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by Nobumi Iyanaga

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Dakin and the Emperor 1
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Introduction Return to Table of Contents
Do you know these horrible tales that are called Dakine ...?
They are cannibalistic demons who in Hindu mythology, are regarded as loyal followers of thegoddess Kali, the great Black Goddess or Goddess of Time. A Dakine figure in the famous
sculpture of Shiva conquering the asura Andhaka, the cave temple of Ellora No. 15 (1). It shows
the winged demon hovering over Kali (named in the case Yogeśvarī), which seeks a cut toreceive the drops of blood flowing from the body of the asura impaled by the spear of god
trainer, the Dakin, like a bird of prey, is hungry and waiting for his master gives him to suck hisshare of blood ...
The origin and nature of these remain very obscure Dakine (2); di Sanskrit root meaning "to fly,
fly, we can assume that they are flying demons, but this aside, the only certain thing a bit about
them is that they are magical beings frightening tale fears and revered in much the same way asother female divinities of lower rank, such as yogi or "Mother" (matr, or at Matarah plural). However, these Dakin, having been incorporated into the mythology of esoteric Buddhism, wereknown in China and Japan and in the latter country, they changed their nature: the word Dakin,
who was originally a generic name denoting a class of demons, becomes a kind of proper nameof a deity more or less individualized (3), which receives the title of "god" or rather "Goddess"(Ten 天) - which is why we write here below, when it's the Japanese cult, "Dakini-ten, preferably
one or Dakine. This Dakini-ten, therefore, was considered a deity called Inari 稻荷 native andwas most often conceived as the form of a fox. And during the Middle Ages, it was the object ofveneration so special that it came so to say "chair" one of the ceremonies the most secret andmost mysterious of medieval Japanese Buddhism, namely the ceremony Induction of Buddhist
emperors (called "sokui-Kanjo 即位灌顶", that is to say, "Abhisek [unction] induction). The
reasons for this transformation and the "apotheosis" extraordinary remain partly obscure, butvery few studies and scholarly interest has been devoted to this subject in recent years in Japan (4).
We will try in the pages that follow examine the problem, with particular emphasis on theconsistency of transformations, from India to Japan, some mythical themes that seem to haveplayed an important role in the background of this development Japanese beliefs, it will also be
an opportunity for us to glimpse the dark side of the "mystique" of imperial power that has
occurred gradually during the Middle Ages, including Japan and today is probably still
somewhat dependent.
**
In reality, the subject is extensive, and it is impossible to treat in all its fullness. Our test will beespecially developed as a comment on a very small passage from a text of great importance: it is
the chapter on the Dakini-ten-Keiran-Shu Shuyo 溪岚闟?饓 or "Series Leaves collected in Val
foggy ", compiled between 1311-1348 by a monk of the Tendai school 天台 appointed Koju 光
宗. This book, filled with all kinds of information most curious and most valuable on the state ofbeliefs and doctrines of medieval Japan, includes a chapter on Dakini-ten, where a small section
is devoted to the traditions relating to the 'Abhisek (Anointing) induction, and at the end of thissection is that sentence (5):In the Sutra of the Benevolent King (Renwang-jing 仁王经), [it is a question of] 'Making
worship the god of the cemetery [offering] that "it is what we must think deeply.
This is the meaning of that enigmatic phrase that we try to "think deeply".
1. Background Hindu and Buddhist Return to Table of Contents
A. Myth and iconography of Siva Hindu submitting the asura Andhaka Return to Table ofContents

But before turning to the proper development of Japanese beliefs concerning Dakin, is to bestrengthened somewhat mythic context in which they appear in Hinduism and Buddhism. Forthis, it is perhaps useful to begin by examining the myth of the submission of the asura Andhaka
by Siva as sculpture Ellora, mentioned earlier, is supposed to represent (6).
One day when Siva and his consort Parvati frolicked on Mount Mandara, Parvati playfully
covered the three eyes of Siva with her hands. Suddenly the whole world is darkened (because,
according to a commentary, the eyes of Siva are the sun, moon and fire); hands Parvati transpired
because of the heat from the front of her husband, and this transpiration was born a horrible
demon, black and blind, why Andhaka named "blind".
Just then, the demon king (Asura) Hira yāk a, "Golden Eye", a devotee of Siva, was engaged
in asceticism for a son. Siva, having known, went with him and gave this baby demon. He knew,
however, that this little devil would hurt in the future, and promised that Hira yāk a "purify"
then the body of her adopted son.
Hira yāk a soon died, killed by Vishnu, and Andhaka in turn became the king of the Asura.
He devoted himself to terrible austerities, sacrificing every day in the heat a little of his own
flesh and some of his own blood, so it soon became all skeletal. At the end, the god Brahma
came forward to grant the wish of the asura, because otherwise the world could not withstandthe power of his terrible asceticism. The asura then asked for eternal life, he was killed by any
being, or even by Vishnu or Siva, Brahma had to explain to him that any creature born must die
one day. So instead of this wish, the demon in another formula, although curious that the mostexcellent of women become like her own mother, and that if ever he came to desire, he is killed
by fact. Brahma was astonished by this request, but granted him and handed him over from his
flesh and blood he had sacrificed - so that the demon recovered his old body.
After his austerities, Andhaka became extremely powerful as any king of asuras, he was very
violent and had an extraordinary erotic appetite. He conquered the world and all the beautiful
women were his, when one day a minister was in Mount Mandara an ascetic particular, with hiscrown on a crescent moon, etc.. (was Siva) and beside him a beautiful woman, the finest in theworld. The Minister reported the matter to his king, and it has become insane and "blind desire
for this woman, summoned the ascetic Shiva to give him (or according to another version,
Andhaka one day saw Siva and Parvati their sexual union, he became mad with desire for thatwoman ...). - The war between the god and the asura, the details are long and divergent
depending on the version. However, it should retain some of which relate to the iconography ofSiva known as d 'Andhakāsura-vadhamūrti (a form of submission of Andhaka-asura), one of thebest known examples is precisely sculpture the cave temple of Ellora No. 15. Siva was so readyto go to the battlefield by adorning famous three snakes, Vasuki, Tak aka and Dhana jaya, as abelt and two others as bracelets. But this time, an asura named Nila (Blue), taking the form of
an elephant, approached the god to kill him secretly. The keeper of the palace of Siva Nandi
noticed it and told another guard called Virabhadra. It turned into a lion (natural enemy ofelephants) and killed the asura. He presented the skin of the elephant-asura his master who wasquite pleased and it covers as a kind of armor to go to war. Other gods also came with theirarmies to rescue Shiva. It succeeded in wounding the king of demons with his bow and arrow
and the wound the blood flowed abundantly. However, fallen on the floor, every drop of blood
Andhaka turned into another Andhaka, and thousands of small Andhaka magic came to attack
the gods. So Vishnu took care of these Andhaka magic, and Siva with his trident impaled theheart of the true king of the Asura, to stop the drops of blood touch the ground, Siva created thefire of his mouth a Sakti (female energy) named Yogeśvarī ( "Yoga Master"), other gods also
created their Sakti, namely Brahman, mahe'svara, Kaumārī, Vaisnava, Varah, Indrani andCāmu
ā. All these seven goddesses (or eight in all with Yogeśvarī) having drunk the blood of
the asura wounded and arrested, and the infinite multiplication of small Andhaka, Siva in his
fierce joy he hoisted to the top king of demons impaled and one thousand years during the fireburned with his third eye. Andhaka, all dried up, became completely skeletal, but his sin was
burnt up, he repented and asked forgiveness from Siva. He took refuge in Siva, the latter
accepted it with joy and gave it to Parvati as his son. Andhaka thus became a great admirer ofthe divine couple, and he had the title of head of their party (ga eśatva) ...
This myth, œdipéen par excellence, explains the emergence of several important reasons
Graphic: Group of Seven (or Eight) Sakti (often called "Mother") have appeared on this occasion
it is also in this submission that Siva execute one of his famous dance, the skeletal character(known as the Bhgin) which is often among the worshipers of Siva is another qu'Andhaka
having been "cleansed" by the god at last and incidentally, the skin of elephant is covered with
Siva is described here as being the remains of Nila-asura killed by Virabhadra (but it is possiblethat this myth of the murder of Nila-asura was originally not directly related to that of Andhaka,and there has been grafted a somewhat artificially).
We also see this myth by the context in which the Dakine appears in sculpture of the temple
cave no 15 Ellora. From the description given by TA Gopinath Rao, this sculpture is mainly inthe middle: a furious Siva, split left, with eight arms and both arms of the front cover after thetrident which is impaled, while above, the 'asura Andhaka, already skeletal and worshiping thegod, clasping both hands and both hands Supreme Siva and tend to hold back the skin of anelephant which he covers himself and the rest are one hand a skull cup (Kapali) in which the god
receives the blood of the devil, another a drum and another a sword, the last hand makes thegesture of threat by extending the index, under the left foot of Siva is represented a small
Atlantean (or a goddess?), who wears on his hands and his head (7) to the left of god, crouchingon the ground itself, we see the Sakti of Siva, Yogeśvarī (Kali), horrible old woman withpendulous breasts skinny and has two long arms, the left hand, hung up, carries a cup in which it
receives the drops of blood Andhaka the other hand holds a curved dagger, and above thevaulting goddess Dakini, half human , half-bird, as mentioned above, and finally left for Kali in
mid-height, is seated Parvati, right leg bent and left leg hanging out, watching with fear the
terrible struggle that takes place before it (8).
**B. Implementation of Sino-Japanese iconography of Siva submitting the asura Andhaka
Return to Table of Contents

In a quite unexpected, this scene seems to run - very distorted, it is true - in a Japanese Buddhist
mandala: it is the mandala called "Mandala of Mother-Goddesses" which graphically represents
the Section XIII of Prajnaparamita naya-Sutra (better known in Japan under the title "Rishu-kyō
理趣经") (9). This Sutra, known by both the extreme philosophy "quintessential" it teaches andits contents very "daring" (literally interpreted, it exalts merely the practice of sexual union,
whose enjoyment is none other than Great Joy mahāsukhā of Buddhist enlightenment (10)), hasbeen commented by the great Indian master of esotericism, Amoghavajra (705-774), whoworked in the seventh century in China as a translator. Section XIII of Naya-Sutra is devoted to a
formula offered by the Seven Mothers, Goddesses "the Buddha (11). - In his commentary,
Amoghavajra indicates immediately that the "Seven Mothers, Goddesses are part of theentourage of the god Mahākālī [Mahākālī, which will be much discussed below, is the name of aterrible form of Siva]" . As each section of the Sutra, it must be represented by a mandala.
Amoghavajra exposed as follows:
These Goddesses have their mandala in the center, it draws Mahākālī, surrounded by the Seven
Mothers, Goddesses, and the details are as taught in the Sutra and forth. "Mahākālī": theMeaning of Big-Time, Time, is the three times [past, present and future] [the term] "Great", theMeaning of having no obstacle [for example] is the Body of Essence Mahāairocana Buddha,
which has no place where it enters.
Seven Mothers, Goddesses, with the Mother Goddess Brahms, together represent the Eight
Bodhisattvas of Worship.
[Thus,] the Phenomenal is signified principial (12).
In Japan, the Group of Seven Mothers, Goddesses "is traditionally made by: 1. Cāmu
ā 2.
(13).
Kauverī, 3. Vaisnava, 4. Kaumārī 5. Aindra, 6. Raudrant and 7. Brahms
In fact the list of"Mother-Goddess" has been floating since India itself (there could even a group of "SixteenMother Goddesses") (14), despite the names of major deities assigned to them, one might think
this is a group of female deities little different, called "Mothers" especially because being able tosend children to disease and killing them, the people gave their worship to the contrary, theyprotect (15). "Revered fears because" this ambivalence is common in many Hindu and Buddhist
deities, but is particularly striking in the case of worship of "Mother-Goddesses" or Dakine orKali.
The fact that this mandala depicts the "Mother-Goddesses" surrounding a terrible form of Siva,already seems closer to the Hindu myth of submitting Andhaka, as correctly explained theappearance of eight around Siva Sakti combatant but what is more remarkable is the name andiconography of the central character: Mahakali, the god "Great (Maha) Black (kala)" or "GreatTime (kala)" (kala in Sanskrit has two senses ). The name of Mahakala, which is grammaticallymasculine form of "Mahākālī", appears in fact in some descriptions of the iconography of Shiva
conquering the asura Andhaka: it is said, for example in Chapter LIX of Vi
udharmottara:
We must create a form of [Siva] with large round eyes the color of fire, with a big belly, aterrible face by his fangs, [...] adorned on all sides by fearsome snakes, inspiring fear Parvati by
the serpent and elephant hide which he covers, resembling in color the clouds heavy rains [...].
This form slit from left, is said to be the form of Bhairava, while to the front, it is called
Mahakali (16).
The terms of the "color of clouds, heavy rains" is to remember, as the famous poet Kalidasa in
his "Cloud Messenger", compares the Siva temple called Mahakala in Ujjain large storm clouds
in the evening (17) . - In terms of iconography, the Mahākālī at the center of the mandala of"Mother-Goddesses" of Naya Sutra can be described as follows: it is a wrathful deity with threeheads and six arms, torso naked Sitting with legs crossed. Its body is blue-black. Her long hairis shaggy and the three heads are crowned with human skulls. The main head has three eyes andfangs apparent. It is adorned with a wreath made of two snakes hanging from his neck. He also
wears strings of skull caps. His arms are adorned with bracelets made of snakes knot in it. Of
the two principal hands he holds a sword horizontally on the knees. The end of the handle of thissword is shaped like a trident (the points are on the right). The second right hand grasps a small
person by the hair, it is naked, his hands clasped, and kneels. The second left hand grasped thehorns of a ram whose white members hang. The last two hands, he stretches the skin of anelephant on its back, as if he was going to cover (18). This form is identical to that of Mahakala in
the Mandala of the Matrix (Taizo-mandara 胎藏曼荼罗) of Mahavairocana Sutra (object ofworship in the Japanese school of esoteric Shingon-Shu 眞言宗), it seems to be based Even on a
Chinese iconographic text was written by the instruction given by Amoghavajra (there is atransition from a glossary composed between 788-810 by a follower of Chinese Amoghavajra,
Huilin 慧琳; this passage relates to a "translation" [actually an apocryphal] Amoghavajra madeby himself, the Renwang-jing 仁王经 or Benevolent King Sutra [Sutra on it which was cited by
Keiran-Shuyo Shu-mentioned ]):[Mahākālī] has great supernatural power and lives of countless thousand years. It has eight arms
and his body is blue-black color of the clouds. Of the two principal hands he relies on his breast,
he carries a trident horizontally and the second right hand grabs a blue ram and the second left

hand holds the hair of a spirit returning (gaki 饿・, preta), the third right hand carries a sword
and the third left hand holds a kha vā ga (this is a Sanskrit word which means a banner skullcaps). Both hands are back on each shoulder, and tend skin white elephant, as if it would cover.
Using a venomous snake, he dons the skull caps and make a garland. His fangs tigre exceed [onhis lip] above. He is represented in an aspect of great anger. Lightning and smoke [around] as ahalo, the shape of her body is extremely large. Beneath his feet, he is a genius of Goddess Earth(prithvl?), Bringing his feet on his hands (19).
We see that there are some differences between the iconography described by the text and thegraphic representation of Mahakala in the mandala of "Mother-Goddesses" (or the mandala of
the Matrix) the god has six arms in that while it must be eight from the text of Huilin (along the
Mahākālī Siva temple of Ellora cave) instead of the sword that bears the Mahākālī of the graph,
it must holding a trident as the text (as the god in Indian temple) and finally, the text does not
specify the general posture of the god, but the indication that he has under his feet a "Goddess ofEarth-engineering" that bear on his hands, may suggest that it should be represented standing,while in Japanese mandala, he is shown sitting with legs crossed (and the "Goddess of Earthengineering" is not shown). Thus, it appears that overall, the iconography of text Huilin - which
is probably the basis of the graphical representation of the mandala and therefore older than thisone - is closer to the Hindu iconography submitting Andhaka by Siva. Moreover, according to acommentary preserved in Tibetan Sutra of Naya, Mahākālī the center of the mandala of "MotherGoddesses" must be represented with ten arms, and posture "dancing" (20) - which again reminds one
important feature of the Hindu Siva in his aspect of the submission of Andhaka-asura.
We may face many correspondences between this Mahākālī described by the text Huilin (or the
mandala of "Mother-goddesses") with the Siva in his "Andhakāsura-vadhamūrti" the moststriking is the skin of elephant one and one door with their hands above it will be remembered as
the "color of the clouds" common to both figures. Less obvious but equally important is the factthat according to the text Huilin, the god is said to be worn by a "Goddess of Earth-engineering",
while, as regards Siva in Hindu iconography, we find crouching at his feet the figure of Kali.
However, in Hindu mythology as Biardeau writes, "when, about a mythical woman [...], it insistson his dark complexion, one suspects that not only the meaning" Goddess "flush but also that of"Earth" (21), the goddess Kali as "Black" par excellence, the "Goddess of Earth-engineering"under the feet of the text Mahākālī Huilin can certainly be seen as reflecting to some extent .
Thus, we may well believe that, despite the fact qu'Amoghavajra he himself was probably notaware of the mandala Mahākālī Japanese "Mother-Goddesses" Naya-Sutra of drift in any way
the Hindu Siva in his " Andhakāsura-vadhamūrti "and that" spirit ghost "that is held by this hand
Mahākālī corresponds to the asura Andhaka impaled in Hindu iconography (only the trait of"Blue Ram "[according to the text; ram white representations in Japanese] worn by another hand

