Download Day 6 (Wednesday, July 14) Nara Death March

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Day 6 (Wednesday, July 14) Leavell’s Nara Death March
I anticipate this being the most physically challenging day of our study tour. We will be walking
the entire day. Normally, it is hot and humid. However, we will see some spectacular sites and
sights, among them the world’s largest wooden building and largest bronze image. We will also
sustain regular attacks by panhandling deer who have no fear! Be on guard. Watch your stuff.
Deer are like goats. They eat anything!
Before we start today, I want to be sure that you have a clear sense of the significance of
the geography of Nara—the town plan. Nara had its origin in 710 when it was built as the
emperor’s capital then called Heijo-kyo. It was a planned city designed after the great Tang
dynasty Chinese capital city of Chang-an near today’s Xi’an famed for the Terracotta Warriors.
This was a major part of Japan’s “modernization program” during the 7th and 8th The warriors
and the tomb of the first emperor of China are located east of Xi’an. The site of Chang-an is west
of Xi’an so those of you who visited there may not have seen the old capital site. Like Chang’an,
Heijo-kyo was laid out in a grid pattern according to the strict rules of feng-shui (Chinese
geomancy). These rules mandate that the capital be surrounded on three sides by mountains and
open toward the South. Heijo-kyo was built close to the eastern range of mountains which is
clearly visible to us. If it is a rare clear summer day, we will get a glimpse of the western range
when we climb to the veranda of Nigatsu-do just before lunch. The temples we will visit today
were not a part of the original Heijo-kyo design. Todai-ji was definitely an after thought. It was
not founded until the 750s. (A large diagram of the ancient city is located on a wall of the small
plaza in front of the Kintetsu train station not far from Dunkin Donuts.)
The emperor’s capital was moved to Nagaoka from Heijo-kyo in 784 and then moved
again to Heian-kyo (Kyoto) in 794. The government buildings and large residences were simply
packed up and shipped to the new location leaving empty fields. By decree, the religious
buildings were denied moving rights. This meant that the city we see today—the city we call
Nara—is one that grew up around Todai-ji following the departure of the emperor. Nara became
and remains today a pilgrimage town. Today, tourists outnumber pilgrims, but pilgrims were the
tourists of old.
Kofuku-ji (Jacqueline Hermann)
It is my intention to begin our walk by hiking up to the edge of Sawara Pond, a natural
remnant of the 8th century topography that remains today. Sawara Pond provides an excellent
photo opportunity at night since across the pond you can catch the reflection of Kofuku-ji’s
flood-lighted five-storied pagoda. This is a great after bath stroll wearing your yukata. The locals
will be greatly amused that you are adopting such a Japanese style.
Jacqueline mentioned that “captured fish” are released in this pond. This is part of a
special Buddhist ceremony each fall called hojo-e. Originally, devout Buddhists would go
through the food markets and purchase live birds and fish on sale. Having been blessed these
would be freed to demonstrate the Buddhist commandment not to take life. It was largely
symbolic for it happened only once a year. Today birds and fish are specifically captured to be
used in this ceremony. The costumes in today’s ceremony are quite elaborate.
We will then climb up a set of stone stairs to Kofuku-ji monastery complex. Off to the
left about one-third of the way up the stairs is an open shrine to Jizo-bosatsu. This may be your
best opportunity to photograph a Jizo shrine since it sits well out in the open. Jizo is probably the
second most popular Buddhist deity in Japan after Kannon-bosatsu, the Goddess of Mercy. Jizo
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(sk., Kshitigarbha bodhisattva) is easy to identify since he is represented as a shaven-headed
monk. Normally, he holds a wishing jewel in his left hand and a staff in his right hand. The staff
has six rings collected in a unique finial on the staff. The six rings signify the six “states of
being” (Jpn, rokudo)—hell, hungry spirits (gaki), animals, fighting demons (asuras), humans,
and heaven. We transmigrate among these six states. Often in grave yards you will see a set of
six Jizo statues in a row. This arrangement illustrates that Jizo stands between the six states of
being to make sure that the transmigrating soul does not get lost (fall into limbo) on its journey
between on state and another. This role as the protector of cosmic travelers has been transformed
in Japanese folk religion to Jizo being the protector of earthly travelers. In this sense he functions
much like St. Christopher did until he was recently ousted from the list of Catholic saints. Jizo
also is the special protector of women and children having been a woman in one of his past lives.
