Fushukuhanpo:

How to Use Your Bowls

by Eihei Dogen zenji 

translated by

Yasuda Joshu Dainen roshi and Anzan Hoshin roshi

(published in “Cooking Zen,”

Great Matter Publications 1996) 

  © 1999-2004 White Wind Zen Community. All rights reserved.

 


A sutra [1] says: “When we are intimate with the food we eat, [2] there is intimacy with all things; [3] when we are intimate with all things, we are intimate with the food we eat.[4] We should let all things and eating be intimate with each other because when each thing is Reality [5] then eating is also Reality. When all things are Suchness, [6] then eating is also Suchness. When all things are One Awareness, [7] then eating also is One Awareness. When all things are Awakened Intelligence, [8] then eating is also Awakened Intelligence. Any name that can be applied to it and the Reality spoken of are this intimacy so we can call all of this intimately single.

  Another sutra [9] says, “Name and reality are both equal. All are equal in stainlessness.” Zen master Mazu [10] said, [11] In looking at the Total Field of All Possibilities, [12] there is nothing but this Total Field. The same can be said of Suchness, the ultimate nature [13] and the sheer facticity [14] of things. This kind of ‘equal' is not a matter of how one thing is related to another but of what is utterly so through Unequaled and Utter Awakening.” [15]

  This is awakening to the utter seamlessness of primordial Reality and each and every thing. [16] This kind of “equality” which holds that all things are the display of Truth is only grasped completely in the transmission between Buddhas and Buddhas through radical investigation of the true form of all things. Thus, meals are the naked display of all things, which is grasped completely only through the transmission between Buddhas and Buddhas. When eating is intimate with all things then the nature, embodiment, effect, activity, primary causes and secondary conditions [17] of Suchness are here in this naked presencing of truth. All things are eating and the other way ‘round. All things are the transmission between Buddha and Buddha. Through the Teachings and practice, “food” is that which flows as joy.

 

  At the time of the morning meal [18] following the bell to announce the close of early morning zazen [19] the monks sit at their respective seats. At noon they do this before the three strikes on the drum. The announcement of the noon meal [20] begins with three strikes on the drum followed by eighteen strokes on the large bell. At urban monasteries the noon bell is struck first and in the country the drum is struck thrice first. At this time monks sitting facing the wall turn to sit facing outwards. Monks working outside of the Monks' Hall [21] immediately stop their tasks, wash their hands and proceed in correct dress to the Hall. When three long rounds of strikes are given on the han [22] these monks enter the Monks' Hall without speaking or looking to left or right. There is never any conversation in the Hall, monks must keep silence.

  As to how to enter the Monks' Hall. Bring the palms together [23] below the eyes; actually, the tips of the fingers should be at the level of the tip of the nose. When bowing, the head should be kept aligned, the tips of the fingers in consistent alignment with the bowing of the head. In bringing the palms together it is important to be take care to keep the forearms out away from the chest and the elbows out away from the upper arms.

  In entering the Hall through the front door everyone except the Abbot, [24] whether we belong to the right (lower) or left (upper) sections of the Hall, passes through the doorway keeping to the left, stepping forward with the left foot first and then the right. We manifest our respect for the Abbot by never entering through the right edge or centre of the doorway. The Abbot must enter the Hall by the right or centre of the doorway and enter by stepping into the Monk's Hall with the right foot leading, bow before the statue of Manjushri in the form of an elder monk, [25] turn to the right and take his seat on the chair. Leading-monks [26] pass the northern outer part of the Hall [27] and enter through the left side of the front door.

  For monks entering the Hall through the door to the rear, those belonging to the right section of the Hall enter through the north side of the doorway, leading with the left foot; those belonging to the left section enter through the south side, leading with the right foot. When they come to the point just behind the Manjushri altar they bow with palm to palm to the east and take their seats. [28]

  Seating for morning and noon meals is arranged according to the date that we received ordination or by the date that we began training at this monastery or by the place assigned to us; however during the ninety day Training Period [29] it is set according to the first of these conditions.

