Il gatto non si distrae con le illusioni superficiali del mondo; piuttosto si immerge nell'osservazione profonda riconoscendo la sacralità in ogni piccola cosa, dal cadere di una foglia al tranquillo scorrere dell'acqua nel laghetto.
Miko are distinctive for their often red-and-white garb that astute westerners may liken to white mages of eld. They may be sole tenants of smaller shrines, while at larger temples they are often attendants or clerks roughly middle in rank, serving myriad roles.
Such tasks of miko in the hierarchy may include maintaining their shrine, promoting it, assisting senior priests, and performing at rituals or festivals.
Miko may choose to remain in this position indefinitely, whereas for some it is but a stepping stone to full priesthood.
At the center of belief, in swathes of mainland Othard and Hingashi, are the kami.
Unlike a defined pantheon of deities like the Twelve, those that blur the line between god and spirit are seemingly of endless number, permeating all aspects of creation. Trees, rocks and mountains, rivers, lakes and oceans. All spoken and fauna too have the spiritual potential of becoming kami, often in the next life though on rarer occasion in the here and now.
While there are those amongst their numbers that have gained distinction and broad appeal, especially the "Amatsu kami", there are many more (chiefly "Kunitsu kami") that can serve or represent any purpose in life, depending on where you go. No matter how specific.
Therefore it is by the kami that people took on a variable system of mundane practices and rituals; a lifestyle rooted in an intrinsic, harmonious and respectful relationship with nature. While this is generally benign and peaceful, it also has some roots in a fear of reprisal by nature itself.
A prevalent concept that can be applied theoretically at all levels of existence is of the spirit being tied to four "souls" (mitama), which one would strive to find balance in. While three of these energies - kushimitama, sakimitama and most of all nigimitama - are generally committed to good causes, they are also integral to keep in check the fourth: aramitama, or primal rage. This is often considered the foundational state of the kami; less a matter of "evil" and more chaos. This is the essence of change, the forces that shaped the very star. Where there is a glut of aramitama, Calamity is sure to follow.
And Calamity has followed, as ancient texts would infer. Raging floods, ages of ice, and civilization-shattering earthquakes have all been attributed - at one point or another - to this form of divine wrath. Often tied to alleged hubris of man, these tales remain salient words of warning among the most superstitious: do wrong by nature, and nature shall do you wrong.
Traditionally at the core of all practices, the means of maintaining a lasting peace with nature - and keeping aramitama in check - has involved communion with the kami at purified sites, offering simple gestures of gratitude, and cleansing the land of pollution or kegare. The earliest shamans of Othard were the first specialists of such affairs, and the most notable ones of legend were said to be capable of an array of feats that mystify to this day, implying that they themselves may have even become kami in plain sight.
While the intricacies of shamanism remain shrouded in mystery if not lost to time, and the supposed heirs of these arts - the taoists - remain elusive and keep their cards close to their chests, the legacy nonetheless extends to nearly all forms of contemporary discipline in the realm. Be it directly or indirectly.
Much of the essence of the shamans became imprinted onto the later shinkan, the shrine attendants. While communion with the kami used to be solely held at temporary establishments of sanctified earth, eventually more permanent shrines formed to give shelter to these god-spirits. This followed with the influence of neighboring lands like Thavnair or Dalmasca, bringing about larger temple-like complexes that would regularly enshrine multiple kami. Regardless of size the early priests would generally relegate themselves to the upkeep and rituals around their respective shrines, dabbling very little into the disciplines of a mage, or even their shamanic forebears. In due time, while not likely universal, this too would change.
The Shinkan and the Shugenja: a confluence of discipline
In the more mountainous reaches of Othard, monks engage intimately with heaven and earth in the form of ascetic training. Their art of healing and purging is called shugendo, and it has a storied past and doctrine blending beliefs within and without the Far East.
(google doc mirror)
Please bear in mind that the following is largely conjecture and headcanon, deriving from parts of lore in Final Fantasy XIV and their Encyclopedias, along with chunks of information from real world Shinto, Buddhism, Taoism, etc.
I would like to express my deepest thanks to Rabbit, Haz and Jinh for their oversight and offering input to improve this exposition. The latter provided me the inspiration to get all of this down and I’d highly recommend checking out their lore posts if you haven’t before.
