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Page 23 ROBES AND REQUISITES: Part 1 compiled by Gelong Lodro Zangpo Introduction In 1987 the Venerable Thrangu Rimpoche had asked me to visit the Venerable Khenpo Karthar Rinpoche in order to learn how to sew the chos-gos snam-sbyar. While showing me how to make the snam-sbyar he used as reference the text “Tshul-khrims rgyal-mtshan” by Karme Khenpo Rinchen Tharje who was a student of Jamgon Kongtrul Lodro Thaye. This text explains the 13 robes and the requisites of monks and nuns. In 1988 the Venerable Thrangu Rinpoche gave some teachings at Gampo Abbey to the monastic sangha on how to wear the robes. At that time he thought that it would be beneficial if there would be a little publication on the robes, mainly focusing on what they are, how to make them and how to wear them, and he asked me to work on that. As I didn’t have much knowledge of the subject I felt hesitant and quite inadequate for such a task but then I decided to go ahead and to try my best as it was the Venerable Thrangu Rinpoche’s wish. In 1989 I had the chance to receive further teachings on the subject from the Venerable Tenga Rinpoche. This gave me the chance to clarify many of the questions which had accumulated during that time so that afterwards, for the first time, I had the feeling that I could start to put it down on paper. To do this, I tried to read as much as possible, as time allowed, on the subject in the different traditions. The paper which follows is mainly based on the teachings I have received from the Rinpoches mentioned above but also makes use of the following source materials: 1) The Book of the Discipline (Vinaya-Pitaka) Vol. I, II and III: Suttavibhanga; translated by I. B. Homer. (Pali Text Society, London.) 2) The Book of the Discipline (Vinaya-Pitaka) Vol IV: Mahavagga; translated by I. B. Homer. (Pali Text Society, London.) 3) The Entrance to the Vinaya. Vinayamukha. Vol I, II and III by Vajirananavaro- rasa. Can be ordered from Vihara Book Service, 5017 16th Street, N.W., Washing- ton, D.C. 20011. 4) The Merit of a *K as ay a (Robe), by Zen Master Dogen, in : Zen Master Dogen. An Introduction with Selected Writings, by Yuho Yokoi. (Weatherhill, New York, Tokyo.) 5) Buddhist Monastic Discipline: The Sanskrit Pratimoksha Sutras of the Ma- hasamghikas and Mulasarvastivadins, by Charles S. Prebish. (Pennsylvania State University Press.)

Transcript of Gelong Lodro Zangpo - Robes and Requisites.pdf

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ROBES AND REQUISITES: Part 1 compiled by Gelong Lodro Zangpo

Introduction

In 1987 the Venerable Thrangu Rimpoche had asked me to visit the Venerable Khenpo Karthar Rinpoche in order to learn how to sew the chos-gos snam-sbyar. While showing me how to make the snam-sbyar he used as reference the text “Tshul-khrims rgyal-mtshan” by Karme Khenpo Rinchen Tharje who was a student of Jamgon Kongtrul Lodro Thaye. This text explains the 13 robes and the requisites o f monks and nuns. In 1988 the Venerable Thrangu Rinpoche gave some teachings at Gampo Abbey to the monastic sangha on how to wear the robes. At that time he thought that it would be beneficial if there would be a little publication on the robes, mainly focusing on what they are, how to make them and how to wear them, and he asked me to work on that. As I didn’t have much knowledge of the subject I felt hesitant and quite inadequate for such a task but then I decided to go ahead and to try my best as it was the Venerable Thrangu Rinpoche’s wish. In 1989 I had the chance to receive further teachings on the subject from the Venerable Tenga Rinpoche. This gave me the chance to clarify many of the questions which had accumulated during that time so that afterwards, for the first time, I had the feeling that I could start to put it down on paper. To do this, I tried to read as much as possible, as time allowed, on the subject in the different traditions. The paper which follows is mainly based on the teachings I have received from the Rinpoches mentioned above but also makes use of the following source materials:

1) The Book of the Discipline (Vinaya-Pitaka) Vol. I, II and III: Suttavibhanga; translated by I. B. Homer. (Pali Text Society, London.)2) The Book of the Discipline (Vinaya-Pitaka) Vol IV: Mahavagga; translated byI. B. Homer. (Pali Text Society, London.)3) The Entrance to the Vinaya. Vinayamukha. Vol I, II and III by Vajirananavaro- rasa. Can be ordered from Vihara Book Service, 5017 16th Street, N.W., Washing­ton, D.C. 20011.4) The Merit of a *K as ay a (Robe), by Zen Master Dogen, i n : Zen Master Dogen. An Introduction with Selected Writings, by Yuho Yokoi. (Weatherhill, New York, Tokyo.)5) Buddhist Monastic Discipline: The Sanskrit Pratimoksha Sutras of the Ma- hasamghikas and Mulasarvastivadins, by Charles S. Prebish. (Pennsylvania State University Press.)

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6) Distant Mountains: The Influence of Funzo-e on the Tradition of Buddhist Clerical Robes in Japan, by Marie Lyman. (In: Journal of the Textile Museum, Volume 23,1984)7) Principles of Tibetan Art, by Gega Lama. ( Karma Sonam Gyamtso Ling, Antwerp.)8) Mudra: A Study of Symbolic Gestures in Japanese BuddhistSculpture, by E. Dale Saunders. (New York: Bollingen Foundation, 1960)9) First Glimpses o f Monastic Life, by Geshe Rabten, in GesheRabten: The Life and Teaching of Geshe Rabten.10) Vinaya Questions, by Dr. Chatsumam Kabilsingh, in NIBWA No. 22.11) Tshul-khrims rgyal-mtshan, by Karme Khenpo Rinchen Tharje.12) Shes-bya kun-khyab, by Jamgon Kongtrul Lodro Thaye.

