kuji in ninja majic

8/3/2019 Kuji in Ninja Majic

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Ku-jisimply means nine

syllables, and refers to a varietyofmantras that consist of ninesyllables. The syllables used in

kuji are numerous, especially within the realm ofmikkyo (Japanese esoteric Buddhism)[citationneeded]. The kuji most often referred to is ofTaoist[citation needed] origin, not Buddhist. However,several Taoist texts say that the kuji came to China via Tibet ; if this is true then kuji may haveoriginated with Hinduism[citation needed]. It is unclear whether the nine standard kuji found inTaoism are found in Tibetan Buddhism, and if so what their correlation with the nine Taoist kujiare.[citation needed]

The kuji are first introduced in Taoism in the text Neipian written by Ge Hong (a.k.a. Baopuzi,

c.280-340 ADE). In it he introduces the kuji in chapter titles Into the mountains, over thestreams as a prayer to the six Liu Jia , ancient Taoist gods. The Chinese ku-ji actually forms agrammatically functional sentence when translated, May all those who preside over warriors bemy vanguard! Other translations are possible as well especially in Japanese esoteric Buddhism.According to the Neipian, the kuji is a prayer to avert difficulties and baleful influences and toensure things proceed without difficulty. To this end it can be said that the primary purpose ofku-ji is shkanj (consecration , abhiseka) and chbuku (exorcism ). [Waterhouse 1996]

The Taoist ku-ji are next cited in a text called the Wuliangshoujingyoupotisheyuanshengjizhu(The commentary on the discourse about the Sutra on Immeasurable Life, and on the versesabout the vow to be reborn [in the Pure Land]), or just Wangshenglunzhu for short, by Taluan

(467?-542ADE?). [Waterhouse 1996]

How the kuji arrived in Japan is still a matter that is debated. Current scholars[citation needed] seem toagree that the kuji arrived in Japan via China through Jodoshu (True Land Faith), and Shugendaround perhaps the 8th century, if not much latter. As to what the kuji consisted of at this time isunknown. The mudras are found in Taoist material as well as Shugend. Some have suggested itwas Shugend who added the mudras that are known today to be associated with the kuji. This


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would make sense as the vast majority of information that is known about the kuji comes fromShugend literature.

The earliest known Japanese kuji comes from the Shingon monkKakuban (1095-1143ADE) whowas an academic of Taluans writings and teachings, introduces several kuji formulas dedicated

to AmidaNyrai, in his textG

orinkujimyhimitsushaku orG

orinkujihishaku for short. The kujiformulas Kakuban introduces are commonly grouped under the title zokushu, and are completelyunrelated to original Taoist kuji. Kakuban was followed by the monk Shinran (1173-1263ADE),founder of Jodoshinshu sect, who introduced several kuji formulas, also dedicated toAmidaNyrai, Kakuban and Shinran were followed by the monk Nichiei of theNichiren sect, in1730ADE who introduced a kuji prayer from chapter 26 of the Lotus Sutra where it is uttered bythe King of the North, Tammon-Ten/Bishamon-Ten (Vaisravana Skt.). None of these Japanesekuji formulas/prayers are related to Taoist kuji in any way. It is important to note that the founderof Shingon, Kb Daishi (Kkai) never mentions the kuji is any of his writings. And it thereforecan be safely assumed he either did not know of them, or if he did, they were considered only aminor teaching at best. [Waterhouse 1996]

The nine syllables of ku-ji have numerous correlations and associations with Japanese esotericBuddhism. They are associated with the gorin (five chakras), the godai (five elements ), certaindirections of the compass, certain colors, and numerous Tantric and esoteric deities

