Читать книгу Kyoto a Cultural Guide - John H. Martin - Страница 7

IN THE years since the Second World War, Kyoto has changed greatly. The city of one-story traditional houses has seen modern buildings of extraordinary height rise within its midst. Travelers often come to Kyoto looking for a traditional Japanese city of low buildings and an architecture of past centuries. Instead, they are amazed by the modern steel, glass, and brick structures they find. Kyoto, as with every other city in the world, continues to grow and to change, for it cannot remain a museum frozen in time. Yet there is an active concern within Kyoto itself about the continuing danger to the city's historic natural and architectural heritage. There are ongoing attempts, therefore, to preserve the best of the past both in temples and shrines as well as in Kyoto's traditional housing. Thus, this initial walk takes place in an area that has been designated as a historic section worthy of preservation, and it ends at one of the most venerable of Kyoto's temples, Kiyomizu-dera (Clear Water Temple). Accordingly, this walk offers a partial glimpse of the city as it existed prior to the modernization of Japan in the twentieth century.

Bus 18, 202, 206, or 207 can be taken from various points in Kyoto to the Kiyomizu-michi bus stop which lies between Gojodori and Shijo-dori (Gion) on Higashi-oji-dori. One could walk straight up Kiyomizu-zaka from the bus stop to the temple, but a deviation two streets to the north of Kiyomizu-zaka along Higashioji-dori (the main north-south street) offers a worthwhile diversion. Here, one turns to the right on to Kodai Minami Monzen-dori. At the second street on the right one turns again to the right and up the steps to Ninen-zaka (Two-Year Slope).

NINEN-ZAKA, SANNEN-ZAKA

Ninen-zaka begins a walk into the past and offers a picture of the city of Kyoto as it once was. Fires have destroyed so much of old Kyoto through the centuries that it is unusual to find an area which still provides the appearance of a Japanese city before the modern age. Fortunately, Ninen-zaka (Two-Year Slope) and Sannen-zaka (Three-Year Slope) offer just such a remembrance of times past. Concerned over the disappearance of the two-story shops and homes that were typical of Kyoto city life, the city government created a few historical preservation districts in areas that have remained comparatively unchanged. One such area is that which encompasses Ninen-zaka and Sannen-zaka.

For centuries, pilgrims labored up the Two-Year Slope and the Three-Year Slope on their way to Kiyomizu-dera. (the strange names for the two streets have their basis in a superstition: to stumble on Ninen-zaka brought two years of misfortune, while a fall on Sannen-zaka could result in three years of bad luck.) Here on these streets, pilgrims found small restaurants which offered food, inns which provided a place to sleep, and shops which sold Kiyomizu-yaki and Awata-yaki pottery as souvenirs of a visit to the temple, pottery made in the stepped noborigama kiles which were formerly ubiquitous on this hillside.

Pilgrims still climb these slopes, as do thousands of tourists. The narrow, two-story wood-and-plaster row houses one finds along the way once covered all of Kyoto, and although frequently destroyed by fire, they were always rebuilt in the traditional style with the shop at the front and the family living quarters behind the sales area. Normally only 26 feet wide, the buildings often extended as much as 131 feet to the rear. Some of them were two-story structures which had narrow slatted windows at the front of the second floor. Since commoners were forbidden to look down upon passing samurai or daimyo, the narrow, slatted windows helped to hide the faces and eyes of curious merchant families who dared to peer at their betters passing below. The great fire of 1864 destroyed eighty percent of Kyoto; thus, these buildings represent the latest rebuilding of the traditional cityscape prior to modern times.

Today's shops, with perhaps one or two exceptions, have modern storefronts and interiors. In the past, the shop consisted of a raised platform on which the merchant sat and perhaps even created the wares he sold. The would-be purchaser was always welcomed with a cup of tea so that a proper mood could be established before the merchant's wares were brought forth and displayed. Modern life seldom permits such polite amenities; thus, the present shops are more oriented toward a contemporary display of chinaware or whatever is currently desired by the public.

