Friday, November 4, 2016

Fushimi-Inari(6): Omokaru Stone: A source of good fortune


Why not try your hand at some fortune-telling in Okusha Hohaisho? 

You will see a pair of stone lanterns on the right side at the back; these have stones placed upon them, known as the Omokaru Stones, meaning “heavy or light stones.”

 If you find a stone lighter than you had expected upon lifting it, this is a sign of good luck and it is believed that your wishes will come true. 

If, on the other hand, the stone feels unexpectedly heavy, console yourself with the thought that at least you tried your best!

Here is a special tip. As you stand in front of a stone, try to imagine the heaviest stone you possibly can in your mind before attempting to guess the weight. 

And if you visit this place with friends, let them try first: many people will underestimate the weight of this stone, so while waiting your turn, you can watch your friends trying and failing to guess the weight. 

If you still think it feels heavier, why not visit and try again sometime next year? 

You may find that it feels lighter the second time, meaning that you’ll have more luck!





Fushimi-Inari(5): “A Thousand Torii Gates” stretching all the way to Okusha Hohaisho


The whole of the 232-meter elevation of Mt. Inari serves as the sanctuary of Fushimi Inari. 

After reaching the main hall, move on to the foot trails that begin from the back of the right side of the sanctuary. 

This is the starting point of the “Thousand Torii Gates.” 

From here to the location of Okusha Hohaisho, meaning “the house of worship at the back,” there are many torii gates lined a foot or two apart.  

This trail is the so-called Senbon Torii path, meaning “a thousand torii gates.” 

You may notice people counting the number of torii gates along this path. In fact, the torii gates of Fushimi Inari continue up the mountain path which leads to the summit of Mt. Inari, beyond Okusha Hohaisho, and many people try to count the number of torii gates from the start to the summit. 

As the slope becomes steeper, you may start to find it hard to catch your breath, and some hikers may give up their attempt to climb the trail. 

Beyond the gates, many more torii gates still wait—over 10 times the number that people have already counted up to this point. If your time or physical fitness are limited, it might be a good idea to turn back after reaching Okusha Hohaisho. After turning back here, you will reach the entrance in about 40 minutes.





Fushimi-Inari(4): How torii gates are infused with the wishes of their dedicators


Another question many ask about Fushimi Inari is: why are there so many torii gates? 

A torii gate is intended to divide the human world and world of the gods into two; in other words, it is the gateway to the world where the gods live. 

In this way, torii gates stand as a symbol of Shinto shrines.

 The number of torii gates in Fushimi Inari has increased since the seventeenth century, as the people that have come here to pray to the god of the land have popularized the custom of having torii gates in front of shrines. 

By fusing the concept of “passing under the torii gates” with that of “reaching our goals,” worshippers express gratitude to God.

 In fact, new torii gates are still being built every day.

 Each torii gate is inscribed with the dedicator’s names and the time when it was created. Why not take a closer look at a torii gate in its brilliant vermillion, and see when it was made?





Fushimi-Inari(3): Why are the torii gates painted in vermillion red?


Why are the torii gates painted in their brilliant shade of vermillion? 

This particular shade of vermillion used for the tori gates—neither a bright red like a ripe tomato, nor the orange color of a ripe orange—gives off a most interesting impression.

 In fact, since ancient times in Japan, it has been believed that the vermillion color can counteract evil magic. 

For this reason, we often see buildings that have been painted with vermillion in ancient palaces, shrines and temples. 

This magical color of the torii gates is believed to represent the power of God in the shrine. 

Another more practical reason for the vermillion shade used for torii gates is to maintain them for longer. 

Vermillion is made from mercury, and mercury has been used as a wood preservative from olden days. 

So, this mysterious color is used not only to fight against evil, but also used to preserve the torii gates themselves.

 For ancient people, this vermillion-dyed wood which does not rot must have seemed like an embodiment of forces that stand against dark magic.





Fushimi-Inari(2): The countless torii gates of the shrine


For most people, the name “Fushimi Inari” conjures up an image of countless torii gates. 

