Chapter 6: Categories and Classification
There are three categories of kesa: dai-e (large robe), chū-e (medium robe), and shō-e (small robe). These terms describe size, but they actually refer to the number of panels a kesa has, regardless of actual dimensions. The “small robe,” or antaravasa, has five panels; the “medium” robe, or uttarasanga, has seven; the “large robe,” or samghati, has from nine to twenty-five. The large robe is further divided into three types: lower, middle, and upper, again based on the number of panels.
Number of jō (panels)
Kesa with Form (usō no kesa)
Number of jō (panels)
Kesa with Form (usō no kesa)
Kesa without form (musō no kesa)
Robes with form are conceptual robes, not kesa one can wear physically. They include robes consisting of 60, 250, and 84,000 panels.
Buddhist teachings are symbolized by the kesa. In other words, the kesa is the manifestation of the formless teaching of the buddhadharma. Formlessness is form, and form contains formlessness; fundamentally, we cannot separate the two. As a physical robe one wears, it is clearly stated in the vinaya that 25 is the maximum number of panels for a kesa. This is a practical matter, because the kesa is a physical object and therefore has practical limits. Let us suppose, then, that there are two kinds of kesa: kesa with form, which we wear on our body, and kesa without form, which we wear in our mind.
It is said in the first chapter of Mahavairocana Sutra that the 60-jō robe is for clearing sixty kinds of human delusions. One theory has it that “60-jō robe” actually means a 15-jō robe, because a 15-jō robe is constructed using 60 subpanel pieces (dankyaku). (1)
The 250-jō robe is a reference to the 250 precepts for vinaya monks; the 84,000-jō robe points to the 84,000 delusions (or dharma gates).
Dankyaku (Number of long and short subpanels)
Robes with form are conceptual robes, not kesa one can wear physically. They include robes consisting of 60, 250, and 84,000 panels.
Buddhist teachings are symbolized by the kesa. In other words, the kesa is the manifestation of the formless teaching of the buddhadharma. Formlessness is form, and form contains formlessness; fundamentally, we cannot separate the two. As a physical robe one wears, it is clearly stated in the vinaya that 25 is the maximum number of panels for a kesa. This is a practical matter, because the kesa is a physical object and therefore has practical limits. Let us suppose, then, that there are two kinds of kesa: kesa with form, which we wear on our body, and kesa without form, which we wear in our mind.
It is said in the first chapter of Mahavairocana Sutra that the 60-jō robe is for clearing sixty kinds of human delusions. One theory has it that “60-jō robe” actually means a 15-jō robe, because a 15-jō robe is constructed using 60 subpanel pieces (dankyaku). (1)
The 250-jō robe is a reference to the 250 precepts for vinaya monks; the 84,000-jō robe points to the 84,000 delusions (or dharma gates).
Dankyaku (Number of long and short subpanels)
*3 long + 1 short can also be used for 9-jō robe, 11-jō robe, and 13-jō robe depending on the quantity of fabric available.
** 4 long + 1 short can also be used for 9 to 19-jō robes depending on the quantity of fabric available.
*** These kesa are conceptual (musō).
Each kesa panel consists of one short subpanel and one or more long subpanels; both long and short are referred to as dankyaku.
For both “three long, one short” dankyaku and “four long, one short” dankyaku, there are two different combinations listed. The first combinations show the standard number of dankyaku, and the second ones are optional, depending on the amount of fabric available.
In any case, there is only one short piece in any combination of dankyaku, and it is always sewn on either the top or bottom of each vertical panel.
Different Types of Kesa
** 4 long + 1 short can also be used for 9 to 19-jō robes depending on the quantity of fabric available.
*** These kesa are conceptual (musō).
Each kesa panel consists of one short subpanel and one or more long subpanels; both long and short are referred to as dankyaku.
For both “three long, one short” dankyaku and “four long, one short” dankyaku, there are two different combinations listed. The first combinations show the standard number of dankyaku, and the second ones are optional, depending on the amount of fabric available.
In any case, there is only one short piece in any combination of dankyaku, and it is always sewn on either the top or bottom of each vertical panel.
Different Types of Kesa
*Funzo-e is a kesa that employs zōkin-zashi, (2) or a running stitch. It is listed as a separate category because of its unique features.
Stitch on Yō (Overwrap)
Stitch on Yō (Overwrap)
For more details, please refer to the diagrams in Chapter 10.