 

  As to how one should ascend the raised seating platform. [30] First bow before your seat with hands placed palm to palm and then to those seats neighbouring ours. Then turn clockwise to the left and bow to the monks facing us on the opposite side. Then push the left sleeve of the robe [31] under the left arm with the right hand, the right sleeve under the right arm with the left hand, left the wrap robe [32] with both hands and then transfer it to the left hand. Standing with the feet together on the floor before the raised platform, sit on the edge and remove your sandals. [33] Ascend the platform by firmly pressing on the platform with the right hand while lifting first the left leg and then the right, raising the body and then sit upright with the right leg pressed underneath the left. Spread the wrap robe evenly over the knees, and ensure that the inner robes are not showing nor the edge of the outer robe [34] hanging over the edge of the platform like the image of Kannon seated with robes draped over the stone. [35] There should be enough space between the body and the edge of the platform for the bowls to be placed.

  This space [36] is regarded as pure because it is the place for what is called the three purities: firstly, the kesa is placed there; secondly, bowls are arranged there; thirdly, the head faces there when lying down to sleep.

  At this time the senior monks in the offices of kan-in, [37] ino, [38] tenzo, [39] shissui [40] and jisha [41] sit in the outer right part of the Hall and those in the offices of shika, [42] yokusu, [43] enju, [44] doshu, [45] tanju, [46] gaibo [47] and keshu [48] sit in the outer left part. [49]

  When the hanging wooden fish drum [50] is struck for three rounds [51] all monks must have taken their seats and no one else will be admitted into the Hall. When the cloud shaped gong [52] by the kitchen is beaten, [53] monks take down their wrapped sets of bowls. [54]

  As to how to remove the set of wrapped bowls from their hooks. Stand with dignity, turn to the right and bow with palm to palm to the nameplate [55] behind the seat, take the set with the left hand and remove it from its hook with the right hand and then, holding it with both hands, raise it. Neither too high nor too low, it should then be at the level of the breast when you turn to the left, bend and sit down. Now put it behind you to the left. Be careful not to jostle each other with waist, back, elbow or arm or for the wrap robe to sweep up into someone's face.

  At this time the monk [56] attending on the statue of Manjushri offers cooked rice. A server carries the offering tray and the attendant walks before the offerings with the hands held palm to palm. [57] After the attendant offers the meal to Manjushri and bows, he or she removes the wrapper from the mallet and wooden block. [58] Coming before the statue once more he or she bows and turning to the right exits the Hall and comes to his or her own seat by passing the officers on the raised platform. [59]

  Now there are three rolldowns on the drum and near the end of this a series of seven strikes [60] are given three times on the bell in front of the Hall. It is at this point that the Abbot enters the Hall and the monks descend the platform at once. The Abbot bows before the Manjushri statue and to the monks and takes his chair. The monks reascend the platform. The Abbot's attendant [61] watches this from outside of the Hall where the Abbot left him and when everyone is ready, bows palm to palm, enters bearing the Abbot's table, places it before the Abbot, bows palm to palm and exits. The Abbot's set of bowls are placed on the table.

  Having removed their sandals and put them away under the platform, the monks have ascended the platform, raised themselves to sit erect on their cushions in clear alignment. Now they place their sets of wrapped bowls in front of them.

  The ino enters the Hall, bows palm to palm to Manjushri, offers incense, bows once more, and proceeds to the mallet and wooden block with hands palm to palm. After a bow sometimes he strikes the block once with the mallet, sometimes not. It is at this point that the monks begin to unwrap their bowls.