There are numerous variations of the nine original Taoist kuji in Japanese Buddhism. Most ofthese variations occurred well after the introduction of the kuji into Japan. Some, however, areother Taoist formulas taken from Taoist writings and Buddhist sutras. The kuji that is most oftenseen in the context of budo, or martial arts, and also in general, consists of the nine originalTaoist syllables:Rin, Pyo, To, Sha, Kai, Jin Retsu, zai, zen. Which are Japanese versions of thenine Taoist kuji: lin, bing, dou, zhe, jie, chen, lie, zai, qian (May all those who preside over

warriors be my vanguard). The fact that the Taoist kuji are not seen in Japanese documents andwritings until at least the 1500s, and then not extensively until around the Edo jidai (1603-1868ADE) and Mejijidai (1868 -1912ADE) indicates that they were either not extensivelypracticed, or taught as kuden (oral transmission). However, the fact that so many koryu list thekuji in their makimono indicates it must have been considered an essential teaching (goku-i).And the fact the ku-ji are listed in numerous kobudmakimono from the 1500s onward, is proofthat the ku-ji were practiced by the bushi.

Why the number nine is used has also been of concern to some. The number nine is seen inTaoist divination as the perfect number for yang/yo, the bright side when determining theindividual hexagram lines according to the I-ching (Book of Changes). Some have suggested thatthe number nine refers to the nine planets, that the Taoist believe directly influence humandestiny, or to the seven stars of the Big Dipper (Northern Seven Stars) plus the twoattendant/guardian stars which Taoist believe is the gateway to heaven, and which each star is aTaoist deity. (Waterhouse, 1996)

The Kuji-in (), "Nine Hand Seals," refers to the mudra (hand seals/gestures) associatedwith the nine syllables themselves. Whereas, kuji-ho refers to the entire ritual of kuji andencompasses the mudra, mantra and meditation.Kuji-kan (nine syllable visualization), is a


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specialized form of Buddhist meditation. Most of the original ku-ji no in (mudras) ritual evokesand invokes the Hindu deity Indra (Taishaku-ten Jpn.;Zeus Greek, Jupiter Roman), King ofthe heavens, who holds vajras (thunderbolts) in his hands. Technically the word "Kuji no in"refers only to the hand postures (mudra ), whereas kuji no shingon refers to the relatedincantations (mantra ). It is important to note that there are literally hundreds of mudras in

Shingon alone. Shugend itself has hundreds of mudras, as does Taoism. Many of these mudrasare shared, however, many are not. To further complicate this fact, there are also untold numbersof variations on a given mudra, and many mudras are associated with more than one deity oridea. Furthermore, a mudra may have more than one name, or one association depending on itspurpose. Practitioners would be wise to keep this mind when practicing kuji ho.

The influence of Taoism is apparent all throughout the kuji. One of the most obvious influencesis that of onmyd (the way of Yin and Yang). This is clearly seen in the mudra themselves.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 issignificant 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 theouter lion) and its immediate counterpart naijishi-in (gesture of the inner lion) clearly representthis yin/yang relation. In fact, not only do these two related mudras represent the alpha andomega 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 asguardians against evil and baleful influences. The first lion utters the sound A whichsymbolizes the alpha, that all reality and phenomena are, in the tradition of mikky, said toneither absolutely exist, nor non-exist - they arise in dependence on conditions, and cease whenthose conditions cease. Whereas, the second lion utters the sound Un (Hm) which symbolizesthe omega, the destruction of all evils; it summarizes the two basic false views ofnihilism andexternalism , and shows them to be false. The truth of things is that they are neither real norunreal. This description also applies to the next two mudra, gebbaku-in (gesture of the outerbond) and its immediate counterpart neibbaku-in (gesture of the inner bound). The first (dokko-in, kongshin-in) and last mudra (hobyo-in, ongy-in), occupy the two most important positions,the beginning and the end, again with relation to the Taoist and mikky points of view of thealpha 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. (Waterhouse, 1996)

Ku-ji ho as generally practiced in budo comes from text Sugenjinpigyohofujushu orFujushu forshort, a Shugend document of the Tozan-ha lineage, edited between 1871-1934 byNakunoTatsue. The original compiler is unknown, but it appears to incorporate numerousShugend rituals from various Shingon sects such as Tachikawa-ryu . The text compilation oftexts appears to span a time period from the 1200s on up to 1500s and 1600s. The Fujushu lists400 rituals, 26 of them kuji-ho. (Waterhouse, 1996).