Word count: ~5200
History at a Glance
For as long as people have lived on Othard and its outlying islands, the kami have resided at the focal point of belief; Beyond any single grand pantheon, an ethereal existence that permeates throughout all aspects of nature, even in earthly objects and man deified after death, leading to no small amount of confusion from the western mindset.
The earliest people had entreated and showed their respects to the kami, but no sense had developed at first of what could be considered an organized religion, just countless different entities that often served specific interests depending on the whims of the region. The people entreated the kami in simple, purified areas - often in a wooded clearing, or before distinguished trees or stones - made small offerings and gave words of praise. Such approaches gained their respective nuances from region to region as well, and though it would lend to a crucial philosophy of life eventually known as Taoism, even that did not take up the conventions of religion.
As civilization developed and interactions with foreign peoples through trade became common practice, the ideas for more permanent constructs for veneration likely came in on Thavnairian or Dalmascan winds and swept eastward, from Yanxia to Hingashi. A trend of shrines subsequently emerged, although these were not houses of worship first and foremost, but "houses" for the kami to inhabit. Thus these ranged from structures the size of a small cupboard to multiple-building temple complexes, often dependent on number or significance of the kami enshrined, with the common element being goshintai - any object suited to be a kami's vessel.
Those who oversaw and tended to the shrines became the first shinkan. The more spiritually-inclined tended to be drawn to such positions, following the footsteps of the first shamans in the land, and they began to cultivate an elevated relationship and understanding with the kami.
The Auri Raen - newly descended upon Yanxia from the Azim Steppe - were originally met with animosity and resistance, thus opting to reside in the mountains for a time. While they did win the trust of Yanxian countrymen in due time, earning the right to cohabit and seeing many disperse across the land, many also elected to remain in the peaks and valleys between: forming new societies, building new shrines. Quick were the Raen to adapt to the ways of the kami, as the elements of animism, shamanism and harmony with nature resonated deeply with the customs of their ancestral home.
Like the seas in which some of the Raen found a way to inhabit, the mountains of Othard and Hingashi are given special regard as on the fringes of here and the "otherworld", of entities unseen. It is no surprise then that some fairly prominent shrines or temples have been established at the base of mountains, and the villages that tend to surround them.
The mountains, especially the deepest areas, were initially considered intimately linked to the kami - joining earth and heaven - and thus off-limits to mortals. Eventually however, although it was still frowned upon at the time, there were those who thought to go beyond the boundaries in seeking deeper meaning to life; to get closer to the kami to get closer to their inherently enlightened state. This drove men to travel deeper into the mountains than most anyone had prior, facing harsher environs in pursuit of new skills.
It is believed at this point that the ascetics had made contact with the Tengu, having come to live in mountain seclusion long before other societies. In an exchange of trust, the mystical race imparted knowledge of geomancy. The monks harbored great respect for the Tengu, seeking to follow their example and experiences as they built permanent temple shrines in the region and committed further to the regular mountain travel and the given hardships - even going about emulating Tengu garb to an extent. This formed the popular image of the most fervent yamabushi - those who lie with the mountains.
Meanwhile, as coastal trade with nations close to the west flourished, so did further exposure to the same beliefs that brought on the development of shrines. In particular, the Othardians had seen the Thavnairians’ divine entities, the Mrga and the Manusya, as additional kami. Their understandings of life were not dissimilar to that the Tengu were bestowing upon the men of the mountains, and though there was some resistance from the Hingans by the time this foreign influence reached their port (the term banshin, or “barbarian gods” was coined, discouraging the veneration of perceived foreign kami), the nature of the belief nonetheless eased its way into the consciousness of the people.
At the end of the day, the principles were found comforting and of similar premises to those bestowed by the shinkan belief and its sibling Taoism, which made the expansion of the yamabushis’ discipline all the more resonant when it came.
As the idea of mountain asceticism spread in the East, more and more shinkan were making pilgrimages to the yamabushis' temples in order to leave ritual offerings and prayers; not only within the borders of their lands, but to the opposite sides of the Ruby Sea as well, to commune with other sacred peaks. The art of onmyodo had also emerged in Hingashi, stemming mainly from Taoist branches of arcane discipline developed from ages past, and monks from the islands were bringing that knowledge back overseas to the Yanxians. So too were the Yanxians coming to learn the selfsame principles, and in turn the concepts of geomancy were being learned and applied by the Hingans.
