Kuji-in


The kuji-in also known as Nine Hand Seals refers to a system of mudras and associated mantras that consist of nine syllables. The mantras are referred to as kuji, which literally translates as nine characters The syllables used in kuji are numerous, especially within Japanese esoteric Mikkyō.
Scholars have stated that kuji is of Taoist origin, not Buddhist. There is no mention of the kuji in any of the Shingon or Tendai records that were brought back from China. The use of kuji is largely a layman’s practice, and is uncommon in many orthodox Buddhist traditions. It is however, found extensively in Shugendō, the ascetic mountain tradition of Japan, and Ryōbu Shintō, which is the result of blending Shingon Buddhism and Shinto.

History

The kuji are first introduced in the Bàopǔzǐ, a Chinese Taoist text written by Gé Hóng c.280–340 CE). He introduces the kuji in chapter 17, entitled Dēngshè, as a prayer to the Liùjiǎ, ancient Taoist gods. In Daoist Magic, the Jiǎ are powerful celestial guardians and are among the gods of the Celestial Thunder Court of, a god of Buddhist origin and guardian of the North.
The kuji are first seen in line 5 which reads,
抱朴子曰：“入名山，以甲子開除日，以五色繒各五寸，懸大石上，所求必得。又曰，入山宜知六甲秘祝。祝曰，臨兵斗者，皆陣列前行。凡九字，常當密祝之，無所不辟。要道不煩，此之謂也。”
Translation:
The kuji form a grammatically correct sentence in Classical Chinese. They come from this section of the chapter and are written as which can be roughly translated, " soldiers/fighters descend and arrange yourselves in front of me", or "May all those who preside over warriors be my vanguard!"
Other translations are possible as well, as variations exist in Japanese esoteric Buddhism. According to the Baopuzi, the kuji is a prayer to avert difficulties and baleful influences and to ensure things proceed without difficulty. To this end it can be said that the primary purpose of kuji is abhisheka and exorcism.
The Taoist kuji are next cited in a text called The commentary on the discourse about the Sutra on Immeasurable Life, and on the verses about the vow to be reborn , also known as the Commentary on the treatise on rebirth in the Pure Land written by Taluan.
How the kuji arrived in Japan is still a matter of debate. The Korean variant is 臨兵鬥者皆陣列在前行. Some contemporary scholars assert that the kuji arrived in Japan via China through Jōdo-shū and Shugendō around the 8th century, if not much later. Others assert that they were introduced by Korea. As to what the kuji consisted of at the time it arrived in Japan is unknown. The mudras are found in Taoist material as well as in Shugendō. Some have suggested that Shugendō created the mudras that are currently associated with the kuji, as the vast majority of information that is known about the kuji comes from Shugendō literature.

Issues

Kuji is rumored to be a dangerous ritual if carried out without proper initiation. It is believed that if the ritual is performed incorrectly, it can attract unwanted entities.

Ryobu kuji

The earliest known Japanese application of the kuji comes from the Shingon monk Kakuban who was an academic of Taluan’s writings and teachings. Kakuban introduced several kuji formulas dedicated to Amitābha, in his text The Illuminating Secret Commentary on the Five Cakras and the Nine Syllables.
The kuji formulas Kakuban introduces are commonly grouped under the title zokushu, and are completely unrelated to original Taoist kuji. The monk Shinran, founder of Jōdo Shinshū sect, introduced several new kuji formulas, also dedicated to Amitābha. Nichiren, founder of the Nichiren sect, introduced a kuji prayer derived from chapter 26 of the Lotus Sutra, where it is uttered by the god Vaiśravaṇa.
Neither the founder of Shingon, Kōbō Daishi, nor the founder of Tendai, Saichō, mentioned the kuji is any of their writings. It may be assumed that they were unfamiliar with the kuji or only considered them as part of a minor teaching. Regardless, the nine syllables of the kuji have developed several correlations and associations with religious and philosophical aspects of Japanese esoteric Buddhism. They are associated with the five cakras, the five elements, certain directions of the compass, colors, and deities.

