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Generally described as the center of the Tendai school of Buddhism in Japan, M t. H ie i has also been for much of its history the locus oi interactions be­ tween Buddhist propositions and the cultural discourse issued from Hie Taisha 日吉大社,the Shinto shrines located at its foot.1 Toward the middle o f the Heian period these interactions gave b irth to a system of ShintoBuddhist comDinations known as the SannO cultic system, which formed one of the philosophical and ritual cores of M t. H iei throughout the medieval pe­ riod, and served as the basis for the deification of the Tokugawa shoguns at Nikko during the Edo period.2 The purpose of the following presentation is to attempt to throw light onto one corner (hitosumi wo terasu — 隅を照らす , as the Tendai saying goes), by postulating that one of the rationales for these combinations was expressed first in linguistic games such as puns and metaphors, and then in graphic puzzles grounded in complex meditational techniques described in several Tendai philosophical texts. I w ill then show how this rationale found what might be its ideal expression in the composition and structure of the Hie

Linguistic cubism: A singularity of pluralism in the Sannō cult