(Pratyavekshana-gñâna), “Wondrously-observing-considering-wisdom;”—that is, the wisdom distinguishing clearly truth from error, destroying doubts, and presiding over the preaching of the Law. The element Water. Water personified is Amida Nyōrai, the Buddha of Immeasurable Light (Amitâbha Tathâgata).
V. Jō-shō-sa-chi
(Krityânushthâna-gñâna), the “Wisdom-of-accomplishing-what-is-to-be-done;”—that is to say, the divine wisdom that helps beings to reach Nirvana. The element Air. Air personified is Fu-kū-jō-ju, the “Unfailing-of-Accomplishment,”—more commonly called Fuku-Nyōrai (Amoghasiddhi, or Sâkyamuni).[19]
Now the doctrine that each of the Five Buddhas contains the rest, and that all are essentially One, is symbolized in these texts by an extraordinary use of characters called Bon-ji,—which are recognizably Sanscrit letters. The name of each element can be written with any one of four characters,—all having for Buddhists the same meaning, though differing as to sound and form. Thus the characters standing for Fire would read, according to Japanese pronunciation, Ra, Ran, Raän, and Raku;—and the characters signifying Ether, Kya, Ken, Keën, and Kyaku. By different combinations of the twenty characters making the five sets, different supernatural powers and different Buddhas are indicated; and the indication is further helped by an additional symbolic character, called Shū-ji or “seed-word,” placed immediately after the names of the elements. The reader will now comprehend the meaning of the invocatory “Ether, Wind, Fire, Water, Earth!” and of the strange names of divine wisdom written upon sotoba; but the enigmas offered by even a single sotoba may be much more complicated than the foregoing examples suggest. There are unimaginable acrostics; there are rules, varying according to sect, for the position of texts in relation to the points of the compass; and there are kabalisms based upon the multiple values of certain Chinese ideographs. The whole subject of esoteric inscriptions would require volumes to explain; and the reader will not be sorry, I fancy, to abandon it at this point in favor of texts possessing a simpler and a more humane interest.
The really attractive part of Buddhist cemetery-literature mostly consists of sentences taken from the sûtras or the sastras; and the attraction is due not only to the intrinsic beauty of the faith which these sentences express, but also to the fact that they will be found to represent, in epitome, a complete body of Buddhist doctrine. Like the mystical inscriptions above-mentioned, they belong to the sotoba, not to the gravestones; but, while the invocations usually occupy the upper and front part of the sotoba, these sutra-texts are commonly written upon the back. In addition to scriptural and invocatory texts, each sotoba bears the name of the giver, the kaimyō of the dead, and the name of a commemorative anniversary. Sometimes a brief prayer is also inscribed, or a statement of the pious purpose inspiring the erection of the sotoba. Before considering the scripture-texts proper, in relation to their embodiment of doctrine, I submit examples of the general character and plan of sotoba inscriptions. They are written upon both sides of the wood, be it observed; but I have not thought it necessary to specify which texts belong to the front, and which to the back of the sotoba,—since the rules concerning such position differ according to sect:—
I.—Sotoba of the Nichiren Sect.
(Invocation.)
Ether, Wind, Fire, Water, Earth!—Hail to the Sutra of the Lotos of the Good Law!
(Commemorative text.)
To-day, the service of the third year has been performed in order that our lay-brother [kaimyō] may be enabled to cut off the bonds of illusion, to open the Eye of Enlightenment, to remain free from all pain, and to enter into bliss.