Monday, May 16, 2016
Sunday, May 15, 2016
Saturday, May 14, 2016
Dokkodo - The Way of Walking Alone
1 - Accept everything just the way it is.
2 - Do not seek pleasure for its own sake.
3 - Do not, under any circumstances, depend on a partial feeling.
4 - Think lightly of yourself and deeply of the world.
5 - Be detached from desire your whole life long.
6 - Do not regret what you have done.
7 - Never be jealous.
8 - Never let yourself be saddened by a separation.
9 - Resentment and complaint are appropriate neither for oneself nor others.
10 - Do not let yourself be guided by the feeling of lust or love.
11 - In all things have no preferences.
12 - Be indifferent to where you live.
13 - Do not pursue the taste of good food.
14 - Do not hold on to possessions you no longer need.
15 - Do not act following customary beliefs.
16 - Do not collect weapons or practice with weapons beyond what is useful.
17 - Do not fear death.
18 - Do not seek to possess either goods or fiefs for your old age.
19 - Respect Buddha and the gods without counting on their help.
20 - You may abandon your own body but you must preserve your honour.
21 - Never stray from the Way.
A Rainstorm.
Tsunetomo Yamamoto -The Hagakure
Friday, May 13, 2016
Satori
Satori roughly translates into individual enlightenment, or a flash of sudden awareness. Satori is as well an intuitive experience. The feeling of satori is that of infinite space. A brief experience of enlightenment is sometimes called Kensho. Semantically, kensho and satori have virtually the same meaning and are often used interchangeably.
The only way that one can "attain" Satori is through personal experience. The traditional way of achieving satori, and the most typical way taught to Zen students in the west - but is not the only way - is through the use of koans such as those found in the Gateless Gate, the Mumonkan. Koans are "riddles" students use to assist in the realization of satori; these words and phrases were also used by the early Zen masters.
Another method is meditation. Satori can be brought about through zazen meditation. This meditation would create an objective self associated awareness with a feeling of joy that overrides any other feelings of joy or sorrow.
Even though satori is a key concept in Zen, it should be brought to the attention of the reader that Zen and it's traditions does NOT have exclusive rights to the enlightenment process or experience. That which is called satori in Zen is a term that is wrapped around a phenomenon that "is" and that "is" is not "owned" by any group, religion, or sect.
It is often said that when you truly need a teacher - or that which will function in lieu of a teacher - that is, a teacher or satori for example, will fall upon you. This may due to some inexplicable serendipity. It may be due to the fact that the seeker has searched deeply within himself or herself and determined what sort of instruction seems to be required. It could be a spiritual desperation on the part of the seeker, or maybe no more than a successful sales pitch by a teacher (sincere or not). It may be a combination of the previous factors, or some intuitive awareness beyond expression. For whatever the reason, the saying often applies and the coming together of the results of inner and outside forces, some within one's control, some without.
However, in the end , it is not just potential Zen masters in ancient China nor people in India that such events transpire, but everyday people as well.
The following six points on Satori are from D.T. Suzuki's An Introduction to Zen Buddhism
1. People often imagine that the discipline of Zen is to produce a state of self-suggestion through meditation. This entirely misses the mark, as can be seen from the various instances cites above. Satori does not consist in producing a certain premeditated condition by intensely thinking of it. It is acquiring a new point of view for looking at things. Ever since the unfoldment of consciousness we have been led to respond to the inner and outer conditions in a certain conceptual and analytical manner. The discipline of Zen consists in upsetting this groundwork once for all and reconstructing the old frame on an entirely new basis. It is evident, therefore, that meditating on metaphysical and symbolic statements, which are products of the relative consciousness, play no part in Zen.
2. Without the attainment of Satori no one can enter into the truth of Zen. Satori is the sudden flashing into consciousness of a new truth hitherto undreamed of. It is a sort of mental catastrophe taking place all at once, after much piling up of matters intellectual and demonstrative. The piling has reached a limit of stability and the whole edifice has come tumbling to the ground, when, behold, a new heaven is open to full survey. When the freezing point is reached, water suddenly turns into ice; the liquid has suddenly turned into a solid body and no more flows freely. Satori comes upon a man unawares, when he feels that he has exhausted his whole being. Religiously, it is a new birth; intellectually, it is the acquiring of a new viewpoint. The world now appears as if dressed in a new garment, which seems to cover up all the unsightliness of dualism, which is called delusion in Buddhist phraseology.
3. Satori is the raison d'etre of Zen without which Zen is no Zen. Therefore every contrivance, disciplinary and doctrinal, is directed towards Satori. Zen masters could not remain patient for Satori to come by itself; that is, to come sporadically or at its own pleasure. In their earnestness to aid their disciples in the search after the truth of Zen their manifestly enigmatical presentations were designed to create in their disciples a state of mind which would more systematically open the way to enlightenment. All the intellectual demonstrations and exhortatory persuasions so far carried out by most religious and philosophical leaders had failed to produce the desired effect, and their disciples thereby had been father and father led astray. Especially was this the case when Buddhism was first introduced into China, with all its Indian heritage of highly metaphysical abstractions and most complicated systems of Yoga discipline, which left the more practical Chinese at the loss as to how to grasp the central point of the doctrine of Sakyamuni. Bodhidharma, the Sixth Patriarch Hui-neng, Baso, and other Chinese masters noticed the fact, and the proclamation and development of Zen was the natural outcome. By them Satori was placed above sutra-learning and scholarly discussions of the shastras and was identified with Zen itself. Zen, therefore, without Satori is like pepper without its pungency. But there is also such a thing as too much attachment to the experience of Satori, which is to be detested.
4. This emphasizing of Satori in Zen makes the fact quite significant that Zen in not a system of Dhyana as practiced in India and by other Buddhist schools in China. By Dhyana is generally understood a kind of meditation or contemplation directed toward some fixed thought; in Hinayana Buddhism it was a thought of transiency, while in the Mahayana it was more often the doctrine of emptiness. When the mind has been so trained as to be able to realize a state of perfect void in which there is not a trace of consciousness left, even the sense of being unconscious having departed; in other words, when all forms of mental activity are swept away clean from the field of ,consciousness, leaving the mind like the sky devoid of every speck of cloud, a mere broad expense of blue, Dhyana is said to have reached its perfection. This may be called ecstasy or trance, or the First Jhana, but it is not Zen. In Zen there must be not just Kensho, but Satori. There must be a general mental upheaval which destroys the old accumulations of intellection and lays down the foundation for new life; there must be the awakening of a new sense which will review the old things from a hitherto undreamed-of angle of observation. In Dhyana there are none of these things, for it is merely a quieting exercise of mind. As such Dhyana doubtless has its own merit, but Zen must be not identified with it.
5. Satori is not seeing God as he is, as might be contended by some Christian mystics. Zen has from the beginning made clear and insisted upon the main thesis, which is to see into the work of creation; the creator may be found busy moulding his universe, or he may be absent from his workshop, but Zen goes on with its own work. It is not dependent upon the support of a creator; when it grasps the reason for living a life, it is satisfied. Hoyen (died 1104) of Go-so-san used to produce his own hand and ask his disciples why it was called a hand. When we know the reason, there is Satori and we have Zen.
Whereas with the God of mysticism there is the grasping of a definite object; when you have God, what is no-God is excluded. This is self-limiting. Zen wants absolute freedom, even from God. "No abiding place" means that very thing; "Cleanse your mouth when you utter the word Buddha" amounts to the same thing. It is not that Zen wants to be morbidly unholy and godless, but that it recognizes the incompleteness of mere name. Therefore, when Yakusan (aka Yaoshan Weiyan, Yueh-shan Wei-jen, 751-834) was asked to give a lecture, he did not say a word, but instead come down from the pulpit and went off to his own room. Hyakujo merely walked forward a few steps, stood still, and then opened his arms, which was his exposition of the great principle.
6. Satori is not a morbid state of mind, a fit subject for the study of abnormal psychology. If anything, it is a perfectly normal state of mind. When I speak of mental upheaval, one may be led to consider Zen as something to be shunned by ordinary people. This is a most mistaken view of Zen, but one unfortunately often held by prejudiced critics. As Joshu declared, "Zen is your everyday thought"; it all depends on the adjustment of the hinge whether the door opens in or opens out. Even in the twinkling of an eye the whole affair is changed and you have Zen, and you are as perfect and as normal as ever. More than that, you have acquired in the meantime something altogether new. All your mental activities will now be working to a different key, which will be more satisfying, more peaceful, and fuller of joy than anything you ever experienced before. The tone of life will be altered. There is something rejuvenating in the possession of Zen. The spring flowers look prettier, and the mountain stream runs cooler and more transparent. The subjective revolution that brings about this state of things cannot be called abnormal. When life becomes more enjoyable and its expense broadens to include the universe itself, there must be something in Satori that is quite precious and well worth one's striving after.
