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ISBN: 98-0-9810613--5
Published by: l.Lepine Publishing
www.llepine.com
Copyrights 2008

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8(960 23 :2),0),-
Introduction.......................................................................................... 5

1echnical oeriew.............................................................................. 9
Lmpowering Kuji-In..................................................................... 12
Lmpowering the hands................................................................. 12
Lmpowering tools......................................................................... 14
Lmpowering symbols ................................................................... 15

Rules o the Art .................................................................................. 19
General rules .................................................................................. 19

Shapes and signs................................................................................. 29

Lmpowering Kuji-In kanji................................................................ 41

Sample applications ........................................................................... 43
Simple ritual.................................................................................... 43
Complex ritual................................................................................ 45

Symbol appendix................................................................................ 49
RIN related..................................................................................... 49
K\O related................................................................................... 50
1Ol related................................................................................... 51
SlA related.................................................................................... 52
KAI related..................................................................................... 53
JIN related...................................................................................... 54
RL1SU related............................................................................... 55
ZAI related..................................................................................... 56
ZLN related ................................................................................... 5
1he Llements................................................................................. 58
Other Useul Kanji........................................................................ 59

Kuji-In................................................................................................. 61

1he 5 Llements .................................................................................. 1

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Kuji-Kiri means Nine symbolic cuts`. It is a technique that
belongs to the esoteric Buddhist tradition. lrom the outside, it
seems to consist in drawing nine lines in the orm o a grid, then
drawing a symbol on the grid. In act, it is the setting in place o
nine energy structures, that once actiated, can empower a
concept represented by the drawn symbol oer the grid. 1his
symbol then interacts with what seems to be reality, and modiies
the structure o the unierse according to the desired eects.

In other words, the nine lines that we draw in Kuji-Kiri, are nine
energy concepts that we lay down on a surace or in the air. 1his
grid is empowered when the person who draws the grid has
actiated the nine powers in his consciousness. At this point, the
drawn grid becomes a representation o the matrix o the world,
into which you can summon another conceptual energy.

A Kuji-Kiri user is sometimes called a majutsushi, which
translates as magician or conjurer. / ma ~ pure, jutsu ~ art,
1 shi ~ user. 1hus, user o the pure art. Usually, the Kuji-Kiri
users are experienced monks or priests in the Mikkyo ,esoteric,
Buddhist tradition, such as Shingon, 1en-Da, or Shugendo. But
there is suicient correspondence with the 1aoist ways to suggest
that it came to Japan along with Chinese Buddhists who carried

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the inluence o the 1aoist ways. Nowadays, it is mostly popular
because o Ninjitsu, but ninjas are not the only ones using Kuji-
Kiri and Kuji-In.

Kuji-Kiri is not a nine step guide to power. It is not a simple
sorcery ormula book that will work instantly i you ollow a ew
basic guidelines. Kuji-Kiri is simple, yet complete art that
required deotion and dedication to learn and empower. Once
empowered in its user, the Kuji-Kiri system will make a true
mage out o a once ordinary person, who can now inluence
destinies.

A well trained majutsushi can perorm exorcisms, help in healing
people, deelop supernatural abilities, and inluence the low o
eents o lie. Such a user o the pure art is responsible or his
usage o the arts o Kuji-Kiri and Majutsu. It is in a state o
respect, compassion and deotion that the power o the mage
grows.

Notes on Japanese pronunciation: 1he traditional Japanese
symbols used in all majutsu writings and spell-casting, including
Kuji-Kiri, are called Kanji. 1wo other Japanese ways o writing
are called Katakana and liragana, which are the modern Japanese
writing characters, which behaes more like an alphabet. Another
way o writing Japanese is Romanji, that consists in writing the
sounds using the Lnglish alphabet to write the pronunciation, so
that you can easily reproduce the pronunciation o the words. In

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this book, next to each kanji symbol, you will ind the Romanji
spelling, as well as either the Katakana or liragana
pronunciation, so you can amiliarize yoursel with the Japanese
alphabets. 1o execute Majutsu and Kuji-Kiri, you must learn the
graphical symbols o each kanji you wish to use in a spell, but
also the pronunciation o the words, using the Romanji, Katakana
and liragana pronunciation keys.

Commonly used word: Jutsu
Kanji:
Romanji: Jiyutsu ,Ji-yu-tsu,

Katakana: :`

liragana: lW

\e will mostly be using the Katakana key, unless a word is ery
uncommon in this style, then we will use the liragana.

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1he use o Kuji-Kiri consists in establishing a link with the matrix
o the unierse, creating a bond between the physical and
spiritual realms. \e will then use this bond to interact with the
arious leels o consciousness o the unierse.

1he majutsushi will seem to draw a grid, but he is in act plugging
together links between all the planes o existence, tapping into
the inormation o physical matter, lie orce, eelings, emotional
experiences, mental thoughts, consciousness, dimensions, and
creatie processes, all at once. Once the link is established
between all the ibers that constitute the unierse, the majutsushi
will draw a symbol that will be used as a ocus to push new
inormation into the structure o the unierse, in order to alter it.
Drawing the grid is used to make the contact with the matrix, and
drawing a symbol is used to alter the inormation, or put new
inormation in it.

1o better understand the process, we will proide an example.
lirst, the majutsushi draws a grid o nine lines, ollowing a
speciic order, while simultaneously inoking the nine powers
that they represent. 1his sets in place the energy structures that
will interact with the matrix o the world. lirst line, RIN, is
drawn rom let to right, second line, K\O, is drawn rom top to

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bottom. 1hen, the third line is drawn rom let to right, and the
ourth rom top to bottom, until
the nine lines are drawn. 1his
requires a bit o practice with a
pen and paper, to get the
proportions right when simply
weaing with the ingers in midair.
1he grid has to be drawn while in
a sacred state o mind, with concentration and willpower. 1he
lines must ibrate with light, and appear in the astral plane. 1his
happens the moment you concentrate and will` it.

Once the grid is drawn, the user will
draw a symbol oer the grid. 1his
symbol must also hae been
preiously empowered. Let`s say in
this case, that the symbol o health is
used. \hile the user is drawing,
setting in place new energy structures,
he also recites the mantras or ormulations associated with each
concept, while his mind is absorbed in pure consciousness. I this
Kuji-Kiri grid and symbol is drawn on a wound, it will heal aster.
Once the grid and symbol drawn, one must diuse the conscious
modulation o reality in the entire area,organ to aect. 1he
amplitude o the eect depends on the experience and
empowerment o the majutsushi.


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Once the majutsushi has empowered the nine symbols to create
the grid, he can aterwards empower dierent symbols and
conceptual energy patterns to produce arious eects. Lach time
a Kuji-Kiri user empowers a new symbol, he gains a new power.
Lmpowering a new symbol is empowering a complete energy
concept, and it requires a bit o time.

1he grid and symbol can be drawn with the index and major
ingers o the hand, or with a pencil and ink. \e most oten draw
the grid and symbol with the right hand, but it can sometimes be
useul to draw with the let hand, on some rare occasions. Beore
you can draw Kuji-Kiri with your hand, you must empower the
sword mudra with your right hand.

So ar, we hae learned that to perorm eicient Kuji-Kiri, we
must irst:
- Lmpower the nine Kuji-In energy concepts that make up
the grid, allowing us to tap into all planes o existence and
use all the tools aailable to us
- Lmpower the hand into a magical drawing tool, allowing
us to interact with the structure o the unierse, so you
can use your hand to connect to the abric o reality and
modulate it ,load new sotware in the matrix and run it,
- Lmpower speciic energy concepts represented by
symbols


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1he majutsushi must also hae some experience in meditation,
and handling un-worded concepts originating in pure thought.
1his part is un-explainable. It comes naturally with practice and
experience. 1he more you do it, the more you understand its
workings.


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1o start empowering the nine Kuji-In energies, you can read
other books written on the subject, such as Qi-Gong and Kuji-In,
olume 1. 1he Kuji-In olume 2 and 3 are not required to start
with, but will become essential or the serious majutsu-deshi, the
student o the pure art. 1he Kuji-In basics are proided at the
end o this book so you can start the empowerment right away.


