Aizen-Myoo: The Esoteric King of Lust, An Iconological Study

ROGER GOEPPER

THE ESOTERIC KING OF LUIC AN ICONOLOGICAL STUDY

ARTIBUS ASIAE MUSEUM RIETBERG ZURICH SWITZERLAND &-l-y--

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In the rich pantheon of the Japanese Shingon School of Esoteric Buddhism the Kings of Esoteric Knowledge (my@, Sanskrit: vidyZdTjd) OCCUPY an important position, especially the pentade which corresponds to the Five Tathagatas, their Bodhisattvas and the Five Kinds of Knowledge. The god Aizenmy66 (Sanskrit : RZga~Zja)does not belong to this systematized group, but embodies, like other My66, a special concept of esoteric Buddhist speculation. In contrast to early Buddhist thinking condemning all emotions, in T a n t r i c texts t h e Passions, even those ofan erotic character, are identical with Enlightenment, expressed by the famous dictum "bonno soku bodai. " The present study gives an analysis of Aizen's basic form based on the text of the Yugikyo, explaining all iconographic details according to Japanese commentaries to the Stitra and other speculative works; i t describes the variants in the Mikky6 pantheon and treats the Indian and Tibetan parallels. After analyzing the different

ARTIBUS ASIAE SUPPLEMENTUM XXXIX

ROGER GOEPPER

THE ESOTERIC KING OF LUST AN ICONOLOGICAL STUDY

MCMXCIII

ARTIBUS ASIAE . MUSEUM RIETBERG ZURICH SWITZERLAND

Fig. I Sculpture ofAizen-my66. Coloured wood, height 31.8 cm. Commissioned in I247 by the priest Eison, executed by the Buddha Master (busshi)Zen'en. Saidai-ji, Nara.

This book is respectfully dedicated to Reverend K6no Seik6, abbot of the Daian-ji in Nara, who over many years helped the author in his Mikky6 studies on several occasions.

This publication was generously supported by the Forderverein japanisch-deutsche Kulturbeziehungen e.V., Cologne.

0 Roger Goepper and ARTIBUS ASIAE, 1993 Typography and layout: Hugo Weihe Printed in Germany by Druckerei Konstanz G m b H ISBN 3-907070-51-8

PREFACE

w

hen an uninitiated Westerner such as the present author sets out to write a book on a Japanese Esoteric Buddhist theme, it might seem to be a preposterous undertaking. Necessarily it must appear as an "in-look" from outside into a highly sophisticated world, instead of a well-founded outlook from inside. Still, after the period when Western authors have roamed mainly in the field of Zen, it seems necessary to focus the study on an aspect of Buddhism that has exercised hardly less influence on the character and development of Japanese culture and, especially, on religious art. Several institutions and individual scholars in Europe and America have recognised this necessity, and serious research into the Esoteric Schools of Shingon and Tendai is growing, in spite of the special and enormous obstacles raised by the vast and often cryptic literature, and by the rich iconography. The present author experienced the hardships in presenting this kind of Buddhist culture to an unprepared public when he organised the exhibition "Shingon, Die Kunst des Geheimen Buddhismus in Japan" in the Museum of East Asian Art in Cologne in 1988. Several years ago, my friend Helmut Brinker provided the initial spark for this iconological study when he asked whether I knew the meaning of the fist formed by one of the six hands of Aizen-my66 in a painting in the Rietberg Museum. Of course, I did not know. Checking the available handbooks I found that there were several meanings and possible interpretations grounded in different layers of religious speculation. As a consequence I became more and more involved in a study of this fascinating deity. The more I searched the more complicated the matter became and the material collected from many sources grew beyond my expectations. Seeing no end even after several years I decided to stop at a point when the details and facts became too minute and too specialised to be of interest to the Western reader. I therefore concentrated on information that seemed necessary for an understanding of a deity that had so many aspects in quite different layers of Japanese culture. I have reluctantly omitted, however, the role of Aizen-my66 in folk religion, for instance as a patron of textile dyers or his obvious connection with certain feminine occupations within the bourgeois society of the Edo period. Chapters on the stylistic development of Aizen's figure in painting and sculpture which had originally been planned, were also omitted since they would have fallen into a completely different field of research. The study, therefore, is purely iconological and historical. In collecting the material I received substantial help from many persons and institutions in Japan. First I would like to thank Reverend K6no Seik6, abbot of the Daian-ji in Nara and president of the Japanese German Society in Nara, who gave advise on many occasions, furnished the author with material otherwise difficult to obtain, and who accompanied him to the K6yasan to study paintings and sculptures in the original. The book is therefore respectfully dedicated to him. Thanks are also due to the reverends Nakada Yorikazu (Junna) and Kaku Dainin for the opening of the rich resources kept by the Daigo-ji and the liberal disposal of copies of texts. In a similar way Mr. Manabe Shunsh6, assistant director at the Kanazawa Bunko at Yokohama, provided access to the sources of his institution on several occasions. Colleagues in Japanese museums have helped with the collecting of texts and photographs, especially Mr. Nishikawa Ky6tar6, Director General of the Tokyo National Research Institute of Cultural Properties, and, last but not least, Mr. Sakata Munehiko of the Nara National Museum.

The manuscript of this book has been read and corrected by the late Professor Alexander Soper and by Dr. Thomas Lawton of the Arthur M. Sackler Gallery, Washington, D.C. To them and also to Dr. Hugo Weihe, Zurich, who prepared the text for publication, the author owes his sincere thanks. Journeys to Japan during the last years were mainly sponsored by the Orientstiftung zur Forderung der Ostasiatischen Kunst, Cologne, founded by Professor Hans W . Siegel. Considerable funds for the printing of this book were granted by the Forderverein japanisch-deutscher Kulturbeziehungen e.V., Cologne. To all these institutions and persons the author owes his gratitude. For unavoidable shortcomings in connection with such a difficult theme the author alone bears full responsibility. Cologne, in the summer of 1993

Roger Goepper

CONTENTS

INTRODUCTION CHAPTER I

Translation of Yagi.kyC. Chapter Five: Airan.wang. The King of Lust . . . . . . . . . . . . . . . . . . . . . . I3

CHAPTER I1

The Basic Form of Aizen-my66 . . . . . . . . . . . . . . . . . . . . . . 18

CHAPTER I11

Iconographic Variants of Aizen-my66 . . . . . . . . . . . . . . . . 40 I . Goshiryb-Aizen-z6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 2.

Tenkyu-Aizen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

3. Aizen with Two Heads . . . . . . . . . . . . . . . . . . . . . . . . . . 46 4. Aizen with Four Arms . . . . . . . . . . . . . . . . . . . . . . . . . . 53

5 . Aizen with Four Heads and Four Legs . . . . . . . . . . . . .

53

6. Aizen as Takki-raja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 7. Aizen as By6d6-6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 CHAPTER IV

Indian and Tibetan Deities Parallel to Aizen . . . . . . . . . . .

58 I . Takki-raja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 2.

CHAPTER V

Raga and Kama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

The Mandaras of Aizen-my66 . . . . . . . . . . . . . . . . . . . . . . . 65 I.

Mandara with Thirty-Seven Deities . . . . . . . . . . . . . . . 65

2.

Mandara with Seventeen Deities . . . . . . . . . . . . . . . . . . 66

3 . Enchin's Aizen Mandara . . . . . . . . . . . . . . . . . . . . . . . . 71

4 . Shiki-mandara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 CHAPTER V1

Dogmatic Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

CHAPTER V11

Historical and Sociological Background . . . . . . . . . . . . . . 87

CHAPTER V111

Heterodox Speculations and the Tachikawa Sect . . . . . . . .

102

CHAPTER IX

Symbolic Forms (sammaya-gy;) of Aizen . . . . . . . . . . . . . . .

114 I . The Five-Pronged Vajra (goko-sho) . . . . . . . . . . . . . . . . . 114 2.

The Vajra in Human Form (ningyo-sho) . . . . . . . . . . . . . 115 3 The Arrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 4 . The Lion Crown and the Hook with Five Prongs . . . . . 119 CHAPTER X

The Seed Syllables (shuji) of Aizen . . . . . . . . . . . . . . . . . . .

120

I.

Hum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

120

2.

Hhum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

120

3 . Hoh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

123

4 . Hrih . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 5 . Trah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

CHAPTER XI

6 . Jjah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

124

The Mantras (shingon) of Aizen . . . . . . . . . . . . . . . . . . . . . .

125

I.

O m Maharaga Vajrosnisa Vajrasattva jjah hum vam hoh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2.

CHAPTER XI1

125

Hhum Takki hum jah . . . . . . . . . . . . . . . . . . . . . . . . . . 127

3 . H u m siddhi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

128

The Ritual of Aizen-my66 . . . . . . . . . . . . . . . . . . . . . . . . . .

130

Gross Magic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

132

I. 2.

The Large Ritual for Aizen-my66 . . . . . . . . . . . . . . . . . I35 3 Nyoh6-Aizen-h6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I44 4 . The Fire Ceremony (goma-h5) . . . . . . . . . . . . . . . . . . . . .

151

ABBREVIATIONS BIBLIOGRAPHY

A . Primary Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 B . Japanese Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 C . Literature in Western Laguages . . . . . . . . . . . . . . . . . . . 165

GLOSSARY

INTRODUCTION

T

he deity treated in this book belongs to the iconographic group of Kings of Esoteric Knowledge (Jap.: myz, Skr.: vidydrdja) within the large pantheon of the late phase of Buddhism. Originally the members of this group were conceived as embodiments of magical spells (mdntrd, d h d r a ~vidyd, ~ , Jap.: myo), but soon they were regarded as representations of Magical or Esoteric Knowledge, a meaning that was also covered by the term vidyd or nzyE1 In the Esoteric Schools of Buddhism they functioned as transubstantiations (keshin) of certain Buddhas who took on a wrathful appearance in order to force reluctant human beings to enter the Way to Salvation. During the seventh or eighth century A.D. these gods must already have been codified into a group of five, corresponding to the so-called Five Tathagatas (gochi-nyordi) forming the nucleus of theological speculations and also of different Mandalas as the pictorial concretisations of such ideas. In the reflections of East Asian Mikky6 iconographic pentads of deities in three layers were systematized as the Embodiments in Three Circles (sdnrin-shin), according to which the five Buddhas acted as Embodiments of the Circle of the Own (or: Essential) Nature (jishfiin-shin); the five Bodhisattvas emanated by them as the Embodiments of the Circle of the Correct Religion (sh~borinshin); and the Vidyarajas as the Embodiments of the Circle of the Mandate to Teach (kyorj3in-shin). As such they represented the active aspect of religion. Aizen-my66 whom we are treating here does not belong to that systematized pentad, but like other Kings of Esoteric Knowledge, as for instance Kujaku, Taigensui or Ucchusma, embodies a special idea of Mikky6 speculation that could only be materialized in the wrathful appearance of a My66. In addition, Aizen is not one of those more or less ancient deities taken over from the Indian pantheon, Buddhist or Hindu, into the vast crowd of East Asian Mikky6 divinities. Some remote relatives like Eakki-raja or Kama may have stood godfathers at his birth, but on the whole he seems to be one of those strange creations that grew not so much out of an immediate mystic experience of some meditating priest, but was the outcome and materialisation of more or less intellectual religious speculation, one of his sisters in this regard being the goddess Prajiiaparamita. The absence of a direct Indian counterpart or predecessor to Aizen, as also the highly additive character of his iconographic details, point in this direction, as we will see later. The translation of the name of Aizen-my66 which we use in the title of this book and also throughout the text is a slightly incorrect, but practical simplification. Instead of the "Esoteric King of Lust" the name should read correctly "King of Esoteric Knowledge [called] Tinted by Love (or: Lust)". The speculative background of this designation will become clear during our investigations. The form of our deity as also his ritual and creed rest on one basic text which made its appearance in China during the eighth century A.D. A complete and annotated translation was recently ~ . ~title of this text in undertaken by Pol Vanden Broucke in a dissertation at Ghent ~ n i v e r s i tThe Japanese pronunciation is KongFbu-r8kdRzl-issai-yuga-yz~gi k y (mostly ~ cited in the abbreviated form: Yugi-kyo) and may be translated as "Sutra of all Yogas and Yogis of the Pavilion with the VajraSee P. Przyluski, "Les Vidyaraja, Contribution a l'etude de la rnagle dans les sectes rnahiyanistes," BEFEO 23, 1923,301-18. Pol Vanden Broucke, Y/tglhyi. De ichriftuur van alle Yoga's en Yogz's van het pavilpen met z'ajlra-top ( T . XVIII no. 867, 253-69), d~ssertationat R~jksuniversiteitGent, 1989-90.

Top."3 The question whether the text is a translation of a lost Indian original or whether it was fabricated as an apocryphal Sutra (gigyfi) in China during the eighth century cannot yet be answered with certainty. For both suppositions positive, but also negative, reasons can be given. Some indications have led the present author to believe that the text was composed in China, making it look like one of the many translations from an original Indian manuscript The authorship or translatorship of the Siitra is also not yet ascribable to any person without any doubt. Chinese and Japanese commentators give the names of Vajrabodhi (Kongochi, 671-741) or of Amoghavajra (Fuku, 705-74), both being prolific translators of esoteric texts from Sanskrit into Chinese, as the persons responsible, both attributions not being completely convincing. The text was transferred six times to Japan between 806 and 866. From this fact we may guess that the Yugi-kyfi must have been popular among esoteric Buddhist circles in Tang China of that period. In Japanese Mikkyii the book was soon counted among the Five Basic Esoteric Texts (gobu no hiky?). It is the one and only early Chinese Siitra citing the name of our King of Lust and describing his iconographic details, later texts always basing their treatment of Aizen on the contents of the Yugi-kyd. It is a puzzling fact that our deity appears with two different names in the book. In the second c h a p t e r 9 e is cited by the title "The Efficient and Firm Mind of Zen'ai, the Unsurpassable VajraKing of all Tathagatas" and his name in the form Zen'ai is quoted again in connection with a Sanskrit Mantra that since has become one of the most common Magic Formulas for the King of Lust: Onz i2lahdrdga VdjTojgTja Vajrasattua jjab h@ zlanz hob.' Chapter five of the Yugi-ky? titled "King of Lust" (Aizen-ii)6 treats the deity under his usual name Aizen, provides a detailed iconographic description, and depicts the ceremonial context into which the god is set. Japanese commentators on the Yugi-kyfi have been irritated by the two designations and tried to explain them by sophisticated speculations. The priest D6kyii (1200-36) in his Henku-shc7 clearly states that according to "a certain tradition this is one figure with two names. Zen has the meaning of 'male', because that which 'tints' (or: 'affects') the woman is the man. Ai is female, since she who 'loves' the man is the woman." The sentence is quoted several times in later texts down to the nineteenth century.8 The male Zen'ai is regarded as embodiment of Concentration (jd, samddhi) and the female Aizen as that of Wisdom (e,prajKd), thereby personalizing two of the basic antithetical concepts of Mikkyii speculation. Of course such speculations should not mislead one to regard Aizenmy66 as a goddess,9 he definitely is a male god. The Kamakura Period priest Raiyu (1226-1304)'~ elaborates this concept of two opposed ideas, lastly being amalgamated into a higher transcendental identity, and says that the male Zen'ai, corresponding to ~ i s d o m , "also embodies Enlightenment (bodai), whereas the female Aizen, standing for Concentration, symbolizes the Defilements (bonnd, kleia) as the essential forces binding

' 6

8

I0

"

The information on the Siitra given here are mainly based on Vanden Broucke's study. 7 18,255, 3 - 256, I; Vanden Broucke 1989-90,46-5~ See the chapter on Mantras. T 18,256, 2 - 257, 2; Vanden Broucke 1989-90,63-92. 7-78, 698,3. O n D6ky6 see MDJ 1650-51, .ZIJ 518. For instance by Ryiiyu (1773-1850) in his Htzi-41 jiyiki,SZS 9, 427, I. I. Astley-Kristensen, "The Rlshuky6," Buddhica Britannira, Series Continua 111, T r ~ n g1991, 189-90. In his Shinzakrt-zakki-~rzondfi-~ht, SZS 37,352, I. Here the identifications with Wisdom and Concentration are constructed in the opposite way.

the human being into its worldly existence. Consequently Aizen as representative of life and death in this material existence is the Common Body (bonshin) of the human being, and Zen'ai embodying Enlightenment and Nirvana corresponds to the transcendental Buddha Body (busshin). But according to the central Mikky6 idea of "becoming Buddha in this present body" (sokushin j6butsu) the two are identical and "not two" (funi). Raiyu also stresses the active My66 aspect of the King of Lust by stating that his two versions are set into motion during the ritual in the central and important mystic phase called "Entering [of the Deity] into the Ego [of the Practitioner] and Entering of the Ego [into the Deity]" (nyzlga-ga'ny12) which we shall treat extensively in connection with Aizen's ritual. According to Raiyu12Aizen is the so-called Main Deity (honzon) entering into the person of the practitioner (nyztga), whereas Zen'ai corresponds to the Practitioner (gyoTjd) who identifies himself with the deity (ga'nyzl). W e here are in the middle of the central concept underlying the figure of Aizen-my66: the identity (by&, sammaya) of seemingly opposite ideas culminating in the famous dictum "The Defilements, they are Enlightenment" (Bonno soku bodai). The Shingon follower actually may use and activate the worldly Defilements to overcome and transcend them. T . Tomari in his study on Aizen13 quotes a sentence from the Byakuhokku-sho by Ry6zen (1258-1341) saying that the separation from being tinted (by lust) is identical with lust ( ~ i ' d soku i aizen) which explains the so-called Secret Name (mitsugo) of our god, namely Ri'ai Kong6, "Vajra of the Separation from Lust".14 According to the Mikky6 idea of the interrelation of the different layers within the esoteric pantheon, Aizen also should not be regarded as an isolated single deity, but as a manifestation (hen) or transformation (keshin) of another figure of the pantheon situated as the so-called Fundamental Aspect (honji) in a "higher" position. Mostly Vajrasattva (Kongosatta) who impersonates the Mind of Enlightenment (bodaishin, bodhicitta) is named as the honji of Aizen who actually holds in the main pair of his six hands Vajrasattva's emblems, Vajra and Bell.15 But according to a "secret tradition" (hiden) even Maha-Vairocana (Dainichi) is claimed as the Fundamental Aspect, since this transcendental Buddha occupying the central seat in the two basic Mikky6 Mandaras is regarded as concentration or contraction (setsu) of the many deities contained in the Mandaras. As we shall see later in this study, Aizen also functions in a similar way as pole of condensation for a group of deities, again in correspondance to his basic concept of Identity (byodo)).But other deities, Buddhas and Bodhisattvas are also regarded as honji of Aizen, like Butsugen and Kinrin, Kong6-6 and Kong6-ai, and even the Buddha Amitabha, since the four figures surrounding him in the Mandara all are representatives of the Ritual of Subduing in Love (keiai-h5) in which our Aizen usually acts as Main Deity (honzon).16 In our present iconological study on the King of Lust we shall not only analyze him iconographically and describe his variants and Mandaras, but we shall also search into the dogmatic background of Buddhist ideas which have taken material form in the figure of the deity. In addition we shall place him into the historical and social context that led to the spread of his cult in the Heian and Kamakura Periods since a divinity like Aizen cannot be understood merely from his religious I2 I'

I'

l'

16

SZS 37,352,I. Aizen-?uyii kg, in: ~ZlikkyiGakuhi41, 1916, 23. 72 7, 97, 1. See f.1. the Bjakuhi-shi by Ch6en (1226-86), T Z 10,1048, I ff. Ib1ci.

basis. The social implications decidedly add to his special characteristics and his efficacy. As a special side-effect we shall have to take into account the fusion of Aizen with heterodox tendencies within Shingon history during the Kamakura Period and his position in the so-called Tachikawa Sect. A comparatively large portion of this study will be devoted to a description and analysis of the ritual and the ceremonies directed toward the Esoteric King of Lust. This aspect should never be neglected while studying figures of the later Buddhist pantheon17 since the figures as such and also their iconographic details can often only be understood from their function within the ritual. Texts which we use as iconographic handbooks are mostly conceived as instructions for the correct and effective performance of ceremonies. Basically the concrete icon produced by the hands of an artist is only a shadow image (ya8) without essential reality, the real image being created in the mind of the As we will see in the analysis of the rite, the practitioner during mystic procedures in the ritua1.1~ deity residing in his transcendental paradise is called down during the ritual into the presence of the priest until the mystic unity between deity, icon and priest is reached. But at the beginning of our study we must translate and analyze the text of chapter five of the Yzlgi-hyFon which the iconography and the ritual of Aizen-my66 are based.

