Kuji-in - Meaning of Kuji Symbolism

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 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 fist 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 for victory, or "to destroy".

Yang/Yô syllables

臨/Rin: come

闘/Tô: fight

皆/Kai: ready

列/Retsu: line-up

前/Zen: in front

Yin/In syllables

兵/Pyô: warriors

者/Shā: one

陣/Jin: formation

在/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.”

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 manifests sanmitsu kaji . 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, Nitten, Bon-ten (Brahma), Ichiji Kinrin Bochto (Ekaksa-rosnisa-cakra, or Ekasara-buddhosnisa-cakra), and so on.

With relation to Japanese esoteric Buddhism, 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.