Отправлено: 05.06.07 11:23. Заголовок: Онмёдо на практике
Онмёдо как анализ и синтез на примере проклятий в фильме Ёдзиро Такиты Onmyoji (The Yin-Yang Master| Колдун) Заклинания в фильме делятся на две категории - исторически достоверно использовавшиеся в древности и придуманные специально для фильма. Если идти по-порядку, то первым из заклинаний было снятие проклятия с младенца Ацухиро-синъо (наследного принца). Первое заклятие звучит так: ame tsuchi ni kiyorakasu sayurakasu kamino ibuki ame no miarasi tsuchi no makushiki kiyorakasu Означает оно следующее: "Очищаю небо и землю, успокаиваю, божественное дыхание, грозу в небесах, земли (? - не разобрала) очищаю" Этим заклинанием он перенес проклятие с младенца на Аонэ, ставшую заместителем младенца, и следующим шагом было выявление истинной сущности проклятия. Проклятие Досона, которое он читал в своей уютной пещере, звучит так: gon gor zou gyoumin danniyakouhou renyoukenton andarataun и еще более сильное: gongorozougyoumin midamagari on sawara andarataun Перевести не могу, ибо написано катаканой и смысла для меня никакого не несет, либо это канси, китайские стихи, либо санскрит. Ответ Сэймея (вполне переводимый, это как раз китайский в японском исполнении): fuusyuma youjayku rekitousyouka fuumatenki - Ветер, прогони зло! Солнце взойди и ударь по болезням! Злой дух возвращайся на небо! Вся лексика с ветром растет из древнего японского представления о том, что болезни приносит ветер. Следующая сцена - с изгнанием духа болезни из Аонэ - все предпринятые Сэймеем действия типа втыкания иголки в чакру и участие Хиромасы - вариации на тему, а вот сутра, которую он читает, прикасаясь губами к иголке - историческая вещь, называется "Заклятием правителя Усусамамё" on amiriti un keronou unjyakusowaka Перевод опять же - не могу перевести, так как в моем источнике заклятие написано фонетически. Источник - Онмёдзи. Токигатариэмаки. Токио, Кадокавасётэн, 2001. стр. 44 - 45. (комментарий составлен уважаемой inishie)
Отправлено: 26.11.08 12:50. Заголовок: Часть обсуждаемого в..
Часть обсуждаемого выше материала я таки нашел у себя на компьютере. Читаем и смеёмся
цитата:
In this topic I’d like to discuss only about practical methods. If you have nothing to write – do not write. Posts like “wow it’s cool” not welcome.
I need some time to translate texts, so for now I’ll write what I’m gong to put in here
2. ki-jutsu-iti (to gain and cultivate ki) 3. ki-jutsu-ni (to control ki)
4. fingers connection with elements method 5. Go-rin (go-no-rin) elemental kuji as basis if kuji practice
6. jumon and kuji to cultivate channels
7. kuji for visions and method of training 8. drawing and visualization of kanji training
maybe more…
I think of trying to construct a system of practice as close to traditional as it possible
To reach true Art, it is necessary to watch not only internal changes, but also for external.
For steps of achieve the “art of magical sword” is now begin:
“Training of magic conformity”
Stand near table. Touch it by fingers. Remember the sense of contact. Raise your hand (couple centimeters, at first, later - higher) and feel that your hand is ALREADY LAYS ON the TABLE. You already intend to be with the hand put on a table. Our intention is executed on our force. If you have made it correctly - you will feel a certain force which pulls your hand to a table - to a place of conformity. It is training of magic conformity. Then more we have the feeling determining a contact, then more force drawing to a table. THIS IS FORCE of MAGIC CONFORMITY.
“First step to dealing with “cocoon” or “aura””
Face to a table as well as earlier, but thus we create eyes or more precisely we select with eyes a certain sphere around of ourselves (it is possible to name it “cocoon” or “aura” though it simply the term for the magic tool which to you should be felt as yourself). Thus in borders of this sphere should be and a table - as the participant of all experiments. Now we do the following. Start to redistribute internal pressure in this sphere, creating pressure upon the body, tightening a hand to a table. Pull itself to the right, to the left, try. Extend a hand forward and draw it to the right - to the right border of a cocoon, or to the left. Do it until you realize how to operate this pressure. It is really similar to create vacuum which presses on your hand, a body etc.