Fushimi Inari is lined with about 10,000 of these gates painted in brilliant vermillion red, stretching out before the visitor to the top of the mountain. 

Passing through the hundreds and hundreds of torii gates, one feels as though the gates will continue on without end. 

Don’t be tempted to try to count how many there are—there are far too many gates to enumerate.

 You will see spider webs, caterpillars and mushrooms around you as you pass through the gates. Relax in the serenity of the forest as you walk down the deep forest paths.  




Fushimi-Inari(1): Torii gates that lead you into the world of the divine


The ancient capital of Kyoto with its history of over 1,200 years features countless special attractions, but if a visitor to Kyoto is asked what the most impressive sites in this city are, he or she will surely name Fushimi Inari-Taisha as one of them. 

The history of this place stretches back even longer than 1,300 years, having attracted people even before the imperial capital of Heian-kyo was established. 

Indeed, one could even say that the presence and renown of Fushimi-Inari transcend the history of the ancient capital of Kyoto. 

Through the trees of the lush forest surrounding this spot, you can glimpse the brilliant red torii gates lining the path to the huge shrine, looking somehow as though they have been there forever. 

The 4km trail continues until you reach the top of the mountain, but as you walk along it you will feel that you are indeed being led into another world.

 If you visit Fushimi Inari, you will realize that the myriad of torii, which appear at first glance to be the main part of the shrine, in fact play only a supporting role leading up to the shrine itself. 

No visitor can afford to miss this place where people have practiced their faith for hundreds of years, and where spirituality can be sensed in every part of the landscape. 





Tuesday, October 18, 2016

Kiyomizu-dera(6): Jishu-jinja: a place to win good fortune in love


After you have taken in the atmosphere of the main hall and the veranda, move on to the left-hand side of the grounds. 

You will see a shrine called Jishu-jinja, meaning “landlord shrine.” 

This shrine has a long history, and is reported to have been founded more than 2,000 years ago.

 As the god of this shrine is known as the god of matchmaking and marriage, young women and couples visit this shrine in large numbers. 

In the grounds, two large stones—the “stones of love fortune-telling”—lie at a distance of 18 meters apart. 

It is said that if you manage to walk from one stone to the other with your eyes closed, you will experience good fortune in your love life. 

When the shrine is crowded, walking between the two stones alone can be very difficult, so if you would like to take up this challenge, it is a good idea to walk with the help of a friend. 

Other visitors may bump into you—be careful you don’t fall in love with one another! 





Kiyomizu-dera(5): Kiyomizu-no-butai: overlooking the city of Kyoto


Now proceed to the main hall of Kiyomizu-dera. 

Around you, you will see statues of Buddha which are said to have the power to dispel people’s sins. After observing the statues in the hall, go out onto the famous Kiyomizu-no-butai, the veranda of this temple. 

The present veranda was built in 1633. The height of the veranda is equivalent to a four-storied building and juts right out over the edge of the cliff where the temple is built, so the view of Kyoto City from this spot is outstanding. 

The veranda slopes down a little towards the edge, so as you walk towards the outer limits, you may feel almost as though you are going to fall over the cliff. 

This veranda was built as a place to offer a variety of entertainments for the Buddha statues enshrined in the main hall, with traditional music, Noh, Kabuki dramas, and sumo all having been performed here. 

As you stand on the veranda, try to imagine one of these entertainments being performed in this idyllic setting.

 Surrounded by the trees and greenery of the mountains, this “open-air stage” makes an exquisite theater.





Kiyomizu-dera(4): Sanju-no-to: a symbol of the Higashiyama mountains


Behind Sai-mon stands Sanju-no-to, meaning “three-storied pagoda.” 

A rare Buddha statue is found inside the building. The original pagoda was built in 847, but the pagoda you see today is a reconstruction built in 1632. 

The pagoda is widely known as the symbol of the Higashiyama mountain range surrounding the city of Kyoto. 

With a height of about 30 meters, it is the largest three-storied pagoda in Japan. 

Standing in the downtown regions of Kyoto and looking towards the Higashiyama mountains in the distance, you can easily spot the red pagoda. 

The backdrop of the green mountainside and the striking red of the pagoda blend together beautifully to create a stunning landscape. 

