Tuesday, September 16, 2014
Zatoichi
It embodies in a short visual piece what Bushido is - as an essence in my opinion at least.
Sunday, September 14, 2014
Saturday, September 13, 2014
Ten Verse Kannon Sutra
Hachiman War Drum
Hachiman
The name means "God of Eight Banners", referring to the eight heavenly banners that signaled the birth of the divine Emperor Ōjin. His symbolic animal and messenger is the dove.
Since ancient times Hachiman was worshiped by peasants as the god of agriculture and by fishermen who hoped he would fill their nets with much fish. In Shinto, he became identified by legend as the Emperor Ōjin, son of Empress Jingū, from the 3rd–4th century of the Common Era.
After the arrival of Buddhism in Japan, Hachiman became a syncretistic deity, fusing elements of the native kami worship with Buddhism (shinbutsu shūgō). In the Buddhist pantheon in 8th century AD, he became Hachiman Great Bodhisattva or Hachiman Daibosatsu.
Throughout the Japanese medieval period, the worship of Hachiman spread throughout Japan among not only samurai, but also the peasantry. So much so was his popularity that presently there are 25000 Shinto shrines in Japan dedicated to Hachiman, the second most numerous after shrines dedicated to Inari. Usa Shrine in Usa, Oita prefecture is head shrine of all of these shrines and together with Iwashimizu Hachiman-gū, Hakozaki-gū and Tsurugaoka Hachiman-gū, are noted as the most important of all the shrines dedicated to him.
The crest of Hachiman is in the design of a mitsudomoe, a round whirlpool or vortex with three heads swirling right or left.
Inari Ōkami
Represented as female, and later by Buddhists as male or androgynous, Inari is sometimes seen as a collective of three or five individual kami. Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 AD, although some scholars believe that worship started in the late 5th century.
Inari’s themes are death, kinship, ghosts, fertility and love. Her symbols are foxes, rice and the color red. Among the Japanese, Inari is invoked to bring a long life, blood-red being her sacred color. In death, She guides and protects faithful kami or spirits.
Represented as a fox, Inari also has strong correlations with love, an emotion that survives even the grave. Rice is a common offering for Inari, as it is a crop to which she brings fertility.
The Obon is a festival for the dead in Japan, where people hold family reunions and religious rituals to honor their departed ancestors and dance to comfort the spirits.
Obon is held on August 15th or the 15th day of the 7th lunar month. Inari is the figure known in classical Japanese mythology as Ukanomitama or the Kojiki‘s Ōgetsu-Hime; others suggest Inari is the same figure as Toyouke.
Some take Inari to be identical to any grain kami. Inari’s female aspect is often identified with Dakiniten, a Buddhist deity who is a Japanese transformation of the Indian dakini or with Benzaiten of the Seven Lucky Gods.
Friday, September 12, 2014
Shugendo
With its origins in the solitary practitioners (hijiri) in the 7th century, Shugendo evolved as a sort of amalgamation between Vajrayana, Shinto and several other religious influences including Taoism. Buddhism and Shinto were amalgamated in shinbutsu-shugo and Kukai's syncretic view held wide sway up until the end of the Edo period, coexisting with indigenous elements within Shugendo.
In 1613 during the Edo period, the Tokugawa shogunate issued a regulation obliging Shugendo temples to declare allegiance either to Shingon Buddhism or Tendai. During the Meiji Restoration, when Shinto was declared an independent state religion separate from Buddhism, shugendo was banned as a superstition not fit for a new, enlightened Japan. Some Shugendo temples converted themselves into various officially approved Shinto denominations.
In modern times, shugendo is practiced mainly in Tendai and Shingon temples, retaining an influence on modern Japanese religion and culture. Some temples include Kimpusen-ji in Yoshino (Tendai), Ideha Shrine in the Three Mountains of Dewa and Daigo-ji in Kyoto (Shingon).
Those who practice shugendo are referred to in two ways. One term, shugenja (???), is derived from the term shugendo, literally meaning "a person of training and testing", i.e. "a person of shugen." The other term, yamabushi, means "one who lies in the mountains". Supernatural creatures often appeared as yamabushi in Japanese myths and folklore, as is evident in tales of the legendary warrior monk Saito Musashibo Benkei and the deity Sojobo, king of the tengu (mountain spirits). Shugendo practitioners are the most direct lineage descendants of the ancient Koya Hijiri monks of the eight and ninth centuries.
Modern shugenja in Japan and throughout the world are known to self-actualize their spiritual power in experiential form through challenging and rigorous ritualistic tests of courage and devotion known as shugyo. Pilgrimages involving mountain treks are embarked upon by shugenja and, through the experience of each trek, as well as years of study, "rank" is earned within the sect. The rituals are kept secret from the neophyte shugenja and the world at large. This denju ensures the true faith of the neophytes and maintains the fear of the unknown as they embark upon the journey. This secrecy was also borne out of previous episodes of persecution and oppression of shugenja as a threat to the ruling military hegemony. Many modern shugenja maintain the practice of relative anonymity in their daily lives.
Dai Kongou In
It is a part of the daily practice of the majutsushi or magic practitioner.
The Dai Kongou is to put it in other terms akin to a "bindrune" of sorts.
It is meant to be drawn by the practitioner. Of course one can use a printout to get started.
It also helps to define each kanji symbol. I have included an illustration of it.
The left and right columns are labeled - the center column is the Dai Kongou formula.
The Dai Kongou practice consists in invoking various spiritual forces and concepts that have been previously empowered in the user.
Anyone can do the practice of the Dai Kongou In, without implicating themselves in the learning process of all its components. There are great benefits gained simply by chanting the Dai Kongou mantra, while thinking about its basic interpretation.
However, the practitioner that learns and practices the nine kuji-in, the four couscious states and the five elements, will not only gain blessings. They will also develop subtle abilities of various intensity and effect, depending on each person and the level of their implication.
Dai Kongou is also the name of the mantra. Dai Kongou In is the name of the seal, the image with many Japanese kanji. When someone only chants the mantra with no seal, you are practicing Dai Kongou. When someone chants the mantra in front of the seal, contemplating its various aspects, we say that he is practicing Dai Kongou In.
The mantra is: Dai Kongou Butsu Shiyou.
It means: Great Indestructible Buddha Radiation.
The simple recitation of this mantra brings subtle blessings to the user, even without understanding the mechanics behind it, if the user simply knows the meaning of the mantra. Of course it is better one chants the Dai Kongou, with voice or simply kept in mind.
A more efficient practice is when the user also learns the basic meaning of all the symbols, and practices daily in front of a seal.
Thursday, September 11, 2014
Buddhist Magick Ritual
Throughout most of the history of Buddhism magic and spellwork has been practiced.
The Buddhist canon contains many spells.
Not just Tibetan Buddhism, but Hindu, Chinese, Japanese monks have all mixed potions and cast spells.
And such spellwork is not just within the sects of tantric Buddhism. Spells were being cast by Buddhists long before the tantras appeared. Indeed, the recitation of verses against disease or evil spirits goes right back to the beginnings of Buddhism. Mantras are found in the texts of the Sarvāstivadin sect and in the paritta texts of the Theravadins.
Spells are written to be used, of course, so it is interesting to look at an actual book of spells written by a Buddhist monk – one of the 9th or 10th century so-called Dunhuang manuscripts.This is the ritual manual of Bhikṣu Prajñāprabhā. I will give a link to the online archive of the document.
So what’s in it? Just one of the rituals allows the adept to cast spells for the following purposes:
If you want a prophecy
To bring demons under your power
To pacify malignant people
To overcome wild animals
To cause a spring to come forth to alleviate thirst
To sharpen your insight
To create various valuable objects
To find a treasure
To cure an illness
To cure a severe illness up to the point of death
To cure an illness-ghost with a trap
To cut off curses and bad births
To reverse water, making it flow upwards
To make it flow downhill again
To cure madness
To avoid being bitten by a dog
To divide two lovers
To reconcile two friends
If you are unable to talk to others
If you want to be friendly with another person
To bind someone
This list gives us an idea of the many needs of ordinary people that could be addressed by the monk magician. Then there are the more complicated rituals that accomplish a single aim, like:
A fire puja also called homa or goma, is a purification rite. Fire pujas are found in many religious traditions in India, and they travelled with Buddhism to Tibet, China and Japan. In this spell the monk throws metal filings into the fire nine times – causing a dramatic series of flashes. Then five ritual daggers are stabbed into the ground.
Thread-winding magic for “men with obstructed water” and “women with inverted wombs.” The monk knots and unknots the red thread several times while reciting mantras. In the end the thread is flung into the road – just as in the traditional Tibetan way of disposing of the thread cross.
A barley frog. People suffering from joint problems, swellings and the like were often thought to be afflicted by water spirits called Lu - a Tibetan cousin of the Indian Naga. In this ritual, barley flour is molded into the shape of a frog. Then a cavity is made in the top of the frog with a bamboo stick, and a special ointment prepared in the cavity. The ointment is then applied to the afflicted person’s body. The barley frog is then checked to determine the success of the ritual:
"Lift up the frog, and if a golden liquid emerges from under it, they will definitely recover. If it is merely moist, then they will recover before too long. If there is only meat with gluey flour, they will be purified by the end of the illness. It is not necessary to do the ritual again. If there is only gluey flour, break it up and do the ritual again."
Prasena divination. This special kind of divination involves calling down a deity to answer questions put to it. In the ritual in this spell book the deity is called “the sky-soarer” or the Khyung (a Tibetan cousin of the Indian Garuda). Though such rites of spirit-possession might seem “shamanic” they are described in Indian scriptures like the Amoghapāśa Sutra and the Questions of Subāhu, and prasena is apparently an Indian word, though it is not certain what the term means precisely.
Prasena (often simply known as “pra”) has a long a fascinating history in Tibet.
In the Bhikṣu Prajñāprabhā, it seems that a certain level of spirtual attainment is necessary for the spells to be effective.
And at the end of the spell book everything is tied back into the great themes of Buddhism with a prayer to the Mañjuśrī, the bodhisattva of wisdom:
In the supremely precious, jewelled land of Ultimate Emanated Bliss
The realm radiantly coloured like stainless gold
The youth with five locks is lovely to behold.