Jizo’s function as protector of dead children’s souls is probably his most active role in
contemporary Japan. The general story is that when a baby dies its soul goes to the Japanese
version of the River Stix. There on the river bank it waits to be taken over to the nether world.
While on the bank a demon comes to take way the child’s clothing and force it to pile up rocks
on the river bank, Jizo to the rescue! Jizo comes and protects the children in the folds of his robe
and helps them pile up stones. During the last forty years an extremely active cult ritual has
emerged in Japan that is focused on this particular role of Jizo. It seems to be an outgrowth of the
post-war use of abortion as the major means of birth control. (Only recently has the Japanese
parliament approved “the pill.”) Bereaved mothers who have lost babies, in whatever way, began
to seek solace by placing baby bibs on Jizo statues and piling up rocks to assist Jizo in his task.
The bibs are typically red in color and often have the baby’s name written on them. I have often
walked by this shrine and seen woman pouring water over the main statue here. Water is poured
over Jizo statues and even grave stones to refresh souls that may be in hell. Stones are often
stacked in sets of five which represent the Five Elements. They are actually miniature fivestoried pagodas.
At the top of the stairs we find one of the architectural treasures of Kofuku-ji—the
Nankeen-do, an octagonal hall typical of the Nara period (710-794). This small chapel within the
Kofuku-ji complex was originally build in 813 during the Early Heian [Jogan] Period (794-894),
but the current structure is a replica dating from 1741. The central figure housed in the Nan’endo is a wooden statue of Fukukenjaku Kannon-bosatsu said to have been sculpted by Kokei in
1188. Kokei was the “founder” of the Kei School of sculptors who dominated the field during
the early Kamakura period (1185-1113). I plan for us to end the day at the Kofuku-ji Museum
which contains the most comprehensive collection of Kei School sculptures. Unkei, who’s
colossal guardian figures in the Great South Gate of Todai-ji we will see later in the morning,
was Kokei’s son. The Nan’en-do also contains several other sculptures by Kokei—a set of Four
Guardian Kings (shitenno) as well as imaginary portraits of the Six Patriarchs of the Hosso sect
of Buddhism. Kofuku-ji is the headquarters of the Hosso sect. The bronze lantern in front of the
Nan’en-do dates from 816.
The Nan’en-do is the 9th temple on the Saikoku san-ju-san meguri, an ancient pilgrimage
route of thirty-three temples dedicated the bodhisattva Kannon. This pilgrimage winds through
the Kansai area for some 600 miles. My wife and I completed it during the fall of 1987. That fall
I finished four other Japanese pilgrimage routes, but none as long as this one. There should be a
lot of pilgrimage activity underway in this location. This will be an opportunity for you to get an
important temple stamp if you are collecting these. Take a close look at the pilgrim paraphernalia
available for purchase here – scrolls, jackets, guidebooks, amulets, mementoes of various sorts.
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From the Nan’en-do we will cut across the old monastery complex headed toward Todai-ji. In
route we will pass the second tallest pagoda in Japan (160’). At its height of influence Kofuku-ji
contained some 175 buildings. It was establish by in 669 the chief wife of Fujiwara no Kamatari
(614-669) as the family monastery of the Fujiwara clan. The temple was moved several times
and only settled in this location with the establishment of the capital city of Heijo-kyo in 710. (It
is like Furman University which had its origin in 1826 in Edgefield, SC, but was later moved to
down town Greenville and then in the late 1950s was rebuilt on the present rural campus site.)