Mahakala remains unexplained by the references to Hindu myth, but the ram is a common
attribute in other aspects of Siva Hindu (22), it is possible to think that there is a way of slippingweed).
If we accept this hypothesis, some small historical problems may receive the light to turn on the
one hand, we can be certain that the myth and iconography of submitting Andhaka-asura by Siva
was established before Amoghavajra activities in China, that is to say to the early eighth century(which is not surprising, since larger Hindu sculptures of Ellora and Elephanta are generally
estimated as dating little near the end of the sixth century or early seventh century), and secondly, as
we have already said, the representation of Mahākālī the center of the mandala of "MotherGoddesses" is identical to that of the same god in the Mandala of the Matrix Mahavairocana
Sutra, one might wonder which of them preceded the other, but if one accepts that this
iconography is some manner to that of the Hindu Siva in his aspect of the submission of'Andhaka, we must assume that the figure of the mandala of "Mother-Goddesses" is certainly
closer to the original, since Mahākālī is surrounded by eight "Mother-goddesses" which areimportant elements in the myth of this bid .
**2. Dakine in esoteric Buddhism: Tantrism Tantrism and the late Chinese Return to Table ofContents

Now back to Dakine and see how they were received and incorporated into Buddhism. In
reversing the chronological order, we first say a word about the Dakine esoteric Buddhism in late,that is to say, the Indo-Tibetan Tantric after the eighth or ninth century. According to an explanationof Snellgrove, "Dakine" in Indo-Tibetan Tantrism is more or less synonymous with Yogi: Yogi or
the word itself is ambiguous, since it may mean the one hand a certain class of demonic fairies
female very close Dakine specifically, and other women followers of yoga ascetics (simple formof female yogi). In the Indo-Tibetan Tantrism, Dakine may designate the first yogi-ascetic withwhich the yogin (then called Daka, masculine Dakin) assemble to parties on secret sacred places:in accordance with strict rituals These yogin men and women take the food (which can include
urine, excrement, blood, semen and human flesh, the set is called the Five Ambrosia), drink
liquor, sing and dance, and finally come together (in reality, all this can be [or may be] made aspart of a purely symbolic language). In Great Joy as a result of this assembly-union (Samvara),
the yogin men and women identify themselves to each other Heruka and his consort Vajravarahi.
- Secondly, and probably in connection with such use of the word, the same word can designate
Dakine the most important goddesses, such as Five yogin (nairdtmya, Vajra, Vāriyoginī, Gauri
and Vajra ākinī) in common with (or identified in) Five supreme Buddha (Aksobhya, Dainichi,
Amitabha Ratnasambhava and Amoghasiddhi) union which represents the ultimate unity ofexistence (Samvara). In iconography, Dakine are depicted as fierce goddesses, black, decorated
with five seals (tiara, ear ornaments, necklaces, bracelets and belts) and have one face withflaming eyes and two hands bear right to a cleaver and left a section of skull they also
kha vā ga resting against their left shoulder, wearing the tiger skin around his waist, they are
lying dead on (23).
All this is a research express the ugly, the violent, the erotic or impure, which is characteristic ofcertain forms of Tantric Buddhism and can be considered the result of a desire to exceed any
social norm and all opposition discourse. That word means Dakine companions ascetics withwhom they come together at the end of the ecstatic celebrations, or it means goddess supreme, he
was probably chosen in the same spirit of "reversal of values, because the mythic connotations of"horrible, terrible, gruesome" ... that the term could be in a Hindu context.
Returning now to the form of Tantrism oldest, best known by the Chinese translations of theTang Dynasty, one first notes that overall, the Dakine are rarely mentioned. In fact, there ispractically only one text of a certain length where there is talk of them. But this text is a passage
from the chapter on "Treasury common wording" Commentary on the Mahavairocana Sutra(Dainichi-kyō 大日经, that is to say, "Sutra of the Great Sun Buddha" if the 'is translated literally
as his usual, this review was written by the monk Yixing 一行 before 727, in collaboration withthe translator of the Sutra, Śubhakarasi ha) was crucial as regards the development of beliefs
and worship of Dakin ( or Dakini-ten) in Japan. It is a myth in which the Buddha
Mahavairocana transformed into Mahākālī, natural leader of Dakin, submit them by eating them,because they eat the "heart" of men who die in six months. This myth, myths typical tantric
submissions that "the tamer behaves suitable to subdued" (that is if the violence is subdued, thetrainer is more violent than he is tamed if luxurious, the trainer is more luxurious, etc..), is told as
an explanation of the Formula Dakine given in the text of the Sutra (in the translation that
follows, we omit some repetition) (24):Then, the Formula Dakine:
Worldwide, there are those who practice this art and magic that the Master in the art ofCharmes: [these are the Dakine]. They are able to recognize the men who will die six months[ahead], they recognize them, and having recognized using this method: they take their heart (xin
/ sin 心) and eat it. If they do well, [because that] there in the human body [a sort of] "yellow":
this is called the "yellow men" (Ninno 人黄), as there is the "yellow cow" (goo 牛黄, sk.
gorocanā, "yellow orpiment made with cow's bile" [Stchoupak, Nitti and Renou, SanskritFrench dictionary, Paris, 1959, sv gorocanā] (25)) ; those who eat are made capable of the mostsuccessful magic (Sk siddhi): [with no obstacle nor ciculer in the air or to walk on water], they
can go in one day in four regions, and can get everything according to their desires. Moreover,they can dominate in different ways men and those who have an aversion, it subjects them,making them suffer the pangs of extreme illness. However, by this art, the [Dakine] can not kill
the men they need to carry themselves to the art of magic [forecasting], recognizing the men who
will die in six months, they take their heart with magic. Having [thus] their heart, they must
replace [heart] another thing, [so that] these men do not die [immediately], when the time of theencounter with death, then they [suddenly] destroyed.
In general, these are the yak i ī with the great Master; Mahākālī they belong to, that is to say,the Great Black Engineers.
[The Buddha] Mahavairocana, who wanted to exorcise those demons by the Category of the Act
of Submission of Three Worlds (Triloka-vijaya), is magically transformed into the Grand Black
Engineers [= Mahākālī], and showed immense apparitions exceeded the [much]. He lathered his
body with ashes, and, going into the jungle (Sk atavi "wasteland"), summoned by magic all
Dakine. And he scolded [as follows]: "Because you always eat men, and now I eat you!" And heswallowed them [at once], but he did not kill him, and with the subject, he released them bymaking them promise to refrain from any [food] meat. They then said: "We all get to be alive in
us eating the flesh now, how can we keep it alive?" The Buddha said: "I will allow you to eat theheart of men died. "They told him:" When men are about to die, big yak, knowing that their life
is running out, to come who first eat, how could we then get [the heart of the dead]? "The
Buddha said:" I will teach you a formula and a Seal, [you will] recognize six months in advance
who will die, having recognized you protect them by magic, so that they have no fear of being
damaged, and when their life is exhausted, I admit that you take and eat. "Thus [the Buddha could] bring them slowly to enter the Way [correct]. Therefore, there is thisformula: "Hrih hah. [The Formula] exorcise the stain of this pernicious art of [Dakine].
The Mahavairocana-sutra and the commentary by Yixing were probably among the books mostread and most studied in the history of Japan (the Catalog of Buddhist texts annexed to theCanon Taishō edition lists some 144 reviews, or under -comments on these texts (26), but certainly
not all ...) and yet, the hasty and sloppy drafting of the commentary Yixing is well known to all(this is what is called in the Shingon School "disorders of text" and she says reverently as having
been expressly desired by the author, for the secret teachings are not imprudently disclosed tooutsiders, but will this explanation for what it is (27)). In the story which has been translated, we
can see an example of these "disorders text": the Dakine early are expected to know the "magicart" by which they can recognize six months in advance men who will die, yet at the end of thestory, the Buddha taught a formula (and a seal - but it is described in a later chapter (28)), whichmerely duplicate this " art "that they had already ...
However, we note that these are well Dakine Buddhist close to their namesakes Hindu and that
their leader is Mahakala is understandable both because it is the corresponding male [Maha] Kali,and also because it seems to represent Shiva in his aspect of the submission of Andhaka, as inHinduism, these are Dakine and ogresses haunt of sinister places. The text says they eat the"heart" of men who will die, it is unclear whether the mysterious "yellow man" they are identicalto the "heart" or is a substance him, but it should be noted that in any case the word "heart" (xin心, which probably corresponds to sk. hrdaya) does not necessarily mean the heart in anatomical
sense but may mean "essence" or "party Essential something.
Anticipating somewhat our purposes, it is interesting to quote here a Japanese text of the
fourteenth century seems to reflect very closely the story of the commentary Mahavairocana Sutra:
it is found in a book of esoteric rituals have a certain Chogo 澄豪(1259-1350) of the Tendai
school 天台 entitled Sōji-shō 总??it gives more particularly interesting interpretation of the word
"yellow man". In a section called "About [Method] Six Month Extension, Chogo writing (29):Once, when [the Buddha] was in the World, there was Dakini-ten who ate the vital spirit (shoki精气) Beings. The Buddha Mahākālī god ordered to submit, then the Jackal (Yakan 野干) [=that is to say, Dakini-ten (30)] the Buddha said: "I keep myself alive by eating the meat; If you
prevent me from eating, it will determine a cause of [my] life. "As she said in obedience toreason. His speech was quite [consistent with] the reason [the Buddha said:] "Then, within six
months, there will be people who will die, you can eat them. The limit is six months, you can eat
the vital spirit [of men], but do not eat more. "Thus, according to this teaching, the limit being set
at six months, [Dakini-ten ] eats the vital spirit [of men]. Following that, the commentary
Mahavairocana Sutra says that this great yaksa [or rather yak i ī?] May recognize the men
who will die in six months, and take the "yellow man". [This "yellow man"] is found in thehuman body, such as "yellow cow" [in the cow's body], and those who eat large Successes get
magic. This yaksa [yak i ī rather that] belongs to Mahakali (unquote).
This is the interpretation [Commentary] on the word "Dakine". The "vital spirit Beings' [is that]
there in the heart of [being] seven grains of white jade (byakugyoku 白玉) form of [drops] dew
jade these grains are in the heart of flesh to eight petals (hachibun nikudan 八分肉团). When
[Dakini-ten] start eating these seven grain jade, six months later, the life of this ends. Until she
begins to eat, prayers and other [ritual magic] are effective, but when it has already eaten five orsix, then force all other Venerable is unable to reach [the goal of prolonging life], except that ofKing-of-Science Acala (the "Motionless" Fudo 不动), which, alone, can turn [the situation].
This is called the "Six-Month Extension. The "Extension of Longevity" does not only say thelimit of six months, but throughout life. This is called "Method of turning fixed by the Acts of
Acala". Acala is the head of the Jackal, so it can submit the Jackal [and avoid its adverse effects](interpreted as meaning).
The identification of Dakini-ten in the "Jackal" (which, in turn, is found in Renard) seems to beof Chinese origin (see below), but it is a belief developed mainly in the Japanese religion d 'secondly, that the king-of-Science Acala is said to be "the head of Dakini-ten" seems to bespecific to this text, but may be because according to some Japanese traditions, Mahākālī itself isAcala identified (31) (a more distant, in Hindu mythology, Acala, like Mahākālī, a name of Siva).
But these points aside, we see that overall, the text follows a fairly faithful narrative of thesubmission by Dakine Mahakala.
We said that the passage of commentary Mahavairocana Sutra is practically the only Chinese
text of the Canon dealing at some length of Dakine, if noteworthy, however, a text that could bevery influential in the development of Japanese beliefs concerning Dakin (or to Dakini-ten): Thisis the great Dharani of sinciput Buddha Parasol Blanc, who was very famous in Japan, where
Dakine named in a list of demonic beings. But this name is glossed in Chinese as "Devil (e)goblin fox": "dakini 荼枳尼(ko-mi-ki 狐魅鬼). Although the text where this Dharani appears forthe first time in China, the "Sutra of the Tathagata Suramgama Grand sinciput of Buddha" isconsidered apocryphal, the Dharani itself is probably of Indian origin (32). As we shall see,identification of the Fox Dakine will be very important in the cult Japanese Dakini-ten / Inari, yet
the text shows that such identification existed in China, and Japan began the identification may
be the Chinese version.
On the other hand, there is also another text, from teaching Amoghavajra, which, although it
does not name the Dakin, is so close by the content of the story Comment Mahavairocana Sutra
that It is worth quoting in full. This is the comment due to some Liangbi 良贲 on the"translation" by the Amoghavajra Renwang-king.
It must explain the context. First, this Renwang-king is himself a well-known apocryphal: it wasprobably made in China around the fifth or sixth century, on the basis of some texts that weretranslated, yet Amoghavajra the a "retranslated" in 765 in collaboration with a team of translators,
which was part Liangbi. In this "retranslation" of Renwang-king, there is a passage where thename of "god Mahākālī Cemetery" is mentioned. This is a recasting a tale well known in
Buddhism: a prince called "legs spotted (Kalmā apāda) is about to ascend the throne, he should
consult the advice of a heretical teacher who is responsible give Anointing the king. However, it
ordered him to "d '[go] to the heads of a thousand kings, as an offering to the God-engineering
Mahākālī Great Black-[head] in the cemetery, [that by which] he would rise naturally ....» throne(in the old "translation", it was written only "an offering to the god of the house [Royal]"). The
prince obeyed, and captured 999 kings, the king thousandth he catches becomes
Samantaprabhāsa. It consents to be sacrificed with 999 other kings, only he asked one day
suspension because he had promised a Buddhist monk to make the donation. PrinceKalmā apāda allows the king to return to his country, to test if it will hold its promise.
Samantaprabhāsa organizing a great festival of charity when he invited one hundred monks, helearns a Buddhist stanza shows the impermanence of the world. The King is pleased, andreturned himself to the prince of the kings exterminator. The latter is surprising that the king has

kept the promise and over, he seems overjoyed. He asked why, and in turn, learns the stanza on
the impermanence of the world. He repents immediately release the prisoners and kings, by
abdicating the throne in favor of his younger brother, leaving the world to enter into religion ...
(33)

In the commentary Liangbi composed on imperial order, and probably based on teaching
Amoghavajra, you can read this on the phrase "He ordered him to [go] to the heads of a thousandkings for an offering to the God-engineering Mahākālī Great Black-[head] in the cemetery ":The Sutra says: "He ordered him to [go] to the heads of a thousand kings, as an offering to theGod-engineering Mahākālī Great Black-[head] in the cemetery":
Explanation: "In the cemetery," it means the whereabouts of [God]. [...] This God-engineering
Large-Black [= Mahākālī] is a genius of struggles. If we venerate his power increases, andeverything we undertake, we won the victory, so it makes him worship.
How can we know? The Master of the Three Baskets [Amoghavajra], citing a particular book in
Sanskrit, said in effect: In the Mahāmāyūrī Sutra, it is said (34):"East of the city in the country Ujjayinī, there is a forest called smasane [" mass grave "] - what
is said here [in Chinese]" Forest of Corpses "[Śītavana, which is the name of a cemetery ofRajagrha]. This forest has the length of a yojana and as wide. This is the God-engineering
Large-black Corps is a transformation mahe'svara [ "Great Lord", one of the most common
names of Siva], it is still running at night in the forest with countless demon-spirits who are his
acolytes. They [the latter? - The subject of the following sentences is ambiguous] possess greatsupernatural powers and many rare treasures, they also have a medicine that hides the form, andlongevity medicine and they move through the air. [By delivering their] medicines fantastic,
they deal with men, [but] they do in [cons-party] that blood and flesh of living men. They arepromised in advance a certain weight [of blood and flesh] and Peddled medicines and otherthings. Men who want to reach are first [protect] the body through the sacramental power (Skadhihāna) Charmes, and then go to traffic. To those who do [to protect] not the sacramental
power, these demons, spirits, concealing their shape, steal the blood and flesh, which are [madeby] reduced. They take [the amount of] blood and flesh on the bodies of these men, as they are
and as it diminishes, and yet, as they did not intend [the amount of blood and flesh to fulfill of]the prior contract, they come to the end to take the blood and flesh of a person, and weight[promised beforehand] has still not been completed, we can not get any medicines [desired ].
Those [by cons,] who have applied the sacramental power can barter and get valuable shells,
medicines and other things [then] everything they do will be achieved entirely by their desires.
If we wish to worship [these demons, spirits (or Mahākālī?)], Blood and flesh of men only [mayagree]. It [= Mahākālī, or they = demons-geniuses?] Has great strength and protects men[whose] actions will be brave and fierce, for fighting and other things [like] these men alwaysearn the victory. "Therefore, [we can know that] God-engineering Large-Black is a genius of struggles.
Although the text never mentions Dakin, and it does not specify the sex of the "demon spirits"
under the order of Mahakala, they acted appears so similar to the Dakine Commentary
Mahavairocana-sutra, which is tempted to treat each other as kin. In any case, we shall see
below, is what some doctors Buddhist medieval Japanese seem to have thought. Mahakali andhis entourage and haunt the battlefield or wild land, or they appear in the cemetery and areassociated with a dark atmosphere and horrible black magic, with corpses, blood and flesh ofliving men, medicine and magic ...
It is in the same atmosphere as the Dakine make their first appearance in Japanese Buddhism.
3. Dakine Mandala in the Matrix Mahavairocana Sutra Return to Table of Contents
In the mandala of the Matrix Mahavairocana Sutra Dakine that appear for the first time inJapanese Buddhism. There, beside the King of Death Yama, direction south of the outer court,
are figured three Dakin, wearing torn limbs of a corpse, skull cups filled with blood and curved
daggers, one of them in particular is a man's leg torn his right hand and is being brought to themouth, while the other hand has a broken arm. Before them, there is an emaciated corpse whilelying on the ground itself. The fact that they have been represented, not beside Mahakala who isat the north-east direction of the mandala, but near the King Yama, as part of his entourage, isinteresting, because in Hinduism already Yama and Mahakali seem to have had close relations:on the philosophical plane first, there are two kinds of time (kala): firstly, on time, clean every
Being, which is measured by the time his death, which may be represented mythically as theYama, and secondly, the absolute time, which has neither the beginning nor the end, which is the"Big Time", ie ie Siva in his aspect of "Mahākālī (35). Another report can be found between these
two gods is that in some temples in India, Mahākālī as god guard door is left of the door with thegoddess Yamuna river (right, Nandīśa ago and Gang, colored and serene aspect; Mahakali andYamuna are rather dark and grim aspect), yet the Yamuna is considered the sister and wife of the
god of death Yama and besides, it is sometimes included in lists ogresses (like Dakine) and"grasped by children" (grah) (especially as the Buddhist demon Harita, who is also associatedwith a very narrow Mahākālī ) (36).
But although these more distant history, it is interesting to note that according to the descriptionof the mandala of the Matrix in the Mahavairocana Sutra, King Yama had to be surrounded by agroup of Seven Mothers, Goddesses, Goddess of the Kala -ratri (the "Black Night", the goddessof cosmic annihilation, which can be regarded as a form of Kali), and animals that haunt thegraves, such as crows, a species of vultures or jackals (written Yegane 野干 in the text of the
Sutra, hu 狐, "fox" in the Commentary) (37). We see that this little "hell group" had a distinctly