"Therefore, what I say is false, but true, because I speak of That. The address is false but when you reach the goal, it is Reality. In the same way, all the scriptures and the philosophical books are meant only to indicate that point, and when you reach it they become non-existent, empty. Words are false; only the meaning they convey is true. They are illusion, but they give a meaning. Therefore, All Is Illusion, but to understand the illusion, illusion is needed. For example, to remove a thorn in your finger you use another thorn; then you throw both of them away. But if you keep the second thorn which was used to remove the first one, you'll surely be stuck again."
Shri Ranjit Maharaj
Thursday, May 12, 2016
Zen and Kensho
A curious incident. I was working, taking a break actually and recited the ken to zen mantra - and I looked at a bale of cardboard and saw - just like that - the word "ZEN" sticking out clearly. It was part of a box, and the end of a Chinese name I suspect - but it was one in a million for such an occurrence.
I cut it loose with a box cutter and trimmed it - put it in my pocket, and sadly and inexplicably I lost it somehow before the end of the day. I still am struck by the coincidence of thinking that at that moment and simultaneously seeing the word at random like that.
I wanted to bring it home. I feel stupid for losing it and not being more careful with it.
Might sound silly or foolish, but somehow it was meaningful..although I am not sure of the meaning.
In any case, the whole matter is worthy of lengthy contemplation.
It was a moment of striking samadhi, or insight - followed by loss. Something brilliant - a statistical near impossibility followed by a rapid transience or dissipation.Perhaps it was more a moment of satori - some commenters would call such a moment - kenshō which is a brief glimpse, while satori is considered to be a deeper spiritual experience. Kensho is insight, an understanding of reality as-it-is. I personally believe among other things now, more than before perhaps that the "ken to zen ichi desu" mantra formula is a potent one.
I cannot say I "invented" the phrase but I can say I have never seen it used as a mantra formula and given the incident today it would seem to contain some distinctive potencies.
Tuesday, May 10, 2016
The black dragon's jewel
What you search for cannot be grasped.
As the night deepens,
the moon brightens over the ocean.
The black dragon's jewel
is found in every wave.
Looking for the moon,
it is here in this wave
and the next.
Monday, May 9, 2016
Sunday, May 8, 2016
Struggles and endurance.
Been thinking today of my own life and personal stuff. At my age, with some of the physical injuries accumulated over the years - it make my job based on heavy manual labor very difficult.
Somedays, I just am ready to throw in the towel and quit.
I read an inspiring piece on Shugendo ascetics on the sacred mountain and caves and the harsh trails, and the pain and anguish they underwent on their 100 day long quests and ascetic practices.
I have very bad pain in my shoulder, some in my back and feet - which I have had issues with since childhood. Everyday at work is a struggle, at times an immense struggle to not just say "fuck this" and walk off and leave. I lift literally thousands of pounds of freight per day and walk constantly. One issue is I never get two days off in a row, consequently I never fully recover from the last day of work - and am constantly sore and in pain to varying degrees. Somedays my shoulder and feet feel like they are on fire and pounding with pain, and I can hardly hobble and limp along. When I am home, I feel like I am lying stove up below decks - exhausted until the next - "all hands on deck!" comes in the morning.
I struggle also trying to put it in context, to find someway, some method of coping with it and dealing with it.
I should find less physically demanding work, and at some point will be forced to.
Obviously, I don't live in Japan and can't go climb the sacred mountains there - but daily I ride through the thick pine forests of northern Georgia to work. Some of the areas resemble areas of rural Japan without the bamboo forests. It is a daily ascetic ritual of pain to go through in very real terms.
The picture of the forest near here has the kanji for nin meaning - "endurance" (alt. perseverence) on it.
Acala - Shugendo Chant
Nômaku sanmanda bazaradan senda makaroshada sowataya un tarata kanman. (Jpn.)
Namah samanta-vajrânâm canda mahârosana sphotaya hûm trat hâm mâm (Skt.)
Homage to the all-pervading Vajras! O Violent One of great wrath! Destroy! hûm trat hâm mâm
Kuji-in - An Overview
History
The kuji are first introduced in the Taoist text Baopuzi (抱朴子) a poem written by Ge Hong c.280-340 AD. In it he introduces the kuji in chapter 17 titled - DengShe/登涉 (Climbing [mountains] and crossing rivers) as a prayer to the six Jia (generals of yang), ancient Taoist gods. in Daoist Magic, the Chia Spirit Generals are powerful celestial guardians and part of Tammon-Ten's (Vaiśravaṇa), The God of the North, Celestial Thunder Court. The kuji come from line 5 which reads,
Line 5: 抱朴子曰：“入名山，以甲子開除日，以五色繒各五寸，懸大石上，所求必得。又曰，入山宜知六甲秘祝。祝曰，臨兵斗者，皆陣列前行。凡九
字，常當密祝之，無所不辟。要道不煩，此之謂也。”
Translation: "To enter a famous mountain, choose an opening day, which can be determined by its cyclical binary. Hang silk of the five colors, each piece five inches wide, from a large rock, so that you may be sure to succeed in your goal. Further, while entering the mountains you must know the Six-Chia secret prayer. It goes like: "May the presiders over warriors be my vanguard!" This nine word prayer must constantly be recited in secret. It means, "May all evils flee me and the essential procedure present no trouble."
The Chinese ku-ji actually forms a grammatically functional sentence when translated. The kuji come from this section of the chapter and are written as Chinese: 臨兵斗者，皆陣列前行; pinyin: lín bīng dǒu zhě jiē zhèn liè qián háng which can be roughly translated as:
"Celestial soldiers/fighters descend and arrange yourselves in front of me", or “May all those who preside over warriors be my vanguard!”
Other translations are possible as well especially in Japanese esoteric Buddhism. According to the Baopuzi, the kuji is a prayer to avert difficulties and baleful influences and to ensure things proceed without difficulty. To this end it can be said that the primary purpose of ku-ji is shōkanjō (consecration, abhiseka) and chōbuku (exorcism).
The Taoist ku-ji are next cited in a text called the Wuliangshou jing youpotishe yuansheng ji zhu (The commentary on the discourse about the Sutra on Immeasurable Life, and on the verses about the vow to be reborn in the Pure Land, or just Wangsheng lunzhu for short, by Taluan (467-542AD).
How the kuji arrived in Japan is still a matter that is debated. The Korean variant is 臨兵鬥者皆陣列在前行. Some current scholars assert that the kuji arrived in Japan via China through Jodoshu or True Land Faith, and Shugendō around perhaps the 8th century, if not much later. Others assert that the Taoist kuji arrived via Korea. As to what the kuji consisted of at the time it arrived in Japan is unknown. The mudras are found in Taoist material as well as Shugendō. Some have suggested it was Shugendō who added the mudras that are known today to be associated with the kuji. This would make sense as the vast majority of information that is known about the kuji comes from Shugendō literature.
Ryobu kuji
The earliest known Japanese kuji comes from the Shingon monk Kakuban (1095-1143AD) who was an academic of Taluan’s writings and teachings.
Kakuban introduces several kuji formulas dedicated to Amida Nyôrai, in his text Gorin kuji myō himitsu shaku or Gorin kuji hishaku for short. The kuji formulas Kakuban introduces are commonly grouped under the title zokushu, and are completely unrelated to original Taoist kuji. Kakuban was followed by the monk Shinran (1173-1263AD), founder of Jōdo Shinshū sect, who introduced several kuji formulas, also dedicated to Amida Nyôrai.
Kakuban and Shinran were followed by the monk Nichiren, who founded the Nichren sect, in 1730AD who introduced a kuji prayer from chapter 26 of the Lotus Sutra where it is uttered by the King of the North, Tammon-Ten/Bishamon-Ten (Vaisravana – Skt.). None of these Japanese kuji formulas/prayers are related to Taoist kuji in any way. Though it is interesting to note that Nichiren picked Tammon-Ten, the general of the Taoist Six Chia, to dedicate his kuji prayer to. It is also important to note that the founder of Shingon, Kōbō Daishi (Kūkai), nor the founder of Tendai, Saicho, never mentions the kuji is any of their writings. And it therefore can be safely assumed they either did not know of them, or if they did, they were considered only a minor teaching at best.
