Sound and Dharani
The kiai of the kujigiri are based on an ancient method of counting. When I was first taught these kiai, I was keen to learn the meaning of these strange sounds, but I was told that any meaning they might have was irrelevant to their use. The true “meaning” lay solely in the individual sounds themselves, and I would only understand them when I could identify the unique contractions produced by each kiai in the hara. It was indicated that this process of understanding would itself only begin when I was able to use the basic kiai effectively in sword practice. My understanding slowly grew over a period of two decades as tanren practice changed the functioning of the abdominal area.
When practicing the kujiin dharani (mantras), the goal is to be able to perform them internally during extended breath retention. However, holding the breath without tension is an advanced practice, so in order to attain this, dharani are first chanted loudly, then softly, and finally, when internal power is accessed, in silence. I was not permitted to learn any dharani until I was able to sit in rengeza (full lotus) on a metal plate and make it resonate by chanting simple sounds. Mastery of sound production is learned through such practice alongside the training of kiai with movement. Kiai training in swordmanship also teaches the equally important skill of sound absorption, in which correct kiai is absorbed in the core together with the shock produced by accompanying movements. This is especially the case with the reverberations generated in uchikomi.
Body and Mudra
Mudra (Sanskrit for “seal”) is commonly associated with the shaped hand positions used in tantric ritual. In yoga and the internal arts, however, the sealing refers more often to techniques that confine and manipulate energy within the body during breath suspension. As we noted in chapter 3, the control of internal musculature and pressure required to activate the inner channels begins with the mastery of uddiyana and omoni kokkyu in tanren. The function of the mudras is to concentrate and store that energy until an energy “body” is formed within the physical structure. The mudras are performed while sitting, and although seiza is adequate for reflective sitting, the practices of breath retention and mudra require proficiency in rengeza. This provides the required stability and helps to trigger the internal locks that support the energy body. The inkei (literally seal-vow) or hand mudra are important because they act as tuning devices for these internal seals. This is achieved because the hand positions convey the shape and feeling of the energy body to the mind. If the energy is not accessed, the “vow” or mental act associated with the mudra is empty.
The cultivation of tenouchi in swordsmanship is consummate training for this activity because of the sensitivity it develops in the hands and, through them, the body’s core. The intimate connection between the sword arts and mudras is best illustrated by the Chiken inkei. This is the seventh inkei or mudra in the kujiin and marks the apex of that sequence, at which the pure observer (represented by the Kongokai mandala and accessed through the right hand) and the purified energy body (represented by the Taizokai mandala and accessed through the left hand) are united.
Although chiken is often written as “wisdom fist” (), it is also written as “wisdom sword” (). The photos below show how this mudra exactly reproduces the shape of the sword held in the hands, with the index finger of the left hand taking the place of the sword. According to Shingon, each finger has an affinity with one of the five elements, and this is utilized in the mudras. In the Chiken inkei the index finger (air) of the left hand symbolizes the circulation of energy (wind/air) within the physical body. This is joined to the thumb (space) of the right hand, which represents the highest wisdom of the observing consciousness.
The significance and innate truth of the many correspondences and meanings within the inkei are revealed through a gradual process of training and testing. If one does not develop the sensitivity to pick up spontaneous shifts within the energetic channels provoked by the inkei, any philosophical meanings or correspondences assigned to them remain irrelevant. Daily practice of the tanren sequence ensures that these internal signals grow stronger and clearer.
Figure 19. Chiken inkei: the Wisdom Sword mudra
Mind and Mandala
Mikkyo mandalas exist in many forms: pictorial representations, arrays of sculptures laid out in temple halls, “sound maps” of mantras, and, for the practitioners of shugendo, in sacred landscapes. A narrative lies hidden in all of these, and it must be brought alive if the mandala is to be a vehicle for yuga. Pictures and sculptures come alive if the gyoja enacts a journey through them with an imagination driven by the vital energy. The sound mandala comes alive as the vibrations are evoked sequentially within the body. The mountain mandala comes alive as the gyoja traverses the sacred routes, but only if he or she is able to absorb the natural powers of the environment. When properly realized, all these methods unite the mandala of the individual human form with the universal mandala.
The crucial energy of the internal mandala is accessed through a number of important vital points within the energetic system. These concentration points (shuichi) are stimulated using a repeated mantra or a sequence of the sounds associated with each of these locations. The circulation of energy through these lines or nets of points is termed junkanho (way of circulation). The points fall into three main groups: those of the limbs and peripheral body, those relating to the organs of sense, and those of the central channel (which, when activated, are termed chakras). The flow of energy through these areas must be cultivated systematically in the manner described in chapter 3, those of the central channel only becoming accessible when the peripheral body has been freed. A similar attainment is required before true performance of the sword arts.
Every time you stand up with your swords in hand to train, you must be aware of the state of your vital energy so that you can be quite relaxed and put yourself in a waterlike state by melting the ice. In this way the body will become completely free.1
—MIYAMOTO MUSASHI,
NOTES ON MIND, ENERGY AND BODY IN STRATEGY
Some of the concentration points in Shingon lie beyond the confines of the physical body (for example above the crown of the head and below the ground). In the full practice the circulation is extended further to unite with the form of a chosen deity visualized in front of the gyoja (through which a similar circulation is conceived). This results in kaji or mutual exchange, the goal of which is to absorb the qualities and attributes of the chosen deity. It requires rare gifts and intensive efforts to bring genuine life to such advanced practices.
