The kuji-in () or jiÃÂzìyìn (), also known as Nine Hand Seals, is a system of mudras and associated mantras that consist of nine syllables. The mantras are referred to as kuji (), which literally translates as nine characters. The syllables used in kuji are numerous, especially within Mikkyà  (Japanese Esoteric Buddhism).
Scholars have stated that kuji is of Daoist rather than Buddhist origin. There is no mention of kuji in any of the Shingon or Tendai records brought to Japan.
The use of kuji is essentially a layman's practice and is uncommon in many orthodox Buddhist traditions. It is, however, found extensively in Shugendà Â, the ascetic mountain tradition of Japan, and in Ryà Âbu Shintà Â, which combined Shingon esoteric practices with shinbutsu-shà «gà Â, the syncretism of Buddhist divinities with kami.
The nine Buddhist cuts in order are: Rin, Pyo, To, Sha, Kai, Jin, Retsu, Zai, and Zen.
The kuji are first introduced in the BàopÃÂzà(), a Daoist text written by Gé Hóng (c. 280âÂÂ340). He introduces the kuji in chapter 17, entitled DÃÂngshè (ç»涠'Climbing [mountains] and crossing [rivers]'), as a prayer to the Liùjià(å Âç²; Six Generals), ancient gods. In Daoist magic, the Jiàare powerful celestial guardians and are among the gods of the Celestial Thunder Court of Emperor Xuanwu.
The kuji are first seen in line 5, which reads,
Translation:
The kuji form a grammatically correct sentence in Classical Chinese. They come from this section of the chapter. They are written as which can be roughly translated, "(Celestial) soldiers/fighters descend and arrange yourselves in front of me", or "May all those who preside over warriors be my vanguard!"
Other translations are possible, as variations exist within Mikkyà  (Japanese Esoteric Buddhism). According to the Baopuzi, the kuji is a prayer to avert difficulties and baleful influences and to ensure that things proceed smoothly. To this end, it can be said that the primary purpose of kuji is abhiá¹£eka () and exorcism ().
The kuji are next cited in a text called The commentary on the discourse about the Sutra on Immeasurable Life, and on the verses about the vow to be reborn [in the Pure Land] ( Wúliàng shòu jëng yà Âu pó tàshàyuàn shÃÂng jì zhù), also known as the Commentary on the treatise on rebirth in the Pure Land (, WÃÂngshÃÂng lùn zhù) written by the Pure Land Buddhist Taluan (467?âÂÂ542? CE).
How the kuji arrived in Japan is still a matter of debate. Some contemporary scholars assert that the kuji arrived in Japan via China, via Jà Âdo-shà « and Shugendà Â, around the 8th century, if not later. As to what the kuji consisted of at the time it arrived in Japan is unknown. Mudras are found in Daoism as well as in Shugendà Â. Some have suggested that Shugendà  created the mudras currently associated with the kuji, as most of the information known about the kuji comes from Shugendà  literature.
The earliest known Japanese application of the kuji comes from the Shingon monk Kakuban (1095âÂÂ1143), who was an academic of Taluan's writings and teachings. Kakuban introduced several kuji formulas dedicated to AmitÃÂbha, in his text The Illuminating Secret Commentary on the Five Chakras and the Nine Syllables (äºÂ輪ä¹ÂÃ¥ÂÂæÂÂç§Âå¯Â義éÂÂ, Gorin kuji myà  himitsu gishaku or äºÂ輪ä¹Âå Gorin kuji hishaku).
The kuji formulas Kakuban introduces are commonly grouped under the title zokushu, and are entirely unrelated to original Daoist kuji. The monk Shinran (1173âÂÂ1263 CE), founder of Jà Âdo Shinshà « sect, introduced several new kuji formulas, also dedicated to AmitÃÂbha. Nichiren, founder of Nichiren Buddhism, introduced a kuji prayer derived from chapter 26 of the Lotus Sutra, where it is uttered by the god Vaià Âravaá¹Âa.
