Kami no Oshie: An Analysis of Shinto and Buddhist Influences in Bujinkan Ritual Salutations

Introduction: The Ritual Structure of Budo Taijutsu

The reihō礼法 of the Bujinkan are not mere formalities, but a sophisticated and carefully crafted system, designed to frame the physical practice of Budo Taijutsu within a specific spiritual and ethical worldview. The dojo is established as a liminal space where the practitioner engages in a holistic discipline (dō道) that aims to develop a “complete human being”¹. This development is achieved through a ritual sequence that deliberately draws on Japan’s syncretic spiritual heritage, particularly the intertwined traditions of Shinto and esoteric Buddhism. This synthesis is not accidental, but central to the identity of the Bujinkan as articulated by its founders². The central purpose of these rituals is to orient the practitioner’s kokoro心 toward a state of sincerity, awareness, and benevolence before engaging in potentially lethal techniques.

The Bujinkan is presented not merely as a collection of nine historical martial lineages (ryūha流派)³⁴, but as a modern Budo system synthesized by Soke Masaaki Hatsumi⁵⁶⁷. This system emphasizes spiritual, intellectual, and physical integration, with the ultimate goal of developing an “unshakable heart” (fudōshin不動心) and a “benevolent heart” (jihi no kokoro慈悲の心)⁸⁹. The opening ceremony is the primary mechanism for this philosophical framing. The concept of kokoro心 is the unifying thread running through all the phrases to be analyzed. Soke Hatsumi’s assertion that kokoro心 is the most important of the three key attributes of a martial artist (the others being sainō才能 and utsuwa器) highlights its primacy¹⁰. The rituals are therefore a constant reminder and a method for cultivating this essential quality.

The ritual structure of the Bujinkan represents a deliberate rejection of modern, secularized approaches to martial arts, positioning itself instead as a guardian of a pre-Meiji spiritual synthesis. The Meiji Restoration of 1868 initiated a policy of shinbutsu-bunri神仏分離 to establish State Shinto as a national ideology, forcibly undoing centuries of syncretism¹¹¹². Many modern martial arts (gendai budō現代武道) developed during or after this period, often emphasizing secular, sporting, or nationalistic aspects at the expense of explicit spiritual or religious content. In contrast, the Bujinkan reihō礼法 deliberately and visibly combines a Buddhist mantra with a Shinto ritual. This is not a random combination, but a direct embodiment of shinbutsu-shūgō神仏習合. The ritual is thus a third-order statement: it is not merely about “getting into the right mindset”, but about actively preserving and embodying a holistic, syncretic spiritual worldview that was politically suppressed, positioning the art as a bearer of an older, more integrated form of Japanese cultural identity.

Part I: The Gokui no Uta: Chihaya buru kami no oshie...

At the beginning of training, the instructor recites (audibly or silently) a poem that serves as the philosophical cornerstone of the session. This verse is an example of gokui no uta極意の歌, which can be translated as “Poems of Secrets” or “Songs of Essential Points”. In classical martial traditions, such poems were used to convey a school’s deepest teachings in concise form, requiring reflection from the practitioner to attain deeper understanding. The verse in question, chihayaburu千早ぶる kami no oshie神の教え wa tokoshieni永遠に tadashiki kokoro正しき心 mi身 o mamoruran守るらん, was specifically designated as an important gokui no uta極意の歌 to be recited before shikin haramitsu daikomyō詞韻 波羅密 大光明, by instruction of Soke Hatsumi, following the transmission of Takamatsu Sensei. Its selection and adaptation are an act of cultural legitimation, linking the martial art to the high culture of the Heian court while transforming an aesthetic statement into a fundamental martial principle.

Linguistic and Literary Deconstruction

The first word, chihayaburu千早ぶる, is often translated literally as “a thousand vibrations” or “a thousand swift swords”. However, its function in classical Japanese poetry is that of a makura-kotoba枕詞¹³, a fixed epithet used to modify words related to the kami (gods) or the divine age (kami-yo)¹⁴. Its presence evokes a sense of overwhelming and untamable divine power, preparing the listener for a theme of sacred magnitude.

The verse originates from the famous poem number 17 of the anthology Hyakunin Isshu, authored by Ariwara no Narihira (825–880), a prominent figure of Heian court literature. The original poem¹⁵ is Chihayaburu / kami-yo mo kikazu / Tatsuta-gawa / kara-kurenai ni / mizu kukuru to wa. This waka和歌 describes the Tatsuta River dyed a deep crimson by autumn leaves, a vision of such beauty that it would be unheard of even in the age of the gods¹⁶. The original context is therefore aesthetic and romantic, possibly a love poem in disguise. By selecting such a famous and culturally significant verse, the founders of the Bujinkan are not just choosing a random verse; they are deliberately linking their art to a prestigious and ancient cultural lineage, elevating it beyond a simple combat system.