Variations on the ryōbu kuji

There are numerous variations of the nine original Taoist kuji in Japanese Buddhism. Most of these variations occurred well after the introduction of the kuji into Japan. Some, however, are other Taoist formulas taken from Taoist writings and Buddhist sutras. The kuji that is most often seen in the context of budo, or martial arts, and also in general, consists of the nine original Taoist syllables Rin Pyou Tou Sha Kai Chin Retsu Zai Zen. The fact that the Taoist kuji are not seen in Japanese documents and writings until at least the 1500s, and then not extensively until around the Edo and Meiji periods indicates that they were either not extensively practiced, or taught as kuden. However, the fact that so many koryu list the kuji in their makimono indicates it must have been considered an essential teaching. And the fact the kuji are listed in numerous kobudō makimono from the 1500s onward, is proof that the kuji were practiced by the bushi.

Significance of the number nine

Why the number nine is used has also been of concern to some. The number nine is seen in Taoist divination as the perfect number for yang/yo, the “bright side” when determining the individual hexagram lines according to the I-ching. Some have suggested that the number nine refers to the nine planets, that the Taoist believe directly influence human destiny, or to the seven stars of the Big Dipper plus the two attendant/guardian stars which Taoist believe is the gateway to heaven, and which each star is a Taoist deity. The Imperial Palace had nine halls, the celestial sphere has nine divisions, both in Buddhism and Taoism, heaven is 'nine enclosures'. The nine submandalas of the Vajradhãtu-mandala correspond to the imperial city of Ch'ang-an.

Kuji no in (Hand seals of the Nine Syllables)

The Kuji-in, "Nine Hand Seals," refers to the mudra associated with the nine syllables themselves. Whereas, kuji-ho refers to the entire ritual of kuji and encompasses the mudra, mantra and meditation. Kuji-kan, is a specialized form of Buddhist meditation. Technically the word "Kuji no in" refers only to the hand postures, whereas “kuji no shingon” refers to the related incantations.There are hundreds of mudras in Shingon alone. Shugendō itself has hundreds of mudras, as does Taoism. Many of these mudras are shared, however, many are not. To further complicate this fact, there are also untold numbers of variations on a given mudra, and many mudras are associated with more than one deity or idea. Furthermore, a mudra may have more than one name, or one association depending on its purpose. Practitioners’ would be wise to keep this mind when practicing kuji ho.

Yin/Yang and kuji

The dualistic influence of inyogoku is apparent only in respects to the mudra of certain kuji rituals. As stated earlier the kuji in and of itself is a simple prayer. The obvious influences of onmyōdō is clearly seen in the mudra themselves which were added latter. Especially in regards to the first and last mudras, the mudras associated with the syllables "to" and "sha", "kai" and "jin". These mudras are obvious yin and yang counterparts. This is significant in that the concept of yin and yang is seen as encompassing all the cosmic phenomena, all eternity between the two polar opposites. The mudra gejishi-in and its immediate counterpart naijishi-in clearly represent this yin/yang relation. In fact, not only do these two related mudras represent the alpha and omega by themselves, but the two lions associated with them take this association a step further. The two lions are commonly seen outside the doors of Buddhist temples, where they stand as guardians against evil and baleful influences. The first lion utters the sound “A” which symbolizes the alpha, that all reality and phenomena are, in the tradition of mikkyō, said to neither absolutely exist, nor non-exist – they arise in dependence on conditions, and cease when those conditions cease. Whereas, the second lion utters the sound “Un” which symbolizes the omega, the destruction of all evils; it summarizes the two basic false views of nihilism and externalism, and shows them to be false. The truth of things is that they are neither real nor unreal. This description also applies to the next two mudra, gebbaku-in and its immediate counterpart neibbaku-in. The first and last mudra, occupy the two most important positions, the beginning and the end, again with relation to the Taoist and mikkyō points of view of the alpha and omega.
In relation to yin and yang theory, the yang aspect is the light, masculine, positive, offensive, absolute, horizontal, left, forward, upward. While the yin aspect is the dark, feminine, negative, defensive, relative, vertical, right, backward, down.