By making offerings and inviting this supreme spiritual friend
I pray that he will come because of his kindness for this place
And carry out the accomplishment of this adept’s rituals:
“I have been blinded by the net of darkness
Mañjuśrī come near and treat me with kindness.
Your discernment, like the fire at the end of an aeon
Clears away the mere appearance of darkness in the mind;
Please bestow it upon me.”
The Buddhist canon contains many spells.
Not just Tibetan Buddhism, but Hindu, Chinese, Japanese monks have all mixed potions and cast spells.
And such spellwork is not just within the sects of tantric Buddhism. Spells were being cast by Buddhists long before the tantras appeared. Indeed, the recitation of verses against disease or evil spirits goes right back to the beginnings of Buddhism. Mantras are found in the texts of the Sarvāstivadin sect and in the paritta texts of the Theravadins.
Spells are written to be used, of course, so it is interesting to look at an actual book of spells written by a Buddhist monk – one of the 9th or 10th century so-called Dunhuang manuscripts.This is the ritual manual of Bhikṣu Prajñāprabhā. I will give a link to the online archive of the document.
So what’s in it? Just one of the rituals allows the adept to cast spells for the following purposes:
If you want a prophecy
To bring demons under your power
To pacify malignant people
To overcome wild animals
To cause a spring to come forth to alleviate thirst
To sharpen your insight
To create various valuable objects
To find a treasure
To cure an illness
To cure a severe illness up to the point of death
To cure an illness-ghost with a trap
To cut off curses and bad births
To reverse water, making it flow upwards
To make it flow downhill again
To cure madness
To avoid being bitten by a dog
To divide two lovers
To reconcile two friends
If you are unable to talk to others
If you want to be friendly with another person
To bind someone
This list gives us an idea of the many needs of ordinary people that could be addressed by the monk magician. Then there are the more complicated rituals that accomplish a single aim, like:
A fire puja also called homa or goma, is a purification rite. Fire pujas are found in many religious traditions in India, and they travelled with Buddhism to Tibet, China and Japan. In this spell the monk throws metal filings into the fire nine times – causing a dramatic series of flashes. Then five ritual daggers are stabbed into the ground.
Thread-winding magic for “men with obstructed water” and “women with inverted wombs.” The monk knots and unknots the red thread several times while reciting mantras. In the end the thread is flung into the road – just as in the traditional Tibetan way of disposing of the thread cross.
A barley frog. People suffering from joint problems, swellings and the like were often thought to be afflicted by water spirits called Lu - a Tibetan cousin of the Indian Naga. In this ritual, barley flour is molded into the shape of a frog. Then a cavity is made in the top of the frog with a bamboo stick, and a special ointment prepared in the cavity. The ointment is then applied to the afflicted person’s body. The barley frog is then checked to determine the success of the ritual:
"Lift up the frog, and if a golden liquid emerges from under it, they will definitely recover. If it is merely moist, then they will recover before too long. If there is only meat with gluey flour, they will be purified by the end of the illness. It is not necessary to do the ritual again. If there is only gluey flour, break it up and do the ritual again."
Prasena divination. This special kind of divination involves calling down a deity to answer questions put to it. In the ritual in this spell book the deity is called “the sky-soarer” or the Khyung (a Tibetan cousin of the Indian Garuda). Though such rites of spirit-possession might seem “shamanic” they are described in Indian scriptures like the Amoghapāśa Sutra and the Questions of Subāhu, and prasena is apparently an Indian word, though it is not certain what the term means precisely.
Prasena (often simply known as “pra”) has a long a fascinating history in Tibet.
In the Bhikṣu Prajñāprabhā, it seems that a certain level of spirtual attainment is necessary for the spells to be effective.
And at the end of the spell book everything is tied back into the great themes of Buddhism with a prayer to the Mañjuśrī, the bodhisattva of wisdom:
In the supremely precious, jewelled land of Ultimate Emanated Bliss
The realm radiantly coloured like stainless gold
The youth with five locks is lovely to behold.
By making offerings and inviting this supreme spiritual friend
I pray that he will come because of his kindness for this place
And carry out the accomplishment of this adept’s rituals:
“I have been blinded by the net of darkness
Mañjuśrī come near and treat me with kindness.
Your discernment, like the fire at the end of an aeon
Clears away the mere appearance of darkness in the mind;
Please bestow it upon me.”
Agnihotra
Agnihotra Vessel:
The Pyramid: Pyr comes from Greek and means fire; mid means middle. The pyramid was thus originally a vessel for fire in the middle. In the case of the Agnihotra copper pyramid are in addition certain proportions: four sides (edges, corners) are supplemented by three stepped surfaces on each side. For the Agnihotra a copper pyramid is suggested. The size is 14.5 cm x 14.5 cm above 5.25 cm x 5.25 cm below and 6.5 cm high.Vibratory effects of certain metals such as copper or gold, are also widely known. If specific substances are burned in a copper pyramid specific records mantras with exact time of sunrise/sunset, then it aids in manifestation.Copper is in the periodic system of the elements in the middle. In astrology / alchemy copper is associated with the planet Venus. The atom shows structural analogies to the pyramid shape, so that a (harmonic) resonance between macrocosmic and microcosmic structure exists. This resonance amplifies the effects of vibration during the fire ceremony. Finally, copper is as the essence of the mineral kingdom, which is the next, the plant kingdom, nourishes.
Components of the Plant Kingdom
The plants are from the sea and have taken millions of years to spread across the entire planet. You even have the composition of the atmosphere changed so that we humans can live here.
All offerings in Agnihotra have a strong medicinal property in the core.
For Agnihotra should only whole grains of rice if possible unpolished or brown whole grain rice can be used. Rice is a solar plant, being born in the water-fire. It unites these polarities in and after the Asian theory of Yin and Yang rice is completely balanced. The rice also represents the fruit quality, the essence of the plant kingdom.
Ingredients from the Animal Kingdom
Ghee or clarified butter: Agnihotra Ghee
Clarified butter (ghee) is used for detoxification; in the context of Ayurveda, Ghee is still used today for medicinal purposes. In the Vedic myth, that in the struggle between the polar powers of the gods and demons, the "milk sea" (the creation) would be whipped until its essence is worked out (Amrita).
The ghee which is sacrificed to the fire, purifies the atmosphere and creates a pleasant nutty fragrance.
According to the Vedas, ghee is the most important and most essential ingredient in the performance of Agnihotra.
Cow's milk is a mixture of 101 different substances. In the proteins of cow's milk are 19 amino acids in butter 11 fatty acids, 6 vitamins, 8 enzymes, 25 minerals, 2 sugar, phosphorus component 5, 14 nitrogen-containing substances, and much more.
First ethylene oxide, propylene oxide 2nd, 3rd formaldehyde, 4 Butapropiolactone:
When performing Agnihotra, 4 different gases or vapors develop. Immediately after the addition of ghee acetylene is produced, the energy of the intense heat which attracts the contaminated air in the immediate vicinity and purified. Agnihotra acts within 1.5 km and 12 km upwards. The scents which result from the combustion of ghee, have a capacity to solve mental tensions and diseases.
Agnihotra Cow Dung
For the Agnihotra fire of dried cow dung is used. Cow dung is a remedy in Vedic culture. In all ancient cultures cow dung is used to combat a variety of diseases, for example, in North and South America Indians, in Scandinavia, Asia, Africa. In books on European folk medicine, there are many references to cow dung as a cure.
Cow dung of a organically raised cow is best suited for Agnihotra. Cow dung contains menthol, ammonia, phenol, indole, formalin and specifically to eliminate the ability phatogene. In areas with rainy seasons where the cow dung can not quite dry, as an aid for the kindling of the fire and the following is used five Yagna wood types: Banyan Tree - Ficus Bengalnensis, Audumbara - Ficus Glometra, Palaash - Butea Prondosa, Peepal - Ficus religiosa and Bel - Aegle mamelos. Finger thickness of dry twigs of these woods are, burned along with the cow dung. Incidentally, old cow dung is used as a building material in India and remedies, because of its purifying and antibacterial effect and for disinfection.
How to prepare the Agnihotra Fire
The fire is prepared a few minutes before the Agnihotra time with cow dung, inside the pyramid container. Do not use lighters. Light it with a candle. The ghee and cow dung are arranged on the pyramid vase, that the air can circulate well and good combustion is possible. The fire should be fully lit at the time of Agnihotra.
Sing exactly at sunrise or sunset, the first mantra and then enter the first portion of rice into the fire after the word Swaha.
Then sing the second Mantra and add the second portion of rice into the fire after the word Swaha.
Try to spend time with each Agnihotra as long as possible by the fire, to receive peace, healing vibrations.
Empty your mind and stay calm. Breathe.
If mantras are performed in connection with Homa-fire, then the vibrations of the mantras are infused in the pyramid and ash. Therefore, the ash is still effective and is used as the basis for magical/medical applications. In the case of Agnihotra to seed syllables and mantras are particularly used. Mantras are original words in Sanskrit, which produce very specific vibrations for the benefit of the spirit and the atmosphere. Sanskrit is the mother language of all languages, but it is no one's mother tongue. All languages contain words from Sanskrit. However, not a single word of any language is in Sanskrit.
The Core Mantras of Agrihotra
At sunrise:
SURYAYA SWAHA, SURYAYA IDAM NA MAMA, PRAJAPATAJE SWAHA, PRAJAPATAJE IDAM NA MAMA.
At sunset:
AGNAYE SWAHA, AGNAYE IDAM NA MAMA, PRAJAPATAJE SWAHA, PRAJAPATAJE IDAM NA MAMA.
This fire comes into effect as Agnihotra, one of these mantras must be chanted or recited for matching time, otherwise the required integration and focus does not come efficiently out of the elements described. The offering of rice and ghee is critical each time after the word Swaha offered to the fire.
After the ceremony let it go out of its own accord and cool. Agnihotra performed for the exact time of sunrise -and- sunset, activates the pyramid, which attracts solar energy. The same happens in the evening, where the pyramid attracts the Lunar and other planetary energies.
Agnihotra is a process from the science of bioenergy, which was given by the Vedas. The word "Veda" means - literally translated - "knowledge" and is derived from the Sanskrit verb "vid" which means "know". The English word "wit" (mind, mental power) has the same root. The Vedas are the oldest word combinations that are known to man.
