Dharma Mirror: Manual of Practice Forms

272 Pages·2010·7.99 MB·English

MAN U A LO F PRACTICE FORMS
Compiled and edited by
Merrie Fraser JDPSN
The Kwan Urn School. of Zen
www.kwanurilzen.org
© 1994
The Kwan Urn School of Zen
99 Pound Road
Cumberland, RI 02864 USA
(401) 658-1476
Fax (401) 658-1188
Internet [email protected]
Printed in the United States of America
I'
Contents i
DHARMA MIRROR TABLE OF CONTENTS
STATEMENT OF MISSION . '. vi
ACKNOWLEDGEMENTS vi
SYMBOL KEY vii
I. LIVING THE PRACTICE . 1.1
Living in a Zen Center 1.1
Wake Up and Morning Practice 1.1
Meal Time . .. 1.2
Work Period . . . . 1.3
Rooms, personal space 1.3
. .
Evening Practice 1.4
.
Long Evening Sitting 1.5
House Meeting . . . 1.5
Long House Meeting 1.5
Special Talks . . . 1.6
Living in the Community at Large 1.6
:II. ZEN CENTER ORGANIZATION · 2.1
Guiding Teacher 2.1
Abbot 2.1
Bookkeeper . . . . 2.2
Marketing & Publicity Coordinator 2.2
Do Gam ..... · 2.3
Maintenance 2.3
House Master (see listing below) 2.3
Director . . . . . ~ 2.3
Secretary ... . 2.4
.
Book Librarian · 2.4
Tape Librarian 2.4
Photograph Librarian 2.4
Photographer 2.4
Historian .. . 2.4
Artist ... . 2.4
Head Dharma Teacher 2.4
Moktak Master . 2.5
Evening Bell person 2.5
Morning Bell person 2.5
Temple Bell person 2.5
Housemaster . . . . . . 2.6
Kitchen Master 2.6
Garden Master 2.6
Guest Master 2.6
Sewing Master 2.7
III. RETREATS 3.1
Retreat Etiquette 3.1
Yong Maeng Jong Jin 3.4
Work Yong Maeng Jong Jin 3.6
Kido ....... . 3.6
contents ii
Kyol Che ••••• .3.8
Solo Retreats .3.9
"I.
IV. CEREMONIES ••• . .. . ....... • 4.1
Introduction .... .4.1
New Year's Midnight Practice .4.2
....
New Year's .C.e.r.e.m.o..n.y. •.•.•.•.•. . • 4.4
Skits ••• .4.6
Buddha's Birthday • 4.7
Zen Master Seung Sahn's Birthday .4.9
....
Buddha's Enlightenment Day 4.11
Ceremony ••••••••.••••••••••• . . .... 4.13
Precepts Ceremony .•••••••••• 4.14
,
Ji Do Poep Sa Certification Assembly 4.25
Ceremony to Give Back precepts ••• 4.28
Opening Ceremony For a Zen Center 4.30
.
Installation of an Abbot 4.32
.' . .... .' .
Repentance Ceremony •• 4.34
Marriage Ceremony ••••• 4.36
100-DayBaby Ceremony 4.45
Kyol Che Ceremonies 4.46
Man Cham ••••••••. 4.50
Memorial Ceremony •• 4.53
Installation of a Guiding Teacher 4.63
V. CHANTING ••••••••• .5.1
General Conunents .5.1
Special Forms •.•• .5.1
Chanting Combinations .5.2
Morning Bell Chant •••• .5.3
Evening Bell Chant 5.9
Homage To The-Buddhas 5.10
Ten Great Vows ••••• .5.14
Korean Heart Sutra. 5.16
English Heart Sutra .5.17
Great Dharani .5.18
Four Bodhisattva Vows 5.20
Thousand Eyes and Hands Sutra .5.22
Kwan Seum Bosal Chanting 5.32
Ji Jang Bosal Chanting 5.36
Sogamuni Bul Chanting. 5.40
Man Cham Chants ••••.••• .5.45
precepts Ceremony Mantras 5.48
Namu Amita Bul Chanting .5.50
. ..
VI. FORMS ••• 6.1
Rhythms 6.3
Moktak Single Roll 6.3
5-minute Moktak •••• 6.3
Moktak Double Roll .6.3
Work Bell •••••..••• 6.3
Opening Bell/wake-up Bell 6.3
Temple Bell ..... 6.3
Dinner Bell 6.3
Hands. 6.4
Contents iii
Hapchang 6.4
Sitting Mudra . 6.5
Meditation Beads 6.6
Bows 6.7
Greeting Bow 6.7
Full Standing Bow 6.8
Sitting Bow . 6.9
Half Prostration 6.10
Prostrations 6.11
Meditation . . . . . . 6.14
Mind Practices 6.14
Keeping a Question 6.14
Mantra Practice 6.14
Kong-an Practice 6.15
Chanting ... 6.16
Prostrations . 6.16
Clear Mind . 6.16
Sitting Meditation 6.17
Standing Meditation 6.19
Walking Meditation 6.20
Formal Meals . . 6.23
Interviews . . . 6.30
Zen Masters and Ji Do Poep Sas 6.30
Bodhisattva and Senior Dharma Teachers 6.31
Dharma Room 6.33
Altar ... 6.34
Altar Description . 6.34
Approaching 6.35
Leaving 6.35
Chugpi ... 6.39
Hitting 6.39
Sitting 6.39
Getting the Chugpi from Altar 6.39
Returning the Chugpi to Altar 6.40
Walking .. 6.40
Moktak .... 6.41
Bells . . . . 6.44
Temple Bell 6.44
Dharma Room Bell 6.44
Wake-up Bell 6.45
Altar Bell 6.45
Dinner Bell 6.46
Meditation Stick 6.47
Getting the Stick 6.47
Walking with the stick 6.48
Returning the Stick . . 6.48
Hitting with the Stick 6.49
passing the Stick . . 6.51
stick at end of YMJJ 6.52
Robes . . . . . . . . 6.54
Introduction 6.54
Caring for your robes ·6.54
Bowing Robe . . 6.55
Dharma Teacher Robe . 6.58
Small Kasa . . . 6.6].
