 Implaced within this vibrating cosmos, we are all then taking part in Dainichi’s bodily, verbal, and mental activities as “originally enlightened,” non-dualistic with the Buddha. On the basis of kaji, which we discussed above, the three mysteries of the hosshin and the three corresponding forms of activities of sentient beings inter-permeate. That is, our own bodily, verbal, and mental activities are already expressions of the three mysteries of the hosshin. This inter-permeation is hence “always already,” and yet what is lacking for the most part is our awareness of it that would realize it. That is why Kūkai, following the Dainichikyō, prescribes the ritual practice of bodily acts, verbal acts, and mental acts. Bodily acts involve mudra-formations – these are complex series of gestural movements of the hands and fingers in coordination with mantra-chanting and visualizations –, meditative bodily postures, and the handling of ritual instruments. Verbal acts involve mantra-recitations and other forms of prayer formulas or chants and verses (dhāranīs). And mental acts involve visualizing or focussing upon mandalas or the figures of Sanskrit mantra letters as well as visualizations (kansō, kannen) of deities or buddhas – a realization of self and world in the sense of both transformation and awakening as their fruit. Together with ingei (mudra) and shingon (mantra), the practitioner’s kansō allows the mandalic structure inseparable from the insight attained in such practice – an “image” that in itself is visually unrepresentable and hence irreducible to the visual mandalic icon – to unfold. The three acts are performed simultaneously in a practice wherein the practitioner utters a mantra, forms mudras, and visualizes their form and meditates their meaning and lets his mind abide in samadhi, all at the same time. 