Chapter 13: Additional topics
Zagu
Zagu, written using the ideograms for “sit” and “implement,” is the Chinese rendering of the Sanskrit nishidanna, but zagu doesn’t do the original word justice, so it is also referred to as zuiza-e (the garment that goes with sitting), zagagu (the implement for sitting and sleeping), and so on.
In the Dharmagputaka Vinaya, it is written, “Hereafter to avoid harm to a monk’s body, clothing, or bedding, it is acceptable to make a nishidanna.” So its original purpose was to protect the body, clothing, and bedding. In other words, it is not just for sitting or doing prostrations—it also serves as a sheet for sleeping (for more, see also Chapter 11).
However, as the zagu moved from its original climate, topography, and customs into China, it was unavoidable that its usage would change.
In order to fulfill its function of protecting body, clothing, and bedding, the zagu must be on one’s person at all times. In Japan, where we kneel on tatami or on zabuton, the zagu has lost that original function; today, its use is largely ceremonial, as a bowing mat.
Materials
Cloth for a zagu is the same as cloth for a kesa. However, according to the commentary on the Sarvastivadin Vinaya, the zagu should be strong and durable.
Color
As with the kesa, the color must be a broken color. Tenjō must be applied as well.
Size
There are various issues and conflicting opinions regarding the proper size of the zagu. The zagu we use today is relatively small, but in order for it to be used as a sheet, it would have to be considerably larger. In the Dharmaguptaka Vinaya, we find the precept of not making the zagu too big:
If a monk makes a zagu, make sure it’s precisely the right size. Measurements should be based on two takushu [distance from the thumb to the middle finger] of the Buddha, or one and a half; if needed, the size can be increased by one half measurement. If it’s too big, it will be cumbersome.
If we measure the Buddha’s chū at twice that of an ordinary person, then according to the Dharmaguptaka Vinaya, the basic measurement of a zagu should be four chū long by three takushu wide. A larger zagu’s dimensions would increase by one half takushu horizontally and vertically; that, however, is the largest allowable size. In my case, one takushu is twenty centimeters, so if I apply this standard, my zagu measures eighty centimeters long by sixty centimeters wide (2.1 by 1.6 shaku).
According to the Dharmaguptaka Vinaya and Mahasanghika Vinaya, as well as the Venerable Kaalodayin, who was especially large, increasing the dimensions by one half takushu is acceptable. The commentary on the Sarvastivadin Vinaya, in contrast, states that monks at the time of the Buddha didn’t sleep lying down, so a small zagu is sufficient. Later, with Ananda, because monks came to sleep on their sides, it was permitted to expand the zagu on one side by one takushu; according to that school of thought, it’s acceptable to adjust the size, but only vertically.
So we can enlarge the zagu for two reasons: body size, and how the zagu will be used. However, looking at how we live today, there is almost no case in which we would use a zagu for any purpose other than prostrations and sitting, so there’s little need to make it bigger.
Just as in the “Commentary on the Portrayals of Monks’ Six Possessions 1,” in which it is pointed out that the vinaya says, “You should surely apply a border to a kesa,” we should also attach a border to the zagu.
That said, there is no rule to be found in the vinaya regarding the proper width of the zagu border. In fact, only three rules are known: (1) attach a border appropriate to the overall dimensions; (2) keep the border measurements within the overall dimensions; and (3) if using larger-than-average dimensions, use a border appropriate to the new measurements. In any case, the precise measurements referred to are not available.
Layers of Cloth
If cloth is new, use just two layers; if the cloth is used, use four. A single-layer zagu is not permitted.
Chōko (center cloth)
In the Dharmaguptaka Vinaya, we find the precept of using used cloth for chōko: “If a monk makes a new zagu, he must use a chōko (center cloth) one takushu in length, in order to break the color of the new fabric.” The ko in chōko means “used” or “secondhand”; a zagu must, then, have a piece of old cloth sewn to the center, and the color must be broken. The proper procedure is to take a piece of cloth in good condition from an old zagu and reuse it in the new one.
