Читать книгу Kamakura: Fact & Legend - Iso Mutsu - Страница 16

Sugimoto-dera

ASHORT DISTANCE farther along the Kanazawa road leads to another temple of exceeding antiquity and unusually romantic approach. Founded in the year 734 by the priest Gyoki, this dedication is one of the most ancient of the pre-Yoritomo period in Kamakura, and was in existence for centuries whilst Kamakura was still but the most insignificant fishing hamlet.

Steep mossy steps—thickly bordered with azalea bushes, and here and there old gray stone lanterns—lead up to a picturesque lychgate, on either side of which stand the moldering but still fierce and threatening figures of the Nio, or the Two Deva Kings, whose mission is to put to flight all enemies from the sacred spot. Somewhat above this gate a torii marks the entrance to a sequestered little grassy plateau gay with flowers, wherein are divers ancient monuments and moss-encrusted tombs. The fern-grown wall of rock is cleft by the cave of Benten, whose floor is formed by a pool of water: according to tradition this cave was once the abode of a mighty serpent At the back a niche is hewn in the rock which formerly enshrined a statue of the goddess, but owing to deterioration due to atmospheric influences the effigy has been removed to the temple above. Benten, the sea goddess, is always represented as a beautiful woman, and is supposed to have the power of assuming the form of a serpent: she is the patroness of music, the fine arts, and good fortune in general; her shrines are almost invariably in the neighborhood of water—the sea, a river, or a pond, in which a snake consecrated to her is supposed to dwell. Another flight of steps leads up to a plateau in the hillside, where in the dense shade of its solemn grove stands an old thatched building—generally solitary and deserted, but with its doors hospitably open to any stray worshipper that may be tempted by the beauty of the place to scale the steep and somewhat formidable approach. However, for those to whom precipitous steps form no attraction, a more appealing method of ascent will be discovered in a winding path lying to the left, and which gently conducts the pilgrim to the high terrace upon which the temple stands. A beautiful and peaceful spot, lying in the deep green shadows of tall forest trees: the screen of rock enclosing the level is pierced with tiers of caves containing venerable tombs. At the rear, framed in bushes and under­growth, lies a small still pool of almost circular shape and great depth—indeed the aged guardian of the temple avers that it could not be fathomed, even with a rod the length of eighty people standing with outstretched arms!

The path to the left leads through the woods—past beautiful old lichened tombs, and affords a panorama of the neighborhood, including the distant purple mountains and, in clear weather, the snows of Mount Fuji towering into the blue sky. The steep track leading upward ascends to the top of the hill, where, in a glade musical with birds, is a venerable monument dedicated to Amaterasu, the Sun Goddess, who is believed to be the primeval ancestress of the imperial family of Japan.

Although the temple of Sugimoto is so ancient as to be approaching dilapidation, some most valuable relics of its early days still remain in its possession. The chief object of worship enshrined upon the altar—a large gilt statue of the Eleven-faced Kannon—is a striking work from the chisel of Unkei, and is moreover of historic interest; it was presented to the temple by Yoritomo in the twelfth century. It is recorded that this statue was repaired in the Tempo era (1830-43), and unfortunately lost much of its original charm during the process. A large and beautiful figure of Jizo stands on the left. The saint's head is framed with a golden aureole and he is equipped with his customary symbols, the shakujo, or staff, and the hoshu no tama, or jewel of good luck. This effigy was carved by the priest Eshin and was also the gift of Yoritomo: in former times it was separately enshrined in the jizo-do (Hall of Jizo) nearby, but was brought to the main temple to replace a statue of Kannon that has been removed to a shrine in Meguro, in Tokyo. The vigorous and striking representation of Bishamon (on the right) is highly esteemed by connoisseurs; it was carved by Takuma, and is considered a fine example of his art. A wheel-like halo studded with flames encircles this fierce divinity, who is trampling underfoot two demons of powerful appearance: here also the workmanship has greatly suffered by later repairs, which were executed in the Bumpo era (1318-22). Originally a Hindu deity, Bishamon was considered the protector of treasure. In Japan he is one of the seven gods of luck (shichi fukujin), and in feudal days was worshipped as the patron of good fortune in war. Bishamon is moreover one of the Four Deva Kings, or "gods of the four directions," and is supposed to guard the north against evil influences. At the back of the temple is arranged a group of deities—the thirty-three keishin, or incarnations of Kannon; these quaint little figures are ascribed to Unkei.

On the extreme right is the statue of Benten that was formerly in the cave below—an interesting figure well worth its rescue. The Fudo that stands nearby is a fine work of art, and is beautifully carved. But the pièces de résistance of this temple are enshrined in the zushi, the sanctum sanctorum immediately behind the main altar and screened from the vulgar gaze by locked doors. Here are deposited three exceedingly valuable statues of the Eleven-faced Kannon; two of these ancient works are enrolled upon the list of National Treasures, and are considered of high merit. The right-hand figure dates back some three hundred years before the Kamakura period: it is said to have been carved by the celebrated priestJikaku, who died in the year 864, at the age of seventy-one. This pious and gifted functionary was on a pilgrimage to these parts, and by chance made the discovery of a mysterious piece of wood that was floating in the sea and emitted a sort of luminous halo, thereby proving its sacred character: with this trophy the Goddess of Mercy was fashioned. Legend asserts that when the temple was destroyed by fire in 1189. As rescue was not forthcoming, the statue proved its miraculous nature by leaving the altar on its own account; it was subsequently discovered safe and intact, placidly reposing beneath a large cryptomeria beyond the danger zone! Hence the name of the temple— sugi (cryptomeria), and moto (base, or beneath). It is further related that another conflagration occurred in the year 1257: on that occasion the residing priest Joki Shonin braved the flames and rescued the statue at the risk of his life, but miraculously escaped uninjured.