The two particular techniques of ku-ji that are most directly related to budo, and most widelyknown are kujihon-i (FujuShu #199) and kuji no daiji (FujuShu #200). These two kuji rituals are


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centered the esoteric deities of Shingonmikkyo, the Shitenno (Four Heavenly Kings ) andGodaimyo-o (Five Wisdom Kings ). Other groupings of deities exist as well depending on thesect and purpose of the kuji.

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 syllablecuts. Kujikiri is explained in Shugendo texts, quite correctly, as a preparatory ritual of protection,to cut off demonic influences and their inki (vital substance) (Waterhouse, 1996). In Japanesefolk-magic and onmyodo , the nine cuts are often made over writing or a picture, to gain controlof the object named or pictured. Thus, a sailor wishing to be protected from drowning mightwrite them over the kanji for "sea" or "water". The Fujushu does not spell out every ritual indetail. However, in several of the kujikiri rituals it is spelled out that the strokes are madealternately horizontal and then vertical: five horizontal and four vertical for men; and fourhorizontal and five vertical for woman.

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 sanmitsunenju(concentrated three mysteries practice), and as such, consists of several dependent, integratedpractices. It can be practiced in the form of either of the two mandaras of esoteric Buddhism[mikkyo]. The Kongo-kai/mandara (vajradhatu ; Diamond Universe Nine Assemblies

mandala) of Shingon Buddhism, or the Taizo-kai/mandara (garbhakosa-dhatu ; Wombmandala). It is also used by other Buddhist sects, especially in Japan; some Taoists andpractitioners ofShinto 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; becauseof this, it was often used by the common people for luck when traveling, especially in themountains.

Contents

[hide]

y 1 Mantra and mudrao 1.1 Meaning of ku-ji

1.1.1 Fujushu #199, kujihon-i 1.1.2 Fujushu #200, kuji no daiji 1.1.3 A] Kujisuijaku [Nine Planets][FujuShu no. 197] 1.1.4 B] Kujihonji [Northern Seven Stars (Big Dipper Ursa Major))]

[FujuShu 198] 1.1.5 C] Zokushu 1.1.6 C.2] 1.1.7 D] Shinto deities related to kuji

o 1.2 E] Tammon-Tens kajikuji (Vaisravanas nine syllable empowerment)y 2 Meanings in Shintoy 3 Meanings in Buddhism


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y 4 Meanings in Ninjutsuy 5 In popular culturey 6 Referencesy 7 External links

[edit ] Mantra and mudra

In Japanese, the nine syllables are: Rin (), Py (), T (), Sha (), Kai (), Jin (),

Retsu (), Zai (), Zen (). If the nine cuts are then made, as is sometimes done, the syllable

K () is sometimes spoken.

Note that the syllables are shortened forms, and there are also longer, Japanese mantras that gowith the same mudra. As to why there appears to be no correlation between the mudra andmantra and the representative deities is unknown at this time.

The mudra [hand postures] are as follows:

(Rin):Rin brings strength to the mind and body.

Hands together, fingers interlocked. The index (sometimes middle) fingers are raised and pressedtogether.

Mudra is, dokko-in/kongoshin-in, "seal of the thunderbolt ."

Note: the mudra dokko-in is asscociated with Tammon-ten/Bishamon-ten. Whereas themudra kongoshin-in is the mudra of Taishaku-ten (Indra )

Mantra is, Onbaishiramanayasowaka. [All hail the Vajra (diamond thunderbolt) of glory andsacrifice. Om!] [Eng.]

Note: this is the mantra of Tamon-ten/ (a.k.a. Bishamon-ten) (Vairavaa )

(Py):Hei generates psychic power in order to mask one's presence

Hands together, pinkies and ring fingers interlocked (often on the inside). Index finger andthumb raised and pressed together, middle fingers cross over index fingers and their tips curlback to touch the thumbs' tips, the middle-fingers' nails touching.


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Mudra is, daikongorin-in, "seal of the great thunderbolt ."

