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A Rough Sketch
of Kyoto and its vicinity
ae
ve f
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SIGHTS
OF
OLD CAPITAL
BY AISABURO AKIYAMA, -AUTHOR OF “A BRIEF HISTORY OF PICTORIAL JAPAN” “PAGODAS IN SUNRISE-LAND” “GION FESTIVAL”
etc., etc,
a Kil # = MH
Fut
1919.
With the Deepest Respect His Little Work Is Dedicated to Wis Sxcellency Rofand §. Morris, She American Ambassador to Japan, and Nadam Roland §, Morris As an Sternal Soken of She NCost Grateful Remembrance For She Inuumerzable Hindnesses Gs Lofty ar Our Holy Mountain fuji, She Seerless Sride of the Suncise-Land.
Cisvburo hiyama, Outhor.
Sokyo: Futy, 1919.
PREFACE
It goes without saying that Kyoto is the great center of sightseeing in Japan, and its complete guide-book has been keenly needed for a long time, hence the publication of the present volume. If it serves the purpose even in the least degree, it will certainly give an ample satisfaction to the
Author, AISABURO AKIYAMA,
Tokyo: July, rgrg.
ies
“Ss
ARASHIYAMA
Don’t talk about Japan before you have seen Kyoto
’
Don’t talk about Kyoto before you have seen Arashiyama.
v7
SIGHTS OF OLD CAPITAL.
KYOTO
Kyoto, the classical capital richest in historical interest and the seat of the religious headquarters, is certainly the center of the fine arts and sights of Japan. Besides, Kyoto is the most important ceremonial city where the grand ceremonies of coronation and Dazjésai* shall permanently be performed in accordance with the Imperial House Law promulgated in 1880. It had been the capital of the Empire from 794 a.p. till 1869 when the Emperor and his government removed to Yedo or Tokyo of the present day. .
It is absolutely undeniable that no place in this country is so interesting and instructive to sightseers as Kyoto, being matchlessly enriched with the beautiful Buddhist temples and Shinto shrines of many centuries, the exquisite festivals nowhere else to be seen, and the tempting shops and factories of silks and art-objects. Especially, the artistic landscape gardens and charming suburbs of Kyoto, profusely favored by nature, are scarcely within the reach of pen and brush. Apart from the political standpoint, no concrete idea of the Sunrise-land would
be obtained without paying a visit to our far-famed old capital.
*The unique Shinto festival performed personally by the Emperor on enthronement.
Now, the term ‘Kyoto’ means ‘capital,’ and Kyoto is often called ‘Saikyo,’ or the western capital, in contradistinction to Tokyo, or the eastern capital.
‘The city of Kyoto covers an area of about 14 square miles, | approximately 5 miles from east to west and 4 miles from north to south, and is situated on a flat land, 162 feet above the sea-level, delightfully sheltered by thickly-wooded mountain ranges on three sides, namely, Higashiyama in the east, Nishi- yama in the west, Kitayama in the north, while there stretches towards the south an ‘extensive fertile plain reaching as far as Osaka Bay. The loftiest peak peeping through a veil of silvery clouds in the north-east is holy Hiyeizan ; romantic Kuramayama towers high in the north; mystic Atagoyama and picturesque Arashiyama lay in the west, respectively enjoying a bird’s eye view over the lovely groves of pines and bamboos scattered here and there like tasteful patterns on a piece of brocade. From north to south in the eastern part of the city runs a clear stream of the Kamo-gawa, which is joined with Lake Biwa by a canal of about six miles long, while in the west meanders the River Katsura with its plentiful fish.
Kyoto stands on the trunk-line of the railways running through the country, 330 miles distant from Tokyo and 47 miles from Kobe. Its population numbers 670,000 with about 130,000 households and is steadily increasing if not at bounds and strides.
A HISTORICAL OUTLINE OF KYOTO: It had been a custom of remote antiquity to change the seat of the Imperial Court at the commencement of each reign, which mostly took
place within the limit of Yamato Province. It could be easily
°
\
done when the organization of government was simple, but it became no longer possible owing to the expanse of complicated state affairs. Thus, Nara was made for the first time a permanent capital in 709 Ab. Subsequently, the Emperor Kwammu_ removed the capital in 784 from Nara to Nagaoka, which now forms the south-western suburb of Kyoto. Finding Nagaoka, however, too small to be a substantial capital, the Emperor again selected in 793 the village of Uda in Kadono district, which ultimately has developed into present Kyoto. In October of the following year when the Palace was partially completed, the Emperor took up his residence in the new capital and gave order to call it the Heian-kyé (Capital of Peace). Then the remaining work was hurried on under Imperial direct super- vision, so that the magnificent Daigokuden (Hall of State) was successfully constructed within a year, while the laying out of the streets came to a conclusion in the latter part of 805. The Heian-kyd, which was planned upon Chinese model, had an area of 3 miles from east to west and 3% miles from north to south, and was surrounded by a low mud wall encircled by the moats. Nine broad streets ran from east to west, starting with /chijo (First Street) in the north and ending with Kujo (Ninth Street) in the south; the similar series of streets intersected them from north to south with Kyogoku in the eastern extremity and with Mishi-Kyogoku in the west, while 26 lanes, each 40 feet in width, were laid out between these streets. The broadest street measured 170 feet wide and the narrowest about one-half. At the entrance of every thoroughfare, there stood a handsome gateway ; the Rashdmon in the south was particularly noted.
The most important thoroughfare Shawjaku-dori, 280 feet wide,
3
tan from north to south, that is, from the main gate of the Imperial Palace to the Rashimon, The city was divided into two administrative sections: one-half in the west of Shajaku-dori was named Uys (Right Capital) and the other half in the east Sakyo (Left Capital), while they were poetically called Chioan and Rakuyd, the names of two ancient capitals of China. The Imperial Court, then known as ‘Dai-dairi, comprised nearly one-fifteenth of the total dimension of the city and was located between /chijo and JVi7d, much further to the west of its present site. Profound peace reigned for wellnigh three hundred years following the foundation of Kyoto. When the Fujiwara family was at the climax of influence, the Imperial glory was ovet> shadowed in ‘acy respects; but, the city itself prospered on the contrary, because there cotle successively built temples, shrines and nobles’ villas on the other side of the Kanio-gawa. At fhe decline of the time-honored House of Fujiwara, there sprang up two powerful clans, viz., Minamoto and Taira. The mighty conflagration, which occurred in April of 1177, almost ruined the city, destroying 20,000 houses and the Imperial Palace. In June of 1180, the all-powerful Taira-no-Kiyomori removed the capital to Fukuhara near Kobe, though for a brief while, which brought about a quick decadence of Kyoto. Then, there followed consecutive wars between the Taira and Minamoto Clans, as a sequel of which the former was completely annihilated in 1185. This eventually gave rise, to the establishment of the Shogunate or military government at Kamakura in 1192, Minamoto-no-Yoritomo becoming the generalissimo of the whole country, The outcome of this novel administration led Kyoto
to be a nominal capital. In 1221, the growing arrogance of
4
the H6jo Regent caused the Emperor to wage battle against the feudal government of Kamakura, which, however, ended in the total defeat of the Imperial forces. Thus, Kyoto was trampled under the puissant feet of an overwhelming army dispatched by the Shogunate ; as its result, three ex-Emperors were exiled to the lonely islands, far off from Kyoto. This is historically known as the Shdkyu War. On the fall of the Kamakura Shogunate, Ashikaga Takauji became the first Shogun of the Ashikaga Dynasty, administrating state affairs in Kyoto. This period was practically an unbroken line of disturbances excepting a wink’s tranquility at the beginning. Another attempt of the restoration of administrative power to the Throne led to a long civil war of fifty-seven years (1336-1392) desperately fought between the adherents of the Southern and Northern Courts, by which Kyoto suffered severely. Finally, there broke out that horrible inter-civic war of Onin (1467-1475), in course of which the rival followers of Yamana Sozen and Hosokawa Katsumoto struggled hard until they became completely exhausted. This transformed the city of Kyoto into a dreary wilderness, reducing to ashes all the temples, shrines, houses and priceless works of art. No period had been so dismal and dreadful to the Imperial House as the interval of about one hundred years immediately after the Ouin War. The Court was driven into such straitened circumstances that it is utterly beyond description. Many of court-nobles had to live from hand to mouth by plying menial work, while others were obliged to take shelter away from home. As it was, alas! the capital was nothing but the shadow of its whilom splendor. It was indeed at this critical juncture
that our gallant lord Oda Nobunaga made his timely appearance
5
in 1569, finding Kyoto in the most wretched condition ever witnessed. The foremost loyality he showed towards the Emperor was to repair the dilapidated Palace and to lay out the ruined seit anew. As bad luck would have it, he was assassinated by one of his generals just on the threshold of bringing the whole country under his sway. He was, however, succeeded by a still greater man than himself, who was no other than Toyotomi Hideyoshi, a/as the Taiko, the unprecedented hero Japan has ever produced. Though of humble birth, Hideyoshi was peerlessly endowed with the nerves of steel and entertained a stupendous enterprise. In fact, it did not take him very long in subduing all the feudal lords in the Empire and grasped the reins of administration, enabling the people to enjoy a peaceful life after having passed many weary years of uneasiness. He endeavored in restoring the Imperial Palaces, the shattered temples and shrines and the broken streets, while he constructed for himself the gorgeous /wraku Palace in Kyoto and the famous Momoyama Castle of dazzling magnificence at Fushimi in the southern suburb. This was the so-called brilliant Momoyama Period, which came to be used in future generations for an epithet for pomp and grandeur. The city thus thoroughly renovated became again the real capital almost as flourishing as it was in the reign of the Emperor Kwammu. Nevertheless, the prosperity of the grand Momoyama Period turned out to be a momentary dream, because all these treasured structures were irreparably demolished by Tokugawa Teyasu_ in the 18th year after the death of Hideyoshi, that is to say, in 1615 when the Toyotomi family met with the shocking fate of extermination.
Prior to this, Ieyasu became the Shogun in 1603 and established 6
his feudal government at Yedo, which had wrapped Kyoto as a matter of course in a shroud of insignificance but in peace for 265 years. In the meantime, the intercourse with foreign countries stimulated the loyalists in no little degree to restore the power of administration to the Throne, which later gave rise to the repeated battles between the loyalists and the Shogun’s vassals. At last, the Yedo Castle surrendered to the Imperial army in 1868, resulting in the complete downfall of the Tokugawa Shogunate. From the next year, the Imperial House and government have been stationed at Tokyo; yet, Kyoto, the heart of sightseeing, shopping and scenic beauty, shall always be found as the most attractive city not only in Japan but in the Far East. :
GOSHO (IMPERIAL PALACE) occupies its stately site in the center of the Imperial Park beautifully planted with innumerable trees of pines, cherries, plums and so forth. The Park comprises an area of about 220 acres of ground in the northern part of the city and is encircled by a low stone wall. In olden times, there stood the residences of the princes and court-nobles, but they were all taken down many years ago. The Palace is situated within an enclosure measuring 26 acres and is surrounded by a tall tile-roofed wall made of brownish mud and plaster with five stripes on it. This majestic-looking wall is known as ‘7suzz’ and is pierced by four principal gates— the Kenshun-mon in the east, the Gishuz-mon in the west, the Kenrei-mon in the south, and the Sekuhet-mon in the north. The
Palace was destroyed by fire several times and was re-erected
7
jast in 1856, The original Palace constructed by the Emperor Kwammu in 794 was further to the west, while the present location .dates back to 1336 and had been resided by twenty-six Emperors until the Restoration in 1868. |
Entering the O-Daidokoro-mon or Honorable Kitchen Gate in the north of the Gisha-mon, the visitor is shown to a room where the permit is vised by the official in charge and the name is to be signed in the visitors’ book. Then, the Palace-guide conducts the visitor to the Mikurumayose, or an entrance-hall, where shoes and overcoat must be taken off. Now, passing | through a corridor, there is reached the Shodaibu-no-ma, or the ‘waiting hall for dignitaries, consisting of three compartments with the walls and sliding-screens decorated with sepia-drawings. The cherry-trees of the First Room are painted by Hara Zaisho, the storks of the Second by Kano Eigaku, and the tigers of the Third by Kishi Gantai. In the corridor just outside the Shodaibu-no-ma stand two ‘7%suitate’ screens with the paintings of a man on horseback and horses executed in monochrome by a certain artist of the Tosa Schoo]. The next room, which looks like a corridor, is called the Denjo-no-ma,* where are set three red-lacquered low tables on which the courtiers had meals. The two larger tables are named Maga-Daiban, and the smaller one Kivi-Daiban. The arm-chair Go-/shit placed in the north-eastern corner of the Denjé-no-ma was used for the occasional seat of the Emperor and was nightly covered with
a silk cover of Sz-d or purplish color, which was kept during
* Denjé is pronounced Tenjé.
+ Ishi is the classical pronounciation for Isu.
8
‘AOVIVd IVINTINI AHL WO ‘OHSOD AHL
os
i . * Ah . i = . 4 ow * ’ + . ‘ 7
the daytime in a special place called the .Sao-no-ma in the south-western nook. Then the visitor is led to the Seiryd-den (Emperor’s Usual Residence). Just before entering the Seirya-den, there is found, paved under the steps, an alarm-board Waru-/ta, which is expressly made to creak whenever one treads on it. Notice ‘on the right hand a 7sutate screen on which are written the year’s celebrations.
THE SEIRYO-DEN, 54 feet on each side, consists of about ten rooms, of which the main hall is only accessible. It was employed for performing ceremonies such as ‘Four Quarters Worship’ on New Year’s Day and the like. In the middle of the hall is installed the Michddai, or a dais, on which the Emperor sat on ceremonial occasions. It is decorated with a white silk-hanging ‘Okatadira’ with patterns on it; the winter pattern is called ‘Kuchiki-gata’ (dead tree pattern) and the summer pattern ‘Ashz-ni-Tsuru’ (reeds and storks). The narrow strips of red and black silks hung down over the hanging are named ‘/Vosuji.’ Near the dais are placed two stools for the Imperial Regalia; a wooden dog, Koma-Inu, on the left side, and a lion, S/ishi, on the right. The sliding-screens are painted by Tosa Mitsukiyo, showing the clouds with strong blue color. Each picture is accompanied by a poem written on the Shikishi paper and is pasted on the upper part, serving as the illustration of the subject treated. In the south-eastern corner of the hall, there is a floor known as /shibai-dan, which is made of cement and strewn with sand whenever the Emperor might worship his ancestral deities and so on without descending to the ground. In the front court of the Seivyé-den are growing
two clumps of bamboo in wooden fences, respectively called
ge
Kara-Take or Kan-Chiku and Kure-Take or Go-Chiku, the names taken from Haz and Wu, the two ancient kingdoms of China. It is said that sparrows used to come down on these bamboos every early morning and twittered as if to announce the Emperor of daybreak. The Seiryé-den is built of unpainted hinoki (ground-cypress) wood like other Palace edifices and its roof is of the so-called Aiwada-buki, or roofed with thick shingles of /zxokt. The shutters are suspended on iron rods that hung from the roof, a style peculiar to old palatial houses and temples. Leaving the Seiryd-den, the visitor proceeds to the Shishin-den. |
THE SHISHIN-DEN, sometimes pronounced ‘ S/7s/ii-den,’ measures 72 feet by 108 feet. It is the main hall of the Palace where the most important state ceremonies had been performed. Here the coronation of the present Emperor took place in 1913, when His Majesty sat on the Zakamitura, or the resplendent dais installed in the middle of the hall. Another dais on the right is called the Méchddai and was to be used by the Empress. The northern wall of the hall consists of nine panels or screens known as ‘ Kensei-Shoji’ or Sliding-screens of Sages. On the central panel are depicted a turtle and two dogs, while on the four panels on each side the portraits of the distinguished Chinese ministers and generals, who lived during the Three Dynasties and the T’ang Dynasty. Each panel contains four figures, numbering thirty-two in all, and they were copied by Kano Sukenobu after the model painted in 888 by the renowned artist Kose-no-Kanaoka. On the back of these panels are delineated birds and flower patterns. The hall is surrounded by verandahs and is ascended
by three stairs; the front stair has 18 steps, while each of the
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east and west sides has 9 steps. The flight of 18 steps is said to represent the number of the ancient ranks of court officials. Those who were entitled to ascend the steps were called ‘Denjo-bito’ (men up the hall) and those who were not ‘/ige’ (down on the earth). In the front court outside the Shzshin- den is growing a cherry-tree named Sakon-no-Sakura on the left hand, and a species of orange-tree, Ukon-no-Tachibana, on the right. The former signifies the spirit of the Japanese and the latter had been regarded as the king of fruit-trees in the earliest ages. The designation of Sakon and Ukon were derived from the names of the Imperial Body Guards stationed near here. The guards were organized of archers and horsemen, and they were divided into the right (U%on) and left (Sakon) companies, respectively headed by a general who was appointed as a rule from among the sons of either regent or prime minister. The tablet hung on the lintel just above the, front stairs, bearing three characters S/z-s/un-den, was written by Kamo-Agatanushi- Yasutaka, a noted calligraphist. From the Shishin-den the visitor is conducted to the Ko-Gosho (literally, the Minor Palace). THE KO-GOSHO consists of three rooms, each of 18 mats. - Here the Shogun’s envoy, Governor of Kyoto and feudal lords were received in audience by the Emperor. On the walls and sliding-screens are depicted the New Year’s Ceremonies, the famous views, some historical subjects, each being accompanied by an explanatory poem written on the S/vkishi paper. The bold blue stripes on the’ pictures suggest clouds, presenting a striking feature peculiar to the Japanese painting. The /ddan- no-ma (Uppermost Room) is painted by Kano Eigaku, the Chi-dan (Middle Room) by Tsuruzawa Tanshin, and the Ge-dan
13
(Lowest Room) by Katsuyama Tanbun. The decorations on the back side of the sliding-screens facing the eastern corridor are executed by Hara Zaisho, those on the south by Umeda Zaishin, those on the west by Kaihoku Yusho, and those on the north by Reizei Tamenori. All these rooms look out on a very beautiful landscape garden. Beyond the Ko-Gosho lay many buildings, namely, the Ogakumonjo (Imperial Study), the Empress Palace, etc., but they are inaccessible to the public. Now, the visitor turns homewards, admiring on the way a number of cedar-doors decorating the corridors, most of them
are painted by Chikudo, Yutei, Nanrei, Zaisho and so on.
OMIYA GOSHO AND SENTO GOSHO are situated in the same premises in the south-east of the Imperial Palace, cover- ing about 18 acres of ground enclosed by the 75277 wall. The OMIYA GOSHO is the Palace erected by the Tokugawa Shogu- nate in 1643 for the residence of Tofukumon-in, the consort of the Emperor Gomizunowo and mother of the Empress Myojoé. It fella victim of a conflagration in 1854 and the present edifice is a portion of the Palace re-built afterwards. There is not much to attract sightseers. The SENTO GOSHO denotes the Palace constructed by the Tokugawa Shogunate in 1628 as a retreat for the ex-Emperor Gomizunowo, whose consort was a daughter of Hidetada, the 2nd Shogun of the Tokugawa Dynasty. The Palace was burned down by fire in 1854 and has never been re-erected, but there remains a famous garden charming at each season. This garden, the unique relic of the Sexi Gosho, measur-
ing about 9 acres, is densely grown with mighty old trees such
14
as pine, maple, cherry, oak, camphor, beech, heyahi (zelkova acuminata) and so forth. It is so skilfully laid out that all appear perfectly true to nature, making one feel as if it were a forest far, far off in the country. There are two large lakes, several cascades and islets, and a few ceremonial tea-rooms tastefully put up here and there. An islet is spanned by an artistic stone bridge over’ which a canopy of wistaria is hung, and there is also found a historic lantern made of the Kansuisekt stone and brought over from Mito Province. The garden is highly reputable and is counted as one of the most
beautiful in the Empire.
NIJO RIKYU (NIJO DETACHED PALACE), formerly known as the Nijo Castle, is undoubtedly the paramount relic | of all the palatial buildings in Old Japan. In short, it may be rightly said that ‘you are not entitled to talk about magnificence before you have seen the Nijo Detached Palace.’ The Castle was erected by Ieyasu, tle founder of the Tokugawa Dynasty, to serve as his temporary residence whenever he might pay a visit to the Imperial Court in Kyoto. The work was started in 1602 and was nearly completed when he took his first lodging on March 21st of the following year. It was indeed at the Nijo Castle that there met on February 3rd of 1868 an extraordinary Council of State in the presence of the Emperor Meiji, when he gave an order to convene a deliberative assembly and to decide all state affairs by public opinion in accordance with the Imperial Oath of the Five Articles, simultaneously issuing the Edict for the subjugation of the Shogunate. Shortly
15
here in the same place, Tokugawa Yoshinobu, the 15th Shogun, submitted to the Throne the restoration of administrative power, The Castle was turned into the Kyoto Prefectural Office between 1871-1884, when a number of its treasured paintings and metal- works were irreparably damaged by certain unartistic officials who swallowed up a drastic dose of western civilization entirely too much that they suddenly began to despise their own fine arts in order to introduce some cheap foreign wares. Fortunately, the Castle was made an Imperial Detached Palace in September of 1884, followed by the renovation on a large scale.
The Palace stands on an extensive ground of about 70 acres within the stone walls pierced by four gates and surmounted with a turret in south-east and south-west. The walls are surrounded by the deep moats of wide dimension, presenting a typical sight of the Japanese fortress in feudal days. The visitor alights at the Higashi Ote-mon or East Grand Gate, a massive iron-bound gate characteristic to the ancient castle, and is conducted through a side entrance to a waiting-room where the permit is vised and the name is to be signed in the visitors’ book. Then, the first object shown is the Kara-mon, or the Shikyaku-mon, a gate profusely decorated with beautiful wood carvings and metal-ornaments. It was originally in Hideyoshi’s Momoyama Castle and was later removed here. Notice the crests of the sixteen-petalled crysanthemum fixed here and there, which replaced those of Tokugawa’s hollyhock when the Castle was taken over to the Imperial Household. Inside the gate lies a spacious court-yard neatly covered with white sand and planted with pine-trees. Walking a few hundred feet, the visitor reaches the Mikurumayose, or the August Entrance, decorated
16
‘AOVIVd GAHOVLA
OfIN AHL WO ‘AANA OLIN AHL
Gah
with the carvings of flowers and birds. The buildings shown the visitor were formerly called ‘“Minomaru’ or the Second Keep, and are made of Ainoki (ground-cypress) and keyaki (zelkova acuminata), while its doors mostly of sugi (cryptomeria). The roofs are all tiled unlike the Imperial Palaces which are roofed with thick shingles of /inoki, The apartments are strikingly roomy and most gorgeously decorated. The bold paintings depicted on the walls and sliding-screens on gold ground are the work of Tan-yu, Naonobu and Koi, the great artists of the Kano School. These decorations, fully displaying thé so-called Shogun’s spirit, truly astonish the spectator. The decorative ceilings, the carvings on the rvamma (a sort of ornamental transom window placed between two rooms) and the ugz-kakushi (elaborately chased gilt copper fastenings covering nails and bolts) are highly attractive. Now, let us enter the palatial apartments of renown,
THE FIRST BUILDING: It contains the Tdzamurai-no- ma consisting of the /chi-no-ma or First Room, the Méno-ma or Second Room and the Sax-no-ma or Third Room, the Wakamatsu-no-ma or Young Pine Room, the /xyd-no-ma or Changeable Mallow Room, the 7sugi-no-ma or Ante-chamber, the Yodan-no-ma or August Room with a raised floor, the Ni-no-ma or Second Room and the Sanz-no-ma or Third Room. All these rooms are surrounded by the broad corridors. The Tozamurai-no-ma were the waiting-rooms for the samurai in services to the Shogun and are furnished with the sliding-screens and walls splendidly delineated with tigers and bamboos: the Wakamatsu-no-ma is decorated with young pines and cherry- blossom, while its coffered ceiling with grape-vines: the
19
Fuyd-no-ma is prettily painted with changeable mallows, little birds and so forth: the Zsugino-ma is likewise called the Kuragart-no-ma or Dark Room, because there is not enough light to see it well: the /odan-no-ma was the Imperial Messenger’s Room and is furnished with the toLonoma (alcove), the chigaidana (shelves of different sizes) and the michddai (body-guard room). The wall of the fokonoma is beautifully painted with maple-trees and that of the chigaidana with various flowers, all by Tan-yu. The coffered ceiling of black-lacquered frames is ornamented with floral designs. The V-xo-ma contains the mural decoration . of a big white fir-tree on gold ground, while its ceiling is made like the /ddan-no-ma.. On the lower panels of the shaji (white paper door) facing the verandah are depicted birds and flowers. The Sax-no-ma is almost similarly decorated like the Wino-mia. THE SECOND BUILDING: Being connected by a corri- dor, it stands to the west of the First Building. There are contained the Shikidai-no-ma and the Rdji-no-ma consisting of three rooms. On the northern wall of the Shikidai-no-ma are delineated two large pine-trees, while on the lower panels of the shoj¢ the geese in a rice-field, flowers and bamboos. The Roju-no-ma, or the waiting-rooms for the Shogun’s councillors, are located at the rear of the Shzkidai-no-ma: the First Room is furnished with the sliding-screens painted with a rice-feld after harvest, reeds and geese in the snow, etc., all superbly executed ; the Second Room is decorated like the First Room ; the Third Room has the sliding-screens painted with the herons perching on a snow-clad willow-tree, tigers and bamboos, etc. The lion on the cedar-door at the eastern entrance is so delineated
that his eyes stare at the beholder wherever looked at.