Neither Kà «kai, the founder of Shingon, nor Saichà Â, the founder of Tendai, mentioned kuji in any of their writings. It may be assumed that they were unfamiliar with the kuji or that they considered them only part of a minor teaching. Regardless, the nine syllables of the kuji have been associated with several religious and philosophical aspects of Japanese esoteric Buddhism. They are associated with the five chakras (äºÂ輪, gorin), the five elements (äºÂ大, godai), specific directions of the compass, colors, and deities.
There are numerous variations of the nine original kuji in Japanese Buddhism. Most of these variations occurred well after the introduction of the kuji into Japan. Some, however, are other formulas taken from Daoist and Buddhist texts. The kuji that is most often seen in the context of budo, or martial arts, and also in general, consists of the nine original syllables ([Celestial] soldiers/fighters descend and arrange yourselves in front of me).
The fact that the nine original kuji are not seen in Japanese documents and writings until at least the last years of the Muromachi period (1500s), and not extensively until around the Edo (1603âÂÂ1868) and Meiji (1868âÂÂ1912), indicates that they were either not extensively practiced, or taught as . However, the fact that so many ko-ryà « list kuji in their makimono indicates it must have been considered an essential teaching (goku-i). The fact that kuji are listed in numerous kobudà  makimono from the 1500s onward is proof that the kuji were practiced by samurai.
The number nine is seen in Daoist divination as the perfect number for yang, the âÂÂbright sideâ when determining the individual hexagram lines according to the Yijing. Some have suggested that the number nine refers to the nine planets, which Daoists believe directly influence human destiny, or to the seven stars of the Big Dipper (Northern Seven Stars) plus the two attendant/guardian stars, which Daoists believe is the gateway to heaven, and each star is a deity. The Imperial Palace had nine halls; the celestial sphere has nine divisions; in both Buddhism and Taoism, heaven is 'nine enclosures' (jiuchong). The nine sub-mandalas of the Mandala of the Two Realms correspond to the imperial city of Chang'an. (Waterhouse, 1996)
The Kuji-in (ä¹ÂÃ¥ÂÂå°), âÂÂNine Hand Seals,â refers to the mudra (hand seals/gestures) associated with the nine syllables themselves, whereas kuji-ho refers to the entire ritual of kuji and encompasses the mudra, mantra and meditation. Kuji-kan (nine syllable visualization) is a specialized form of Buddhist meditation. Technically the word âÂÂKuji no inâ refers only to the hand postures (mudra), whereas âÂÂkuji no shingonâ refers to the related incantations (mantra). There are hundreds of mudras in Shingon alone. Shugendà  itself has hundreds of mudras, as does Taoism. Many of these mudras are shared; however, many are not. To further complicate this fact, there are also untold numbers of variations on a given mudra, and many mudras are associated with more than one deity or idea. Furthermore, a mudra may have more than one name, or one association depending on its purpose. Practitioners would be wise to keep this in mind when practicing kuji ho.
The dualistic influence of inyogoku (yin yang dualism) is apparent only in respects to the mudra of certain kuji rituals. As stated earlier the kuji in and of itself is a simple prayer. The obvious influences of onmyà Âdà  (the way of Yin and Yang) is clearly seen in the mudra themselves which were added later. Especially in regard to the first and last mudras, the mudras associated with the syllables "to" and "sha", "kai" and "jin". These mudras are obvious yin and yang counterparts. This is significant in that the concept of yin and yang is seen as encompassing all the cosmic phenomena, all eternity between the two polar opposites. The mudra gejishi-in (gesture of the outer lion) and its immediate counterpart naijishi-in (gesture of the inner lion) clearly represent this yin/yang relation. In fact, not only do these two related mudras represent the alpha and omega by themselves, but the two lions associated with them take this association a step further. The two lions are commonly seen outside the doors of Buddhist temples, where they stand as guardians against evil and baleful influences. The first lion utters the sound âÂÂAâ which symbolizes the alpha, that all reality and phenomena are, in the tradition of mikkyà Â, said to neither absolutely exist, nor non-exist â they arise in dependence on conditions, and cease when those conditions cease. Whereas the second lion utters the sound âÂÂUnâ (Hà «m) which symbolizes the omega, the destruction of all evils; it summarizes the two basic false views of nihilism and externalism and shows them to be false. The truth of things is that they are neither real nor unreal. This description also applies to the next two mudra, gebbaku-in (gesture of the outer bond) and its immediate counterpart neibbaku-in (gesture of the inner bound). The first (dokko-in, kongà Âshin-in) and last mudra (hobyo-in, ongyà Â-in), occupy the two most important positions, the beginning and the end, again with relation to the Taoist and mikkyà  points of view of the alpha and omega.