Saiva and, more particularly, it had many elements in common with the group of submitting
Andhaka-asura by Siva (so that replacing this King Yama by Mahākālī, we would have a
package nearly identical to the iconography of Siva Andhakāsura-vadhamūrti) (38). Now, theMandala in the matrix as it was designed and maintained today, this group is composed
differently: there is the goddess ratri-Kala, a group of Pisac Pisac and (another group of devils
and demons cannibals ), an official of the hell that notes the Acts of Good and Evil has
committed his life a torment of hell who is kneeling before him (mythical Sinicized more or less),
and the group of three Dakine. Although in the Sutra, the position thereof in the Mandala has notbeen specified, we see that from the perspective of the mythological sense, they seem to be in
their place in the entourage of Yama who is here just like Mahakala.
The author of one of the first systematic works on the Japanese Mandala of the Matrix, theShosetsu-Fudoki, Shinjaku 眞寂(886-927, the third son, Prince entered into religion, the Emperor
宇多 Uta) had no probably felt the internal logic of the location of Dakine in Mandala, in any
case he mentioned at the beginning of the section on the Dakine sentence of Sutra andCommentary, which called Yama's entourage: "... it is surrounded by crows, vultures andjackals ... "or" henchmen of the Seven Mothers, Goddesses, [namely] the crows, foxes,
vultures ... "(39). Although not specifically identified in these animals Dakine haunting mass
graves, Shinjaku has probably regarded as their replacements. Again, we can say that this author
has been guided somewhat by some obscure logic of mythic images: the Dakine are certainly not
animals, but they resemble in many ways birds of prey, carrion eaters like the vulture.
But what was decisive for the further development of Japanese beliefs about Dakine has notbeen this association with birds, but rather one that has been well connected with the jackals.
The Sino-Japanese word for jackal Yegane / Yakan 野干(also written Yegane /射干 Yakan), but it
really meant a kind of imaginary animal, based on quotes from a large Chinese-Japanesedictionary, the Morohashi, Yakan is an animal that "looks like the dog blue-yellow [or according
to another source, it looks like the fox, but smaller than the latter] is an animal harmful, maneater and able climb trees "(quotes from Bencao gangmu 本草纲・[book of Chinese
Pharmacopoeia, published in 1590] and Fanyi Mingyi ji 翻译・义饓[glossary Buddhist caused
Fayun 法云, 1088-1158, Ttt. LIV 2131] (40 ). The other commentator that the equivalent Chinese
Mahavairocana Sutra has slipped in this location, namely hu / ko 狐, fox, has a mythical content
even richer, because in the Chinese imagination, the fox is an animal magic par excellence andhas been many stories in which the fox (or the fox?) is transformed into a beautiful woman andseduced men (or rather, he transforms into a handsome and attractive women) and has in any
case been imagined as a magical animal particularly lustful and cunning or crafty. The Japanese
were probably very fond of this literature of tales, and have established themselves as the samekind that the fox plays critical roles (41 ).

**Dakini 2

Dakin and the Emperor 2
4. Inari, the fox and Dakin / Dakini-ten Return to Table of Contents
We must now take a quick review of the beliefs of the Japanese god Inari, in which Dakine /Dakini-ten has (or had) been (s) or identified (s) (42). Like many native deities of ancient Japan,
the nature of the cult of Inari is extremely complex, and even many Japanese have trouble
answering the question: If Inari is a god or goddess (personally, I thought qu'Inari until recently
was a god. - In reality, although Inari Fushimi-Inari shrine where the cult began to Inari, seems
likely to be a goddess, while others seem Inari of indeterminate sex, and most Japanese today
believe qu'Inari is simply a "fox divine "...). According to statistics, there are currently some
30,000 Inari shrines in Japan, roughly 40% of all Shinto shrines in the country: it is certainly the
Shinto religion, the most common. However, even the assertion that the cult of Inari Shinto is
not quite conform to reality, almost any religion is not purely Japanese Shinto, nor purely
Buddhist, but in the case of Inari, the complexity is even greater that the cult is ancient andwidespread. The late Gorai Shigeru 五来重, under the direction of which a systematic study of
beliefs about Inari has been conducted, proposed to distinguish in these two layers or "strata":
first, the layer " primitive religion ", which are amalgamated all sorts of spontaneous beliefs of
the people who are not articulated or theorized, but which can be noted, however, several lines ofimportant forces on the other hand, the layer of beliefs or theories and Shinto or Buddhist, which
was superimposed on the previous (43). In fact, this "layering" does not necessarily havehistorical value, that is to say that the layer of "primitive religion" is not always older than thetheories Shinto or Buddhist, the two layers can also be historiquemnt contemporary. On theother hand, the distinction between these two layers may itself be forced or artificial.
Nevertheless it seems to have an efficient methodology not only to study the cult of Inari, but
probably for all kinds of popular Japanese cult more or less widespread. It is not possible todetail here the explanations proposed by Gorai, but then at least he has seen in the stratum ofprimitive beliefs concerning Inari three major trends, namely: 1. belief in a deity of food 2.

those of an ancestor spirit, or soul of a dead active in the world 3. those with an element of
divinity of nature, and especially fire.
That said, we try to present some aspects of the cult of Inari, focusing primarily on ancient times.
Like many cults Japanese, the word "Inari is both the name of a place (Mount Inari at Fushimi
伏见, South of Kyoto), a sanctuary located at the foot of the Mont and a deity whose worshipthat began this sanctuary and spread throughout the country. In reality, there is more precisely
five sanctuaries in Fushimi-Inari 伏见毄・, three, appointed by the High Sanctuary, Sanctuary
Sanctuary of Middle and Lower, are particularly important. According to an old habit of Shinto,
it identifies the divinity of each of these shrines to one or the other god of the "orthodox
mythology" Japan: for example, currently, the Sancturaire High is expected to spend Ōmiya-no me-no-Ōkami 大宫?卖?蠛, the Sanctuary of Middle-Sata-hiko-no-Ōkami 佐田彦大神 or Sarutahiko-no-Ōkami 猿田彦大神, and the Sanctuary at Lower Uka-no-mi - tama-no-Ōkami 宇迦之御魂大神(but these identifications ranged in history) (44). In general, these identifications or
responsibilities are often forced and abusive, and it is safer to keep them simple directions toallow a glimpse dimly the nature deities venerated. However, in the case of the cult of Inari,
they can help us see more clearly.
According to tradition, the cult of Inari has started in 711 (or between 708-715) on Mount Inariin Kyoto, as a private worship 秦 Hata clan, a descendant of a former family emigrated from theContinent. Among the three deities just mentioned, it seems that either Uka-no-mi-tama-noŌkami representing Inari itself. It is a goddess of food in general: the word uka or uke, or ke,
signifies in the old Japanese "food"; tama means ball something precious "jewel" or "precious
stone" (the word s 'written with the Chinese character yu 玉 with a sense of "Jade"), and in amore abstract sense, "soul, spirit, vital spirit", etc.. (45) the name "Uka-no-mi-tama - No-Ōkami
"can therefore be translated as" Great Goddess of the Soul Food ".
It exists in the pantheon of Japanese mythology goddesses of several food that can be classified
in the same category as Uka-no-mi-tama-no-kami, Toyu-uke-no-kami 登由宇气神 or O - getsuhime-no-kami 大宜都比卖蠛. The latter in particular a myth quite typical of a goddess of
fertility: one day the god Susano-o-no-kami 须・鱱齂蠛, known for his manly violence, asked
getsu-Ō-hime of offer him food, she then brought out food from all sorts of his nose, mouth andanus, the god found it impure and offensive, and killed the goddess on the field, his corpse Thenout of silk worms and seeds of five grains, that is to say, rice, millet, red beans, wheat andsoybeans. This myth, which can take on many variations both in Japan than in many peoples of
the tropics (it belongs to a type of myths by AE Jensen classified as "myths Hainuwele") (46)seems to show the original character these goddesses Inari food that seems to be (partly) an
heiress.
The other two gods who are part of the whole cult of Fushimi-Inari, namely Sata-hiko-no-Okami

(or Saruta-hiko-no-Ōkami) and Omiya-no-me-no-Ōkami can be considered more or less as
parents (father and mother) Inari (Uka-no-mi-tama). To characterize Ōmiya-no-me, we cancompare it perhaps to Ama-no-Uzume-no-kami 天钿?蠛, those who danced in front of the cavewhere Amaterasu Omi-kami 天照大神(Goddess of the Sun Japanese mythology) had hidden andshe then revealed her sex and her breasts, which made him laugh the gods who were assembled
at the show, and having heard that laugh, Amaterasu emerged from the cave to see what was
happening, the myth thus says the world has been able to find the light. This is a goddess oftrance mediumship, which serves both as-shaman priestess in the office offered to the gods, andas a kind of actress in the entertainment festivities. Saruta-hiko is a god with a monstrous face,large nose with a very long and bright red eyes and has a close relationship with Ama-no-Uzume
and, in the case of the cult of Inari, it can be considered d 'somehow as husband Ōmiya-no-me.
But rather than identify what Sarutahiko the orthodox mythology, the god of male cult FushimiInari appears to have been behind both the god of the soil of Mount Inari, the god and ancestor of
the clan Hata, which were probably ancient mound on top of the mountain (47).
Indeed, one characteristic of the cult of Inari is the fact that many of its sanctuaries are locatedon land where there were ancient tombs or tumuli. There are also who are in newer cemeteries
and others are expected Inari (s) represent the deified souls of the dead who died a violent deathor who died with grudges (Goryo 御灵, "Augustus Soul "or onryō 怨灵," Soul vindictive ").
We may mention here a theory proposed by Gorai, which tries to account for the profoundaffinity with the fox cult of Inari: indeed, the word kitsune means fox which dates back to ancientJapanese ketsune; gold ke in that word would in Gorai, the same as ke (u or u ka ke) whichappears in the name of the goddess U ka-no-Mitama (and also the names Toyu ke-u, O ge-tsuhime ), and means "food"; tsu is the ancient equivalent of no, the particle establishing a
relationship of possession or dependency between the names that surround them and finally did
in ke-tsu-no would mean "root" - which gives as the original meaning of the word ke-tsu-do
something like "Root of food. Fox, who lives mostly in areas adjacent to areas inhabited or
cultivated by man, make frequent appearances in the fields or rice paddies, this is the reason why
he was always regarded as an animal embodying the "spirit food". On the other hand, the fox isoften nest in holes in old mounds and can sometimes be an eater of carrion like the jackal, and heis like him a pet cemetery and the fact that lots of holes mound would have easily been seen as
an incarnation of the soul of dead or ancestor (48). Although written clearly indicating theexistence of the association of Inari and the fox did not seem to go very high (one of the oldest
texts is probably the Shin-ki-sarugaku 新猿乐记 Fujiwara No Akihira 藤原明衡, composed
around 1052, when it comes to a vixen called Akomachi 阿小町 Inari (49) [cf. below]), it ispossible that she had roots in a past more distance. In any case, nowadays, the word immediately
evokes the Inari fox to every Japanese.

The worship of Inari has also affinities with Buddhism, especially with the traditions concerning
the Toji 东?(another name for Kyoo-Gokoku-ji 教王护??), one of the most importantmonasteries of the Shingon school located in the south of Kyoto, near the shrine of Fushimi-Inari.
One can read in the Inari-DAIMYOJIN Ryu-no-ki 稻荷大明神流记 legend that can besummarized as follows (50):
During a journey of wandering ascetic Kūkai 空海(774-835, founder of the famous Tōji and the
Shingon school itself) he met a strange old man to an inn Tanabe 田边 in the province Kishu 纪鐆(now Wakayama Prefecture), although this was the first time they are seen, they recognizedright away, because both had known in a previous life, the assembled audience of Sakyamuni
Buddha of Mount G dhrakū a Rajagrha, India. They were glad of this reunion; Kūkai theninvited the old man to come and see the monastery in Kyoto he planned to build. Several years
later, when the Tōji was already built, the old man came again to the South Gate of themonastery, carrying ears of rice (ine wo ninai 稻を荷い...) on the back and the branches ofcypress hand, taking with him two girls (or women?) (ni-jo 二女) and two children. Kūkai,transported with joy, gave him the gift of preaching (to enable it to obtain Buddhist
enlightenment), and all his disciples, both religious and secular, he offered to eat. He remainedsome time in a house belonging to Notable Shibamori (Shibamori choji 柴守长者) near Tōji (thetabisho 旅所, "temporary resident" of Inari, where the deity is installed temporarily during theholidays), and finally settles on Mount Inari, where was the forest where the wood for theconstruction of Tōji had been learned.
Here, Inari appears as an old man. What the text says they pose took with him "two girls (orwomen) and two children" can probably be explained by the composition of the sanctuaries ofFushimi-Inari (there were five shrines dedicated to various deities, cf. It above). Should we thinkthat this old man is the god of the soil of Mount Inari, which seems to be the father of thegoddess Inari (not the goddess Inari itself)? It is not safe Japanese deities often a character so
fluid they may very well appear in different forms. The name of Inari, which 稻荷 written withcharacters meaning "rice" and "bear", is explained by the fact that this old man "wearing ears ofrice on his back" and this is without probably a pun, but this shows the character of god(goddess) which is the spirit of food and especially rice.
This text is assigned to Shinga 眞雅(801-879), younger brother and disciple of Kūkai and thisaward is patently false, and the text itself can not rise above the middle of the Kamakura period(to middle of the thirteenth century or later) (51). However, there are historical documents Kūkai
time, showing that the wood for the construction of the stupa was actually fired Tōji Mount Inari.
Moreover, it is possible to believe that there was in the Mount of the kind of hermits Yamabushiwith which Kukai and his followers have had close contact (52). The relationship between Inariand Tōji (and therefore the Shingon school) have probably existed since the time of Kūkai itself.

Anyway, it was known qu'Inari since ancient times regarded as the patron deity of Toji, and thefestival of Inari, it was the mikoshi [small portable shrine carried by men at parties Shinto] Inarito the Central Gate of the monastery where the monks were waiting with offerings called
futomagari 太摩我里, which were rice cakes fried in oil (this ritual that was practiced at least
since the 'Muromachi period, is still today) (53). This offering is the ancient form of the thinslice of fried bean curd (aburage 油揚げ or usuage 薄揚げ) provides that even today the foxesof the Inari shrines throughout the country (there are also a is called inari-zushi 稻荷寿司 or
more familiarly o-inari-san お稻荷さん[ "Madam "...], Inari is the slice of fried bean curd
stuffed with vinegared rice and boiled), but curiously She recalls closely dedicated to offering
Shoten (or Shoden)圣天, the Sino-Japanese form of the elephant god Ganesa of India (alsoknown as Ganapati). This offering, called "Boulette joy" (Kang-dan 欢・团, sk. Modak), is akind of candy shaped fried dumpling, and is known as the cake's favorite gourmet Ganesa.
However, this similarity is probably not due to chance, and here's why -.
**5. Dakin, elephant god Ganesha and Mother-Goddesses Return to Table of Contents
You can read the writing on esoteric rituals of Shukaku 守觉(1150-1202, second son, enteredinto religion, the Emperor Go-Shirakawa 后白河), written around 1179, the following passage(54):[According to tradition, Kobo] Daishi [弘法]大师[posthumous Kūkai] said that in thismonastery [ie Tōji] a strange deity called Yasha-jin 夜叉神(Engineering yaks). It is simply
Matara 摩多罗, it communicates the good and bad omens to those who serve him, his form has
three faces and six arms, etc.. The three sides represent the Big Three (san-dai 三大) [ "Three
Great Ones", that is to say, probably, the substantial activity and the character]. The central faceis golden, the left white and right, red. The central face is the Holy God (Shoden, ie Ganapati),the left, Dakini and right, Sarasvati. We must worship him on the fifteenth day of each month.
[...] The Written [Daishi's] years Tencho (Tencho Gyoki 天长・记) [unknown structure; years
Tencho 824-834 correspond to the days of Kūkai] said: "At Tōji, there are protective deities, they
are messengers of the deity Inari Claire. They are called Geniuses, messengers of the Great
Awakening of Thought. "Thus, in the second half of the twelfth century, Inari was associated with this "strange god" ofToji, which was a kind of divinity which amalgamated composite Ganesa (center), Dakini (Ten)and Sarasvati (an old Indian river goddess, goddess of eloquence and fertility) to the left andright. This explains why an offering similar to that given to Ganesa has been offered in Inari.
We must make a small digression here on this new deity, and back to Inari and Dakini-ten. That this deity was called "Matara" can do much dreaming, because phonetically, the word isclearly a transcription of the plural form of sk. Matr (Matarah), that is to say, "Mother-

