Ser105 001

Buddhist Fire Ritual in Japan
著者(英) Madhavi Kolhatkar, Musashi Tachikawa

journal or Senri Ethnological Reports
publication title
volume 105
page range i-198
year 2012-03-30
URL http://doi.org/10.15021/00000925
Senri Ethnological Reports
105
Madhavi Kolhatkar
Musashi Tachikawa
National Museum of Ethnology

Osaka
2012
Published by the National Museum of Ethnology
Senri Expo Park, Suita, Osaka, 565-8511, Japan
© 2012 National Museum of Ethnology, Japan

All rights reserved. Printed in Japan by Yubunsha Co., Ltd.
Publication Data
Senri Ethnological Reports 105

Madhavi KOLHATKAR and Musashi TACHIKAWA P.198
Includes bibliographical references
ISSN 1340-6787
ISBN 978-4-901906-91-3, C3014
1. homa 2. mantra 3. Tantrism 4. Buddhism 5. Acala
Preface
Preface
Madhavi Kolhatkar
Musashi Tachikawa
This is an attempt not to present the Japanese Fire Ritual in general but only that
which is performed according to Chisan branch of the Shingon sect. In 1980, the late
Professor Rev.Yĥshć Miyasaka laid the foundation stone of this project, when
accepting the request of Musashi Tachikawa, he performed the Buddhist Shingon Fire
Ritual or Goma as it is called in Japanese. At that time, all the Mudr»s, an important
feature of the Tantric ritual were done under the robe. Hence for better understanding,
he made them separately after the performance was over. On 29th October 1982, again
honouring the request of Tachikawa, he performed the ritual of the Fire Offerings to the
God Fudć Myćć ‘Acala Vidy»r»ja’, this time making the Mudr»s openly. This
performance could be filmed by the able team of National Museum of Ethnology,
Osaka, Japan (‘Kokuritsu Minzokugaku Hakubutsukan’ in Japanese and popularly
more well known as Minpaku), since Musashi Tachikawa was a Co-appointed
Professor (Kyakuin Kyćju) at Minpaku. A monograph on Goma with 92 photographs,
their explanation in Japanese language and a brief introduction to the ritual was
published by Tachikawa, E. Kuwamura and A. Yamade under the title “Hudć Goma no
Kiroku” pp. 48, in SaӘbh»Ӹ» 8, the Nagoya University Journal, November1986.
The seed of this present venture was sown when Madhavi Kolhatkar was invited
by Musashi Tachikawa to Minpaku for three months (from 21st January to 29th April
2003). It was at that time that Mrs. Mari Hattori very meticulously translated the brief
Japanese annotations to the 92 photographs published in the 48 pages monograph in
SaӘbh»Ӹ», 1986. Further, the book THE TANTRIC RITUAL OF JAPAN (FEEDING
THE GODS: THE SHINGON FIRE RITUAL) by Richard Payne became like the Old
Testament to us. He has described, in it, the ritual in minute details and in a very clear
and picturesque way and has explained even the difficult topics like Mudr»s in a very
simple, easy and lucid style. It is due to his work that our task became far less difficult.
At times, there were differences in the traditions which gave rise to various doubts in
our mind. At such times we were immensely fortunate to avail of the able guidance of
Rev. Yĥkć Miyasaka, a son of the late Rev. Yĥshć Miyasaka. Also, he was gracious to
allow us to take additional photographs of some of the Mudr»s in 2011.
In the process of taking photos, making a film, finalizing and completing the text
and bringing it to the book form, valuable help was volunteered and offered by the
students of the Nagoya University, the staff of Minpaku office, computer division and
library, Mrs. Satoko Suzuki, Mr. Takeshi Kameyama, Mrs. Chieko Kameyama and Ms.
Junko Koguchi. The credit from the inception to the completion of this project goes to
all these.
i
The project would not have taken this final shape and seen the light of the day,
without the expediting leadership of Dr. Yasuhiko Nagano, Professor Emeritus of
Minpaku, and moreover, a friend and solace of Tachikawa. It was his invitation to
Kolhatkar to Minpaku for a year (from 1st August 2010 to 30th July 2011), which made
possible for her to come to Japan and his incomparable administrative competence
which empowered us to complete this project. He has been immensely helpful in the
Kalaĕ»dhy»ya of this Goma.
We are indebted to all these and also all others who were of help to us in
completing this work. We will always cherish the memories of their valuable role with
deep sense of gratitude.
ii
CONTENTS
Preface ....................................................................................................i
Introduction ...........................................................................................1
List of Figures......................................................................................17
Chapter I The Environment, the Paraphernalia and the Priests ........25
Chapter II The Preparatory Rites of the Fudć Goma .........................51
Chapter III Main Ritual ..................................................................... 111
Bibliography ...................................................................................... 175
Index of the Mantras ......................................................................... 177
Word Index........................................................................................ 18
Introduction
Introduction
The word Globalization is comparatively new, a twenty first century product.

According to the Oxford English Dictionary, it was first employed in 1952. However,
the phenomenon itself is not new. Actually it is very old, if the following definition of
the word is accepted, which reads, “Globalization is the process by which regional
economies, societies, and cultures become integrated through communication,
transportation, and trade.” The present day globalization is mainly related to marketing
of the material products whereas the ancient one was of ideas and knowledge and the
Greeks, Arabs, the Indians and also the Chinese played a very important role in it.
Buddhism is one of those early globalised products, which took birth in India and
spread in the whole world.
But Buddhism did not travel alone. It carried so many other things also with it. One
of them is the Ancient Indian Fire ritual, which is a very old tradition in India, and has
also entered into Tantrism and Mantray»na Buddhism. Almost all of the Buddhist sects
trace their lineages back to the historical Buddha Ĕ»kyamuni, whereas the Mantray»na
sect traces its lineage to the Dharmak»ya Buddha Mah»vairocana. Some scholars are of
the opinion that Buddhist Tantrism came into existence between the second and eighth
centuries A.D. in India. The argument is: The mantras and the dh»raӜås, which are an
important aspect of Mantray»na, were already translated into Chinese between 223-253
A. D. So in India they, and together with them, the Mantray»na must also have been
existent at least about the middle of the second century A.D. It reached China in A. D.
716 when Ĕubh»karasiӜha, a prince from Orissa carried it to the city of Chang’an. Soon
thereafter, Vajrabodhi, another Buddhist scholar also came to China, where Amoghavajra
became his disciple. It was through the efforts of these three that the Mantray»na got
established in China, from where Kĥkai, more widely known as Kćbć Daishi, a prodigy
of Japan, brought it to Japan in the ninth century.
The Fire Ritual: The Fire ritual has a very old tradition in India which also crept in
later Mah»y»na Buddhism, especially the Tantrism. It travelled to China from where
Kĥkai, brought it to Japan in the ninth century. It has preserved some of its original
characteristics as well as incorporated many new ones, which will be pointed out in the
course of explanation. It would not be out of place to mention about Kĥkai, in brief.
The Founder of Japanese Buddhist Shingon Goma: KĦkai or KĈbĈ Daishi
One important point should be made clear here right at the outset that regarding the
available biography of this exceptional personality it has been rightly pointed out that
“Much of the life is fully documented history. Much is pious legend. Usually little
attempt is made to separate the factual from the legendary, for both are essential”
[Nicoloff 2008: 33]. The real name of the founder of the Japanese Buddhist Shingon
1
1
Introduction
Goma is Mao, meaning ‘true fish’. Besides the real name, he has some more names, viz.,
Tćtomono, Kĥkai and Kćbć Daishi. To understand the meaning of these names is itself
to know the life-history and work of this most revered saint personality, and “the
greatest personality Japan has ever produced” [Shiba 2003: 6].
There is a legend regarding the name Tćtomono meaning ‘precious thing’ or
‘treasure’. It was a nickname given to him by his parents. It reflects the belief of his
parents that their son was a reincarnation of an Indian saint. Before his birth, his parents
had a dream in which an Indian priest presented himself in their bedroom and entered
into the bosom of his mother. The tradition also believes that he is an Indian teacher
reborn. Hence the birth date of Tćtomono is ascertained as 15th June based on the date
of the death of that Indian teacher. Tćtomono was born in 774 A.D. and hence is a
contemporary of the great ĔaӞkar»c»rya.
Education: He got education in the best educational institute in the capital. He had
already read a lot of Chinese poems and also some treatises, viz., The Analects, The
Classic of filial piety and the historical records, etc., from Atć Ćtari. In the University,
he read a lot about Buddhism, was attracted towards it and thus became a Buddhist
layman. He left the University then, leaving the course halfway and took to ascetic
practices. He wandered through the mountains and forests of Japan practising penance
and also meditation.
When he was sixteen, he met a Buddhist monk who initiated him in the meditation
on the mantra of ‘Kokĥzć-gumonjino-hć’ and told that if one recites this verse a million
times in proper way, it becomes easy for him to memorize and understand the meaning
of the religious scriptures. At that time the morning star, the star of Venus entered into
his mouth and suddenly he obtained psychic equilibrium. All his worldly desires and
longings were pacified and therefore he decided to renunciate. Accordingly, he shaved
his head and became a Buddhist novice. Since he had only the sea in front and the sky
above during the ascetic practice, he acquired the name Kĥkai; kĥ meaning ‘sky’ and
kai meaning ‘ocean’; also suggesting the two entities which are forever separate and are
still joined to each other. The name also suggests his future achievements in non-duality,
viz., combining rationality and supernatural mind, fondness for the abstract and the
concrete, love for simplicity and variety, his pragmatism and idealism and also severity
and gentleness. He was only twenty at that time.
After committing himself to Buddhism, Kĥkai read a lot in various disciplines of
philosophy, viz., Shintoism, Confucianism, Taoism and also of course Buddhism. His
quest for truth, however, was not complete. He soon got hold of the
Mah»vairocanasĥtra. According to some accounts, he discovered it in the Kume temple
in 803 A.D. He read it again and again only to realize that it was difficult to understand
without the help of a proper teacher. Also to understand it properly, the knowledge of
Sanskrit together with the oral instruction on the methods of meditation and also on
Mudr»s ‘hand gestures’ prescribed in it was necessary. Further, the thorough
understanding of Esoteric Buddhism was also needed. (In the Webster’s dictionary the
word is derived from Gk.mystikos, ‘one initiated’. Thus initiation from a teacher is very
important in Esoteric Buddhism.)
2
2
Introduction
Introduction

The Mah»vairocanasĥtra is the basic text of Esoteric Buddhism, which was the
most recent phase of the seventh century Buddhism in India. It was translated into
Chinese in 726 A.D., by one Indian master Ĕubh»karasiӜha with the help of a Chinese
scholar called I shing. (It is amazing to note that just within ten years, i.e., in 736 A.D.
the copy of the Sĥtra was already made in Japan and was available to scholars). After
Ĕubh»karasiӜha, another great master of Esoteric Buddhism Pu-Kung, i.e.,
Amoghavajra, one of the greatest translators of China and a chosen disciple of
Vajrabodhi had HuiKuo as his legitimate successor; and hence China was the only place
where it was possible for Kĥkai to acquire knowledge and understanding of Esoteric
Buddhism and of the Mah»vairocanasĥtra; and thus satisfy his urge for Gengen
‘returning to the source’, which is a synonym for ‘Attaining Enlightenment’.
Kĥkai then asked permission of Emperor Kanmu to go to China to visit Chang’an, a
city along the Hwang-ho river, just below the Gobhi desert, which was the seat of
Esoteric Buddhism. The Governer there at that time was very much pleased with
Kĥkai’s fluent, perfect and refined Chinese and allowed the envoy to land in the country
and sent necessary letter to Chang’an. After facing and fighting out lot many calamities
on their way, finally Kĥkai could reach Chang’an and also Hui Kuo. His encounter with
Hui Kuo is described by Kĥkai himself, “As soon as he saw me he smiled with pleasure,
and joyfully said, ‘I knew you would come! I have been waiting for such a long time.
What pleasure it gives me to look at you today at last! My life is drawing to an end and
until you came, there was no one to whom I could transmit the teachings. Go without
delay to the altar of the AbhiӼeka with incense and flower.’”
The AbhiӼeka or consecration is a very simple rite. Its aim is to establish personal
relationship of the initiate with a Buddha, a Bodhisattva or a guardian. The person to be
initiated has to throw a flower on a maӠҦala. The mantra of the deity on which it falls
on the maӠҦala is selected then and the person is initiated in the mantra together with
the mudr» of that particular deity.
The flower Kĥkai threw fell on the deity Mah»vairocana and then he received the
first initiation from Hui Kuo, who then transferred all that he knew to Kĥkai without
having »cariyamuԂԂhi, i.e., without any reservations.
Then within three months’ time Kĥkai received the final AbhiӼeka and at the age of
thirty-two, became the eighth patriarch of Esoteric Buddhism. Hui Kuo who was on the
verge of death tried his best to bestow on Kĥkai all the knowledge he had. For this,
Kĥkai remained eternally grateful to him.
Just before his death, Hui Kuo gave Kĥkai his last instruction, “Now my existence
on earth approaches its term and I cannot remain long. I urge you, therefore, to take the
maӠҦalas of both the realms, i.e., Garbha-udbhava and Vajradh»tu, and the hundred
volumes of the teachings of the Diamond Vehicle, together with the ritual implements
and these objects, which were left for me by my master. Return to your country and
propagate the teachings there.”
Soon afterwards Hui Kuo breathed his last. It was Kĥkai who wrote the epitaph for
him. Initially, Kĥkai had planned to stay for twenty years in China. Finally, however, he
3
Introduction
started for Japan only after thirty months. His accomplishment during such short period
is phenomenal. Besides the acquisition of knowledge of Esoteric Buddhism, he learnt
Sanskrit and Indian Buddhism from Indian teachers, viz., Prajñ» and Mañjuĕrå. He also
learnt calligraphy from Fang Ming and even the craft of making a brush out of badger’s
hair. He came to know about various Chinese medicinal herbs and plants, the skill of
making bridges and also perhaps the knowledge of building dams. He carried the
maӠҦalas, various types of vajras, sacrificial implements and voluminous religious
sĥtras, which he got copied from professional copyists and some he even copied himself.
There is a separate list of all the objects which he brought from China and which he
submitted to the emperor (This list consists of one hundred and forty-two Buddhist
sĥtras in two hundred and seventeen fascicules, forty two Sanskrit texts in forty four
fascicules, thirty two commentaries in one hundred and seventy fascicules, five
maӠҦalas, five portraits of the patriarch, nine ritual implements and thirteen different
objects given to Kĥkai by his teacher Hui Kuo).
Career in his own country: After coming back to Japan, Kĥkai had to face very
difficult times. At that time there was another important priest, Saichć, also an authority
on Esoteric Buddhism, but a follower of Tendai sect and who already had availed of the
royal patronage. He had his temple built as Hieizan, which was also called Enryakuji.
Kĥkai, therefore could not get royal patronage and also any chance to propagate
Esoteric Buddhism of the Shingon sect.
The circumstances, however, changed when Emperor Saga, who was very
sophisticated and learned, came to power. He once asked Kĥkai to carry out some
calligraphy for him. The relations gradually turned into close friendship and in 810
A.D., Kĥkai was appointed as administrative head of Tćji. From that time onwards, his
religious career started and further attained its glory.
Saichć at that time was considered a priest of Esoteric Buddhism, but for that he
needed the knowledge of the Mah»vairocanasĥtra, for which AbhiӼeka and initiation
were necessary. He asked Kĥkai to initiate him together with some other students.
Initially, it was four disciples who were ordained. Even though Saichć wanted to
undergo the third initiation also, it could not take place, as he did not have the time
necessary for the preparations.
As the number of students went on increasing, so did the popularity of Kĥkai.
Finally, the Takaosan temple became insufficient, as well as inconvenient, due to the
disturbances of its being in a city. Kĥkai then asked the Emperor for the place at Mt.
Kćya, which was quiet and open. Also Kĥkai was of the opinion that ‘on high
mountains there is much rain, which nourishes vegetation and fishes’. One is reminded
here of Jñ»neĕvara explaining how to find a place fit for meditation. There is a legend
also behind this choice. While coming back from China Kĥkai threw his vajra in the
direction of his country, which fell on this mountain and hence he chose it.
Kĥkai’s demand was accepted and Mt. Kćya became his personal acquisition,
independent and completely free from the state control. Then with the help and
contribution from the public, he began to build a monastery there. “Even a penny or a
4
Introduction
Introduction

grain of rice will be welcome” was his appeal. His organizational, administrative, as
well as engineering skills were put to test.
KĦkai’s philosophy: While understanding the Esoteric philosophy of Kĥkai, at so many

times it is felt that whatever he preaches is very similar to UpaniӼadic philosophy. His
explanation reminds us of exactly similar expressions in Sanskrit, and it is natural also,
since it can safely be said that the Esoteric Buddhism in India, as well as that in Japan,
which is epitomized in the Mah»vairocanasĥtra is an exact reversal of Ĕ»kyamuni’s
Buddhism towards ritualistic Brahmanism and philosophical UpaniӼadic thought.
Kĥkai was of firm belief that through one’s efforts and also with the Grace of
Mah»vairocana, one can attain enlightenment in this very life. (One is immediately
reminded of the word Jåvanmukti). It actually became his motto. He wrote a treatise also
of the same name, which is a systematic exposition of the topic. When the words ‘in this
very existence’ come from a Buddhist, theycarry weight and suggest the affirmative
attitude towards the phenomenal world as the very realm in which the highest goal can
be achieved. According to him, even in the lowest level of mind, the highest glorious
mind, the most sacred and secret is fully present. The universe according to him reveals
the presence of Mah»vairocana, pointing towards the underlying Reality.
In one of his poems, the first line reads, “All beings as individuals are appearances
only, like illusions”, which reminds one of the word m»y» in Indian philosophy.
According to him, Mah»vairocana is the Dharmak»ya, i.e., the eternal Dharma, which is
the uncreated, imperishable, beginningless and endless truth. It reminds one of an»di,
ananta, ajara, avin»ĕhi-tattva. To attain enlightenment means to realise Mah»vairocana,
who is intrinsic in each and every being. This is the concept of Bodhicitta. The
Mah»vairocana himself is said to be the body of wisdom, five-fold wisdom; hence there
are five-fold Buddhas. This is similar to the concept of Trik»ya of Mah»y»na and
Vijñaptim»trat» of Yog»c»ra. The theory of five-fold wisdom demonstrates that there is
an essential unity between the unenlightened individual and Mah»vairocana in respect
of nature of wisdom. Various types of meditation are prescribed as a means to achieve
the goal of self-realization or enlightenment, since there are many manifestations of
Mah»vairocana shown in the paintings of the Diamond maӠҦala and the Matrix maӠҦala.
There is meditation prescribed on the deity Avalokiteĕvara, on the Diamond realm, the
Matrix realm, on the moon as the symbol of Bodhicitta, on the letter (a) which
symbolizes Mah»vairocana in the Matrix realm and also on god Acala, i.e. Fudć Myćć.
The meditation on all these symbols leads to the union with Mah»vairocana. Together
with this meditation, Kĥkai introduced one more method, one more practice to be one
with the God and thus to attain enlightenment and it is Goma, the Japanese version of
the Sanskrit word homa, a sacrifice, against the institution of which Buddha fought. Hui
Kuo had given him nine sacrificial implements together with the sĥtra and their
commentaries etc. It suggests that the sacrifice was performed in China also. The
present situation cannot be known exactly, but most probably the practice is extinct now
in China. Presently it might only be Japan where it is still practised in various temples
5
Introduction
of Shingon sect. The Goma of the Shingon sect is a combination of the Vedic ĕrauta and
the gӰhya ritual. It is mixed also with the Atharvanic element, as it has the ritual for
abhic»ra ‘black magic’ also. The basic difference between the Vedic and Shingon
sacrifice is the desire or aim of being one with the God. In Vedic ĕrauta sacrifice, it is
totally absent. The motive of Kĥkai behind starting the practice of the performance of
sacrifice is, however, not found mentioned anywhere. He again and again emphasized
the importance and the mystic power of the mantras. According to him, they have in
them inherent saving power of Mah»vairocana. The most important assertion was, “they
are impregnated with Mah»vairocana’s saving power. Hence, the recitation of mantra
unites the practitioner directly with Mah»vairocana, or reaches him indirectly through
lesser Buddhas, Bodhisattvas and others. Kĥkai employed the magic of words for the
spiritual discipline of all, be it the learned monks or the humble folk. He was convinced
that the study of Buddhism without the practice of meditation was fruitless.
The Shingon Buddhism, according to him was the most profound of all, but it
embraced all others, however imperfect, as integral parts of itself. The other sects are
the steps towards it. This he has explained in his work ‘Ten Stages’, which is afterwards
simplified in the ‘Precious Key’. The introduction to the Ten Stages quotes a passage
from the Mah»vairocanasĥtra, which reads, “to attain enlightenment is to know one’s
own mind as it really is”. By this, one is immediately reminded of the concept of
»tmajñ»na of the UpaniӼads explained in »tm» v» are ĕrotavyaҺ mantavyaҺ
nididhy»sitavyaҺ, etc. Further he states, “These are the stages of development of mind
through which the dark goatish mind … advances higher, leaving darkness behind and
seeking after light”, which reminds us of the UpaniӼadic prayer tamaso m» jyotir
gamaya. These ten stages are – 1. The lowly man goatish in his desires, 2. Ignorant and
childlike that of a Confucianist, 3. Infantile and fearless like that of Taoism, six Hindu
schools such as S»Ӝkhya, VaiĕeӼika etc., Yogic practices and Buddhist schools that
emphasize rebirth in heaven. The stages 4, 5, 6, 7 and 8 are the various Buddhist
schools such as Hånay»na, M»dhyamika, Tendai, etc. The ninth stage is the most
profound Esoteric Buddhist mind, which is aware of its non-immutable nature, such as
that of water, and the Tenth is the glorious mind, the most secret and sacred. When the
medicines of Esoteric Buddhism have cleared away the dust, the Shingon opens the
treasure of knowledge, the secret treasures are at once manifest and one realizes all
values. It is this synthetic attitude, which made him different from Saichć, who was not
ready to accept Nara Buddhism as a way to enlightenment and hence made Kĥkai more
popular. His other important treatises are – 1. Attaining Enlightenment in this very
existence, 2. The Meaning of Sound, 3. Word and reality, and 4. The Meanings of the
Word Hĥm.
Social contribution of KĦkai: Kĥkai has done a great service to Japanese society. As
he brought various sĥtras and commentaries, etc., from China, he also brought together
with him various other secular objects, viz., Chinese literature, Chinese medicine, the
art of calligraphy, seeds of various plants, the technique of preparing brushes from
badger’s hair. He planted those seeds in Japan and cultivated them. He is the one who
brought the grass of the famous green tea, cultivated and processed it and that is now
6
6
Introduction
Introduction

known as Japanese tea. He became an expert in calligraphy; learnt Sanskrit and also
Siddham script in China, which he later introduced in Japan. It was instrumental in
designing the Kana syllabary of the Japanese language, through which knowledge and
education could reach even women and the novel like Genji Monogatari of the woman
Murasaki Shikibu took shape.
As he propounded in his philosophy that every human being has intrinsic value and
can attain enlightenment in this very birth, so did he practise in the social matters. It was
due to his sense of equality that he started the school of arts and science for common
children also. He was the first Japanese to use coal and petrol. He learnt and became an
expert in preparing Chinese cakes. It was he who brought home the technical know-how
of building bridges and bunds and dams. He himself designed the water reservoir of
Man-nć Ike, which is an excellent specimen of its kind. It is said that he built the first
arch dam in Japan (and also perhaps the first in the world) in his birthplace Zentsĥji in
Shikoku island. All these items he indigenized and cultivated in Japanese environment
with such wonderful skill and perfection that a new, beautiful and refined Japanese
culture emerged out of them. He is the first lexicographer of Japanese language. He
prepared a Japanese dictionary in thirty volumes. He built many temples, renovated
many and pioneered the Hachijĥ-hakka-shyo ‘the Japanese v»rå’. He is thus, rightfully
called ‘The founder of the Japanese culture’.
It is no wonder then that he was given the title ‘Kćbć Daishi’, a title of great honour,
posthumously by the Heian court. Kćbć means ‘to spread widely the Buddhist
teachings’, and Daishi means ‘a good or Great teacher’. Actually, in course of time
there were other priests also who were conferred this title, but as is popularly said,
“Kćbć stole the title of Daishi”. Whenever Kćbć Daishi is uttered, it is Kĥkai who is
understood by that. It is a title of great and perhaps supreme honour. People, however,
call him with utmost affection as ‘Odaishisan’, as if he is their next door neighbour. But
this is not new or unfamiliar to the Maharashtrians who also call their favourite and
most revered mystic saints as ‘Jñ»nob»’, ‘Tukob»’, etc. Here can be concluded the life-
history of the great mystic.
Need of The Present Work: It has been said, “While Tibetan Buddhism has entered
into the mainstream of American popular religious culture since its introduction in the
1960s, another tantric Buddhist tradition has remained effectively invisible. Despite
having been in the United States for over a century, Shingon Buddhism remains almost
entirely unknown to American converts to Buddhism and even to the overwhelming
majority of scholars of either Buddhism or American religion” [Payne 2005: 101]. Also
important is the f.n. I on p. 166, “A review of recent publications on Buddhism in
America reveals several books claiming to make various kinds of comprehensive
statements, but with only minor exceptions these include no mention of Shingon.”
What is said about America is so many times true regarding India. In India,
scholars grow with the idea of Buddhism being a reaction to Sacrifice in general and
also Brahmanism in particular. When they hear the words Buddhist Sacrifice or Homa,
7
7
Introduction
the phrase itself sounds like a vadato vy»gh»ta ‘self contradiction’. Such representative
situation suggests the importance of visual anthropology in general and in the field of
Indian and Buddhist Studies in particular.
What is true about Buddhist Goma in particular is true about many ethnic cultures,
their rituals and objects. It is a common belief that pictures provide an unimpeachable
witness and is a source of highly reliable data. It is very natural then that as soon as the
techniques became available, anthropologists attempted to produce with the camera the
sort of objective research data that could be stored in archives and can be retrieved for
research in various ways and at various times by generations. Conceptually, visual
anthropology ranges over all aspects of culture that are visible – from nonverbal
communication, the built environment, ritual and ceremonial performance, dance, and
art to material culture. The first noted attempt in this direction in the field of Indology
in general, according to our knowledge, would be by James Forbes who made a series
of drawings regarding India in 1760s and 1770s, which were later published in his
“Oriental Memoirs” in 1812. In the field of Indian Ritual it might be the collection of
twenty four plates with captions by Mrs. S.C. Belnos, titled “Sundhya: The Daily
prayers of the Brahmins” first published in London in 1851 and recently reprinted by
Rupa & Co, Delhi, India, January 2002. The present venture also is an attempt in the
same direction.
The Structure of Japanese Goma: Generally it is said that Goma is based on the pĥj»
in Hindu ritual. However, a close study of it leads to the conclusion that it is a
combination of an IӼԆi ‘a Vedic Ĕrauta sacrificial ritual’ and the pĥj» ritual and also the
antary»ga ‘the s»dhan» or meditation’. It is said that the basis of it is the Jĥhachi-dć
rite, which is to be accepted with a pinch of salt. It can be said that Jĥhachi-dć is
performed at or as the basis of it in the preliminary ritual and then is performed the
Goma as the Main Ritual. Let us first have the idea of the arrangement of the Goma.
The Ritual of the Goma:
ShajĈ, Kaji-rokĈ (Consecrating the Fire Place),
Hoketsu (Compensation for Deficiencies),
KongĈ-katsuma-in (Vajrakarma-gesture, Vajrakarma-mudr» ),
RAN-ji-kan (Warding off evil by Meditation on the letter RAN (raӘ))
JĈchi (Purification of the Ground)
KongĈ-ki (Arising of the Vajra)
Furai (Common Homage) to Deities
By the above mentioned rites Gyćja the ‘sacrificer’, being purified enters into the
Goma hall, takes his seat, takes the survey of the paraphernalia and starts the ritual.
First he takes the vows of the Buddhas, consecrates himself, the sacrificial place and
8
Introduction
Introduction

also the paraphernalia. He, as if builds a wall of vajras around the Goma-dć and makes
it evil proof. Then he makes the Vajra arise in the Goma-dć and also attracts the
attention of the Tath»gatas.
HyĈhaku (Declaration of performance, saӚkalpa)
Then he declares his intention to perform the Fudć Myćć Sokusai Goma. It
contains also prayers to various deities to catch their attention towards the performance.
The Construction of the Goma-dĈ (Homa-hall)
Dai-kongĈ-rin-in (Great-Vajra-circle-gesture, Mah»vajra-cakra-mudr»)
Jiketsu (Setting the boundary, bhĥmi-parigraha) or KongĈ-ketsu (Fixing the Vajra-
poles, vajrakålana )
Nyorai-ken-in (Tath¼gata’s Fist Gesture, Tath»gata-muӸԂi-mudr»)
Dai-kokĦzĈ-in (Mah¼-¼k¼Ėagarbha-gesture, Mah»-¼k»ĕagarbha-mudr»)
ShĈ-kongĈ-rin-in (Small-thunderbolt-circle-gesture, Laghu-vajracakra-mudr»)
By performing these rites the Gyćja once again creates a great circle of vajras
around the Goma-dć and makes it evil proof from all the four sides. He then empowers
the deity Mah»vairocana by Nyorai-ken-in. Then he makes Goma-dć evil proof from
above and again creates a small circle of vajras for protection.
The Reception of Deities
The Chariot for deities
HĈsharo (Sending the Chariot to Receive the Deities)
ShĈsharo (Request for getting in the chariot)
ShĈshĈ (Invitation, »v»hana)
Bringing the Deities under Control
Protecting the Goma-dĈ by Warding off Evil
HakushĈ (clapping)
Kekkai (Sealing the Boundary)
KongĈ-mĈ (Raising the Vajra-net, vajra-pañjara) (1) Encircling the Goma-dĈ by
Fire
Ka-in (Fire-protected House)
Confirmation of the Sealing (Great-samaya-gesture, Mah»samaya-mudr»)
By these rites the Gyćja first sends a chariot for the deities, requests them to get in
it, brings the chariot back, gives official invitation to them, confines them to the
sacrificial place and again makes it evil proof. He felicitates them by clapping. Then
again he raises a vajra net around the hall and protects it with flames of burning fire.
He again confirms that the Goma-dć is completely safe against evil.
KuyĈ (Offering Worship, pĥj»)
Offering Aka (water)
Offering Renge-za (Lotus Seats, kamal»sana)
Shin-rei (Ringing the Bell) (Gestures of the Five Offerings)
ZukĈ (Perfumed Powder, gandha)
Keman (Flower, puӸpa)
ShĈkĈ (Burning Incense, dhĥpa)
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Introduction
Onjiki (Cooked Rice, caru)

TĈmyĈ (Lamp, dåpa)
Then the actual pĥj» ritual begins. The Gyćja first offers water to show respect,
seats, music, perfumed powder, flowers, burning incense, cooked rice and lamp or light.
These are not actual offerings, but are by mudr»s and mantras. Only the music is
actually offered by ringing the bell and creating sound.
Jigu (Offering of Material on the Altar)
Offering Perfumed Powder (gandha)
Offering Flowers (puӸpa)
Offering Burning Incense
Symbolical Offering of Rice
Offering Lamp
San (Eulogy of Deities, stuti)
Shichi-san (Eulogy of the Four Wisdoms, caturjñ»nastuti)
Honzon-san (Eulogy of the Central Deity)
FukuyĈ (Universal Offering)
Then Jigu, i.e., material offerings of powdered incense, flowers, burning incense,
cooked rice and lamp are offered. Though it is called Jigu, i.e., material offerings, only
flowers are offered actually. There is no offering of music. But San, i.e., eulogy is
offered to the main deity. Then FukuyĈ gesture is made by which are bestowed
immense offerings on all the Tath»gatas in all the Buddha lands. Here ends the worship
ritual. The practitioner thereby obtains immense merit, longevity and five supernatural
powers.
NyĦga-ganyĦ (Union)
Empowerment of the Central Deity
Konpon-in (Main deity gesture)
Ken-in (Sword-gesture, KhaҢga-mudr»)
Meditation on Deities
Empowering the Rosary
Butsugen-in (Buddhalocan¼ Gesture)
Recitation of Various Mantras
Then the Gyćja makes certain mudr»s and recites certain mantras and thereby
accomplishes union with the central deity.
Main Ritual
The First Offerings to Katen (Fire God)

General Empowerment of Deities
Dainichi-in-gen (The mudr» and mantra of Mah¼vairocana)
Honzon-in-myĈ (The mudr» and mantra of the Central Deity)
SanbyĈdĈ-kan (The Identification of the Three: Tath¼gata, Fire-God and the
GyĈja)
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Introduction
Introduction