If you read through these materials, you find small inconsistencies here and there, most of which are not contradictions but are expressions o f the development of the Vinaya. For example, as everybody knows, when the Buddha became enlightened, he did not have all the monastic rules neatly arranged in a drawer ready to be picked out. Rather, they were a development which continued throughout his life and they were adapted to the development o f the Sangha, of society and its culture, and to the different times. After the Buddha’s death, the teachings expanded to other countries so that the Sangha had to adapt to new situations. By maintaining completely the essence of the Buddha’s teachings and the outer form as far as possible, it was possible for Buddhism to stay dynamic and at the same time conservative which is the best mixture to guarantee genuine continuity.

I would also like to mention that we in the W est sometimes resist being presented with too many lists. But we have to consider that those lists were just the tip of the iceberg of a very lively historical development within the Sangha and also, although many of the lists are quite straightforward, they become fully meaningful only if one gets to know the actual situations in which this particularruleorlistcam e about. With the help of lists it was possible to memorize and maintain them and so to guarantee and preserve purely the continuity o f the richness o f the Buddha’s instructions with all their facets. Although 2500years have gone by since Shakyamuni Buddha passed into parinirvana, due to the efforts of the monastic Sangha to preserve the Buddha’s instructions, the monastic robes still completely and purely possess the ten excellent merits of which the Buddha spoke to the Bhikshu Jnanaprabha:

“The robes have the following merits:1. It covers our body, prevents us from being ashamed, gives rise to feelings of repentance, and causes us to do good.2. It protects us from cold and heat, mosquitoes, dangerous animals, and poisonous

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insects so that we may undergo training in tranquillity.3. It gives us the appearance of monks, the sight of which delights others and detaches them from their delusive minds.4. It is the precious sign of human and celestial beings. Through respectfully venerating it, we can be reborn as King Brahma.5. It eliminates the crimes of all beings and gives them unlimited happiness, for, when wearing it, we awaken to the realization that it is a precious sign (of the Way).6. Itkeeps us from the five desires and avarice as a result of our dyeing it a dull colour when we make it.7. It changes all delusions into eternal happiness because it is the pure robe of the Buddha.8. It extinguishes all our crimes and causes us to perform the ten good deeds every moment we wear i t9. It advances the way of Bodhisattvas because it is like a fertile field.10. It protects us from being injured by the poisonous arrow of delusion because it is like armour.Jnanaprabha! You should realize, therefore, that when the Buddhas, Pratyekabud- dhas, Shravakas, and pure monks in the three stages of time wear the robes, they all sit on the same deliverance seat, grasp the same Wisdom sword, and, defeating various devils, enter the same world of Nirvana.”

Although I tried my best to ‘clean’ the material, you may still find faults and inadequate presentation in the presented material. If so, they are duly mine, bacause each time I presented an inconsistency to the Rinpoches mentioned above, they were able to solve i t The material is presented here with the knowledge that it is a ‘first step’ with the hope that many more will come. If you would like to be helpful with further suggestions or additional information on the subject, please contact me at Gampo Abbey.

The material is divided into the following subjects:1.1: Robes

l.a) Measurements l.b) 13 robes l.c) Additional robes l.d) Requisites l.e) Materials l.f) Dyes and colours l.g) Ordination

1.2: How to wear the robes1.3: How to sew the robes11. Blessing of the robesIII: General symbolism and philosophy of the robes

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1.1: Robesl.a ) M easurem ents:

Originally the measurements of fingerbreadth (T: sor; P: angula), handspan (T: mtho), and body-cubit (T: khru) were the size of the Buddha’s fingerbreadth, handspan and body-cubit. But one day the Buddha saw a small monk wearing a chos-gos which was half dragging on the floor and who was walking in that way, so the Buddha decided that the robes should be made according to the personal measurements of each monk and nun. The method for measuring the sizes of the robes is traditionally given as follows: ‘from the crown of the head to the soles of the feet gives the total measure of the body length; when this length is divided into seven equal parts, two of these parts make one cubit (T: khru), a cubit according to one’s body size’. 24 sor make up 1 khru. A mtho (T), a handspan, is the distance from the tip of the thumb to the tip of the middle finger when extended, and is used for measuring the width of the borders for all the robes except the gding-ba. A bya-rog mtho (T) is the distance from the tip of the thumb to the tip of the index finger when crossed, and is used for measuring the width of the strips (kusi and athakusi) on the robes.

1 bya-rog mtho

In the Vinaya traditional terms are given for identifying certain parts of the robes. The following diagram of the bla-gos hopefully will clarify the information given in the section on the 13 robes.

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Legend:

(1) mandala: large panel(2) atthamandala: small panel = 0.5 mandala(3) atthakusi: dividing strips(4) khanda section: includes mandala(s), atthamandala and atthakusi(5) vivatta: central khanda(6) kusi: strip which divides the khandas(7) anuvata: border

(a),(b),(c) are variables which are dependent on the personal measurements (d), (e), (f). The proportion o f ( a ) : (b) is 2 :1 .