Goddesses" we saw that they were closely related to Mahakali (both in Hinduism and in
Buddhism) (55) again, we know that the Hindu Matarah are also associated with Ganesa, since inmost iconographic images of these, Ganesa is present as their leader (56). Furthermore, it isinteresting to note that one can find in India itself a kind of "history" of this triple-deity (a god
with two goddesses, or a goddess with two gods): indeed, there are at least an Indian sculpture
dating from the Kushan era, where there is Laksmi in the center surrounded by Ganesha andKubera, and in modern times, we find in India a lot of popular posters in which Ganesa isrepresented with two goddesses fertility, Laksmi and Sarasvati (57).
About this curious patron deity of Tōji must mention another text Goho 杲宝(1306-1362), who
was a great teacher of the monastery in the fourteenth century. In his book "Tobo-ki 东・记"
where he describes his monastery, Goho said there were "two Yasha-jin" who kept the center
door of the monastery. The Eastern Yaksa is a male, whose "original Earth" Manjusri, while theWest is a Yak i ī female, whose "original Earth" Akasagarbha and both were carved by Kūkai
itself. Goho cites about a sub-commentary of the Chinese Gandavyuha Zongmi 宗密 whichstated inter alia that Yaksa males have wings and can fly through the air, they only eat smallchildren and live low in the sky where they keep the door of the heavenly chamber (58). Gohonote that even if since ancient times, it is customary that we call the new-born by devoting toYasha-jin, this is because this deity is devourer of children, we avoid that they are eaten by it anddedicating them to him (59). Thus, Yasha-jin who eats children and flying in the air like anamazing way to Dakine.
Also, about the fact that Yasha-jin is called "devourer of children, it is possible to identify amatch quite remarkable in the Indian literature. We have seen above that a version of the tale ofPrince Kalmā apāda was quoted in the apocryphal sūtra Renwang-jing, yet there exists another,more complete version translated into Chinese in the Sutra of the Sage and the Fool, who tells
the following story (60) (the tale of King Kalmā apāda was also known in Indian literature, there
is at least one version in the Mahabharata, and another in the Vishnu-purana (61)):
One day a king went hunting in the forest, getting lost and encountered a lioness, it fell in lovewith him and the king could not refuse, mated to it. Later, the lioness gave birth to a son, thehuman form but with spotted legs (hence the name Kalmā apāda, "Foot-spotted"). This songrew up and became king. One day, by accident, he irritated Wise, who gave him a lot and hepredicted that the king for twelve years eat human flesh. - After some time, the cook of thepalace of King suddenly realized there was more meat in the royal warehouse. To get to themeat, he left the palace, but found the way the body of a dead child. He brought back and madea dish he served the king. The latter was so good he called the cook and ordered him to serve
every day the same dish, even if it costs the lives of children living ... The inhabitants of the
kingdom plaignèrent that their children were stolen every day and were killed. The king hadconfessed to the ministers that it was he who ordered the cook killing children. Ministers
decided to kill the king became an ogre, but when being attacked, the king swore to become aterrible raksasas wheel, and on the field, he transformed himself into a raksasas ... After that hebecame leader of a large number of raksasas evil, ravaged the country, and decided to kill athousand kings to make a great feast ...
The rest of the story is about the same as in the version of Renwang-jing. Thus was the king who
was Kalmā apāda "eater of children" - as the famous ogre Harita, but as this Yasha-jin Keeperof the Gate of Central Tōji.
The tale of King Kalmā apāda we reserve yet another surprise is that there is one version(actually a brief mention) in Lankavatara Sutra and there, the Sanskrit text says that the king had
Kalmā apāda children were Daka and Dakin (62). We find these and closely related Dakine
Kalmā apāda itself. Interesting is that in Japan, where this story has probably impressed many
doctors Buddhists, it is still found in a story on this occasion to Ganesa. Indeed, in some works
devoted to the iconography and esoteric ritual, we read this story curious:
In countries Marakeira 摩罗覤罗[name probably formed "Makeishura 摩醯首罗" usualtranscript of sk. Mahe'svara is ie Siva], there was a king who ate nothing but beef and radishes.
Soon there was more beef in the country. The people served [the king] of the meat of dead men.
But soon the dead men began to fail too. [The king] then used the meat of living men. At thistime, the ministers and the people raised their four armies to kill the king. Then the King turned
into a big demon Vinayaka Engineering [= demonic form of the elephant god Ganesha]. He
became chief of all the Vinayaka, and flying in the air went. After that, in the kingdom, there
was an epidemic [caused by the king became Vinayaka]. Ministers and people vow invoked themercy of the Eleven Faces Avalokiteśvara. [By answering their prayers, it] was transformed intoa female Vinayaka, and attracted the wrong mind of [King Vinayaka]. It was quite pleased, andthere was no epidemic in the country. So the people could finally find peace (63).
Thus, there is a diffuse influence of the myth of King Kalmā apāda not only in the Yasha-jin
Tōji, but also in the Japanese Ganesa, who is one of the deities components Yasha-jin / Matarajin.
In fact, the name of Matara-jin is mostly known in Japan as that of a protective deity of theTendai school (she had appeared to Ennin 圆譺 or Saichō 最澄 on the boat during their return
journey from the China): It is usually represented as a noble man dressed in Japanese, like thegods of Shinto, and carrying a drum. He was revered at the door back (Ushiro-do 后戸) of
Jōgyō-samma-dō 常行三昧堂 of Hiei-zan 比睿山. Matara-jin is also famous as the principal ofa venerable ritual of anointing named Tendai Genshi-kimyō-dan 玄旨归・坛, which would have
involved sexual elements in the same manner as the Tachikawa-ryū 立河流 of Shingon but thereality remains obscure because it was subject to severe repression (64). Now found in the chapter
on the Dakini-ten-Keiran-Shu Shuyo this curious remark about Matara-jin (65):
An oral teaching said: "Matara-jin is none other than God Mahakala (Makakara Ten 摩诃・罗?),is also Dakini. The original oath to God [ie Matara, where Mahakala or Dakini?] Said, according
to the Sutra: "When dying [men] go to their place and eat the liver of dead c ' Therefore, theiragony, [men] can get the right thought [they will go to be born in the Pure Land]. If I did not eat
their liver, they could not get the right thought, and could not go unborn [the Pure Land]. " [...]In another direction, [he said] Matara-jin is the God Mahākālī it is, [as stated in] the Sutra Secretof Extension [longevity] Six months of a deity [ie Dakini?] that delights the mind of all living
beings, the God Mahākālī tamed and put aside the misery caused by this demon kidnapper of thevital spirit. So [we can get] the right thought at the time of death. He must think [about this] tothe secret rituals of the Success of Six months.
Although the content of this "exegesis" is very obscure, we can at least understand that it refers
to the myth of the submission by the Buddha Dakine Mahāairocana transformed into Mahakali(we also recall the interpretation of the same myth given by Chogo, who was a Tendai monk
about contemporary Koju, author of Keiran-Shuyo-Shu [cf. above]). Whether it Matara-jin of theTendai school has been identified or associated with Mahākālī or Dakini is understandable,
taking into account that the name probably dates back to Matara sk. Matarah (which is moredifficult to understand is the fact that Matara-jin has been represented as a male deity, but that is
another problem that we leave open here ...). Nevertheless, given the fact that at the time of
Koju, the equivalence "~ Matarah Matara" seems to have been entirely lost sight of the progress
associations in this passage must assume an intuition of the "mythological logic "astonishingfrom the doctors who proposed them.
**
6. Inari, Dakini-ten and revenues of love Return to Table of Contents
Thus, in any case, the "circle mythical" Matara-jin / jin-Yasha closes, dragging in its swirlingspiral various "strange gods", such as Mahakala, Dakin / Dakini-ten, Ganesh / Vinayaka, KingKalmā apāda, and Inari, etc.. But in reality, the relationship between Inari and some of these
deities could be guessed by a text that we have already mentioned, is the Shin-ki-sarugaku
Fujiwara no Akihira (composed around 1052). This text is presented as a sort of little
encyclopedic guide to Kyoto in the mid-eleventh century, depicts the family of a Uemon-no-jo 右卫门・ Western Kyoto is going to walk one night in the neighborhoods of the city. Speaking of
every member of this family - fictional, of course - the author can describe the jobs andneighborhoods in the city. This Uemon-no-jo a three women, whose primary is the oldest andhas now 60 years, and is jealous of the other two younger than she. To attract the attention andlove from her husband, she will ask the gods who are known to be effective for such things.

Thus, the text says (66)... she makes offerings to Shoten (Vinayaka), but the effects do not make sense. She worships
the God of Ancestor Paths (Sae-no-kami 道祖), but it seems there is no response expected. [Also,
it goes] to "Men's Day" (Otoko-matsuri 男祭) in the Volume 専[ie the Vixen] Iga 伊贺(67) to theslope of the Fox (Kitsune-zaka 野干坂) where the tome in striking Abalone shaped females, [orelse it will] in Akomachi 阿小町 Inari (68) who practice "recipe for love" (爱・ aihō) anddelighted in manipulating pieces of dried bonito in the shape of a phallus ... [Or, it will do]offerings of rice paste in a thousand platal the Ancestor of God Paths Avenue 五条 Gojō, Nara,or offerings of rice in a hundred baskets at Yasha-jin of Tōji ...
In the text of the eleventh century, we see that Vinayaka (Ganesa ~) and Yasha-jin of Tōji are
already associated with Inari (and his vixen). In a similar way, the deities as God or Ancestor
Paths of Inari, or the Fox Inari are invoked in a ritual text devoted to Dakini-ten (Dakini-Saimon
ダキニ祭文), which aims to attract the love of men for women and women to men, the text thatwas written towards the end of the Heian period (twelfth century?), whose manuscript was foundin Kozan-ji temple 高山寺 of Shingon School (69).
Indeed, the erotic element is one of the remarkable features of Inari worship in ancient times.
Fujiwara no Akihira, author Shin-ki-sarugaku, described in another book a festival of Inari, in
which there was a kind of erotic comedy show (70):
By mimicking this opportunity for a couple of husband and wife, [a man] mimics the old is
weakened and the husband [while a woman] mimics the girl and the woman is. At first, theyexchange words of love, and they come to the end mate. Among the spectators in the capital,
men and women, nobody can resist to laugh uproariously and twisting bowels. It is the height ofvulgar frivolity ...
As noted Matsumae Takeshi, this mimicry can be regarded as probably the remnant of anancient ritual in which the officiating-human actors represented the god of the soil of Mount
Inari and woman Goddess "mother" of Inari, the show probably represented a kind of sacredmarriage and the divine birth of Inari (71). This affinity with the erotic element was reason
enough for many women might come Inari worship with intent to attract the love of men of highrank, and qu'Inari has the reputation of a deity of donor marital bliss (72).
Thus in any case, we believe that the mid-eleventh century (Shin-ki-sarugaku back to 1052),
Inari, the fox and the Dakine / Dakini-ten were closely associated. There was one part of theChinese gloss explicit Dharani of the Great Buddha sinciput Parasol Blanc, which wereidentified Dakine "demon fox goblin" on the other hand, the Shosetsu-Fudoki of Shinjaku 眞寂,
where the demons themselves were close fox, dated from the first half of the tenth century(Shinjaku died in 927), both data have certainly been enough for this association is establishedand it is rooted in the belief of the people . One may think that thus, in the middle of theeleventh century, Dakine no longer only for the Japanese ogresses frightful haunted cemeteries,
but also, like Inari and the fox (or fox) in which it s 'embodies a female deity who emits amysterious and irresistible erotic attraction, while keeping a grisly and terrifying character, theDakine became divine Dakini-ten ...
7 Mystique Buddhist Imperial Power
A. Origins of Buddhist theology Shinto Return to Table of Contents Return to Table of Contents
It was necessary to take account of all this background of religious and mythical Japan of thelate Heian period 平安 to understand the special development of the cult of Dakini-ten / Inari, inthe direction of the mystical Buddhist imperial power which has great importance in the Japanese
ideology of the Middle Ages.
The "mystical Buddhist imperial power" may seem perhaps as a concept rather unexpected andparadoxical about the Japanese monarchy of antiquity and Middle Ages. Indeed, they often tend
to believe that the ideology of Imperial Japan as a "privilege" excuses of Shinto and Buddhism
had, if anything to do with it, reports that quite incidental to this regard. However, this view
began to be seriously undermined in recent decades. That ideology and the Shinto religion havealways been the ultimate foundation of the Japanese monarchy, and therefore the Japanese
government in general and that, despite some periods when they were superficially permeable tothe influence of Buddhism, they are always remained fundamentally the same, pure external
contamination - all this seems to be a fiction fabricated by the nationalist ideology of the Edo andMeiji and enhanced by ultra-nationalism of the years 1930-1945.
For completeness, we should open by a long way, we could have tried to show, by relying
primarily on renovating the school very late Toshio Kuroda 黒田俊雄, the role that Buddhism
played in the formation of Shinto religion (73). Missing space and time to go into details of thisimportant issue, we must simply make a few general remarks seem necessary.
We must insist first on a fact that is not directly demonstrable, but that seems obvious is that
until a certain time, which may be located probably in the second half of the Middle Ages, theonly " philosophical or metaphysical language ", with a universal (or at least claim to
universalist), available to the Japanese was Buddhism. We want to say is that, until the NeoConfucian philosophy was imported whole philosophical Japanese "spoke" and could "speak"
the language Buddhist (Confucianism before its renovation of the time Song seems to have beena metaphysical system in the same way that Buddhism was more a social code, moral andpolitical ... and secondly, the thoughts of the "Way of Yin and Yang", ommyō 阴 阳道 dō-, wasmore a wishful thinking and practical than metaphysics). Another remark should be added to it:
that, in our view, a characteristic quite remarkable Japanese Buddhism (at least from late
antiquity) seems to be its tendency to rely on possible "the phenomenal" (we can say both

"history" or "factual") on "the transcendental". - Let me explain, and to take the example ofChristian thought: what was really revolutionary in the emergence of Christianity, and has been apermanent source of extraordinary vitality of the Western world seems to be the fact it wassomehow "stuck" on the ground of phenomenal, the factual or historical "a pile oftranscendental", meaning that it is historical theology, which gives the human history sensetranscendental (Of course, the historic Christian theology is itself based on theology and Jewish
eschatology, but it is Christianity that has brought this idea to a universal dimension). The birthof a child - a little fact quite harmless - is a meaning not only "history" of the human perspective,
but rather a cosmic significance, or "meta-cosmic" when this child is called " Jesus of Nazareth"; fact that little slice of human history in two, as the historical person of Jesus is an incarnationof the divine in the world. We can say that it is "a fact transcendental" concept quite absurd pointof view of pure philosophy (74). - In contrast to this Christian thought, it is possible to locate theHindu thought, why human history is superimposed on a mythic cycle, and whose values have acharacter so universal and timeless that have made phenomenal virtually no control over them.
Indian Buddhism retains this character "ahistorical" although the person of Shakyamuni is ahistorical fact, it is quickly "recovered" in the mythic cycle of "appearances of Buddha in theworld" (see the Five Buddhas of the past First, later, the Thousand Buddha, etc..), and soon, in
the Great Vehicle, the proliferation of mythic Buddha finally gave vent to a sort of "docetism
disheveled," in which the historical reality of the Buddha Sakyamuni will be almost totallysubmerged. Imported into the Chinese world, the "a-historicism" Buddhism began to wane:
there will be such popular movements trend eschatological who claim to rely on the authority of
Buddhist myths (such as the coming of Maitreya Buddha). But it is in Japan as "transcendental
facts" are emerging with greater strength. Here, it is not necessarily the course of human history
that takes a metaphysical sense, instead of the "historical theology" we could perhaps speak of asort of "mystical geography. Japan, for example, whose name is written with Chinese charactersmeaning "Origin of the Sun" (日本 Nihon), is a country which belongs directly to Buddha
Mahavairocana because the name of this Buddha is reflected in Sino-Japanese by characters witha sense of "Great Sun" (Dainichi 大日), as well, such and such mountain in Kansai is identified,a map of the Mandala of the Matrix and the other at the Mandala of the Diamond Plan, etc.. It isalso the same way as Japanese mythology, the royalty of the emperor or the imperial dynasty
must be based on some universal and timeless truth of the mystical Buddhist ... Thus, it seems
that - despite the obvious fact that has existed since very ancient set of distinct indigenous
religious customs of Buddhism - what we might call the theological system of Shinto has been
fabricated in Middle age by reference to the Buddhist mystic.
The formation of the mystical Buddhist state has probably been favored by the politico-religious
institutions of the late Heian period: the highest dignities of the great temples were official duties