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THE THIRD BUILDING: It comprises the Yari-no-ma or Spear Room, also called the K7ta-no-ma or North Room, the O-Hiro-ma or Big Room, the Ni-no-ma or Second Room, and the San-no-ma or Third Room. The room first approached in this building is the Sax-no-ma. The Yart-no-ma in the north of the San-no-ma is handsomely decorated with eagles and pine-trees on the walls and sliding-screens on gold ground, while its panelled ceiling is finely ornamented with peacock and butterfly patterns on brown ground. The cedar-doors on the eastern side are painted with cherry-blossom, long-tailed birds, wintery trees, etc., and those on the west with deer and oak-trees in the full autumnal! tints. It is between the San-no-ma and the Vari-no-ma that there is placed the famous openwork of the ramma, which was carved by Hidari Jingoro, a celebrated Sculptor, and brought here from. Hideyoshi’s Momoyama Castle. On one side of this ramma are produced the peacocks, and on the other the peonies. A. peculiar point of this openwork is that, while it appears to be identical on both sides, yet in reality the two sides are entirely different from each other. Thus, when one side has a carving of birds, the reverse will have flowers and so on. The O-Hiroma or Jodan-no-ma was the Shogun’s Audience Hall furnished with the zokonoma, the chigaidana and the michddai. It sparkles with gold so exceedingly brilliant that it is almost dazzling to the eyes. In fact, the visitor can not help feeling deeply impressed with wonder and admiration to witness such an unusual room. On the wall of the zokonoma, which is paved with a single plank of keyaki, 18 feet long and 7 inches thick, is painted a gigantic pine-tree. The wall of the chigaidana is decorated with a sweet
picture of bamboos, and the little sliding-screens with diverse
21
kinds of pretty flowers. The ceiling is profusely ornamented with superb designs on gold ground. A\ll the sliding-screens are delineated surprisingly beautiful. The Second Room contains the sliding-screens depicted with pines and pheasants, while its coffered ceiling is exquisitely decorated with flowery patterns on dark blue and gold ground. The Third Room is elaborately painted with a huge pine-tree and its ceiling is made like the Second Room.
THE SOTETSU-NO-MA (Sago Palm Room) is a long corridor-like room lying between the Third and Fourth Buildings. At first, its walls and sliding-screens were decorated with the painting of sago-palms, hence the name. At present, the wall is covered with plain gold paper only.
THE FOURTH BUILDING: It contains the Botan-no-ma or Peony Room, otherwise called the Zamari-no-ma or Waiting Room, and the Azvo-Shoin consisting of the /ddan-no-ma or August Room with a raised floor, the M-no-ma or Second Room, the Saz-xo-ma or Third Room, and the Shi-no-ma or Fourth Room popularly known as the Avku-no-ma or Crysan- themum Room. The Peony Room is attractively painted with peonies and white plums on its sliding-screens and walls. In the corridor joining the Peony Room and the Auro-Shoin are placed a pair of the renowned cedar-doors depicted with a heron perching on the helm of a boat under the rain, This picture is considered to be a masterpiece of Kano Naonobu and is widely known as NMure-Sagi or Wet Heron, though it is badly defaced now. The Kuro-Shoin: the /Jodan-no-ma is very finely furnished with the ¢okonoma, the chigaidana and ‘the michidai. The tokonoma is paved with a single plank of keyaki,
22
15 ft. long and 6 in. thick, while on its wall is drawn a slightly snow-clad pine-tree on which are seen some geese. The wall and small sliding-screens of the chigaidana are delineated with flowers, birds and scenery. The coffered ceiling is handsomely decorated with phenixes on light green ground. The sliding-screens of the mchddai are tastefully painted with a sea-beach scene and ornamented with brilliant metal-works. The Vi-no-na contains the sliding-screens and walls with the paintings of cherry-blossom, pines and red-plums on gold ground. The San-no-ma is decorated with the sliding-screens on which are depicted pines and herons, etc., on gold ground. The Shé-0-ma or Crysanthemum Room is daintily painted with crysanthemums, while the ceilings of the above-mentioned three rooms are ornamented almost in the same style.
THE FIFTH BUILDING: It is the S/zvo-Shoin, the private apartments of the Shogun, consisting of the /ddan-no-ma, the Mi-no-ma, the San-no-ma and the Shi-no-ma. All these rooms are painted by Kano Koi so extremely beautiful and graceful, in a subdued tone unlike other rooms, that it is utterly beyond description. The exquisite decorations of the rooms are rarely to be met with in this country, being decidedly the best example of its kind. The pictorial art admirably applied to the sliding-screens, walls and ceilings is a perfect success viewed from every point. The /ddan-no-ma is excellently furnished with the tokonoma, the chigaidana, the michddai and the tsuke-shoin, The paintings on the walls and sliding-screens of the /odan-no-ma, the JVi-no-ma and the San-no-ma are all of Chinese scenery. The coffered ceilings of black-lacquered frames are decorated with
flowers and birds on greenish gold. The S/z-o-ma is nicknamed
23
the ‘Room of Sleeping Sparrows’ from the two sparrows sleeping on the snow-covered bamboos produced on the sliding-screens on gold ground. Inthe south-east of the S/zvo-Shoin, there is a room called the 7énan-no-ma or South-east Room with a few cedar-doors decorated with trees, flowers and so forth. 7 ~The classic landscape garden, lying in the south-west of the O-Hiro-ma and Kuro-Shoin, was designed by Kobori Enshi, a reputable esthete and Daimyo. It has a pond, islets, promon- tories, waterfalls, etc. At first, it was laid out with no tree in it, using only innumerable rare rocks and stones of different shapes and sizes, which amply gave the scenery a natural appearance. According to tradition, the reason why Enshi did not employ trees was that their ever-changing leaves are apt to impress one with the transitoriness of human life. Those trees growing now were planted afterwards, perhaps contrary to the idea of the great landscape designer. Whether the present style is superior
to the original or not may be judged by the visitor.
KATSURA SUMMER PALACE, extremely retiowned for its representative landscape garden, is prettily located on the western bank of the River Katsura in the south-western suburb. The visitor is requested to bear in mind that this Palace, judged from the tea-ceremonial standpoint, is built in a strictly simple but artistic style of architecture, and it is fully appreciated by those who understand the esthetic art. It is a great pity that some superficial observers describe the Palace to be a ramshackle or shabby building hardly worth while visiting, without knowing
how much pains and expenses the Imperial Household incurs in
24
preserving the aged parts as original as possible. The edifice may not look as beautiful as other palaces at first sight, being produced with a different object, yet it contains many fine paintings depicted on the sliding-screens and walls by the expert artists such as Eitoku, Tan-yt, Naonobu, Yiishd and so forth. Most of them are kept in comparatively good preservation, though some are sadly effaced. The garden is particularly admired by connoisseurs as the best of its kind in the whole country, being the just result of the matchless skill of Kobori Enshi, a famous master of gardening and tea-ceremony. The Palace was erected in 1591 by order: of Toyotomi Hideyoshi for Prince Hachijé-no-Miya. Tradition says that previous to the commencement of the work Enshii let Hideyoshi promise the following three conditions: never to come and look at the work before completion, never to limit the expenses and labor, and never to hurry up the work. It goes without saying that the reason why Enshu made such proposals was that he did not like to be interferred by anybody lest it might prevent his talent to be displayed in the fullest extent. The most striking feature of this garden is that one can always enjoy all the beauties of its front view wherever it may be looked at. In spite of the fact that it is laid out within a ground of only 19 acres, it contains. several arbors of fairly good size as well as of primitive style, silvery ponds and streams, rustic bridges, fanciful islets, verdant hillocks, rare rocks and stones, stately trees, green bamboos, moss-clad lanterns and basins, etc. Besides, the pond is full of red Kohone (marsh-marigold) which generally bloom in yellow color.
On arrival at the Palace, the visitor is shown to the
25
Mikurumayose, or the entrance hall, consisting of two or three waiting-rooms, where the name is to be signed. The stepping. stones paved in front of the O-Koshi-yose (Entrance) of the Furu-Shoin (Old Parlor) in the south-east of the Mkurumayose are said to have been selected by Ensht with special care. The four cedar-doors belonging to the First Room in the Faru-Shoin are painted by Kano Eitoku with tigers, bamboos, reeds, herons, pine-trees and storks. The next room is named the Yari-no-ma. Over the left side outside the verandah had been hung a tablet with an inscription on the beauties of the Palace written by Den-Chdro of the Nanzenji, but it is kept inside the room at present. The square platform of about 12 feet is intended to enjoy the moonlight. The room with a fire-place is the Jvori-no-ma with the cedar-doors with a rooster perching on a drum and a flower-basket painted by Kano Eitoku. The next is the suite of the Chw#-Shoin (Middle Parlor): the First Room of six mats is decorated with the landscape paintings by Tan-yii on the walls of the zokonoma, the chigaidana and the _ sliding-screens ; and the picture of crows is considered to be one of his three masterpieces on the same subject: the Second Room of eight mats is delineated with the ‘Seven Sages in Bamboo Grove’ and plum-blossom, the work of Naonobu : the Third Room of ten mats contains a painting of snow scenery in which are depicted bamboos, herons, sparrows, pigeons, reeds and geese; especially, the pheasants on the snow-clad bamboos in the zokonoma are cleverly produced, the artist being Yasunobu. The verandah room of eight mats has a door-handle shaped like a broad-brimmed hat executed by Kacho. The Gakki-no-ma
of three mats is a room where musica] instruments were kept.
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The four cedar-doors with herons on a willow-tree, reeds and geese are drawn by Kaihoku Yisho. Passing the verandah furnished with a shelf for pot-plants, there is reached the Miyuki-no-nia, likewise called the S/in-Goten or New Palace, from the fact that it was specially erected on the occasion of a visit of the ex-Emperor Gomizunowo and his consort Tofukumon-in. The paintings on two wooden doors are the work of Tan-yu, while. the “ugikakus/i, or fastenings used to hide nails and bolts, represent narcissus: made of gold and silver, the tasteful work of Kacho. The four door-handles in the shape of a basket filled with flowers of each season are produced by Goto Yujo, a famous smith. The Oenzashiki isa room of 814 mats furnished with the nageshi called ‘ Futo-Hoso-Nashi’ and with the zume-shikii or a long timber of the sill, which are said to have been presented by Kato Kiyomasa, a brave general under Hideyoshi, The Gyokuza or Throne Room of six and three mats has a coffered ceiling made of Keyaki wood and its frame is black-lacquered. It is furnished with more than ten * shelves of various sizes and made of different rare woods, namely, sandal, ebony, betel-nut, cleodendron and mulberry, etc. The smiall sliding-screens are painted by Tan-yu. The Second Room contains a lacquered framework of the vamma above the lintel, and the catches on the sliding-screens represent a Chinese character ‘moon.’ Thus the Gyokuza and the Second Room are popularly called the Moon Room. The Okozashiki or Small Room of 41% mats, likewise known as the Okeshd-no-ma (Dressing Room), is decorated with crysanthemums, plums, peonies and so forth on the sliding-screens, all from the excellent
hand of Tan-yu. The shelwes (cligaidana) are of a style
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what people generally call the Enshit-gonoma (Enshw’s speciality). On the screens on the middle shelves are drawn sparrows and swallows, while on six other screens music-playing, chess-playing, drawing and writing. They are the pictures by Tan-yu with his seals on them. The Gyoshin-no-ma or Honorable Sleeping. Room of nine mats is nicely fitted up with the ¢okonoma to keep the sword and the seal'on. The Goemon-no-ma, or a room for keeping clothes, contains only three mats and is furnished with cupboards. The kitchen, the bath-room and other minor chambers are found at the rear part of the main rooms. Now, let us make a tour through the far-famed garden, which is some- times shown before the inspection of the above-stated rooms. Crossing the Miyuki-bashi (Imperial Progress Bridge), also called the Sori-hashi (Curved Bridge), an earthen bridge of primitive style spanned over the north-eastern portion of the pond, the visitor notices on the right hand the J/ovuji-yama or a mound of maples, which presents a lovely sight of brilliant tints in the autumn. Walking a little further on the tastefully-paved stepping-stones, the Sofetsu-yama or Sago-palm mound comes in view on the right and an arbor on the left. Proceeding a few yards, a slender stone bridge is crossed. To the south across the pond stands the Sdkintei (Pine Harp Arbor). The tiny promontory stretching out in the pond is called Ar:mano-Hashidate from its supposed resemblance to Amano-Hashidate in Tango Province, one of the three great views in Japan. The two scarlet-brown stones on the promontory were brought from near Shimonoseki as a gift of Kato Kiyomasa. Strolling along the eastern edge of the pond, there is reached, just before arriving
the Shokiniei arbor, a bridge of Shirakawa stone, 18 ft. long
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and about 3 ft. wide, which was presented by Kato Samanosuke. The Shdkinte¢ contains a tea-room, the /chz-no-ma or First Room of 11 mats and the Méno-ma or Second Room of six mats, all artistically built. The inscription on a tablet bearing the three characters S/d-kin-tec, hung under the eastern gable is the autograph of the Emperor Goyozei. The sepia drawings of landscape and figures delineated on the sliding-screens are by Kano Tan-yu. The rooms are furnished with eight windows, giving light so well that no nook is left dark, while in the western corner is set a hearth of one-mat size. The bamboo valley lying between the Shékintei and an islet is called Hlotaru-dani or Firefly Valley, because there gather a huge number of fireflies in the summer. Around here grow many Kohone of red color. Crossing an earthen bridge to the hilly islet on the “opposite side, the visitor ascends a rustic stone-steps. On the top of the islet is found an arbor as primitive as it could be. It is named the 7atsuta-ya or Shikwa-tei, and is put up in imitation of a rest-house on the highway in days of yore. Slightly below stands the Anrindd, an edifice of 18 feet on each side, where were formerly kept the portraits and funeral-tablets of the Prince Katsura family, which were, however, removed to the Shokoku-ji in the city when the villa was made an Imperial Summer Palace in 1883. Passing another earthen bridge in front of the Avzrindo, the visitor is led to the Shaken, an arbor famously known for its Exshd-no-wasure-Mado (Enshi’’s Forgotten Window), because here our veteran esthetic master forgot to finish up a window by sticking a few bamboo stems in and by binding them with wistaria vines. The window still
remains incomplete according to a popular tradition, in which it
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is said that Enshii intentionally left it unfinished lest the complete finish might invite the jealousy of Heaven. The arrow-shaped bronze catches of about 3 feet fixed on a couple of wooden doors in the room are believed to be of Korean make and to be a spoil of the expedition waged by Hideyoshi against that country in 1592. Then stepping northwards along the Palace on one side and the pond on the other, the visitor arrives at the Gepparo (Moon Ripples Arbor), so named from the reason that one can enjoy an excellent sight of the moon reflected on the pond. This arbor is considered to be the best example of a primitive house, filling the native antiquarians with a thrilling delight. Its ceiling is made of reeds, the style of which is largely followed in ceremonial tea-rooms. The frame with a defaced picture of a foreign sailing boat hung over the lintel was originally a votive offering in the Sumiyoshi Jinsha, a noted Shintd shrine near Osaka. On the back of the frame is dated 1605. Here ends the sight. Passing through the Kaya-mon,
the visitor leaves the Palace.
SHUGAKUIN SUMMER PALACE is situated in an extensive area of 9,500 ¢swdo of ground at the western foot of Mt. Hiyei, affording a splendid view over the plains and distant mountains. It was erected by the Tokugawa Shogunate in 1629 for the ex-Emperor Gomizunowo, whose consort was a daughter of the Shogun Hidetada. This summer palace consists of three villas detached from each other, namely, the S/himo-no-Chaya (Lowest Tea-house), the Maka-no-Chaya (Middle Tea-house), and the Kam#-no-Chaya (Uppermost Tea-house).
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Entering the Palace premises by the front gate, the visitor proceeds northwards to the guard-house where the permit is shown. Then, walking on a clean path sprinkled with white sand and lined by dwarf pine-trees, the S/imo-no-Chaya is soon reached. Inside the Maka-mon (middle gate), there is found a small but very pretty garden. Near a rustic bridge across the pond is put up the Sode-gata-no-Tord, or the Sleeve-shaped lantern of Korean stone. A moss-covered stone on the water’s edge below the Zérvokuan is known as Kiku-mei-seki. Another stone lantern on the other side of a stream is called the Vagura-gata-no-Toro. This villa consisting of the Jugetsukwan and the Zorokuan was rebuilt in 1824. The /ugetsukwan contains fifteen mats and its raised portion is for the Imperial seat. The storks and orchids on the sliding-screens are painted by Hara Zaichu. The Zorvokuan is intended for the subjects ; the three boats on the sliding-screens are drawn by Okamoto Toyohiko, while the Kokei-Sanshd (Three Laughters on Bridge Hu-hsi) by Ganku.
THE NAKA-NO-CHAYA, also called the Rakushi-ken, stands to the south-east of the Shimo-no-Chaya separated by the fields. The villa, up a flight of a few stone steps, consists of two connecting houses. The first house contains four principal rooms, viz., the Parlor, the Ante-chamber, the Buddha Room, the North-east Room, and a 4-mats room. It was gifted as a dressing-room to Tédfukumon-in, the ex-Empress Gomizunowo, by her father-Shogun Hidetada, and was later presented to the Rinkyuji temple. The S/tishi papers on the wall of the Parlor represent the Eight Views of the Shugakuin, while the painting
on the chigaidana (shelves) is executed by Yiizen, the famous
31
inventor of the Yuzen dyeing. The light-colored painting on the sliding-screens is by an unknown artist, but quite handsome. The noteworthy objects of the first house are the carps and the Yama and Hoko (ornamental cars) of the Gion Festival produced on the cedar-doors by Sumiyoshi Gukei, a great painter. It is said that these carps were so realistically delineated that they used to go out of doors and join their comrades in a pond in the garden, so that a net had to be painted over them afterwards by Maruyama Okyo. The second house in the north-west consists of three rooms; the colored picture of cherry-blossom in the Tatsuta Room is by Tanshin. The garden of the Vaka-no-Chaya is profusely planted with maples and azaleas, presenting a lovely view in spring and autumn.
The Kami-no-Chaya in the north-east of the Shémo-no-Chaya has the largest and most beautiful garden of all, abounding with fine trees, bamboos, and picturesque islets and beaches. In the center of the garden is a lake,. called Yoku-Ry#-Chi, in which - grow lotus, water-shields, march-marigolds, and water-caltrops, etc. Now, passing through a side gate and going up the stone-steps, the visitor arrives at the Rin-un-tei, an arbor of two rooms. Thisis the best place to enjoy a panoramic view over the whole region. Behind the Rix-un-tei is seen a noted stone lantern Vama-Deva-no-Toré (Mountain Temple Lantern) by name, while in the north-east the Odaki or Male Waterfall of about 24 feet high, and below the house the /edaki or Female Cascade. Then descending northwards and crossing a bridge ‘omiji-Basht’ (Maple Bridge), the visitor reaches at an islet on which stands an arbor of two rooms, the Kyz-sui-ken. The islet is connected by
another bridge Cyhitose-Bashi (Thousand Years Bridge) with an
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island Banshou supposed to represent an Elysian Island. The Chitose-Bashi is a roofed bridge built in imitation of an Imperial palanquin. The roof is crowned with a gilded bronze phenix in the act of flying with a twig in its beak. It is fitted up with a balustrade on either side, looking very attractive. On re-crossing the C/itose-Bashi and proceeding northwards, the visitor comes to a wooden bridge ‘Dodashz’ where is sighted on the right hand a maple valley on the Miho-jima Island. Yonder nestles a boat-house. Strolling around the lake, the Rén-un-tei, whence
the start was made, is regained. Now let us return home.
CHION-IN, the celebrated fountain headquarters of the powerful /odo sect, is the most magnificent monastery stately situated within ten minutes’ walk in the south-west of the Miyako Hotel, commanding a splendid view over the city. The term ‘/édo’ means the ‘Pure Land’ and is applied to the sect, because its ultimate object is to be born in the /édo or Blissful Pure Land of Amida. This sect was established in 1211 by Honen Shonin (1133-1212), one of the most illustrious priests Japan has ever seen. He is widely known as ‘Enko Daishi,’ the posthumous title bestowed upon him by the Emperor Higashiyama in 1697. In pre-Restoration days, the abbot of the Chion-in had always been a prince of the blood. Having suffered repeated fires, all the existing temples, with the exception of a few, were re-erected in the middle of the 17th century. Tokugawa Iemitsu, the third Shogun, had such a deep reverence for the Chion-in that he rendered all assistances in his power.
Thus, on the occasion of its re-construction he ordered to select
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the choicest wood from among the innumerable trees felled at the Kiso forest to be employed for the Kofu Castle. No wonder the monastery should be regarded at the present day as a priceless relic in the Sunrise-land.
The Sammon, the two-storied main gateway, is the best example of its kind, measuring St ft. by 27 ft., and 80 ft. in height. It was built’in 1616 by order of Tokugawa Hidetada, the second Shogun, and is now placed under the ‘special protection’ of the Government. The Sammon literally means the ‘mountain gate’ and denotes the main entrance of a head temple which is usually put up in the mountain or in a spot similarly laid out. While the main gate is called the Sazzmon by the sects of Zen, Jodo and Nichiren, others call it the Dazmon or Great Gate. The inscription ‘Kachozan’* on the tablet hung on the front side of the Sammon is the autograph of the Emperor Reigen. On its upper floor, which is richly painted, are installed the statues of Hokwan-no-Shaka, Zenzai-doji, Shudatsu and sixteen Rakan, all carved by Koyu Hoin. Inside the Sammon are found two flights of stone-steps; one is steep and the other is less steep. This distinction is said to have been made in allusion to the /édo’s two principles—MVangyo or hard practice and /gyo or easy practice, likewise called the Shodo-mon and the /Jédo-mon,—trespectively chosen by priests and lay-believers in attaining Buddhahood. The bronze statue of Shé-Kwan-on. standing on a pedestal in a little pond in the
south-east of the Sammon was set up in 1894 in memory of the
* “Kachozan” is a part of the name of the Chion-in and it is taken from a hill rising in the east of the temple.
