A SZÓTÓ ZEN FELEKEZET SZERZETESI ÖLTÖZÉKE
曹洞宗 Sōtōshū: Zen Monastic Robes
Részletesebben a Néprajzi Múzeum Időképek
című katalógusában,
Lux Éva muzeológus képaláírásaival
Kimono, juban
Fehér alsó kimono, juban
(alsóing), fundoshi (ágyékkötő), himo (öv)
Ishikiate: word
used for a part of kimono, a piece of square thick cloth of reinforcement for
kimono, like a seat lining.
着物 kimono
Köntös
The traditional Japanese kimono has wide, half-way sewn sleeves. There is no
seam between the top and the skirt, and there are no pleats in the skirt. Pure cotton
kimonos lose length during washing. A fold in the waist areas allows for
lengthening. Kimonos are ankle length, For ceremonial use white cotton. For
everyday use grey fabric.
浴衣 yukata
vékony, nyári hálókabát
is an unlined kimono-like garment for summer use, usually made of cotton,
linen, or hemp. Yukata are strictly informal, most often worn to outdoor
festivals, by men and women of all ages. They are also worn at onsen (hot
spring) resorts, where they are often provided for the guests in the resort's
own pattern.
襦袢 juban
Underkimono
Alsóing
紐 himo
Öv (a kimono megkötésére)
褌 fundoshi
men's kimono underwear, wrapped thong style
Ágyékkötő
Japán módra így
hajtogatjuk össze a kimonót ^
(kimono összahajtása:
http://en.wikipedia.org/wiki/File:Kimonofold.jpg)
és így kell alsót
hajtogatni a fundoshi-ból:
衣 koromo
Monastic robe (worn by ordained monks only)
Csuha
There is an "arm
pit ventilation" feature.
These robes have wide sleeves and seven box pleats in the skirt. They are
traditionally worn shorter than the kimono, which is seen under the robe.
The Soto style has much wider sleeves than the Rinzai style; both have a hook
and loop to tie the sleeves behind the neck. Monastic robes have a wider collar
than lay robes and additional pleats in the center front.
手巾 shukin
the cord that monks wear around their waist
Kötélöv (a koromo megkötésére)
A kimono és koromo hátrakötésére is jó, hogy ne zavarjon pl. mosdáskor vagy
munkavégzéskor.
Mesteremtől kapott csuha,
indigókék kendervászonból
Indigo hemp
koromo given by Kojun Noiri roshi to his disciple, G. Terebess
Vékony, nyári szerzetes
köntös
Summer koromo,
作務衣 samue
Working or everyday clothes for a male Zen Buddhist
monk
Munkaruha
Munkaruha
袈裟 kesa
kaṣāya
七條袈裟 [shichijō kesa]
/seven-piece robe/
O-kesa (a bal vállon
hordott szerzetes felső lepel)
O-kesa, kinagyított végtelenboggal (végtelen csomó, szerencsebog)
Endless knot (Sanskrit : shrivatsa, kínai: panzhang)
és Terebess
Gábor japán szerzetes-nevével (釈
元祥 Shaku Genshō)
Not just a garment, the kesa itself is zazen. It is the robe of zazen and the robe of true Zen practice. Since the time of Shakyamuni, all of the masters of the transmission received, respected, wore, taught and passed on the kesa. Like zazen, it is nothing mysterious or mystical, but a natural part of our daily practice.
Some might say the kesa is not really important: "It's a formalism, unnecessary, zazen alone is enough, I don't need to wear it." And of course someone can do zazen without a kesa, it is not absolutely necessary. But without the kesa, zazen becomes only a method of body-mind training, not a true religion. For those who seek the Way, the kesa has a great value.
Wearing the kesa and doing zazen, unconsciously, naturally, automatically, we can receive the great merits of the true Way. Anyone can wear the kesa, and whether it be the grand kesa or the rakusu (mini-kesa), the merits are the same. It protects us as it protects the Way itself.
Traditionally the kesa (funzo e) was sewn from rags that were useless to the social world. It is a symbol of how the worst can become the highest, through kesa, through zazen.
The kesa is most importantly worn for zazen. And whenever possible, if you have one, wear the grand kesa in zazen, rather than the rakusu (especially during sesshin).
The rakusu may also be worn for zazen. But just as Zen practice is not limited to the dojo, neither is the kesa. During the day it should be worn as often as possible, so that the practice of the Way is always present in our minds. The rakusu is especially worn during samu, during sesshin, and when travelling. When we take off our rakusu, it is to protect it. It is taken off when eating (except during sesshin), when going to the bathroom, at parties and for doing samu that might dirty or damage the rakusu. But when travelling, you may keep it on throughout the journey.