The Vedas describe Agnihotra as a process of disinfection. If it is performed regularly, Agnihotra gives both the atmosphere and the person carrying out healing powers. On all continents natural remedies from the Agnihotra ash are produced. This is the medical aspect of Homa Therapy.
Sunrise and sunset are the times for Agnihotra. You can find times in some calendars, or you can look online for information. The Agnihotra ash should be collected in an organic container. Agnihotra ash can use to make medicine for humans and animals or simply to fertilize plants.
In South America, the ash is also called miracle ash.
A large fire or more in the group enhances the healing effect and produces a large quantity healing ash.
Hana-kai
This is an esoteric and derivative ritual sequence. It is the base ritual with Tenchi Kuji-Inyo.
You will note the absence of deific invocations. This is partly because this is a base ritual, and one could use it as is, or you could include deity forms, bodhisattva, kami on an as needed basis, based upon the intent of the working.
Hana kai is a term meaning change. The symbolic ritual cutting of a rope or string ritually is the goal of this ritual performance as well as the actualization of certain gestures ceremonially.
The Ritual -
Wash hands and face
Prepare altar
Sprinkle salt
Light incense
Ring bell - the temple is open.
Kimono or robe is put on.
Hands are clapped twice.
First Oration: The Four States of Being - 3X
Soku - to breathe
Son - to inhabit
Kan - to feel
Nin - to observe
Second Oration: Kuji-in or entire Dai Kongou mantra
Recite Kuji-in with associated mudras - 3X
The central Dai Kongou mantra may be recited 3X
Summoning the Elementals -
Scatter salt, offer salt or wave incense and shide wand vigorously around working area as cleansing and opening. If this is the first time the dagger or vajra is being used it needs to be ritually cleansed and consecrated to its purpose.
Bell is sounded.
Use dagger, vajra or wand to point in each cardinal direction and speak or vibrate name. Either name designation may be used. I have an LBRP but may use a simpler form.
Fu - air - east
Ka - fire - south
Sui - water - west
Chi - earth - north
Invoking pentagrams used for each element in its appropriate direction.
I would likely opt for single circles around the room before calling each element in turn to establish the working area.
Candles or even incense may be lit at each directional correspondance, but are optional.
Bell may be sounded after each name as well if desired. 3 knells on the altar will suffice. The traditional five offerings are rice, sake, water, salt and evergreen branches.
If sake cannot be procured beer will suffice.
The Third Oration - optional.
Temple bell and both Shinto oration recordings.
If deity, kami or bodhisattva are being invoked this would be the appropriate moment.
Hana-kai
Shide are waved and offered. Salt is sprinkled.
The kimono is removed to the waist in the form of the Chohan dealer.
Two dice are removed from the salt and set out in the bowl on the tatami with full ceremony.
The dagger is removed from the sheath treated ceremonially and incensed.
8-9-3 is sounded with the dagger hilt and then it is laid at the front point towards altar.
Three claps and three rings of the bell and a deep bow.
The sakazuki cup is laid out along with the sake or beer.
The first symbol - Fu - is the esoteric representation of cutting away the ropes and chains of illusion, old connections and psychic debts. It is a rope, turned once on itself, with its ends cut loose.
The piece of paper with the attachment symbol should be present. I suggest drawing the kanji on the paper during the ritual.
It is to be destroyed as a symbolic act. It is the esoteric and symbolic representation of the destruction and dismissal of any and all bindings, old psychic and astral debts and any objects or connections to persons that represent these things. I suggest burning the paper.
The esoteric mantra is recited while the dagger is projected:
The Sword and Zen are One -
SZO is the sigillic form.
The mantra is: ken zen ichi nyo.
Fu-gen recited 3X counted on the malas.
The Sword or Vajra mudra is appropriate.
Optional - Gayatri Indra Mantra
Ideally, one would have a wakizashi or katana and would slice through a rope or tatami mat here. Something will have to substitute however given the circumstances., but again this is a dynamic working based on certain intuitions and impressions.
Cutting through a piece of rope or string would suffice.
Yubitsume
Rin
On bai shira man taya sowaka
Om vajraman taya swaha
Toh
On je te ra shi itara ji ba ra ta no-o sowaka
Om jit rashi yatra jiva ratna swaha
An ad-lib ritual recitation is made.
Privations have been borne. Many hardships have been endured.
Penitance has been made.
All psychic and astral debts or obligations are to be considered paid in full - now.
Energy is raised - a candle in front of the mirror as meditative tratakam focus along
with the Shinto mantra as audio. This is not a full blown invocation or evocation with the mirror.
This is a running in of the tool, and its use with the altar.
The dagger is held in the left hand - hidari - and the right hand - migi - is shown with the fifth finger bent down as a symbol both on either side of the candle, while entering a light tratakam state to complete the visualization as a psychodramatic sequence.
This is the ritual of symbolic yubitsume.
Onigiri or a bowl of rice and the shide are offered. Blood would be appropriate to offer at this point, but it is optional. If the sakazuke cup is being used, this is where it would be filled, offered and then drank.
From here it is an intuitive thing and is up to what is felt is necessary during the ritual proper.
Dai Kongou is chanted 3X while wearing the charged mala.
The mantra is: Dai Kongou Butsu Shiyou
The Dai Kongou sigil device should be present if being used. After this it should be stored away until the next ritual.
The esoteric Mikkyo formula is pronounced.
Kai - Gou - Hon - Kon
Everything, forever, is favorable, taking place now.
In Sanskrit - Sarvata Kalyanam Mangala Bhavantu
Fu - Gen chanted 9X
Non - attachment: The kanji symbols represent a sword cutting away the ropes and chains of illusion.
There is a rope, turned once on itself, with its ends cut loose.
This is one meaning in the formula - The Sword and Zen are One.
3 claps and 3 soundings of the bell.
Banishing pentagrams made at each quarter.
A deep bow, inhalation and exhalation are made.
8-9-3 is sounded with the dagger hilt and it is incensed again and sheathed.
By my will - so mote it be. 2 claps of the hands.The work is sealed. The temple is closed.
Aum.
Shakuhachi selection for concluding music.
Ground in the usual way.
You will note the absence of deific invocations. This is partly because this is a base ritual, and one could use it as is, or you could include deity forms, bodhisattva, kami on an as needed basis, based upon the intent of the working.
Hana kai is a term meaning change. The symbolic ritual cutting of a rope or string ritually is the goal of this ritual performance as well as the actualization of certain gestures ceremonially.
The Ritual -
Wash hands and face
Prepare altar
Sprinkle salt
Light incense
Ring bell - the temple is open.
Kimono or robe is put on.
Hands are clapped twice.
First Oration: The Four States of Being - 3X
Soku - to breathe
Son - to inhabit
Kan - to feel
Nin - to observe
Second Oration: Kuji-in or entire Dai Kongou mantra
Recite Kuji-in with associated mudras - 3X
The central Dai Kongou mantra may be recited 3X
Summoning the Elementals -
Scatter salt, offer salt or wave incense and shide wand vigorously around working area as cleansing and opening. If this is the first time the dagger or vajra is being used it needs to be ritually cleansed and consecrated to its purpose.
Bell is sounded.
Use dagger, vajra or wand to point in each cardinal direction and speak or vibrate name. Either name designation may be used. I have an LBRP but may use a simpler form.
Fu - air - east
Ka - fire - south
Sui - water - west
Chi - earth - north
Invoking pentagrams used for each element in its appropriate direction.
I would likely opt for single circles around the room before calling each element in turn to establish the working area.
Candles or even incense may be lit at each directional correspondance, but are optional.
Bell may be sounded after each name as well if desired. 3 knells on the altar will suffice. The traditional five offerings are rice, sake, water, salt and evergreen branches.
If sake cannot be procured beer will suffice.
The Third Oration - optional.
Temple bell and both Shinto oration recordings.
If deity, kami or bodhisattva are being invoked this would be the appropriate moment.
Hana-kai
Shide are waved and offered. Salt is sprinkled.
The kimono is removed to the waist in the form of the Chohan dealer.
Two dice are removed from the salt and set out in the bowl on the tatami with full ceremony.
The dagger is removed from the sheath treated ceremonially and incensed.
8-9-3 is sounded with the dagger hilt and then it is laid at the front point towards altar.
Three claps and three rings of the bell and a deep bow.
The sakazuki cup is laid out along with the sake or beer.
The first symbol - Fu - is the esoteric representation of cutting away the ropes and chains of illusion, old connections and psychic debts. It is a rope, turned once on itself, with its ends cut loose.
The piece of paper with the attachment symbol should be present. I suggest drawing the kanji on the paper during the ritual.
It is to be destroyed as a symbolic act. It is the esoteric and symbolic representation of the destruction and dismissal of any and all bindings, old psychic and astral debts and any objects or connections to persons that represent these things. I suggest burning the paper.
The esoteric mantra is recited while the dagger is projected:
The Sword and Zen are One -
SZO is the sigillic form.
The mantra is: ken zen ichi nyo.
Fu-gen recited 3X counted on the malas.
The Sword or Vajra mudra is appropriate.
Optional - Gayatri Indra Mantra
Ideally, one would have a wakizashi or katana and would slice through a rope or tatami mat here. Something will have to substitute however given the circumstances., but again this is a dynamic working based on certain intuitions and impressions.
Cutting through a piece of rope or string would suffice.
Yubitsume
Rin
On bai shira man taya sowaka
Om vajraman taya swaha
Toh
On je te ra shi itara ji ba ra ta no-o sowaka
Om jit rashi yatra jiva ratna swaha
An ad-lib ritual recitation is made.
Privations have been borne. Many hardships have been endured.
Penitance has been made.
All psychic and astral debts or obligations are to be considered paid in full - now.
Energy is raised - a candle in front of the mirror as meditative tratakam focus along
with the Shinto mantra as audio. This is not a full blown invocation or evocation with the mirror.
This is a running in of the tool, and its use with the altar.
The dagger is held in the left hand - hidari - and the right hand - migi - is shown with the fifth finger bent down as a symbol both on either side of the candle, while entering a light tratakam state to complete the visualization as a psychodramatic sequence.