I8

A good example has been set by St. Beyer, The Cult of TaG Magic and Ritual in Tibet, Berkeley-Los Angeles-London, 1973, For this aspect of the Icon see R. Goepper, "Some thoughts on the icon in Esoreric Buddhism of East Asia," Stuciia Sino-2Vlonjiolica, ,Vliincbener Ostasiatiscbe Sti~dien2 j, 1980, 24j- j4.

CHAPTER I Translation of the Yz~gi-ky6,Chapter Five: Airan-wang, The King of Lust' t

that time Vajrapani again addressed the Buddha and said: "World Honoured One, in addition I will now explain the King of Lust (Airan-wang, Aizen-G), the siddhis of the different rites which all the Tathiigatas together have attained, and the rite of gaze-h~); that is the rites of Appeasing (sokztsai, Szntika), of painting the icon (hzta~iany-fd, i k aSubduing ), {keiai, t~as'Fka~a~za), of Attracting ( k y a d a ~ aand ) of Increasing ( s ~ y a k u , p a ~ ~ ! ~ of Subjugating (g~bztkzt,abhi~arztha)."~

Then the Bhapavat Vairocana (Bianzhao, HenshG) spoke to Vajrapani and said: "I have already preached at the places of all the Tathiigatas, and I have already completed my studies. So now you should, for the sake of good men and women in this World of Ending Religion (mltnfa-shi,v~appc-se),widely preach for their blessing and joy."

Then Vajrapani sang this Gatha: In the light half of the month (S~lkZdpdk~a, bydkugats~~) under the reign of the lunar mansion Pusya (k~shzlkzt)~ You should take a pure and white, fine cloth And paint the Ragavajra (Airan Jingang, Aizen K o n g ~ ) . ~ The colour of his body is like the rays of the sun; H e resides in a blazing circle And his three eyes gaze in fierce rage. In the hair-dress of his head he wears a lion crown, O n which again is placed a hook with five points. His sharply standing hair gives him a wrathful appearance. Garlands of flowers in five colours hang down [from his head dress] And heavenly bands cover his ears. In his left hand he holds a golden bell, And in his right hand a vajra-staff with five prongs. His demeanour is like that of [Vajralsattva. In his next left hand there is a vajra-bow, And in his right he holds a vajra-arrow, As if he were aiming at the brightness of all the stars, And would thereby be able to accomplish the Rite of Great Attraction (damn-fd, daizen-h$). In his lower left hand he holds "that",

'

T 18. 2 5 6 , ~- 257,2; Vanden Broucke 1989-90, 63-92. W e shall give in this chapter some of the names and terms in their Chinese and Japanese transcription and mill keep the footnotes to a minimum since Vanden Broucke has commented on the text extensively. Detailed explanations will be given in the analysis in the next chapter. The Chinese text of the I'ttgi-kyi transcribes the terms for the basic forms of ritual after their Sanskrit designations. The identfication of kjod~tjaremains problematic. See Vanden Broucke, 69-71. Corresponding roughly to the zodiacal sign ofcancer. From here on the details of Aizen's description are fully analyzed i n the next chapter.

And in his [lower] right a lotus in the attitude of striking. The sum of all bad spiritual [factors] Will rapidly be extinguished, without any doubt. By binding all the garlands of flowers And winding them together his body is decorated. He is sitting in the posture of tightly bound crossed legs, And he rests on a lotus of red colour. Underneath this lotus there is a precious vase Which towards both sides ejects jewels. After having made this icon one should set it up in the west, And the practitioner (xingnn, gyo'ju) should take his place opposite to it, facing west.' He forms the Seal of Great Karma (daikatsama-in)G And intones the Basic Vidya (kompon-mnS3).' At the same time he manifests as the Symbolic Form (summuyu)' The Secret Word of the Heart in One ~ ~ l l a b l e . " Then he is able to perform [the rite], and he is able to cut off and destroy The multitude of all bad spiritual factors. H e also performs the thirty-seven Deeds (kutsztmu, karma) of the Sphere of the Absolute (kongckui, vuj~adb~ta);'~ And by the Vidya of Original Action (bongo'-in)" H e immediately accomplishes the hundred thousand affairs. All the malignant influences (sarva-dz~stu) And all the wicked demons (grzba) Are right away extinguished; and at no time or place Will they be born again, not even for one single moment. Furthermore, taking the designation (rzdmurz) of "that", H e places it in the mouth of the lion, Whereby he increases the wrathfulness for the Subjugation Which he must complete within one single night. He recites the Great Original Vidya (duikovzpon-my$) And forms the Samaya Seal.'' Also, for Attraction (or: Loving Subjugation) (kjudqu) H e takes the pistils of a red lotus flower The west is the heavenly direction associated with the rite of Loving Subduing ( ~ ~ ~ ~ f i k a kriai) r a n a , in which Aizen usually acts as Main Deity (hunzon). See the chapter on ritual. For this Mudri several explanat~onsare given. Vanden Broucke, 78-79. This is the Mantra taught in chapter two for Zen'ai: O' Several texts on ritual also base the succession of steps in the ceremonies either on the thirty-seven or on the seventeen deities.>' An iconographical scroll dated 1228 and kept as National Treasure in the Daigo-jiS2 contains drawings of twenty-five Mandaras for the different chapters of the Rishu-kyG. The last drawing is an impressive picture of the ferocious Aizen-my66, followed by a short postscript with the date. Apparently, Aizen is here functioning as the last and most secret condensation of all the different ideas which have gained visible form in the many deities of the other Mandaras in this scroll. In a similar manner our god appears as the title illustration for a printed Japanese version of the Rishuk1.3'0,dated as late as 1 7 7 0 . ~ ~ It should perhaps be noted in this context, that Aizen is the Master of the Family (bushu) during the Goma ceremony of burning offerings addressed to the Go-Himitsu according to the Kakuzens h ~An . ~explanation, ~ characteristic of Shingon speculations, for this process of proceeding condensation is offered by the learned priest Gah6 (1240-1317): "In secret Stitras the Go-Himitsu are not taught, but instead only the single deity Aizen-6. If therefore the one body of Kongosatta (Vajrasattva) figures as the great fact (daiji) of the GoHimitsu, [in realityj the great fact of Aizen-6 is meant. This Aizen is the essence (shari, farim, the relic); the ~hal'iin its turn is the Precious Jewel (&?a), and this Jewel is corresponding to the Defilement of Affection (ton).This Defilement, lastly, is identical with Aizen-6.""

" 48 49 j0

" " j3

i4

"

Toganoo 1970, legend to pl. 2. W e are using the translation for "Rishu" coined bp Astley-Kristensen in his study on the RiThu-kT6. For an analysis ofthis field see Sawa 1972,161-66. Shin;okutakki-mondg-rho,SZS 37.162. For these groups of deities see chapter V on Mandalas. Rirbu-kyd jz2mbi-e mandara, TZ 5,797. Toganoo 1970, pi. 2. T Z 5, 165, I. SZS2~,220,1.

CHAPTER V11 Historical and Sociological Background

I

will probably never be possible to pinpoint the exact date when the Buddhist deity Aizen-my66 emerged as a clearly defined figure out of the stream of theological thinking, or even to determine whether this happened in India, Central Asia or, more likely, in China. Even the date of the earliest text dealing with his ritual and describing his iconographic details, the Yagi-kyG, is under debate. The translation of this Siitra, whose Sanskrit original has not been transmitted, into the Chinese language is usually attributed to the priest Vajrabodhi (Kongochi, 671-741), but several Japanese authorities have convincingly doubted this attribution.' The text is not named in the Tang catalogues of Buddhist scriptures compiled by Amoghavajra (Fuku, 705-74) and Yuanzhao (second half of eighth century).' This fact may lead us to the conclusion that the Sutra had not as yet been translated. Some characteristics of the Yagi-kyG, for instance the astrological speculations with a highly Chinese flavour and the warning not to hand down the text to ordinary people without the necessary esoteric knowledge, as well as some stylistic features, have led Kazuo Osabe to the conclusion that the Yugi-kyG must have been translated, or even composed directly in Chinese, after the model of older esoteric texts late in the Tang Period, and then attributed for the sake of prestige .~ the question of authorship and dating has been examined to the great name of ~ a j r a b o d h iLately thoroughly by P. Vanden Broucke in his t r a n ~ l a t i o n . ~ In any case, the text and, together with it, the notion of Aizen must have existed around the turn of the ninth century, since Kiikai on his return from China to Japan in 805 brought with him, among the many scrolls of esoteric texts, a copy of the Yugi-ky5.j To the best of our knowledge, no early Chinese sculpture or painting depicting Airan has been found. Among the many Tang bronzes of Buddhist deities our god does not appear, and he is not present among the cache of esoteric marble sculptures unearthed on the premises of the former Anguo-si in the Tang capital, Chang'an, nor does he seem to be represented in the paintings in and from the Dunhuang caves. In this connection we should remember that just as the art and the temples of the Mi Zong, the Esoteric School, with its close association to Tang court circles, was especially strongly exposed to the persecution of the year 845.6Airan with his erotic implications could have been one of the main targets of Confucian attacks against the "corrupt" foreign religion, although there seems to be no direct textual proof for this supposition. Taking into account the meagre historical evidence, the present author tends to believe that the notion and figure of Aizen-my66, as we see him transmitted in the Esoteric Buddhist Schools of Japan, were formed most probably by Chinese priests during the later part of the eighth century. In all probability these priests stylized and systematized the concepts of a popular God of Love from the t

For instance Omura 1918, 520-21. The Tobu-darani-mokz, T 18, no. 901, and theJigen-vokz, T jj, no. 2157, Osabe, T&i-mikkyi-shi, 1971, 240-42. Vanden Broucke 1989-90. Sh8rarai-ti~okuvoku, KZ I , 82. K. Ch'en, "The economic background of rhe Hui-ch'ang suppression of Buddhism," HJAS 19, 19j6, 67-~oj;D. Twitchett (ed.), The Cambridge Hirtor) of China 3, 2, London etc.1979, 666-69.

lower strata of the Buddhist religion such as Ragaraja, Takki-raja or 'Dod-rgyal drnar-po, whom we have treated above, into the complex and highly speculative figure of Aizen. As we have seen, no direct brother or counterpart on equal terms exists either in the Indian, or in the Tibetan Buddhist pantheon. As the basic text on which to base his ritual, the Yugi-kyo, which also has no counterpart in the Tibetan canon of Buddhist texts, could have been f a b r i ~ a t e dIf. ~this is the case, it must have happened when the Swiddhi-sitm was already available in the Chinese language, since we can observe similar traits in both texts. Under the religious circumstances existing at that time in Tang China, the concept of Aizen-my66 lent itself very well as a symbol for the idea of mystic identification expressed also in the speculations on the Kopzg5kai and the Taiz8kai Mandaras.' If we now turn to a sketchy history of our deity in Japanese Buddhism, Kiikai as the patriarch of the Shingon School has to be our point of departure. W e have already referred to the fact that Kiikai had a copy of the Yugi-kyo in his baggage when he returned from China in 805. Even a legend has twined around the transmission of the text by K6b6-daishi which is found, for instance, in the ~akuzen-sho: "During the days when K6b6-daishi stayed in Tang China, he received the transmission of Aizen6. When he returned to our country, he carried him [his image?] on his back and broke it, so that he was unable to cross the blue sea. H e then addressed him with sincere words, relying on his magical response, and immediately he obtained him back. This shows that he had an occult connection (ki'en)with the deity."

The ~esson-zakkiIomentions a Aizen-6 Shuji-Mandara, a Mandara with Germ Syllables, in three zones, containing seventeen deities represented by their shuji, which was supposedly introduced from China by Kukai. Its structure differs from the better known Aizen Mandaras." The Byakuhokku-sho12 quotes a theory by the priest Shinzen (804-91),13 the second abbot of the Kong6bu-ji, according to which the field of the Rishu-e in the Kong8kai Mandara should be regarded as a Mandara of Aizen, which, in turn, is based on a Mandara supposedly brought back by Kiikai, a theory which must remain pure speculation and cannot be substantiated by remaining examples. In the works attributed to Kukai the Yugi-kyo is mentioned several times, especially in his S h h i wr2ok1~roku,'~ written in 806, shortly after his return to Japan. In one instance he quotes a sentence from the Yugi-kyo, which, strangely enough, does not appear in the Chinese original of the text.15 Among K6b6-daishi's Collected Works there is one text, usually cited by the abridged title Yugi-kyogygbo-ki which is an exegesis of the eighth chapter of the siitra.16 But Aizen-my66's name appears neither in the original text of the Sutra nor in Kukai's commentary. The central deity (horizon) is instead the twelve-armed Daish6-kong6. This Yugi-kyo gyobbo-ki is already tabulated in the earliest list of K6b6daishi's works, drawn up by Saisen (1025-1115) during the period when Aizen's cult began to flourish Just the absence of this important Sfitra in the Tibetan canon may be a clue for its Chinese o r i g ~ n Osabe 1971,242.

"z I0

" I2 I3

'' " I6

5, 255, 2. T Z 3, 465, 2. Cf. the chapter on the Mandalas, above, T Z 7 , 9 6 , I. AIDJ 1289-90. KZ I , 82. Kakushi~-ge-goma-rjakkl,KZ 4, 805. KZ 2, 587-604. Full title: lisai-njorai Dazshi-kongi saisho-ihinjitsu-san~n~aja-bun shidai-kannen.

in ~ a ~ a nStill, . ' ~the possibility cannot be excluded that the GY&-ki is a later fabrication, attributed to the great master for obvious reasons. To our knowledge, there is not one instance in the major and genuine texts written by K6b6daishi where Aizen-my66 is directly named. The later lists of Kiikai's literary productions, starting with the one by Kakuban (109 (-1143) compiled only about three hundred years after K6kai.s death,18 contain the title of an Aizen-zaho in one scroll. The text, which apparently dealt with the ritual of our god, does not seem to have survived, and there are strong reasons to doubt its authenticity. As we will presently see, the cult of Aizen as honzon of his own ritual emerged only later during the Heian Period, at just that time when some priests drew up lists of texts which they presented as genuine productions of the great patriarch. Anyhow, Kukai surely was familiar with the figure of Aizen since he knew the Yzlgi-ky6, but it is highly improbable that he exercised special rites for the King of Lust. Other early Japanese Mikky6 pilgrims to China also are known to have brought the Yzgi-kyG text or even paintings with representations of Aizen back to their home country, as for instance E'un (798-869)19 (fig. 3j), who had studied at the famous Qinglong-si of Chang'an, and Shiiei (809-84)" (fig. 36) of the Zenrin-ji, who is reckoned as the last of the early Eight Masters to go to Tang China (nitto-hakke). Among the early Tendai patriarchs, neither Saich6 (767-822)" nor Ennin (794-864)'j seems to have brought icons of our deity back to Japan; only Enchin (814-91)'~ mentions him two or three times, especially in the Tenkyii-Aizen variant, which we have characterized above as an early form of the King of ~ u s t . ' ~ The credit of focussing a special speculative interest on the Yugi-ky~and, in consequence, on Aizen must probably be given to the Tendai priest Annen (841-91 since it is from his brush that we have the first more extensive commentaries on the Sutra in ~ a ~ a n . " At about the same time other Mikky6 priests also must at least have been familiar with Aizen. The Shingon master Yakushin (827-5106),~~who had close ties to Emperor Uda and was active at the T6ji and the T6dai-ji, preached that Aizen-my66 changes into the figure of Emma-ten, the God of Death and the King of Wells, to ward off the dangers of dying. It is recorded that Yakushin was asked by the maid of honour (shcji), Fujiwara Yoshiko, whether one of the six walls of the newly erected Hall for Burnt Offerings (Goma-do) in the Enj6-ji of Heian should not be decorated with an AizenmandamZ9Perhaps we are here confronted with the first instances of a growing belief in such deities as the King of Lust within the circles of the Heian court. "

Kfbf-dairhz-gjosasho-moki~rok~, KZ j, 537 Biography of Saisen in Dent8 Kfvoku, ZSZS 33, 292. Kfsu-g~aseicuk~sho-~riokuv~ki~, KZ j, 548. Biography in Dentd K~voiu,ZSZS 33, 306-11. I' MDJ 144-4 j. MD] 8 51- 52. ZI Tanabe and Ariga 1990, 135. 22 MD] 758-j9. l3 121DJ 16j-66. l4 MDJ 163-6j. Tanabe and Ariga 1980,13j. 26 hlDJ 51-jz. 27 Osabe 1971,242. MD] 2178-79. " Tanabe and Ariga 1990,136, quoting Becson-ukki. Biography of Yakushin in Dent8 K ~ v o ~ZSZS E , 33,253-5 18

j.

Fig. 35 Aizen with the stars of Ursa Major. Version brought from China by E'un (798-869). Kakuzen-shd, TZ 5 , pl. 281.

Fig. 36 Aizen holding a round object. Version supposedly brought from Tang China by Shaei (809-84). After handscroll by Bansei, dated 1292. Daigo-ji ms. no. 163-4.

After Kukai and his direct disciples, with their rather loose connection to Aizen, it took more than one century until the cult of the deity grew deeper roots in the field of Shingon ceremonial. An important role in this development was played by the priest Ningai (951 or 955-1046), the famous Rain-making Monk (ame-s6jQ) who promoted the Shingon ritual within the imperial family, especially by using magic practices.jOEvidently for him and the society in which he was active, the focus of interest for our King of Lust lay in magic. But another driving force towards the growing popularity of Mikky6 in the early eleventh century was the introduction of Nembutsu ideas into Shingon speculation whereby the school later was enabled to attract wider circles of followers, apart from court and nobility. Ningai founded the Mandara-ji in Ono below the Higashiyama of Heian-ky6, a temple which was later renamed Zuishin-in and developed into a center of the new Ono School (Ono-ryu) as a counterpart to Kanch6's (916-98) Hirosawa School of saga,jl situated at the other side of the capital. While there were hardly any differences of religious speculation between the two schools, the main contrasts were in their modes of tradition: the Hirosawa School stressing the importance of written handbooks for ritual (giki), the new Ono School relying more on oral transmission (kziden, kziketsu) directly from person to person with a certain mystical character. Ningai acted as the religious teacher and personal priest (goji-so) of the Ex-Emperor Shirakawa during the latter's Insei (i.e. government in retirement, 1086-1129), and also of the politically important noble Fujiwara Tadazane (1078-1162). Eschatological reasons, among others, probably led Ningai to his promotion of Aizen's rites since he performed them, at least nominally, for the benefit of all living beings suffering under the depressing atmosphere of the last world period (mappi?)during which the Buddhist religion was expected to degenerate or even to become extinct. That Ningai and his two noble pupils, Shirakawa and Tadazane, reached such a respectable degree of old age was attributed partly to the effectiveness of their belief in the rites of Aizen-my66.j2 Anyhow, Ningai is the author of one of the basic handbooks on the ritual of this deity, the Aizen-5 daishidai, Great Sequence of Aizen-6's Ritual, and he also wrote an Aizen-8-she, an Aizen-h8 and a Raga-hihO, Secret Rites of Raga, which all seem to have been lost.33A later work on the tradition of the Anj6-ji School, a sub-sect of the Ono branch, states: "Ningai treated Aizen secretly, and did not let other people see him [his icon?] ."j4 During the next few generations Aizen's ritual seems to have been especially favoured by the Ono School, which quickly grew into a major force within Shingon Buddhism. Already Ningai's foremost pupil, the priest Seizon (1012-74),35 won his fame by an incident which is recorded in many sources of Shingon history and which, by no means, found unanimous approval even among his own disciples. Seizon had used Aizen's ritual in a dubious manner as black magic for political ends. When the seventy-first Emperor of Japan, Go-Sanj6 (born 1034, reigned 1069-72, died 1073), still held only the rank of Eastern Prince (Higashi-no-miya), he was annoyed that his elder brother Goj0

j4

?'

For Ningai see MDJ 1768-69; SZS 39,346 ff. His biography in Dentd Kd-ioku,ZSZS 33,367-69. Kancho's biography in Dentri Kdroku, ZSZS 33, 268-69. This is the opinion of the Atzen-ishdryc-ki, written in 1498, quoted by Kushida 1979, 2, 823. The AIDJ 1769, 2 gives a list of N ~ n g a i ' sworks with more than one hundred titles, including those on Aizen quoted above. The present author has been unable to locate hem. An-rjz2 u'enjzl-kijri, SZS 35,92, I. O n him see iZ1DJ 1332. Biography Dentd Kd~oku,ZSZS 33,380-81. The following story as it- is told here is a pasticcio of information spread over several sources like the Asnba-sbd, T Z 9, 299, the Byakubd-5/35,T Z 10,I O j 3 , the Sambd-in-q~Tfzen-s?~.brikuketsu, SZS 14, 121, and the Yatuku-ketsumyuku-shu, SZS 39,349.