(d) = 1 bya-rog mtho(e) = 1 mtho(f) = 5 khru or same size as snam-sbyar(g) = 3 khru or same size as snam-sbyar

The three robes can be constructed in two styles. One way is to form the divisions of the garment by overlapping seams, the other way is to form the divisions by sewing the kusi and atthakusi on a big piece of cloth. The layout of both styles is identical in the arrangement of patches.

l.b ) 13 robesIt is explained in the Sutras why the Dharma robes are considered to be

special, why they are different in colour from the clothing of ordinary people, and why they are made in a distinctive way. In one of the Sutras, there was aking known as rGyual-po gzugs-chan snying-po who vowed never to bow down or prostrate to anyone except Buddhist monks. At that time the yellow colour was common in many different religious traditions in India. So one day the king prostrated to an individual who was wearing a yellow cotton robe and the Buddha said: “Are you breaking your commitment not to bow down to non-Buddhists?” As atthattim ethe construction o f the chos-gos with all its colour, layers and patches was not yet developed, the king requested that the Buddhist robe should be made distinctive.

The Mahavagga records the inspiration for the way in which the assorted cloth fragments of the patched robe are joined together. The Buddha, while travelling from Rajagaha to Dakkinagiri, noted the well-tended rice fields of Magadha. These consisted of the paddies themselves, with the verdant growth of new rice plants, as well as the levees that ran between the rice fields, enclosing and supporting each individual paddy. The Buddha, as he gazed at the rice fields

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stretching across the landscape, was struck by the distinctness of each part as well as the integrity of the whole. He told his disciple Ananda to construct a rectangular- shaped cloak with an arrangement of parts like the paddies and levees o f the rice fields. This distinctive cloak of patches was to be an outward sign of the religious community’s vows of poverty and humility, as well as a style of dress that would distinguish the followers o f the Buddha from other ascetic practitioners o f ancient India. When Ananda showed the robe he had constructed to the Buddha, he said the following:

“Monks, clever is Ananda, monks, o f great intelligence is Ananda, inasmuch as he can understand in detail the meaning of that which was spoken by me in brief, and can make a kusi-hem and can make an atthakusi-hem and can make a mandala- seam and can make an atthamandala-seam and can make a central piece (vivatta),and can make side pieces (anuvivatta), and what is cut up must be roughly darnedtogether, suitable for recluses and coveted by opponents. I allow you, monks, an outer cloak that is cut up, an upper robe that is cut up, an inner robe that is cut up.”

Tenga Rinpoche said that in addition to comparing the patched robe to the prosperous rice fields of a patron, there exists also the tradition of comparing it to the beams and pillars of a monastery.

1) chos-gos snam -sbyar (T), sanghati (P): outer robe. It is one o f the three tradi tional robes and yellow in colour in the Tibetan tradition. As to the proportions of the snam-sbyar, there are nine divisions: three small, three intermediate and three large. The three large versions are 3 khru wide and 5 long; the three intermediate sizes are slightly more than 2.5 khru wide and slightly more than 4.5 long; and the three small sizes are 2.5 khru wide and 4.5 long, but if necessary, length and width can be adjusted according to the size of the person. Also, although it is said that the snam-sbyar and the chos-gos bla-gos should be of equal size, it is nicer if the snam- sbyar is a little larger so that it completely covers the chos-gos bla-gos. The terms large, intermediate and small refer also to the different numbers o f khandas with which one constructs the snam-sbyar.

- The three large versions employ 21,23, or 25 khandas, each having four mandalas and one atthamandala.- The three intermediate versions employ 15,17 or 19 khandas, each having three mandalas and one atthamandala.- The three small versions employ 9,11, or 13 khandas, each having two mandalas and one atthamandala.

For calculating the variables (a), (b) and (c) in the snam-sbyar which are dependent on the personal measurements (d), (e), (f) and (g), refer to the diagram of the chos-gos bla-gos on page 26.

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chos-gos snam-sbyar with 9 khandas

chos-gos bla-gos

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As a sign of recognition, a symbol can be put on the top of the vivatta. The Mulasarvastivadin school is one of the eighteen sravaka schools and the only school which was transmitted to Tibet. Within this school the symbol lotus, utpala, jewel and Dharma wheel can be used. But the symbol is not needed. Its main purpose is to find the top of the robe quickly.

At the comers of the snam-sbyar as well as the chos-gos bla-gos are the lion’s ears: seng-ge ma-ba (T). They should be made of double cloth with the ears opening outwards. As all animals are afraid of the lion who is the king of the animals and who does not fear other animals, the lion’s ears (see : How to sew the robes) are put on the chos-gos as a sign that if one wears the chos-gos, one is a superior sentient being.

In order to prevent the strips from flapping too much, one fastens them with a bird’s foot-print, termed shabs-rjes (T) (see : How to sew the robes).

In the Vinaya, it is mentioned that the Buddha didn’t want his monks and nuns to wear four robes, but he allowed the snam-sbyar to be a double outer cloak. It is not clear whether it was actually made of 2 layers of material or whether the many strips (especially if it is made with 25 khandas) were considered to be the second layer.

2) chos-gos bla-gos (T: bla = upper; T: gos = garment, d re ss): uttarasangha (P): upper robe. It is one of the three traditional robes and yellow in colour in the Tibetan tradition. The bla-gos is made of seven khandas each consisting of two mandalas and one atthamandala. In regard to the number of khandas there is just one standard division, with no alternatives of more or less. The measurements should be the same as those of the snam-sbyar, in other words, if you have a large snam-sbyar you should have a large bla-gos, if you have an intermediate snam-sbyar you should have an intermediate bla-gos, etc. But again it looks nicer if the bla-gos is a little smaller than the snam-sbyar as one always has to wear the blas-gos if one wears the snam-sbyar.