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NI-NOIHO FHL dO AVMELVD NIVN YO NONNYS AHL
Se ae
NI-NOLHO GHL dO TTId NGL NIVW YO OGNOH FHL
ex-abbot Gyosei. The stone-steps lead to an extensive plateau where lay all the principal temples. The house in the right-hand corner on the plateau is called the Tazheitez, where free tea is served to worshippers. Right in its front stands‘a large building which is the Hound or Main Temple of the Chion-in. It measures 167 ft. by 138 ft., and 95 ft. high, containing about 825 mats in all. This temple was erected by order of the Shogun Iemitsu in July of 1639 after the lapse of six years. The Buddhistic ornaments decorating the interior are exceedingly beautiful as well as impressive. In a handsome shrine placed within the central space marked off by four tall] gilt pillars is contained an image of Honen Shonin carved by himself. The tablet hung over the lintel of the chancel bears an inscription ‘Myosho,’ an additional posthumous title of Honen Shonin written by the late Emperor Meiji. In the shrines in the eastern niche are kept the memorial-tablets dedicated to the successive abbots and high personages. In the western niche are placed three shrines in a row: in the central shrine is preserved a portrait of Denztinden, mother of Ieyasu, in the left that of Ieyasu, and in the right that of Iemitsu. In the west of the Hondo, connected by a covered corridor, lies the Amida Temple recently constructed on the occasion of the 750th anniversary of Honen Shonin. There is installed a big gilt statue of Amida, which contains in its body a tiny Amida executed by the priest Kwan-in and possessed by Honen Shonin in his dying bed. On its right and left sides are placed two black lacquered shrines with some memorial-tablets in them. At the rear of the Hondo is situated the Shwe-dd or Assembly Hall, nicknamed ‘One Thousand Mats Room’ from the fact that the
37
entire dimension of the building is equal to one thousand mats, though there are actually seated only 351 mats. Here are daily performed the Buddhist services by acolytes in the presence of Amida carved by the famous priest Eshin Sozu (942-2017). The Amida is accompanied by Kwan-on and Seishi on its right and left, all presented by the Shogun Iemitsu. To the east of the Shue-d6 are located the Dai-Hojo or Abbot’s Great Apartments and the Shé- or Ko-Hoj6 or Abbot’s Small Apartments. The corridor connecting the Hondo, the Shie-do, the Dai-Hojo and the Ko-Hoj6 are made in such a way that, wherever one walks upon, there is emitted a peculiar sound supposed to resemble the delicate warble of a nightingale, hence the name of ‘ Uguzsu-bart’ or Nightingale Pavement. In fact, it is so designed that any room can not be approached without being heard. This work is attributed to the far-famed sculptor Hidari Jingoro, but rather doubtful. On the way to the Dai-Hojé notice a much-defaced folding-screen lying in the corridor ; it is painted by Iwasa Matahei, the pioneer of the U#iyoe School. On the right hand across an entrance hall is seen the Imperial Messenger’s Gate.
THE DAI-HOJG: The Plum Room painted by Sadanobu ; the Stork Room by Naonobu; the Oxari-no-ma (August Visit Room) which consist of the /ddan, or a room with a raised floor, by Naonobu, and the Gedan or a root with a lowered floor, by Nobumasa; the Uvra-/odan-no-ma, formerly called the Miya-Otokudo-no-ma or Prince Tonsorial Room, by Naonobu ; the Crysanthemum Room by Nobumasa, which is well known for its sparrows flown out of the picture; the two cedar doors by Nobumasa outside the Crysanthemum Room are worth
inspection ; the Heron Room by Nobumasa famous for its heron
38
VAR a0 CARO ROARS IIT AR OE BERR LC CP” CEN AEH
13
thee
THE SANCTUARY OF THE CHION-IN.
THE BIG BELL OF THE CHION-IN.
assuming a Curious posture; the Willow Room by Sadanobu.
The pretty landscape garden stretching between the Dai-fHojo and the Ko-f636 was laid out by Kobori Ensht, a renowned esthetic master. There is growing a dwarf pine-tree planted by the Shogun Iemitsu himself and is highly valued together with a little stone bridge of a petrified camphor-wood spanned over the pond Otani-ike.
THE KO-HOJO: The Snow Scene Room delineated by Sadanobu ; the Miya-Onari-no-ma (Prince Visit Room) consisting of the Jodan by Naonobu and the Gedan by Sadanobu; the Rakan-no-ma or Arhats Room by Nobumasa; the Flowers and Birds Room by Nobumasa ; the Ravtei-no-ma or Lanting Room by Nobumasa.
Now, the visitor returns to the entrance of the Honds where is sighted an umbrella stuck under the eaves in the south-eastern corner of the front verandah. It is supposed to be a charm to ward off fire, but nothing definite has been ascertained about it. Thus, there is an endless idle talk concerning it and the following is said to be a somewhat reliable account: Once, a white fox known as Vuregami-dojt used to live in the premises of the Chion-in and to foreshadow a certain symptom previous to a fire, so that the 32nd abbot Yuyo Reigan Shonin was pleased to give the faithful animal a Buddhist name written on an umbrella, which since has been hung up as.a charm against fire on the very -spot seen at present. This animal is now worshipped as the tutelary deity and is revered even by the abbot who pays a monthly visit to its shrine behind the Hoxdd. On the south- eastern side of the Hondd stands the Kydzd or Scripture Hall, in
’ which are installed a revolving book-case containing the /ssai-kya
Al
or a complete set of the Buddhist Scriptures printed in the Sung Dynasty and the statues of Fu-Daishi and his two sons, Fuken and Fujo. This book-case revolves by a light touch, being fixed on an axle. It was invented by Fu-Daishi (496-569 A.D.), a Chinese priest in the Liang Period. Its object is to afford facilities in looking up for the voluminous books of wellnigh 6,771 volumes. The vulgar version that one can get the equal merit of having perused the entire Scriptures by turning it three times is not rightly accepted. The Aydz0 was built by order of the Shogun Hidetada in 1616 and is now registered as a ‘protected building’ by the Government. To the north-east of the Scripture Hall nestles the Szzs/z-d6, the original Chion-in, where is enshrined an effigy of Seishi Bosatsu. It is the oldest temple in the premises and is placed under the ‘special protec- tion’ of the Government. A little higher, there lies the Byo-do or Mortuary Chapel in which are interred the remains of Honen Shonin. The Belfry containing the renowned bell is found on an eminence up a flight of stone-steps to the east of the Tazhezter. The bell, weighing some 75 tons, measures 18 feet in height, 9 feet in diameter, and 9 inches 1% in thickness. It was cast in 1636 by the abbot Yuyo-Reigan Shonin, while the belfry was erected by the 38th abbot Mammu Shonin in the Empo Era (1673-71). The sonorous tone of this huge bell is only heard during the Gyoki or anniversary services held in honor of Honen Shonin,
The Chion-in is extremely rich in art treasures, many of them being registered as ‘National Treasures.’ Besides, it has numerous subordinate temples under its jurisdiction, some of
which are found in the north-west of the Sazzon.
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THE GYOKI is the anniversary services performed from April 19th to 25th inclusive every year in honor of Honen Shonin, when many priests of the Jodo sect gather to the Chion-in from all parts of the country. At that time, an immense crowd of old and young worshippers, attired in their best, visit
the temple from morning till evening.
SHOREN-IN is a famous temple of the Tendai sect adjoining the Chion-in in the north. Here the prince-abbot of the Enryaku-ji used to reside, so that it was sometimes called the Awata Palace. The temple was established by the priest Gyogen on December 27th of 1144, while its edifices were erected in October of 1153 at the command of the ex-Emperor Toba, whose seventh son became the second abbot, hence originated the title of Prince Shoren-in. Thenceforth, a prince of the blood was always appointed the abbot of the temple, with the exception of Jichin Osho, the third abbot,.who worked. hard. forthe propagandism of the sect. It was indeed in the spring of 1181 that Shinran Shonin, the founder of the Shin-shii sect, entered the priesthood here at the age of nine, after performing the Tonsorial Ceremony under the guidance of Jichin Osho, thereby instituting a strict rule for the new abbot of the Hongwan-ji temples to follow the example, The abbot Son-en, a son of the Emperor Fushimi, was an excellent calligraphist, and his style of calligraphy known as Awata-ryu or On-tye-ryi had been regarded to be the best for generations. The very last prince-abbot Son-yu left the temple at the beginning of the Meiji Era and was created Prince Kuni.
The original temple was burned down during the inter-civic wars
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of the Onin Era, but later re-erected with the old timbers of the Palace. When the Imperial Palace fell a victim to fire in 1788, the Emperor Kékaku sojourned here for a short time. In September of 1893, the temple was again destroyed by fire and was replaced by the present structures in April of 1895, being furnished with the beautiful sliding-screens and walls executed by ancient master-hands.
A cherry-tree growing in front of the main gateway is called ‘ Koma-tsunagt-no-Sakura,' or Pony-fastening-Cherry-tree, and a pine-tree inside the gate is named ‘ Kurima-dome-no-Matsu,’ or Carriage-stopping-Pine-tree. They are of historic interest to the Buddhists, because the illustrious Shinran Shonin stopped his carriage by the side of this pine-tree when he arrived at the Shoren-in in order to become an acolyte and fastened his pony to the cherry-tree. Now the visitor enters the first building S/znden.
THE SHINDEN: The /riguchi-no-ma or Entrance Room is nicely painted by Tosa Mitsunobu and contains a sedan-chair, which was presented to Prince Kuni by the Emperor Komei ; the O-S/isha-no-ma or Messenger’s Room by Kano Eitoku ; the Hamamatsu-no-ma or Beach Pine Room by Sumiyoshi Gukei. The cedar-doors in the verandah decorated with ‘ Yama’ and ‘ Hoko’ of the Gion Festival are executed by Sumiyoshi Gukei. The Szchd-no-ma or Water-fowl Room is delineated by Shimada Kazueno-kami ; the Shin-ei-no-ma or Honorable Portraits Room by Kano Motonobu contains an image of Amida carved by Eshin Sozu, a celebrated priest ; the 7ezkwan-no-ma is a room depicted by Eitoku with a scene of Chinese Court; the Gyokuza or Throne Room is painted by Kand Juseki. The stone-basin
known as ‘ /chi-monjt’ lying between the .S/inden and the
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Ko-Gosho was a gift from Toyotomi Hideyoshi and is highly valued.
THE KO-GOSHO: The O-Jokono-ma is a room painted by Kano Motonobu, and the tokonoma by Toshin; the 7sug7- no-ma or Second Room by Motonobu; the ‘Prince Audience Room by Toshin and Motonobu. The Shijoko-do, the most important hall of the temple, contains an effigy of Buddha Shijoko. It is here that an earnest prayer is permanently offered to the Buddha for the welfare of the Imperial House and the peace of the country.
The garden is laid out by three great landscape designers and tea-ceremonia! masters, namely, Sdami, Kobori Enshu and Omori Yuhi, so that it is very attractively finished. It looks pretty at all seasons, particularly when azaleas and wistarias are in full bloom. A part of the garden, where is found a tea-room presented by the Emperor Gosakuramachi, is the work of Omori Yuhi, while Azvishima-yama or a portion rich in azaleas of Kobori Enshu.
YAMANAKA ART GALLERY in front of the Shéren-in is the largest art store in this country. It is perhaps the most tempting spot for the collectors of art-objects. The beautiful works of art shown in the palatial building are endless in every branch and all are well chosen. The gallery is not only a grand sight in Kyoto but in Japan. Those who wish to have a glance over the Japanese as well as Chinese fine arts are strongly
recommended to pay a visit to the Yamanaka Art Gallery.
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MARUYAMA PARK is a public park very attractively laid out in the south of the Chion-in, taking in the pretty view of a verdant range of Higashiyama for its background. It is tastefully dotted with a number of neat tea-houses, gaily lighted up at night, so that holiday-makers are seen strolling all the year round. The Park is celebrated for its cherry-blossom, especially for an aged tree with sweeping branches, ‘which alone attracts millions of admirers. This cherry-tree looks particularly beautiful when illuminated with countless flamy torch-lights and picturesque paper-lanterns, presenting a scene as if it might be a veritable fairy-land. It is famously known as the Gion-no-Yozakura or
Gion’s Night Cherry-blossom.
YASAKA JINSHA, commonly called ‘ Gion Sha,’ is an extremely popular Shinto shrine located near Maruyama Park, dating back to 656 a.p. It is a highest Government shrine dedicated to Susanowo-no-Mikoto (younger brother of Sun- goddess), his consort Kushi-Inada-Hime-no-Mikoto and _ their five sons and three daughters.
The shrine is approached from the east, west and south sides, the last being the main entrance. Passing through a big stone Joriz (Shinto gate) and a two-storied and red-painted gate, the visitor finds ahead the Oratory, the Dancing-hall and the Shrine office on the right hand and many subordinate shrines scattered in the premises. The main shrine lying in the north of the Oratory is a very fine edifice built in 1654 by order of the Shogun Ietsuna.. Its interior decoration is stately and handsome,
being decorated with bronze lanterns of diverse shapes and designs.
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Muavd VAVANUVW LY WOSsOTd- AYAAHO AHL
Paneer) at
The two wooden dogs ‘ Koma-/nu,’ placed on the both sides of the low stairs leading to the Sanctuary, are the excellent work of Unkei, a great sculptor, and are registered as ‘National Treasures.’ The romantic stone lantern in connection with Taira-no-Tadamori is in the east of the Oratory, while the ex-voto gallery full of interesting pictures near the west gate.
THE GION FESTIVAL, the most famous festival in the country, is yearly performed in honor of the Yasaka Jinsha on July 17th and 24th, when there parades a grand procession of ‘Yama’ and ‘ffoko’ (Ornamental Cars) in the morning, followed by a divine procession ‘ Shzzko’ in the afternoon. No visitor to Kyoto should miss this wonderful festival. For its detailed description refer to a book entitled ‘The Gion Festival’ by A. Akiyama.
KEZURI-KAKE SHINJI, better known as ‘ Ukera-mairi,’ is an important Shinto ceremony peculiar to the Yasaka Jinsha, taking place at daybreak of New Year’s day. It consists of starting light by means of the friction of Aizoki wood in the midst of a sacred music called ‘ Horaku’ and in distributing the holy fire to the believers, who flock in huge numbers to the shrine from far and wide. They carry the fire home by trans- fering it to a match-cord or the like and kindle their kitchen furnace in order to cook the customary New Year’s food ‘ Ozoni,’ a sort of broth with ‘ mocht’ (rice-cake) and vegetables in it. This custom is based upon a superstition that, when one eats the food prepared by this fire, it will bring not only good
luck but be a preventive against pestilence.
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HAYASHI ART GALLERY in Shimmonzen is an oldest and substantial art store rarely to be seen in Japan, having been established in 1767. Being highly reputable for its extensive collection of Japanese and Chinese art-objects, the store is widely patronized by native as well as foreign customers. The visitors to Kyoto will never fail to find Hayashi Art Gallery to be one of the most beautiful sights in the city.
GION MACHI is the most fashionable quarter of the city, lying between the Shijo Bridge and Maruyama Park. The street is full of side-lanes and nice tea-houses, where the sweet music of Shamisen and the tempting singing of Geisha-girls, mingled with the showering applauses and hearty laughters of
innocent pleasure-seekers, are amusingly heard all night long.
KABURENJO (Geisha School) in Gion Hanami-koji is a unique institution where Geisha-girls take lessons in music, dancing, singing, reading, writing, tea-ceremony, flower-arrange- ment, and tailoring. It is conjointly maintained by Geisha-girls and tea-house proprietors. The visitor is shown the place through an introduction daily between 10 to 2 p.m., except on Sundays, holidays, and during the performance of the Miyako-Odori.
MIYAKO ODORI (literally, Capital’s Dance) is decidedly
a most beautiful dance -performed by the far-famed Geisha-girls
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DANCING GIRLS ENJOYING COOL BREEZE ON RIVER KAMO.
. 51, Line 1, “o” should read “ of &
of our old capital, being very highly admired by all classes o spectators. Although it was started only in March of 1872, yet it has become a prominent attraction of Kyoto. This dance is very widely known among foreigners as ‘Cherry-dance,’ probably because it takes place in the cherry-blossom season, but the name is totally strange to the natives. . Miyako Odori, a just pride of the ancient Jfyako, is annually performed during the month of April, say 5 to 11 p.m, at the Kadburenjo, or the Geisha School, a splendid building in Japanese style, situated at Gion Hanami-koji. The dance is full of elegant postures and graceful motions, presenting a fascinating sight, while the admirable stage scenery, which is changed several times during each performance, is indeed a perfect marvel. The dancers, who are all dressed in gay uniform, consist of thirty-two young Geisha-girls between the ages of fifteen to twenty. The orchestra is constituted by ten singers, ten Shamisen-players and ten players on drums, bells and ¢sugaume .(a kind of drum), accompanied by some flute-players behind the — orchestra. One of the singers, or a star-singer, sings alone with an exceptionally fine voice, filling the audience with a thrilling delight, when those who well understand the singing seem to be so much impressed with admiration that their eyes sparkle with dewdrops, while others keep their mouths pretty wide open. In fact, many repair to the Miyako Odori, simply because they want to hear her sing. There are yearly chosen four to seven companies of these dancers and singers from among hundreds of select Geisha-girls in the Gion quarter, each playing in turn every evening, The hall is furnished with a stage and two ‘ hanamichi’
(a long passage running alongside the pit and leading to the stage).
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Ten singers in dark uniform, who are slightly older than dancers, seat themselves on the orchestra-stand which is an elongated platform just above the right-hand hanamichi, while another batch of ten younger girls, who play on drums, bells and tsuzumi, sit down at the similar position on the left. The performance is commenced by the appearance of two groups of dancers, each of sixteen girls, dancing along the right and left hanamiclt. Then, they slowly proceed towards the stage where they ‘meet and dance side by side. Each performance takes about an hour and is repeated four to six times during the evening. The programme is of course renewed every year, and the scenery as well. Before being conducted into the hall, the visitors to the first-class seats are served with a cup of ceremonial tea in a waiting-room where a couple of Geisha-girls, attired in full dress, make tea accordiug to the strict routine of tea ceremony. Twelve picturesquely-dressed tiny Geisha-girls of six or seven years of age bring tea and cake to the visitors. In truth, these cunning little creatures of smart manners are simply killing.
KAMOGAWA ODORI Those who miss the Miyako Odori are strongly recommended to pay a visit to the Kamogawa Odori performed by the Geisha-girls belonging to another quarter called ‘ Pontoch6’ on the western bank of the River Kamo near the Sanjo Bridge, This is a rival dance of the Miyako Odori played in the similar style. It commences on the 1st of May and lasts for three weeks. In short, the Kamogawa Odori may not be superior to the Miyako Odori, yet it has many excellent points of its own.
ONSHU-KWAI (literally, the Rehearsal) is a special Geisha
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dance held at the Geisha School in the autumn for a few days, beginning on an unfixed date. It is performed by a limited number of strictly choice girls of high accomplishment, and always draws a full house after having been awaited with the
keenest interest.
3
0. KOMAI’S DAMASCENE WORK FACTORY in Furumonzen is very well known for its producing the best damascene wares and it is undoubtedly the right place to inspect the method how they are manufactured. The Japanese name for the damascene work is ‘Zégan,’ literally meaning ‘elephant inlaid.’ The name is derived from the fact that the damascene was originally inlaid with some colored ivory, the earliest specimen of which is still preserved in the S/dsd-in (Imperial Treasure Hall) at Nara. In later years, gold and silver wires have taken place of ivory. The oldest Zéganz inlaid with metal wires is supposed to be a sword called ‘ Shichi-yo-ken,’ or Seven Stars Sword, produced in the 7th century and now kept in the Horyuji temple near Nara. The process of the modern damascene work is as under :—(1) Double-hatch lines are cut on the steel ground. (2) The design drawn on paper is copied with a fine pin on the steel ground. (3) Gold or silver wires are hammered in on the design already copied. (4) Lacquer is pasted over the surface of the steel ground and baked on fire some thirty times ; then rub and polish the lacquer off by the point of a steel stick. Another finish is to oxidize the steel ground by chemical action instead of lacquering over. Sometimes, the wired part is
engraved in order to let the design look effective.
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KENNIN-JI, one of the five headquarters of the Rinzai sect, is located to the south of Gion-machi within a spacious enclosure richly grown with pine and cedar trees. It is an extremely important temple from the Buddhist standpoint, because it was here that Dhyana (sex) was first propagated in this country by Eisai Zenji, a saintly priest who went to China (Sung Dynasty) in April of 1168 and brought home the doctrines of Ringai in September of t1g1. In 1202, he built the Kenninji in a splendid style, which served as the model for future temples of the same sect. The Shogun Yoriiye rendered every assistance towards the construction of the temple which was, however, destroyed by fire. The Hatt or Lecture Hall is at present substituted for the main temple. It formerly belonged to the Tofuku-ji in the city and was removed here some years ago. On its altar is installed an image of Shaka as the main object of worship, accompanied by Anan and Kasho on the right and left sides. In the rear niches are placed some memorial-tablets, the effigies of Daruma and Guardian of the Zen sect, etc. In the Founder’s Hall is enshrined a copy of the famous image of Shaka of the Shoryo-ji. The Kara-mon gate is in the north of the Hatté and is connected with it by a covered corridor. Inside the Kara-mon, stand the //oj6 or Priests’ Apartments which were brought here from the Ankoku-ji in Aki Province. The 070 are placed under the ‘ special protection’ of the Government and its chief Buddha is Sho-Kwan-on presented by Tofukumon-in, the ex-Empress Gomizunowo. At the southern end of the premises lies the Chokushi-mon or Imperial Messenget’s Gate, likewise called the ‘ Va-no-ne-mon’ or Arrow-struck-Gate from its arrow
marks shot in the civil wars fought between the Minamoto and
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Taira Clans. This is said to have been the main gateway of the mansion of Taira-no-Shigemori and is now listed as a ‘ protected building’ by the Government. The Kennin-ji is in possession of
many fine paintings highly tempting to art-students.
HIGASHI OTANI (south of Maruyama Park) is the mortuary temple belonging to the Otani or younger branch of the Shin-sht sect of Buddhism. Here was interred in 1653 a portion of the remains of Shinran Shonin, the founder of the sect; subsequently of Kennyo Shonin, the first abbot of the Otani branch, and of his successors.
The temple is approached through a long impressive avenue of tall pine-trees stretching as far as the Kara-mon, a fine gate decorated with the carvings of flowers. Inside stands the Flondé or Main Temple built in 1703, containing an image of Amida, the tablets dedicated to the present and last Emperors, and several scrolls with the portraits of Shinran Shonin, Shotoku Taishi, Seven Great Priests and the successive abbots of the Higashi Hongwan-ji. In the west of the Hondd is seen a preaching-hall, while in the rear the Abbot’s Rest-room and a Reception-house. On the hill to the east of the Hondo is located the burial-place of Shinran Shonin, posthumously known as Kenshin Daishi, being enclosed by the so-called Tamagaki stone fence with a handsome gate in the center. The ground is covered with aged trees growing on the moss-clad soil, imparting an atmosphere of holiness. The tomb is of granite and is surmounted with a curious stone called ‘ Zora-/shi,’ or Tiger Stone, from its
supposed resernblance to a tiger. This stone was a pet of
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Shinran Shonin, so that it is fixed upon the tomb. It was once removed to Hideyoshi’s Momoyama Castle, but was afterward brought back. The final aim of the Otani branch of the Shin-shii sect is to be buried, after cremation, here near the spot where
the founder lies in eternal sleep.
KODAI-JI is a temple of the Rinzai sect, lying on a prettily wooded eminence in the south of the Higashi Otani. It. was founded in 1606 by Kodai-in, the widow of Toyotomi Hideyoshi, in order to hold masses for the soul of her illustrious husband. Since the death of our great hero, she had been feeling as forlorn as a drifting boat on the ocean. Under such circum- stances, Ieyasu rendered all possible assistances towards the construction of the temple, so that it was magnificently completed. Unfortunately, nearly all these buildings were destroyed by repeated fires, viz., in February of 1789, July of 1863 and October of 1885, with the exception of the Founder’s Hall and Mortuary Chapel which are now registered as the ‘ protected structures’ by the Government. In the earliest days, here stood a temple called the Unkyoyi built in 837 by Sugawara-no- Michizane in memory of the Emperor Kwammu and had been regarded as a holy spot. The temple ground is famously known for the beautiful display of Zagz or lespedeza blooming in the autumn.
The present Hondo (main temple) and //oj6 (Priests’ Apart- ments) are of recent erection. The new tower in front of the Hondo was put up a few years ago in honor of the soldiers who fell in the China and Russia Wars. Entering the Hojo where
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some relics of the Toyotomi family are shown, the visitor is next led into the Hondo with an image of Shaka and a number of memorial-tablets on its both sides. The Kazsan-do or Founder’s Hall is connected with the H/0jo by a covered corridor piercing an attractive landscape garden designed by Kobori Enshu, an eminent esthetic master. The pond in the garden is said to represent a stork on the right hand and a turtle on the left. The Kaisan-do remains in good preservation with its pillars, walls and ceiling richly decorated by some Tosa and Kano artists. A smal] portion of the ceiling formerly belonged to the carriage Hideyoshi’s wife rode in when she was presented to the Court. Its paintings of autumnal flowers are attributed to Kand Moto- nobu, a great artist. In the central shrine of the hall is installed an image of Sanko-Osho, the first abbot of the Kédaz-77, while those of Kinoshita-Nii-Hoin, his wife and Hori Kenmotsu on the right and left sides. The JZ@tamaya or Mortuary Chapel is joined with the Kaisan-do by another corridor made in a supposed resemblance to a crawling dragon. This corridor of stone and tile steps is so paved that, when looked from below, the stones are only seen, and when viewed from the upper part nothing but the tiles. The J/itamaya, a fine edifice with the walls painted by Kano Koi, is dedicated to Hideyoshi and his wife. Its raised lacquer work decorating three panels and the steps to the sanctuary serves as the model of the so-called ‘ Kodaiji Makie’ of later years. In the central shrine is enshrined an image of Zuikya Bosatsu, that of Hideyoshi in the right niche, and that of Kodai-in in the left, under which her remains are buried. The two historic arbors ‘ Shigure-tet’ and ‘Karakasa-tei’ stand lonely in a grove behind the Mortuary Chapel.
