SpringSesshin1
Gathering alms, Tofuku-ji temple, Kyoto, Japan, 1992.

SHOKOKU TEMPLE is in Northern Kyoto, on level ground, with a Christian college just south of it and many blocks of crowded little houses and stone-edged dirt roads north. It is the mother-temple of many branch temples scattered throughout Japan, and one of the several great temple­systems of the Rinzai Sect of Zen. Shokoku-ji is actually a compound: behind the big wood gate and tile­topped crumbling old mud walls are a number of temples each with its own gate and walls, gardens, and acres of wild bamboo grove. In the center of the compound is the soaring double-gabled Lecture Hall, silent and airy, an enormous dragon painted on the high ceiling, his eye burning down on the very center of the cut-slate floor.

Except at infrequent rituals the hall is unused, and the gold-gilt Buddha sits on its high platform at the rear untroubled by drums and chanting. In front of the Lecture Hall is a long grove of fine young pines and a large square lows-pond. To the east is a wooden bell-tower and the unpretentious gate of the Sodo, the training school for Zen monks, or Unsui. They will become priests of Shokoku-ji temples. A few, after years of za-zen (meditation), koan study, and final mastery of the Avatamsaka (Kegon) philosophy, become Roshi (Zen Masters), qualified to head Sodos, teach lay groups, or do what they will. Laymen are also permitted to join the Unsui in evening Zendo (meditation hall) sessions, and some, like the Unsui, are given a koan by the Roshi and receive regular sanzen—the fierce face­to-face moment where you spit forth truth or perish—from him. Thus being driven, through time and much za-zen, to the very end of the problem.

In the routine of Sodo life, there are special weeks during the year in which gardening, carpentry, reading, and such, are suspended, and the time given over almost entirely to za-zen. During these weeks, called sesshin, “concentrating the mind “—sanzen is received two to four times a day and hours of za-zen in the Zendo are much extended. Laymen who will observe the customs of Sodo life and are able to sit still are allowed to join in the sesshin. At Shokoku-ji, the springsesshin is held the first week of May.

The sesshin starts in the evening. The participants single-file circle into the mat-floored Central Hall of the Sodo and sit in a double row in dim light. The Roshi silently enters, sits at the head, and everyone drinks tea, each fishing his own teacup out of the deep­sleeved black robe. Then the Jikijitsu—head Unsui of the Zendo (a position which revolved among the older men, changing every six months)—reads in formal voice the rules of Zendo and sesshin, written in archaic Sino-Japanese. The Roshi says you all must work very hard; all bow and go out, returning to the Zendo for short meditation and early sleep.

At three a.m. the Fusu (another older Zenbo who is in charge of food, finances and meeting people) appears in the Zendo ringing a hand-bell. Lights go on—ten-watt things tacked under the beams of a building lit for centuries by oil lamps—and everyone wordlessly and swiftly rolls up his single quilt and stuffs it in a small cupboard at the rear of his mat, leaps off the raised platform that rings the hall, to the stone floor, and scuffs out in straw sandals to dash icy water on the face from a stone bowl. They come back quickly and sit crosslegged on their za-zen cushions, on the same mat used for sleeping. The Jikijitsu stalks in and sits at his place, lighting a stick of incense and beginning the day with the rifleshot crack of a pair of hardwood blocks whacked together and a ding on a small bronze bell. Several minutes of silence, and another whack is heard from the Central Hall. Standing up and slipping on the sandals, the group files out of the Zendo trailing the Jikijitsu—who hits his bell as he walks—and goes down the roofed stone path, fifty yards long, that joins the Zendo and the Central Hall. Forming two lines and sitting on the mats, they begin to chant sutras. The choppy Sino-Japanese words follow the rhythm of a fish-shaped wooden drum and a deep-throated bell. They roar loud and chant fast. The Roshi enters and between the two lines makes deep bows to the Buddha­image before him, lights incense, and retires. The hard-thumping drum and sutra-songs last an hour, then suddenly stop and all return to the Zendo. Each man standing before his place, they chant the Prajña-paramita-hridaya Sutra, the Jikijitsu going so fast now no one can follow him. Then hoisting themselves onto the mats they meditate. After half an hour a harsh bell­clang is heard from the Roshi’s quarters. The Jikijitsu bellows “Getout!” and the Zenbos dash out racing, feet slapping the cold stones and robes flying, to kneel in line whatever order they make it before the sanzen room. A ring of the bell marks each new entrance before the Roshi. All one hears from outside is an occasional growl and sometimes the whack of a stick. The men return singly and subdued from sanzen to their places.