The nine syllables of ku-ji have numerous correlations and associations with Japanese esoteric Buddhism. They are associated with the gorin (five chakras), the godai (five elements), certain directions of the compass, certain colors, and numerous Tantric and esoteric deities.
Variations on the ryobu kuji
There are numerous variations of the nine original Taoist kuji in Japanese Buddhism. Most of these variations occurred well after the introduction of the kuji into Japan. Some, however, are other Taoist formulas taken from Taoist writings and Buddhist sutras. The kuji that is most often seen in the context of budo, or martial arts, and also in general, consists of the nine original Taoist syllables:
Lin Bing Dong ZheJie, Zhen Lie Qian Xing
which was subsequently translated into Japanese as:
Rin Pyou Tou Sha Kai Chin Retsu Zai Zen
Meaning again: "Celestial soldiers/fighters descend and arrange yourselves in front of me."
The fact that the Taoist kuji are not seen in Japanese documents and writings until at least the 1500s, and then not extensively until around the Edo jidai (1603-1868AD) and Meji jidai (1868 -1912AD) indicates that they were either not extensively practiced, or taught as kuden (oral transmission).
However, the fact that so many koryu list the kuji in their makimono indicates it must have been considered an essential teaching (goku-i). And the fact the ku-ji are listed in numerous kobudō makimono from the 1500s onward, is proof that the ku-ji were practiced by the bushi.
Significance of the Number Nine
Why the number nine is a matter of some speculation. The number nine is seen in Taoist divination as the perfect number for yang/yo, the “bright side” when determining the individual hexagram lines according to the I-ching (Book of Changes). Some have suggested that the number nine refers to the nine planets, that the Taoist believe directly influence human destiny, or to the seven stars of the Big Dipper (Northern Seven Stars) plus the two attendant/guardian stars which Taoist believe is the gateway to heaven, and which each star is a Taoist deity. The Imperial Palace had nine halls, the celestial sphere has nine divisions, both in Buddhism and Taoism, heaven is 'nine enclosures' (chiu ch'ung). The nine submandalas of the Vajradhãtu-mandala correspond to the imperial city of Ch'ang-an.
Kuji no in - Hand seals of the Nine Syllables
The Kuji-in (九字印), "Nine Hand Seals," refers to the mudra (hand seals/gestures) associated with the nine syllables themselves. Whereas, kuji-ho refers to the entire ritual of kuji and encompasses the mudra, mantra and meditation. Kuji-kan (nine syllable visualization), is a specialized form of Buddhist meditation. Technically the word "Kuji no in" refers only to the hand postures (mudra), whereas “kuji no shingon” refers to the related incantations (mantra). It is important to note that there are literally hundreds of mudras in Shingon alone.
Shugendō itself has hundreds of mudras, as does Taoism. Many of these mudras are shared, however, many are not. To further complicate this fact, there are also untold numbers of variations on a given mudra, and many mudras are associated with more than one deity or idea. Furthermore, a mudra may have more than one name, or one association depending on its purpose. Practitioners’ would be wise to keep this mind when practicing kuji ho.
Yin/Yang and kuji
The dualistic influence of inyogoku (yin yang dualism) is apparent only in respects to the mudra of certain kuji rituals. As stated earlier the kuji in and of itself is a simple prayer. The obvious influences of onmyōdō (the way of Yin and Yang)is clearly seen in the mudra themselves which were added latter.
Especially in regards to the first and last mudras, the mudras associated with the syllables "to" and "sha", "kai" and "jin". These mudras are obvious yin and yang counterparts. This is significant in that the concept of yin and yang is seen as encompassing all the cosmic phenomena, all eternity between the two polar opposites. The mudra gejishi-in (gesture of the outer lion) and its immediate counterpart naijishi-in (gesture of the inner lion) clearly represent this yin/yang relation. In fact, not only do these two related mudras represent the alpha and omega by themselves, but the two lions associated with them take this association a step further. The two lions are commonly seen outside the doors of Buddhist temples, where they stand as guardians against evil and baleful influences. The first lion utters the sound “A” which symbolizes the alpha, that all reality and phenomena are, in the tradition of mikkyô, said to neither absolutely exist, nor non-exist - they arise in dependence on conditions, and cease when those conditions cease.
Whereas, the second lion utters the sound “Un” (Hūm) which symbolizes the omega, the destruction of all evils; it summarizes the two basic false views of nihilism and externalism, and shows them to be false. The truth of things is that they are neither real nor unreal. This description also applies to the next two mudra, gebbaku-in (gesture of the outer bond) and its immediate counterpart neibbaku-in (gesture of the inner bound). The first (dokko-in, kongōshin-in) and last mudra (hobyo-in, ongyō-in), occupy the two most important positions, the beginning and the end, again with relation to the Taoist and mikkyô points of view of the alpha and omega.
In relation to yin and yang theory, the yang aspect is the light, masculine, positive, offensive, absolute, horizontal, left, forward, upward. While the yin aspect is the dark, feminine, negative, defensive, relative, vertical, right, backward, down.
Ryobu kuji and the martial arts
Ku-ji ho as generally practiced in budo comes from text Sugen jinpi gyoho fuju shu or Fuju shu for short, a Shugendō document of the Tozan-ha lineage, edited between 1871-1934 by Nakuno Tatsue. The original compiler is unknown, but it appears to incorporate numerous Shugendō rituals from various Shingon sects such as Tachikawa-ryu. The text compilation of texts appears to span a time period from the 1200s on up to 1500s and 1600s. The Fuju shu lists 400 rituals, 26 of them kuji-ho.
The two particular techniques of ku-ji that are most directly related to budo, and most widely known are kuji hon-i and kuji no daiji. These two kuji rituals are centered the esoteric deities of Shingon mikkyo, the Shitenno or Four Heavenly Kings and Godai myo-o or Five Wisdom Kings. Other groupings of deities exist as well depending on the sect and purpose of the kuji.
Kuji-kiri - Cutting the nine syllables
The related practice of making nine cuts - five horizontal and four vertical, alternating - in the air or palm of a hand with the finger or on paper with a brush is known as kujikiri, nine syllable cuts. Kuji-kiri is explained in Shugendo texts, quite correctly, as a preparatory ritual of protection, to cut off demonic influences and their inki (vital substance). In Japanese folk-magic and onmyodo, the nine cuts are often made over writing or a picture, to gain control of the object named or pictured. Thus, a sailor wishing to be protected from drowning might write them over the kanji for "sea" or "water". Author and historian John Stevens notes that methods of oral sex using kuji-kiri were employed by practitioners of Tachikawa-ryu.
The Fuju shu does not spell out every ritual in detail. However, in several of the kuji-kiri rituals it is spelled out that the strokes are made alternately horizontal and then vertical: five horizontal and four vertical for men; and four horizontal and five vertical for woman.
A modern Japanese text labeled kuji Dia Marishi-Ten hiju/大摩利子天秘授 (Nine syllables of the Tactics of the Great Goddess of Light (Marishi-Ten)) says that five horizontal slashes are made while reciting the yo-syllables: rin, toh, kai, retsu, zen, which spells (come, fight, ready, line up, in front) first. These are to be followed by four vertical slashes while reciting the in-syllables: pyo, sha, jin, zai which spells (warriors, one formation, take position). The document gives no other information as to why this arrangement is used.
Kujiho in practice
Ku-ji itself is a very flexible practice that can be modified depending on the needs of the practitioner. The practice of ku-ji ho as found in Japanese esoteric Buddhism is a sanmitsu nenju (concentrated three mysteries practice), and as such, consists of several dependent, integrated practices. It can be practiced in the form of either of the two mandaras of esoteric Buddhism [mikkyo]. The Kongo-kai/金剛界 mandara (vajradhatu; Diamond Universe Nine Assemblies mandala) of Shingon Buddhism, or the Taizo-kai/胎蔵界 mandara (garbhakosa-dhatu; Womb mandala). It is also used by other Buddhist sects, especially in Japan; some Taoists and practitioners of Shinto and Chinese traditional religion; and in folk-magic throughout East Asia.
The Kuji-in practice symbolizes that all the forces of the universe are united against evil; because of this, it was often used by the common people for luck when traveling, especially in the mountains.
