Even though full moon is today – and it’s even a supermoon, extra close to the Earth – Japan’s traditional moon viewing ceremonies were held yesterday. And once again, I went all the way over to Matsunoo Taisha for it.
Not much has changed compared to last year, the performers were largely the same. However, I thought that the selection of shakuhachi songs was more lively this year. And the koto-shinobue duo afterward performed a great version of Amazing Grace. Pity this was in Japan, I’m pretty sure that in America, people would’ve known the lyrics and would’ve sung along.
The taiko were great and uplifting as always, but I now find that something has to be added. It’s hard to explain, but I’ll try: taiko drums are essentially just rhythm, and while you do get excited, the adrenaline doesn’t last forever. With a melody overlaid, no matter how simple, the interest can be kept up throughout the piece. This time again, the second piece was the best, it added flutes and cymbals to the drums.
This time I went alone, but I was having a nice chat with the person in the seat next to me. He didn’t drink sake or cared for the sweets that were offered, so he gave me his ticket for a second helping to both. It was very good sake; after all, Matsunoo Taisha enshrines the god of all things alcohol. Another addition this year were the food stalls outside the shrine, but even though they had some karaage (fried chicken) left when the ceremony was over, I resisted the temptation. Maybe next year.
At the end of May, I decided to explore my neighborhood and visit Hachidai Jinja, a famous shrine that dates back to the 13th century, when the whole area was very much outside of Kyoto still. In fact, the Ichijoji village (named after a temple that ceased to exist in 1335) was only incorporated into Kyoto City in 1931. But I digress.
The main deity of the shrine is Susanoo-no-mikoto, the brother of the sun goddess. While Yasaka Jinja (the shrine celebrating Gion Matsuri) is the head shrine for Susanoo, Hachidai Jinja is often called the “northern Yasaka”. Interestingly, Saginomori Jinja, which is even further north, also enshrines Susanoo-no-mikoto, but perhaps he was added to the local pantheon there a bit later.
Hachidai Jinja once had much larger precincts, but today it is fairly small. Passing through a torii, a steep slope leads to the main part, and the main hall (built 1926) lies on top of a few more steps. People come here to pray to exorcise evil spirits, for academic success and matchmaking, among other things.
The shrine is also responsible to provide protection from “directional evil”. It protects the city in particular from evil that comes from the north-east, and was once one of 12 shrines that protected the city.
Nowadays Hachidai Jinja is famous for its connection to a single event: The fight between Miyamoto Musashi and the Yoshioka clan at Sagarimatsu Pine, in 1604. At the time, the pine stood still on the shrine grounds, and it is said that young Musashi went to pray before the fight. However, he changed his mind when he realized that he should only rely upon his own strength and went into battle without prayers. The gods must have favored him regardless, since he was able to wipe out the entire clan during that night.
At the spot of the fight, the fifth descendant of the famous pine still stands to this day; at the shrine itself, the stump of the original tree has been enshrined in a glass case. Next to it, erected only in 2002, stands a statue of Musashi, imagined at only 21 years old (as he was during the fight) and holding his two swords.
It was nice to explore the history of the neighborhood, even though I wouldn’t call the shrine itself spectacular. Unfortunately, even though it is pretty high up in the Higashiyama mountains, there is no view from the precincts; for that you should visit Shisen-do temple just below the shrine. I have done that, of course, and will report about this visit in due course.
2024 is the Year of the Dragon in Japan (all over Asia, actually), and dragons are a popular motif in Japanese art. They have a special connection to Zen temples, where dragons are often depicted on the ceilings of their main halls. Since they are considered to live in water, placing their image there is a prayer for protection from fires (not very successfully, as history shows). Dragons are also thought to protect the Buddhist Dharma and to keep a watchful eye over the priests and congregation below them.
My favourite dragon painting is that of Kennin-ji, the oldest Zen temple in Kyoto, founded in 1202. In contrast, the painting was only created in 2000, so it has a very vibrant and modern feel to it and provides a stark contrast to the old temple hall. Here it is:
It’s actually two dragons intertwined instead of only one; one of them with mouth closed, the other one with mouth open, reminiscent of the guardian lions that can be found at many temple and even shrine entrances. They seem to fight over one single ball of treasure, which one of them holds proudly in a 5-clawed paw, something that is rare in Japan. Most dragon paintings here have only 4 or even just 3 claws, the use of the 5-clawed dragon was reserved for the Chinese emperor.