Kamatari was the founder of the Fujiwara clan which is the most important family in premodern
Japanese history second only to the imperial family itself. More about the Fujiwara when we
visit Kasuga Shrine late in the day.
Kofuku-ji has burned several times. The most dramatic and complete destruction
occurred in 1180 when troops of the Taira clan took revenge for the soldier monks of Kokufu-ji
having sided with the Minamoto clan in the opening engagement of the Gempei War (11801185). Soon after the Battle of Uji Bridge, Taira soldiers attacked Nara and burned both Kofukuji and Todai-ji. This explains why there is almost nothing remaining from the pre-1180 period
and why Kofuku-ji contains such a wealth of Kei School sculpture from the early Kamakura
period when the temple was restored. The monks of Kofuku-ji had been particularly insulting to
the Taira. In days immediately following Uji Bridge, some of them fashioned a wooden head of
Taira no Kiyomori (1118-1181) and used it as a soccer ball chanting insults as it was kicked
about. They were made to pay!
On our way to Todai-ji we will pass through the western portion of Deer Park and
navigate around the Nara National Museum of Art.
Todai-ji (Lindsey Cafarella)
Todai-ji was founded in 745 at the command of Emperor Shomu (701-756). He asked for
the biggest bronze Buddhist image housed in the biggest wooden building in the world. He got
both. As you know from reading Lindsey’s fine essay, clergymen came from all over the
Buddhist world for the “eye-opening” ceremony that empowered the image. Todai-ji was
conceived as something like St. Peter’s in Rome – the central Buddhist cathedral in Japan which
would administer a state-run religion. Each province of Japan was ordered to construct a fivestoried pagoda along with a monastery and a nunnery. This provincial network was called the
kokubun-ji system. It was intimately related to the imperial government.
I think it is useful to compare Japanese Buddhism during the 8th century with Christianity
in the years following Constantine, say the 4th through the 8th centuries in Europe. Yes, there
were believers who embraced the teachings personally. However, these religions were public and
political in their sponsorship and promotion. In the countryside the common people continued to
follow “the old ways.” It was not until the Kamakura period (1185-1333) that Buddhism
effectively penetrated into the Japanese rural communities. With the exception of Ireland, this
was largely true in Europe as well until about the 10th century.
In preparation for the casting of the Great Buddha image, Shomu sent a popular Buddhist
priest named Gyogi to Ise Shrine to ask the Sun Goddess (Amaterasu-o-mikami) if it was
appropriate to build such a huge Buddhist image in Japan, Land of the Kami (gods). You may
recall that Shomu, as a member of the imperial family, was believed to be a direct biological
offspring of the supreme kami, the Sun Goddess. The building of Todai-ji was serious family
business. Gyogi, as a Buddhist priest, was not allowed into Ise, the most sacred of the Shinto
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shrines. However, he sat outside and meditated. Upon his return to the capital he reported to
Emperor Shomu that he had received a visitation from the Sun Goddess during which she had
revealed to him that it was just fine for the image to be cast. Why? The reason given was as
follows: the planned image was in the form of the Buddha Vairocana (Jpn., Birushana) or the
Cosmic Buddha also known as Dainichi Buddha (the Great Sun Buddha). Dainichi Buddha was
simply the Buddhist form of the Sun Goddess herself.
Gyogi is credited with originating what would be called ryobu-shinto, a conscious effort
on the part of Buddhists to identify this foreign religion with the native Japanese deities. It was a
method not unknown to Christian missionaries throughout the world. Paul was probably the first
to use it when he preached in Athens. Yahweh is God, regardless of what name is used. German
heroes and gods would be consecrated as saints. Shang-di is really just Yahweh as understood
(poorly without direct revelation) by the ancient Chinese. Ryobu-shinto buddhology would gain
strength and increasingly sophisticated articulation under the influence of the Esoteric Buddhist
sects of the Heian period (894-1180). This blending of Shinto and Buddhism would form the
essence of Japanese religion up to the Meiji period beginning in 1868 when the new political
authorities sought to purify Shinto and emphasize it as the religious foundation of the new
Japanese modern state with the emperor as its head. Despite these political efforts, the blend of
Shinto and Buddhism has continued to thrive in the popular mind. Todai-ji’s Great Buddha is the
first significant manifestation of this basic eclectic Japanese approach to religion.