Meaning of kuji symbolism
The influence of Taoism is very apparent in the practice of ku-ji, in that there are yin/in and yang/yô aspects to ku-ji that must be taken into consideration by the practitioner. There are five yang/yô-syllables, and four yin/in-syllables. In onmyôdo [inyo goku] philosophy yin/in is related to relative, to benefit self, defensive; yang/yô is absolute, to use against others, offensive. Thus, when looking at the implied meaning of the syllables in ku-ji it is apparent that the in-syllables are used to defend the self, and the yô-syllables are used to attack outside influences.
The yin and yang theory of kuji also carries over to kuji kiri. In kuji kiri the vertical strokes/slashes represent the yin/in syllables, while the horizontal strokes/slashes represent the yang/yo syllables. Thus in kuji kiri the practitioner is first making an aggressive horizontal slash representing the first syllable which is a yang/yo which represents the absolute aspect or offensive nature of the deity. The second stroke/slash is defensive and represents the second syllable or relative aspect or defensive nature of the deity. And so on...
Often a tenth syllable is added at the end. Generally it is the mata [syllable] for victory, or "to destroy".
Yang/Yô syllables [horizontal, absolute]
臨/Rin: come
闘/Tôh: fight
皆/Kai: ready
列/Retsu: line-up
前/Zen: in front
Yin/In syllables [vertical, relative]
兵/Pyôh: warriors
者/Shā: one
陣/Jin: formation
在/Zai: take position
Thus the essence of the meaning of the ku-ji can be roughly translated as,
Taoist: “May all those who preside over warriors be my vanguard.”
Japanese: "Come warriors, fight as one, ready in formation, line up and take position in front. Destroy/victory!"
Each of the nine syllables has a meaning that when integrated with the corresponding mudra, mantra, and visualization [corresponding deity] manifests sanmitsu kaji [grace, virtue, merit of the Three mysteries]. In general it can be said that ku-ji is the harnessing and control of psychospiritual or psychophysical energies, and, or, of cosmic–universal spirits/deities/energies.
The deities most commonly called upon in mikkyo (esoteric Buddhism, Vajaryana-tantra) are deities of Hindu and Tantric origin, which are ultimately all emanations of Mahavairocana (Dainichi Nyorai). These deities are the Shitenno and the Godai myō-Ō, as well as Marishi-ten [Goddess of light], Nitten [Sun god], Bon-ten (Brahma), Ichiji Kinrin Bochto (Ekaksa-rosnisa-cakra, or Ekasara-buddhosnisa-cakra), and so on.
With relation to Japanese esoteric Buddhism [mikkyo], the yang/yō-syllables represent the Shitenno (Four Heavenly Kings), with the exception of the “kai” syllable which represents Fudo-myô-o. The yin/in-syllables represents the Godai myô-o. A simple look at the ku-ji and their relation to the prescribed deities shows a very logical pattern. The ku-ji and associated deities form a simple mandara, with Fudō myō-Ō at his rightful and proper place in the center, surrounded by the other four Myō at their respective locations, which comprises the inner sanctum–hall of the mandara. The shidaitenno being of a lower rank–office than the Myō, occupy the outer sanctum/hall of the mandara at their respective positions.
Yô/yang syllables
臨/Rin: Tammon-ten/Bishamon-ten (Vaisravana - Skt.)
闘/Tôh: Jikoku-ten (Dhrtarastra - Skt.)
皆/Kai: Fudo myô-o (Acalanatha -Skt.)
列/Retsu: Komoku-ten (Virūpākṣa - Skt.)
前/Zen: Zocho-ten (Virudhaka -Skt.)
In/yin syllables
兵/Pyôh: Gonzanze myô-o/Shozonzae myo-o (Trailokyavijaya -Skt.)
者/Shā: Kongō-yaksha myô-o (Vajrayaksa - Skt.)
陣/Jin: Gundari myô-o (Kundali -Skt.)
在/Zai: Dai-itoku myô-o (Yamantaka -Skt.)
Fuju shu #200, kuji no daiji
This is the other kuji ho that most directly deals with the martial arts, the most direct being the above kuji hon-i.
Yô/yang syllables
臨/Rin: Tammon-ten/Bishamon-ten (Vaisravana - Skt.)
闘/Tôh: Nyoirin
皆/Kai: Aizen Myo-O (Ragaraja)
列/Retsu: Amida Nyorai (Amitābha)
前/Zen: Monju bosatsu (Mañjuśrī)
In/yin syllables
兵/Pyôh: Juichimen Kan'non (Ekadasa-mukha)
者/Shā: Fudosan (Ācalanātha)
陣/Jin: Sho Kan'non (Āryāvalokitesvara)
在/Zai: Miroku Bosatsu (Maitreya)
Other groupings of the ku-ji include Kujisuijaku or Nine Planets. This relates to the nine planets and Seven Northern Stars, the purpose of the kuji-ho is to obtain protection, as well as longevity, and the correlations with the nine planets and Seven Northern Stars. The idea was to perform the ritual to remove bad or baleful influences which a particular star or stars might in exerting over at that time over a person in a particular age group, by converting it into an auspicious star, planet, and influence.
臨/Rin: Keitosei [Descending lunar node], southwest, Jizo bosatsu
兵/Pyôh: Nichiyōsei [Sun], northeast, Sunday, Fudo myo-O
闘/Tôh: Mokuyōsei [Jupiter], east, Thursday, Monju bosatsu
者/Shā: Kayōsei [Mars], south, Tuesday, Hachiman bosatsu
皆/Kai: Ragosei [Ascending lunar node], southeast, Dainichi Nyorai
陣/Jin: Doyōsei [Saturn], center, Saturday, Kan'non bosatsu
列/Retsu: Getsuyōsei [Moon], northwest, Monday, Fugen bosatsu
在/Zai: Kin-yōsei [Venus], west, Friday, Kokuzo bosatsu
前/Zen: Suiyōsei [Mercury], north, Wednesday, Seishi bosatsu
Note: if Myoken bosatsu is included at the end, kujisuijaku becomes jujisuijaku or ten stars/十曜星. Myoken is the primary deity of worship of the shukuyoo/宿曜 or nine constellations/planets.
Kujihonji -Northern Seven Stars, Big Dipper Ursa Major
臨/Rin: Donrōshō/貪狼星; Nichirin Bosatsu; ; [Dubhe; Alpha Ursae Majoris (α UMa / α Ursae Majoris)]
兵/Pyôh: Komoshō/巨門星; Gachirin Bosatsu; ; [Merak ; Beta Ursae Majoris (β UMa / β Ursae Majoris)]
闘/Tôh: Rokuzonshō/禄存星; Kōmyōshō; [Phecda, Phekda or Phad; Gamma Ursae Majoris (γ UMa / γ Ursae Majoris)]
者/Shā: Monkokushō/文曲星; Zōchō Bosatsu; [Megrez; Delta Ursae Majoris (δ UMa / δ Ursae Majoris)]
皆/Kai: Renjōshō/簾貞星; Ekoshō Bosatsu; [Alioth; Epsilon Ursae Majoris (ε UMa / ε Ursae Majoris)]
陣/Jin: Mukokushō/武曲星; Jizō Bosatsu; Mizar; (ζ UMa / ζ Ursae Majoris)]
列/Retsu: Hagunshō/破軍星; Kongōshu Bosatsu (Fugen bosatsu) (Samantabhadra -Skt.); [Alkaid (or Elkeid) and Benetnash (Benetnasch); Eta Ursae Majoris (η UMa / η Ursae Majoris)]
Two attendant stars
在/Zai: Gatten; M101 [The Pin Wheel Galaxy] located to the north of Alkaid
前/Zen: Nitten; M51 [The Whirlpool Galaxy] located to the south of Alkaid
Zokushu
Zokushu is the earliest known Buddhist adaptation of the kuji. It is a kuji ritual based on Kakuban's formula, in which each of the kuji corresponds to a shuji/bonji/bija. However, instead of the original nine Taoist syllables, Kakuban created a new set of nine syllables based on the mantra of Amida Nyorai. There are in fact several zokushu rituals that Kakuban designed. The ritual itself is based on the deities Avalokitesvara [Kan'non bosatsu], and Amida buddha (Amitabha) as well as the nine deities of the inner sanctum of the Taizo-kai mandara/胎蔵界曼荼羅 (Garbhadhatu). Zokushu is based on Jodoshu or Pure land sect and therefore the primary deity of worship is Amida Nyorai.
This is the list of the nine original Taoist syllables and gives a corresponding Japanese syllable. The shuji themselves when placed in order of their corresponding kuji form no logical sentence or statement, and may represent Sanskrit bija, and, or Tantric deities, or, it may be a prayer. Without further evidence however, no other conclusions can be made.
