The microphone technique and microphones used are going to have the biggest influence on the sound of your recordings. I suggest optimizing those things before focusing your energies elsewhere. The recorder is much further down the list of things which matter most, mostly playing a support roll. Your Zoom H6 should suffice, and with 4 external inputs plus it's X/Y mic you are well covered with sufficient inputs.
You'll need to find an appropriate balance of achieving the sound you want while doing so in a practical, easily managed, and non-intrusive way.
My first inclination is to treat this like mic'ing a percussionist with a pair of spaced overhead mics. To my way of thinking, this music is all about envelopment and space, movement and resonance, rather than sharply defined, dry pinpoint-stereo imaging, and those attributes will be best conveyed by mic techniques which use space between the microphones. Some phase interaction here is going to be desirable in conveying a sense of "tangible there-ness". Simplest will be two mics suspended overhead, spaced apart so as to have approximately equal pickup of the the bowls to either side. Basically just above and a foot or two away from either side of your head, and out as far in front of the gongs as from the bowls on the floor. That will achieve a natural live sounding ambience as well as an even stereo pickup of all sound sources, including the flute, your chanting and whatever else you choose to do. Omnidirectional mics will be best for this, assuming the room sounds decent. Cardioid mics facing downwards can work if the room doesn't sound good or there are loud vents at the ceiling, but will not sound as big, full, enveloping, live and natural, and are not as easily placed. You can of course use mic stands for this, but I'd consider two telescopic or articulating arms clamped to the top bars or uprights of your gong support structures. That's going to be less cluttered, gets the wires out of the way, and opens space for your free movement during the performance.
I'd like to try three omnis in a Decca-tree like arrangement overhead. That's a traditional technique used for classical recording using three overhead omnis in a triangle formation. The 3rd mic positioned at the central vertex of the triangle is mixed to both channels equally, filling out the center. For large scale orchestra recording it's a largish triangle placed above the conductor's head pointing towards the back of the orchestra. In this case I'd turn the triangle around from that typical orientation so the base of the triangle is toward the gongs and the apex is slightly out in front of you, and should clearly capture the flute, your chanting and any dialog, and the sources out in front.
But because suspending that third mic overhead would be a hassle, I think I'd combine the spaced overhead omni pair with the Zoom X/Y mic placed just out in front and facing back towards you. That needn't be high above looking down, it could be relatively low to the floor, just not overly close to the bowls immediately around it. You'd then have even pickup of all sound sources around you, achive a deep, wide and enveloping ambience from the spaced overhead mics, and a solid upfront and clear center image from the X/Y mics in front. You'll gain good control over balance and depth afterwards via adjusting level balance and eq between the overheads and the X/Y.
Your Rodes are good quality large diaphragm cardioid mics, and you can use them to try out these ideas before buying other gear, but I'd take a look at some small diaphragm omnis or subcardioids. Their small size will make them much easier to mount and suspend where you want them, and the small diaphragm size also makes for better ambient pickup of sound arriving from off-axis. Plus your recording kit will be significantly lighter and smaller, and you've got alot of stuff to carry already. There are numerous mics that would work well. A couple which come to mind are the Line Audio OM1 (omni) and CM3 (cardioid, yet really more of a sub-cardioid, which is probably a good choice for this). I've not used them, but they sound very nice on recordings I've heard, are inexpensive and are very small, being not much larger than an XLR connector.
Grab a couple Superclamps and articulated or telescopic extension arms (search for "clamping" threads here at taperssection for option details, or we can point you to them) and give the spaced overhead idea a try using your Rodes, with the X/Y Zoom mic out in front front facing you. I expect that will work nicely and should be pretty easily manageable.