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Lmpower your right hand by making the sword mudra ,holding
ring and small inger with the thumb, extending the index and
major,. lor 2 minutes, isualize your hand glowing with light,
condensing powerul energy with intensity, while repeating the

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Japanese words: Riyoku 1e Sei, while isualizing the Kanji
symbols in your hand. 1hen, weae your right hand in ront o
you, drawing the kanji symbols o Power, land and Lnergy
,proide on next page,, and imagine that you are actually drawing
these symbols into the matrix o the unierse. Support the
existence o these symbols in the spiritual plane in ront o you,
when you draw them, by isualizing that the symbols glow with
light when you draw them, one oer the other. Do not draw the
Kuji-Kiri grid yet. Simply draw these symbols in ront o you.
Right beore you are done drawing one symbol, say the
corresponding Japanese word aloud. Once the 3 symbols are
drawn, stand still again, with your right hand on your lap or in
ront o you, and ocus again on the building up o energies in
your hand. Do this 2 minute empowerment o ocus and
drawing, or at least 3 repetitions, but you can do een more i
you wish, to enhance the empowerment. Repeat this
empowerment eeryday or 9 straight days. \ou may empower
the let hand each day, ater you hae empowered the right.

Learn the irst symbol o Power because it is the easiest. 1hen,
when you are ready to learn the second, learn the symbol o
land. 1hen, learn the symbol o Lnergy. 1his symbol o Lnergy
represents the spirit orce Lnergy, and not the physical strength
type o energy, there is something tangible` to the sense o this
Lnergy symbol, but it remains spiritual Lnergy.

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Riyoku ,'=! 1e , 7 , Se-i , 1 ,
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Once your hand is empowered, you can use it to empower other
tools, such as rice paper, ink, a pen, a brush, or any other object
you will be using during your Kuji-Kiri and Majutsu practice. 1o
empower an object, simply establish physical contact with it, or
with its container, and isualize the radiant light o power and
spiritual energy inesting the tools ,7 Riyoku Se-i,. \ou can
isualize the symbols in your empowered hand, radiating white
light into the empowered tool while the kanji symbols spiritually
appear on the tools. I you wish, you can also physically draw
these kanji on the tools themseles, but they would only become
useul or spiritual empowerment processes. Once the tools are
empowered, they will work or any ritual or practice you use them
or. 1his empowerment can take a moment, or a ew minutes.

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>?@2=0&$)7 -C?926-

Step 1: 1o empower a symbol, you hae to draw it, and meditate
on the concept it represents. lirst, identiy the concept it
represents without the words to describe it. Get into the eeling
o the concept to the best o your ability, and not just the thought
o it. Once you hae identiied these parameters, go on with the
next step. Also, ind a color that its with the symbol, or
isualization purposes. I you hae no idea, use white light. I you
can`t isualize, then use your imagination in any other way, or
simply think about it without the accompanying images.

Step 2: Draw the symbol in ront o you, in midair, using your
newly empowered hand. In the Japanese language, there is an
order and direction to draw each line o a kanji, but this
knowledge and experience is not required. I you learn more on
Japanese kanji drawing, you will simply hae more mental
resource inested in the Majutsu, which might make a small
dierence on the long run. Draw the symbol once, then close
your eyes and isualize it in ront o you, getting more and more
powerul with glowing energy and light. 1he symbol should stand
still in ront o you or 10-15 seconds. 1hen, imagine that the
symbol getting closer to you, slowly, until it enters your third eye
,orehead,, and dissoles in your brain, then in all your nerous
system, oer a period o about 10-15 seconds. Use the Japanese
word as a mantra, slowly repeating in your mind.

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Draw the symbol a second time in ront o you. Let it stand still
or 10-15 seconds. 1hen bring it slowly to your solar plexus.
lae the symbol enter your solar plexus and immerse your entire
abdomen with its energy. Use the word again as a mantra.

Draw the symbol a third time in ront o you. Let it stand still,
then isualize the symbol getting bigger and bigger, and bring it
into your whole body. Lnelope and ill your body with the
energy o the symbol. Keep the Japanese words ,like a mantra, in
your mind.

Step 3: Meditate or at least 15 minutes on the energy and
concept o the symbol. Immerse yoursel in the eeling o the un-
worded thought o this concept. \ou may look at the symbol as
much as it is needed.

\hen you empowered your hand beore, you learned about 3
symbols: Power, land and Lnergy. \ou can start with these
three symbols i you wish to practice with the basics. lere are a
ew other basic symbols or you to learn and empower.



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B0(6,4 B(@@$)0-- A0(/0
Ken , U` , luku ,, 1a-i ,5)
#
A ew other symbols are contained in this guide. Some will be
accompanied with their suggested color, deinition, and
philosophical contemplation or a maximum empowerment.
\hen no color is suggested, use your eeling and experience. In
act, een when suggested colors are trustworthy choices, you still
hae to base your choice on your experience and knowledge o
Kuji-In. \ou can`t become a user o the pure art by limiting
yoursel to a guide, but you should consider the wisdom
contained in this guide until you are experienced enough to make
your own choices.

1o empower a symbol, more than one session o 15 minutes will
be required. Right rom its irst empowerment meditation, a
symbol will start being eectie, but or maximum eiciency, you
should empower each symbol or 9 days in a row. 1hus, it is
recommended that your irst Kanji empowerment series, you
should empower the symbols: Power, land and Spirit Lnergy,
each or 15 minute. 1hen, you should empower the symbols or

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lealth, lappiness and Peace, which are always useul in most
daily situations. \ou can empower as many new kanji you wish
per day. I you wish to empower 6 kanji per day, it will take 1
hour and hal, or the entire nine days.

lint: when meditating on Power,Riyoku, don`t dwell on a eeling
o superiority, but rather on the power in the unierse. \hen
meditating on land,1e, think o all that is to manipulate things,
objects and energies. Always try to grasp the higher meaning o a
concept, and a wider range o application. In this case, a hand can
be a physical hand, and the philosophical hand o destiny, or een
the hand o the Buddha ,or God,, i you allow yoursel to be o a
spiritual nature. 1he same with Spirit Lnergy,Se-i, you should try
to let your ligher Sel reeal to you what it means, while you are
contemplating the possibilities o the higher nature o the
concept. Lmpowerment is done thru mediation and
contemplation, and not thru intellectualization.

In meditation, it is normal that your mind will waer around and
be distracted. 1his is a normal experience that all meditators go
thru sometimes een or a ew years. Don`t worry about how
much your mind collaborates to the experience. \hen you notice
you are not ocusing anymore on your Kanji empowerment,
simply come back to it and try not to go about anymore. \et, you
will probably lose ocus again, and simply come back again to the
meditation.


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D"60- 23 ,40 1&,

1he majutsushi must not only know the general rules, but also
the art o Kuji-Kiri. \hile at irst we must strie to ollow the
training rules as close as possible, when the user becomes an
adept at the art, he must ollow his intuition. \et, too oten
intuition is inoked as a pretext to ridiculously alter the traditional
ways into an experimental delusion o the inexperienced user.
\ou are strongly encouraged to ollow the guidelines until you
grasp the eeling o Kuji-Kiri, until you can eel the system o
Kuji-Kiri in your mind and in your body.

Once the rules are well anchored, it is time to un-anchor them.
\hen you hae learned and practiced Kuji-Kiri a lot, it will be
time to release yoursel rom the rules, and allow yoursel to
express the spontaneous impulse rom the soul. \et, do not think
you hae attained this leel o mastery within the irst year.

E0)0&(6 &"60-

."?0&$F0*G 1he mage will deine and empower a desired eect,
and use a physical anchor to link the spell to the target o the
spell. 1he -C?926- ()* -$)7- compose the spell. 1he ,(&70, is
the person, object or area to be aected. 1he ()/42& is a material
item that is used to bind together the spell and the target.