In relation to yin and yang theory, the yang aspect is the light, masculine, positive, offensive, absolute, horizontal, left, forward, upward. While the yin aspect is the dark, feminine, negative, defensive, relative, vertical, right, backward, down. (Waterhouse, 1996)
Ku-ji ho as generally practiced in budo comes from text Sugen jinpi gyoho fuju shu or Fuju shu for short, a Shugendà  document of the Tozan-ha lineage, edited between 1871 and 1934 by Nakuno Tatsue. The original compiler is unknown, but it appears to incorporate numerous Shugendà  rituals from various Shingon sects such as Tachikawa-ryu. The text compilation of texts appears to span a time period from the 1200s on up to 1500s and 1600s. The Fuju shu lists 400 rituals, 26 of them kuji-ho. (Waterhouse, 1996).
The two particular techniques of ku-ji that are most directly related to budo, and most widely known are kuji hon-i (Fuju Shu #199) and kuji no daiji (Fuju Shu #200). These two kuji rituals are centered in the esoteric deities of Shingon mikkyo, the Shidaitenno (Four Heavenly Kings) and Godai myo-o (Five Wisdom Kings). Other groupings of deities exist as well depending on the sect and purpose of the kuji.
The related practice of making nine cuts â five horizontal and four vertical, alternating â in the air or palm of a hand with the finger or on paper with a brush is known as kujikiri, nine syllable cuts. Kuji-kiri is explained in Shugendo texts, quite correctly, as a preparatory ritual of protection, to cut off demonic influences and their inki (vital substance) (Waterhouse, 1996). In Japanese folk-magic and onmyodo, the nine cuts are often made over writing or a picture, to gain control of the object named or pictured. Thus, a sailor wishing to be protected from drowning might write them over the kanji for "sea" or "water". Author and historian John Stevens notes that methods of oral sex using kuji-kiri were employed by practitioners of Tachikawa-ryu. The Fuju shu does not spell out every ritual in detail. However, in several of the kuji-kiri rituals it is spelled out that the strokes are made alternately horizontal and then vertical: five horizontal and four vertical for men; and four horizontal and five vertical for women. A modern Japanese text labeled Dai Marishi-Ten hiju/大æ©å©åÂÂ天ç§Âæ (Nine syllables of the Tactics of the Great Goddess of Light (Marishi-Ten)) says that five horizontal slashes are made while reciting the yo-syllables: rin, toh, kai, retsu, zen, which spells (come, fight, ready, line up, in front) first. These are to be followed by four vertical slashes while reciting the in-syllables: pyo, sha, jin, zai which spells (warriors, one formation, take position). The document gives no other information as to why this arrangement is used.
Ku-ji is a highly flexible practice that can be adapted to the practitioner's needs. The practice of ku-ji ho, as found in Japanese esoteric Buddhism, is a sanmitsu nenju (concentrated three mysteries practice) comprising several interdependent, integrated practices. It can be practiced in the form of either of the Mandala of the Two Realms, the Kongo-kai/éÂÂÃ¥ÂÂç or the Taizo-kai/èÂÂèµç mandala. It is also used by other sects, especially in Japan; by some Daoists and practitioners of Shinto and Chinese folk religion; and in other folk religions throughout East Asia.