"The kesa is the heart of Zen, the marrow of its bones." Eihei Dogen
The kesa is not a decoration or an accessory to our practice. It is, with zazen, the essence of the transmission, the essence of our practice. So the respects we pay to the kesa are not mere formalisms, but representative of the respects we pay to all existences.
When putting the kesa on, always place it on the head and chant the Kesa Sutra to yourself three times, (as we chant it in the dojo with the others each morning). When putting it on, taking it off, folding or unfolding it, concentrate completely on the correct gestures. Keep it in its envelope in a respected place in your room or in the dojo.
Use the zagu for sampai when wearing the grand kesa. Keep it ironed and clean (washing when necessary by the transmitted method). And the kesa never carelessly touches the ground.
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Sewing the Kesa:
In the same way that the rakusu points follow one another to form a straight line,
our concentration here and now on each one of our actions forms a line ,
straight and true, through our life.
"If we sew the kesa without studying the correct method, there will not be correct transmission." Dogen
If possible, everyone should sew a rakusu or a grand kesa. Following the true transmitted method, in practice with the sangha. You can sew one for yourself, for the Temple, or for another. It is the highest gift you can give.
The color of the kesa is kasaya (broken color). It has a color, put not a limited color. Black or dark brown for bodhisattvas, and monks, lighter color for nine-band kesa and other colors and lighter colors for master's kesa. One can use any material, so long as it is chosen without attachment.
We respect the kesa in progress as we respect the finished kesa we wear. From the moment you have chosen the fabric, do not let the material touch the ground. Keep it neatly folded in a clean, high place when you are not working on it. And respect the sewing room as a dojo.
And most importantly, concentrate completely on each stitch and each measurement. Though formless, the kesa has an rigorous form. The attitude of mind is i shin i pai: One stitch, one pai.
"The point should be as small as possible, but it is not necessary that it become a decoration. What is important is that you sew it yourself, whether it's good or bad is not the issue" Kodo Sawaki
__________________
Faith in the kesa.
In Zen, we have faith in the kesa. Though material, the kesa is infinite. All
the masters of the transmission totally respected the kesa.
The authentic transmission of the kesa is more important and tells us more about the dharma that all explication of sutras. We should never forget this.
"The kesa is the thread of Zen." Dogen
O-kesa, kinagyított boggal
絡子 rakusu
Szótó stílusú varrat a rakuszu nyakszirti nyelvén: tört fenyőág
zöld cérnával
(a Rinzai jele ugyanitt egy hegyet jelképező egyenlőszárú háromszög)
Japanese rakusu have sewn
designs on the straps, or on the collar covering, where they fall across the
back of the neck to indicate denominational sects: Soto is a broken pine twig,
Rinzai is a mountain-shaped triangle, and Obaku is a six-pointed star. In addition, Rinzai and Soto traditions sew a
large flat ring on the left strap. This ring
is not functional, but recalls the shoulder fasteners of the full-length kesa. As a result of a reform movement known as the
fukudenkai in the mid-20th century, some Soto Zen groups have eliminated the
rakusu ring.
Rakuszu-varrás
(képmagyarázatok japánul): http://sizusosei.com/tokusyuu/okesa/okesa_2.htm
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Rakusu (fogadalmi
"előke" vagy "mellkendő" hátoldala és eleje)
Rakusu: black,
natural cotton, with white plastic ring (= 環 kan, gyűrű))
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Fogadalmi mellkendő
(két hátlap kalligráfiával) .
Calligraphy by
Kojun Noiri Zen Master on the backs of two rakusu for Gensho (Gabor Terebess).
Boríték alakúra varrt
rakusu tartó; obi öv; tekercskép
Rakusu pouch in
form of envelope (18 x
帯 obi
Széles kimonó öv
坐具 zagu
bowing mat
Rongyszőnyeg leboruláshoz
Rongyszőnyeg
Piece of cloth
carried by monk on which bowing is done. (It is crisply folded and worn by the
ordained over the left wrist.)
下駄 geta
Wooden clogs
Fapapucs (magaslábú sársaru)
Facipő, császárfa
Wooden clogs,
paulownia,
on the bottom: "Shaku Gensho" written by Daigyo Moriyama for G. Terebess
草履 zōri
Szalmapapucs
草鞋
waraji
(are straw rope sandals which are mostly worn by monks)
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Szalmabocskor,
gyékénybocskor, útibocskor
Straw sandals
Waraji were some of the most popular straw-made items used by the general public of Japan. Records of waraji are seen in documents as old as the Heian period (794-1185).
This photo shows straw-made sandals. Long ago, straw-made strings were also attached neatly to lace the feet into the sandals. At one time waraji were used as common footwear in Japan. Waraji only lasted three to four days. Therefore a family of five would need about 500 pairs of waraji per year and kept Japanese farmers busy making waraji from their childhood. This is said to have been the origin of the manual dexterity of the Japanese people.