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.C?926-G 1he most eicient way to cast a spell is to use a single
symbol drawn oer an obious target. 1he symbols must
represent the expected eect. 1he more global is the eect, the
easier it will be to cast, and the more eicient will be the spell.
1he general symbol o health` will proide the desired eect. In
this case, it is not required to indicate what to heal, like in
drawing the symbols health kidneys`, since the grid and symbol
can be drawn directly oer the kidneys. It is encouraged not to
use a symbol to designate a target, unless the target is unaailable.

H()7"(70G Learning Japanese as a language is not a necessity,
but it will help you cast more complex spells. 1he non-japanese
speaker will be limited to single symbol grids, sometimes
accompanied by ery ew support symbols. \et, een the
experienced majutsushi will usually preer these simple spells, or
they are usually the most eicient. Drawing too many symbols
dilutes the eect o each one o them, spreading the willpower o
the caster oer a wider spell. Multiple symbols should be used
when accuracy o the eect cannot be achieed with a single
symbol, or when the target must be described in the spell,
because o lack o aailability.

8(&70,-G I the target is aailable to the sight or touch, then the
symbol simply has to be drawn oer it. I the target is not
aailable, you can draw the grid and symbol oer a photo o the
concerned target, or oer an oicial paper representing the target.

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\hen the target is not present, the way to aect it is to use a link
to its energy signature. Any item belonging to the target is tainted
with the energy signature o the target. A piece o clothing oten
worn by someone will suice in linking a spell to a target. 1he
more the target person was in contact with an object, the stronger
the link will be. Lmotions are the raw matter that builds those
links. 1hus, an item that was subject to a strong emotion will be
more useul. 1he stronger the link to the energy signature o the
target, the less energy o the spell is lost during the casting. \ou
should hae respect or the target i it is inappropriate to touch
the area to aect ,ie: when healing breast cancer,. In such a case,
you can igure out a way to aect the entire body, or use an
anchor to tie the spell to the target.

1)/42&-G lor a spell to last longer, it is useul to physically
anchor it. \ou can physically anchor the spell by drawing the grid
and symbol,s, with ink, either on a sheet o paper that the target
will carry, or directly on an object that seres as a target link.
Drawing only in the energy plane will hae a temporary eect. A
parchment can be easily attached to a target building, or in the
icinity o an area to aect. Anchors can also play a role in the
casting o the spell. \hile using an anchor, might as well use
material properties that will also support the eect o the spell.
\ou cast the spell on a speciic type o stone that corresponds to
the desired eect, or use certain abrics. \ou can perume the
anchor with scents that are recommended by aromatherapy. \ou

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can attach to the anchor other items that correspond to the
target`s energy signature. 1he possibilities are endless.

\hen abricating a complex anchor, casting a spell on it will
transorm it into a talisman. \ou can ind many o these
corresponding components in other books about Mikkyo, or
magic. 1he most important thing is that all the components o an
anchor must be bonded together.

\ou can wrap a small parchment, put it in a small container, and
tie it to someone or a building. I you use a holding deice, like a
string or chain, it should also be present at the moment o
casting, so that it too will magically link the anchor to the target.

\hen using an anchor, the spells are unaected by distance. In
the Retsu leel o Kuji-In, we learn that distance seems to exist in
the phenomenal world, but it does not exist in the realms o
consciousness. A good anchor will work around the globe,
whether you know where the target is or not. loweer, the spell
has its most powerul eect when it is casted, it will remain
eicient and powerul or a while, but its eect will eentually
start to diminish oer time. lor a spell to work oer long periods
o time, it is recommended to re-cast the spell periodically, or you
can hae the barer repeat the words rom time to time, while
holding the talisman.


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\ill somewhat work: Drawing a grid and symbol in the midst o
anywhere, using only isualization to cast the spell, while the
target is not present, held only in the mind o the caster.

But the best would be: Using empowered items, drawing with ink
o the recommended color on a parchment that will be held in
contact with the target, and perumed with the recommended
aroma.

;)36"0)/0-G All that the caster does when he casts a spell, is to
inluence reality and illusion. 1he more powerul and experienced
is the caster, the stronger the spell will alter the natural course o
eents, een beyond the natural laws. It takes much experience to
inluence the laws o nature, and it is always linked to a karmic
price to pay. It is preerable to be compassionate in your work.

>60?0),-G Lerything in creation is made with the combinations
o basic original elements. \hile elements are not always required
in eery spell, including them will greatly augment the spell
eiciency. 1he elemental inluence should not be the main actor
in the spell, unless it is based directly on a property inherent to
the element. 1here are ie elements rom which creation came,
and that compose all things. 1hese elements are: earth, water, air,
ire and oid,spirit. It takes much time to charge in your
consciousness and your soul, the energies o the ie elements,
but this empowerment makes eerything so much more
powerul. Len i an element is not included in a spell, each spell

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casted by a mage who has empowered the ie elements will be
greatly ampliied. 1he process to empower the ie elements
requires the use o mala. 1his process is proided at the end o
this book.

+(6(G A majutsushi usually has a charged mala, which is a
Buddhist prayer necklace o exactly 108 beads. Sometimes there
are other beads that sere as a counter locator, or a symbolic
decoration, but the necklace loop must count 108 beads. ,109
beads on a lindu mala,

1he soul ,and mala, o the mage will eentually hae to be
charged with the nine Sanskrit mantras o Kuji-In. 1o charge a
mala, the majutsushi chants each o the nine Sanskrit mantras o
Kuji-In a total o 11664 times while counting with his mala. lor
twele days in a row, without passing a single day, the majutsushi
takes his mala, and chants the mantra using the beads to count,
until he has chanted nine malas o a single mantra. A mala has
108 beads, chanted nine times per day ,92 mantras, oer a
period o 12 days ,11664 mantras,. \hen the majutsushi has
charged the irst Kuji-In mantra ,RIN,, he then charges the
second ,K\O,, and so on... Ater 108 days, the mala is charged,
and so is the majutsushi.

I the majutsushi loses or permanently breaks his mala, he does
not lose the charge he built in himsel, this will neer leae him.
But he does lose the physical tool. A charged mala seres as a

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physical link to the matrix, greatly empowering the eect while
cutting the grid. It is recommended that in such a case, a new
mala be re-charged. Once your soul is charged, you do not need
to go thru the entire process again, only to charge your new mala.
1o charge a new mala, you hae to do 9 malas in a row o the
mantra to be charged in the mala, and your soul will rebuild the
inluence it has on the new mala. \ou can also do 1 mala per day
or 9 days.

Other mantras can be charged on the same mala. 1here are a ew
Buddhist mantras that will help the majutsushi in his practice.
loweer, each new mantra charged on the mala used to do Kuji-
Kiri, will preent the casting o spells that are oriented in other
directions. Charging the mantra o compassion will preent the
casting o harmul spells, but will positiely inluence the casting
o eery compassionate type spell. 1he mantra o compassion is:
5? +()$ A(*?0 B"? .

A mala can only be used by the caster it belongs to. 1he caster
must hae charged his mala by himsel, or in rare cases, when the
mala is oered by an enlightened being that is One` in
consciousness with the majutsushi. In any case, the majutsushi
must still hae charged the nine mantras o Kuji-In in his own
consciousness. 1he deoted majutsushi will also hae to charge
the ie elements. 1his ie element process can be ound at the
end o this book.

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A&0@(&(,$2)G Beore any casting o a spell, the majutsushi must
charge himsel with the speciic energies that will be required to
cast the spell. 1his is done by:

- Meditating prior to the casting o the spell. Meditation is also
recommended ater the casting, or the sake o the caster.

- Chanting multiple malas o the Kuji-In mantra associated with
the spell to cast, i it is known. \e will oten use the Kuji-In
Sanskrit mantras. 1he elemental mantras can also be used, een i
no element is present in the casting itsel, it builds up raw matter
in higher planes.

:(-,$)7G 1he caster must be relaxed beore and ater the casting.
At the moment o casting, the majutsushi must empower himsel
spontaneously and become powerul in his behaior. All his
actions must be illed with determination. lis moements must
not be stressed, angry or abrupt, but they must show sel-control
and strength. At the moment o casting, the majutsushi breathes
in graceully and powerully, but not necessarily quickly. le
braces his arms and torso, and the casting begins.