In the main ritual, the first offerings are made to the Fire God. In the beginning the
deities are empowered and the union of the Tath»gata, the fire God and the Gyćja is
achieved.
Preparations for the First Fire-offerings
Replacement of the Kasha
Throwing Keshi (Poppy Seeds)
Some arrangements are made on the Goma-dan to make the actions easier for the
Gyćja. Poppy seeds are scattered in ten directions to maintain and solidify the achieved
union.
KanjĈ-katen (Invocation of Fire God)
Katen-in (The Fire gesture, agni-mudr»)
ShĈshu-hyappen (One Hundred Time Recitation of the Agni Small mantra)
Tansferring the bowls and KongĈ-rei
The Fire God in invited and praised and again some convenient arrangements are
made.
Tenka (Igniting the Fire)
Taking the Danmoku (Fire sticks)
Untying the Danmoku
Igniting fire
Fanning the Fire
Then the fire-wood is spread on the Goma-dan and fire is ignited and made fully
ablaze by fanning it.
ShajĈ (Consecration with Water)
Consecration of the Danmoku
Jikan (Meditation on the GyĈja himself)
Offering the Renge-za (Lotus seat)
KanjĈ-katen (Invitation to Fire God)
Bringing the Deities under Control
Shi-myĈ-in (Four sets of mantras and mudr»s)
Protecting the DĈjĈ by Warding off Evil
Then the fire wood is consecrated and the deity is formally invited and offered seat
and the Goma-dć is made safe against evil.
SokĈ (Purification of the Mouth of the Fire Place)
The Offerings of Soyu (oil)
The Offerings of NyĦmoku (Fire sticks as Offering)
The Offering of Onjiki (Rice)
The Offering of Gokoku (Five Grains)
The Offering of SankĈ (Perfume)
The Offering of Soyu (oil)
SokĈ (Washing the mouth of Fire God, »camana)
Hakken (Seeing off the deity, visarjana)
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Then the Fire God is worshipped offering him arghya, oil, Nyĥmoku, cooked rice
(here rice seeds), five grains, incense and again oil. Then the mouth of the God is
purified and he is asked to go back. Then offerings are offered to Trailokyavijaya and
the main Deity, Fudć Myćć.
Ringing KongĈ-rei and EkĈ
Then Gokuyć ‘the post offering rites’are performed. Unlike in the offerings by
mudr» and mantra, the ringing of the bell is performed after the Gokuyć. Then is the
ritual of Ekć ‘the transference of the individual merit to all in the universe’.
Now on this background let us see the structure of the Jĥhachi-dć ritual.
The JĦhachi-dĈ ritual: There are different interpretations regarding this ritual. One of
them, may be a standard one quoted by Lokesh Chandra, is as follows: The division is
based mainly on the Mudr»s. The Mudr»s are:
1. Butsubu-sanmayano-in: Samaya of the Buddha Kula
2. Rengebu-sanmayano-in: Samaya of the Padma Kula
3. Kongćbu-sanmayano-in: Samaya of the Vajra Kula
4. Hikć-goshin: Mudr»s for the protection of the body
5. Kyć-gaku: Awakening
6. Ji-ketsu: Consolidation of the earth
7. Kongć-shć: Wall of Vajra
8. Dćjć-kan: Meditation of the Temple
9. Sć-sha-ro or Hćsharo: Despatch of carts
10. Shćsharo: Prayer for getting into cart
11. Gei-shć: Reception of the Deities
12. Gćzanze Byakujo: Warding off evil
13. Kongć-mć: Vajra-net
14. Ka-in: House of Fire
15. Nyĥ-sammaji or Nyĥga-ganyĥ: Entering into Sam»dhi (1)
16. Kompon-in: Mudr» of the Main Deity
17. Nenju: True Nenju (Meditation on the meaning of the Dh»raӠå)
18. Nyĥ-sammaji: Entering into Sam»dhi (2)
In the first four steps, the Gyćja makes his resolve to attain the virtues of the
Buddhas and Bodhisattvas of the three classes and purifies his body, speech and mind
by taking the vows. By the fifth and the sixth ones, he adorns the Dćjć by spreading
perfume. Then he invites the attention of the Deities for participation in his rite and
purifies the Dćjć by raising the Vajra in it. By the seventh he makes it evil proof by
ramparts of Vajra around it. By the ninth, tenth and the eleventh he sends the carriage
to them and receives them. By the twelfth, thirteenth and the fourteenth, he again takes
the precautionary measures against evil. Then by the fifteenth, sixteenth and
seventeenth he makes it easy for him to be one with the God and enters into Sam»dhi.
If this division of the Jĥhachi-dć is accepted then the meaning of the expression
that the Goma is based on Jĥhachi-dć ritual would be: First Jĥhachi-dć is performed as
basis and then is performed the Goma. Another possibility is: On the basis, i.e.,
following the order of Jĥhachi-dć, the Goma ritual is performed.
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Introduction

Moreover, it is very difficult to establish parallelism between Jĥhachi-dć and the
Hindu pĥj», upon which it is supposed to have based.
Conclusion: From the description above, it becomes clear that the ritual of Goma is
almost the same as ‘the preparatory ritual’. The only difference is the presence of fire.
Can it be said that the offerings are solidified having the Fire God as the witness, as is
the practice in the Sm»rta ritual? In Hindu Sm»rta or Pur»Ӡic ritual it is very important
to perform the ritual having gods, Brahmins and the fire as witness.
One more point I would like to emphasize in this regard. Even though it is said that
Goma is an individual activity performed for one’s own purpose of having union with
the Deity, the Hyćhaku (declaration) and the Ekć (pariӜ»ma) point towards something
else. The Hyćhaku begins with the words, “For the perpetual propagation or expansion
of the Buddhadharma to save all the beings in this universe … For the everlasting peace
and realizing Buddhahood of the deceased both rich and poor, those with whom I have
affinity, and those with whom I have had no affinity …”. The Ekć (pariӜ»ma) reads,
“The merits of my practice are transferred to the Three Precious Ones, their sea of
vows, to men and Devas of the Three Realms, to the departed spirits of both rich and
poor, to the peace and prosperity of the realm, to self and others in the Dharmadh»tu, to
the equal attainment of the ultimate benefit, to the Dharmak»ya, and to Great Bodhi.”
From the wording of these two rites it becomes evident that Goma is performed for
mankind in general also.
There is very close relation between the Vedic Sacrifice and the Goma. It would be
interesting to have a brief comparison between the two:
1. The first and foremost difference between the two is regarding the role of wife. In
Vedic ritual or almost any Hindu rite she is inevitable. The purpose of marriage is,
together with creating progeny to fulfill the duties of householder. Later, in a
Pur»Ӡa, there is a special rite in which the husband observes a fast so that his wife
will always remain with him like LakӼmå with ViӼӠu; and it is for the fulfillment of
the ritual duties also. In Vedic Ĕrauta ritual the wives of the gods also receive
offerings. But in the Buddhist Tantric Homa wife has no role. It might be so since
basically it is meant for a celibate practitioner.
2. Not only in Vedic sacrifice, but in almost all the Hindu religious rituals, specific
time is prescribed for a sacrificial performance. The rite is performed at auspicious
times. Sometimes, specific lunar constellations are prescribed for specific rites.
Such is not the case in Goma. Can it be due to the prescription ‘yadahar eva virajet
tadahar eva pravrajet’ (Whenever one gets detached, he should renunciate.), since
basically it is a rite for an individual practitioner who has a spiritual quest.
3. In Goma actually there are more than one priest who are engaged in ritual, but
cognizance is taken only of the main one. In Vedic sacrifice, all those who help
also have different designations.
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Introduction
4. In Vedic ritual the clarified butter as well as the oblation material is

circumambulated by fire for purification, whereas in Goma it is only with water.
But it might not be necessary to do it with fire since the whole place is supposed to
be protected by fire and vajras against the Evil spirits and impediments, both:
abstract and real.
5. In Vedic sacrifice, the wooden sticks are never considered as oblation material.
They help burn the sacrificial oblation, whereas in Goma, Nyĥmoku is one of the
oblation materials.
6. In the Vedic sacrifice, sviӸԂakӰt is performed after the performance of the sacrifice.
In that rite, the sacrificer prays that whatever is less or in excess, may it be
compensated for, whereas in the Goma, similar ritual called Hoketsu is performed
before the beginning of it, perhaps mainly regarding the paraphernalia.
7. In later Hindu and also Buddhist ritual it is seen that the paryagnikaraӜa is
substituted by Når»jana, but it is not seen observed in Goma. Only the ritual of
lamp is found.
8. The rite of Shi-myć-in ‘Binding or confining the deities to the sacrificial place’ is
observed in Goma. It is totally new to Vedic ritual. Perhaps the idea of saӘsava
can be compared to it. When two sacrificers are performing similar sacrifice at one
and the same time, then certain precautions are taken so that the gods do not leave
one sacrificial place and go to the other.
9. In Vedic sacrifice, the idea of sending off the gods is not very clear, may be due to
the vagueness of the concept of god. It has to be inferred from some mantras which
are called SamiӼԆayajus, whereas it is very clear in Buddhist Goma. It is
k»ӜҢ»nusamaya, not pad»rth»nusamaya. That means each god is seen off after the
worship and then the other is invited.
10. There is no rite similar to iҢ»bhakӸaӜa or yajam»nabh»ga. In Vedic sacrifice after
the offerings are offered to the gods, the priests partake of some of the portion of it
remaining after the offerings. Also the sacrificer is given some share into it, with
the exception of Soma. In sm»rta ritual, some guests are invited and they are also
given some eatables which are called pras»da. But no such rite is found in the
present Goma. In ancient times the caru might have been eaten by the family.
These days only rice seeds are offered.
11. In Vedic ĕrauta or gӴhya, i.e., domestic rite, there are no offerings of five grains.
Some of the grains are offered in ancestor worship.
12. Protection from evil is very important in Buddhist Goma, which is not that
prominent in Vedic. There are some rites by which the evil elements are driven
away, but comparatively they are negligible, whereas in Goma ‘Protection from
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Introduction
Introduction

evil’ plays a very important role. The main purpose of Goma is for attaining union
with the Deity, which needs full concentration on the deity as well as complete
detachment from the outer material world and its hassels. To make one’s mind free
of those must be really a tough job. There are so many distractions possible and
hence also so many precautionary measures. Such purpose is totally absent in the
Vedic ritual. The most difficult job is to control one’s own mind.
13. The use of left hand is very noteworthy for an Indian spectator.
14. In Vedic ritual nothing sacrificial is kept directly on the ground. Generally grass is
spread first and then the objects are placed on it. The expression used for it is
anadhaҺ, which literally means ‘not down’. In Goma such practice is not found.
15. There is no statue used or no idol worshipped in Vedic Ĕrauta or GӰhya ritual. In
sm»rta pĥj» ritual there is pr»ӜapratiӸԂh» ‘establishing vitality’ in the idol, which is
similar to Empowerment of the deity in the Goma.
16. Sometimes a wrong impression might be formed that the clarified butter offerings
are the main offerings in Goma. Neither it is in Vedic sacrifice that offerings of oil
are always main offerings. In Vedic sacrifices they are called »jyabh»gas. The
main condition in a Vedic sacrifice is to offer the oblation on a fully blazing fire, so
that it burns immediately and there is no smoke. Hence the clarified butter precedes
and succeeds the offerings to fulfill a practical need. So also it is in the Goma.
17. There is difference regarding the time of disposing off of the tying cord. In the
Goma the Gyćja, after he unties the bundle of the fire-sticks, throws the tying cord
in fire, whereas in Vedic ritual it is thrown in fire at the disposing off ritual at the
end of the sacrifice.
18. There is no reference to dakӸiӜ» (Orei or Sharei in Japanese) in the Goma A fff
was performed also for someone else, hence the prescription regarding dakӸiӜ» is
also found. As it appears, Goma also is performed for somebody else, but the
reference to dakӸiӜ» is not found.
19. The idea of dome is common in both and hence the ritual ends with the same rites
in which it begins but in opposite order. However, if the ritual of the Goma is seen
carefully, it appears to be more like a Matryoshka, the Russian doll having smaller
and smaller dolls inside.
(Madhavi Kolhatkar)
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Introduction
Method of presentation:
- As much as possible, efforts have been made to provide Japanese characters and their
pronunciation in the captions of the photos and in the text. Generally, it is not
repeated afterwards.
- All the Japanese words have their first letter capitalized.
- All the Sanskrit words are in italics.
- The Japanese mantras are given in all capital letters. The numbers are given following
Payne’s book.
- The photos of the mudr»s taken separately after the first performance in 1981are
marked as (1981*).
- The photos taken at the second performance in 1982 are marked as (1982).
- The photos of the mudr»s done by Rev. Yĥkć Miyasaka taken in 2011are marked as
(2011).
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List of Figures
Chapter I The Environment, the Paraphernalia and the Priests
1.1 Environment
1.1.1 Fig. 1.01 The Shćkćji Temple
1.1.2 Fig. 1.02 The Shćkćji Temple Gate
1.1.3 Fig. 1.03 Hondć (Main Hall) of the Shćkćji Temple
1.1.4 Fig. 1.04 Goma-dć (The Hall for Sacrifice or Homa Performance)
1.1.5 Fig. 1.05 Goma-dan (The Sacrificial Altar, yajña-vedi)
1.1.6 Fig. 1.06 The Inside of Goma-dć
1.1.7 Fig. 1.07 The Statues of Fudć Myćć and Other Deities
1.2 DĈgu (Paraphernalia, yajña-sambh¼ra)

1.2.1 Fig. 1.08 The Plan of the Goma-dan and the Dćgu
1.2.2 Fig. 1.09 The Close View of the Dćgu (Paraphernalia, yajña-sambh»ra)
1.2.3 Fig. 1.10 Ro (Fire-place, agni-kuӜҢa)
1.2.4 Fig. 1.11 Place for the Lid of the Soyu-ki (Oil Cup)
1.2.5 Fig. 1.12 Shaku (Ladles, darvi)
1.2.6 Fig. 1.13 Shaku-oki (Stand for ladles)
1.2.7 Fig. 1.14 Tćmyć (Candle), Hćki (Broom) and Shidai (Manual)
1.2.8 Fig. 1.15 Kongć and Kongć-rei (Vajras and Vajra-bell)
1.2.9 Fig. 1.16 Kasha (Incense Burner)
1.2.10 Fig. 1.17 Tsukematsu (Fire igniting stick)
1.2.11 Fig. 1.18 Renge (Lotus, padma)
1.2.12 Fig. 1.19 Taiko (Drum)
1.2.13 Fig. 1.20 Danmoku, Nyĥmoku and Gokoku (Fire-Sticks and Five Grains)
1.2.14 Fig. 1.21 Bowls of Keshi (Poppy seeds) and Gankć (Incense), etc.
1.2.15 Fig. 1.22 Taking off the Lids of Bowls of Keshi and Gankć
1.2.16 Fig. 1.23 Contents of the Bowls
1.2.17 Fig. 1.24 Kćro (Incense Burner)
1.2.18 Fig. 1.25 The cups of Keman (Flowers), Zukć (Fragrant Powder) and Aka
(Water, arghya)
1.2.19 Fig. 1.26 Offerings to the Deities
1.2.20 Fig. 1.27 Rice-ball
1.2.21 Fig. 1.28 Nenju (Rosary, japa-m»l»)
1.2.22 Fig. 1.29 Shidai (The Manual, prayoga)
1.2.23 Fig. 1.30 Shakujć (Sistrum, khakkhara)
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List of Figures

1.3 The Priests
1.3.1 Fig. 1.31 Gyćja (The Main Priest)
1.3.2 Assistant Priests
1.3.2 Fig. 1.32 Assistant Priest
Chapter II The Preparatory Rites of the Fudć Goma
2.1 The Entry of the GyĈja

2.1.1 Fig. 2.01 Reaching the Goma-dć
2.1.2 Fig. 2.02 Tćraiban (Coming to his Seat)
2.1.3 Fig. 2.03 Chakuza (Sitting Position, »sana)
2.2 Consecration or Empowerment of the GyĈja

2.2.1 Fig. 2.04 Sanmitsu-kan (Meditation upon Shin (body), Ku (speech) and I
(mind)) (1)
2.2.2 Fig. 2.05 Sanmitsu-kan (2)
2.2.9 Fig. 2.12 Hikć-goshin (Putting on the Armour) (1)
2.2.10 Fig. 2.13 Hikć-goshin (2)
2.3 The Consecration of the Goma-dĈ and DĈgu

2.3.1 Fig. 2.16 Shajć
2.3.2 Fig. 2.17 Kaji-rokć (Consecrating the Fire Place)
2.3.3 Fig. 2.18 Hoketsu (Compensation for Deficiencies)
2.3.4 Fig. 2.19 Kongć-katsuma-in (Vajrakarma-gesture, Vajrakarma-mudr»)
2.3.5 Fig. 2.20 RAN-ji-kan (Warding off evil by Meditation on the letter RAN
(raӘ))
2.3.6 Fig. 2.21 Jćchi (Purification of the Ground)
2.3.7 Fig. 2.22 Kongć-ki (Arising of the Vajra)
2.3.8 Fig. 2.23 Furai (Common Homage) to Deities
2.4 Fig. 2.24 HyĈhaku (Declaration of performance, saӚkalpa)
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List of Figures
List of Figures

2.5 The Construction of the Goma-dĈ (Homa-hall)
2.5.1 Fig. 2.25 Dai-kongć-rin-in (Great-Vajra-circle-gesture, Mah»vajra-cakra-
mudr»)
2.5.2 Fig. 2.26 Jiketsu (Setting the boundary, bhĥmi-parigraha) or Kongć-ketsu
(Fixing the Vajra-poles, vajrakålana) (1)
2.5.3 Fig. 2.27 Kongć-ketsu (2)
2.5.4 Fig. 2.28 Shihć-ketsu (Binding the Four Corners)
2.5.5 Fig. 2.29 Nyorai-ken-in (Tath»gata’s Fist Gesture, Tath»gata-muӸԂi-
mudr»)
2.5.6 Fig. 2.30 Dai-kokĥzć-in (Mah»-»k»ĕagarbha- gesture, Mah»-»k»ĕagarbha-
mudr»)
2.5.7 Fig. 2.31 Shć-kongć-rin-in (Small-vajra-circle-gesture, laghu-vajracakra-
mudr»)
2.6 Reception of the Deities

2.6.1 Fig. 2.32 Hćsharo (Sending the Chariot to receive the Deities)
2.6.2 Fig. 2.33 Shćsharo (Request for getting in the chariot)
2.6.3 Fig. 2.34 Shćshć (Invitation, »v»hana)
2.6.4 Bringing the Deities under control
2.6.4.1 Fig. 2.35 Bringing the Deities under control (1)
2.6.5 Fig. 2.39 Protecting the Goma-dć by Warding off Evil, Gćzanze-in
(Trailokyavijayamudr»)
2.6.6 Hakushć (Pleasing the Deities by clapping)
2.6.6.1 Fig. 2.40 Hakushć (1)
2.6.6.2 Fig. 2.41 Hakushć (2)
2.7 Kekkai (Sealing the Boundary)

2.7.1 Fig. 2.42 Kongć-mć (Raising the Vajra-net, vajra-pañjara)
2.7.2 Encircling the Dćjć by Fire
2.7.2.1 Fig. 2.43 Ka-in (Fire-protected House) (1)
2.7.2.2 Fig. 2.44 Ka-in (Fire-protected House) (2)
2.7.3 Consolidation of the Sealing
2.7.3.1 Fig. 2.45 Daisammaya-no-in (Great-samaya-gesture, Mah»samaya-mudr»)
2.8 KuyĈ (Offering Worship, pĥj»)

2.8.1 Offering Aka (water, arghya)
2.8.1.1 Fig. 2.46 Taking the cup of Aka
2.8.1.2 Fig. 2.47 Aka-in (Aka-gesture, arghya-mudr») (1)
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List of Figures

2.8.2 Fig. 2.50 Offering Renge-za (Lotus Seats, kamal»sana)
2.8.3 Shin-rei (Ringing the Kongć-rei)
2.8.3.1 Fig. 2.51 Taking the Kongo-rei (1)
2.8.3.2 Fig. 2.52 Taking the Kongo-rei (2)
2.8.3.3 Fig. 2.53 Ringing the Kongć-rei (1)
2.8.4 Gokuyć-in (Gestures of the Five Offerings)
2.8.4.1 Fig. 2.58 Zukć (Perfumed Powder, gandha) (1)
2.8.4.2 Fig. 2.59 Zukć (Perfumed Powder, gandha) (2)
2.8.4.3 Fig. 2.60 Keman (Flower, puӸpa)
2.8.4.4 Fig. 2.61 Shćkć (Burning Incense, dhĥpa)
2.8.4.5 Fig. 2.62 Onjiki (Cooked Rice, caru)
2.8.4.6 Fig. 2.63 Tćmyć (Lamp, dåpa)
2.8.5 Jigu (Offering of Material on the Altar)
2.8.5.1 Fig. 2.64 Offering Zukć (Perfumed Powder, gandha)
2.8.5.2 Fig. 2.65 Offering Flowers (puӸpa)
2.8.5.3 Fig. 2.66 Offering Burning Incense
2.8.5.4 Fig. 2.67 Symbolical Offering of Rice
2.8.5.5 Fig. 2.68 Offering Lamp
2.9 San (Eulogy of Deities, stuti)

2.9.1 Fig. 2.69 Shichi-san (Eulogy of the Four Wisdoms, caturjn»nastuti)
2.9.2 Fig. 2.70 Honzon-san (Eulogy of the Central Deity)
2.9.3 Fukuyć (Universal Offering)
2.9.3.1 Fig. 2.71 The mudr» of Universal Offering (1)
2.9.3.2 Fig. 2.72 The mudr» of Universal Offering (2)
2.9.4 Nyĥga-ganyĥ (Union)
2.9.4.1 Fig. 2.73 Amida-jć-in (1)
2.9.4.2 Fig. 2.74 Amida-jć-in (2)
2.9.5 Empowerment of the Central Deity
2.9.5.1 Fig. 2.75 Konpon-in (Main deity gesture) (1)
2.9.5.2 Fig. 2.76 Konpon-in (Main deity gesture) (2)
2.9.5.3 Fig. 2.77 Ken-in (Sword-gesture, khaҢga-mudr»)
2.9.6 Meditation on Deities
2.9.6.1 Fig. 2.78 Empowering the Rosary (1)
2.9.6.2 Fig. 2.79 Empowering the Rosary (2)
2.9.6.3 Fig. 2.80 Butsugen-in (Buddhalocan» Gesture)
2.9.6.3 Fig. 2.81 Butsugen-in (Buddhalocan» Gesture)
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20
List of Figures
List of Figures

2.9.6.4 Fig. 2.82 Recitation of various mantras (1)
2.9.6.5 Fig. 2.83 Recitation of various mantras (2)
Chapter III Main Ritual
3.1 The First Offerings to Katen (Fire God)

3.1.1 General Empowerment of Deities
3.1.1.1 Fig. 3.01 Dainichi-in-gen (The mudr» and mantra of Mah»vairocana)
3.1.1.1 Fig. 3.02 Dainichi-in-gen (The mudr» and mantra of Mah»vairocana)
3.1.1.2 Fig. 3.03 Honzon-in-myć (The mudr» and mantra of the Central Deity)
3.1.1.3 Fig. 3.04 Sanbyćdć-kan (The Identification of the Three: Tath»gata, Fire-
God and the Gyćja)
3.1.2 Preparations for the First Fire-offerings
3.1.2.1 Fig. 3.05 Replacement of the Kasha
3.1.2.2 Fig. 3.06 Throwing Keshi (Poppy Seeds)
3.1.3 Kanjć-katen (Invocation of Fire God)
3.1.3.1 Fig. 3.07 Katen-in (The Fire gesture, agni-mudr»)
3.1.3.2 Fig. 3.08 Shćshu-hyappen (One Hundred Time Recitation of the Agni
Small mantra) (1)
3.1.3.3 Fig. 3.09 Shćshu-hyappen (2)
3.1.3.4 Fig. 3.10 Tansferring the bowls and Kongć-rei (1)
3.1.3.5 Fig. 3.11 Transferring the bowls and Kongć-rei (2)
3.1.3.6 Fig. 3.12 Transferring the bowls and Kongć-rei (3)
3.1.4 Tenka (Igniting the Fire)
3.1.4.1 Fig. 3.13 Taking the Danmoku
3.1.4.2 Fig. 3.14 Untying the Danmoku
3.1.4.3 Fig. 3.15 Igniting fire (1)
3.1.4.4 Fig. 3.16 Igniting fire (2)
3.1.4.5 Fig. 3.17 Fanning the Fire
3.1.5 Fig. 3.18 Shajć (Consecration with Water)
3.1.6 Fig. 3.19 Consecration of the Danmoku
3.1.7 Fig. 3.20 Jikan (Meditation on the Gyćja himself )
3.1.8 Fig. 3.21 Offering Renge-za
3.1.9 Fig. 3.22 Kanjć-katen (Invitation to Fire God)
3.1.10 Bringing the Deities under Control
3.1.10.1 Fig. 3.23 Shi-myć-in (Four sets of mantras and mudr»s) (1)
3.1.10.2 Fig. 3.24 Shi-myć-in (2)
3.1.10.3 Fig. 3.25 Shi-myć-in (3)
3.1.10.4 Fig. 3.26 Shi-myć-in (4)
3.1.10.5 Fig. 3.27 Shi-myć-in (5)
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21
List of Figures

3.1.11 Fig. 3.28 Protecting the Dćjć by Warding off Evil Gćzanze-in
(trailokyavijaya-mudr»)
3.1.12 Sokć (Purification of the Mouth of the Fire Place)
3.1.12.1 Fig. 3.29 Sokć (1)
3.1.12.2 Fig. 3.30 Sokć (2)
3.1.13 The Offerings of Soyu
3.1.13.1 Fig. 3.31 The Offerings of Soyu (1)
3.1.14 The Offerings of Nyĥmoku
3.1.14.1 Fig. 3.34 The Offerings of Nyĥmoku (1)
3.1.14.2 Fig. 3.35 The Offerings of Nyĥmoku (2)
3.1.15 Fig. 3.36 The Offering of Onjiki (Rice)
3.1.16 Fig. 3.37 Offering of Gokoku (Five Grains)
3.1.17 Fig. 3.38 The Offering of Sankć (Perfume)
3.1.18 Fig. 3.39 The Offering of Soyu
3.1.19 Fig. 3.40 Sokć (Washing the mouth of Fire God)
3.1.20 Fig. 3.41 Hakken (Seeing off the deity, visarjana)
3.1.21 Fig. 3.42 Keibyaku (Prayer)
3.2 Offerings to GĈzanze-MyĈĈ (Trailokyavijaya)

3.2.1 Fig. 3.43 Sokć (Washing the mouth of the Fire God)
3.2.2 Fig. 3.44 Adding Danmoku
3.2.3 Fig. 3.45 Jikan (Meditation) Dai-in (Great Gesture, mah»mudr»)
3.2.4 Kanjć-bushu (Invocation of the Main Deity)
3.2.4.1 Fig. 3.46 Placing a flower as Invocation
3.2.4.2 Fig. 3.47 Shćshć (Invitation to Gozanze-myćć, »v»hana) Dai-kćshć-in
(aӚkuĕamudr»)
3.2.5 Fig. 3.48 Offerings of Soyu
3.2.6 Fig. 3.49 The Offering of Onjiki (Rice)
3.2.7 Fig. 3.50 Devotees
3.2.8 Fig. 3.51 Offering Gokoku (The Five Grains)
3.2.9 Fig. 3.52 Offering Soyu (Oil)
3.2.10 Fig. 3.53 Sokć (Washing the Mouth of The Deity)
3.2.11 Fig. 3.54 Hakken (Seeing off the Deity, visarjana)
3.3 Offerings to Honzon (Main Deity)

3.3.1 Fig. 3.55 Sokć
3.3.2 Fig. 3.56 Danmoku
3.3.3 Fig. 3.57 Jikan
3.3.4 Invocation of Honzon, Fudć Myćć
3.3.4.1 Fig. 3.58 Kanjć Honzon (1)
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22
List of Figures
List of Figures

3.3.4.2 Fig. 3.59 Kanjć Honzon (2)
3.3.5 Fig. 3.60 Invitation
Dai-kćshć-in (aӚkuĕamudr»)
3.3.6 Fig. 3.61 Sokć (Washing the mouth of the Deity)
3.3.7 Fig. 3.62 Offerings of Soyu (Offerings of Oil)
3.3.8 Offering Nyĥmoku
3.3.8.1 Fig. 3.63 Offering Nyĥmoku (1)
3.3.8.2 Fig. 3.64 Offering Nyĥmoku (2)
3.3.9 Fig. 3.65 Offerings of Onjiki (Rice)
3.3.10 Fig. 3.66 Offerings of Gokoku (Five Grains)
3.3.11 Fig. 3.67 Konton (Preparation for the Offerings of Mixture)
3.3.12 Fig. 3.68 Offerings of Soyu (Oil)
3.3.13 Fig. 3.69 Offerings of Nyĥmoku
3.3.14 Fig. 3.70 Hakken (Seeing off the Deity, visarjana)
3.4 GokuyĈ (Post offering ritual)

3.4.1 Fig. 3.71 Shin-rei (Ringing Kongć-rei (Vajra-bell))
3.4.2 Fig. 3.72 Ekć (pariӜ»ma)
3.4.3 Kćmyo Shingon (Clear Light Mantra)
3.4.3.1 Fig. 3.73 Kćmyć Shingon (1)
3.4.3.2 Fig. 3.74 Kćmyć Shingon (2)
3.4.4 Fig. 3.75 Hakken (Sending off all the deities, visarjana)
3.5 Gekai (Releasing the vows, vrata-visarga)
3.5.1 Fig. 3.76 Butsubu-sanmayano-in
3.5.2 Fig. 3.77 Naibaku-sankono-in (1)
3.5.3 Fig. 3.78 Naibaku-sankono-in (2)
3.5.4 Fig. 3.79 Brushing the Rosary
3.6 Geraiban (Coming down from the Raiban)
3.6.1 Fig. 3.80 Geraiban (1)
3.6.2 Fig. 3.81 Geraiban (2)
3.6.3 Fig. 3.82 Geraiban (3)
3.6.4 Fig. 3.83 Geraiban (4)
3.6.5 Fig. 3.84 Geraiban (5)
3.7 Hadan
3.7.1 Fig. 3.85 Hadan (1)
3.7.2 Fig. 3.86 Hadan (2)
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23

Chapter I

The Environment, the Paraphernalia

and the Priests
26
1.1 Environment
1.1.1 ↷ගᑎ The ShĈkĈji Temple

Fig. 1.01 The Shćkćji Temple, Okaya
The performance of the sacrifice took place in the Shćkćji or Shćkć temple in
Okaya city in Nagano prefecture, Japan. The temple is situated in the environment seen
here. It is a temple of the Chisan-ha (Chisan branch) of the Shingon sect (mantra-y»na).
The origin of the temple may go back to the Heian Period (the 11th-14th century).
1.1.2 ↷ගᑎᒣ㛛 The ShĈkĈji Temple Gate
Fig. 1.02 The Shćkćji temple
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27

The main entrance of the main building is seen here. The Goma-dǀ (sacrificial hall,
yajña-ĕ»l») is on the right hand side.
1.1.3 ᮏᇽ HondĈ (Main Hall) of the ShĈkĈji Temple
Fig. 1.03 Hondć
This is the main hall of the Shćkćji temple. According to the record of the temple,
the hall was burnt down in 1788 A.D. but rebuilt in 1792 A.D. The central deity of this
temple is Vairocana Tath»gata.
1.1.4 ㆤᦶᇽ Goma-dĈ (The Hall for Sacrifice or Homa

Performance)
Fig. 1.04 Goma-dć
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28

The Goma-dć is to the right of the main hall.The present performance of the
sacrifice to ୙ື᫂⋤ Fudć Myćć, Acala Vidy»r»ja took place in this hall.
1.1.5 ㆤᦶቭ Goma-dan (The Sacrificial Altar, yajña-vedi)
Fig. 1.05 Goma-dan
This is a photo of the Goma-dan in the sacrificial hall. The photo is taken before
the performance of the sacrifice. Two paper lanterns are seen hanging from the ceiling.
1.1.6 The Inside of Goma-dĈ
Fig. 1.06 Dćgu (the paraphernalia, yajña-sambh»ra)

of the sacrifice is seen on the Goma-dan.
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29

This is the inside of the Goma-dć. In the middle is seen the Goma-dan. The chief
deity in this ritual is Fudć Myćć. Hence, that deity is represented across the altar in the
Goma-dć. Behind are seen small statues of the deities related with Tantric Buddhism,
Shintoism, etc. The ritual, however, does not require any statue of the deity Fudć Myćć.
To the four corners of the Goma-dan are four poles called 㔠๛ᶴ Kongć-ketsu (Vajra-
pole), of approximately thirty centimeters in height. A rope is tied to the top of these
poles and is stretched around the altar. It is called ቭ⥺ Dansen. Generally, it is braided
with strands of different colours.
The purpose of Dansen is to delimit the sacred region of the Goma-dan. To make it
easier for the priest to perform the ritual the poles in front of him are higher than the
other ones.
In contemporary Tibetan and Newar Buddhism, each time the altar is newly built.
1.1.7 The Statues of ୙ື᫂⋤ FudĈ MyĈĈ and Other Deities
Fig. 1.07 The Statues of Fudć Myćć and Other Deities
This is a close-up of the small statues of various deities related to Tantric

Buddhism and Shintoism, etc., which are seen in the background of the Goma-dan in
Fig.105 and in the sketch in Fig106. Up to the end of the Edo Period (17th-19th
century), Buddhist temples were closely affiliated with ⚄㐨 Shintć Shrines. Hence,
Shintć deities are enshrined in this temple.
The statue to the extreme right in the last row in a glass case is of the god Fudć
Myćć.
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30
1.2 㐨ල DĈgu (Paraphernalia, yajña-sambh»ra)