Japanese people in ancient times would also use waraji as an offering to pray for safety before starting a long journey. Even today, we see large waraji at the entrance of some temples or shrines in Japan, and some people still wish on the traditional waraji as they offer them to a temple or shrine.
足袋
tabi
split-toe ankle socks
Kétujjas vászon bokazokni
笠 kasa
bambuszkalap,
nádkalap, esőkalap (átm.:
Kasa;
ajiro-gasa; takuhatsu gasa
http://www.shop-japan.co.jp/english-boku/image-e/how-to-set-atamadai.jpg
網代笠 ajiro-gasa
托鉢笠 takuhatsu gasa
kasa
atamadai hira (kalap betét)
Egyéb:
kyahan (leg
protectors, lábszárvédő)
zori (gyékénypapucs)
haramaki (gyapjú haskötő)
teppatsu (begging bowl, kolduscsésze)
http://www.iz2.or.jp/english/fukusyoku/kosode/25.htm
風呂敷 furoshiki
wrapping cloth to store and carry robes
csomagoló kendő, batyukendő > Furoshiki
Mérete: 105 x
pamutvászon, indigókék festés
Tulajdonosa (白山 Hakusan) tussal írt nevével.
[Ajándékba kaptam mesterem saját furoshiki kendőjét az összehajtogatott
szerzetesruhám tárolására.]
Buddhist monk in a
traveling outfit
The style is the form of the
Sôtô sect (the form of the Rinzai is slightly different from it).
1 網代笠（あじろがさ）Ajiro-gasa
2 墨染（すみぞめ）の直綴（じきとつ）Sumizome-no-jikitotsu
3 小袖（こそで）Kosode
4 坐蒲（ざぶ）Zabu
5 直綴の裳（も）の部分 Jikitotsu-no-mo
6 脚絆（きゃはん）Kyahan
7 草鞋（わらじ）Waraji
8 丸紐（まるひも）Maruhimo
9 應量器（おうりょうき）［浄巾と共に風呂敷で包んでいる］Ohryoki
10 袈裟文庫（けさぶんこ）Kesabunko
11 鉢単（はったん）Hattan
12 風呂敷
Furoshiki
13 後付（あとづ）け行李（こうり）Atozuke-no-kohri
14 手巾（しゅきん）Shukin
15 頭陀袋（ずだぶくろ）Zutabukuro
16 絡子（らくす）［丸く見えるのは絡子の環珮（かんぱい）Rakusu
17 坐蒲につけられた前後の印（しるし）Zabu-ni-tsukerareta-zenngo-no-shirushi
Priest who does the
pilgrimage from a country to another just like the cloud which goes empty, or
the flowing water may not become settled, so the priest who travels were called
"unsui (=cloud and water)"; especially the priest of the Zen sect was
called this way. The figure in the photo wears the formal costume for the monk
of the Zen sect to practice asceticism travels. He wears a "hitatare"
kimono, dyed in ink-black color, and a "maruguke-no-obi (=obi band with
the stuffing inside)" band which is called "shukin (=hand
cloth)" in ink-black color.: a pair of white "kyahan" leg protectors,
"waraji" straw sandals, a "Gojoh-gesa" surplice called
"rakusu" on the shoulder. He hungs a "zutabukuro" bag on
the chest and a "kesa-fumikura (=surplice book warehouse)" case in
front and a "atozuke-kohri" wicker portmanteau backside of the body.
He also wears a "ajiro-gasa" hat and has a "zabu" in the
left hand. Things like a "kesa" surplice and a "zagu" items
are installed in the "kesa-fumikura" case and then they are covered
with a "kesa-bunko-fukuro" bag. A set of "ohryohki" bowls
and a "johkin (=purity cloth)" is wrapped and fastened to the
"furoshi (=bathroom carpet)", a Japanese wrapping cloth. [The
"ohryohki" is a set of bowls which a priest uses as tableware. The
priest brings also to religious mendicancy, and food is received. It is usually
a set of five bowls in pile.]; a black covering paper called "hattan"
is inserted into the lower part of them. The rest of the personal effects, such
as a "mizu-ita (=water board)" board, a pair of "hashi"
chopsticks, a "hashi-bukuro" bag, are wrapped and fastened by a
"doh-hatsu-bukuro" bag or a "furoshiki" bag and are hung
with a "maru-himo" string. The necessaries for days are installed in
the "atozuke-gohri" bag and tied up with the "maru-himo (=round
string)" string and are hung in fron and back of the body. The costume
style in the photo has not change since the Zen sect introduction; the same
costume can be seen on the streets today.