Not all return. Some go to the kitchen, to light brushwood fires in the brick stoves and cook rice in giant black pots. When they are ready they signal with a clack of wood blocks, and those in the Zendo answer by a ring of the bell. Carrying little nested sets of bowls and extra-long chopsticks, they come down the covered walk. It is getting light, and at this time of year the camellia are blooming. The moss­floored garden on both sides of the walk is thick with them, banks under pine and maple, white flowers glowing through mist. Even the meal, nothing but salty radish pickles and thin rice gruel, is begun and ended by whacks of wood and chanting of short verses. After breakfast the Zenbos scatter: some to wash pots, others to mop the long wood verandas of the central hall and sweep and mop the Roshi’s rooms or rake leaves and paths in the garden. The younger Unsui and the outsiders dust, sweep, and mop the Zendo.

The Shokoku-ji Zendo is one of the largest and finest in Japan. It is on a raised terrace of stone and encircled by a stone walk. Outside a long overhang roof and dark unpainted wood—inside round log posts set on granite footings—it is always cool and dark and very still. The floor is square slate laid diagonal. The raised wood platform that runs around the edge has mats for forty men. Sitting in a three-walled box that hangs from the center of the ceiling, like an overhead crane operator, is a life-size wood statue of the Buddha’s disciple Kasyapa, his eyes real and piercing anyone who enters the main door. In an attached room to the rear of the Zendo is a shrine to the founder of Shokoku-ji, his statue in wood, eyes peering out of a dark alcove.

SpringSesshin2
Meditation, Tofuku-ji temple, Kyoto, Japan, 1992.

 

By seven a.m. the routine chores are done and the Jikijitsu invites those cleaning up the Zendo into his room for tea. The Jikijitsu and the Fusu both have private quarters, the Fusu lodging in the Central Hall and the Jikijitsu in a small building adjoining the Zendo. The chill is leaving the air, and he slides open the paper screens, opening a wall of his room to the outside. Sitting on mats and drinking tea they relax and smoke and quietly kid a little, and the Jikijitsu—a tigerish terror during the za-zen sessions—is very gentle. “You’ll be a Roshi one of these days” a medical student staying the week said to him. “Not me, I can’t grasp koans,” he laughs, rubbing his shaved head where the Roshi has knocked him recently. Then they talk of work to be done around the Sodo. During sesshin periods work is kept to a minimum, but some must be done. Taking off robes and putting on ragged old dungarees everyone spreads out, some to the endless task of weeding grass from the moss garden, others to the vegetable plots. The Jikijitsu takes a big mattock and heads for the bamboo-grove to chop out a few bamboo shoots for the kitchen. Nobody works very hard, and several times during the morning they find a warm place in the sun and smoke. At ten-thirty they quit work and straggle to the kitchen for lunch, the main meal. Miso-soup full of vegetables, plenty of rice, and several sorts of pickles. The crunch of bicycles and shouts of children playing around the bell-tower can be heard just beyond the wall. After lunch the laymen and younger Unsui return to the Zendo. More experienced men have the greater responsibilities of running the Sodo, and they keep busy at accounts, shopping, and looking after the needs of the Roshi. Afternoon sitting in the Zendo is informal—newcomers take plenty of time getting comfortable, and occasionally go out to walk and smoke a bit. Conversation is not actually forbidden, but no one wants to talk.