As for the shape of the chōko, the Mahasanghika Vinaya dictates, “Make it a square or a perfect circle”; no other shape is permitted.
At the corners of the zagu, just as with the kesa, the width of the kakuchō should match the width of the border.
Koromo (jikitotsu)
When we speak of “transmitting robes and bowls” or the “three robes,” “robe” refers to the kesa. However, the same character also refers to the koromo, the robe that monks wear underneath the kesa.
These days, the koromo is considered one part of a monk’s uniform, an article of the dharma, and so is treated with importance. But what is it?
As Sawaki-roshi described, “These days, underneath everything else, we wear western underwear; over that, we wear a Japanese juban 2, and over that a Japanese kimono; and over that, a robe from China. On top of it all, we wear a garment from India.” This has come to be the uniform of a Zen monk today.
The layer from China is the koromo. Whatever monks wore in India at the time of the Buddha, it changed as Buddhism entered China and Japan, resulting in the shape we see now.
In India, the basic attire of a monk was established as the three robes of a monk or the five robes of a nun.
The three robes, as we know, are the antarvasa, uttarasangha, and samghati. The five robes, according to the Dharmagputaka Vinaya, include the three robes but include two more: the sōgishi and fukenne. These are the robes of nuns.
However, among the various vinaya, only the Dharmaguptaka Vinaya treats the sōgishi and fukenne as two distinct robes; other vinaya treat them as a single robe. So in the Mahasanghika Vinaya, the sōgishi is described as an undergarment to cover a nun’s breasts, alternately referred to as a fukenne or funyu-e. However, in the Mahisasaka Vinaya, the sōgishi is a garment that covers a monk’s chest.
In Hōbuku Kakusho, we find this description: “The sōgishi is permitted for monks and nuns, but the fukennne is allowed for nuns only. Of all the monks, Ananda alone is allowed the fukenne.” In any case, it is clear that the robe in question, which goes over the right shoulder, is an undergarment intended to cover the breasts, chest, armpit, and so on.
In Nankai Kikiden, we find a description of how to put on the sōgishi: “Open it as you would a five-panel robe, placing it partially on the shoulder.” “Placing it on the shoulder” likely refers to the left shoulder, but if we guess from the size of the fukenne (described in Sarvastivada Vinaya as four chū by two-and-a-half chū), we can imagine it was worn from the back and across both shoulders. In this case, if we think of these as two distinct robes, we are left to wonder if each is worn over a different shoulder, or if both are worn over the same shoulder, or if both are worn over both shoulders—the vinaya doesn’t make it clear.
The basic appearance of a monk is defined by the three robes, but over time, as with nuns, monks took on additional garments to cover the torso. There was also an undergarment for the lower body. It was referred to as the nehanzō or naionzō, but it’s more commonly known as the kun, kunsu, waist-robe, or inner robe. Put simply, a rectangular cloth is wrapped around the waist and fastened with a belt. This was permissible for both monks and nuns, but some vinaya further allow nuns to wear yet another layer on top of the kun, called the kesoraka or kusoraka, also known as the zenne.
The above is a rough outline of the inner garments worn in addition to the three robes in India; when Buddhism came to China, however, things changed.
The sōgishi, fukenne, kun, zenne and so on, were not necessarily practical or easy to get around in, but when Buddhism first entered China, it probably arrived along with the dress customs that had developed in India; that is to say, monks in China probably also wore the three robes with the shoulder exposed. It is said, however, that Later Wei-era court ladies disapproved of that appearance and offered the monks something called a henzan, which covered the shoulders. The henzan at that time had the purpose of covering the right shoulder; it seems likely, in fact, that it covered only the right shoulder. In that sense, it was a corollary to the sōgishi or fukenne in India.