“Taoist breathing which gives a sensation of cocoon”
Sit and breathe. Usually at a breath the chest extends - at an exhalation is narrowed. We translate attention to a stomach (seki-tanden) and made the opposite (Taoist breathing). Create emptiness in seki-tanden and at a breath, we create compression - at an exhalation we create expansion. Thus we change a physical cycle of breath. Until we start to feel seki-tanden which is compressed and stretched while breath in and breath out. At breath can and eventually should feel as something around of you waves. At a breath it is pulled together to a body and presses on a body. At an exhalation extends. It waves your cocoon which you expand and compress with breath.
Eventually you can feel borders of a cocoon, as borders of your breath. Feeling of borders of a cocoon it is possible to feel holes or any sort evil spirits which frequently sticks to a cocoon and absorbs energy.
To be continued… next I’ll translate method of magical sword and Taoist breathing to gain energy and development of a cocoon.
Sorry for my English, it’s bad, and the text that I translate is written in difficult words. If you do not understand something – tell me, I’ll try to explain correctly.
“Sealing method“
Step zero: Before hands become seal practitioner must concentrate in seiki tanden (chinise - dan tien), to activate energy. Best method is deep breath, “when air reaches seiki tanden”. Step one: Put hands to seal, energy from seiki tanden must fill kuji (seals programming energy for special work.) by breathing it in hands. Step three: then seal is filed with energy, concentrate transformed energy it in your “giving hand” (giving hand – one of humans hand is better for giving energy, other – for taiking, it can be found by holding arms near ears, without touching, ears are very sensitive, and one will feel hotter than another. Hotter – is giving), wet fingers with spit (or blood – is part of practitioners body, which will connect seal and practitioner) and by this hand touch the ground. Step four: direct energy (by breathing it out) in visualized (or written on the ground ore paper) symbol (kanji, I think – is good). Do not let energy go away from symbol. Step five: when symbol is full – you will fill or see how “pressure of energy” wants to go out – than cover chosen area by inners sight and free energy.
“O-fuda practice”
O-fuda is a piece of paper that has holy or magical spells, symbols or writing written on it. An o-fuda is usually a talisman or weapon against evil powers and spirits.
The exact interpretation of O-fuda varies depending on the author or artist. There are three main sources: Kanji. Kanji is what ancient Japanese and Chinese runes were developed. The schematic image of subjects and the phenomena can be noticed even in modern kanji. Names. Semantic spells are supplemented with the astrological information and names of called spirits Symbols. Magical symbols, like pentagrams, trigrams, in-yo. In o-fuda kanji often a little differ from a classical tracing, forming the stylized figure, which is showing the main idea of spell. Power of o-fuda is depend of practitioner who create it and the amount of energy and work spent on it. That is why when one want to make o-fuda he must: - Chose correct time to do it - Take best paper - Draw good calligraphy and suitable symbols Writing symbols must be a rite-deed with suitable spirits invocation, concentration and ki filling (Sealing method which was written of this forum can be useful).
"Base practice for comprehension Kuji-Kiri"
Basic practice on development Kuji-Kiri - plotting of hieroglyphs (kanji) in air
The first step – contemplation of kanji
Only having mastered base work with contemplation of images, it is possible to start basic practices. Take a sheet of a paper, draw a hieroglyph, it should be large enough. Behold a hieroglyph, so much how many can do it not blinking. Then close eyes and look in darkness some time. After some time of practice – in darkness you will see kanji. Usually practice begins with three hieroglyphs (the Creation, Storage and Destruction, at some schools use a Sanskrit)
The second step
For the beginning in twilight it is necessary to drive an index finger and to observe of a luminescence which remains behind it, gradually developing skill to see a trace left by a finger it is necessary to start plotting hieroglyphs. No visualization needed.
When skill becomes stable it’s possible to start the further training. Having executed a tracing of kanji concentrate on vision of it, while it is entirely, the rests split by kuji «fingers - sword».
The third step - Establishing connection between inner and outer I’ll translate later
Все даты в формате GMT
3 час. Хитов сегодня: 2
Права: смайлы да, картинки да, шрифты да, голосования нет
аватары да, автозамена ссылок вкл, премодерация откл, правка нет
- участник сейчас на форуме
- участник вне форума