1.2.1 The Plan of the Goma-dan and the DĈgu
The Goma-dan is made of wood, square in shape, about one hundred and fifty
centimeters of length on each side. The wood is covered by a sheet of metal to protect it
from embers.
Fig. 1.08 The plan of the Goma-dan and the Dǀgu on it

(For the list of objects on the Goma-dan, see the next page.)
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31
List of Paraphernalia
1. Raiban (Seat of the Gyćja)
2. Aka-ki (Cup of Water to be offered)
3. Zukć-ki (Cup of Powdered Incense)
4. Keman-ki (Cup of Flowers)
5. Kasha (Incense Burner)
6. Goko (Five pronged vajra)
7. Sanko (Three pronged vajra)
8. Kongć-rei (vajra-bell)
9. Dokko (One pronged vajra)
10. Soyu (Oil)
11. Shajć-ki (Cup of Water for Consecration)
12. Sokć-ki (Cup of Water for purifying the mouth of the Deities)
13. Sanjć (Stick or Wand)
14. Ro (Fire-place, agni-kuӜҢa)
15. Honzon (Main Deity)
16. Ka (Fruit)
17. Jĥ (Juice)
18. Butsugu (Cooked Rice)
19. Gokoku (Five Grains)
20. Han (Rice)
21. Shć-shaku (Small Ladle)
22. Dai-shaku (Big Ladle)
23. Shć-shaku (Small Ladle)
24. Tsukematsu (Fire igniting stick)
25. Seika (Flowers)
26. Damyć (Gong)
27. Danmoku (Fire sticks as fuel)
28. Nyĥmoku (Fire sticks as offering)
29. Hibashi (Fire tongs)
30. Sen (Fan)
31. Zukć (Powdered Incense)
32. Kajimotsu (Material for Consecration)
33. Keshi (Poppy seeds)
34. Gankć (Incense chunks)
35. Sankć (Incense)
36. Myćkć (Perfume)
37. Sekke (Pieces of leaves of the Aoki plant)
38. Yakushu (Medicinal Herbs)
39. Zukć (Powdered Incense)
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32
1.2.2 The Close View of the DĈgu (Paraphernalia, yajña-

sambh»ra)
Fig. 1.09 The close view of the Dǀgu
According to some traditions, the bowls, etc., are arranged symmetrically on all
the four sides of the Goma-dan. In the present performance, they were arranged on
three sides. In Payne’s photo of the actual performance, they are seen arranged on only
one side and rice is not seen there [Payne 1991: the photo after p.352].
A candle is seen to the right side. ௜ᯇ Tsukematsu (fire igniting stick) is lit on it
and then with it the main sacrificial fire is ignited.
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33
1.2.3 ⅔ Ro (Fire-place, agni-kuӜҢa)
Fig. 1.10 Ro
The fire-place is in the middle with some fuel-sticks in it. Its shape is circular. But
it is not always so. It changes according to the purpose of the Goma. In ᜥ⅏ Sokusai
(pacificatory, ĕ»ntika) it is circular. In ቑ┈ Zćyaku (performed for nourishment or
prosperity, pauӸԂika) it is square. In ㄪఅ Chćbuku (performed for exorcism,
»bhic»rika) it is triangular. In ᩗឡ Keiai (performed for winning over somebody’s
mind, vaĕåkaraӜa) it is of lotus shape and in 㖋ྊ Kćshć (performed for ensnaring,
aӚkuĕa) it is of vajra shape [Payne 1991: 62]. In Vedic domestic ritual also it is
observed that the shape of the fire-place (kuӜҢa) changes according to the purpose for
which it is to be performed [Tachikawa and Kolhatkar 2006: 6].
The size of the hearth is about forty-five to fifty centimeters in diameter and
twenty centimeters deep. It is generally made of cast iron and is fixed in the middle in
such a way that only the border is above the surface of the Goma-dan. Attached to the
altar towards the priest is a holder for a cup, and the hole next to it is to place its lid.
This is the cup meant for ⸽Ἔ Soyu (the oil for offering). The manual text refers to the
word Soyu. The Chinese word ⸽ (So in Japanese) seems to have been connected with
the Sanskrit word sarpis meaning ‘clarified butter’, but in the actual performance, the
offerings given are of ㆤᦶἜ Goma Abura (sesame oil). In the present performance ⳯
✀Ἔ Natane Abura (rapeseed oil) was used. To the south of it are seen two cups of
water. The left one contains the water for Sokć (the rite of cleaning or purifying the
mouth) for the Fire-god as well as the other gods to whom offerings are to be offered
and hence is referred to as Sokć-ki (Sokć cup). The cup to the right contains the
prokӸaӜå water which is to be used for ὗί Shajć (the act of consecration of the Goma-
dć, the utensils, the offering material, and also the Gyćja himself) and hence is called
Shajć-ki (Shajć cup).
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34

The cups of Sokć and Shajć have flat lid and hence it is easy to keep the two Sanjć
(sticks or wands) on them. Sokć cup is kept towards the border of the Goma-dan and
Shajć cup towards the side of the fire-place. At the beginning of the ritual, the Sanjć
are taken off and the lids are removed from the bowls. At that time also, the Sanjć used
for washing the mouth of the gods is kept outside, i.e., on the side of the bowls and
away from the fire-place and the one to be used for purification is placed inside,
between the fire-place and the bowls.
1.2.4 Place for the Lid of the ⸽Ἔჾ Soyu-ki (Oil Cup)
Fig. 1.11 Place for the lid of the Soyu-ki
There is one more hole seen below the one for Soyu-ki. It is for placing the lid of
the Soyu-ki when it is taken off at the time of the performance.
1.2.5 ᮨ Shaku (Ladles, darvi)
Fig.1.12 Different Shakus
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35

The uppermost Shaku in the photo is used for offering the rice-grains as well as ஬
✐ Gokoku (the five grains) in the fire. The middle one and the lowest one are used for
the offerings of Soyu in the fire. The upper one and the lower one are of the same size,
having a hemispherical bowl about two and a half to three centimeters in diameter and
are called ᑠᮨ Shć-shaku (small ladle). The middle one has a double bowl of the same
width, i.e., about five to six centimeters in length and is called ኱ᮨ Dai-shaku (large
ladle). It resembles the shape of the iҢ»-p»tra in the Vedic ĕrauta sacrifices. But the
difference is that this one here has a groove at the end. When the offerings are made
with it, the oil is poured through the groove. Generally, the large one is held in the left
and the small one in the right while making the offerings. In the Vedic sacrifice, the left
hand is never used for sacrificial offerings. The oblation is taken in the juhĥ ladle for
offering and then juhĥ is always supported by the UpabhӰt while offering the oblation
[Tachikawa, Bahulkar and Kolhatkar 2001: 122, 123].
The ladles used in the ĕrauta sacrifices have a wooden block attached to them at
the end of the handle, of the height of the cavity and hence can rest on that. But such is
not the case here. Hence, the ladles are put resting on a separate wooden block. Further,
the bowl of the two ladles also is wooden in the Vedic sacrifices. Here it seems to be
made of some metal.
1.2.6 ᮨ⨨ࡁ Shaku-oki (Stand for ladles)
Fig. 1.13 Shaku-oki
The ladles are seen with their wooden handles resting on the wooden block. There
are rice grains in the middle bowl and five kinds of grains in the extreme right. The one
to the left contains oil.
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36

1.2.7 ⇠᫂ Tǀmyǀ (Candle), ⟨ Hǀki (Broom) and ḟ➨
Shidai (Manual)
Fig. 1.14 (From the right to the left) Tćmyć, Hćki and Shidai
The line drawing which is presented previously (Fig.108) is a standard one and
hence lacks certain objects. This is a close up of the paraphernalia showing some of the
additional objects as well.
1.2.8 㔠๛ KongĈ and 㔠๛㕥 KongĈ-rei (Vajra and Vajra-

bell)
Fig. 1.15 Kongć and Kongć-rei
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37

This is one more close up of Fig.114. In the middle of the photo is seen 㔠๛┙
Kongć-ban (Vajra-plate, vajra-sth»lå). It is a small tray having three legs. It contains:
1) ⊂㕨 Dokko (one pronged vajra), 2) ୕㕨 Sanko (three pronged vajra) and 3) ஬㕨
Goko (five pronged vajra). In the middle is standing the 㔠๛㕥 Kongć-rei (Vajra-bell,
vajra-ghaӜԂ»), i.e., the bell having its handle of the shape of a vajra.
At the beginning of the ritual of the actual fire-offerings, all these things except the
Sanko are shifted to the left table. The Sanko is held by the ⾜⪅ Gyćja in his hand and
on the Kongć-ban are kept the fire-sticks. For more information regarding Vajra, see
[Saunders 1960/1985: 184ff.] and regarding bells, see [Saunders 1960/1985: 146,147].
This photo is taken after the actual performance of the sacrifice.
1.2.9 ⅆ⯋ Kasha (Incense Burner)
Fig. 1.16 The incense burner
The word Kasha literally means ‘fire-house’. The powder of five types of incense
ingredients is kept in the shape of a whirlpool in this pot, starting from the middle and
ending towards the border in the rightward direction. Sometimes it is kept in the shape
of a svastika, but going in anti-clockwise direction. It has a lid on it which is seen above
it in the photo.
It is kept in the middle of the Goma-dan in front of the priest. To its both sides are
cups symmetrically arranged and of identical materials. The things on the right are used
for the welcome offerings and those to the left for the seeing off offerings.
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38
1.2.10 ௜ᯇ Tsukematsu (Fire igniting stick)
Fig. 1.17 Tsukematsu
The triangular flat wooden stick seen in the photo is called Tsukematsu. It is
anointed with resin. It is held on the burning candle and when lit is carried to the fire-
place to ignite the firewood in it. Generally it is of pine wood. Cf. Fig. 3.15.
1.2.11 ⶈ⳹ Renge (Lotus, padma)
Fig. 1.18 Renge
The ᶁ Shikimi (Illicium religiosum) leaves are used as a symbol of lotus flowers.
If they are not available, then the leaves of Aoki plant (Aucuba japonica) are used. Here
in the present performance Aoki leaves were placed on the four corners of the Goma-
39
39

dan as a kind of a sacred limit and also as decoration. One is reminded of the banana
leaves placed similarly on the worship place of a Satyan»r»yaӜa Pĥj» in Maharashtra.
A perfectly arranged altar has the same arrangement of the cups, etc., on all the
four sides of the Goma-dan. Sometimes the cups on the other three sides can be absent,
but a vase in each corner has to be there. These days, the vases contain flowers either of
paper or of plastic.
1.2.12 ኴ㰘 Taiko (Drum)
Fig. 1.19 Taiko
A drum is seen here on a stand. An assistant priest starts beating it when the Gyćja
takes the fire sticks in the hand. He keeps on beating it till the end of all the offerings.
According to a Vedic text called Ĕatapatha-br»hmaӜa 1.1.4.14-17, in ritual, sound
is made to ward off evil. However, it seems that the use of drum is optional in Goma,
since there was no drum beating in the Goma performed in 1980.
For the relation of music and religion, see [Hunter 1973].
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40

1.2.13 ቭᮌ Danmoku, ஙᮌ NyĦmoku and ஬✐ Gokoku
(Fire-Sticks and Five Grains)
Fig. 1.20 Danmoku, Nyĥmoku and Gokoku
On the right table are seen Danmoku (sticks as fuel) and Nyĥmoku (sticks as
offering), which are the fire sticks to be used in the ritual. At the time of the actual
offerings, some fire sticks are arranged on the Ro at the beginning of each set of
offerings. Eleven sticks are arranged for the offerings to Fire-god, six for the Main
Deity, ten for Other Deities, etc.
Besides these, three fire sticks are offered into fire after the first offering of oil.
But the number varies according to the deities. A set of one hundred and eight fire
sticks, instead of the usual one of three sticks is offered while offering to the Main
Deity.
Next to the firewood are seen the ⅆ⠂ Hibashi (fire tongs). The upper bowl to the
extreme right is of the perfumed powder and the lower is the bowl for the five grains
which generally are rice, wheat, soya beans, ᑠ㇋ Azuki beans and millet.
The Vedic ritual does not prescribe any use of sandal wood or any other fragrant
material. According to some, the use of olfactory material such as perfume, incense etc.
is for creating the atomosphere favourable to the visualization and identification with
the god who is supposed to come.
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1.2.14 Bowls of ⰰᏊ Keshi (Poppy seeds) and ୸㤶 GankĈ
(Incense), etc.
Fig. 1.21 Keshi and Gankć, etc.
When arranged, the bowls are with the lids on. When the Gyćja takes his seat and
checks the implements, he takes the lids off the bowls.
1.2.15 Taking off the Lids of Bowls of Keshi and GankĈ
Fig. 1.22 The Lids of the Bowls of Keshi and Gankć

are taken off.
When the Gyćja takes off the lids from the bowls he arranges them systematically.
Their position after the arrangement is seen here in this photo.
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1.2.16 Contents of the Bowls
Fig. 1.23 Contents of the Bowls
The table seen in the photo is kept to the left side of the Raiban. In the first row,
the first bowl from the left contains Keshi (poppy seeds). The middle one in the first
row contains Gankć (incense chunks). The one to the extreme right in the second row
contains ษⰼ Sekke (the pieces of the leaves of the Aoki plant). There is a very small
stand between the ♩┙ Raiban and the Goma-dan, which is to keep ḟ➨ Shidai
(manual of the performance of the Goma) of the Gyćja. The two assistants also have a
text before them.
In the performance of an Indian sacrifice or worship, the priests seldom have any
text with them. But in Japan, sometimes the priests might have the texts with them. If
they have, they put it on this table and refer to it whenever necessary. The Shidais
differ according to the schools and their branches of ┿ゝ Shingon sect. It is very
natural since in the course of time there do occur differences of opinion and
interpretation. The same is observed in the various different texts of the Vedic ritual
also.
1.2.17 㤶⅔ KĈro (Incense Burner)
Fig. 1.24 Kćro together with its lid
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While leaving the Goma-dć after the performance, the Gyćja, having the Kćro in
his right hand, bows twice bending his knees and pays homage to the Goma-dan.
According to some traditions in the beginning, after the Gyćja has checked the
paraphernalia, the incense kept in the Kćro is lit [Payne 1991: 144].
1.2.18 The cups of ⳹㨆 Keman (Flowers), ሬ㤶 ZukĈ

(Fragrant powder) and 㜆ఞ Aka (Water, arghya)
Fig. 1.25 The bowls of Keman, Zukć and Aka
The first bowl from the left is for Keman (Flowers, kusuma-m»l» (lit. garland of
flowers)). The middle one is for Zukć (Fragrant Powder), and the third one to the
extreme right contains the Aka (Water for rinsing the mouth of the gods, arghya).
Generally in a performance, the leaves of Shikimi tree (Illicium religiosum) are used
instead of flowers. They are five in number, five to seven centimeters in length, dark
green in colour and glossy. They are stiff and hence can be broken into pieces easily.
Generally, in the ritual the upper two third part of the leaf is used. In the present
performance, the leaves of Aoki (Aucuba japonica) were used instead of Shikimi leaves.
The cup contains small pieces of those. Since these plants are evergreen and the leaves
are available round the year, they are used in the ritual like the mango leaves in Indian
auspicious ritual. To its right is the bowl containing rice.
This photo is taken after the performance. The significance of the leaves to the left
will be made clear later. Cf. 3.75.
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1.2.19 Offerings to the Deities
Fig. 1.26 Offerings
ᯝ Ka (Fruit), Ồ Jĥ (juice), and ௖౪ Butsugu (cooked rice, caru) are the three
things offered to the deities. The fruit offered in this performance was an apple, the
juice was ⨺⩘ Yćkan (semi liquid jelly, halu» or halav» in modern Indian Languages)
and the naivedya was cooked rice (caru). In ancient times these food items were
partaken of by the family members after the offerings.
However, these offerings are optional, not obligatory; and do not form an
inevitable part of the performance.
1.2.20 Rice-ball
Fig. 1.27 Rice-ball

The rice-ball is shown here from a different angle. See Fig. 1.26.
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1.2.21 ᛕ⌔ Nenju (Rosary, japa-m»l»)
Fig. 1.28 Nenju
Nenju (sometimes also called ᩘ⌔ Juzu) is an important object in Shingon

Buddhism. It is believed that Kĥkai brought it with him from China. The one which he
is shown holding in his hand in pictures is believed to symbolize Fudć Myćć.
Generally, Nenju has one hundred and eight beads in it which symbolize one
hundred and eight ↹ᝎ Bonnǀ (impurities, kleĕas). Sometimes they also stand for one
hundred and eight deities of 㔠๛⏺ Kongćkai (Vajra-Realm) or one hundred and eight
kinds of Knowledge. It is divided by the two ぶ⋢ Oyadama beads. They are seen in the
photo from which two strings are coming out. The two strings have five beads each
which are called Kazutori and which are the symbol of ༑Ἴ⨶⻤ Jupparamitsu (The
Ten Perfections, daĕa p»ramit»). The two beads at the end of the string are called 㟢
Tsuyu, since they look similar to dew drops and symbolize the twofold fruit, i.e., Bodhi
and Nirv»Ӡa. Besides these there are four more beads which are called ᅄኳ⋤ Shitennǀ
(Guardians of the Four Directions). They are for the sake of making the counting easy.
There is one more bead at the joint of the two strings. It is used to understand that one
cycle is complete.
In Tibetan Nenju, there are three beads larger than the others at the end, which are
the symbols of Buddha, Dharma and SaӞgha; and also serve the practical purpose to
indicate that one cycle is complete. The cord binding the beads together is considered
as The Penetrating Power of Law.
The method of holding Nenju is peculiar and is going to be described. Cf.
Fig.2.78-Fig.2.83 [Saunders 1960: 174-77].
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1.2.22 ḟ➨ Shidai (The Manual, prayoga)
Fig. 1.29 Shidai
The manual used for the Fire Offering performed at the Shćkćji Temple was ୙ື
ㆤᦶ⚾グ Fudć Goma Shiki of ୖ㔝㢗ᰤ Ueno Raiei published by ᬛ✚㝔 Chishakuin
Temple in 1963. The manual is considered to represent the Goma (fire-offering)
tradition of the Chisan Sub-sect of the Shingon Sect.
1.2.23 㘏᮫ ShakujĈ (Sistrum, khakkhara)
Fig. 1.30 Shakujć
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Shakujć is one of the important objects which ᒣఅ Yamabushi or a practitioner of
ಟ㦂㐨 Shugen-dǀ religion (a tradition of mountain-religions in Japan) carries with him.
It has various purposes, the main being to ward off the dangers, viz., animals, insects,
etc., and also the evil, demons, etc. It is mainly used for the announcement of the monk
coming at the door of a house, especially at the times of alms, since he has to restrain
his speech as a vow. For begging alms it is to be shaken three times first and if no alms
is received, then five times. If even after that one does not receive alms then seven
times. After that he is supposed to go away, irrespective of whether he gets the alms or
not.
It has a hexagonal handle generally made of wood. It has a metal finial at the top.
To it are added even numbers of rings on each side of the central axis, either four or six
or eight or twelve. The number varies according to the position of the monk. It has yet
another name as ᚨ᮫ Tokujć (merit-stick), since by making noise it wards off the evil
elements and helps accumulating merit by peaceful performance.
In Japan at present, the Shakujć commonly used has six rings in two sections or
twelve in four sections [Saunders 1960/1985: 171-81].
When the Gyćja becomes ready for the performance after putting on the armour by
way of making the inner fist three pronged vajra mudr», the assistant priest starts
shaking the Shakujć to make sound. It is made at intervals and is completely stopped
when the Gyćja takes Kćro in the left hand which is holding Nenju as well, thus getting
ready to announce his saӚkalpa.
In ritual the Shakujć is used at prescribed intervals. It is held in the right hand
close to the head, with the thumb resting on the end of the nail which secures the finial
to the handle. It is usually shaken thrice first and then continuously, for a sustained,
sonorous jangle. The series of movements is repeated two or three times.
In the performance of 1982, the priest started shaking it at the time of empowering
the rosary and stopped after Hoketsu and placing the Nenju on the left table.
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1.3 The Priests

1.3.1 GyĈja (The Main Priest)
Fig. 1.31 The Main Priest
Rev. ᐑᆏᐋ຾ Miyasaka Yĥshǀ (1921-2011), Abbot of Shćkćji Temple, Okaya,

worked first in Kćyasan University (1954-1977) and then in Nagoya University (1977-
1984) as a professor of Indian and Buddhist Studies. He was also the Abbot of
Chishaskuin Temple, Kyoto from 1999 to 2007.
1.3.2 Assistant Priests

Fig. 1.32 Fig. 1.33 Fig. 1.34
Fig. 1.32 Rev. ᐑᆏᐋὥ Miyasaka Yĥkǀ, Abbot of Shćkćji Temple

Fig. 1.33 Rev. ྜྷᮧ㐨㝯 Yoshimura Dćryĥ, a Priest of the Shingon School
Fig. 1.34 Rev. ୰ᓥᐋᛶ Nakajima Yĥshǀ, a Priest of the Shingon School
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Chapter II

The Preparatory Rites of the Fudć Goma

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Chapter II The Preparatory Rites of the Fudō Goma
2.1 The Entry of the ⾜⪅ GyĈja

2.1.1 Reaching the Goma-dĈ
Fig. 2.01 Reaching the Goma-dć
Before coming to the Gomadć, the Gyćja washes his hands and mouth, wears
washed clothes and applies perfume (gandha). While taking the steps towards the hall,
he meditates on the letter UN (hĥӘ) and imagines himself to be identical with 㔠๛⸃ᇱ
Kongćsatta (Vajrasattva). While walking towards the hall, he visualizes that he is
approaching the shrine of the ἲ⏺ Hokkai (Dharmadh»tu), the lotus buds are opening
under his feet and he is stepping on the lotus petals. While climbing the steps to the
Gomadć, he lifts up his right foot first. After entering into the Gomadć, he imagines the
syllable MA (ma) before his right eye and the syllable TA (ta) before the left one.
These then take the form of the Sun and the moon.
When he enters the hall, first he closes his right hand into a fist. He presses the
thumb firmly against the last joint of the index finger and then suddenly snaps out the
index finger. This action he does thrice uttering the syllable UN (hĥӘ) each time. This
is done to awaken the deities in the hall. In ancient times, when the ritual of building
the altar was observed for seven days, on the fifth day, the altar was consecrated and
the deities were asked to be present there. The sixth day was similar to the upavasatha
day in the Vedic ritual, i.e., ‘the day for being together with the gods and hence
observing fast’. There were rites to be performed to consecrate the sacrificer himself.
However, “nowadays this part of the ritual is omitted, since it is primarily concerned
with but one person, the devotee, and not with all living creatures” [Toganoo 1935/
1959:125].
In Indian ritual, before participating in any sacred act, even as a spectator, one has
to take bath. The use of gandha is also different. It is not at all used in the Vedic ĕrauta
ritual, though it is applied to body after bath as a daily rite.
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2.1.2 Ⓩ♩┙ TĈraiban (Coming to his Seat)
Fig. 2.02 Tćraiban
After coming near the Goma-dan, the Gyćja half bends his knees thrice as a
symbol of respect and then takes his seat. He already has the ᛕ⌔ Nenju put on his left
arm. He then recites the mantra no. 1. “ON SARABA TATAGYATA HANNA
MANNANO NAU KYAROMI” ‘I pay my homage to the feet of all the Tath»gatas’,
(oӘ sarva-tath»gata-p»da-vandanaӘ karomi/). Then folding his leg in the knee he
places the right leg up first and takes his seat. He sits in the half lotus position, putting
his right leg on top of the left.
He has a Japanese style fan in his hand. The assistant priest seen in the photo also
has a fan in his hand, which he, afterwards, while helping the priest to take his seat has
pushed in his robe. There are two assistants to both his sides. One of them is seen in the
photo.
According to some traditions, the priest takes the 㤶⅔ Kćro ‘incense burner’ in his
right hand, which was till now kept on the left stool. He then goes three steps
backwards and bows down twice to pay his reverence, then comes to the front of the
Goma-dan, bows once and then keeps the Kćro back at its place. Then he places the
Nenju on his left arm, and recites the mantra no.1. “ON SARABA TATAGYATA
HANA MANNANO NAU KYAROMI” ‘I pay my homage to the feet of all the
Tath»gatas’, (oӘ sarva-tath»gata-p»da-vandanaӘ karomi/). Then he places the right
leg up first and takes his seat. He sits in half lotus position, putting his right leg on top
of the left [Payne 1991: 144].
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2.1.3 ╔ᗙ Chakuza (Sitting position, »sana )
Fig. 2.03 Chakuza
After taking his seat, the Gyćja examines the sacrificial material symbolically: first
on the right side, with his right hand parallel to the ground, palm upwards and the
thumb turned inside on the palm. If anything is to be rectified, it is done with the tips of
the fingers. Then he does the same with the left hand regarding the things on the left
table and takes off the lids from the bowls and arranges them properly (Fig. 1.22).
Then he takes the Nenju from the left wrist, rubs it together reciting the mantra no.
1. “ON SARABA TATAGYATA HANNA MANNANO NAU KYAROMI” ‘I pay my
homage at the feet of all the Tath»gatas’, (oӘ sarva-tath»gata-p»da-vandanaӘ karomi/).
Then folding the Nenju in three coils he puts it on the left table with his right hand with
the ぶ⋢ Oyadama ‘head bead’ closest to the altar.
The use of left hand in the ritual is noteworthy. In the Indian ritual it is seldom
used this way in the ritual.
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2.2 Consecration or Empowerment of the GyĈja

2.2.1 ୕ᐦほ Sanmitsu-kan (Meditation upon ㌟ Shin (body),
ཱྀ Ku (speech) and ព I (mind) (1)
Fig. 2.04 Sanmitsu-kan (1)
Before going to the next rite the Gyćja takes a pinch of sandalwood powder with
the thumb and the forefinger of his right hand and places it on the palm of his left hand.
Then again he takes a pinch of it and rubs it on his palms both inside and outside and
makes 㔠๛ྜᤸ༳ Kongćgasshć-in (Vajr»ñjali-mudr»). He then starts the Sanmitsu-
kan ‘Meditation upon Shin (body), Ku (speech) and I (mind)’.
In it, the priest visualizes that there is a full moon on his palm, tongue, and heart.
On that moon is a lotus flower of eight petals. On it is the letter hĥӘ, which changes
into a five pronged vajra; and then the vajra emits bright light and destroys the
impurities of the body, speech and mind.
2.2.2 Sanmitsu-kan (2)

㔠๛ྜᤸ༳ KongĈgasshĈ-in (Vajr»ñjali-mudr»)
Fig. 2.05 Kongćgasshć-in (2011)

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The Gyćja is doing Kongćgasshć-in. In it he joins his palms and hands near his
breast, the fingers interlaced, starting from the left little finger, then the right little
finger and so on, and imagines that there are the letters KIRIKU (kråҺ ) between his
palms, on his tongue and in his heart. Then he imagines that the syllables change into
white eight petal lotuses and on them are the letters AKU (»Һ). Further, the syllables
change into a full moon on his palm, tongue and heart, on which appears the letter UN
(hĥӘ). It then changes into a five pronged vajra which emits bright light and destroys
the impurities of the body, mind and speech. He then utters the letter UN (hĥӘ) three
times for the body, four times for the tongue and three times for the heart.

ⶈ⳹ྜᤸ༳ RengegasshĈ-in (Lotus-bud-gesture,
Padm»ñjali-mudr»)
Fig. 2.06 Rengegasshć-in
As is seen in the photo, the Gyćja cups his palms, joins them and holds them near
his breast. This is Rengegasshć-in ‘Lotus bud gesture’ (padm»ñjali-mudr»). Then he
recites the mantra no. 2. “ON SOHA HANBA SYUDA SARABA TARAMA SOHA
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HANBA SYUDO KAN” ‘All that exists is pure by nature. I am also pure by nature’,
(oӘ svabh»va-ĕuddh»Һ sarva-dharm»Һ svabh»va-ĕuddho’ham/) five times. He imagines
that it goes to the five points of his body, viz., forehead, right shoulder, left shoulder,
chest and throat.

Purification of the bodily actions, ௖㒊୕᫕⪨༳
Butsubu-sanmayano-in ‘Gesture of the Symbol of the
Buddha Family’ (Tath»gata-samaya-mudr») (1)

Butsubu-sanmayano-in
The Gyćja then opens his palms a little and brings the forefingers behind the middle
fingers. Thus he makes the Butsubu-sanmayano-in. Then he recites the mantra no. 3.
“ON TATAGYATA DOHANBAYA SOWAKA” ‘OӜ! This is to the one born of the
Tath»gata. Sv»h»’, (oӘ tath»gatodbhav»ya sv»h»/) once. He visualizes that all the
deities of the Buddha class are empowering him. By that he imagines that his bodily
acts are purified and merit and wisdom have increased.
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Purification of the bodily actions (2) Butsubu-
sanmayano-in ‘Gesture of The Symbol of the Buddha
Family’ (Tath»gata-samaya-mudr» ) (2)
Fig. 2.08 Sanmitsukan (5)

Butsubu-sanmayano-in (2) (1982)
This photo shows the side view of the mudr» or gesture. It is taken at the time of
the second performance which took place on 29th October1982.

Purification of the speech actions (1)ඵⴥ༳
HachiyĈno-in (Eight- petal-lotus-gesture, AӸԂadala-
kamala-mudr»)
Fig. 2.09 Sanmitsukan (6) Hachiyćno-in (1981*)

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The priest then forms the Hachiyćno-in ‘Eight-petal-lotus-gesture’. In it, he joins
his thumbs and little fingers and opens out the other fingers. Three fingers of each of
the two hands make six petals and the thumbs and the little fingers joined make other
two petals. Then he recites the mantra no. 4. “ON HANDOBO DO HANBAYA
SOWAKA” ‘OӜ! This is to Padmodbhava (lit. one born from a lotus). Sv»h»!’ (oӘ
padmodbhav»ya sv»h»/) once. Then he imagines that all the deities of the lotus class are
empowering him. They are purifying his speech actions, and by that he is enabled to
obtain purity of speech. Further, his speech has become more powerful so that others
would listen to him more carefully. He imagines that they have bestowed on him the
mastery in preaching the words of the Buddha [Payne 1991: 145].
This photo is taken separately after the performance was over, for the sake of
having a clear view of the mudr».