1he grid must be drawn with conidence. It must not be drawn
too switly, like i it was done with sword slashes, but rather done
like i it was penetrating the abric o the unierse. Be as precise
as possible, but do not worry about the exact graphic outcome.
\ou must not permit your mind to hae doubts about the

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spreads o the lines or the accuracy o the symbol. I you draw
the grid and the symbol, it will work. Precision is something you
must worry when you practice, but during the actual casting, it
must not een cross your mind.

\hile the grid is drawn, the caster has to be mentally and
emotionally absorbed in the connection with the matrix o the
unierse. \hile the symbol is drawn, the caster has to be mentally
and emotionally absorbed in the desired eect on the target.

\hen you are done drawing your symbol in the middle o the
grid, place your entire palm in the grid and repeat the word,s,
represented by the symbol,s, many times. 1he popular belie is
that the majutsushi draws a grid and a symbol in midair, then
utters a single word, but in actuality, it is recommended to keep
your palm in the middle o the grid, and recite the spell at least o
ew times, while remaining totally absorbed in the desired eect.
1he casting is instantaneous only when using ink and paper. I
you can permit yoursel to be ocused or at least one minute, it
will hae a much more powerul eect. In any case, re-cast the
spell as oten as possible, to nourish its eect, eiciency and
duration. Use your mind to diuse the eect o the new thought-
orm in the area to aect.

A ery experienced majutsushi can cast a spell without
preparation, without anchor to the target, in a swit manner,
without een uttering the spell ocally. 1his requires practice and

" $* "
experience. \ou should irst start by drawing the grid slowly,
ollowed by the symbol, in a paused manner. I you draw multiple
symbols, utter the complete word,spell once at the end o the
drawing process. Don`t hesitate to pull willpower in your
intention, but do not allow your heart and guts to become
enraged or negatie. Power can remain pure in intention and will.

Spell casting examples will be proided later in the book, so that
you can get a better idea o how the entire process goes. It will be
useul to re-read this entire document a ew times.


" $+ "
.4(@0- ()* -$7)-

Other shapes and symbols can be used as a orm o support or
the main inluence o a process. In Kuji-Kiri, while the most
important aspect o a process consists in drawing the main
symbol oer the grid, it is common to see other symbols under
the grid, or on the other side o a talisman. \e will oten see
dierent shapes and sings, accompanied by other kanji.

\heneer possible, try to draw shapes and signs in a clockwise
ashion. Draw a single line rom top to bottom, or rom let to
right. Draw other shapes rom their upper let ,or central, point,
and to the right and bottom. An upright triangle would be draw
rom the upper central tip, to the bottom right, to the bottom
let, and back to the upper central tip. \hile an downward
triangle would be drawn rom the upper let tip, to the upper
right, to the central bottom, and back to the upper let tip. \hen
placed lat on the loor or in a horizontally ixed anchor, you
should use the magnetic north to deine the top orientation o
the entire design.

In the intensity o the moment, do not expect to draw perectly
straight lines. Do your best to be as symmetric and coherent as
possible, but also accept the slight ariations, that will
nonetheless add style to the art. Closed shapes ,circle, triangle,

" %, "
square., should not hae any opening or be missing any part o
the shape. Closed shapes must be entirely closed when drawn.
lor all these reasons, you will hae to practice your drawing skills
with your hand, but also with your pen,brush on paper. 1ake
some time to practice yoursel at making lots o circles, and lots
o triangles, and lots o squares, so that you get better and better.
1hen, at the moment o an actual ritual or spell-casting, you will
be better than i you had not practiced at all.

Lach shape must be empowered that same way you did with the
empowerment o symbols, drawing them in ront o you,
dragging them in your mind,nerous system, your abdomen, and
your entire body, and meditating. Repeat the shape
empowerments or 9 days or maximum eiciency.

I0&,$/(6 6$)0G A line can be drawn ertically to separate two
eects, or deine a limit o inluence. Its use is not common.

B2&$F2),(6 6$)0G A line can be drawn horizontally to indicate a
physical and spiritual combination o orces, when a symbol is
drawn oer and under it. A horizontal line at the bottom o a
ormula or spell can indicate that it stands on natural laws or
physical principles, or to bring stability to a situation.

8&$()760G A triangle can be drawn to promote the expansion o a
certain conceptual energy. A kanji drawn inside the triangle will
be the orce in expansion, while 3 small kanji drawn outside its

" %# "
aces will represent the result o the expansion. A triangle
pointing down will bring spiritual energies to lower, more
tangible planes, while a triangle pointing upwards will indicate a
rising orce, an upliting, or a spiritualizing experience.

A good rising triangle example is to draw the kanji o ire inside
the upright triangle, then the kanji o purity below it, the kanji o
harmony on the let, and kanji o happiness on the right. Put all
this in a circle, and you hae a talisman to puriy energies,
emotions and thoughts, that will bring a sense o harmony in
your mind and happiness in your heart.



" %$ "
.J"(&0G Mostly used in physical or tangible matters, the square
represents the spiritual base or physical orm. 1he square is the
archetypal block that composes structures. It is used to address
the physical plane. It is oten used as the most outward shape. In
Buddhist and lindu mandalas, it is common to see a circle base
in the center o a general design, representing spiritual eents or
concepts, encased in a square exterior shape that represents the
world, the structure, or the physical maniestation. 1he square is
most oten a philosophical container o some sort, like the
physical body, an energy resere, a house, or other.

:&2--G 1he balanced cross is similar to
the square concept, or it is still a shape
based on the number 4. It is used to
represent the spiritual and physical plane
interacting. It is also used to represent
the structure, where the square is used
to represent the container.

.=(-,$K(G 1his shape is the cross in
moement, representing the world in
motion. Its right angles mean that the
structural energies are in motion. It is
used to bring luck, blessing, and ensure
that eery aspect o a situation are
working good. It is popular in linduism and Buddhism. It is
oten seen in the hand o a holy igure. Although it was made

" %% "
popular with the Nazi moement, it should not distract you rom
the beauty and integrity o this most ancient holy shape. 1he
swastika has been used since the origins o spiritual traditions or
good luck, prosperity and ictory. 1he Buddhist swastika, aimed
at eleating the human sel to the spiritual reality, is draw like it is
shown here. But the lindu swastika was used to bring spiritual
energies in the tangible experience, and the direction o the
branches are in the other direction ,like the Nazi symbol was,.

A0),(72)G 1he more complex the
shapes become, the more diiculty it
adds to the empowerment and the spell-
casting. Its understanding is essential
beore you can start using it in ritual
magic or spell-casting. \hile the square,
based on the number 4, is the inal step o any type o
maniestation in the world, the pentagon, based on the number 5,
represents the resultant o a maniested experience. \ou should
use the pentagon i you wish to inluence the outcome o a
physical action, or o a structural process. Place a Kanji inside the
shape representing the result you wish to obtain as the outcome
o an action or eent. I you insist in putting kanji or symbols
outside the shape, they should describe the way you wish the
eents to happen. I you wish to add een more precisions, know
that the upper right side is about the spiritualized emotional
orce, the upper let side is the intellectual understanding, the
lower right side is the humanized artistic or sensuous aspect, the

" %& "
lower let side is the mechanical understanding o the process,
and the bottom side is about the physical act, container or eent
itsel. \hen you irst empower the pentagon, you should simply
empower the general shape and try to grasp its concept, without
paying attention to the unction o each side. At a later time,
when you are more experienced, you should re-empower the
pentagon when you can remember the ie outer aspects
mentioned.

\ou should aoid using too complex structures in your irst
attempts at Majutsu ritual or spell-casting. Nonetheless, beore
you can eiciently empower urther shapes, like the pentagon or
the pentagram, the irst shapes to be empowered should be the
circle, triangle, square and cross.