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ROKUHARA-MITSU-JI (south-east of Kenninji) is an old temple of the Shingi-Shingon sect founded in 963 by Kuya Shonin, a noted priest. Being No. 17 of the Thirty-three Holy Places in the western provinces, it is visited by pilgrims from every direction throughout the year. Having escaped repeated fires, the main temple is counted as an oldest edifice in the city and is registered in the list of the ‘ protected buildings.’
The central shrine in the main temple contains an image of Eleven-faced Kwan-on (8 ft. high) carved by Kiya Shonin and is surrounded by Four Heavenly Kings (6 ft. high) executed by Unkei. In the next shrine in the north is installed an effigy of Jizd (5 ft. high), the work of an unknown artist, and the third shrine is occupied by a Yaksa. The shrine on the southern side of the central sanctuary holds a statue of Yakushi Nyorai (6 ft. high) attributed to Denkyo Daishi, and near it is seated that of Kobo Daishi.
This temple is widely known for its chief image Kwan-on and ‘ O-Fuku-Cha’ (Great Happiness Tea). According to legend, when a pestilence broke out in Kyoto in 951, Kuya Shonin intensely grieved to see countless patients succumbing to the disease. Thereupon, he carved an image of Eleven-faced Kwan-on and took it round through the streets on a cart. At the same time, he distributed the tea offered to the image to the sufferers, who promptly got well in taking the holy beverage. It is said that the Emperor Murakami had experienced its benefit, so that he made it an annual custom to take tea on New Year’s day, hence the lucky name of ‘ O-Fuku-Cha’ (Sovereign: drinking-tea), which was later changed into ‘ Great Happiness
Tea’ of the same pronounciation.
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YASAKA-no-TO, or Yasaka Pagoda, soars high to the south of the Kodai-ji, superbly adding a scenic beauty to the old capital. It is a five-storied pagoda of an imposing look re-built in 1618 by Itakura Katsushige, a governor of Kyoto in the Tokugawa Dynasty, and is at present placed under the ‘ special protection’ of the Government. . The original pagoda, the pioneer of its kind in this country, is said to have been put up in 588 a.p. by order of Prince Shotoku Taishi, a pious believer in and powerful advocate of Buddhism, but it went to decay after many generations. The second pagoda was erected in 1192 by Minamoto-no-Yoritomo, the founder of the Shogunate, while it became, after successive repairs, too rickety to stand any longer and was replaced by the existing structure. In the lowest floor of the pagoda are installed four images, namely, Dainichi in the east, Shaka in the west, Ashuku in the south, and Hédsh6 in the north.
KTYOMIZU-DERA (south-east of Yasaka Pagoda) is a very famous temple of the Hossé and Shingon sects dedicated to Eleven-faced. and Thousand-handed Kwan-on, being largely visited by pilgrims and sightseers throughout the year. The location is one of the most beautiful in the city, commanding a glorious view far and near. The charming valley lying in the south of the main temple abundant with maple, cherry and pine trees is a favorite resort of holiday-makers. The temple was founded by the noted general Sakanoueno Tamuramaro in 805, using the old timbers of the Shishinden of the Imperial Palace at
Nagaoka, which jas given him in recognition of his brilliant
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triumph over the Ainos, while the present structure was erected in 1633 by order of the Shogun [emitsu. 8
The temple is reached by going up a sloping street full of porcelain shops, what is christened by foreigners the ‘Tea-pot Lane’ or the ‘ Potters’ Hill.’ The Sazmon is a two-storied main gateway, containing in its niches /kokuten and Zamonten, two of Four Heavenly Kings. The former is supposed to guard the eastern heaven, while the latter the northern. <A belfry is seen to the north of the Sazon, and a three-storied pagoda close to it is dedicated to Dainichi Nyorai and was put up in 847 by Tamuramaro. To the east of the pagoda is located the Kydd in which are installed the images of Shaka, Monju and Fugen. The next edifice is the Kaisando or Tamuradé with the effigies of Tomuramaro, Gyoei, Enchin and Prince Shotoku Taishi. Near the Kaisandé lies the Hokke-Sammai-dé or Asakura-do built by - Asakura Sadakage, a pious devotee, and there is seated a reproduction of the image of Kwan-on in the main temple. In the east of it stands the Chumon or Middle Gate with the niches in which are contained Zochoten and Komokuten, or Heavenly Kings for south and west. The Main Temple (85 ft. by 75 ft.) is constructed over a precipice in the most striking style of architecture. .In its sanctuary is enshrined an image of Eleven-faced and Thousand-handed Kwan-on (5 ft. 2 high), which is: shown the public once in thirty-three years. It is surrounded by the statues of Shogun-Jiz6, Shoteki-Bishamon and Twenty-eight Followers of Kwan-on. The wooden platform in front of the main temple is called the Kéyomizu-no-Butat or - Kiyomizu’s Dancing-stage, and its two wings are known as the
east and west Gakuya or Orchestra-halls. They are supported on 60
THE KIYOMIZU-DERA TEMPLE
Ms
a high scaffording of massive beams. In olden days, some believers jumped over the platform, head downwards, out of superstition that if their prayers had been effective they would fall unhurt, On the southern mound across the valley is sighted amidst a pine grove a three-storied pagoda built in the Nara Period by Komyo-Kog6, the ex-Empress Shomu. It is dedicated to Thousand-handed Kwan-on, about two inches high, which, according to legend, the Empress saw in a dream and gave birth to a daughter who was no other than the Empress Koken. | This Kwan-on is widely prayed by women for safe delivery. At the back of the main temple, there is a Shinto shrine in which are enshrined the tutelary deities, namely, Onamuchi-no-Mikoto, Susanowo-no-Mikoto and Inada-Hime-no-Mikoto. In the north- west of this shrine is situated the /oju-in, the abbot’s residence. Its garden was designed by Soami, an esthetic master, and was later improved by another no less great expert Kobori Enshii. It is a finest garden in Kyoto. The Shaka-do stands to the east of the main temple on the other side of the cliff, while the !Amida-do is its neighbor in the south. The Okuno-in is within the reach of a few yards, in which are contained Thousand- handed Kwan-on, Jizo Bosatsu and Bishamon. Descending down a flight of stone-steps, the visitor comes to the ‘O/owa-no-Taki’ Waterfall running down in three tiny streams, under which some pious believers are often seen standing for hours and offering prayers. The small image in a shrine built under the waterfall is a Buddhist deity, /%zdd-Myo-6, holding a rope in one hand and a sword in the other, prepared to punish wicked people. Here let us turn homewards through the pretty maple-valley
well-known under the new name of ‘ S/iz-7akao.’
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SEIKAN-JI (south-east of Kiyomizu-dera) is a temple of the Shingon sect nestling in an extremely quiet nook reputable for its cuckoos and glorious maple-tints. Indeed, the perfect stillness prevailing in the ground is only broken by the melodious warble of innocent birds. Established in 802 by the priest Shokei as a temple of the Tendai sect, it once consisted of many fine edifices. In spite of the fact that there remains at present nothing but a dingy temple and an old belfry, the Seikanji is often talked of in connection with an Imperial love affair, telling us the transitoriness of human life. There is enshrined an image of Thousand-handed Kwan-on, 3 ft. high, attributed to Sugawara-no-Michizane, the Right Minister. On its right side is placed an effigy of Kobo Daishi, and on the left that of Fudo Myo-6 presented in 997 by Sanjo-no-Kokaji Munechika, a venaiabied swordsmith. On the hillside adjacent. to the temple lay the tombs of the Emperor Takakura (reigned 1168-80) and his peerless pet Kogé-no-Tsubone, a court-lady. She was perhaps the most beautiful angel ever witnessed for ages past ; nevertheless, she was ill-starred and had to forsake the highest Iniperial patronage in order to become a lonely nun in the bloom of nineteen summers. Now, the Empress Takakura was a daughter of the all-powerful Kiyomori, the chief of the Taira Clan, so that he hated Kogo-no-Tsubone, as a matter of course, to be near the Emperor and tried to assassinate her at the earliest opportunity. Finding herself on the verge of a fatal peril, she ran away from the Court first to Saga-no, whence to the Seikanji to take shelter under monastic protection, How profoundly the Emperor grieved for her disappearance!
Ever since, no day dawned without noticing the Imperial
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countenance waning little by little, but the tyranic Kiyomori would never dream of showing the least sympathy for His Majesty. Eventually, the Emperor passed away, completely buried in sorrow, and his remains were interred, in accordance to his dying words, in the Seikanji where Kogo-no-Tsubone spent her religious life. According to another report, she drowned herself in the Oigawa at the foot of Arashiyama. Around the Emperor’s tomb are planted a number of maple- trees he adored during his lifetime. The tomb of the Emperor Rokujo is also in the vicinity. In front of the temple lies a stone called ‘ Kaname-Ishi’ (Rivet-stone) from the reason that the city of Kyoto looks, when seen from it, like a fan spread out. The district lying between the Kiyomizu-dera and the Seikan-ji is named ‘ Uta-no-Nakayama’ (Mid-hill of Poetry) on account of the following famous legend: Once in a twilight evening, Shinyen, the chief priest of the Seikanji, was sitting at the gateway of the temple when there happened to pass such an exceedingly beautiful girl that he could not refrain but speaking to her. He was, however, so much embarrassed that he did not know how to accost her. At last, he asked her the path to the Seikanji where he was right in the moment. Thereupon, the girl answered him with a poem literally translated below and disappeared in an instant.
“ Miru ni dani, Mayo kokoro no, Hakanakute ; Makoto no micht o, Tkade shirubckt.”’
“‘Since you are so hoplessly apt to go astray even with the fine look of a maiden, how on earth can you find your right path?”
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Alas! the fair creature was no other than an incarnation of Kwan-on of the Seikan-ji. le
NISHI OTANI (south-west of Kiyomizu-dera) is the mortuary temple of the Nishi Hongwan-ji, where are buried the remains of Shinran Shonin, the founder of the Shin-shu sect, and of his successors belonging to the west or elder branch of the Hongwan-ji.. Shinran Shonin, who died on November 28th of 1262, was first interred near the Chion-in and subsequently was removed here in 1603.
At the entrance to the temple, there is a lotus-pond spanned by a stone-bridge, nicknamed ‘Spectacle Bridge.’ Proceeding further, the Kara-mon, a handsome gateway, is reached. On the left hand inside the gate lay a belfry and a drum-tower, while on the right a holy water house, a tea serving hall and the offices. In the center of the premises stands the main temple where is enshrined an image of Amida; 2 ft, high, carved by the abbot Jakujo Shonin. On its right and left sides are hung the portraits of the successive abbots, Shotoku Taishi, Seven Great Priests and the nun Kakushin-ni, Shinran’s daughter. - The Mortuary Chapel, which is the burial-place of Shinran Shonin, is at the rear of the main temple, being connected with an Oratory. Most of these buildings were re-built in 1870 and enlarged in 1870, wtth the exception of the Mortuary Chapel and Main Gate, which were put up in the Genroku Era (1688-1704).
MYOHO-IN (south of Nishi Otani) is a noted temple of the 66
Tendai sect established in the Enryaku Era (782-806). In ancient times, its abbot had always been an Imperial Prince and was, being held in high esteem. It is now a detached head temple of the Enryaku-ji and is well-known for its possessing a number of relics of Toyotomi Hideyoshi. The Kara-mon. is the fine main gate, a gift of the Emperor Sakuramachi. The Entrance Room contains the sliding-screens painted by Kano Eitoku, a sedan-chair presented by the Emperor Kokaku, and a large porcelain tea-jar once owned by Hideyoshi. Passing through a corridor, the visitor comes into the Dai-Shoin or Great Parlor of two rooms; the first or Plum Room is delineated by Kano Eitoku, and the second with. Chinese figures and flowers by Eitoku, Shoyei and Sotan, This edifice is placed under the ‘special protection’ of the Government. The pretty azalea garden in front is attributed to Kobori Enshu, a great esthetic master. Beyond stands the Autsu-den or Buddha Hall with an image of Fudo Myo-0 in the center, Seitaka and Kongara Doji on the right and left sides. In the next room are placed the effigies of Amida in the middle, Kwan-on, Seishi and some memorial-tablets on the right and left hands. Further on lies a treasure house called the Ryugezd where are exhibited a Jarge collection of valuable carvings and paintings, mostly in connection with Hideyoshi. On the west of the Ayugesd is located the Shiénden of three’ compartments; the first is called the Gyokuza or Throne Room, the second the Auésuma or Buddha Room with an image of Amida as its chief object of worship and a small three-storied handsome pagoda, and the third room contains another beautiful Amida carved by the
Emperor Kokaku, the memorial-tablets for the Seven Loyalists
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and a number of Buddhist musical instruments. A little building in the south-east of the Sinden is the main temple of the Myoho-in, where are installed the statues of Fugen Bosatsu, Godaison, the Emperor Goshirakawa and the priest Eryo Sonja. A monument in the garden is put up in memory of the Seven
Loyalists.
CHISHAKU-IN is the headquarters of the Shingi-Shingon sect in the south of the Myoho-in. Founded in Kii Province under the name of the Wegoro-7i, it was destroyed by Toyotomi Hideyoshi in 1585 on account of the warlike attitude taken by its priests. Subsequently, Tokugawa Ieyasu re-built the temple in 1598 on the same spot where Hideyoshi formerly had a one put up in memory of his son Tsurumatsu.
The first object sighted at the Entrance Room is a gigantic pine-tree painted by Matsumura Goshun on the left side wall. In the fokonoma or alcove on the right is hung an interesting scroll of the Buddha’s birth executed by Kano Doun. On the corridor, a few steps ahead, is seen a spear said to have been used by Oishi Kuranosuke, the noted leader of the Forty-seven-Ronin. Now, the visitor enters the provisional main temple which is the Hojo. In the first room are shown a number of pictures and sculptures with which the temple abounds. Proceeding a little, there is reached a large beautiful hall containing on its handsome altar an image of Fudd Myo-6 (3 ft. high) carved by Kokyo Daishi and worshipped as the chief Buddha of the Chishaku-in. In the eastern room is placed a_red-lacquered
Sharitd or Pagoda with Buddha’s bones, and in its adjoining room
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in the north a couple of folding-screens painted by Kano Sanraku. The next building is the Oku-Shoin removed from the Momoyama Castle. The flowers are gorgeously delineated by Sanraku on its walls and sliding-screens. On crossing a covered bridge, the Shinden is arrived at; its pretty sliding-screens are depicted by Sanraku and Eishin. The garden in front of the Oku-Shoin and Shinden is laid out by Sen-no-Rikyu, a great tea-ceremonial master. The mound represents Mt. Lushan and the pond the River Yangtse. Up on an eminence in the east of the main temple lay the Daishidd dedicated to Kobo Daishi and the Kaisandé to Kokyo Daishi.
TOYOKUNI JINSHA (south of Daibutsu-den) is a Shinto shrine dedicated to Toyotomi Hideyoshi. It was founded at the command of the Emperor Goyozei in 1599, viz., a year after the death of our great hero. Though it was a splendid building, it fell into gradual decay in the Tokugawa Dynasty and became totally ruined in 1662. It is said that the finest parts of the shrine were removed to Nikko before its demolition, but not certain. Immediately after the Restoration of 1868, the Govern- ment issued an order to re-build the shrine, and the present structure was completed in 1873. Tne handsome gate in front of the shrine formerly belonged to Hideyoshi’s Momoyama Castle and is now placed under the ‘special protection’ of the Government. An annual festival in honor of Hideyoshi takes place on September 18th.
HOKOKU-BYO, or ‘Tomb of Hideyoshi,’ stands on the peak of the Amida-ga-mine range of Higashiyama in the east of the
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Toyokuni Jinsha. Under the tomb of the ‘ Gorin-no-To’ shape, some 30 feet high, are buried the remains of Toyotomi Hideyoshi (1536-1598). The original mortuary chapel was built in the most magnificent style, being inlaid with gold and silver, but had been destroyed by the Tokugawa Shogunate. The ascent to the tomb up a few hundred stone-steps is rather steep, yet the superb view obtained over the whole city and its surrounding regions is amply worth the toil.
DAIBUTSU-DEN (adjacent to Toyokuni Jinsha) is the provisional temple of the Hoko-ji, containing a colossal gilt wooden half-sized image of Buddha. The original temple erected in 1586 by order of Toyotomi Hideyoshi was a huge edifice measuring 272 ft. by 167 ft., and 150 ft. high. There was installed a wooden effigy of Vairocana, 63 ft. in height. It was, however, destroyed by an earthquake in 1596, while an attempt in casting a bronze Buddha undertaken by Hideyori, the heir of Hideyoshi, proved unsuccessful on account of fire in 1602. Finally, being pressed by an urgent and unwelcome advice of Tokugawa Ieyasu, who had been striving to exhaust the treasures of the Toyotomi family, Hideyori unwillingly built a very beautiful temple in 1610. But, the four characters of the inscription on the new bell caused a serious dispute between Ieyasu and Hideyori, which eventually brought about the total destruction of the House of Toyotomi. The four characters in question, viz., ‘ Kok’'ka An-ké, meaning ‘Country in Peace,’ were interpreted by Ieyasu that the second and fourth characters, if joined, stand
for his name, so that they are secretly plotted as an imprecation
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against his life. Now, it goes without saying that it was a mere excuse for picking up a quarrel against the youthful Hideyori, then aged only twenty-two, because Ieyasu had been awaiting for such a chance, so to speak. Hideyori, his mother, and their lords, who all wanted peace, repeatedly apologised to Ieyasu for what he thought wrong, making various concessions, although they were well aware that his claim was entirely unreasonable and outrageous. On the contrary, Ieyasu would not only listen to any sort of apology but waged two successive wars and at last exterminated the once all-powerful Toyotomi family in May of 1615. The bell of the fatal source is still hung in the belfry in the premises of the Daibutsu-den, though the four characters have been scraped off. It is 14 ft. high, 9 ft. 2 in diameter, and g inches thick. In the Daibutsu-den, there are exhibited many relics, which tell us something about the old temple.
IMPERIAL KYOTO MUSEUM (west of Myoho in) is one of the three largest museums in the country under the jurisdiction of the Imperial: Household and was opened in 1897. There are exhibited an extensive collection of rare and valuable art-objects, including a number of Imperial treasures. The principal aim of this museum is to afford a safe depository for those priceless paintings and carvings belonging to different temples and shrines in Kyoto and its vicinity, and at the same time to show them to the public. Any article owned by a private individual may be received if it is considered suitable for reference or study in accordance to the Museum Regulations.
The exhibits are divided into three departments, namely,
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History, Fine Arts, and Art Industry, and each department is subdivided as under :
HIsroricAL DEPARTMENT. | Art Inpustry DEPARTMENT.
(1) Books, Manuscripts, and (1) Metal works
Drawings. (2) Ceramics. (2). Archaelogical Objects. (3) Lacquer Work. (3) Religious Objects. (4) Textile Fabrics. (4) Arms and armors. (5) Articles in Stone, (5) Objects relating to Customs Ivory, Shell, Horn, and Ceremonies. Wood, and Bamboo. (6) Coins, Weights, Measures (6) Papers and Leathers. and Stamps. (7) Potographs and | Engravings.
Fine Arts DEPARTMENT.
(1) Paintings. (3) Sculptures. (2) Calligraphy. (4) Architecture.
SANJU-SAN-GEN-DO or RENGE-O-IN is a well-known temple of the Tendai sect, lying in the south of the Imperial Kyoto Museum. The name ‘ Sanju-san-gen-do,’ literally meaning ‘ Hall of Thirty-three cx,’ is derived from the thirty-three spaces between the pillars in the frontage of the temple. It is a huge elongated building (392 ft. by 56 ft.) roofed with tiles and supported by 158 solid pillars. Its interior was very richly decorated at first, but is nearly worn off now. The temple contains as its chief object of worship a seated wooden image of Thousand-handed Kwan-on (8 ft. high) jointly carved by the
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noted sculptor Tankei, then aged 82, and his assistants Koen and Kosei. The image is surrounded by Four Heavenly Kings, Twenty-eight Followers of Kwan-on, and one thousand smaller Kwan-on installed in rows on the right and left sides, respectively measuring 5 ft. 7 in height. On the foreheads, hands and halos of one thousand Kwanon are stuck bits of Kwan-on, which gave birth to a popular version that all these aggregate to 33,333. It is, however, entirely wrong; the number should be 33,033 because the central image and 500 on each side count 1001, and when these are multiplied with 33 manifestations of _Kawn-on 3 33,033 are obtained. The excellent statues of Wija-hachi-buchu or Twenty-eight Followers of Kwan-on, which are arranged in the rear corridor, are all executed by Tankei, Koen and Kosei and are very highly admired by connoisseurs; especially, the Thunder and Wind Gods are the finest example of the kind. The temple was established in 1165 under the supervision of Taira-no-Shigemori at the command of the ex-Emperor Goshirakawa and was destroyed by fire on March 24th of 1249. The present edifice placed under the ‘special protection’ of the Government was re-built in April of 1266 and was thoroughly repaired by the Shogun Iemitsu in 1650, while the latest renovation took place in 1714. In spite of the fact that this structure has been exposed to the elements for 645 winters and summers, it is surprisingly well preserved. The tradition about the origin of the Sanji-san-gen-do runs as under: “The ex- Emperor Goshirakawa had a violent habitual headache. Seeing no medical effect was of any avail, he made a pilgrimage to the Kumano Gongen Shrine in Kii Province in order to pray for
recovery. One day, he received a divine oracle to go and see
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an expert Indian physician then staying at the Inabado Temple in Kyoto. Consequently, His Majesty hurried back to the capital
on February 22nd of 1161. At the Inabado Temple, he was | engaged in earnest prayers for several days and nights. On the last night of the services, there appeared a venerable-looking priest and told him as follows: ‘You had been in your whilom life a virtuous priest of Kumano, and was named Kenge-60. Your meritorious deeds have made you accede to the Throne in the present world, but your previous skull is still left undissolved in the waters of the River Iwata. On that skull is growing a big willow tree which shakes whenever the wind blows. This is the very cause of your headache, so that it must be taken Off immediately. Thus saying, the mysterious priest poured some scented liquid upon His Majesty’s head. There, the ex-Emperor awakened from his vision and at once ordered to search out the skull, which was found and put in the head of the chief image of Kwan-on in the Sanju-san-gen-do.”
Behind the temple, there is an archery-ground, which was widely known as ‘ O-ya-kazu,’ or Great Number of Arrows, in olden times. It was formerly a custom for good archers to test their skill by shooting as many arrows as they could from one end of the corridor to the other (396 ft.), which was generally shot from daybreak till the evening. Wasa Daihachiré, a Samurai of Kii Province, showed so far the most successful record on April 27th of 1686. He hit the mark as much as 8,233, while 4,920 fell off short.