This is the ritual of symbolic yubitsume.
Onigiri or a bowl of rice and the shide are offered. Blood would be appropriate to offer at this point, but it is optional. If the sakazuke cup is being used, this is where it would be filled, offered and then drank.
From here it is an intuitive thing and is up to what is felt is necessary during the ritual proper.
Dai Kongou is chanted 3X while wearing the charged mala.
The mantra is: Dai Kongou Butsu Shiyou
The Dai Kongou sigil device should be present if being used. After this it should be stored away until the next ritual.
The esoteric Mikkyo formula is pronounced.
Kai - Gou - Hon - Kon
Everything, forever, is favorable, taking place now.
In Sanskrit - Sarvata Kalyanam Mangala Bhavantu
Fu - Gen chanted 9X
Non - attachment: The kanji symbols represent a sword cutting away the ropes and chains of illusion.
There is a rope, turned once on itself, with its ends cut loose.
This is one meaning in the formula - The Sword and Zen are One.
3 claps and 3 soundings of the bell.
Banishing pentagrams made at each quarter.
A deep bow, inhalation and exhalation are made.
8-9-3 is sounded with the dagger hilt and it is incensed again and sheathed.
By my will - so mote it be. 2 claps of the hands.The work is sealed. The temple is closed.
Aum.
Shakuhachi selection for concluding music.
Ground in the usual way.
Chō-Han Urani
Dice are cleaned with sake, and then kept in a bowl of salt.
Dealer sets in formal seiza position on tatami mat with dice cup.
There are a few ways of using the dice.
You can ask a simple yes or no question.
Put the die in a bowl or cup roll it around and ask the question aloud as you shake the cup.
Turn the cup down on a mat and remove it and look at the die.
A Cho (even) number signifies yes.
A Han (odd) number signifies no.
A more complex method is thus:
4 rolls of the dice are made for each element at each cardinal point and course.
Ne: north
U: east
Uma: south
Tori: west
2 separate dice rolls are made at center of mat for a total of 6 rolls.
Numerology of each dice roll is recorded - the number produced and of course whether it is even or odd. Chō-Han means of course, "even-odd".
As Chō-Han, is a betting game, side bets would be allowed on all dice rolls, betting on evens or odds. Even dice sums will yield a yin line, odd dice sums will yield a yang line.
This will yield a single hexagram. One further throw is made to determine the the moving line.
From there, the resulting Hexagram and its moving line can be consulted in the I Ching or Book of Changes.
A further complex divination can be arrived at using the resulting hexagram by connecting each of the six hexagram lines to one of the 12 Earthly Branches and then the picture can be analyzed with the use of 5 Elements or Wu Xing. This method not only tries to determine what will happen, but also when it will happen. The method creates a bridge between I Ching and the Four Pillars of Destiny.
To determine basic past, present and future situations. This expands upon the one-die method.
Take three dice and meditate upon your current situation.
Throw the dice in a way that they fall more or less in a line.
The die to the left is the past.
A Han (odd) number means the history of the situation was negative, and a Cho (even) number indicates the history was positive.
The center die is the present; a Han number means the current situation is as negative as it will get, and an Cho number says the current situation is as positive as it will get. The die to the right is the future; a Han number means the outcome will be negative, and a Cho number indicates the outcome will be positive.
Add the numbers. Take the three dice again, and throw them.
Add up the number of dots. Add again until you get a number that is nine or less.
For example, if your total dots are 18, add the 1 and the 8 to get 9.
Use the numerals below to determine future potentials outcomes:
1 - Sorrow.
2 - Joy.
3 - A gift.
4 - New love.
5 - Silver is coming your way.
6 - Gold is coming your way.
7 - Someone will tell you a secret.
8 - Three good things will happen to you.
9 - Your true love is, indeed, true.
Here is a more in depth explanation on how to use Cho Han to produce I-Ching hexagrams.
Method 1
Use one dice to form six lines of the hexagram.
The first bottom line is found by throwing the dice.
If it's a one, three or five: a firm line, Yang.
If it's a two, four or six: a yielding line, Yin.
Continue on to generate the rest of the six lines.
Now; starting from the bottom, if the dice shows a one on the bottom line it will be old yang or ritual number nine.
If it shows a two on the second line it will be old yin, ritual number six.
A three on the third line: old yang, ritual number 9.
A four on the fourth line: old yin, ritual number 6.
A five on the fifth line: old yang, ritual number 9.
A six on the sixth line: old yin, ritual number 6.
Ritual numbers being 6 for old yin, 7 for young yang, 8 for young yin and 9 for old yang.
Interpret the hexagram by subsequently matching it to the hexagram translation from the I Ching.
Method 2
Obtain 4 dice, two of one color (or size) and two of a different color or size.
Designate one pair of dice as the lead pair, and one as the second pair.
Roll the dice.
Calculate the value of the roll by adding the value of the dice using the following:
For the lead pair: if both dice are even, the pair has a value of 2.
In all other cases, the pair has a value of 3.
For the second pair, each dice has a value. An even roll has a value of 2.
An odd roll has a value of 3.
Example: Lead pair of 2 and 4 and second pair of 1 and 6.
Roll value is 2 (lead) + 3 (second) + 2 (second) = 7
Determine the line based on the roll value:
6 = old yin
7 = young yang
8 = young yin
9 = old yang
Write down the resulting line. Begin with the first (bottom) line, and work your way up to the sixth (top) line. Once six lines have been determined, the hexagram is formed. The lines are:
old yin: ---x---
young yin: --- ---
young yang: --------
old yang: ---o---
Interpret the hexagram by matching it to the hexagram translation from the I Ching.
Misogi - Shinto/Shugendo Spiritual Exercises
This could be easily tailored to fit what was available to a solitary practitioner.
In many ways it is similar in purpose to the "LBRP" or Lesser Banishing Ritual of the Pentagram.
Exercise I: Furitama or Soul Shaking
1. Stand with your legs apart about shoulder width.
2. Place your hands together with the right hand over the left. Leave space between them big enough for an imaginary ping pong ball.
3. Place your hands in that position in front of your stomach and shake them vigorously up and down.
4. While shaking them concentrate and repeat the words: Harae-do-no-Okami - an invocation to the Kami of the place of harai.
The purpose of shaking the soul is to generate awareness of it within yourself. Kon, (the soul), in Shinto, is one of the four important elements along with Mei (life), Rei (spirit) and Ki (which means Spirit in its causal aspect - Ki is a kind of energy source). Kon is the most important of the four since human beings can also be described as Waketama (separated individual souls), which is another way of saying "children of the Kami".
Exercise II: Torifune or Bird Rowing
1. Stand straight and put your left leg forward
2. Clench both fists with your thumbs inside
3. Lean forward and move your arms as though rowing a boat starting from your left knee and ending near your armpits. As you "row," shout "Yie".
4. Perform this 20 times and then repeat Furitama
5. Changing to a right leg stance, repeat the Torifune shouting "Ei" and "Ho" alternately. Do this 20 times and then repeat Furitama
6. Return to the left foot forward stance and remake the clenched fists as before and bring the hands up to the chest to a shout of "Yie" and thrust them down and forward with hands opened and fingers extended to a shout of "Se" After this, once again repeat the Furitama.
The basic purpose is to introduce a dimension of physical calisthenics along with the spiritual. Since misogi is a psycho-physical experience, both types of warm-up exercises are necessary.
Exercise III: Otakebi or Shouting - Ideally this is done with more than one person.
1. Stand up straight leaving a space between your feet.
2. Place your hands on your hips
3. Follow the leader, as they shout the following three invocations: Iku-tama! Taru-tama! Tama-tamaru-tama!
4. Follow in repeating three times the long invocation: Okami! Okami! Kunitsu-Okami! Sarutahiko Okami To-toshi-ya
Shouting Iku-tama activates the soul which is just coming to awareness. Taru-tama affirms the awareness that you can realize the infinite in your soul. Tama-tamaru-tama confirms both and keeps the soul activated at its quantum level. The closing invocation addresses Sarutahiko Okami, head of the earthly Kami and acknowledges him to be of great power.
Exercise IV: Okorobi or Yielding
1. Stand as in Exercise III
2. Place the left hand on your hip and your hand with two fingers extended in a gesture that resembles the "Boy Scout Salute"
3. Three Kami are invoked here and with each invocation, you cut the air in a sweeping gesture with the right hand as follows: Kunitoko-tachi-no-Mikoto! "Yie!" " Sarutahiko-no-Okami! "Yie!" Kokuryu-no-Okami! "Yie!" At each time of cutting the air, you should take a step forward with your left foot and then back again.
By specifying these three important Kami, Kunitokotachi-no-Mikoto (the earthly Kami), Sarutahiko Okami (Kami of guidance and head of the earthly Kami) and Kokuryuon-no-Okami (Kami of water, life and ki), you can be united with them, remove your impurities and receive their power as your own.
Exercise V: Ibuki or Breathing
1. Stand with your feet apart
2. Lower your hands and arms towards your knees
3. Lift your arms above your head by extending them fully outwards
4. Inhale while raising them
5. Exhale slowly and deliberately while lowering your hands again
6. Place hands and arms down by knees and exhale completely
7. Repeat five times
8. Bow twice, clap twice and open your arms palms upwards.
The purpose is to conclude the preparation by taking deep breaths which have the effect of raising the metabolism of the ki to its highest level of sensitivity and receptivity by absorbing the ki of the universe.
Exercise VI: Nyusui or Getting into the Water - As I said above, ideally this is performed at a
sacred waterfall. A shower will substitute however.
1. Sprinkle some salt over yourself.
2. Take a ladle with Japanese sake and salt. Spray it from your mouth in three mouthfuls into the stream or air.
3. Recite the nine letter prayer as follows:
Rin-Pyo-To-Sha-Kai-Zin-Retsu-Zai-Zen.
4. Cut the air symbolically nine times, and shout "Yei!"
5. Enter the water and splash water on your face, chest and loins.
6. Clap your hands twice, and bow once
7. Cut the air from right to left with your right hand.
8. Approach the fall or shower and enter, right shoulder first. Hold your hands in front with middle fingers together pointing away from you.