In general, simply offering incense, reciting the kuji with hands in gasho, and being mindful and present is sufficient to appease JiÃÂ.
The kuji-in practice symbolizes that all the forces of the universe are united against evil; because of this, it was often used by ordinary people for luck when traveling, especially in the mountains.
In Japanese, the nine syllables are: Rin (è¨), Pyà  (å µ), Tà  (éÂÂ), Sha (è ), Kai (çÂÂ), Jin (é£), Retsu (Ã¥ÂÂ), Zai (å¨), Zen (Ã¥ÂÂ). If the nine cuts are then made, as is sometimes done, the syllable Kà  (è¡Â) is sometimes spoken.
Note that the syllables are shortened forms, and there are also longer, Japanese mantra that go with the same mudra. As to why there appears to be no correlation between the mudra and mantra and the representative deities is unknown at this time. Also, many mantras end with the Sanskrit word o'á¹ (om). The meaning of o'á¹ is literally "to shout loudly", while the esoteric religious meaning is seen as the sacred name or essence of God and means "I am existence". It is used at the end of the invocation to the god being sacrificed to (anuvakya) as an invitation to and for that god to partake of the sacrifice. divi There is no indication of where this particular kuji ritual comes from. It seems to be one of more common forms of the Buddhist (possibly Shugendo) kuji. If the original source is discovered, it will be made available.
The mudra [hand postures] are as follows:
è¨ (Rin): Hands together, fingers interlocked. The index (sometimes middle) fingers are raised and pressed together.
Mudra is, dokko-in/kongoshin-in, "seal of the thunderbolt."
Mantra is, On baishiramantaya sowaka. [All hail the glory of Vaià Âravaá¹Âa (The one who likes to hear the Dharma). o'á¹Â] [Eng.]
å µ (Pyà Â): Hands together, pinkies and ring fingers interlocked (often on the inside). Index finger and thumb raised and pressed together, middle fingers cross over index fingers and their tips curl back to touch the thumbs' tips, the middle-fingers' nails touching.
Mudra is, daikongorin-in, "seal of the great thunderbolt."
Mantra is, On ishanaya intaraya sowaka. (All hail the instrument of divine righteousness, o'á¹Â)
é (Tà Â): Hands together, index fingers cross each other to touch opposite ring fingers, middle fingers crossed over them. Ring and pinky fingers are straight. Tips of ring fingers pressed together, tips of pinkies pressed together, but both sets of ring and pinky fingers are separated to form a V shape or bird beak.
Mudra is, gejishi-in, "seal of the outer lion."
Mantra is, On jiterashi itara jiva ratanà  sowaka. [All hail the exultant and glorious celestial jewel, o'á¹Â]
è (Sha): Hands together, ring fingers cross each other to touch opposite index fingers, middle fingers crossed over them. Index finger, pinky and thumb straight, like American Sign Language "I love you".
Mudra is, naijishi-in, "seal of the inner lion."
mantra is, On hayabaishiramantaya sowaka. (All hail the swift thunderbolt of exalted strength, virtue, and glory! o'á¹Â)
ç (Kai): Hands together, fingers interlocked.
Mudra is, gebaku-in, "seal of the outer bonds."
Mantra is, On nà Âmaku sanmanda basaradan kan. [Homage to all-pervading diamond thunderbolts. Utterly crush and devour! o'á¹Â] [Eng.]
é£ (Jin): Hands together, fingers interlocked, with the fingertips inside.
Mudra is, naibaku-in, "seal of the inner bonds."
Mantra is, On aganaya in maya sowaka. [All hail the glory of Agni (God of the Sacred Fire). o'á¹Â!]
å (Retsu): Left hand in an upward-pointing fist, index finger raised. Right hand grips index finger, and thumb is pressed onto left index's nail.
Mudra is, Chiken-in, "seal of the wisdom fist," also known as "seal of the interpenetration of the two realms."