  As to how to set out the bowls. First come to gassho before untying the knot of the wrapping cloth. [62] Fold the wipe cloth [63] small by picking it up so that it folds in half horizontally and then fold it in thirds vertically. Place it down before you [64] even with the centre of the set which is where the second or soup bowl [65] will be when the set is unfolded; the utensil case [66] will be placed there also. The wipe cloth is normally about one foot, two inches [67] long unfolded. Place the utensil case on top [68] and spread the lap cloth [69] across the knees. [70] Now, open the wrap cloth, the upper edge away from the body first, allowing it to hang over the edge of the platform. [71] Now fold a part of the bottom, right, and left [72] corners underneath, that is, towards the bowls. [73]

  Next, pick up the lacquered paper mat [74] with both hands transfer it to the right hand held palm downwards and with its corner held towards the body hold it above the bowls. With the left hand pick up the bowls and place them on the left hand side of the lacquer mat. Using only the fingertips of each hand [75] remove the bowls in order from small to large without clatter. [76] When one's seating area is a bit small set out only the three main bowls. [77]

  Now open the utensil case [78] and remove the chopsticks [79] and then the spoon; [80] when they are replaced in the case the order is reversed: spoon first and then chopsticks. During this the cleaning stick [81] is left in the bag. The chopsticks and spoon should be placed behind the second bowl [82] with their handles facing to the left.. Next remove the cleaning stick and place it lengthwise between the second and third bowls, turning its handle outwards for the offering [83] to hungry ghosts. [84] Now with the case folded small into thirds, place it with the wipe cloth [85] even with the second bowl beneath the lacquered mat.

 

  If the noon meal is an offering on some auspicious occassion or for a memorial for the dead then the incense censer [86] is prepared for the kneeling offering. [87] During this offering raise the hands palm to palm and just sit still. Don't talk, don't laugh between yourselves, don't move the head around, don't fidget.

  Now the ino strikes the wooden block with the mallet once and chants:

    “I bow [88] before the Generous One, [89]

    to the records of his perfect discourses,

    to the community of the Vast Path, beings of wisdom.

    The merits of these are inconceivable.”

  The ino then continues with an announcement:

  “This morning the meal is an offering [90] by such and such a patron. This is the verse stating it. With respect, now I shall declare it to this assembly in that patron's place and ask that it be understood clearly.” Following this the monk says, “The details of this are now known. The Buddhas' and Bodhisattvas' selfless eyes, mirrors of radiance, are witness. We will now recite together.”

  Now the ino leads the assembly of monks with a loud voice, all with hands held palm to palm, in chanting the Ten Names : [91]

I proclaim the pure Dharmakaya Vairochana Buddha,

the complete Samboghakaya Rochana Buddha,

numberless Nirmanakaya Shakyamuni Buddhas,

the coming Maitreya Buddha,

the Buddhas of the three times and ten directions,

the Mahayana Saddharma Pundarika sutra,

Manjushri Bodhisattva Mahasattva,

Mahayana Samantabhadra Bodhisattva,

great compassionate Avalokiteshvara Bodhisattva,

all Bodhisattva Mahasattvas,

Mahaprajna paramita!”

  If the mallet strikes too fast it catches the Buddha's foot, too slowly and it hits him in the face. [92]

 

  If there is no special occasion for the morning or noon meals then the ino strikes the wooden block with the mallet once and says,

    “In proclaiming the Three Jewels

    all receive the seal of acknowledgment.

  At this time no other special invocations of the Buddhas are chanted. After chanting the Ten Names the ino strikes with the mallet once more and the leader [93] chants the meal offering with hands palm to palm.

  At the morning meal this is:

    “This meal arises from the labour of all beings,

    its ten benefits [94] nourish bodymind

    and strengthens pure practice.

  At the noon meal:

    “We offer this meal of three virtues [95], six flavours, [96]

    to Buddha, Dharma, Sangha,

    and to all life

    in all worlds.

  When the leader is not present in the Hall then the next rank will chant this.

  When the meal offering chant ends a server enters the Hall to announce the food by saying, “Kyo-han Kyo-ju.” [97] The server enters the front door on the left side, bows to Manjushri, then to the Abbot, then the leader. Then the server moves to the last seat at the left or south of the front door, bows to Manjushri, and announces the food while standing with the hands clasped at the chest, the right hand clenched against the chest, the left held with the palm over the right. [98] The announcements must be made clearly and correctly or the entire practice of receiving meals is disrupted. Any error must be corrected immediately.

  While the food is being served around the Hall the ino strikes once on the wooden block with the mallet to announce it. After the leader bows and sits a moment then everyone begins to eat.