Ninen-zaka and Sannen-zaka are lined with old buildings which still serve as purveyors to the pilgrim and the tourist, although one must admit that tourists seem to be the main clientele to whom the shopkeepers now appeal. But then, weren't pilgrims of past centuries souvenir seekers as well? Here for sale are small Buddhas, iron lanterns, scarves—all the paraphernalia of an ephemeral trade which the visitor cannot resist A few restaurants tempt the famished with the variety of noodles that such Japanese establishments offer, and, of course, the soft drinks of the modern age are ever present One enterprising shopkeeper on Ninen-zaka even has a rickshaw in which one can be photographed or transported, the latter, naturally, for an appropriate fee. A few rickshaws do still exist but their day is past and those that remain appear primarily at festival times.

KIYOMIZU-ZAKA

Ninen-zaka bends gracefully, as a proper traditional Japanese street should, and it ends in a short flight of steps which leads into Sannen-zaka. In turn, Sannen-zaka also ends in a steeper set of steps which leads up to Kiyomizu-zaka (Clear Water Slope). As has been the case for the number of centuries past, pottery can be found for sale along both Ninen-zaka and Sannen-zaka, but the full panoply of chinaware is not encountered until one mounts the steps at the southern end of Sannen-zaka and enters Kiyomizu-zaka which leads uphill from Higashi-oji-dori to Kiyomizu-dera at the top of the street. Here, one can find shops that sell Kiyomizu-yaki and other chinaware. Souvenir shops line the street cheek by jowl, and the street is always crowded with visitors heading to the temple, many in groups led by their banner-waving leader. It is always a street of excitement and color in the daytime. The making of porcelain was a craft and an art that began to flourish in Kyoto as a result of the incursions into Korea in 1592 and 1597 by the Japanese troops under the command of Toyotomi Hideyoshi, the then civil and military ruler of Japan. The Koreans, of course, had learned the craft from the Chinese, and such products were appropriately summed up in one word in English-speaking countries as "chinaware." Among the prizes of war brought back to Japan in the 1590s were Korean ceramic craftsmen and artists, and a fascination with their work led in time to the development of fine Japanese porcelains. The cult of tea which developed with Sen-no-Rikyu under the patronage of Hideyoshi also encouraged the development of the Japanese ceramic craft. Once there were ten different schools or styles of pottery; today only Kiyomizu-yaki remains—and it is no longer made in Kyoto but in the outskirts of the city due to the anti-pollution laws of the last one-third of the twentieth century which have restricted industrial fires.

Once the attractions (or distractions) of Kiyomizu-yaki have been experienced, the top of Kiyomizu-zaka is reached, and Kiyomizu-dera is before one.

KIYOMIZU-DERA

The Kiyomizu-dera temple is open from 6:00 a.m. to 6:00 p.m., although a number of the temple buildings are closed after 4:00 p.m. There is an entry fee to the main portion of the complex during open hours.

The Kiyomizu-dera is one of the oldest temples in Kyoto, its establishment even predating the founding of the city. It was first founded in 788, six years before the emperor Kammu decided to move his capital to Kyoto. Legend recounts that Enchin, a priest at a temple in Nara, had a vision that he would find a fountain of pure or clear water (kiyomizu) at which he could build a temple. At the Otawa-no-taki (Sound of Feathers Waterfall) on the hillside where Kiyomizu-dera now stands, he came upon the hermit Gyoei. To Enchin's surprise, the hermit announced that he had been awaiting Enchin's arrival, and now that the priest from Nara had arrived, he could move on to a less settled area.

He gave Enchin a log of sacred wood and instructed him to carve the log into an image of Kannon, the Bodhisattva of Mercy. With that, the hermit disappeared. Later, Enchin found the hermit's sandals atop the mountain, leading him to the realization that he had been speaking with a manifestation of Kannon who had since ascended from the mountain crest. Enchin carved the image of the Eleven-faced Kannon (Juichimen Senju Sengen Kannon), and created a small, crude temple building to house the image—the beginning of the Kiyomizudera.

Kannon was obviously pleased by Enchin's act, and soon another miraculous event occurred. Sakenoue-no-Tamuramaro, the emperor's leading general, went deer hunting one day near the temple. Having shot a deer, he was immediately reproved by Enchin, who happened to come upon him with the dead animal, for, in the Buddhist faith, killing creatures is forbidden. The warrior, according to tradition, repented of his action and, as an act of contrition, had his house disassembled and given to Enchin for a proper temple building in which to house his sacred Kannon image.