3) mthang-sham or mthang-gos (T: mthang = lower; T: sham = lower, under): antaravasaka (P): lower robe. It is maroon in colour. In the Tibetan tradition it is skirt-like as it is held together by the brgya-sgrub (T) (100 x sewing) which can be blue, yellow or red. It is made of five khandas each consisting of one mandala and one atthamandala. The measurements are traditionally given as 5 khru in length (0 and 2 khru in width (g), which makes it turn out a little short. Tenga Rinpoche gave as measurement for the width 2/3 of a fathom (T: ‘dom): the distance between the fingertips when both arms are stretched out. It is taught that one can add a piece of cloth (h) if desired or needed (see drawing). These adjustments in size are probably due to the severe climate in Tibet. The mthang-gos as well as the sham-thabs can be worn upside down.

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A

a>

gding-ba ? g

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4) gding-ba (T): nisidana (P): sitting cloth. It is maroon in colour in the Tibetan tradition. It is made of one khanda consisting of one mandala and one atthamandala. The measurements are 3 khru in length (g) and 2 khru in width (f). The border is 6 sor in width (e) and the two hems of the outside edge are not sewn together, (a), (b), (c) are variables which are dependent on the personal measurements (d), (e), (f), (g). In the Vinaya, the gding-ba was introduced for protecting the body, for protecting the robes and for protecting the lodgings. It is used to sit on, to do prostrations and to kneel on. (s e e : How to wear the robes).

5) rngul-gzan: (T: mgul= perspiration, sw eat). The colour is yellow and it touches the skin; it is used to cover the body at n igh t Its size is the same as the bla-gos.

6) gzan (T). It is maroon in colour in the Tibetan tradition. It is usually worn during the day but can also be worn on top of the rngul-gzan. The width o f the gzan is given as 2 khru. In the Tibetan tradition the gzan was made quite long so that it could protect the body from the cold. It is usually less than 10 khru in length. It can be made of 2, 3 or 5 pieces.

^ 2 khru

7) sham-thabs (T): It is a skirt and maroon in colour in the Tibetan tradition. It is made o f three or five parts having a border on top and bottom. It can be worn either up or down. Its width is 2 khru or sometimes also 2/3 of a fathom (T: ‘dom). Its length is not determined. The sham-thabs can be worn alone or under the mthang-gos. It is usually worn during the day.

^ 2 khru\

>

^ 2 khru/

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8) sham -thabs-kyi-gzan (T): It is a skirt and maroon in colour in the Tibetan tradition. It doesn’ t have a top border, only one on the bottom. This robe can be worn at night. The measurements are the same as for the sham-thabs.

^ 2 khru

> 2 khru

In India a sham-thabs was supposed to be worn under the mthang-gos, but to make it easy the Tibetans developed it into the smad-gyog, the petticoat.

9) gyan-bgab (T), kandupatcchadi (P): itch cloth. In the Vinaya, the measurements for this cloth are given as 4 mtho (handspan) by 2 mtho. It was used for eruptive diseases on the body and was traditionally given up after the sickness was healed.

10) ras-chen (T): vassikasatika (P): raincoat. This robe is not made like a coat but is a cloth which is wrapped around the body. In the Vinaya, the measurements are given as 6 mtho by 2.5 mtho. This robe was initially given out during the rainy season only and was used instead of the robes, which became wet and heavy during the rains.

11) skra-bzod (T: skra: hair; T: bzod: to hold). It is used to cover the be dy while cutting the hair and to collect all the hair after cutting.

12) gdong-phyis (T: gdong: face; T: phyis: rag, cloth): mukhapunchana (P); face towel. It is used to wash one’s face or to wipe off sweat. It is square and its length

is 1 khru.

13) rnag-gzan (T): It is used in different sicknesses to wipe off pus, blood etc. It is square and its length is 1 khru.

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I.c) Additional robesThe following robes are also important in addition to the 13 robes mentioned

by Karme Khenpo Rinchen Tharje:1) stod-’ga (T): vest. It was developed from the gding-ba which was folded over the shoulders by the Indian masters who came to Tibet in order to protect themselves from the cold. Tibetan scholars later found it nice and practical and designed the stod-’ga as clothing. The comers at the arm-holes still show the similarity to the gding-ba. All monks are allowed to wear the stod-’ga. There are two different styles of stod-’ga, onewhich is made of ordinary material and one which is made with brocade, called rgyan-drug (T). The different pieces in the design represent the six ornaments or rgyan-drug which are often depicted around the Buddha statues. They are 1) elephant, 2) lion, 3) winged horse or sha-ral, 4) water-reptile (makara), 5) naga with snake’s tail, 6) snake-eating garuda. The rgyan-drug represents the six paramitas. The folds under the armpit represent the 84 siddhas.

2) udakasatika (P): bathing-cloth for nuns. This was not a cloth that was put on top or under the robes, but was worn instead of them. This bath robe is worn so as to cover from under the arms to below the knees.

3) rngul-len (T): shirt. It is sleeveless and its collar is made ideally in a shape similar to the stod-’ga. It is not part of the Vinaya robes.

4) sam kajjh ika (P). It is a piece of robe tied around the breasts of the nuns, which mustcover the body from under the arms to the navel. It is rectangular in shape. Later this robe was developed into a one-shouldered vest worn by both monks and nuns.

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Id) Requisites

1) Bags: The bag for the snam-sbyar and bla-gos. There is also a bag for the begging bowl (S: pattatthavika) and a monk-bag to carry small items.

2) Vase (T: cha-bum, P: kundika): It is used before and after eating, especially during Yame.

3) M ala

4) P an d it’s hat (T: pan-zhva): There are two styles. Asanga’s is short and relates to the vast aspect of the teachings.

Nagarjuna’s is long andrelates to theprofoundaspectoftheteachings.There are three kinds of lappets which signify: (a) great scholar o f Sutra, (b) great scholar of Tantra, (c) great scholar of Sutra and Tantra.