Ryobu kuji and the martial arts

Ku-ji ho as generally practiced in budo comes from text Sugen jinpi gyoho fuju shu or Fuju shu for short, a Shugendō document of the Tozan-ha lineage, edited between 1871–1934 by Nakuno Tatsue. The original compiler is unknown, but it appears to incorporate numerous Shugendō rituals from various Shingon sects such as Tachikawa-ryu. The text compilation of texts appears to span a time period from the 1200s on up to 1500s and 1600s. The Fuju shu lists 400 rituals, 26 of them kuji-ho..
The two particular techniques of ku-ji that are most directly related to budo, and most widely known are kuji hon-i and kuji no daiji. These two kuji rituals are centered in the esoteric deities of Shingon mikkyo, the shirtenno and Godai myo-o. Other groupings of deities exist as well depending on the sect and purpose of the kuji.

Kuji-kiri (Cutting the nine syllables)

The related practice of making nine cuts— five horizontal and four vertical, alternating — in the air or palm of a hand with the finger or on paper with a brush is known as kujikiri, nine syllable cuts. Kuji-kiri is explained in Shugendo texts, quite correctly, as a preparatory ritual of protection, to cut off demonic influences and their inki . In Japanese folk-magic and onmyodo, the nine cuts are often made over writing or a picture, to gain control of the object named or pictured. Thus, a sailor wishing to be protected from drowning might write them over the kanji for "sea" or "water". Author and historian John Stevens notes that methods of oral sex using kuji-kiri were employed by practitioners of Tachikawa-ryu. The Fuju shu does not spell out every ritual in detail. However, in several of the kuji-kiri rituals it is spelled out that the strokes are made alternately horizontal and then vertical: five horizontal and four vertical for men; and four horizontal and five vertical for woman. A modern Japanese text labeled Dai Marishi-Ten hiju/大摩利子天秘授 says that five horizontal slashes are made while reciting the yo-syllables: rin, toh, kai, retsu, zen, which spells first. These are to be followed by four vertical slashes while reciting the in-syllables: pyo, sha, jin, zai which spells. The document gives no other information as to why this arrangement is used.

Kujiho in practice

Ku-ji itself is a very flexible practice that can be modified depending on the needs of the practitioner. The practice of ku-ji ho as found in Japanese esoteric Buddhism is a sanmitsu nenju, and as such, consists of several dependent, integrated practices. It can be practiced in the form of either of the two mandaras of esoteric Buddhism . The Kongo-kai/金剛界 mandara of Shingon Buddhism, or the Taizo-kai/胎蔵界 mandara. It is also used by other Buddhist sects, especially in Japan; some Taoists and practitioners of Shinto and Chinese traditional religion; and in folk-magic throughout East Asia.
In general, simply offering incense, reciting the kuji with hands in gasho, and being mindful and present is sufficient to appease to Jia.
The Kuji-in practice symbolizes that all the forces of the universe are united against evil; because of this, it was often used by the common people for luck when traveling, especially in the mountains.