  If a patron has offered the food the ino comes from behind Manjushri's altar to the leader and bows, requesting a verse of appreciation. Returning to the block, the ino strikes once with the mallet and the leader chants the donation verse:

    “Offering of goods and of truth,

    endowed with limitless virtues,

    complete the perfection of generosity [99]

    so that nothing is lacking.

Continued (Click Here)


Footnotes

[1] The Recorded Teachings of Vimalakirti (Vimalakirti Nirdesa sutra) trans. by Ven. Anzan Hoshin roshi, WWZC Archives, 1992.

[2] Jiki.

[3] Ho.

[4] In the Recorded Teachings of Vimalakirti I translate this passage as, “Subhuti, you can have this food if you can understand the equality of all that is through the equality of forms and if you can understand the sameness of all of the qualities of Awakening through the equality of all that is.” (Chapter Three) In the Vimalakirti the passage specifically concerns freeing Subhuti from an understanding of practice and realization that depends upon a series of categorizations through which experiences are sifted into “wholesome” and “unwholesome” thoughts and behaivours into the continuous recognition of all experiences as inherently unthinkable and as the display of the radiance of Experiencing. Dogen's use of the passage requires a different approach to translation.

  For example, in order to make clear the particular nuances of its use here I use the word “intimacy” rather than the phrase “equality of” despite the play with the term “equal” that continues to develop in the next paragraph. One of the reasons for this is that the playfulness does not seem to be apparent to most readers, the term “equal” immediately summoning a sense of abstraction. Hopefully the relationship between “intimacy” and “equality” as used in the translation is evident.

[5] Ho-sho. Dharmata in Sanskrit.

[6] Shin-nyo. Tathata in Sanskrit.

[7] I-shin.

[8] Bodai. In Sanskrit, bodhi.

[9] Talks in Lanka ( Lankavatara sutra ) trans. by Ven. Anzan Hoshin roshi and Tory Cox, WWZC Archives 1992. Dogen apparently took this from the third fascicle of Gunabhadra's four fascicle translation into Chinese but while his meaning is consistent with several passages there is no passage with identical wording.

[10] Mazu Daoyi (Ma-tsu Tao-i; Baso Doitsu), d.-788. He appears in Blue Cliff Records cases 3, 53, 73 and in Wumenguan ( Gateless Gate ) 30 and 33. He is associated with Dogen's Soto Lineage in that Shitou Xiqian's Dharma-heir Yueshan Weiyan was sent by Shitou to study with Mazu for a time in order to clarify a particular sticking point in his practice. For more on this see Denkoroku: Record of the Transmission of Luminosity by Keizan Jokin zenji trans. by Anzan Hoshin roshi and Joshu Dainen zenji, WWZC Archives 1990.

[11] In the Jiangxi Mazu Daoyi chanzi yulu (Chiang-hsi Ma-tsu Tao-i ch'an-shih yu-lu; Kozei Baso Doitsu zenji goroku).

[12] Hokkai. Dharmadhatu in Sanskrit. I often translate this term as the “Total Field of All Possibilities.”

[13] Ri.

[14] Ji.

[15] Anuttara-samyaksambodhi in Sanskrit.

[16] Honmatsu-kukkyo.

[17] These are six of the Ten Suchnesses presented in the second chapter of the Lotus Discourse ( Saddharma Pundarika sutra ) and which were fundamental to T'ien-tai and Tendai doctrine. The Ten Suchnesses are form, nature, embodiment, effect, activity, primary causes, secondary conditions, fullfillment, ultimate equality of primordial Reality and phenomena.

[18] Shukuji.

[19] Kaijo.

[20] Saiji.

[21] Undo: Cloud Hall; or Sodo: Monks' Hall. Monks are unsui: cloud and water people and so a name for the practice hall in which the monks do zazen and in which junior monks live and sleep is Undo.

[22] Hanging wooden board.

[23] Gassho.

[24] Juji.

[25] Shoso.

[26] Monks of shuso rank.

[27] Undo.

[28] Apparently this passage is an addition inserted into the original text.

[29] Ango or ge-ango. The years are counted according to the summer ninety day Training Periods in the monk's “career.”

