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
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