SENNYU-JI (south-east of Sanjii-san-gen-d6) is a very
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distinguished temple of the Shingon sect, where are interred the Imperial remains, commencing with the Emperor Shijé in January of 1242 and ending with the Emperor Kémei, who was father of the late Emperor Meiji and died in December of 1866. Founded in g55 as a temple of the Tendai sect, it was at first called the Horinzi. For many years, the temple had been left uncared until 1218 when Shunjo Risshi re-founded it and began to teach the doctrines of Tendai, Shingon, Zen and Jodo. The present name ‘ Sexnyu7i’ (Spring-gushing-forth-temple) is derived from the spring under a cliff adjacent to the Buddha Hall. The Sennyu-ji, occupying the stateliest location of all the temples, is approached by a long avenue of pines and maples. The Butsu-den or Buddha Hall is a double-roofed fine building, containing on its altar the seated images of Miroku, Shaka and Amida, the work of Unkei. In the left niche are installed Bonten and Taishaku, while in the right the Founder. In the Shari-den behind the Lutsu-den is placed a two-storied golden pagoda in which are kept Buddha's bones brought from the Paz-en-Ssu in China by Tankai, a pupil of Shunjo Risshi. The Kazsan-do or Founder’s Hall with an effigy of Shunjo is at the back of the Shari-den. Inthe east of the Kaisan-do stands the Reitmei-den, a hall where are preserved the Imperial memorial-tablets. Inside the Chu-mon or Middle Gate is found the Shaka-d6o built at the command of the Emperor Gomizunowo. The image of Shaka in it was carved by Engen, the founder of the Obaku sect. The Kzwvan-on Hall is located side by side with the Shaka-do, erected by order of Tofukumon-in, the ex-Empress Gomizunowo. The
Imperial burial-place lies on the hill at the rear of the temple.
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TOFUKU-JI, one of the five headquarters of the Rinzai sect, is located on an immense ground in the south of the Sennyiji.. Established in 1255 after the lapse of nineteen years under the supervision of the abbot Shoitsu Kokushi, it had been regarded as the finest monastery in the country until its principal edifices were reduced to ashes in 1881.
The temple is reached by three gates, namely, the North, Middle and South Gates, all on the Fushimi Highway. In some 240 yards eastwards past the South Gate or Main Entrance are put up the Chokushi-mon or Imperial Messenger’s Gate and the Rokuhara-mon which formerly belonged to the Taira’s Mansion of Rokuhara. Inside these gates, there is a lotus-pond with a stone bridge. In the north stands the Sammon, an imposing double-roofed gate erected in the Kencho Era (1249-55) and once repaired at the expense of Hideyoshi. It is now placed under the ‘ special protection’ of the Government. On its upper storey are installed the images of Kegon-no-Shaka, Getsugwai- Choja, Zenzai-doji and sixteen Rakan, all attributed to Jocho, a renowned sculptor inthe 12th century, while the interior is decorated by Chédensu, a skilful . priest-artist, and his pupil Kandensu. The sites of the Buddha’s Hall and Lecture Hall are traced by their foundation stones to the north of the Sammon. Close by stand the new Hojo or Priests’ Apartments. The Provisional Main Temple, which was originally the Sddé0 or Acolytes’ Hall, is in the south-west, containing the statues of Shaka, Kasho and Anan, all carved by Unkei. In the left-hand niche are placed Bonten, Taishaku, Monju, Dainichi and Bukkai-Zenji, while in the right Daruma, Rinzai, Hyakujo and
Founder. Near the Provisional Main Temple lay a Revolving-
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library, the Dakiniten Temple, a Belfry, and a Thirteen-storied stone pagoda set up by Kujo Michiiye. Slightly further to the north, lies a famous maple valley with a pretty stream below, spanned by a roofed bridge poetically named the 7si-ten-kyo or Bridge leading to Heaven. Here, large crowds are seen in the autumn, admiring the glorious maples in various shades. The Sodé or Founder’s Hall with an image of Shoitsu Kokushi is at the northern end of the corridor joining with the bridge.
The Tofukuji is rich in subordinate temples, the tombs of illustrious people and the paintings executed by the most eminent Chinese and Japanese artists, including Wu-Tao-Tsu, Chédensu. Many of them are registered as ‘ National Treasures.’ The most celebrated of all is a huge scroll of the Wehan or Sakyamuni’s Entry into Nirvana, It is a colored painting on paper (39 ft. by 26 ft.), excellently painted by Chédensu in June of 1408 at the age of fifty-seven. The singular point of this painting is that among the assembly of the men and animals around the dying Sakyamuni is found a cat, a creature that is never seen in a Nirvana picture. According to legend, whenever Chédensu was engaged in this work there always came out a nice little pussy and sat beside him, apparently looking as if he wants to be in the picture. One day, Chodensu said to the pussy, “You too, want to enter the Nirvana” and painted the animal, which instantly disappeared in a well-satisfied manner and showed itself up no more. This wonderful picture is shown the public on the occasion of the Nehan-E or a service held yearly on March 15th to
commemorate the anniversary of Sakyamuni’s Entry into Nirvana.
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INARI-NO-JINSHA or FUSHIMI-NO-INARI is the most famous of all the Inari shrines in the country, lying at the foot of Inariyama, a little beyond the Tofukuji. It is a highest Government shrine dedicated to Uga-no-Mitama, the Goddess of Food or Rice, the deity Sadahiko-no-Mikoto and the deess O-Miyame-no-Mikoto. According to tradition, the Goddess Uga-no-Mitama manifested herself on the peak of Inariyama on the first ‘Horse-day’ (7th ?) of February, 711 A.p., so that Irogu-no-Hata-no-Kimi, the ancestor of the Hata-Imiki family of Shinto, put up there a shrine in honor of the Goddess, Then it was removed to the present spot on January 5th of 1438 at the request of Yoshinori, the 6th Shogun of the Ashikaga Dynasty, while the shrine we now see was erected in August of 1589 by order of Toyotomi Hideyoshi.
Now, entering a red-painted’ wooden Zor and proceeding further on the paved path, the visitor comes to a two-storied gate, inside which stands an Oratory. Beyond in the east is situated the Main Shrine, a red-colored handsome building placed under the ‘special protection’ of the Government. It is surrounded by several minor edifices such as the Dancing-hall, the Amulet- house, etc.. The most striking feature of the Inari-no-Jinsha is its innumerable red-colored 7oriz scattered all over the ground and hillside leading to the Inner Shrine. They are presented by believers, numbering over millions, in token of devotion to the shrine. The most interesting festival of the Inari-no-Jinsha takes place during the months of April and May, when five beautiful Shinyo or Shrine-cars are carried out by devout young people in the streets, accompanying the ‘ S/zkd’ or divine procession.
Especially, three shrine-cars, the finest of its kind, are extremely
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well-shaped and exquisitely decorated with gold carvings costing hundreds of thousands of Yen. The procession starts for the Otabisho or Place of Sojourn on the 2nd ‘ Horse-day’ in April and returns to the Main Shrine on the tst ‘ Rabbit-day’ in May according to the Lunar Calendar.
HATSU-UMA or First Horse-day is an annual festival celebrated on the 1st ‘Horse-day’ of February, viz., the day on which the Goddess Uga-no-Mitama is supposed to have made her first manifestation on the hill Inariyama. It is truly a grand day when the shrine is visited by a huge number of pilgrims coming from far and wide.
INARI AND FOX: The relation between these two objects is always misunderstood and confused, apparently being a puzzle tomany. It is, however, very simple as explained below: There are two kinds of ‘Inari’, namely, Buddhist and Shinto. The Buddhist Inari means ‘ Dakiniten,’ a Hindoo devil-god who is a ‘Yaksa’ in Sanscrit. The Dakiniten is said to be an incarnation of a fox, which used to eat men, but gave up that ghastly habit after having been tortured by Daikoku Tenjin or Mahakala in Sanscrit. Eventually, it turned out to bea very faithful guardian of Buddhism, so that he is generally enshrined in a corner of the premises of a Buddhist temple. The fact that, among several names owned by the Goddess Uga-no-Mitama, that of ‘ A/ketsu- Kami,’ or Honorable F ood Deess which was once phonetically written in Chinese characters, happened to mean the “ God of Three Foxes,” led many people to believe that Uga-no-Mitama is an incarnation of the fox. At the same time, some think that the fox is the messenger-animal of the Shinto Inari. It is the
reason why the believers of the Inari shrine make offerings of
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stone, or sometimes wooden, foxes to it. These offerings are accepted and installed around the shrine by Shinto priests, simply because they do not like to injure the feeling of a donator. Those who do not know it are apt to think that these carvings represent the Shinto Inari Goddess Uga-no-Mitama. Of course, in the Buddhist Inari temples, the fox produced either in carving or painting is worshipped, because the chief object of worship ‘ Dakiniten’ is no other than a fox as is already stated. It is alleged that Kobo Daishi had connected the Shinto Inari with the fox for his convenience’ sake in propagating Buddhism and has thrown a dim shadow over the distinction between them, but it is
not certain.
KINKOZAN POTTERY near the Miyako Hotel is an old firm established in 1645 and is famously known for the production of the most beautiful Saésama and Awata wares. The firm is owned and supervised by Mr. Sobei Kinkozan, a distinguished citizen of Kyoto. It is entirely due to his indefatigable effort of many years that the Awata ware has been brought into such exquisite perfection and great prosperity of export, for which he has been justly awarded with a countless number of the foreign and domestic medals and diplomas. An inspection to the Kinkozan
Pottery is always found extremely interesting and instructive.
SOSUI UNGA (Canal), one of the greatest works achieved in Japan, was constructed with an object to supply the hydro-
electric power to factories and transportation organs in Kyoto by
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generating electricity on the utilization of the water. from Lake Biwa. In addition, the water is widely used for irrigation. The canal joins Lake Biwa with the River Kamogawa, bringing the Lake into navigable communication with Osaka Bay. Plans for this remarkable undertaking were drawn up by Prof. Tanabe Sakur6, then a young engineer. The work was commenced in August of 1885, bringing the trunk canal to a successful completion in April of 1890 and the branch canal in September of 1904. The total cost aggregated to some Yen 1,400,000. The canal, seven miles long, starts from Mihogasaki on Lake Biwa and ends at Keage, the Kyoto side, while the passage takes about one hour. There are three tunnels in the canal: the first, which is the longest, measures 1 mile 14, the second 330 feet, and the third 2,800 feet. The boats carrying passengers and cargoes number more than 200. The visitor to Lake Biwa may return to Kyoto by a canal boat. In that case, a private boat for six passengers costing three Yen can be engaged at Mihoga- saki, whence the boat starts. In the longest tunnel only, the entrance sight is lost long before the exit is seen, so that there is lighted a faint lantern at the bow. In spite of the darkness and dampness, the boatmen ply their apparently wearisome work, merrily singing rural songs. On emerging from the tunnel into daylight, one feels as if recalled to life, especially when the fine scenery around is enjoyed from the boat. A line attached to the side of the tunnel is used to haul up the boats against the current. Next, the second tnnnel is passed. Immediately on coming out of the third tunnel, the Kyoto terminus, Keage, is reached. Along the whole course, the canal makes a drop of 11 feet. At
Keage and the Kamogawa Canal there is found a difference in
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level of 118 feet; these two are joined by an Incline of 1,820 feet, over which boats are hauled on four-wheeled steel trucks operat- ed by the hydro-electric power plant installed at the bottom. The volume of water running down the canal is 300 cubic feet per second, of which that of 250 is sent down through the iron pipes laid by the side of the Incline and generates electricity at the power-house. The water is at length discharged into or underneath the River Kamogawa. This hydro-electric power is mostly employed for lighting streets and houses, for running tram-cars, and for working spinning and weaving machines, etc. Owing to the necessity of an increased demand of electric power, an additional canal has been constructed in 1912, running parallel
with the old canal.
NANZEN-JI, one of the five head temples of the Rinzai sect, was founded in 1281 by Fumon, a priest of fame. It is situated, within five minutes’ walk to the east of the Miyako Hotel, amid a grove of lofty pine-trees where pervades an ideal monastic stillness over the whole ground. Here, stood originally a villa of the ex-Emperor Kameyama, who gave it to F'umon to be turned into a temple in recognition of his meritorious services in driving off the evil spirits, which once disturbed the Imperial Palace. Subsequently, the second abbot Soen enlarged it into a large monastery by adding many buildings. They were, however, destroyed by fire in succession, and those in existence were re- erected in the Tokugawa period. The temple possesses a fine collection of paintings and art-objects and is widely visited by art
students all the year round.
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The Nanzen-ji is approached by passing through three gates, namely, the Sdvon (first gate), the Chumon (middle gate) and the Sammon ( main gate). Outside the Chumon is a lotus-pond and the Imperial Messenger’s Gate is in the north of the Chamon, In front of the Samnon stands a stone lantern, about 20 ft. high, presented in 1628 by Sakuma-Daizen-no-Suke, a Daimyo. The Sammon is a two-storied impressive gate re-built in 1627 by Tédé Takatora, the feudal lord of Iga Province and a trusted general under Tokugawa Ieyasu. On its upper storey are in- stalled the atiibe of Shaka, two Doji, Sixteen Rakan, Teyasu, Todo Takatora, and the memorial-tablets dedicated to the soldiers who fell in the Satsuma rebellion fighting on the Imperial side. The ceiling and walls of the Sammon are profusely decorated by Kano Tan-yu and Tosa Toku-itsu. This gate is likewise called ‘ Gohord’ and is famously known all over the country in con- nection with the following incident: Once, a notorious robber, Ishikawa Goemon, made the upper storey of this Sammon his cell and nightly stole out under cover of Cimmerian darkness in order to ply his black occupation. He was amazingly quick- eared and nimble-footed, so that he was as a matter of course far beyond the reach of heavy-headed policemen. Be that as it may, his doomsday had at last come and was arrested at the age of thirty-seven, when he failed to steal out a renowned incense- burner of rare porcelain in the Momoyama Castle. This was a great pet of Toyotomi Hideyoshi and was named ‘ C/édori-no- ‘oro’ (Plover-Incense-burner) from the fact that, whenever incense was burned in it, strange to say, plovers became fascinatingly charmed and swarmed around it in huge number. The burner
in question is believed to be of ceradon ware of the Sung dynasty,
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in possession of ‘the Imperial House and often exhibited"in the Kyoto Museum. Now, Goemon and his innocent little son Ichiro were sentenced to such a horrible punishment that it makes one’s hair stand on end. In fact, they were boiled to death in an oil cauldron specially placed on the dry bed of the River Kamo. Ah! what an awful fate! Goemen was, however, a man of some- what poetic culture and the presence of mind, so that, just before he was going to breathe his last, he camly rhymed the under-
stated farewell ode, which is still remembered even by an illiterate
bumpkin : (Literal translation) “ Ishikawa-ya “The pebbles in the stony-bedded Hama no Masago wa rivers and the sand on the sea- Tsukiru tomo beach may perchance come to Yo mt Nusubito no an end, yet the line of thieves Tane wa tsukimaji.” shall never come to an end.”
To the east of the Sammon stands the H/atto, the provisional main temple. On its altar is seated an image of Shaka in the center ; besides, Fugen and Monju on the right and left sides. In their front are placed the memorial-tablets dedicated to the present Emperor and the influential adherents of the temple. In the left niche behind the altar is installed an image of Ayato Daimyojin, while in the right those of Founder, Daruma, Nan-in Kokushi and the tablets for the successive abbots. Having been burnt in 1895, this edifice was re-built in 1908. The dragon on the ceiling was painted by Imao Keinen. Being connected by a corridor, is located the O-Hojo (Abbot’s Great Apartments), which were a part of the Seirydden in the Imperial Palace erected by Hideyoshi
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and removed here by order of the Emperor Goyozei when Ieyasu undertook its reconstruction in 1611.
THE 0-HOJO: The Willow Room is painted by Kano Motonobu ; the Musk Room by the same artist ; the O-Hiru-no- ma by Kano Eitoku ; the West Room by the same artist ; in the utsu-ma (Buddha Room) is enshrined Sho-Kwan-on. The little garden in front is of strictly tea-ceremonial style and is tastefully laid out by Kobori Enshu, a famous landscape designer. The little Ramma with carvings of peony, lions, bamboos are very well executed. |
‘THE SHGO-HOJO: The Abbot's Smal] Apartments consisting of three rooms belonged to Hideyoshi’s Momoyama Castle and were transferred here by Ieyasu. The paintings of the tigers depicted on the sliding-screens on gold ground are the excellent production by Kano Tan-yu; particularly, the tiger drinking water from a brook is extremely reputed. The paintings are all registered as ‘ National Treasures.’ In the north-east of the O-H9j6, there is a room called the ‘ Maru-taki-no-ma’ from a waterfall delineated on the Zokonoma (alcove) and is decorated with a ladies’ picture by Eitoku. Outside this room is shown a chair, a gift from the Emperor Godaigo, and a few screens and frames according to the season.
THE NANZEN-IN, the old site where the ex-Emperor Kame- yama resided, nestles at the south of the Hato with its pretty garden, being densely surrounded by tall cedar and maple trees. A little temple in the eastern corner of the garden contains a portion of the remains of the Emperor. THE KONCHI-IN, the most prominent among a number of subordinate temples of the Nanzen-ji, lies to the south of the Middle Gate. The gate on the
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left-hand inside the front gateway is called the ‘ Akechi-mon’ built out of joy by Akechi Mitsuhide when he assassinated Oda Nobunaga and removed here from the Daitokuji. The main temple and its sliding-screens were brought from Hideyoshi’s Momoyama Castle. Its first room decorated with chrysanthemums is executed by Kano Yukinobu; the Second Room with storks and bamboos, the Buddha Room with Chinese scenery, the Onari-no-ma (August Visit Room) in two sections with pines and plums, all are painted by Sesson. The cedar-doors in the verandah are also by Sesson. The garden is planned by Kobori Enshii and is named the ‘ 7saru-Kame-no-Niwa’ (Stork and Turtle Garden) from its supposed resemblance of the arrangement of trees and stones. At the back part of the //ondod is a famous tea-room with eight windows designed by Kobori Enshu. A little temple to the west of the garden is dedicated to the founder of the Konchi-in, while a Shinto shrine of the 7oshagu (Iyeyasu) a slightly higher beyond.
THE CHOSHO-IN, more widely called the MARISHITEN, stands to the north of the Sammon, containing a precious effigy of Marishiten (Marci) brought over from China by Seisetsu Zenji, a learned priest of Dhyana. Its small garden laid out by Séami is quite attractive, especially when azaleas and white lotus-flowers
are in bloom.
EIKWAN-DO, properly speaking the ‘ Zenrin-ji,’ is a temple of the Jodo sect standing on a pretty eminence reputable for maple trees. The popular name ‘ Azkzwan-d6’ is derived from
Eikwan, the second founder of the temple which was originally
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founded in 863 by Shinsho, one of the ten ablest disciples of Kobo Daishi. The Eikwan-do is well known for its unique image of ‘ Mikacri-no-Amida’ (Amida-looking-backward) con- tained in the Amida Hall. ‘This image is believed to date back some 1,200 years and is famed for the following legend: At 4 o'clock on February 15th of 1082, Eikwan was performing the services as usual by walking round ina circuit in the temple, when Amida came down from the altar and began to walk before him as if to join him. There Eikwan felt so deeply moved with gratefulness that tears ran down his cheeks in torrents and could not keep up for a moment. As he hesitated to follow, Amida looked back on the left side towards Kikwan, saying with a gentle voice, “ Atkwan ososhi, Eitkwan ososhi” (Eikwan, you are slow ; do not hesitate to march in a company). . Ever since, the image has been left in the same posture of looking back assumed in that morning. In a shrine on the extreme right-hand of the altar in the Amida-do is installed an effigy of Eikwan; in the middle that of Jizo Bosatsu and at the end those of Hase-Kwan-on, Lady Chujo-Hime and her father. At the rear of the altar are placed the statues of the successive abbots; while in the left niche is hung a large painting of the Jod6 Mandala attributed to Eshin Sozu. 3 | .
The Soshi-do (Founder’s Hall) is in the north of the Amida-do and is connected with it by a corridor. Ina shrine in the center is kept an image of Enk6 Daishi carved by himself; on its right hand that of Zendo Daishi, and on the left that of Seizan Kokushi. The Priests’ Apartments, Great Parlor and so forth are all located to the north of the Soshi-do. Below these edifices, there is a
pretty pond with an islet on which stands a tiny shrine dedicated
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to Benten, a goddess of luck. The Eikwan-do is very rich in art treasures; among others, Saka Sanzon by Motonobu and
Yama-goshi-no-Amida are conspicuously known.
NYAKUOJI JINSHA (north of Eikwan-do) is a Shinto shrine dedicated to Kunitoko-Tachi-no-Mikoto, Izanagi-no-Mikoto, Izanami-no-Mikoto and Amaterasu Omikami. Founded by the Emperor Goshirakawa in the 12th century, it consisted of fine buildings which were all burnt down durjng the inter-civic war of Onin. There remains nothing worth mentioning, but its lovely location with luxuriant maples, cherry-trees and three slender
cascades falling ina quiet valley is a favorite resort for sightseers.
HEIAN JINGU isa highest Government shrine dedicated to the Emperor Kwammu, the illustrious founder of Kyoto. It is located at Okazaki Park near the Miyako Hotel and was erected in 1895 in commemoration of the eleventh centenary of the founding of the old capital. 3
THE OTEN-MON is the two-storied main gate of bright crimson color and roofed with blue tiles.) The DAIGOKUDEN (Hall of State) stands to the north of the Oten-mon. It is a smaller reproduction of the original Deigokuden constructed by the Emperor Kwammu, measuring 11o ft. long, 40 ft. wide and 55 ft. high. The whole building is painted red and roofed with blue tiles. The two towers in the east and west corners, respectively called ‘ Soryo’ and ‘ Lyatko’ are connected with the
Daigokuden by the covered corridors. The main shrine of the
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L dO NUGUVS SIel AHL
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ANTIYHS QONIL NVIGH GH
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Heian Jingu is found at the rear of the Dafgokuden and built of plain Ainoki wood. The Garden, which is divided into two portions, is at the back of the main shrine and is regarded as one of the finest in the city. It is abundant in iris, azaleas, wistarias and so forth. Among various festivals of the Heian Jingii, the Jidai Festival, taking place annually on October 22nd, is the most noted. It consists of a divine procession ‘ Siinkd’ and a very interesting procession of the men wearing the costumes of different ages. The Jidai Festival is celebrated as the unique festival of the whole city of Kyoto. For its details read a book entitled “ The Jidai Festival” by A. Akiyama.
BUTOKUDEN, or the Martial Virtue Hall, is a school of fencing, /zjitsu and archery in the immediate west of the Heian Jingu. It was reproduced in 1899 in commemoration of the Butokuden originally founded in the Palace by order of the Emperor Kwammu. The exercises, which are always very interesting to watch, are held every day except on Sundays and ‘holidays. The annual competitive exercises practised by the members assembling from all parts of the country generally commence on May 4th and last for several days. These contests fought in the presence of a large gathering, including many dignitaries, are truly exciting and all are strongly recommended to take advantage of the opportunity. The exercise-hour varies according to the season, sometimes in the morning and at other times in the afternoon. Therefore, it is advisable to find out the
exact hour before starting.
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SORINTO, a pagoda of cylindrical column, stands in the north of the Heian Jingu, measuring sixty-one feet in height. It was erected in June, 1902, in imitation of the one which Denkyo Daishi, a celebrated Buddhist priest, set up on Mt. Hiyei at the time of the founding of Kyoto. Under the pagoda are kept buried a number of Buddhist Scriptures.
H. NISHIMURA’S LACQUER FACTORY near the Butokuden (Fencing School) is the largest of its kind and one of the finest sights to be seen in Kyoto. The firm was established in 1657 and holds a very good reputation, so that it has been specially appointed a purveyor on lacquer wares to the Imperial Household of Japan. Visitors are cordially welcomed to inspect in detail the process of lacquer wares of al] branches. The exhibits tastefully arranged in the show-rooms, including many specimens of superb gold lacquer works, are highly attractive and amply worth a visit. In fact, the Nishimura’s factory would be an excellent spot for study to those who are interested in
Japanese lacquer wares.
KOKWAIDO (Public Assembly Hall) is a large building of stately appearance standing in front of the Butokuden. It is built of the old timbers of a reception hall put up in the Imperial Palace on the occasion of the coronation of the reigning Emperor
in 1913. Here are often held social gatherings and the like.
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EXHIBITION BUILDING opposite the Adkwaido is
intended for an annual exhibition for art and industrial articles.
KYOTO PREFECTURAL LIBRARY, adjacent to the Exhibition Building, contains a large collection of books of
various nationalities.
COMMERCIAL MUSEUM stands on the opposite side of the Library, being a permanent exhibition of industrial manu-
factures of all kinds.
ART HALL close in the south of the Commercial Museum
is occasionally used for the exhibition of art works and so forth.
ZOOLOGICAL GARDEN behind the Commercial Museum was established in commemoration of the wedding of the present Emperor when he was still the Crown Prince. There are kept a
wide variety of birds and animals, both domestic and foreign.