臨/Rin: Ri
兵/Pyôh: Na
闘/Tôh: Tan
者/Shā: Sha
皆/Kai: Ku
陣/Jin: Chirin
列/Retsu: Raku
在/Zai: Rau
前/Zen: Ron
Ri-na-tan-sha-ku-chirin-raku-rau-ron
It is unclear how this set of kuji is related to the Sanskrit bija Kakuban gives for the primary zokushu kuji, which is the mantra of Amida buddha.
Um, a, mr, ta, te, je, ha, ra, hum
These compose the mantra:
Om amrta tese (teje) hara hum
Translation - "Om to the elixir/nectar of immortality of most exalted virtues and noble strengths, to the heavenly queen Amida buddha, hum.] or [Om save us in the glory of the Deathless One hûm."
Another kuji formula is found in the writings of Jodo Shinshu, founded by Shinran, and is yet another mantra to Amida Nyorai which reads
Na, mu, fu, ka, shi, gi, ko, nyo, rai
Which spells the mantra, Namu fukashigi-ko Nyorai or Homage to the Tathāgata [buddha] of inconceivable light.
A juji formula is then given with the syllables,
Ki, myō, jin, jip, pō, mu, ge, kō, nyo, rai
This spells the mantra:
Kimyo jinjippō mugekō Nyorai or Homage to the Tathāgata [buddha] whose light shines without obstruction universally in the ten directions!
It may be that this juji ritual is based on, or connected to an older Taoist juji formula,
Ten-ryū-ko-ō-shō-ze-myō-ki-sui-dai
Here is a list of deities related to the mantra of Avalokiteśvara (Kan'non)
A: Avalokiteśvara (Kan'non Bosatsu)
Mŗ: Maitreya (Miroku Bosatsu)
Ta: Ākāśagarbha (Kokūzō Bosatsu/虚 空 蔵)
Te: Samantabhadra (Fugen Bosatsu)
Se: Vajrapani (Kongō shu bosatsu /金剛手菩薩. Vajrapani is associated with Acala who is venerated as Fudo-Myo and is serenaded as the holder of the Vajra
Ha: Manjusri (Monju Bosatsu)
Ra: Sarvanivarana-Vishkambhin (Sarvanivāraṇaviṣkambhin)
Hūm: Ksitigarbha (Jizo Bosatsu)
Hrīh: Avalokiteśvara (Kan'non Bostsu)
Note: the deletion of the Om syllable in the beginning and addition of the Hrīh syllable is an adaptation. Hrīh signifies the element metal and lungs. The placement of Avalokiteśvara at the beginning and end obviously signifies that the other deities are contained within Avalokiteśvara.
Rather these kuji and juji originated strictly within Japanese Buddhism is unlikely as Jodo Shinshu is, like many things in Japanese theology, influenced by Taoism. And it is also safe to assume that both Kakuban and Shinran would have been familiar with the various Taoist kuji and juji formulas. Rather or not their kuji and juji formulas are Japanese versions of Taoist formulas may never be known. However, what is clear is that they represent the earliest known use of the kuji and juji in Japanese esoteric Buddhism [mikkyo].
Here is a list of related Taoist deities:
臨/Rin: Taishi
兵/Pyôh: Suzaku
闘/Tôh: Bunno
者/Shā: Genbu
皆/Kai: Santei
陣/Jin: Byakko
列/Retsu: Gyokujo
在/Zai: Kyuchin
前/Zen: Seiryu
Shinto deities related to kuji
In the late Edo jidai the kuji were practiced by various Shinto schools. And therefore, a set of correlations was developed between the kuji and various Shinto schools and related deities. Below is one such list belonging to a Shinto school in the Yamato region.
臨/Rin: Tensho Kodaijingu/ Amaterasu Omikami
兵/Pyôh: Sho Hachiman Daijin
闘/Tôh: Kasuga Daimyojin
者/Shā: Kamo Daimyojin
皆/Kai: Inari Daimyojin
陣/Jin: Sumiyoshi Daimyojin
列/Retsu: Tanyu Daimyojin
在/Zai: Nittenshi
前/Zen: Marishi-Ten (Marici -Skt.)
E] Tammon-Ten’s kaji kuji (Vaisravana’s nine syllable empowerment)
Another kuji prayer is outlined by the monk Nichiei (Nichiren), and is found in chapter 26 of the Lotus Sutra where it is uttered by the deva King of the North, Tammon-ten/Bishamon-ten (Vaisravana), and is said to guarantee protection to those who recite it.
The verse goes (CH 26 Lotus sutra):
"Thereupon, the devarāja Vaiśravaṇa, a world-protector, addressed the Buddha, saying: “O Bhagavat! I will also teach a dhāraṇī out of pity for sentient beings and in order to protect ex pounders of the Dharma.” He then recited a dhāraṇī, saying: Aṭṭe naṭṭe vanaṭṭe anaḍe nāḍi kunaḍi (Skt.); (Ryo-hyaku-yu-jun-nai-mu-sho-sui-gen)(Jpn.)
“O Bhagavat! With this mantra-dhāraṇī I protect the ex pounders of the Dharma; I will also protect those who hold to this sutra. All heavy cares shall be banished for a hundred yojanas around.” [Cause all feeble sickness to be naught a distance of a hundred yojans (approximately 1,000 miles/1,600 km)]F] Jioku-ten's kaji kuji (Dhṛtarāṣṭra's nine syallable empowement)
Also in chapter 26 of the Lotus Sutra immediately following Vaiśravaṇa, the Great King Dhṛtarāṣṭra (Jioku-Ten) Guardian of the eastern quarter announces a kuji in Sanskrit to commplement Vaiśravaṇa's dharani. The verse goes:
"At that time the devarāja Dhṛtarāṣṭra the great Heavenly King and Upholder of the Nation was present in the assembly, respect-fully surrounded by millions upon million of myriads of koṭis of nayutas of gandharvas. He came before the Buddha together with them and addressed the Buddha with his palms pressed together, saying: “O Bhagavat! With a mantra-dhāraṇī I will also protect those who hold to the Lotus Sutra.” He then recited the dhāraṇī,saying:
Agni Gauri gandhāri caṇḍāli matangi jaṅguli vrūsaṇi agasti."
“O Bhagavat! This mantra-dhāraṇī was spoken by forty-two koṭis of buddhas. Anyone who attacks or slanders an expounder of the Dharma also attacks or slanders these buddhas."
As it should be apparent, the kuji are a very adaptable ritual which has, and will likely continue to be, adapted to the local needs of the individual or organization. In so long as the overall structure of esoteric practice is understood, that being the practice of sanmitsu, then the kuji can be adopted to fit almost any need.
Meanings in Shinto
Each word is translated to the following meaning for Shinto.
Rin: To face.
Pyōh: The soldier.
Tōh: To fight.
Sha: The man (or the people); a foe
Kai: The all, or the whole effect, or whole effort.
Jin: In Formation, or position in camp or to prepare.
Retsu: To move in column or a row, in a line; or marching, or to focus.
Zai: To appear, or to exist to make yourself known, or create existence.
Zen: To be in front. or show up in front.
Kuji-in is used as part of a ritual in Shinto, and is used to purify a person with a waterfall.
RIN
STRENGTH OF MIND AND BODY
At first this may appear to be physical strength and mental intellect but maybe we can think of this as being physically well and having a positive outlook. Middle fingers extended, others interlocked.
PYOH
DIRECTION OF ENERGY
To begin this may seem to refer to directing your energies into work but later it could be that you see it as a way of directing your internal energy to increase your inner power. Index fingers and thumbs extended, middle fingers curled over index fingers. Others interlocked.
TOH
HARMONY WITH THE UNIVERSE
This can work on many levels from learning to live in peace with mankind and the animal kingdom to being at one with yourself. Last two fingers extended to form a V (tips touching). Thumbs extended, others interlocked.
SHA
HEALING OF SELF AND OTHERS
The ability to heal is more powerful than the ability to kill. When you sense your inner power you will no longer succumb to viruses and other ailments. Index fingers and thumbs extended, others interlocked.
KAI
PREMONITION OF DANGER
If this cut is fully achieved you may find that you can feel the emotions of others (even at a distance) which can aid in knowing how others will react in a given situation. All fingers interlocked.
JIN
KNOWING THOUGHTS OF OTHERS
I believe that this cut increases your ability to "feel" the thoughts of others. When your are adept at this power you can hide your thoughts and feelings from others. All fingers interlocked inwards.