which were appointed members of the families of the aristocracy (many belonged to the imperialfamily itself), the esoteric ritual ceremonies were held very costly to all sorts of opportunities forthe health of the Emperor, for the birth of the heir to obtain the rain etc.. Many retired emperors
became monks (hoo 法皇), without any refrain from affairs of state. The era of government
retired emperors (the second half of the eleventh century to 1221) saw an unprecedented rise inpopularity of all sorts of esoteric magical practices (75) which can not downplay the same point
Philosophically: indeed, the very fact that it is a magical practice, it necessarily extends to very
specific facts, to historical phenomena, but at the same time, it was based on a grandiosephilosophy metaphysics and cosmology of Buddhism ...
Single institution can hold our attention: that of "less protective" (goji-so 护?犩), that is to say,the monks from among the senior largest esoteric temples, which were specifically tied to theindividual emperors, retired emperors and crown princes. They should stay at Court, and spend
every night in the room adjoining the bedroom of the emperor, to the prayer vigil for theprotection of the imperial body and for the prosperity of the country (76). It is certain that by
their very presence in court, these monks were thinking personally and continually to theemperor or the king and the meaning it could have in Buddhist metaphysics, and acomplementary manner, the Emperor and those in power must have the mind always occupied
with things Buddhist. We can say that, at least from the late Heian period, complementarity andinterdependence between the Act and the Royal Buddhist Law (the usual term is "Obo-soe buppo
王法佛法相依") were for almost perfect in the state of Japan.
**
B Jien and his dream. Symbolism sexual mysticism imperial Return to Table of Contents
After these remarks of a general scope, it will be interesting to examine a text in which this"mystical Buddhist imperial power" is represented in an exemplary manner. There is a passage
from a book on the "mysteries" of the esoteric Tendai wrote 慈圆 by Jien (1155-1225) - who,
although his name is not known as that, for example, Shinran 亲鸾 must be considered in many
ways as one of the most prominent founders of Japanese Buddhism in the Middle Ages (in fact,
Shinran, in his youth, was a disciple of Jien (77)). - Still too little known outside specialists, it isworth briefly describing the monk, who was appointed three times the Tendai school (Tendai
zasu 天台座主), which was one of the most important theorists of the doctrine of the"interdependence of the Buddhist Law and the Royal Law.
Jien 慈圆 was born into a family of the highest aristocracy of Japan, the Fujiwara family in thenorthern part (Fujiwara Kita-ke 藤原北家), that from generation to generation, performs thefunction of Regent and Grand Rapporteur ( Sessho-kanpaku 摄霵关?) state, so his father
Tadamichi 忠通 and several of his older brothers (including Kanezane 兼实) were Regents Great
Reporters and others were superior to important temples, and her three sisters were married toemperors. But he was born at a very critical time, at a time when the old system of power,
essentially aristocratic, began to crumble rapidly and a new regime based on violence warriors
would take root in trouble unprecedented in Japanese history. The actual power that the
Fujiwara clan was held during the tenth and eleventh centuries had become almost nominal during
the reign of retired emperors (INSEI 院政) but now it was the turn of Empreur removed
themselves who saw deprived of real power. And over this former aristocratic power was insome critical situation, the more he needed to gather the ideological authority - be it mythical,
mystical or cosmological ... Jien was not only of high birth, but he was personally gifted withmany talents, he was a born poet, one of the most accomplished intellectuals of the time, a subtle
politician, and probably a religious extremely wise and sincere. One of his most famous works,
entitled "Gukan-shō 愚管抄" or "Notes narrow views of an idiot" is one of the first tests of thenational history of Japan, where one can detect a philosophy of Buddhist history comparable tothe historic Christian theology, in that it tries to find a metaphysical meaning in historical events,
even if the content of this sense is totally unrelated to what the historic Christian theology trying
to see in the course of history. Jien was specially versed in the theories and practices of Tendai
esotericism, perhaps it was not a religious genius as some founders of great schools, but canprobably be regarded as one who completed the grand scheme of Tendai religion, which was asort of eclectic synthesis of all the exoteric and the esoteric while earlier, a synthesis based on a
mystical philosophy extremely radical (78). It is this synthesis that Tendai was the matrix of all
the religion of medieval Japan, whether or Shintoism or Shugendō Schools "reform" of the
Kamakura period (most of them were created by reaction against the Tendai viewed by theirfounders as corrupt and degraded, however, there is no denying the fact that they are out of this
synthesis Tendai; again, after a certain period of rebellion, most of them were quickly recoveredby the mainstream Tendai). In this sense, we can certainly say that Jien was one of the mostimportant founders of what Professor Toshio Kuroda called the "system-exotérico esoteric(kenmitsu-Taisei 显・・鐬) of Japanese religion Middle age, which was well under repository of
all Japanese religion from the twelfth or thirteenth century (cf. the references of our grade 73 ).
The text in question is an appendix added at the end of the first chapter of the book Notes on
specific Abhisek (Bizei-betsu 毗 逝别), where Jien relates a dream he had the night of 22 the sixth
month of 1203 (remember that Jien had been appointed just a year before, in 1202, according to
the "less protective" attached to the person of the Emperor Go-Toba removed 后鸟・・(79)).
Here is how he describes this strange dream and thought he made on this dream:
At dawn on 22 of the sixth month of the third year of the era Kennin 建仁[1203], I had thisdream:
Among the treasures of the royal house (80), [there is] the Divine Seal (shinshi 神玺) and jewelSword (Hoken 宝剑). But this Divine Seal is the daughter of Jade (gyokunyo 玉女) and daughter

Jade, is the body of the Queen. When King, who is pure character (Jisho-Shōjō 自性清净; sk.
Prakrti-prabhāsvara), enters the body of the daughter of Jade and mates [with her], the [King]
active and [daughter of Jade] passive, are [both] without sin. Therefore, the Divine Seal is a
jewel jade pure and simple.
I realized that in my dream, and after, barely awake, I had different thoughts on it:This dream should be the "Seal of the Sword and Scabbard King Acala (Fudo-sho-tō in 不动?劗・): Sword of [this Acala Seal] is the jewel-Sword [Three Jewels Divine], and it is the body of
the king and the Scabbard [Seal of the Sword of Acala] is the jewel-Seal, and is the body of the
Queen. Thus, the junction coupling (交会 kOe) of the Sword and Scabbard, [such as the Kingand Queen,] carries (jōju 成就) this Seal. King Acala must be considered as venerable as theKing is specially venerated as its main Venerable (Honzon 本尊) [that is to say, as the official
protector of the King].
I had this thought too: the Seal is the Divine Mother Clan Buddhalocanā (Butsugen bumo 佛眼
部母, Eye of the Buddha), which is none other than the daughter of Jade. The Holy Kingturning-the-wheel-d'Or (Konrin-joo 金轮圣・, sk. Cakravarti Arya-raja) is [sinciput of the
Buddha] Wheel of gold with one letter ( Ichiji-kinrin [-bucchō]一字金轮[佛顶] Ekāk araU
ī a-Cakravartin) [dream] seems to mean that sinciput Wheel Gold Buddhalocanā to mate.
Jewel-Sword is none other than Saint-king-turned-the-wheel-d'Or, and if, on the altar of ritual
Buddhalocanā, there is always the Sword of Wisdom [ie the Sword Acala King], and if [themandala Buddhalocanā,] Eight of the Wheel hubs [of gold held by the sinciput Buddha Wheel ofGold Letter] there [Eight] swords above, it is because of this (81). Thus, [the union] that [Jewel-]
Sword and Seal this [Divine] is [symbol] Realization (jōju 成就, sk. Siddhi) the unity of the statethese are the Jewels Royals who carry both the Royal Law and the Buddhist Law, and who
govern the country in order and spread the benefit to the people.
The NAISH-dokoro 内侍所[literally, the building of the imperial court, where was kept theDivine Mirror, Mirror, but here the Divine itself] is also called the Mirror Divine "[that] the Sonof Heaven (tenshi 天子) which arises from the [coupling] these two kinds [of Divine Jewels], andhe is the body of the Great Deity that lights the sky (Amaterasu Omi-kami 天照大神), which isnone other than Tathagata Mahavairocana (nyorai-Dainichi 大日如来) [Great Sun Tathagata].
The latter, for the benefit of beings, manifests the form of [sinciput of Buddha] Wheel of goldwith one letter. This [sinciput of] the wheel of gold is the Diamond Plan, and the original model(Hon 本) King is the Holy King-turning-the-wheel-d'Or. In using this sense of the world of
Buddha [the king] clear that body [in the secular world].
In general, in [the teaching of Shingon, ie the Esoteric] is the ritual that is the foundation (Hon本) which manifests the Way of the benefit of beings, and [any practice of Sorcery esoteric] isthe activity which shows the direction [mystical Buddha] in the secular world. So also, it wasreported that the ceremony of the enthronement of King in the secular world, when it starts on
the High Throne (Taka-mi-kura 高御仓[in the text, but we write more commonly 高御座]), hemade form the Seal of Wisdom Fist (chiken-in 智拳印), in imitation of King [sinciput] Wheel ofGold (Kinrin 金轮・ ō-expression that can also be a shortened form of "Holy King-turning-thewheel-d'Or, Konrin-joo 金轮圣・) which is the transformation of the Buddha Mahavairocana.
This is the Buddha Mahavairocana Plan Diamond, who, leaving traces of its origin, spread thebenefit among beings. In the sun that leaves traces of its origin, it [the Buddha] Mahavairocana[Grand Soleil] is the Cause, and the King [sinciput] Wheel of Gold (Kinrin-O) is the Fruit. The
deep meaning of the Shingon Superior vehicle can be inferred from this fact is ... (82)
The reflections continue Jien still several pages, but the translated passage will suffice for now.
The text of the utmost difficulty could be fully understood only in light of long comments thatrefers to any system of philosophy and practice of Tendai esoteric thirteenth century (see referencesin previous note ). We will have at least noticed the presence of a sexual or erotic symbolism,
diffuse but very pronounced throughout the text. Here, we stop at a single stroke, which seems
to have been little discussed by the authors who have studied this text: it is the "Seal of theSword and Scabbard King Acala" Jien mentioned at the beginning. We know that King-ofScience Acala attributes is a sword (often represented inflamed) and a rope, and one of the mostimportant seals of this venerable, often called the "Seal of the Sword of Wisdom "(EtO-in 慧刀印), consists of two hands: one extending the index and middle fingers of both hands while thethumb is on the ends of the ring and little fingers, and we to penetrate the index and middle
fingers of his right hand into the palm of your left hand (83). - However, the image of this stamp
evokes the special form of Acala was created in Japan, which is called Kurikara-Ryuo 倶利迦罗龙・( "Dragon King Kurikara"): here, Acala is represented as a snake - Dragon lobed spiralaround a huge flaming sword, which is perched on a rock, the tip of the blade above the serpent
opens his big mouth over the tip of the sword, as if he were the 'swallow. According to tradition,
this image would be formed by the combination of two attributes of Acala, namely the sword
represents the sharp edge of Buddhist Wisdom, and the rope that symbolizes the bonds of
unawareness that attaches Beings in the world transmigration (84). The Mochizuki Bukkyo
Daijiten quotes about image interpretation of a work which seems to date back to approximately
the same time that the written Jien (Kaku-Gen shō 觉・钞, one of the author, Kakuk 觉・ lived
from 1142 to 1223 (85)). It says (86):[Snake] is Kurikara Plan Beings (shokai 生界), the Sword is the map of the Buddha (Bukka 佛
界). [The form of the Dragon King Kurikara] symbolizes the penetration of the Sword of
Wisdom of Buddha map in the body of the Plan of Beings, [what makes] the direction of nonduality of beings and the Buddha. That is why Kurikara is represented as if it would swallow thesword. Because the Plan is Kurikara Beings it is designed in the form of a serpent, and because[he is at the same time (?)] The map which shows Buddha Wisdom sharp it is designed in theform of the sword.
Again, the sexual symbolism is quite obvious. What seems most striking about these images isthe fact that we can find symbolism in the Hindu mythical forms that resemble them in a way
quite astonishing: this is particularly the Saiva symbol / sakta linga planted in the yoni, which inmany respects can be regarded as the visual representation of the highest idea of the divine(Saiva / sakta) both cosmic and metaphysical. If we remember that much of mythical images of
esoteric Buddhism dates back to (or at least has deep relationships with) mythical images of
Saivism and, in particular, King-of-Science Acala other is probably a form of bouddhisée SivaBhairava himself, this similarity may seem less coincidental. Nevertheless, through this special
form of Acala what the King Dragon Kurikara, we can find in the image of the Seal of the Sword
and Scabbard King Acala "mentioned by one Jien distant reflection, but undeniable metaphysicalrepresentations of sexual Hindu Saivism. At the same time, the fact that Jien has used this image
to accurately represent the "sinlessness" of sexuality of the Sovereign and Queen (Japan) shows
both how the "mythical distance" between India and Japan was small at that time, and how deep
was the way the transcendent was related to facts in the minds of the Japanese monk.
The sexual symbolism that appears in a manner so insistent in this text may seem surprising,
especially because it concerns the foundation of metaphysics and sacred kingship. We may citein this connection another text Jien, which may seem even more shocking: it is found in acolophon added a comment (shiki 私记) on Birushana-butsu betsugyō kyō (毗 卢譭輍・别・经)Jien wrote that in 1210, where he reports that the night he finished the book, he had a dream inwhich the retired emperor (Emperor Go-Toba) and himself were united as "husband and wife
( fufu-no-gi-tatematsuri Joji wo ...奉成夫妇鱱仪), and at that time, the Emperor withdrew
manifested towards him "a grace as he does not deserve"; that although it was impossible torelate the details, the dream was the dream of a caracètres of Achievement (Wish), with signs ofcoincidences, by which he was deeply pleased [meaning that the annals of signs dream seemed toannounce that the content of his comment was truthful] (87). It is obviously impossible to inferfrom this text that a homosexual relationship existed between the Emperor and withdrew Jien,
however, it is certain that he reflects the ongoing concerns of Jien against the person of theEmperor removed (at that time, it was the retired emperors who were the true royalty of theJapanese state), and that they had a character still strongly tinged with sexual symbolism.
C "Sexuality imperial" in Japan in late antiquity and early Middle Ages Return to Table of Contents
How can we explain such a prevalence of sexual symbolism? It is evident that in all the royal
institutions, the reproduction of the royal line is a given capital and, consequently, the sex
between the King and Queen, and the birth of Crown Prince, to give places images symbolicimportance. We must also take into account the fact that in the ancient Japanese ceremony of theenthronement of the new emperor (daijo-sai 大尝・), there existed a party held in absolute
secrecy, in which probably took place a mimicry of the sacred marriage between the newemperor and a god (probably the goddess Amaterasu as ancestor and origin of the imperial
dynasty) (88).
However, one can believe that there were special reasons in Japan, especially at this time that
this symbolism is developing a unique way. Indeed, one might think that the greatest resources
deployed in the power struggles in the imperial court at that time (at that particular time, but thesame is true more or less at all times) were marital relations and Birth of the imperial children.
One could say that every high-ranking aristocrat and each and every emperor emperor withdrew
only thinking one thing, namely to the throne in the body which it has sent the largest amount of
his own blood. Thus, the marital scandals of all kinds swarmed the court.
We cite here only one typical case, that of "political marriage" of 白河天皇 Emperor Shirakawa(1053-1129, reign 1072-1087), but we find many other similar cases. Eldest son of Emperor GoSanjo 后三条天皇(1034-1073, reign 1068-1072), Emperor Shirakawa was inducted in 1072 at
the age of 19 years, and his father died in 1073 soon after be appointed as crown prince's
younger brother Shirakawa, Sanehito 实譺亲・. But it also died in 1085, leaving anotherbrother, Sukehito 辅譺亲・ as candidate for the title of crown prince. However, the Emperor
himself had a son, then aged 7 years, which he took particular because he had lost the mother of
one he loved with a love very tender. Contrary to the will of his deceased father, so he named
the son as the crown prince, and immediately abdicated to get him to the throne: it was theEmperor Horikawa 堀川天皇(1079-1107, reign 1086-1107), who had at that time that 8 years.
Later, when the new emperor was 13, his father Emperor withdrew him as his own wife's
younger sister, who was 32 years ... This couple had no children (and for reasons ...!); also
removed the Emperor gave his son another wife, daughter of Fujiwara no Sanesue 藤原实・,
who himself was an uncle of Emperor withdrew (the new wife was therefore one of the cousinsof the father of the groom). This could give birth to a boy, who ascended the throne at the age of
4 years, in 1107, after the death of his father was the new emperor, Emperor Toba 鸟・?・
(1103-1156; reign from 1107-1123), both small son and grandson of the cousin of Emperor
Shirakawa removed. Meanwhile, the retired emperor Shirakawa had adopted a daughter of
Fujiwara no Kinzan 藤原公实(1053-1107), son of Fujiwara no Sanesue, who was born in 1101
(then a girl of his cousins). This girl called Tamako 璋子, soon became the subject of apassionate love of the Emperor withdrew, in his youth, he petted in every way, and when she wasa teenager, he loved like a woman , had sex with her (we think it was a remarkable beauty).
However, he married his own grand-son, the Emperor Toba, in 1117 (he was 14, and Tamako,
16 years): this was a marriage between his grand-son and his adopted daughter. But even after

the marriage, the retired emperor, who was then over 64 years, continued to have relations withhis adopted daughter, and this relationship was born a child who later Emperor Sutoku 崇徳天皇
(1119 -1164; reign 1123-1141). In 1123, Emperor Shirakawa had already removed 70 years, but
he still kept his power, he abdicated his grandson, son of Emperor Toba, save the throne for his
great grand-son - who, however, was in reality his own son - (Emperor Toba, before marrying
Tamako, seems to have known nothing of his future reports bride with her grandfather, but heobviously knew she was pregnant when the future Emperor Sutoku . According to one source,
the retired Emperor Toba ironically called his son, Emperor Sutoku, "son of my uncle" [Oji-go
叔父子]...)( 89).
This example, among others, shows without doubt the atmosphere tense and obsessive who
reigned in the imperial court towards the end of the Heian period. One could say that at this time,
all the imperial court and the aristocracy had become virtually a huge family where everyone
was at all related by ties of blood more or less strong. To put it bluntly, the sexual problem wasat the center of all concerns relating to royalty and as pointed out aptly Abe in one of his articles
dealing with the dream of Jien, it belonged to the family - Fujiwara family of the North branch whose principal function in the court was precisely to provide the dynasty imperial women inwhich it could ensure the continuation of his lineage (in turn, is giving women the dynasty The
most effective way that the family could ensure its immense power over the whole country
practically inherited the title of "Regent" given to the elders of the family was based ultimately
on that particular function) (90). Arguably, as a metaphysical mystique of the Fujiwara family of
North Branch, Jien was somehow predestined to justify from the standpoint of metaphysics thatroyalty, so peculiar, Japan from late antiquity and early Middle Ages, and we could also say thatits location is so special compared to the royalty that Jien has so scrutinizing its fundamental
nature.
Furthermore, we should invoke other reasons also explain the importance of sexual symbolism
in religion - and the episteme - Medieval Japanese in general. It will be recalled first that any
thought of esoteric Buddhism was based on the complementary opposition between the Two
Great Mandala Plan Matrix (female) and Plan of Diamond (male), opposition was strong
tendency to "sexualize themselves" and the thought of esoteric Buddhism was combined withmore beliefs, highly sexualized, too, of the ommyō-阴 阳道 dō, the "Way of Ying and Yang",
which had invaded daily life of the aristocracy through magic (91). On the other hand, from late
antiquity and throughout the Middle Ages, a new interest and passion for the ancient Japanese
mythology is born. This is probably due (at least in part) to the power crisis of late antiquity, andin particular the crisis of conscience regarding the legitimacy of the Japanese monarchy: all theintellectual layer turns to ancient mythology explaining the creation of Japan and the origin ofkingship, and trying to interpret on the basis of cosmology and metaphysics of Buddhism. This

movement of allegorical reinterpretation of mythology by Japanese Buddhist mysticism,
particularly developed among intellectuals more or less related to the Shrine of Ise 伊势蠛宫,
gives rise to a whole new mythology that we are accustomed, since jobs Masayoshi Ito, Abe
Yasuro and others, calling the name of "Nihon-gi Chūsei 中世日本纪", that is to say, "Medieval
Japanese Tales" (92). And in this new mythology, one of the data that the most influential minds
was the formation of the primordial couple, Izanagi and Izanami, and the creation / birth of themain gods and Japan itself. Thus, the sexual act is paramount and cosmogonic, reinterpreted in
the light of Buddhist metaphysics, which should ensure the legitimacy of Japan and Japaneseroyalty.
Thus, we can say that forms of religion such as the Tachikawa-Ryu was exceptional in the
medieval Japanese only in the sense that they represented the medieval espitèmè a particularly
typical.