Anyway, the painting is stunning and whenever I go there, I spend some time sitting down and following the bodies of the dragons, trying to find all the parts and figuring out to which dragon they belong. Sadly, Kennin-ji has become very touristy (I remember when I first visited it, there was nobody there), so it’s less peaceful than it once was 10 years ago.
Sorry for not writing yesterday, I was out all afternoon and came home soaking wet after dark. But since it’s a holiday today (Sports Day), I had some time for a recap. As you may know, thanks to WUIK, I count as “member of the press” and so I got a preview for the special exhibition “All About Toji” that started today. The preview lasted four hours, and it was worth every second, despite all the rain. Below are my impressions and some photos I took yesterday.
From 794, Toji, the “Western Temple” and its 5-story pagoda marked the entrance to Heian-kyo, the then-new capital of Japan. Today it still stands (unlike its sister temple to the east) just south of Kyoto station, and this month, it celebrates the 1200 anniversary of Shingon Buddhism.
The monk Kukai, after his death revered as Kobo Daishi, was given Toji temple in 823 and expanded it greatly. He also oversaw the construction of several buildings, among them the pagoda that is now a landmark of Kyoto. Although there are several large temples in Kyoto affiliated to Shingon Buddhism, Toji remains the headquarters of Shingon Buddhism to this day.
Sadly, most of the temple’s original buildings were destroyed one time or another by earthquakes, typhoons, or fires. They have been rebuilt, however, sometimes even according to old plans, and many now count among Japan’s National Treasures.
The preview started out with a short press conference in a building adjacent to the abbot’s quarters. While it looks fairly recent outside and has a lovely garden, I was taken by the modern paintings on top of the fusuma. They reminded me of Insho Domoto, but were actually by a contemporary artist called Taisuke Hamada.
We were then free to walk the temple grounds. First stop: The Miedo, aka Daishi-in, which was originally the residence of Kobo Daishi, even though the current building is from 1390. Instead of a Buddha, it has a statue of Kobo Daishi; people come and worship him all the same.
The Homotsukan temple museum is home to temple treasures. This time, letters from Kukai are on display, as well as letters from emperors to the temple and some treasured mandala. For me, however, the most spectacular exhibit was on the second floor: an enormous 6m-tall statue of Kannon, Goddess of Mercy, with her 1000 arms. The statue was once housed in another building, but was greatly damaged when a fire destroyed the hall. It took years to reconstruct her, and one can only imagine how impressive it must have looked like before the fire.
The sub-temple Kanchin-in was home to the temple’s guest house, built in 1359. It is a very large complex with interlocking building and boasts wall paintings by one of its famous guests: Miyamoto Musashi. The eagle painting shows its age, but the bamboo still looks fresh. I liked the little gardens that are fit between the buildings, and in a more modern part that has several tearooms, there were more paintings by Taisuke Hamada, this time depicting seasonal scenes.
The main part of Toji Temple consists of three buildings in a large garden: The Kodo Lecture Hall was established by Kobo Daishi in 825; the current building is from 1491. Inside is an unusual three-dimensional mandala with 20 Buddhist statues, also created by Kobo Daishi and all centred around a seated Dainichi Nyorai. Personally, I prefer the statues of the so-called Wisdom Kings, they are much more dynamic in expression and posture than the serene seated Buddhas.
Three Buddhas make up the entire interior furnishings of the Kondo Main Hall, just south of the Kodo, which was commissioned by Hideyori in 1603. It shows the distinct architectural style of the Momoyama period.
The 5-storied pagoda is the symbol of Toji Temple and one of Kyoto’s landmarks. The current one is from 1644, built under the 3rd Tokugawa Shogun, Iemitsu. Its shock-absorbing construction is said to have inspired similar designs used in Tokyo’s Skytree. On the ground floor, are four seated Buddha statues, each facing a different cardinal direction. The interior of the pagoda is covered in colourful patterns and paintings, in stark contrast to its dark and sombre exterior. I wonder what the other floors may have inside, but these are off limits at all times.