Mantra is, Onishanayaintarayasowaka. (All hail the instrument of divine righteousness Om)

(T):Toh enables the ninja to reach a balance between the solid and liquid states of thebody, which leads to a greater harmony with the universe

Hands together, index fingers cross each other to touch opposite ring fingers, middle fingerscrossed over them. Ring and pinky fingers are straight. Tips of ring fingers pressed together, tipsof pinkies pressed together, but both sets of ring and pinky fingers are separated to form a V

shape or bird beak

Mudra is, gejishi-in "seal of the outer lion."

Note: this mudra is not found in Shingon . But is rather a Shugendo mudra.

Mantra is, Onjiterashiitarajibaratansowaka. [All hail the exultant and glorious celestial jewelom]

Note: this mudra is associated with the pair of lions which stand guard over Buddhisttemples, in particular the lion who utters the sound "a", the alpha.

(Sha):Sha is used to heal oneself or another

Hands together, ring fingers cross each other to touch opposite index fingers, middle fingers

crossed over them. Index finger, pinky and thumb straight, like American Sign Language "I loveyou".


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Mudra is, naijishi-in "seal of the inner lion."

Note: this mudra is not found in Shingon. But is rather a Shugendo mudra.

mantra is, On hayabaishiramantayasowaka. (All hail the swift thunderbolt of noble exalted

strength, virtue, and glory Om!)

Note: this mudra is associated with the pair of lions which stand guard over Buddhisttemples, in particular the lion who utters the sound "Om", the omega.

(Kai):Kai gives complete control over the body's functions, enabling one to slow theheart rate, endure extreme heat and cold, etc.

Hands together, fingers interlocked.

Mudra is, gebaku-in "seal of the outer bonds."

Mantra is, Onnmakusanmandabasaradankan.[Om homage to all-pervading diamondthunderbolts. Utterly crush and devour!] [Eng.]

Note: this is the "One Word Mantra/ of Fudo myo-O (Acalanatha )

(Jin):Jin increases the mind's telepathic powers, giving a highly trained Ninja the abilityto read the character of another.

Hands together, fingers interlocked, with the fingertips inside.

Mudra is naibaku-in "seal of the inner bonds."

Mantra is, Onaganaya in mayasowaka. [All hail the glory ofAgni (God of the Sacred Fire).Om!]

(Retsu):Retsu gives telekinetic powers, enabling a ninja to stun an opponent with a shoutor touch.


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Left hand in an upward-pointing fist, index finger raised. Right hand grips index finger, andthumb is pressed onto left index's nail.

Mudra is, Chiken-in "seal of the wisdom fist," also known as "seal of the interpenetration of thetwo realms."

Note: this is the primary mudra associated with DainichiNyorai (Vairocana )

Mantra is, Onirotahichanogajiba tai sowaka. [All hail the radiant divine all-illuminating lightbursting and streaming forth in all directions Om]

(Zai):Zai extends the harmony gained by merging with the universe.

Hands spread out in front, with thumb and index finger touching.

Mudra is "seal of the ring of the sun."

Mantra is, Onchirichiibarotayasowaka.

(Zen):Zen brings enlightenment and understanding. These symbols take an entirelifetime to truly master.

Hands form a circle, thumbs on top and fingers on the bottom, right hand overlapping left up tothe knuckles.

Mudra: hobyo-in/ongyo-in "seal of the hidden form, mudra which conceals its form"


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Note: The mudra hobyo-in is associated with FugenBosatsu (Samantabhadra ) in theKongo-Kai mandara, as well as IchijiKinrin. Whereas the mudra ongyo-in is a mudraassociated with Marishi-Ten.

mantra: On a rabashansowaka [Om a ra pa cana. All hail!] [Eng.]

Note: this is mantra of Monjubosatsu (Majusri Bodhisattva)

[edit ] Meaning of ku-ji

The influence of Taoism is very apparent in the practice of ku-ji, in that there are yin/in andyang/y aspects to ku-ji that must be taken into consideration by the practitioner. There are fiveyang/y-syllables, and four yin/in-syllables. In onmydo [inyogoku] philosophy yin/in is relatedto relative, to benefit self, defensive; yang/y 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-syllablesare used to defend the self, and the y-syllables are used to attack outside influences.

