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

Introduction: The Ritual Structure of Budo Taijutsu

The reihō礼法 of the Bujinkan are not mere formalities, but a sophisticated and curated 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) aimed at cultivating a “complete human being”¹. This cultivation 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 Bujinkan’s identity, 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 only 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 “unshakeable 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 in all the phrases to be analyzed. Soke Hatsumi’s statement that the 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 way to cultivate this essential quality.

The ritual structure of the Bujinkan represents a conscious rejection of modern, secularized approaches to martial arts, positioning itself instead as a guardian of a pre-Meiji era 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 this period or later, often emphasizing secular, sporting, or nationalistic aspects over explicit spiritual or religious content. In contrast, the reihō礼法 of the Bujinkan 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. Thus, the ritual is a third-order statement: it is not just about “getting into the right mindset,” but about actively preserving and embodying a holistic and syncretic spiritual worldview that was politically suppressed, positioning the art as a carrier 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 the Essential Points.” In ancient martial arts, these poems were used to convey the deepest teachings of a school concisely, requiring reflection from the practitioner to achieve a deeper understanding. The poem 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 from Takamatsu Sensei. Its choice 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, untamable, and powerful divine power, preparing the listener for a theme of sacred magnitude.

The verse’s origin is the famous poem number 17 from the Hyakunin Isshu anthology, by Ariwara no Narihira (825–880), a prominent figure in 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 sight of such beauty it would be unheard of even in the age of the gods¹⁶. The original context is therefore aesthetic and romantic, possibly a disguised love poem. By selecting such a famous and culturally significant verse, the founders of the Bujinkan are not just choosing a random prayer; 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’s 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/being of a righteous heart.” This transformation is a powerful act of recontextualization. It appropriates the authority of the classic verse but imbues it with a new philosophical-martial 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 philosophy of the Bujinkan, 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 “the divine teaching is that a righteous heart will protect the body.” Both interpretations place the responsibility directly on the individual practitioner to cultivate this inner state. This adaptation implies that the “divine teachings” (kami no oshie神の教え) relevant to a warrior are not about aesthetics but about the protective power of a cultivated and just spirit, uniting the ideals of bun文 and bu武.

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

Frequently cited as a central principle of the Bujinkan, the phrase Ninpo ikkan magokoro ni masare encapsulates a profound 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 the Bujinkan’s 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 made a deliberate philosophical shift, changing the kanji for pō from 法 (method, law) to 宝 (treasure). This alteration recontextualizes the term to ninpō忍宝, or “The Treasure of Perseverance.” The art is no longer seen 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 unique and unwavering dedication. Combined with the new ninpō忍宝, Ninpo Ikkan means the “dedicated and enduring pursuit of the treasure of perseverance.”

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

Synthesizing the Meaning

With the shift to ninpō忍宝, the full phrase can be interpreted as: “In the dedicated 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 “to achieve the treasure of survival 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 the 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 achieved through sincerity. This interpretation translates the philosophical principle into an attainable 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 reihō礼法 of the Bujinkan. Its recitation functions as a form of kotodama言霊, the belief that words and sounds hold spiritual power. It is not merely symbolic but is intended to be performative, actively invoking a state of spiritual clarity and connecting 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 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 “sense of harmony,” a deeper analysis points to “the sound of the union of opposite poles” or the resonance perceived when hearing unites with the heart²¹. Fundamentally, it is often explained as representing the “four hearts” (shi = four): a merciful heart, a sincere heart, a tuned heart (with the natural order), and a dedicated heart²². The cultivation of 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” (i.e., enlightenment). In Mahayana Buddhism, the Pāramitās are the perfections that 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 Shining 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 result of the process described by the preceding terms.

Synthesis and Function

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

This mantra is intrinsically linked to the chihayaburu千早ぶる poem. 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 to which it leads (enlightenment). They form a complementary pair: one is an ethically inflected Shinto statement, the other an esoteric Buddhist invocation for spiritual practice.

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

The physical ritual of bowing and clapping that accompanies the verbal invocations has its 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 kami²³. It is described in ancient texts like the Wajinden²⁴ as a sign of respect. Its purpose is often explained as a way to call the attention of the kami or as an expression of joy and gratitude²⁵. The standard modern 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 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, uninterrupted 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 follows, completing this “sacred” portion of the ceremony. The final single clap and bow then occur. A single clap in a dojo context is often used as a signal to begin or end an activity, or to call for attention²⁶. Therefore, the Bujinkan sequence can be interpreted as a two-part structure. The clap-clap-bow is the spiritual greeting, acknowledging the principles and the divine. The clap-bow is the procedural signal, the formal transition from ritual space to training space. This creates a distinct moment where the sacred intention is sealed, and the physical practice is then formally initiated.

Comparative Analysis of Shinto Clapping Rituals

To contextualize the uniqueness of the Bujinkan practice, it is useful 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 high 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 contextual³¹. It can mean “please,” “I ask this of you,” “I hope we can work well together,” or “I hope we can have a good relationship.” Fundamentally, it is a request for a positive and fruitful interaction, carrying an implicit agreement of mutual care, respect, and best 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 effort³². 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 be careful with your body and I trust you will be careful with mine. May we both learn from this exchange.” It acknowledges the inherent vulnerability in martial arts training and establishes a foundation of trust.

The Practical Embodiment of Philosophy

onegai shimasuお願いします is the point where 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, and 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 has been done”), completes this contract, expressing gratitude for the shared training and the partner’s care³³.

Conclusion: The Synthesis of Heart, Action, and Enlightenment

The Bujinkan’s greetings 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 work together to cultivate the kokoro心, the unifying principle and the ultimate goal of the training.

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

To fully understand the depth of the Bujinkan’s 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 would be: “Not even the mighty gods of old have heard of such beauty: the Tatsuta River dyed a deep crimson, as if the water were tied 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 intent 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 internal beauty.

The Divine Connection of the Pure Heart

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

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 brightly. 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, therefore, is a complete path. It begins with the chihayaburu千早ぶる poem, 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 to cultivate this heart and achieve 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 the kokoro心. The reihō礼法 of the Bujinkan 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