Along the way, both sides had even picked up on some of the eldritch arts understood by the amphibious Kojin, and their reclusive Raen neighbors in Sui-no-Sato. Rather than committing to any one school of thought, the yamabushi had taken to a syncretic blend of practices in the aim of achieving overall greater spiritual strength; all parts of a whole. It was in this way that the essence of shugendo was solidified.
As shugenja - the broad term for the practitioners of shugendo - returned home from their sojourns, they boasted new levels of understanding that they put to use by aiding their communities, foremost by healing, cleansing and banishing evil. As the pilgrimages continued, shugenja regularly occupied villages and temples at the base of mountains alongside fellow shinkan. In time, the shrine priests learned and adopted shugen practices into their own discipline, and at some shrines the line between shinkan and shugenja became rather thin, if distinct at all. Even new forms of temple-shrines had developed to accommodate the numbers and practices of both sides, known as jinguu-ji.
At its peak of its popularity, shugendo permeated all the way through the warrior class, the aristocracy and ultimately the royal courts; even kings and emperors partook in their share of pilgrimages, during or after their reigns. At one point, somewhere between the time of Hingashi’s civil war and Ganen Rijin’s founding of modern Doma, two distinct sects of the art had emerged, likely rooted in some measure of bias: one sect that had prioritized the “earthly” aspects connected to Doman geomancy, and the other that had placed more emphasis on the “heavenly” aspects tied to Hingan onmyodo. Regardless, shugendo proceeded more-or-less at this capacity for centuries to come.
Twenty-five years ago, the Garlean Empire had gained a foothold along the One River and mounted an offensive to annex Doma - an effort that soon proved successful. With their influence insurmountable, the Empire outlawed local religion, decimating many and more shrines and jinguu-ji in the Yanxian lowlands and - with an historical fear for the arcane - sought to suppress any magico-religious activities or disciplines tied to native faith. Along with geomancy and local onmyodo, shugendo too came under fire, most monks retreating to the mountains where the Imperial influence still waned. This turn of events drove the ruling shogunate of Hingashi to proclaim near-total isolation, which also plunged the neutral Confederacy of the Ruby Sea into a desperate and dangerous state. For the time being, many traditions of shugendo were at a standstill.
While shugendo in Yanxia persisted in the northern mountains, the land surrounding Doma was plagued with peril and malady as a result of the Garleans’ policies. and the suffering wrought in their Emperor’s name. The very earth was ailing, and a brave number of priests quietly made occasional visits to occupied territory in order to provide what succor they could.
Fundamentals of Belief
The Kami and You
East Othardian thinking, that is mostly in Yanxia, Nagxia and not least of all Hingashi, generally begins - as with most things - with qi (also transliterated as ki, regarded in the west as "aether"). It is the most basic constituent, the essence and lifeblood of all creation and, chiefly of all, the kami. At the core of the kami and thus each living thing, the qi has coalesced into the mitama ("spirit-soul").
The core "spirit" of mitama is inherently pure and incorruptible, but it is encased in the rest of the "soul" that consists of four different facets: aramitama, nigimitama, sakimitama and kushimitama. These facets, each integral in their own way to the health and well-being of the individual, are more malleable and can be affected by any array of factors, with the former two most prone to conditions in the physical world.
The facets of the soul can be built upon or diminished, and mitama as a whole and thus the spirit can suffer from the imbalance caused by excess or dearth. For instance an overt excess of aramitama, also deemed the "primal rage" of the soul, can lead to abnormally high aggression in man or beast. Hence it has always been the objective to maintain harmonic balance of the soul as best as possible, through daily rituals and various other healthy activities.
Because the kami can be found in all of nature, the "four souls" concept can be found as far out as the environment at the least, where an imbalance can potentially lead to widespread malady and calamity. It has always been important then to respect nature and heed the kami, to commune with them and show the utmost respect. In fostering this relationship, the foundation of balance and stability in the land is upheld, though it is not always enough.
Both shinkan and smallfolk have attended shrines to deliver offers and give prayers of humble praise in their day-to-day living. This developed further into norito, more formal ritual prayer services addressing kami that a priest will lead on behalf of visitors or colleagues. The ritual will be catered to the occasion, such as hopes for healthy childbirth or safe travels or a bountiful harvest. From this the people discovered the significance of kotodama, the spirit of the words, that tangible, mystical power can reside in the spoken or recited word. Eventually this was applied to pragmatic incantations - the earliest of magecraft that would give rise to more renowned disciplines thereafter.