Dakini 4 Dakini 3

Dakin and the Emperor 3
8. Anointing induction and Dakini-ten Return to Table of Contents
A. Overview of the history of the Anointing induction Return to Table of Contents
We saw above in the text Jien a sentence where it was referring to the "Fist of Seal of Wisdom"(chiken-in 智拳印) that the emperor would have formed during the induction ceremony ( "it isreported that the ceremony of the enthronement of King in the secular world, when it starts on
the High Throne, he made form the Seal of Wisdom fist in imitation of King [ sinciput] Wheel ofgold ..."). In the same text, a little farther, he returned to the same subject, adding precision: after
identifying again the Three Treasures Divine Dynasty imperial Buddhist entities ( "the JewelSword is Acala and Divine Seal, Buddhalocanā. [...] The NAISH-dokoro [ie the Divine Mirror] is
the Tathagata Mahavairocana ..."), Jien writing (93):Generally speaking, in ancient times kings wise and intelligent individuals, they certainly knew
the precise meanings of the Three Treasures. Worldwide [now approaching] the end [of theBuddhist Law], where virtue has become so thin, tradition [on these meanings] is no longer
found. Now there is nobody who knows everything [about it]. We read [only] a statement inwriting of the Noble Masafusa (Masafusakyō ki 匡房卿记[manuscript written 廷房卿记, but itshould probably read 匡房卿记]), that when the Emperor enthrones itself It would form the fist
Seal of Wisdom, but apart from this [writing], it seems that nobody knows anything about it.
And while reading this writing, nobody seems to look any further. After [the time Masafusa],
from reign to reign, during the enthronement of emperors, this kind of ritual appears to havenever been practiced. We may believe that the traditions about the teachings and the true
teachings lay (shin-zoku no Shoho Narai 眞俗诸・鱱习[ie the Buddhist traditions andtemporal]) occur in the world as opportunities. When the opportunity did not arise, they areinterrupted - everything goes well with the nature of essences (honi 法尔) ...
The "Noble says of Masafusa" mentioned in this passage seems to reflect the relationship of theenthronement of Emperor Go-Sanjo (Go-Sanjo-in go-ki sokui 后三条院御即位记), which theauthor is probably no Ōe Masafusa 大江匡房(1041-1111), a man of letters and extremely
cultivated a loyal subject of Emperor Go-Sanjo. We read in this document (dated 1068, the yearof the enthronement of Emperor Go-Sanjo) a little note which seems to confirm the text of Jien:
indeed, it is said that when the new emperor was moving to High Throne, "unlike the Emperor
withdrew Sanjō 三条院[976-1017], he formed his hands with a seal that resembles the Seal of
the Tathagata Mahavairocana [which is] a seal Fist" (94 ).
The history of the Buddhist ceremony of anointing the induction of the parties has yet unclear,and experts do not agree on all points. Since when and to what extent the Anointing of induction
has been actually used by the emperors? For example, Abe and Yasuro Hotate Michihisa seemto agree that the Emperor Go-Sanjo was the first to be performed, at least in embryonic form (95),while Kamikawa Michio, who has also studied this problem believe his side as the testimony ofŌe no Masafusa is not explicit enough to say that such a ritual was actually practiced by theEmperor (96). It seems certain at least at the time of Jien (early thirteenth century), this ritual fell
into oblivion, and was not practiced. For Kamikawa, the first emperor to be practiced iscertainly Fushimi 伏见?・(1265-1317, reign 1288-1298), ascended the throne in 1288, his son,Emperor Hanazono 花园天皇(1297-1348; reign from 1308-1318) has certainly received teachingof the Anointing of induction, but in 1317 only, that is to say, 9 years after his enthronement.
Emperor Go-Daigo 后醍醐天皇(1288-1339, reign 1318-1339) very interested in the sameeducation, but he is not sure he has practiced. According Kamikawa always, only after theEmperor Go-Komatsu 后小松天皇(1377-1433, reign 1382-1412) - one for which the lastemperor of the Southern Dynasty (Nancho 南朝), Emperor Go-Kameyama 后龟盭?・(? -1424;
reign 1383-1392), abdicated - the practice of anointing the induction ceremony of induction
became a regular part and parcel. She continued to be up to and including the induction

ceremony of Emperor Komei 孝明天皇(1831-1866, reign 1847-1866), the last before Emperor
Meiji (97) from 明治天皇 Emperor Meiji (1852-1912, reign 1867-1912), by virtue of Shinto
nationalism, everything that could evoke Buddhism has been excluded from any imperial ritual,
which caused almost total oblivion of element Buddhist religion in imperial Japan, even among
most historians until recent years.
It should be noted also that the Buddhist side, this ritual has always been held in the utmost
secrecy, as an exclusive prerogative of the highest dignitaries of the Shingon and Tendai schools,
moreover, the latest from the end of the Kamakura period, this ritual has been passed down fromgeneration to generation like a family secret tradition in some of the five families of the Fujiwara
clan who filled the role of Regent (go sekker 五摄・ setsuroku or ke-摄箓・), including family
Nijō 二条 and family Ichijō 一条(98).
The secret transmission from master to disciple (or father to son) of a particular teaching is apractice whose origins must be sought probably in the Buddhist tradition of esotericism, but it
has absolutely pervasive in all branches of Japanese culture since the Middle Ages (Shintoism,
poetry, music, theater arts, martial arts, the art of tea ceremony or 'ikebana, up to and including"mathematical arts" , etc..). To some extent, it was the same degree of secrecy that gave value
and authority to the teachings transmitted (many secret teachings could be bought with money).
We can probably say that this whole culture was esoteric, not just metaphorically, by the modeof transmission, but also as having received a certain influence of thought and spirit of esoteric
Buddhism (he even existed expressions such as waka-Kanjo 和歌灌顶, l ' "" Anointing"[transmission secrets] of Japanese poetry, Gakudo-Kanjo 乐鱞・顶 l'" "Anointing"[transmission secrets] of music " etc.. (99)). And it is perhaps no exaggeration to say that at theheart and center of the whole system of intelligence was the highest secret of the "Buddhist
imperialism," which was precisely the ritual of the anointing of enthronement, which was itself
based on some theorizing on the metaphysical level of sexuality Imperial ...
**B. Antecedents of the ritual of enthronement unction Return to Table of Contents
But that means the ceremony of Abhisek literally and what place she had in Buddhism? A quick
overview on the history of the Abhisek is necessary before addressing the problem of Anointing
induction in medieval Japan.
In India, the Abhisek was originally an ancient ceremony of enthronement of the king, whoseparty was essential to an anointing on the head of it, "all celestial and terrestrial waters met" infour vases (Satapatha-brahmana) by this ritual, the new king became symbolically universal
monarch, the "King St. Turn-the-wheel" (Cakravarti Arya Raja) (100).
In Buddhist literature translated into Chinese, there are texts describing the ceremony in theRoyal Indian fabulous colors (101). On the other hand, the Buddhist legend very soon assigned to
the Buddha Sakyamuni symbolism royal Prince Siddhartha was destined to become a universal
monarch, had he not decided to enter religion to become the universal savior. According to H.
Durt, "in many traditions, it is a matter of unction (Abhisek, Kanjo 灌顶) king Cakravartin
administered with water four to Oceans Future Buddha at his birth (Ttt. L 2040 [Shaka-fu 释・谱 by Sengyou 僧佑, 445-518] 20a20 i) and when his father tries to keep him on track worldly(Inga-kyō 因果经[translated in the mid-fifth century], Tit. 189 ii III 629a8-21) " (102) (the Inga-kyo,or Kako-inga-genz kyō 过?现・・?经, is particularly important because it was very popularthroughout the Far East). In the Great Vehicle, this trend is even more pronounced, and theBodhisattva who rises to the highest rank of his career was said to receive the Abhisek Water
Wisdom of Buddha (Chisui 智水), the same way as the prince ascending the throne of universal
monarch who received on his head water of the Four Oceans (including in the Avatamsaka
Sutra) (103). In esoteric Buddhism, the word Abhisek is used mainly in this sense partly
metaphorical: the esoteric Abhisek is the ceremony marking the transfer of the Act to varying
degrees, and in some cases, it seems he can not necessarily involve the sprinkling of water
literally (104).
However, there is at least one document that seems to confirm that the Abhisek within themeaning of consecration ceremony of royalty has actually been practiced in esoteric Buddhism:
it is a passage from the biography of Amoghavajra, which stated that during the years 758-759, it
has held for the Emperor Suzong 肃鏶(711-762; reign 756-762) ceremony of Abhisek of Seven
Jewels of the Universal Monarch (105).
Furthermore, the symbolic image of the Buddha who is also the universal monarch is embodied
in the esoteric Buddhism in the figure of the Buddha sinciput and Notament sinciput Buddha's
Wheel of Gold One Letter (Ekāk ara - U
ī a-Cakravartin), whose seal is identical to seal of
the Buddha Mahavairocana mandala Diamond Plan, namely the Seal of the Fist of Wisdom (106)(known as the Buddha Mahavairocana in some quarters Mandala Diamond Plan is represented
crowned and dressed in a form Royal). We see through this that the practice of anointing as
induction ceremony, and the choice of the Seal of the Fist of Wisdom as an essential element of
this ritual, was justified both in terms of the history of the meaning of very word 'Abhisek thatpoint of view of the Buddhist doctrine of the correlation of Buddhahood and kingship.
**
C. Myths about the ritual of enthronement unction Return to Table of Contents
We can not go into details of the ritual anointing of the induction. However, it should be noted
now that there are at least three forms of this ritual in medieval Japan: there was one part of aritual anointing of the induction in the tradition of Toji, the other hand, another ritual in thetradition of Tendai, and finally, the ritual seems to have been actually practiced by the Emperors(the ritual is transmitted in families Fujiwara clan). While the first two, which are in a more
"theoretical" or "imaginary" are more complex and feature rich mythic elements, the latter,
whose actual content is sent to us by rare documents and in particularly terse descriptions,appears to have been very simple, involving almost any given myth.
It is also good here, noting the structure characteristic of many texts of medieval rituals: they
consist of a description of the ritual itself, which is the essential part, combined very often thehistory of the secret transmission (kechimyaku 血脉"blood lineage"), authenticating the text
content, and a myth or a legend "hand" (engi 縁起) which may have different functions or, forexample, explain the origin of the ritual, or explain the circumstances under which he wascharged, etc.. (indeed, the history of transmission and the legend of opportunity can sometimes
be confusing) (107).
Dakini-ten is a central element in the rituals of all three traditions. However, it is in the
tradition of the Tōji found a myth in which she plays a leading role, in the other two traditions, it
is present in the essential formulas of the ritual, but on the mythical, tradition by Tendai replaces
the myth of the tradition of Tōji another myth and ritual "official" seems to contain no explicit
mythical element. Thus, one can believe that is the tradition by Tōji who originally broughtthese elements relating to Dakini-ten, which is understandable if we consider the very close
relationship between Tōji and the cult of Inari.
The following summarizes the two myths, one by the traidion Tōji and the other by that of theTendai:
1. The myth of the tradition of Tōji (we follow a summary given by Abe Yasuro, by
supplementing some details (108)):
The original land (honji 本地) Great Deity Amaterasu is simply Dakini-ten. She becomes both
the deity of Kasuga 春日 than Kashima 鹿岛(one or the other were the tutelary deities of the
Fujiwara clan). It appeared one day in a native (domin 土民, literally "a man of the earth", afarmer or grower) Country Hitachi 常陆(where the Kashima Shrine) in the form of a (e) fox ( e)Divine (e) (Shinko 辰狐) and took his little child she wandered around the child, lay back andlaid on his belly, pronouncing this word mantra: "Ji-son -sa-ri-kuwi sai-shi-wi-sa-sa-sa-ko-ten 自尊佐利均在位七歳作坐冠天子. She gave him the secret ritual of the Great Deity [Amaterasu]
and sickle with the handle was wrapped in vine wisteria (fuji-maki no kama 藤卷の鎌) predictedthat it would be the Master of the Son of Heaven ( ie the emperor tenshi no shihan 天子の師範),
then returned to his parents. Later, this child grows up, went to the capital and became an
employee at the Court (many versions say he was a janitor at the Court). This was when Soga no
Iruka 苏・鸏繾(? -645, A minister who monopolized all political power before the mid-seventh
century)