In the Kagyu tradition we also have the Gampopa hat (T: dvags-zhu) and the Karma Kamtsang hat (T: zhva-khra). The five stripes (blue, white, yellow, red, green) of the Karma Kamtsang hat symbolize the five wisdoms.

5) Begging bowl (T: lhung-bzed, P: patta). The bowl, together with the three robes, belong to the original requisites needed for ordination. It was made o f earthenware or iron. Both are notexpensive and don’tcause the food tospoil.Ithas three different sizes. In the Vinaya, a bowl-lid and bowl-stand are also mentioned.

6) W ater-filter, strainer (T: chu-sa, P: dhamakaraka). In general water is drunk only after straining in order to exclude living creatures.

7) m khar-gsil (T: mkhar: stick; T: gsil:: to sound, to ring) khakkhara (S). Walking staff and begging stick, sistrum. When a monk approaches a house, in order to announce his presence, he rings his sistrum in front of the door. Moreover, the Buddha forbade harming any living being. The sistrum, by its noise, warns animals, insects or birds of the approach of the monk who, in this way, may avoid killing anything inadvertently as he walks. In the same way, the sistrum wards off dangerous animals from the path o f the mendicant. Furthermore, its noise blurs the distractions of mundane life from which the monk ceaselessly tries to withdraw. One shakes it three times for getting food, and also on various other occasions. If three times produces no results, try five; if five is unavailing, try seven; if seven is useless, go on to another house.

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Nagarjuna's pandit hat

Gampopa hat

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These requisites were mentioned in the text by Karme Khenpo Rinchen Tharje. But in the Vinaya further requisites are mentioned which I would like to enumerate:

1) Belt or girdle (T: sked-rags;P: kayabandhana). The Vinaya mentions two kinds of waistbands: a flat waistband and a pig’s entrails waistband.

2) Needle-case (P: sucighara).

3) Razor.

4) Um brella. It can be used for sun or rain.

5) Sandals. The Vinaya mentions that one should wear sandals, but according to Tenga Rinpoche it is also permissible to wear boots if one has a sickness or for protection from the cold.

6) Penknife.

7) Bed-cover (P: uttarattharana).

8) G round covering (P: bhummattharana).

9) M attress covering (P: bhisicchavi).

10) M attress (P: bhisi).

11) Rug (P: santhata).

12) H air. In a monastic community, it is necessary to cut one’s hair when one passes one’s hand through the hair and it stands above the fingers. But if one lives in an area where it is not possible to find a barber, it is permissible to have long hair.

l.e) M aterialsAccording to the Vinaya, at first the robes were made o f discarded cloth. This

robe is named pamsula which literally means an excreta-sweeping robe. There are ten types of such cloth which are 1) cloth munched by oxen, 2) cloth gnawed by mice, 3) cloth burned by fire, 4) cloth soiled by menstrual blood, 5) cloth soiled by the blood of childbirth, 6) cloth discarded at shrines, 7) cloth discarded in a cemetery, 8) cloth presented as an offering, 9) cloth discarded by government officials, and 10) cloth used to cover the dead. W hen Indians have finished using

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these cloths, they throw them away in the streets and in the fields just as they do their excreta. When monks and nuns pick up such cloth, first they choose those parts that have no holes, then those that can be washed clean. Parts which have been stained irrevocably with urine or excreta are not used. The name pamsula comes from this. After having been washed and the various pieces sewn together, they become the cleanest materials for making robes. In addition to rags, the Buddha allowed other materials called “benefits” :

Tenga Rinpoche mentioned three materials: 1) wool, 2) cotton (also nylon, etc.), 3) silk.

For the material of the chos-gos, one can use any kind of design, such as flowers or an abstract design, except sentient beings or animals.

1.0 Dyes and coloursIn the Vinaya, three colours are mentioned which can be used for dyeing the

robe materials: 1) blue, 2) red, and3) yellow. TengaRinpoche mentioned: ngon-cha (T): light blue, grey blue, colour of the sky, 2) mar-cha (T): light red, pink, 3) ser- po (T), also ser-cha (T): yellow, the whole family of yellow.

In discussing the three colours allowed by the Buddha, Thrangu Rinpoche said that Tibetan monks wear maroon robes, Theravadin monks yellow ones, and Chinese monks black ones. Maroon was not authorized by the Buddha as the dye was too expensive in India and because many animals had to be killed in order to obtain it. Therefore the Mahayana and Theravadin Buddhist monks do not use maroon. However the Tibetan panditas and siddhas, in order to distinguish lay- people from monks and nuns, did not accept the blue colour for it was worn by lay people, but chose maroon instead for monks and nuns, which in Tibet was abundant and cheap and could be obtained without killing animals.

l .g ) OrdinationThe requirements for getsul ordination are: chos-gos bla-gos, mthang-gos,

gding-ba. For the gelong ordination the chos-gos snam-sbyar is required in addition. If one does not have these robes, one can replace the required robes with strips cut in the following way:

- snam-sbyar: rectangular and yellow; length: 1 khru; width: wider than 4 sor.- bla-gos: rectangular and yellow; length: 1 khru; width: wider than snam-

sbyar strip.- mthang-gos: rectangular and maroon; length: 1 khru; width: wider than 4

sor.- gding-ba: square and maroon; width: wider than 8 sor.

Part 2 will appear in issue No. 10.