Purification and empowerment of mind ୕㕨㔠๛༳
Sanko-kongĈ-in (Three-pronged-vajra-gesture) (1)

Sanko-kongć-in (1)
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He then makes the Three-pronged-vajra-gesture. In it, he brings his hands below
his chest and puts them on each other horizontally back to back. He places the right
palm up and left palm down. The thumbs and the little fingers are hooked together and
the other three fingers are stretched on the palms. He then recites the mantra no. 5.
“ON BAZARO DO HANBAYA SOWAKA” ‘OӜ! This is for Vajrodbhava (lit. one
born from a vajra) sv»h»!’(oӘ vajrodbhav»ya sv»h»/)once. He imagines that the
Bodhisattva Vajragarbha and all the other deities of the vajra class are empowering him.
They are purifying his mental actions and enabling him to awaken bodhicitta ‘Decision
to obtain Enlightenment’. By doing so, they help him attain sam»dhi and thereby get
liberated soon.
In the photo it is seen that the action is not yet complete. He has put the palms on
each other and the fingers are yet to be hooked. For the finished mudr» see the next
photo.
Fig. 2.11 Sanmitsukan - 8

‘Purification and empowerment of mind’ Sanko-kongć-in
‘Three-pronged-vajra-gesture’ (2) (1981*)
This is the final form of the mudr». In Vedic ritual the sacrificer takes the vow of
speaking only the truth and abstains from certain food and intercourse.
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2.2.9 ⿕⏥ㆤ㌟ HikĈ-goshin (Putting on the Armour)
ෆ⦡୕㕨㔠๛༳ Naibaku-Sanko-kongĈ-in (The Inner-
fist-three-pronged-vajra-gesture) (1)
Fig. 2.12 Sanko-kongć-in (1) (1982)
The Gyćja makes the Naibaku-sanko-kongć-in. He joins hands and makes a fist
putting the fingers inside. Then he puts out the middle fingers erect, with their tips
touching each other, extends the index fingers and takes them to the back of the middle
fingers so that their tips touch the middle portion of the middle fingers. This is the
Naibaku-sanko-kongć-in. He then recites the mantra no. 6. “ON BAZARA GINI
HARACHI HATAYA SOWAKA” ‘OӜ! This is for the one illuminated by the
vajr»gni.’(oӘ vajr»gni-pradåpt»ya sv»h»/) five times. He imagines that it reaches the
five points of his body. Now he is donned with the armour. If any evil force, may it be
physical or spiritual, tries to harm him or cause obstruction in his actions, it will not be
able to do so, since to it, now, he will appear to be covered from all sides in bright
shining flames. Now the priest is ready to perform the ritual.
In Vedic ritual some mantras are recited to drive away the evil forces, sometimes
by giving them some share in it. Thus, e.g., when the rice grains are husked, the chaff is
said to be the share of the evil spirits, so that accepting it they would not cause any
harm to the sacrifice. Also, the oblation material is circumambulated by fire to protect
it from evil.
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2.2.10 HikĈ-goshin (2) Sanko-kongĈ-in (2)
Fig. 2.13 Sanko-kongć-in (2)

This photo shows the front view of the gesture while doing the action.
Fig. 2.14 Sanko-kongć-in (3) (1981*)
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This photo was taken separately after the first performance was over. This is from
the left side of the Gyćja.
Fig. 2.15 Sanko-Kongć-in (4) (1981*)
This photo was taken separately after the first performance was over. This is from
the right side of the Gyćja and shows the inside view of the palm.
2.3 The Consecration of the Goma-dĈ and DĈgu

2.3.1 ὗί ShajĈ
Fig. 2.16 Act of consecrating or empowering Shajć cup
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The Gyćja then takes the inner ᩓ᮫ Sanjć ‘wand’ in his right hand and puts its tip
in the Shajć cup. Then he circles it twenty-one times anti-clock wise, uttering the letter
RAN (raӘ) each time. He counts the number of the circles with the help of the Nenju
moving the beads of it which he is holding in his left hand. He imagines that at the
same time there is the letter RAN in the water also. He then brings back the Oyadama
‘head bead’ of the Nenju back to its place.
Then he hits on the border of the other cup once and circles the Sanjć clockwise
twenty-one times, uttering the letter BAN (vaӘ) each time and counting with the Nenju.
He does these actions reciting the mantra no. 8. “ON BARADA BAZARA DAN” ‘OӜ!
The boon bestower vajra!dhaӘ!’(oӘ varada vajra dhaӘ/). Then he meditates on the
letter vaӘ and consecrates and purifies himself and the paraphernalia.
Then he strikes on the cup of the Shajć with the Sanjć, once without making any
noise and twice making noise. Then he draws three horizontal lines in the air starting
from right and ending towards left and also from above to below thrice. This act he
performs thrice, each time striking on the same cup.
The Gyćja then dips the tip of the outer Sanjć in another, i.e., of the Ⴟཱྀ Sokć cup,
takes it out and strikes the border of the bowl five six times and then takes the tip of the
Sanjć to the centre of the hearth. Then the Sanjć is lifted up as if through the centre of
that spiral. While doing this, he recites the mantra no. 8. “ON BARADA BAZARA
DAN” ‘OӜ! The boon bestower vajra!dhaӘ!’ (oӘ varada vajra dhaӘ/). This rite he
performs thrice.
2.3.2 ຍᣢ⅔ཱྀ Kaji-rokĈ (Consecrating the Fire Place)
Fig. 2.17 Kaji-rokć
He then puts back the outer Sanjć at its place, takes the Nenju in his hands, twists it
into a double loop and taking it in his left hand puts near his left hip. Then he takes the
three pronged vajra in his right hand and stares at the mouth of the fire hearth. He
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makes three clockwise circles with the vajra, reciting each time the mantra no. 7. “ON
KIRI KIRI BAZARA UN HATTA” ‘OӜ! kili kili! O vajra, hĥӘ phaԂ!’ (oӘ kili kili
vajra hĥӘ phaԂ/). Then, taking the Nenju in the left hand he brushes the vajra against it.
The Gyćja then recites the mantra holding the three pronged vajra in his right hand
and the Nenju in the left one.
2.3.3 ⿵㜘 Hoketsu (Compensation for Deficiencies)
Fig. 2.18 Hoketsu
Then still having the three pronged vajra in his right hand, the Gyćja circles it
anti clock wise thrice and clockwise thrice. He recites the mantra no. 9. “NAUMAKU
SHICHIRITYA JIBIKYANAN TATAGYATANAN AN BIRAZI BIRAZI
MAKASYA KYARA BAZIRI SATA SATA SARATEI SARATEI TAREI
BIDAMANI SAN BAN ZYANI TARA MACHI SHITTA GIRIYA TARAN
SOWAKA” ‘Obeisance to the Tath»gatas of the three paths. aӘ viraji viraji. O
Mah»cakra, O Vajri, sata sata s»rate s»rate! Protect O Vidhamani, O Sambhañjani, O
Tryamati, O Siddha, O Agrya, tr»m sv»h»!’ (namas tryadhvik»n»Ә tath»gat»nam aӘ
viraji viraji mah»cakra vajri sata sata s»rate s»rate tr»yi vidhamani sambhañjani
tryamati siddha agrya tr»Ә sv»h»/) three times. It is believed that by this the offering
materials are consecrated and by that consecration then the deficiencies are expiated for,
if there are any in them. Then he puts down the three pronged vajra, folds the Nenju in
three loops and places it on the left table with the Oyadama closest to the altar [Payne
1991: 96, 147].
In Vedic Ĕrauta ritual also there is similar rite called sviӸԂakӰt, but it is performed
after the completion of the performance, saying that whatever is less or in excess in this
performance, may it be compensated for and made perfect by this rite.
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2.3.4 㔠๛⩓☻༳ KongĈ-katsuma-in (Vajrakarma-gesture,
Vajrakarma-mudr» )
Fig. 2.19 Kongć-katsuma-in (1981*)
The priest makes the Kongć-katsuma-in. He closes the little finger of the palm
with the thumb. The other three fingers are held straight. Then the right wrist is put on
the left one, with the palms towards the priest. Then, reciting the mantra no. 10. “ON
BAZARA KYARAMA KEN” ‘OӜ! O Vajra, O Karma, kaӘ!” (oӘ vajra karma kaӘ/)
six times, he rotates the mudr» thrice clockwise and thrice anti-clockwise. He thereby
consecrates and empowers his actions.
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2.3.5 RAN-⮬ほ ji-kan (Warding off evil by Meditation on
the letter RAN (raӘ))
Fig. 2.20 Kongć-gassho-in
The Gyćja forms the Kongć-gassho-in having the vajra in his hands and imagines
that there is the letter RAN (raӘ), which symbolizes the fire in the middle of the fire-
place. He further imagines that the letter is taking the form of a fire circle, which is a
red triangle. This then expands, pervades the Dharmadh»tu ‘Dharma-realm’ completely,
permeates the earth, the priest’s body and also the offering material. The Gyćja then
imagines that there is the letter RAN in all these places and is blazing into a great mass
of flames. He imagines that it is burning away all the impediments and warding off all
the evil. He then recites the mantra no. 11. “ON RAN SOWAKA” ‘OӜ! raӘ! Sv»h»!.’
(oӘ raӘ sv»h»/) thrice.
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2.3.6 ίᆅ JĈchi (Purification of the Ground)
Fig. 2.21 Kongć-gassho-in (1982)
With his hands still in the Kongć-gassho-in, the priest recites the mantra no. 12.
“ARAZYABAGYATAKU SARABA TARAMAKU” ‘All that exists is devoid of
malign elements.’(rajo’pagat»Һ sarva-dharm»Һ/). Then making the Padm»ñjali-mudr»
he extends his middle fingers and forms the Opening-lotus-bud-gesture. He then recites
the mantra no.13. “ON SOHA HANDA SYUDA SARABA TARAMAKU” ‘OӜ! All
that exists is pure by nature.’(oӘ svabh»vaĕuddh»Һ sarvadharm»Һ/)four times. He
imagines that the mantra is going to the four places, viz., over his head, in his heart, in
the centre of the Goma-dan, and also to the earth beneath him. He thereby purifies his
body. Then with the hands again in the Kongć-gassho-in, he recites the mantra no. 14.
“KEN BAZARA DADO” ‘KhaӘ! O Vajradh»tu.’( khaӘ vajradh»tu/) once. Thus the
Gyćja visualizes the Vajra-Realm and the Buddhas.
2.3.7 㔠๛㉳ KongĈ-ki (Arising of the Vajra)
Fig. 2.22 Kongć-ki (1981*)
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The priest makes the gesture of Kongć-ki. He holds the hands with the palms
facing him, then puts the right little finger on the left one and forms a hook of them and
closes the ring fingers and the middle fingers on the palm. He then extends the index
fingers out touching each other at their tips and presses the thumbs on the closed
fingers and then recites the mantra no. 15. “ON BAZARA CHITSYUTA UN” ‘OӜ! O
vajra, stand. HĥӘ!” (oӘ vajra tiӸԂha hĥӘ/) thrice, each time raising his hands swiftly.
This is called ‘Arising of the vajra’. Then the priest again makes the Kongć-gassho-in
and makes universal or common homage by reciting the mantra no. 1. “ON SARABA
TATAGYATA HANNA MANNANO NAU KYAROMI” ‘OӜ! I pay my homage at
the feet of all the Tath»gatas’, (oӘ sarva-tath»gata-p»da-vandanaӘ karomi/)
The purpose of this action is to catch attention of the Tath»gatas.
2.3.8 ᬑ♩ Furai (Common homage) to Deities

(Vajrakarma-gesture, Vajrakarma-mudr» )
Fig. 2.23 Kongć-katsuma-in (1981*)
He again makes the Kongć-katsuma-in and turns it thrice anti clockwise. He

imagines that the mudr» is on top of his head and recites the mantra no.16. “ON
BAZARA BITSU” ‘OӜ! O Vajra, viҺ!’ (oӘ vajra viҺ) once. This is universal or
common homage to all the deities. After that, he recites the mantra no. 16. “ON
BAZARA BITSU TATAGYATA KYAYA BAKI SHITTA BAZARA BANDANAU
KYAROMI” ‘OӜ! O Vajra, viҺ! OӜ! I pay my homage to the vajras in the form of the
body, speech and mind of all the Tath»gatas.’ (oӘ vajra viҺ / oӘ sarva-tath»gata-k»ya-
v»k-citta-vajra-vandanaӘ karomi/). He then moves the mudr» first anti clockwise and
then clock wise.
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2.4 ⾲ⓑ HyĈhaku (Declaration of performance,
saӚkalpa)
Fig. 2.24 Hyćhaku
Folding his hands and holding them near his breast the Gyćja declares his intention
to begin the performance of the sacrifice. He then takes the Nenju in his left hand, holds
it making a double loop of it, takes the Kćro also with the same hand and rings the bowl
gong with the stick twice and then declares the long declaration. In between, he is
striking the gong time and again. It is like an invitation to the concerned gods. Then
putting down the Kćro and the Nenju, he declares, “I pay my homage to the three
precious ones” and recites the two mantras no. 2. “ON SOHA HANBA SYUDA
SARABA TARAMA SOHA HANBA SYUDO KAN” ‘OӜ! All the Dharmas are pure
by nature and I am pure by nature.’ (oӘ svabh»va-ĕuddh»Һ sarva-dharm»Һ svabh»va-
suddho’ham/) and no. 1. “ON SARABA TATAGYATA HANNA MANNANO NAU
KYAROMI” ‘OӜ! I pay my obeisance to the feet of all the Tath»gatas.’ (oӘ
sarvatath»gata-p»da-vandanaӘ karomi/).
Then again he recites the praise for the Buddhas and the Bodhisattvas and recites
the mantras no. 17. “ON BOCHI SHITTA BODA HADA YAMI” ‘OӜ! I will give rise
to the bodhicitta ‘decision of obtaining the Enlightenment’.’ (oӘ bodhicittam
utp»day»mi/) and no. 18. “ON SAMAYA SATO BAN” ‘OӜ! You are the samaya
‘vow’.’ (oӘ samayas tvam/). Then again he takes Nenju and Kćro and strikes the gong.
After that he recites the mantra no. 19. “ON ABOKYA HOZYA MANI
HANDOMA BAZHIREI TATAGYATA BIRIKITEI SANMANDA HARA SARA
UN” ‘OӜ! O Amogha, please spread around (the world) which is in the form of jewel,
lotus and vajra of worship and is watched by the Tath»gatas’, (oӘ amogha pĥj»-mañi-
padma-vajre tath»gata-vilokite samanta prasara hĥӘ/), no. 20. “ON MAKA
MAITARAYA SOHARA” ‘OӜ! O Mah»maitreya, spread!’ (oӘ mah»maitreya
sphara/), no. 21. “ON MAKA KYARODAYA SOHARA” ‘OӜ! O Mah»k»ruӠya (lit.,
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one who has immense compassion), spread!’(oӘ mah»k»ruӜya sphara/), no. 22. “ON
SYUDA HARABODA SOHARA” ‘OӜ! O Pure Happiness, spread!’ (oӘ ĕuddha
pramoda sphara/), no. 23. “ON MAKO BAIIKISYA SOHARA” ‘OӜ!O MahopekӼa
(lit., one who has great neutrality), spread!’(oӘ mahopekӸa sphara/). He then puts the
Nenju on the left hand, forms Kongć-gassho-in and takes the Supreme Vow reciting the
mantras no. 24. “ON SARABA TATAGYATA SYO SHITAKE SARABA
SATOBANAN SARABA SHITTAYAKU SANBANI ENTAN TATAGYATA
SHISYA CHI CHISYUTATAN” ‘OӜ! All the Tath»gatas are praised. May all the
accomplishments of all the beings be achieved or fulfilled, and may the Tath»gatas
preside over.’(oӘ sarva-tath»gata-ĕaӘsit»Һ sarva-sattv»n»Ә sarva-siddhayaҺ
sampadyant»Ә tath»gat»ĕ ca adhitiӸԂhant»m/)
Then he puts the rosary back and starts further ritual.
2.5 The Construction of the Goma-dĈ (Homa-Hall)

2.5.1 ኱㔠๛㍯༳ Dai-kongĈ-rin-in (Great-vajra-circle-
gesture, Mah»vajra-cakra-mudr»)
Fig. 2.25 Dai-kongć-rin-in (1981*)
The Gyćja then makes the Dai-kongć-rin-in ‘Great-vajra-circle-gesture’. He first

makes the inner fist, extends the two index fingers and makes their tips touch each
other. Then the two middle fingers are also extended and hooked around the index
fingers so that they also touch the tips of each other. The thumbs are held straight. Then
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he recites the mantra no. 9. “NAUMAKU SHICHIRITYA JIBIKYANAN
TATAGYATANAN AN BIRAZHI BIRAZHI MAKASYA KYARA BAZIRI SATA
SATA SARATEI SARATEI TAREI TAREI BIDAMANI SAN BAN ZYANI TARA
MACHI SHITTA GIRIYA TARAN SOWAKA” ‘‘Obeisance to the Tath»gatas of the
three paths. aӘ viraji viraji. O Mah»cakra, O Vajri, sata sata s»rate s»rate! Protect O
Vidhamani, O Sambhañjani, O Tryamati, O Siddha, O Agrya, tr»m sv»h»!’ (namas try-
adhvik»n»Ә tath»gat»nam aӘ viraji viraji mah»cakra vajri sata sata s»rate s»rate tr»yi
tr»yi vidhamani sambhañjani tryamati siddha agrya tr»Ә sv»h»/) thrice. While doing so,
he imagines that the mudr» is directed to the five points of his body, viz., forehead,
right shoulder, left shoulder, heart and throat. Thus he empowers himself to perform
further ritual. He has made the Dćjć safe and protected from evil by the vajra circle
around it to receive the deities.
2.5.2 ᆅ⤖ Jiketsu (Setting the boundary, bhĥmi-parigraha)

or 㔠๛ᶴ KongĈ-ketsu (Fixing the Vajra-poles, vajra-
kålana ) (1)
Fig. 2.26 Kongć-ketsu (1982)
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2.5.3 㔠๛ᶴ KongĈ-ketsu
Fig. 2.27 Kongć-ketsu (1981*)
Then he forms the gesture signifying the fixing of the Vajra-poles. In it he holds
his hands with their palms facing each other, rests the ring finger of the right hand
between the little and ring fingers of the left one and the ring finger of the left hand
between the middle and index finger of the left one. Then he keeps the ring finger of
the left hand over the ring finger of the right and the middle finger of the left hand over
the middle finger of the right. The little fingers and the index fingers touch each other
at the tips. The thumbs are touching each other bending down.
Then he recites the mantra no. 25. ON KIRI KIRI BAZARA BAZIRI HORA
MANDA MANDA UN PATTA (oӘ kili kili vajra-vajri bhĥr bandha bandha hĥӘ
phaԂ/). He recites it thrice, each time forcing the mudr» downward sharply. Also, he
visualizes that he is placing the Vajra-poles into the earth and making it firm. Thus he
creates a wall of vajras all around so that no evil force can now create any trouble.
2.5.4 ᅄ᪉⤖ ShihĈ-ketsu (Binding the Four Corners)
Fig. 2.28 Shihć-ketsu (1981*)
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The Gyćja then turns the previous mudr» towards himself with the palms facing
him. Then he puts the thumbs resting on the forefingers. He recites the mantra no. 26.
“ON SARA SARA BAZARA HARA KYARA UN PATTA” ‘OӜ! O Vajrapr»k»ra,
spread spread! HĥӘ phaԂ!’(oӘ s»ra s»ra vajrapr»k»ra hĥӘ phaԂ/). He visualizes that
immense flames are coming out of the mudr» and they become the walls of interlocked
three pronged vajras.
The mudr» is then circled thrice clockwise.
2.5.5 ዴ᮶ᣙ༳ Nyorai-ken-in (Tath¼gata’s fist gesture,

Tath»gata-muӸԂi-mudr»)
Fig. 2.29 Nyorai-ken-in (1981*)
Then the Gyćja makes the Nyorai-ken-in. He first forms the Lotus fist with the left
hand and a diamond fist with the right one and then inserts the left thumb into the right
fist from the side of the little finger. Then he imagines that there is the letter aҺ which
changes into a sword which then changes into ୙ື᫂⋤ Fudć Myćć ‘Acala Vidy»r»ja’,
whose another name is CaӠҦamah»roӼaӠa. There are flames coming out from all his
body. They then burn away all the obscurations and hindrances in the world of
Dharma-dh»tu ‘Dharma-Realm’. By this he empowers seven points of his body, viz.,
his left knee, the altar, his right knee, heart, forehead, throat and the crown of the head.
He recites the mantra no. 27. “ON BOKU KEN” ‘OӜ! The Earth! Kham!’ (om bhĥҺ
khaӘ/) seven times.
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In Chinese and also in Japanese tradition this mudr» is known by the names Kaku-
shć-in and Chi-ken-in, the exact Sanskrit translation of which would be
‘Bodhyagråmudr»’. In Bhattacarya’s edition of the NiӸpannayog»valå, however, the
name occurs as BodhyaӞgåmudr», but by mistake. The Tibetan translation also supports
the name Bodhyagråmudr». Cf. “The Hand Posture of the Vairocana Buddha: A Case
Study” by Dr. Naresh Man Bajracharya, Paper presented to The International
Academic Conference of The Korean Association of Hoe-dang Studies (The Hundred
Anniversary Conference of the birth of Hoe-dang) Seoul, Korea, 17-18 October, 2002).
2.5.6 ኱⹫✵ⶶ༳ Dai-kokĦzĈ-in (Mah¼-¼k¼Ėagarbha-

gesture, Mah»-¼k»ĕagarbha-mudr»)
Fig. 2.30 Dai-kokĥzć-in (1981*)
The Gyćja makes an añjali in which the hands are folded with space in between.
Then he brings down the two middle fingers and places them on the knuckle of the
other hand. The forefingers are touching each other at their tips. The thumbs are held
straight near each other inside the forefingers. This is called Dai-kokĥzć-in (Mah»-
»k»ĕagarbha-mudr»). The Gyćja then recites the mantra no. 28. “ON GYAGYANAU
SANBANBA BAZARA KOKU” ‘OӜ! O you Vajra, which is born of the Sky! HoҾ!’
(oӘ gagana-sambhava vajra hoҺ/) once.
By this rite the space above the Dćjć is also made safe and protected against evil.
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2.5.7 ᑠ㔠๛㍯༳ ShĈ-kongĈ-rin-in (Small-vajra-circle-
gesture, Laghu-vajracakra-mudr»)
Fig. 2.31 Shć-kongć-rin-in (1981*)
Then the Gyćja makes the Small-thunderbolt-wheel-gesture. He joins the two little
fingers by hooking the right one in the left one. The left index finger is hooked in the
right index finger. The middle fingers are folded inwards and the thumbs are pressed on
the back side of the middle phalanxes of the middle fingers. This is called the ‘Small-
thunderbolt-wheel-gesture’. Then he recites the mantra no. 30. “ON BAZARA
SHAKYARA UN ZHAKU UN BAN KOKU” “OӜ! O you Small Thunderbolt Wheel,
hĥӘ jaҺ hĥӘ vaӘ hoҺ sv»h». (oӘ vajracakra hĥӘ jaҺ hĥӘ vaӘ hoҺ sv»h»/). He recites
the mantra five times to empower the five points of his body, viz., forehead, right
shoulder, left shoulder, heart and throat. Then again he recites it four times by which he
empowers four points, viz., the crown of his head, all spaces, the top of the altar and the
chief deity. During the last four repetitions the mudr» is slowly carried low towards the
stomach and then raised so that at the time of the last recitation it is opened at the level
of his mouth.
Here ends the second stage of the Goma which is the construction of the Goma-dć.
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2.6 Reception of the Deities

2.6.1 ᐆ㌴㍒ HĈsharo (Sending the Chariot to receive the
Deities)
Fig. 2.32 Hćsharo (1981*)
The Gyćja makes the Jewelled-carriage gesture and sends it to bring the deities to
the Goma-dć. In it, he holds his hands before him the palms facing him. Then he
interlaces the little, the ring and the middle fingers inwards keeping the left little finger
as the lowest. The index fingers join each other at the tips and the thumbs are curled
under the two index fingers. This is the Jewelled-carriage-gesture. Then he sends it for
the deities reciting the mantra no. 30. “ON TORO TORO UN” ‘OӜ! turu turu hĥӘ!’
(oӘ turu turu hĥӘ) and pushes the mudr» away from himself extending the thumbs. He
does so thrice imagining that the carriage adorned with jewels is going to the deities to
request them to sit in it.
Then with his hands still in the same mudr», the Gyćja recites the mantra no. 31
“NAUMAKU SHITCHIRYA JIBIKYANAN TATAGYATANAN ON
BAZARAGINYAU KYARA SHAYA SOWAKA” ‘I pay obeisance to the Tath»gatas
of the three paths. OӜ! O you Vajr»gni, bring (lit. pull or drag) (them) here. Sv»h».”
(namas tryadhvik»n»Ә tath»gat»n»m/ om vajr»gni »karӸaya sv»h»). While reciting the
mantra, he draws the mudr» back towards himself, bending the thumbs so that they
touch the base of the forefingers. By that he requests the carriage back to the altar with
the deities sitting in it. He imagines that the carriage has come back and is lingering in
space above the maӜҢala altar.
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2.6.2 ㄳ㌴㍒ ShĈsharo (Request for getting in the chariot)
Fig. 2.33 Shćsharo (1981*)
By making this mudr» the Gyćja requests the deities to get in the chariot.
2.6.3 ྊㄳ ShĈshĈ (Invitation, »v»hana)

኱㖋ྊ༳ Dai-kĈshĈ-in
Fig. 2.34 Dai-kćshć-in (1981*)
The Gyćja forms the Inner-fist-gesture, in which the thumbs are also inserted into
the fist and the right index finger is held out and then recites the mantra no. 32.
“NAUMAKU SANMANDA BODANAN AKU SARABATAKU HARA CHIKATEI
TATAGYATA KUSYA BOJISYARIYA HARI HORAKYA EI KEI KI ZYAKU UN
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BAN” ‘I pay my obeisance to all the Buddhas, aҺ! O AӞkuĕa for (inviting) the
Tath»gatas who are unobstructed everywhere, and who is supplementary to the
Bodhicary», come, come, jaҺ!’ (namaҺ samantabuddh»n»m/ aҺ sarvatra-apratihata-
tath»gata-aӚkuĕa bodhicary»-paripĥraka ehy ehi jaҺ) On the last three letters EI KEI
KI (ehy ehi), which is an invitation, he bends the index finger as an action of calling the
deity near him.
In the photo, he is seen with the mudr» in which the index finger is bent for
invitation.
2.6.4 Bringing the Deities under Control (1)

2.6.4.1 ᅄ᫂༳ ShimyĈ-in (Four-knowledge-gesture, Catur-vidy»-
mudr») (1)
Fig. 2.35 Shimyć-in (1) (2011)
To form Shimyo-in the Gyćja first holds his hands before him parallel to ground
with the palms held upwards. Then he folds the ring and the middle fingers of both the
hands on their palms and presses the thumbs on them.
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2.6.4.2 ShimyĈ-in (2)
Fig. 2.36 Shimyć-in (2) (1981*)
The Gyćja then brings the hands back to back, hooks the little fingers, folds the
ring and the middle fingers and hooks the index fingers. The thumbs are brought near
the folded fingers. This is the Shimyć-in. He beckons once with his forefingers while
reciting the mantra no. 32 “ON BAZARA KUSYA ZYAKU” ‘OӜ! O Vajr»Ӛkuĕa,
jaҺ!’ (oӘ vajr»Ӛkuĕa jaҺ/) Then bringing the backs of the two forefingers together, he
recites the mantra no. 33 “ON BAZARA HASYA UN” ‘OӜ! O Vajrap»ĕa, hĥm!’(oӘ
vajrap»ĕ» hĥӘ/) once.
2.6.4.3 ᅄ᫂༳ ShimyĈ-in (3)
Fig. 2.37 Shimyć-in (3) (1981*)
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On the utterance of ZHAKU the deities are hooked, on that of UN they are pulled
in, on that of BAN they are confined and on that of KOKU they are completely brought
under control.
2.6.4.4 ᅄ᫂༳ ShimyĈ-in (4)
Fig. 2.38 Shimyć-in (4) (2011)
He then brings the Mudr» down near his stomach.
2.6.5 Protecting the Goma-dĈ by Warding off Evil

㝆୕ୡ༳ GĈzanze-in (Trailokyavijaya-mudr»)
Fig. 2.39 Gćzanze-in (1981*)

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The Gyćja then makes the two index fingers separate from each other, leaving the
little fingers connected. This is the Gćzanze-in. He then recites the mantra no. 37. “ON
SONBA NISONBA UN GYARIKANDA GYARIKANDA UN GYARIKANDA
HAYA UN ANAUYA KOKU BAGYABAN BAZARA UN PATTA” ‘OӜ! O Sumbha,
O Nisumbha, hĥӘ! Grasp! Grasp! hĥӘ! Make grasp! HuӘ! Bring him, O Bhagavan!
HoҺ! OBhagavan vajra, hĥӘ phaԂ!’ (oӘ sumbha nisumbha hĥm gӰhӜa gӰhӜa hĥӘ
gӰhn»paya hĥӘ »naya hoҺ bhagavan vajra hĥӘ phaԂ/)
2.6.6 ᢿᤸ HakushĈ (Pleasing the Deities by Clapping)

2.6.6.1 ᢿᤸ HakushĈ (1)
Fig. 2.40 Clapping (1982)
2.6.6.2 ᢿᤸ HakushĈ (2)
Fig. 2.41 Clapping (1981*)
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The priest then holds his hands before him their palms facing each other and the
thumbs up. Then he moves his right hand twice or thrice in a vertical circle and claps
thrice.
According to some, the ritual is a little different. Thus it is –The Gyćja then
extends his fingers, cups the hands slightly and recites the mantra no. 36. “ON
BAZARA TARA TO SYA KOKU” ‘OӜ! O Vajra spread, be happy!’ (oӘ vajra tata
tuĕya hoҾ/) once. Then he claps on the syllables TO, SYA and KOKU. The first two
claps are soft and the third is loud [Payne 1991: 157].
2.7 ⤖⏺ Kekkai (Sealing the Boundary)

2.7.1 㔠๛⥙ KongĈ-mĈ (Raising the Vajra-net, vajra-
pañjara)
Fig. 2.42 Kongǀ-mǀ (1981*)
He makes the same mudr» which he made in ‘Binding the earth’ or ‘The
Thunderbolt Stake” (Fig. 2.28). In it, he brings his hands before himself, their palms
facing him. Then the little fingers are joined to each other at the tips, the ring and the
middle fingers are placed on each other and the index fingers are joined at the tips. The
thumbs are turned inwards. He recites the mantra no. 38 “ON BISOHORATA
RAKISYA BAZARA HANZHYARA UN PATTA” ‘OӜ!O Visphurat, RakӸa,
Vajrapañjara, hĥӘ phaԂ!’ (om visphurad rakӸa vajrapaӚjara hĥӘ phaԂ/). It is imagined
that this mudr» now creates a net of vajras above the sacrificial place and also all
around. The Gyćja is now free from all the outer disturbances and will be able to
concentrate on sam»dhi.
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2.7.2 Encircling the DĈjĈ by Fire

2.7.2.1 ⅆ㝔 Ka-in (Fire-protected House) (1)
Fig. 2.43 Ka-in (1) (1981*)
The Gyćja holds his palms before him and puts the right one on the left one. The
fingers are spread and the thumbs are kept straight up touching each other on the inner
side. Then he turns the mudr» thrice clockwise and thrice anti-clockwise reciting the
mantra no. 39. “ON ASANMAGINI UN PATTA” ‘OӜ! O Asam»gni (lit., fire which is
uneven), hĥӘ phaԂ!’ (oӘ asam»gne hĥӘ phaԂ/), and visualizes that innumerable flames
are coming out of this mudr» encompassing the sacrifice and there is a wall of
interlocked three pronged vajras encircling the sacrificial place.
2.7.2.2 ⅆ㝔 Ka-in (Fire-protected House) (2)
Fig. 2.44 Ka-in (2) (1981*)
This photo shows the mudr» as seen from the side of the Gyćja.
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2.7.3 Consolidation of the Sealing
2.7.3.1 ኱୕᫕⪨༳ Daisammaya-no-in (Great-samaya-gesture,
Mah»samaya-mudr»)
Fig. 2.45 Daisammaya-no-in or Sanko-kongć-in (1981*)
The Gyćja then forms the Sanko-kongć-in, which is also known as Mah»samaya-
mudr». In it, he makes the inner fist first, extends the forefingers and takes them behind
the middle fingers without touching them and presses the thumbs against the base of the
forefingers. He recites the mantra no. 40. “ON SYOGAREI MAKA SAMAEN
SOWAKA” ‘OӜ! O ĔӴӞkhale (lit., chain), O Mah»samaya, sv»h»!’(oӘ ĕrӚkhale
mah»samayam sv»h»/) thrice.
Here ends the ritual of sealing the boundary of the ritual enclosure.
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2.8 ౪㣴 KuyĈ (Offering worship, pĥj»)

After performing the Sanko-kongć-in the Gyćja now starts the ritual of
worshipping the deities whom he has invited.
2.8.1 Offering 㜆ఞ Aka (water, arghya)

2.8.1.1 Taking the cup of Aka
Fig. 2.46 Taking the cup of Aka
He first picks up the cup of Aka which is the first one to the right of the Kćro. He
holds it between his thumb and middle finger of the right hand and gently waves it
clockwise through the incense thrice and then holds it near his head to pay his respect.
Then he pours the water from the cup into the saucer. He pours it thrice each time
pouring approximately one third of it. Then he puts the cup back in the saucer.
In the photo he is seen pouring the water in the saucer.
2.8.1.2 㜆ఞ Aka-in (Aka-gesture, arghya-mudr») (1)
Fig. 2.47 Aka-in (1) (1981*)
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Then holding the cup with the saucer in his hand the Gyćja makes Aka-in. He
holds the left hand with its palm upwards, extends the little, ring and middle fingers
straight out and brings the tips of the thumb and the forefinger together. He then places
the cup together with the saucer on the palm. Then with his right hand he makes a
mudr» uttering the letter RAN. He holds his right hand with its palm upwards. The ring,
middle and the index fingers are held straight and the thumb is pressed on the folded
little finger. This is called Aka-in (Arghya-mudr») or Ken-in ‘Sword-gesture’ (KhaҢga-
mudr»).
Fig. 2.48 Aka-in (2) (1982)
Then he waves the mudr» thrice from left to right over the cup while reciting the
mantra no. 41. “NAUMAKU SANMANDA BAZARA DAN KAN” ‘I pay my
obeisance to all the Vajra deities. h»Ә!’ (namaҺ samanta-vajr»Ӝ»Ә h»Ә/). The mantra
also is recited thrice.
In the photo it is seen how he waves the mudr» from left to right.
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Fig. 2.49 Aka-in (3)
The Gyćja then holds the cup together with the saucer in both the hands. The right
hand he holds in a gesture of holding a flower. He then recites the mantra no. 41. “ON
BAZARA DAGYATA UN” ‘OӜ! o Vajrodaka, ԂhaҺ huӘ!’ (oӘ vajrodaka ԂhaҺ hĥӘ/)
and imagines that a drop of water becomes ocean of arghya, reaches to each Buddha,
purifies the pure feet of each Buddha and the pure feet of the each sacred one and
washes off the kleĕas and sin of the actions of body, speech and mind. Then he places
the arghya cup and the saucer at its original place.
In the photo he is seen keeping the cup back.
2.8.2 Offering ⶈ⳹ᗙ Renge-za (Lotus Seats, kamal»sana)
Fig. 2.50 Renge-za (1981*)
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After having washed the feet of the deities, the Gyćja offers seats to them. He
makes first Renge-gassho-in and then opens it in such a way that the little fingers and
the thumbs are touching each other and other fingers are spread outward, keeping the
second and the third phalanxes straight. Thus it becomes the mudr» of Renge-za. He
does this reciting the mantra no. 42. “ON KYAMARA SOWAKA” ‘OӜ! O Lotus,
sv»h».’ (oӘ kamala sv»h»/). At the same time he imagines that innumerable lotuses are
coming out of that mudr» and changing into innumerable lotus thrones for the welcome
deities.
2.8.3 ᣺㕥 Shin-rei (Ringing the KongĈ-rei)