The figure in the center is also a National Treasure, and was carved by the priest Eshin in the year 985. Eshin was a famous sculptor of ancient times; he was the son of Tada Manju and an ancestor of the Minamoto family. This statue was executed according to imperial command and was presented to the temple by the emperor Kazan (died 1008). The third Kannon is the most antique of these valuable relics, but the workmanship is not so skilled, owing no doubt to the more primitive state of art in those faraway days; it was the work of Gyoki—the famous priest of the eighth century and founder of this temple.

The Japanese Madonna Kannon, Goddess of Mercy, is one of the most popular divinities, and is said to have refused the rest of Nirvana to save the souls of men. She is generally supposed to possess miraculous powers to deliver mankind from the dangers and perils of this mortal life: she hears the pleadings of the afflicted and assuages their sorrows, being especially considered the refuge of the distressed. Kannon is an abbreviation of her real title Kanzeon. Kan means to be possessed of spiritual insight, ze signifies the world or universe, and on is sound or voice; this deity hearkens to the world-sound and represents the principle of universal lovingkindness.

According to Chinese tradition Kannon was the young daughter of the governor of a town in Szechwan. When she was eighteen years of age the maiden repaired for worship to a temple where there were five hundred priests: the latter refused to let her return home, detaining her by force. Her father, infuriated by this act of treachery, caused all the priests to be slain and the temple was set on fire, his daughter ostensibly perishing in the general destruction. But the following night she appeared in a vision to her sorrowing parent, saying she had risen from the flames to paradise and was immortalized as a goddess. From that time she has been venerated by countless multitudes: in Japan she is represented as a beautiful idealization of womanhood, usually enthroned upon the lotus, the sacred emblem of Nirvana.

Another version of this legend, also of Chinese origin, relates that the parent of the goddess was enraged because his beautiful young daughter steadfastly refused all offers of marriage and was firm in her determination to enter religion as a nun. Various methods of compassing her death were attempted and averted by miraculous means: however, at last she was suffocated, and her pure soul descended to the underworld. But Enma, dread judge of souls, finding his hell was converted into paradise by her angelic presence, restored her to the upper world, where she lived for nine years practicing good works upon a mysterious island known as Fudarakujima—ostensibly in the vicinity of China—healing the sick and preserving mariners from the perils of tempest and shipwreck. Often this divinity is represented with eleven faces (Juichimen Kannon) symbolic of shedding sweetness and mercy in all directions; and also with a thousand arms (Senju Kannon), in reality but forty, to embrace the earth and to alleviate the sufferings of all mankind.

In eastern Japan there are thirty-three temples sacred to Kannon. Pilgrims believe it an act of great merit to visit these in order, and those who make the complete round of all the eighty-eight temples dedicated to the Goddess of Mercy have achieved such a supreme act of merit as to preserve them from Hell, and to open the gates of life everlasting! The Sugimoto Kannon is the first in importance on the round of Eastern Japan, the second being the Iwadono* Temple of Zushi; the An'yo-in (Kamakura) is the third; while the colossal statue at Hase comes fourth on the list. These pilgrims leave behind a printed slip, or label, as a proof of their visit; multitudes of these will be observed attached to the walls and pillars of the temple.

Another form of the divinity is the Bato, or Horse-Headed Kannon, when she is represented with a horse's head carved upon her headdress, and is supposed to exercise a protective influence over horses and cattle. Hence, offerings to Kannon are presented by farmers and peasants: adjoining the sanctuary of this temple a somewhat decayed white plaster horse stands in a wooden stable that was undoubtedly deposited for this reason.

The annual festival is observed on August 10th, upon which occasion the doors of the inner repository are opened and the scene assumes a very gay aspect, crowds of devotees assembling to pay their respects to the beloved divinity, "who looketh down above the sound of prayer,"

Storms and hatred give way at the sound of her name,

At the sound of her name demons vanish:

By her name one may stand firm in the sky like a sun.

Footnote

* This venerable temple is picturesquely situated, hidden away in the hills behind Zushi: it was also founded by the eminent Gyoki Bosatsu in 720, and belongs to the Sodo doctrines, the most powerful branch of the Zen sect. Ancient records state that the third shogun Sanetomo occasionally repaired to the Iwadono Kannon for worship. This woodland solitude is well worth a visit for its romantic environment: a mountain track at the rear—known for many centuries as the junrei michi, or pilgrims' road—leads to the Kanazawa highway, a few paces beyond the Sugimoto Kannon.