Reizei had occupied the throne as seventieth Emperor for twenty-two years, without any signs of weakness or old age, thereby leaving no prospects for the ambitious prince, himself already aged thirty-five years old, to succeed him in the near future. Seizon had won the position of a "personal priest" (ki'e-so, "refuge-monk", or jisg) to the prince, and had already proved himself an able and successful magician. In 1065 he had enacted a "rain-making ceremony" (shou-gy8-ho) in which his teacher Ningai already had demonstrated his skills. During the third day of Seizon's ceremony heavy rain began to fall. Four years later, one day in 1069, the Eastern Prince, before attending a ceremony, was combing his hair in front of a mirror when he suddenly was struck by "signs of old age approaching": Some grey hair dropped from his comb. The prince exclaimed: "I am already getting white hair and GoReizei is still occupying the throne. I will never be able to have the original desire of my early youth [to ascend the throne] fulfilled!" When his personal priest Seizon was informed about this incident he "penetrated into the deeper meaning" of the prince's exclamation, that is, he grasped the hidden hint that something should be done. H e consoled the Higashi-no-miya, returned to his quarters and "made with all respect an image of Aizen-6 measuring three shdku in height". One sourcej6 says that Seizon used sandalwood for this purpose, and that he made an icon in the size of three son and five bu which would correspond to the "height of five fingers-widths" (goshiryg) mentioned above as especially effective in Aizen's ritual. According to other sources Seizon took the Aizen sculpture of the Round Hall (end6) of the Hossh6-ji as the honzon of his rite, but that account seems to have confused the details with an incident that took place in Shirakawa's time, which we will treat below. Seizon then wrote Aizen's formula with red ink on a piece of paper of reddish colour like a prunus blossom, inserted the charm into a small silken bag which he then hung over the icon's left hand forming the gesture of "holding that". All of these details agrees perfectly well with the description of Aizen's ritual in other texts. For seven days Seizon performed the terrible ch5buku rites in front of the image. From some vague descriptions we may guess that the priest enacted an imitation of Aizen's own appearance. H e wielded a lotus in his right hand, as if striking at his left which was supposed to hold "that", namely Emperor Go-Reizei's health and disposition. After seven days the white teeth of the lion head in the crown of Aizen's image suddenly were tinted red in the colour of blood. Seizon took this as a sign that the ch6buku spell cast on the Emperor was having its desired effect. And actually Go-Reizei soon suffered from ulcers (ygso) and passed away later that same year, thus allowing his ambitious younger brother to ascend the throne as seventy-first Emperor under the name Go-Sanj6. Apparently this misuse of Aizen's rite aroused criticism even among Seizon's own pupils. It is recorded that Hanjun remarked: "This surely was no loyal behaviour! "j7 During his short reign Go-Sanj6 showered favours on his personal priest, and commanded Seizon to introduce the obviously successful ritual of Aizen at the great temple T6ji in the capital Heian. According to popular belief, the effect achieved by such improper means could not last very long and, in fact, Go-Sanj6 ended his short, though successful, imperial career only three years later; he died the next year, 1073, followed only a few months later by his "personal priest." Their early death was ascribed to after-effects of the ominous ch&uku rite.

Although Hanjun ( I O ~ ~ - I I I ~reportedly )~' criticized his master Seizon, under whom he had studied sucessfully at the Mandara-ji of Ono, because of Seizon's misuse of Aizen's rite, Hanjun himself practised it on different occasions. Together with his fellow-student Gihan (1023-88)j9 Hanjun was praised as Seizon's "double jade disk" (s~heki),and he quickly rose to a position of favour near the Emperor Shirakawa, who also must have had a predilection for Aizen's mysterious ritual.40 After he had ascended the throne in 1073, Shirakawa Tenno had the temple Hossho-ji erected; the Main Hall together with the Lecture Hall and another one for Amida were consecrated in 1077.~'In addition he had a nine-storied Pagoda, a Yakushi Hall and one for the Rite of Circumambulation (Jogyo-do) built and consecrated in 1083, the same year in which the priest Shoshin performed for the first time a Goma Ceremony addressed to Aizen in the octagonal hall dedicated to our King of Lust. The same priest, Shoshin (1005-85),~~ some years before, in 1077, had already performed the Aizen ritual on the seventh day of each month for the duration of one year in the Kita-no-in of his temple, Ninna-ji. Inside the Round Hall (Endo) of the Hossho-ji, which was in fact octagonal, Shirakawa Tenno had an icon of Aizen placed as the main sacred object (horizon). It is furthermore reported that during the construction of the temple the Emperor buried some precious jewel in the base of the altar, on top of which the above-mentioned icon of Aizen was installed. In this temple, which soon earned the nickname "Shirakawa no tera", the Aizen rituals were reserved exclusively for the Emperor himself, not even high-ranking nobles were allowed to have them executed there. The appearance of this image, which no longer exists, must have come close to drawings preserved in Zuzo sketches kept by the Daigo-ji and the ~ i n n a - j i . 4 3 Also during Shirakawa's reign, in 1075, Seizon's two favorite pupils, Hanjun and Gihan, became trapped in a case of personal rivalry over an imperially ordered rain-making ceremony, Hanjun performing his part in the park Shinzen-en of the Imperial Palace, Gihan performing his in the Daigo-ji. Apparently Gihan won Shirakawa's approval, since Hanjun secretly returned to the sacred mountain Nachi in Kumano, where he vowed to inaugurate an Aizen ceremony of one thousand days (issen-nichi Aizen-8 ku). But already during the next year Shirakawa Tenno, who seems not to have enjoyed good health at that time, changed his mind about the relative value of the two priests and called Hanjun back to court where he had to perform the Aizen ceremony. The Emperor ascribed it to the effectiveness of these rites that he recovered ¶uickly from his illness. "He showed mercy toward Hanjun and loaded him with more and more benefactions, even ranking him beside his

noble^."^^

j8

O n Hanjun see MDJ 1829-30. Biography in Denti Kirokz~.ZSZS 33,488-89. 3"iography in Dentri K i ~ o k zZSZS ~ , 33,389-90. O ' O n the formation of rites for single deities (besson-bri?, especially for Aizen, and the role of Shirakawa Tenno and the princely priests ( h i d i n n 8 in this connection see the excellent article by Mrs. N. Kurimoto. "Shi1h6 kara miru Insei-ki no seish~n-sekai,"Kanaruria Bunko Kenkji ~86,1gg1,3,12-30. Much of the following text is based on this article. 'I For archaeological research on the area of the former Hosshb-11 see Report Papers on the Excavation at Sites Dating from the H e ~ a n Period, "The Site of the Hosshb-ji," BakkjF Geijatsu 115, 1977, 86-92. B~lographyof Shoshin in Dent8 Kf~oku,ZSZS 33,279-82. Tanabe and Arlga 1990,136, iMDJ1829-30.

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Four years later, in 1080, Hanjun again performed the iVyohg-Aizen-hg at the Emperor's command, and repeated it again in 1109 in the Southern Palace of Toba (Toba-nangii). Among the works written by Hanjun, a Njoh5-Aizen-shidai in one volume is mentioned. The Emperor and his priest must have shared their interest in the King of Lust down to the last minute of Hanjun's life. When Hanjun was about to die, Shirakawa asked through an Imperial messenger: "The fact that Aizen holds that in his hand surely has a deep esoteric meaning. Please, inform Us for the sake of later generations! Please, inform Us without any restrictions!" Hanjun replied to the messenger: "The very secret is that he holds the character 'A'. But the utmost mystery is that his fist corresponds to the mind." After uttering this puzzling revelation the priest entered Nirvana. Possibly he meant that the fist symbolizes the practitioner's mind, which encloses the secret intentions aimed at by the rite, and which, in their turn, are expressed by the character "A".4i The facts stated in religious and historical literature of the middle and later Heian Period, together with private diaries (nikki) of contemporary nobles, clearly demonstrate, as Mrs. Kurimoto has shown, that the official rites of the state performed to protect this state and the social layer of mighty noble families governing it, slowly changed their character. Especially under the government of Shirakawa, and still more during the period of his lnsei at the Ninna-ji in the capital, there developed a new type of secret rituals, not so much for the welfare of the state and for its protection, but for the individual well-being of the Emperor or Ex-Emperor himself. Held in the atmosphere of the Imperial household these rituals acquired a certain luxurious character. They became larger, were extended over several days, and the number of altars used was increased. Another result was the birth of Ceremonies for Special Single Deities (besson-h~),as for instance for Aizen-my66. Shirakawa Tenn6 and some of his sons who had become Priestly Princes (h5shinn~)played an especially important and decisive role in this development. The Shingon sources reveal that the Emperor had the rites for the King of Lust performed altogether twelve times during a period of forty-nine years. But already Sh6shin-h6shinn6, fourth son of Emperor Sanj6, whom we have mentioned above and who had close religious contacts also with the Emperors Reizen, Go-Suzaku and Go-Sanj6, and whom Shirakawa had promoted to the second princely rank, had enacted Aizen's ritual on several occasion^.^^ After Sh6shin had passed away in 1085 the sons of Shirakawa Tenn6, who had, one after the other, achieved the rank of hgshinno, were responsible for the further development of the Ninna-ji into a courtly center of Shingon Mikky6. Shirakawa's third son became a Buddhist monk at the age of ten and, under the name Kakugy6," was made administrator (jimu) of the Ninna-ji and promoted to the rank of hgshinno in 1099. Thereafter he inaugurated several secret esoteric rites, for instance nearly every year after 1100A.D. there was one Aizen ritual, as well as ceremonies at five altars (godan-h5) and rites for the magically effective Alahd-MZyz2ri-sitra (Kujaku-ky8-h$. As a sign of the close connection with his father we may take the fact that Kakugy6 was promoted to the second princely rank in 1102, but his early death at the age of thirty ended his short career in 1105. Kakugy6 was followed at the Ninna-ji by the fourth son of Shirakawa, named Kakuh6 (109111S3)," who was promoted by the influential priest Kanjo, who was to play an important role in the 4'

'6 "

''

An-rji-denjil-kjjc, SZS 35, 93. K u r ~ m o t o1991, sq. Biography In Dento Kiroklt, ZSZS 33, 287 lbid. 313-14.

further development of the Ninna-ji, and by Hanjun. The latter introduced the prince into several secret rituals as well as into the Aizen ceremonies." The prince enacted those rituals and ceremonies , thereafter several times on other occasions. for his father in 1110 at the Toba-in of the ~ a l a c eand also is Shirakawa's fifth son, who had been initiated by Kanjo and was named ~h6kei-h6shinn6,~' known to have performed an Aizen ritual in 1129. The priest Kanjo (1057-1125)~" who had such close connections with the Imperial family, not only was a key figure in the spread of the rites of the King of Lust among the members of the palace but was also responsible for the popularization of other Mikky6 ceremonies, especially of the one addressed to the star constellation Ursa Major (dai-hokuto-h$, which also was enriched and enlarged by adding six smaller altars for the different stars of the constellation to the large main altar (daidan) and the one for the fire ceremony (goma-dan).Just the increase of the numbers of altars was one of the characteristics of the development of Esoteric Rites for single deities (besson-ho) during the Insei Period. I t is a symptom of the strong astrological tendencies at the court during Shirakawa's time that Kanjo performed an elaborate and expensive ritual for the stars of Ursa Major at a special Hokuto-Mandara Hall of the Hossh6-ji in the seventh month of 1109.~'But it seems that after the death of Kanjo the astrological trend was again overshadowed by the belief in Aizen-my66, which was fervently propagated by the Priestly Prince Kakuh6 after 1123. The originally more private character of such esoteric ceremonies performed for individual members of the court, especially for Ex-Emperor Shirakawa himself, again achieved a public character by being performed under such pompous circumstances at large temples like the Hossho-ji. The influence of the dominating personality of Kanjo, who was nicknamed "Regent of Religion" (h0 no kampaku), can hardly be overrated. After exerting strong influence on the religious tendencies of Shirakawa and his sons at the Ninna-ji, Kanjo also spread his activities to the T6ji in 1107 and became Personal Priest of the succeeding emperor Toba in the last month of the same year. During the period of his lnsei, Ex-Emperor Toba also had the Aizen ceremonies performed on at least three occasions. In 1123 they were executed for his long life and health, in the fifth month of 1124 he paid his adoration ( k z ~ yto ~ ) paintings of one hundred icons of Aizen, a ceremony which seems to have been repeated in the third month of the next year? Even twenty-one years later Ex-Emperor Toba had an Aizen rite executed in memory of the Priestly Prince Kakuh6, who, in his turn, had played such an eminent role in the development of the Aizen creed. This documents the growing popularity of the belief in Aizen's efficaciousness in court circles. This was paralleled by a similar development of the belief in Emma-ten, the King of Death and of the Hells, who could be identified with the King of Lust when the latter appeared in the iconographic version of By6d6-6. But in spite of the apparent predilection for Aizen within the later Heian nobility there exist only very few sculptured images of that period and still fewer painted icons.54

'"fiu-ziihi, T 78, 280. 'O Derjro Kboku, ZSZS 33, 296. " Ibid. 292. " O n the star-cult In Mikky6 cf. K. Yamaguch~(ed.), The 12th Exhibition of The Grand Treaiurj of Kijaian. =The ~ZIandalaand The Stars>>, Museum Reihokan, Keyasan 1991. j3 Tanabe and Ariga 1990, according to entries in contemporary diar~es(nikki). Cf. the list by Tanabe and Ariga.

"

Also during the next century members of the Imperial family enacted the Aizen ritual. D6b6h6shinn6 (1166-1214),~~son of Emperor Go-Shirakawa, had the ritual performed at the Daish6-in in 1207 as a memorial service in honour of Shirakawa Tenn6. According to the Shingon-shi NempyG the ceremonies for Aizen were performed thirty-one times during the period of one hundred and twenty years between 1080 and 1200, mostly by some H6shinn6 in connection with the Ninna-ji or by priests of the Daigo-ji. Only on three occasions are priests of other temples mentioned as main practitioners. The NempyG, of course, only lists important and more or less official rituals, so that in reality many more Aizen rites may have been executed, although the necessary pomp and the expenses involved must have limited such ceremonies mainly to the circles of wealthy and influential families, that is, to nobility and court. The more popular belief in the King of Lust with followers among common people was a later development. If we glance at the historical literature about the different branches of the Shingon School, we can observe clearly that during the later part of the Heian Period, in the twelfth century, ceremonies with a definite magical flavour, such as the Nyoh6-Aizen-h6, the Nyoh6-Sonsh6-h6 and the Ninn6ky6-h6, were in favour, especially in the Ono School and, at the same time, had a strong foothold within the Imperial family. They, and especially the rites for Aizen, were carried out mostly under the auspices of members of nobility in larger Shingon temples, but also in the private chapels (jibutsu-dG) of aristocratic families. During the formative period of Mikky6 in the early years of Heian as the new capital, the Yugikj@,as the basic text for the belief in Aizen, ranked beside the Dainichi-ky8 (Mahd-Vairocana-sitra), the Konggcho-ky8 (Vajrafekhara-sitra) and the Soshitsuji-ky~(Swiddhi-sitra), as one of the fundamental texts for esoteric rituals. As we have hinted, the ceremonies for single deities of the rich pantheon (issombo, besson-bG) emerged out of the larger context of such voluminous Siitras only step by step. The T6mitsu with its different sub-branches especially stressed the importance of our King of Lust on the basis of the Yz~gi-kyo. The growth of esoteric ritualism during the Heian Period was paralleled by a spreading popularity of Aizen-my66, his rites being enacted, as we have seen, mainly by the Ono School with its close connections to court circles. But they were also taken over by the Hirosawa School. Because of the strict esoteric character of such ceremonies comparatively little information found its way into written tradition, the main facts being transmitted orally from master to pupil and kept strictly secret within clerical circles. In the wake of the general social instability and unrest near the end of the Heian Period, in which antagonizing groups of Mikky6 Schools and temples played such a negative role, the Aizen ceremony, together with other rites of magical character, like those for rain-making, for Kujakumy66, for Fud6, the Ursa Major (Hokuto) and for the Ninn6-ky6, experienced a Golden Age. An interesting feature in this context is the commingling of Aizen's ritual with elements of the Nembutsu belief.^^ The Priestly Prince Shdshin (1005-85), whom we have mentioned above, had close personal ties to a priest named Raigi about whom not much is known. When the priest felt death approaching, the prince tried to persuade him that he should without interruption recite the name of Buddha Amida. But just the moment before Raigi was about to enter Nirvana, Sh6shin let him join his hands to form the esoteric hand-gesture of kongo-gassho and intone the prayer "Namu

" 56

Dento Kgruku, ZSZS 33, 319, The follow~ngafter Kushida 1979, 2 , 827

Aizen-myo6" instead of the usual "Namu Amida-butsu". A priest named Kank6, one of the many pupils of Ningai, also became absorbed in the Aizen belief and brought it into context with the idea of the Buddha Land in Nine Steps (kubon hutsuto) situated in the western region and, of course, identifiable with Amida's Pure Land U6do). The traditional dictum "Dainichi is identical with Aizen-6" (Dainichi sokzl Aizen-$ was transposed into the phrasing "Amida is identical with Aizen-6" (Anzida soku Aizen-g). Another text says: "Mita (Amida) and Aizen are only one Buddha and one form. This is expressed by the present Mudra of the Five-Pronged Vajra (goko-in)."57Anyhow, this development was quite in keeping with the general syncretistic tendency of Shingon speculation which favoured such identifications. The seeds for the mixing of Mikkyo ideas with the popular Nembutsu belief had already been sown by ~ u k f i , ~the ' second abbot of the Kongobu-ji on Mount Koya, between 891 and 916. The resulting syncretism had then been fostered by Ningai (951-1046) and Saisen (1025-III~),and reached its culmination in the activities of the so-called Nembutsu-hijiri, the "Saints Practicing the Invocation of Buddha (Amitiibha)", even on the sacred Mount Koya, the stronghold of Shingon Buddhism. A positive outcome of this syncretism was that simpler-minded followers of Mikkyo also could find some sort of comfort in the complex esoteric speculations which otherwise would have been hardly comprehensible to them. Although the political center had moved to the Kant6 area, far away from the old capital Heian, during the following Kamakura Period (1185-1333) the courtly tradition of Aizen rituals in the environment of the Imperial family continued without interruption, as far as we can gather from the lists in the Shingon-shzi NempyG. The eighth son of Emperor Go-Shirakawa, the Priestly Prince D6b6 (1166-121~),~~ enacted the ritual for the King of Lust in the two decades between 1190 and 1211 no less than nine times, on three occasions twice in a single year, once for the easy delivery of Shumeimon'in, the Empress of Go-Toba-tenno. Prince Dojo ( 1 1 ~ 6 - 1 2 ~ ~second ) , ~ 0 son of Go-Toba, performed Aizen rituals six times within seven 1214 and 1221, three times alone in 1214, and twice in 1217 because of inauspicious signs years between in the skies, even using ten altars for the ceremony in the Ninna-ji. When Ex-Emperor Kameyama fell seriously ill in 1305, three Goma ceremonies were executed for his recovery in the fourth month, one Aizen-goma by the priest ~ ~ o h e none , ~Fud6-goma ' by Yugen and another one addressed to the Healing Buddha Yakushi (Bhaisajyaguru) by Gonke. In the eighth month Ryohen enacted another Aizen-goma, the priest zenjo6' executed a ritual for long life (emmeih6), and a last rite for Aizen was performed during the ninth month by Gonke in the palace. Still, all these efforts proved unavailing, since Kameyama died the same year. Near the end of the Kamakura Period the Priestly Prince Kansh6 (1289-1346) continued the tradition and executed three Aizen ceremonies between 1312 and 1316. I t was not only the Imperial court that believed in the efficacy of our King of Lust; the Military Government (Bakufu) of Kamakura also turned to the deity in cases of emergency, as for instance in 1223, when the priest Jog6 tried to avert heavenly calamities by prayers to Aizen. And in the ancient "

Dad-hiketiu-iho, SZS 23, 278, I AID] 2 1 3 2 , ~ . '"enti K@oki(, ZSZS 33,319. h0 61

62

Ibid.jzo. Ibid. 323. Ibld.312, 324.

capital Heian high-ranking courtiers seem to have used the efficacy of Aizen's ritual for political ends, as a story about Saionji Kintsune ( I I ~ I - 1 2 4 4 )in~ ~the Aizen-8 ~ h o r 3 , i - demonstrates. k~~ When, during the turmoil of the Ch6kyu Period (1219-22), Go-Toba Tenn6 wanted to imprison Kintsune because he favoured the ascension of Juntoku, Kintsune, after escaping, vowed to have ten thousand Aizen images at the size of five-finger-widths (goshiry~)made, which he actually did after the fall of the H6j6 family and gained favour under the new emperor Go-Horikawa. H e even added another ten thousand images and had an uninterrupted adoration ceremony @den-kuyGbG) performed. A certain new impetus was added to the belief in Aizen-my66 by the famous priest Eison (120190),65founder of the Shingon-Ritsu School with headquarters at the Saidai-ji in Nara. A famous story, later overgrown by legends, is connected with Eison when he was eighty years of age. When the Mongol army for the second time threatened to invade Japan by sea and had already landed in Kyiishii in 1281, priests of the Shingon School received Imperial orders to perform averting i,~~ ceremonies to save the country and the empire. In his personal notes, the ~ a n s h i n - ~ a k u s h o - kEison records his own involvement in sober and plain language: "On the first day of the intercalary seventh month [in the fourth year of the K6an era, i.e. 12811 more than five hundred sixty priests of the two capitals, the northern and the southern, gathered in front of the Jewel [the icon of Hachiman-bosatsu in the Hachiman-gu at Otoko-yams] and in complete harmony performed the services. At that occasion [I] Eison uttered the Commandments (kai). After the Commandments had been uttered I was obliged to promulgate the following statement: 'Pursuing an Imperial request, received from the Imperial House in Nara (Heijo no ~t~iyo), here in the Hachiman-gu, we bring forth the Subduing (go%uku)of the foreign enemies; that is, that the Daibosatsu (Hachiman) may create a wind from the east and blow away the warships to their home country, without doing harm to the people aboard, but destroying and burning their ships.' "Not long after [uttering this prayer] a Great Storm (daqi) began to blow with the noise of rolling thunder coming up; and they were driven away to the west. This happened with the consent of the deity. In the early hours of the night of the third day [of the month] the last ceremonies (kechigan)of [reading] the Dharani came to an end. At the fourth day the Reading by Turning the Pages (tendoku) of the Saishio-kyo in one hundred parts, of the N i n n i - k y ~in one in one part was respectfully hundred parts, and the Dai-Hannya-kjo (~llahd-P~aj~dpd~artzitd-sit~a) ended. In the evening we received an order from the Ex-Emperor (in) that from the next day on we should perform tendoku of the whole Buddhist Canon (issai-kyg).In the fourth hour on the evening of the fifth day the vow [to read] the Canon was uttered, and on the noon of the seventh day the ceremony came to an end. On the eighth day all monks returned and dispersed. I myself went back to the J6ju-ji. "On the ninth day a messenger from the official Masayasu of the Mimbu" arrived and announced: 'The warships from the foreign country have disappeared. The Great Storm of one single day has completely destroyed them'."