The preparation in swordsmanship for energizing such practices is surer since it is learned incrementally and is subject to constant testing. Through tanren one slowly dissolves the frozen blockages in the energetic system (some yoga texts describe these as frozen shadows). In kihon and kata, while overcoming restrictions within the body one also develops the ability to project energy into and through the sword. In kumitachi one then goes on to learn how to connect with an opponent through the sword. The final step in the sword shugyo is to recreate this exchange while performing the solo kata. When this is finally accomplished, the fusion with the opponent is very close to that aspired to in junkanho kaji. This explains the affinity swordsmen have with Mikkyo and the attraction of sword practices to the Mikkyo gyoja.
Takigyo
Takigyo, immersion under waterfalls, is practiced by many different groups in Japan: Shinto sects use it for purification and to induce shamanic trance; some fringe religious groups use it for exorcism or to obtain success in wordly enterprises; and karate schools use takigyo both to develop willpower and to strengthen techniques by punching and kicking into the torrent.
Takigyo is also a core practice of the Mikkyo-influenced yamabushi because it combines all the elements described in this chapter: kujigiri and kujiin are used both during the ritual preparation and the immersion itself while the junkanho derives substantive powers from the physical interaction with the waterfall. Junkanho is enhanced by takigyo because
the circulation beyond the body need not merely be imagined—the flow of water over the body has real power, especially if the source is pure and the place sacred. In addition, the cooling effect of the waterfall immediately stimulates the circulation of fluids within the body.
After performing the preparatory tanren sequence, immersion begins by exposing the limbs, triggering the peripheral channels. Then the torrent is taken on the neck and shoulders, which calms the mind and stimulates the parasympathetic nervous system. Only if this is successfully achieved is the force taken on the head, activating the cerebrospinal fluid and central channel.2
The ceremony before immersion is as important as the physical and physiological preparation. Yuga is not a technical accomplishment or an exercise of will but an act of kaji requiring mutual participation. Gyoja must offer themselves to the kami of the waterfall and ask for grace. They offer a mind, body, and energy that has been trained, refined, accumulated, and prepared over many years—and yet for all that, this represents only half of what is required for a complete act. This offering is identical to that made by the mature swordsman in their bow to the kamidana (the dojo shrine) at the beginning of practice.
Figure 20. Takigyo
For the sword practitioner, the sanmitsu yuga provides a clear delineation of the inner goal of his or her art. For the Mikkyo practitioner, the martial practice provides a way of ensuring inner practices are tested and substantiated. The training of the yamabushi is a perfect integration of the two that draws on the natural powers of a sacred landscape.
Figure 21. “The life-giving spirit of the Japanese sword through self-cultivation and ascetic training”; calligraphy by Nakamura Taisaburo
1. Kenji Tokitsu, Miyamoto Musashi: His Life and Writings (Boston: Shambhala, 2004), 228.
2. This sequence parallels the use of shoulder balance and then head balance in the practice of Viparita Karani (reversed flow) in hatha yoga.
Appendix I
Training Weapons
To carry out the elements of training described in this book the following are required:
Weapon Training Exercise
katana kihon/kata/tameshigiri
mogi-to kumitachi kata
kabutowari kihon/uchikomi
fukuro shinai kumitachi without armor
shinai kumitachi with armor
light bokken kihon
standard bokken kumitachi awase
uchikomi bokken one-handed uchikomi
shibori tanrenbo tanren
tanrenbo tanren
suburibo kihon
uchikomibo uchikomi
tetsubo tanren/uchikomi
Appendix II
Godai Table
1. Kugeki literally means “void-gap”—an entrance into the void triggering creative forces.
Appendix III
Tenouchi
Tenouchi (the world inside the hands) as utilized in both swordsmanship and the science of hand mudras (inkei) involves the distinct roles of the left and right hands, the individual fingers, the parts of the palm, and their innate correspondences. The hands play a hugely significant role in energetic flow, mental stability, intuitive response, and the refinement of action. This is both highlighted by and cultivated through the sword arts. Tenouchi is the ura or secret world of this practice, and it is thought to require thirty years of practice to fully unfold its potential. The following information will be helpful during that journey, if used wisely and sparingly.
Meridians and Tsubos
Three Yin meridians—Lung, Heart Protector, and Heart—flow inward over the inner hand; three Yang meridians—Large Intestine, Triple Heater, and Small Intestine—flow outward across the back of the hand. All six channels are present in both hands, but for the sake of clarity and to reflect the subtle difference in emphasis between the hands, these are split between left and right in the diagram (figure 20).
The most important tsubos or energy points coincide with important parts of the tenouchi. The points H9, “Inwards Rushing Yin” and SI 3, “Back Stream” (that is, Yang curving back) are located where the sword is held most strongly. This is the source of power in the hands and links the sword with the inner body. SI 3 has a special connection with the central channel and the spine, and stimulation of this point relaxes the sinews throughout the body.