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R o b e s a n d R e q u i s i t e s

Part 2

compiled by Gelong Lodro Zangpo (with drawings by Sopa Kyi)

The first part of this article which appeared in issue No. 9 of The Profound Path o f Peace covered the following subjects:

I: Robesa] Measurementsb] 13 robesc] Additional robesd] Requisitese] Materialsf] Dyes and coloursg] Ordination

The second and final part which is printed here covers the following subjects:

II. General symbolism and philosophy of the robesIII. How to wear the robesIV. How to sew the robes

Though I have received teachings on the robes from Ven. Thrangu Rin- poche, Ven. Tenga Rinpoche and Ven. Khenpo Karthar Rinpoche, the follow­ing is still a work in progress and I would therefore like to encourage feedback to the material presented, especially since Ven. Thrangu Rinpoche has asked me to make Parts 1 and 2 of this material available in a separate publication so that it would be easily available to newly ordained monks and nuns. However this probably won’t happen within the next year. In case you missed Part 1 of this article and you would like to study that material in the meantime, copies of No. 9 of The Profound Path o f Peace are still available from I.K.S.A.

II. General symbolism and philosophy of the robes

The Lord Buddha once spoke about the ten excellent merits of the robes to the bhikshu Jfi5naprabha:

“Bhikshu Jfianaprabha, listen carefully!The robes of good fortune have ten excellent merits.(1) Worldly clothing often increases our desires.But the Tathagata’s robes do not.Rather they prevent us from being ashamed,

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Causing feelings of repentance and bringing good fortune.(2) Protecting us from cold, heat, and poisonous insects,They strengthen our Bodhi-mind, leading us to enlightenment.(3) Giving us the appearance of monks and freeing us from avarice, They cut off the five mistaken views' and promote true practice.(4) When we respectfully venerate the precious bannerlike robes, King Brahma bestows his blessings on us.(5) My disciple! Unfold the robes as if they were a stupa,For they give good fortune, extinguish crimes, and save both human

and celestial beings.(6) A true monk is well ordered and respectful.For his actions are not subject to worldly delusion.(7) All the Buddhas have praised them as being a fertile field,The best of all things that give happiness to others.(8) The robes are endowed with miraculous power,For they are able to plant the seeds of Bodhi-practice.(9) They help the sprout of Buddhist practice To grow as if it were a spring plant,The wondrous Bodhi-result [enlightenment] being like autumn’s fruit.(10) Hard like adamantine armor, they protect us From being injured by the poisonous arrow of delusion.”

When I had spoken to Tibetan lamas about the symbolism and philosophy of the robes, the answers were quite sparse in comparison to the quote above. Often I was told that all it means is that you are a monk or a nun, in other words

don’t try to complicate the issue but get the main message.

In general however, one could say that wearing robes reminds one that one has vows to keep and that they are an outer force which makes it easier to keep the discipline. Robes also relate with society which has to be made aware that one is a monk or nun. If one misbehaves, there follows a loss of trust in the monastic Saiigha. In this way the robes encourage one to maintain discipline and keep one away from distractions and as such they speed up one’s accumulation of merit and wisdom. Marie Lyman sums this up in her article 'Distant Mountains': “Religious garments are clothes of identification, both in a personal sense and in the social context. The daily donning of sectarian robes is a reaffirmation of the wearer’s religious vows and a renewal of membership in a community of believers. A recognizable uniform that is also a visual testament, a religious garment, generally indicates the profession rather than the individual.... In studying Buddhist clerical robes, both past and present, it is important to keep in mind the religious desire for personal symbolism, as well as the need for external display of office.”

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III. How to wear robes.

Ven. Thrangu Rinpoche mentioned that one of the ways in which monks and nuns train in mindfulness and alertness in overcoming the kleshas is through wearing their robes. The literal translation of a Tibetan phrase of the Vinaya (T: ’dul-ba) is that the robes are “made in a square shape”. If one considers the three robes, they are not made to fit the body but they are made in such a way that they fall off very easily, so that one must be constantly mindful not to let the robes slip off and to hold onto an edge or comer of them all the time. Because the robes are a symbol of the Buddha’s teaching, one is very much encouraged to keep the robes tidy and to wear them neatly and elegantly. By doing so, one constantly maintains mindfulness.

The way in which one wears the robes depends on the different circum­stances and occasions one finds oneself in. For example, for manual work one wears the zen (T: gzan) quite differently than for the reception of a visiting teacher. There are many ‘informal’ ways the robes are worn which sometimes depend merely on the particular ‘style’ of the person wearing them. However, there are certain boundaries for wearing the robes in a ‘formal’ way. Among the major Tibetan Buddhist schools there are minor differences in regards to how to wear the robes in a formal way. Here we will be mainly concerned with the ‘formal’ way of wearing the robes within the Karma Kagyii school.

III. 1. Namjar and lago:

If one is a fully ordained monk or nun, one should always have the traditional three robes (T: chos-gos mam-gsum): the namjar (T: snam-sbyar), the lagt> (T: bla-gos) and the thanggO (T: mthang-gos), with oneself. If one wants to stay outside the monastery or one’s home overnight and does not plan to return before 2 or 3 a.m., one should carry the three robes with oneself. If one does not do that, traditionally the robes should be blessed again. If for some reason it is inconvenient to carry the robes with oneself, nowadays some lamas advise carrying at least the strips given during ordination as replacement if the full set of the three robes was not available. But not all lamas offer that option. Unfortunately, at the time of writing this article I was not able to include a translation of the rite of blessing the robes, but I hope to make it available in a future issue of The Profound Path o f Peace.