The henzan ordinarily worn today, which covers both shoulders, seems to have originated with the vinaya teacher Nanzan Dōsen.
According to the Chokushu Shingi 3, however, Chinese monks of ancient times kept the Indian custom of the sōgishi; that sōgishi would have covered from the left shoulder to the right armpit, so it would have covered the body in the same way as the three robes. One possibility is that the henzan that covered the right shoulder was sewn together with the sōgishi, which covered the left, and this combined garment, which now covered both shoulders, also came to be called a henzan, which served as an undergarment for the whole upper body. Another plausible explanation is that the sōgishi and the fukenne were sewn together, resulting in the henzan of today. In either case, the henzan’s origins are revealed by its design, which is clearly divided down the middle into right and left.
It seems the kun was also altered somewhat to make it easier to wear. To wear all the pieces meant putting on the kun first, then the henzan, and on top of that the kesa. The long sleeves we see today came later, likely added by ladies of the imperial court.
It is clear from the Hōkyōki 4 that both Nyojō Zenji and Dogen Zenji wore the kun and henzan. Even so, because there were those who might wear the henzan but overlook the kun, or wear the kun but neglect the henzan, it came to be that henzan and kun were sewn together. The result is what we today call the koromo, or jikitotsu. Some monks were already wearing jikitotsu even at the time of Nyojō Zenji.
In this way, undergarments developed in India and were altered upon entering China, becoming the modern koromo—a truly impractical garment.
The kesa’s guidelines for color and materials also apply to the koromo.
Zagu, written using the ideograms for “sit” and “implement,” is the Chinese rendering of the Sanskrit nishidanna, but zagu doesn’t do the original word justice, so it is also referred to as zuiza-e (the garment that goes with sitting), zagagu (the implement for sitting and sleeping), and so on.
In the Dharmagputaka Vinaya, it is written, “Hereafter to avoid harm to a monk’s body, clothing, or bedding, it is acceptable to make a nishidanna.” So its original purpose was to protect the body, clothing, and bedding. In other words, it is not just for sitting or doing prostrations—it also serves as a sheet for sleeping (for more, see also Chapter 11).
However, as the zagu moved from its original climate, topography, and customs into China, it was unavoidable that its usage would change.
In order to fulfill its function of protecting body, clothing, and bedding, the zagu must be on one’s person at all times. In Japan, where we kneel on tatami or on zabuton, the zagu has lost that original function; today, its use is largely ceremonial, as a bowing mat.
Materials
Cloth for a zagu is the same as cloth for a kesa. However, according to the commentary on the Sarvastivadin Vinaya, the zagu should be strong and durable.
Color
As with the kesa, the color must be a broken color. Tenjō must be applied as well.
Size
There are various issues and conflicting opinions regarding the proper size of the zagu. The zagu we use today is relatively small, but in order for it to be used as a sheet, it would have to be considerably larger. In the Dharmaguptaka Vinaya, we find the precept of not making the zagu too big:
If a monk makes a zagu, make sure it’s precisely the right size. Measurements should be based on two takushu [distance from the thumb to the middle finger] of the Buddha, or one and a half; if needed, the size can be increased by one half measurement. If it’s too big, it will be cumbersome.
If we measure the Buddha’s chū at twice that of an ordinary person, then according to the Dharmaguptaka Vinaya, the basic measurement of a zagu should be four chū long by three takushu wide. A larger zagu’s dimensions would increase by one half takushu horizontally and vertically; that, however, is the largest allowable size. In my case, one takushu is twenty centimeters, so if I apply this standard, my zagu measures eighty centimeters long by sixty centimeters wide (2.1 by 1.6 shaku).