A0),(7&(?G Like the pentagon, the
pentagram, also based on the number 5,
is complex and diicult to grasp at irst.
\hile the pentagon is a closed shape
encompassing its entire inner area, the
pentagram crosses each line oer two
other lines, representing the interaction o orces. Once a shape is
maniested or set in place ,square, cross, 4,, it can be set in
motion with the pentagram, which is the interactie 5 sided
shape. \hile the pentagon is used to address and direct the
natural motion o things, the pentagram is used to create an
inluence, to willingly set a orce in motion, or to powerully

" %' "
resist another orce. 1he pentagram is used to control an element,
to produce eents, to apply your will oer something, to prooke
a motion in a situation that was preiously inactie. 1he
pentagram is probably the most diicult shape to understand and
empower completely. \hen you are ready to empower the
pentagram, you should irst empower it only using the general
concept o setting orces in motion. It will be suicient to use it
in your art by placing a kanji in its center. loweer, i you wish
to go a second step, know that the signiication o the outer
spaces in-between each tip are similar to the sides o the
pentagon. 1o go one more step urther, the inner spaces in each
tip works as ollow. 1he upper tip will represent the higher
nature, the Sel, the most spiritual aspect. 1he upper let tip will
represent the raw or basic orce in motion. 1he upper right tip
will represent the method or strategy o the motion. 1he lower
let tip will represent the way the raw orce will inluence the
physical eent. 1he lower right tip will represent the eeling or
emotional charge behind the motion. In any case, the pentagram
will be most eectie i you empower it three times, once with
the general shape, a second time with the concepts o the outer
tips ,similar to pentagon,, and a third time with the concepts o
the inner tips.

Generally, we place a pentagram inside a circle or a general
inluence in eery aspect. 1he circled pentagram is used in many
talismans, and is ery easy to use as a medallion. loweer, you
can place the pentagram in a square, with no tips touching the

" %( "
square, to represent a orce set in motion in the most tangible
way. 1he pentagram can be placed inside a pentagon, tips
touching the outer shape or not, to hae a maximum precision in
the eect o the talisman. loweer, you should be warned that
the more complex your talisman becomes, the less eectie it is i
you can`t grasp all the aspects o a talisman in a single thought
orm. lor this reason, you should aoid creating pizza-like
talismans such as a triangle in the center o pentagram which is
also in the center o a square, with a sea o kanji, symbols, crosses
and swastikas loating around, in eery ree corner o a most
impressie design. 1o better illustrate what we mean, please try
to analyze and understand the entire concept shown below,
which is supposed to bring wealth thru easy work, i it can
actually be drawn by a majutsushi capable o keeping eerything
in mind during the drawing and spell-casting o the talisman.


" %) "
Below is a standard application o pentagram talisman. I`ll let you
discoer the inner workings when you hae gained much more
experience in Majutsu, but I`ll tell you it has to do with rectiying
ones karmic weight, to release the maniestation o suering in
one`s lie.



Len i you did not yet empower each aspect o this talisman, the
reproduction o it along with a simple empowerment will still
hae its positie eect. 1his talisman could be drawn on the
other side o a parchment baring a Kuji-Kiri grid with the symbol
o happiness.

" %* "
L @2$),0* -,(&G Combining the eect o two triangles joining, we
can deduct that it has to do with the joining o two expansie
complementary orces. 1he upright triangle going up to the
spiritual realm, and the downward triangle going towards the
physical aspect, they join at a point o conergence, and bind
together harmoniously. 1his shape always represents the
harmony o polarities, the collaboration o all leels o an
experience, and the unity o consciousness in eery aspect o a
situation. It can be used to help in the joining o a man and a
woman, but you should abstain rom casting spells that go against
someone`s ree will. It can be used in strengthening the bonds o
a amily. It is useul in spiritual matters where we wish to unite
our human nature to the ligher Sel, or een to bring the
presence o the Sel in the tangible experience o lie. 1he two
triangles will always represent polarities. 1he downward triangle
comes rom the heaens and thus
represents the masculine, the positie
aspect, daytime, \ang, incarnation.
while the upright triangle comes rom
the earth and represents the eminine,
the negatie polarity, nighttime, \in,
sublimation.

1he inner center area is the place o the Sel, o the goal o the
inluence, or the main acting character in the talisman. 1he 6
inner areas o each point represent orces in action. 1he 6 outer

" %+ "
spaces in-between each tip represent the way the eents will take
place, or the energies accompanying the maniestation.

1he 6 inner areas in the points, combined with the 6 outer areas
in-between the tips, are 12 areas that each hae their unction.
1hese spaces can be used to display the 12 signs o the zodiac, or
a series o symbols that will inluence the happening o an eent.
Symbols can also be placed at the tip o each point i there is
room, to represent the resulting outcome o the inner orces at
work in the inner tips. Remember that too much complexity
might take you away rom your goal. 1he simpler the talisman,
the better it is.

1he 6-pointed star is always existential in its use. It is rarely used
in oriental magic. Because o its binding properties, it did not
become popular amongst the Buddhist mages that promoted
non-attachment. \here the lindus want to unite the body with
the Spirit, the Buddhists wish to detach rom all material things,
including their own body, eentually. Nonetheless, it is useul to
use this shape in amily matters, amongst groups, in a
community, or in a relationship.



" &, "

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>?@2=0&$)7 !"#$%;) K()#$

Beore you empower more symbols, you should empower the
nine basic Kuji-In Kanji, simply to make them more present in
your kuji-kiri practice, and make the drawing o the grid more
eicient.



RIN ,lace, K\O ,1roops, 1Ol ,light,
Rin ,'`) liyou ,t=" 1Ou,1"
) [


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SlA ,Person, KAI ,All, JIN ,Position,
Shia ,:) Kai ,7" Jin ,:`,
T


RL1SU ,Split, line, ZAI ,Lxist, ZLN ,In ront,
Retsu ,1`) Zai ,'" Zen ,1`,
] T ]

" &% "
.(?@60 (@@6$/(,$2)-

1he popular application o Kuji-Kiri nowadays is to accompany a
conentional treatment or health beneits, or to protect a house.
Nonetheless, we will coer a ew sample applications so that you
get to understand the general rules. \et it does not suice to
know the rules, you also hae to practice or a great while, so to
synchronize your isualization, gestures, and willpower.

.$?@60 &$,"(6

lere is an example on how a user would set a protection circle
or his home. 1he symbol o protection will be the main symbol
drawn on the grid, and the symbol o harmony will accompany
the talisman, drawn oer a simple rice paper sheet. \e consider
here that the symbols o protection and harmony are already
empowered by the user, thru preious meditation. 1he brush, ink
and sheet hae been preiously empowered or a short moment,
right beore the ritual itsel.

- User has prepared a traditional Japanese brush, sheet o
rice paper, and black ink. le is in his house. le can light
a white candle and some sot incense.
- User meditates or ie minutes on the symbol o
protection and harmony, and their radiance perading his

" && "
house, using as a mantra the recitation o the words in
Japanese ,Li. wa. ,. Very experienced majutsushi do
not hae to meditate prior to a Kuji-Kiri process,
especially i they are permanently in a meditatie state.
- User slowly comes out o the meditatie state, not to gie
a shock to his nerous system, but does not lose the
ocus on the concept he is empowering.
- User snaps into an empowered state o mind with will
power, taking a deep breath, rectiying his spine or a
moment, opening his eyes wide.
- Immediately takes the brush and draws the Kuji-Kiri grid
on the upper part o the rice paper sheet, while reciting
the nine syllables ,Visualization o the Kuji-In kanji is not
essential, and would be diicult considering the speed o
the drawing,. It has to be done in a decisie, yet non
iolent way.
- User takes more ink, and draws the symbol o protection
oer the center o the grid. A symbol does not hae to
touch all lines, but only be within it. At the last stroke,s,
o this symbol, he utters or shouts the Japanese word ,Li,
with great will power in his oice and mind.
- le then draws the symbol o harmony under the grid,
staying ocuses but pushing less will and intention. On
the last strokes, he utters or shouts the Japanese word
,wa,. 1he oice must imitate the attitude o the word,

" &' "
thus there can`t be anger in shouting \a!!!`. In this case,
a sot but decided uttering is recommended.