Mantra and mudra

In Japanese, the nine syllables are:
Rin, Pyō, Tō, Sha, Kai, Jin, Retsu, Zai, Zen. If the nine cuts are then made, as is sometimes done, the syllable Kō is sometimes spoken.
Note that the syllables are shortened forms, and there are also longer, Japanese mantra that go with the same mudra. As to why there appears to be no correlation between the mudra and mantra and the representative deities is unknown at this time. Also many mantra end with the Sanskrit word o'ṃ. The meaning of o'ṃ is literally "to shout loudly", while the esoteric religious meaning is seen as the sacred name or essence of God and means "I am existence". It is used at the end of the invocation to the god being sacrificed to as an invitation to and for that God to partake of the sacrifice.
divi
There is no indication of where this particular kuji ritual comes from. It seems to be one of more common forms of the Buddhist kuji. If the original source is discovered it will be made available.
The mudra are as follows:
臨 : Hands together, fingers interlocked. The index fingers are raised and pressed together.
Mudra is, dokko-in/kongoshin-in, "seal of the thunderbolt."
Mantra is, On baishiramantaya sowaka.
兵 : Hands together, pinkies and ring fingers interlocked. Index finger and thumb raised and pressed together, middle fingers cross over index fingers and their tips curl back to touch the thumbs' tips, the middle-fingers' nails touching.
Mudra is, daikongorin-in, "seal of the great thunderbolt."
Mantra is, On ishanaya intaraya sowaka.
闘 : Hands together, index fingers cross each other to touch opposite ring fingers, middle fingers crossed over them. Ring and pinky fingers are straight. Tips of ring fingers pressed together, tips of pinkies pressed together, but both sets of ring and pinky fingers are separated to form a V shape or bird beak
Mudra is, gejishi-in "seal of the outer lion."
Mantra is, On jiterashi itara jibaratanō sowaka.
者 : Hands together, ring fingers cross each other to touch opposite index fingers, middle fingers crossed over them. Index finger, pinky and thumb straight, like American Sign Language "I love you".
Mudra is, naijishi-in "seal of the inner lion."
mantra is, On hayabaishiramantaya sowaka.
皆 : Hands together, fingers interlocked.
Mudra is, gebaku-in "seal of the outer bonds."
Mantra is, On nōmaku sanmanda basaradan kan.
陣 : Hands together, fingers interlocked, with the fingertips inside.
Mudra is naibaku-in "seal of the inner bonds."
Mantra is, On aganaya in maya sowaka.
列 : Left hand in an upward-pointing fist, index finger raised. Right hand grips index finger, and thumb is pressed onto left index's nail.
Mudra is, Chiken-in "seal of the wisdom fist," also known as "seal of the interpenetration of the two realms."
Mantra is, On irotahi chanoga jiba tai sowaka.
在 : Hands spread out in front, with thumb and index finger touching.
Mudra is "seal of the ring of the sun."
Mantra is, On chirichi iba rotaya sowaka.
前 : Hands form a circle, thumbs on top and fingers on the bottom, right hand overlapping left up to the knuckles.
Mudra: hobyo-in/ongyo-in "seal of the hidden form, mudra which conceals its form"
mantra: On a ra ba sha nō sowaka All hail! A ra pa ca na. o'ṃ)
Without any further information regarding this particular kuji ho the best guess is as follows:
臨/Rin: Tammon-Ten
兵/Pyō: ?
闘/Tō: ?
者/Shā: Bato myo-O, Taishaku-Ten
皆/Kai: Fudo myo-O
陣/Jin: Ka-Ten
列/Retsu: [Dainichi Nyorai
在/Zai: Marishi-Ten
前/Zen: Monju bosatsu
Without further information no other conclusions can be made.

