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Shifu Nagaboshi Tomio
Within Shingon the fields of experiential spiritual practice are summarised in what is known as the 'Sammitsu', a term meaning the 'three esoteric studies'. These studies involve attaining an understanding of the Mind, Body and Speech of Mahavairochana Buddha and their correspondences within the Mind, Speech and Body of the practitioner.
Traditionally the Sammitsu are expressed in the form of mudra, mantra and mandala. Mudra are the special postures adopted, usually with the hands, to represent aspects of a Buddha's wisdom. Mantra are the sacred sounds, syllables or chants which constitute the words of an enlightened one. Mandala are ornate graphic representations of the knowledges and powers of the enlightened ones.
All teachings concerning the Sammitsu are esoteric or 'Mikkyo', inner rather than outer teachings. The word 'esoteric' indicates something not easily understood: what is seen (visually or mentally) is not necessarily all there is.
The Sammitsu also occur in an internal form within the being of the practitioner. The Shingon student learns to regard mudra as representing the total and perfected actions of the body; mandala as a representation of the perfected mind; and mantra as representing the perfection of communicative spirituality.
These categories of mudra, mantra and mandala together encompass and represent all the great areas of training, attitude and ways of understanding experiences utilised within the esoteric trainings and can be combined in various manners to form meditational endeavours.
The passing on of the inner meanings of traditional Mikkyo symbols and practices is known as 'Kuden' but this term also means much more. In general, 'Kuden' refers to the explanation of a sacred text, as when your teacher explains the essence of its esoteric meanings and shows how it should be understood. Kuden also describes the manner in which a teaching is delivered to a student along with all the different experiences and events which lead up to and arise after it. The information transmitted in Kuden may or may not be very important but the experiential environment which a teacher creates in order to deliver it is, for this is what enables a student to fully understand the principles and significance of what is shown and transforms what was previously only seen as information into practicable wisdom.
'Kanjo' is the ritual anointing with sacred water by a teacher on his pupil, which occurs during certain ceremonies (including that of Kuden). Kanjo is rather like a baptism for it symbolises the water of a new birth, a birth into a life not content with its old patterns and sufferings, a life which is redirected towards the attainment of the understandings that enable one to overcome them.
Kanjo is a form of empowerment in both a literal and symbolical sense. It represents a pouring into a student of the powers of insight and knowledge, passed on to him by his teacher and enabling him to teach others in turn. It is an acknowledgement of the students' progress and a recognition of their capacity and intention to function in a new way. Some types of Kanjo are given in order to prepare or protect a student during his training or for certain tasks or special studies.
Rather than place Shakyamuni Buddha at the centre of its teaching, Shingon regards the historical Buddha Shakyamuni in a cyclic sense in that he was the last of a series of Buddhas. The central 'deity' of Shingon is another Buddha, one who is considered the source of all Buddhas and represents the Buddha principle. He is called Mahavairochana a term composed of two sanskrit words meaning the 'Great Illuminating Brightness'. Mahavairochana is considered to be the Adi-Buddha, that principle of Enlightenment which exists before or out of time and to which there is no human relationship. Different Buddhas are seen as emanations or physical manifestations of that principle.
Shingon pays respect to the Buddha in the form of Mahavairochana. Because Mahavairochana was never born he can never die: he is a principle, and as such he has a continual, universal and timeless significance not confined to any country, time, culture or situation.
Extracted from "Some Features, Attitudes and
Practices in the Shingon-Shu Kongoraidenha"
©Shifu
Nagaboshi Tomio, 1977.