Mantra is, On irotahi chanoga jiba tai sowaka. [All hail the radiant divine all-illuminating light, bursting and streaming forth in all directions, o'á¹Â]
å¨ (Zai): Hands spread out in front, with thumb and index finger touching.
Mudra is, hokkai-jà Â-in, "seal of the ring of the Sun, Moon, and Earth."
Mantra is, On chirichi iba rotaya sowaka. (Glory to Divine perfection, o'á¹Â)
å (Zen): Hands form a circle, thumbs on top and fingers on the bottom, right hand overlapping left up to the knuckles.
Mudra: hobyo-in/ongyo-in "seal of the hidden form, mudra which conceals its form"
mantra: On a ra ba sha nà  sowaka [All hail! A ra pa ca na. o'á¹Â)
Without any further information regarding this particular kuji ho the best guess is as follows:
Without further information no other conclusions can be made.
The influence of Taoism is very apparent in the practice of ku-ji, in that there are yin/in and yang/yà  aspects to ku-ji that must be taken into consideration by the practitioner. There are five yang/yà Â-syllables, and four yin/in-syllables. In onmyà Âdo philosophy yin/in is related to relative, to benefit self, defensive; yang/yà  is absolute, to use against others, offensive. Thus, when looking at the implied meaning of the syllables in ku-ji it is apparent that the in-syllables are used to defend the self, and the yà Â-syllables are used to attack outside influences.
The yin and yang theory of kuji also carries over to kuji kiri. In kuji kiri the vertical strokes/slashes represent the yin/in syllables, while the horizontal strokes/slashes represent the yang/yo syllables. Thus, in kuji kiri the practitioner is first making an aggressive horizontal slash representing the first syllable which is a yang/yo which represents the absolute aspect or offensive nature of the deity. The second stroke/slash is defensive and represents the second syllable or relative aspect or defensive nature of the deity.
Often a tenth syllable is added at the end. Generally, it is the mata [syllable] for victory, or "to destroy".
Yang/YÃ Â syllables [horizontal, absolute]
Yin/In syllables [vertical, relative]
Thus the essence of the meaning of the ku-ji can be roughly translated as,
Each of the nine syllables has a meaning that when integrated with the corresponding mudra, mantra, and visualization [corresponding deity] manifests sanmitsu kaji [grace, virtue, merit of the Three mysteries]. In general, it can be said that ku-ji is the harnessing and control of psychospiritual or psychophysical energies, and, or, of cosmicâÂÂuniversal spirits/deities/energies.
The deities most commonly called upon in mikkyo (esoteric Buddhism, Vajaryana-tantra) are deities of Hindu and Tantric origin, which are ultimately all emanations of Dainichi Nyorai (Mahavairocana). These deities are the shi-ten-no (Four Heavenly Kings) and the Godai myà Â-à  (Five Wisdom Kings), as well as Marishi-ten (Marici), Nit-ten (Surya), Bon-ten (Brahma), Ichiji Kinrin Bochto (Ekaksa-rosnisa-cakra, or Ekasara-buddhosnisa-cakra), and so on.
With relation to Japanese esoteric Buddhism [mikkyo], the yang/yà Â-syllables represent the shi-ten-no, with the exception of the âÂÂkaiâ syllable which represents Fudo-myà Â-o (Acala). The yin/in-syllables represents the Godai myà Â-o. A simple look at the ku-ji and their relation to the prescribed deities shows a very logical pattern. The ku-ji and associated deities form a simple mandara, with Fudà  myà Â-à  at his rightful and proper place in the center, surrounded by the other four Myà  at their respective locations, which comprises the inner sanctumâÂÂhall of the mandara. The shidaitenno being of a lower rankâÂÂoffice than the Myà Â, occupy the outer sanctum/hall of the mandara at their respective positions.
YÃ Â/yang syllables
In/yin syllables
This is the other kuji ho that most directly deals with the martial arts, the most direct being the above kuji hon-i.