KURODANI KWOMYO-JI, the noted headquarters of the Chinzai branch of the Jodo sect, is charmingly located on a wooded eminence facing the Miyako Hotel in the south, com- manding a fine view of the city and mountain ranges. It was founded by Hoénen Sh6dnin in 1210 and is very well-known for
its possession of a large collection of valuable art-treasures.
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The Korai-mon is the first gate to enter the premises of the Kwomyo-ji. Then, proceeding a few hundred yards on the stone pavement lined by cherry and maple trees, the visitor reaches the Sammon (main gate), a two-storied substantial edifice built in September, 1860. On its upper storey are arranged the statues of Shaka, Monju, Fugen, and Sixteen Rakan ; the dragon on the ceiling was painted by Chiiden Gyoen, a priest. On the left- hand up a flight of stone-steps inside the gate, is a Belfry donated by Sakai-Nagato-no-Kami in 1656, while on the right a Library put up by Shdoetsu-Hdshi in 1690, containing a complete set of Buddhist Scriptures of the Obaku print, 8,008 volumes in number. On the right side of the Library lies the Kwan-on Hall, in which is enshrined an effigy of Kwan-on carved by Gyogi-Bosatsu. This Kwan-on is worshipped as a guardian for safe delivery and had been revered by the Imperial members in ancient times. It is said that the Hall was originally founded by Kibi-no-Mabi, a learned Minister in the Nara epoch, and was removed here in 1668 by order of the Tokugawa Shogunate. The Amida Hall stands in front of Kwan-on Hall, in which are contained Amida in the center, Jizo on the right, Seishi on the left. It is the oldest building in the ground, having been built in 1605 with the aids of Toyotomi Hideyoshi. This Amida is believed to be the last work of Eshin Sozu (942-1017), a great priest and sculptor. A keen attention is paid to this image, because there are kept preserved inside its body all the carving utensils used by Eshin Sozu. The wall-painting of the hall and the dragon on the ceiling were executed by Senyo Denko. The Hondo or main temple lying in the center of the premises was erected in 1789- 1801 by the Abbot Kakuyo Reicho Shonin. There is installed
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on the beautiful altar a seated image of Honen Shonin, represent- ing him at the age of seventy-five. It was carved by himself and measures two feet and six inches high. On its both sides are placed the memorial-tablets of the successive abbots and principal believers. The chancel is finely decorated with various Budddist ornaments. The painting of Seishi Bosatsu on the wall behind the altar was delineated by Kano Hogan Tansaku in 1828. Passing a corridor in the east of the main temple, the visitor enters the O-Hdjé or Abbot’s Large Apartments which face the Chokushi-mon or Imperial Messenger’s Gate. The first room in the south-western corner is called the Willow Room, painted by Imao Keinen; the Tiger Room in the north-west by Kubota Beisen; the Autsu-ma or Buddha Room is in the central part, in which are enshrined a seated Amida by Eshin in the center and a standing Amida by Jikaku Daishi on the west side, each accompanied by Seishi and Kwan-on. The lions and phenixes on the sliding-screens are painted by Kubota Beisen. The south-east room is called the /odan-no-ma, decorated with pinetrees by Beisen, and the Dragon Room in the north-east is also by the same artist. In these rooms are shown many handsome folding- screens which are changed from time to time. Now, the visitor is led to the Ko-Hojo or Abbot’s Small Apartments which are connected with the O-Hodjé. There are four rooms decorated with the sliding-screens painted by Yamada Kaido, These apart- ments were built in 1792. The landscape garden of the Ko-Hojo is considered as one of the ten most attractive in the city. Now coming back to the entrance of the main temple, the visitor will notice on the left hand a stump of a pine tree carefully preserved
under a shed. It is famously known as ‘ Vorot-kake-Matsu’
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(Armor-hanging-Pine). This tree had been growing imposingly till 1917, but began to die towards the end of that year and completely withered in the spring of the next year. According to tradition, Kumagaye Naozane hung up on it a suit of armor which he wore in many a battlefield, when he was about to enter the priesthood as the result of the following romantic incident : “ Kumagaye Naozane, who flourished in the latter part of the 12th century, was a brave general conspicuously known under the flying banners of Minamoto-no-Yoritomo, the future founder of the Shogunate. At the historic battle of Ichinotani near Kobe fought on February oth of 1184, he happened to encounter a youthful enemy of noble mien, who was no other than Taira-no-Atsumori of illustrious birth, aged only sixteen and reputed for his handsome look. Now, early on that morning Naozane’s unique son of about the same age fell under the bloody hands of an antagonist. Such being the case, it came instantane- ously to Naozane’s mind that how heart-rending the sorrow and agony of the parents should be when they have learned of the loss of such a nice boy. Consequently, he fought hard in such a way that the youngster could find a chance to escape, because _ they were not equally matched under any consideration. At last, Atsumori could perceive the secret intention of his kind enemy and was just on the point of taking its advantage, when there was heard ~ Good Heavens ! - a terrible shout from behind Naozane burst forth from the wide-opened mouth of Hirayama-no-Sueshige, a morose general under Yoritomo: ‘Naozane, you are coward ! Why do you so hesitate? Finish up that green chap quick ! Quick!’ No sooner than this spiteful remark reached his ears, thought Naozane, ‘Alas! All have come to a fatal end.’ There
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he was filled with intense regret; in fact, hot tears flowed out from his downcast eyes. But, under such circumstances, he could no longer tarry in presence of his fellow-general. So, picking up his courage almost gone, he reluctantly raised his sword overhead, under which the head of poor Atsumori fell off by a single blow. This tragedy led Naozane to renounce the world, of which he suddenly became weary, and to enter a religious life, bitterly realizing the cruel duty of a fighting man. Thus, he ran immediately after the war to the Monastery of Kurodani, where he lived till he died on September 14, 1208, saying masses all the time for the soul of the short-lived Atsumori of hapless Juck.”” The Kumagaye-do, the cell in which Naozane spent his priestly days, lies on the southern side beyond a small pond with an arched stone-bridge presented by Lady Kasuga-no- Tsubone, the sagacious nurse of the 3rd Shogun Iemitsu. In the center of the altar is installed an image of Kumagaye, a portrait of Hoénen Shonin in the southern corner, while that of Atsumori in the north. This portrait of Honen Shonin, representing him at the age of fifty-tree, was painted by himself as reflected on a mirror to serve as a memento of the day on which Naozane became his disciple. The Seishido, a little higher on, is a mortuary temple in which is buried a portion of the remains of Honen Shonin. There are placed two images of Kumagaye and Atsu- mori on the right and left sides. Close at hand are found the tombs, or rather monuments, of Naozane and Atsumori. Still further up the stone-steps stands a three-storied ‘ JZomju’ pagoda dedicated to Monju, who is surrounded by Yuima, Yubari-Sonja, Yuten, Zenzai-Doji, etc. These images are attributed to Unkei,
but not confirmed. This pagoda was first erected at the Hojo-ji
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of Nakayama, Kii Province, and it is now counted as one of the three ‘ M/onju’ pagodas in Japan, while the other two are existent at Kirido of Tango Province and at Abe of Yamato Province. Proceeding towards the north through an immense cemetery, the visitor comes to a temple called the ‘ Saz-un-in.’ Ina tiny temple in the premises lies‘a rock widely known as ‘ Shz-an-seki’ (Purple Clouds Stone), on which Honen Shonin sat down and perceived a trail of purple clouds while he was praying towards the west just at the moment to establish the great Jodo sect. On the wall of the temple is hung a scroll with a portrait of Honen Shonin
looking at the clouds. Now, let us go to a next sight.
SHINNYO-DO or SHINSHO GOKURAKU-IN (north of Kurodani) is a temple of the Tendai sect founded in 992 by the consort of the Emperor Enyu and enlarged by the Emperor Ichijé, while the edifice we now see was re-built in 1693 after repeated fires. Its chief image Amida, 3 ft. 3 high, is the work of Jikaku Daishi, being made of the 4aya wood obtained from the Myoka Mydjin Shrine in Shiga. This temple is well known for its wealth of valuable paintings executed by the master-artists such as Eshin-Sozu, Choshikyo, Kobo Daishi, Sesshu and so forth, which are shown the public annually on July 25th.
In a little temple seen on the left hand just before entering the front gate is enshrined ‘ Dakiniten’ or the Buddhist /narz. Inside the gate is a fine avenue of maple trees for which the Shinnyo-d6 is famous. On the right hand stands a three-storied pagoda with Shaka, Amida, Kwan-on and Miroku seated on the
four sides in the lowest floor, while on the left hand a tea-serving_
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house and the Kwan-on hall. The Jizo Hall and the Belfry lay to the east of the pagoda. The bronze Amida, 8 ft. high, lying on the southern side of the main temple, was cast by Mokujiki Shonin, a priest of repute, in the Kyoho Era (1716-36). The ffondo or Main Temple is located in the center of the premises, containing the above-mentioned Amida, Fud6 Myo-6 attributed to Eshin-Sozu and Thousand-handed Kwan-on on the right and left sides. In the southern niche beyond the altar are arranged another Kwan-on and Fudo Myo-0, while in the northern Jizo Bosatsu and some memorial-tablets. The inscription ‘ Shin-nyo- do’ written on the tablet hung over the entrance is the autograph of Prince Héky6-no-Miya, but not of Kobé Daishi as is vulgarly attributed to him. Moreover, the popular version that Kobo Daishi wrote the middle character wrong is not at all right. The character in question is written perfectly correct; besides, our great saint was in the last repose in Koyasan when the Shinnyo-do was erected. The Gensan Daishi Hall is in the north of the main temple.
THE JGYA is an annual celebration of the Shinnyo-do, commencing from the night of November 6th until the morning of the 16th when the chanting of prayers offered by huge numbers of believers, accompanied by the ringing of bells, are heard
through day and night.
YOSHIDA JINSHA is a Shinto shrine lying in the north- west of the Shinnyo-do, dedicated to Take-Mikazuchi-no-Mikoto, Iwai-Nushi-no-Mikoto, Ameno-Koyane-no-Mikoto and Hime-no-
Kami. It was founded in 859 by Fujiwara Yamakage, a court-
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noble, in order to serve as a tutelary shrine of the capital and has
been held in high esteem.
MODERN EDUCATIONAL QUARTERS OF KYOTO lying near the Yoshida Jinsha consists of the following principal schools :—
Imperial Kyoto University Third Higher School
Kyoto Higher Industrial School Kyoto Fine Art School
Kyoto Middle School
Imperial University Hospital, and so on.
CHION-JI, commonly called ‘ HYAKUMANBEN,’ is a head temple of the Chinzai branch of the Jodo sect at the rear of the Imperial Kyoto University. The name ‘ Hyakumanben’ (One million Times) is derived from the following tradition : ‘¢Once, there prevailed an epidemic in the reign of the Emperor Godaigo (1318-31), when the abbot Zen-a Shonin was ordered to expel it. Thereupon, he held an extraordinary service in which he prayed to Amida one million times in course of a week, turning at the same time a gigantic rosary of 1,080 beads. When the service was over, the epidemic came to an end, hence the name.”
The Main Temple contains an effigy of Honen Shonin (Enko Daishi) on its handsome altar. In the east of the main temple stands the Honshi-d6o or Shaka-dé with a noted image of Shaka init. It is said that the body of this Shaka was carved by Jikaku
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Daishi, but not the head, which, strange to say, came out by itself afterwards. On the southern side of the main image are installed Bishamon made by An-ami, Jizo Bosatsu by Kobo Daishi and Fudo by Chisho Daishi, while in the northern niche Amida, Kwan-on, Seishi and 25 Bosatsu. In the premises of the temple grown with numerous cherry-trees and so forth, are found several minor edifices, while the Chion-ji possesses a fine collection of Buddhist paintings. Among others, the above-stated rosary is kept as the most treasured object.
ANRAKU-JI (north of Eikwan-d6) is a temple of the Jodo sect founded by Honen Shodnin and later given to his two disciples, Anraku and Jiren. This little temple draws much attention from the public in connection with the following incident: ‘“ The Jodo doctrines preached by Honen Shonin influenced all the mortals.in that period and his glorious fame was spread far and wide. Just at that time, there lived two beautiful court-ladies, Matsumushi and Suzumushi, who were the favorites of the ex-Emperor Gotoba. Being so deeply impressed with the doctrines, they grew weary of impure worldly affairs and ran to the Anraku-ji where they entered the priesthood. On learning this, the ex.Emperor got furiously angry and condemned to death not only his whilom pets but two priests, Anraku and Jutiren, while he exiled Honen Shonin to Tosa.” Ah! what a penalty for the innocent people !
In the main temple are installed the images of Amida, Seishi, Kwan-on, Matsu-mushi and Suzu-mushi. The two tiny tombs in the shape of Gorin-no-To in the eastern corner of the premises
mark the spot where the unfortunate nuns lay in eternal sleep,
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being largely visited by those who express sympathy for the fair departed. The temple ground is enriched with cherry-trees and
looks very attractive in the spring.
HONEN-IN (north of Anrakuji) is a temple of the Jodo sect founded by Honen Shonin and his two disciples, Anraku and Juren, in order to hold the services of ‘ Rokwi Raisan.’ The temple once fell into a delapidated condition, but was re-founded in’ 1680 by Mammu Shin-a Shonin, the 38th abbot of the Chion- in. Its location is one of the most charming and peaceful in the city, nestling at the foot of the Nyoi-ga-dake. Amidst a lovely bamboo and pine grove on the right-hand before reaching the main gate, there stands a stone monument, 27 ft. h’gh, erected by the priest Shinryd to be dedicated to Aiku-O or King Asoka. In the monument is preserved a portion of Buddha’s bones brought over to Japan by Kan-jin, the founder of the Ritsu sect. Aiku-O was an Indian king (circa 271-233 B.C.) and was a notoriously wicked man who committed frightful crimes during the first half of his life. Later, he suddenly turned out to bea wonderfully ardent believer in and devoted advocate of Buddhism. He is famously known as the very man who put up 84,000 pagodas in memory of Sakyamuni. Inside the main gate, there is a library in the west and a belfry in the east. In the former is kept a complete set of Buddhist Scriptures of the Ming print specially revised and copied by Nincho with his ten pupils, taking them over five years. The garden, though not at all spacious, is so neatly and tastefully laid out that one can not help admiring.
In the main temple are installed the images of Amida and Seishi
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carved by Eshin-Sozu, that of Honen Shdnin made by himself and that of Mammu Shonin. In front lies the /éztdo with a bronze statue of /izd cast by Nincho. The Priests’ Apartments command a fine prospect towards the west, while there are contained some sliding-screens which once belonged to the Momo-
yama Castle.
NYOI-GA-DAKE is a hill near the Honen-in, commonly called ‘ Dat-monji-yama’ or ‘ Dai’-character-hill on account of the bonfire yearly lighted up in the evening of August 15th on the hillside in the shape of a Chinese character ‘Dai’ 7& meaning ‘large’. This famous illumination is intended to celebrate the ‘ Bon’ festival in memory of the departed souls, while its origin is told as under: Many centuries ago, there stood at the foot of Nyoi-ga-dake a Buddhist temple of the Tendai sect. One evening, this temple was burned down when its chief image Amida flew up to the top of the hill, where was sighted an apparition of Amida surrounded by a blaze of halo. Thenceforward, the villagers made it a custom to light fire in the shape of the halo at every ‘ Bon’ festival. Later, Kobo Daishi changed it into the present character ‘Dai’. This legendary custom became dis- continued for a time until the Shogun Yoshimasa of the Ashikaga Dynasty ordered the priest Yokokawa to have it revived. The fire is made by burning big bundles of wood placed at seventy-five open spaces, each about twelve feet apart. These spaces are kept cleared throughout the year by weeding grasses, while the trees growing there were felled down at first. In the
same evening, the similar bonfires are illuminated on other hills,
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representing ‘ Zor’ (Shinto gate), a boat, ‘ Azdari-Dat-monji’ (reversed ‘Dai’ character), a Buddhist expression ‘ Myo-ho’ (Sanscrit, Saddharma), etc. Thus, thousands of spectators gather
on various eminences to gaze on the religious lights.
GINKAKU-JI (Silver Pavilion Temple), famously known for its historic edifice and exquisite landscape garden, is a temple of the Rinzai sect lying in a quiet spot in the north-eastern suburb, distant about three miles from the Miyako Hotel. Its strict name should be the ‘ /7s/é-77,’ but it is very popularly called the ‘Ginkaku-zi’ on account of the renowned Silver Pavilion put up in the garden. Originally, a villa of Ashikaga Yoshimasa (1443-73), the 8th Shogun of the Ashikaga Dynasty, it was turned into a temple according to his dying will, appointing Muso-Kokushi as its first abbot. Here Yoshimasa lived a peaceful life, totally absorbed in the esthetic pleasure. Thanks to his fad, however, the fine arts of Japan had made a marked progress during his period. He took a fancy to landscape gardening and tea-ceremony, especially to the latter which eventually developed into a part of the fine arts. Besides, he collected an endless number of curios from far and wide, many of them adorning the Palaces and the homes of millionaires at the present day.
On arrival at the Ginkaku-i, the visitor is first shown into the Hondé (main temple) consisting of the Karasu-no-ma,' Butsu- ma, Gyokuza and other rooms, all decorated with the sliding- screens painted by Buson. These rooms contain Buddhist images and paintings executed by the eminent masters, such as Kanaoka, Sesshi, Chédensu, etc.: The birds depicted on the four cedar-
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THE GINKAKU, OR THE SILVER PAVILION.
doors in the verandah are delineated by Kishi Bunrin. To the east of the Hondo lies the ‘ Jégudo,’ containing the private apart- ments of Yoshimasa. There are installed his effigy dressed in priestly robe and a few Buddhist carvings. The paintings of the sliding-screens are produced by Kubota Beisen. The little room with 4% mats in the north-eastern corner is reputed through the length and width of the country as the pioneer ceremonial tea- room, serving as the model for later tea-rooms. It is conjointly painted by the master artists, such as Motonobu, Sdami, Oky6 and Eino, but sadly effaced with ages. To the north of the Togudo is found the ‘ Roset-tei,’ a fine incense-room reproduced in 1895 after the original where Yoshimasa used to practise the tasteful art of incense-burning. The garden, which is un- animously considered to be a most beautiful of its kind, is laid out by Soami, an expert landscape designer, with rare stones and rocks, between them are planted excellent trees of various species. They were all brought from nooks and corners of the country under the influence of the Shogun, while most of them were presented to him as compliments by the Dazmyos. Each of these objects has its appropriate name and history. In the garden, there is a pond named ‘ Azz-kyd-chi’ (Golden Mirror Pond), and two heaps of white sand are seldom met with in other places. The larger heap is called ‘ Gix-Shadan’ (Silver Sand Platform), where Yoshimasa sat and had pastimes; while the smaller is known as ‘ K6-Getsu-Dai’ (Facing-Moon-Mound) where he en- joyed the moonlight. Beyond on the western edge of the pond stands the Silver Pavilion, a two-storied and single-roofed structure. It was intended to be coated with silver in imitation of the Gold
Pavilion, but it had never been carried out, because Yoshimasa
107 Page 107, Line 3 from the bottom,
“ single-roofed” should read “ shingle-roofed ”.
died before the completion of the work. On the lower storey is enshrined ‘ Sentai Jizo’ (One thousand tiny images of /iz0), while on the upper storey a gilt image of ‘ /waya Kwan-on’ (Grotto Kwan-on) attributed to Unkei. It is set in a grotto-shaped
wooden stand and is worshipped by women for safe delivery.
TO-JI, the fountain headquarters of the classical Shingon sect of the Esoteric Buddhism, majestically lies near Shichijo Station within an extensive walled enclosure with an imposing pagoda soaring high as a land-mark of the old capital. It was established in 823 by Kikai (773-835), the most prominent priest Japan has ever seen, who is better known at the present time under the posthumous name ot ‘ Kobo-Daishi’ bestowed upon him by Imperial order in October of 921. Strictly speaking, the T6-ji (East Temple) should be called the ‘ Kyo-O-Gokoku-Ji’ (Teaching - Sovereign - Guarding - Country- Temple). The reason why it is called the ‘ 70-77’ is as follows: In olden time, by the side of the ‘ Rashd-mon,’ or the South Gate of the Imperial City, there stood two Court reception halls for foreign guests, named the east and west Korokwan. Now, the East Korokwan was given by the Emperor Saga to Kikai to be turned into a temple, while the. West one to Shubin, another priest, for the same purpose, hence the names of the ‘ 707i’ (East Temple) and ‘ Sai-ji’ (West Temple); the latter does not exist now. The T6-ji had the honor to be resided by the ex-Emperor Go-Uda for three years in the same apartment where Kukai used to live ; besides, the Emperor Godaigo was pleased to stay there for.a
week. Most of the original temple-edifices were burnt down
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ATINAL If-OL FHL JO VaOOVd GaldOLS HATA GAL
during the inter-civic wars of Onin, but they were successively re-built by the effort of Hideyoshi, Hideyori, Ieyasu and Iemitsu.
The Vandai-mon (South Gate) is the main entrance facing the Yotsukaido Road. At first, there was a fine two-storied gate _ containing in its right and left niches two images (10 ft. high) of Kongo-Rikishi (Guardian of Buddhism) carved by Tankei and Unkei, but was destroyed by fire some thirty years ago and is replaced by the present one which once belonged to the Daibutsu temple in Higashiyama. On the right-hand inside the gate towers a five-storied pagoda (216 ft. high) re-built by order of the Shogun Iemitsu in the Kwan-ei Era (1624-1644), being the highest in the whole country. The Kondo (main temple) is a double-roofed impressive building re-erected by Hideyori and is now placed under the ‘special protection’ of the Government. On the altar is seated an image of Yakushi-Nyorai (8 ft. in height), while there are arranged Twelve Followers of Yakushi, Nitten and Getten in the same hall. The Aédd (Lecture Hall) contains an image of Dainichi-Nyorai in sitting posture (7 ft. high) in the center, surrounded by the statues of Kongo-Haramitsu, Godaison and so forth. To the east of the Kédd is a store- house ‘ Azekura’, put up on the islet in a small lotus-pond. There are kept preserved a large collection of valuable documents and art-objects. In the Kwan-on temple, north of the Koad, is installed an effigy of Thousand-handed Kwan-on (about 10 ft. high) carved by Shobo, a priest of distinction, accompanied by Bishamon and Jizo (each 4 ft. high). The Renge-mon gate is found to the west of the Kédd built in 796 and is registered in the list of ‘ protected buildings’ as an oldest structure in Kyoto.
IIt
The ‘ Renge-mon’ literally means ‘ Lotus-flower Gate’, so named from a legend that when Kukai was about to pass the gate on way to Koyasan, where he entered into his eternal repose, fine lotus-flowers suddenly bloomed out as if to pay him the farewell compliments. The Datshi-dé (Founder’s Hall), also called the Sai-in (West Hall), is to the west of the Kwan-on temple, facing the north. Here Kikai used to live, hence the nant of the Founder’s Hall. His effigy in sitting posture (3 ft. high) carved by Késho, a sculptor of fame, is enshrined therein. Close by, lies the Kanchd-in where the secret service of ‘ Abhisheka’ is performed. The Hassoku-mon, or the Eight-legged gate, stands to the north of the Kwan-on temple. It is a fairly rickety gate believed to have been put up in the middle of the 14th century or a little later and is now listed under the: ‘ special protection’ of the Government. The Hd (Priests’ Apartments), the Aodutsu- kwan (Treasures Exhibition), and many subordinate temples are also located near each other. The T6-ji possesses innumerable splendid paintings and sculptures rarely seen in other temples. The ‘ Mi-Eiku’, or the monthly service held in honor of
_ K6b6 Daishi on the 21st, is regularly attended by a large crowd
of believers ; especially, an annual festival on April 21st (Anniver- sary of Kobo Daishi) attracts millions of worshippers from far and wide. The ‘Sho-Mi-Eiku’, another important ceremony,
takes place on January 8th, lasting for seven days.