Strength in the Struggle
When the first ascetics went to the mountains, it was at a time of spiritual darkness (and sure enough, shugendo activity was one to rise in uncertain times over history). They were often lacking a sense of self-fulfillment from the day-to-day trials and tribulations in their regular lifestyle and, in daring to venture into the "otherworld", hoped to find greater truth with the kami to which they were so intrinsically connected. The kami so seemingly above the notions of suffering.
After meeting with the Tengu, the winged mystics shared grains of knowledge with the monks. They reminded them that even kami have known suffering, of loss and hardship. In a time before time Izanami and Izanagi, two kami of the heavens (amatsukami) descended to the earthly realm and brought about much of creation in their travels. When the exertion cost Izanami her life, Izanagi attempted - and failed - to retrieve her from the land of the dead. This was ultimately seen as necessary for balance in the nature of this star, and afterward Izanagi cleansed himself in water where the One River meets the Ruby Sea, conceiving some of the most important amatsukami in the process.
The Tengu stressed that suffering is an extant part of life that everyone deals with to an extent. To live is to suffer, it has been said, to toil and be tested; but it is important to look inside oneself and understand and embrace it - make peace with it. To not is to render the self unto the storm of one’s own despair, but it is also not the sole force in the world. There then is also the positive, and it falls upon the individual to cease the source of suffering, encouraging happiness and reinforcing well-being. It is possible to heal, and from there to practice living that discourages further suffering and the ability to ward it off.
Of course, in all likelihood there would be continued sources of suffering - of hardship, of despair - in the future, and it then becomes a matter of steeling oneself through ideal living and practice to overcome it. It was discouraged, though, to place too much zeal at once on the traditional act of asceticism, for risking and ruining one’s health would mean lack of energy to realize one’s inner truth – and contribute to a mitama in disarray, besides. In the process of following a balanced road, ergo tending to that sense of harmony, finding clarity, you come to understand your potential as a shugenja and the way of an enlightened kami. Strength in the struggle.
These were core precepts not meant to cater solely to the kami, but to the well-being of self first and foremost, for insight in oneself was essential to see the path laid ahead. For the yamabushi, laying with the mountains took more nuance as a place to practice their art and look into themselves with eyes unclouded. Meditation, as ever, has been at the focus of honing mindfulness and insight, along with the utterances of shingon - mantra - one of the permutations of older norito. Given the principles of kotodama, shingon thus also became tied to the mystical incantations of the shugenja, and can also be found in Doman geomantic chants.
As the influence of Thavnair permeated through Othard via trade, there were those who were able to note similarities between Near Eastern philosophy and the wisdom the Tengu had bestowed. While some conjecture did point to the Raen that came to settle prominently in the Near East, others could not help but look to certain winged Mrga and Manusya depicted in scripture and ponder over the coincidences. This, however, has only amounted to inconclusive theory - considering the Tengus’ secrecy.
The Way of the Universe
Taoism emerged during ancient times in Yanxia. As the building blocks of knowing, venerating and harmonizing with kami and nature had solidified, there were those among those early shamanic forebears that would develop that line of thinking further. In truth, while some would separate Taoist and shinkan belief as distinctly different, Taoism was more so the ascended philosophical backbone of the kami belief structure that all would find meaning in. Beyond simply attuning with the nature around them, the first shamans that would give rise to this had looked to the stars above and expanded their sphere of understanding outwards for answers, delving further into the principles of the otherworld and the universe as a whole. The earliest of them from before written history were said to have attained great power.
While in time it would become a crucial and storied influence on Doman philosophy, offering much perspective for life as a whole, Taoism’s own finer mystical aspects are more closely kept among masters and disciples and tougher to parse even for the average easterner. Nonetheless it did find its way to Hingashi, serving as a major component for the esoteric art of onmyodo.
The Taoists began by encompassing all in creation, all qi of the celestial sphere within the Way of the universe, identified by the ancient pre-Doman word “道 Tao” (way, road, path, etc.). In spite of such usage, The Way is meant to be an intangible, complex, multi-faceted force that cannot be simply defined in any one spoken definition, or even be given a true name. Simply put, however, the Way is the natural order. In a world of consistent change, it is this constant underlying truth beneath all creation. It falls upon the individual to look inward and discern this truth, or rather what it means to them, in order to put it to practice in their lives.