Enchin's good fortune did not stop there. In 794 the emperor had his palace buildings at his capital of Nagaoka (now a Kyoto suburb) disassembled prior to the move to his new capital at Kyoto. Deciding to erect an entirely new structure, he gave his Shishin-den (Throne Hall) to Tamuramaro as a gift in recognition of his military service to the nation. Tamuramaro, in turn, gave the huge structure to Enchin as a new main hall for his temple since Tamuramaro had become a devotee of Kannon. That original building lasted until 1629, when it was destroyed by fire, and the main hall of the temple today is a reconstruction of what was originally an imperial palace building. As such, it is one of the few major Buddhist temples with a hinoki (cypress) bark roof instead of the traditional tiled roof, in remembrance of its original condition as a portion of the emperor's palace.

At the head of Kiyomizu-zaka, Kiyomizu-dera commands the top of this portion of the mountainside. On the left of the initial set of steps is a rare remainder of past times, the Uma-todome from the 1400-1550s, the horse stalls at which samurai and daimyo once left their horses when visiting the temple. By contrast, to the right of the steps leading into the temple grounds is a modern attraction, a twentieth-century solar clock.

Nio-mon To the right of the Uma-todome are steps which lead to the two-story Nio-mon (Gate of the Deva Kings) with its cypress-bark roof. Two Deva Kings (Nio) stand guard, as do two koma-inu (Korean lion-dogs), to protect the temple from the possible entry of evil forces. Alone of the many temple structures, this gateway escaped destruction in the 1478 conflagration. The twelve-foot-tall Nio on the right has his mouth open to pronounce the Sanskrit "A" while the one on the left has his lips closed so as to pronounce the "UN" sound: the two sounds, being the alpha and omega of Buddhist lore, symbolize the all-inclusiveness of Buddhist teachings.

Sai-mon A second flight of steps leads up to the Sai-mon (West Gateway), another two-story gate whose large cypress-bark roof is held up by eight pillars. The elaborately carved gateway reflects the grandiose architectural taste of the Momoyama period in which it was created in 1607. The elephant heads decorating its end beams are said to be a detail brought back from Korea after the military incursions by Japan into that country in the 1590s. Two more Nio guardians stand on either side of the passageway through the gate as additional protectors of the temple. The Shoro (Bell Tower) is to the left of the Sai-mon, and although the tower dates from 1596, its bell was cast in 1478.

Sanju-no-to The Sanju-no-to, the three-storied pagoda of 1633, rises behind the Sai-mon to the east. It is the tallest three-story pagoda in Japan. In 1987 the pagoda was repainted in the traditional vermilion for the first time in a number of years, and this has made it stand out against the weathered brown color of the other buildings of the temple. The pride of early Buddhist temples was to have their structures enhanced with the brilliant vermilion color which reflected the grandeur of their Chinese heritage.

Kyodo A series of small temple buildings follow, buildings that usually are not open to the public. The first one, beyond the pagoda, is the Kyodo (Sutra Library) which holds the sacred Buddhist texts. The building is large enough to serve as a lecture hall for the monks as well, and it contains a Shaka Nyorai as its main image with a Monju, the Buddhist deity of wisdom, and a Fugen image, the Buddhist deity of virtue, on either side. The ceiling of the Kyodo is decorated with the painting of a coiled dragon. Behind it is the jishin-in (Temple of Mercy) which is said to have been the favorite place of worship in the late 1500s for Toyotomi Hideyoshi, the military and civil ruler of Japan, and some of his belongings are still retained within.

Kaisan-do Next beyond the Kyodo is the Kaisan-do (Founder's Hall), which is also known as the Tamura-do in honor of the general who donated the Hondo (Main Hall) to Priest Enchin back in the 700s. The Kaisan-do holds four multicolored images: that of Gyo-ei, the hermit who was practicing austerities on the mountainside when Priest Enchin first appeared here; of Priest Enchin; of Tamuramaro; and of his wife Takako. These finely colored images, each 2.5 feet tall, are seated on multicolored platforms.

Todoroki-mon Next, one comes to the Todoroki-mon or Chumon (Middle Gate). Temples have traditionally had a main gateway and tiien a middle gate before one arived at the Hondo. This 1633 middle gate was given the name Todoroki-mon, "Gate Resounding to the Call of the Buddha's Teachings," due to the fact that the chants of the priests should resound to the benefit of all believers. The gate has two more Deva Kings who serve as protectors of the innermost areas of Kiyomizu-dera.