NISHI HONGWAN-JI is the famous grand headquarters of the Shin-shu, the most influential sect of Japanese Buddhism,
possessing under its jurisdiction about thirty-five detached head
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temples, over ten thousand local temples, and more than seven million believers. It is substantially established on an extensive ground at Nishi-Rokujé near Shichijo (Kyoto) Station. The strict name of the Aishd (west) Hongwan-ji is the Honpa (main line or elder branch) Hougwanyi.. There are two Hongwan-ji, that is, the shi (west) Hongwanzi and the Higashi (east) Hlongwanyi, respectively called from the location. The term ‘ Hongwan’, meaning the ‘ original will,’ is derived from Amida’s original will to save all human beings from sufferings by their faith in him.’ This will of Amida is the most important of the forty-eight vows made by him. The ‘ Shin-shuz’ means the ‘True Sect’, so named from the teachings of the sect to follow the path of ‘Truth.’ It is the unique sect that publicly allows its priests to marry, to eat meat, and to live like laymen, presenting a striking feature in contradistinction to other sects. Sometimes, the Shin-shu is vulgarly called, especially by those who do not belong to it, the ‘d/onto-shu’ (Believers’ sect) or the ‘ /kki-shn’ ‘One way headlong sect). The former is said in allusion that the Shin-shu depends too much upon its believers, while the latter that its believers rever Amida only and push forward one way head long without paying the least reverence to other Buddhas. In short, the Shin-shu is a plebeian sect, the doctrine of which can be easily understood even by the people of simple education.
Now, let us make a brief sketch about the origin of the Shin-shu, the Hongwanzi temples, and the life of Shinran Shonin, the founder. The Shin-shu, or the Jodo Shin-shu (Pure Land True Sect) in full, was founded by Shinran Shonin, likewise called ‘Kenshin Daishi’, which is his posthumous name bestowed upon
him by the late Emperor Meiji on November 18th, 1876. He
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was the eldest son of Hino Arinori, a court-noble, and was born on April 1st of 1175 at Hino of Uji District near Kyoto. In the spring of 1181, when only nine years old, Shinran became an acolyte after performing the tonsorial ceremony at the Shéren-in under the guidance of the abbot Jichin-Osho. Shortly, he went up Mt. Hiyei and assiduously studied the doctrine of the Tendai sect in the Zuryakuzi, while in later years he made careful researches for those of other sects. More he learned more he became dissatisfied with those doctrines. The result was that he made a daily pilgrimage for one hundred days to the Rokkaku-do in Kyoto in order to be favored with a direction where to get the truth. On the very last day, he obtained a divine oracle from Nyoirin Kwan-on to seek the truth from Genki, or Honen Shonin, the most learned priest at that time. As a disciple, Shinran listened to Genki, his teacher, whose teachings he could digest to his entire satisfaction. This happened in the spring of 1201, when he was aged twenty-nine. Prior to this, the ex- Prime-Minister Fujiwara Kanezane had been one of the most enthusiastic adherents of Honen Shonin and had been entertaining a doubt about the difference after death between priests and laymen. Thus, Kanezane once questioned Honen about it, to which an answer was readily given, saying that there is no difference whatever, that is, priests and laymen are equally saved by faith in Amida. This answer keenly prompted Kanezane to initiate the married priesthood. It was for this reason that he requested Honen Shonin to select somebody for him to carry out his long-cherished desire. “Thereupon Honen ordered Shinran to marry Tama-Hime, a daughter of Kanezane, in order to dispel
the doubt entertained by the ex-Prime-Minister. This is indeed
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the origin of the married priesthood, which came into existence in 1202. Subsequently in February of 1207, Shinran was exiled to Echigo Province in connection with a false charge incurred upon his teacher by the priests of Mt. Hiyeiand Nara. Although he was released on November 7th of 1211, he did not return to Kyoto, staying for nearly thirty years in the north-eastern part of the country where he had been engaged in preaching. At last, he came back in 1235 to Kyoto where he died at the age of ninety on November 28th, 1262, after having seen his new doctrines widely welcomed by high and low. It goes without saying that Shinran’s novel teachings had undergone many per- secutions under his immediate successors until there appeared the illustrious Rennyo Shonin (1415-1499), the eighth successor, who not only revived the fate of the sect but added a huge number of adherents. As a matter of course, this invited the jealousy of the priests of the Enryaku-ji, so that they burned, on January 1oth of 1465, Shinran’s Mortuary Chapel located close to that of Hénen Shonin. As it was, Rennyo Sh6énin himself was obliged to wander round from one place to another until he established the headquarters at Yamashina in 1479. Owing to the persecution of the priests of the Nichiren sect, the tenth successor Shonyo was compelled to leave Yamashina for Ishiyama in Osaka. At the time of the eleventh successor Kennyo, Oda Nobunaga demanded Ishiyama to be given up, but was met with a flat denial. Consequently, Nobunaga laid a fruitless siege of eleven years, finally taking it only on the Imperial intervention in March of 1580. Eventually, Kennyo had to remove to Sagino- mori of Kii Province, whence to Kaizuka of Izumi Province, and
again to Temma of Osaka. Lastly in January of 1591, the
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headquarters were permanently settled at the present spot by the favor of Toyotomi Hideyoshi. It was in 1602 that Ieyasu, in order to Jessen the growing influence of the ongwanzyt, nominated Kyényo, the eldest son of Kennyo, to be the first abbot of the younger branch of the sect, that is, of the Higashi Hongwanjt. Thus, the Hongwan-ji was divided into two rival branches as seen at the present day.
The usual routine to visit the Mish¢ Hongwanzi is to com- mence with the magnificent state apartments and to proceed to the temples afterwards. All these apartments are closed to the general public, but they are shown to foreign visitors on special application. The visitor to the state apartments alights at the ‘« O-Genkwan-mon’, or the Main Entrance Gate. Close in the east stands the ‘ Shikyaku-nton’, or the Four-legged Gate, profusely decorated with the fine carvings executed by Hidari, Jingoro. It formerly belonged to Hideyoshi’s Momoyama Castle and was removed here in 1630, being now placed under the ‘ special protection’ of the Government. Passing through the O-Genkwan- mon, the Grand Entrance Hall of 30 mats is reached. The state apartments, the most beautiful of all the temples in this country, were also transferred here from Hideyoshi’s Momoyama Castle in 1630. The names of the apartments are mostly taken from the pictorial decorations displayed in them. The Swzume-no-ma (Sparrow Room) is painted by Maruyama Ozui with sparrows and bamboos on its sliding-screens and its coffered ceiling is decorated with plums, camellias, lotus and cherry-blossoms. The cedar-doors on the passage are painted by Kano Ryokei with two monkeys and a flower-basket on a cart. The Gan-no-ma (Wild Geese Room) with the sliding-screens of wild geese and the
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coffered ceiling of flowers are painted by Kand Rydkei. The Kiku-no-ma (Crysanthemum Room) is decorated by Kaihoku Yiisetsu with yellow and white crysanthemums in relief on its sliding-screens and with fans on the coffered ceiling. Another cedar-doors are ornamented by Kano Hidenobu with musk-cats on one side, and with horses and sago-palm on the reverse side. The flowers on the ceiling of the passage are executed by Kano Koi. The Shivo-Shoin consists of three very handsome rooms, namely, the /odan-no-ma, or a room with the raised part, popular- ly called the Shimei-no-ma, the Ni-no-ma or Second Room, and the San-no-ma or Third Room. It was indeed in the Shimei-no- ma that Ishikawa Goemon,* a notorious robber, was arrested. The paintings of Chinese subjects on the walls and sliding-screens in the /ddan-no-ma and the Second Room are delineated by Kano K@i, while those in the Third Room by Kano Hidenobu. The vamma with wistaria carvings set up between the /ddan-no- ma and the Second Room, and another vamma carved with peony and birds between the Second and Third Rooms, are all executed by Hidari Jingord6. The autumn flowers of the Musashino plain painted very beautifully on the ceiling and walls in the corridor outside the S/zvo-Shoin are the work of Kaihoku Yusetsu. A pair of cedar-doors with a sleeping cat and a peony in the west corner and another painted with the Augaku dance in the east, adjacent to the S/imet-no-ma are from the clever brush of Kano Ryotaku. The ‘ Vo’ dancing stage in the north of the Shimei-no-ma was brought here from the Momoyama Castle. Near by, stands the Koro-Shoin consisting of a number of rooms, but it is absolutely closed to all visitors, only open to private
* Bee page 83.
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guests of the abbot’s family. The Shizoku-no-ma ; the hunting scene in the Zokonoma (alcove) is very cleverly painted by Yiisetsu. The paintings on one side of the cedar-doors in the corridor show the famous fight in Ichinotani encountered between Kumagaye Naozane* and Taira-no-Atsumori. On the left hand outside the corridor is found a little but tastefully designed garden called ‘ Koei’, the work of Asagiri Shimanosuke. The garden is full of rare rocks with sago-palms planted between them, while the white sand suggests the water. The paintings on a pair of cedar- doors in the southern end of the corridor are executed by Yoshi- mura Koékei, showing skilfully deers, maples, dragons and clouds. The O-Hiro-ma (Large Room), likewise called the Storks Room, is the largest and most beautiful room containing 162 mats and is used as the Abbot’s Audience Hall. The /ddan-no-ma, or a room with the raised part, is painted by Kano Tan-yu and has an extension of 38 mats. The painting on the center of the wall represents Chang-liang presenting Shih-hao to the Emperor Huiti of China; the 7swke-Shoin on the right hand is decorated with Chinese children at play and the Chédai on the left with the scene of an interview of the Emperor Wu-ti and Hsi-wang-mu of China. The most reputable vamma of storks carved by Hidari Jingoro have given the name of the Storks Room to this hall. The ceiling is painted by Kano Ryokei with flowers and birds very finely. Another ‘ Vo’ dancing-stage in the southern court of the Storks Room formerly stood in Ieyasu’s Sumpu (Shizuoka) Castle. The Waves Room and Tigers Room in the south-east of the Storks Room are not shown at present, being employed as offices.
*See page 96.
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THE TEKI-SUI-EN is a very artistic landscape garden located in the south-eastern corner of the temple premises, famously known for its ‘ Hi-un-kaku’ (Floating Clouds Pavilion). It is a three-storied pavilion brought here from Hideyoshi’s Juraku Palace in 1618 and is now placed under the ‘ special protection’ of the Government. This historic edifice consisting of a tea-room, a rest-room, a bath-room and so forth is made accord- ing to the strict tea-ceremonial style. The 1st floor: the eight views of Lake Hsiao-hsiang, China, are painted by Kano Tan-yi ; ‘the willow-trees under the snow by Kano Eitoku. The 2nd
floor : the thirty-six poets and poetesses, grape-vines and squirrels are depicted by Kano Sanraku. The 3rd floor: Mt. Fuji called ‘ Gyogi-Puyi’ (Fuji of Good Manners) is delineated by Kané Motonobu in such a way that one has to kneel down in a posture necessary in formal etiquette in order to see it well; the grove of pine-trees is said to be a caricature that Hideyoshi produced on the spur of moment. The garden with a pond is very attractively laid out with rare trees and rocks, cunning arbors, silvery foun-
tains, and moss-covered stone lanterns and basins. Now let us
make an inspection of the temple. . THE DAISHI-DO (Founder’s Hall), likewise called the Shin-ei-d6o or Honorable Portrait Hall, is a splendid temple built in August of 1636 in the south of the Hond6, measuring 180 ft. by 147 ft. and go ft. in height. Its interior is very finely decorat- ed with carvings and paintings. The shrine on the altar contains the most precious gem of the temple, which is no other than a seated image (214 ft. high) of Shinran Shdnin carved by himself on December 21st of 1243 at the age of seventy-one and given to his nun-daughter Kakushin-ni. It is called the Image of Flesh
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and Blood, because it is varnished with a special lacquer mixed with his ashes after cremation. In spite of the repeated fires and frequent attacks of the rival sects, the image came off safe due to the most ardent devotion of the disciples and believers at the risk of their lives. In the left niche nearest the altar is placed a portrait of the last abbot, while in the right two scrolls with the portraits of the successive abbots. Further in the right and left niches are hung two scrolls with the prayer-formula written by Jakujo Shénin. The gateway of the Daishi-do rebuilt by the 13th abbot Ryojo Shonin in April of 1645 was thought at that time to be the finest in Kyoto.
THE HONDO (main temple) is a fine edifice in the north of the Daishi-d6, measuring 138 ft. by 128 ft. and 78 ft. high. It was erected in March of 1760 and its decoration in the interior is very impressive and handsome. The chief object of worship in the Hondo is Amida-Nyorai (3 ft. high) carved by Kasuga, a noted sculptor, and was installed there in 1611. At the right and left sides of the image are placed two memorial-tablets dedicated to the present and last Emperors. In the left niche nearest the altar is hung a scroll with the portraits of the priests Ryiizu, Donran and Zendo painted by Déun, while in the right those of the priests Tenshin, Doshaku and Genshin. Further in the north niche is hung a portrait of Prince Shotoku Taishi and in the south that of Enko Daishi, or Honen Shonin. The gateway of the Hondo was removed here in 1798 from the Tsumura headquarters in Osaka by order of the 18th abbot Bunnyo Shonin. The gigantic Gingko-tree in front of the Daishi-do is believed to possess a virtue to protect the temple from destruction in case of
fire by emitting the volumes of water. In the double-roofed
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Library in the north-east of the Hondo are kept a complete set of the Buddhist Scriptures of the Sakamoto print and the statues of Fu-Daishi, his two sons and Hatten. The Library was put up in 1678 and the Belfry near the Hv-un-kaku in 1620. The latter contains a noted bell which formerly belonged to the Aworyuzi of Uzumasa. The Drum Tower with two drums is found to the north of the temple ; the older drum is a well-known relic of the Saidaizt in Nara. The Reception House between the two gates is for the accommodation of worshippers. The Mishi Hongwanyi is immensely rich in valuable paintings and all sorts of art-objects,
so that it is certainly tempting to art-lovers.
KOSHO-JI, the headquarters of the Kosh6-ji branch of the Shin-sha sect, is a southern neighbor of the Wishi Hongwan-ji. It was established by the priest Kyd6go in the latter part of the | 15th century. The splendid temple buildings were nearly all destroyed by fire in 1902 and the present structures were com-
pleted only in 1912.
HIGASHI HONGWAN-JI, a perfect triumph of Japanese architecture in modern times, imposingly stands at Higashi Rokujo in the near east of the ishi Hongwanyi. “ Don't talk about temples before you have seen the Higashi Hongwanyi”’ is the universal voice echoing in the Sunrise-land. It is indeed a matter of keen interest to notice a striking contrast between the colossal edifice of the Higashi Hongwan-ji constructed of the
priceless, unvarnished wood and the Shoguns’ small mortuary
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temples at Nikko which are finely made but somewhat look like over-decorated lacquered boxes.
The Higashi (east) Hongwan-jt is the popular name for the ‘ Otani-ha’ (Otani branch) Hongwanyzi; ‘ Otani’ being the family-name of the Mishi and Higashi Hongwanyt abbots. The Higashi Hongwan-zi, a younger branch of the Mishi Hongwanzi, was founded in 1602 by Kyonyo Shonin (155-1614), the eldest son of the eleventh abbot of the Mish’ Hongwanyi. At the present time, the Higashi Hongwanzi has under its jurisdiction 64 detached head-temples, 8,500 local temples, 25,000 priests and 6 million believers. For full information of the history of the sect, refer to the Wishi Hongwanzi (page 112).
The spacious ground of the Higashi Hongwanzi is furnished with three principal gateways on the front side. The Sedmon is the main gate of the Dazshi-dé or Founder's Hall, the finest of its kind built in recent years. It is two-storied and is wholly made of keyaki (zelkova acuminata), a splendid building-wood obtained in this country. On its north lies the Imperial Messenger’s Gate, beautifully lacquered and decorated with the Imperial crests of the sixteen petalled crysanthemum; while on the south stands a gate for the Amida-do or Hondo.
THE DAISHI-DO (Founder's Hall), likewise called ‘Miei-do’ (Honorable Portrait Hall), the largest and most magnificent temple in the Empire, was successfully completed in April of 1895, totally denying the alleged decay of Japanese Buddhism in modern times. It measures 210 feet in frontage, 192 feet in depth, and 126 feet in height. The roof which is supported by 96 huge round pillars of Aeyaki wood is erected in the so-called ‘Miju-yane ’ (double-roofed) style. The chief architect of this wonderful
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If-NVMONOH THSVDIH AHL AO OGNOH ANV OG-VCINV FHL
edifice is It6 Heizaimon, a noted expert of Nagoya. The interior decoration is exceedingly impressive, being admirably decorated with handsome gilt carvings, paintings and so forth. In the beautiful shrine placed in the center of the chancel is enshrined an effigy (2 ft. 8 high) of Shinran Shonin or Kenshin Daishi. This is the very effigy he carved himself and gave to the priest Jonenbo as a parting memento when leaving the province of Shimdsa. It was later removed here by order of Tokugawa Ieyasu. In the north niche nearest the shrine is hung a scroll with a portrait of the last abbot, while in the south those of the successive abbots. Further in the northern and southern niches are hung two scrolls with prayer-formulas. The remarkable object seen in the corridor connecting the Dazshi-do and the Amida-do is a large coil of rope made of human hair, amply showing the marvelous devotion of the believers of the fair sex. This human hair-rope, a spiritual gift of the pious women, is said to be far stronger than the hemp rope. It measures 90 feet long and 9g inches in circumference, and- was employed in hauling up the timbers into places at the time of construction of the temple. ‘There are twenty-nine of them and are still kept preserved in a store-house. .
THE AMIDA-DO or HONDO is located to the south of the Daishi-do, being connected by an elevated corridor. Its dimension is 156 feet wide, 126 feet deep, and 90 feet high. The beautiful internal decoration is similar to the Daishi-dé. The superbly lacquered shrine installed in the center of the chancel] contains an image of Amida-Nyorai, 3 ft. 4 high, the excellent work of a skilful sculptor. On the right and left sides of the image are arranged the tablets dedicated to the reigning and Jast Emperors.
In the north niche nearest the shrine is hung a scroll with a
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portrait of Prince Shdtoku Taishi, while further beyond a shrine containing a portrait of the Emperor Kameyama. In the southern niche nearest the main shrine is hung a scroll with a portrait of Honen Shonin, and adjacent to it another scroll with the portraits of Ryuzu, Tenshin, Donran, Zend and Genshin, the illustrious priests. The Belfry in front of the Amzzda-do, a donation of Jinno Kinnosuke, a millionaire of Nagoya, was also built by Ito Heizai- mon in November, 1894. There are many minor buildings in the premises, viz., Assembly Hall, State Apartments, etc., but closed to the public. The Aigashi Hongwan-jt was destroyed by fire as often as four times since its foundation, namely, in 1788, 1823, 1858 and 1864. Consequently, in order to provide for further damages, it has been supplied with a special aqueduct joining with the Lake Biwa Canal, which will cover all the temple edifices with sufficient water in case of fire.
THE SHOSEI-EN, a villa of the Migashi Hongwanyi, is a very pretty garden in the east of the temple and is shown if applied previously. It is popularly called ‘ Ktkoku-tet’ (Arbor of Citrus Fusca), because it had been at first encircled by a hedge of kikoku. Originally a villa of Minamoto-no-Toru, a high noble, it was presented in 1631 by the Shogun Iemitsu to Sennyo Sh6nin, the 13th abbot of the Higashi Hongwanzi. The garden designed by some ancient master is greatly improved now, while Ishikawa Jézan, a noted poet, took part in the work some time later by adding a portion of the Momoyama Palace, though the thirteen views formerly found there are no longer to be seen since the destruction by fire in 1864. The garden is laid out with rustic bridges, arbors, stone lanterns and so forth, and there are growing
many big trees surrounding a pond in the center. The trellised
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wistaria vine is said to be a present from the Emperor Gomizu- nowo. The nine-storied pagoda is believed to be the tomb of Minamoto-no-Toru. The summer-house is built with historic relics and is tastefully decorated with the paintings by good hands.
S. TIIDA “ TAKASHIMAYA ” SILK STORE in Karasu- maru-Takatsuji. Is there any silk store more reputable than “Takashimaya ’”’? Well, there might be possibly two or three equals in the whole country, but positively no superiors. The store'with its native department is extremely enriched with all kinds of silk stuffs and is very tempting to all customers. The reliability and substantiality of tbe firm have made it an appointed purveyor to the Imperial Household of Japan and have obtained a large number of foreign as well as domestic medals and diplomas. Those who want to get really fine silk goods should take the first opportunity in paying a visit to Takashimaya.”’
HONKOKU-JI, one of the four headquarters of the Vichiven sect, is located within a spacious walled enclosure in the north of the Misht Hongwanzi. When established by Nichiren at Kama- kura, it was called the Hokke-do. Subsequently, enlarged by the 2nd successor Nichiro, it was removed to Kyoto in 1345 at the command of the Emperor Kogen. Its fine buildings were burned down on account of a religious dispute of 1536. Re-built in the Temmei Era (1781-88), the temple was again reduced to ashes,
leaving only a few structures.
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The Vis-mon is the main gate put up in 1345 ; in its niches are seen a pair of Kongd Rikishi or Guardians of Buddhism. In its south stand in a row the following edifices: The Kichibojin- do, the Library, the /vari Temple, an Oratory and the Myoken-do. The Soshi-dd or Founder’s Hall lies to the north of the AZyoken- do, containing an image of Nichiren Shonin which is accompanied by those of Nichiro, Nissei and Nichi-in. The Seishaks-d6 dedi- cated to Katé Kiyomasa, a famous general under Hideyoshi, is adjacent to the Sos/z-do in the north, while the Aywzzd-dd with an effigy of Shaka a little further on. The Hondé or Main Temple is in the north of the Ryuzd-do, in which is hung a scroll of the holy ‘ Namu-Myo-Horengekyo’ as its chief object of worship. There are also placed the images of Taho-Butsu and Shaka on the right and left sides, which are joined by the statues of four Bodhisattvas and Heavenly Kings executed by Kokei. The S/o- Miyci-do is in the north of the Hondo and is close by the Priests’ Apartments and the Grand Kitchen.
MIBU-DERA (south-west off the western end of Shijo Street) is a Buddhist temple established in 991 by Kaiken-Sozu, a priest of the Mii-dera, but it now belongs to the Adésu sect. In the main temple is enshrined a famous seated image of Jizo (3 ft.) carved by Jocho, a great sculptor in the 12th century. Near it are installed Four Heavenly Kings by the same artist and an effigy of Aizen-Myo-o. On the left side of the hall is placed a statue of the founder of the temple and on the right that of Emma. This temple is conspicuously known for its unique
religious performance called ‘ Aibu-Kyogen’, which was initiated
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in 1299 by Engaku Shonin, the second founder of the Mibu-dera. The Mibu-Kyédgen is a play of comic dance in dumb show, expressing the idea by actions. It is intended to interest the people, old and young, in the doctrines of Buddhism. The performance consists of about twenty-five kinds, and is yearly commenced on April 21st, lasting for ten days. The orchestra, which is pretty noisy, is composed of flutes, drums and gongs. The costumes worn by the amateur actors are those presented to the temple by the devotees in memory of the departed relations or friends. A number of these costumes date back earlier than the 17th century and are highly valued, serving as models of the costumes and dye-process in those days. The masks worn by the players are numerous; among others, the choicest are Inari, Sumiyoshi, and Sanno, which are no longer used. The Mibu- dera owns many valuable Buddhist carvings, some of them are
registered as ‘ National Treasures.’
KUYA-DO or GOKURAKU-IN is the headquarters of the Kuya branch of the /ishu sect founded by Kiiya Shonin, a priest of renown. It is an insignificant temple, but is well-known for its prayer-dance. On November 13th, or Anniversary of Kiya Shonin, there is held a prayer-dance chanting the formula ‘ Vamu- Amida-Butsu’ as a token of joy for the assurance of entering the Gokuraku Jodo or the Pure Land of Bliss. The origin of this dance is told as under: ‘ Kiya Shonin is believed to be a son of the Emperor Godaigo. Getting tired of worldly affairs, he entered the priesthood and lived in seclusionon Mt. Kurama. While there,
a deer became tame to him and they were friends. One day, an
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amateur-hunter, Sadamori by name, killed the deer, for which Kiiya grieved bitterly and claimed the corpse in order to offer prayer to it. Then he made a coat out of it and mounted its horn on the tip of his walking-stick, carrying them whenever he might go. This tragic incident made Sadamori repent so sorely that he became a ‘ Udasoku’, or a lay-believer in priestly robe, . who is married and has hair unshaven. Hence he used to go round through the streets on cold nights, beating a gourd and | chanting a prayer composed by Kuya Shonin.”’
The priests belonging to the Kuya branch of the Jishu sect are often seen in and around Kyoto, performing the prayer-dance
in accompaniment to the beating of gourds to keep time.