Although Eison himself does not mention Aizen-my66 as the deity invoked at this occasion, other . ~ ~ sources explicitly state that the priest addressed his ritual especially to the King of ~ u s t The 63

Kawade Shobo, Nzhon Reklihi Daljiten, Tokyo 1968, 5, 5. 6"Quoted by Kushida 1979, 2, 836. See also below, chapter on Ritual. 6 5 Ibid. 417-18. h6 Facsimile reprint by the Saidai-ji, Nara 1991,beiiatiu 55 and 166-67. h7 Department of State in charge of census, taxes, postal stations etc. 68 Cf. M.W, de Visser, Ancient Buddhlim in Japan, Leiden 1935,2, 516-17.

official ceremonies (vzishuh~)in 1281 at the Hachiman-g& on Otokoyama consisted of Fire Offerings at Seven Altars (shichidan-goma), mainly invoking fierce My66s like Aizen, Taigensui and the Five Vidyiirajas (godai-myGG),with Eison acting as the main practitioner at Aizen's altar. Legend later took hold of this historically important occasion and embellished its details. Eison is ~ ~ his personal icon (gojiron) said to have taken the arrow with a turnip head ( k a b u ~ a y a )from representing Aizen, the famous sculpture executed in 1247 by the Buddha Master (bz~sshi)Zen'en and still kept as Secret Buddha (hibutsu) by the Saidai-ji," and to have shot it in the direction of the Mongol ships, thereby causing the destructive typhoon. The legend concludes that therefore the famous icon is lacking its arrow as emblem, when, in fact, the deity still holds an arrow in its right hand. Anyhow, the importance attributed to this sculpture by the temple down to the present makes it plausible that this earliest icon known to have been commissioned and dedicated by Eison might have played an important role in the famous ceremonial event. The legend had its after-effects down to the Edo Period, even in the popular Kabuki theater. In 1754 the famous Aizen sculpture of the Saidai-ji, Eison's personal icon, was brought from Nara to the in the small temple capital Edo and shown in a so-called Curtain-Opening Ceremony (degai~hg)~' Eke-in. At that time the Kabuki actor Ichikawa Danjur6 I1 was seriously ill, even facing death, and had retired from acting at the Nakamura-za. Here he had performed the leading role in the short play "The Arrow-Head'' (Ya no ne) for the first time in 1729 and, subsequently, for more than one hundred showings. After recovering from his illness he once again enacted the "Arrow-Head" for half a year in 1754. The theme of the play has no direct connection to the legend of Eison and the arrow of his Aizen sculpture,72but surely the actor remembered the averting power of Aizen's emblem, since the Saidai-ji owns a large votive painting (ema) with a dedicatory inscription from the Nakamura-za theater, dated Hereki 4 (1754) and showing Danjur6 I1 sharpening the head of a large arrow on a brick-like het stone.^? Here we have a fine example for the transfer of an early Aizen legend from its ecclesiastic atmosphere into the lower stratum of folk belief. During the Kamakura Period the belief in Aizen and his rituals was also fostered in local centers of Mikky6 far away from the metropolitan area. In close proximity to Kamakura as seat of the Bakufu, the Sh6my6-ji, in Kanazawa-machi near the port of Yokohama, developed into an important center of the Shingon-ritsu subsect founded by Eison. Its first abbot was My6sh6-b6 Shinkai, who had close contacts with the local feudal family Nagai, which, in turn, was on good terms with the Bakufu of Kamakura. An intimate pupil of Shinkai was the priest Myonin-b6 Ken'a (or Kenna), who became the second abbot of the Sh6my6-ji. The members of the Nagai family were famous as scholars and Ken'a became a close friend of Nagai Sadahide, whose father's library was the nucleus of the Kanazawa Bunko. To this day the Kanazawa Library is a treasure house for studies on Mikky6, owning many texts on Aizen-my66 and his ritual, partly preserved as manuscripts from the brush of Ken'a h i m ~ e l f . 'The ~ Sh6my6-ji also owns the famous small bronze figure of Aizen, dated 1297, 6n" 70 71

"

'

''

arrow producing a humming sound when shot. Often reproduced, iateiy by Tanabe and Ariga 1990, pl. 54. During such occasions the curtains or doors of the shrine housing a secret image (hibutstl)were opened for a certain period in order to allow worship by the believers. N 974, 2 and 171, z. O n the contents of the play see A.C. Scott, The Kabtlki Tbeatse ofJapan, London 1955, 91; A.S. and G.M. Halford, The Kabuki Handbook, Kutland-Tokyo 1956,352-53. The enia is reproduced in colour on the front cover of T. Kawada. Emu, Nihon no Bijtlt~tl,no. 92, T6ky6 1974. The story about the eiizu is reported in BukkjiGezj~itsu62,1966, 137-38. The author would like to thank Mr. Sh. Manabe who gave him the opportunirp to study and copy the texts on Aizen in the librarp.

which has been treated above in connection with "Icons Five-Finger-Widths High" (go-shiry6 AizenzO). In the early years of the fourteenth century Ken'a, as the second abbot of the Shomyb-ji, performed rituals for Aizen, for instance in the Kakuon-ji of ~ a m a k u r aBut . ~ ~other priests in the Kamakura area also focused their interest on the King of Lust. Kyoko wrote commentaries on an earlier Aizen-8 kuketsu-sh8 in 1279 and performed a ritual in the metropolitan Ninna-ji in 1 ~ 0 ~ . ~ ~ The more opulent ceremonies for the King of Lust, like the Nyoho-Aizen-ho, seem to have degenerated during the later part of the Kamakura Period. Only the priest Koga (died 1387), the twenty-first abbot of the Anjo-ji, tried to revive that ceremony again at his temple and performed it several times. However a text of his own Anjo-ji School explicitly states: "By itself [this ceremony] degraded and again its performance was stopped."77 The period of the Ashikaga Shoguns (1336-1573) is generally regarded as the Golden Age of Zen Buddhism in Japan, bringing new impetus to arts and literature, and opening new doors for religious thinking. I t is therefore surprising to find that especially under the earlier Shoguns of this family a certain predilection for Aizen ceremonies prevailed. According to the Shingon-shfl Nempyii, Ashikaga Takauji (1305-58) already had the ritual performed six times within only four years between 1347 and 1350, sometimes even in his mansion. His successor as second Shogun, Yoshiakira, had it performed once in 1358. Ashikaga Yoshimitsu eiren repeated Eison's ritual for Aizen in the Hachiman-gii on Mount Otokoyama in 1373 and, as late as 1412, three times in his mansion. Also Yoshimochi (13861428), the fourth Ashikaga regent, famous for his connections to Zen circles and as an artist in ink 5)" Aizen rituals on paintings of the Zen style, had the Shingon priest Manzei ( 1 ~ ~ 8 - 1 ~ ~ perform several occasions, and his son Yoshinori, as the sixth Shogun in this line, continued the tradition. But apart from these activities by the Shoguns, the Imperial court also had Aizen ceremonies performed, often by some Hoshinno, partly in temples of the palace and partly in the large and famous Shingon centers like Ninna-ji, Toji or Sambo-in, although the number of such occasions diminished in the later years of this period from the second half of the fifteenth century on. During the Momoyama Period (1582-1603) with its political and social instability, official Aizen rites seem to have been performed merely twice in the Seiryo-den of the palace, and only following the consolidation of the Tokugawa regime after 1626 can we observe a new increase of occasions for the performance of ceremonies for our King of Lust, although rarely by Hoshinno of the Imperial family, but more often in the Toji or on Mount Koya. The fervour for esoteric rituals of this kind had definitely evaporated in the ruling class of Japan, which had been responsible for the flowering of the Aizen belief in the medieval past. Still, in drawing this rather sketchy survey of the history of the Aizen creed in Japan from its very beginning down to modern times, we should always keep in mind that our information has been drawn mainly from official sources and therefore only reflects activities within more or less official social circles. A detailed study of personal diaries (nikki) and other private texts would surely change the results of our survey. I t would bring into focus the popular belief and the simpler rituals of our deity in lower levels of Japanese society, an aspect that had to be neglected in this study.

-' -6 77

-8

For Ken'a and the Shomy6-jl cf Kush~da1979,249 Ihzd 579 and 583 SZS 34>455>2 Denti KOioku, ZSZS 33,485-86

CHAPTER V111 Heterodox Speculations and the Tachikawa Sect

B

ased on the notion that the Defilements are identical with Enlightenment (BonnG soku bodai), certain heterodox ideas were connected with the figure of Aizen-my66. They must have existed already in the most important, but now-lost handbook on his ritual, traditionally ascribed to Ningai (951-1046),' the Daishidai-kuketsu, which was circulated in the Ono School of Shingon. The Himitsugiki-suimon-kit remarks that this book has many bad topics ( h i ) and that another orally transmitted text about the Five Ranks inside the W o m b (tainai go-i) concerned with Aizen's ritual is also wrong and should not be used. Similar condemnations of heterodox books can also be found in a text of the Tendai School of Esoteric ~ u d d h i s m : ? "Among the books about this (Aizen's) rite which are kept in the T6ji there are many faked works (gisho). But later people were unable to distinguish between correct and wrong, and kept them as secret objects or secret compositions. About such things I was informed quite often."

Heterodox speculations and practices must have appeared quite naturally in connection with a deity of such multilayered character as Aizen with his erotic and also grossly magical connotations. The invention of a special Vajra as ceremonial instrument used in his rites seems to have been stimulated by erotic speculations from the very beginning. This Vajra in Human Form (ningyg-sho), which we will treat in the chapter on Aizen's Symbolic Forms (sammaya-gyg), symbolized, when the two elements were joined together into a Five-Pronged Vajra, two human beings, one male and one female, engaged in loving embrace, their sexual organs being united (nikon ky~e).The evident meaning was then transformed and explained as symbolizing Buddha's Great Act (dai-butsuji) and as the unification (zuagG) of Meditation and Wisdom (jG-e), of Principle and Knowledge (ri-chi), of Heaven and Earth and of the two basic Mikky6 Mandaras, the KongGkai and the T a i z ~ k a i . ~ The A s a b a - s h ~illustrates ~ the biased attitude towards this strange implement in a story about a certain S6g6-ajari, who secretly used a Vajra in Human Form and, when asked by someone who had discovered it, answered angrily: "Complete monkey-stuff (sarukoto)! I know nothing about it", and hid the Vajra. Whether the author of the Asaba-sh8 really knew about the erotic implications of the implement, is difficult to say, since he had no connections to heterodox circles. Anyhow, he completed his text in 1275. in a period when the Tachikawa School flourished and in which several of its important texts were compiled. Another fact favouring erotic speculations was the Meditation on the Hidden Parts of a Horse (Meonzg-sammaji) in which Dainichi-nyorai was immersed when promulgating the second chapter of the Yugi-kyo, which has Aizen's variant Zen'ai as the central figure."he hidden pudendum of the AlDJ 1768-69. SZSz, 229. TZS 21,356, I. "orlyama 1965,137f. Tz9,303,2-3. T 18,255,3. Vanden Broucke's translation, 43 and 46-48,

'

horse (meon-zG or 0mme-z6)~seems to be the Esoteric Buddhist formulation for one of the Thirty-Two Signs of Perfection (Iak~a?za)characterizing the figure of a Buddha, which is usually defined as "having the pudendum hidden in a covering" (koh-ga?ntitasti-Suhyat~).8 According to an explanation offered by the Shingon priest Raiyu (1226-1304),~ one visualizes during this Samadhi the character "Hoh" on the heart of Dainichi, which is then transformed into an arrow,'' this again being changed into the figure of Aizen-my66 himself. The Kakugen-sh6, composed by H6ky6 (Rend6)" after oral transmissions from the priests Kakukai (1142-1223) and Yugen, is one of the important sources in regard to heterodox tendencies in Japanese Mikky6. Among its topics there is a longer paragraph concerning the Aleon-zo-sammaji which shows the character of such heterodox speculations:12 "When in this world a man unites with a woman he does not experience the perception of the woman, and she not his. Therefore they do not recognize the bad or good [side] of their joy. But if man and woman recognize each other before [reaching] the Buddha Sphere, then surely Meditation and Wisdom (j8-e) are united into one figure. This is pointed out to the human beings. Kong6satta and Aizen-6 are changing their shape into one single Vajra with Five Prongs and demonstrate thereby the doctrine of Non-Duality of Meditation and Wisdom. During the mundane unification of man and woman the human beings do not understand this [deep meaning]. But the transcendental unity of Meditation and Wisdom is not even understood by a Bodhisattva who has left complete enlightenment (togak~)far behind. Therefore this fact is called 'hidden in darkness and deeply mysterious' (jz?'on-pshin). "Furthermore Kong6satta corresponds to all living creatures among the common people in the Six Ways of Existence, and Aizen-6 also in the same way. About women it is said that their inner mind (naishin)is like that of a [demon-like] Yaksa. Men and deities correspond [in this respect] to women. "Men and women, floating in the circle of life and death and immersed into the ways of desire, But if one takes them all together and are not yet separated by a hair's breadth from error (z~~aku). identifies them with the Buddha, then this [procedure] corresponds to the Shingon [doctrine]. And who was [formerly] called man, is then Kongosatta, and the woman is Aizen-6. The Five Great Elements constituting man and woman and also the Mind which is without beginning bound to birth and death, they together form the Six Great [Elements] and correspond without any hindrance to the Identity ofall Identities (bj8d8-by88). "If you reflect on this principle then i t appears like the non-duality of wave and water, and there is no boundary anymore between man and woman. But also the Defilements (bonno) and Enlightenment (bodai) are essentially one. After the enlightening perception that all factors of existence (ho, dhar~iza)are from the very beginning not originated, the Mind of the Ten Stages of the Development of Mind (j/?~-shin)'~ is condensed [into one], the Mundane and the Sacred are not dual, but are one and the same character and form the Homogeneous Nature of the Vajra

(konKo-isshi).

-

"Therefore the Seal of the Five-Pronged Vajra in Human Form (~zi~zg)~?-goko-sho) represents the union of two human beings who are CO-emergentin two figures (niiyjc-kush8-jin).Since average

Nakamura 1988,138,3; i \ l l ~2151, 3; ,\!l 670. Kasawara, Dhiii.mu-.ru?,igr'rbu, 53-54; hf.E. Burnouf, Le Lotu~de k r Boivte L02, Paris 1925.2 , 572, One of the early sources seems to be the l\luhi?i:~rtrpurti,2 58. "~~oted by ,\lDJ 2151. 10 One of Aizen's Symbolic Forms (sn~iz~~lajn-gyi); see the corresponding chapter below. " O n ~ o k y see o ,\ID/ 1995, 2. IZ SZS 36, 342, I - 343, 2. Cf. also Moriyama 1965,137 ff, I3 O n this notion developed by Kfikai see Y.S. Hakeda, Ktikni, ~ZIdjorKJork.i,New York-London 1972, 67-75. S

human beings emit during such union sounds of joy, one intones [during the ritual] the five kinds Such is the visualization of the sphere of man of sound of the Lion's Cry (shishi-ku, sirnhan~d~).I4 and woman which means that also a deluded mind can immediately enter Buddhahood. Although the union of man and woman is hereby stated as a fact this does not imply that [this union] should be performed readily. "The figure with one body and two heads symbolizes the doctrine of unification into one single form. This doctrine is a preaching which is of dark deepness and of cryptic mysticism. The meon-zc-saininaji quoted by the Yqi-kq6 has this meaning and corresponds to the demand that one should recognize one's mind in its absolute reality (nqojitsu rhi jishin)." This also means that one should realize the insight into all actions in one's own body; and this is the realization of complete Enlightenment (sairzhodai)as Self-Realization (jishf).But the term meon-zo may also be differently explained by some people. That certainly Dainichi has entered and is united with Fud6 and Aizen, this is not something to be taught at the road-side since it is an important and secret matter of the uncommon doctrines of our [Shingon] School. "When the stallion follows the mare on the spring lawn and copulates with her, he acts unconsciously in accordance with the intentions of the mare. Thereby the fulfilment of the personal mind of the ego (gajin) is symbolized. When the mind is in action the mebrum virile is drawn back into the body whereby one suspends the stimulation of the Mind of Enlightenment (bodaishin) to become Buddha. Again this is the realization of complete Enlightenment (sambodai) as Self-Realization ( j i s h ~ )When . the mind is stimulated for the very first time it remains in suspension. The Pure Land of Highest Bliss (gohzlraku-jdo) is that of incarnate Buddhas (kehutszl) in their shadow-image form (j0zb);I6 it is not an abode for eternity which one could enter intentionally. "The rneon-z6-saininaji of Aizen-6 is called in a secular way also Samidhi of the Lotus Flower (rnzge-.ran.zrilai).Still, in the sequence of our tradition (JOS~F-shidai) it is [used as] metaphor for the retraction of the male organ into the body of the stallion during spring, symbolizing the presence of the Mind of Enlightenment (hodaishin) within one's own mind. But when you lead your own personal mind of the ego (gashin) back onto the pedestal of the Eight-Petalled Lotus Flower, this and means the recognition of your own mind in its absolute then is also called ~zran-zo-sarn~zaji reality (iljojitsu rhi jishin). Aizen corresponds directly to this recognition of your own mind in its absoluteness. The question as to what Enlightenment (hadai) actually is, is answered by the Dainiihi-hjo that it is Buddha's recognition of his own mind in its absolute reality. And this t a . ' ~ stands for the Mind of Enlightenment recognition is represented by ~ u ~ e n - ~ o n g o s a t 'Satta' (hodaishin). This 'Satta' is of two kinds, one of the First Level (shaji),18and another one before the Levels (jizcn)." The 'Satta' of the First Level has no place in our Shingon School. But the Kongosatta before the Levels corresponds to the mind which discerns in one single thought the which means the recognition of ego of life and death within the Six Ways of Existence (rokzld~), one's own mind in its absoluteness. Therefore Dainichi, when he accomplishes his aim in the Highest Sphere (johai),manifests himself in the form of the Original and Fundamental Ignorance

I'

The llon's cry symbolizes the promulgarion of the Law by the Buddha. Cf. Nakamura 1988, 544, 1. The term is also used in the second chapter of the Yug~kj6,1'18,255, 3 ; Vanden Broucke's translation, 43 and 48. One of the central notions of the Dnzizii.hl-k~i,T 18, I , 3 . See also R. Tajlma, Ij'txde 2'rur /e ~~lnh2z~u~rciizl1~u~S17t~d iDuinii.hlkji), Paris

193613. I6

I-

18

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O n this term see Goepper. "Some tl~oughtson the icon in Esoteric Buddhism of East Asia,'' Studin Siric~-~\.fo?zgc~l~ra, Miinchener Ostasiatische Studien 25,1980, 247 if. In the Esoteric Shingon pantheon this figure is a concentration of the two Bodhisattvas Fugen (Samantabhadra) and Kongosatta (Vajrasattva). AlDJ 1914,I . Of the Ten Bodhisattva Levels (hhii7~i). I.e. before entering the Bodhisattva career.