[30] Sho or jo. Also known as a tan.

[31] Koromo.

[32] Kesa.

[33] Japanese Zen monasteries traditionally have tile floors and so straw sandals are worn for kinhin (walking practice) and for moving about the Zendo. In Western Zen monasteries it is usually the case that only bare feet are allowed in the Zendo unless tabi are used on certain ceremonial occassions.

[34] Koromo.

[35] Kannon (Avalokitesvara), the Bodhisattva of compassion, is often depicted in such a way that the folds and draping of the robe dramatically enhance the figure. The text specifies Yoryu Kannon, a form in which Kannon holds a willow branch.

[36] Sho-en or jo-en.

[37] Or kansu. Chief administrator.

[38] Also called iki, iko, or esshu. Disciplinarian and chanting leader.

[39] Chief cook.

[40] Caretaking practice (samu) leader.

[41] Attendant.

[42] Also tenhin or tenka. Guest master.

[43] In charge of the bath house.

[44] Or ensu. Head gardener.

[45] Or enjodo-su. In charge of the infirmary.

[46] The assistant to the Godo-shuso, the senior monk seated at the rear of the Hall who oversees everything in the Hall.

[47] In charge of obtaining supplies from the market.

[48] In charge of soliciting and receiving donations.

[49] Apparently this paragraph and that preceeding it have been inserted into the original text.

[50] Ho.

[51] The three rounds are introduced by the uchidashi: two medium strikes followed by a soft strike and then a loud strike.

[52] Umpan. Sometimes a densho (hanging bell) is used.

[53] Usually the ahatsu-han of one round, rolldown, then a final strike.

[54] Oryoki sets.

[55] Katatan. The term means “hanging up the robes and bowl” and refers to the nameplate by the hook. Each monk has an assigned place, the wall area of which is a closet (kanki) in which bedding and a very few personal items are stored.

[56] This monk is called the shoso-jisha.

[57] During this the gaido drum is struck with dairai (“great thundering”) which begins with uchidashi (“introduction”) of two medium strikes followed by a soft and then a loud strike and then three rounds which come to crescendo and then soften for each round followed by an ending round called uchikiri (“ending cut”).

[58] The wooden block is called tsuichin. The tsuichin is a hard wood octagon about a foot and a half wide and the mallet is also octagonal, four inches long with tapered ends. It evolved from an instrument called a ghanta in Sanskrit.

[59] Chiji-sho.

[60] This is called shichige-sho.

[61] Jisha or anja.

[62] Fukusa.

[63] Fukin.

[64] First the folded wipe cloth (fukin) is placed on top of the mizuita (water board) if the set has one and the utensil case (hijotai) and then these are picked up together with the right hand grasping the top, the left the bottom. They are placed before you by rotating them from the horisontal to the vertical and then set down.

[65] Zukun; currently usually called jihatsu.

[66] Hijotai. Also known as hashi-bukuro.

[67] One shaku, two son.

[68] Some developments of the oryoki form place the hijotai (utensil case) under the folded wipe cloth.

[69] Jokin.

[70] The lapcloth (jokin), folded into halves and thirds, is picked up from the set with the first two fingers of the right hand at the open edge and allowed to fall open, the bottom edge grasped with the left hand, and then spread.

[71] If not seated on a platform, this corner is folded as are the following corners.

[72] Some oryoki forms brought clockwise consistency to these movements, opening and folding the bottom, left, and right corners successively.

[73] Allowing the corners themselves to still project out from the fold. The effect of all of this is to create a rectangular base with three (or four) if not seated on a raised platform triangles emerging from the cardinal points of the rectangle.

[74] Hattan. This is rarely used in the oryoki forms practiced in Western Zen monasteries or Zen centres.

[75] The thumb, index, and middle fingers only.

[76] Setting them out from right to left, smallest to largest.

[77] The zuhatsu (or fuhatsu)—the Buddha bowl, zukun (or ni-kun)—second bowl, san-kun—third bowl which of course emerge from the nested set in opposite order. The two smaller bowls are used only on special feast occassions; the rest of the time they are placed where the third bowl will rest so that they are out of sight. Ensure that adequate space is left between the third and second bowl to allow room for the setsu (cleaning stick) to be placed later.