While generally simplified as the way, the word of “Tao” can be elaborated on as “that which carries the head forward”. In this sense it is actually not just the way itself but what paves the way forward, and it is not one single universal force but rather, not unlike the kami, can be found anywhere in many forms. There are countless branching paths within a larger cosmic road, and it is up to you to find your way, all the while being guided along and deviated by the greater natural order.
In the process, one will give back to the “Tao”, creating what is known as “德 De” (virtue). It is the accumulation of our deeds and actions that allow us to peer into the inner truth of our “Tao”. In essence, the individualism of the paths we each sail, be it the ultimate goal of ascending to the status of enlightened kami hereafter or otherwise, hinges on what we make of it. If we look inward, we can meet the way with a natural flow. We can see a good outcome at the end of the journey no matter where those greater natural currents pull us.
The “Tao” encourages good morality, giving back with the “De” in the consistent state of “emptiness”, which is described by exercising conversation, prudence and humility. In theory by being able to harmonize with your way, in recognizing the inner truth of it, you can achieve action without intention. This has been a key mindset coveted by countless rulers, and taking it a step further - from those great shamans of early legend - has laid the groundwork for practical, more literal Taoist magic.
These principles begin with creating an object of power, to turn it into a container in a sense, emptying it and filling it with your “Tao”, turning into an extension of yourself and your intentions. The energy you want to convey can allow it to transcend the mundane conventions of its make. It is not enough to wield a staff, a tome or a sword to its proper efficacy; it takes intuition and understanding to do so. When you can do this, you are on the path by which you can hearken to the very essences of nature and beyond.
Beneath the universal constant of “Tao” (wu-chi) are the harmonious yet ever-shifting on and yo, the shadow and light of similar conclusions that scholars of the west drew to, with yo being action and on as the inaction (the active and passive forces). Beneath them, however, the Yanxians had long looked to five elements (wu-xing) rather than six: fire, earth, metal, water and wood. Comprehending the push and pull these elements have on one another and extrapolating from them are what allowed not only Taoists but martial artists, herbalists and other magi in the East - including the onmyoji - to develop and refine their disciplines, and methods. It was the Taoists and onmyoji who had first taken up the act of binding spirits and banishing evil, along with implementing the mudras (hand gestures of power) that the shinobi would simplify in their combat techniques.
A yamabushi once suggested that with the marriage of the fundamentals, one could achieve the highest sense of harmony with all things: harmony with “Ten” (heaven) in Taoist mysticism, harmony with “Chi” (earth) in shinkan naturalism, and harmony with “Jin” (man/self) in the Tengu pragmatism.
Fundamentals of Discipline
The principle duties of shugenja and shinkan generally fall along the lines of divination, of combating malevolent spirits, of exorcism, purification and healing. By the manipulation of latent qi in nature and at times the reserves of their mitama, in accordance with the overarching principles of onmyo and five elements, the priests have brought the full array of nature’s essence to bear - although at any one time this tends to be split into two particular “schools” or approaches: the kunitsu-do and the amatsu-do.
Included are extensive, though not exhaustive, lists of shingon and other enchantments generally associated with respective sects.
Kunitsu-do
The Path of the Earthly Kami. It takes after the general ideas of Doman geomancy and by loose association western conjury, prioritizing manipulating the direction of qi from the underlying currents of earth, wind and water known as ryumyaku, or ley lines (lit. “dragon veins”). This method particularly encourages nourishing, healing and exorcism through placation. The higher practitioners can further draw upon the unaspected light of their own mitama in tandem with latent qi to bring about what has been likened to the ancient white magic of the west.
Gangekisho (岩撃唱): A fundamental chant that redirects the currents of earth, manifesting in sudden upheavals of the ground.
Kogekisho (光撃唱): An advanced variant of the chant that manifests brilliant holy light.
Fugekisho (風撃唱): A fundamental chant that redirects the currents of wind, surrounding targets with swirling gusts.
Kattansho (活丹唱): An essential chant that redirects the currents of water, giving a nourishing effect to the vitality of those targeted.
Meikyusho (命救唱): A more potent version of this chant.
Yomeisho (養命唱): Calls upon the essence of water to provide nourishment to the vitality of anyone in proximity to the user.
Kusuri-go (薬語): A swift blessing to dispel poisons and detrimental conditions to anyone targeted by it.
Chinkon (鎮魂): An ancient meditation of the shinkan to ground the mitama, ergo utilized to invigorate others’ to pull them from the brink of physical death.