Shortly before three, things tighten up and the Jikijitsu comes in. When everyone is gathered, and a bell heard from the Central-Hall, they march out for afternoon sutra-chanting. The sutras recited vary from day to day, and as the leader announces new titles some men produce books from their sleeves to read by, for not all have yet memorized them completely. Returning to the Zendo, they again recite the Prajña­ paramita-hridaya Sutra, and the Jikijitsu chants a piece alone, his voice filling the hall, head tilted up to the statue of Kasyapa, hand cupped to his mouth as though calling across miles. After sitting a few minutes the signal is heard for evening meal, and all file into the kitchen, stand, chant, sit, and lay out their bowls. No one speaks. Food is served with a gesture of “giving” and one stops the server with a gesture of “enough.” At the end of the meal—rice and pickles—a pot of hot water is passed and each man pours some into his bowls, swashes it around and drinks it, wipes out his bowls with a little cloth. Then they are nested again, wrapped in their cover, and everyone stands and leaves.

It is dusk and the Zendo is getting dark inside. All the Zenbos begin to assemble now, some with their cushions tucked under arm, each bowing before Kasyapa as he enters. Each man, right hand held up before the chest flat like a knife and cutting the air, walks straight to his place, bows toward the center of the room, arranges the cushions, and  assumes  the crosslegged “half-lotus” posture. Others arrive too—teachers, several college professors, and half a dozen university students wearing the black uniforms that serve for classrooms, bars, and temples equally well—being all they own. Some enter uncertainly and bow with hesitation, afraid of making mistakes, curious to try za-zen and overwhelmed by the historical weight of Zen, something very “Japanese” and very “high class.” One student, most threadbare of all, had a head shaved like an Unsui and entered with knowledge and precision every night, sitting perfectly still on his cushions and acknowledging no one. By seven-thirty the hall is hall full—a sizeable number of people for present-day Zen sessions—and the great bell in the bell-rower booms. As it booms the man tinging it, swinging a long wood beam ram, sings out a sutra over the shops and homes of the neighborhood. When he has finished, the faint lights in the Zendo go on and evening za-zen has begun.

The Jikijitsu sits at the head of the hall, marking the half-hour periods with wood clackers and bell. He keeps a stick of incense burning up beside him, atop a small wood box that says “not yet” on it in Chinese. At the end of the first half-hour he claps the blocks once and grunts “kinhin.” This is “walking za-zen,” and the group stands—the Unsui tying up sleeves and tucking up robes—and at another signal they start marching single file around the inside of the hall. They walk fast and unconsciously in step, the Jikijitsu leading with a long samurai stride. They circle and circle, through shadow and under the light, ducking below Kasyapa’s roost, until suddenly the Jikijitsu claps his blocks and yells “Getout!”—the circle broken and everyone clashing for the door. Night sanzen. Through the next twenty minutes they return to resume meditation—not preparing an answer now, but considering the Roshi’s response.

Zazen is a very tight thing. The whole room feels it. The Jikijitsu gets up, grasps a long flat stick and begins to slowly prowl the hall, stick on shoulder, walking before the rows of sitting men, each motionless with eyes half­closed and looking straight ahead downward. An inexperienced man sitting out of balance will be lightly tapped and prodded into easier posture. An Unsui sitting poorly will be without warning roughly knocked off his cushions. He gets up and sits down again. Nothing is said. Anyone showing signs of drowsiness will feel a light rap of the stick on the shoulder. He and the Jikijitsu  then bow to each other, and the man leans forward to receive four blows on each side of his back. These are not particularly painful—though the loud whack of them can be terrifying to a newcomer—and serve to wake one well. One’s legs may hurt during long sitting, but there is no relief until the Jikijitsu rings his bell. The mind must simply be placed elsewhere. At the end of an hour the bell does ring and the second kin­hin begins—a welcome twenty minutes of silent rhythmic walking. The walking ends abruptly and anyone not seated and settled when the Jikijitsu whips around the hall is knocked off his cushion. Zen aims at freedom but its practice is disciplined.