According to the Dharmaguptaka Vinaya and Mahasanghika Vinaya, as well as the Venerable Kaalodayin, who was especially large, increasing the dimensions by one half takushu is acceptable. The commentary on the Sarvastivadin Vinaya, in contrast, states that monks at the time of the Buddha didn’t sleep lying down, so a small zagu is sufficient. Later, with Ananda, because monks came to sleep on their sides, it was permitted to expand the zagu on one side by one takushu; according to that school of thought, it’s acceptable to adjust the size, but only vertically.
So we can enlarge the zagu for two reasons: body size, and how the zagu will be used. However, looking at how we live today, there is almost no case in which we would use a zagu for any purpose other than prostrations and sitting, so there’s little need to make it bigger.
Just as in the “Commentary on the Portrayals of Monks’ Six Possessions 1,” in which it is pointed out that the vinaya says, “You should surely apply a border to a kesa,” we should also attach a border to the zagu.
That said, there is no rule to be found in the vinaya regarding the proper width of the zagu border. In fact, only three rules are known: (1) attach a border appropriate to the overall dimensions; (2) keep the border measurements within the overall dimensions; and (3) if using larger-than-average dimensions, use a border appropriate to the new measurements. In any case, the precise measurements referred to are not available.
Layers of Cloth
If cloth is new, use just two layers; if the cloth is used, use four. A single-layer zagu is not permitted.
Chōko (center cloth)
In the Dharmaguptaka Vinaya, we find the precept of using used cloth for chōko: “If a monk makes a new zagu, he must use a chōko (center cloth) one takushu in length, in order to break the color of the new fabric.” The ko in chōko means “used” or “secondhand”; a zagu must, then, have a piece of old cloth sewn to the center, and the color must be broken. The proper procedure is to take a piece of cloth in good condition from an old zagu and reuse it in the new one.
As for the shape of the chōko, the Mahasanghika Vinaya dictates, “Make it a square or a perfect circle”; no other shape is permitted.
At the corners of the zagu, just as with the kesa, the width of the kakuchō should match the width of the border.
Koromo (jikitotsu)
When we speak of “transmitting robes and bowls” or the “three robes,” “robe” refers to the kesa. However, the same character also refers to the koromo, the robe that monks wear underneath the kesa.
These days, the koromo is considered one part of a monk’s uniform, an article of the dharma, and so is treated with importance. But what is it?
As Sawaki-roshi described, “These days, underneath everything else, we wear western underwear; over that, we wear a Japanese juban 2, and over that a Japanese kimono; and over that, a robe from China. On top of it all, we wear a garment from India.” This has come to be the uniform of a Zen monk today.
The layer from China is the koromo. Whatever monks wore in India at the time of the Buddha, it changed as Buddhism entered China and Japan, resulting in the shape we see now.
In India, the basic attire of a monk was established as the three robes of a monk or the five robes of a nun.
The three robes, as we know, are the antarvasa, uttarasangha, and samghati. The five robes, according to the Dharmagputaka Vinaya, include the three robes but include two more: the sōgishi and fukenne. These are the robes of nuns.
However, among the various vinaya, only the Dharmaguptaka Vinaya treats the sōgishi and fukenne as two distinct robes; other vinaya treat them as a single robe. So in the Mahasanghika Vinaya, the sōgishi is described as an undergarment to cover a nun’s breasts, alternately referred to as a fukenne or funyu-e. However, in the Mahisasaka Vinaya, the sōgishi is a garment that covers a monk’s chest.
In Hōbuku Kakusho, we find this description: “The sōgishi is permitted for monks and nuns, but the fukennne is allowed for nuns only. Of all the monks, Ananda alone is allowed the fukenne.” In any case, it is clear that the robe in question, which goes over the right shoulder, is an undergarment intended to cover the breasts, chest, armpit, and so on.
In Nankai Kikiden, we find a description of how to put on the sōgishi: “Open it as you would a five-panel robe, placing it partially on the shoulder.” “Placing it on the shoulder” likely refers to the left shoulder, but if we guess from the size of the fukenne (described in Sarvastivada Vinaya as four chū by two-and-a-half chū), we can imagine it was worn from the back and across both shoulders. In this case, if we think of these as two distinct robes, we are left to wonder if each is worn over a different shoulder, or if both are worn over the same shoulder, or if both are worn over both shoulders—the vinaya doesn’t make it clear.
