▁as ▁opposed ▁to ▁z az en , ▁which ▁is ▁med itation ▁through ▁quiet ▁sitting ▁as ▁pract iced ▁by ▁most ▁Z en ▁follow ers . ▁Liter ally ▁meaning ▁" b low ing ▁Z en ", ▁su izen ▁pieces ▁( known ▁as ▁hon ky oku ) ▁prior it ized ▁precise ▁breath ing ▁control ▁as ▁a ▁function ▁of ▁Z en ▁mind ful ness ▁and ▁many ▁were ▁designed ▁to ▁be ▁played ▁in ▁time ▁with ▁a ▁mon k ' s ▁foot steps ▁as ▁he ▁march ed ▁long ▁distances ▁on ▁pil gr image . ▁As ▁Fu ke ▁Z en ▁increased ▁in ▁popular ity ▁through ▁the ▁S eng oku ▁Period , ▁groups ▁of ▁basket - head ed ▁kom us ō ▁playing ▁for ▁hours ▁on ▁street ▁corners ▁or ▁wand ering ▁the ▁road ways ▁on ▁pil gr images ▁became ▁a ▁common ▁sight . ▁ ▁Tra vel ▁around ▁Japan ▁was ▁heavily ▁restricted ▁by ▁the ▁Ash ik aga ▁sh og un ate ▁during ▁this ▁reb elli ous ▁era , ▁but ▁the ▁Fu ke ▁sect ▁managed ▁to ▁wr angle ▁a ▁rare ▁exem ption ▁from ▁the ▁Sh ō gun , ▁since ▁their ▁spiritual ▁practice ▁demanded ▁a ▁m end ic ant ▁l ifest yle ▁of ▁constant ▁pil gr image , ▁med itative ▁sh ak uh achi ▁playing ▁and ▁begg ing ▁for ▁al ms ▁( one ▁famous ▁song ▁reflect s ▁this ▁m end ic ant ▁tradition , ▁" Hi ▁fu ▁mi , ▁ha chi ▁ga es hi ", ▁" One ▁two ▁three , ▁pass ▁the ▁al ms ▁bow l "). ▁They ▁persu aded ▁the ▁Sh ō gun ▁to