RETSU
MASTERY OF SPACE AND TIME
Think of this... Have you ever noticed how the day has passed quickly for others but has taken an age for you?. Everybody has the ability to control their own "time". With this power one could use it to easily defeat an opponent.
Index finger of left hand pointing up with the fingers of the right hand curling round it. (The thumb of the right hand should be pressed against the outside edge of the nail on the index finger of the left hand).
ZAI
CONTROL OF THE ELEMENTS OF NATURE
Can one truly control nature? Maybe the real answer is that a Ninja understands nature and works with it.
Fingers outspread, palms out. Index fingers and thumbs touching.
ZEN
ENLIGHTENMENT
Know yourself before you ask "Who are you?"
Right hand covering Left hand. Thumb tips touching.
Meanings in Buddhism
Each word is translated to the following meaning in Buddhism.
Rin, To confront
Pyōh, To soldier on
Tōh, To battle with
Sha, Against one/person
Kai, With everyone/entire/group
Jin, The formation
Retsu, In a row
Zai, To presence
Zen, To move forward
There as many as 81 variations to the Kuji-in within certain sects of Buddhism in Japan, to say nothing of other mudra that are also used.
Meanings in Ninjutsu
While the kuji-in have no unique relation to ninjutsu, the ninja traditions are steeped in esoteric Buddhist beliefs, especially Mikkyo. The kuji-in are used in a number of their meditations, both those related simply to their religious practice and those dealing with their martial arts; in some ways, they are used similarly to the Taoist ideas in Chinese internal martial arts (some of the ideas of Chinese internal arts are, however, incorporated in many Japanese arts, including ninjutsu and jujutsu). Here is one set of interpretations:
Rin - Strength
Pyōh - Channel
Tōh - Harmony
Sha - Healing
Kai - Sense of Danger
Jin - Reading of thoughts
Retsu - Control of space and time
Zai - Control of sky and elements
Zen - Enlightenment
Kuji-In Mudras and Mantras
In short Kuji-In is this in essence -
Nine Symbols = Nine Syllables = Nine Seals = Nine Gates = Nine Chakras = Nine Levels of Consciousness
The kuji-in technique is composed of a combination of the application of the mudra, mantra, and the mandala or kanji symbol in this case. Here, I will give the mudra, or hand position, and the associated mantra in Japanese and Sanskrit. There are focus points - chakra areas, however it is better to start association of mudra with mantra, and sometime later do a deeper analysis of the energy centers when one is familiar with each mudra and mantra.
Rin - Dokko-in/kongoshin-in, "Seal of the Thunderbolt."
Mudra - There are two hand positions commonly used with this syllable or chakra. In one, the middle fingers are extended while the other fingers turn inward with the finger tips touching.
Mantra -
Japanese: On bai shira man taya sowaka
Sanskrit: Om vajraman taya swaha
(Pronounced: Om vajramaanatayaa Swaha)
Notes: The mudra dokko-in is associated with Tammon-ten/Bishamon-ten. Whereas the mudra kongoshin-in is the mudra of Taishaku-ten (Indra). The mantra is associated with Tamon-ten or Bishamon-ten.
Kyo - Daikongorin-in, "Seal of the Great Thunderbolt."
Mudra - Extend your index fingers and bend your middle fingers over your index fingers so that the tips of your thumbs are touching the tips of your middle fingers. Interlace all your other fingers with the finger tips touching.
Mantra -
Japanese: On isha naya in tara ya sowaka
Sanskrit: Om isha naya yantraya swaha
(Pronounced: Om ishaanayaa yantrayaa Swaha!)
Toh - Gejishi-in, "Seal of the Outer Lion."
Mudra - point your thumbs and the last two fingers of both hands forward while keeping your index and middle fingers interlaced inside your hands with the finger tips touching. In an alternative mudra, the tips of the small and ring fingers are touching and pointed forward. The index finger touches the web between the middle and ring finger on both hands. The middle finger turns in to touch the tip of the index finger on both hands. The thumb tips are together and parallel.
Mantra -
Japanese: On je te ra shi itara ji ba ra ta no-o sowaka
Sanskrit: Om jit rashi yatra jiva ratna swaha
(Pronounced: Om jitraashi yatra jivaratna Swaha!)
Notes: This mudra is not found in Shingon. But is rather a Shugendo mudra. The mudra is associated with the pair of lions which stand guard over Buddhist temples, in particular the lion who utters the sound "a", the alpha.
Sha - Naijishi-in "Seal of the Inner Lion."
Mudra - the small and index fingers are extended and touching. The middle and ring fingers are intertwined inward with the finger tips touching. The thumbs are together with the tips touching. For the alternate version, the tips of the small fingers are touching, parallel and projected forward. The tips of the ring fingers touch the web between the index and ring fingers on the opposite hands. The middle fingers curl inward to touch the tips of the ring fingers. The tips of the index fingers touch and project forward. The tips of the thumbs touch and project upward.
Mantra -
Japanese: On ha ya baï shi ra man ta ya sowaka
Sanskrit: Om vajraman taya swaha
(Pronounced: Om vajramaanatayaa Swaha)
Notes: This mudra is not found in Shingon. But is rather a Shugendo mudra. The mudra is associated with the pair of lions which stand guard over Buddhist temples, in particular the lion who utters the sound "Un" (hu), the omega. Also, the Sanskrit word haya as in the prefix of the God Hayagriva means "horse" (bato - Jpn.) and is used to denote the concept of "swift", "to ride", "to harness", etc.
Kai - Gebaku-in "Seal of the Outer Bonds."
Mudra - the finger tips are touching the web between the fingers on the opposite hand. The thumbs are overlapping and touching the web between the thumb and index finger on the opposite hand.
Mantra -
Japanese: On no-o maku san man da ba za ra dan kan
Sanskrit: Om namah samanta vajranam hâm
(Pronounced: Om namah samanta vajranam ham!)
Notes: This is the "One Word Mantra" of Fudo Myoo (Acalanatha). Additionally, the Sanskrit bija/bonji (esoteric syllable) ha (Kan - Jpn.) is a concept that cannot be exactly defined. It is the bija of Hayagriva and also Acala, and symbolizes a divine weapon of sorts, like a vajra spear or vajra sword thrown or wielded against an enemy, and denotes something like "split", break", "devour", or "crush", referring to the devouring of all evils.
Jin - Naibaku-in "Seal of the Inner Bonds."
Mudra - the small, ring and middle fingers are interlaced with the tips touching. The tips of the index fingers and thumbs are touching and the two circles formed are interlaced.
Mantra -
Japanese: On aganaya in maya sowaka
Sanskrit: Om agnaya yan maya swaha
(Pronounced: Om agnayaa yanmayaa Swaha!)
Retsu - Chiken-in, "Seal of the Wisdom Fist"
Mudra - make a fist with the index finger extended. Wrap the fingers of the other hand around the index finger with the tip of the opposite thumb and index finger contacting the tip of the extended finger.
Mantra -
Japanese: On I ro ta ki cha no ga ji ba tai sowaka
Sanskrit: Om jyota hi chandoga jiva tay swaha
(Pronounced: Om jyotihi chandoga jiva tay Swaha!)
Notes: This is the primary mudra associated with Dainichi Nyorai (Vairocana)
Zai - "Seal of the Ring of the Sun"
Mudra- index and thumbs touching - as shown.
Mantra -
Japanese: On Chi ri Chi i ba ro ta ya sowaka
Sanskrit: Om sRj iva Rtaya swaha
(Pronounced: Om srija iva ritaya Swaha!)
Zen - Hobyo-in/ongyo-in "Seal of the Hidden Form"
Mudra - the fingers are in a cupping position, one hand inside the other. The thumb tips are touching.
Mantra -
Japanese: On a ra ba sha no-o sowaka
Sanskrit: Om ah ra pa cha na dhi
Notes: This is mantra of Monju bosatsu (Mañjusri Bodhisattva).
The mudra hobyo-in is associated with Fugen Bosatsu (Samantabhadra) in the Kongo-Kai mandara, as well as Ichiji Kinrin. Whereas the mudra ongyo-in is a mudra associated with Marishi-Ten (Marici).
Additionally, each letter of this bija mantra is associated with some point of the Dharma, and all together are referred to as the syllable-doors (to the Dharma). The 'power' of these syllables is somewhat cryptically explained, but the point is that all of the reflections are pointing towards the nature of sunyata.