As you make your way back from this temple, turn back toward the Higashiyama mountains and look up at the pagoda; seen from below in this way, the pagoda presents quite a different aspect compared to how it appears from near the temple. 

This stunningly beautiful historic pagoda has watched over the city of Kyoto for 1,200 years. 





Kiyomizu-dera(3): Sai-mon: the entrance to nirvana


Next to Nio-mon stands Sai-mon, meaning “west gate” in reference to the direction in which the structure faces. 

Colorful patterns are drawn on its pillars in bright colors. Gilt ornaments and sculptures add to the spectacular appearance of the gate. 

Why does Sai-mon face west? The reason lies in the belief that nirvana is to be found in the west. 

When the sun sets, the sky behind the gate turns a mysterious pale orange—the color that is believed to typify the gateway to Nirvana. 

Throughout the ages, countless people must have uttered a silent prayer for their souls to rest in peace as they watched the sunset through this gate. 

From here, you can see the whole of Kyoto City spread out beneath you. 

If you visit this temple in the late afternoon, be sure not to miss the stunning view of Kiyomizu-dera during the sunset, which is without a doubt the finest view of the temple. 




Kiyomizu-dera(2): Nio-mon: guarded by powerful devas


Climb up a steep approach to get to the temple. 

Just as you are starting to feel a little short of breath, you will see a brightly colored gate.

 This gate—Nio-mon, meaning a gate guarded by a Buddhist deity called a “deva”—is the main gate of Kiyomizu-dera.

 It is an imposing two-story structure, measuring about 10 meters from side to side. 

Because of its color, it is also called Aka-mon, meaning “red gate.” On both sides of the gate, you will see huge devas over three meters in height looking down at you. 

In Buddhist mythology, a “deva” is a guardian who prevents evil spirits from entering the temple precincts.

Let us look at the deva up close; its lively, muscular body is an impressive sight. 

Now, take a look at the expression on its face; the deva’s wide-open eyes indicate its courage and readiness to expel evil spirits. 

Thanks to the behind-the-scenes support provided by these two devas, the temple has continued to thrive for over 1,200 years. 





Kiyomizu-dera(1): The temple that embodies the soul of Kyoto


Kiyomizu-dera overlooks the city of Kyoto from its location in the foothills of the Higashiyama mountain range. 

Built in 778, this temple represents the spirit and soul of Kyoto. Its vast stage, constructed on the edge of a cliff, is famous all over the world as an enduring symbol of Kyoto itself. 

The temple’s wooden structure features a number of elaborate architectural techniques, based on wisdom passed down since the ancient era. 

The array of different temple buildings forming a route around the foot of the mountain shows a full range of beautiful architectural styles. Integrated with the undulating terrain that surrounds it, Kiyomizu-dera embodies the city of Kyoto. 

Walking around the temple area is a chance to experience the awe-inspiring atmosphere created by its history, as a place of pilgrimage for those living in this ancient capital for over 1,200 years. 

A distant view of the city of Kyoto with the stage of Kiyomizu-dera in the foreground will be an unforgettable moment in your Kyoto trip.




Monday, October 17, 2016

Daisen-in(7): Sho-in-no-ma: where Toyotomi Hideyoshi and Sen no Rikyu enjoyed taking tea


There is an interesting tradition about a room called Shoin-no-ma, or drawing room, located to the northeast of Hojo. 

This room once was a tea house called Suisho-shitsu, where the grand tea master Sen no Rikyu and Toyotomi Hideyoshi once enjoyed taking tea together. 

Toyotomi Hideyoshi is the man who unified Japan in the Warring States period in the 16th century. 

It is said that while enjoying a cup of green tea, Toyotomi Hideyoshi all of a sudden ordered Sen no Rikyu to carry out a flower arrangement on the spot. 

Using his imagination, Sen no Rikyu responded to the request by using a stone that lay in the garden as a vase and placing flowers in the stone. 

Seeing this quick response, Toyotomi Hideyoshi praised Sen no Rikyu’s innovative idea of placing the flowers in such a simple vase as an example of out-of-the-box thinking. 

