➠ Symbolism of Yuuji’s childhood memories in Chapter 265 and how it connects to his conversation with Sukuna:
I was rereading the latest chapter and ended up dwelling on how the order in which certain things appear along the path Yuuji and Sukuna are walking connects with the progression of their conversation and the outcome of it, so I want to point out a few of such details in case someone else finds it interesting.
First, I will start with Morning Glory (asagao, 朝顔, lit. morning face) Yuuji mistakes Ajisai for. Asagao was brought to Japan with the advent of Buddhism and came to represent Enlightenment. When one thinks of the flower, an old line often comes to mind: [Asagao blossoms and fades quickly to prepare for tomorrow’s glory]. It is the theme of one of the oldest songs on the morning glory, written by the Chinese priest at the temple of Obaku near Uji, who is said to have been the first person to introduce the flower to Japan. Since its arrival, it has been a frequent theme in Japanese Buddhist poetry, particularly when writing on the fleeting condition of human lives, as the poets found a congenial subject in the morning glory, for they considered no flower has a briefer life and beauty, and the buds of yesterday are flowers to-day, but only for a few short hours, and then nothing will be left but ruin and decay; though how quickly fresh buds will appear and fresh flowers open to be the tomorrow’s ‘morning glory’. Therefore, in Japanese culture, asagao is a symbol of new beginnings. The flowers open in the morning, representing the dawn of a new day, and close in the evening, symbolising the end of the day and the passing of time.
Next comes Ajisai (紫陽花), the Japanese hydrangea. The flower has both positive and negative connotations in Japanese tradition, symbolising both deep or heartfelt emotion and also a fickle or changeable heart. However, I mentioned in this post that the blue hydrangea (I am assuming blue, because Yuuji mistook it for asagao) can mean sincerity, forgiveness, remorse and spirituality. Ajisai are also an important part of the ceremony in celebration of Buddha’s birthday (Kambutsue), where his statue is washed with sweet hydrangea tea by the visitors of the temples. As such they are often found at shrines and temples.
After that, Yuuji and Sukuna catch Crayfish. Interestingly, Buddhist philosophy references the crayfish when speaking about the temporary nature of existence. All that seems solid and permanent, like the crayfish shell, eventually disappears. There is a famous painting of Priest Xianzi (Japanese: Kensu) by Unkoku Tōgan from the Momoyama period. It depicts a seated figure of a Buddhist monk who appears to be contemplating the large crayfish (or shrimp). Kensu or Xianzi is a semi-legendary eccentric priest of the Tang dynasty, who spent much of his time wandering along riverbanks, eating crayfish and clams. He allegedly achieved Enlightenment while catching a crayfish.
Later they come across Horses, which hold a special place in Buddhism, embodying spiritual virtues and the timeless quest for Enlightenment. The story of Siddharta Gautama Buddha’s renunciation and his separation from his beloved horse, Kanthaka, is a significant story in Buddhism. As Siddharta decided to leave behind his life of luxury and embark on a spiritual journey, he faced the task of saying goodbye to his beloved horse. The separation from Kanthaka symbolises the profound sacrifice he took when he renounced worldly attachments in the pursuit of Enlightenment. Additionally, in the Shamanistic tradition of East Asia and Central Asia, there is a concept of the Wind Horse, a flying horse that is the symbol of the human soul. In Tibetan Buddhism, it was included as the pivotal element in the centre of the four animals symbolising the cardinal directions.
After the horses, we see them engage in Archery. As a Buddhist symbol, the bow and arrow are found throughout the art, mythology and theology; held by gods, part of vivid legends, lauded in sacred texts and painted on the walls of the temple fortresses. They are symbols of the wisdom and compassion of the Buddha. Just as the arrow flies straight to its target, so too must the mind of the archer be focused and free from distractions.
And lastly, Snow. As a symbol of purity, it is taken as representative of naive innocence behind heroic undertakings. In this regard, it is also a subject of paintings in special combination with cherry blossoms as a symbol of what is ephemeral and transitional as is the life of the hero. However, snow is often associated in the Japanese short poetry with the Zen notion of Emptiness. This is because, to quote the poet Naitō Jōsō, snow covers and clears everything: [fields and mountains / all taken by snow / nothing remains]. From the lens of Buddhism, as the defilements—greed, hatred, and delusion—melt away like snow, the process of purification speeds up our relinquishment of impurity. To do this, one needs to be able to feel their humanity from within, where the invisible factors of mindfulness, clarity, faith, energy, concentration, and wisdom can dismantle and dissolve years of deluded ways of perception, of relating to life. Only then will the ground of awakening begin to appear.
I find Yuuji’s conversation with Sukuna to be rich in symbolism, each element along their path reflecting deeper themes of compassion and Enlightenment. Their journey begins with the morning glory, symbolising a new beginning and Yuuji’s offer of redemption to Sukuna. The hydrangeas, mistakenly identified as morning glories by him, signify Yuuji’s readiness and offer of remorse as he sincerely reminisces on his childhood with him. The appearance of the crayfish continues this theme, highlighting that this conversation is a chance for Sukuna to contemplate the temporary nature of existence and the path he wants to continue leading from there on. The horses, embodying spiritual virtues and the timeless quest for Enlightenment, appear as Yuuji’s way of asking him to renounce his old ways in pursuit of Enlightenment, followed by Archery right after, emphasising his readiness for compassion despite all Sukuna has done to him, mirroring the Buddhist ideal of a concentrated, undistracted mind. And lastly, comes snow as a symbol of purity and the potential for redemption, evoking the Zen notion of emptiness and the purification of defilements. Yuuji, by invoking these symbols, offers Sukuna the last chance at redemption and Enlightenment. He shows Sukuna the final act of compassion if Sukuna shows remorse, which Sukuna refuses.
In the end, Yuuji and Sukuna walk the same path, but their choices lead them in opposite directions. Yuuji embraces the symbols of Enlightenment, striving for a higher understanding and compassion, whereas Sukuna rejects these ideals, choosing instead to renounce the path to Enlightenment.