Layman's Ceremony Kasa 6.62
Contents iv
Monk's Kasa .... 6.64
Arrangement of Mats 6.66
Regular Meditation 6.66
General Ceremony 6.67
Conference . 6.68
Hierarchy within a Zen Center 6.69
Robe and Bowl Order 6.71
Dharma Room 6.72
APPENDICES . . . . . A.O
KWAN UM SCHOOL OF ZEN LINEAGE A.l
TALKS AND SPEECHES . . . A.3
Introductory Dharma Talk A.3
Short Talks . .. . .. ',. '. A.3
Dharma Speech A.4
TEMPLE RULES A.S
MANTRAS ... A.9
DHARMA PLAY A.12
KWAN UM SCHOOL OF ZEN ORGANIZATION A.1S
MAKING PRECEPTS WICKS A.18
PRECEPTS . . . . . . . . . . . . A.19
Five Precepts . . . . . . . A.19
Dharma.Teachers in Training A.19
Senior Dharma Teachers A.19
Bodhisattva Dharma Teachers A.20
Novice Monks and Nuns . . . A.22
Monks and Nuns . . . . . . A.23
MORNING BELL CHANT TUNE DIAGRAM A.2S
PRE-REQUISITES FOR PRECEPTS A.31
Five Precepts . . . . . . . A.31
-Dharma Teacher in Training and Haeng Ja A.31
Full Dharma Teacher . A.32
Novice Monks and Nuns . -. . A.32
Senior Dharma Teacher . . . A.33
Bodhisattva Dharma Teachers A.34
Full Monk or Nun A.34
JiDo Poep Sa ..... A.3S
Zen Master . . . . . . A.3S
ETHICS FOR THE ENTIRE SANGHA A.3.7
.
INDEX . .. Idx.l
.
Introduction v
(Page deliberately left blank)
Introduction vi
STATEMENT OF M~SS~ON
The main purpose of this Dharma Mirror is to provide a
reference manual for all the students in our school. This will
enable us to keep the forms standard from one Zen Center to
another and serve as a final reference on chanting,
organization and form.
The new version is written as a reference manual (all the
things you wanted to know, etc .... ) and will be put out in
loose-leaf form so that changes (or new information) can be
sent out at future times. The idea was to put in enough detail
so that a lone Dharma Teacher could set up a Zen Center if they
wanted to.
ACKHOWLEDGEMEN'l'S
Most of the information in this new version of the Dharma
Mirror edition is from the old Dharma Mirror and from my
knowledge of practice and practice style having been a Zen
Center resident for 12 years. However, other people have
contributed to the editing and explanations in areas where I
had no knowledge such as family practice, some ceremony
functions and translations of chants. To that end, I would
like to thank J.W. Harrington and Richard Strei tfeld who
smoothed the way on a daily basis, Richard Shrobe JDPS who
read through the first draft and sent me a list of changes,
Jacob Perl JDPS who always seemed to be there at the moment I
was going to make a glaring error on the final draft, and Mu
Ryang SN who shared his knowledge of Korean and Chinese while
at PZC for the Buddha'S Birthday YMJJ in April of 1991.
Many good suggestions also came from the Dharma Teacher
Conference in Cambridge in the Spring of 1990. Some of the
explanations of form were taken from the interview with Dae
Soen Sa Nim that was published in Primary Point in October
1989. Some of the comments on family practice were from an
interview with Dae Soen Sa Nim in Primary Point in June 1989.
I would especially like to thank Dae Soen Sa Nim for his
patience in enduring the many questions I asked concerning
some of the forms and ceremonies. .
In the future, adding actual music to the chants is one
of the planned additions to this manual. If anyone would like
to see other items added, I can be reached at:
Providence Zen Center
RFD 5, 99 Pound Road
Cumberland, RI 02864
Merrie Fraser
Benior Dharma Teacher
May 1991
Introduction vii
SYMBOL KEY
The following is a list of special symbols found through-out
this document. They are embedded in the chants to give
guidance on moktak, bell, chug-pi and bowing forms. Note that
all rolls have the same rhythm as a bouncing ball regardless of
whether you are using the bell or the moktak.
R - Moktak roll (slow to quick, loud to soft)
H - Moktak hit
H. - 'Moktak hit with an' " echo' (·an' extra' bounce)
8 - Moktakdoublehit
Q-. Moktak.quick hit, (usually, paired;and:mat.ching. the
chant)
The other, instruments" are basically the' .sameas:the.,-moktak, but
there are prefixes to identify the instrument.
bR - Bell roll (slow to quick, loud to soft)
brR - Bell Reverse roll (quick to slow, soft to loud)
bH - Bell hit
b8 - Bell double hit
d - Hand-bell hit (short ring)
wH -Wood hit (on floor or bell stand)
w8 - Wood double hit
cH - Chug-pi hit
The symbols for the bows are broken out in finer detail so that
·theaction can· becoordina ted with the instrument being played :
aB - Standing bow
iB Sitting bow
P - Prostration
hP - Half Prostration
K -Kneeling on heels
S - Stand up
- (signals duration of position)
. Using the . above notation, the 5-minute moktak would be coded:
8H. R_ __ H. H. SH.
The double roll (and accompanying bow) at the beginning of a
chant would be:
R ___ R ___ H. H.
aB_ _
Introduction viii
Page deliberately left blank