However, the close relationship between Sen no Rikyu and Toyotomi Hideyoshi didn’t last long. 

Later, Toyotomi Hideyoshi ordered Sen no Rikyu to commit seppuku—an act of ritual suicide more commonly known as hara-kiri among English speakers—after he supposedly took offence at Sen no Rikyu’s creation of a second floor in the San-mon gate of Daitoku-ji where an image of Sen no Rikyu was enshrined. 

It is said that Toyotomi Hideyoshi was furious because the notion of passing under the feet of Sen no Rikyu, his inferior, was a deep humiliation for him. 

However, the real reason for his order remains a mystery. 

What do you suppose they talked about in this tea house 400 years ago?

 It is interesting to speculate what could have happened in this small room at that time.




Daisen-in(6): A dry landscape garden created for Zen practices


The Hojo garden of Daisen-in is a garden which had a major impact on the generations which came after. 

Before this garden came into existence, gardens had been created for ornamental purposes and sometimes in order to show off the power of their influential owners to their guests. 

However, the dry landscape garden of Daisen-in was created by the head priest Kogaku Soko for carrying out Zen practices. 

A dry landscape garden is a garden style that represents natural features, such as mountains and rivers, without using water. 

Originally, monks believed that the ideal place for Zen training was untamed nature, a place where monks could reflect on themselves in a tranquil natural environment. 

Kogaku Soko tried to recreate this ideal practicing environment in the limited space of a temple located in the city. 

Through grasping the very essence of Zen, Kogaku Soko’s passion allowed him ultimately to create a garden great enough to have a significant influence on gardens in Zen temples throughout the country. 

Focus your thoughts as you look at this garden. 

This is a chance to catch a glimpse of the very essence of the Zen spirit.





Daisen-in(5): Hojo Garden: depicting majestic nature


The garden situated in front of the Hojo is the renowned Hojo Garden of Daisen-in. 

The outstanding feature of this garden is the way it depicts great natural features within a limited space as a series of stories. 

See if you can find creatures and ships appearing in this story. 

This garden was created by Kogaku Soko, the founding priest of this temple, in 1509. 

In the northeast corner of the temple grounds stands a stately-looking large stone. 

This stone is intended to resemble Mt. Horai, a legendary Chinese mountain where a hermit with spiritual powers is believed to live. 

A waterfall flowing from Mt. Horai is divided into west and east, with each forming a river flowing into the ocean. 

On the white sand representing the river, a ship represented by a stone sails ahead at a leisurely pace, its bow rising high into the air. 

Behind the river, a stone arrangement represents a row of mountains. 

Looking at this garden through the window in the building, the window frame serves as a picture frame for the scene, allowing you to enjoy it as if it were a superb painting. 

This is a place where you can imagine the kind of majestic nature that forms a backdrop to a legendary story, as you appreciate the beauty of this landscape filled with symbols of Buddhist beliefs, recreated here with rocks and sand.





Daisen-in(4): Sliding-door paintings created by a top-ranking painter of the time


Each room in Hojo features valuable partition wall paintings created by a superb artist of 500 years ago. 

One such artwork is called Shiki Kacho-zu, literally meaning “Picture of flowers and birds in four seasons,” created by a painter called Kano Motonobu who served as the second head of the renowned Kano school.

 It uses a range of colors to depict not only the texture of plants and rocks, but also the lively movement of birds. 

Another picture is called Shiki Kosaku-zu, literally meaning “Picture of farming in four seasons,” painted by Kano Yukinobu, who was a brother of Kano Motonobu. 

It is an ink painting depicting a landscape of peaceful and idyllic farming scenery. 

The Kano school was a group of painters who played a central role in the world of Japanese painting over a period of 400 years from the 15th century to the 19th century.

 Another painting by Soami, an artist who gave Kano Motonobu advice about painting, also attracts the attention of visitors. 

Soami created a work called Shosho Hakkei-zu, literally meaning “Eight views of the Xiao and the Xiang in China,” which exhibits a beautiful landscape of a Chinese lake in eight different ways. 

Take a moment to truly appreciate these paintings, created by superb painters. 