Finally, there were two more exhibitions of beautiful close-up photographs of statues and buildings of Toji temple which I greatly admired – I wish I could take photos like these. There were also two brand-new mandalas by a contemporary artist, which, to be honest, I didn’t find that good, but they were dedicated to the temple on this day.
For me, the best things were the Kannon statue, the 3D mandala and the interior of the pagoda as well as Kanchiin House as a whole. It was my first time entering the buildings of Toji Temple and I can wholeheartedly recommend it!
If you’re in Kyoto this October, do take the time to visit this exhibition “All About Toji” where you can see all this with a single ticket and a special audio guide in English.
It was full moon last Friday, and because this harvest moon is considered the most beautiful in Japan, there are moon viewing parties at many shrines and temples in Kyoto. This time, my friend from Tokyo joined me for the kangetsu at Matsunoo Taisha all the way out in the Western part of Kyoto.
It started off with a fairly short religious ceremony with prayers and a dance ritual by a miko shrine maiden. These dances are meant to attract the gods to the shrine, so they can take part in the ceremony and can later enjoy the performances that are put up for the gods (and earthly visitors as well). While those can vary and include martial arts or theater for example, at Matsunoo Taisha, visitors usually are treated to concerts for moon viewing.
First, there was a shakuhachi – bamboo flute – concert. I like shakuhachi very much, and they do have a plaintive sound that is essentially built-in. Still, I felt that the music wasn’t chosen well, it felt more appropriate for a slumber party, and that’s not the point of moon viewing. Something more upbeat would have suited the occasion better; surely there must be fun modern pieces for shakuhachi as well.
Afterwards, a koto & shinobue duo came on stage, and the mood lightened considerably. As I’ve explained before, koto is a zither-like instrument, and the shinobue is also a bamboo flute, but much smaller and with a higher pitch. The combination was fun and light-hearted, exactly what my friend and I expected.
At last, the main attraction and the reason why we went all the way out to Matsunoo Taisha in the first place: Wadaiko drums. I had planned this the moment I found out that one of the Bati-Holics (lead singer Nakajima) would perform with his students, and I was not disappointed. Altogether there were five groups performing one song each, and finally, there was some power behind the music, literally.
By then, the moon had risen over the dance stage and the shrine was packed with fans and friends of the players (mostly female laypeople except for the teachers) and the atmosphere was very lively, as always when taiko are involved. The free cup of sake did help too, I’m sure. Of the five pieces, one of them stood out to both my friend and me, and we were later told by the owner of the taiko school who organizes these concerts every year that it was his wife’s song (sorry, Nakajima-san).
We skipped the haiku contest at the end, but it was a lovely night just as well. The weather was pleasant, and even though I only got home past 11, I didn’t need the jacket I brought. My friend was also glad she came; it was her very first traditional moon viewing in a shrine. Things are indeed very different in Kyoto and Tokyo…
At the cemetery of Kurodani temple (the official name is Konkai Komyo-ji) is this unique Buddha statue.
It is called the Gokoshiyui Amida Statue, but, for obvious reasons, it is better known as the “Afro Buddha”. The story goes that this Buddha had such an incredibly long period of training/meditation that the hair grew to this size and shape.
And indeed, the name “Gokoshiyui” can be translated to “5 kalpa thought”, where a kalpa is an aeon, an incredibly long time. Interestingly, while there are definitions of the length of a kalpa in Hinduism (4.32 billion years), Buddhism prefers to use analogies rather than explicit numbers. Wikipedia states that in some definitions, a regular kalpa is 16.8 million years, and there are small, medium and great kalpas as well, the last one being about 1.3 trillion years.
I guess after such a long time of meditation, you can be excused for having a bad hair day. His face also has a wonderful, serene expression, and I wonder what stories he might tell…
Tomorrow, the Aoi Matsuri is taking place, the first of Kyoto’s three big festivals. For the first time in 4 years, a parade will leave the Imperial Palace, visit Shimogamo shrine, and then go on to its final destination, Kamigamo shrine. Of the 500 or so people taking part in the parade, the Saio-dai, who rides in a special palanquin, is the heart of the Aoi Matsuri. These days, she is chosen from among the best families in Kyoto, but in ancient times, she was a daughter of the reigning Emperor.