9. Shout the following: Harae-tamae-Kiyome-tamae-ro-kon-sho-jo!
The expressions harae and kiyome ask for the purifying of the individual by the washing away of all tsumi from the ro-kon-sho-jo, from the six elements of human beings that Shinto identified, the five senses and the mind.
A Zen Coffee Ceremony
The idea is basically the same as the tea ceremony operationally.
Everything should be done in a relaxed yet mindful manner.
The goal is to experience the full "qi" or essence of the coffee as fully and as naturally as possible.
As far as what to use?
A premium coffee for a start. An 100% estate grown Kona coffee would be perfect with its smooth flavor and low acidity. Don't get "Kona Blend". If possible whole bean coffee preferred and ground just beforehand for optimal flavor. If one had the time and inclination roasting green coffee beans to grind for brewing would be a perfect touch not only for coffee flavor, but to experience the appealing aroma or "incense" of fresh roasting coffee as a sensory enhancement.
For brewing, I would use a French press. Coffee made in the French press is the most optimal and most natural in flavor IMO. some people do not like them, but there is a distinctive method to it. If you don't follow some sort of method, yes you will end up with grounds and sludge. The French press uses a medium to coarse grind. The grind must be large enough so that the mesh filter works and does not get clogged. Because of the larger grind, the brewing time is a bit longer than with other methods. A grind set between drip and percolator is a good place to start.
Water temperature is vital. Doing it correctly, you can make ideal cup of coffee. You want the temperature between 195 and 200 degrees F. One way to do this is to boil the water and use an “instant read” thermometer from any kitchen store. Once you remove the water from the heat, see how long it takes to reach 200 degrees. It will probably be just 10 or 15 seconds.Do not allow the water to boil more than a couple of seconds. Once you know the timing, you are all set for the future.
Spring or artesian water of course, not tap water.
To boil the water a kettle of course. I have a cast iron Japanese tetsubin that is perfect for the purpose. If you don't have one a kettle or cooking pot and ladle will do the trick.
For serving, given the nature of coffee something "wabi sabi" and rustic is suggested. However, any mug would be sufficient. Really, something imperfect, well worn and comfortable is what wabi sabi is all about.
As far as additives to the coffee, fresh cream and raw honey in keeping with the emphasis on natural, unprocessed ingredients. Herbs or spices, such as cloves, nutmeg, cinnamon etc. would be an interesting addition. Chocolate would be acceptable as an addition as long as it was natural as possible, meaning cacao powder, not processed chocolate.
Kaiseki: This would be some simple snack foods, traditionally sweets are served however, in my opinion the ideal dish to serve with this would be sushi rolls. In keeping with the idea of chanoyu however any dish served should be seasonally appropriate ideally.
The best way from here is to participate in a chanoyu if possible, and I have done this a few times, to watching a video on it to get a feel for it.
https://www.youtube.com/watch?v=PAeeagh1zYI'
Traditions of Japan - Japanese Tea Ceremony
Demonstration of Japanese tea ceremony in a friendly atmosphere with relaxed rules.
The Altar
This could be a personal altar or shrine. It could be a place to venerate one's own
idea of God and/or Goddess, or it could be more meditative in nature.It provides a visual point or place between the mundane and divine or sacred.
I have had many forms of altars and shrines over the years, from a fully charged formal ceremonial magic altar and dedicated temple room to small animist shrines.
Right now, space is at a bit of a premium so I have a rather compact space. It is a place for mindfulness and meditation, and is not a fully "charged" ceremonial altar or shrine. I not only find an altar in the home aesthetically pleasing, but calming.
It represents sacred place.
What elements or items do you use or find necessary if you have a shrine or altar?Here are my own current items. Some I have and some I am working on.
I would say that I want my current altar to have a very natural look and feel. It is not dedicated to a specific deity form and is more of an elemental altar.
Sakazuki - have one would prefer one made of clay or wood
Feather - have, need or want hawk feather, but a replica is sufficient.
Shodo Pillar - this is also called Ozen - finished, consecrated and is being empowered using the Riyoku-Tei-Se-i mantra formula.
Incense/Incense holder - Have for now. Primary scents are sandalwood, aloeswood, and Japanese incenses. Any incense will suffice in the interim. Specific scents however will be needed for various workings.
Candle - Natural beeswax preferred especially for scrying and thaumaturgical rituals. Ordinary candles will suffice for present purposes however.
Tanto/athame/dagger - have, cleanse and dedicate for magickal usage.
Vajra - this is a future item I have on my list.
Katana/wakizashi - these are for the same usages as the sword within Western magickal practice.
Scrolls - seasonal and specific use.
Drum - Have, cleanse, re-rededicate and consecrate. This is also important in trance workings.
Pen, ink, rice paper or parchment - for spellworkings, sigils, formulae, shide and the creation/empowering of the Dai Kongou sigil device.
Dice - divination, thaumaturgy.
Shide wand - an important device, simply made and used almost in the same way and for the same purposes as the besom or broom within Wiccanism. In Japanese these are called 'harai gushi' or sweeping stick.
Salt - the salt used should be natural, as in not iodized. Sea salt is preferred but coarse or flake salt will suffice. Salt is critical for many of the rituals.
Bell or gong - this is very important in Shinto and other paths as a ritual and meditation tool. The bell signals, awakens and draws attention. It signals boundaries, beginnings and ending, commencement and conclusion.
Black mala beads - I would prefer black wooden beads, but plastic will suffice in the interim. The beads should be strung in multiples of nine. Counting 12 repetitions of 9 or numerical sets will equal 108 which is one mala count. For now the plan is to measure out a 36 or 45 black bead mala to empower for use.
Iron cauldron - I have this, and have had this magical item for some time. Although not part of the Kuji-in or Eastern systems I find it to be very useful for multiple tasks.
At some point -
Torii - this is the traditional red torii gate in miniature. It is best to accompany it with kitsune or fox representations. The torii is almost always placed in the north or northeastern quadrant. I want to make this by hand.
Shimenawa - this is a rice straw rope that is adorned with shide strips. It is a boundary marker and has a relationship to the torii or gate. There is a relationship to this and the cast circle within the Western occult tradition. I may have to improvise here with some hemp rope or string.
Bamboo cup - this is useful for particular elemental rites.
Mirror - used for divination, thaumaturgy.
Stones - Not only is this part of Western occult tradition, Shinto would posit that everything contains a particular spirit or kami.
Sake - There is a specific ritual for the creation of consecrated sake. The bottle is washed with spring water, sprinkled over with salt, and then will have a shide attached to it. Ideally it would be left to charge under a full moon, and to have sunrise and sunset rays shine into it. After that is is placed with the altar for use.
The Gysin Dream Machine
The dream machine is a stroboscopic flicker device that produces visual stimuli. Artist Brion Gysin and William S. Burroughs's "systems adviser" Ian Sommerville created the dreamachine after reading William Grey Walter's book, The Living Brain.In its original form, a dreamachine is made from a cylinder with slits cut in the sides. The cylinder is placed on a record turntable and rotated at 78 or 45 revolutions per minute. A light bulb is suspended in the center of the cylinder and the rotation speed allows the light to come out from the holes at a constant frequency of between 8 and 13 pulses per second. This frequency range corresponds to alpha waves, electrical oscillations normally present in the human brain while relaxing.
A dreamachine is "viewed" with the eyes closed: the pulsating light stimulates the optical nerve and alters the brain's electrical oscillations. Users experience increasingly bright, complex patterns of color behind their closed eyelids. The patterns become shapes and symbols, swirling around, until the user feels surrounded by colors. It is claimed that using a dreamachine allows one to enter a hypnagogic state.
The hypnagogic state is a peculiar sensory experience that marks the onset of sleep. Also known as hypnagogia, it can include a mesmerizing array of visions, sounds, bodily sensations and insights as you sail through the borderland state.
Most people will be familiar with the geometric imagery of hypnagogia as they fall asleep at night, or simply remain quietly aware during meditation. This can evolve into the sight of familiar faces, landscapes, voices and even music.
As the increasingly complex patterns flow across your field of vision, you feel drawn into the hypnotic hypnagogic state which, with focus, can be manipulated at will. What many people don't realize (because they fall asleep) is that imagery can lead directly to the dream state and, for our purposes, lucid dreams.
This experience may sometimes be quite intense, but to escape from it, one needs only to open one's eyes. A dreamachine may be dangerous for people with photosensitive epilepsy or other nervous disorders. It is thought that one out of 10,000 adults will experience a seizure while viewing the device; about twice as many children will have a similar ill effect.
Here is a link to an online Dream Machine simulator. Please be aware this can cause Photosensitive epilepsy in some people, depending on the frequency chosen. For a proper effect sit rather close to the monitor, and remember to close your eyes.
Turn off all the lights in the room. 10 to 13hz is optimal.
http://www.netliberty.net/dreamachine-view.html
This is perfect to meld with one of the faster ragas or say Raga Jhinjhoti or teentals. Here is an excellent piece by Pandit Ravi Shankar to use in combination with the Dream Machine.
https://www.youtube.com/watch?v=LXXBfL5lRqE
Tantric Art and Meditation
mudras and mantras. It isn't sketchy or incomplete either.
My especial interest is the vajra or thunder meditation with the siddham sanskrit mantras and tantric mudras. The ritual meditations described derive from the Japanese Tendai Buddhist tradition, a Tantric form of Mahayana Buddhism dating from the Heian Period in Kyoto.
Manjusri
Manjusri is often depicted as riding on a blue lion, or sitting on the skin of a lion. This represents the use of wisdom to tame the mind, which is compared to riding or subduing a ferocious lion.
My own experience with this bodhisattva is it is also a teacher of magic ritual, as well as transcendent wisdom. A mantra commonly associated with Manjusribis the following:
Om arapacana dhih
Tibetan pronunciation is slightly different and so the Tibetan characters read: oṃ a ra pa tsa na dhīḥ - om a ra pa tsa na d+hIH). In Tibetan tradition, this mantra is believed to enhance wisdom and improve one's skills in debating, memory, writing, and other literary abilities. "Dhiḥ" is the seed syllable of the mantra and is chanted with greater emphasis and also repeated a number of times as a decrescendo.
It is worth noting that adherent of Shugendo or shugenja/yamabushi carry a lion skin with them during their arduous mountain ordeals, and it very suggestive of veneration of Manjushri to the Shugendo monks.