[78] Pick it up from under the fukin (wipe cloth) by lifting the outer edge of the cloth inwards with the left hand, bowing forward slightly and reaching underneath and grasping the hijotai (utensil case) with the right hand, turning it so that it opens away from the body while releasing the fukin from the left hand, and transferring it to the left hand. Holding it against the centre of the chest, place the thumb of the right hand under the cleaning stick (setsu) and the index and middle fingers on top, fold the setsu up and away from the body thus opening the case. Still holding the case against the centre of the chest, bring the right hand in towards the body thus shimmying the case open and bringing the setsu tip level with the other utensils. Bring the left hand out from the body thus allowing the loose bottom of the bag to drop free. Grasp this with the right hand, thumb towards the body and placed one third of the way up from the bottom of the loose end of the case, the index and middle fingers on the opposite side from the thumb. Fold the loose end in thirds by moving the right hand up and away from the body. When this movement brings the two hands into contact, use the fourth and fifth fingers of the left hand to hold the folded end against the bottom of the case. Bring the end of the case against the chest once more.

[79] Hashi.

[80] With the right hand palm up circle around to the handles of the hashi (chopsticks), withdraw them smoothly, rotate the wrist and place them down. Repeat this gesture for the spoon.

[81] Setsu or hassatsu. A flat wooden stick about eight inches long with cloth wrapped about one end, used to scour the bowls and utensils during cleanup.

[82] With their handles brought to the left most edge of the hattan or the wrapping cloth if using a simplified set.

[83] Saba.

[84] Again, grasp the setsu lightly with the thumb underneath but palm up, the index and middle fingers on top. The setsu is removed with a smooth flipping gesture so that the cloth covered tip which was facing away from the body now faces in towards it. Smoothly place the setsu between the second and third bowls so that the handle of the setsu projects by one quarter of its length beyond the edge of the wrapping cloth.

[85] In some traditions it is placed under the wipe cloth, in others on top. In particular, if the hattan is not used it is preferable to place the case under the folded wipe cloth.

[86] Gyoko.

[87] Kyoro. The abbot kneels in seiza with the altar attendant kneeling and holding an incense censer for the offering.

[88] Keishu.

[89] I have translated this term “Bhagavat” from its Sanskrit roots as has become my custom in translations of Pali or Sanskrit texts. The roots of the word denote one who portions out shares in a treasure. I find this much less offensive than the political or exclusive quality of such conventional translations as “Lord” or “World Honoured One” which are concepts that evolved from the original meaning of the term.

[90] Shusetsu.

[91] In most oryoki traditions this chant is preceeded by Tenpatsu-no-ge. Refer to the appendix for this chant. It will of course be noticed that eleven items are listed in the chant rather than ten. This is because Dogen added the title of the Lotus Discourse ( Saddharma Pundarika sutra ), a text which he was particularly moved by.

[92] The tsuichin should be struck in the middle of each chanted line; therefore striking too soon “catches the Buddha on the foot” as the name is arising, too late and it “hits him in the face” as it goes.

[93] Shuso. Monastic leader. Often this post is used to mark the ripening of the training of a novice monk becoming a senior.

[94] The ten beneficial effects of congee (shuku): 1) healthy colour 2) provides physical strength 3) gives longevity 4) comforts bodymind 5) purifies the tongue 6) helps to detoxify the stomach and bowels 7) helps to prevent colds 8) quenches hunger 9) quenches thirst 10) strengthens excretion and urination.

[95] The three virtues: 1) light and gentle 2) pure 3) prepared correctly.

[96] The six flavours: 1) bitter 2) sour 3) sweet 4) hot 5) salty 6) tender.

[97] This monk is called the kasshiki-anja. “Kyo-han Kyo-ju” means something like “Fine food, fine broth.” The kasshiki-anja also lays out the ino's oryoki.

[98] This gesture is called shashu.

[99] Dana paramaita (fuse or dan).

 

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