2.8.3.1 Taking the KongĈ-rei (1)
Fig. 2.51 Taking the Kongć-rei (1)
The Gyćja, then, offers the ringing sound of the Kongć-rei to the gods as a part of
worship. Having the Nenju hanging on his left hand, he picks up Goko ‘the five
pronged vajra’ in his right hand without disturbing the Kasha. Then he takes his hand
behind the Kongć-rei and takes it in such a way that the vajra crosses the handle of it
horizontally.
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2.8.3.2 Taking the KongĈ-rei (2)
Fig. 2.52 Holding the Kongć-rei
Then both those things he brings to himself near the stomach. The Kongć-rei he
takes in his left hand and holds it tilted with its handle towards the Goma-dan. He
shakes the vajra thrice and then circles it anti-clockwise thrice and clockwise thrice,
reciting the mantra no. 43. “NAUMAKU SANMANDA BAZARADAN SANDA
MAKARA SYADA SOWATAYA UN TARATA KAN MAN” ‘Obeisance to
Samantavajras!O CaӠҦamah»roӼaӠa, make it make sound. hĥӘ traԂ h»Ә m»Ә! OӜ! O
VajraghaӠԆ», be satisfied! hoҺ!’(namaҺ samantavajr»Ӝ»Ә/ caӜҢamah»roӸaӜa sphoԂaya
hĥӘ traԂ h»Ә m»Ә/ oӘ vajraghaӜԂ» tuӸya hoҺ/)
2.8.3.3 Ringing the KongĈ-rei (1)
Fig. 2.53 Ringing the Kongć-rei (1)
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Then holding the vajra in the right hand having the other fingers turned inwards
and the thumb outwards, the Gyćja takes the Kongć-rei near his ear and tilts it so that it
makes sound. Then he brings it back down towards the Goma-dan and tilts it so that it
makes sound. Then again he takes it back to his ear. Thus he makes the sound ten times
reciting a part of the mantra no. 43. “ON BAZARA GENDA TOSYA KOKU” ‘OӜ! O
VajraghaӜԂ», be pleased. HoҺ!’ (om vajraghaӜԂ» tuӸya hoҺ/).
After having held it near the ear and made the sound, the Gyćja brings the Kongć-
rei back to its place and then makes the sound tilting the bell towards the Goma-dan.
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Then the Gyćja holds the Kongć-rei near his mouth and performs the same actions
thrice there.
Then the Gyćja holds it near his head or forehead and makes the sound. He does
this twice.
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Then the Gyoja holds the Kongć-rei near the heart and makes the sound for some
more times, first slowly and then fast and loudly. Then lowering it towards his left hip,
he immediately puts it back at its place in the Kongć-ban. He then puts the five pronged
vajra also at its proper place in the Kongć-ban.
After having kept the vajra and the Kongć-rei back in the Kongć-ban, the Gyćja
makes the mudr»s and recites the mantras of the five upac»ras ‘ways’ of worship.
According to some tradition, after offering the music, the Gyćja makes the Chi-
ken-in of Mah»vairocana reciting the mantra no. 44. “ON BAZARA DADO BAN”
‘OӜ! O Vajradh»tu, vaӘ!’ (oӘ vajradhatu vaӘ/) and then proceeds to the worship
ritual [Payne 1991: 160].
2.8.4 ஬౪㣴༳ GokuyĈ-in (Gestures of the Five Offerings)

2.8.4.1 ሬ㤶 ZukĈ (Perfumed Powder, gandha) (1)
Fig. 2.58 Mudr» and mantra for powdered incense (1) (1981*)
First, the Gyćja makes the mudr» of powdered incense. He holds his right hand up
at his shoulder level a little away from him with its palm outside. He folds the thumb
inside and holds the hand at its wrist by the left hand. He recites the mantra no. 45.
“NAUMAKU SANMANDA BODANAN BISYUDA GENDO DOBA BAYA
SOWAKA” ‘Obeisance to Samantabuddhas. This is to the Viĕuddhagandhodbhava (lit.,
one who is born of a pure gandha). Sv»h»!’ (namaҺ samantabuddh»n»m/ visuddha-
gandhodbhav»ya sv»h»/). He recites it once.
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2.8.4.2 ሬ㤶 ZukĈ (Perfumed Powder, gandha) (2)
Fig. 2.59 Mudr» and mantra for powdered incense-2 (1981*)
This is the mudr» for powdered incense seen from the left side of the Gyćja.
2.8.4.3 ⳹㨆 Keman (Flower, puӸpa)
Fig. 2.60 Mudr» of Keman (1981*)
Then the Gyćja makes the mudr» of offering flowers. He first makes Inner-fist-
gesture and then extends the index fingers touching each other at their tips. The thumbs
are taken to the sides. He recites the mantra no. 46. “NAUMAKU SANMANDA
BODADAN MAKA MAITARIYA BYUDOGYATEI SOWAKA” ‘Obeisance to the
Samntabuddhas. This is to one arisen from Mah»maitrå (lit. Great Friendship).
Sv»h»!’(namaҺ samantabuddh»n»Ә mah»-maitry-abhudgate sv»h»/)
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2.8.4.4 ↝㤶 ShĈkĈ (Burning Incense, dhĥpa)
Fig. 2.61 Mudr» of offering burning incense (1981*)
The Gyćja then makes the mudr» of offering burning incense. In it, he holds the
hands before him with the palms upwards and touches the little, ring and middle fingers
touching each other back to back. The sides of the tips of the index fingers are touched
to each other and the thumbs are placed near the index fingers. At that time he recites
the mantra no. 47. “NAUMAKU SANMANDA BODADAN DARAMA DADO
BADO GYATEI SOWAKA” ‘Obeisance to the Samantabuddhas. This is to one
following the Dharmadh»tu. Sv»h».’ (namaҺ samantabuddh»n»Ә dharmadh»tv-anugate
sv»h»/).
2.8.4.5 㣤㣗 Onjiki (Cooked Rice, caru)
Fig. 2.62 Mudr» of offering Rice bowl (1981*)
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Then the priest makes the mudr» of offering a bowl full of rice. He holds both his
hands touching the palms each other from the sides of the little fingers and folds them
so that they form the shape of a cup. He recites the mantra no. 48. “NAUMAKU
SANMANDA BODADAN ARARA KYARARA BARIN DADABI BARIN DADAE
MAKA BARI SOWAKA” ‘Obeisance to the Samantabuddhas. Arara! Karara!I give
the bali offering. Sv»h»!’(namaҺ samantabuddh»n»m arara karara baliӘ dade
mah»bali sv»h»/)
2.8.4.6 ⇠᫂ TĈmyĈ (Lamp, dåpa)
Fig. 2.63 Mudr» of offering lamp (1981*)
Then the Gyćja makes the mudr» of lamp and offers light to the deities. He closes
the little and the ring fingers of his right hand on the palm and places the thumb on
their nails. Then he holds the hand straight at the level of his shoulder and takes the
index finger at the back of the middle finger. He recites the mantra no. 49.
“NAUMAKU SANMANDA BODADAN TATAGYATA ARASHI SOHARANDA
BABASANAU GYAGYANAU DARIYA SOWAKA” ‘Obeisance to the
Samantabuddhas! O Tath»gata-arci (lit. light of the Tath»gatas or in the form of
Tath»gatas), O Quivering One, O Shining One, this is to Gaganod»rya. (Can it be
Gaganodarya, i.e., coming out from the womb of the sky, i.e., lightening?) Sv»h»!’
(namaҺ samantabuddh»n»Ә tathagata-arci sphuraӜa avabh»sana gagana ud»rye
sv»h»/)once.
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2.8.5 ஦౪ Jigu (Offering of Material on the Altar)

After making the mudr»s and reciting the mantras of the five upac»ras, the Gyćja
offers the actual offerings.
2.8.5.1 Offering ZukĈ (Perfumed Powder, gandha)

Fig. 2.64 Offering Zukć (1982)
The procedure of offering the powdered incense is similar to that of offering Aka.
He takes up the cup of powdered incense from the table in his hand, circles it clockwise
above the table and then takes it into his left hand. Then he makes the Aka-in or Ken-in
and thrice takes it from left to right for empowerment or consecration.
Then he holds the pot in both the hands, takes it near his mouth and then near his
head reciting the seed mantra ON. Then he places the cup back on the table.
2.8.5.2 Offering Flowers (puӸpa)
Fig. 2.65 Offering flowers

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The priest then takes the cup of the Shikimi leaves in his hand. There are supposed
to be five leaves or five pieces of leaves in the cup. After lifting it, he takes three leaves
from the cup one by one between the nail of the right forefinger and the tip of the
middle finger. He first picks up the central one of the five, then the one to the left of it
and then the one to its right. He places them on the table in an equilateral triangle,
having the base of it towards himself. First one he places to the left corner of the base,
the second at the apex and the third one to the right corner. He then holds the saucer in
the left hand and takes the cup between his thumb and middle finger of the right one
and turns it clockwise in one twist till the leaf which had been on the far left is now
closest to the chief deity. Then holding it in both hands he circles it clockwise three
times towards the Goma-dan. Then holding it in the left hand he makes the Aka-in or
Ken-in with the right one and takes it thrice from the left to the right. Then he keeps the
cup back on the Goma-dan.
In the photo the priest is seen turning the cup clockwise.
2.8.5.3 Offering Burning Incense
Fig. 2.66 Taking Kćro (1982)
Then the Gyćja takes the Kćro in both his hands and takes it near his head. Then
bringing it down, he holds it in his left hand and empowers it thrice waving the Ken-in
from left to right. He then again takes it near his head with both hands and then keeps it
back at its place.
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2.8.5.4 Symbolical Offering of Rice
Fig. 2.67 The gesture of symbolical offering of rice (1982)
The Gyćja then cups his left hand and with the right one makes the Ken-in and
empowers or consecrates the rice waving the mudr» thrice from left to right. He then
makes the rice bowl mudr» by joining both the hands, takes it near his head and then
brings it down.
According to some, the offering of food is made without picking up the cup of rice.
It is already empowered when put on the Goma-dan at the beginning of the ritual.
Hence, at this time, the practitioner makes only the mudr»s and recites the mantras
visualizing that it is in his palms. He just stares at the actual rice at the time of
empowerment [Payne 1991: 162].
2.8.5.5 Offering Lamp
Fig. 2.68 Material Offering of Tćmyć (1981*)
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The Gyćja makes the same mudr» of light again. In this regard, Payne has stated,
“Similarly lights are offered without picking up the candle or candlestick. Gazing at the
candle flame, the practitioner performs the empowerment, with his hands in the proper
mudras. Then, he makes a vajra fist with his left hand and places it at his left hip. With
his right hand he makes the same mudr» as described above for the mudr» and mantra
offering of lights. He recites the syllable ON once as usual” [Payne 1991: 162].
2.9 ㆭ San (Eulogy of Deities, stuti)

2.9.1 ᅄᬛㆭ Shichi-san (Eulogy of the Four Wisdoms,
caturjñ»nastuti)
Fig. 2.69 Shichi-san
Then the Gyćja makes the Kongć-gassho-in and recites the Hymn in Praise of the
Four Wisdoms and the Hymn in praise of Fudć Myćć. He first recites the mantra no.
50. “ON BAZARA SATOBA SOGYARAKA BAZARA ARATAN NOUMA
DOTARAN BAZARA TARAMA KYAYATAI BAZARA KYARAMA
KYAROHANBA” ‘OӜ! Due to the acceptance by the Vajrasattvas, the vajraratna is
the Supreme. Do you become Vajrakarmakara due to the singing of Vajradharmas.’
(oӘ vajrasattva-saӘgrah»d vajra-ratnam anuttaram vajradharma-g»yanaiҺ
vajrakarma-karo bhava/), which is the Hymn of the Praise of the Four Wisdoms.
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2.9.2 ᮏᑛㆭ Honzon-san (Eulogy of the Central Deity)
Fig. 2.70 Honzon-san (1982)
Next the Gyćja recites mantra no. 51. “NAUMAKU SARABA BODA BOJI
SATOBANAN SARABA TARA SOGU SOBIDA BIJARA SHIBEI NOBO SOTO
SEI SOWAKA” ‘Obeisance to all the Buddhas and Bodhisattvas. O you One who is
full of supernatural power. obeisance to you every where. Sv»h»!’ (namaҺ sarva-
buddha-bodhisattv»n»Ә sarvatra saӘkusumit»bhijñ»-r»ĕi namo’stu te sv»h»/) which is
the Hymn of the Praise of Fudć Myćć.
He keeps his hands in the Kongć-gassho-in while reciting the mantra and then
claps once. While clapping, he holds the left hand in front of him and taking the right
hand near it claps with its finger on the palm of his left hand.
2.9.3 ᬑ౪㣴 FukuyĈ (Universal Offering)

2.9.3.1 The mudr» of universal offering (1)
2.9.3.2 The mudr» of universal offering (2)

Fig. 2.71 Universal offering (1) (2011) Fig. 2.72 Universal offering (2) (2011)
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Then he makes the mudr» of universal offering. In it, with the hands still in the
Kongć-gassho-in, he brings the tips of his index fingers together and brings the thumbs
straight alongside each other. Then he recites the mantra no. 52. “ON ABOKYA
HOZYA MANI HANDOMA BAZHIREI TATAGYATA BIROKITEI SANMANDA
HARA SARA UN” ‘OӜ!O You Unfailing Offerings, please spread everywhere in (this
world) which is observed by the Tath»gatas and is in the form of Jewel-lotus Vajra.
HĥӘ!’(oӘ amogha-pĥj»-maӜi-padma-vajre tath»gata-vilokite samanta prasara hĥӘ/).
It is believed that this mantra bestows immense offerings on all the Tath»gatas in
all the Buddha Lands. The practitioner by that obtains immense merit, longevity and
also Five Supernatural Powers.
2.9.4 ධᡃᡃධ NyĦga-ganyĦ (Union)

2.9.4.1 㜿ᘺ㝀ᐃ༳ Amida-jĈ-in (1)
Fig. 2.73 Amida-jć-in (1) (1981*)
The priest then makes the Mida-jć-in (Amit»bhasam»dhi-mudr»). In it, he holds the
two hands near his waist with their palms upwards. He places his little, ring and middle
fingers of the right hand respectively between the little and ring, ring and middle, and
middle and the index fingers of the right one. The right index finger is placed next to
the left one. The nails of the thumbs are touching each other very lightly. This is the
Mida-jć-in. He then declares that he has now become the Tath»gata Mah»vairocana
adorned with the perfection of all the merits and is sitting on a full moon disk in the
maӜҢala surrounded by innumerable saintly beings. He is one with the Main Deity and
there is no more duality existing.
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2.9.4.2 Amida-jĈ-in (2)
Fig. 2.74 Amida-jć-in (2) (2011)
This is another way of doing Amida-jć-in. The Gyćja places the fingers of his right
palm on those of the left one their thumbs touching each other lightly.
2.9.5 Empowerment of the Central Deity

2.9.5.1 ᰿ᮏ༳ Konpon-in (Main deity gesture) (1)
Fig. 2.75 Konpon-in (1) (1981*)
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2.9.5.2 ᰿ᮏ༳ Konpon-in (Main deity gesture) (2)
Fig. 2.76 Konpon-in (2) (1981*)
The Gyćja then makes a mudr» in which he first makes fists of both the hands and
brings them near each other the thumbs facing him. Then the little fingers are held erect
touching each other. The ring fingers are bent inside, the two middle fingers are held
erect touching each other at their tips and the index fingers are bent down, the nails of
the thumbs touching them. This is a mudr» called Kompon-in. This symbolizes Agni
‘The Fire’. By this, his heart, throat, forehead and the crown of head are empowered.
With his hands in this mudr», he recites the full version of the mantra of Fudć Myćć,
which is no. 54. “NAUMAKU SARABA TATAGYATEI BYAKU SARABA BOKEI
BYAKU SARABA TARATA SENDA MAKA ROSHANA KEN GYAKI SARABA
BIKINAN UN TARATA KAN MAN” ‘Obeisance to all the Tath»gatas, all the Main
Ones, traԂ in every way. O CaӠda Mah»roӼaӠa, khaӘ! Kh»he! Kh»he! All the obstacles,
traԂ! H»Ә! M»Ә!’ (namaҺ sarva-tath»gatebhyaҺ sarvamukhebhyaҺ sarvath» traԂ
caӜҢa-mah»roӸaӜa khaӘ kh»he kh»he sarva-vighnaӘ hĥӘ traԂ h»Ә m»Ә/)
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2.9.5.3 ๢༳ Ken-in (Sword-gesture, khaҢga-mudr»)
Fig. 2.77 Ken-in (1981*)
The Gyćja first makes Renge-gassho-in, takes the Nenju from the left table in his
right palm, brushes it with both the palms and then puts it hanging on his left hand. He
then makes the Ken-in reciting the mantra no. 44. “ON BAZARA DATO BAN” ‘OӜ!
O Vajradh»tu vaӜ!’ (oӘ vajradh»tu vaӜ/) four times. By that he empowers the deity
Mah»vairocana.
2.9.6 Meditation on Deities

2.9.6.1 Empowering the Rosary (1)
Fig. 2.78 Empowering the rosary (1)
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Then the Gyćja takes the Nenju in his hand from the left table. He strings the
Oyadama over his left index finger with its tassels hanging into the palm, coils it thrice
and holds it on his right palm in such a way that the Oyadama is on top. Then he circles
it through the incense smoke clockwise thrice on the Goma-dan and takes it in the left
hand, then again in the right one and then again in the left one. Then he forms Kongć-
gasshć-in with the Nenju still in hands and holds it near his chest. He then recites the
mantra no. 11. “ON RAN SOWAKA” thrice and then the mantra “ON
BEAIROSYANAU MARA SOWAKA” ‘OӜ! O Vairocana! O Mala (i.e., impuritiy),
sv»h»!’(oӘ vairocana mala sv»h»/).
2.9.6.2 Empowering the Rosary (2)

Teaching Mudr¼
Fig. 2.79 Teaching Mudr»
Then he opens his palms and takes the mother bead between the thumb and the
index finger of his left hand and loosely holds the small beads in his right thumb and
the index finger. While doing so, he extends his left hand away from himself reciting
the mantra no.55. “ON BAZARA GUKYA ZYAWA SAN MA EI UN”‘OӜ! At the
time of the mutterance of the vajra-secret!’ (oӘ vajraguhya-j»pa-samaye/). He recites it
once. Letting it go from his left hand, he now turns the Nenju around in his right hand.
He then holds the Oyadama which is now in his right hand and repeats the action and
the mantra. Then again he does the same action for the third time.
Then he holds the Oyadama between the thumb and index finger of his right hand
and the other large bead between the thumb and index finger of the left one. The ring
and the little fingers are held in a slight curve. This is the Teaching Mudr».
In the photo, the Gyćja is seen holding the Nenju in the Teaching Mudr».
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2.9.6.3 ௖║༳ Butsugen-in (Buddhalocan¼ Gesture)

Fig. 2.80 Butsugen-in (1981*) Fig. 2.81 Butsugen-in (1981*)
Then the Gyćja first makes the Kongć-gasshć-in. Then he bends his index fingers
and takes them at the back of the middle fingers. The little fingers are touching each
other at their tips and the thumbs are placed touching the inside of the middle fingers at
the lowest joints. This is the Butsugen-in (UӼӠåӼamudr» or the Mudr» of the Goddess
Buddhalocan»).
Holding this mudr» before him he recites the mantra no. 53. “NAUBO BAGYA
BADO USYUNISYA ON RORO SOBORO ZHINBARA CHISYUTA SHITA
ROSYANI SARABA RATA SADANIEI SOWAKA” ‘Obeisance to Goddess UӼӠåӼa!
OӜ! Ruru! Burn quivering! Stay O Siddhalocane, Sarv»rthas»dhanåye (lit. One who
gets all the goals fulfilled), Sv»h»!’ (namo bhagavad-uӸӜåӸa, oӘ ruru sphuraj jvala
tiӸԂha siddha-locane sarv»rtha-s»dhanåye sv»h»/) seven times. Then again he recites it
for five more times and believes that by that he has empowered the five places of his
body, viz., forehead, right shoulder, left shoulder, heart and throat. Then he again
recites the mantra. Totally he recites it fourteen times.
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2.9.6.4 Recitation of Various Mantras (1)
Fig. 2.82 Counting while reciting
Now the Gyćja does the primary recitation counting on the Nenju. He recites the
mantra no.43. ‘NAUMAKU SANMANDA BAZARADAN SENDA
MAKAROSYADA SOWATAYA UN TARATA KAN MAN’ (namaҺ samanta-
vajr»Ӝ»Ә caӜҢamah»roӸaӜa sphoԂaya hĥӘ traԂ h»Ә m»Ә/). He recites it one hundred
and eight times.
He also recites various mantras such as no.s 54, that of caӜҢamah»roӸaӜa and no.
57 of Mah»vairocana.
In the Shingon tradition, while counting with the Nenju the counting begins from
the Oyadama in the right hand and goes up to the opposite large bead. Then it is
reversed so that completing the circuit means returning across the same beads already
counted and coming back to the mother bead. Thus it is seen in the photo [Saunders
1960/1985: 70].
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2.9.6.5 Recitation of various mantras (2)
Fig. 2.83 Holding the Nenju horizontally
Some of the counting is done with the hands brought down so that the Nenju is
running horizontally across the palms, as is seen in the photo.
After reciting the mantra for one hundred and eight times, the Gyoja folds the
Nenju, holds it in both the palms, does Rengegasshć-in reciting mantra and takes it
thrice near his forehead as an action of showing respect. Then he takes it in the right
hand, circles it thrice on the Goma-dan as before and then keeps it on the left table.
Here ends the preparatory ritual of the Fudćgoma.
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Chapter III

Main Ritual

3. The Main ritual of the Goma>

Now begins the main ritual of the Goma. The ritual of the Fudć Myćć Sokusai
Goma is based on Kĥkai’s Sokusai Shidai modified by Ningai (951-1046 A.D.).
Generally there are five offerings given in the Goma. They are:
1. Offerings to Katen (Fire god),
2. Offerings to Gćzanze Myćć (Trailokyavijaya),
3. Offerings to the Honzon (Main Deity),
4. Offerings to the Shoson (Individual gods) and
5. Offerings to the Seten or Jippćten (Ten Directions)
Sometimes the last two are omitted. In the present performance also they were not
performed.
3.1 The First Offerings to Katen (Fire God)

3.1.1 General Empowerment of Deities
3.1.1.1 ኱᪥༳ゝ Dainichi-in-gen (The mudr» and mantra of
Mah¼vairocana)
Fig. 3.01 Chiken-in (1) (1981*) Fig. 3.02 Chiken-in (2) (1981*)
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The Gyćja does Rengegasshć-in, takes the Nenju from the left table in his right
palm, brushes it with both the palms and puts it hanging on his left hand. He then
makes the Chi-ken-in reciting the mantra no. 44 “ON BAZARA DATO BAN” ‘Om! O
Vajradh»tu, vaӘ!’ (oӘ vajradh»tu vaӘ/) four times. He first closes his left and right
hands in a fist, snaps out the index finger of the left hand and inserts it into the right fist.
The right index finger then is pressed on the left index finger. This is called Bodhyagrå-
mudr» or Wisdom fist gesture also. By that he empowers the deity Mah»vairocana.
3.1.1.2 ᮏᑛ༳᫂ Honzon-in-myĈ (The mudr» and mantra of

the Central Deity)
Fig. 3.03 Ken-in (1981*)
After making Ken-in the Gyćja makes the Single-pronged-vajra-gesture which is

just taking out the right hand as it is out of the left one and holding that he recites the
mantra no. 54 “NAUMAKU SARABA TATAGYATEI BYAKU SARABA BOKEI
BYAKU SARABA TARATA SENDA MAKA ROSHANA KEN GYAKI SARABA
BIKINAN UN TARATA KAN MAN” ‘Obeisance to all the Tath»gatas, all the Main
Ones, traԂ in every way. O CaӠda Mah»roӼaӠa, khaӘ! Kh»he! Kh»he! All the obstacles,
traԂ! H»Ә! M»Ә!’ (namaҺ sarva-tath»gatebhyaҺ sarva-mukhebhyaҺ sarvath» traԂ
caӜҢa mah»roӸaӜa khaӘ kh»he kh»he sarva vighnaӘ hĥӘ traԂ h»Ә m»Ә/).
This is the mantra of the Fire-Realm which he recites thrice. After that the rite of
empowering the Nenju is performed.
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3.1.1.3 ୕ᖹ➼ほ SanbyĈdĈ-kan (The Identification of the Three:
Tath¼gata, Fire-God and the GyĈja)
Fig. 3.04 Amida-jĈ-in (1981*)
The Gyćja then makes the Amida-jć-in. In it he holds his left hand in his lap having
its palm up, then the right hand on it with its palm up. The fingers are interlaced, index
fingers are turned up and the thumbs touch each other at the tips placed on the tips of
the index fingers. He then visualizes that the mouth of the fire on the altar, the mouth of
the deity and his own mouth have become one. They are now identical. This
identification of the three is the antary»ga ‘the inner Goma or sacrifice’, which is the
central theme of the Tantric Buddhist ritual. He then visualizes that the Heart of the
Tath»gata is the ᐇ┦ Jossć (True Aspect of Reality), which is the Fire of Wisdom. The
body of the Tath»gata is the altar hearth, the mouth of the Tath»gata is the mouth of the
altar hearth, and the fire which will be there in the altar hearth is the Heart of the
Tath»gata, the Fire of Wisdom. Then he visualizes that the Fire of Wisdom is present
within his own body, which is now identical with the Fire of Wisdom in the heart of the
Tath»gata.
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3.1.2 Preparations for the First Fire-offerings

3.1.2.1 Replacement of the ⅆ⯋ Kasha
Fig. 3.05 Replacing the Kasha
The Gyćja takes the Kasha in his right hand and puts it on the left corner of the
Goma-dan. In Fig. 1.08 the Kasha is in the middle and in Fig. 3.12 now it has come to
the extreme left of the Goma-dan. The cup of poppy seeds is placed at the place of
Kasha.
3.1.2.2 Throwing ⰰᏊ Keshi (Poppy Seeds)
Fig. 3.06 Throwing the poppy seeds
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The Gyćja lifts the poppy seed bowl from its place and puts where there was Kasha
before. Then he scatters the poppy seeds in the ten directions, i.e., the four main
directions, four sub directions, up and down. Then he places the bowl back at its place.
In the photo he is seen scattering the poppy seeds. Regarding the use of poppy
seeds the Gyćja himself who is performing the Goma here is said to have stated that the
poppy seeds have some narcotic characteristics and power. Its use in Goma might be
shamanistic. It might be for bestowing on the practitioner the power of visualisation
and identification with the god who is supposed to come for the Goma. (We are grateful
to Rev. Yoritomi who supplied this information and also to Prof. Nagano who was
instrumental in it.)
Instead of poppy seeds Payne refers to mustard seeds. According to him, “…the
practitioner places the vessel containing mustard seeds where the censer had been.
Picking up the single pronged vajra in his right hand, he empowers the mustard seeds
with the mantra of the Fire Realm, no.54 NAUMAKU SARABA TATAGYATEI
BYAKU SARABA BOKEI BYAKU SARABA TARATA SENDA MAKA
ROSYADA KEN GYAKI SARABA BIKINAN UN TARATA KAN MAN, repeated
seven times as he moves the vajra over the mouth of the vessel. Still holding the single
pronged vajra in his right hand, he takes a pinch of mustard seeds and casts it…”
[Payne 1991: 169].
3.1.3 ່ㄳⅆኳ KanjĈ-katen (Invocation of Fire God)

3.1.3.1 ⅆኳ༳ Katen-in (The Fire-gesture, agni-mudr»)
Fig. 3.07 Katen-in
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The Gyćja then makes the Katen-in (agni-mudr»). He holds his right hand at the
shoulder level, its palm outwards. The fingers are held straight. Then he folds the
thumb onto the palm. The hand is held at the wrist by the left hand. He then recites the
mantra no. 58. “ON AGYANAU EI SENJIKYA SOWAKA” ‘OӜ! This is to Fire. O
Ĕ»ntika (Agni), sv»h».’ (om agnaye ĕ»ntika sv»h»/). He thereby empowers the four
places of his body, viz., heart, forehead, throat and crown of the head.
3.1.3.2 ᑠ࿺ⓒ㐢 Shǀshu-hyappen (One Hundred Time Recitation of

the Agni Small mantra) (1)
Fig. 3.08 Shćshu-hyappen (1)
This mantra, i.e., the mantra no. 58. “ON AGYANAU EI SENJIKYA SOWAKA”
‘OӜ! This is to Fire. O Ĕ»ntika (Agni), sv»h».’ (om agnaye ĕ»ntika sv»h»/), he recites
one hundred times more counting on the beads of the Nenju.
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3.1.3.3 Shǀshu-hyappen (2)
Fig. 3.09 Shćshu-hyappen (2)
After the recitation of the mantra for one hundred times the Gyćja brushes the
beads on each other with both his hands, folds the Nenju and keeps it on the table to his
left.
By the recitation of the mantra he is inviting the fire god to appear for the sacrifice.
3.1.3.4 Transferring the bowls and KongĈ-rei (1)
Fig. 3.10 Lifting the bowls
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119
The Gyćja utters the letter ran, takes the fifth, sixth and the ninth bowl, i.e., of
incense chunks, incense powder and cut leaves, puts them on each other, i.e., the sixth
on the fifth and the ninth on the sixth and places them to the left of the fire place, (and
also to his left) to form a triangle. Then taking the five pronged vajra in his left hand,
he takes the Kongć-rei in the manner as he has done before and puts it on the left table
where previously the cup of incense chunks was kept. The vajra he keeps in front of it.
He then takes the three pronged vajra in his left hand. Now, together with the
Nenju it will remain in his hand till the resumption of the Secondary Recitation.
According to Payne, the single pronged vajra is kept straight on the Kongć-ban.
Fig. 3.11 Placing the bowls
He then takes the bowls of Sankć ‘incense’ and Kajimotsu ‘sesame seeds’ and
puts them one upon the other and puts them to the right of the fire at the place of the
previous cups.
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Fig. 3.12 Plan of the Goma-dan
This is the photo of the Goma-dan after the transference of the bowls. The bowls
which were on the left table previously are now on the Goma-dan below the bowls of
Sokć and Aka (»camana and prokӸaӜå). The Gyćja then places the five pronged vajra
and the Kongć-rei at the place of the bowls.
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121
3.1.4 Ⅼⅆ Tenka (Igniting the Fire)

3.1.4.1 Taking the Danmoku
Fig. 3.13 Taking Danmoku
The Gyćja takes the bundle of twenty-one sticks of the Nyĥmoku from the right
table, unties it, throws the binding cord on the fire place and puts the fire sticks on the
Kongć-ban with their tips towards the north. Then he opens the bundle of the thirty-six
fire sticks on the right table, throws the binding cord on the fire place as before and
separates eleven sticks of Danmoku. Further, he takes one stick from it with Hibashi
and places it on the fire vertically in the north south direction with its tip towards the
priest. Next, he puts the second one on the left of the first one with its tip towards the
priest. The third one he puts to the right of the middle one with its tip towards himself.
The fourth one he puts towards the north end of these, crosswise with its tip towards the
west. Then he takes six sticks and puts them on top of these, starting from the west and
ending towards the east and with their tips towards the north. He keeps the pieces of the
wood with their bases facing him. In the meanwhile, the assistant to the right side lights
the candle.
In the photo he is seen taking the fire sticks from the right table.
In the second performance, shot in 1982, an assistant started beating a drum at this
time.
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3.1.4.2 Untying the Danmoku
Fig. 3.14 Untying Danmoku
Whenever the Gyćja takes a bundle of fire sticks, he throws the tying cord into the
fire after untying the bundle. In present times, however, he may place it behind himself
in the hall. The reason is, in ancient times it used to be a straw cord, whereas now
sometimes a plastic one is used and if it is thrown into fire, it would produce a bad
smell while burning [Payne 1991: 112, f.n. 7].
In Vedic ritual the cord is thrown at the last stage of Katazuke ‘disposing off of the
materials’.
3.1.4.3 Igniting fire (1)
Fig. 3.15 Igniting Tsukematsu
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3.1.4.4 Igniting fire (2)
Fig. 3.16 Placing Tsukematsu on fire (1982)
Taking the Tsukematsu with the Hibashi and lighting it on the candle he puts it
exactly in the middle of the fireplace.
He is seen in the photo lighting the Tsukematsu on the candle.
The assistant priest is holding up the Dansen so as to make it convenient for Gyćja to
light the Tsukematsu.
According to some, he places it at the near right corner of the altar hearth.
3.1.4.4 Fanning the Fire
Fig. 3.17 Fanning the fire (1982)
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The Gyćja then puts back the Hibashi and takes the fan from the right table. He
opens it, holds it horizontal with both his hands and imagines that there is letter kan on
the surface of the fan. He then visualizes the syllable transforming into wind circle. He
then fans the rising flames thrice, each time reciting the mantra no.59. ‘ON BOKU
ZHINBARA UN’ (oӘ bhĥҺ jvala hĥӖ/).
In the photo, the Gyćja is seen holding the fan in his right hand. In his other hand is
Nenju with the vajra.
3.1.5 ὗί ShajĈ (Consecration with Water)
Fig. 3.18 Shajć
The priest then takes the inner Sanjć in his right hand, strikes it on the Shajć cup
and then holds it above the fire. He performs this action thrice, each time reciting the
mantra no. 7 “ON KIRI KIRI BAZARA UN HATTA” ‘OӜ! kili kili O Vajra hĥӘ
phaԂ!’ (oӘ kili kili vajra hĥӘ phaԂ/). By this action the Gyćja is, as if purifying the
mouth of the Fire God with the perfumed water.
In the photo the Gyćja is seen striking the Shajć and the assistant priest arranging
the wood properly.
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3.1.6 Consecration of the Danmoku
Fig. 3.19 Consecration of the Danmoku
The Gyćja then takes the three pronged vajra in his right hand and holds the Nenju
in the left one. He recites the mantra no.7 “ON KIRI KIRI BAZARA UN HATTA”
‘OӜ! kili kili O Vajra hĥӘ phaԂ!’ (oӘ kili kili vajra hĥӘ phaԂ/) thrice brushing the vajra
against the Nenju.
According to some tradition, then the Gyćja waves the three pronged vajra towards
the fire three times reciting the mantra “ON KIRI KIRI BAZARA UN HATTA”.
3.1.7 ⮬ほ Jikan (Meditation on the GyĈja himself)
Fig. 3.20 Amida-jć-in (1981*)
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126