Benten-jima In the distance to the left is the Benten-jima (Benten Island). A small pond has in its center a tiny island on which stands a shrine to the Shinto goddess Benten. Most Buddhist temples have one or more Shinto shrines attached to them to offer the protection of the native Shinto gods to the Buddhist deities. Japanese religion, except in the period from 1868 to 1945, has always been able to offer reverence to the original native gods as well as the Buddhist deities who first were accepted in the early seventh century.

Asakura-do To the left, beyond the Todoroki-mon is the Asakurado, a 1633 replacement for the original building (later destroyed by fire) which was a gift of Asakura Sadakaga (1473-1512), a son of the emperor Temmu. It has an Eleven-faced Kannon with an image of Bishamon-ten (god of wealth) and Jizo (guardian deity of children) on either side. Ahead to the east is a stone with the traditional impress of the Buddha's feet and an eight-spoked "Wheel of the True Law" imprinted on the heel. Custom decrees that by looking on such a memorial footprint one is forgiven of all one's sins. In the early years of Buddhism in India, images were not created of the Buddha and bothisattvas. (A bodhisattva is an individual who can achieve nirvana but who chooses instead to remain active in this world in order to assist others toward the state of nirvana; thus, a bodhisattva serves as a living mediator between humans and ultimate reality.) In time, the influence of Hindu and Greek representations of their deities caused Buddhism to personify its sacred beings in human form. In the earliest centuries, however, before such iconography developed, the representation of the Buddha's footprints sufficed as reminders of the way of the Buddha's law.

One of the effects that the native religion of Shinto had upon Buddhism was the physical concern for purity at holy places and the need for individual purification before approaching the gods; thus, Buddhist temples, as do Shinto shrines, always have a water basin with a running fountain where one can purify one's hands (of deeds and actions) and one's mouth (of thoughts or spirit) before entering upon sacred ground. The Kiyomizu-dera fountain has been created in the form of a delightfully ferocious-looking dragon which spews forth clear water instead of the traditional breath of flame. The basin which receives the dragon's stream is known as the Owl Washing Basin from the owl motif on the foundation stone beneath the basin.

Faith, myth, and legend have a delightful way of becoming intertwined in all cultures, and Japan is no exception. The Japanese have always been attracted to tragic heroes as well as to their devoted followers, and none are better known than Minamoto-no-Yoshitsune and Benkei, Yoshitsune's faithful companion in arms. In the late 1100s, Benkei was a monk of an unusual combative nature. Much given to uproarious conduct, he was a lover of duels, and he once vaingloriously swore to fight and to defeat one thousand warriors and to deprive them of their swords. Having conquered 999 such unfortunates, he chanced upon the armed sixteen-year-old Yoshitsune, crossing the Gojo (Fifth Street) Bridge at the Kamogawa river below Kiyomizudera. He challenged this easy mark of a youngster to conflict, not knowing that the lad had been taught the art of swordsmanship by a tengu, a long-nosed goblin learned in the arts of war. Since he wished to be fair to the young man, Benkei weighted himself down with iron geta (sandals) as well as with a cumbersome sword. To his amazement, he was defeated by the youth. As a result, he pledged to become Yoshitsune's devoted companion, and thereafter accompanied the handsome, courageous, and able Yoshitsune in his many victorious battles and to his tragic end.

Benkei is remembered today at Kiyomizu-dera, for representations of his oversized geta and staff stand just before the Hondo of the temple. (the items are oversized since Benkei is said to have been almost eight feet tall.) In the latter quarter of the nineteenth century, a blind blacksmith regained his sight after repeated prayers at Kiyomizu-dera; thus, he created these versions in iron of Benkei's geta and staff as a thanksgiving offering to the temple for the return of his vision. One other remembrance of this legendary monk and his failure to win his one thousandth sword can be found at Gojo Bridge. Today a modern statue of Benkei has been placed at the western end of the bridge in a mid-traffic park. Here Benkei stands in miniature, sword in hand, ready to take on all comers as they cross the Kamogawa river as Yoshitsune once did. He stands unchallenged today, no doubt due to the heavy traffic which creates a barrier no modern Kyoto pedestrian would ever defy.