(koti2pot2-i~zli~~).~~ What we call Aizen-6, is the manifestation of the inner realization of 'Satta' which also may be enacted in the ritualistic practice (jisg)." W e have quoted this paragraph of the Kakugen-sh8 in full in order to demonstrate how an obviously erotic symbolism can be mellowed by highly dogmatic speculations. Kushida2' traces this doctrine of the meon-z6-sanznzaji back to the priest Jaku'en (Dairishu-b6, died 1065) of the Samb6-in, who handed it down to Genkaku (or Gonkaku, 1056-II~I), but Kushida also states that no certain proof for such an early date could be found.22 In a fully developed state we find erotic and even grossly sexual speculations and practices in the heterodox so-called Tachikawa Sect of Shingon ~ u d d h i s mThe . ~ ~role played by our King of Lust in this aberration of Shingon tradition is easily recognizable from lists of texts produced by the Tachikawa Sect, the name of Aizen-my66 appearing in several titles, often together with ~ u d 6 . ~ " Typical among them are formulations like "Sutra on the Unification of Fud6 and Aizen into O n e Body" (Fud6-Aizen ittai-ZLU~G-kyG), "Ritual of Fud6 and Aizen in Female Form" (FudG-Aizen ongyG h6), "Secret Acts of Aizen-6" (Aizen-6 hitsuji) or "The Five Secrets of Aizen-6" (Aizen-G go-himitsu). According to tradition this Tachikawa Sect was founded late in the Heian Period by the priest Ninkan (died I I I ~ )but , ~ developed ~ into its flourishing form about two centuries later through the activity of K6shin Monkan ( 1 2 7 8 - 1 ~ ~ 7 ) . ~ ~ The name Tachikawa is usually deduced from a place in the province of Izu to which Ninkan was exiled because of an alleged participation in plans for a conspiracy. O n the other hand he is said to have developed his heretical ideas under the influence of a master of the Yin-Yang doctrine during his stay in Tachikawa, Musashi province. The ideas of the Tachikawa Sect may essentially be characterized as a mixture of crude popular religious beliefs with notions of Esoteric Buddhism. Most of the Tachikawa texts were lost or , ~ ~ since some of their ideas were deduced from such intentionally burnt during later p e r ~ e c u t i o n s but orthodox works as the Rishu-kyG (T 243, vol. 8), the Yugi-ky6 (T 867, vol. 18) which is the basic text for our Aizen, and the HGkyGin-ky3 (T 1022, vol. 20), we are able to gain some impression about their contents. As we will presently see, the refutations of Tachikawa ideas by orthodox Shingon priests also allow us a glimpse into their basic notions. O n e of the central concepts was that of Unity of Opposites in all its possible variations: Unity of the two basic Shingon notions of Principle (ri) and Knowledge (chi), of the two main Mandaras, the TaizGkai and the Kong6kai, of the two Germ Syllables (shuji, b+) "A" and "Hiim", but especially the As rhe primary condirion of exisrence. CL Soorhill-Hodous 379. K u s h ~ d a1979, 383. For the two prlesrs see l\.ID] 1046, I and 463-4. O n this sect see G . M~zuhara, J a k j i - T n i . h i k a ~ ~ n -no ~ j ike~kj17, KyOro 1923 (2nd ed., Kyoro 1968); S. Moriyama, Tnchikazizl-pkji t o .iorio shnknireki hnikai izo keizk~/>, Tokyo 1965;Sh. Manabe, l\I/kkji M O fi>kei, Tokyo 1980; also rhe shorr ~nrroducrionby Sh. Manabe, "Die harer~scheTach~kawa-Schuleim Esorer~schenBuddhismus Japans," in: R. Goepper (ed.), shin got^. Die Kxt~stdes Geheitne~ B ~ d d h i . i ~ i~ ~ /Japan, /s Koln 1988, 28-30. The lisrs glven by Mor~yama196j, 582-92, provide nor less than sixteen such r~rles,but mosr of rhese books musr be regarded as losr. I ~ I D J1770-71. I\IDJ 513-14 Since rhe late sixr~essome imporranr rexrs by Tachikawa aurhors have been published afrer h ~ t h e r r ounknown manuscripts or rare edlrions by rhe Tachikawa-ryil Shokyo R u ~ s a nFor . insrance rhe Su?~ge?c-rne~j~~ composed by Seigen (1162-1231) In 1977, afrer a ms. dared 1318; rhe Sa~kni-isshi71-ki by a cerraln D a ~ r y udared , 1317,afrer a prinred verslon of 1823, published 197j, erc. The evaluarion ofrhese texrs will surely enrich our knowledge of heterodox specularions.

Non-Duality (funi, advaita) of male and female as represented by their respective sexual organs, which symbolized the philosophical pairs of notions in Shingon speculation. During contemplation on the syllable "A" combined with inhalation and exhalation, one had to visualize ejaculation and conception of the sexual fluids of man and woman, and also practice copulation. The figures of two human beings engaged in sexual embrace decorated the so-called Mandara to be Spread Out (shikimanda~a)over the altar during the ritual.18 From the texts condemning the doctrines and practices of the Tachikawa Sect we would like to give some lengthier quotations in order to demonstrate the basic trends. For this purpose we use the HGkyG-sh8 (Notes on the Precious Mirror) by the priest Sh6gon-b6 Yiikai (1345-1416).~~ Answering a question about the mixup of correct and heterodox teachings during the latest period Yiikai says: "It is difficult to discern between 'correct' and 'false'. There was a pupil of the Gon-s6j6 of the Samb6-in3' who was called Ninkan-ajari and was exiled to Izu after committing an offence. There he taught common women, simple folk and unclean persons who ate meat, what he called 'Shingon', and thereby tried to bring his followers to salvation. In Tachikawa in the country of Musashi there lived a Yin-Yang master who also studied Shingon together with Ninkan and introduced into his teachings the Yin-Yang methods and called it Tachikawa-ryu of the Shingon School. This was the beginning of heterodoxy. "His [Ninkan's] books, written sentences and words were coarse. They were kept in two scrolls in the Segan-b6 of the H6gen-ji (Toyohara-dera) where people still can see them if they want to. The principle of his school may be defined by the sentence: 'The Yin-Yang way of men and women is the secret technique to become Buddha. The method to reach Buddhahood consists only in this.' Simple-minded people cannot judge [such doctrines] and stick to these very secret methods. How could they be able to recognize the reality of true visions?"

The later expansion of the Tachikawa Sect, the activities of the priest Monkan and also the reactions of the orthodox monks of the Kongobu-ji on Mount K6ya are vividly described by the H8kY8-sh~:'I "This Tachikawa School later spread into the country of Etchii, and two generations of priests ~ ~ introduced ) , ~ ~ it to K6yasan. as teacher and pupil, namely Kakumy6 and Kaku'in ( I O ~ ~ - I Ieven At that time the Mudras, Mantras and books were widely disseminated, this fact being called 'Oral Transmission of Teaching and Great Ceremonies' (kj~cso-daiji-kudm).They are numerous down to our own time, and the stupid people executing such doctrines regarded them as superior but it ways of thought. In fact these were no [real] rituals (jisc) and religious speculations (kjfis~),'~ was just like taking a [simple] stone for jade. And people were unable to distinguish between good and stupid and to find out whose texts they were. Also it was pretended that such texts and rituals were combined with the names of famous masters (mritoku) of the Ono and the Hirosawa connected with Schools. Even among the transmissions of lines of masters and pupils (kr~.hiril)akzl) famous names there exist many heterodox theories." 28 "2

'O

'I

j2

Reproduced by Mizuhara 1968, berween pages 130-31. 2456, vol. 77. The rexr is also reproduced by Mor~yama1965, 572-81. See .\lDJ 1397, I. The rexr has been fully translated by P. Vanden Broucke, HikjITihG. 'The Co?t~pe?~diutn o,fthe Pracioxs Alirror' oftbe 2\fonkY/?kui, Ghenr Narional Unversiry, Ghenr 1992. O n Y u k a ~cf. ,IfDJ 2192-13. This is Sh6kaku (1057-1129), .\IDJ 1119-20. Moriyama 1965, 57j ff. 'IfDJ 212,3. Kaku'in founded [he Kakush6-in on Mount Koya. Kakumy6 could not be ~ d e n r ~ f i e d .

T h e text goes o n t o list several "great rituals" (daiji) which were often performed, b u t without any real success, as for instance a "rite t o fly about freely" (higyo-jizai-h8) or "to cross into heaven" (totendaiji). ) ~the ~ Even in the K a n t 6 region many books attributed t o t h e princely succession line ( G o - r j ~ of Samb6-in were circulated. "Also in Hirosawa they inserted clippings of the Rishzl-kj~i[into their faked works] and master and pupil sat together and used their brushes without leisure [to fabricate such texts]. Even if they did not belong directly to the lines of descendants (kechimjakzl) of Tachikawa [such priests] wrongly introduced famous names of great masters, such as Shiikaku [ I O ~ ~ - I Iof ~ the ~ ] Jogan-ji ~' and others, and many books were written by stupid people." Yiikai then gives a list of several such spurious texts. I n reply t o t h e question whether t h e many books circulating under the authorship of Monkan-b6 K6shin ( 1 2 7 % - 1 ~ 5 are ~ ) ~genuine ~ or spurious the H f i k y ~ - s hstates:j7 ~ "The books transmitted under his name are well known. Also the followers of the orthodox tradition all are familiar with them. Sometimes he [Kiishin] exhibits a high and proud state of mind and sometimes he promulgates heterodox views. The reason for this is that he wrongly uses the words of Buddhas, Bodhisattvas, patriarchs and great masters, and incorporates them into his books." Yukai then draws the line of transmission down t o Koshin, calling it a branch-tradition (matsz~rjzZ) starting w i t h Kenjin ( 1 1 ~ 2 - 1 2 6 ~from ) ~ ~ t h e H6on-in of the Daigo-ji. After h i m there follow in t h e succession Jitsujin ( 1 2 0 6 - 7 7 ) , ~ ~Kakuga (1243-92),40 K e n j u n (1258-1308)~~' D6jun (died 1 3 2 1 ) , ~a ~ certain ~ y u y o and , ~ lastly ~ Koshin, who became t h e central figure of the Tachikawa Sect d u r i n g t h e fourteenth century. Yiikai then continues: "Whereas Ryiiyo received the tradition in a correct manner from Diijun and later died in the Nan-Hokke-ji of Yamato, Koshin did not receive baptism (shahjd) from Dojun, but was an estranged pupil (sodrshi)and had not been given correct teaching. Still, Go-Daigo-Tenno planned to reverse [the values of the two priests Ryiiyo and Koshin], and he decided that during the period of his reign [Kiishin] should act as his personal prayer-priest (go-hiti)so that consequently K6shin gained power over the emperor's belief. Although originally he had been a Vinaya-priest (ritsu-sd) he became sdjd, he studied the sacred teaching [of Mikkyo] and then wrote thousands of texts and performed more than thirty Great Ceremonies (daiji).H e declared [his works] as creations out of the Daigo tradition and often borrowed famous names and facts and included them [in his own j3

The rwo modes by which Shlngon Buddhism manifests itself. ' ~ u c c e s s ~ ol ~nn e so f p r ~ n c e sas abbots of important Shingon remples exisred ar rhe Ninna-ji and rhe Samb6-in of the Daigo-li. Cf. AIDJ 649, 3, s.v. "go-?)g". JIDJ 1119-20. '6 'IlD] j13-14. K6shln.s b~ography1s contained in the Zokll-Deriti-kiruku I I , ZSZS 33, qj6-60. O n the hisrorical sertlng see also Sh. Toganoo, H ~ ~ i ~ l t ~ u - j i t ~ k kTugu~~ou ) i - ~ h i ,Zeri~hiI , reprint Wakayama 1982, 308-31. jMoriyama 1965, 576. j8 IllDJ 476. ILID] 987-88. 40 ,lID]zrj. IllDJ 472. 4L 'IIDJ 1658. Nor ro be misraken for the priesr bear~ngthe same name, who l ~ v e d1653-1711, ,\.[DJ 22j2.

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texts]. People who saw them and did not know, regarded them as the apex of the [Shingon] School, which by no means corresponded to reality. "He also performed the Dakini Ritual (dukini-h?) for magic purposes and had good results. He often wrote in analogy to the collected works of the Great Master [Kiikai] and executed corresponding Mudras, Mantras and oral instructions (huketsu). "By the power of Go-Daigo-Tenno he was made administrator (7~14) of the Toji, he performed the [Imperial] Go-shichinichi Rite and all the imperial princes (monseki) who headed the temples in the capital Kyoto feared his power and kept their mouths shut."

The unjustified privileged position of Koshin at the Imperial Court caused jealousy and antagonism among the priesthood in the orthodox temples in and near the capital, especially on Mount K6ya as the seat of pure Shingon tradition. W e are in the fortunate position that the H~kj'&shFhas preserved the text of the report (sGn~on)which the congregation of monks in the Kongobu-ji dispatched to the Emperor in the fifth month of the second year in the Kemmu Era (1335), protesting against the position and activity of Koshin, from which we would like to quote some passages:44 "We, the congregation of priests of the Kongobu-ji, are full of fear and fright, and respectfully state: W e request to receive a special Imperial Decision to stop the obscene and unreasonable appointment of Monkan-hosshi as abbot (chija) of the temple Toji. It should be taken into consideration that in the Chinese [Tang] city of Chang'an there exists a monastery (Xurun) in the left ward, called Da Xingshan-si (Dai-Kozen-ji) by emperor Wen Di of the Sui Dynasty. In our own dynasty we have [as a parallel] the spirited building in the Eastern Capital of Heian, named by vow of Kammu-Tenno (reigned 737-806) 'Temple for the Protection of the Country by the Kings of Religion' (Ky66-gokoku-ji, i.e. the Toji), which has an Indian Pavilion (bonhuhzt) for the Siitras translated by Fukii-sanzo (Amoghavajra). Under three Emperors Initiation into the Five Kinds of Knowledge (gochi-kunji) was there conferred and it was regarded as the sacred place for ) ~ ~Kob6-daishi. There the Blessing by the Three the Transmission of the Lamp (denti no ~ i i j iafter Mysteries (surnri2itsu-k~ji)~~ was conferred to one hundred imperial princes and the esoteric art of protecting the state (chingo-hokka no hijutszt) was practiced in succession. An official document of the second day in the twelfth month of the fourteenth year of Konin (823) says: 'The Toji was founded just after the capital was moved [to Heian] in order to protect the state and it was erected at the place of the Kashihara Palace of the former Emperor. This temple is the absolute peak of our reign.' Also the Great Master [Kiikai] said: 'The Toji is the most appropriate place for the Esoteric Religion.. . If it is not respected, the dynasty will have serious calamities and the state will be in disorder.' "We [the Kongobu-ji monks] are convinced that the peace or dangers during this our reign will depend on the flourishing or decrease of this temple.. . Now there is this bhiksu by the name of Monkan who originally was a Vinaya monk at the Hojo-ji of Harima, a dependant temple (~2atszlji)of the Saidai-ji [in Nara]. H e studied the art of calculation (sand?)47 and loved prognostication and oracles (bokzlzei). H e preferred magic rites (jujutsu) and conjurations (shztgen). His mind was torn by lust (tonyohu) and his thoughts were filled with pride. After he had entered the capital he visited the court and acquired the position of a holy man who had grasped and realized the essence of religion. H e even was called 'Saintly Administrator of the Toji' (Tcji daigonshin no hijiri). . . In addition he was promoted to the rank of First Abbot (ichi-chcju) without having the proper qualification and without being able to explain the proper sequence of rituals " 4'

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Moriyama 1965,577-79. The text is also contained in Koshin's biography in the Zoku-De~itii-k*ukr/,ZSZS 33,457-59. That is, of correct orthodox tradition. o n e of the most important initiation ceremonies in Shingon, )1IDJ 837, 3. For astrolog~calpurposes.

(~hidui).Formerly there was a demonic jackal ( j a ~ a nwhich ) ~ ~ wore heavenly cloths, sat opposite ~ a u i i k and a~~ preached the Law. Now we have Monkan offering to the Diikinis and conjuring dragons while he is reporting things to the throne. Although he was only qualified in minor worldly arts he strove for permission to perform the highest rituals. [. . . ] "An official document of the Ch6wa Era (834-48) states: 'Mikky6 is the [right] way [in the Toji]; one should not permit monks of other schools to enter and stay.' Now from Jitsu'un-s6zu ( 1 r o ~ - 6 0 )down ~ ~ to Yakushu [first half of the fourteenth centuryI5' since ninety generations the abbots (chcju) of the T6ji all were esoteric priests of high standards. From the Ch6wa to the Kemmu Era (1334-36) for more than five hundred years there never was a priest from another school.. . If one now looks a t Monkan's behavior it is not a t all correct. As a Vinaya man he breaks the precepts of morality (kui, fdu) without feeling shame. He entered Shingon, but offended the u ~ ~following u), the correct way and not renouncing the worldly sphere... He loves vows ( s u ~ ~ z N ~not warrior-like courage and hoards weapons. How could he reach the rank of a First Teacher (ichiajuri)? Demons are changing and destroying the Buddhist religion!. . . Therefore we request from afar immediately to remove Monkan from the positions of ichi-chju of the T6ji and of president (ZUZZI) of that temple." Although the Emperor did not immediately suspend K6shin from his position as First Abbot of the T6ji after this protest, his confidence in the priest seems t o have been shaken. K6shin reacted by performing a Ninn6-ky6 Ceremony for peace in t h e country (tenkd taihei) in the eleventh month of the same year, 1335, at the Lecture Hall (kFddo) of the Toji and at the beginning of the next year he enacted the sumptuous go-shichinichi n~ishuhdo.Anyhow, at that time the Emperor had to give u p his plans for a restoration of imperial power comparable to that of t h e K e m m u Era (1334-36). H e first took his retreat to the Hieizan and then to a detached palace in Yoshino where he died in 1339. After that K6shin made the Daigo-ji t h e basis for his policy and turned his favours t o t h e Southern Dynasty. After Emperor Go-Murakami had returned t o Kyoto in 1351 he again appointed K6shin as First Abbot of the T6ji. T h e priest could even visit the Yoshino Palace triumphantly in a precious palanquin. Dreaming of a restitution of the Southern Dynasty he died in 1357 at the 0j6-in. W h e t h e r K6shin really was a key figure of t h e Tachikawa Sect or whether personal intrigues and slander deliberately placed h i m in that position is difficult to decide w i t h certainty. T h e letter of protest by the Kongobu-ji priesthood does not mention any connection t o the Tachikawa Sect while describing his activities. In any case, the history of this heterodox school is still full of questions and problems that have t o be solved by future research. K6shin's doctrine most severely attacked by the orthodox priesthood was the famous dictum, 'The uniting of the two sexual organs of man and woman is Buddha's great act of the objects of the five senses' (ddnjo-nikon kl'oe gojin jF daib~~tsuji) taken from the text of the ~ i s h u s h d k u - k ~ d owhere , ' ~ it is quoted as a secret meaning. T h e sentence could be taken symbolically without really being p u t into practice, but i t also could be explained in a slightly less shocking way as correspondence of the two minds of man and woman during their uniting, and even as non-duality of Meditation and Wisdom (jo-e).j3 In Skr.: iygZ/ii. During the night he eats human flesh, Nakamura 1988, 1374. '"~esl~nation of Taishaku-ren (Indra) during his sojourn on earth. Nakamura 1988,239 'O

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i\.IDJ 981, I . ,\ID] 2177, 3. T 19, 612, 2; cf, also ,tlDJ 1715, I. hfizuhara 1968, 57.

Taken literally the sentence could be interpreted as an exposition of the central Mikky6 idea that the Defilements essentially are identical with Enlightenment (Bonno soku bodat). Speculations in this direction appear already in the fflraligdn~a-san~Zdhi-sitra (Dai-ButchF-shuryOgon-kj'o),translated in 705 by the Indian priest Paramiti ( ? ) in Canton,54 but in this text they are still regarded as negative teachings which should be avoided. Some quotations may demonstrate this: "If you examine your own mind and by breaking the moral precept secretly execute [acts according to] your desires (torzjokzt),then with your mouth you perhaps love to say that eyes, ears, nose and tongue are identical with the Pure Land (jcdo), and that the two sexual organs (nikon) of man and woman are the true place of Bodhi and Nirvana. But these are actually filthy words of ignorant human beings.""