SpringSesshin3
Zen retreat for laypersons, Tofuku-ji temple, Kyoto, Japan, 1992.

 

Several Unsui slip out during kin­hin. At ten they return—they can be heard coming, running full speed down the walk. They enter carrying big trays of hot noodles, udon, in large lacquer bowls. They bow to the Jikijitsu and circle the room setting a bowl before each man; giving two or even three bowls to those who want them. Each man bows, takes up chopsticks, and eats the noodles as fast as he can. Zenbos are famous for fast noodle-eating and no one wants to be last done. As the empty bowls are set down they are gathered up and one server follows, wiping the beam that fronts the mats with a rag, at a run. At the door the servers stop and bow to the group. It bows in return. Then one server announces the person—usually a friend or patron of the Sodo—who footed the bill for the sesshin noodles that night. The group bows again. Meditation is resumed. At ten-thirty there is another rest period and men gather to smoke and chat a little in back. “Are there really some Americans interested in Zen?” they ask with astonishment—for their own countrymen pay them scant attention.

At eleven bells ring and wood clacks, and final sutras are chanted. The hall is suddenly filled with huge voices. The evening visitors take their cushions and leave, each bowing to the Jikijitsu and Kasyapa as he goes. The others flip themselves into their sleeping quilts immediately and lie dead still. The Jikijitsu pads once around, says “Take counsel of your pillow” and walks out The hall goes black. But this is not the end, for as soon as the lights go out, everyone gets up again and takes his sitting cushion, slips outside, and practices za-zen alone wherever he likes for another two hours. The next day begins at three a.m.

This is the daily schedule of the sesshin. On several mornings during the week, the Roshi gives a lecture (teisho) based on some anecdote in the Zen textbooks—usually from Mumonkan or Hekiganroku. As the group sits in the Central Hall awaiting his entrance, one Zenbo stands twirling a stick around the edge-tacks of a big drum, filling the air with a deep reverberation. The Roshi sits crosslegged on a very high chair, receives a cup of tea, and delivers lectures that might drive some mad—for he tells these poor souls beating their brains out night after night that “The Perfect Way is without difficulty” and he means it and they know he’s right.

In the middle of the week everyone gets a bath and a new head shave. There is a Zen saying that “while studying koansyou should not relax even in the bath” but this one is never heeded. The bath-house contains two deep iron tubs, heated by brushwood fires stoked below from outside. The blue smoke and sweet smell of crackling hinoki and sugi twigs, stuffed in by a fire­tender, and the men taking a long time and getting really clean. Even in the bath-house you bow—to a small shrine high on the wall—both before and after bathing. The Jikijitsu whets up his razor and shaves heads, but shaves his own alone and without a mirror He never nicks himself any more.

On the day after bath they go begging (takahatsu). It rained this day, but putting on oiled-paper slickers over their robes and wearing straw sandals they splashed out. The face of the begging Zenbo can scarcely be seen, for he wears a deep bowl-shaped woven straw hat. They walk slowly, paced far apart, making a weird wailing sound as they go, never stopping. Sometimes they walk for miles, crisscrossing the

little lanes and streets of Kyoto. They came back soaked, chanting a sutra as they entered the Sodo gate, and added up a meagre take. The rain sluiced down all that afternoon making a green twilight inside the Zendo and a rush of sound.

The next morning during tea with the Jikijitsu, a college professor who rents rooms in one of the Sodo buildings came in and talked of koans. “When you understand Zen, you know that the tree is really there.”—The only time anyone said anything of Zen philosophy or experience the whole week. Zenbos never discuss koans or sanzen experience with each other.

The sesshin ends at dawn on the eighth day. All who have participated gather in the Jikijitsu’s room and drink powdered green tea and eat cakes. They talk easily, it’s over. The Jikijitsu, who has whacked or knocked them all during the week, is their great friend now—compassion takes many forms.

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