It is said that Yoga has eight limbs. They are:1. Yama: self-restraint, self-control and discipline. The yamas can be thought of as the ethical restraints that are necessary for achieving harmony with other beings.
2. Niyama: rule, restriction - a duty or obligation adopted by a spiritual aspirant.The niyamas are the actions necessary for achieving balance within oneself.
3. Asana: the art of sitting still, yoga postures. These are the ashtanga yoga poses or postures so commonly made the focal point of many types of yoga today.
4. Pranayama: Some complexities, but generally means 'breath-exercises' or 'breath-control' in the simplest terms.
5. Pratyahara: Withdrawal of the senses - This is the stage of withdrawal of the attention into oneself. It is the state of re-sorption into the self of all the senses.
6. Dharana: Concentration of the mind. This is where yoga begins. Without it there is no yoga.
7. Dhyana: Meditation,an unbroken stream of consciousness whereby very little sense of the ‘self’ remains.
8. Samadhi: Mystical absorption, where knowledge of the ‘essential self’ is attained. It is the state otherwise referred to as nirvana, jivana mukti, satori.
________________________________________________________
Dharana - Control of thought. This is the initial step of deep concentrative meditation, where the object being focused upon is held in the mind without consciousness wavering from it.
Let us start with Dharana.
1. Constrain the mind to concentrate itself upon a single simple object imagined. The five tattwas are useful for this purpose; they are: a black oval; a blue disk; a silver crescent; a yellow square; a red triangle.
2. Proceed to combinations of single objects; e.g., a black oval within a yellow square, and so on.
3. Proceed to simple moving objects, such as a pendulum swinging; a wheel revolving, etc. Avoid living objects.
4. Proceed to combinations of moving objects, e.g., a piston rising and falling while a pendulum is swinging. The relation between the two movements should be varied in different experiments. Or even a system of flywheels, eccentrics and governor.
5. During these practices the mind must be absolutely confined to the object determined on; no other thought must be allowed to intrude upon the consciousness. The moving systems must be regular and harmonious.
6. Note carefully the duration of the experiment, the number and nature of the intruding thoughts; the tendency of the object itself to depart from the course laid out for it, and any other phenomena which may present themselves. Avoid overstrain; this is very important.
7. Proceed to imagine living objects; as a man, preferably some man known to, and respected by, you.
8. In the intervals of these experiments you might try to imagine the objects of the other senses, and to concentrate upon them. For example, try to imagine the taste of chocolate, the smell or roses, the feeling of velvet, the sound of a waterfall, or the ticking of a watch.
9. Endeavor finally to shut out all objects of any of the senses, and prevent all thoughts arising in your mind.
Now one of the most interesting and irritating features of your early experiments is: interfering thoughts. There is, first of all, the misbehavior of the object which you are contemplating; it changes its color and size; moves its position; gets out of shape.
And one of the essential difficulties in practice is that it takes a great deal of skill and experience to become really alert to what is happening. You can go on daydreaming for quite long periods before realizing that your thoughts have wandered at all.
But when you have had a little practice in detecting and counting the breaks in your concentration, you will find that they themselves are useful, because their character is symptomatic of your state of progress. Breaks are classed as follows:
1. Firstly, physical sensations; these should have been overcome by asana.
2. Secondly, breaks that seem to be indicated by events immediately preceding the meditation: their activity becomes tremendous. Only by this practice does one understand how much is really observed by the senses without the mind becoming conscious of it.
3. Thirdly, there is a class of break partaking of the nature of reverie or daydreaming. These are very insidious - one may go on for a long time without realizing that one has wandered at all.
4. Fourthly, we get a very high class of break, which is a sort of aberration of the control itself. You think, 'How well I am doing it!' or perhaps that it would be rather a good idea if you were on a desert island, or if you were in a soundproof house, or if you were sitting by a waterfall. But these are only trifling variations from the vigilance itself.
5. A fifth class of break seems to have no discoverable source in the mind. such might even take the form of actual hallucination, usually auditory. Of course, such hallucinations are infrequent, and are recognized for what they are. The usual kind consists of odd sentences, or fragments of sentences, which are quite distinctly heard in a recognizable human voice, not the student's own voice, or that of anyone he knows. A similar phenomenon is observed by wireless operators, who call such messages 'atmospherics'.
There is a further kind of break, which is the desired result itself.
*Part and portions of this is from Aleister Crowley's Eight Lectures on Yoga.
So is Tenchi Kuji-Inyo Buddhism? No.
Is it Shugendo? No. Is it Tantrism? No. Is it Shintoism? No.
However, it is not exclusive of any of these belief systems. To reiterate, the essence of the Kuji-in form or path is to build a potent spiritual power and presence and to develop physical/mental self-control and mastery within the practitioner through exercises involving meditation, the use of mudras, mantras, mandalas and specific empowerment of symbols - and the linking of those concepts primarily to the Kuji Kiri grid and the use of the mudras or hand gestures.
It is the development of the highest and most potent and potentially dangerous of magical and occult skills - consciously willed acts of magick and spellcasting by hand gestures and the active kinetic projection of astral/psychic thoughtforms.
Is it Shugendo? No. Is it Tantrism? No. Is it Shintoism? No.
However, it is not exclusive of any of these belief systems. To reiterate, the essence of the Kuji-in form or path is to build a potent spiritual power and presence and to develop physical/mental self-control and mastery within the practitioner through exercises involving meditation, the use of mudras, mantras, mandalas and specific empowerment of symbols - and the linking of those concepts primarily to the Kuji Kiri grid and the use of the mudras or hand gestures.
It is the development of the highest and most potent and potentially dangerous of magical and occult skills - consciously willed acts of magick and spellcasting by hand gestures and the active kinetic projection of astral/psychic thoughtforms.
This, is the creation of a modern unique, esoteric spiritual form.
I hesitate in using the term "religion" however instead preferring to define it as an esoteric philosophy with a spiritual basis, and I personally believe that direct experience or gnosis is far better than dry transmission of explicative lengthy doctrines and outdated, outmoded, invalid dogmatic religious tenets.
The Kuji-in provides a firm biophysical and a corresponding psychic framework for building upon with its focus in exercises upon the chakras, meridians and neural power centers within the body.
That being said one must also acknowledge that man requires spiritual ritual or some measure of psychodrama and circumstance, and that this too must have some element within the path itself. Ritual is required to bring substance and visual stimulus to forms and esoteric conceptualizations.
In this regard I am drawing upon certain thoughts, tenets and aesthetic concepts from Shinto, Tibetan Buddhism, Japanese Zen Buddhism, Vedic influences as well as various neo-pagan elements and my own experiences, occult and esoteric influences and aesthetics. Ritual is important and it should mean something to the practitioner in a deeply subjective sense.
I hesitate in using the term "religion" however instead preferring to define it as an esoteric philosophy with a spiritual basis, and I personally believe that direct experience or gnosis is far better than dry transmission of explicative lengthy doctrines and outdated, outmoded, invalid dogmatic religious tenets.
The Kuji-in provides a firm biophysical and a corresponding psychic framework for building upon with its focus in exercises upon the chakras, meridians and neural power centers within the body.
That being said one must also acknowledge that man requires spiritual ritual or some measure of psychodrama and circumstance, and that this too must have some element within the path itself. Ritual is required to bring substance and visual stimulus to forms and esoteric conceptualizations.
In this regard I am drawing upon certain thoughts, tenets and aesthetic concepts from Shinto, Tibetan Buddhism, Japanese Zen Buddhism, Vedic influences as well as various neo-pagan elements and my own experiences, occult and esoteric influences and aesthetics. Ritual is important and it should mean something to the practitioner in a deeply subjective sense.
Tenchi Kuji-Inyo: The Material Basis
I thought some explanation might be needed here.
This is a personal path based on the Kuji-in or 9 Syllable Seals which is a meditation.
Kuji-in refers to the nine mudras or hand gestures made.
This is an esoteric form that involves multiple religious paths and pathworkings.
It origin was first in India within Buddhism, then into Chinese traditional religion before being refined even further within Japanese Zen Buddhism, Shingon Buddhism, Shugendo and even Shinto - so - therefore it is an adapted, syncretic system already with diverse cultural elements involved in the path. In this, it is not only multi-cultural and syncretic but also interpretative.
There are no strict dogmatic scriptures or established doctrines as such as there are in the established mainstream monotheistic beliefs and faiths for one to follow directly as strict guidance or guidelines.
Kuji-in lends itself more to shamanistic practices, elemental animism and polytheist doctrinal regions from my own observations although it is based in Buddhist traditions.
There may have been many writings on it in past, but these have been lost, deliberately hidden or concealed over time.
We do know that the mudras and mantras that established the 9 Syllable Seals have been recorded and written about throughout history.
One of the bases of the seals is contained within the so-called Mandala of the Two Realms or the Ryōkai mandara. One of the other formative bases is in Vajrayāna Buddhism also known as Tantric Buddhism.
Vajrayana is a complex and multifaceted system which evolved over several centuries. One of the distinctive feature of Vajrayana Buddhism is ritual, which is used as a substitute or alternative for the earlier abstract meditations.
Vajrayana Buddhism is esoteric, meaning that the transmission of certain teachings only occurs directly from initiation or empowerment and cannot be simply learned from a book. According to the Vajrayana tradition, for instance at certain times the bodymind is in a very subtle state which can be used by advanced practitioners to transform the mindstream. Such liminal times are known in Tibetan Buddhism as Bardo states and include such transitional states as during meditation, dreaming, sex and death.
This itself, while certainly interesting and compelling as background - is not the essence of the modern contemporary Kuji-in form or path however in my own opinion.
This is not the resurrecting of an ancient religion or path.
Its historical elements are worth usage as a visual aesthetic or intellectual stimulus perhaps, but the path itself is based firmly in the contemporary and now.
It involves certain venerations or observances - but not excessive bowing, grovelling genuflections or bent-kneed adorations and worship as such.
This older ideal, I feel is not its contemporary essence at all and we are empowered as physical and psychic beings to define it as it is a dynamic not a static thing. It changes from age to age and from time frame to time frame.