People drinking wine, eating meat and widely performing obscene defilements are heavily condemnedi6 and it is clearly stated: "If one seeks the wonderful fruit of Buddhahood in an obscene body (inshin), even if one should attain wonderful enlightenments, there still are obscene roots and the original obscene circles (inrin) will remain and one will return to the Three Roads [of mundane existence] without escape.""

Also the Tachikawa concept of the two drops (nzteki) of white male semen and red feminine blood as demonstrated by the interesting passage probably has its roots in the ~flrali~ar/-za-sa~rz~dhi-sitra, about fluidities produced in the human body by different desires, which we have quoted above in the chapter on the dogmatic background.j8 But of course the idea of two drops or fluidities appears already in the Indian Tantric tradition where they are also called 'white' (iukra, Tib.: khu ba) for the male component, and 'red' (rakta, Tib.: khrag) for the female, actually meaning the fluidities of semen and menstrual blood. In secret Tantric language the male semen is called Mind of Enlightenment (bodhicitta), Aksobhya, Frankincense (sthlaka) or Sun (rmirta?zda),while the female blood has the code-words Self-Originated (svajar~zbhu), Camphor (karpitla) or Moon (candra, r ~ ~ g a l ~ n c h a nThe a ) .S~a~n ~ v a r o d a a - t a 11, t 23-26 specifies: "There are two veins in the middle of the yoni [the female organ] and likewise to the left and the right. One should know that semen (iukru) is on the left and the menstrual fluid (rukta) on the right. The union of both (?nilanu),[that is] oneness (ekatzu), is dhumzadh~tzt[the sphere ofdhurr12as] by its nature (sva,dbhdZ'atuh).Kur?nun is obtained by means of the seed, which is made to move to and fro by winds. It is certain that it [the seed] faces the aperture of the j'oni, that is 'the origin of n'hamzas' (dhur~2oduju). . . A man of good intellect should discern the right moment, at the time when the placing of the seed occurs."

Similar speculations occur also in text of ~ a i v a i t eTantrism in India where ~ i v is a symbolized as semen (bindn, 'drop') and his Sakti or Female Energy as ovum (rakta, 'red blood') which "unite

'Vno. 945, vol. 19.

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T 19, 150, I . '"bid. 149, I . j7 Ibid. 131, 3. " lbli/. 143, 2. Cf. Snellgrove, Hezjajra Tautra, London 1959, 1, 25; Tsuda, Sa~~zz~uroda)a-Tatztra, TokyO 1974, 75 and 241. For general information see also Sh. Kawasaki, i\.likkji ni okeru '~zi',in: H . Nakamura (ed.), "Ai," Bukkji SSisii I , K)'oto 1975,172-7 j.

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together t o produce the principle of I-ness or egoism."60 "The philosophical implication seems t o be that pure abstract thought cannot realize its own nature unless i t comes back to itself through its own activity, -,61 this interpretation being transferable also to Buddhist Esoterism. As Kushida has shown in his important book on the origin of Shingon ~ u d d h i s m , " the idea of the "union of the two drops, the red and the white" (shahubyaku-niteki-t~iag~), has played an important role not only in speculations of t h e Tachikawa Sect, b u t has also infiltrated into more orthodox traditions of Shingon, for instance into doctrines promulgated by such an important scholarly priest as Dohan (11,8-12~2),~~and into teachings of the Tsubosaka-ryii, one of the thirty-six sub-sects of ~ 6 m i t s to u ~which ~ such prominent monks as Eison, Raiyu and Ytikai belonged, the latter opposing strongly the heterodox tendencies in his ~ G k ~ ( r - s h G . ~ ~ Kushida quotes a certain ~ n i l o - k n d e r 2in~ ~ which the Buddha Nature (bnssho) is equated with the "fleshy body [originated by the] union of the two red and white drops of father and mother." The text also states: "My personal bodily figure is created by the union of red and white of father and mother." T h e two drops originate from the two Seed Syllables (shnji, b*) "Vam" and "Ah", and even the generation of t h e Buddha Siikyamuni by his parents Suddhodana and Mayii is directly explained by this I-?rocess.67 I n a lengthy q u o t a t i o n Kushida describes t h e meditative process connected w i t h such speculations: 68 "First you should visualize the character 'A' in front of your own person which should then get into contact with your body. Since the figure of yourself is that of Ai-bosatsu you should visualize that Bodhisattva in front of yourself and then lead him into your own body. Such are the Skilful of [our] doctrine and it corresponds to the Buddha-Body of the Naturally Means (hiben, ztpz~~a) no bzlsshin). And that person is the female mother of the Taizijkai]. Gathered Form (~~otai-hinen The white lotus flower of women has eight petals and is turned downward. What enters through the openings (pores, k$ of that personal lotus flower is the Kon[gi]kai, corresponding to the male father. The basis of man's eight petals which are turned upward is the One-Pronged Vajra (tokkosho). The Rishztshakzt says: 'The union of the two organs (nikoil-k~ie)is represented by a FivePronged Vajra &do-sbo) on a white Lotus, and this again corresponds to the five members ( g o ~ a i ) ~ ~ of the living beings [i.e.: the whole body]'. Anyhow, the Five-Pronged and the One-Pronged Vajra have the same meaning." Whether sexually tinted rituals were actually performed in connection with such speculations by followers of the Tachikawa Sect during the Kamakura Period is difficult t o ascertain. T h e protests against t h e sect and the proscription by the government make it a t least probable that people indulged in such practices. But that the grossly sexual speculations could also be interpreted in a

60

61

61

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66 668

69

Sh. Bh. Dasgupra, A I ?I i ~ t r o d i l ~ tto i u T~ ~~ n t r Bz~dijhz~i11, z~ Berkeley and London 1974, 100. 1LzJ. 116. R. Kushida, Shz~zgon~\.likkji stirit.ci~-ketriIZO keiikji;, Tokyo 1979. )\ID] 1666. Kushida 381. See .L[DJ 599-600, s.v. Koshirna-ryCi which is ~denticaiwith the Tsubosaka-ryu. See above. Kushida 379. 162~1.374. IbiJ. 379. A 371, I.

philosophical way and thereby lose at least to some degree their offensiveness to orthodox followers of Mikky6 is evident from some of the texts quoted above. One more example may document this:70 "The pulse of the bodily figure corresponds to this Secret Seal (~t~itszd'in) and only to this. When These opening your mouth the Seed Syllable 'A' is produced, when closing it, the Syllable 'Hum'. two syllables symbolize the two male and female organs (nikon). If you expand their meaning 'A' is the mountain. Since the two also stand for the Mandaras of the Two the sea and 'Hum' Departments (rjgbu-~t~andara), the Taizo and the Konggkai, 'A' means the entering into the Taizgkai which is female; and the 'Hum' symbolizes the stepping out of the Kongckai a~hichis male. Therefore 'A' is regarded as Meditation (jc),and 'Hum' as Compassion (hi). The Friendliness and Compassion (jihi) of the Buddhist religion and also its Meditation and 7rVisdom (j&) are nothing else than the male and female of 'A' and 'Hum'. If one transfers this to exhalation and inhalation of the breath, then according to the Visualization of the Character 'A' (A-ji k a r ~ ) , ~ ' exhalation and inhalation are directly identical with the two fluidities (niszdi) of man and woman and stand for the mysterious unification into non-duality (funi-meigg) in which the Great Act of the Buddha (dui-butszlji) is completed. But the two fluidities of man and woman are surely different from the Two Truths of Red and White (shdk~b~aku-?zitai)."~~

As we could already deduce from the existence of several heterodox texts containing the name of Aizen-my66 in their title, this deity has played an important role in speculations and rites of the Tachikawa Sect and similar tendencies directed against the pure orthodox tradition of Shingon. The god was anyhow invested with two aspects already in his basic text, the Yagi-hyo, where he appears in chapter 2 under the designation Zen'ai and in chapter 5 as Aizen. These two aspects could easily be declared as representing the deity in one case as male, and in the other as female. In our Introduction we have already touched on this subject of a male Zen'ai and a female Aizen, and we have quoted the two Kamakura priests D6ky6 (1200-36) and Raiyu (1226-1304) as witnesses for such speculations. The Aizen with one body, but two heads (ryozu-Aizen) demonstrated in a still more staightforward way the idea of union of two opposites, whether in the bluntly mundane meaning of man and woman, or according to more speculative philosophical explanations, as we have shown in the chapter on the iconographic variants of Aizen. In the formulation with one white and one red head the god stood for the unity of a male Kongosatta (Vajrasattva) with a female Aizen, and in the variant with one blue and one red head he represented the concentration of a wrathful male Fud6 (Acala) with a benign female Aizen, the latter being also called "King of Esoteric Knowledge [Helping in Case oi] Calamities" (Yakujin-my66). But apart from the condensation into one single figure the configuration of the two My66 Fud6 and Aizen appears quite often in icons of the Shingon School. As a pair they adorn amulets and they are painted as protectors on the inner side of doors ofJapanese Relic Stiipas (~hari-t8).'~ The Five-Pronged Vajra in Human Form (ningyg-gokosho), which will be treated in detail in the chapter on Aizen's Symbolic Forms (sanznaya-gy6) and which was called Figure with One Body and Two Heads (zsshin-fy&u-z~),surely was one of the main ritual implements used in Aizen's ceremonies -0 -1

-2

71

From a cerrainJashC-iknl-shi7~hakii,quoted by Manabe 1989.232. The most common technique of visualization in Shingon Mikkyd. The last character tai here has radical no. I49 instead of 85, 70 that it has the meaning of 'truth' instead of the usual 'drop'. This deliberate change, occurring also in other insrances, should probably mellow the erotic implications of the term. Several examples are reproduced for instance in the exhibition catalogue of the Nara National hfuseum: Shari-den, Nara 1984, nos. 5 , 9, 10,12,18,19,21 and 23, and in S. Kawada, Buriuihan to k j _ i ozn ihtgon, Nibon no Bijidtsu, no. 280, Tokyo 1989.

with an erotic touch, similar connotations being valid for one of Aizen's Seed Syllables, the double 'Hh~m'.'~ As we have stated above, heterodox ideas which were prevalent in the Tachikawa Sect also entered the more orthodox schools of Shingon, especially the so-called Miwa School,75one of the thirty-six divisions of the T6mitsu and a branch of the Samb6-in-ryu which originated in the Daigo-ji. It is named after the Miwa region in Yamato where the founder of the school, Rend6-b6 ~ d k y 6 , was '~ active around 1270 in the temple Yakushi-in. His books, which contained not only heterodox speculations with an erotic touch but also traces of Rydbu-Shinto, were severely criticized by Yiikai in his HCkj'C-sbC, as we have seen above. Whereas Hdky6's Kakzlgen-shF, from which we have quoted passages above, still exists, another work with the revealing title "Notes on the One Drop" (Itteki-shF), which contained Tachikawa notions, seems to be lost. In an orally transmitted text noted down by one of his followers with the title "Consecration of the Single Mind" (Isshin-kanjg) he seems to have stressed the theory of the Red and White Drops (sbakzlbjaku-niteki), which was one of the central ideas of the Tachikawa Sect.77 Heterodox speculations of a quite different kind, lacking the erotic and sexual implications but integrating rituals of Aizen-mydo, were developed during the second half of the thirteenth century at .'~ in the Inner the Ise Shrine, one of the most important centers of the Shintd ~ e l i ~ i o nWhereas Shrine (naikz?) the traditional mirror was kept as the main sacred object (vzish~tdi),the Outer Shrine (gekzi) also seems to have housed a mirror and, apart from that, an Aizen-Mandara. During the Kamakura Period a special consecration ceremony, called Ise-kanj6, was developed which had to a high degree the character of a Shingon rite. Mudras of the Mandaras of the Two Spheres were used, but instead of a Buddhist Mantra a Japanese Waka had to be intoned three times. During the visualizations the eight-petalled lotus played a role in the Inner Shrine, and a Pagoda of the Five Circles (gortn-tF) in the Outer. This pagoda changed into two snakes which again were transformed into the figure of Raga (Aizen-myd6). In this case we are confronted with an interesting syncretism, combining traditional Shintd elements with practices of popular religion (snakes) and Mikkyd influences (pagoda, Mandaras, Raga and consecration). Possibly there existed connections to the Miwa-ryii of the Samb6-in. This short and preliminary sketch of heterodox speculations and practices in connection with our deity Aizen-my66 has demonstrated the complexity of problems which still have to be studied. Undiscovered material most probably still rests in the archives of temples and other institutions, which sometimes are not very keen to give access to texts that must appear offensive to traditional Buddhist thinking. Future research will probably enrich our knowledge about such fascinating aspects of Japanese religion.

-'Cf the corresponding chapter beloa -' )\!DJ 2129-30 -6

1995, 2 -- WJ -8

On the M~wa-rpfiand H6kp6 see Kushidd 1979,375 if Kushidd 1979, 307 ff , Kushida, Zoku-Si3~izgrin-rnlhk)rise1tzts~-harez izn klizkju, Tokyo 1979, TIIff

CHAPTER IX Symbolic Forms (sammaya-gyG)of Aizen

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ccording to Mikky6 speculation each deity exists in three different forms of reality, which, as we will see later when describing the ritual, lay an important role during meditative visualizations. These aspects of existence are (I) the so-called Seed Syllable (shuji, bea) as the first tonal concretization of the deity, the phonetic germ out of which the numinous being emerges, (2) the Symbolic Form (sanznzaja-g) as the aspect of the deity in the mental domain, and ( 3 ) the Figure in Human Form (songy8), corresponding to the icon as it is described in all details by the iconographic and ceremonial texts. The collective term for all three aspects is shu-san-zon.' Following this sequence the practitioner evokes the deity during his mystic visualization, which forms an essential part of the ceremony. Among the different possibilities of visualizations2 the so-called Method of Transformation (tenjo-h8) applies these different steps of realization to call down the invoked deity from its transcendental sphere into the presence of the practitioner and into the sacred area (d8jC). The three modes of existence are, of course, identical with the so-called Three Mysteries (sd?amitsu, t ~ i g u h j ' a )that , ~ of the spoken word (ku,Z J ~ Cthat ) , of the mind (shin, citta), and that of body (shin, kdq'a), which are enacted by the priest during his ritual in the form of Mantras (shingon), of Visualizations (j8, dhjdna or kan, uipaf'j'and), and of Mudras (in) as the Three Kinds of Activity (san,g~).~ Since we have already reversed this traditional sequence in our book by treating the King of Lust first in his human form, we will nonr analyze his symbolic mode of appearance and, at the end, his Mantras and Seed Syllables. I.

The Five-Pronged Vajra (goko-sho)

The Five-Pronged Vajra (goko-sho,pagca-sEcika-zlaj~a) is the most common instrument used by Tantric priests from India over the Asian continent to Japan and Indonesia. Shingon texts mention it ,~ also to Kongosatta (Vajrasattva) whose close first as the Symbolic Form of A i ~ e n - m y o 6 referring ~ connection to Aizen we have noted and who has this Vajra as his emblem. The ~ i s h & k u k e t s usays that it has to be applied together with "Hum" as Aizen's main Seed Syllable, but also with the shuji "Hol;~".The syllable "Hum" anyhow symbolizes the Vajra Family (kong8-bu) among the Five Families of Mikkyo deities, which again may be figuratively represented by the five ends of the implement. The five prongs on each end of the Vajra correspond to the Five Kinds of Esoteric Knowledge (Kochi), incorporated by the Five Tathagatas, but also to the five kinds of magic achievements (siddhi)

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AIDJ 1083,2.

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They are described by T. Yarnasak~,i\.likkjc-mrir6-bo, Ky6to 1974, 214-34, cf. also Goepper 1983,11-13; Goepper 1988,45 ff. Cf. rhe different enrrles beginning wirh iait/it/itsu in illDJ 837-80, )IfDJ 788, I. Cf. also AIDJ 66,3. SZS 2 8 , 3 6 4 , ~also ; Bjnhuhc-shc, TZ 10,1028, I.

6

realized by Aizen's ritual. The Bj'ak~ho-sh8~ quotes Dohan as saying that in keiai the Five-Pronged Vajra, with its total of ten ends, incorporates the unification (u'agO) of the Five Kinds of Knowledge of both Groups, the KongOkai and the Taiz8kai Mandaras, but also the Ten Spheres of the Absolute (hokkai) and the ten modes of Suchness or Reality (shinnyo, t a t h a t ~ ) . The ~akuzen-sh? states that Hannya-ji-s6j6 Kangen (853-92~)~ already used this Vajra in Aizen's ceremony, which, because of the early date, seems rather improbable. For keiai rituals the priest should visualize the Five-Pronged Vajra on top of a lotus pedestal, but for Averting Terrible Rites (ch&ukzl-h;) a so-called Fierce Vajra (nusho,j~nnzl-kongo-sho)must be applied. This form, rare in Japan, originated in Tang China and found its way to Korea during the Koryo Period (918-1392).'~It is characterized by sharp flame-like ends. There are also bells with handles ending in five "fierce" prongs. 2.

The Vajra in Human Form (ningyo-sho)

The most interesting Symbolic Form of Aizen-my66 is without any doubt the so-called Vajra in Human Form (ningjo-sho)." It consists of two identical, but antithetical parts, each with three prongs (sanko) at one, and two prongs at the other end, the middle prong missing on this latter side (fig. 37). Therefore the implement is also called Separate Five-Pronged Vajra (uari-goko-sho) or Two-sided Five-Pronged Vajra (nihg-goko-sho). W e are here confronted with the very unusual fact that an emblem with abstract form is deliberately changed, in order that it may suit figurative symbolic speculations. Usually the development takes place in the opposite direction. The two parts of the Vajra are meant to resemble two human beings: The three prongs at the one end standing for the head flanked by two raised arms, the two prongs at the other end corresponding to the legs.12When the two parts are joined together at the two pronged ends, they form a traditional Five-Pronged Vajra (goko-sho). This emblem could easily be imbued with strong erotic or even sexual connotations, in fact it was most probably created to fulfil this function. To neutralize such disturbing ideas orthodox Shingon texts invented a way of writing the term ningyo-sho using different characters with the same pronunciation, so that the scandalous term suddenly meant Five-Pronged Vajra of Humanistic Conduct (ningy~-goko-sho).13 Apart from bronze, which was mainly used for the manufacture of the emblem, different kinds of hardwood could also be applied, cherry wood being regarded as especially auspicious .I4 The Vajra in Human Form was, of course, the most appropriate ceremonial object to be used in the Ritual of Loving Subduing (keiai-h8, z~aiFkarana),the aim of which was to bring a certain person, T Z 10,1028, I. TZ 5 , 2 2 9 , ~ . "LIDJ 391-92. 10 A Korean example of t h ~ rype s IS reproduced in: Nara National Museum (M. Ishida ed.), iLlikkji-hisid, Tokyo 1974, no. 269 I' O n this emblem see R . Gonda, Shzizgr~n-~Llikk) hiijiri brizraiz, Tokyo 1931, I , 37-38; 2, pl. 64-65; Nara Nar~onalMuseum (M. Ishida ed.), 1\Ilkkj)ii-h6,g~/,TOky6 1974, n o 272; D. Kadoya, Shingrin-shi? h n g ~rusersu, Tokyo 1980, loo; Goepper 1988, 48-249 and car. no. 66. Also iLIDJ 1770; Moriyama 1965, 137 ff. 12 Explicitly explained In rhls way f.1. by a texr of the Samb6-in r r a d ~ r ~ oSZS n , 34, 62, 2. " Kaki/teiz-shi, T Z 5, 253, 3. '"aki/teiz-shri, T Z 5, 253, 3; Brssrin-mkki, T Z 3, 465, I; H2shf-krikrtsu, SZS 28, 392.

generally of the opposite sex, under the influence and control of the practitioner performing the rite or the person who commissioned its performance. When united, the two parts of the ningjo-sho resembled quite vividly two human beings engaged in making love. The emblem then was called Figure with One Body and Two Heads (isshin-rjt&uzo)" and the handbooks for ritual brought it into connection with the figure of Aizen with Two ) ' ~ we have treated above. This kind of Vajra seems to have been applied Heads ( ~ y o z u - ~ i z e nwhich especially in Aizen ritual. It expressed the idea of the Union of the Two Roots (nikon-kokai), that is, of the sexual organs, this idea being forwarded already by the Rishu-shaku. The Kakugen-sho, written around 1270 by the priest Rendo, offers a vivid description of the application of the ningj'o-sho and its connotations:17 "Therefore the Seal of the Five-Pronged Vajra in Human Form resembles the union of two people in common production (gz/sho-jin).'8Because common people during such copulation cry out of joy, [the practitioner] also utters the Five Lion Cries.I7 In this way you visualize the [worldly] sphere of man and woman, which means that even a deluded mind may immediately enter Buddhahood. When we speak about the union of man and woman this does not mean that you should execute this affair gladly. The figure with one body and two heads symbolizes the doctrine of the union into one single figure, which is contained in hidden and deeply mysterious texts. The Meditation on the Hidden Membrum of the Horse (meo~zz8-~uw~w~uji),'O promulgated by the Yi~gikj'" has this meaning and postulates that you should recognize your own mind as it is in its transcendental reality. And this again signifies that you should realize the comprehension of all your bodily actions."