Meaning of kuji symbolism

The influence of Taoism is very apparent in the practice of ku-ji, in that there are yin/in and yang/yō aspects to ku-ji that must be taken into consideration by the practitioner. There are five yang/yō-syllables, and four yin/in-syllables. In onmyōdo philosophy yin/in is related to relative, to benefit self, defensive; yang/yō is absolute, to use against others, offensive. Thus, when looking at the implied meaning of the syllables in ku-ji it is apparent that the in-syllables are used to defend the self, and the yō-syllables are used to attack outside influences.
The yin and yang theory of kuji also carries over to kuji kiri. In kuji kiri the vertical strokes/slashes represent the yin/in syllables, while the horizontal strokes/slashes represent the yang/yo syllables. Thus in kuji kiri the practitioner is first making an aggressive horizontal slash representing the first syllable which is a yang/yo which represents the absolute aspect or offensive nature of the deity. The second stroke/slash is defensive and represents the second syllable or relative aspect or defensive nature of the deity.
Often a tenth syllable is added at the end. Generally it is the mata for victory, or "to destroy".
Yang/Yō syllables
臨/Rin: come
闘/Tō: fight
皆/Kai: ready
列/Retsu: line-up
前/Zen: in front
Yin/In syllables
兵/Pyō: warriors
者/Shā: one
陣/Jin: formation
在/Zai: take position
Thus the essence of the meaning of the ku-ji can be roughly translated as,
Each of the nine syllables has a meaning that when integrated with the corresponding mudra, mantra, and visualization manifests sanmitsu kaji . In general it can be said that ku-ji is the harnessing and control of psychospiritual or psychophysical energies, and, or, of cosmic–universal spirits/deities/energies.
The deities most commonly called upon in mikkyo are deities of Hindu and Tantric origin, which are ultimately all emanations of Mahavairocana. These deities are the shirtenno and the Godai myō-Ō, as well as Marishi-ten , Nitten , Bon-ten, Ichiji Kinrin Bochto, and so on.
With relation to Japanese esoteric Buddhism , the yang/yō-syllables represent the shirtenno, with the exception of the “kai” syllable which represents Fudo-myō-o. The yin/in-syllables represents the Godai myō-o. A simple look at the ku-ji and their relation to the prescribed deities shows a very logical pattern. The ku-ji and associated deities form a simple mandara, with Fudō myō-Ō at his rightful and proper place in the center, surrounded by the other four Myō at their respective locations, which comprises the inner sanctum–hall of the mandara. The shidaitenno being of a lower rank–office than the Myō, occupy the outer sanctum/hall of the mandara at their respective positions.

Fuju shu #199, kuji hon-i

Yō/yang syllables
臨/Rin: Tammon-ten/Bishamon-ten
闘/Tō: Jikoku-ten
皆/Kai: Fudo myō-o
列/Retsu: Komoku-ten
前/Zen: Zocho-ten
In/yin syllables
兵/Pyō: Gonzanze myō-o/Shozonzae myo-o
者/Shā: Kongō-yaksha myō-o
陣/Jin: Gundari myō-o
在/Zai: Dai-itoku myō-o

Fuju shu #200, kuji no daiji

This is the other kuji ho that most directly deals with the martial arts, the most direct being the above kuji hon-i.
Yō/yang syllables
臨/Rin: Tammon-ten/Bishamon-ten
闘/Tō: Nyoirin
皆/Kai: Aizen Myo-O
列/Retsu: Amida Nyorai
前/Zen: Monju bosatsu
In/yin syllables
兵/Pyō: Juichimen Kan'non
者/Shā: Fudosan
陣/Jin: Sho Kan'non
在/Zai: Miroku Bosatsu
Other groupings of the ku-ji include:

A] Kujisuijaku Nine PlanetsFuju Shu no. 197

In Fuju #197 and #198 which relates to the nine planets and Seven Northern Stars, the purpose of the kuji-ho is to obtain protection, as well as longevity; and the correlations with the nine planets and Seven Northern Stars. The idea was to perform the ritual to remove bad or baleful influences which a particular star or stars might in exerting over at that time over a person in a particular age group, by converting it into an auspicious star, planet, and influence.
臨/Rin: Keitosei , southwest, Jizo bosatsu
兵/Pyō: Nichiyōsei , northeast, Sunday, Fudo myo-O
闘/Tō: Mokuyōsei , east, Thursday, Monju bosatsu
者/Shā: Kayōsei , south, Tuesday, Hachiman bosatsu
皆/Kai: Ragosei , southeast, Dainichi Nyorai
陣/Jin: Doyōsei , center, Saturday, Kan'non bosatsu
列/Retsu: Getsuyōsei , northwest, Monday, Fugen bosatsu
在/Zai: Kin-yōsei , west, Friday, Kokuzo bosatsu
前/Zen: Suiyōsei , north, Wednesday, Seishi bosatsu