The power of the sword’s movements is contained by the Dragon’s Mouth (also known as the Tiger’s Mouth). This structure is formed by the Large Intestine and Lung meridians and especially the thick muscled area of LI 4 (Adjoining Valley), which moves directly over the mine1 at the completion of a cut. The full significance of these points can only be realized through an understanding of the entire energetic structure. Thus the Dragon’s Mouth is controlled by the Yang lines from the back and shoulder blades, through the outer arms. The many points in the wrist are also of great importance and are linked to the generation of power in the swing, the flexibility of all the joints, and mental equilibrium.
Inkei and Shingon
The use of inkei in Mikkyo, especially in Shingon, utilizes the inherent connections between the different areas of the hands and other parts of the body as well as the corresponding forces within the external universe to manipulate energy and consciousness. There is also an inherent connection between the two hands and the two sides of the body, which in turn reflects different energetic functions. The left hand is the moon hand and relates to cooling, pacifying, and nurturing functions. The right hand is the sun hand and relates to heating, dynamic, and performing functions. The left hand symbolizes the world of natural phenomena (matrix mandala), and the right hand the world of the observing consciousness (diamond or vajra mandala). Much of the information contained in these mandalas is transposed onto the hands, giving a further dimension to the practice of inkei and the rituals they are used in.
The left hand is the elimination of obstacles and is called principle (ri); this is the Matrix World (Taizokai). The right hand discerns various things and is called wisdom (chi); this is the Diamond World (Kongokai). The five fingers of the left hand represent the Five Wisdoms of the Taizokai; the five fingers of the right hand represent the Five Wisdoms of the Kongokai. The left hand is Concentration. The right hand is Wisdom. The ten fingers are the ten stages. They are called the ten worlds of Essence (hokkai) or the ten thusnesses (shinnyo). By reduction [all] this comes to the One: by extension, there are many names. The left little finger is Charity; the ring finger, Discipline; the middle finger, Patience; the index [finger], Energy; the thumb, Contemplation. The right little finger is Wisdom; the ring finger, Means; the middle finger, Vow; the index [finger], Power; the thumb, Wisdom. The little finger [of both hands] is Earth; the ring finger, Water; the middle finger, Fire; the index [finger], Air; the thumb, Void.
—FROM THE FUDARAKUKAIEKI BUKKYO DAIJITEN2
1. The spine of the sword; see appendix IV, Sword Nomenclature.
2. Translated by E. Dale Saunders in Mudra: A Study of Symbolic Gestures in Japanese Buddhist Sculpture. New York: Princeton University Press, 1972.
Appendix IV
Sword Nomenclature
Appendix V
Safety
All swords should be regularly inspected to ensure that mekugi are secure and that the safety lock between tsuka and saya is maintained (with mogi- to as well as shinken). Checks should also be carried out to ensure that the tang is strong enough to withstand the demands of practice (especially when students buy swords from unknown sources). All students should be reminded to carry out their own regular checks.
During keiko, sufficient space should be maintained between practitioners to ensure no accidents. Discipline and zanshin should be maintained during keiko and also before and after keiko when swords are being unpacked, cleaned, and packed up (the most likely occasions for accidents). Students should be encouraged to treat their swords with great respect and awareness at all times. This habit should be cultivated when using all swords and substitutes—shinai, bokken, and mogi- to as wel
l as shinken. Swords should not be left propped up against walls nor left out in open space on the floor. Students should never step over swords and should learn correct procedure for passing swords from one person to another.
Before students are allowed to practice with shinken, they should have mastered tenouchi and secure stopping of the sword swing. During shizan, spectators should keep a safe distance away from the cutting stand and not stand directly behind it. Those inexperienced at cutting should be closely supervised. They should first practice the cuts away from the stand before attempting to cut. Care should be taken that they do not cut across their legs (for example, cutting right kesagiri with right leg forward). Those who are cutting should step well back from the target when adjustment of the target by an assistant is required.
The rhythm and intensity of keiko should be properly managed so that over-excitement does not compromise zanshin. This is particularly important with shizan and kumitachi. In kumitachi, the senior participant in each pair should be responsible for adjusting maai and stopping the drill if necessary. The teacher should watch for signs of fatigue or loss of concentration and adjust the practice accordingly before accidents occur.
Glossary
Japanese words may be written in Chinese characters (kanji), in phonetic script (kana), or a combination of the two. Many different kanji share the same pronunciation or reading, which can easily give rise to misunderstandings. Some of these homophones have related meanings, but most do not. For example, budo is made up of two kanji, bu and do. When written with the kanji , budo refers to “martial way(s),” yet , pronounced in exactly the same way, refers to grapes! Over sixty different kanji are pronounced shin. Shin () in Shinkage Ryu () means “new” (Shinkage Ryu means “New Shadow School”) while the shin and to used in the names of the Shinto Ryu schools have sometimes been written as (divine sword), (divine path), or (new method). Due to this flexibility in the choice of kanji, only seeing the words written out can confirm the intended meaning with certainty, although context is helpful in some cases.
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