YÃ Â/yang syllables
In/yin syllables
Other groupings of the ku-ji include:
In Fuju #197 and #198 which relates to the nine planets and Seven Northern Stars, the purpose of the kuji-ho is to obtain protection, as well as longevity; and the correlations with the nine planets and Seven Northern Stars. The idea was to perform the ritual to remove bad or baleful influences which a particular star or stars might in exerting over at that time over a person in a particular age group, by converting it into an auspicious star, planet, and influence.
Zokushu is the earliest known Buddhist adaptation of the kuji. It is a kuji ritual based on Kakuban's formula, in which each of the kuji corresponds to a shuji/bonji/bija. However, instead of the original nine Taoist syllables, Kakuban created a new set of nine syllables based on the mantra of Amida Nyorai. There are in fact several zokushu rituals that Kakuban designed. The ritual itself is based on the deities Avalokitesvara [Kan'non bosatsu], and Amida buddha (Amitabha) as well as the nine deities of the inner sanctum of the Taizo-kai mandara/èÂÂèµçÂÂæ¼è¼羠(Garbhadhatu). Zokushu is based on Jodoshu [Pure land sect] and therefore the primary deity of worship is Amida Nyorai.
Zokushu #5
Zokushu #5 gives lists the nine original Taoist syllables and gives a corresponding Japanese syllable. The shuji themselves when placed in order of their corresponding kuji form no logical sentence or statement, and may represent Sanskrit bija, and, or Tantric deities, or it may be a prayer. Without further evidence, no other conclusions can be made.
It is unclear how this set of kuji is related to the Sanskrit bija Kakuban gives for the primary zokushu kuji, which is the mantra of Amida buddha.
Um, a, mr, ta, te, je, ha, ra, hum
which compose the mantra,
Om amrta tese (teje) hara hum [Om to the elixir/nectar of immortality of most exalted virtues and noble strengths, to the heavenly queen Amida buddha, hum.] or [Om save us in the glory of the Deathless One hûm].
Another kuji formula is found in the writings of Jodo Shinshu, founded by Shinran, and is yet another mantra to Amida Nyorai which reads:
Which spells the mantra, Namu fukashigi-ko Nyorai (Homage to the TathÃÂgata [buddha] of inconceivable light.)
A juji formula is then given with the syllables,
This spells the mantra, Kimyo jinjippà  mugekà  Nyorai (Homage to the TathÃÂgata [buddha] whose light shines without obstruction universally in the ten directions!)
It may be that this juji ritual is based on, or connected to an older Taoist juji formula,
Kakuban then goes on to give a list of deities related to the mantra of Avalokiteà Âvara (Kan'non)
Note: the deletion of the Om syllable in the beginning and addition of the Hrëh] syllable is an adaptation. Hrëh signifies the element metal and lungs. The placement of Avalokiteà Âvara at the beginning and end obviously signifies that the other deities are contained within Avalokiteà Âvara.
Rather these kuji and juji originated strictly within Japanese Buddhism is unlikely as Jodo Shinshu is, like many things in Japanese theology, influenced by Taoism. And it is also safe to assume that both Kakuban and Shinran would have been familiar with the various Taoist kuji and juji formulas. Rather or not their kuji and juji formulas are Japanese versions of Taoist formulas may never be known. However, what is clear is that they represent the earliest known use of the kuji and juji in Japanese esoteric Buddhism [mikkyo]. (Waterhouse, 1996)
Again, in the absences of further evidence no other conclusions can be made.
The same ritual goes on to give a list of related Taoist deities.
Lastly, in the late Edo jidai the kuji were practiced by various Shinto schools. And therefore, a set of correlations was developed between the kuji and various Shinto schools and related deities. Below is one such list belonging to a Shinto school in the Yamato region.