Of course the heterodox Tachikawa Sect readily integrated the Vajra in Human Form into its mystic and drastically erotic speculations, and declared it to signify the Fusion of the Red and White this being one of their cardinal axioms, as we have shown earlier. The Drops (shakubjtaku-niteki-uzgo), man or the male part of the Vajra was identified with Kongosatta (Vajrasattva), the woman or female part of the emblem with A i ~ e n . ~ ' Apart from such grossly heterodox speculations the ningyo-sho was also explained in a more philosophical manner as symbol for the transcendental union (usago) of opposite concepts, such as Meditation (jO) and Wisdom (e), Principle (ri) and Transcendental Knowledge (chi), Heaven and Earth. But it could also represent the Two Divisions (ry8bzl) condensed into the graphic symbols of the two basic Mandaras of Shingon ~ u d d h i s m . ~ ~ The ~esson-zakkiz3brings our emblem into correspondence with the double "Hhiim", and sees in it the most secret meaning of Aizen-my66. Tendai traditionz4 calls it the Staff of the Five Kinds of Transcendental Knowledge (grochi-sho)or the holy figure with one body and two heads (isshin-rjauson), originated from a combination of the two Seed Syllables "Hoh" and ''Hum" but, at the same Moriyama 1965. 137. Bjakirh6-shfi).The Kakuzensho quotes a tradition of the Hirosawa School: "The flower-arrows have to be set up in a sequence at the four sides [of the altar], but nobody should be allowed to watch the procedure. The master (ajari) may also use self-made arrows. After the end of the ritual one has to take them away and hide them. Even the assistants of the priest (shgji)should not observe this."

The arrows could be made of gilt bronze or cherry wood painted with red cinnabar, but with black ends. Instead of sticking them into the corners of the altar, one could also place them there in a horizontal position on sword-like feathers of a male bird (fig. 44).6S Several texts provide us with detailed descriptions of the sequence followed during the Nyoh6Aizen ritual. One of them was written during the rather chaotic years of the Nambokuch6 Period when two different lines of rival Emperors ruled Japan and feudal families were fighting for power, in the end leading to the victory of the Ashikaga family, which had favoured the northern line of Emperors residing in Kyoto. The document preserved as a handscroll manuscript in the ~ a i g o - j i ~ ~ and not previously published, bears the title Yanagihara Sent8 Nyoho-Aizen-h8-ryakki, "Short Record 60 61

62

'4

T Z 5, 261, I; also fig. 293, p. 262. The AIDJ quotes a Hithi-mondf. See the chapter on iconographic variants T Z j,t61,1. Illustration in TZ 5, 263, fig. 294. T Z 5, 266, I . No. 158-19.

,, 9.1.-

l P*: y. [ .,'- .i =Q; 6

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,

Fig. 44 Altar with arrows placed horizontally on feathers. Kakazen-shF. TZ 5,266.

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1

.

@l~

" Q ,

Fig. 43 Altar with pagoda, shiki-mandzraand canopy used in the Nyoh6-Aizen Ritual. After NyohF-Aizen-F-kiroku, dated 1353. Daigo-ji ms. no. 140-51.

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of the Nyohb-Airen Ritual in the Palace of the Retired Emperor at ~ a n a g i h a r a . " ~It' is dated 1371 (Oan 4) by the priest Gempb (1333-98),68 the actual handwritten copy of the scroll being done in 1427. The first lines of the text inform us that the ceremony was performed in the Palace of the Retired Tenno (sento) Go-Kbgon (1337-74), who reigned as Northern Emperor from 1352 until 1371, the year in which the ritual was executed, probably shortly after his abdication. Under his reign the Ashikaga Shoguns Takauji and Yoshiakira launched heavy attacks against the Southern Emperors of Yoshino. ' ~ Kanshu-ji, seventh son of the former Emperor GoThe main priest was Kan'in ( 1 ~ 0 ~ - ~ 6of) the Fushimi and at that time stiil introduced as Priestly Prince without Special Rank (n~ubon-h6shinn6).~~ Bbshun is named as Grand Master of Religion (dai-hosshi)and Eikai (or Yokai) as Grand Master of the Ceremony (dai-gyoshi), eight other priests constituting the chorus around the master, among them the famous Gempb (1333-98),~' who had received the Kongokai Initiation from Kan'in and was to be one of the prolific authors of texts on ritual during the Nambokuchb Period. Additional priests are introduced as assistants. The duration of the ritual was fixed for ten days. The actual ceremony was started on the fifteenth day of the twelfth month of 1371, but the preparations had began three months earlier on the eleventh day of the ninth month. The text gives us very detailed information on materials necessary for the rite, listing ghee, honey, famous incense, clove (chgji) and benzoin (ansoku). In agreement with similar lists in other texts five precious substances also were required: gold, silver, crystal, coral and mother-of-pearl, together with five additional kinds of incense, five medical substances, among them ginseng, and five kinds of crops. Following this we are informed about the implements necessary for the ceremony. A pagoda of the shippo-taho type had to be set into the center of the main altar, over which was hung an umbrellalike canopy, six shaku square and the colour of the sky. The canopy had at its corners and in the center nine streamers of red colour, the one in the middle being one jo eight shaku long, the outer ones only eight shakz~.Differences from earlier Aizen rituals are stated. The main altar was covered with a shikinzandara, six shaku square, made of red silk and painted. Whereas a shiki-nzandara used by Shoki in a ceremony of the Bun'ei Era in 1265 was decorated with an ink design only, the present one was executed in colours. The text declares explicitly that these three elements, pagoda, canopy, and Mandara, had been newly made for this occasion, whereas an icon of Gozanze, in the respectable jt7vok.u size set up at the Goma altar for the chcbuku rite, and a Mandara of the Seventeen Deities (jishichi-son nzandura) hung behind the Goma altar of the keiui rite were old objects. The main altar (daidan) to the right had two side tables. O n it stood four stands for candles and a plate for the ritual implements (raiban). The amount of rice and oil used as offerings is also quoted. To the left stood two Goma altars, the middle one for keiai, the left one for ch~bukufire offerings. Each of them had the same equipment as the daidan with additional implements for Goma. All altars were covered with cloths dyed red by cinnabar dust. There is additional information about the offering

70 71

The Chfinagon Hino Tadamitsu, ancestor of the Hino branch of the Fujiwara family, established a mansion in this part of Kyoto which is to this day called Yanagihara-cho. In 1371 emperor Go-Kogon chose the place for the palace of his retirement (senri)where he ended his life in 1374. The twelfth Ashikaga Shogun Yoshiharu erected a pavilion there in 1521 and moved into it from the Sanjo Palace. T . Yoshida, Dainibotz Jimel J i t e (3rd ed.), Tokyo 1975, 2 , 19. ;IfDJ 484.1-2. r L f D J 378-79. Only two years later he was promoted to the second rank, in memory of this ritual. AlDJ 484,'-2.

materials, containing for instance the interesting fact that the medical substances (yuku) used during the Chobuku-Goma had to be mixed with iron powder (tetsumatsu), thereby differing from the Ono tradition. A longer section of the text deals with the robes the priests had, to wear during the ritual. At the main altar the practitioner and his assistants had to be clad in clean blue robes, the officiants at the altar for Chobuku-Goma wore red. Also in this case we have references to other possibilities and earlier performances, thereby bringing the present ritual into a historical context. In regard to the main icon (horizon) used, the text refers to the performance of the secret Aizen ritual in 1326 by the priest Kyokan in favour of the retired Go-Daigo-tenno in which a sacred icon (reih~)from the treasury (h&3 of Toba-tenno was taken. But since this icon, which still existed in the treasury, was no longer regarded as a public object, an icon from the Ninna-ji (monseki) had to be employed for the present ceremony. This icon, probably of the five-finger-width size (go-shiry8-zF), was clad in red silk and placed by the Great Master of the ceremony into the pagoda on the main altar. The text then devotes lengthier paragraphs to a detailed description of the different activities of the priests, beginning with their departure from the capital in a procession to the palace of the retired Emperor, the sento in Yanagihara, on the fifteenth day of the twelfth month, 1371. It is to be regretted that there is no information about the actual religious contents of the different steps of the rite, like visualizations, etc. W e therefore omit a description of these more external activities. The text ends with the list of earlier Nyoh6-Aizen rituals which we have cited above. A booklet with a quite different character is owned by the Kanazawa bunk^.^^ It was written in 1298 by Kenna (Ken'a), the second abbot of the Shomyo-ji in Yokohama. The text bears the title Nyoho-Aizen-F-sh8 and offers a lot of information about details of the ceremony, about implements to be used and about the possible aims of the ritual. Kenna also quotes earlier performances of the Nyoho-Aizen ceremony, for instance by Ryoga (ca. 1110) of the O n ~ - D a i j o - i n , ' who ~ had been introduced into the Aizen belief by the famous priest Hanjun, and another occasion, enacted by Chikai (i.e. Kozen, 1120-1203)'~ in 1157 and again in 1158. The latter used a red Seed Syllable "A" as symbol for the famous dictum bonno soku bodai, "The Defilements are identical with Enlightenment", and an arrow as the Symbolic Form (surnmayu-gyg of Aizen during a keiai ceremony. Kenna also offers descriptions of the sequence of ceremonial acts, but apart from that explains the symbolic meaning of emblems used in the ritual and of characteristics in Aizen's formal appearance, which we have treated earlier. An essential element of the Nyoho-Aizen-h8 was a special kind of meditative procedure called "Visualization One Ell in Front" (zen-itchg-kan or only itchi-km). The Hish8-kuketsu traces its origin back to Zennen-risshi (died 908), which seems too early to be probable.75 Different versions of this mystic technique are transmitted by the Kukuzen-sho and the Hishokuket~u.'~ It may take the place of the ritualistic step of nyzlgu-gu'nyi in the Large Rituals ( d ~ i h n ) . ~ ~ Also here a common feature of the differing versions is the mystic unification of the practitioner with No. 290. " " 7 '

76

--"

AIDJ 2275, I. AIDJ 518, 2. SZS 28,378,2, quoting the Gempi-shf by Jitsuun. T Z 5, z65,1-3; SZS 28, 3 7 8 , ~ 380, 2. Cf. also Usu-zoihi. KI'hl, Jis6-bu 2,403-4, and Kakrqetz-sh& SZS 36, 341,1-2, See the corresponding chapter above.

the invoked deity or some human person visualized at a distance of one ell (chg, Skr.: vitasti, i.e. about 48-50 cm) i n front of t h e priest performing the rite.78 According to the Kakz~zen-sh6and the Hishi?-kuketsu the following different possibilities exist for the Visualization O n e Ell i n Front: "First you should visualize in front of your own person the character 'A'. Then you imagine inside a circle the character 'Hoh' which transforms itself into Kong6-Ai-bosatsu, His body has the colour of cinnabar dust (shwha) and emits red light. With both hands he holds an arrow.79 After you have visualized him clearly, you should intone the Mantra of the Four Syllables ( s h i ~ z ~ ?bind ) , ~ " the [correct] Mudra and lead him into your own person. Jab h* z q hob. Then you consecrate (kaji) the four spots (shisho) [of your bodyI8' with the Mantra O?E z~ajra~aga ati:!osz~Z m@ hob and remain in the Mudra of the Knowledge of Wonderful Perception (~zy&anzatsu-chzI.

ZE)."~'

T h e Mantra is probably a corrupt version of the following: O m vajra ragiidhitistha sara m a m hoh, . ~ ? text may which appears in a text translated already during the Tang Period by ~ m o ~ h a v a j r aThis be one of the earliest sources for the zen-itch%-karz technique since i t says that the practitioner should imagine his own person as that of Kong6-Aizen-bosatsu [sic!] "one ell in front". "Clearly discriminating you should visualize your own person as identical with Kong6-Aibosatsu, without any difference in demeanour, colour or features. Then you imagine another person at a distance of one ell in front of yourself. Under his body there is the character 'Hrih' that changes into a lotus flower. Your own body enters through an aperture (pore, RC) in that flower into the body of that other person and thereby changes its shape and limbs, even wearing the same clothes. Clearly discriminating from top to bottom you should visualize their appearance as nondual. The accompanying spell (jzr) is: O?n z~ajrar@a-vZgZ>a- your own name - hob - name of that other person."84 2.

T o this t h e Hisho-kuketsu adds some explanatory notes, saying t h a t this technique is used especially with keiai rites, either after or without the rzyiga-ga1ny'3stage, and that it corresponds to an oral tradition of the Henchi-in. T h e other person imagined in the rite should be the one whom one loves or on whom one's thoughts are fixed. T h e technique may also be applied in t h e sense of uniting t h e two sexual organs (rzikon-kyge) transforming t h e Five Worldly Dusts (gojin)85 into the Great Activity of Buddha (dai-dzrtszLji).86 Further, the same text declares that t h e lotus quoted is the sexual organ of the woman, into which the practitioner e n t e n g 7I t also quotes a doctrine of Ningai, written down by his pupil Seizon, that the lotus of the woman with t h e character "Hrih" has eight petals and is turned downward. T h e woman is regarded as mother of the Taizgkai, whereas the practitioner, who enters into the opening (pore) of O n cbzT see h1J 632, s.v. bW6. This manner of holding the emblem corresponds rather to Eakki-6, as we have seen above (chapter on iconographic variants). 80 They are cited below. 81 hIDJ 951, I. They are: heart, forehead, throat, cranium ofrhe head. 82 One of the Five Kinds of Esoteric Knowledge Qochi), Skr.:pratjavek!and-jria'na. Ddir~ku-Kongosdtta-sh~~~~~-j~ky~~-g~ki, T no. 1119.The Mantra is quoted 7 19, 513, z. 84 The Mantra corresponds to the one used in step no. jI of the Large Ritual (nyiga-ga'nyz7). " X 370,1-2. The so-calledpaa-tannzdtra'pi. 86 his passage is close to the heterodox speculations treated above. 87 The Byakuhi-shi also explicitly declares the pore in the lotus as "door of birth" (shOvzon) and as "door of exit and entrance" (shutsunyti-mon),TZ 10,1054, 2-3. "

the lotus, acts as father of the KorzgGkai. His male eight-petalled lotus is turned upward. Here the Rishu-kyii comes to our mind, according to which the union of the two organs transforms the Five Kinds of Dust into Buddha's Affair. The Mudra applied is that of the Union of the Red and the White, symbolizing the non-duality of the Two Divisions (nibu, the Kongg- and the Taizgkai). The Kakz~zerz-.rhocontinues: "The master said: 'As that other person in the distance of one ell you should imagine By6d6-6 (King of Equality, being another name for ~mma-ten)."Together with him you form one single shape. This is the first [step] of Subduing and Prolonging Life (keiai-enjzl). You may perform this at the time of returning to life (kaimei). It is an extremely secret matter. Or, if you execute it for yourself, then you should visualize one ell in front of you the Great Master (daishi), and at the end of the Mantra you should add the recitation of the master's precious name. That other person could also be the king of the country.. . Then you unite in a mysterious manner the honzon, the practitioner @@a) and the inaugurator of the ceremony (seju, dcinapati)." 3. "The Kong&5-ki says: 'Then you should imagine in the distance of one ell in front of yourself an eight-petalled lotus flower and on it the character 'Ah' which emits strong brilliance like a white rock-crystal. When forming the Mudra of Binding the Vajra (kongo-bakzl-in) you should let the index finger89 stick out, as if plucking something. Thereby you take that character ['Ah'] and place it into the Hall of the Mind (shinden)'." 4. "The Sho-Bzltcho-ki says: 'On top of a moon disk you should visualize the character 'Hoh', which is changed into the body of Kongosatta (Vajrasattva). His colour is like that of red cinnabar dust. In his right hand he holds a Vajra in front of his heart, in his left a bell. Then you 'bind' the Mudra of Entering (nyi-in) and thereby lead him into your own body. After you have discriminated this clearly, you should visualize on his base (?) the character 'Hrih' which changes into a white lotus. The body of that own [Kongolsatta then enters from the lotus [into your own person] and permeates all of your limbs. This is as if you were putting on a dress'."

4. The Fire Ceremony (goma-h6) The Combined Practices of the Fire Ritual (goma-kegyg) form the fourth and last set of the socalled Combined Practices in Four Steps (~hido-kegyg),~~ but the Fire Ceremony is, apart from that, also an integral part of any large ritual dedicated to a deity of ~ i k k ~ 6In. its ~ ' classic codified form it is just as complicated a ceremonial set of different acts as the Large Ritual which we have described above. There exist slight variations in regard to the single steps, adapting them to the different aims of the rite. Theoretically the Goma for Aizen may be performed for all four or five kinds of esoteric ritual, but according to Aizen's basic character Goma for Loving Subduing (keiai) and Terrible Subjugation (chgbbuku) are most common (figs. 45-47). From the several texts describing Aizen's Goma, we therefore have selected one of keiai for our analysis. It was written by the priest Sh6ken Cf. the chapter on iconographic variants. The connection with the King of Death may be caused by the fact that the rite here aims at prolongation of life and resurrection. "Wind finger" @hi). 'O See Ueda 1986. " O n the fire ritual in general see the voluminous study by F. Staal (ed.), Agni, The Vedzc Ritual oj'the Five Altar. Berkeley 1983. It contains a concise paper by M. Strickmann, Homa 172 East Asia, vol. 2,418-55, with rich bibliography. Lately two books on thegonia ritual in the Esoter~cBuddhism ofJapan have appeared, but their contents could not be integrated into our study: R.K. Payne, The Tatltric Ritual oflapan. Feedzng the Gods: The Shingo71Five Ritual. ~ a t a - ~ i t a Series, ka vol. 365, Delhi 1991; and M. Saso, Homa Rites and ~2landala~Ileditatfonzn Tendai Buddhism, Sata-pitaka Series, vol. 362, Delhi 1991.

Fig. 45 Two varieties of Goma altars for the keiai ceremony. After Besson-zakki, TZ 3 , 3 0 1 and 303.

Fig. 46 Altar for the keiai ceremony in form of an eight-petalled lotus. After the NyohF-Aizen-C-kiroku, dated 1353. Daigo-ji ms. no. 140-51.

I

Fig. 47 Triangular altar for the chiibuku ceremony. After the Nyohg-Aizen-8-kiroku, dated 1353. Daigo-ji ms. no. 140-51.