Taking the three pronged vajra again in his left hand and making Amida-jć-in he
imagines the character ran on his heart in the form of full moon. Then he imagines that
the letter has changed into a flaming fire and his body has become the body of the Fire
god who is white in colour and has four arms. This body then takes the form and size of
the whole of the Dharma-dh»tu. The meaning of thus imagining is that he is identical
with the fire god now.
3.1.8 Offering ⶈ⳹ᗙ Renge-za
Fig. 3.21 Placing the flower
Taking the flower (here a piece of Shikimi leaf) in his right hand and reciting the
mantra no. 58. “ON AGYANAU EI SENJI KYA SOWAKA” ‘OӜ! This is to fire. O
Ĕ»ntika (Agni), sv»h».’(oӖ agnaye ĕ»ntika sv»h»/) he puts the flower on the fire sticks.
Then again making the Amida-jć-in he imagines that the flower is going into the fire
inside the fire place. Then it becomes ‘lotus throne’ on which appears character ran and
then becomes Ken-być ‘a wish-fulfilling jar’. It then becomes the body of the Fire god.
In the photo he is seen putting the flower on the fire.
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3.1.9 ່ㄳⅆኳ KanjĈ-katen (Invitation to Fire God)
Fig. 3.22 Inviting the Fire (1981*)
Then making the Katen-in ‘fire mudr»’ again the Gyćja requests the deity to come
to the sacrifice. He at that time recites the mantra no. 60. “ON AGYANAU EI
SENJIKYA EI KEIKI ZYAKU UN BAN KOKU SOWAKA” ‘OӜ! This is to Fire. O
Ĕ»ntika (fire) come, come! JaҺ! HĥӘ! VaӘ! HoҺ! Sv»h»!’ (oӘ agnaye ĕ»ntika ehy ehi
jaҺ hĥӖ vaӖ hoҺ sv»h»/). At the time of uttering the syllables EI, KEI and KI he makes
the mudr» of beckoning the fire God, by bending the index finger.
The flame of the fire is considered as the Fire god himself.
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128

3.1.10 Bringing the Deities under Control
3.1.10.1 ᅄ᫂༳ Shi-myĈ-in (Four sets of mantras and mudr»s) (1)
Fig. 3.23 Shi-myć-in (1)
On the utterance of ZYAKU UN BAN KOKU he makes the gesture of Four

Wisdoms and then makes the Trailokyavijaya-mudr». While making the mudr» the
Gyćja has the three pronged vajra in his hand. By making these mudr»s the Gyćja
requests the Fire God to come out of the maӜҢala and be one with the Fire God who is
visualized on the altar hearth.
For better understanding the mudr»s are repeated below from the second chapter
(Fig. 3.23-Fig. 3.27).
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3.1.10.2 Shi-myĈ-in (2)
Fig. 3.24 Shi-myć-in (2) (2011)
3.1.10.3 Shi-myĈ-in (3)
Fig. 3.25 Shi-myć-in (3) (1981*)
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130
3.1.10.4 Shi-myĈ-in (4)
Fig. 3.26 Shi-myć-in (4) (1981*)
Fig. 3.27 Shi-myć-in (5) (2011)
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3.1.11 Protecting the DĈjĈ by Warding off Evil

㝆୕ୡ༳ GĈzanze-in (trailokyavijaya-mudr»)
Fig. 3.28 Gćzanze-in (1981*)
The Gyćja then makes the two index fingers separate from each other, leaving the
little fingers connected. This is the Gćzanze-in. He then recites the mantra no. 37. “ON
SONBA NISONBA UN GYARIKANDA GYARIKANDA UN GYARIKANDA
HAYA UN ANAUYA KOKU BAGYABAN BAZARA UN PATTA” ‘OӜ! O Sumbha,
O Nisumbha, hĥӘ! Grasp! Grasp! hĥӘ! Make grasp! HĥӘ! Bring him, O Bhagavan!
HoҺ! O Bhagavan vajra, hĥӘ phaԂ!’ (oӘ sumbha nisumbha hĥm gӰhӜa gӰhӜa hĥӘ
gӰhn»paya hĥӘ »naya hoҺ bhagavan vajra hĥӘ phaԂ/)
3.1.12 SokĈ (Purification of the Mouth of the Fire Place)

3.1.12.1 SokĈ (1)
Fig. 3.29 Sokć (1)
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After making Vajr»ñjali and praying to the Fire God, the Gyćja takes the outer
Sanjć and dipping its tip in the purifying water and then striking it on the border of that
bowl he takes it straight into the fire hearth. While doing so he recites the mantra no. 8
‘ON BARADA BAZARA DAN’ (oӖ varada vajra dhaӘ/). He does it thrice. It is
considered as symbolically washing the mouth of the fire god.
In ancient India fire was considered to be the messenger of the gods who carries
the oblations to them. He carries them by means of flames.
The priest in the photo is seen with the Sanjć raised in his hand ready to strike it.
3.1.12.2 SokĈ (2)
Fig. 3.30 Sokć (2)
In this photo Sanjć is seen being struck on the outer side of the border of the Sokć
cup.
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3.1.13 The Offerings of ⸽Ἔ Soyu

3.1.13.1 The Offerings of Soyu (1)
Fig. 3.31 Offering Soyu (1)
The Gyćja first takes the Dai-shaku and the Shć-shaku in his right hand at one and
the same time and puts them on the Soyu cup. Then he takes the Dai-shaku in the left
hand, takes oil by the Shć-shaku, pours it in three installments in the Dai-shaku and
offers it on the fire with the Dai-shaku circling it on the fire, reciting the mantra no. 58
“ON AGYANAU EI SENJIKIYA SOWAKA”. Then he again keeps the Dai-shaku and
the Shć-shaku on the Soyu cup. Then making Amida-jć-in he imagines that entering
into the mouth of the Fire god the oil reaches the heart of the Fire God in the form of
the lotus seat. Then it becomes the most marvelous and pure offering. From the heart it
spreads to the whole body of the God and then comes out from the pores of the skin in
the form of ocean of clouds of the same oblation. Then he imagines that these offerings
are offered to all the Buddhas, the Bodhisattvas, the Pratyekabuddhas, the Ĕr»vakas and
all the gods. This is called Kuyć-un-kai.
The Gyćja is seen in the photo taking the ladle in the right hand and giving the
offering of rapeseed oil into the fire. He gives two more offerings in this way. Then he
recites the same mantra as before and meditates in the same way.
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134
Then he again keeps the Dai-shaku and the Shć-shaku on the Soyu cup and takes
the Shć-shaku in the right hand, takes oil in it and offers it on the fire. This is the
second offering on the fire. Then again he puts the Shć-shaku on the Soyu cup.
In the photo the Gyćja is seen with the Dai-shaku in his left hand and the Shć-
shaku in the right one after giving the oil offering.
Reciting the same mantra and meditating in the same way, the Gyćja holds both
the ladles in his right hand and pours all the remaining oil in them on fire.
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3.1.14 The Offerings of ஙᮌ NyĦmoku

3.1.14.1 The Offerings of NyĦmoku (1)
Fig. 3.34 Offering Nyĥmoku (1)
The twenty-one pieces of Nyĥmoku sticks are kept in the Kongć-ban. The Gyćja
takes three sticks from it, makes the action of dipping their tips on both the sides in oil,
holds them horizontal in his hand held its palm upwards and puts them into fire one by
one. Reciting the mantra no. 58 ‘ON AGYANAU EI SENJIKIYA SOWAKA’ he
imagines that the offering is entering through the mouth of Agni and is reaching and
worshipping the mouths of all the gods. The mantra and the meditation (dhy»na) are
just the same as seen before in Soyu 1 and 2.
In the photo it is seen that he is about to offer the fire sticks in the fire.
3.1.14.2 The Offerings of NyĦmoku (2)
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136

He offers the sticks holding them in the palm held upwards as is seen in the photo
which is taken just after the offering.
3.1.15 The Offering of 㣤㣗 Onjiki (Rice)
Fig. 3.36 Offering Onjiki
The Gyćja strikes thrice with the spoon on the border of the 㣤ჾ Han-ki (rice cup).
Then he recites the same mantra and meditates in the same way as in the case of Soyu
offerings and the offerings of Nyĥmoku.
After having struck the rice cup, the Gyćja gives the rice from the bowl. Here the
rice seeds, not cooked rice, are used.
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3.1.16 Offering of ஬✐ Gokoku (Five Grains)
Fig. 3.37 Offering Gokoku
With the Shć-shaku (small ladel), the Gyćja offers three offerings from the cup
containing the five grains. Then he recites the same mantra and meditates in the same
way as in the case of the offerings of Soyu and Nyĥmoku.
In the photo, he is seen taking the scoop of five grains from the cup in the ladle.
3.1.17 The Offering of ᩓ㤶 SankĈ (Perfume)
Fig. 3.38 Offering Sankć
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138

The Gyćja then takes three chunks of perfume in his right hand and offers them
one by one on fire. He recites the same mantra and meditates in the same way as in the
case of the offerings of Soyu and Nyĥmoku.
Then he takes three pinches of powdered perfume in his right hand and offers them
in the fire in three installments. He then recites the same mantra and meditates in the
same way as in the case of the offerings of Soyu and Nyĥmoku.
3.1.18 The Offering of Soyu
Fig. 3.39 Offering Soyu
Reciting the same mantra agnaye pauӸԂika svaha and meditating in the same way,
the Gyćja offers the oil once with the ladle and then once with the spoon. He recites the
same mantra and meditates in the same way.
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3.1.19 SokĈ (Washing the mouth of Fire God)
Fig. 3.40 Sokć
Reciting the mantra no. 8 “ON BARADA BAZARA DAN” ‘OӜ! O boon
bestowing Vajra, dhaӘ!’ (oӘ varada vajra dhaӘ/), the Gyćja strikes on the Sokć cup
with the outer Sanjć three four times and takes the Sanjć straight into the hearth. He
repeats the action three times. He imagines that by this action he is washing the mouth
of the deity.
In the photo he is seen striking the border of the cup with Sanjć.
3.1.20 ᧕㐵 Hakken (Seeing off the deity, visarjana)
Fig. 3.41 Hakken
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The Gyćja takes a cluster of leaves from the cup on the right table and throws it in
the right corner of the fire. Reciting the mantra no.61 “ON AGYANU EI GESSYA
GESSYA BOKU” ‘OӜ! This is to Fire. Go, go, muh.’ (om agnaye gaccha gaccha
muҺ/), the Gyćja imagines that it goes to the maӜҢala where it changes into ‘a lotus
throne’ for the God. Thus he sends off the Fire god to his original place in the maӜҢala.
3.1.21 ၨⓑ Keibyaku (Prayer)
Fig. 3.42 Keibyaku
Folding his hands in Vajr»ñjali the Gyćja visualizes that the Fire God in the hearth
has returned to his place in the maӠҦala. He recites the mantra no.61 “ON AGYANU
EI GESSYA GESSYA BOKU” ‘OӜ! This is to Fire. Go, go, muh.’(om agnaye gaccha
gaccha muҺ/) once and doing Kongć-gasshć-in declares, “I but desire that the Deva
Agni return to his original seat.” In this way, the first offering, ‘The offering to Fire
god’ is complete.
In the photo, the priest is seen reciting the mantra with his hands in the Kongć-
gasshć-in under the robe.
Here ends the first set of offerings, the offerings to Fire God.
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3.2 Offerings to GĈzanze MyĈĈ (Trailokyavijaya)
Now begins the next set of offerings, The Offerings to Gćzanze-Myćć. The ritual is
almost similar to that of the Offerings to the Fire God, excepting a few details.
3.2.1 SokĈ (Washing the mouth of the Fire God)
Fig. 3.43 Sokć
The altar hearth is to be cleansed and purified after the first offerings and made
ready for the next ones. Reciting the mantra no. 7 “ON KIRI KIRI BAZARA UN
HATTA” ‘OӜ! kili kili. O Vajra, hĥӘ phaԂ!’ (oӖ kili kili vajra hĥӖ phaԂ/), the Gyćja
strikes the Sokć cup with the inner Sanjć three four times and takes the Sanjć straight
into the hearth. This he does twice more. By performing this action, he is symbolically
washing the fire place.
The Gyćja recites the mantra no. 8 “ON BARADA BAZARA DAN” ‘OӜ! O boon
bestower Vajra, dhaӘ!’ (oӘ varada vajra dhaӘ/) and strikes the Sokć cup nine times
with outer Sanjć.
In the photo he is seen striking the Sokć cup with the outer Sanjć in his hand. By
performing this action, he is symbolically washing the mouth of the Fire god.
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3.2.2 Adding Danmoku
Fig. 3.44 Adding Danboku
The Gyćja adds some Danmoku sticks to the fire. He takes four fragrant sticks
from the bundle of the thirty six. The first he places to his left vertically, then the
second to the right again vertically. Then he places horizontally one on the upper side
and one on the lower of these two. Then he places six sticks on these vertically starting
from left and ending into right.
It is also the practical need of keeping the fire burning.
In the photo he is seen holding the Danboku stick in the Hibashi and adding it to
the fire.
3.2.3 Jikan (Meditation)

኱༳ Dai-in (Great Gesture, mah»mudr»)
Fig. 3.45 Dai-in (1981*)

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After making the Amida-jć-in and meditating upon himself as being identified with
Trailokyavijaya, the Gyćja makes the Dai-in (Great Gesture, mah»mudr») which is a
modified form of Gćzanze-in.
3.2.4 KanjĈ-bushu (Invocation of the Main Deity)

3.2.4.1 Placing a flower as Invocation
Fig. 3.46 Placing a Flower
Then the Gyoja takes a flower in his right hand from the table on the right and
reciting the mantra no. 58 ON AGYANAU EI SENJIKYA SOWAKA, he places it on
the fire sticks on the fire place and imagines that it becomes a lotus seat, then changes
into a five pronged vajra and that vajra again changes into the god Trailokyavijaya.
Then he performs Amida-jć-in and meditates. Then he makes the Dai-in again and
recites the mantra no. 58. ON AGYANAU EI SENJIKYA SOWAKA.
In the photo, he is seen placing the flower in the fireplace.
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3.2.4.2 ShĈshĈ (Invitation to GĈzanze-myĈĈ, »v»hana)
Dai-kĈshĈ-in (aӚkuĕamudr»)
The Gyćja then makes the Dai-kćshć-in to invite the deity. Making the inner fist,
he beckons the deity with the thumb. Then he makes the Shi-myć-in and Gćzanze-in.
3.2.5 Offerings of Soyu
After Sokć and offering Zukć as before, the Gyćja recites the mantra “ON
SOBANI SOBAUN HATSUTA SENJIKIYA SOWAKA” and adds oil to the fire both
with the Dai-shaku and the Sho-shaku as before. He offers three offerins with the Dai-
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shaku, the second three with the Shć-shaku and the third one with both together taking
all the remaining oil out from them. He then makes the Amida-jć-in and imagines that
after entering into the mouth of Trailokyavijaya, the oil reaches the heart in the form of
a lotus seat, and becomes a special offering. From the heart it spreads to the body and
then the semi-divine beings flow out from the pores on the skin and they worship all the
Buddhas, Bodhisattvas, Pratyekabuddhas, Ĕr»vakas and all the gods.
In the photo, he is seen adding Soyu to the fully blazing fire with the Shaku.
3.2.6 The Offering of Onjiki (Rice)
After giving the offerings of the three Nyĥmoku sticks, the Gyćja offers the three
offerings of rice on the fire reciting the same mantra and meditating in the same way.
In the photo, he is seen offering the rice grains on the fire with the Shć-shaku.
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3.2.7 Devotees
Fig. 3.50 Devotees (1982)
People are sitting outside and watching the performance of the sacrifice. Regarding
this, it would be very interesting to know what has been noted by Saso, “The devout
who come to watch the goma judge the quality of the monk or nun’s meditation by the
shape and size of the goma flames. A truly devout meditator can shape the flames like
the image of Kannon during the third stage, and to split into two separate flames, one
each for Acala and Vairocana during the fourth stage” [Saso 1991: 36].
3.2.8 Offering of Gokoku (The Five Grains)
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The Gyćja offers the five grains on the fire thrice reciting the same mantra and
meditating in the same way. Usually in case of the Indian Vedic ritual, only cooked rice
and clarified butter, etc., are offered on the fire. But in case of Tibet, Nepal and Japan
uncooked grains are also offered on the fire.
In the photo, he is seen with the five grains in the spoon and is about to offer them
on the fire. Thus he gives the offerings of the five grains three times.
3.2.9 Offering of Soyu (Oil)
Then the Gyćja offers oil in the fire once with the Dai-shaku and then once with
the Shć-shaku and recites the same mantra and meditates in the same way as in the case
of previous offerings.
In the photo, he is seen holding the spoon in the right hand and offering the oil with
the ladle in his left hand (As is already stated before, in the Indian sacrificial ritual the
left hand is seldom used).
Then he gives the offerings of three sticks of Nyĥmoku, three offerings of chunk
incense and three offerings of powdered incense. Then again he gives one offering of
Soyu with the Dai-shaku, one with the Shć-shaku and one with both.
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3.2.10 SokĈ (Washing the Mouth of the Deity)
Fig. 3.53 Sokć
Reciting the mantra no.8 “ON BARADA BAZARA DAN” ‘OӜ! The boon
bestower vajra! dhaӘ!’ (oӘ varada vajra dhaӘ/) he strikes the Sokć cup thrice. He
thereby offers water to the deity to wash mouth.
In the photo, he is seen striking the border of the Sokć cup with Sanjć.
3.2.11 Hakken (Seeing off the Deity, visarjana)
Fig. 3.54 Hakken
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The Gyćja takes a flower from the right hand table, holds it in both his hands and
recites the mantra “ON SOBA NISONBA UN BAZARA UN PATTA SENJIKIYA
SOWAKA.” ‘Om Sumbha Nisumbha hĥӜ vajra huӜ phaԆ ĕ»ntika (Fire) sv»h»’ (oӘ
sumbha nisumbha hĥӘ vajra hĥӘ phaԂ ĕ»ntika sv»h»/ cf. no.37) He then throws the
flower on the left part of the fire place. Then making the Gćzanze-in, he imagines that
the flower is going to the ‘original position’ and is becoming the lotus seat. He
imagines that with it he is sending the Deity Trailokyavijaya back to his place in the
maӜҢala.
He is seen holding the flower in his hands and is about to throw it in the right part
of the fire.
3.3 Offerings to Honzon (Main Deity)

3.3.1 SokĈ
Fig. 3.55 Sokć
After making the Vajr»ñjali he proceeds to the further ritual of The Offerings to the
Honzon (Main Deity), i.e., Fudć Myćć (Acala Vidy»r»ja). Reciting the mantra no. 8
“ON BARADA BAZARA DAN” ‘OӜ! The boon bestower vajra! dhaӘ!’ (oӘ varada
vajra dhaӘ/), the Gyćja strikes the Sokć cup with the Sanjć.
In the photo he is seen with the Sanjć in his right hand and is about to strike with it
on the border of the Sokć cup.
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3.3.2 Danmoku
Fig. 3.56 Placing Danmoku
Then he performs the preliminary ritual of the offering, viz., washing the mouth of
the altar hearth and empowering it and takes five sticks from the Danboku and arranges
them vertically on the fire starting from his left and ending towards his right with their
bases towards him.
He is seen holding Danmoku in his hands and is about to place them on the fire.
According to some traditions, six fire sticks are taken.
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3.3.3 Jikan
Fig. 3.57 Jikan
The Gyćja makes the Amida-jć-in and imagines that there is letter KAN (kaӘ) on
the seat of a throne on the disk of full moon in his heart which changes into Chiken
‘Wisdom Sword’ (jñ»na-khaҢga). Further it changes into Acala Vidy»r»ja who is black
in colour, has a fierce face and is surrounded by flames which burn down all obstacles
and difficulties. He has a sword in his right hand and a loop of rope in the left one.
3.3.4 Invocation of Honzon, FudĈ MyĈĈ

3.3.4.1 KanjĈ Honzon (1)
Fig. 3.58 Offering flower as invitation
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The Gyoja then picks up a flower, recites the mantra no. 65. “NAUMAKU
SANMANDA BAZARA DAN KAN SENJIKYA SOWAKA” ‘Obeisance to
Samantavajras! H»Ә! O Ĕ»ntika (Fire) sv»h»!’ (namaҺ sanantavajr»Ӝ»Ә h»Ә ĕ»ntika
sv»h»/) and places that flower on the fire. He visualizes that it goes to the centre of the
fire hearth and turns into a lotus throne, on which is the letter KAN. It then changes
into a sword and further into Fudć Myćć.
In the photo, the Gyćja is seen placing a flower on the fire sticks in the fire place.
3.3.4.2 KanjĈ Honzon (2)
Fig. 3.59 Ken-in (1981*)
The Ken-in turns into the form of Fudć Myćć.

The Gyćja makes Single-pronged-vajra-gesture. In it he folds the little and ring
fingers on the palm and presses the thumb on them. The middle and the index fingers
are held erect. He then turns it thrice clock wise, then thrice anticlockwise, then to the
four main directions, four sub directions, up and down. He then recites the mantra no.
66. “NAUMAKU SANMANDA BAZARA DAN SENDA MAKARO SYADA
SOWATAYA UN TARA TA KAN MAN SENJIKYA EI KEI ZYAKU UN BAN
KOKU SOWAKA” ‘Obeisance to all the vajra class of Deities. O CaӠҦamah»roӼaӠa,
break open. huӘ traԂ h»Ә m»m! Come, come! jaҺ hĥӘ vaӘ hoҺ sv»h»! (namaҺ
samantavajr»Ӝ»Ә caӜҢa mah»roӸaӜa sphoԂaya hĥӘ traԂ h»Ә m»Ә ehy ehi jaҺ hĥӘ vaӘ
hoҺ sv»h»/)
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3.3.5 Invocation
Dai-kĈshĈ-in (aӚkuĕamudr»)
He then makes the Dai-kćshć-in to invite or beckon the deity. In the video at all
previous times he beckons by bending the thumb, but here he bends the index finger to
call the deity on the syllables EI, KEI and KI. Then he makes the mudr» of four
wisdoms and Trailokyavijaya.
3.3.6 SokĈ (Washing the mouth of the Deity)
Fig. 3.61 Sokć

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The priest recites the mantra no. 8. “ON BARADA BAZARA DAN” ‘OӜ! The
boon bestower vajra! dhaӘ!’ (oӘ varada vajra dhaӘ/) and strikes on the Sokć cup and
thereby offers arghya (»camana) by which he can wash the mouth of Fudć Myćć.
In the photo, he is about to strike on the Sokć cup.
3.3.7 Offerings of Soyu (Offerings of Oil)
The Gyćja offers the Soyu with both the Dai-shaku and the Shć-shaku.
Reciting the mantra no. 58 “ON AGYANAU EI SENJIKYA SOWAKA” ‘OӜ! O
Pacificatory Fire, sv»h».’ (oӘ agnaye ĕ»ntika sv»h»/)he imagines that entering into the
mouth of Fudć Myćć, the oil reaches the heart in the form of the lotus seat. Then it
becomes the special offering. From the heart it spreads to the body and then there is the
‘Kuyć unkai’ocean –like clouds of offering). The oil in Gyćja’s imagination takes the
form of some special oblation, viz., flowers or incense or lamps, etc. Then from the
heart the oblation spreads to the body and comes out from the pores of the skin in the
form of ocean of clouds of the same oblation. He then visualises that these offerings are
offered to all the Buddhas, Bodhisattvas, Pratyekabuddhas, Ĕr»vakas and all the gods.
In the photo he is seen offering the oil with both, the Dai-shaku and the Shć-shaku.
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3.3.8 Offering NyĦmoku

3.3.8.1 Offering NyĦmoku (1)
For the offerings of Nyĥmoku the Gyćja first takes three pieces of Nyĥmoku and
makes the action of dipping both the ends of those in oil and then offers them on fire.
He does it four times. At the fifth time he takes three pieces and after making the action
of dipping offers them in the fire, but this time below the firewood. After finishing the
first bundle in this way, he opens another one, throws the tying cord in the fire and
again offers three pieces at a time. Thus he offers in all 108 pieces on the fire. These
are considered as actual offerings to the Fire God. While doing so, he recites the same
mantra and imagines in the same way as described in the previous photo.
In the photo he is seen making the action of dipping the ends of Nyĥmoku sticks in
the oil.
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3.3.8.2 Offering NyĦmoku (2)
The Gyćja then offers in the prescribed way hundred and eight sticks on the fire
and stirring them with the tongs.
In the photo is seen a heap of the Nyĥmoku sticks on the fire place. The Gyćja is
seen with the tongs in the hand. He is either offering the sticks on fire with them or
stirring the already offered ones.
3.3.9 Offerings of Onjiki (Rice)
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Then the Gyćja offers rice three times on fire. After the offerings he recites the
same mantra and does the same meditation.
In the photo he is seen offering the rice on fire with the Shć-shaku.
3.3.10 Offerings of Gokoku (Five Grains)
After the offerings of rice, the Gyćja gives three offerings of Gokoku on the fire
with the Shć-shaku. Then he recites the same mantra and meditates in the same way.
In the photo, Gyćja is seen giving the offerings while the assistant is seen adding
fuel to the fire, not as a rite but as a practical need.
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3.3.11 ΰᒡ Konton (Preparation for the Offerings of

Mixture)
Fig. 3.67 Konton
The Gyćja gets the offerings ready for the next two offerings. He puts the remnants
of the Sanko, Gankć and Kiribana ‘cut leaves’ in the Hanki ‘rice cup’, and then the
three empty bowls he keeps one upon the other. Then he puts the remaining five grains
into the Hanki, mixes them well with two Danboku sticks and then divides the mixture
in the Gokoku-ki ‘five grain bowl’ and the Han-ki ‘the rice grain bowl’, which are then
kept at their original place. The mixture in the Han-ki is going to be used for Celestial
Deities and that in the Gokoku-ki for the Earthly Deities.
The priest is seen in the photo putting the bowls of Sokć, Shojiki and the Sokć-ki
one upon the other.
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3.3.12 Offerings of Soyu (Oil)
The Gyćja then recites the same mantra and meditates in the same way as is
described in Fig 70, and offers the oil offerings on fire. He offers once with the Dai-
shaku and once with the Shć-shaku. Then he holds both of them in his right hand and
holds them on fire to offer all the remaining oil in them.
In the photo he is seen taking oil in the Shć-shaku and pouring it in the Dai-shaku.
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3.3.13 Offerings of NyĦmoku
Fig. 3.69 Offering Nyĥmoku
The priest takes six pieces of Nyĥmoku, dips both the ends of them in oil and then
offers them on the fire. While doing so, he recites the same mantra as in the Fig.70.
In the photo he is seen placing the Nyĥmoku on fire. He then offers on fire all the
Nyĥmoku remaining in the Kongć-ban.
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3.3.14 Hakken (Seeing off the Deity, visarjana)
Fig. 3.70 Hakken
The Gyćja then takes a flower, holds it in both his hands near the breast and
imagines that it reaches the original place and becomes the seat. Then he throws the
flower towards the fire place, and recites the mantra no. 67 “NAUMAKU
SANMANDA BAZARA DAN KAN GESSYA GESSYA BOKU” ‘Obeisance to all the
Deities of the vajra class. h»Ә! Go go, muҺ!’(namaҺ samanta-vajr»Ӝ»Ә h»Ә gaccha
gaccha muҺ/) and imagines that he is sending off the Honzon from the fire place to his
original place in the maӜҢala.
Thus, the third stage of the Goma ritual, i.e., Honzon-dan ‘The offerings to the
Main Deity’ is complete.
In the photo the priest is seen with the flower in his hand and he is about to offer it
on the left portion of the fire place.
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3.4 GokuyĈ (Post offering ritual)

Now the Goma ritual is over and the post offering ritual is going to be performed.
The Gyćja then takes the cup of sesame seeds from the left table to the centre of the
Goma-dan and taking the one pronged vajra in the right hand empowers the Nenju
reciting the mantra no. 65 “NAUMAKU SANMANDA BAZARA DAN KAN
SENJIKIYA SOWAKA” ‘Obeisance to all the Deities of the vajra class. h»Ә! O
Pacificatory One, sv»h»!’ (namaҺ samanta-vajr»Ӝ»Ә h»Ә ĕ»ntika sv»h»). Then placing
the Nenju hanging on his left hand, he keeps the single pronged vajra to the far end of
the Kongć-ban. He keeps it in horizontal direction. Then he makes the arghya mudr»
and waves it thrice from left to right and offers the sesame seeds. First he gives three
offerings and then he pours all the rest on fire.
Then he takes the cup of rice grains in front of him, takes the one pronged vajra
and meditates. Then he offers all the remaining ones giving the first three offerings of
rice grains at the fourth time.
Then again he makes Kongć-gasshć-in, empowers the Nenju, takes it in the left
hand, takes the three pronged vajra in hand, performs the preliminary rites, makes the
mudr» of inviting the deity with one hand, offers the mixture of the five grains and
other things on fire and then keeps the three pronged vajra on the Kongć-ban. He then
takes three flowers, i.e., leaves in his hand and throws or puts them on the left side of
the Goma-dan. He thereby releases the deities. With this action he releases all the
deities reciting the mantra no. 75 “ON SARABA BODA BOJI SATOBA GESSYA
GESSYA BOKU” ‘OӜ! O all the Buddhas and Bodhisattvas and Ĕ»ntika, go go! MuҺ!’
(oӘ sarva-buddha-bodhisattva ĕ»ntika gaccha gaccha muҺ/)
He then places the five pronged vajra again in the Kongć-ban, arranges the things
properly with the right hand with its palm held upwards, keeps the Kćro at its place and
makes Kongć-gasshć-in, the inner fist vajra mudr» and beckons with the index finger.
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3.4.1 Shin-rei (Ringing KongĈ-rei(vajra-bell))
Fig. 3.71 Ringing Kongć-rei
The Gyćja takes the Kongć-rei in hand and rings it holding it tilted near his
stomach with the handle towards the fire and then keeps it back at its place. In the
photo he is seen ringing it holding it in his left hand, on which is seen the Nenju also.
3.4.2 ᘔྥ Ekǀ (pariӜ»ma)
Fig. 3.72 EkĈ
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The Gyćja takes the Nenju, puts it on his left hand, takes the incense burner in his
left hand and strikes it with the Sanjć once with his right hand. He then puts the incense
burner back at its original place. Then following the necessary preliminary ritual, he
put the cups one upon another and offers all the remnants on the fire. Then making the
Kongć-gasshć-in and Kuyć-in he prays and places the Kćro at its place on the left table.
In the photo the priest is seen putting the incense burner back at its place. The fire
is burning fully ablaze. The Shidai is seen open on the right side of the table.
Here he is supposed to direct the merits of his performance of the Goma to others.
3.4.3 ග᫂┿ゝ KĈmyĈ Shingon (Clear Light Mantra)

3.4.3.1 KĈmyĈ Shingon (1) Reciting KĈmyĈ Shingon
Fig. 3.73 Reciting Kćmyć Shingon
The priest recites the mantra no.90 “ON ABOAKYA BEIROSHANO MAKA
BADARA MANI HANDOMA ZYINBARA HARABARITAYA UN” ‘O
Amoghavairocana who has Mah»mudr» and who is of jewel and lotus, burn and be
active. HĥӘ!’ (oӘ amogha-vairocana mah»mudra maӜi-padma jvala pravartaya hĥӘ/).
Then he takes three leaves, removes their stems, wraps them in the fourth one, recites
the same mantra as before and puts them in the left corner of the Goma-dan.
In the photo the Gyćja is seen holding the Nenju in both his hands while reciting
the mantra.
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3.4.3 ග᫂┿ゝ KĈmyĈ Shingon (Clear Light Mantra)