The essence of the Kuji-in form or path is to build a potent spiritual power and presence and to develop physical/mental self-control and mastery within the practitioner through exercises involving meditation, the use of mudras, mantras, mandalas and specific empowerment of symbols - and the linking of those concepts to the Kuji Kiri grid and the use of the mudras or hand gestures.
It is the development of the highest and most potent and potentially dangerous of magical and occult skills - consciously willed acts of magick and spellcasting by hand gestures and the active kinetic projection of astral/psychic thoughtforms.
This, is the creation of a modern unique, esoteric spiritual form.
I hesitate in using the term "religion" however instead preferring to define it as an esoteric philosophy with a spiritual basis, and I personally believe that direct experience or gnosis is far better than dry transmission of explicative lengthy doctrines and outdated, outmoded, invalid dogmatic religious tenets.
The Kuji-in provides a firm biophysical and a corresponding psychic framework for building upon with its focus in exercises upon the chakras, meridians and neural power centers within the body.
That being said one must also acknowledge that man requires spiritual ritual or some measure of psychodrama and circumstance, and that this too must have some element within the path itself. Ritual is required to bring substance and visual stimulus to forms and esoteric conceptualizations.
In this regard I am drawing upon certain thoughts, tenets and aesthetic concepts from Shinto, Tibetan Buddhism, Japanese Zen Buddhism, Vedic influences as well as various neo-pagan elements and my own experiences, occult and esoteric influences and aesthetics. Ritual is important and it should mean something to the practitioner in a deeply subjective sense.
A ritual should be something emotionally compelling, yet relatively simple in approach. One can have a complicated ritual schedule - or something more flexible and adaptable in its approach. Something simple - yet potent.
This is a tenet of Zen Buddhism and its numerous koans for instance well worth consideration insofar as its general purpose.
Since the path is based within an esoteric discovery approach of gnosis or direct knowledge through praxis the first place to start is within a set of exercises, forms or katas as in martial arts for instance. The practitioner within Kuji-in is a majutsushi which means in Japanese "ma = pure, jutsu = art, shi = user. "A user of the pure art" literally.
I have a working progress PDF that starts with kata one and progresses through successive katas or exercises with key concepts and instructional interspersed.
Kuji-in is based upon the seal mudras or symbolic kiri or "cuts" in each of the specific hand gestures.
However, the first place to start is in empowering the hands before beginning to memorize and master the kuji-kiri mudras and mantras.
It is important to first learn with a specific formalized form. This is where the esoteric portion begins to manifest or form a strong gnosis within the practitioner.
This while simple sounding, is at least a year's worth of regular exercises to begin to see its long term potential.
It requires dedication on the part of the majutsushi to perform the katas regularly and engage themselves.
Since the path itself is anchored in mudras and the use of hand gestures - this is the first logical place to begin - in empowering the hands. One has to be patient and persevere in this, as it is easy to become distracted or lose interest and initiative. This is a distinct problem with many religious paths in fact.
One should learn each kata in depth and in turn - as these will become part of an overall routine of exercises performed regularly. It is easy to adapt the katas as the mudras or the walking meditation can be performed in any place at any time and in almost any circumstances.
In fact real-life situations of stress or anxiety for instance are the best place and moment to practice the exercises.
One does not need nor require some idealistic spot or time for these forms.
Indeed, they were meant to calm the nerves of ancient warriors before they went into battle in their earliest formative periods of use. They are active and kinetic.
This is one of the tenets of bushido - "the way of the warrior" - a mental discipline and mindset meant specifically to overcome hardship, loss, fear, panic, anxiety and trepidation, although I hasten to add that this particular application is not a physical martial art, but rather a philosophical and spiritual development - one could say a "magical" craftwork practice so to speak. Some martial artists utilize kuji-in within their practice and development, but this is a more psychic and occult development and application of the form itself.
As one begins to practice the forms or katas, I feel it is critical for the practitioner to hand build and begin to craft a specific kuji-in altar.
This is the kamidana altar.
The term "kamidana" is respectfully borrowed from Shinto and means "spirit house" which to me is a perfect terminology for an altar.
Collecting the materials and constructing it is an exercise in and of itself.
The creation and crafting of a magical tool, amulet or object is a potent exercise indeed.
Whilst mental and physical exercises are emphasized and of primary importance an altar provides a visible physical material basis - vis a vis - a three dimensional manifestation outwardly of the practice and path. It is an item of potency or touchstone of focus, a place to meditate, perform rituals, katas and practice and develop relaxation of the mind and body. It is a physical object that becomes empowered with its own unique "kami" or spirit as it is used over time and as such is intimately linked to the practitioner. It becomes an amplifier, a foci, a psychic battery or storage of esoteric and psychic energies.
Here is a summation the current tentative material basis of Tenchi Kuji-In
1. Kuji-Kiri - the Nine Symbolic Cuts - the mudras and associated empowering mantras that accompany each hand gesture. This is the core practice and goal of mastery. This requires meditation as well as the physical practice and memorization of the mudras, mantras and asssociated chakras.
2. Development and cultivation of the knowledge of various earth elemental kami or spirits. The kamidana altar is meant as the symbolic "home" of the kami or spirit that the practitioner will cultivate a personal relationship with and develop a knowledge of over time and praxis. Many nature-based elements can be taken and suggested from the neo-pagan paths on this topic.
3. Incense rituals - this is borrowed from Japanese Shinto as well as pagan belief systems, and is the use of specific scents for specific purposes and learning the identification of the incense and its mystical correspondances. This too has connectives to neo-paganism practices such as candle magic, and scrying.
4. Chado - this is a modified tea ritual. The form here is simplified from the Japanese version, but it contains the same meditative purposes and earth elemental correspondances. It may sound odd, but it is a potent meditative practice that develops a calm, poised mind in the face of hardship and adversity. I also plan on developing a divinatory method within this.
5. Sigilization - This relates directly to kuji-kiri and the creation of empowered objects and seals. The practitioner should have some familiarity with this concept already or should become educated in the formation of compound magical sigils, bindrunes etc. Various candle magic techniques are important to know in this regard. Some knowledge of shodo or Japanese calligraphy is good to cultivate at least topically in this regard.
6. Scrying/Divination - this element of Kuji-in is dynamic. It will change and adapt and is likely to vary from practitioner to practitioner. It has relation to a couple of the kuji-kiri mudras. There is no set in stone method - but is a process of trial and error, and the 'in-vivo' testing of various methods within the context of the path itself.
I have my own preferred methods and it is a matter of bringing them within the overall contextual setting.
7. Zazen - this is seated meditation. This is important, but so is what is termed the walking meditation. Meditation is a very critical portion of kuji-in. This will be addressed as to form in the PDF book.
8. Sakazuke ritual - the ritual form for this is still under development. The intent of the ritual is the partaking of a drink and forming a ritual bond with someone or something. This will have some similarities to the chado or tea ritual.
The origins of this ritual are from Shinto practices.
9. Dai Kongou- this is an advanced practice - that interlaces kuji-in with the creation of an empowered sigil. The Dai Kongou is a compound seal that uses the kuji-in symbols as well as other glyphs to create a potent personal talisman or power object through deliberate empowering exercises or the use of malas - that is to say specific numbers or repetitions of mantras. In essence The Dai Kongou In is an image comprising various Japanese kanji and images, all drawn with black ink on paper typically. Each kanji and image is a symbol representing a spiritual concept. It is a part of the regular practice of the majutsushi. The Dai Kongou practice consists in invoking various spiritual forces and concepts that have been previously empowered in the user.
10. The development of specific tantric practices or rituals. This is an intermediate practice that will be written of in future - although the forms or katas will lend some suggestions as to the specific tantra forms.
11. The Ordeal - this is a critical ritual for the majutsushi practitioner.
It will vary from person to person in intensity, but is the undertaking of a real challenge. This is where the practice, katas and formations begin manifest upon the material planes and in the life of the practitioner.
This is where "the rubber hits the road" in plain terms.
As an aside, in my own strong opinion - almost all of the mainstream religions have far too many soft "adherents" who simply pay little more than meaningless lip service to their so-called faiths without any real demonstrations of that faith in real "put your money where your mouth is" terms.
One's faith should not be something that is spoken of annoyingly and arrogantly foisted upon and preached at others for the sake of appearances.
It should be something that is self-evident and observable in the person's life and actions - or - it is nothing but hollow and empty word and vile, false. foul-mouthed hypocrisy concealing an imperfect, insecure and weak individual.
Kuji-kiri is the exact opposite of such things in contrast.
An ordeal could take many forms and multiple working. It is making a difficult and challenging goal and achieving that goal.
There are no real limitations upon it I would say. For some it may be learning a particular thing. For others it might involve some manifestation of difficult personal self-mastery over a bad habit or personal trait.
Others it may involve physical pain and bloodletting.
It may be all of these. This takes a good deal of self introspection.
It is the taking up of a challenge, setting a goal and then focusing upon its achievement, through the direct application of techniques that one is learning and developing.
This is a personal path based on the Kuji-in or 9 Syllable Seals which is a meditation.
Kuji-in refers to the nine mudras or hand gestures made.
This is an esoteric form that involves multiple religious paths and pathworkings.
It origin was first in India within Buddhism, then into Chinese traditional religion before being refined even further within Japanese Zen Buddhism, Shingon Buddhism, Shugendo and even Shinto - so - therefore it is an adapted, syncretic system already with diverse cultural elements involved in the path. In this, it is not only multi-cultural and syncretic but also interpretative.
There are no strict dogmatic scriptures or established doctrines as such as there are in the established mainstream monotheistic beliefs and faiths for one to follow directly as strict guidance or guidelines.
Kuji-in lends itself more to shamanistic practices, elemental animism and polytheist doctrinal regions from my own observations although it is based in Buddhist traditions.
There may have been many writings on it in past, but these have been lost, deliberately hidden or concealed over time.
We do know that the mudras and mantras that established the 9 Syllable Seals have been recorded and written about throughout history.
One of the bases of the seals is contained within the so-called Mandala of the Two Realms or the Ryōkai mandara. One of the other formative bases is in Vajrayāna Buddhism also known as Tantric Buddhism.
Vajrayana is a complex and multifaceted system which evolved over several centuries. One of the distinctive feature of Vajrayana Buddhism is ritual, which is used as a substitute or alternative for the earlier abstract meditations.