The Bujinkan’s Reinterpretation

The Bujinkan version, chihayaburu千早ぶる kami no oshie神の教え wa tokoshieni永遠に tadashiki kokoro正しき心 mi身 o mamoruran守るらん, represents a significant alteration of the original. The second half of the poem is completely rewritten, replacing the aesthetic observation with a direct ethical and spiritual principle: “The teachings of the mighty gods will forever protect the body of a righteous heart.” This transformation is a powerful act of recontextualization. It appropriates the authority of the classical verse, but imbues it with a new martial-philosophical meaning.

The central pillar of this new verse is the phrase tadashiki kokoro正しき心, or “righteous/correct heart”. The poem is reframed to assert that divine protection is not granted unconditionally, but depends on the practitioner’s inner state¹⁷. This connects directly to the broader Bujinkan philosophy, where inner disposition is paramount. There are nuances in interpretation: some translate it as “the divine teachings will forever protect the body of a righteous heart”, while others suggest that “the divine teaching is that a righteous heart will protect the body”. Both interpretations place responsibility squarely on the individual practitioner to cultivate this inner state. This adaptation implies that the “teachings of the gods” (kami no oshie神の教え) relevant to a warrior are not about aesthetics, but about the protective power of a cultivated, righteous spirit, uniting the ideals of bun文 and bu武.

Part II: The Treasure of Survival: Ninpo Ikkan Magokoro ni Masare

Often cited as a central principle of the Bujinkan, the phrase Ninpo ikkan magokoro ni masare encapsulates a deep ethical philosophy that defines the ultimate purpose of the art. This maxim establishes an ethical governor over the potentially dangerous skills of the martial art, directly linking Bujinkan philosophy to a fundamental principle of Shinto ethics.

Deconstructing the Phrase

The term ninpō忍宝 was historically written with the kanji 法 (pō), meaning “method”, “principle”, or “law” (忍法). In that context, Ninpo was the “highest order of Ninjutsu”, a spiritual philosophy focused on perseverance and the protection of the spirit. The kanji for Nin (忍) is composed of “blade” (刃) over “heart” (心), symbolizing the idea that the heart must persevere even under the threat of a blade¹⁸.

However, Soke Masaaki Hatsumi enacted a deliberate philosophical shift by changing the pō kanji from 法 (method, law) to 宝 (treasure). This alteration recontextualizes the term as ninpō忍宝, or “The Treasure of Perseverance”. The art is no longer seen merely as a method to be followed, but as a treasure to be discovered within the practitioner’s heart through training. ikkan一貫 means to pursue something with single-minded and unwavering dedication. Combined with the new ninpō忍宝, Ninpo Ikkan signifies the “steadfast pursuit of the Treasure of Perseverance”.

The crucial part of the phrase is magokoro真心 ni masare勝れ. magokoro真心 translates as “sincere heart” or “true heart”. It is a key concept in Shinto, representing a state of being pure, honest, and unclouded. The expression ni masare勝れ means “nothing surpasses” or “is superior to”.

Synthesizing the Meaning

With the shift to ninpō忍宝, the full phrase may be interpreted as: “In the steadfast pursuit of the Treasure of Perseverance, a sincere heart is the supreme principle.” This places sincerity and purity of intention as the key to discovering the inner treasure that the art represents.

A functional and martial interpretation of the maxim is “may the treasure of survival be attained with a pure heart”. This translation captures the essence of the concept: “treasure of survival” is a direct application of ninpō忍宝, where perseverance (nin忍) is the basis of survival and pō宝 is the treasure. The condition “with a pure heart” reflects the hierarchy of magokoro真心 ni masare勝れ, indicating that the treasure can only be reached through sincerity. This interpretation translates the philosophical principle into an achievable goal for the practitioner¹⁹.

Part III: The Esoteric Invocation: Shikin Haramitsu Daikomyo

The invocation shikin詞韻 haramitsu波羅密 daikōmyō大光明 is perhaps the most explicit example of shinbutsu-shūgō神仏習合 within the Bujinkan reihō礼法. Its recitation functions as a form of kotodama言霊, the belief that words and sounds possess spiritual power. It is not merely symbolic, but intended to be performative, actively invoking a state of spiritual clarity and linking the practitioner to a lineage of esoteric knowledge.

Etymological and Theological Analysis

The phrase is a spiritual formula with deep roots in esoteric Buddhism (mikkyō密教, particularly shingon真言). Its lineage is traced through Takamatsu Toshitsugu高松寿嗣 from shingon真言 Buddhism and older Shinto-related traditions (Amatsu Tatara天津蹈鞴), highlighting its esoteric and syncretic nature²⁰.