3.4.3.2 KĈmyĈ Shingon (2) Completion of Recitation
Fig. 3.74 Completion of Recitation
After reciting Kćmyć-shingon, the Gyćja puts the rosary back on the table on his
left.
3.4.4 Hakken (Sending off all the deities visaӟanah)
Fig. 3.75 Flowers and Water in Cups
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The Gyćja makes the same mudr»s of vajra walls and Kongć-ketsu which he had
done before for setting the earthly boundary, but now in reverse order. Then he takes
with the tip of his middle finger and the nail of the index finger of his right hand a leaf
from the Keman-ki, which is on the left of the Goma-dan. Then holding it in both palms,
he recites the mantra no. 91 “ON BAZARA BOKISYA BOKU” ‘OӜ! O Vajra, mokӸa
muҺ!’ (oӘ vajra mokӸa muҺ/) once and places it on the left side of the altar, to the left
of the three leaves offered before. By this action the Gyćja sends all the deites off.
Due to excessive light it is not seen clearly on the Goma-dan.
3.5 ゎ⏺ Gekai (Releasing the Vows, vrata-visarga)

3.5.1 Butsubu-sanmayano-in
Fig. 3.76 Butsubu-sanmayano-in
Then taking the Shidai in the right hand, he circles it thrice on the maӠҦala altar
and places it under the left arm.
At the beginning of the Goma the Gyćja had made some mudr»s to take the vows
of the Buddhas of the three classes and protection for his body and then started the
ritual. Now also he is doing the same mudr» for the release of the vows and leaving the
sacred region. He is leaving the protection behind.
The Gyćja is seen doing mudr».
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3.5.2 Naibaku-sankono-in (1)
Fig. 3.77 Naibaku-sanko-no-in (1)
At the beginning of the Goma the Gyćja had made some mudr»s to take the vows
of the Buddhas of the three classes and protection for his body and then started the
ritual. Now also he is doing the same mudr»s for releasing the vows and leaving the
sacred region. He is leaving the protection behind.
The Gyćja is doing here Naibaku-sankono-in.
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3.5.3 Naibaku-sankono-in (2)
Fig. 3.78 Naibaku-sankono-in (2)
This is a better view of Naibaku-sankono-in. By that he takes off his protective

armour and gets ready to leave.
3.5.4 Brushing the rosary
Fig. 3.79 Brushing the rosary
The Gyćja then folds the Nenju, makes it double and brushes it with his palms.
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3.6 ୗ♩┙ Geraiban (Coming down from the

Raiban)
3.6.1 Geraiban (1)
Fig. 3.80 Geraiban (1)
When the Gyćja entered into the Goma-dan, he had stepped out his right foot first.
Now, while leaving also, he is getting down from the right side.
The Gyćja is seen turning eastwards, preparing to get down from the right.
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3.6.2 Geraiban (2)
The Gyćja comes down from the Raiban and stands straight. Then taking the Kćro
in his right hand he bows down twice before the Goma-dan and pays homage to it.
In the photo it is seen that the priest has come down from his Raiban and is
standing near it, with the Kćro in his hand. The assistant priest is seen turned and is
facing the north of the fire. He is also paying homage to the Goma-dan.
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3.6.3 Geraiban (3)
After putting back the Kćro on the left table, the Gyćja touches the ground with
his knees, places the Nenju holding it in two hands horizontally on the Zabuton, places
his head on the Zabuton and pays homage or universal reverence.The assistant priest
also is seen sitting facing the north of the fire and paying homage to the Goma-dan. The
fan is seen railing on the right table.
3.6.4 Geraiban (4)
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Before getting up the Gyćja takes the fan which was seen railing on the right table
in the previous photo. Taking it in his right hand he touches with it the paraphernalia on
the Goma-dan checking whether everything is proper or not.
While bending down for paying homage to the Goma-dan as well as the sacred
place, his fan is seen touching the earth.
3.6.5 Geraiban (5)
Fig. 3.84 Paying homage
After standing up, he again bows down to the fire as a way of showing respect.
Then turning to his right he leaves the Dćjć or Goma-dan.
173
173
3.7 ◚ቭ Hadan
3.7.1 Hadan (1)
Fig. 3.85 Placing the lid
Then the assistant priest covers the fireplace with its metal lid.
In Indian domestic ritual the fire place is covered with bamboo basket placing it upside
down.
3.7.2 Hadan (2)
Fig. 3.86 Completion
The Goma ritual is complete.
174
174
Index of the Mantras
Bibliography
Hunter, S. A. (ed.)
1973 Religion and Music. New York: The Abingdon Press.
Lokesh Chandra and S. Rani.
1978 Mudr»s in Japan (ĔatapiԆaka Series 243). New Delhi: International Academy
of Indian Culture and Aditya Prakashan.
Nicoloff, P. L.
2008 Sacred Koyasan. Albany: State Uþiversity of New York Press.
Payne, R. K.
1991 The TantricRitual of Japan (ĔatapiԆaka Series 365). New Delhi: International
Academy of Indian Culture and Aditya Prakashan.
2005 Hiding in the Plain Sight: The Invisibility of the Shingon Mission to the
United States. In L. Learman (ed.) Buddhist Missionaries in the Era of
Globalisation, pp. 101-122, Honolulu: University of Hawai’i Press.
Saso, M.
1991 Homa Rites and MaӜҢala Meditation in Tendai Buddhism (ĔatapiԆaka Series
362). New Delhi: International Academy of Indian Culture and Aditya
Prakashan.
Saunders, D.
1960(1985) Mudr». New Jersy: Princeton University Press.
Shiba, R.
2003 Kukai the Universal: Scenes from His Life (Translated by A. Takemoto).
New York: ICG Muse.
Tachikawa M., S. Bahulkar and M. Kolhatkar
2001 Indian Fire Ritual. Delhi: Motilal Banarsidass Publishers Private Limited.
Tachikawa M. and M. Kolhatkar
2006 Vedic Domestic Fire-ritual: Sth»låp»ka (Its Performance and Exposition).
Delhi: New Bharatiya Book Corporation.
Tachikawa, M. , E. Kuwamura and A.Yamade
1986 Hudć Goma no Kiroku. SaӘbh»Ӹ» 8: 1-48, Dept. of Indian Philosophy,
Nagoya University.
Toganoo, S.
1935(1959) Himitsu Jisć no Kenkyĥ. Koyasan : Mikkyć Bunka Kenkyĥsho
(Koyasan University).
175
175
Bibliography

176
The following list is basically dependent upon [Payne 1991: 322-331].
1. Universal Homage
ON SARABA TATAGYATA HANNA MANNANO NAU KYAROMI ‘I pay my
homage to the feet of all the Tath»gatas’. (oӘ sarva-tath»gata-p»da-vandanaӘ
karomi/) Fig. 2.02; 2.03; 2.22; 2.24
2. Purification of the Three Karmic Actions

ON SOHA HANBA SYUDA SARABA TARAMA SOHA HANBA SYUDO KAN
‘All the attributes are pure in nature. I am also pure by nature.’ (oӘ svabh»va-ĕuddh»Һ
sarva-dharm»Һ svabh»va-ĕuddho’ham/) Fig. 2.06; 2.24
3. Buddha Class
ON TATAGYATA DOHANBAYA SOWAKA ‘OӜ. This is to the one born of the
Tath»gata. Sv»h»’, (oӘ tath»gatodbhav»ya sv»h»/) Fig. 2.07
4. Padma Class
ON HANDOBO DO HANBAYA SOWAKA ‘OӜ! This is to Padmodbhava (lit. one
born from a lotus), sv»h»!’ (oӘ padmodbhav»ya sv»h»/) Fig. 2.09
5. Vajra Class
ON BAZARO DO HANBAYA SOWAKA’ ‘OӜ! This is for Vajrodbhava (lit. one
born from a vajra) sv»h»!’ (oӘ vajrodbhav»ya sv»h»/) Fig. 2.10
6. Putting on the Armour for the Protection of Body

ON BAZARA GINI HARACHI HATAYA SOWAKA ‘OӜ! This is for the one
illuminated by the vajr»gni.’ (oӘ vajr»gni-pradåpt»ya sv»h»/) Fig. 2.12
7. Perfumed Water for Purification (Mantra of KuӠҦalin)

ON KIRI KIRI BAZARA UN HATTA ‘OӜ! kili kili! O vajra, hĥӘ phaԂ!’ (oӘ kili kili
vajra hĥӘ phaԂ/) Fig. 2.17; 3.18; 3.19; 3.43
177
177
Word Index
8. Perfumed Water for Washing the Mouth

ON BARADA BAZARA DAN ‘OӜ! The boon bestower vajra! dhaӘ!’ (oӘ varada
vajra dhaӘ/) Fig. 2.16; 3.29; 3.40; 3.43; 3.53; 3.55; 3.61
9. Empowerment of the Pĥj» Offerings (Mah»vajra-cakra-mantra)

NAUMAKU SHICHIRITYA JIBIKYANAN TATAGYATANAN AN BIRAZI
BIRAZI MAKASYA KYARA BAZIRI SATA SATA SARATEI SARATEI TAREI
BIDAMANI SAN BAN ZYANI TARA MACHI SHITTA GIRIYA TARAN
SOWAKA ‘Obeisance to the Tath»gatas of the three paths. aӘ viraji viraji. O
Mah»cakra, O Vajri, sata sata s»rate s»rate! Protect O Vidhamani, O Sambhañjani, O
Tryamati, O Siddha, O Agrya, tr»Ә sv»h»!’ (namas tryadhvik»n»Ә tath»gat»n»m aӘ
viraji viraji mah»cakra vajri sata sata s»rate s»rate tr»yi vidhamani sambhañjani
tryamati siddha agrya tr»Ә sv»h»/) Fig. 2.18; 2.25
10. Empowerment of the Karman

ON BAZARA KYARAMA KEN ‘OӜ! O Vajra, O Karma, kaӘ!” (oӘ vajra karma
kaӘ/) Fig. 2.19
11. Visualisation of the Syllable RAN

ON RAN SOWAKA ‘OӜ! raӘ! Sv»h»!.’ (oӘ raӘ sv»h»/) Fig. 2.20; 2.78
12. Purification of the Earth

ARAZYABAGYATAKU SARABA TARAMAKU ‘All the attributes are devoid of
malign elements.’ (rajo’pagat»Һ sarva-dharm»Һ/) Fig. 2.21
13. Purification of the Body

ON SOHA HANDA SYUDA SARABA TARAMAKU ‘OӜ! All the attributes are pure
by nature.’ (oӘ svabh»vaĕuddh»Һ sarvadharm»Һ/) Fig. 2.21
14. Visualisation of the Buddhas

KEN BAZARA DADO ‘KhaӘ! O Vajradh»tu.’ ( khaӘ vajradh»tu/) Fig. 2.21
15. Arising of the Vajra

ON BAZARA CHITSYUTA UN ‘OӜ! O vajra, stand. HĥӘ!” (oӘ vajra tiӸԂha hĥӘ/)
Fig. 2.22
178
178
16. Universal Homage of the Vajra Holder

ON BAZARA BITSU ‘OӜ! O Vajra, viҺ!’ (oӘ vajra viҺ) once. This is the universal
homage to the Vajraholder. After that, he recites the mantra no.16. “ON BAZARA
BITSU OH SARABA TATAGYATA KYAYA BAKI SHITTA BAZARA
BANDANAU KYAROMI” ‘OӜ! O Vajra, viҺ!OӜ! I pay my homage to the vajras in
the form of the body, speech and mind of all the Tath»gatas.’ (oӘ vajra viҺ oӘ sarva-
tath»gatak»ya-v»k-citta-vajra-vandanaӘ karomi/) Fig. 2.23
17. Generating Bodhicitta

ON BOCHI SHITTA BODA HADA YAMI ‘OӜ! I will give rise to the Bodhicitta
‘decision of obtaining the Enlightenment.’ (oӘ bodhicittam utp»day»mi/) Fig. 2.24
18. Buddha Nature Samaya

ON SANMAYA SATO BAN ‘OӜ! You are the samaya ‘vow’.’ (oӘ samayas tvam/)
Fig. 2.24
19. Universal Pĥj»

ON ABOKYA HOZYA MANI HANDOMA BAZHIREI TATAGYATA BIROKITEI
SANMANDA HARA SARA UN ‘OӜ! O Amogha, please spread around (the world)
which is in the form of jewel, lotus and vajra of worship and is watched by the
Tath»gatas.’ (oӘ amogha pĥj»-mañi-padma-vajre tath»gata-vilokite samanta prasara
hĥӘ/) Fig. 2.24
20. Immeasurable Mind of Sympathy (Mantra of Samantabhadra)

ON MAKA MAITARAYA SOHARA ‘OӜ! O Mah»maitreya, spread!’ (oӘ
mah»maitreya sphara/) Fig. 2.24
21. Immeasurable Mind of Compassion (Mantra of ºk»ĕagarbha)

ON MAKA KYARODAYA SOHARA ‘OӜ! O Mah»k»ruӠya (lit. one who has
immense compassion), spread!’(om mah»k»ruӜya sphara/) Fig. 2.24
22. Immeasurable Mind of Joy (Mantra of Avalokiteĕvara)

ON SYUDA HARABODA SOHARA ‘OӜ! O Pure Happiness, spread!’ (oӘ ĕuddha
pramoda sphara/) Fig. 2.24
23. Immeasurable Mind of Equanimity (Mantra of ºk»ĕagarbha)

ON MAKO BAIKISYA SOHARA ‘OӜ! O MahopekӼa (lit. one who has great
neutrality), spread!’(oӘ mahopekӸa sphara/) Fig. 2.24
24. Distinguished Vows of Mah»vairocana

ON SARABA TATAGYATA SYO SHITAKE SARABA SATOBANAN SARABA
179
179
Word Index
SHITTAYAKU SANBANI ENTAN TATAGYATA SHISYA CHI CHISYUTATAN

‘OӜ! All the Tath»gatas are ready. May all the accomplishments of all the beings be
achieved or fulfilled, and may the Tath»gatas preside over.’ (oӘ sarva-tath»gata-
ĕaӘsit»Һ sarva-sattv»n»Ә sarva-siddhayaҺ sampadyant»Ә tath»gat»ĕ ca
adhitiӸԂhant»m/) Fig. 2.24
25. Binding the Earth Element or Vajra Poles

ON KIRI KIRI BAZARA BAZIRI HORA MANDA MANDA UN PATTA (oӘ kili kili
vajra-vajri bhĥr bandha bandha hĥӘ phaԂ/) Fig. 2.27
26. Binding the Four Corners or Vajra Walls

ON SARA SARA BAZARA HARA KYARA UN PATTA ‘OӜ! O Vajrapr»k»ra,
spread spread! HĥӘ phaԂ!’ (oӘ s»ra s»ra vajrapr»k»ra hĥӘ phaԂ/) Fig. 2.28
27. Visualisation of the Seat of Enlightenment

ON BOKU KEN ‘OӜ! The Earth! KhaӘ!’ (om bhĥҺ khaӘ/) Fig. 2.29
28. Mah» ºk»ĕagarbha

ON GYAGYANAU SANBANBA BAZARA KOKU ‘OӜ! O you Vajra, which is born
of the Sky!HoҾ!’ (oӘ gaganasambhava vajra hoҺ/) Fig. 2.30
29. Small Vajracakra

ON BAZARA SHAKYARA UN ZHAKU UN BAN KOKU ‘OӜ! O you Small Vajra
circle, hĥӘ jaҺ hĥӘ vaӘ hoҺ sv»h».’ (oӘ vajracakra hĥӘ jaҺ hĥӘ vaӘ hoҺ sv»h»/) Fig.
2.31
30. Sending the Jewelled Carriage

ON TORO TORO UN ‘OӜ!turu turu hĥӘ!’ (oӘ turu turu hĥӘ/) Fig. 2.31; 2.32
31. Requesting to get in the Carriage

NAUMAKU SHITCHIRIYA JIBIKYANAN TATAGYATANAN ON
BAZARAGINYAU KYARA SHAYA SOWAKA ‘I pay obeisance to the Tath»gatas of
the three paths. OӜ! O you Vajr»gni, bring (lit. pull or drag) (them) here. Sv»h».”
(namas tryadhvik»n»Ә tath»gat»n»m om vajr»gni »karӸaya sv»h»/) Fig. 2.32
32. Welcoming the Chief Deity (Great Hook)

NAUMAKU SANMANDA BODANAN AKU SARABATAKU HARA CHIKATEI
TATAGYATA KUSYA BOJISYARIYA HARI HORAKYA EI KEI KI ZYAKU UN
BAN KOKU SOWAKA ‘I pay my obeisance to all the Buddhas, aҺ! O AӞkuĕa for
(inviting) the Tath»gatas who are unobstructed everywhere, and who is supplementary
to the Bodhicary», come, come, jaҺ hĥӘ vaӘ hoҺ sv»ha!’ (namaҺ samantabuddh»n»m
aҺ sarvatra-apratihata-tath»gata-aӚkuĕa bodhicary»-paripĥraka ehy ehi jaҺ hĥӘ vaӘ
hoҺ sv»h»/) Fig. 2.34
180
180
32b. Four Vidy»s: Hook

ON BAZARA KUSYA ZYAKU ‘OӜ! O Vajr»Ӛkuĕa, jaҺ!’ (oӘ vajr»Ӛkuĕa jaҺ/) Fig.
2.36
33. Four Vidy»s: Snare

ON BAZARA HASYA UN ‘OӜ! O Vajrap»ĕa, hĥӘ!’(oӘ vajrap»ĕ» hĥӘ/)
34. Four Vidy»s: Lock

ON BAZARA SOBOTA BAN ‘OӜ!O VajrasphoԂa, vaӘ!’ (oӘ vajrasphoԂa vaӘ/)
35. Four Vidy»s: Bell

ON BAZARA BESYA AKU ‘OӜ! O Vajr»veĕa, »Һ!’ (oӘ vajr»veĕa »Һ/)
36. Clapping Hands

ON BAZARA TARA TO SYA KOKU ‘OӜ! O Vajra spread, be happy!’ (oӘ vajra tata
tuĕya hoҾ/) Fig. 2.41
37. Sealing the Boundary and Warding off Evil (Mantra of Trailokyavijaya)
ON SONBA NISONBA UN GYARIKANDA GYARIKANDA UN GYARIKANDA
HAYA UN ANAUYA KOKU BAGYABAN BAZARA UN PATTA ‘OӜ! O Sumbha,
O Nisumbha, hĥӘ! Grasp! Grasp! hĥӘ! Make grasp! HĥӘ! Bring him, O Bhagavan!
HoҺ! O Bhagavan vajra, hĥӘ phaԂ!’ (oӘ sumbha nisumbha hĥӘ gӰhӜa gӰhӜa hĥӘ
gӰhn»paya hĥӘ »naya hoҺ bhagavan vajra hĥӘ phaԂ/) Fig. 2.39; 3.28
38. Vajra Net

ON BISOHORATA RAKISYA BAZARA HANZHYARA UN PATTA ‘OӜ!O
Visphurat, RakӸa, Vajrapañjara, hĥӘ phaԂ!’ (om visphurad rakӸa vajrapaӚjara hĥӘ
phaԂ/) Fig. 2.48
39. Vajra Fire Enclosure

ON ASANMAGINI UN PATTA ‘OӜ! O Asam»gni (lit., fire which is unequal), hĥӘ
phaԂ!’ (oӘ asam»gne hĥӘ phaԂ/) Fig. 2.43
40. Mah»samaya-mantra
“ON SYOGAREI MAKA SAMAEN SOWAKA ‘OӜ! O ĔӴӞkhale, O Mah»samaya,
sv»h»!’ (oӘ ĕrӚkhale mah»samayaӘ sv»h»/) Fig. 2.45
41. Argha Water (One Syllable Mantra)

ON BAZARA DAGYATA UN ‘OӜ! o Vajrodaka, ԂhaҺ hĥӘ!’ (oӘ vajrodaka ԂhaҺ
hĥӘ/) Fig. 2.48; 2.49
181
181
Word Index
42. Lotus Thrones

ON KYAMARA SOWAKA ‘OӜ! O Lotus, sv»h».’ (oӘ kamala sv»h»/) Fig. 250
43. Ringing the Bell

NAUMAKU SANMANDA BAZARADAN SANDA MAKARA SYADA
SOWATAYA UN TARATA KAN MAN ‘Obeisance to Samantavajras!O
CaӠҦamah»roӼaӠa, make it make sound. hĥӘ traԂ h»Ә m»Ә! OӜ! O VajraghaӠԆ», be
satisfied! hoҺ!’(namaҺ samantavajr»Ӝ»Ә/ caӜҢamah»roӸaӜa sphoԂaya hĥӘ traԂ h»Ә
m»Ә/ oӘ vajraghaӜԂ» tuӸya hoҺ/) Fig. 2.52; 2.53; 2.82
44. Karma Assembly

ON BAZARA DADO BAN ‘OӜ! O Vajradh»tu, vaӘ!’ (oӘ vajradh»tu vaӘ/) Fig.
2.57; 2.77; 3.01; 3.02
45. Powdered Incense Mantra

NAUMAKU SANMANDA BODANAN BISYUDA GENDO DOBA BAYA
SOWAKA ‘Obeisance to Samantabuddhas. This is to the Viĕuddhagandhodbhava (lit.,
one who is born of a pure fragrant paste). Sv»h»!’ (namaҺ samantabuddh»n»Ә
viĕuddha-gandhodbhav»ya sv»h»/) Fig. 2.58
46. Flower Offering

NAUMAKU SANMANDA BODADAN MAKA MAITARIYA BYUDOGYATEI
SOWAKA ‘Obeisance to the Samantabuddhas. This is to one arisen from Mah»maitrå
(lit. Great Friendship). Sv»h»!’ (namaҺ samantabuddh»n»m mah»-maitry-abhyudgate
sv»h»/) Fig. 2.60
47. Burning Incense Offering Mantra

NAUMAKU SANMANDA BODADAN DARAMA DADO BADO GYATEI
SOWAKA ‘Obeisance to the Samantabuddhas. This is to one following the
Dharmadh»tu. Sv»h».’ (namaҺ samantabuddh»n»Ә dharmadh»tv-anugate sv»h»/) Fig.
2.61
48. Food Offering Mantra

NAUMAKU SANMANDA BODADAN ARARA KYARARA BARIN DADABI
BARIN DADAE MAKA BARI SOWAKA ‘Obeisance to the Samantabuddhas. Arara!
Karara!I give the bali offering. Sv»h»!’(namaҺ samantabuddh»n»m arara karara baliӘ
dade mah»bali sv»h»/) Fig. 2.62
49. Light Offering Mantra

NAUMAKU SANMANDA BODADAN TATAGYATA ARASHI SOHARANDA
BABASANAU GYAGYANAU DARIYA SOWAKA ‘Obeisance to the
Samantabuddhas! O Tath»gata-arci (lit. light of the Tath»gatas or in the form of
Tath»gatas), O Quivering One, O Shining One, this is to Gaganod»rya. (Can it be
182
182
Gaganodarya, i.e., coming out from the womb of the sky, i.e., lightening?) Sv»h»!’
(namaҺ samantabuddh»n»Ә tathagata-arci sphuraӜa avabh»sana gagana ud»rye
sv»h»/) Fig. 2.63
50. Hymn in praise of the Four Wisdoms

ON BAZARA SATOBA SOGYARAKA BAZARA ARATAN NAUMA DOTARAN
BAZARA TARAMA KYAYATAI BAZARA KYARAMA KYAROHANBA ‘OӜ!
Due to the acceptance by the Vajrasattvas, the vajraratna is the Supreme. Be you
Vajrakarmakara due to the singing of Vajradharmas.’ (oӘ vajrasattva-saӘgrah»d
vajra-ratnam anuttaram vajradharma-g»yanaiҺ vajrakarmakaro bhava/) Fig. 2.69
51. Hymn in praise of the Fudć Myćć

NAUMAKU SARABA BODA BOJI SATOBANAN SARABA TARA SOGU
SOBIDA BIJARA SHIBEI NOBO SOTO SEI SOWAKA” ‘Obeisance to all Buddhas
and Bodhisatives. O one who is full of supernatural power. obeisance to you every
where. Sv»h» (namaҺ sarva-buddha-bodhisattv»n»Ә sarvatra saӘkusumit»bhijñ»-r»ĕi
namo’stu te sv»h»/) Fig. 2.70
52. Universal Pĥj» Offering Mantra

ON ABOKYA HOZYA MANI HANDOMA BAZHIREI TATAGYATA BIROKITEI
SANMANDA HARA SARA UN ‘OӜ!O You Unfailing Offerings, please spread
everywhere in (this world) which is observed by the Tath»gatas and is in the form of
Jewel-lotus Vajra. HĥӘ!’ (oӘ amogha-pĥja-maӜi-padma-vajre tath»gata-vilokite
samanta prasara hĥӘ/) Fig. 2.66
53. Mantra for Empowerment of Goddesses

NAUBO BAGYA BADO USYUNISYA ON RORO SOBORO ZHINBARA
CHISYUTA SHITA ROSYANI SARABA RATA SADANIEI SOWAKA ‘Obeisance
to Goddess UӼӠåӼa! OӜ! Ruru! Burn quivering! Stay O Siddhalocane,
Sarv»rthas»dhanåye (lit. One who gets all the goals fulfilled)! Sv»h»!’ (namo bhagavad-
uӸӜåӸa,oӘ ruru sphuraj jvala tiӸԂha siddha-locane sarv»rtha-s»dhanåye sv»h»/) Fig.
2.72; 2.80; 2.81
54. Mantra of the Fire Realm (Single Pronged Vajra)

NAUMAKU SARABA TATAGYATEI BYAKU SARABA BOKEI BYAKU
SARABA TARATA SENDA MAKA ROSHANA KEN GYAKI SARABA BIKINAN
UN TARATA KAN MAN ‘Obeisance to all the Tath»gatas, all the Main Ones, traԂ in
every way. O CaӠda Ma»roӼaӠa, khaӘ! Kh»he! Kh»he! All the obstacles, traԂ! H»Ә!
M»Ә!’ (namaҺ sarva-tath»gatebhyaҺ sarvamukhebhyaҺ sarvath» traԂ caӜҢa-
mah»roӸaӜa khaӘ kh»he kh»he sarva-vighnaӘ hĥӘ traԂ h»Ә m»Ә/) Fig. 2.76; 3.03;
3.06
183
183
Word Index
55. Mantra for Empowerment of the Nenju

ON BAZARA GUKYA ZYAWA SAN MA EI UN ‘OӜ! At the time of the mutterance
of the vajra-secret!’ (oӘ vajraguhya-j»pa-samaye/) Fig. 2.79
56. Mantra of the Buddhalocan»

NAUBO BAGYA BADO USYUNISYA ON RORO SOBORO ZHINBARA
CHISYUTA SHITA ROSYANI SARABA RATA SADANIEI SOWAKA” ‘Obeisance
to Goddess UӼӠåӼa! OӜ! Ruru! Burn quivering! Stay O Siddhalocane,
Sarv»rthas»dhanåye (lit. One who gets all the goals fulfilled)! Sv»h»!’ (namo bhagavad-
uӸӜåӸa,oӘ ruru sphuraj jvala tiӸԂha siddha-locane sarv»rtha-s»dhanåye sv»h»/) Fig.
2.72; 2.80; 2.81 (Same as no.53)
58. Mantra of Agni

ON AGYANAU EI SENJIKYA SOWAKA (oӘ agnaye ĕ»ntika sv»h»/) Fig. 3.07; 308;
3.21; 3.31; 3.34; 3.46; 3.62.
59. Fanning the Fire

ON BOKU ZINBARA UN ‘OӜ! O Earth, burn! HĥӜ!’ (oӘ bhĥҺ jvala hĥӘ/) Fig. 3.17
60. Four Embracing Wisdom Bodhisattvas, Agni

ON AGYANAU EI SENJIKYA EI KEI KI ZYAKU UN BAN KOKU SOWAKA
‘OӜ! This is to Fire. O Ĕ»ntika (fire) come, come! JaҾ! HĥӜ! Vam! HoҾ! Sv»h»!’ (oӘ
agnaye ĕ»ntika ehy ehi jaҺ hĥӘ vaӘ hoҺ sv»h»/) Fig. 3.22
61. Release, Agni

ON AGYANAU EI GESSYA GESSYA BOKU ‘OӜ! This is to Fire. Go, go. muҾ.’(oӘ
agnaye gaccha gaccha muҺ/) Fig. 3.41; 3.42
65. Mantra of the Chief Deity, Fudć Myćć

NAUMAKU SANMANDA BAZARA DAN KAN SENJIKIYA SOWAKA ‘Obeisance
to the Samanta-vajras. H»Ӝ! O Ĕ»ntika, i.e., pacificatory Fire, sv»h»!’ (namaҺ
samanta-vajr»Ӝ»Ә h»Ә ĕ»h»/) Fig. 3.58
66. Four Embracing Wisdom Bodhisattvas, Fudć Myćć

NAUMAKU SANMANDA BAZARA DAN SENDA MAKARO SYADA
SOWATAYA UN TARA TA KAN MAN SENJIKIYA EI KEI KI ZYAKU UN BAN
KOKU SOWAKA ‘Obeisance to Samanta-vajras! O CaӠҦamah»roӼaӠa, split open.
HĥӘ! TraԂ! HĥӘ! M»m! Come, come! JaҺ hĥӘ b»n hoҺ sv»h»!’ (namaҺ samanta-
vajr»Ӝ»Ә caӜҢamah»roӸaӜa sphoԂaya hĥӘ traԂ h»Ә m»Ә ehi ehi jaҺ hĥӘ v»Ә hoҺ
sv»h»/ ) Fig. 3.59
184
184
67. Release of Fudć Myćć

NAUMAKU SANMANDA BAZARA DAN KAN GESSYA GESSYA BOKU
‘Obeisance to Samantavajras! H»Ӝ! Go! Go! MuҾ!’ (namaҺ samanta-vajr»Ӝ»Ә h»Ә
gaccha gaccha muҺ/) Fig. 3.70
75. Release of Celeshal Deities

ON SARABA BODA BOJI SATOBA GESSYA GESSYA BOKU ‘OӜ! O all the
Buddhas, Bodhisattvas, Pacificatory Fire, go! go! MuҾ!’ (OӘ sarva-buddha-
bodhisattva-ĕ»ntika gaccha gaccha muҺ/) 3.4
90. Kćmyć Shingon, Mantra of Light

ON ABOKYA BEIROSHANO MAKA BODARA MANI HANDOMA ZYINBARA
HARABARITAYA UN ‘O Amoghavairocana who has Mah»mudr» and who is of
jewel and lotus, burn and be active HĥӘ!’ (OӘ! amogha-vairocana mah»mudra maӜi-
padma jvala pravartaya hĥӘ/) Fig. 3.73
91. Release of Earthly Deities

ON BAZARA BOKISYA BOKU ‘OӘ! O vajra, mokӸa, muҺ!’ (OӜ vajra, mokӸa,
muҺ/) Fig. 3.75
185
185
Word Index
186