Friday, May 6, 2016
Journey To The Center of the Earth
Zen Dining
Food of course is a popular topic and subject with me, and I love writing about it. Food is a very zen thing because it is basic to life. The "tenzo" or cook at a Zen monastery is one of the most important jobs or positions.
Ōryōki literally means "Just enough" and is a meditative form of eating that originated in Japan that emphasizes mindfulness awareness practice by abiding to a strict order of precise movements. It is based around three bowls.
The "zen" way of eating is also known as Shojin Ryori. This is a type of cooking commonly practiced by Buddhist monks in Japan.
In days past, shojin originally meant zeal in progressing amongst the path of enlightenment or pursuing a state of mind free of worldly thoughts and attachment. In this way, the act of preparing shojin ryori is an essential practice of Buddhism that expresses one’s devotion to religious discipline.
It is worth stating that Black Lotus Sect is not strictly Buddhist, and hence not strictly vegetarian - nevertheless the practice itself of care and mindfulness with food and its preparation is well worthy of study, consideration and contemplation and adaptation as not only a spiritual practice, but as a very practical matter.
The Sword and Zen are One
I had worked with the device in 2014 with different formulations to moderate result. It was not successful or unsuccessful. In my own opinion the sealing formula needs to be something personally derived.
Although the sword portion of the sealing phrase has a martial sound, in a more esoteric sense it is an elegant comparative to zen. The base metal ores are dug from the earth, separated, forged in fire, folded, hammered, shaped, polished and sharpened to create the katana or wakizashi. This is the analogy for practice, learning the priniciples, koans, sutras etc. of zen.
The best sword however must be wielded skillfully - of course - this would be the analogy for praxis or actual use of the priniciples within kendo and of course zen. There is a secondary connection to the phrase Fu-gen which means non-attachment. Fugen is not used as the common word. It is the esoteric representation of nonattachment.The sword is a symbol of cutting away the ropes and chains of illusion. The kanji is the representation of a rope, turned once on itself, with its ends cut loose.
The translation of the phrase is:
Ken to zen wa ichi desu.
When using as a mantra, use a minor tone, low bass or baritone. When repeated it has rather an appealing ancient Shinto chant sound to it.
A drum could of course be used as a meter. Listening to a Shinto chant or the ten verse Kannon chant will give a good idea of the pace, metering and inflection. As a chant, to make it more smooth you can drop the "wa" and pronounce ken-to-zen-ichi-desu.
The formula as a sigillic form is drawn with the calligraphy pen or brush - at once. It is best to have an example, look at it as an example - and then steadily draw each character. In this - there is no practice just the action. Whatever results, is what it is. Now, one may certainly warm up.
Within shodo you have to prepare the inkblock and the brush to get the ink to the desired texture and viscosity.
Of course in shodo, there are specific stroke orders. Vertical lines are always drawn before horizontal lines. Of course, there are many more rules, but that is one of the more important ones. If you do not have a brush and inkstone, I suggest using a pointed calligraphy pen, which is easily obtainable. Shodo or the practice of calligraphy itself is a meditative art. As a drawing medium or substrate, rice paper would be the best, of course any decent paper will do such as parchment. What you need however is something that the ink will not bleed out too much with such as a rag fibered paper.
Bokuseki is often characterized by bold, assertive, and often abstract brush strokes meant to demonstrate the calligrapher’s pure state of mind. The aim in making Bokuseki is to represent ones single-moment awareness by brushing each word or passage with a single breath, with the goal of realizing zen and manifesting ones zazen practice into physical and artistic action. This again, would sugue into the overall formula of the sword and zen, and practice becoming praxis.
In short however unless you have experience with shodo and the inkstone and brush, I suggest purchase of a Japanese style calligraphy pen.
Within Zen, incense is used to time meditations within the zendo, or place of practice. For this a decent temple incense such as agarwood or quality sandalwood is suggested. Koden is the offering of incense.
The idea to all of this is to do something - in a relaxed, yet focused manner. Neither too fast or slow. Life in the West is fast paced, impatient.
The point of ritualizing this is to empower the sigil, as a slow and willed, focused action.
The accompanying element to mantras are mudras. Mudras are particular ways of forming the hands and fingers. This is called the Jade Gate - or Sword mudra. The other that would be appropriate is the Vajra mudra. And one could also utilize the zen mudra shown here.
Of course it could be done in a casual manner, but this would be the more formalized method.
Prepare the materials. Ink and brush or calligraphy pen, and a low cushion or zabuton to set on, with an eye to being comfortable. Add any other aesthetics desired.
Ring bell 9 times. A small Tibetan bowl bell is good. A deep temple bell is excellent. You can get sound files and phone apps for this. Ideally the bell would be rang 108 times, representing clearing the 108 negative energies but 9 will suffice. Any personal banishing rituals would be appropriate here.
The next part is the critical portion - doing the calligraphy drawing or bokuseki. This is also a meditative practice with the art of shodo as well. There are numerous ways to create the right state of mind. You can silently meditate but I suggest something more active. Here is one possible set of steps.
Light the incense. Listen to some relaxing music - shakuhachi or a raga perhaps, for 5 minutes.
After that, recite "ken-to-zen-ichi-desu" as a chant with the Jade Gate mudra for 4 to 5 minutes.
The point is do not let it become tiresome.You want to be relaxed, but awake and not drowsy or sleepy.
The exact jumping off "point" at which to start is hard to define as it is subtly different for each person.
It is characterized as "no-mindedness" but I choose to think of it as "neutral mind". All that should be in mind is - the pen and ink, the paper and the characters you are going to trace. That is it. It is all that exists at least in that temporal and temporary moment in space and time. You do not consider their meaning but are drawing direct shapes - as they are and as you perceive them.
You assertively start without hesitation or stopping and make the first character. There is no practice run. Withdraw the pen or brush when the character is complete, re-ink if needed, and then do the next characters in the same way. Resist the urge to critique each character after you draw it. It is - what it is. Perhaps it is imperfect or not as good as you imagined or hoped it would look but that is irrelevant.
Now one charges the completed sigil. You would set it where you can look at it easily. If you know how to use tratakam or fixed gazing you will use that technique. One adopts the mudra of the Jade Gate or the Vajra, and repeats the phrase - "ken-to-zen-ichi-desu" - for one mala, or 108 repetitions, while looking directly at the symbol. Try not to blink or move your gaze from it. This can be a little tricky. Usually, mala beads are used to count the repetitions, but since a mudra is being held this would exclude use of the mala beads. Unless you know or can keep in mind how many repetitions you have done, I suggest use of a timer. Assuming you can do 20 repetitions of the mantra in a minute, 6 minutes of continuous repetition would easily yield over 108 repetitions or one mala.
To end, let the sigil dry, and then roll it up and put it away carefully. It may be charged, and should be subsequently charged for 9 malas ideally.
Do any banishing operations and then relax. Some schools would actually dedicate a whole subsequent session to charging the device as a group working. To do so you pretty much repeat the last portion of the operation above - fixing the sigil in your vision and repeating the mantra while holding the mudra.
Wednesday, May 4, 2016
Friday, April 29, 2016
The Vajra - an analysis monograph
The vajra represents an important ritual implement of Vajrayana Buddhism. In Sanskrit, the word vajra is defined as something hard or mighty, as in a diamond. It symbolizes an impenetrable, immovable and indestructible state of knowledge and enlightenment.
Knowledge of the vajra goes back to deep antiquity. Ancient texts indicate that the vajra was not always a symbol of peace - but something very different.
It is first associated with the Vedic god Indra, the King of the Devas. According the Hindu Puranas, the Asuras, Namuchi and Vritra removed all of the light and moisture from the earth. It made the land inhospitable to living beings. Indra battled the demon gods unsuccessfully and as a last resort called upon their supreme god Vishnu for help. Vishnu informed him that only a weapon that was neither solid nor liquid could kill Namuchi and Vritra.
Vishnu had the divine carpenter Tvashta fashion Indra a marvelous weapon he could use to vanquish the dreadful demonic Asuras.
This new weapon, the vajra, emitted thunderbolts. With it, Indra annihilated Namuchi and Vritra and returned the much needed light and moisture back to the earth. The Rigveda describes the conflict that ensued with Indra and the Asuras.
"Now I describe the glorious deeds of Indra, who holds Vajra. He killed the serpent and made waters flow. He broke the hearts of mountains. He killed the serpent, which was taking refuge in mountain. Tvashta made the Vajra for him. Like the cows making sounds, flowing waters reached the sea. Mighty Indra chose Soma, and drank from three containers. Generous Indra held Vajra in his hand, and killed first born among the serpents."