Hondo The Hondo (Main Hall), looming grandly beyond the Asakura-do and the purification fountain, is the main attraction of Kiyomizu-dera. Its original structure before the 1629 fire was the Shishin-den, the throne hall, of Emperor Kammu. The 190-foot-long by 88-foot-deep building of seven bays stands on the side of a cliff, and it is supported by 139 pillars some 49 feet tall. Its huge hinoki, hip-ridged roof rises 53 feet high and is skirted with mokoshi (smaller and lower false roofs) on its east, west, and north sides, these extra roofs providing covered, open corridors on these three sides. The Hondo's front (southern) veranda juts out by 25 feet over the valley below. This large butai (dancing stage) is flanked by the two wings of the roofed gakuya (orchestra). These two units are so named since religious music and dance took place on this veranda. A fine view over a portion of the city of Kyoto and to the south can be obtained from the platform which sits high above the valley.

The interior of the Hondo has an outer sanctuary (gejin) and an inner sanctuary (naijin). the outer sanctuary is striking in its simplicity with its plain, massive unfinished columns and unfinished floor. Some thirty wooden tablets or paintings are hung high up on the walls, and they thus enrich the simple structure. These are vodve gifts of tradesmen at the time of the 1633 rebuilding of the temple after its last disastrous fire. Among the most noted of these gifts are the four paintings of ships, three commissioned by the merchant-trading family of the Sumiyoshi and one by the Suminokura family, all from 1633-34. The Suminokura gift is particularly interesting since it shows a festival on board a ship. Represented among its figures are European sailors and an African servant or slave. It stands 8.8 feet tall by 11.8 feet wide.

In contrast to the simplicity of the outer sanctuary, the inner sanctuary of the Hondo is of great splendor. At the center of the inner sanctuary (naijin) is a sunken, stone-floored innermost sanctuary (nainaijin) where the sacred, hidden image is kept the major gold-leaf-covered images on public view stand behind vermilion wooden railings on a raised black lacquer platform with gold decorations hanging from the roof of the unit.

The primary image of the Hondo is the Eleven-faced Kannon (Juichimen Senju Sengen Kannon) said to have been carved by Enchin in the 700s. It is a hibutsu, a hidden image, which is only brought forth every thirty-three years, its last appearance being in 1977. (the number thirty-three has religious significance since Kannon is said to have taken thirty-three vows to save mankind.) This 5.16-foot-tall image is unique in that two of its arms extend over its head, its hands almost touching each other and seemingly supporting a topmost tiny Buddha image. Each of this Kannon's many hands holds a different religious symbol.

To the right and left of the Kannon's case are the Nijuhachibushu, the 28 supernatural followers of Kannon, each approximately 4.6 feet tall. At each corner of the black lacquer platform stand the Shitenno, the four Deva Kings, protecting all the images from evil. In a shrine at the east end is an image of Bishamon-ten, while at the west end is the Jizo image. These and the Kannon are said to have been carved by Priest Enchin. Pictures of these three images hang at the end of the inner shrine, so they can be seen even when their cases are closed.

Nishi-muki Jizo On leaving the Hondo and walking toward the hillside, one should bypass the grand stairway leading down to the Otowa Falls in order that the four small buildings that close the temple grounds on the east can be visited. The first of these houses the minor Nishi-muki Jizo (Westward-Facing Jizo) dedicated to the bodhisattva who protects children, travelers, and the dead. To the right of the Jizo Shrine is the thatch-roofed Shakado (Buddha's Hall). Within is a three-foot-tall smiling image of the Shaka Buddha seated on a golden lotus flower. A nimbus appears behind his head, and a magnificent lacelike aureole behind the full image is enriched with flying angels (apsaras) carrying musical instruments. On either side of the Shaka stands a thirteen-inch-tall Fugen and a Monju, the Buddhist deities of virtue and wisdom. Between the Shaka-do and its neighboring Amida-do (Amida Hall) are some 180 small Jizo images sitting under an open, roofed structure known as the Hall of One Hundred Jizo (Hyakutaijizo). One folk tale holds that bereaved parents can view these images and, if they find one that resembles their dead child, can rest assured that the child is at peace.

Amida-do the Amida-do to the south of the Shaka-do has the traditional tiled roof of Buddhist temples. The building is divided into three sections: the first portion holds many ihai, memorial tablets to the dead; the middle section holds the Amida Nyorai image which is 6.25 feet tall, its hands arranged in the mudra (the symbolic position of the hands) indicating contemplation. Amida is the Buddha of the Western Paradise, and the golden aureole behind his image has the traditional one thousand Buddha figures in relief as well as a number of larger such images also in raised relief. It was here that the doctrine of the nenbutsu (Namu Amida Butsu —Praise to the Buddha Amida) was proclaimed in 1188 by Priest Honen, thereby creating the cult of Amida and the Jodo sect of Buddhism. The repetition of this phrase insures one of being received by Amida into his western paradise after death. A special nenbutsu service takes place here five times a year.