In strict Buddhist terms Vairocana (Dainichi) Buddha represents the cosmos. This is THE
ONE. The One of which all things are a part. It is the realization of our being a part of this One
that constitutes the essence of Buddhist “Awakening” and liberates us from the illusion of our
uniqueness, our apartness. It is this illusion of our uniqueness, our solitariness, that is the source
of our suffering as human beings. According to Buddhist tradition, following his “Awakening”
or “Enlightenment,” Shakaymuni (Jpn., Shaka) lingered in close proximity to the Bodhi
(Awakening) Tree for seven weeks. During the first week he simply sat in profound meditation.
In the second week he attempted to place into words what he had realized at the time of his
“Awakening.” This first verbal expression is said to have been what we know as the Kegon
sutra. This is where we learn of Vairocana (Dainichi) Buddha. This is the basic sutra of the
Kegon sect of Japanese Buddhism whose headquarters is Todai-ji.
Our first stop after passing a line of shops selling tourist stuff and deer biscuits will be the
Great South Gate (Nandai-mon). This is the most important remnant of Kamakura period
architecture. It was constructed during the rebuilding of Todai-ji following the end of the
Gempei War (1180-1185). The war was won by Minamoto no Yoritomo (1147-1199) who
founded the Kamakura bakufu and was appointed shogun by the emperor soon after the war’s
end. You will remember that Todai-ji and Kofuku-ji were burned by the Taira in response to
these temples expressing support for the Minamoto cause. Yoritomo, ever the astute politician,
made a very public show of taking the lead in rebuilding these temples. The fund-raiser chosen
by Yoritomo for this rebuilding project was an aged and highly respected priest named Chogen.
Architecturally, the Great South Gate is constructed in what is known as tenjiku-ryo
(“Indian style”). There is no known precedent in India, but there are connections with a Chinese
style extant in Fukien Province. Chogen’s leadership is believed to be the source of this unusual
style. He was a devote of a salvationist buddhology that emphasized the saving grace of Amida.
We discussed this Pure Land type of Buddhism yesterday when we visited the Phoenix Hall at
Byodo-in in Uji. Chogen had visited China and studied Pure Land Amidaism at a temple in
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Fukien province. It is assumed that this is where Chogen got his inspiration for promoting the
colossal style we see before us.
Indian style is characterized by massive pillars that extend from floor to roof. These
eighteen that support the gate roof are 65 feet tall. The bracketing system is chunky, repetitious
and held together with long beams that serve as tie rods. In the interior you will notice that the
huge pillars are linked by tie beams that thrust all the way through the pillars themselves. No one
defends this style as elegant. It strives for, and I think achieves, “imposing.”
Sheltered inside the gate are two huge statues of the Nio (Two Guardian Kings). They
are stripped to the waist and flex muscles that have questionable relationship to human anatomy,
particularly in the ab area. They are 26 feet tall. One has his mouth open exhaling. He is known
as the agyo form. The other has his mouth closed inhaling. This is the ungyo form. You may also
associate them with the Chinese yang and yin. These masterpieces of early Kamakura sculpture
were conceived and executed by Unkei (son of Kokei) and Kaikei (one of Kokei’s most talented
apprentices). Unfortunately for those of us interested in photographing these images, we are
separated from them by “chicken wire.” Birds, as they so often do, found these great statues
irritable as roosts. This wire was the solution.