was at the height of his power and put the throne in danger. A man who had been blessedby the fox went to the side of Prince Naka-no-Oe-no-Oji 中大兄皇子(which will be the Emperor
Tenji 天智天皇, 626-671, reigned 668-671), an enemy of 'Iruka, and cut off the head of it with asickle given him by the fox. He became minister and gave the Emperor the secret ritual that hehad received from the fox. Because he always had a sickle (kama) with the handle wrapped invine wisteria (fuji) he was named Fujiwara no Kamatari 藤原镰蠬(614-669), the ancestor of the
Fujiwara family whose members were from generation to generation the Master of the Son of
Heaven.
2. The myth of the tradition of Tendai (summary based on the text of the Tendai-gata go-hosokui 天台方御即位法 manuscript copied by Shun'yu 春瑜 in 1429 and kept at the Library of Ise
Shrine 神宫・库(109)):
This myth is divided into two parts. In most texts of the ritual anointing of the induction by the
Tendai tradition, we find that the first part, although there were documents with both parties atthe end of the thirteenth century (110).
Part. Under the Zhou Dynasty 周 China (1121? -252 BC). There was a king named Mu 穆王.
He had a cart with eight horses and one day he climbed on the tank and went to the West (111)).
He reached the Mount of G dhrakū a Rajagrha, India, just as the Buddha Sakyamuni preaching
the Lotus Sutra of the Good Law. Welcomed the arrival of the king, the Buddha taught him thebasic stances of Sutra in Chinese (in Specifically, two verses of the Chapter on the Bodhisattva
Avalokitesvara, Fumon-good 普门・, who said: "It looks beings with eyes of compassion, of the
Ocean Awards is infinite," Jigen shujō shi, Fuku-ju-kai muryō 慈眼视众饖?蜮・・・(112)),saying he should send them in the imperial lineage from generation to generation for the good
government of the country (jikoku 治国).
Part II. However, during the reign of Emperor Qin Shi 秦始皇帝(259-210 BC). There was aboy named Ji (Ji-dō 慈童) to the Court, monopolized alone all the love of the Emperor (113). One
day, he had the audacity to crossing over the pillow of the Emperor. The Ministers deliberated
and decided he deserved the death penalty, but the Emperor took pity on the boy and said he wasexiled, and when he went into exile, he taught in secret stanzas reserved emperors (two stanzas
Chapter Fumon-good). Ji-dō was exiled to Mount called Lixian 郦县盭, deep, dark mountains
filled with wild animals like tigers and wolves. Ji-dō, according to the teaching of his king,recited every morning stanzas of Sutra and do not forget them, inscribed on the leaves ofchrysanthemum. Drops of dew that fell from the leaves formed a stream. Ji-dō tasted the waterof this creek, which was sweet as ambrosia (this water is called Kikusui 菊水, "Chrysanthemum
Water") and the wild beasts, instead of tormenting him, helped him live. Thus, he lived without
aging, and eight hundred years later, at the time of Emperor Wenti 文帝魏 Wei (reigned 220226), he left the mountain, calling Pengzu 彭祖(a famous immortal Chinese legend). He thentaught at the Emperor's stanzas secret. Thus from generation to generation, each time the crownprince ascends the throne, he received these stanzas.
As can be seen from these summaries, both sides of the Tendai myth is based on a more or lessloitaine on Chinese classics (114), and more directly to alterations Japanese who had taken thethemes of these Chinese sources ( 115). By cons, it seems that the myth of the tradition of Tōjieither purely Japanese origin. The first document mentioning the strange myth in a draft form isa biography of legendary Shotoku-Taishi 圣徳太子, entitled "Taishi Shotoku-on-koto 圣徳太子
御事, including the copy stored at Bubliothèque of Sonkei-kaku 尊经阁・库 is dated 1227, butthere it is simply explaining the name of a Kamatari (e) fox (e) which would have made a sickle(kama) at the time of his birth, and n ' There is no question of the Anointing of induction (116).
D. Documents relating to the ritual of enthronement unction Return to Table of Contents
Jien's testimony makes clear that in his day (1155-1225), the ritual of anointing induction was
generally not practiced, we can also deduce that, at least in the minds of Jien, this ritual was toconsist mainly of fist Seal of Wisdom, that is to say the Seal of the Buddha Mahavairocana Plan
Diamond, the new emperor was to form up at the High Throne.
Seal of The Fist of Wisdom will always remain the most important of the Anointing of induction.
- While at the time of Jien, it seems that the ritual of anointing induction was virtually unknown(except as a vague memory), a few decades later, manuscripts describing this ritual or recountingof the myths that concern begins to form, the most ancient documents that relate directly
Anointing induction seem up to the second half of the XIII century (remember that the anointing
induction was performed at the enthronement of Emperor Fushimi, 1288). Documents are
particularly numerous in the fourteenth century, and ranging up to the seventeenth or eighteenth century(117).
Documents concerning the anointing of induction, many are still not printed, can be broadlyclassified into three categories:
1) The writings of rituals and traditions of esoteric Shingon and Tendai schools, and "bouddhoShinto" medieval. Here are some examples:
Tōji sokui-ho 东?蘵・・"Ritual of the induction by the [tradition] Tōji", manuscript dated 1337,
preserved in Sanbo-in 三宝院 the Daigo-ji 醍醐寺, where there is a signature of Kakujō 觉・(itwould have been a disciple of Eizon 睿尊[1201-90], the founder of the Shingon-risshū 眞言律宗) (118);
Sōji-shō 总??of Chogo 澄豪, section called "[Seals and Forms] given to the Emperor during his
coronation" (Go-sokui no toki teiō or Sazuka-tatematsuru koto 御即位之时・醂・・?) (119)where there is a complete description of the Tendai ritual with the myth of the tradition of Tōjiand the first part of the myth Tendai;Tenshō-Taijin kuketsu 天照太神口决, "Oral Traditions of the Great Deity Tenshō" which theauthor might be Kakujō, the disciple of Eizon mentioned at the time (a manuscript dated 1601,
preserved in Fund Yasui 保井文库 Library of Tenri University 天理图书馆, has a colophon
dated 1327). He is writing a secret oral tradition of the Shingon school on the Ise Shrine, whichcontains a detailed description of the ritual in the tradition of Toji, a myth developed in the
tradition of Toji, and the first Part of the myth Tendai (120);
Biki-sho [or Gaeri Hana-sho]鼻归[皈]书, "Treaty to return to the beginning" [?], Composed bya dog 智圆 in 1324, preserved at the Library of Ise Shrine. This book, a strange title, is close to
inside the Tenshō-Taijin kuketsu. : It contains a detailed description of the ritual in the traditionof Toji, and a history of transmission of the ritual. It seems to include material of current
Tachikawa-ryū (121);
Shindai hiketsu 神代秘决, "Traditions Scret the time of the gods", the oldest copy, preserved in
Entsua-ji 圆鑗?at Koya-san 高野山, is dated 1346. According Masayoshi Ito, this document
may be considered as representing the "final" (Kettei-ban 决定版), the most comprehensive todate, the rituals of the tradition of Tōji and that of the Tendai. Much of the document concerning
the rituals of enthronement unction is mentioned by Ito (122);
Tenshi sokui Kanjo 天子即位灌顶, "The Anointing of enthronement of the Son of Heaven",which appears to date from 1474, a copy is kept in the Sanzen-in 三千院 in Kyoto, and anotherat the Cabinet Library 内阁・库. It is a document attesting to the transmission of ritual (injin 印信) before the Superior of Tendai Kōshō 公承 the current Superior Tendai Gyōin 尧・
containing a complete description of the ritual in the tradition of Tendai (123).
2) A few messages Relevant officials of high rank. The main items in this category is Sokui
Kanjo in-myo-ji yurai 即位灌顶・・・??, "Transmission Seal and Formula Anointing
Induction", dated 1500, written by Ichijō Fuyura [or Fuyuyoshi]一条冬良(1464-1514) which
forwards the received tradition of his father, Ichijo Kanera [or Kaneyoshi]一条兼良(1402-1481).
The both were Great Rapporteurs Affairs Ministers and Supreme, kampaku Dajo-daijin 关 白太政大臣; Ichijō Kanera was the little son of Nijo Yoshimoto 二条良基[1320-1388], which firstbelonged the court of Emperor Go-Daigo 后醍醐天皇[1288-1339, reigned 1318-1339], but thenbegan under the patronage of Ashikaga 足利 and could become regent or Rapporteur of theGrand Court North 北朝. This document covers the history of the transmission of family ritualin the Nijo and Ichijo, but does not describe its contents in words deliberately obscured and hid
the Seal and the formula by dashes ( "所诠・譣- -印明者- - -明也. "" The Seal is - - the formulais - - - ") (124). However, one can speculate that the two dashes Seal match chiken 智拳, that is tosay, the "Seal of Wisdom Fist," and three dashes of Formula match dakini 荼枳尼, c ' is to say
the word "Dakini" - at least that restores Kamikawa (125).
3) Some passages of secular literature, or drama more or less popular. The best known are afamous passage of chronic war-ki Taihei 太平记, dating from the fourteenth century and probably
from the middle of the monastic school Ritsu (Risso 律僧), which is related to the myth of thelong tradition of 'Tendai School (126), the same myth is found in parts of NO as Kiku Jido 菊慈童
or Makura Jido 枕慈童(127). - The myth of ritual tradition of Tōji finds himself in a very
developed and fictionalized in a play popular genre Kowaki-May 幸若舞 entitled "Iruka 入鹿",
dating from the fifteenth or sixteenth century ( 128).
Readers may be surprised that there are records of secular literature, in which elements are set
on such a big secret, but it is a fact quite typical of Japanese culture from the Middle Ages. The
great Buddhist temples, like Hiei-zan or Koya-san 高野山 or the Kōfuku 兴??-ji Temple in Nara
(Temple who had particularly close relations with the Kasuga Shrine - always linked to clan
Fujiwara - and the Shingon school) were not only religious centers but also cultural centers, as it
was the nervous knots in which the cultures of all social strata as were obliged to pass. It wasthere that accumulated both aristocratic culture that popular culture is also amalgamated andcreated new cultures, and finally it was here that these cultures disseminated to all social strata.
We should particularly note the important role played in these temples people "outcaste" (wemean people of various kinds, such as those practicing certain specialized occupations such as
blacksmiths or loggers, or artists, ascetics, religious vendors, the "warrior monks", beggars,
lepers, etc.. (129)), regarded as sacred and as such fears, although they were subject to social
discrimination, especially From the second half of the Middle Ages, many literary arts or
performing arts were created and disseminated by them. Thus the esoteric and aristocratic
traditions which could be held in the utmost secrecy could infiltrate and be broadcast by thechannel to the secular world.
But it is remarkable to note also that, when stories about the rituals of anointing induction arecited in these works, they are separated from the ritual context itself, so that readers or viewers
could hardly imagine that behind them, a religious world of a deep and dark mysticism spread.
Everything seems as if the creators of these works had access more or less directly to the largest
esoteric secrets, but they carefully avoided disclosing as is the secular world. The case of Taiheiki is particularly striking. Ito has been shown that the story quoted in this book is almost literally
the same as the oral tradition of Tendai-gata go-ho-sokui summarized above (130). He even saysthat the stanzas of good-Fumon are transmitted to each heir the day of his enthronement. But hesaid nothing of the ritual itself, and cites throughout the story as a legend of mythical horses ofancient kings.
E. Different forms of ritual Return to Table of Contents
Let us now turn to the rituals themselves. The simplest of these is, as we have already said, thetradition of the Fujiwara clan families: by Sokui Kanjo in yurai-myo-ji mentioned above, theritual seems to have consisted of what read (131):
Just before the induction ceremony, the room background (Kobo 后房) part which takes place
the ceremony itself, the crown prince is washing hands and rinsing the mouth to cleanse, and theRegent (member of a family of Regent) transmits a secret formula and a seal - it was probably
the Seal of the Fist of Wisdom and Form Dakini-ten (132), according to the conjecture Kamikawa;
The crown prince as the Seal and recites the formula (without the rule only "in the heart," goshin-nari chū 御心中也) while advancing to the High Throne, until it 's to sit down.
That was all. It seems that this anointing comportate do not sprinkle the water itself.
Now, the ritual in the tradition of Tōji is more complex, and there are variations in details
according to the documents (133). But basically, the sources agree that most consisted of three
seals and two formulas. To simplify somewhat the information given by the Tenshō-Taijin
kuketsu the Biki-sho and Shindai hiketsu, we can represent them as follows:
The first seal is the Vajra with five points formed by the outside (ge-go-ko-in 外五股[古]印) andthe first formula is that of Wrath (myo-funnu 忿怒明), which is part of the formula of King
Science Acala (Fudo myōō 不动・・) cand-maha-rosana Hum "[pronounced in Japanese"
Senda-maka-roshada A] (134).
The second seal is called the Seal of the charge of Possession Four Oceans (Shikai ryōshō-in 四海领?・), and the second formula is the Dakini-ten. Although it is called a seal, it is not an
ordinary Buddhist Seal. It is a movement of both arms and hands along with the pronunciationof the formula: First, we join hands (Gassho 合掌, sk. Anjali) by saying "ON" [OM], then cover
the left shoulder with his right hand by saying "Dakini"; it then covers the right shoulder withleft hand by saying "Kyachi [or Bagyachi, by quoting Abe, 1989, p. 144]. Then, (although oursources do not say, we seem to extend both arms in front of you and) you turn the palm of hisright hand upward and the left hand down by saying "Kyaka" and finally, turn the palm of hisright hand down and the palm of his left hand up by saying "Neiei sowaka. According to oursources, this movement would be a "Seal" transmitted directly by the Great Deity Amaterasu,
and practiced daily by the pristine officiants (called kora 子良) during the ceremony of offering
food to the deity at the Shrine Ise (135), while Formula Dakini-ten would have been added by
Kobo-Daishi (136). According to "exegesis" given by the Shindai hiketsu, movement to cover theleft shoulder with his right hand represents the female Dakini-ten, and the Plan of the Matrix(which is represented by Formula VI-A-RA-Hum Kham), and movement to cover the rightshoulder with his left hand represents the Dakini-ten male and Plan of Diamond (symbolized by
the formula Vajra-dhatu-VAM). The Shindai hiketsu adds that this is the reason why "it makes
gold and silver statues of Dakini-ten, one male and one female, and up right and left of theemperor in its induction (137). The presence of these two statues is mentioned both by TenshōTaijin kuketsu by the Biki-sho.

Finally, the third seal is the fist of Wisdom, and the accompanying Form is the Dakini-ten(probably "ON Dakini Kyachi [or Bagyachi] Kyaka Neiei sowaka").
It is the Regent, which transmits the ritual heir to the throne amount. When it has completed the"three seals and two formulas," he pours water "drawn from the Four Oceans" on the head it iscovered with a crown adorned with a bamboo motif (symbolizing Sanctuary Interior naikū 内宫,Ise [that is to say, the Great Deity Amaterasu]) and a pattern of circles (symbolizing the Temple
Exterior, Geku 外宫, Ise [that is to say Great Deity Toyouke 丰受大神] (138)) and sits on the HighThrone. It's the end of the ceremony of anointing induction.
The Shindai hiketsu mentions an important variant of this ritual from this text because there isanother ritual passed in class Hirosawa 广泽 of the Shingon School (then the ritual describedabove is the branch-Sanbo in 三宝院). According to this tradition is the Ritual of the Three
Gods together (san-ten gōgyō hō 三天合行法) is performed at the enthronement of emperors andthe "Three Gods" in question are Shoten (~ Ganesa Japanese), Dakini-ten-ten and Benz 辩・?(Sarasvati) is a deity with three face [representing the three gods]. These are the jewel in thethree petals (san-ben hoju 三辨宝珠), which corresponds to Claires deities of the top, middle andbottom shrines of Inari (Inari jo-chu-sho-san ge DAIMYOJIN 稲荷上中下三所大明神) (139). Thus, we again find this "strange god" called Matara-jin and Jin-Yasha, associated with Dakiniten and Inari and Jewel to desire. All these characters clearly belong to the same "family myth".
Regarding the ritual in the tradition of Tendai, suffice it to say here that it is more complex than
the tradition of Tōji, especially by the fact that a substantial part is devoted to the transmission ofeight stanzas from various chapters of the Lotus Sutra of the regarded as the essence of the Sutra(the most "important" among these eight stanzas, are both taken from Chapter Fumon good, andin these two stanzas, the word "Compassion" jihi 慈悲) - so that this ritual is not only esoteric
but "exoteric" according to the ideal of Tendai. But the core of the ritual seems to remainroughly the same as the ritual tradition of Tōji: the Seal of Wisdom Fist Forms accompanied by
two plans, the Matrix and Diamond, each preceded by the word " Dakini ", namely Formula"
Dakini A-RA-VI-Hum Kham "Plan for the Matrix, and the formula" Dakini VAJRA-dhatuVAM "Plan for the Diamond. The Shindai hiketsu said that the ritual is sent to the Crown Prince
by monks high grade (Koso 高僧), whereas in the Tenshi sokui Kanjo, the Regent that has thisfunction, as in the ritual of tradition Tōji (140).
9. The role of Dakini-ten in the ritual of enthronement unction Return to Table of Contents
A. Erotic and violent elements in myths Return to Table of Contents
Now, what can be learned from this cluster of strange myths and secret rituals?
Note first the distinctly erotic elements of myths. Regarding the myth of the Tendai tradition,
the story of homosexual love between Emperor Qin Shi and the "son of Compassion" Ji-do (inthe second part of the myth) suggests images at once erotic and deviant from the social norm.
The same can be said of the scene of the abduction of baby Kamatari by the fox in the myth of
the tradition of Tōji (141). A source called Shun'ya jin-ki 春夜神记[Notes on spring nights thegods], has written that the fox "took [the baby] on her belly and loved him, pronouncing the word
incantation ... "(... aishite iwaku 愛シテ云) (142). While the myth of Ji-dō, he was a homosexual
love, here, the erotic relationship is established between an animal (probably female) and ahuman baby (or maybe the fox is her mother of the baby ...?). Moreover, according to a remark
by Abe Yasuro the beginning of the strange mantra that the animal decides on this occasion, "Jiits-so-ri ...." is very reminiscent of the word custom in slang language medieval "shisosori しそ
そり" which would have meant the female or anything in connection with the female (143). On
the other hand, it can also raise an atmosphere of violence in the myth of the tradition of Tōji,especially in the episode where Kamatari beheaded Iruka with sickle given by the fox. This
myth might suggest that the Japanese monarchy could not be established in peace at the cost of
this act of murder committed by a person who thereby become "Master of the Son of Heaven".
In the ritual of the Tendai tradition, no explicitly erotic image is mentioned (except perhaps theinsistence on the word "Compassion", which recalls Kannon / Avalokiteśvara) by cons in theritual tradition of Tōji, the presence of the two statues in gold and silver a couple of foxes /Dakini-ten is an item that may suggest a very strong erotic images, the fact that the new emperor
must be placed between the two statues may even think that it comes from animals that couple(or perhaps a Daka and a Dakine ...).
On the other hand, the fact that it is narrated in the myth of the tradition of Tōji that parents
Kamatari were the "people of the earth", or Kamatari himself grew up, worked at the Court as a
sweeper seems to stress the base of the origins of the man who became the ancestor of thegreatest aristocratic clan of Japan (144).
B. Symbolism of the "yellow man" Return to Table of Contents
Now the big problem for us is why Dakini-ten, the deity whose origins of vile cannibal yak i īwere well known, and whose close relationship with cults erotic Inari were obvious to everyone,
has been chosen as the principal of a venerated ritual surrounded by so great a mystery, basing
the legitimacy of the Japanese royalty. Yasuro Abe has already raised the issue and proposedsolutions of particular interest (145). We will be near or far some of the arguments he hasadvanced.
The answer - or at least one possible answer - to this difficult issue can be summarized in one
word: Dakini-ten has been chosen in this special role, because the "yellow man" (人黄 Ninno),
this substance magic demons ogresses Dakine took the men dying in six months and they ate,
which gave them a magic power without limits, this substance has been associated with thejewel-in-wishes and relics, it seemed that Dakini-ten was in possession of this power at once
magical and mystical, which enabled to view it as an emanation of both Buddha Mahavairocanathat Great Deity Amaterasu is to say, the metaphysical and mythical foundation of the universe
the thought of medieval Japan.
To explain this, we must make a small digression on another deity of the esoteric: he is the Kingof Love Science, Aizen-myōō 爱鷊・・(Sk Raga). The King of Science has a terrible
expression of anger, he wears a bow and arrow as the Greek Eros and Kama in the Hindu
mythology, but also as Siva in the form of destruction of Three Cities aerial Asura(Tripurāntakamūrti) (146). The Sutra basic rituals of Science King of Love is the Yugi-kyō 瑜只经, a sutra considered apocryphal, which describes its shape with three eyes and six arms.
However, this iconography has a mysterious point. In fact, here's how it is represented in this
text: color red is like the sunshine and it is the wheel to the intense flames (Shijo-rin 炽騹轮, thatis to say the sun), his six hands are: the first left hand a vajra bell, the first right hand a vajra
with five points, the second left hand, an arc of vajra and the second right hand a vajra arrowand finally the last left hand is this (左下手持彼), whereas with the last right hand is a lotus, thegod seems to be about to hit this thing worn in the left hand (147). Japanese Doctors have long
discussed this "that" carried in his left hand. You can find a list of these speculations in a long
passage from chapter Kakuzen-shō 觉龒钞 devoted to the King of Love Science: What it may be
the thing desired (by the practitioner or the sponsor of the ritual of the King of Science), or theenemy that we want to submit, or unawareness Radical (Konpon-mumyō 根本无明), or the
Passions (bonno 烦恼) or head (cut) of a man, or the sun, but opinion which seems to prevailover all other words that it is nothing but the yellow man. And this yellow man is explained invarious ways: the Root of Life (myōkon 命根), or heart-liver (or heart-petrol) internal (naiShinkan 内心肝) which is red and round like the sun, or all the Passions, which will be cut to one
stroke of pure lotus and can be as soul-essence of man (shi nin shōryō 人之精灵), or the king's
heart (kokuō - shin 国王心), or "the woman for a man or a woman for man" (i-nan nyo Ninno, ishi nan nyo Ninno 为齂?譅・,为?齂鱱譅・) (148).
We have noticed that the yellow man is identified by the "king's heart". The commentary of
Yugi-kyō Chogo written by the same (149):
Sometimes we do bring to this hand 'on it' (hi-ji shu 持彼手) a man's head, which is sometimes
called 'yellow man'. This is the gem of human (hito 人玉 tama-that is to say, the soul-essence ofman). [...] On top of the man's head, there is something called Gem of man it makes them [in thehand of the King of Science the man's head], because there is a kind of seven drops of dew on
the [summit] the man's head, and when Dakine eat, this man died of a stroke. This is to avert thecalamity of Dakine fact that we wear the Gem of man [in the hand of the King of Science]. Hemade poter the man's head when [the purpose of ritual is] the life of [Sponsors]. On the otherhand, it also happens that one is wearing [in the hand] a sun which is represented in a threelegged crow. The sun represents the king, ie the Emperor of men (Ninno 人皇[note thehomophony of the word with the "yellow man "!]). Sometimes called the king 'Red Crow'. 'Red'refers to the sun, and the crow is the bird that is in the sun. We learn that Great Deity Amaterasu
is the god-son of the sun (日天子 nittenshi, devaputra Surya) is the sun. The king is a
descendant of the Great Deity Amaterasu, it is called the 'Red Crow'. According to the secrettradition of the branch Ano (Ano hiden 穴太秘传[Chogo belonged to the branch of the TendaiAno]), [Divinity] Hachiman 八幡 is god-son of the moon, the Great Deity Amaterasu is the godson of sun, and [the Godhead] Kamo 贺・[represents] the mansions of the stars (seishuku 星宿).
Where is the Grand Rapporteur, who commands the ritual, we do wear the red raven [at the handof the King of Science]. Because the Grand Rapporteur serves as tutor to the king and takes his
hand to govern the affairs of the world (kokuō wo te ni wo nigitte tenka Shikko subeki yue-ni 國
王ヲ手ニニキツテ天下ヲ可執行故ニ); is why we do bring to this hand the sun. This is asecret.
We know that Byōdō-in to 平等院宇治 Uji (near Kyoto) was built by Fujiwara no Yorimichi 藤
原頼通 at the height of his power in 1052. The name comes Byōdō-in-name Byōdō 平等王 ō,"King of Equality" is another name for the King of Love Science. The little note-Keiran ShuyoShu in this regard seems to make an exact echo in Chogo writes in this passage (150):
The name of Byōdō-in. The Master says that this name is due to [the statue] of the King of
Science Love that had been placed by Kobo-Daishi. Because we say that the King is the King
Love Equality. He holds in his hand the soul-essence of beings and governs the world in
equality. The Regent (setsuroku 摄・) also holds in his hand the world and all the people aresubdued by him that is why we must think deeply. Because the Jewel-to-Wish is the form of
Agreement (sammaya-gyo 三昧耶形) King of Love. The dragon god also this jewel as his heartliver. In general, the Jewel-to-Wish gives the ability to do everything according to the wishes(nyoi-jizai 如意自在), and can make it rain all kinds of jewels (Manpo 万宝). That's where thename comes from Jewel to Wish (nyoi-hoju). The Venerable [King of Love Science] means thenatural possession of the [areas of] Four Oceans (Shikai Jinen tsūryō 四海自然通领义[note thatthe expression Shikai tsūryō inevitably evokes the word Shikai ryōshō which is a term coined
ritual Anointing of the induction]). It is why we must think deeply.
As we have seen, the Convention as the King of Love Science is the Jewel-to-wishes, and as anexegesis of the Shin-zoku tekkin ki 眞俗掷・记, which the author would probably Shukaku 守觉,Substance original (shame 本体) of the King of Science is nothing but the yellow man, which is
identical to both the jewel-in-wishes and Relic (151). Abe has been shown that the Jewels to
Wish identified the relics (including those who had been reported by Kūkai China, preserved
Tōji, which legends say that he was buried as to Jewels Wish Mount Muroo 室生山[also called