Number of layers
Number of layers
The above principles also apply to the use of funzo fabric for all three robes.
The kesa called funzo-e often has a pattern suggesting the shapes of mountains, clouds, or waves. However, these patterns are never meant to be decorative; rather, they function as one of the fabric layers. In the case of a “large” robe, you need to have more than four layers when using old fabric. However, in China and Japan, where people wear the kesa on top of the koromo and kimono, four layers would add too much weight. Therefore, the fourth layer is substituted with appliquéd patches in the shape of mountains, clouds, or waves placed on top of the third layer. (The first three layers consist of a top, an interfacing, and a lining).
If you use new fabric as one of the three layers of a funzo-e, then the fourth layer is not needed. In that case, nature-shaped patches need not be included.
En (border) and Yō (overwrap)
According to the Old Translation, the width of the en and the width of the yō should be identical. However, the New Translation states that the yō should be wider than the en.
Kakuchō (corner squares)
Kakuchō are positioned differently according to the translation. In the Old, two sides of the kakuchō go on top of the en; in the New, the two sides are sewn under the en.
Old Translation:
New Translation:
In most aspects, kesa in modern times follow the standards laid out in the New Translation. However, modern kesa use both kaiyō and shiyō.
The kesa called funzo-e often has a pattern suggesting the shapes of mountains, clouds, or waves. However, these patterns are never meant to be decorative; rather, they function as one of the fabric layers. In the case of a “large” robe, you need to have more than four layers when using old fabric. However, in China and Japan, where people wear the kesa on top of the koromo and kimono, four layers would add too much weight. Therefore, the fourth layer is substituted with appliquéd patches in the shape of mountains, clouds, or waves placed on top of the third layer. (The first three layers consist of a top, an interfacing, and a lining).
If you use new fabric as one of the three layers of a funzo-e, then the fourth layer is not needed. In that case, nature-shaped patches need not be included.
En (border) and Yō (overwrap)
According to the Old Translation, the width of the en and the width of the yō should be identical. However, the New Translation states that the yō should be wider than the en.
Kakuchō (corner squares)
Kakuchō are positioned differently according to the translation. In the Old, two sides of the kakuchō go on top of the en; in the New, the two sides are sewn under the en.
Old Translation:
- Kaiyō (open-yō)
- Kakucho (corner squares) go under en
- En width is equal to yō width
- No silk fabric
New Translation:
- Shiyō (stitched-yō)
- Kakucho (corner squares) go on top of en
- En width is narrower than yō width
- Silk fabric is permitted
In most aspects, kesa in modern times follow the standards laid out in the New Translation. However, modern kesa use both kaiyō and shiyō.
(1) The word dankyaku (壇隔) can be used for either vertical or horizontal length. In this example, a 15-jō kesa would have 4 dankyaku for each vertical panel, equalling 60 subpanels in total.
(2) A traditional Japanese hand stitch or running stitch that is used to fortify the used cloth (when more than 2 layers are sewn together) for cleaning.
(3) “Old” refers to the time before the great translator Xuanzang (602–664), and four vinaya texts; Dharmagputaka Vinaya, Sabbatthavada Vinaya, Mahasanghika Vinaya, and Manisasaka Vinaya are called the “old translations.”
(4) The terms shiyō and kaiyō did not exist until the “new translations”; open-yō or kaiyō was the only method in the “old translation” Vinaya texts. When Xuanzang studied at Nalanda Monastery/University, the shiyō or stitched-yō method for kesa was already common. So the word kaiyō originated out of necessity, to make a distinction from the word shiyō, which appeared in the “new translations.”
(2) A traditional Japanese hand stitch or running stitch that is used to fortify the used cloth (when more than 2 layers are sewn together) for cleaning.
(3) “Old” refers to the time before the great translator Xuanzang (602–664), and four vinaya texts; Dharmagputaka Vinaya, Sabbatthavada Vinaya, Mahasanghika Vinaya, and Manisasaka Vinaya are called the “old translations.”
(4) The terms shiyō and kaiyō did not exist until the “new translations”; open-yō or kaiyō was the only method in the “old translation” Vinaya texts. When Xuanzang studied at Nalanda Monastery/University, the shiyō or stitched-yō method for kesa was already common. So the word kaiyō originated out of necessity, to make a distinction from the word shiyō, which appeared in the “new translations.”