• shikin詞韻: This is the most complex term. Although sometimes interpreted as a “greeting” or a “feeling of harmony”²¹, a deeper analysis points to “the sound of the union of opposing poles” or the resonance perceived when hearing is united with the heart²². Fundamentally, it is often explained as representing the “four hearts” (shi = four): a compassionate heart, a sincere heart, a heart attuned to the natural order, and a dedicated heart²³. Cultivating these four aspects is the prerequisite for wisdom.
• haramitsu波羅密: This is a Japanese transliteration of the Sanskrit word Pāramitā (पारमिता), meaning “perfection” or “that which has reached the other shore” (that is, enlightenment). In Mahayana Buddhism, the Pāramitās are the perfections a bodhisattva cultivates, such as generosity, discipline, patience, and wisdom. Haramitsu, in this context, refers to the great wisdom born from the four hearts of shikin詞韻.
• daikōmyō大光明: This translates directly as “Great Radiant Light”. It symbolizes the light of enlightenment, the radiant aura of an awakened being that dispels the darkness of ignorance. It is the goal and the outcome of the process described by the previous terms.

Synthesis and Function

A comprehensive translation might be: “Through cultivating the four essential hearts (love, sincerity, balance, dedication), may we attain the perfection of wisdom that reveals the great and radiant light of enlightenment.” Its recitation at the beginning and end of training functions as a Buddhist mantra or prayer intended to induce a state of heightened awareness and spiritual focus. The vocalization of these specific sounds is seen as aligning personal energy (ki気) with universal principles of wisdom and enlightenment, transforming the dojo’s physical space into a sacred space.

This mantra is intrinsically linked to the poem chihayaburu千早ぶる. The poem establishes the need for a “righteous heart”, while shikin haramitsu daikomyō詞韻 波羅密 大光明 provides the method for cultivating it and the goal toward which it leads (enlightenment). They form a complementary pair: one is an ethical statement with Shinto inflection, the other an esoteric Buddhist invocation for spiritual practice.

Part IV: Ritual Embodiment: Hakushu to Rei (Clapping and Bows)

The physical ritual of bows and claps that accompanies the verbal invocations has firm origins in Shinto worship (jinja sanpai神社参拝). However, the specific sequence used in the Bujinkan is a ritual innovation that separates the act of spiritual invocation from the command to begin training, creating a bridge between the sacred and the martial within the ceremony itself.

Shinto Origins of Hakushu / Kashiwade

The act of clapping at a shrine, known as hakushu拍手 or kashiwade柏手, is a traditional form of worship and communication with the kami²⁴. It is described in ancient texts such as the Wajinden²⁵ as a sign of respect. Its purpose is often explained as a way to draw the attention of the kami or as an expression of joy and gratitude²⁶. The modern standard etiquette is nirei二礼-nihakushu二拍手-ichirei一礼, or “two bows, two claps, one bow”.

The Bujinkan Sequence: Two Claps, Bow, One Clap, Bow

The sequence frequently used in Bujinkan dojos is a significant departure from the standard Shinto formula: the instructor and students clap twice, bow, then clap once and bow again. This separation of the claps into a set of two and a set of one is a deliberate ritual choice.

The standard Shinto ritual (2-2-1) is a single, unbroken sequence of worship. The Bujinkan ritual breaks this pattern. The first two claps follow the invocation of shikin haramitsu daikomyō詞韻 波羅密 大光明, aligning with the traditional function of hakushu拍手 as a spiritual act. A bow then follows, completing this “sacred” portion of the ceremony. The final single clap and bow occur afterwards. A single clap in a dojo context is often used as a signal to start or end an activity, or to call attention²⁷. Therefore, the Bujinkan sequence can be interpreted as a two-part structure. The clap-clap-bow portion is the spiritual greeting, acknowledging principles and the divine. The clap-bow portion is the procedural signal, the formal transition from the ritual space to the training space. This creates a distinct moment in which sacred intent is sealed and physical practice is then formally initiated.

Comparative Analysis of Shinto Clapping Rituals

To contextualize the uniqueness of Bujinkan practice, it is helpful to compare it with other notable variations, which demonstrate that clapping patterns are not arbitrary, but imbued with specific theological meaning.

Part V: The Interpersonal Contract: Onegai Shimasu

The phrase onegai shimasuお願いします, used at the beginning of class and often between partners, serves as the crucial link between the vertical relationship (practitioner-to-divine/principles) established in the opening rituals and the horizontal relationship (practitioner-to-practitioner) on the training floor. It is not a simple “please”, but a profound social and ethical contract that translates the lofty principles of the preceding rituals into a practical, moment-to-moment commitment between individuals.