1he talisman sheet is now empowered and is ready to aix to a
part o the oundation o the house. I the house would be under
a speciic threat, then it would be recommended to make as much
o those talismans, in a small ormat, to place aboe each door
and window.

:2?@60M &$,"(6
lor this sample ritual, the majutsushi will be perorming an
abundance blessing or someone else, in a way to create a
talisman that the speciic receier will be able to wear on
him,hersel.

1he mage will hae a brush and black ink. le will prepare a rice
paper sheet cut to the size o 2`x2`. le will old the sheet in
our, so that once unolded, the sheet will still hae the markings
o the olding, making isible our squares o 1`x1`. 1he relation
to the number 4 should be clear at this point. 1he goal o this
process is to bring maniesting energies to the physical plane.

le will also hae a bottle o essential oil o orange, or o another
plant that represents abundance. A small abric pouch will be
used to put the olded talisman. lour orange or white candles will

" &( "
be lit in each direction, around the mage and the spell-casting
area. lor this ritual, the mage will need a small photo o the target
person who will be carrying the talisman in the pouch. 1he photo
will be placed on the altar, table, or casting area. 1he talisman
paper will be put oer the photo. 1he target on the photo will
also be empowered while the mage draws the symbols on the
paper oer it.

1he user will do about the same as in the prior simple ritual, with
the symbols o abundance, wealth and happiness. 1he user will
snap out o the meditatie state to draw the grid on the inner side
o the 2`x2` paper. le will them cast the symbol o wealth oer
the grid, in a decisie and artistic manner, shouting lU` on his
last brush stroke. le will proceed to blow on the ink to make it
dry aster. \hile blowing or 1 minute, might as well transmit
more energy to the talisman by isualizing the ibration o wealth
inesting the talisman thru the blown wind. Once the ink looks
dry enough, the mage will old the talisman one time, the let side
olding on the right side. le will put a drop o orange essential
oil, preiously empowered. le will then old the upper part on
the lower part o the talisman, bringing it to the inal 1`x1` size.
On the ront side, he will draw the kanji o abundance, glow on it
to make it dry, while empowering more with abundance. 1hen he
will turn the talisman expose the back side, onto which he will
cast the symbol o happiness. le will blow again to help the ink
dry aster.


" &) "
1he photo o the target and the talisman will be put together in
the small abric pouch, or other suitable container. 1he presence
o the photo is to keep empowering the target een when the
talisman is not worn by, or carried close to the target.

I the majutsushi wishes, he can take a bit o time to explain what
he did to the receier. It is wise to plant the seeds o
consciousness in the mind o those who are ready to understand
them. loweer, be humble and diligent with elder people, or
those who could be oended by knowing the details o the art.





" &* "

" &+ "
.C?926 (@@0)*$M

D;N &06(,0*
1he irst set o symbols relate mostly to the base chakra type o
experience. 1hese symbols would be isualized as red, either
glowing, iery or striking red lightning, depending on the type o
eect you wish or. 1he base chakra manages all the areas that
relate to being alie, powerul, and present in the body. It relates
to issues o physical security, to genetic behaiors, and much
more. All that is coered in the RIN Kuji-In chapters relate to the
base chakra.


1rust laith Lie
Shin ,:`" Ko-u , , Mei ,>"
|

" ', "
!O5 &06(,0*
1he second set o symbols relate mostly to the nael chakra.
1hese symbols can be isualized in orange, or internal purposes,
and with white lows o light, or interaction with the world.
Note that i you wish to bring someone`s internal energy to rise
up, you should use the orange isualization related to internal
purposes. 1he act that your target is someone else does not
mean it is an interaction` type o application. 1he isualization
does not depend on how the target,receier relates to you, but
how it relates to the desired eect. 1he second series o symbols
relate to experiences similar to the K\O Kuji-In.


Control Master Justice
Katsu ,7`" Shiyu ,:) Gi ,,
$

" '# "
85B &06(,0*
1he 1Ol type symbols should be isualized in white light. Its
source is the inner abdomen, the dan-tian. It can be isualized in
the abdomen, or around the body, or target. It is used to conquer
onesel, to ight our inner demons. Only when we are ictorious
within, can we become ictorious without.


Victory larmony Protection
Shiyou ,:=" \a ,) Li ,3,
] Y @

" '$ "
.B1 &06(,0*
1he SlA related symbols should be isualized yellow or
intellectual aairs, and golden or spiritual or healing matters. It
has a relation with the solar plexus.


lealthy Illuminate Determination
Ken ,U`" Shiyou ,:=" Ketsu (U`"
# [ ,
Note: 1he ictory sign in the Kyo series is said the same way as
Shine,illuminate, o the Sha series. It is like a homonym. Same
goes or many others, like the word Shin` or truth, and heart.


" '% "
!1; &06(,0*
1he KAI related symbols should be isualized as bright emerald
green. Its relation is to the heart. It is used to discoer Loe
within. Only then can it be expressed outside.

Loe Aection leart
Ai ," Ji ,:" Shin (:`"
(
Compassion
Dou ,1, Jiyou ,:=,
[|

" '& "
P;N &06(,0*
1he JIN related symbols should be isualized as bright electric
blue. Its relation is to the throat chakra. 1hey relate mostly in
understanding onesel, understanding the world, knowledge,
expression.

Understand Knowledge \isdom
Chi ," Kaku ,7" Li (3"
%

" '' "
D>8.Q &06(,0*
1he RL1SU related symbols should be isualized as dark green,
or luminous jade green. Its relation is to the jade gate, behind the
skull. 1he goal o these symbols makes little sense to the
inexperienced spiritualist. 1hey mostly relate to perception,
dimension, space and time.

Perception Space 1ime
Nin ,`" Ku-u ," Ki ("
p #

" '( "
R1; &06(,0*
1he ZAI related symbols should be isualized as light radiating
dark indigo, similar to a white,maue luminous stroke, with the
haze o a black light. 1hese symbols relate to the third eye, to the
concepts o spirituality and creation.

Create Llement Origin , source
Sou ,`" so, `, Gen ,U`,
@ # ;
A base,original element is also Genso ,U`` , ;#
An elemental being is Gensoshia,U``:, ;#T

" ') "
R>N &06(,0*
1he ZLN related symbols should be isualized as light radiating,
mostly white and golden. It has a relation with the crown chakra.

Buddha 1ruth leaen
Butsu ,`, Shin ,:`, 1en ,`,
/
Meditation Angel , Celestial
Mei ,>, 1enshi ,`:,
|

" '* "
840 >60?0),-

Larth \ater \ind
Chi ,, Sui ,, lu ,,
|
lire Void
Ka ,7, Ku-u ,,
9

" '+ "
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S2&* D2?()#$ !(,(K()( !()#$

Abundance lo-u H
Acceptance \o-u E
Buddha Butsu `
lorgie Shia : #
Physical 1ai 5
Recognition Nin ` p
Relationship Chiyu-u f

" (, "
Responsibe,answer to Seki 1 #
Responsibility , duty Nin ` |
Sincerity Sei 1
Spirit , soul Rei 1
\ealth lu


lor more kanji, you should search the web, or purchase a kanji
dictionary. Lmpowering all the kanji ound in this book, in the
suggested order, will gie you the most direct experience o what
it is to become a majutsushi.

" (# "
!"#$%;)

lor those who are not interested yet in deeloping the ull
potential o Kuji-In, here is the most basic introduction. Kuji-In
is an art that transorms the practitioner into a supernatural
being. \et, or the curious, this short introduction will suice or
basic empowerment o the Kuji-Kiri grid.

Only the Japanese pronunciation o the mantras is proided. 1he
original Sanskrit ersion is to be used by the most deoted users
o Kuji-In.

Put yoursel in a relaxed or meditatie state, then put your hands
in the suggested mudra orm, and repeat the mantra or long
periods, while contemplating the short philosophical principles or
each step o Kuji-In.

Lach Ji-In ,syllable seal, must be practiced or a minimum o a
ew hours so that your soul may become charged with the
spiritual energies they inoke. Cutting the grid is next to useless
beore this process is done. Only when Kuji-In is actiated in you
that the grid really interaces with the abric o the unierse while
you draw it.