Okuno-in The last building in this row is the thatch-roofed Okuno-in (the Inner Temple). This was the site of the original grass hut of Gyo-ei, the hermit whom Enchin came upon at this spot. Here Enchin created the rude hut that housed the three images he had carved of Kannon, Bishamon-ten, andjizo, and here later stood the house that Tamuramaro gave Enchin to replace the simple hut housing the sacred Kannon image. In front of the Okuno-in is a butai (a dancing stage similar to but much smaller than the one in front of the Hondo). Behind the Okuno-in is the Nurete Kannon (Water-soaked Kannon) image, a figure standing in a water-filled basin. It is an act of purification and piety to dip water from the basin and to pour it over the head of the Kannon.

Otowa-no-taki Below the Okuno-in, at the foot of the grand staircase bypassed earlier, lies the Otowa-no-taki (Sound of Feathers Waterfall). Water falling down the three-part waterfall is said to have a divine power which prevents illness; thus, many visitors will be seen using long, wooden-handled metal cups that enable them to reach out and partake of the curative waters of the falls. The most devout of devotees can be seen at times, clad all in white, standing under the icy waters of the falls as an ascetic practice—even in the coldest of winter weather. The deity of these falls is the Fudo Myo-o, a ferocious-looking deity who punishes evildoers. It is this Fudo, enshrined at the waterfall font, whom the devotees worship as they toss coins into the basin before drinking the sacred waters.

Jishu Shrine A most popular Shinto shrine exists right in the middle of Kiyomizu-dera Buddhist temple, a not unusual situation prior to 1868 when the government forcibly separated the two religions, often through destructive physical separation. Somehow the Jishu Shrine remained on the small hill just behind the Hondo of Kiyomizu-dera. As with many Shinto shrines, it has more than one resident god. In this case, it enshrines the tutelary Shinto god of the land on which the temple and shrine sit It also enshrines the wayward brother, Susa-no-o, of the imperial family's supposed ancestress Amaterasu Omikami.

If that were not enough, the shrine also reverences Okuninushino-Mikoto, and a statue of the god and a rabbit stand at the head of the steps leading up to this tightly packed set of Shinto buildings. The ancient Kojiki, the legendary account of Japanese history, tells of a deceitful rabbit who was punished by having its skin peeled from its body. Okuninushi is said to have taken pity on the rabbit, to have healed it, and to have led it to reform its ways; thus, they are both honored here. More important, however, and particularly to young women who can be found giggling at the shrine, is that the god of love and good marriages resides within.

The heart of the shrine is the Mekura-ishi (Blind Stones). These two stones are set some sixty feet apart. If one walks from the first stone to the second stone with eyes shut and arrives at the second stone (without opening the eyes while walking) repeating the loved one's name continuously en route, success in love and marriage is guaranteed. The unsteady walker, it is presumed, had best seek another lover. There are other alternatives for the unsteady, however, since the shrine has a most successful business in the sale of charms which can guarantee success in love, luck on examinations, easy delivery in childbirth, good luck, long life, wisdom, good fortune with money—and, just to prove that the gods are up-to-date, the shrine also can make available charms for safety in traffic. little wonder that it is a popular shrine.

Joju-in A visit to the Kiyomizu-dera between November 1 and November 10 provides a special delight, for then the garden of the superior of the temple is open to the public. The Joju-in (Achievement Temple), the superior's residence, can be reached by a path to the north of the main entrance to the Kiyomizu-dera. Originally a private temple for the emperor Go-Kashiwabara (reigned 1500-26), it is noted for its exquisite garden usually attributed to two of Japan's most noted landscape gardeners: Soami (1455-1525) and Kobori Enshu (1579-1647).

