Learning from the Tengu

Mastery and the Esoteric Path

*Compiled, Created and Edited by Oruchan
**Special Thanks to Benjamin Au Sensei

Part of any commitment to a higher “Path” of practice (Budo, Zazen,

meditation, yoga, etc.) is the need to put in the time to develop skills
in your given field. But whereas developing skill is indispensable on
any Path, gaining Mastery is an entirely different matter. The
development of skill is in the realm of the possible. Mastery, on the
other hand, is in the realm of the mystical. To gain mastery you must
commit to the inner Path of learning from the Tengu.

Who Were the Tengu?

The “Tengu” were mystical demons that came out of ancient
Japanese mythology. Half man, and half crow, they had human bodies,
but the taloned-feet and sharp beaks of a crow. The Tengu were the
keepers and protectors of the esoteric sword arts of the spiritual
warriors. They lived far away in the mountains, deep in the forest
shadows, out beyond the furthest outposts of human civilization.
When a Samurai reached a high level of skill through years of
rigorous training in their dojo, they would then commit to a life of
service. As a Samurai, their duty was to serve their teacher, their
school, their clan, and their lord.
But occasionally there was the warrior for which attaining a high level
of skill was simply not enough. They sensed that there was something
more than the usual path of service (as honorable as that may be).
For this rare individual, the only place to go was inward on the esoteric
Path of the “spiritual warrior.”
This meant transcending the mere acquisition of skill. Attaining
mastery meant going on the arduous journey to seek out the Tengu.
Skill versus Mastery
Let’s look at the difference between skill and mastery. To become
skillful at something you need to take on a discipline. This includes
immersing yourself in a proven methodology, learning the ins and outs
of techniques, applying those skills to various situations, and having
an appropriate guide. Then, of course, you need to put in your time
(often years) of practice, practice, practice.

Gaining mastery has very different demands. It includes a serious

investment in the development of skill as a necessary foundation for
mastery. But this alone is not enough because mastery demands that
you go beyond yourself. Beyond the fears and desires of the ego. It
requires nothing less than going beyond your limited sense of “self.”

This is the “pointing-out” instruction of the spiritual warrior on any

Path of mastery; the fundamental enemy is not “out there”, but rather
inside your very own psyche.
Miles Kessler
The founder of Aikido, Morihei Ueshiba, left for all his students the
injunction “Masakatsu Agatsu” – “True victory, is victory over
oneself.” This injunction is a beautiful “pointing-out” instruction for the
spiritual warrior on any Path of mastery; the fundamental enemy is
not “out there”, but rather inside your very own psyche.
Holding this injunction requires you to face yourself, to work with, to
overcome, and ultimately, to integrate your own inner limitations, fears,
desires, and in some cases, your own inner demons.
The path of “skillfulness” is common. On the other hand, the path of
mastery is always rare. There are not many who seek out the Tengu
to learn the esoteric arts… and of those who do, fewer still gain
mastery.

The Young Samurai Yoshitsune Learns to Fight from The Tengu

The Test of The Tengu’s Mirror

Simply seeking out the Tengu was no guarantee that they would
accept you as a student and teach you. You had to be very serious
about your intention, and you had to pass the test of the Tengu’s mirror.
The Tengu would never reveal themselves easily. Only after a long
and exhaustive search in the unknown regions of the mountains,
when you spent up all your resources and were at your most
vulnerable, only then would they choose to appear to you.
When you were completely off guard, the “Karasu Tengu” (Crow
Demons) would descend from the treetops and encircle you. They
would have their swords held high above their heads ready to attack
should you resist or try to escape.
Then the “Dai Tengu” (King Demon) would land in front of you to test
you. With no means of escape, the Dai Tengu would pull from his
kimono a magical mirror and thrust it into your face. This “Tengu’s
Mirror” would reflect back to you your deepest fears and your own
inner demons.
If you wavered and showed any fear in the face of your innermost
reflection, you would fail the test. Then all of the Tengu would
descend upon you, cutting you up with their swords and ripping you
to pieces with their talons and beaks.

But if you had the courage to look into the mirror and hold your gaze…
if you did not contract in fear from the reflection of your own inner
demons… then rather than destroy you, the Tengu would put away
their swords and bow down in service to you. They would become
your teachers and guide you on the esoteric Path of mastery.

Tengu As Teacher
Choosing to learn from the Tengu means accepting the challenge to
face your own inner demons. No choice has a higher danger because
it is a double-edged sword. One edge of the sword cutting
towards mastery, the other edge-cutting towards the ego.
This choice will always be your greatest personal challenge, your
greatest personal threat, and the source of your greatest personal fear.
As such, it requires nothing less than your greatest commitment.
It’s better to live in ignorance of your inner demons than to face the
Tengu half-heartedly. It is a commitment you must take on fully.
Anything less dooms you to being haunted by your own inner demons.
In fact, they may even destroy you.
But if you show both courage, and vulnerability in the face of the
Tengu’s Mirror, then they will be your teacher and in time, mastery
will be yours.
Mastery As “Clear Liquid”
For a man or woman who has completed their esoteric learning from
the Tengu, the final part of their journey is to return to the market place
and share their mastery with the world.