" ($ "

#" -./


Lxtend your two middle ingers and interlace all other ingers.

Chakra: Base
Mantra jp: On ba shi ra man ta ya sowaka

1he RIN set is used to strengthen your mind and body. 1his
Kuji-in set must be perormed beore any other Kuji-in sets can
truly be eectie. 1he RIN Kuji acts as a sort o hook-up to the
Ultimate Source o all Power. By connecting you with this Diine
energy, the RIN Kuji strengthens your mind and body, especially
in collaboration with the other practices o the Kuji-In. A
stronger connection to the Diine energy source will make you
stronger at eery leel. Please be aware that this set may eleate
your body temperature.



" (% "
$" 012


Lxtend your index ingers and bend your middle ingers oer
your index ingers so that the tip o your thumbs are touching.
Interlace all your other ingers.

Chakra: lara,Nael
Mantra jp: On isha na ya in ta ra ya sowaka

K\O actiates the low o energy within your body and outside
o you, in your enironment. 1his Kuji will help you learn to
direct energy throughout your body, and eentually outside your
body, so you can maniest your desires in the objectie world.
Although willpower directs energy, you must not push too hard
with your willpower. \illpower that is used to direct energy
should be rather like wanting something a lot` but not like
getting a stranglehold on something, or pushing with a crippling
orce`. Len when you apply your willpower to attain something
you desire, you must always be at peace and relaxed.


" (& "
%" 324


Point your thumbs and the last two ingers o both hands while
keeping your index and middle ingers interlaced inside your
hands.

Chakra: Dan-tian, between the lara and the Solar Plexus
Mantra jp: On je te ra shi ita ra ji ba ra ta no-o sowaka

By practicing 1Ol, you will deelop your relationship with your
immediate enironment, and eentually with the entire unierse.
As you practice, begin by illing yoursel with energy and then
surround yoursel with this energy. ,1his is accomplished by
isualizing that it is so,. 1his is the Kuji o harmony. It teaches
you to accept the outside eents o lie while remaining at peace
inside. Always breathe deeply inside your abdomen, naturally,
without strain.




" (' "
&" 546


Lxtend your thumbs, index ingers and both little ingers.
Interlace your middle and ourth inger inside your hands.

Chakra: Solar Plexus
Mantra jp: On ha ya ba shi ra man ta ya sowaka

\ith this Kuji, the healing ability o your body is increased. As
you practice this set, your body will become more eicient in its
daily rebuilding, healing and reconstruction. 1his increased
healing eiciency is the result o the higher leels o energy
passing through your energy channels ,Meridians, and your solar
plexus. 1his healing ibration will eentually radiate around you,
causing other people to heal as you spend time with them.



" (( "
'" 06.


Interlace all o your ingers, with the tip o each inger pressing
into the root o the acing inger.

Chakra: leart
Mantra jp: On no-o ma ku san man da ba sa ra dan kan

1his Kuji will raise your awareness and help you to deelop your
intuition. 1he mudra is called 1he outer bonds`. 1he outer
bonds are the energy currents that precede eery eent, i only or
an instant. 1hey are the speciic inluence rom the outside world
that produces eery one o your experiences.

Intuition is a powerul ally, it is the way you perceie what your
senses register rom your contact with the enironment, and
rom the people surrounding you. 1his set will increase your
intuition and will help you to learn to loe yoursel and others.


" () "
(" 7./


Interlace all your ingers, with your ingertips inside, each o them
touching the equialent tip o the other hand`s inger, i possible.

Chakra: 1hroat
Mantra jp: On aga na ya in ma ya sowaka

1he inner bonds` are the energy currents inside you that
connect you with your 1rue Sel. \e hae the ability to know
what others are thinking. By reaching deep inside you, into the
place with no words, you may get in contact with this same place
in others. \hen you make this connection you may hear the
other person`s thoughts without words, or you may learn to
communicate by thought concepts, this is commonly called
telepathy.



" (* "
)" -8359


Point your let index inger up. \rap the ingers o your right
hand around your let index inger. Place the tips o your right
thumb and index inger in contact with the tip o your let index
inger. 1he ingers o your let hand are gathered into a ist.

Chakra: Jade Gate, at the back o the head
Mantra jp: On hi ro ta ki sha no ga ji ba tai sowaka

Ater practicing the Kuji-In exercises or some time, they will
alter your perception o gross matter so you will be able to
perceie the dierent lows o energy composing our space-time
multi-dimensional unierse. Per the theory o relatiity, as mass
accelerates, time slows, thus i your energy is lowing, and you
apply your willpower, your mass accelerates, time slows or you
and you can simply change ,or direct, the low, or motion o
your body through space.




" (+ "
*" :6.








1ouch the tips o your thumbs and index ingers
to orm a triangle, while your other ingers are spread out.

Chakra: 1hird Lye
Mantra jp: On Chi ri Chi i ba ro ta ya sowaka


By practicing with this set, you will establish a relationship with
the Uniersal components o creation: the elements. 1hese
elements are not only physical, they are also spiritual. 1his Kuji
practice is a basis or the power o maniestation. Visualize being
in harmony with nature. Visualize the low o Qi rom nature to
you, and rom you to nature. Ater a while, notice your increasing
awareness that nature is alie, and that you can communicate with
it. Nature will interact with you within the limits o natural law.
Lentually, as you improe your sensitiity to nature, you might
deelop the ability to call orth an elemental maniestation, when
mastered.

" ), "
+" :8/








Rest your let knuckles on the ingers o your right hand, with
your right palm open. 1ouch the tips o your two thumbs gently.

Chakra: Crown
Mantra jp: On a ra ba sha no-o sowaka

Illumination is the highest state o mind. Illumination is a kind o
Completeness, accomplished by Meditation. By using this
practice, you can eentually disappear rom the common mind.
\ou are still there, o course, but others in the common mind
cannot register your presence, because your ibration is higher
than what their minds can recognize or interpret as real. 1o
practice, imagine simple emptiness, calm white light eerywhere,
1hen isualize melding with the white light. It is belieed that to
the aerage person you might become inisible.

Many hours o practice are required to eleate your ibration
leel enough to maniest the side-eects, like suggestie
inisibility.


" )# "
840 T >60?0),-

In addition to empowering yoursel with the kanji o each o the
ie elements, it is required to charge the energy o the elements
in your soul. In this case, it will be done like the Buddhist mages
do so, with the use o a mala. A mala is a wood bead necklace o
exactly 108 beads. Some hae a 109
th
bead that is not counted
during this practice. 1he expression chanting a mala` means that
you will chant, or speak rapidly, a certain mantra or exactly 108
times, while using your mala to count. Use your thumb or major
to count the beads. \ou should not use your index inger to shit
the beads while reciting mantras.

1he ie elements are more than the tangible elements we think
o when we speak o earth, ire, spirit, water and air. 1he spiritual
ie elements reer to their concept, rather than their physical
maniestation. \e will explain the concepts to contemplate while
you charge the mantras o the ie elements. 1he ollowing
concepts are what I like to reer to the basic ie elements, where
we go to the core o their energy. lor each o the ie elements,
you will do a 9 x 12 type charge, reciting 9 malas per day, or 35
minutes, each day or 12 days in a row. Using a mala goes a bit
aster than counting 35 minutes, when you are used to the
spelling o the mantras.


" )$ "
Lach o the ie elements mantras call orth the assistance o
Diine concepts that most people reer to as gods. \e do not
require the belie that there are actual human people in the
personal orms o Bhumidei, Agni, Aalokiteshwara, 1ara,
Cittaamala. 1hese are the representation o the highest orces
acting in the unierse, and these mantras use the Buddhist
approach to inoking their interention. 1here are no real
elemental processes that do not inoke the help o the Diine
orces. loweer, eeryone may call upon the Diine names o
their own system o belie. \e will proide an explanation o
each mantra, and oer ariation possibilities, or the student to
call the Diine orces using the names that corresponds to their
system o belie.