B] Kujihonji Northern Seven Stars ([[Big Dipper] [Ursa Major]))] Fuju Shu 198

臨/Rin: Donrōshō/貪狼星; Nichirin Bosatsu; ;
兵/Pyō: Komoshō/巨門星; Gachirin Bosatsu; ;
闘/Tō: Rokuzonshō/禄存星; Kōmyōshō;
者/Shā: Monkokushō/文曲星; Zōchō Bosatsu;
皆/Kai: Renjōshō/簾貞星; Ekoshō Bosatsu;
陣/Jin: Mukokushō/武曲星; Jizō Bosatsu; Mizar; ]
列/Retsu: Hagunshō/破軍星; Kongōshu Bosatsu ;
在/Zai: Gatten; M101 located to the north of Alkaid
前/Zen: Nitten; M51 located to the south of Alkaid

C] Zokushu

Zokushu is the earliest known Buddhist adaptation of the kuji. It is a kuji ritual based on Kakuban's formula, in which each of the kuji corresponds to a shuji/bonji/bija. However, instead of the original nine Taoist syllables, Kakuban created a new set of nine syllables based on the mantra of Amida Nyorai. There are in fact several zokushu rituals that Kakuban designed. The ritual itself is based on the deities Avalokitesvara , and Amida buddha as well as the nine deities of the inner sanctum of the Taizo-kai mandara/胎蔵界曼荼羅. Zokushu is based on Jodoshu and therefore the primary deity of worship is Amida Nyorai.
Zokushu #5
Zokushu #5 gives lists the nine original Taoist syllables and gives a corresponding Japanese syllable. The shuji themselves when placed in order of their corresponding kuji form no logical sentence or statement, and may represent Sanskrit bija, and, or Tantric deities, or, it may be a prayer. Without further evidence, no other conclusions can be made.
臨/Rin: Ri
兵/Pyō: Na
闘/Tō: Tan
者/Shā: Sha
皆/Kai: Ku
陣/Jin: Chirin
列/Retsu: Raku
在/Zai: Rau
前/Zen: Ron
It is unclear how this set of kuji is related to the Sanskrit bija Kakuban gives for the primary zokushu kuji, which is the mantra of Amida buddha.
Um, a, mr, ta, te, je, ha, ra, hum
which compose the mantra,
Om amrta tese hara hum or .
Another kuji formula is found in the writings of Jodo Shinshu, founded by Shinran, and is yet another mantra to Amida Nyorai which reads
Which spells the mantra, Namu fukashigi-ko Nyorai
A juji formula is then given with the syllables,
This spells the mantra, Kimyo jinjippō mugekō Nyorai
It may be that this juji ritual is based on, or connected to an older Taoist juji formula,
Kakuban then goes on to give a list of deities related to the mantra of Avalokiteśvara
A: Avalokiteśvara
Mŗ: Maitreya
Ta: Ākāśagarbha
Te: Samantabhadra
Se: Vajrapani
Ra: Sarvanivarana-Vishkambhin
Hūm: Ksitigarbha
Hrīh: Avalokiteśvara
Note: the deletion of the Om syllable in the beginning and addition of the Hrīh] syllable is an adaptation. Hrīh signifies the element metal and lungs. The placement of Avalokiteśvara at the beginning and end obviously signifies that the other deities are contained within Avalokiteśvara.
Rather these kuji and juji originated strictly within Japanese Buddhism is unlikely as Jodo Shinshu is, like many things in Japanese theology, influenced by Taoism. And it is also safe to assume that both Kakuban and Shinran would have been familiar with the various Taoist kuji and juji formulas. Rather or not their kuji and juji formulas are Japanese versions of Taoist formulas may never be known. However, what is clear is that they represent the earliest known use of the kuji and juji in Japanese esoteric Buddhism .
Again, in the absences of further evidence no other conclusions can be made.
The same ritual goes on to give a list of related Taoist deities.