( 1 1 ~ 8 - ~ 6of) ~the ~ Kakudii-in within the Daigo-ji, belonging to the Chu'in subsection of the Ono branch of Shingon. The title is "Sequence of the Goma Offering for Loving Subduing Addressed in the Nyoh6 Style to Aizen" (Aiyoho-Aizen keiai goma-ku s h i ~ i a i ) . ~ ~ The ritual begins with an Entry into the Goma (nyzi-goma) in which the rosary is hung over the wrist of the left hand where it remains without being really used. After a First Consecration of Dainichi (sen Dainicbi-baji) and another one of the Lord of the Family (bnshu, i.e. Giizanze) there follows a Consecration of the Main Deity (honzon-kaji), who is, of course, Aizen. This is done by ~ ~ intoning Aizen's Small forming the Inner Mudra of the Five-Pronged Vajra ( n a i - g ~ k o - i n )and Formula (sh6ju): H#? Takki hi? jab. The switch for the ritual is now symbolically turned on. By the next step, the Visualization of the Threefold Identity (sanzby0d6-kan), the mystic setting is defined: "You should visualize (kansg): The Mind of the Tathiigata is the Absolute Reality (jissG), and this Absolute is identical with the Fire of Wisdom (chiku).The oven (ro) is the body of the Tathiigata, and the fire in it the Fire of Wisdom of the Dharmakiiya (hasshin). The opening of the oven is the exalted mouth of the Tathiigata. The fire is Transcendental Wisdom (chie) inside the body of the practitioner. Therefore the mouth of the Tathiigata's body, the opening of the oven and the mouth of the practitioner's body correspond to each other in Threefold Identity." The last step of this introductory phase is the Consecration of the Mustard Seeds (kaishi-kaji).'> The practitioner places the incense burner ( k a ~ h a ) 'onto ~ the left corner of the altar, then takes the container of the mustard seeds from the side table to his left and puts it on the place where the incense burner stood. Holding a One-Pronged Vajra (tokko-sho) he recites seven times the Formula of ,~~ consecrating. After this he throws mustard seeds into the four the Fire Sphere ( k a k a i - j ~ )thereby main and the four intermediate heavenly directions, beginning in the northeast, and towards heaven and earth, hereby driving away all evil influences and disturbing factors everywhere in space. a. First Act (dan)of Katen ( ~ ~ n i ) 9 ~ After this introduction the first Act of the performance is dedicated to Katen, the ancient Indian God of Fire, Agni, who originally was the main deity of the whole Fire Ceremony. Incense pills (ganko) and unguent (zuk6) are offered before the wooden sticks are lit and sanctified by sprinkling water on them (shajo). Katen is invited (kanjfi) by the practitioner to descend from his Mandara Assembly99 into the oven and to unite with the Katen, who has been created mediatively by the

" See AIDJ 1137-38. "

Pubilshed by K. Itakura's T6bd Suppansha, 1982, ed. by R . Soeda of the H6ju-in on Mount K6ya. The same publisher and editor also printed a similar text on the Ch6buku Goma. The author would like to thank abbot Seikd Kdno of the Daian-j~for providing copies of these editions. Of course there exist many more texts, printed or in manuscript form, on the Fire Rltual, like a ms. by Raiyu (1226-1304), dated 1281, in the Daigo-JI (Daigo-ji no. 1j9-11, containing two sketches ofaltars at the end: "Personal Notes on Aizen's Goma" (Aism-goma-~hik-i). 94 See AIDJ 583,3 - 584, I , s.v. goko-in. " Mustard seeds function as protective and averting substance in Tintric ceremonies from India to Japan. n"' k a ~ h asee Goepper 1988,276-77, nos. 84-8 j. " This iong Mantra 1s quoted by Hatta 198j, 69, no. 421. I t is a special spell of Fudd-my6d. 98 O n Katen as one of the Twelve Deities Uiini-ten) see AIDJ 375-76, 2; also Goepper 1988, 179-8 j. " Probably the lower left corner in the J6shin-e of the KongGkai i2landava. Sawa 1972,126, no. 40.

practitioner as a reflection, a so-called shadow image (yKzG),lOOof the actual god. The priest performs several invocations (keibyaku) and visualizations (kannen) and offers ghee (soyu),'O1 "milk wood" ( n y z i m ~ k u )which ' ~ ~ still has sap, rice (hanshoku), garlands of flowers (keman)Io3and different kinds of incense to the god, and addresses him with prayers (kipn), before he again sends him back (hakken) to his transcendental abode.

b. Second Act (dan)of t h e Lord of t h e Family (bushu) In a quite similar way in this second group of ceremonial steps, the Lord of the Family of Deities to which Aizen belongs is called down into the oven and into the presence of the practitioner. In this, a ) , '"Victor ~~ of the Three Worlds". as in many other cases, this Lord is G6zanze ( T r a i l ~ k ~ a v i j a ~ the

c. T h i r d Act (dan)of t h e M a i n Deity (honzon)Aizen. Only after having addressed the God of Fire as appropriate partner in the fire ceremony and the Lord of the Family, Gozanze, the practitioner now directly turns to Aizen-my66 as the honzon of the whole extensive ritual. Therefore we will describe this Act in greater detail. It starts with a First Purification by Sprinkling (sen-shajg)."j The practitioner sprinkles sanctified water three times in clockwise sequence onto all implements and offerings, hereby purifying them for the use in the rite. By the following Karma Consecration (katmma-kaji)106 in clockwise and anticlockwise sequence he consecrates all offerings with the Mantra Om udjra-karma kham.Io7and then symbolically purifies the opening of the oven by the Consecration of Rinsing the Mouth (sGku-kaji), uttering the formula OF uarada-tjajra &am'o8and sprinkling water three times. Now the oven itself is consecrated (YO-kaji)by three times using a Three-Pronged Vajra and intoning G6zanze's spell kili-kili (in Japanese pronunciation: kiri-kiri), after which the practitioner arranges six sticks of fire wood (takigi zuo tsumu) from left to right in one row in the oven in a position pointing away from his person. H e then lights them by inserting a torch into the oven (tainzatszl uto sashiirerzl) and stimulates the flames with a fan (@i wo totte hi ulo aogu). H e visualizes the Seed Syllable "Ham"1o9on his fan, which he changes into the W i n d Circle uttering the Mantra Om bhuh juala hfi?n,'I'

I00

101

102

1°' Io4 1°'

106 Io7 108 Io9

I10 111

On jdzd see Goepper, "Some Thoughts on the Icon in Esoteric Buddhism of East Asia," Studid Szno-Mongolzca. Aliinrhenev 0.itaszdtisi-he Studirn 2j, 247-49. On roqi see MDJ 1419, 2-3. It is not, as in India. heated fluid butter, but a mixture of oil and honey. Cf. ilIDJ 1712-13. Kerilan, AIDJ 457-58; Goepper 1988,282-84. On Gozanze see iZlDJ 506-8; Goepper 1988,112. Cf. AIDJ 1058-59. Cf. AIDJ ~ 4 3 , 3 . Hatta 1985,122 only has OF z~ajvg-kdrr,cdh a y . Hatta 1985,184, no. 1504. On "Him" as Seed Syllable of Fudd see MD] 25 j, I, s.v. Kdn; Hatta 198j, 227, no. 1830. This is the half-circle as geometric symbol of Wind as one of the Five Elements (jioddi);MDJ 1894,1-2, s.v.ju~in-dan. Hatta 1985,96, no. 643 Its meaning is that the element Earth (bhzi)should shine (jz~dla).

Again he performs three times a Purification by Sprinkling (shajG) of water onto the wooden sticks in the oven, pronouncing kili-kili, and then he consecrates the fire wood in the oven (ro no tdkigi ulo kaji-suru) with his Three-Pronged Vajra and the formula kili-kili. This is followed by the important step of Invitation of the Main Deity (kanjo hon~on),"~ in which the practitioner first visualizes the own body of the god (sen-jishin-kan) erf forming the Meditation Mudra of Amitabha (Mida-jGin) and imagining: "On a Moon Disk (gachirin) in my heart there is the Syllable 'Hoh' which turns into a Vajra Arrow (kongo-sen)."? This again is transformed into Kong6Aizen-my66, the colour of his body being like the shining sun. He is enthroned on a flaming disk, has three eyes and a terrible appearance. On the coiffure of his head he wears a lion crown and his hair stands on end, his whole appearance being wrathful. The Seventeen Bodhisattvas, beginning with 1 s h 6 - k o n ~ 6 , "surround ~ him on all sides." The Own Consecration (ji-kaji)"5 follows, in which the priest first forms the Mudra of the FivePronged Vajra to the Inside (nai-goko-in) and then the Mudra of the Pagoda of the Five Families (gobutfi-in),"6 and intones now for the first time in this act Aizen's own Small Formula Op G k k i h i p jab uaSTkarana jab, ending with the Sanskrit term for the special kind of ritual actually performed, keiai). All the following Mantras from here on will have this that is Loving Subduing (uaS~ka~ana, same ending. After this Aizen is directly invited into the oven (rochi ni honzon ulo kanjo-shi agar%).The priest forms with both hands the Mudra of Holding a Flower (jika-in), intones three times the Mantra of Aizen and so invites him to take his seat on the fire wood inside the oven. For the Visualization in the Oven (rochzl-kan) the practitioner forms Amitabha's Meditation Mudra (Mita-jfiin) and imagines: "This flower which I now put into the oven will become a precious lotus seat (renge-dai). On this seat there is the Syllable 'Hoh', which is transformed into a Vajra Arrow (kong6-sen), which again is turned into Kong6-Aizen-my66." The visualization continues and ends in the same way as described above in the Invitation of the Honzon (kanjo-honzon) with a description of the god and his Mandala. Only after these preparations is Aizen directly called down into the oven from his transcendental abode in the Mandara (nzandarajo no honzon ujo rochi ni kanjo-shi agaru), by again repeating his Short Formula combined with the straightforward request to come (ehyehi) and the four syllables of Attraction and Entering: HzZ?n Takki h-jab uaiikarana ehyehi jab hz~?nua?z hob jab. The priest again forms Amitabha's Meditation Mudra and imagines (kannen): "I invite the honzon enthroned in his original place in the Mandara to unite mystically (myfie) with the honzon inside the oven so that they may become one single figure and not two." Again the actual deity is brought into identity with his mystically produced shadow image (y&G). An Invocation (keibyaku) follows: "I wish that the honzon Descends and comes to his seat. I12

"4

"' "6

O n the term kanji see AlDJ 402-4. The arrow as samrt~aqa-gqiofAizen has been treated above. That is: Yoku-kong6-bosatsu (Ista-vajra), AlDJ 2218, 2-3. AIDJ 907, I , explains this as consecration of the practitioner's own body which is hereby identified with that of the honzon. his isMudra could not be identified. Perhaps we have here a m i s p r ~ n tfor gobuti-izjin, MDJ 635, 3, although it makes no sense in this connection.

With sympathy (aibin)may he consent to receive These wonderful offerings of Goma."

Again a threefold symbolic Rinsing of the Mouth (sgkzl) is performed by sprinkling water and imagining that hereby the mouth of Aizen is purified. The priest repeats the Mantra: Om z~uvuduz~ajvudham, and utters another Invocation (keibyuku): "Earnestly imploring I offer with reverence, Rinsing the mouth with perfumed water. I wish that the honzon Consents to receive this Goma And to protect and assist the pupils, And that the Siddhis are fulfilled."

The priest three times offers unguent (zukg) and again utters Aizen's Small Spell: H@ B a k k i hz@z jab uuS~kuvunujub . In the next Meditative Imagination (kunnen) the practitioner thinks: "From the exalted mouth of the honzon [this unguent] enters the base of his Heart Lotus and the wonderful implements of offering. From outside of the heart it pervades everything in the body, and from the pores of his hair there flows an immeasurable sea of clouds of powdered unguent. Veneration is offered to all Buddhas, Bodhisattvas, Pratyekabuddhas, hamanas and all the worldly deities."

Joining both hands in the Vajra Adoration Gesture (kongg-ga~sho)"~ the priest utters another Invocation (keibyuku): "I now present with reverence These wonderful offerings of unguent, Wishing that the honzon Will consent to receive this Goma. May he protect the pupils And may Siddhi be completely fulfilled."

The practitioner then offers ghee (soyzl) three times with the large and the small spoon (shuku) combined with a similar visualization and invocation as in the case of unguent, but now imagining that an immeasurable sea of ghee is flowing forth. '~~ After ghee the priest sacrifices one hundred and eight sticks of "milk wood" ( n y l m o k ~ ) .Taking three sticks at a time he dips their ends into the ghee and places them for threefold combustion into the oven. Since he does this thirty-six times, altogether 108 sticks are used. The cord by which the sticks were bound together is thrown into the oven. H e imagines: From innumerable sticks a sea of clouds flows forth, etc. To feed the god, three spoons of boiled rice (hunshiki) are offered next, then the five kinds of cereals (gokoku),"9 garlands of flowers (kemun), incense pills (gunk~)'zOand mixed incense (sankg),12' always combined with similar visualizations as before. 11-

On t h ~ M s u d r i see AIDJ 669, Saunders 1960,76-79,224-25 Wood that 1s not yet completely dry, but still contalns some sap

'I9

'IfDJ8 54- j j AIDJ 2 j j, 3 illDJ 787, 2

IZO I''

All of these substances are then mixed (konton-ku) by pouring them from one container into another in a complicated procedure and in the end distributing them into several bowls. After once more presenting ghee there follows a General Veneration by Mudras and Mantras @Lk u y ~inzmyg), , during which, to the so-called Yoga Formula (sa-ku, i.e.: uaSTkarana jab), an additional formula (kaku) is added, and a jewel-like shape with both index fingers (nito-bogy$ is imitated. After once more inserting twenty-one sticks of "milk wood" in groups of six into the oven, are presented combined with the usual meditative thoughts, the seeds of medical plants (yakzl~hzl)'~~ by seven times placing their container on the spot where the incense stove (&asha)used to stand. The substances for offering are consecrated ( k a j i - m o t ~ u ) by ' ~ ~dyeing powdered rice red and forming it into pills in the shape of pieces used in the Go game. Their container is also placed where the incense stove used to stand, and the substance is consecrated with the three-pronged and the fivepronged Vajra, and by repeating Fudo's Formula in One Syllable (icbiji-ju, that is the Seed Syllable "Ham") twenty-one times, included in the Mantra HE?z namah sanzanta-vajrdnd?~hdm uai~kara?a jab. IZ4 The priest then takes the rosary (nenju) into his left hand and repeats Aizen's formula (bonzon-mjg) one hundred and eight times: Hzlp Takki bi?z jab uaSTkara?a jab, and enters Meditative Vision (kannen), his hands resting in Amitabha's Meditation Mudra: "I visualize that the consecrated objects enter from the horizon's mouth into the basis of the Heart Lotus and completely fill the whole body where they are transformed into innumerable Lotus Arrows (renge-sen). From all pores of the hair these innumerable Lot~isArrows flow into a sea of clouds and fill empty space. I venerate all Buddhas and Bodhisattvas everywhere in the Sphere of the Absolute (hokkai, dhamvzadh~tu).[The arrows] aim at the far-removed Mind of Enlightenment (bodaishin) of all Praqekabuddhas and and let them acquire this Mind of Enlightenment. They also aim at the mutually hateful minds of all the living beings of the Five Places (gosho)"' and the Four Kinds of Birth ( s h i s h ~and ) ~ ~they ~ bring forth the Mind of Unified Harmony (usago-shin).Then they turn round and aim at the Five Places of that person [of the priest or of Aizen?] and convert him so that the Mind of Loving Subduing (keiai-shin)may arise."

rama an as

The practitioner utters another Invocation (keibjaku), his hands joined to the Vajra Adoration Gesture (kongo-gassbg): "I now present with reverence A wonderful offering of objects of dedication I wish that the honzon Consents to accept this Goma, And that he protects the pupils, And that the Siddhis will be perfected."

A General Veneration of the Three Forces VzlkuyO-sanriki), keeping the hands in the same Mudra, follows,127after which the priest intones a prayer (kigan). He puts the Three-Pronged Vajra down, moves the beads of the rosary and says: 12'

IL4 12'

126 12;

illDJ 2178, I , 'IfDJ235, 1-2. Not in Hatta 1985. Perhaps the five living beings to be constantly served: father, mother, teacher, religious director, the sick. S 126, 2 The four kinds of birth are: viviparous, oviparous, moisture or water born, and metamorphic birth. S 178, 2. See above, no. 24 of the Large Ritual.

"Earnestly imploring I dedicate These wonderful Goma offering. I wish that the honzon In his sympathy consents to accept it, And to protect the pupils, And that Siddhi will be completely fulfilled." The practitioner takes the Three-Pronged Vajra, rinses his mouth three times, imagining that he is purifying the mouth of the honzon, and utters the Mantra Om uavada-z~ajvadhanz. H e recites a corresponding Invocation (keibyakzt), his hands in the Vajra Adoration Gesture, the text being the same as at the former rinsing. The Act of the Main Deity now comes to its end, and the priest sends the honzon back (hakken)IZ8 by intoning his Formula and by venerating at the northeastern side of the altar. Forming Amitabha's Meditation Mudra he visualizes that Aizen arrives again at his original place in the Flower Mandara, which becomes his seat in form of a precious lotus flower. T h e actual farewell is enacted by "binding" Aizen's Mudra and intoning his Mantra, which contains the outright demand: "Go away! G o away!" (gaccha-gaccha), while the priest three times snaps with his right index finger:IZ9Onz Takki him jab gaccha gaccha mztb. H i s hands again in Amitabha's Meditation Mudra, the practitioner visualizes (kannen) that the god returns from inside the oven back to his original seat in the Mandara and, changing the position of his hands into the Vajra Adoration Gesture, he invokes Aizen: "I beg that the honzon returns to his original seat." Herewith the third Act of the Goma Ritual, addressed directly to Aizen-my66, has come to its end.

d. Fourth Act (dan)of All Deities (shoson) In the Invitation of the Main Deity of the preceding Act the entourage of Aizen has already been brought briefly to the reader's attention. This fourth Act is dedicated completely to the seventeen deities of the Rishzt-e, the upper right field in the Konggkai Mandava,'" with the only difference that the central Kong6satta (Vajrasattva) is here replaced by Ai-bosatsu, called Vajra-Raga in the accompanying Sanskrit antra.'^' In the main field of the KongGkai Mandava, the Joshin-e, this Bodhisattva belongs to the four Bodhisattvas accompanying the Buddha Aksobhya (Ashuku-nyorai) and is placed to his right in the southern position. In the description of our Goma ceremony he actually occupies the seat which should be taken by Aizen himself, but since one of his names is anyhow Kong6-Aizen, we perhaps may regard him as a special form of our King of Lust. In his representation in the Joshin-e he holds a single arrow with both hands horizontally in front of his chest in the way Takki-6 is represented.13' During the fourth Act of Aizen's Goma ritual all of the sixteen deities surrounding the central figure of the Rishzt-e, beginning with Ish6-kong6 (Ista-vajra), are called down in a sequence and in a 128

illDJ 1818-19. ""napping the fingers is an ancient and effective magic act. 'O Reproduced in Sawa 1972,161-66. I" AlDJ 655, 2 - 656, I. Ii2 See above, the different forms of Aizen.

manner comparable to the first three Acts. The invocations, visualizations and offerings are virtually identical so that we can omit their description. In the step of Mixing the Offerings (konton-kg), however, the offerings are first dedicated to Dainichi (Vairocana) with the Mantra Om uajradhdtzt clam, then to Aizen-my66 with his Mantra H i p Takki h ~ ? zjab, and only in the third place to Aibosatsu with the Mantra H i p Vajra-rdgzya hob. This might be a hint at the idea that Dainichi and Aizen function as higher transcendental incarnations of Ai-kong6, or, in consequence of this, that all three of them are manifestations of the same numinous quality on different levels of existence. In any case, when Ai-kong6 is dismissed back to his transcendental abode at the and of the Act, the practitioner utters Aizen's Large Formula: O?z Mahdrdgd Vajro~nqaVajrasattva jab, which seems to point in the same direction. e. Fifth Act (dan)of all Gods of the W o r l d (seten) In a way similar to the previous four Acts, in this fifth one the different groups of protective deities are called down into the oven of the ceremony so that they may protect the ritual from negative influences and insure its effectiveness. First, Fud6-my66 (Acala-vidyiiraja) as a central figure in all Fire Ceremonies is brought down, followed by the group of the Twelve Gods (jini-ten) as the protective deities par ex~el1ence.I~~ After them the Seven Planets (shichi-p, sapta-graha), the Twenty-eight Lunar Mansions (shztkzt, naksatra)134 and other star constellations influencing life and destiny of the practitioner and the patron of the ceremony (sejzt, ddnapati), are invoked. They also are visualized and receive their different offerings before being sent back to their heavenly abodes. After this the long and complicated Goma Ritual is concluded.

'j3

'j4

Cf. the study by T . Hamada, "Juni-ten gaz6 no kenkyc," in: Bukkji Geijutsu 44,1960, 24-44; 49,1962,17-34; 71,1969, 63-77; 73, 1969,81-loo; Goepper 1988,176-85. O n the star cult see the different articles in Kobijutsu 35, December 1971; also the catalogue of The 12th Exhibition of the Grand Treasury of Koyasan, "The Mandala and The Stars", Museum Reihokan, Koyasan 1991.

ABBREVIATIONS

AA BEFEO GOS HJA S HG KYM KZ M

M DJ MJ

N S SZS T TP TZ TZS ZSZS

Arts Asiutiques Bulletin d'gcole Frunpise d'Extrtme Orient Gaekwad's Oriental Series Huruard Journul of Asiatic Studies Hiibii Girin Kokuyuku Mikkyii Kiibii Duishi Zenshzt Morohashi: Dai Kunulu Jiten Mikkyii Daijiten, by Nishimura MikkyG Jiten, by Sawa Nakamura, H.: Bukkjliigo Duijiten Soothill-Hodous: Dictiondry of Chinese Buddhist Term Shingonshi Zenshzt Tuishii-shinshi Duizgkyii (Tuisho Cunon of Buddhist Texts) T'oung Puo Tuishii-shinshz; Duizgkyii, Zuzii (Picture Section) Tendaishi Zer~shzt Zoku-Shingonshzi Zenshzi

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GLOSSARY OF CHINESE AND JAPANESE

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Aizen-Mandaras, the dogmatic background of the notion of "love" or "lust" is explained and a historical and sociological survey of the belief in Aizen in East Asia is given, followed by an explanation of Aizen's function in heterodox speculations, especially of the Tachikawasect. After chapters on Aizen's Symbolic Form (sumri.zuyu-gy6), his Seed Syllables (shz~ji)and Mantras (shincpon), a long section describes the different rituals connected with the deity. ARTIBUS ASIAE Supplementum XXXIX, 1993 ISBN 3-907070--s1-8 172pp., 6 colour plates, 41 black & white illustrations, 24x32 cm, cloth bound

ARTIBUS ASIAE MUSEUM RIETBERG ZURICH GABLERSTRASSE 15 CH-8002 ZURICH SWITZERLAND