Walk through the gate by stepping over the beam that runs across your path. It is very bad
form to step on it. The up-and-over maneuver can be a real challenge for ladies in kimono.
Down the walkway is the gate into the Great Buddha Hall compound. Go up to the gate
and look in. You get a good view of the hall over the incense cauldron. Hopefully, there will be
some good smoke to add atmosphere to your photo. It will be almost impossible to take the shot
without lots of people in it. Every tourist who comes to Nara passes by this cauldron and stands
to take a picture here. The entrance and ticket gate is at the end of the cloister to your left.
Beyond this, as you walk past the entrance, is the best restroom you will see during the morning
so I recommend you take advantage of it. We will not be coming back this way.
Once inside the compound you will be funneled toward the incense caldron within the
central gateway. Standing here facing the great hall please be reminded that the present building
is one-third smaller than the original. Try to mentally make the extension. As mentioned above,
the original was burned by the Taira in 1180. The reduction of size took place at the time of the
first rebuilding completed in 1195. It was all burned again in 1567 as collateral damage during
the feudal wars of the Sengoku period. The current building dates from 1709. There have been at
least two major renovations since that time.
There is another incense station about midway down the walk. Do not miss the chance to
look carefully at the bronze lantern that sits squarely in front of the great hall. This is one of the
few things extant from the original 8th century complex.
On the veranda just to the right of the entrance you cannot help noticing a large, rather
disreputable looking wooden statue. This is an image of Binzuru, an arhat (Jpn., rakan), and
contemporary of the historical Buddha, Shakyamuni. Some Buddhist sources make reference to
there having been five hundred arhats, however there are sixteen most commonly portrayed in
Chinese and Japanese Buddhist temples. I once visited a temple at the foot of Emeishan (one of
the Four Great Buddhist Mountains of China) which had a hall housing all five hundred arhats in
life-size statues. Overwhelming.
Binzuru heads the list of the select sixteen. We saw statues of these on our visit to
Manpuku-ji yesterday. Arhats are holy men. By their own efforts they have achieved release
from the cycle of birth and rebirth. Theravada Buddhism, which is the predominant form in
Southeast Asia, pays great reverence to arhats. Theravadan monks seek to become arhats who
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are referred to as “living Buddhas.” You encounter this thinking in Tantric Buddhism as well.
Tantric is the Buddhism of Tibet, Nepal, and Mongolia. It finds expression in the Tendai and
Shingon sects of Japanese Buddhism. The Chinese learned of arhats through translations of
Sanskrit scriptures brought from India by Xuanzang. The Great Wild Goose pagoda in Xi’an was
his headquarters after his return from his famous pilgrimage to the West. In contrast to the
Theravada traditions, Mahayana Buddhists (China & Japan) tend to deemphasize arhats who
strive for themselves, and emphasize bodhisattvas who serve others.
Arhats have special powers. Binzuru had the power to fly. Once on a dare he did so
public ally. Shakyamuni criticized him for being a show-off. According to the Historical Buddha,
one does not display one’s powers for mere entertainment of one’s self or others. As a result of
this scolding, Binzuru has suffered ever since. His statue is typically found outside a temple on
the porch. More often, Binzuru statues are present in monastery kitchens where the public is
normally unable to go. His presence there is said to be due to the fact that he feeds the hungry
during mappo—the period of the Latter Law. Stroking his statue is thought to cure illnesses. You
will notice people doing this. You will also notice some well-polished spots like his knees. It did
not help my wife’s knee problems at all! I am a skeptic, but see what he can do for you.
Inside the hall, it is customary to circumambulate the central altar clock-wise. Pay close
attention to one of the 56 petals of the bronze lotus upon which the Vairocana sits. Many of these
are original having survived both great fires. If the Daibutsu (Great Buddha) here at Todai-ji
represents the cosmos, each petal represents a solar system or a world ruled over by a Buddha
depicted in the top center. He is flanked by bodhisattvas who are his active agents in the solar
system or world. Below them are the various levels, spiritual and temporal, of the solar system or
world. Rather complex. This 8th century diagram seems far more in tune with our modern view
of the cosmos than the concept of the western Christian world prior to the rise of modern
astronomy. This difference is often emphasized by contemporary Buddhist apologists who
emphasize the harmony between modern science and Buddhism.