Mabatakisho (瞬き唱): A chant said to exude the very blinking eye of a kami, resonating with the souls of those targeted and halting them in their tracks.
Yuniwa (斎庭): The ground is purified, conducive to the blessed effects of the kami, granting increased healing to anyone within its sphere of influence.
Shinmyaku (神脈): An assertion of will; The combined coalesced qi is exuded outward from the user as a ripple in the water, cleansing and purifying anything or anyone to an intended effect within the proximity.
Amasuzuran (天鈴蘭): When engaged in an exorcism, the ambient qi of the environment gathers over time into an expression of nigimitama, which can be directed into a burst healing effect. Eventually, an excess of aramitama builds up, which can ultimately be brought to bear in an overwhelming action of expulsion.
Amatsu-do
The Path of the Heavenly Kami. Taking after onmyodo - which also has similarities to western thaumaturgy - the user draws foremost upon the polarity of shadow (on) and light (yo), representing them through ice and fire respectively. The raging fire is active and erratic, and the freezing ice is energy at its most passive, while the force of lightning serves to connect and lurch between the two extremes. This path is the one most associated with exorcism in combating and banishing malevolent entities, and necessitates thorough understanding and control to avoid incidental harm - not just to the user’s surroundings, but to the user themself.
Engekisho (炎撃唱): A fundamental chant that draws upon divine light to conjure raging flame, more highly destructive while more taxing to the user’s spiritual energy.
Korigekisho (氷撃唱): A fundamental chant that draws upon divine shadow to conjure piercing ice, less destructive over all yet beneficial to the user’s spiritual energy. It goes without saying that these two chants in particular are meant to be used in tandem.
Raigekisho (雷撃唱): A fundamental chant that conjures the force of lightning to issue detrimental discharges of static.
Katensho (火天唱): A chant that brings the might of divine flame to bear, issuing a destructive burst against the user’s enemies at significant cost to their spiritual energy.
Seido (星道): Drawing an arcane pattern, the user harmonizes with the five elements to elevate their spiritual strength for a time.
Sanbo (三寶): Orientation with the natural flow allows for three shingon in swift succession.
Chobuku (調伏): The combined act of the ritual exorcism culminating in a word of power to quell the opponent with an assault of unaspected qi.
Kyokusei (極性): With light and shadow aligned in perfect harmony, the forces of fire and ice are brought to bear in unison.
The core premise of using elemental qi in exorcism is suffusing with pure essence to combat the impure, and certain elemental combinations may be more effective against others. It is the wise and versed priest to have an understanding of both paths, but ultimately the goals are the same.
Ansokusho (安息唱): A common chant between both paths, meant to soothe and lull targets into a state of slumber. It is said to be derived from older norito for cleansing the mind and body.
Tanden (丹田): Focusing on the true center of self through chinkon, restoring a considerable amount of spiritual energy.
The Priest’s Panoply
Shakujo: Also referred to as khakkhara, or sounding staff, it is the chief tool of the shugenja and shinkan. Serving as a medium for channeling qi, it is fundamentally similar to the canes or brands seen in the west in how it more or less looks and how it acts with ambient energies. They are often decorated in ways that hold blessed significance to the wielder, such as symbolizing the kami they venerate. Popular are shakujo based after the Four Lords, kami at the center of the Othardian Tale of Tenzen, such as Suzaku and Seiryu – the latter in particular a patron kami of geomancy.
Byakurenge: A masterwork of ascetic craftsmanship, carved from the heartwood of a holy sentinel, this shakujo is characterized by a lily fanning outward before a scintillant crystal at the center, representing the promise of enlightenment within spiritual darkness, while the rigid haft represents the shortest path to achieving it.
Kujo: A yamabushi, vexed by his inability to ease the suffering of his land’s people, and the deaf ears of their calloused ruler, once set off on a journey of enlightenment across the Dairyu Chain with naught but his khakkhara and the robes on his back. Upon his return he presented Kujo, then brimming with geomantic qi, to his lord in hopes that through it he would finally awaken to the truth of the peoples’ plight.
Makibi: An elegant variant on the khakkhara, the Makibi were first created for ceremonial geomantic rites honoring Ganen, first king of Doma and himself a venerable geomancer.