Word Index
Janapnese
aka 㜆ఞ, 9, 17, 19, 20, 44, 87-89, 98, furai ᬑ♩, 8, 18, 70
99, 121 gankć ୸㤶, 17, 32, 42, 43, 159
aka-ki, 32 gekai ゎ⏺, 23, 167
amida-jć-in 㜿ᘺ㝀ᐃ༳, 20, 103, 104, geraiban ୗ♩┙, 23, 170-173
115, 126, 127, 134, 144, 146, 152 goko ஬㕨, 32
Aoki, 32, 39, 43, 44 gokoku ஬✐, 11, 17, 22, 23, 32, 41,
Azuki ᑠ㇋, 41 138, 147, 158, 159
bonnć ↹ᝎ, 46 gokuyć-in ஬౪㣴༳, 20, 94
butsubu-sanmayano-in ௖㒊୕᫕⪨༳, goma abura ㆤᦶἜ, 34
12, 23, 58, 59, 167 goma-dan ㆤᦶቭ, 11, 17, 29-31, 33-
butsugen-in ௖║༳, 10, 20, 108 35, 38, 40, 43, 44, 54, 69, 91, 92,
butsugu ௖౪, 32, 45 99, 100, 107, 110, 116, 121, 163,
chakuza ╔ᗙ, 18, 55 165, 167, 170-173
Chisan-ha ᬛᒣὴ, 27 goma-dć ㆤᦶᇽ, 9, 11, 17, 18, 19,
Chishakuin ᬛ✚㝔, 47 28-30, 34, 44, 53, 64, 72, 77, 78,
chćbuku ㄪఅ, 34 82
dai-in ኱༳, 22, 143, 144 gćzanze-in 㝆୕ୡ༳, 19, 22, 82, 83,
dai-kokĥzć-in ኱⹫✵ⶶ༳, 9, 19, 76 132, 144, 145, 150
dai-kongć-rin-in ኱㔠๛㍯༳, 9, 19, Gyćja ⾜⪅, 8-12, 15, 18, 21, 32, 34,
72 38, 40, 42-44, 48, 49, 53-58, 62,
dai-kćshć-in ኱㖋ྊ༳, 22, 23, 79, 64, 65-69, 71, 72, 75-81, 83-90,
145, 154 92-102, 104-109, 114-126, 128,
dainichi-in-gen ኱᪥༳ゝ, 10, 21, 113 129, 132-146, 148, 150, 152, 153,
daisammaya-no-in ኱୕᫕⪨༳, 19, 155-160, 162-173
86 hachiyćno-in ඵⴥ༳, 59, 60
dai-shaku ኱ᮨ, 32, 36, 134, 135, 145, hadan ◚ቭ, 23, 174
146, 148, 155, 160 hakken ᧕㐵, 11, 22, 23, 140, 149,
damyć, 32 162, 166
danmoku ቭᮌ, 11, 17, 21, 22, 32, 41, hakushć ᢿᤸ, 9, 19, 83
122, 123, 126, 143, 151 han 㣤, 32, 159
dansen ቭ⥺, 30, 124 hibashi ⅆ⠂, 32, 122, 124, 125, 143
dćgu 㐨ල, 17, 18, 29, 31, 33, 64 hikć-goshin ⿕⏥ㆤ㌟, 12, 18, 62, 63,
dokko ⊂㕨, 32, 38 64
ekć ᘔྥ, 12, 13, 23, 164 hoketsu ⿵㜘, 8, 14, 18, 48, 66
Fudć Goma Shiki ୙ືㆤᦶ⚾グ, 47 hćki ⟨, 17, 37
fudć myćć ୙ື᫂⋤, i, 5, 9, 12, 17, hokkai ἲ⏺, 53
22, 29, 30, 46, 75, 101, 102, 105, hondć ᮏᇽ, 17, 28
113, 150, 152, 153, 155, 183-185 honzon ᮏᑛ, 10, 20-23, 32, 102, 113,
fukuyć ᬑ౪㣴, 10, 20, 102 114, 150, 152, 153, 162
187
187
Word Index
honzon-in-myć ᮏᑛ༳᫂, 10, 21, 114 kongćsatta 㔠๛⸃ᇱ, 53

honzon-san ᮏᑛㆭ, 10, 20, 102 konpon-in ᰿ᮏ༳, 10, 20, 104, 105
hćsharo ᐆ㌴㍒, 9, 12, 19, 78 konton ΰᒡ, 23, 159
hyćhaku ⾲ⓑ, 9, 13, 18, 71 kćro 㤶⅔, 17, 43, 44, 48, 54, 71, 87,
i ព, 18, 56 99, 163, 165, 171, 172
ji-kan ⮬ほ, 8, 18, 68 kćshć 㖋ྊ, 34
jiketsu ᆅ⤖, 9, 19, 73 ku ཱྀ, 18, 56
jigu ஦౪, 98 kuyć ౪㣴, 9, 19, 87, 165
jćchi ίᆅ, 8, 18, 69 Miyasaka Yĥkć ᐑᆏᐋὥ, 49
jupparamitsu ༑Ἴ⨶⻤, 46 Miyasaka Yĥshć ᐑᆏᐋ຾, 49
jĥ Ồ, 32, 45 naibaku-sanko-kongć-in ෆ⦡୕㕨㔠
ka ᯝ, 32, 45 ๛༳, 62
ka-in ⅆ㝔, 9, 12, 19, 85 Nakajima Yĥshć ୰ᓥᐋᛶ, 49
kajimotsu㻌 ຍᣢ≀, 32, 120 natane abura ⳯✀Ἔ, 34
kaji-rokć ຍᣢ⅔ཱྀ, 8, 18, 65 nenju ᛕ⌔, 12, 17, 46, 48, 54, 55, 65,
kanjć-katen ່ㄳⅆኳ, 11, 21, 117, 66, 71, 72, 90, 106, 107, 109, 110,
128 114, 118-120, 125, 126, 163-165,
kasha ⅆ⯋, 11, 21, 32, 38, 90, 116, 169, 172, 183
117 nyorai-ken-in ዴ᮶ᣙ༳, 9, 19, 75
katen-in ⅆኳ༳, 11, 21, 117, 118, nyĥga-ganyĥ ධᡃᡃධ, 10, 12, 20,
128 103
keiai ᩗឡ, 34 nyĥmoku ஙᮌ, 11, 12, 14, 17, 22, 23,
keibyaku ၨⓑ, 22, 141 32, 41, 122, 136, 137, 138, 139,
kekkai ⤖⏺, 9, 19, 84 146, 148, 156, 157, 161
keman ⳹㨆, 9, 17, 20, 32, 44, 95, Okaya ᒸ㇂, 27
167 onjiki 㣤㣗, 10, 11, 20, 22, 23, 96,
keman-ki ⳹㨆ჾ, 32, 167 137, 146, 157
ken-in ๢༳, 10, 20, 88, 98-100, 106, oyadama ぶ⋢, 46, 55, 65, 66, 107,
114, 153 109
keshi ⰰᏊ, 11, 17, 21, 32, 42, 43 raiban ♩┙, 23, 32, 43, 170, 171
kongć 㔠๛, 17, 37 renge ⶈ⳹, 17, 39
kongć-ban 㔠๛┙, 38, 94, 120, 122, rengegasshć-in ⶈ⳹ྜᤸ༳, 57
136, 161, 163 renge-za ⶈ⳹ᗙ, 9, 11, 20, 21, 89, 90,
kongćgasshć-in 㔠๛ྜᤸ༳, 56, 57 127
kongćkai 㔠๛⏺, 46 ro ⅔, 17, 32, 34, 41
kongć-katsuma-in 㔠๛⩓☻༳, 8, 18, san ㆭ, 10, 20, 101
67, 70 sanbyćdć-kan ୕ᖹ➼ほ, 10, 21, 115
kongć-ketsu 㔠๛ᶴ, 9, 19, 30, 73, 74, sanjć ᩓ᮫, 32, 35, 65, 125, 133, 140,
167 142, 149, 150, 165
kongć-ki 㔠๛㉳, 8, 18, 69, 70 sanko ୕㕨, 32, 38, 159
kongć-mć 㔠๛⥙, 9, 19, 84 sankć ᩓ㤶, 11, 22, 32, 138
kongć-rei 㔠๛㕥, 11, 12, 17, 20-23, sanko-kongć-in ୕㕨㔠๛༳, 60- 64,
32, 37, 38, 90-94, 119-121, 164 86, 87
186
188
Word Index
Word Index

sanmitsu-kan ୕ᐦほ, 18, 56-61 tenka Ⅼⅆ11, 21, 122
sekke ษⰼ, 32, 43 tokujć ᚨ᮫, 48
shajć ὗί, 8, 11, 18, 21, 32, 34, 35, tćmyć ⇠᫂10, 17, 20, 37, 97, 100
64, 65, 125 tćraiban Ⓩ♩┙, 18, 54
shajć-ki㻌 ὗίჾ, 32, 34 tsukematsu ௜ᯇ, 17, 32, 33, 39, 123,
shaku ᮨ, 17, 36, 146 124
shakujć 㘏᮫, 17, 47, 48 tsuyu 㟢, 46
shaku-oki ᮨ⨨ࡁ, 17, 36 Ueno Raiei ୖ㔝㢗ᰤ, 47
shichi-san ᅄᬛㆭ, 10, 20, 101 yamabushi ᒣఅ, 48
shidai ḟ➨, 17, 37, 43, 47, 113, 165, yćkan ⨺⩘, 45
167 Yoshimura Dćryĥ ྜྷᮧ㐨㝯, 49
shihć-ketsu ᅄ᪉⤖, 19, 74 zćyaku ቑ┈, 34
shikimi ᶁ, 39, 44, 99, 127 zukć ሬ㤶, 9, 17, 20, 32, 44, 94, 95,
shi-myć-in ᅄ᫂༳, 11, 14, 21, 129- 98, 145
131, 145 zukć-ki ሬ㤶ჾ, 32
shin ㌟, 18, 56
shingon ┿ゝ, i, 1, 4, 6, 7, 23, 27, 43,
46, 47, 49, 109, 165, 166, 175,
185
shin-rei ᣺㕥, 9, 20, 23, 90, 164
Shintć ⚄㐨, 30
shitennć ᅄኳ⋤, 46
shćkć ↝㤶, 9, 20, 96
Shćkćji ↷ගᑎ, 17, 27, 28, 47, 49
shć-kongć-rin-in ᑠ㔠๛㍯༳, 9, 19,
77
shć-shaku ᑠᮨ, 32, 134, 135, 138,
146, 148, 155, 158, 160
shćsharo ㄳ㌴㍒, 9, 12, 19, 79
shćshć ྊㄳ, 9, 19, 22, 79, 145
shćshu-hyappen ᑠ࿺ⓒ㐢, 11, 21,
118, 119
Shugen-dć ಟ㦂㐨, 48
sokć Ⴟཱྀ, 11, 22, 23, 34, 121, 132,
133, 140, 142, 145, 149, 150, 154,
159
sokć-ki Ⴟཱྀჾ, 32, 34, 159
sokusai ᜥ⅏, 9, 34, 113
soyu ⸽Ἔ, 11, 22, 23, 32, 34, 36,
134-139, 146, 148, 155, 160
soyu-ki ⸽Ἔჾ, 17, 35
taiko ኴ㰘, 17, 40
187
189
Word Index
English
abbot, 49 candle, 17, 33, 37, 39, 101, 122, 124
Acala Vidy»r»ja, i, 29, 75, 150, 152 cast iron, 34
actions of body, speech and mind, 89 centre of the hearth, 65
act of consecration, 34 chaff, 62
actual offerings, 10, 41, 98, 156 chest, 58, 61, 107
Agni Small mantra, 11, 21, 118 chief deity, 30, 77, 99, 180, 184
aka-gesture, 19, 20, 87, 88, 89 Chisan branch, i, 27
alms, 48 Chishakuin Temple, 47
animals, 48 Circular, 34
anti-clock wise, 65 clarified butter, 14, 15, 34, 148
apple, 45 Clear Light Mantra, 23, 165, 166
arising of the vajra, 8, 18, 70, 178 clockwise circles, 66
armour, 48, 62, 169 cluster of leaves, 141
assistant priest, 18, 40, 48, 49, 54, coming down from the raiban, 23,
124, 125, 171, 172, 174 170
Aucuba japonica, 39, 44 common homage, 8, 18, 70
Azuki beans,41 compensation for deficiencies, 8, 18,
bamboo basket , 174 66
banana, 40 confirmation of the sealing, 9
beads, 46, 65, 107, 109, 118, 119 consecration, 3, 11, 18, 21, 32, 34, 56,
big ladle, 32 64, 66, 98, 125, 126
binding cord, 122 construction of the Goma-dć (homa-
binding the earth, 84, 180 hall) , 9, 19, 72
bodily actions, 58, 59 cooked rice, 10, 12, 20, 32, 45, 96,
bodily acts, 58 137, 148
body, 5, 12, 18, 53, 56-58, 62, 68-70, cup of flowers, 32
73, 75, 77, 89, 108, 115, 118, 127, cup of powdered incense, 32, 98
134, 146, 155, 167, 168, 177-179 cup of water for consecration, 32
bright, 56, 57, 62 cup of water for purifying the mouth
bright shining flames, 62 of the deities, 32
bringing the deities under control, 9, cup of water to be offered, 32
11, 19, 21, 80, 129 cups of water, 34
broom, 17, 37 cut leaves, 120, 159
brushing the rosary, 23, 169 decision, 61, 71, 179
Buddha class, 58, 177 declaration of performance, 9, 18, 71
Buddhist temples, 30 demons, 5, 48
burning candle, 39 dew drops, 46
burning incense, 9, 10, 20, 96, 99, dharma-realm, 68, 75
182 diamond fist, 75
188
190
Word Index
Word Index

double bowl, 36 132, 142, 144, 150, 153, 157, 162,
drum, 17, 40, 122 174
duality, 2, 103 fire-protected house, 9, 19, 85
ear, 92 fire-sticks, 15, 17, 38, 41
eight-petal-lotus-gesture, 59 firewood, 39, 41, 156
eight petals, 56 first fire-offerings, 11, 21, 116
eleven sticks, 41, 122 fist, 53, 62, 72, 79, 86, 101, 105, 114,
empowerment, 10, 15, 18, 20, 21, 56, 145, 163
60, 61, 98, 100, 101, 104, 113, five beads, 46
178, 183 five grains, 11, 12, 14, 17, 22, 23, 32,
encircling the Dćjć by fire, 19, 85 36, 41, 138, 147, 148, 158, 159,
enlightenment, 3, 5, 6, 7, 61, 71, 179, 163
180 five leaves, 99
entry, 18, 53 five pieces of leaves, 99
equilateral triangle, 99 five points of his body, 58, 62, 73, 77
eulogy of deities, 10, 20, 101 five pronged vajra, 32, 38, 56, 57, 90,
eulogy of the central deity, 10, 20, 94, 120, 121, 144, 163
102 five to seven centimeters, 44
eulogy of the four wisdoms, 10, 20, fixing the Vajra-poles, 9, 19, 73
101 flowers, 10, 17, 32, 40, 44, 155, 163,
evergreen, 44 166
evil, 8, 9, 11-15, 18, 19, 22, 40, 48, forehead, 58, 73, 75, 77, 93, 105, 108,
62, 68, 73, 74, 76, 82, 132, 181 110, 118
evil force, 62, 74 four points, 77
family members, 45 four sets of mantras and mudr»s, 11,
fan, 32, 54, 125, 172, 173 21, 129
fire circle, 68 four-knowledge-gesture, 80
fire-gesture, 117 fragrant material, 41
fire god, 10, 11, 12, 13, 21, 22, 34, 41, fragrant powder, 17, 44
113, 115, 117, 119, 125, 127, 128, fruit, 32, 45, 46
129, 133, 134, 140, 141, 142, 156 fuel-sticks, 34
fire-house, 38 garland of flowers, 44
fire igniting stick, 32, 33, 39 general empowerment of deities, 10,
fire mudr», 128 21, 113
fire of wisdom, 115 gestures of the five offerings , 9, 20,
fire offering, i, 11, 21, 38, 47, 116 94
fire sticks as fuel, 32 gong, 32, 71
fire sticks as offering, 11, 32 great friendship, 95, 182
fire tongs, 32, 41 great gesture, 22, 143, 144
fire-place, 8, 11, 17, 18, 22, 32, 34, great-samaya-gesture , 9, 19, 86
35, 39, 65, 68, 120, 122, 124, 127, groove, 36,
189
191
Word Index
guardians of the four directions, 46 inner-fist-three-pronged-vajra-gesture,

half lotus position, 54 62
head bead, 55, 65 inner goma or sacrifice, 115
heart, 56, 57, 69, 73, 75, 77, 94, 105, innumerable lotus thrones, 90
108, 115, 118, 127, 134, 146, 152, insects, 48
155 invitation, 9, 19, 22, 23, 71, 79, 80,
hemispherical bowl, 36 145, 152
hexagonal handle, 48 invitation to fire god, 11, 21, 128
hindrances, 75 invocation of fire god, 11, 21, 117
holder for a cup, 34 invocation of the main deity, 22, 144
holding a flower, 89 Japanese style fan, 54
homage, 8, 18, 44, 54, 55, 70, 71, 171, Japanese tradition, 76
172, 173, 177, 179 jewelled-carriage gesture, 78
husked, 62 juice, 32, 45
identical materials, 38 knees, 44, 54, 172
identification of the three: Tath»gata, Kćyasan University, 49
Fire-God and the Gyćja, 10, 21, ladles, 17, 35, 36, 135
115 lamp, 10, 14, 20, 97, 100, 155
igniting the fire, 11, 21, 122 large ladle, 36
Illicium religiosum, 39, 44 leaves, 40, 99, 120, 141, 159, 163,
impediments, 14, 68 165, 167, 173
impurities, 46, 56, 57 left arm, 54, 167
in one twist, 99 left hand, 15, 36, 48, 55, 56, 65, 66,
incense, 3, 9, 10, 12, 17, 20, 32, 38, 71, 72, 74, 75, 88, 90, 91, 94, 98-
41, 42, 44, 87, 94, 96, 99, 107, 102, 106, 107, 114, 115, 118, 120,
120, 148, 155 127, 134, 135, 148, 163-165
incense burner, 17, 32, 38, 43, 54, left palm, 61
165 left shoulder, 58, 73, 77, 108
incense chunks, 32, 43, 120 left wrist, 55
incense powder, 120 lid, 34, 35, 38, 174
index finger, 53, 62, 70, 72-74, 77-81, lid of the Soyu-ki, 17, 35
83, 84, 88, 95-97, 103, 105, 107, lids of bowls, 17
108, 114, 115, 128, 132, 153, longevity, 10, 103
154,163, 167 lotus, 17, 34, 39, 57, 69, 90, 103, 141,
Indian auspicious ritual, 44 153, 155, 183, 185
Indian ritual, 8, 53, 55 lotus bud gesture, 57, 59, 69
Indian sacrifice or worship, 43 lotus buds, 53
inner-fist-gesture, 79, 95 lotus fist, 75
inner fist three pronged vajra mudr», lotus flowers, 39, 56
48 lotus petals, 53
190
192
Word Index
Word Index

lotus seats, 9, 11, 20, 89, 134, 146, mudr» of offering lamp, 97
150 music, 10, 40, 94, 175
lotus shape, 34 mustard seeds, 117
Mah»-»k»ĕagarbha-gesture, 9 Nagoya University, i, 49, 175
Maharashtra, 40 newar Buddhism, 30
main deity, 10, 12, 22, 32, 41, 103, Nirv»Ӡa, 46
113, 150, 162 obscurations, 75
main deity gesture, 20, 104, 105 offering, 9-15, 17, 20-23, 32, 34, 36,
main hall, 17, 28, 29 41, 47, 87, 89, 94-103, 127, 134-
main priest, 18, 49 141, 145-152, 155-163, 182, 183
mango leaves, 44 offering flowers, 10, 20, 95, 98㻌
manual, 17, 37, 43, 47 offering of material on the altar, 10,
manual text, 34 20, 98㻌
material for consecration, 32 offering the music, 94㻌
medicinal herbs, 4, 32 offering worship, 9, 19, 87㻌
meditation, 2, 4, 5, 6, 8, 10, 12, 18, oil, 11, 12, 15, 17, 22, 23, 32, 34-36,
20, 22, 56, 68, 106, 136, 147, 158, 41, 134-136, 139, 145, 146, 148,
175 155, 156, 160, 161
meditation on the Gyćja himself, 11, oil cup, 17, 35
21, 126 oil for offering, 34
merit and wisdom, 58 one hundred and eight deities, 46
merit-stick, 48 one hundred and eight fire sticks, 41
metal finial, 48 one hundred and eight kinds of
millet, 41 knowledge, 46
mind, 2, 5, 6, 12, 15, 18, 34, 56, 57, one hundred and eight times, 109,
61, 70, 89, 179 110
modern Indian languages, 45 one pronged vajra, 32, 38, 163
monk, 2, 48, 147 pacificatory, 34, 155, 163, 184, 185
monk or nun’s meditation, 147 paraphernalia, 8, 9, 14, 17, 29, 31-33,
moon, 5, 53, 56, 57, 103, 127, 152 37, 44, 65, 173
mountain-religions in Japan, 48 Payne, Richard, i, 16, 33, 101, 117,
mouth, 2, 11, 12, 22, 23, 32, 34, 35, 120
44, 53, 65, 77, 93, 98, 115, 117, penetrating power of law, 46
125, 132-134, 136, 140, 142, 146, performed for ensnaring, 34
149, 151, 154, 155, 178 performed for exorcism, 34
Mudr» and Mantra of Mah»vairocana, performed for nourishment or
10, 21, 113 prosperity, 34
Mudr» and Mantra of the Central perfume, 9, 11 12, 22, 32, 41, 53, 138,
Deity, 10, 21, 114 139
mudr» of offering a bowl full of rice, perfumed powder, 9, 10, 20, 41, 94,
97 95, 98
191
193
Word Index
physical, 62 rice-grains, 36
Pieces of leaves of the Aoki plant, 32 right eye, 53
pine wood, 39 right foot, 53, 170
placing a flower as Invocation, 22, right hand, 44, 48, 53-56, 65, 66, 74,
144 84, 87-90, 92, 94, 97, 101-103,
plastic, 40, 123 107, 109, 110, 114-118, 125-127,
pleasing the deities by clapping, 19, 134, 135, 139, 144, 148, 150, 152,
83 160, 163, 165, 167, 171, 173
Poppy seeds, 11, 17, 21, 32, 42, 43, right leg, 54
116, 117 right palm, 61, 104, 106, 107, 114
pores, 134, 146, 155 right shoulder, 58, 73, 77, 108
post offering ritual, 23, 163 right table, 41, 122, 125, 141, 172,
powdered incense, 10, 32, 94, 95, 98, 173
148, 182, 191 ringing the kongć-rei, 20, 90-93
power of visualisation and rings, 48, 71, 164
identification with the god, 117 rite of cleaning or purifying the
praise of Fudć Myćć, 101, 102 mouth, 34
prayer, 6, 8, 9, 12, 22, 141 rosary, 10, 17, 20, 23, 46, 48, 72, 106,
priests, 7, 14, 17, 18, 25, 43, 49 107, 166, 169
protecting the dćjć by warding off sacred, 5, 6, 30, 40, 53, 89, 167, 168,
evil, 11, 22, 132 173, 175
pure feet, 89 sacred limit, 40
purification, 11, 14, 22, 35, 58-61, sacrificer, 9, 14, 53, 61
132, 177, 178 sacrificial altar, 17, 29
purification of the ground, 8, 18, 69 sacrificial fire, 33
putting on the armour, 18, 48, 62, 177 sacrificial hall, 28, 29
raising the vajra-net, 9, 19, 84 sacrificial material, 55
rapeseed oil, 34, 134 saintly beings, 103
reception of the deities, 12, 19, 78 sandal wood, 41
red triangle, 68 sandalwood powder, 56
releasing the vows, 23, 167, 168 saucer, 87, 88, 89, 99
religion, 7, 40, 48, 175 sealing the boundary, 9, 19, 84, 86,
request for getting in the chariot, 9, 181
19, 79 seat of the Gyćja, 32
resin, 39 seeing off offerings, 38
reverse order, 167 seeing off the deity, 11, 22, 23, 140,
rice, 5, 10-12, 14, 17, 20, 22, 23, 32, 149, 162
33, 36, 41, 44, 45, 62, 96, 97, 100, semi-divine beings, 146
137, 146, 148, 157, 158, 159, 163 semi liquid jelly, 45
rice seeds, 12, 14, 137 sending off all the deities, 23, 166
rice-ball, 17, 45
192
194
Word Index
Word Index

sending the chariot to receive the straw cord, 123
deities, 9, 19, 78 string, 46
sesame oil, 34 sun, 53
sesame seeds, 120, 163 sword, 75
setting the boundary, 9, 20, 78 sword-gesture, 10, 20, 88, 105
setting the earthly boundary, 167 symbolical offering of rice, 10, 20,
seven points, 75 100
shajć cup, 34, 35, 64, 65, 125 symbols of Buddha, Dharma and
shamanistic, 117 SaӞgha, 46
shape and size of the goma flames, taking the kongć-rei, 90, 91
147 tansferring the bowls and kongć-rei,
Shikimi leaves, 44, 99 11, 21
Shikimi tree, 44 Tantric Buddhism, 30
Shingon sect, i, 4, 6, 27, 43, 47 Tantric Buddhist ritual, 115
Shintć deities, 30 Tath»gata’s fist gesture, 9, 19, 75
Shintć Shrines, 30 ten, 3, 6, 11, 41, 46, 92, 113, 117
sin, 89 ten perfections, 46
sistrum, 17, 47 three beads, 46
sitting position, 19, 55 three coils, 55
six rings, 48 three fire sticks, 41
size of the hearth, 34 three leaves, 99, 165, 167
small ladle, 32, 36 three pinches, 139
small-vajra-circle-gesture, 19, 77 three pronged vajra, 32, 38, 48, 65,
soft, 84 66, 75, 85, 120, 126, 127, 129,
sokć cup, 34, 35, 65, 133, 140, 142, 163
149, 150, 155 three-pronged-vajra-gesture, 60, 61
soya beans, 41 throat, 58, 73, 75, 77, 105, 108, 118
spectator, 15, 53 thunderbolt stake, 84
speech, 12, 18, 48, 56, 57, 59, 60, 70, Tibetan, 7, 30, 46, 76
89, 179 Tibetan nenju, 46
speech actions, 59, 60 Toganoo, 53
spiral, 65 tongue, 56, 57
spiritual, 6, 13, 62 top of his head, 70
square, 31, 34 triangular flat wooden stick, 39
stand, 17, 36, 40, 43, 46, 70, 178 true aspect of reality, 115
stand for ladles, 17, 36 two claps, 84
stick or wand, 32 two strings, 46
sticks as fuel, 32, 41 tying cord, 15, 123, 156
sticks as offering, 11, 32, 41 union, 5, 10, 11, 13, 15, 20, 103
sticks or wands, 35 universal offering, 10, 20, 102, 103
stomach, 77, 82, 91, 164 universal or common homage, 70
193
195
Word Index
vajra-bell, 17, 23, 32, 37, 38, 164 washing the mouth, 11. 22, 23, 35,
vajra class, 61, 153, 162, 163, 177 133, 140, 142, 149, 151, 154, 178
Vajrakarma-gesture, 8, 18, 67, 70 water, 6, 7, 9, 10, 11, 14, 17, 19, 21,
vajra-plate, 38 32, 34, 65, 87, 89, 125, 133, 149,
vajra-realm, 46, 69 166, 177, 178, 181
vajra shape, 34 water for rinsing the mouth of the
vase, 40 gods, 44
Vedic domestic ritual, 34 welcome offerings, 38
Vedic ritual, 13-15, 41, 43, 53, 61, 62, wheat, 41
123, 148 whirlpool, 38
Vedic sacrifice, 13, 14, 15, 36 wind circle, 125
Vedic ĕrauta ritual, 13, 53, 66 winning over somebody’s mind, 34
Vedic ĕrauta sacrifices, 36 wisdom fist gesture, 114
wall of interlocked three pronged wood, 11, 31, 39, 41, 48, 122, 126,
vajras, 85 159
wall of vajras, 9, 74 wooden block, 36
ward off evil, 40 wooden handles, 36
warding off Evil, 8, 9, 11, 12, 18, 19,
22, 68, 82, 132, 181
194
196
Word Index
Word Index
Sanskrit
agni-mudr», 11, 21, 117, 118 bodhi, 13, 46
aӚkuĕamudr», 22, 23, 145, 154 bodhicitta, 5, 61, 71, 179
antary»ga, 8, 115 bodhyagråmudr», 76
amit»bhasam»dhi-mudr», 103 bodhyaӚgåmudr», 76
arghya, 17, 19, 20, 44, 87, 89, 155, bhĥmi-parigraha, 9, 19, 73
163 mantra-y»na, 27
arghya-mudr», 87-89 mah»-»k»ĕagarbha-mudr», 9, 19, 76
»v»hana, 9, 19, 22, 79, 145 mah»mudr», 22, 143, 144, 165, 185
»sana, 10, 18, 55 mah»maitrå, 95, 182
iҢ»-p»tra, 36 Mah»vairocana, 1-6, 9, 10, 21, 94,
upabhӰt, 36 103, 106, 109, 113, 114, 179, 191
upavasatha, 53 mah»samaya-mudr», 9, 19, 86
kamal»sana, 9, 20, 89 mudr», 3, 10, 12, 20, 21, 48, 59-61,
kleĕa, 46, 89 67, 70, 73, 75, 80, 82, 84, 85, 88,
khakkhara, 17, 47 90, 94-97, 101-103, 105, 107, 108,
khaҢga-mudr», 10, 20, 88, 106 113, 114, 128, 129, 154, 163, 167,
gandha, 9, 10, 20, 53, 94, 95 175
CaӠҦamah»roӼaӠa, 75, 91,109, 153, yajña-vedi, 17, 29
182, 184 yajña-ĕ»l», 28
caturjñ»nastuti, 10, 101 yajña-sambh»ra, 17, 29, 31, 33
catur-vidy»-mudr», 80 laghu-vajracakra-mudr», 9, 19, 77
caru, 10, 14, 20, 45, 96 vajra, 4, 8, 9, 12, 18, 22, 34, 37, 38,
japa-m»l», 17, 46 48, 56, 57, 61, 65-71, 73, 74, 76,
juhĥ, 36 83, 84, 88, 90, 91, 92, 94, 101,
tath»gata-muӸԂi-mudr», 9, 19, 75 103, 117, 120, 121, 125-127, 129,
tath»gata-samaya-mudr», 58, 59 132, 133, 140, 142, 144, 149, 150,
trailokyavijaya-mudr», 22, 82, 129, 155, 163, 167, 177-181, 185
132 vajrakarma-mudr», 8, 18, 67, 70
darvi, 17, 35 vajra-kålana, 73
dåpa, 10, 20, 97 vajra-ghaӜԂ», 38
NiӸpannayog»valå, 76 vajra-pañjara, 9, 19, 84
naivedya, 45 Vajrasattva, 53, 101, 183
padm»ñjali-mudr», 57, 69 vajra-sth»lå, 38
pariӜ»ma, 13, 27, 164 vajr»ñjali-mudr», 56
puӸpa, 9, 10, 20, 95, 98 vajrodbhava, 61, 177
pĥj», 8-10, 13, 15, 19, 40, 71, 87, 103, visarjana, 11, 22, 23, 140, 149, 162
178, 179 Vairocana Tath»gata, 28
prokӸaӜå, 34, 121 vrata-visarga, 23, 167
Buddhalocan» Gesture, 10, 20, 108 Ĕatapatha-br»hmaӜa, 40
195
197
Word Index

ĕrauta, 6, 8, 13, 14, 36, 53, 66
saӚkalpa, 9, 18, 48, 71
Satyan»r»yaӠa Pĥj», 40
sam»dhi, 12, 61, 84
stuti, 10, 20, 101
svastika, 38
sv»h», 58, 60-62, 66, 68, 73, 77, 78, 86,
90, 94-97, 102, 107, 108, 127,
128, 150, 153, 155, 163, 177,
178, 180-184
sviӸԂakӰt, 14, 66
halav», 45
halu», 45
196
198

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Buddhist Fire Ritual in Japan

著者(英) Madhavi Kolhatkar, Musashi Tachikawa

Buddhist Fire Ritual in Japan

National Museum of Ethnology

© 2012 National Museum of Ethnology, Japan

Senri Ethnological Reports 105

The word Globalization is comparatively new, a twenty first century product.

KĦkai’s philosophy: While understanding the Esoteric philosophy of Kĥkai, at so many

Onjiki (Cooked Rice, caru)

The First Offerings to Katen (Fire God)

4. In Vedic ritual the clarified butter as well as the oblation material is

Chapter I The Environment, the Paraphernalia and the Priests

1.2 DĈgu (Paraphernalia, yajña-sambh¼ra)

Chapter II The Preparatory Rites of the Fudć Goma

2.1 The Entry of the GyĈja

2.2 Consecration or Empowerment of the GyĈja

2.3 The Consecration of the Goma-dĈ and DĈgu

2.4 Fig. 2.24 HyĈhaku (Declaration of performance, saӚkalpa)

2.6 Reception of the Deities

2.7 Kekkai (Sealing the Boundary)

2.8 KuyĈ (Offering Worship, pĥj»)

2.9 San (Eulogy of Deities, stuti)

Chapter III Main Ritual

3.1 The First Offerings to Katen (Fire God)

3.2 Offerings to GĈzanze-MyĈĈ (Trailokyavijaya)

3.3 Offerings to Honzon (Main Deity)

3.4 GokuyĈ (Post offering ritual)

The Environment, the Paraphernalia

Chapter I The Environment, the Paraphernalia and the Priests

1.1.1 ↷ගᑎ The ShĈkĈji Temple

1.1.2 ↷ගᑎᒣ㛛 The ShĈkĈji Temple Gate

Fig. 1.02 The Shćkćji temple

1.1.3 ᮏᇽ HondĈ (Main Hall) of the ShĈkĈji Temple

Fig. 1.03 Hondć

1.1.4 ㆤᦶᇽ Goma-dĈ (The Hall for Sacrifice or Homa

Fig. 1.04 Goma-dć

Chapter I The Environment, the Paraphernalia and the Priests

1.1.5 ㆤᦶቭ Goma-dan (The Sacrificial Altar, yajña-vedi)

Fig. 1.05 Goma-dan

1.1.6 The Inside of Goma-dĈ

Fig. 1.06 Dćgu (the paraphernalia, yajña-sambh»ra)

1.1.7 The Statues of ୙ື᫂⋤ FudĈ MyĈĈ and Other Deities

Fig. 1.07 The Statues of Fudć Myćć and Other Deities

This is a close-up of the small statues of various deities related to Tantric

Chapter I The Environment, the Paraphernalia and the Priests

1.2 㐨ල DĈgu (Paraphernalia, yajña-sambh»ra)

Fig. 1.08 The plan of the Goma-dan and the Dǀgu on it

Chapter I The Environment, the Paraphernalia and the Priests

1.2.2 The Close View of the DĈgu (Paraphernalia, yajña-

Fig. 1.09 The close view of the Dǀgu

1.2.3 ⅔ Ro (Fire-place, agni-kuӜҢa)

Chapter I The Environment, the Paraphernalia and the Priests

Fig. 1.11 Place for the lid of the Soyu-ki

1.2.5 ᮨ Shaku (Ladles, darvi)

Fig.1.12 Different Shakus

1.2.6 ᮨ⨨ࡁ Shaku-oki (Stand for ladles)

Fig. 1.13 Shaku-oki

Chapter I The Environment, the Paraphernalia and the Priests

1.2.8 㔠๛ KongĈ and 㔠๛㕥 KongĈ-rei (Vajra and Vajra-