The yin and yang theory of kuji also carries over to kujikiri. In kujikiri the verticalstrokes/slashes represent the yin/in syllables, while the horizontal strokes/slashes represent theyang/yo syllables. Thus in kujikiri the practitioner is fist making an aggressive horizontal slashrepresenting the first syllable which is a yang/yo which represents the absolute aspect oroffensive nature of the deity. The second stroke/slash is defensive and represents the secondsyllable 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 "todestroy".

Yang/Y syllables [horizontal, absolute]

/Rin: come

/T: fight

/Kai: ready

/Retsu: line-up

/Zen: in front

Yin/In syllables [vertical, relative]

/Py: warriors

/Sh: one


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/Jin: formation

/Sai: 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. [Waterhouse,1996]Japanese: "Come warriors, fight as one, ready in formation, line up and take positionin front. Destroy/victory!"

Each of the nine syllables has a meaning that when integrated with the corresponding mudra,mantra, and visualization [corresponding deity] manifests sanmitsukaji [grace, viture, merit ofthe Three mysteries]. In general it can be said that ku-ji is the harnessing and control ofpsychospiritual or psychophysical energies, and, or, of cosmicuniversal spirits/deities/energies.

The deities most commonly called upon in mikkyo (esoteric Buddhism, Vajaryana-tantra) aredeities of Hindu and Tantric origin, which are ultimately all emanations ofMahavairocana(DainichiNyorai ). These deities are the Shitenno and the Godaimy-, as well as Marishi-ten[Goddess of light], Nitten [Sun god], Bon-ten (Brahma ), IchijiKinrinBochto (Ekaksa-rosnisa-cakra, or Ekasara-buddhosnisa-cakra), and so on.

With relation to Japanese esoteric Buddhism [mikkyo], the yang/y-syllables represent theShitenno (Four Heavenly Kings), with the exception of the kai syllable which represents Fudo-my-o. The yin/in-syllables represents the Godaimy-o. A simple look at the ku-ji and theirrelation to the prescribed deities shows a very logical pattern. The ku-ji and associated deitiesform a simple mandara, with Fudmy- at his rightful and proper place in the center,

surrounded by the other four My at their respective locations, which comprises the innersanctumhall of the mandara. The shidaitenno being of a lower rankoffice than the My,occupy the outer sanctum/hall of the mandara at their respective positions.

[edit ] Fujushu #199, kujihon-i

Y/yang syllables

/Rin: Tammon-ten/Bishamon-ten (Vaisravana - Skt.)

/T: Jikoku-ten (Dhrtarastra - Skt.)

/Kai: Fudo my-o (Acalanatha -Skt.)

/Restsu: Komoku-ten (Virupaksa - Skt.)

/Zen: Zocho-ten (Virudhaka -Skt.)


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In/yin syllables

/Py: Gonzanzemy-o/Shozonzaemyo-o (Trailokyavijaya -Skt.)

/Sh: Kong-yakshamy-o (Vajrayaksa - Skt.)

/Jin: Gundarimy-o (Kundali -Skt.)

/Sai: Dai-itokumy-o (Yamantaka -Skt.)

[edit ] Fujushu #200, kuji no daiji

This is the other kuji ho that most directly deals with the martial arts, the most direct being theabove kujihon-i.

Y/yang syllables

/Rin: Tammon-ten/Bishamon-ten (Vaisravana - Skt.)