Ben'itsu zan 宀一山] Nara), were regarded as magical substances of the highest power by theclergy and the whole court at the end of the Heian period. There was a belief that many of theserelics increased if the country was prosperous, and it declined in periods of decline, so weorganized ceremonies during which they had come to the Relics of the Tōji court to consider thenumber (the first ceremony of its consideration of the number of relics dating back to 950).
These ceremonies were occasions at the same time distribution of the relics to the emperor, theemperor and retired members of the aristocracy (152).
Given this background, we can understand more easily a direct association between the divine
fox (shinko 辰狐) and Great Deity Amaterasu as described in this passage from Keiran-ShuyoShu (153):
In general, the Great Deity Amaterasu is the sun god, and also the shape of the solar wheel who
retired in the Cave Celestial (ama no Iwado 天の岩戸). It also said, according to a transmission,
if the Great Deity Amaterasu, having descended from heaven, withdrew into the cave of heaven,this was the form of divine fox (Shinko). Among all animals, the fox divine [the only] toproduce light of his own body. Therefore, the deity manifested itself in this way (etc.)
Question: Why the fox product infallibly divine light?
Answer: The fox is a divine manifestation of Avalokitesvara-processing to the Wheel-a-Wish(Nyoirin-kannon 如意轮观・). That's because it's essentially the Jewel to wish that the name"King cintamani (Shinda-mani-ō 辰陀摩尼王). The Jewel of the product still shine at night. [...]We also say: There is a three-pronged vajra (san-ko 三古[钴]) on the tail of the fox divine, andwhat vajra, there is a jewel-in-wishes. The three-pointed vajra is the triangular shape of the fire,
and the Jewel is the brilliance of handling (no mani toka 摩尼の燈火) (154). Therefore, thisdeity, manifesting a majestic splendor (iko 威光) illuminates the entire Plan Essence (Hokkai 法
界, sk. Dharmadhdtu) (etc.). We also say: in the Sutra [opportunities] incredible (-Mizou kyō 未曾有经), it is said that they worshiped God and the fox made him the King (155). Our tradition
says that the fox is the same god that Great Deity Amaterasu is the Origin of Divinity Hundred
Kings (hyakuō Genjin 百王元神).
Given that the solar symbolism yellow man (it looks perhaps better "symbolism of the midnightsun"), you will understand why Dakini-ten is associated with Mahavairocana in a text entitled
Rinnō Kanjo kuden 轮・・顶・传" oral traditions about the Anointing of the King at the Wheel,"a book that appears to date from the Kamakura period (156). According to a summary thatgives Abe, this paper begins by declaring that the king is the Holy King-turning-the-wheel-d'Or(konrin joo 金轮圣・) and, because it receives during Anointing his induction, there is a ritualcalled the Anointing of King Cakravartin, during which he sprinkled water from Four Oceans on
the top of his head. This ritual has been passed down from generation to generation in the clanof Regents. He then said that the Tathagata Mahavairocana, taking pity on beings who areconnected to the world, ordered Dakini-ten, which is the Body-elapsed (Toru-jin 等流身) [thelast] four of his Body Essence (Shishu hosshin 四种 法身), to manifest temporarily (or karigenji ...假に現じ...) the imperial throne, the highest and most glorious dignity in the world, sothat by this artifice, the 'beings' attachment to the world instead be cut. Dakini is atransformation of the Eight Letters Manjusri (Monju Hachiji 八字文殊). The author thendescribes five types of seals, the main one being the Seal of the jewel-in-wishes. This jewel-toWish is a producer of all species in the world, the Seven Jewels of Cakravartin arise naturally
from this jewel. He explains the formula (probably "Dakini") accompanying the Seal of thejewel-in-wishes by the myth of the submission of Dakine eating the yellow man is the same
formula they have received the Buddha (transformed in Mahākālī) at the end of the myth, which
would take the yellow man dead before other major yaksa just eat them. If you pronounce thisformula, all the virtues, and especially the virtue of Compassion, will occur, and all beings,
enjoying the power of the jewel-in-wishes, will be converted to the Act.
**

Dakin and the Emperor 4
Conclusion Return to Table of Contents
We are now at the end of this long journey to a jungle of myths and rituals that led us to
medieval India to the dark depths of divine kingship in medieval Japan.
We can ask ourselves why this yellow man could be associated with the jewel-in-wishes andRelics. The answer can only be speculative, but it seems it is good and the only possible: it isprobably because the yellow man was conceived as something round, a shape like that Relic andJewel to wish (you can refer to the passage of Yugi-kyō Chomon-shō cited above where theauthor Chogo, imagine the yellow man as "dew"). What is surprising still is that, while the relics
were real things existing actually in jars kept at Tōji treasures or imperial or aristocratic, it waspossible to imagine things exist, like the Jewel to the wishes or the yellow man, in ways quite
physical. But then we say that the relics were as magical objects, as their numbers increased or
decreased according to the wealth of the country. Existing or nonexistent, they were all things
both physical and magical Philosopher's Stone they were created from scratch by a certain

"creative imagination" of the medieval mind.
But, despite all our attempts at explanation, it can not be convinced of the reasons put forwardthat would allow Dakini-ten, one of the deities most vile and cruelest of esoteric Buddhism, toreach this extraordinary apotheosis where she chairs the ritual most secret and most sacred of theJapanese royalty. It will be recalled that about the little phrase of Keiran Shuyo-sh-ū in thechapter on Dakini-ten, under the anointing of induction, which stated that "In the Sutra of the
Benevolent King (Renwang-jing 仁王经), [it is a question of] 'Making worship the god of thecemetery [offering] that "it is what we must think deeply." As our analysis of the commentary
Renwang-jing by Liangbi and tale of King Kalmā apāda have been suggested, the fact ofreferring to this tale of Renwang-jing about Anointing induction seems to imply that the author
was (at least vaguely) aware of the violent and cruel to royalty: "this offer" mean in the context
of this legend the offering of the heads of a thousand kings to the god of the cemetery, which is
nothing as Mahakala, and its acolytes probably ugly and Dakinaka man-eaters. The king, inthis context is itself a demon eating the flesh of children, and it is a heretical teacher charged
with giving the Anointing the king, who urged him to do the bloody sacrifice of a thousand kings- all as the clan of Regents, "Master of the Son of Heaven", which is supposed to give theAnointing of the kings Japanese enthronement. Keep the yellow man, to say the vital spirit
beings in his hand was the purpose of the anointing of induction, and the clan of Regents at its
side, as "Master the Son of Heaven "could take the" king's heart "in his hand. And it is perhaps
not superfluous to recall that "holding in his hand" is here synonymous with "tame (under his
feet )"...
Might we suggest that the ritual of enthronement unction which based the legitimacy of sacredkingship had everything at once an obscure feature of "deconstructing" the inside? We do notbelieve, and here's why.
Think of the rituals and myths in their entirety: it is noted then the extreme ambivalenceelements that make up this total. On the one hand there is the deity most vile and cruel, but also
possess the magical power more efficiently, the pantheon of esoteric Buddhism, there are myths
evoking images of erotic acts deviant social norm and an atmosphere of violence, but at the sametime, the ritual is practiced in the greater solemnity, and the king "springs" of this ritual is theholiest in the world, beyond the social norm, transcending the world by his holiness. One cansee a structure similar to it is found in many medieval myths of the birth of the gods. Indeed,stories belonging to the genus Mono-honji 本地物"often tell the adventures of heroes andheroines who fall in the throes of the deepest miseries that after these tragic destinies they are
killed and reborn as the most powerful gods. Their brilliance is all the more resplendent they
were vile and miserable in their life (157). It is the extreme difference of values in play, firstextreme poverty and other extreme holiness and majesty that is the key to the religious emotionthat produce these stories. Although in terms of content, it would be difficult to establish acomparison between these tales honji mono-and the ritual and myths of the Anointing of
induction, it is likely that the same logic underlies the mythic structure these two kinds of facts.
And can we not think that this logic is that even thought tantric in general? As we havementioned about the Dakine late Tantric Buddhism in India and Tibet, Tantric thought ischaracterized by a search express the ugly, the violent, the erotic or impure, which result of adesire to exceed any standard of all social and discursive oppositions; overtaking intranscendence is more total than it plunged into the lowest values. Would this not a phenomenon
parallel to it that we find in the ritual and myths of the Anointing of induction?
However, even if so, the surprising thing is that this whole idea of medieval Japan seems to
produce, and relations develop in the mythic depths. While late in Tantrism, the search for low
values seem to be on a more conscious, according to a doctrine much more systematic, theanalogous phenomenon appears s'émerger in Japan on a much more unconscious. But it may
mean at the same time there is a deep internalization of the Tantric thought in Japan, which was
reworked in the mythic unconscious, to be able to produce myths and rituals quite original.
If we accept this hypothesis, at least one important corollary of the viewpoint of social history
seems to be drawn. Is that to achieve the transcendent and the sacred in the world, Tantricthought seems to have needed the exact values (and extremely) opposed them - one could say
anti-transcendent values or anti-sacred. That would be those values that were represented bydeities "outcaste" as Dakini-ten in the religious imagination, and society of medieval Japan by
the people "outcaste". One could even argue historical arguments in favor of this hypothesis isthat the period in which the activities of these people "outcaste" appear to have been particularly
impressive and appears to coincide with the period when Buddhism "exotérico-esoteric" basedon the ideology of original enlightenment (hongaku shiso 本觉?籜) (which is actually theJapanese form of the Tantric ideology) was flourishing. This period corresponds roughly to thefirst half of the medieval Japanese. Throughout this period, people "outcasts" were treated by

ordinary people with an ambivalent feeling of awe before the sacred of the sacred attraction andrevulsion at the horrible and unclean. When Buddhism "exotérico-esoteric" begins to decline (orself-disintegration) from the second half of the Middle Ages, people "outcaste" will be
increasingly easy to disregard and discrimination Name the part of ordinary people.
The main causes of treatment progress and feelings about people "outcaste" must obviously besought in the social history itself. But is not it interesting that this development was largely
parallel to that of Buddhism "exotérico-esoteric" in medieval Japan?
On this we leave, all dreamers, this dark and fascinating world of Dakine / Dakini-ten.
11/13/97

beyond the social norm, transcending the world through his holiness. We can see thata structure similar to it is found in many medieval myths of the birth of the gods.
Indeed, stories that belong to the genus Mono-honji本地物"often tell the adventures ofheroes or heroines who fall into the throes of the deepest miseries that after these
tragic destinies they are killed and reborn as the most powerful gods. Their brillianceis all the more resplendent they were vile and miserable in their life ( 157 ). It is theextreme difference of the values at stake, on the one hand the extreme poverty andother extreme holiness and majesty, which is the key to the religious emotion that
produce these stories. Although in terms of content, it would be difficult to draw acomparison between these tales honji mono-and the ritual and myths of the Anointingof induction, we can assume that the same logic underlies the mythic structure thesetwo kinds of facts. And can we not think that this logic is that even thought tantric ingeneral? As we have mentioned about Dakin in the late Buddhist Tantra in India andTibet, Tantric thought is characterized by a search express the ugly, the violent, theerotic or impure, which result of a desire to overcome every social norm and all
objections discursive; overtaking in transcendence is more than the total they penetrate
into the lowest values. Would this not a phenomenon parallel to it that we find in theritual and myths of the Anointing of induction?
But even if so, the amazing thing is that this whole idea of medieval Japan seems to
produce, and in the depths s'évoluer mythical. While late in Tantrism, the search for
low values seem to be on a more conscious, according to a doctrine much more
systematic, the phenomenon seems analogous s'émerger in Japan on a much moreunconscious. But it may mean at the same time there is a deep internalization of theTantric thought in Japan, which was reworked in the unconscious mythic to come to
produce myths and rituals quite original.
If one accepts this hypothesis, at least one important corollary of the viewpoint ofsocial history seems to be drawn. Is that to achieve the transcendent and the sacred in
the world, the thought seems to have tantric needed the exact values (and extremely)
opposed them - one might say anti-transcendent values or anti-sacred. That would be
those values that were represented by deities "outcast" as Dakini-ten in the religious
imagination, and society of medieval Japan by the people "outcaste". One could evenargue historical arguments in favor of this hypothesis is that the period in which theactivities of these people "outcaste" seem to have been particularly rich andremarkable appears to coincide with the period when Buddhism "exotérico-esoteric"based on the ideology of original enlightenment (shiso hongaku本觉思想) (which isactually the Japanese form of ideology Tantric) flourished. This period corresponds
roughly to the first half of the medieval Japanese. Throughout this period, people"outcaste" were treated by ordinary people with an ambivalent feeling of awe before
the sacred, the sacred attraction and repulsion to the horrible and unclean. When
Buddhism "exotérico-esoteric" begins to decline (or self-break) from the second halfof the Middle Ages, people "outcaste" will be increasingly easy to disregard anddiscrimination social from ordinary people.
The main reasons for this treatment and feelings about people "outcaste" must
obviously be sought in the social history itself. But is not it interesting that thisdevelopment was largely parallel to that of Buddhism "exotérico-esoteric" in medieval
Japan?
With that, we leave, all dreamers, this dark and fascinating world Dakin / Dakini-ten.

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11/13/97( 157 ) A completely parallel structure can be observed in some folk talesof Chinese Buddhism, such as Miaoshan妙善. In this tale, cf. Glenn
Dudbrige, 1978. Return to text

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