The Superior's small garden on the edge of the Yuyadani valley seems much larger than when it is viewed from the veranda and rooms of the joju-in's north-facing shoin (study). This seeming spaciousness is derived from the device of "borrowed scenery" whereby the plantings in the garden seem to merge with the neighboring hillside as though all in view were part of the garden itself. The garden is created around a pond which has two islands. A large stone in the pond, the Eboshi-ishi (Eboshi Stone), is so called from its resemblance to the formal hat (eboshi) worn by the nobility in the Heian period (794-1185); the angle of the stone suggests the head of a nobleman bowed in prayer. A water basin whose shape resembles the long sleeves of a young girl's kimono is called the Furisode (Sleeve Basin). This stone was donated to the temple by Toyotomi Hideyoshi in the 1590s. Noted as well are some of the garden's stone lanterns, particularly the one called Kagero (Dragonfly) on the larger island.

Daiko-do Returning from the Joju-in toward the entrance to the temple, one passes a series of 500 small stone Buddha images surrounded by ferns on a hillside, the images having been placed about an Eleven-faced Kannon. Further toward the western end of the grounds is the Daiko-do, the Great Lecture Hall, which was built in 1978 on the 1,200th anniversary of the founding of the temple. The Tahokaku (Tower of Treasures) of the Daiko-do has a wing on either side, and the walls of the base of the tower hold a Buddha's footprint thirteen feet long while the walls surrounding the footprint have 4,076 images of the four major Buddhas. The seventy-nine-foot-long walls about the area have an image of these four Buddhas inscribed on them: the Taho Nyorai on the north wall, the Shaka Nyorai on the south wall, the Yakushi Nyorai on the east wall, and the Amida Nyorai on the west wall. The upper hall of the tower contains some of the ashes of the historic Buddha.

The walk down the hill to Higashi-oji-dori and the bus lines can be taken by the alternative street Kiyomizu-michi, which parallels Kiyomizu-zaka one street to the south. Partway down the hill are the Kyoto Tojiki Kaikan pottery hall and the Kyoto Craft Center, where one may get Kiyomizu-yaki or other ceramic wares before leaving this center of traditional and contemporary pottery.

NISH IOTANI CEMETERY

At the foot of the hill at Higashi-oji-dori lies the entry to the Nishi Otani Cemetery. The small double bridge over the waterway has been nicknamed the Spectacles Bridge since the reflection of its semicircular arches in the water makes for a complete circle and the circles and the structure of the bridge can be perceived as a pair of spectacles. A cemetery may seem to be an unusual place to visit, but this mortuary for the abbots of the Nishi Honganji and the followers of the Jodo Shinshu sect of the great priest Shinran offers another aspect of Japanese life.

When Shinran thed on November 28, 1262, his body was cremated, and, eventually, in 1694, his remains were moved from his original burial site to a hexagonal mausoleum at the Nishi Otani Cemetery, one of the two oldest cemeteries in Kyoto. (A portion of his ashes was also placed in the Higashi Otani Cemetery of the Higashi Hongan-ji temple, which is a branch of Shinran's faith.)

Taiko-do The path over the bridge leads to the main gate of the cemetery, and once past the gateway the Taiko-do (Drum Tower) is to the left. This two-story structure has been used as place of penance for refractory monks, and here they do penance by beating a drum (taiko). Behind the Taiko-do is the Shoro, the bell tower of the complex. Ahead is the Amida worship hall, the Amida-do, with its gilt image of Amida. To the south of the Amida-do are two structures: in the modern building to the southwest a Japanese-style lunch may be obtained, and here visitors may purchase flowers to place in the mortuary building; the building to the southeast of the Amida-do contains the office responsible for receiving the ashes of deceased members of the sect

Haiden Behind and to the left of the Amida-do is a two-story gateway, and beyond it is the Haiden (Oratory), which stands before Shinran's tomb. At the Haiden, the ashes of the dead are ceremonially received by a priest in a brief religious service before committal to the mortuary hall. In 1966 the Muryoju-do (Hall of Immeasurable Bliss) was erected to the south of the Haiden. This modern, concrete structure is a repository for the ashes of members of the sect. There is a large chapel on the second floor for services, its entry wall enriched with a gold screen and a golden image of Amida. Across the open courtyard is the columbarium building where the ashes of the deceased are placed in compartments.

To the right and left of Shinran's tomb, in an area not open to the public, are the graves of the abbots of the Nishi Hongan-ji. Old trees about the area add dignity and serenity to the site.

On leaving the Nishi Otani Cemetery, one is back at Higashioji-dori. Here bus 18,202,206,207, or a taxi can be taken to one's next destination within the city.