A student once asked me i it was acceptable to charge more than
one mantra at a time. About charging more than one mantra at a
time, you may, while ollowing a simple rule. \hen charging
mantras rom series ,like the elements, you hae to be certain to
start the mantra charges in order to inish charging each mantra
beore you inish the next one ollowing it. Start the ire mantra
charge ater you start the earth mantra charge, so that you inish
the ire charge ater you inish the earth charge. 1his also means
that i you charge the earth and ire elements in the same twele
days, you simply hae to do the earth mantra irst, and the ire
mantra charge next. 1he same goes or charging the 9 Kuji-In
mantras ,not doing the Kuji-In mudra while you hold you mala,.

" )% "
>(&,4
Most people will think o earth as a symbol o stability, while the
spiritual concept o earth is generation. Stability is linked mostly
to the symbol o a rock, which is a part o the earth element.
lrom the earth come out lie and it contains all the metals that
manage electro-magnetic ields. Larth does encompass the
concept o stability, but it goes so much urther. 1he earth
element is the most important element to keep eleated in your
energy system. It is the base o creation, and it is also the base o
mental health. lae you eer seen a down-to-earth` person with
mental illness Most mentally ill people are not connected to the
earth element.

\hile you charge the earth element, or simply recite the mantra,
think o the lie giing aspect, the generation o plants, and the
support o electro-magnetic ields. 1he earth element will
stabilize and puriy your Chi, your lie energy. It will support
protection circles around you, at the physical and spiritual leels.


" )& "
840 0(&,4 ?(),&(G 5? @&$,4$<$*4(," U4"?$*0<$C(

Om: Diine syllable
Prithii: earth, the dirt
Dhatu: nature o, aspect o
Bhum: earth, the planet
Dei: diinity
\a: grammatical association

1he earth mantra inokes the energy o the earthly nature o the
diine being that is our planet. All traditions may recite this
mantra and respect their tradition. 1he Lnglish translation would
be something like earthly nature o the goddess Larth`.

Once you hae charged the earth mantra, you will be able to
inoke protection energies each time you recite the mantra
mentally or aloud. \our mental health will increase. \ou paranoia
will disappear. \our Chi , Lie orce will low harmoniously in
your body. 1he earth element is an essential beore we can
proceed to other trainings that inole interaction with the
material world.


" )' "
V$&0
1he ire element is NO1 the concept o burning and destruction,
although it can be used or such applications, mostly in
puriication processes. 1he ire element`s true orm is not
destructie. lire takes matter rom a certain leel o ibration,
and it brings it to another higher leel. lire eleates the energies.
It puriies the dense stagnant energies and transorms them in a
higher nature, unclogging your energy circuitry. lire also brings
change and renewal.

In nature, we can obsere how ire will transorm solid
compounds into liquid or gaseous orms. It alters the molecular
structure and the chemical ormulation o components. lire
generates energy, and makes eery other process powerul.

\hile you use the ire mantra, contemplate the power generating
orces, and the eleating eect.

840 3$&0 ?(),&(G 5? 80#(-*4(," 17)(C(

Om: Diine syllable
1ejas: Power, energy, orce associated to ire
Dhatu: nature o, aspect o
Agni: lire, both the orm and Diinity ,Agnaya here,
\a: grammatical association


" )( "
Agni is not a Diinity limited to any tradition. It is more popular
in the lindu tradition, but it simply means ire, in the orm o an
intelligent natural orce. lire is the most powerul orce in nature.
1his mantra means something like Powerul nature o lire`. In
sanskrit, sometimes we write the word lire using tejas` and
sometimes using agni`.

B0(<0)
1he heaen element is o the highest spiritual nature. It inokes
the action o God in your lie. It is the spiritual element. It is the
tool o all spiritual actiity. Charging this mantra eleates your
consciousness. I you are not already born ,ully existing, in the
spiritual realm, this mantra will accelerate the process.

840 B0(<0) ?(),&(G 5? 1K(-4(*4(," 1<(62K$,0-4=(&(C(

Om: Diine syllable
Akahsa: leaens, spiritual realms
Dhatu: nature o, aspect o
Aalokiteshwara: Bodhisatta o compassion
\a: grammatical association

Aalokiteshwara is the third personalized concept o the loly
trinity in Buddhism. \here the Christians name the lather,
Christ, loly Spirit`, the lindu name the Bramha, Vishnu,

" )) "
Shia`. 1he Buddhist would see the trinity o their concepts in
Amitabha, Mahastamaprapta, Aalokiteshwara`.

I you eel uncomortable praying to Aalokiteshwara using the
Buddhist mantra, you can recite the mantra using the name o the
Christian loly Spirit,Ghost said in Sanskrit like so:
Om Akashadhatu Baghaaatman

Or using the equialent in the lindu tradition:
Om Akashadhatu Shiaya

S(,0&
In water, lie is born. \ater is the supporting substance in which
all lie dwells. \ater ashions earth. \ater is the element that
represents the womb o the unierse. All is within a orm o
water o a higher nature that encompasses, penetrates and
perades the entire unierse. 1here is no matter that exists
without this primeal water. It is the ininite light o creation, in a
tangible orm. It is the base constituent o Chi and lie orce.

1he water process connects you with lie, moement, and the
unierse. It is in this primeal water that we extend our
consciousness. Charging the water mantra connects us to the
low o lie. It puriies our body, heart and mind. It soothes our
aches, it cares or us.


" )* "
840 =(,0& ?(),&(G 5? 1@-(*4(," 8(&(C(

Om: Diine syllable
Apsa: water
Dhatu: nature o, aspect o
1ara: Diine mother
\a: grammatical association

1he name 1ara,ya, can be changed to the Christian name o the
Diine mother, Maria,ya,, or the lindu name Durga,ya,.

Once you hae charged the water mantra, the eects will become
aailable naturally. \our leel o energy ,lie, will increase. \our
heart will be more stable, while your mind will become more
lexible. Charging the water mantra gie your healing ability a
great boost. It supports all maniestations.

1$&
It is thru air that inormation is shared, and moement takes
place. Air supports all kinds o ibration while altering them the
least. Air lets light thru. 1he air is where sounds trael. 1he air
mantra opens your mind and other senses to inormation. It
helps you perceie in eery way. It also takes part in any kind o
traeling and motion. 1he air mantra will also ree your mind
rom limiting thoughts. It will broaden your perception o the
unierse and o yoursel.

" )+ "

840 1$& ?(),&(G 5? I(C"*4(," :$,,((?(6(C(

Om: Diine syllable
Vayu: air , wind
Dhatu: nature o, aspect o
Cittaamala: Pure-minded
\a: grammatical association

1he mind is like a monkey, always jumping eerywhere. \e aim
at mastering our mind so that our thoughts become ocused. 1he
lindu monkey god lanuman is not a person, but a
representation o the mastered mind, or the mind taken under
our own control, and dominated by our Spirit. 1he lindu will
use the name lanumanta,ya,, which is the son o the Monkey
God, inoking a stable and pure mind.


Charging the ie elements can take as little as 60 days, i you do
9 malas per day or 12 days, or the ie elements in a row.
Charging the ie elements will awaken eery aspect o your
spirituality. It will gie a biological wisdom to your body. It will
open spiritual doors, release blockages, puriy your energies.

1he ie elements are an important part o teaching your mind,
heart and body, to interact with nature and go beyond its
illusionary limitations. Nature was created with the spiritual

" *, "
concepts o the ie elements. It is still operated by the elemental
orces.

Charging the ie elements will gie you the basic tools required
to adance much aster in any other training you do, physical,
mental or spiritual. Once you hae charged the ie elements, it is
recommended to do actiation or support malas rom time to
time, to keep their energies actie and intense in your body.
Lery now and then, do ie malas in a row, one mala o each o
the ie elements.

1he ie elements must be ully charged beore you can start
using them. Until you learn how to use these energies, keep them
or yoursel. 1hey will support eery other spiritual action you
take. Once you hae learned the beneits o the elemental
energies, you can use them to treat other people who lack these
energies, by touch or transmigration. Ater a treatment, you must
puriy your own energies.

" *# "
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