The mark of a true master is according to this; they can take from
the dregs of the ancients and extract clear liquid.
Issai Chozanshi

These “spiritual warriors” bestow their gifts on the world as an honor

and service to humankind. Their mastery is a shining light for others
to follow. They may teach through preserving the ways of a particular
school, or they may be innovative and create something completely
new. Whatever the case, their teaching will come from an esoteric
core of compassion and wisdom that is beneficial to all those who
come into contact with it.
The Zen sword master of ancient Japan, Issai Chozanshi, learned
from the Tengu. Perhaps he said it best about mastery; “The mark of
a true master is according to this; they can take from the dregs of the
ancients and extract clear liquid.”
Appendix 1
Tengu (Japanese: 天狗, lit. 'Heavenly Dog' or 'Heavenly Sentinel') are
a type of legendary creature found in Shinto belief. They are
considered a type of yōkai (supernatural beings) or Shinto kami (gods
or spirits). The Tengu were originally thought to take the forms of birds
of prey and a monkey deity, and they were traditionally depicted with
human, monkey, and avian characteristics. Sarutahiko Ōkami is
considered to be the original model of Konoha-Tengu (a supernatural
creature with a red face and long nose), which today is widely
considered the Tengu's defining characteristic in the popular
imagination. He is the Shinto monkey deity who is said to shed light
on heaven and earth. Some experts theorize that Sarutahiko was a
sun god worshiped in the Ise region prior to the popularization of
Amaterasu.

A Tengu Mikoshi (portable shrine) in the city of Beppu.

Ōita Prefecture, on Kyūshū.
Buddhism long held that the Tengu were disruptive demons and
harbingers of war. Their image gradually softened, however, into one
of protective, if still dangerous, spirits of the mountains and forests.
Tengu are associated with the ascetic practice of Shugendō, and
they are usually depicted in the garb of its followers, the Yamabushi.
The Tengu in art appears in a variety of shapes. It usually falls
somewhere in between a large, monstrous bird and a wholly
anthropomorphized being, often with a red face or an unusually large
or long nose. Early depictions of Tengu show them as kite-like beings
who can take a human-like form, often retaining avian wings, heads,
or beaks. The Tengu’s long nose seems to have been conceived in
the 14th century, likely as a humanization of the original bird's bill.
This feature allies them with the Sarutahiko Ōkami, who is described
in the 720 CE text the Nihon Shoki with a similar nose measuring
seven hand-spans in length. In village festivals, the two figures are
often portrayed with identical red phallic-nosed mask designs.
Some of the earliest representations of Tengu appear in Japanese
picture scrolls, such as the Tenguzōshi Emaki (天 狗 草 子 絵 巻),
painted c. 1296, which parodies high-ranking priests by endowing
them the hawk-like beaks of Tengu demons.
Tengu are often pictured as taking the shape of some sort of priest.
Beginning in the 13th century, Tengu came to be associated in
particular with Yamabushi, the mountain ascetics who practice
Shugendō. The association soon found its way into Japanese art,
where Tengu are most frequently depicted in the Yamabushi's
unique costume, which includes a distinctive headwear called the
tokin and a pompom sash (結袈裟, Yuigesa). Due to their priestly
aesthetic, they are often shown wielding the khakkhara, a distinct staff
used by Buddhist monks, called a shakujō in Japanese.

Tengu are commonly depicted holding a magical feather fan (羽団扇,

Hauchiwa). In folk tales, these fans sometimes can grow or shrink a
person's nose, but usually, they have attributed the power to stir up
great winds. Various other strange accessories may be associated
with Tengu, such as a type of tall, one-toothed geta sandal often
called Tengu-geta.
Appendix 2
This very nice triptych by Kunichika shows the great hero Minamoto
no Yoshitsune in conference, surrounded by a backdrop of mythical
creatures called Tengu. The print is a Kabuki piece; the characters
are actors performing on a shallow stage; the Tengu - with their wings
and gnarled feet and ferocious beaks - are a painted backdrop and
the rolled split bamboo blinds are part of the stage scenery.

Toyohara Kunichika (1835-1900) Minamoto no Yoshitsune and Tengu

1880’s. Oban triptych.

Tengu are Yōkai (ghosts) who take the form of birds of prey and
usually appear as either a large, monstrous bird or a human with a
long nose. They were originally considered harbingers of war but
eventually were viewed as dangerous yet protective spirits of
mountains and forests. Early depictions of Tengu show them capable
of taking a human-like form, but retaining their avian wings, head, or
beak. They are sometimes also considered to be the ghosts of people
who had excessive pride in life and, as Buddhists, are unable to go to
heaven or hell. The Tengu pictured in shadowy tones are dressed as
Buddhist priests with the distinctive cap on their heads.
Ushiwakamaru is the juvenile name of the great hero Minamoto
Yoshitsune (1159 - 1189) from the literary legend, Heike Monogatari.
Yoshitsune has parallels with the English folk hero Robin Hood; and
his is a tragic and very famous story in Japan. His father was
persecuted by the rival Taira Clan and Yoshitsune was brought up in
a monastery. Legend has it that he was then taught the secrets of
fighting by the Tengu before taking up rebellion against his father’s
old enemies. Yoshitsune is usually pictured fighting the warrior monk
Benkei at Gojo Bridge. Benkei, known as a phenomenally strong
man and warrior, has secured the bridge with the intention of relieving
1000 samurai of their swords. Yoshitsune is his 1000th victim.
Yoshitsune, though slight, defeats the giant man using Tengu fighting
skills. Benkei becomes his loyal protector and between them they
lead an armed rebellion against the Taira, establishing Yoshitsune’s
brother as the first national Shogun - a position that would last 650
years until the19th century. Yoshitsune was betrayed by his brother
and later killed himself and his family at the siege of Koromogawa
no tate.
In the print we see Yoshitsune, holding the distinctive fighting fan in
his hand, possibly recounting his youth - represented by the painted
backdrop. What is exceptional about the print is the preservation,
colour and impression are quite superb. This is a fresh and early
impression, exquisitely printed with flashes of mica and the notable
inclusion of the mythical beasts in the background.

By
Quique Ortiz (Oruchan)
In the city of Ercolano (Naples)
Reiwa 5 year, April 11

エルコラーノ市（ナポリ）

令和 5 年 4 月 11 日