BUKKO-JI (Bukkdji-dori, Takakura) is the headquarters of the Bukkb-7t branch of the Shin-shu sect, possessing some 339 subordinate temples and 100,000 believers. It was founded by Shinran Shonin in 1212 at Yamashina and was known as the , Kosho-7t.’ Subsequently, it was removed in 1320 somewhere near the Dazbutsu-den in Higashiyama, while the present site dates back to 1573-1592. The temple in existence was re-built in 1882 after the fire of 1865 and consists of the Founder’s Hall, Amida Hall, Abbot’s Apartments, Reception Rooms, Assembly Hall, etc.
The name ‘ Bukko-zi’, or the ‘ Buddha’s Light Temple’, is derived from the following legend: One night while this temple was still at Higashiyama, a burglar stole its chief image Amida, which, strange to say, suddenly grew so heavy for him to carry that he had to throw it away into a bamboo forest. At the same
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instant, the horizon was filled with a blaze of light when the Emperor Godaigo sighted it from the Imperial Palace. Thus, the Emperor ordered to trace the cause of the light and found the image in the forest, hence the name was changed into the
‘ Bukko-zi’ by Imperial command.
KURODA’S BRONZE STORE in Teramachi Shijé-Minami is very highly spoken of to be the most reliable in manufacturing the best artistic bronze wares. The speciality of its factory is to produce different objects of ‘ Shakudo’ and ‘ Shibu-ichi’, the two art-bronzes peculiar to Japan. The Shakudo is an alloy of 5% gold and 95% copper, and the Shibuichi of 25% silver and 75% copper. Vases, plates, card or cigarette cases, etc., made of these metals look very handsome and are much sought after. Anyone who wishes to learn the process of these fine bronze works will find it most advantageous in inspecting the
Kuroda’s factory.
SHIJO-DORI is a broad thoroughfare running from east to west in the south of Sanjo-dori. It is a very flourishing street
where retail shops are found from door to door.
SHIJO-YUSUZUMI was once a very fashionable summer recreation in enjoying cool breeze on the platforms temporarily put up on the dry river-bed and on the shallow water near the
Shijo Bridge, but this picturesque sight is gradually dying out.
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SHIN-KYOGOKU is the center of vanity fair in Kyoto, lying between Sanjo-dori and Shijo-dori in the east of Teramachi. The street is full of theatres, music-halls, cinematographs and all kinds of shows, interspersed by many restaurants. It is a favorite resort of holiday-makers and is particularly lively at night, being illuminated as bright as daylight. A stroll through the street after dinner is always found interesting.
ROKKAKU-DO or CHOHO-JI (near Kydgoku) is a noted temple of the 7endai sect dedicated to Nyoirin Kwan-on (a gold image of about 2 in. high). It was founded in 566 by Prince Shotoku Taishi, an ardent advocate of and believer in Buddhism. The ‘ Rokkaku-do’, literally, the hexagonal hall, is a structure with six corners re-built in 1877. This temple is conspicuously known from the fact that in 1201 Shinran Shonin made a hundred days’ pilgrimage there from Mt. Hiyei and was rewarded on the very last night with a divine oracle to seek the religious truth from Honen Shoénin, eventually enabling him to establish the Shin-sha sect. The tradition about the founding of the Rokkaku- a6 is as follows: In the year of 586, Prince Shotoku Taishi started on a journey around the country in order to get timbers for the construction of the Shitennd7i temple. One day he came across a dense forest, the very spot where the present Rokkaku-do ,stands. Then he took a bath in a clear stream near by. While the Prince was bathing, he hung on a tree a bag containing an. image of Nyoirin Kwan-on, which he picked up some years ago in the gulf of Iwaya, Awaji Province, and used to carry with him
whenever he might go. Having heartily enjoyed’a nice cold
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bath, he tried to take the bag off the tree but in vain, so that he was obliged to return home without it for the day. That night he dreamt a dream, in which Kwan-on appeared and told him to leave the image as it is. Then, the Prince went back to the forest the next morning when he met a white-haired woman. There, he accosted her asking if there is in the vicinity any suitable tree to erect a temple for installing the image. Upon this, she pointed to a gigantic cedar-tree standing at hand, saying that certain purple clouds trail over it every morning. Before the Prince began to speak a word or two more, she vanished in the mist. ‘What a marvelous tree!’, said the Prince. Then he felled it - and built the Rokkaku-do of the timbers of that tree only.
Beside the temple there is a house where live the members of the /kenobd family, the initiator of flower-arrangement of the same name. This schoo] was consolidated by Senkei, the 12th abbot of the Rokkaku-dé, in 983. Prior to this, it had been a custom for the successive abbots to offer flowers of each season to the temple, but they were not based upon any particular style. The secret of the new method has been handed down from one abbot to another and it is now in vogue all over the country. At the time of the 27th abbot Senchin, the family was accorded by the Shogun Yoshimasa the honor to be called an authority on flower-arrangement. The new school came to be patronized by the Imperial House ; ever since 1817, when the flowers specially arranged by /kenobd were presented to the ex-Emperor, it has become customary to follow the example on the Emperor’s
accession to the Throne or on the appointment of the Empress.
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SANJO BRIDGE, spanning the River Kamogawa, is very famous for its having been the terminus of the ancient highway ‘ Tokaidé’ connecting Kyoto and Yedo (Tokyo). The bridge was erected first in 1590 by order of Toyotomi Hideyoshi under the supervision of Masuda Nagamori, a Daimyo, and has since been re-built many a time. The original parts remaining are only the bronze ornaments ‘ Gzéoshz’ of the railings which were presented by the different feudal lords under Hideyoshi. This bridge leads to the Miyako Hotel and Lake Biwa in the east and to Sanjo-dori, an important thoroughfare, in the west. From the bridge is obtained a fine view of the ranges of Higashiyama, particularly of the bright illumination of the ‘ Bon’ festival in the fullest extent.
S. NISHIMURA’S SILK STORE in Sanjo-Karasumaru is remarkably well known for its fine silk goods, especially for the exquisite embroidery work and the ‘ Yazen’ or a fancy dyeing on crepe and silk. The firm was established in 1604 and has won not only the honor to be a purveyor to H.L.J.M.’s House- hold by special appointment, but numerous medals and diplomas at home and abroad, Being profusely stocked with beautiful silks and embroideries, a few pleasant hours can easily be spent for an inspection of this attractive store. In short, the highest reputation of the firm is so widely spread throughout the length and breadth of the country that it scarcely needs any further
comment,
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HANWOAS AHL NI FOaIaa OFNVS AHL
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A DANCING-GIBL AT THE SANJO BRIDGE
SHINSEN-IN (near the Nijo Detached Palace) is a lonely remnant of the magnificent Imperial garden laid out within the precincts of the Palace by order of the Emperor Kwammu soon after the removal of the capital to Kyoto in 794. It was modelled on the wonderful garden of the King Wén-wang of the T’ang dynasty, China. Here in the garden, many eminent poets and poetesses composed poems to pray for rain or shine. In fact, it is full of historic interests, having been the center of the court life for centuries until it came to decay in 1177. Subsequently, it _ had been totally left abandoned till the Tokugawa Shogunate gave permission to Kakuga, a priest of the Shingon sect, to erect a temple there, which added much to its preservation to the present _ day. In recent years, the garden has been greatly improved, but
there is not even the slightest shadow of its former glory.
GO-0 JINSHA (west of Imperial Park) is a Shinto shrine dedicated to Wake-no-Kiyomaro, an exceedingly patriotic and straightforward courtier in the Nara Period of the Empress Shotoku (765-769). Once the Empress wished to let her favorite priest Dokyo accede to the Throne, contrary to Imperial custom, so that she despatched Wake-no-Kiyomaro to the Usa- Hachiman Shrine at Buzen in order to obtain a divine sanction for taking such a novel act. In fact, Dokyo was nothing but a crafty priest of high rank in the court. Thus, when Kiyomaro was on the point of departure, Dokyo intimidated him with a threat that if he brought a favorable oracle he would be nominat- ed the premier, otherwise he would be heavily punished. Never-
theless, Kiyomaro came back shortly with an oracle unfavorable
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to the treacherous priest. This historic oracle ran as under : ‘From the foundation of the country, there had always existed a clear and definite demarcation between the Emperor and the subject, and that a subject had never been made the Emperor ; that only a member of the Imperial family might ascend the Throne; that any person who entertains such unreasonable ambition should immediately be punished with death.” Kiyo- imaro, honest as he was, made a candid report obtained from the deity. On hearing these words, Dokyo grew furiously angry and not only stripped of Kiyomaro’s rank and offices, but exiled him to Osumi. Moreover, Kiyomaro had the narrowest escape on the way to exile to be assassinated by Dokyo’s emissaries. In a few years when the Empress Shotoku was succeeded by the Emperor Konin, father of the Emperor Kwammu, Kiyomaro was re-installed to his former position, while the notorious Dokyo, who caused such a shameful court scandal that had never happened before, was banished to the Yakushi-7t in the province of Shimotsuke.
- NASHINOKI JINSHA is a Shinto shrine in the east of the Imperial Palace, built in 1885 in honor of Sanjo Sanetsumu (1802-1859), who served in succession the Emperors Kwokaku, Ninkd and Komei. He was a representative loyalist and thought of nothing but the Imperial House. His effort added in no small measure to the Restoration of Meiji, which, however, did not turn out while he was alive but nine years after his death. He died in seclusion, because he was not welcomed by the Tokugawa
Shogunate, acting against its policy. His admirable son, Sanjo
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Sanetomi, later Prince Sanjé, also played a signal réle in the Restoration movement. Sanjo Sanetsumu lived in Nashinoki
Street, hence the name of the shrine.
DOSHISHA is a prominent institution founded in 1875 by with the American Board of Foreign Mission. It consists of an Academy, the Girls’ College and the University, while the students are said to number more than one. thousand in the aggregate. The red-brick modern buildings of the Déshisha stand in front of the Shokokuzt, a peaceful old monastery of the Rinzai sect, show- ing a marked contrast between the Occidental music and the
sonorous tone of the temple bell.
SHOKOKU-JI, one of the five head temples of the Rinzat sect, calmly stands amidst a large wooded ground in the north of the Imperial Park. The original temple erected in 1392 by Yoshimitsu, the 3rd Shogun of the Ashikaga Dynasty, under the command of the Emperor Gokomatsu, with Musd-Kokushi' as its first abbot, was destroyed by fire in 1394, while the succeeding structure met the same fate during the inter-civic wars. of Onin. Later, Toyotomi Hideyori and Tokugawa Ieyasu restored the temple in turn, but a conflagration in 1788 reduced to ashes nearly all the edifices with the exception of the ‘ Hatto’ (Lecture Hall) in existence. There are, however, still found some fifteen buildings.
The main gate is in the east of the ‘ Miyuki-mon’, or the
I4I
Imperial Progress Gate, inside which is a lotus-pond. The two- storied pagoda built by the Emperor Gomizunowo in 1625 and re-built in 1860 contains his hair and teeth, besides three pieces of Buddha’s bones. On the altar of its upper storey is placed a ‘Sharits’, a shrine for Buddha’s bones, which is surrounded by Sixteen Rakan, while on that of the lower floor a statue of | Hokan-no-Shaka and a memorial-tablet of the Emperor Gomizu- nowo. The Belfry and the Benten temple are to the east of the pagoda across the path. The double-roofed main temple, 87 ft. by 66 ft., was formerly the ‘ Hatto’ (Lecture Hall) put up by Hideyori. On its altar is seated an image of Shaka accompanied by Anan and Kasho on both sides. In the western niche behind are arranged Dharma, Rinzai, Hyakujo and Founder, while in the western an effigy of Yoshimitsu in court uniform. The Founder’s Hall in the east was constructed in 1807 and contains a statue of Muso-Kokushi and the memorial-tablets of the Emperors Gokomatsu and Gomizunowo and of the Katsura princely family. The Priests’ Apartments and the Sendutsujo, or Acolytes’ Hall, are all near each other. The celebrated plum- tree ‘ Oshukubai’, or Nightingale Nestling Plum-tree, which was growing in the garden of the Azuzzd-in temple, withered many
years ago and is no longer to be seen.
KAMI-GORYO JINSHA (north of Shakoku-ji) is a Shinto shrine dedicated to the Emperor Sudo, Prince Iyo, Lady Fuji- wara, Tachibana Hayanari, Bunya-no-Miyatamaro, Kibi Mabi, Fujiwara Hirotsugu, and Sugawara-no-Michizane, hence it was formerly called ‘ Yatokoro Jinsha’, the Shrine for Eight Spirits.
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It is believed that they all died in agony on account of false charge, so that a shrine was founded in their honor in 939 and had been revered by the Imperial House. The shrine is not very
fine but well worth visiting for its historic interest.
SHIMO-GORYO JINSHA (south of Imperial Park) is dedicated to the Eight Deities as in the Kami-Goryo Jinsha and the Emperor Reigen, an ardent devotee. A festival of this shrine, ‘ Goryo-Matsuri,’ constituted the three great festivals of Kyoto with those of Gion and Juari, while the grand <Aot-Matsuri, a court-festival, was regarded as an exception. The most striking | feature of the festival is the appearance in its procession of what is known as ‘ Sas/t-Hoko’, or an ornamental divine halberd. It is a long lacquered pole, about 18 feet high, which has at its upper end the so-called ‘ Swzsanx’, a metal ornament decorated with the Imperial crysanthemum crest and some peculiar hangings. They were mostly presented by the Imperial family, and there are eight or ten still in existence. The Goryd-Matsuri, taking place on May ist and 18th, is certainly an interesting spectacle in Kyoto
rich in festivals.
NISHIJIN, the most noted silk weaving center in Japan, is at the north-western corner of the city. The name.‘ Mshijin’ (literally, Western Camp) is derived from the camp of Yamana Sézen, the commander-in-chief of one side in the inter-civic war of the Onin Era. Here are produced all kinds of brocade, satin,
gauze, velvet, damask, crepe, and tapestry on the Goblin model,
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plain and figured Aadutai, etc. The looms are mostly worked by hands as a home industry in almost every house in the district. The weavers and artisans at WVishzin and in its vicinity aggregate some 35,000, while the looms 25,000. The annual output amounts to 3232,000,000, of which the fabrics worth 3£7,000,000 are exported abroad. The silk industry of Vishijin had made a marked progress under the successive patronage of Oda Nobunaga, Toyotomi Hideyoshi and the Tokugawa
Shogunate, and is still growing at bounds and strides.
KITANO JINSHA, likewise called the ‘ Atfano Tenjin or Te zmmangii ’, is a famous Shinto shrine in the north-western corner of the city, being dedicated to Sugawara-no-Michizane (844-903), the Left Minister, who is now worshipped as the ‘God of Literature and Calligraphy.’ First established in 947, the shrine was enlarged in 950 by Kujo Morosuke, while the present structure was etected by order of Toyotomi Hideyoshi, and undergoes repairs every fifty years. Since it was honored with a visit of the Emperor Ichijo in 1004, the reverence of the Imperial House for the shrine had been very deep.
The main entrance is marked by a big stone ‘ 7¢ ortt’ in the south. Along the paved path are arranged a number of stone lanterns and bronze and stone oxen, all presented by the believers. These carved oxen are offered to the deity in memory of the ‘Ox-day’ (according to the Old Zodiac) on which the shrine was founded, that is, on June oth, 947. Beyond stands the Mamanon (south gate), a two-storied gate of recent construction ; inside
which are found an Ex-voto Gallery, a Dancing Hall, a Treasure-
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«VHSNIC ONVIIS, ANIMHS OLNIHS dH
house, Shrine-office, etc. The Chi#mon (Middle Gate) is put up facing the main shrine. The tablet over its entrance, bearing the inscription ‘ Temmangu’, was written by the Emperor Gosai- in, hence the name ‘ Choku-gaku-mon’ (Imperial Tablet Gate). This gate is also known as ‘ Sankd-no-mon’ (Gate of Three Luminaries) from the carvings of sun, moon and stars on its beams. The Oratory is in front of the main shrine, being separated from it only by a chamber paved with stone, so that they are closely joined and practically forms one building. These connected edifices are built in a style called ‘ Vatsumune-Tsukuri’ (Eight Roofs Structure) and are placed under the ‘special protection’ of the Government, being considered as one of the best examples of its kind. The carvings of birds and flowers on the lintels are attributed to Hidari Jingoro. ‘The two stone lanterns (about 8 ft. high) near the Oratory were presented by the Emperor Reigen. The plum-tree in a low fence is called ‘ Tobi-Ume’ (Flying Plum), planted there in allusion to the tree which flew after Michizane far over to Kyushu, being moved by a touching poem he addressed to it when leaving for exile. It is the reason why the ground of the ‘ Temmangi’ is always planted with plum-trees. | The main shrine is surrounded by many sub- ordinate shrines in the midst of numerous plum-trees. Among several festivals of the shrine, the Plum-Festival on February 25th (Anniversary of Michizane) and the ‘ Zuiki-Matsuri’ from October Ist to the 4th are the most noted. The latter consists of a procession in which there are carried out in the street two ‘ Shinyo’ (Shrine-cars) made of ‘ Zzki’ (the leaves of a kind of potato) and further decorated with all sorts of vegetables. This
procession presents a unique sight totally unseen in other festivals.
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The Kitano Jinsha owns many excellent paintings and art-objects,
some of them are registered as ‘ National Treasures.’
HIRANO JINSHA is a highest Government shrine lying within a few hundred yards in the north-west of the Kitano Jinsha. Originally established in the province of Yamato, it was removed in 794 to the eastern foot of Kinukasa-yama, Kyoto, and again to the present spot in 871. In the shrine which is divided into four halls are enshrined the following five deities :— the first, Imaki-no-Kami (Yamatodake-no-Mikoto); the second, Kudo-no-Kami (Emperor Chu-ai); the third, Kohiraki-no-Kami (Emperor Nintoku); the fourth, Himeno-Kami (Amaterasu- Omikami), and lastly Ameno-Hohi-no-Mikoto. The existing shrine built in 1626-32 was thoroughly repaired in November of 1879. The peculiar architecture of the Oratory, intentionally made of joined timbers, draws keen attention from experts. The thirty-six poets and poetesses on the frames hung in the Oratory were painted by Kaihoku Yusho, while the accompanying writing is the autograph of Konoi Motosaki.
Hirano is as famous as Gon for its cherry-blossom, especially for its night scene, being visited by immense crowds of flower- admirers. It is said that there were formerly about eighty kinds of cherry-trees and the choice trees seen at present are known
under the names of Tsukubane, lmose and Taoyame, etc.
IMAMIYA JINSHA (north of Dattokuji) is a Shinto
shrine dedicated to Onamuchi-no-Mikoto, Kotoshiro-Nushi-no-
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Mikoto and fee atm and is said to have been founded’ in 11 35. Close to this shrine stands the Yek7 Jinsha, in which is enshrined the deity Susanowo-no-Mikoto who is revered as the God of Pestilence and the Tutelary Deity as well. According to records, the shrine for Susanowo was first built on Funaoka-yama in 1000 when a violent pestilence raged in Kyoto and later was removed to the present site in 1155. At any rate, these shrines are held in the highest esteem by the believers in the district. There is yearly performed in honor of the Yeki Jinsha a very curious festival called ‘ Vasurai Matsuri’, which was originally intended to drive off the above-mentioned pestilence. It takes place on April 10th when a number of believers dressed up in funny costumes play strange music, beat drums and gongs, and parade through the streets and the shrine premises. All the while, they loudly chant the noted formula ‘ Yasurai-Bana-Yo’ written by Jakuren Hoshi, a Buddhist priest of great fame. This custom of chanting the formula is meant to be a demonstration against the pestilence. The procession truly presents an exciting sight, some dancing at the height of humor, while others singing at the top of a mysterious voice. This is a mighty good chance
of witnessing a festival of Old Japan.
DAITOKU-JL is a renowned monastery ranking above the five head temples of the Aézzaz sect founded in 1324 at the command of the Emperor Godaigo with Myocho (Daito-Kokushi) as its first abbot. It is situated at Murasakino, 114 miles to the north-east of the Kitano Jinsha, a spot where reigns a holy silence
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perfectly free from worldly cares. Having suffered frequent conflagrations, the existing temple edifices were re-built in 1479 by the famous abbot Ikkyu-Osho, whose eccentric behaviors | often took people by surprise.
In a few yards beyond the first gate ‘ Samon’, stands the ‘ Chokushi-mon’, or the Imperial Messenger’s Gate, which was formerly the Vomei-mon of the Imperial Palace and transferred here in 1640 as a gift from the Emperor Myojo. The Akezu-mon is a gate in the south presented by Prince Kajii. The Sammon, likewise called the ‘ Gedatsu-mon’ is the main gate erected in December of 1589 by Sen-no-Rikyii, the most well-known ceremonial-tea master that ever lived. The sepia-drawing of the dragon on the ceiling of the Sammon is executed by the admirable hand of Hasegawa Tohaku. On its upper storey are installed the images of Shaka, Anan and Kasho, two great disciples of Shaka, and sixteen Rakan which were brought from Korea by Kato Kiyomasa, a brave general, and presented to the temple. There is also placed a noted statue of Rikyu carved by himself, which once nearly came to be smashed by Toyotomi Hideyoshi. ‘They had been intimate friends on esthetic pastimes for a number of years, but Hideyoshi suddenly became so much disgusted with Rikyt as to order him to commit /arakiri, or disembowelment, when the latter was at the age of seventy-one. As a matter of course, a rumor is afloat about such an outcome, but it is too delicate and too long to mention here. Presently, the statue was carried up to the residence of Ikeda Terumoto, a Daimyo of Bizen, who obtained from Hideyoshi special permission in doing so, and it was later restored to its whilom site in 1888. The Butsu-den
(Buddha Hall), otherwise called ‘ Zazyz/d-den’, is an imposing
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edifice in the north of the Sammon. Its dimension is 57 feet by 54 feet and was put up in 1665. On its altar is seated an image of Shaka, while in the western niche those of the Tutelary Deity, Bishamon and Idaten. The angel on the ceiling is finely painted. The Hatté (Lecture Hall) in the north of the Autsu-den was erected in 1636 by Koshichi Masakatsu, lord of Odawara, and his son Masanori. Connected by a covered gallery stands the Shindo, a rest-room of the abbot. <A belfry is found in the east of the Hatto and a library in the west of the Butsu-den. The Dai-Hojs (Abbot’s Great Apartments) lay beyond the Shindo, built in 1636 by Goto Masakatsu. There are four big rooms ; the Autsuma contains in its shrine Sho-Kwan-on and memorial- tablets on its both sides. Up on the wall is hung a much proud inscription, the autograph of the Emperor Godaigo, dated August 24th, 1323, reading ‘ Honchd Musd-Zen-En’ (Our Country’s Peerless Dhyana Temple). In the same hall is kept a statue of Daito-Kokushi. The sepia drawing on the sliding-screens is executed by Kano Tan-yu. The most reputable of all are the white herons and a rustic playing with his monkey. The garden in front is simple but tastefully laid out by Tenyi-Osho with a few big rocks here and there, commanding a fine view over the neighboring plains and taking in Mt. Hiyei as its back ground. A little gate ‘ Kara-mon’ was brought here from Hideyoshi’s Momoyama Castle and its carvings are attributed to Hidari Jingoro.
The Dattokuji is exceedingly rich in art-objects, many of them now being registered as ‘ National Treasures’ ; besides, in subordinate temples in the premises. The Shunjuan is widely
known as the favorite abode of Ikku Osho and is placed under the
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‘special protection’ of the Government. Its ceremonial tea-room was designed by Kanamori Sowa, serving as a best example of its kind, and its tiny garden is also highly admired by connoisseurs. In the central room of the Hajo is placed a statue of Ikkyu-Osho and there are hung two tablets of his own writing over the lintel. The sliding-screens are painted by Soga-no-Dasoku very cleverly. The half of the original house still in existence was re-built in November of 1638. Outside the Shunjuan and in its west stands the Daisen-in with its admirable sliding-screens of sepia-drawing produced by Sdami in the central room, those in the east room by Utanosuke ; and the colored paintings in the west room by Motonobu are especially famous. The small garden in the east designed by Sdami is considered to be a good specimen. The Koho-an is another well-known subordinate temple, possessing as much as seven tea-rooms. Those who are interested in the architecture of strict tea-ceremony style should not miss this temple and the Shunjuan. The original rooms were built in 1612 by Kobori Enshii who devoted all his efforts in making them as artistic as possible,