Daisen-in(3): Hojo: still looking as it did 500 years ago


As you pass through the front gate and proceed along the stone pavement, Hojo, the priest’s living quarters, can be seen to your left. 

The Hojo of Daisen-in is a wooden building with a history going back 500 years. 

In this area of Kyoto which has suffered from many fires, this building has a special value for the way it has retained its original form from the early 16th century. At the Hojo of this temple, you will see a hallway that represents the starting point for a style of hallway that has continued to be seen right up to the present day in Japanese buildings. 

This hallway was built in 1513. Despite its simple and small-scale design, an exquisite openwork feature on the upper part of the door creates a very special touch. 

In addition, a room here called Sho-in, a drawing room, features Japan’s oldest tokonoma, a type of recess used in Japanese buildings.

 Look at it carefully. 

The black wooden edge on the wall in the back of the recess adds a pretty touch to this small space. 

The texture of this wooden edge gives you a clear sense of its long history of 500 years. 

The sense of “old Japan” is also apparent in the roof of Hojo which has been thatched with hiwada-buki, a traditional Japanese roofing style using cypress bark. 

Stop and get a sense of the history of the temple by experiencing the warm touch of the wood against your own hands. 





Daisen-in(2): Founded as a retreat of an important priest, Kogaku Soko


Daisen-in is a tatchu sub-temple of the Daitoku-ji temple compound, built by a feudal lord called Rokkaku Masayori in 1509. 

A tatchu sub-temple is a small temple built in or near the grounds of a main temple. 

Rokkaku Masayori was a feudal lord who ruled the territory around Lake Biwa. 

The 76th chief priest of Daitoku-ji, Kogaku Soko, became the founding priest of this temple, Daisen-in. Kogaku Soko was a well-known priest who became a close advisor to numerous aristocrats and influential feudal lords and even the emperor himself. 

As a result of his renowned achievements and contributions, he was given permission to build a retreat in the prestigious grounds of Daitoku-ji. 

To tell the truth, Kogaku Soko was actually a son of Rokkaku Masayori, the founder of this temple. 

Born into the feudal lord class, he later entered the priesthood to train himself in Buddhism as a Zen monk. 

Daisen-in is located on the north side of Hojo, the priest’s living quarters, in the head temple of Daitoku-ji. 

This tells us of the tremendous presence that Daisen-in has among the various tatchu sub-temples located in the Daitoku-ji complex. 

Visiting the grounds of Daisen-in, you can get a deep sense of the spirit of Zen as practiced by the great priest Kogaku Soko.




Daisen-in(1): A Zen temple featuring the greatest dry landscape garden of its era


Although many beautiful gardens exist in Kyoto, no survey of Zen gardens would be complete without appreciating the garden here at Daisen-in in person. 

This is because the garden situated in these temple grounds can be said to be the origin of the dry landscape garden concept, a style that has been passed down over 500 years to the present day. 

Dry landscape gardening is a style which aims to depict mountains and rivers without using water, a style which ultimately came to be seen as an indispensable part of any Zen temple. 

This tradition of the Zen-styled dry landscape garden actually started at Daisen-in. 

At the entrance of the temple grounds, you will find yourself welcomed by aged wooden buildings that have watched over the temple throughout its history. 

Inside the building, your eye will be caught by the partition paintings, created by the greatest artists of their era. 

Daisen-in is one of the few tatchu sub-temples in Daitoku-ji temple compound which are open to the public all year round. 

Looking at this famous garden and the temple architecture of Daisen-in, you will see the history of Zen culture, passed down for 500 years, being recreated before your eyes. 




Chion-in(7): Hojo Garden, set off by the landscape of the mountains


Let’s now proceed to Hojo Garden, located behind the main hall. 

This garden is laid out around a central pond. 

It is said to have been designed in the mid seventeenth century by a Buddhist monk named Gyoku-en, who had a strong connection with renowned landscape architect of the time Kobori Enshu. 

The beauty of the garden is set off by the majestic buildings and the landscape of the Higashiyama mountains which surround it, creating scenery with an extraordinary atmosphere. 