The Cultural Weight of Onegai Shimasu

This phrase has no direct equivalent in English, and its meaning is highly contextual³². It can mean “please”, “I ask this of you”, “I hope we can work well together”, or “I look forward to a good relationship”. Fundamentally, it is a request for a positive and fruitful interaction, carrying an implicit agreement of mutual care, respect, and maximum effort.

In the dojo, its function is multifaceted. Spoken by students to the instructor, it is a request for teaching and a promise of attentive learning (“Please do me the favor of teaching me”). Spoken by the instructor, it is a request for the students’ attention and effort. Its most critical application is between training partners. It is a request to train together with an implicit promise: “I ask to train with you; I will take care of your body and trust that you will take care of mine. May we both learn from this exchange.” It acknowledges the inherent vulnerability of martial arts training and establishes a foundation of trust.

The Practical Realization of the Philosophy

onegai shimasuお願いします is the point at which the abstract concepts of tadashiki kokoro正しき心 (righteous heart) and jihi no kokoro慈悲の心 (benevolent heart) become concrete action. By saying it, practitioners verbally commit to upholding these principles in their interaction with their partner. It is the social manifestation of the inner state cultivated by the opening rituals. The entire ceremony can be seen as a funnel: it begins with broad cosmic principles (teachings of the gods, universal enlightenment) and progressively narrows its focus until it culminates in a direct, personal, actionable commitment between two people about to engage in a potentially dangerous physical exchange. The closing phrase, domo arigato gozaimashitaどうもありがとうございました (“Thank you very much for what was done”), completes this contract, expressing gratitude for shared training and for the partner’s care³³.

Conclusion: The Synthesis of Heart, Action, and Illumination

Bujinkan salutations are far more than routine tradition. They constitute a cohesive and deeply meaningful system that draws on the rich tapestry of Japan’s literary, spiritual, and ethical history. These five elements function together to cultivate kokoro心, the unifying principle and ultimate goal of training.

The Contrast with the Origin: The Beauty of the Tatsuta River

To fully grasp the depth of the Bujinkan reinterpretation, it is essential to revisit Ariwara no Narihira’s original poem:
Chihayaburu / kami-yo mo kikazu / Tatsuta-gawa / kara-kurenai ni / mizu kukuru to wa.

A poetic translation might be: “Even in the age of the mighty gods, such beauty has never been heard of: the Tatsuta River dyed in deep crimson, as if the water were bound in brocade.” The original poem is a celebration of natural beauty, a vivid image of autumn leaves coloring the waters of the Tatsuta River. Its intention is purely aesthetic and romantic. The Bujinkan takes the cultural authority of this famous verse but replaces its conclusion, transforming an observation of external beauty into an imperative for inner beauty.

The Divine Connection of the Pure Heart

The Bujinkan gokui no uta極意の歌 establishes that divine protection depends on a “righteous heart” (tadashiki kokoro正しき心). This concept is deepened by a teaching attributed to Takamatsu Sensei, who stated that “it is only the pure heart of man that has a connection with the divine”. This elevates kokoro心 from a simple moral compass to the channel through which spiritual perception and protection are attained.

Martial training then becomes the method for purifying this heart. The sweat and tears of training act to “plow the field of the heart”, washing away what is unnecessary and creating space (kūkan空間) for an inner spark to grow and shine intensely. This inner light is compared to the sun, which shines on all without prejudice, giving life and protection. Thus, the warrior’s ultimate goal transcends the ability to destroy. Once the lethal aspect is mastered, the practitioner must learn to create and support life, moving with compassion.

Final Synthesis

The Bujinkan ritual is, therefore, a complete path. It begins with the poem chihayaburu千早ぶる, a gokui no uta極意の歌 that establishes the ethical foundation: protection comes from a righteous heart. ninpō ikkan忍宝一貫 defines the path: the dedicated pursuit of the treasure of survival (ninpō忍宝), which can only be found through supreme sincerity (magokoro真心). shikin haramitsu daikomyō詞韻 波羅密 大光明 provides the spiritual technology for cultivating that heart and attaining enlightenment. The Clapping and Bowing ritual physically enacts this connection, and onegai shimasuお願いします translates it into a social contract of mutual respect.

Each element, whether of Shinto, Buddhist, or classical literary origin, points toward the cultivation of kokoro心. The Bujinkan reihō礼法 is a living example of shinbutsu-shūgō神仏習合, a path to becoming a “complete human being”, whose strength lies not only in technique, but in a benevolent and enlightened heart.

Glossary of Terms

References