The huge central Vairocana image, over 53 feet tall, is flanked by two bodhisattvas—
Kokuzo-bosatsu on the left and Nyoirin Kannon-bosatsu on the right. These two flanking statues
date from the Genroku period (1688-1703). On the mandorla (nimbus) behind Vairocana
Buddha, we find depictions of the sixteen incarnate Buddhas.
As you move clock-wise around to the left and approach the back of the building, you
will encounter a wonderful wooden statue of Komoku-ten, one of the Four Heavenly Kings
(shitenno). In the other back corner is another of the shitenno, Tamon-ten. These date from 1797.
There always seems to be more light on these statues which makes them easily photographed.
You will also notice a model of the original Todai-ji layout.
Near Komoku-ten is a pillar with a hole in the bottom. It is said that the hole is the same
size as one of the nose holes of the Daibutsu. The popular belief is that if you can pass through
the hole, you can easily enter Paradise. Obviously, children are especially favored. Be sure a
friend is prepared with a camera if you make the trip successfully yourself. Many American
teachers have tried, few have succeeded. Is there a message here?!
Before you leave the building check out the pilgrim sales desk. You can get a temple
stamp here as well.
Outside the building the group will gather again at the far left corner opposite where we
entered. Again, you will pass some places to buy Todai-ji stuff.
When we all get together again we will walk up the hill to the Nigatsu-do and Sangatsudo.
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Nigatsu-do or March Hall
This interesting sub temple of Todai-ji requires a stiff climb up a stone staircase. If we
use the one on the left-hand side we will top out very near a pilgrim rest pavilion. Go inside.
There is free tea and other things that assist pilgrimage groups in regaining their enthusiasm.
After looking around, go out on the veranda of Nigatsu-do for the very best panoramic view of
the city of Nara you can get without actually climbing one of the mountains in the area. Notice
the metal lanterns hanging from the rafters of the veranda.
If we exit down the other staircase we will come out at the back of the Sangatsu-do.
Sangatsu-do [Hokke-do] (Jocelyn Davis)
The back section of Sangatsu-do is one of the only buildings that escaped the various
fires that have destroyed Todai-ji over the years. It is a rare treasure because this is the only place
you can see a Buddhist altar containing only Tempyo period (710-794) images inside a Tempyo
period building. In the inside, this is what this building looked like in Shomu’s time. The front
part of the building was added in the Kamakura period to accommodate the increased number of
lay worshipers who had begun to visit as Buddhism gained in popularity. We will need to
remove our shoes for this one. No photos inside. It is dark and has a real feel of mystery about it.
Hopefully, people will be silent here and simply enjoy the ambience. We can chat about the
place after we exit.
What will you see on the Tempyo period altar? Several of these images are National
Treasures. In the center is Fukukenjaku Kannon-bosatsu. The image is made of dry lacquer.
This was the plastic of the Tempyo period—light weight and easily molded. This made statues
easy to carry in processions and also allowed for detailed surface decoration. We have already
met Fukukenjaku Kannon-bosatsu today—the main image in the Kofuku-ji’s Nan’en-do
octagonal hall. This is the most powerful of the thirty-three manifestations of Kannon identified
in the Lotus Sutra (Hoke-kyo)—the most significant single scripture in all of Japanese Buddhism.
In the Fukukenjaku form Kannon is shown with four sets of arms representing four methods
bodhisattvas use to guide beings toward Awakening—charity, kind speech, beneficial conduct
and sympathy. He holds a rope with which he captures beings who are straying from the
bodhisattva path. Fukukenjaku Kannon goes out of his way to seek the wayward souls. He has a
third eye in the center of his forehead with which to better observe the suffering of the world.