The basic appearance of a monk is defined by the three robes, but over time, as with nuns, monks took on additional garments to cover the torso. There was also an undergarment for the lower body. It was referred to as the nehanzō or naionzō, but it’s more commonly known as the kun, kunsu, waist-robe, or inner robe. Put simply, a rectangular cloth is wrapped around the waist and fastened with a belt. This was permissible for both monks and nuns, but some vinaya further allow nuns to wear yet another layer on top of the kun, called the kesoraka or kusoraka, also known as the zenne.
The above is a rough outline of the inner garments worn in addition to the three robes in India; when Buddhism came to China, however, things changed.
The sōgishi, fukenne, kun, zenne and so on, were not necessarily practical or easy to get around in, but when Buddhism first entered China, it probably arrived along with the dress customs that had developed in India; that is to say, monks in China probably also wore the three robes with the shoulder exposed. It is said, however, that Later Wei-era court ladies disapproved of that appearance and offered the monks something called a henzan, which covered the shoulders. The henzan at that time had the purpose of covering the right shoulder; it seems likely, in fact, that it covered only the right shoulder. In that sense, it was a corollary to the sōgishi or fukenne in India.
The henzan ordinarily worn today, which covers both shoulders, seems to have originated with the vinaya teacher Nanzan Dōsen.
According to the Chokushu Shingi 3, however, Chinese monks of ancient times kept the Indian custom of the sōgishi; that sōgishi would have covered from the left shoulder to the right armpit, so it would have covered the body in the same way as the three robes. One possibility is that the henzan that covered the right shoulder was sewn together with the sōgishi, which covered the left, and this combined garment, which now covered both shoulders, also came to be called a henzan, which served as an undergarment for the whole upper body. Another plausible explanation is that the sōgishi and the fukenne were sewn together, resulting in the henzan of today. In either case, the henzan’s origins are revealed by its design, which is clearly divided down the middle into right and left.
It seems the kun was also altered somewhat to make it easier to wear. To wear all the pieces meant putting on the kun first, then the henzan, and on top of that the kesa. The long sleeves we see today came later, likely added by ladies of the imperial court.
It is clear from the Hōkyōki 4 that both Nyojō Zenji and Dogen Zenji wore the kun and henzan. Even so, because there were those who might wear the henzan but overlook the kun, or wear the kun but neglect the henzan, it came to be that henzan and kun were sewn together. The result is what we today call the koromo, or jikitotsu. Some monks were already wearing jikitotsu even at the time of Nyojō Zenji.
In this way, undergarments developed in India and were altered upon entering China, becoming the modern koromo—a truly impractical garment.
The kesa’s guidelines for color and materials also apply to the koromo.
1 六物図依釈 Author; Eshuku (慧淑 1669–1720) Published in 1698 in Japan. The original text (Portrayals of Monk’s Six Possessions 仏比丘六物図）was written by Ganjo（元照1048–1116）in 1080 in China.
2 A shirt-length garment the style of a kimono, worn as an undergarment beneath a kimono.
3 Chokushu hyakujo shingi sakei (Commentary on the Imperial Edition of Baizhang’s Rules of Purity), by Mujaku Dochu (1653–1744)
4 Dogen's personal journal of his time as a young monk when he studied in China under Nyojō Zenji.
2 A shirt-length garment the style of a kimono, worn as an undergarment beneath a kimono.
3 Chokushu hyakujo shingi sakei (Commentary on the Imperial Edition of Baizhang’s Rules of Purity), by Mujaku Dochu (1653–1744)
4 Dogen's personal journal of his time as a young monk when he studied in China under Nyojō Zenji.