Take some time to stop and really revel in this wonderful sight.





Chion-in(6): The seven wonders of Chion-in


In Chion-in, there are seven wonders which have been passed down through the ages. 

One of the most interesting is Uguisubari-no-roka, meaning “nightingale hallway.” 

As you walk the hallway from Miei-do through Shue-do to Hojo, you will hear a sound reminiscent of the cry of a nightingale.

 If you try to walk more quietly, the sound is actually heard more loudly. 

It plays the role of an alarm, informing listeners of the intrusion of any suspicious persons. 

Now turn your attention to a drawing of a cat on the hallway of Hojo. 

No matter where it is viewed from, left or right, its eyes seem to follow you. 

It is believed that the picture represents the mercy of Buddha, who is watching over us from all around.





Chion-in(5): Shue-do: a place for ascetic rituals


On the left, towards the main hall, stands Shue-do, meaning “assembly hall.” 

This building connects to Miei-do via a corridor. The area is said to be as wide as that of a thousand tatami mats. It has been used as a place of ascetic practices since time immemorial. 

The “shue” in the hall’s name refers to its purpose as a place where monks gather to learn by listening to lectures. During the repair period of Miei-do, Shue-do plays the role of the main hall of the temple complex, while the image of Honen has also been enshrined here. 

Visitors must be sure not to miss this wonderful opportunity to see the Honen image up close.





Chion-in(4): Miei-do: a hall of overwhelming scale


As you pass through San-mon and ascend a steep stone staircase known as Otoko-zaka or “male slope,” which was featured in the movie “The Last Samurai,” you will see a majestic building crowned with a huge roof on your left. 

This is the main hall, called Miei-do, meaning “hall housing an image.” 

The huge building, 35 meters in width and 45 meters from front to back, enshrines the image of Honen, the priest who was the founder of the Jodo sect.

 The hall is closed until 2018 due to large-scale repairs which will go on for eight years. 

The repair site resembles a construction site for a new high-rise building; imagining what the hall will look like after its repairs, who can resist the temptation to plan a second visit in the future?





Chion-in(3): San-mon: the gate that greets visitors


The highlight of Chion-in is surely the two-storey San-mon gate located to the front of the building. 

This San-mon is the largest wooden gate in Japan, standing 24 meters in height and 50 meters from side to side. 

The upper floor of the two-level San-mon structure houses a Buddha statue. This gate allows visitors a glimpse of how magnificent this temple is.  

Cross the street from Gion, and walk along the approach in front of you. 

Catching your first glimpse of the massive structure of San-mon is a heart-stopping moment. 

This huge wooden gate is on top of the hill, and looking up at the gate as you walk underneath it is an awe-inspiring sight.


Chion-in(2): A spiritual place flowing with sacred energy


Let’s now step into the huge main hall. There will be chanting monks and worshiping pilgrims, amidst an atmosphere infused with the scent of incense. 

As the head temple of the Jodo sect whose believers are among the most numerous for any sect in Japan, Chion-in welcomes hundreds of thousands of pilgrims every year. 

For visitors from overseas, one way to think of the temple is as a kind of “Vatican” of the Jodo sect. 

Chion-in is a place to get a glimpse of how the Japanese people engage with their religion, and to experience some of this sacred energy for yourself.






Chion-in(1): A majestic temple with a solemn atmosphere

chion-in
Chion-in is without a doubt one of the most impressive sightseeing spots in Kyoto.

The biggest draw of Chion-in is the solemn atmosphere that is found at this spot. The first impression of those visiting the temple for the first time is of its large and imposing building. 

This is a much-visited spot, located closer to the center of Gion commercial district than any other sightseeing location, but when you step into the temple grounds you will be surprised at how quiet and sonorous it feels inside. 

A priceless part of Kyoto’s historical and cultural heritage, Chion-in continues even today to be a place of worship for numerous people who come to perform Buddhist chanting as part of their ascetic rituals. 

The view from the hill where the temple is located is also noteworthy. A visit to Chion-in in the early morning on a sunny day is a refreshing experience. 

Why not rise early and come to the temple first thing in the day?