Vajrayana Buddhism is esoteric, meaning that the transmission of certain teachings only occurs directly from initiation or empowerment and cannot be simply learned from a book. According to the Vajrayana tradition, for instance at certain times the bodymind is in a very subtle state which can be used by advanced practitioners to transform the mindstream. Such liminal times are known in Tibetan Buddhism as Bardo states and include such transitional states as during meditation, dreaming, sex and death.
This itself, while certainly interesting and compelling as background - is not the essence of the modern contemporary Kuji-in form or path however in my own opinion.
This is not the resurrecting of an ancient religion or path.
Its historical elements are worth usage as a visual aesthetic or intellectual stimulus perhaps, but the path itself is based firmly in the contemporary and now.
It involves certain venerations or observances - but not excessive bowing, grovelling genuflections or bent-kneed adorations and worship as such.
This older ideal, I feel is not its contemporary essence at all and we are empowered as physical and psychic beings to define it as it is a dynamic not a static thing. It changes from age to age and from time frame to time frame.
The essence of the Kuji-in form or path is to build a potent spiritual power and presence and to develop physical/mental self-control and mastery within the practitioner through exercises involving meditation, the use of mudras, mantras, mandalas and specific empowerment of symbols - and the linking of those concepts to the Kuji Kiri grid and the use of the mudras or hand gestures.
It is the development of the highest and most potent and potentially dangerous of magical and occult skills - consciously willed acts of magick and spellcasting by hand gestures and the active kinetic projection of astral/psychic thoughtforms.
This, is the creation of a modern unique, esoteric spiritual form.
I hesitate in using the term "religion" however instead preferring to define it as an esoteric philosophy with a spiritual basis, and I personally believe that direct experience or gnosis is far better than dry transmission of explicative lengthy doctrines and outdated, outmoded, invalid dogmatic religious tenets.
The Kuji-in provides a firm biophysical and a corresponding psychic framework for building upon with its focus in exercises upon the chakras, meridians and neural power centers within the body.
That being said one must also acknowledge that man requires spiritual ritual or some measure of psychodrama and circumstance, and that this too must have some element within the path itself. Ritual is required to bring substance and visual stimulus to forms and esoteric conceptualizations.
In this regard I am drawing upon certain thoughts, tenets and aesthetic concepts from Shinto, Tibetan Buddhism, Japanese Zen Buddhism, Vedic influences as well as various neo-pagan elements and my own experiences, occult and esoteric influences and aesthetics. Ritual is important and it should mean something to the practitioner in a deeply subjective sense.
A ritual should be something emotionally compelling, yet relatively simple in approach. One can have a complicated ritual schedule - or something more flexible and adaptable in its approach. Something simple - yet potent.
This is a tenet of Zen Buddhism and its numerous koans for instance well worth consideration insofar as its general purpose.
Since the path is based within an esoteric discovery approach of gnosis or direct knowledge through praxis the first place to start is within a set of exercises, forms or katas as in martial arts for instance. The practitioner within Kuji-in is a majutsushi which means in Japanese "ma = pure, jutsu = art, shi = user. "A user of the pure art" literally.
I have a working progress PDF that starts with kata one and progresses through successive katas or exercises with key concepts and instructional interspersed.
Kuji-in is based upon the seal mudras or symbolic kiri or "cuts" in each of the specific hand gestures.
However, the first place to start is in empowering the hands before beginning to memorize and master the kuji-kiri mudras and mantras.
It is important to first learn with a specific formalized form. This is where the esoteric portion begins to manifest or form a strong gnosis within the practitioner.
This while simple sounding, is at least a year's worth of regular exercises to begin to see its long term potential.
It requires dedication on the part of the majutsushi to perform the katas regularly and engage themselves.
Since the path itself is anchored in mudras and the use of hand gestures - this is the first logical place to begin - in empowering the hands. One has to be patient and persevere in this, as it is easy to become distracted or lose interest and initiative. This is a distinct problem with many religious paths in fact.
One should learn each kata in depth and in turn - as these will become part of an overall routine of exercises performed regularly. It is easy to adapt the katas as the mudras or the walking meditation can be performed in any place at any time and in almost any circumstances.
In fact real-life situations of stress or anxiety for instance are the best place and moment to practice the exercises.
One does not need nor require some idealistic spot or time for these forms.
Indeed, they were meant to calm the nerves of ancient warriors before they went into battle in their earliest formative periods of use. They are active and kinetic.
This is one of the tenets of bushido - "the way of the warrior" - a mental discipline and mindset meant specifically to overcome hardship, loss, fear, panic, anxiety and trepidation, although I hasten to add that this particular application is not a physical martial art, but rather a philosophical and spiritual development - one could say a "magical" craftwork practice so to speak. Some martial artists utilize kuji-in within their practice and development, but this is a more psychic and occult development and application of the form itself.
As one begins to practice the forms or katas, I feel it is critical for the practitioner to hand build and begin to craft a specific kuji-in altar.
This is the kamidana altar.
The term "kamidana" is respectfully borrowed from Shinto and means "spirit house" which to me is a perfect terminology for an altar.
Collecting the materials and constructing it is an exercise in and of itself.
The creation and crafting of a magical tool, amulet or object is a potent exercise indeed.
Whilst mental and physical exercises are emphasized and of primary importance an altar provides a visible physical material basis - vis a vis - a three dimensional manifestation outwardly of the practice and path. It is an item of potency or touchstone of focus, a place to meditate, perform rituals, katas and practice and develop relaxation of the mind and body. It is a physical object that becomes empowered with its own unique "kami" or spirit as it is used over time and as such is intimately linked to the practitioner. It becomes an amplifier, a foci, a psychic battery or storage of esoteric and psychic energies.
Here is a summation the current tentative material basis of Tenchi Kuji-In
1. Kuji-Kiri - the Nine Symbolic Cuts - the mudras and associated empowering mantras that accompany each hand gesture. This is the core practice and goal of mastery. This requires meditation as well as the physical practice and memorization of the mudras, mantras and asssociated chakras.
2. Development and cultivation of the knowledge of various earth elemental kami or spirits. The kamidana altar is meant as the symbolic "home" of the kami or spirit that the practitioner will cultivate a personal relationship with and develop a knowledge of over time and praxis. Many nature-based elements can be taken and suggested from the neo-pagan paths on this topic.
3. Incense rituals - this is borrowed from Japanese Shinto as well as pagan belief systems, and is the use of specific scents for specific purposes and learning the identification of the incense and its mystical correspondances. This too has connectives to neo-paganism practices such as candle magic, and scrying.
4. Chado - this is a modified tea ritual. The form here is simplified from the Japanese version, but it contains the same meditative purposes and earth elemental correspondances. It may sound odd, but it is a potent meditative practice that develops a calm, poised mind in the face of hardship and adversity. I also plan on developing a divinatory method within this.
5. Sigilization - This relates directly to kuji-kiri and the creation of empowered objects and seals. The practitioner should have some familiarity with this concept already or should become educated in the formation of compound magical sigils, bindrunes etc. Various candle magic techniques are important to know in this regard. Some knowledge of shodo or Japanese calligraphy is good to cultivate at least topically in this regard.
6. Scrying/Divination - this element of Kuji-in is dynamic. It will change and adapt and is likely to vary from practitioner to practitioner. It has relation to a couple of the kuji-kiri mudras. There is no set in stone method - but is a process of trial and error, and the 'in-vivo' testing of various methods within the context of the path itself.
I have my own preferred methods and it is a matter of bringing them within the overall contextual setting.
7. Zazen - this is seated meditation. This is important, but so is what is termed the walking meditation. Meditation is a very critical portion of kuji-in. This will be addressed as to form in the PDF book.
8. Sakazuke ritual - the ritual form for this is still under development. The intent of the ritual is the partaking of a drink and forming a ritual bond with someone or something. This will have some similarities to the chado or tea ritual.
The origins of this ritual are from Shinto practices.
9. Dai Kongou- this is an advanced practice - that interlaces kuji-in with the creation of an empowered sigil. The Dai Kongou is a compound seal that uses the kuji-in symbols as well as other glyphs to create a potent personal talisman or power object through deliberate empowering exercises or the use of malas - that is to say specific numbers or repetitions of mantras. In essence The Dai Kongou In is an image comprising various Japanese kanji and images, all drawn with black ink on paper typically. Each kanji and image is a symbol representing a spiritual concept. It is a part of the regular practice of the majutsushi. The Dai Kongou practice consists in invoking various spiritual forces and concepts that have been previously empowered in the user.
10. The development of specific tantric practices or rituals. This is an intermediate practice that will be written of in future - although the forms or katas will lend some suggestions as to the specific tantra forms.
11. The Ordeal - this is a critical ritual for the majutsushi practitioner.
It will vary from person to person in intensity, but is the undertaking of a real challenge. This is where the practice, katas and formations begin manifest upon the material planes and in the life of the practitioner.
This is where "the rubber hits the road" in plain terms.
As an aside, in my own strong opinion - almost all of the mainstream religions have far too many soft "adherents" who simply pay little more than meaningless lip service to their so-called faiths without any real demonstrations of that faith in real "put your money where your mouth is" terms.
One's faith should not be something that is spoken of annoyingly and arrogantly foisted upon and preached at others for the sake of appearances.
It should be something that is self-evident and observable in the person's life and actions - or - it is nothing but hollow and empty word and vile, false. foul-mouthed hypocrisy concealing an imperfect, insecure and weak individual.
Kuji-kiri is the exact opposite of such things in contrast.
An ordeal could take many forms and multiple working. It is making a difficult and challenging goal and achieving that goal.
There are no real limitations upon it I would say. For some it may be learning a particular thing. For others it might involve some manifestation of difficult personal self-mastery over a bad habit or personal trait.
Others it may involve physical pain and bloodletting.
It may be all of these. This takes a good deal of self introspection.
It is the taking up of a challenge, setting a goal and then focusing upon its achievement, through the direct application of techniques that one is learning and developing.
First Steps
Well here I am on Blogger. I have grown weary of Facebook for a multiplicity of reasons.
I need to move on in a few directions in my life.
I need to move on in a few directions in my life.
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