C.2]

臨/Rin: Taishi
兵/Pyō: Suzaku
闘/Tō: Bunno
者/Shā: Genbu
皆/Kai: Santei
陣/Jin: Byakko
列/Retsu: Gyokujo
在/Zai: Kyuchin
前/Zen: Seiryu

D] Shinto deities related to kuji

Lastly, in the late Edo jidai the kuji were practiced by various Shinto schools. And therefore, a set of correlations was developed between the kuji and various Shinto schools and related deities. Below is one such list belonging to a Shinto school in the Yamato region.
臨/Rin: Tensho Kodaijingu/ Amaterasu Omikami
兵/Pyō: Sho Hachiman Daijin
闘/Tō: Kasuga Daimyojin
者/Shā: Kamo Daimyojin
皆/Kai: Inari Daimyojin
陣/Jin: Sumiyoshi Daimyojin
列/Retsu: Tanyu Daimyojin
在/Zai: Nittenshi
前/Zen: Marishi-Ten

E] Tammon-Ten’s kaji kuji ([Vaisravana]’s nine syllable empowerment)

Another kuji prayer is outlined by the monk Nichiei, and is found in chapter 26 of the Lotus Sutra where it is uttered by the deva King of the North, Tammon-ten/Bishamon-ten, and is said to guarantee protection to those who recite it.
The verse goes :
"Thereupon, the devarāja Vaiśravaṇa, a world-protector, addressed the
Buddha, saying: “O Bhagavat! I will also teach a dhāraṇī out of pity for sentient beings and in order to protect　 expounders of the Dharma.”
He then recited a dhāraṇī, saying:
Aṭṭe naṭṭe vanaṭṭe anaḍe nāḍi kunaḍi ;
“O Bhagavat! With this mantra-dhāraṇī I protect the expounders of the
Dharma; I will also protect those who hold to this sutra. All heavy cares shall
be banished for a hundred yojanas around.”

F]Jioku-ten's kaji kuji ([Dhṛtarāṣṭra]'s nine syallable empowement)

Also in chapter 26 of the Lotus Sutra immediately following Vaiśravaṇa, the Great King Dhṛtarāṣṭra Guardian of the eastern quarter announces a kuji in Sanskrit to complement Vaiśravaṇa's dharani. The verse goes:
"At that time the devarāja Dhṛtarāṣṭra the great Heavenly King and Upholder of the Nation was present in the assembly, respectfully surrounded by millions upon million of myriads of koṭis of nayutas of gandharvas.
He came before the Buddha together with them and addressed the Buddha
with his palms pressed together, saying: “O Bhagavat! With a mantra-dhāraṇī
I will also protect those who hold to the Lotus Sutra.”
He then recited the dhāraṇī, saying:
Agni Gauri gandhāri caṇḍāli matangi jaṅguli vrūsaṇi agasti."
“O Bhagavat! This mantra-dhāraṇī was spoken by forty-two koṭis of
buddhas. Anyone who attacks or slanders an expounder of the Dharma also
attacks or slanders these buddhas."

Conclusion

As it should be apparent, the kuji are a very adaptable ritual which has, and will likely continue to be, adapted to the local needs of the individual or organization. In so long as the overall structure of esoteric practice is understood, that being the practice of sanmitsu, then the kuji can be adopted to fit almost any need.

Meanings in Shinto

Each word is translated to the following meaning for Shinto.
Kuji-in is used as part of a ritual in Shinto, and is used to purify a person with a waterfall.

Meanings in Buddhism

Each word is translated to the following meaning in Buddhism.
There as many as 81 variations to the Kuji-in within certain sects of Buddhism in Japan, to say nothing of other mudra that are also used.

Meanings in Ninjutsu

While the kuji-in have no unique relation to ninjutsu, the ninja traditions are steeped in esoteric Buddhist beliefs, especially Mikkyo. The kuji-in are used in a number of their meditations, both those related simply to their religious practice and those dealing with their martial arts; in some ways, they are used similarly to the Taoist ideas in Chinese internal martial arts. In his book Ninja Vol. II: Warrior Ways of Enlightenment, Stephen K. Hayes claims the following interpretations:
The kuji-in are a tool to be used in meditation, and are frequently over-simplified in popular culture as being a form of magic. This belief, along with the use of the mudra and mantra, has been further popularized by Tekken, Tenchu, Dead or Alive and certain neo-ninja games. The lines of the chinese poem, compounding the syllables, reads "Nozomeru Hei, tatakau mono, kaijin wo hari, retsu wo tukutte, mae ni ari".