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Religious habit

Distinctive clothing worn by members of a religious order

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Through Clothing

Uniformity and distinctiveness by order often evolved and changed over time. Interpretation of terms for clothes in religious rules could change over centuries. Furthermore, every time new communities gained importance in a cultural area the need for visual separation increased for new as well as old communities. Thus, modern habits are rooted in historic forms, but do not necessarily resemble them in cut, color, material, detail or use.

In Christian monastic orders of the Catholic, Lutheran and Anglican Churches, the habit often consists of a tunic covered by a scapular and cowl, with a hood for monks or friars and a veil for nuns; in apostolic orders it may be a distinctive form of cassock for men, or a distinctive habit and veil for women. Catholic Canon Law requires only that the garb of their members be in some way identifiable so that the person may serve as a witness of the Evangelical counsels.

In many orders, the conclusion of postulancy and the beginning of the novitiate is marked by a ceremony, in which the new novice is accepted as a novice and then clothed in the community's habit by the superior. In some cases the novice's habit will be somewhat different from the customary habit: for instance, in certain orders of women that use the veil, it is common for novices to wear a white veil while professed members wear black, or if the order generally wears white, the novice wears a grey veil. Among some Franciscan communities of men, novices wear a sort of overshirt over their tunic; Carthusian novices wear a black cloak over their white habit.

Buddhism

Kāṣāya (Sanskrit: काषाय, romanized: kāṣāya; Pali: kasāva; Chinese and Japanese: 袈裟; pinyin: jiāshā; Cantonese Jyutping: gaa1saa1; rōmaji: kesa; Korean: 袈裟 가사; romaja: gasa; Vietnamese: cà-sa), "chougu" (Tibetan) are the robes of Buddhist monks and nuns, named after a brown or saffron dye. In Sanskrit and Pali, these robes are also given the more general term cīvara, which references the robes without regard to color.

Origin and construction

Buddhist kāṣāya are said to have originated in India as set of robes for the devotees of Gautama Buddha. A notable variant has a pattern reminiscent of an Asian rice field. Original kāṣāya were constructed of discarded fabric. These were stitched together to form three rectangular pieces of cloth, which were then fitted over the body in a specific manner. The three main pieces of cloth are the antarvāsa, the uttarāsaṅga, and the saṃghāti. Together they form the "triple robe", or tricīvara. The tricīvara is described more fully in the Theravāda Vinaya (Vin 1:94 289).

Uttarāsaṅga

A robe covering the upper body. It is worn over the undergarment, or antarvāsa. In representations of the Buddha, the uttarāsaṅga rarely appears as the uppermost garment, since it is often covered by the outer robe, or saṃghāti.

Saṃghāti

The saṃghāti is an outer robe used for various occasions. It comes over the upper robe (uttarāsaṅga), and the undergarment (antarvāsa). In representations of the Buddha, the saṃghāti is usually the most visible garment, with the undergarment or uttarāsaṅga protruding at the bottom. It is quite similar in shape to the Greek himation, and its shape and folds have been treated in Greek style in the Greco-Buddhist art of Gandhāra.

Additions

Other items that may have been worn with the triple robe were:

  • a waist cloth, the kushalaka
  • a buckled belt, the samakaksika

Kāṣāya in Indian Buddhism

In India, variations of the kāṣāya robe distinguished different types of monastics. These represented the different schools that they belonged to, and their robes ranged widely from red and ochre, to blue and black.

Between 148 and 170 CE, the Parthian monk An Shigao came to China and translated a work which describes the color of monastic robes utilized in five major Indian Buddhist sects, called Dà Bǐqiū Sānqiān Wēiyí (Ch. 大比丘三千威儀). Another text translated at a later date, the Śariputraparipṛcchā, contains a very similar passage corroborating this information, but the colors for the Sarvāstivāda and Dharmaguptaka sects are reversed.

In traditions of Tibetan Buddhism, which follow the Mūlasarvāstivāda Vinaya, red robes are regarded as characteristic of the Mūlasarvāstivādins. According to Dudjom Rinpoche from the tradition of Tibetan Buddhism, the robes of fully ordained Mahāsāṃghika monastics were to be sewn out of more than seven sections, but no more than twenty-three sections. The symbols sewn on the robes were the endless knot (Skt. śrīvatsa) and the conch shell (Skt. śaṅkha), two of the Eight Auspicious Signs in Buddhism.

Jiāshā in Chinese Buddhism

In Chinese Buddhism, the kāṣāya is called gāsā (Ch. 袈裟). During the early period of Chinese Buddhism, the most common color was red. Later, the color of the robes came to serve as a way to distinguish monastics, just as they did in India. However, the colors of a Chinese Buddhist monastic's robes often corresponded to their geographical region rather than to any specific schools. By the maturation of Chinese Buddhism, only the Dharmaguptaka ordination lineage was still in use, and therefore the color of robes served no useful purpose as a designation for sects, the way that it had in India.

Kesa in Japanese Buddhism

In Japanese Buddhism, the kāṣāya is known as the kesa (袈裟). In Japan, during the Edo and Meiji periods, kesa were sometimes pieced together from the theatrical kimono used in Noh theatre.

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