The three robes may also be seen as seasonal garments. In the Mahavagga the Buddha said: “Then I, monks, on the cold winter nights between the ‘eights’, in a time of snowfall, sat down in the open air at night with (only) one robe; I was not cold. As the first watch of the night was ending I became cold. I put on a second robe; I was not cold. As the middle watch of the night was ending I became cold. I put on a third robe; I was not cold. As the last watch

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of the night was ending, as the sun was rising, in the flush of dawn, I became cold. I put on a fourth robe; I was not cold. Then, monks, it occurred to me; ‘Even those who in this dhamma and discipline are sons of respectable families, susceptible to cold, afraid of cold, even these are able to keep themselves going with three robes. Suppose I were to set a limit, were to establish bounds as to robes for monks and were to allow three robes? I allow you, monks, three robes; a double outer cloak, a single upper robe, a single inner robe.”

Although one should always keep the three robes with oneself, one doesn’t need to wear them all the time. In India at the time of the Buddha, the namjar was worn on entering an inhabited area in order to cover the body properly. However, nowadays in the Tibetan tradition, the entire set of three robes, the namjar, the lago and the thanggo, are mainly worn 1) during Sojong (T: gso- sbyong; S: poshadha), the time of confession, 2) when giving teachings to other students, 3) during gelong (T: dge-slong), getsiil (T: dge-tsul), or getsulma ordinations.

When one wears the namjar one should wear the lagb as well, but one may omit the zen. If one wears the zen, one drops the excess part of the completely u nfolded zen on one’s left side and adjusts its top comer on one’s right side with the top corner of the lago and then puts the lago in place. Then one repeals the same with the namjar (see A). [For a Rinpoche this would be done by his attendant monks.] Then one folds the excess part of the zen on one’s left side outwards three or four times {see B), and then flips the folded section inwards under the lagO so that the zen is not visible from the outside (see C).

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In the Gelug tradition, when standing, one can flip the excess part of the zen on the left side over one’s back on top of the namjar or lagO. In the Kagyu tradition, this is proper only for the highest Rinpoches.

If one is not wearing the namjar or the lagti, one can carry them over the left shoulder with the lion’s ears pointing to the left.

After use, one folds the namjar or lagO before putting it away. There are two traditions for folding it, depending on whether one starts the first fold with the patches facing inwards (see Diagram) or outwards . In both ways, one holds the lion’s ears in the left hand while folding the robe in half three times so that, at the end, the lion’s ears show towards the left side (see A-C). Then one folds the robe two more times, the first fold symbolizing respect towards the Vinaya (see D) and the second fold symbolizing respect to one’s abbot (see E).

7

V

N N

A B C D E

If one starts by folding the robe with the patches facing outwards, one has to fold one side backwards at the end so that the patches are on the inside.

Another benefit of folding the namjar or lagO in this way is that one can easily recognize top and bottom, which is helpful for putting on the robes at the next occasion.

m . 2. Thanggo and shamthap

Ven. Thrangu Rinpoche mentioned that there are two styles of wearing the robes, the Ü (T: dbus) style and the Tsang (T: gtsang) style. The Sakya and Nyingma mainly follow the Tsang style and the Kagyii and Gelug mainly the Ü style. The way of wearing the thanggô (T: mthang-gos) and shamthap (T: sham-thabs) in these two traditions is slightly different In the Tsang tradition, there is one fold going backwards and one fold going forwards on both one’s left side and one’s right side. In the Ü tradition one fold goes backwards and one fold goes forwards on one’s right side and two folds go forward on one’s left side. Whether there is a space in front between the first fold on the left and the first fold on the right or whether they overlap is not important. According to

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Veil. Thrangu Rinpoche, in Tibet the two folds in front were often one on top of the other because it was very cold and more layers were needed to keep the body warm. But when the Tibetans went to India, it changed so that the folds now are often not on top of each other but there is some space between them.

Ven. Tenga Rinpoche said that, in the Kagyii tradition, the outermost forward-facing fold on the left represents the third and fourth noble truth, that which we should practise, the direction in which we should go, which is the reason why it faces forwards. [If one wears a thanggd, this fold is where the buttons (T: brgya-sgrub) are.] The fold backwards on the right side represents the first and second noble truth, that which should be abandoned, that from which one should go away, which is the reason why it faces backwards.

As mentioned above, Ven. Thrangu Rinpoche stated that one should be tidy with the robes and wear them neatly and elegantly. Todo this, one should make sure that the thanggb and the lago are “even all around”, that one part is not hanging down in front and another part up in the back. Also, ideally, the top of the thanggo and shamthap above the belt should not fold over but should stand up.

Because the thanggO and the shamthap do not have a specified top or bottom, it doesn’t matter which way they are worn. When one takes off the thanggO or the shamthap, one should always pull it over the head and never step out of it. This is done as a sign of respect towards the vows. In Tibet it was the custom that only gelongs wore the thanggo, but both Ven. Thrangu Rinpoche and Ven. Tenga Rinpoche said that, as the thanggO is part of the getsul’s or gctsulma’s robes, the gelsiil and gclsiilma can wear it.

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III. 3. Zen:

When one is in the presence of a Rinpoche or when one goes to the puja, one should wear the zen in the formal way, which means that one folds the excess part of the zen on one’s left side outwards three or four times, and then holds the folds on the left arm. Thisfoldingiscalleddiilwa (T: ’dul-ba), vinaya. If a Rin­poche passes by, one would bow a little holding the hands in the respect mudra (T: 'dud-rgya).

When one sits down for meditation, one would cover the right shoulder (a gesture which goes back to Shakyamuni Buddha] and flips the zen over one’s left shoulder (see A), then one places the excess part of the zen in front over one’s lap and knees (see B). [This would also apply when one wears the namjar and lagb.] After getting up one would fold the zen as usual.