/T: Nyoirin

/Kai: AizenMyo-O (Ragaraja )

/Restsu: AmidaNyorai (Amitbha )

/Zen: Monjubosatsu (Majur)

In/yin syllables

/Py: JuichimenKan'non (Ekadasa-mukha)

/Sh: Fudosan (calantha)

/Jin: ShoKan'non (ryvalokitesvara)

/Sai: MirokuBosatsu (Maitreya )

Other groupings of the ku-ji include:

[edit ] A] Kujisuijaku [Nine Planets][FujuShu no. 197]

In Fuju #197 and #198 which relates to the nine planets and Seven Northern Stars, the purpose ofthe kuji-ho is to obtain protection, as well as longevity; and the correlations with the nine planetsand Seven Northern Stars. The idea was to perform the ritual to remove bad or baleful influences


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which a particular star or stars might in exerting over at that time over a person in a particularage group, by converting it into a auspicious star, planet, and influence. [Waterhouse, 1996]

/Rin: Keitosei [descending lunar node], southwest, Jizobosatsu

/Py: Nichiysei [sun], northeast, Sunday, Fudo myo-O

/T: Mokuysei [Jupiter], east, Thursday, Monjubosatsu

/Sh: Kaysei [Mars], south, Tuesday, Hachimanbosatsu

/Kai: Ragosei [ascending lunar node], southeast, DainichiNyorai

/Jin: Doysei [Saturn], center, Saturday, Kan'nonbosatsu

/Restsu: Getsuysei [moon], northwest, Monday, Fugenbosatsu

/Sai: Kin-ysei [Venus], west, Friday, Kokuzobosatsu

/Zen: Suiysei [Mercury], north, Wednesday, Seishi bosatsu

Note: if Myokenbosatsu is included at the end, kujisuijaku becomes jujisuijaku or tenstars/. Myoken is the primary deity of worship of the shukuyoo/ or nineconstellations/planets.

[edit ] B] Kujihonji [Northern Seven Stars (Big DipperUrsa Major ))] [FujuShu 198]

/Rin: Donrsh/; NichirinBosatsu; ; [Dubhe; Alpha UrsaeMajoris ( UMa / UrsaeMajoris)]

/Py: Komosh/; GachirinBosatsu; ; [Merak ; Beta UrsaeMajoris ( UMa / UrsaeMajoris)]

/T: Rokuzonsh/; Kmysh; [Phecda, Phekda or Phad; Gamma UrsaeMajoris (UMa / UrsaeMajoris)]

/Sh: Monkokush/; ZchBosatsu; [Megrez; Delta UrsaeMajoris ( UMa / UrsaeMajoris)]

/Kai: Renjsh/; EkoshBosatsu; [Alioth; Epsilon UrsaeMajoris ( UMa / UrsaeMajoris)]

/Jin: Mukokush/; JizBosatsu; [Mizar; ( UMa / UrsaeMajoris)]


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/Retsu: Hagunsh/; KongshuBosatsu (Fugenbosatsu) (Samantabhadra -Skt.); [Alkaid(or Elkeid) and Benetnash (Benetnasch); Eta UrsaeMajoris ( UMa / UrsaeMajoris)]

Two attendant stars

/Zai: Gatten; M101 [The Pin Wheel Galaxy] located to the north of Alkaid

/Zen: Nitten; M51 [The Whirlpool Galaxy] located to the south of Alkaid

[edit ] C] Zokushu

Zokushu is the earliest known Buddhist adaptation of the kuji. It is a kuji ritual based onKakuban '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 basedon the mantra of AmidaNyorai. There are in fact several zokushu rituals that Kakuban designed.The ritual itself is based on the deities Avalokitesvara [Kan'nonbosatsu], and Amidabuddha

(Amitabha ) as well as the nine deities of the inner sanctum of the Taizo-kaimandara/ (Garbhadhatu ). Zokushu is based on Jodoshu [Pure land sect] andtherefore the primary deity of worship is AmidaNyorai.

Zokushu #5

Zokushu #5 gives lists the nine original Taoist syllables and gives a corresponding Japanesesyllable. The shuji themselves when placed in order of their corresponding kuji form no logicalsentence or statement, and may represent Sanskrit bija, and, or Tantric deities, or, it may be aprayer. Without further evidence, no other conclusions can be made.