Persons worshipping this form of Kannon will be cured of illness, become beautiful, obtain
wealth, and be successful in business. Images of this form of Kannon are relatively rare after the
Kamakura period.
On either side of the Fukukenjaku Kannon image you will see much smaller clay images.
Many art historians consider these to be the masterpieces of the Tempyo period sculptor’s art.
These little images are heavy. Like Classical Greek marble sculptures, these images were
originally painted bright colors. Over the years, art historians have argued about what deities
these images represent. Consensus at present seems to be that they are Nikko-bosatsu (Sunbeam
bodhisattva) and Gakko- bosatsu (Moonbeam bodhisattva). Their expressions are the essence of
calm. Their hands are clasped in prayer and adoration.
Further out from the center are two quite large lacquer images representing Bon-ten
(Brahma deva) and Taishaku-ten (Indra-deva). These are Hindu deities. They are the ones who
served as “midwives” during the birth of the Historical Buddha, Shakyamuni. At the four
corners are dry lacquer images of the Four Guardian Kings (shitenno). On the front row are the
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Nio (The Two Kings). Notice that these are fully armored. Usually, they are stripped to the waist.
Nio-agyo has the most wonderful extreme hairdo of any Japanese Buddhist image I know about.
This deity must have had a huge supply of mousse.
There is one additional image here which deserves mention even though we cannot see it.
Back behind the Fukukenjaku Kannon is a box about four feet tall. Inside is a “hidden image” of
Shukongojin, a rare sculpture that combines Nio-agyo (yang) and Nio-ungyo (yin). The world
around us is often considered to be essentially made up of a dualism-- yin-yang, light-dark,
Good-Evil, male-female. Buddhism asserts that this apparent dualism is an illusion. All things
are one. Male-female are one in essence. Shukongojin is one of several ways this reality is
expressed in Buddhist art. The box case is only opened one day each year. In my many visits to
Nara, I have only seen it once. It is made of clay and due to the fact that it is not exposed to the
elements very often, the original paint is amazingly well preserved for an 8th century work.
We now have a walk of several minutes across the foot of Wakakusa Hill. By this time
you may have already seen some large posters with photographs of this hill aflame in the dead of
night. The grassy hill is burned each year during the night of January 15. I have never seen this
event, but I have climbed to the top of the hill from which you can get a wonderful view down
on Todai-ji and across the Nara valley. Along the our walk at the foot of the hill are a number of
shops where you can purchase a full suit of samurai armor, a fake sword or two, T-shirts, and
snacks. Ice cream bars have been popular with groups in the past. Not far beyond, across a
stream and through some trees is Kasuga Shrine.
Kasuga Shrine (Monica Ferrari)
Monica’s piece is filled with useful information on this site. Kasuaga may be the best
opportunity for us to visit an active Shinto shrine during our tour. Often there are ceremonies
underway here. Dancing and music may well be observed.
Until Buddhism came to Japan there was not even a word for this sort of religious
activity. The word for Buddhism in Japanese is “butsu-do” (the way of the Buddha). The word
for “god” in Japanese is “kami.” (Notice that I write “god” with a small “g.” This is an attempt to
indicate that the Japanese are not monotheistic. They believe in many deities.) Another way to
pronounce the written character for kami is shin This suggested to the Japanese that a word for
their religious activities should be “shin-to” (The way of the gods) to indicate the difference in
their native beliefs and rituals from those being brought over from Korea and China.
Shinto is about worship. There is very little in the way of theology or ethics where Shinto
is concerned. Until the Meiji era beginning in 1868, Shinto was largely made up of local cults.
