By Yasmeen Tsipena
A common motif and metaphor in medieval Japanese literature is the “watery moon,” and yet there is no definitive interpretation of the term, says UCLA Religious Studies professor William Bodiford.
“Suigetsu [is] an extremely widespread metaphor,” Bodiford said. “Within one tradition it is collectively understood as the same thing, but it does not translate from one tradition to the next.”
UC Santa Barbara’s Department of Religious Studies hosted Bodiford for a lecture recently to apply his expertise in Japanese martial arts and religious studies to the various interpretations of reflected moons, or suigetsu, in Japanese. Bodiford has written extensively about Japanese literature and referred to himself as a practitioner of traditional martial arts. He researches medieval Japanese religions, said event host and UCSB Religious Studies professor Fabio Rambelli.
William Bodiford, UCLA Religious Studies professor, during his lecture at UCSB, hosted by the Religious Studies department.
Bodiford explored the metaphor of suigetsu in Buddhist contexts to see if that could inform its use as well in martial arts texts.
Citing verses from Japanese scholars Michizane and Kūkai, Bodiford first offered an interpretation of the moon in the sky as Buddha imagined it, and the reflection of the moon in the water, as a form of the Buddha embodied in humans.
“Everyone has the quality and ability to find Buddha within them,” Bodiford explained. Other Buddhist writings use the metaphor of the reflected moon to stress the value of regular spiritual practice. Bodiford said he “did not expect” to find during his studies a link between suigetsu and the mind.
“When [writings] talk about the moon being in your chest, your mind becomes the water,” said Bodiford. “You probe the mental waters with the Stick of Wisdom.” The reflection of the moon appears in the mind, with the Stick of Wisdom acting as a metaphor for proper Buddhist practice, he said.
Buddhist Monk Hōzōin In'ei staring at the reflection of the moon from the Japanese collection of woodblock prints , “One Hundred Aspects of the Moon.,” by Tsukioka Yoshitoshi.
While it makes sense that Buddhist interpretation and martial arts interpretation would differ, Bodiford admitted that he struggled with the lack of cohesion in the texts from one sect of martial arts tradition to another.
When Bodiford switched gears and approached suigetsu from the martial arts perspective, he outlined six distinct applications of the watery moon notion, among six different branches of martial arts tradition.
The Shintōryū swordsman tradition, which encompasses multiple branches of Japanese Samurai swordsmanship, takes a magical approach to the concept, requiring the swordsman to embody three suigetsu, or watery moon, attitudes at once.
The Tengu geijutsuron, a book of writings attributed to mountain demons who hold the secrets of swordmanship, says to embody the reflected moon as a metaphor for not minding.
Onaha Ittōryû , the oldest branch of the single-sword Samurai school, uses the concept of suigetsu as a reminder to be attentive during passive and active combat. “No matter how careful you think you are being,” Bodiford explained, “there is always an opening.”
Yuishin Ittōryū , another branch of the single-sword, Samurai school, uses the relationship between the actual moon and the reflected moon as a mirror metaphor for the relationship between attack and defense during combat.
An illustration exemplifying the three different attitudes, or suigetsu, one must embody to become a Samurai swordsman, according to the Shintōryū swordsman tradition.
Hokushin Ittōryū , another single-sword Samurai school branch, has literature that frames the watery moon as the place where a military encounter occurs. One must follow an opponent’s movements the way the moon follows the water.
Finally, Yagyū Shinkageryū , the oldest school of Japanese swordsmanship, follows writings that depict suigetsu as seizing position in combative engagement.
Coming back to Buddhism, Bodiford stressed that early Buddhist terminology does not necessarily help to understand how suigetsu is applied in martial arts texts. But he still finds it important to consider how Buddhist terminology influences writings on martial arts.
“The presence of suigetsu in Buddhist writings provided Japanese martial arts with a sense of sophistication that other Martial Arts did not have,” he said.
Yasmeen Tsipena is a third-year UC Santa Barbara student who is majoring in Film and Media Studies and pursuing a Minor in Writing.