Rigveda 1.32
The vajra's effect was described thus:
“As a hurled weapon the indestructible thunderbolt blazed like a meteoric fireball across the heavens, in a maelstrom of thunder, fire and lightning.”
Traditional images of the vajra depict it as metal shaft with three, five or nine prongs that emanate from lotus blossoms on either end. Originally, according to the ancient Indian text the Rigveda, when Indra used his vajra it had open prongs.
Buddhist legend suggests that Shakyamuni himself, seized the vajra from Indra and forced its prongs closed, thus transforming it from a destructive weapon into a peaceful scepter.
Historical Connections -
Most mainstream historians and scholars contend and assert that there is no direct or real relationship between Indian, Greek, Australian, Norse and the cosmology of the Americas. They submit that each civilization conceived of their gods independently and that a deeper, older, universal tradition does not exist. Of course if this were the case - then the foundation of these societies - their myths, traditions, beliefs and iconography should be localized and unique to the cultures, their location and their history. The tales of war, intrigue and conquest that come out of American history are vastly different from those of England, France, India and China. Customs, traditions and symbols that represent the nation.
Yet when we look at a wide range of ancient and indigenous groups a curious pattern of commonality exists. Myths and symbols found in Indian readily appear in the oral and written descriptions of other cultures. They also appear in their artistic images. These representations seem to transcend time and location.
The symbol of thunder or a thunderbolt as a tool of destruction, is for example, present in many ancient civilizations. Mythology unfailingly associates lightning with a sky god, the god of thunder, who uses it as a weapon.
In the West, the thunderbolt is most readily associated with the Greek sky god Zeus. With it, he defeated the Titans and took control of the Greek pantheon. Greek myth tells us, that Zeus freed the Cyclopes, the master builders, who were imprisoned in the depths of the underworld – Tartarus.
In gratitude for their release, they gave him a marvelous weapon, the thunderbolt. In another story, Zeus used his formidable weapon to battle the largest and most fearsome creatures in all of Greek mythology, the hundred-headed serpent Typhon.
Early images of Zeus depict show him holding a rod like thunderbolt while others show this deadly weapon with its ends splayed into three prongs.
A vajra-like weapon also appears in Sumerian cosmology. Its use is recorded in the Bablyonian Epic of Creation, the Enuma Elish. A battle between the sky god Marduk (Bel) and serpent Tiamat is detailed on the fourth tablet of this ancient document. The evil and powerful Tiamat, according to the Enuma Elish, was devising treacherous plans against Ea and the other reigning gods. The gods were afraid to invoke her evil wrath and search for a solution. Ea attempts to confront Tiamat, but instead of fighting backs down. Marduk, his son, steps forward and volunteers to fight the enraged serpent, on one condition… If he is successful, he will have dominion over the entire universe. The gods agree and provide Marduk mighty weapons including a bow, a mace and a net to use in his battle against Tiamat. Images of this epic scene show Marduk holding a three tipped scepter in his hand. Subsequent images clearly depict this same deadly three-pronged weapon.
"They gave him the unrivalled weapon, the destroyer of the enemy [saying]: “Go, cut off the life of Tiâmat. “Let the wind carry her blood into the depth [under the earth].” The gods, his fathers, issued the decree for the god Bel. They set him on the road which leadeth to peace and adoration."
Enuma Elish
Alternate forms of the Vajra -
The Rigveda also offers an alternative description of the vajra. Some texts represent it as a notched metal club with thousands of prongs.
This form of the vajra is found in many other diverse cultures.
The most common stories that may describe the vajra in its club-like form - come from Norse cosmology.
They are associated with the sky god Thor. The hammer Mjölnir was the most fearsome weapon in Norse mythology. Images of the thunder god Thor traditionally show him carrying Mjölnir. Some texts describe Mjölnir as a hammer, while others refer to it as an ax or club.
The dwarfs, in the depths of the earth, fashioned Mjölnir. The Norse Skáldskaparmál, which can be found in the Snorri’s Edda describes Mjölnir as a hammer which would not fail. As a weapon, it could level mountains. It goes on to state that if aimed it at anything; it would never miss its target. It informs us that in addition to never missing its target, it would always find its way back to the hand of its owner.
Thor used his mighty hammer to battle his deadliest foe, the giant serpent Jörmungandr. In these tales, the Midgard Serpent, Jörmungandr is not killed. It would not be until near the end of the world in the apocalyptic battle of Ragnarök, that Thor will clash with Jörmungandr the final time.
In Slavic mythology we learn of the evil serpent Veles who ascends from the underworld and steals something of value to the sky god Perun. Perun, using lightning bolts, would vanquish Veles back to his underground realm annually. His deadly axe, like Thor’s mighty hammer was used to subdue evil and overcome the iniquitous serpent Veles. It too would return to his hand after being thrown.
In Irish mythology, the magical weapon of the hero of Ulster Cúchulainn is the Gae Bolga or lightning spear. Cúchulainn fights and kills his childhood friend and foster brother, Ferdia with this magical weapon. The Gae Bolga is described as a dart or spear, which separates into multiple barbs when entering the body, causing fatal wounds. It was next to impossible to withdraw once it had impaled the body. The Irish Book of Leinster describes the devastating effects of the Gae Bolga as such:
"It entered a man’s body with a single wound, like a javelin, then opened into thirty barbs. Only by cutting away the flesh could it be taken from that man’s body."
Book of Leinster
In China, the legend of Hua-hu Tiao Devours Yang Chien describes a magical spike carried by Huang T’ien Hua which sounds remarkably similar to Indra’s vajra.
"The Chin-kang, deprived of their magical weapons, began to lose heart. To complete their discomfiture, Huang T’ien Hua brought to the attack a matchless magical weapon. This was a spike 7 1/2 inches long, enclosed in a silk sheath, and called ‘Heart-piercer. It projected so strong a ray of light that eyes were blinded by it. Huang T’ien Hua, hard pressed by Mo-li Ch’ing, drew the mysterious spike from its sheath, and hurled it at his adversary. It entered his neck, and with a deep groan the giant fell dead."
Finding myths, with similar storylines, and their corresponding images in relatively close geographic areas, while interesting, does not fully support the universality of the gods. When we uncover similar narratives and corresponding imagery, in remote regions of the world, this concept takes on a more serious tone. Myths of a vajra-like weapon are found all over the world.
In Australia, the sky gods, the Wati Kutjara brothers, wield a magical boomerang, Wo-mur-rang or club. Boomerangs are known for their ability, once thrown, to return to their owner. Legend states that their father Kidili attempted to rape some of the first women. Throwing their wo-mur-rang, they castrated their father where he disappeared into a water hole.
Vajra Weapons In the New World -
In the new world we encounter a similar deadly lightning weapon used by the sky gods. In the Aztec culture there is the god Huitzilopochtli. Huitzilopochtli, with his weapon Xiuhcoatl, “the fire serpent”, killed his sister Coyolxauhqui soon after he was born.
The Mayan rain deity Chaac and the later Aztec Tlaloc are both are depicted carrying their lightning axe. Sometimes they are depicted holding snakes, which represent lightning bolts, which they would hurl from the mountaintops where they made their retreat.
In Peru, we find the god Illapa who is described as a man wielding a club in his left hand and a sling in his right.
One variation of the lightning motif is the concept of the thunderstone. It is believed that thunderstones fall from the sky when the gods are battling each other. This idea is widely held throughout Africa. The Yoruba of southwestern Nigera, for example, believe their axe carrying storm god Shange creates thunder and lightning and casts “thunderstones” down to earth. The elders of this culture would search wherever lightning struck for these magical stones.
The thunder-producing weapon, the vajra, is only one example of the enormous number of commonalities found in myth, legend, culture and iconography around the world. Similarities exist throughout Greek, Sumerian, Norse, Aztec and Australian and American cosmology. These parallels include the gods, their lives and their amazing weapons. They also include the laws and customs that govern our lives – the very fabric of society.
The universality of symbolism found around the world implies something else. Weapons, like the vajra, were not born from the imagination of man. They did not come into being as part of a cultures evolution. They were real. They possess a tangible nature.
Someone somewhere in our remote past saw it and documented it. It is only through an actual encounter with a marvelous weapon that emitted thunder that a clear and specific portrayal of it could be made. Likewise, if tools like the vajra are genuine then we are forced to accept that the gods who wielded these weapons were factual individuals as well. This newfound knowledge would open the door to a revolutionary new understanding of who we are.
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