Another kuji prayer is outlined by the monk Nichiei (Nichiren), and is found in chapter 26 of the Lotus Sutra where it is uttered by the deva King of the North, Tammon-ten/Bishamon-ten (Vaisravana), and is said to guarantee protection to those who recite it.
The verse goes (CH 26 Lotus sutra):
"Thereupon, the devarÃÂja Vaià Âravaá¹Âa, a world-protector, addressed the Buddha, saying: âÂÂO Bhagavat! I will also teach a dhÃÂraá¹Âë out of pity for sentient beings and in order to protectã expounders of the Dharma.â He then recited a dhÃÂraá¹Âë, saying:
Aá¹Âá¹Âe naá¹Âá¹Âe vanaá¹Âá¹Âe anaá¸Âe nÃÂá¸Âi kunaá¸Âi (Skt.); (Ryo-hyaku-yu-jun-nai-mu-sho-sui-gen)(Jpn.)
âÂÂO Bhagavat! With this mantra-dhÃÂraá¹Âë I protect the expounders of the Dharma; I will also protect those who hold to this sutra. All heavy cares shall be banished for a hundred yojanas around.â [Cause all feeble sickness to be naught a distance of a hundred yojans (approximately 1,000 miles/1,600 km)]
Also in chapter 26 of the Lotus Sutra immediately following Vaià Âravaá¹Âa, the Great King Dhá¹ÂtarÃÂá¹£á¹Âra (Jioku-Ten) Guardian of the eastern quarter announces a kuji in Sanskrit to complement Vaià Âravaá¹Âa's dharani. The verse goes:
"At that time the devarÃÂja Dhá¹ÂtarÃÂá¹£á¹Âra the great Heavenly King and Upholder of the Nation was present in the assembly, respectfully surrounded by millions upon million of myriads of koá¹Âis of nayutas of gandharvas. He came before the Buddha together with them and addressed the Buddha with his palms pressed together, saying: âÂÂO Bhagavat! With a mantra-dhÃÂraá¹Âë I will also protect those who hold to the Lotus Sutra.â He then recited the dhÃÂraá¹Âë, saying:
Agni Gauri gandhÃÂri caá¹Âá¸ÂÃÂli matangi jaá¹ guli vrà «saá¹Âi agasti."
âÂÂO Bhagavat! This mantra-dhÃÂraá¹Âë was spoken by forty-two koá¹Âis of buddhas. Anyone who attacks or slanders an expounder of the Dharma also attacks or slanders these buddhas."
As it should be apparent, the kuji are a very adaptable ritual which has, and will likely continue to be, adapted to the local needs of the individual or organization. In so long as the overall structure of esoteric practice is understood, that being the practice of sanmitsu, then the kuji can be adopted to fit almost any need.
Each word is translated to the following meaning for Shinto.
Kuji-in is used as part of a ritual in Shinto, and is used to purify a person with a waterfall.
Each word is translated to the following meaning in Buddhism.
There as many as 81 variations to the Kuji-in within certain sects of Buddhism in Japan, to say nothing of other mudra that are also used.
While the kuji-in have no unique relation to ninjutsu, the ninja traditions are steeped in esoteric Buddhist beliefs, especially Mikkyo. The kuji-in, known here as Kuji-kiri, are used in a number of their meditations, both those related simply to their religious practice and those dealing with their martial arts; in some ways, they are used similarly to the Taoist ideas in Chinese internal martial arts (some of the ideas of Chinese internal arts are, however, incorporated in many Japanese arts, including ninjutsu and jujutsu). In his book Ninja Vol. II: Warrior Ways of Enlightenment, Stephen K. Hayes claims the following interpretations:
The kuji-in are a tool to be used in meditation, and are frequently over-simplified in popular culture as being a form of magic. This belief, along with the use of the mudra and mantra, has been further popularized by Tekken, Tenchu, Dead or Alive and certain neo-ninja games. The lines of the Chinese poem, compounding the syllables, reads "Nozomeru Hei, tatakau mono, kaijin wo hari, retsu wo tukutte, mae ni ari".