/Rin: Ri

/Py: Na

/T: Tan

/Sh: Sha

/Kai: Ku

/Jin: Chirin

/Retsu: Raku

/Zai: Rau

/Zen: Ron


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Ri-na-tan-sha-ku-chirin-raku-rau-ron

It is unclear how this set of kuji is related to the Sanskrit bijaKakuban gives for the primaryzokushukuji, which is the mantra of Amidabuddha.

Um, a, mr, ta, te, je, ha, ra, hum

which compose the mantra,

Om amrtatese (teje) hara hum [Om to the elixir/nectar of immortality of most exalted virtues andnoble strengths, to the heavenly queen Amidabuddha, hum.] or [Om save us in the glory of theDeathless One hm].

Another kuji formula is found in the writings ofJodoShinshu , founded by Shinran , and is yetanother mantra to AmidaNyorai which reads

Na, mu, fu, ka, shi, gi, ko, nyo, rai

Which spells the mantra,Namufukashigi-koNyorai (Homage to the Tathgata [buddha] ofinconceivable light.)

A juji formula is then given with the syllables,

Ki, my, jin, jip, p, mu, ge, k, nyo, rai

This spells the mantra,KimyojinjippmugekNyorai (Homage to the Tathgata [buddha] whoselight 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-ry-ko--sh-ze-my-ki-sui-dai

Rather these kuji and juji originated strictly within Japanese Buddhism is unlikely asJodoShinshu is, like many things in Japanese theology, influenced by Taoism. And it is also safeto assume that both Kakuban and Shinran would have been familiar with the various Taoist kujiand juji formulas. Rather or not their kuji and juji formulas are Japanese versions of Taoistformulas may never be known. However, what is clear is that they represent the earliest knownuse of the kuji and juji in Japanese esoteric Buddism [mikkyo]. (Waterhouse, 1996)

Again, in the absences of further evidence no other conclusions can be made.

The same ritual goes on to give a list of related Taoist deities [Waterhouse, 1996]:

[edit ] C.2]

/Rin: Taishi


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/Py: Suzaku

/T: Bunno

/Sh: Genbu

/Kai: Santei

/Jin: Byakko

/Restsu: Gyokujo

/Sai: Kyuchin

/Zen: Seiryu

[edit ] D] Shinto deities related to kuji

Lastly, in the late Edo jidai the kuji were practiced by various Shinto schools. And therefore, aset 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 [Waterhouse, 1996]

/Rin: TenshoKodaijingu/ AmaterasuOmikami

/Py: ShoHachimanDaijin

/T: KasugaDaimyojin

/Sh: KamoDaimyojin

/Kai: InariDaimyojin

/Jin: Sumiyoshi Daimyojin

/Retsu: TanyuDaimyojin

/Zai: Nittenshi

/Zen: Marishi-Ten (Marici -Skt.)

[edit ] E] Tammon-Tens kajikuji (Vaisravana s nine syllable empowerment)


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Another kuji prayer is outlined by the monk Nichiei, and is found in the Lotus Sutra where it isuttered by the deva King of the North, Tammon-ten/Bishamon-ten (Vaisravana), and is said toguarantee protection to those who recite it.

Ryo-hyaku-yu-jun-nai-mu-sho-sui-gen [Cause all feeble sickness to be naught a distance of a

hundred yojans (approximately 1,000 miles)]

As it should be apparent, the kuji are a very adaptable ritual which has, and will likely continueto be, adapted to the local needs of the individual or organization. In so long as the overallstructure of esoteric practice is understood, that being the practice of sanmitsu, then the kuji canbe adopted to fit almost any need.

[edit ] Meanings in Shinto

Each word is translated to the following meaning forShinto .

y Rin: To face.y ky /Hy/Hei: The soldier.y Th: To fight.y Sha: The man (or the people); a foey Kai: The all, or the whole effect, or whole effort.y Jin: In Formation, or position in camp or to prepare.y Retsu: To move in column or a row, in a line; or marching, or to focus.y Zai: To appear, or to exist to make yourself known, or create existence.y Zen: To be in front. or show up in front.