Masakaki: The signature shakujo of the shinkan. It is derived from ritual displays meant for offerings at shrines, adorned with branches of the sakaki, an evergreen tree with sacred significance. By direct influence of shugenja, the masakaki were themselves readily converted into staves.
Magatama: The soul crystal of many shinkan, and shugenja by extension. It is an ancient shape carved out of jade, bearing the wisdom of ancestors and believed to be a bringer of blessings and good fortunes from the kami. The magatama is often attached to a monk’s juzu, a string of up to one-hundred and eight beads or any lesser multiple thereof (such as eighteen), where it takes an active role in many shinkan's prayers and shingon - regarded with as much importance as the shakujo for directing intent.
Mudras: The yamabushi developed the means of using mudras, ritual hand gestures, in their arts. While some of the lengthier, more involved rituals call for mudras that use both hands, the monks homed in on one-handed mudras that they could use while also holding the shakujo in their dominant hand. A mudra acts like a signal for a command, and a combination of different mudras are involved to achieve certain results. In concert with the shakujo, and using the magatama/juzu as a secondary focus for qi, the shingon and their potential grow more versatile and complex.
Ofuda: Talismans bearing Ten-Chi-Jin, the names of kami, or other esoteric characters in a balance of black and crimson ink. By the nature of the writing and the intent, an array of magical effects can be achieved, but that which holds most importance to shinkan and shugenja are the acts of binding or protecting. The priests are capable of projecting and implementing them quickly by activation through shingon and mudras.
Omamori (御守): A light defensive charm, invoking the kami to bestow protection upon an individual or a group.
Suimenju (水面呪): A barrier of fluid, water-aspected qi is projected around the target. This can be implemented as either a defensive ward or means by which to bind into place.
Katashiro (形代): Ofuda is formed into paper doll-like manikins infused with the user’s essence, conjuring a form of shikigami in the user’s image. This acts first and foremost as a diversion, coercing malevolent opposition to lash out at a decoy. Also potentially used to boost spiritual output or range of efficacy.
Shugen Kekkai (Ascetic Ward; 修験結界): A variable number of ofuda strewn across an area project a large barrier, mitigating the effect of incoming assaults.
Sarutahiko
The chief patron deity of the Tengu is regarded to be Sarutahiko, God of the Land. Set against the likes of the amatsukami - such as Amaterasu, Tsukuyomi and Susano - Sarutahiko is the leader of the kunitsukami, the towering guardian of the earthly realm and all kami therein, making him one of the most important kami the shugenja and shinkan also venerate. The kotodama of his very name invokes the elements of creation.
At the bridge between heaven and earth he was said to have met with Ninigi, Amaterasu’s descendant. Initially wary of such affairs he refused to yield until the amatsukami Uzume, Lady of the Revel, intervened. Known in her realm as a divine ambassador, one who coaxed Amaterasu herself from hiding through alluring dance, she too managed to persuade Sarutahiko to act as Ninigi’s guide in the earthly realm. Ultimately the two kami would get together and marry, and their clan would bring about the arts of Noh theatrics and Kagura dance, which would also have a reaching influence on the activities of shrine priests and beyond.
The Tengu are said to have descended from the clan of Sarutahiko who, as a symbol of guidance and strength, continues to watch over them wherever they settle. It is suggested that he first imparted the elemental knowledge that would lead to geomancy, and his influence extends to further arts and practices: from blessing ritual benedictions like misogi (purification by water), to serving as a patron for various martial disciplines.
Tenbatsutekimen; Ame-no-Ukihashi (天罰覿面 ～天の浮橋～): Using ofuda in the kami’s name, a lengthy meditation to draw in ambient qi, culminating in uttering the kotodama “SA-RU-TA-HI-KO” to expel the qi, invokes the providence and might of the earthly guardian in a succession of effects: a barrier of wind, healing rain and piercing lightning, outward surges of earth, building light and heat before expelling the wind with searing force.
I don’t think I ever uploaded this :O So the thing I hate and love about animation is HOW GODDAMN MUCH EFFORT AND CONCENTRATION it takes to make it even just a bit passable. I made these sprites too big so the detail I’m putting into each frame is more than I first thought, it doesn’t seem like that much work but fuckaduck it’s just.. OK.
Thanks all for the support on this project, there isn’t a moment I’m not discouraged so the feedback really helps me progress even if it’s slowly. Working a fulltime job and trying to be a fulltime artist at the same time is very near impossible. Toast to the struggle!
