but the okesa didn't have lining.

[80:05]

So it was kind of unusual okesa. And he... found the orchestra was very well preserved. So he had a little question whether this is really sung by Dogen or not. But anyway, as a... Yes. And as a result of his research on all those 30 old Okesa, his conclusion was that the Okesa Dogenzenji used is different from Nyoho-e. But our was the authentic professor used.

[81:08]

So this is very interesting. And I think we should understand this. I think that is . I mean, about the ring on Okesa, people who studied Nihoi thought the ring was started to use in the early Song dynasty. So it was so-called newly designed Okesa. But it seems Dogen Zenji's Okesa had the ring. But, you know, Dogen Pei never discussed about ring, so he didn't say to have ring is mistaken. But those people, as a result of their study on pinayas, you know, the orchestra with ring is not... authentic.

[82:11]

So the 50th abbot of Gento Sokutsu decided we should not use the okesa with ring. So that was his decision. And since then, we use okesa without ring, except rakusu. But in Nihōe, we don't have rings. But in common sort of people, wear laksu with ring. That decision was made in early Meiji, that means end of 19th century. So our style of orchestra, so-called Nihōe, and The orchestra and the laksa, many of Soto priests using right now, these days are a little different. It's already 4.30.

[83:14]

Any questions? I hope I have another time to talk about Inuho-e. This is too short. I don't know if anybody is interested in seeing the 25-year-old Deisaku right now. Okay, thank you very much for your patience to listen to my wish.

[83:42]

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