mandalic

That is to say, in the mantric and mandalic nature of this interrelationality, the Buddha's hosshin seppô on the one hand descends from the summit and spreads-out from the center, and the practitioner's sokushinjôbutsu on the other hand raises him from below and gravitates him to the center.

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Correspondingly the mind of a sentient being is also supposed to take on the form of a mandala especially as he advances in practice to realize non-duality with the mandalic hosshin.

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That is, the mind-and-body experience of each sentient being mirrors in its own way the mandalic pattern of the cosmos.

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This mandalic appearance of the Buddha is categorized into four types, which we will discuss in a section below.

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Whether seen as the form experienced in the mind or as the form of the cosmos, the mandalic figure is the Buddha's mode of expressing the Dharma.

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We now turn to the mandalic aspect of the embodiment of the Dharma and of Dainichi's preaching of the Dharma.

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In the esoteric tradition that Kûkai inherited from Hui-kuo, there are two major mandalas that depict the hosshin in two different mandalic forms.

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All visible and/or tangible forms and movements constitute the Buddha's body and its movements, all sounds are his voice, and the mind's comprehension of this principle is the manifestation of the Dharma in mandalic form expressing the Buddha's state-of-mind.

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From a mandalic perspective, this unfolding of the Dharma is also indicative of one's evolution from the periphery towards the center of the mandalic universe.

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One could then also say that kaji expresses the mutuality and coherence or co-responding that obtains between the two major concepts characterizing esoteric Buddhism for Kûkai: hosshin seppô and sokushinjôbutsu, as two ways of conceiving from different angles the same interrelationality of the cosmos in its mantric and mandalic expressions.

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