Most kami were protectors of local and regional communities. The Shinto festivals were
celebrations of local traditions. Over time a few local kami made “prime time” and achieved
broad recognition throughout the Japanese islands. The most significant of these was the Sun
Goddess (Amaterasu). She was actually the deity of the imperial clan, but due to that clan’s
political importance, Amaterasu was recognized as important throughout the Japanese islands.
This did not mean that there were many festivals or shrines built to venerate her. Local kami
continued to receive such attention. Important Japan-wide cults did develop for Hachiman (kami
of war), Tenjin (kami of scholarship), and Inari (kami of rice agriculture). I think you can see
from their functions why these particular kami gained wide-spread attention.
What do you expect to see at a Shinto shrine? First you encounter a gate (torii).
Typically there are at least three of these along the path leading to a shrine. Shimenawa are raw
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hemp ropes which often have hemp tassels hanging from them. The some of these ropes may
have white paper folded in a zigzag manner hanging from them. These papers are an indication
that the sacred is present. The torii and the shimenawa mark off sacred space. Often you see
shimenawa circling large trees or unusual stones. This signifies that these natural objects are
considered to possess kami power. Particularly powerful kami dwell within them. Such trees or
rocks may have small pieces of paper stuck in the bark or wedged around the shimenawa. These
are prayers. Shrines also have stone lanterns along the pathway. Kasuga Shrine is famous for its
lanterns. It has more along its entrance path than any shrine I know about. We will exit Kasuga
through the entrance so we will see these lanterns as we leave. The main gate of shrines often
have guardian figures. Some have Nio. Others have statues of seated Heian period court
warriors.
Ritual purification is a significant part of Shinto worship. As you approach the inner
shrine area there will be an ablution pool. Here the worshippers are expected to ritually cleanse
their hands and mouths. The ablution pool at Kasuga is particularly interesting because it
features a life size statue of stag with a scroll in his mouth. The water pours out of the scroll and
into the pool. The stag is the messenger animal of Kasuga. The kami who resides at Kasuga
annually travels between the shine and his winter home on a stag. This connection between the
deer and the Fujiwara family is one of the reasons for all the deer in Nara Park. Another reason is
the connection between Deer Park in Sarnath (India) where Shakyamuni preached the Four
Noble Truths and the deer here in Nara.
A common ritual performed by the priests is to purify the worshipper with a wand to
which is attached streamers of white paper something like a pompom. Salt is also a purifying
agent and is placed at gateways in small cones or is tossed over ground such as you see sumo
wrestlers do at the opening of a match. Making a photo shot list of the various implements used
in Shinto worship would not be a bad idea at all.
Monica mentioned the prominence of wisteria at Kasuga and it’s connection with the
Fujiwara name. Let me relate to you how this came about. In 645 the Soga family had reached
such political influence that they were the power behind the imperial throne. There were those in
the imperial family, led by Prince Naka, who sought to end Soga control. One day when Prince
Naka was playing a Japanese version of soccer, he struck at the ball and his shoe went flying off.
A courtier named Nakatomi no Kamatari retrieved the shoe and when he knelt before the Prince
to help him put it back on, he whispered, “When will we deal with the Soga?” Prince Naka
invited Kamatari to begin studying Confucian classics with him. They chose to meet in a
secluded wisteria arbor which provided them privacy for “study.” Their real purpose was to plot
the Soga overthrow. Their plot was successful. Key Soga leaders were assassinated. Prince Naka
with Kamatari’s help then launched an increased program of borrowing from China known as the
Taika Reform. In recognition of his contributions and in memory of their sessions together under
the wisteria, Prince Naka gave Kamatari a new family name—Fujiwara or Wisteria Field.
Kofuku-ji Treasure House:
On our way back to the hotel we will make a final visit of the day to Kofuku-ji’s fine
museum. This relatively small building contains some of the most interesting sculptural works
from both the Tempyo and Kamakura periods. I will probably be pushing you along to make sure
we have at least thirty minutes in the museum before it closes.
Kudos will go to the survivors of this arduous day of exercise and learning.