Kuji-in is used as part of a ritual in Shinto,[1]and is used to purify a person with a waterfall.

RINSTRENGTH OF MIND AND BODYAt first this may appear to be physical strength and mental intellect but maybe we can think ofthis as being physically well and having a positive outlook.Middle fingers extended, others interlocked.

PYODIRECTION OF ENERGYTo begin this may seem to refer to directing your energies into work but later it could be that yousee 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.

TOHHARMONY WITH THE UNIVERSEThis can work on many levels from learning to live in peace with mankind and the animalkingdom to being at one with yourself.Last two fingers extended to form a V (tips touching). Thumbs extended, others interlocked.


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SHAHEALING OF SELF AND OTHERSThe ability to heal is more powerful than the ability to kill. When you sense your inner poweryou will no longer succumb to viruses and other ailments. A word to those that would use theirpowers to harm others: "It is easy to kill a man, but could you watch one die?" Index fingers and

thumbs extended, others interlocked.

KAIPREMONITION OF DANGERIf this cut is fully achieved you may find that you can feel the emotions of others (even at adistance) which can aid in knowing how others will react in a given situation.All fingers interlocked.

JINKNOWING THOUGHTS OF OTHERSI 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.

RETSUMASTERY OF SPACE AND TIMEThink of this... Have you ever noticed how the day has passed quickly for others but has taken anage for you?. Everybody has the ability to control their own "time". With this power one coulduse it to easily defeat an opponent.Index finger of left hand pointing up with the fingers of the right hand curling round it. Thethumb of the right hand should be pressed against the outside edge of the nail on the index fingerof the left hand).

ZAICONTROL OF THE ELEMENTS OF NATURECan one truly control nature? Maybe the real answer is that a Ninja understands nature andworks with it.Fingers outspread, palms out. Index fingers and thumbs touching.

ZENENLIGHTENMENTKnow yourself before you ask "Who are you?"Right hand covering Left hand. Thumb tips touching.

[edit ] Meanings in Buddhism

Each word is translated to the following meaning in Buddhism .

y Rin, to confronty Py /Hy/Hei to soldier ony T, to Battle with


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y Sha, Against One/Persony Kai, With everyone/entire/groupy Jin, The formationy Retsu, In a rowy Zai, To Presencey

Zen, To move Forward

There as many as 81 variations to the Kuji-in within certain sects of Buddhism in Japan, to saynothing of other mudra that are also used.

[edit ] Meanings in Ninjutsu

While the kuji-in have no unique relation to ninjutsu , the ninja traditions are steeped in esotericBuddhist beliefs, especially Mikkyo . The kuji-in are used in a number of their meditations, boththose related simply to their religious practice and those dealing with their martial arts; in someways, 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, includingninjutsu andjujutsu ). In his bookNinja Vol. II: Warrior Ways of Enlightenment, Stephen K.Hayes claims the following interpretations:

y Rin - Strengthy Py / Hy - Channely T - Harmonyy Sha - Healingy Kai - Sense of Dangery Jin - Reading of thoughts.y Retsu - Control space and time.y Zai - sky or elements control.y Zen - enlightenment.

The kuji-in are a tool to be used in meditation, and are frequently over-simplified in popularculture as being a form of magic. This misrepresentation, along with the misuse of the mudra andmantra, has been further popularized by Dead or Alive, Tekken, Tenchuand certain neo-ninja .


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1. Bird (, Tori)2. Boar (,I)3. Dog (,Inu): This hand seal is commonly affiliated with the movie only Ice Release

and with Danz'sWind Release.4. Dragon (, Tatsu)5. Ox (, Ushi)6. Tiger (, Tora): This hand seal is commonly affiliated with Fire Release.[4]7. Snake (, Mi): This hand seal is commonly affiliated with Earth Release[5] and with

Wood Release.8. Rat (,Ne): This hand seal is commonly affiliated with the specialShadow Techniques

of theNara clan.9. Horse (, Uma)10.Monkey (, Saru)11.Hare (, U)12.Ram (, Hitsuji)

kuji in ninja majic

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