A B

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When one wears the zen only, one can flip the excess part of the zen over the shoulders. To do this one first folds inwards [with one’s right hand] about one third of the width of the end of the zen [on one’s left side] and with one’s left hand only a little (see A). Then one flips the zen over the shoulders so that it lies over the left and right arm (see B). On the back three folds are visible which symbolize, according to Ven. Thrangu Rinpoche, the three baskets: Vinaya, Sutra and Abhidharma (see C). Whenever one approaches a Rinpoche wearing the zen in this way, one would flip the right tip onto the left shoulder

(see D).

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When serving His Holiness Karmapa for example, one would show the highest respect by flipping the zen even further down on one’s left arm.

When one is doing prostrations, one holds the folds of the long zen in the left hand and when getting up, one flips the right part of the zen over the left shoulder before doing the next prostration. ( In the Nyingma tradition, one does not flip the zen before doing the next prostration.)

Though this article is mainly concerned with the formal way of wearing the robes, during most informal everyday situations, one usually wears the zen folded in half.

III. 4. Dingwa:

When walking, one car­ries the dingwa (T: gding- ba) over the left arm with the lion’s ears facing to the left. In order to do that, one folds the length of the dingwa in half and one folds the width twice.

Before doing prostra­tions, one throws the dingwa away from oneself holding on to two comers; the divid­ing strip (S: atthakusi) then opens towards oneself so that [ideally!] one can put one’s feet under it, but this is never done.

If one kneels down, one folds the length of the dingwa in half and the width in half. Then one places it on the floor so that the di­viding strip opens away from oneself and the cor­ners are on the left.

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When one sits down, one folds the dingwa about 2/3 of its length forming somewhat a square and the dividing strip [S: atthakusi] then opens away from oneself. During Yarne, the monastic summer retreat, one always sits on the dingwa in the meditation hall.

When one gives a dharma talk, one stands on the unfolded dingwa with the dividing strip opening backwards towards onself.

III. 5. Toga and khyendruk

As soon as one wears robes one can wear the tOga (T: stod-’gags) or khyendruk (T: rgyan-druk), the vest, at all times. In Tibet, the khyendruk, the brocade vest, was worn almost every day, but when the Tibetans had to escape to India, those who were able to bring their khyendruk with them were unable to wear it in the hot climate of India as it was very thick and much of it was made of wool. The monks who did not have it could not afford to get a new one because pieces of silk brocade, which is very expensive, are needed to make it. But His Holiness Karmapa was not pleased with the absence of the khyendruk, so he made a rule that those who came to the monastery without a khyendruk had to pay a fine of five rupees. This brought the tradition back. The khyendruk was then made out of cotton and silk which is simpler and cheaper and also manageable in that climate.

The toga is folded left over right, so that one can put one’s right hand in the folded part. In ancient times Tibetans wore the toga right over left as laypeople do. The Mongolian influence in Tibet changed this habit. Also this way is more convenient because Tibetans put many things inside the folded part of the tbga and it is easier to pull them out with the right hand.

HI. 6. Ordination:

For ordination, one folds up one’s robes, ties them with the belt (T: sked- rags) and carries them on the right shoulder while coming in for the ceremony. During that time one is wearing ordinary clothes with a white scarf around the neck as a symbol that a layperson is approaching the precepts. The ordinary clothes usually consist of the underskirt and the shirt one will be wearing as a monk or nun.

IV. How to sew the robes

In order to find out how to sew the robes, it is best to look closely at a reliable robe. Here I would like to mention a few details which often are not clear.

IV. 1. Namjar and lago

The following diagram of the lagb was already reproduced in Part 1 but I reproduce it so that the following will be easier to understand.

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Legend: (1) mandala: large panel; (2) atthamandala: small panel; (3) atthakusi dividing strips; (4) khanda section: includes mandala(s), atthamandala and atthakusi; (5) vivatta: central khanda; (6) kusi: strip which divides the khandas; (7) anuvata: border

When one sews the namjar and the lagtJ on the sewing machine, one uses yellow bobbin thread while the upper thread is blue for all seams on the four borders and all kusi and atthakusi seams. However mandala- and atthamandala- seams are sewn with both threads yellow.

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When one constructs the namjar and lagO out of many pieces, one must be aware that the patches located right next to the borders are bigger pieces of material because the border goes on top of them.

IV.2. Thanggo and shamthap

In Part 1, the width of the border for the two kinds o f shamthaps was incorrectly given as two tru (T: khru), body-cubit. In actual fact it is one tho (T: mtho), handspan.

When one sews the borders of the shamthap and thanggo, oneputsthe borders on top of the other material so that the border is a little further inside than the other material.

There are two ways of sewing on the borders of the shamthap, though the second way (B) seems to be more elegant

A

B

j

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When sewing the thanggtj, one should remember that the atthakusis on the khandas always open away from the mandala so that the opening of one khanda will face upwards while the opening of the khanda next to it will face downwards. To make the kusis and atthakusis in the lattice strip style is somewhat complicated, therefore please have a close look at the following drawing of the thanggO. The thicker lines signify the opening of the kusis and atthakusis.

j ;

.......

.......... ......

IV.3. Dingwa

When one sews the borders of the dingwa, one fastens the border in such a way that the outside edge is left open all around. The width of the border is six fingers only.

This completes this article on monastic robes. As I mentioned at the beginning, this article is a work in progress. In no way would I want to pretend that I am an expert on the topic. I merely compiled, to the best of my abilities, the teachings I have received on the subject from Ven. Thrangu Rinpoche, Ven. Tenga Rinpoche and Ven. Khenpo Kartar Rinpoche.

1 The five mistaken views are (1) to be attached to self and to other people and things, (2) to believe either that the self is eternal or that it is nonetemal,(3) to deny causality, (4) to hold mistaken views like the above to be the Truth, and (5) to regard adherence to the precepts as the way to enlightenment.