The practice of sending an Imperial Princess as priestess to Ise shrine started – according to the ancient Nihongi, whose accuracy is doubtful – around the year 92 BCE. The Nihongi states that at that time
“The gods Amaterasu and Ōkunidama were formerly both worshipped in the Emperor’s Palace Hall. But the Emperor Sūjin was frightened of having so much divine power concentrated in one place. Accordingly, he entrusted the worship of Amaterasu to the Princess Toyosuku-iri, bidding her carry it out in the village of Kasanui in Yamato.”
Subsequently, Amaterasu expressed a desire to be moved to Ise.
Becoming a so-called Saigu at Ise shrine was more involved than a mere appointment, at which time the Saigu was around 12 years old. The preparations and purifications took three years, during which the maiden lived at Nonomiya shrine outside of Kyoto in today’s Arashiyama. Only when she was properly prepared, was she allowed to return to the Palace for one last time. There, she received the “Comb of Parting” from her Imperial father, whom she would never see again. This is because her office lasted until
the Emperor died or resigned
the Saigu died or became disabled
either one of her parents died
or ceased to be a virgin (or worse, became pregnant).
Once Buddhism was introduced from China in the 8th century, it quickly took hold at the Imperial Court. However, Ise shrine was the centre of Japan’s Shintoism, and in order not to offend the old gods, a number of interesting speech taboos were imposed upon the Saigu and everybody else in her retinue. For example, Buddha was called “The Centre”, priests “hair-long”, and temples became “tile-covered places”. Other words with changed meaning revolved around death (recovery), tombs (earthen heaps), illness (taking a rest), and blood (sweat).
The tradition of sending a Saigu to Ise shrine ended in 1342, however, even today, Imperial Princesses take an important role in the worship of Amaterasu at special ceremonies.
The Saio or Saiin – the Imperial Princess serving at the Kamo shrines – was modelled after the Saigu of Ise. It is said that during the Kusho War between the Saga and Heisei Emperors, the former prayed to the gods of Kamo. He promised to send a daughter to the shrines if he would win the war. Subsequently, the first Saio was sent to Kamo in 818, and the practice continued until 1204.
In Kyoto, Aoi Matsuri is the largest festival connected to the Saio of the Kamo shrines. However, in October, the Saigu Gyoretsu Procession at Nonomiya shrine re-enacts the sending of a Saigu to Ise shrine, as she travels through the famous bamboo forest and purifies herself in the river.
Both festivals are unique to Kyoto and provide a fascinating glimpse into times long past. Definitely worth watching!
In the north of Kyoto lies Daitoku-ji, the “Temple of Great Virtue”. It is not one single temple, but rather a sprawling complex of 22 subtemples located on 27 hectares of land. Daitoku-ji belongs to the Rinzai sect of Zen Buddhism, and in fact it is the headquarters of its own branch of Buddhism.
It was founded around 1315 by the monk Daito Kokushi with imperial support as a small monastery. Like many buildings in Kyoto, the temple was destroyed during the Onin Wars of the 15th century but was rebuilt later. Therefore, the main buildings of Daitoku-ji – altogether National Treasures – date back only to the 15th century.
The main buildings of the temple are the vermilion Sanmon Gate, the Buddha and Dharma Halls, the Abbot’s Quarters, as well as a Bathhouse and a Sutra Library. In front of the Sanmon Gate lies the Chokushimon (Imperial Messenger Gate) that was moved here from the Imperial Palace.
These buildings, although they are not usually accessible, can all be viewed from the main path that leads through the temple and is lined with large pine trees. Smaller paths lead to the gates of the different subtemples that are all more or less independent and were added to the complex over time, often founded by noble families.
Daitoku-ji saw a boost in prominence in the late 16th century when Hideyoshi donated land and money and had the remains of Oda Nobunaga and his closest family buried in the specially founded subtemple Soken-in. I’ve posted about Soken-in before, to my mind it’s not the most exciting of all the temples of the complex.
Daitoku-ji is also connected to tea master Sen-no-Rikyu, who had the vermillion Sanmon Gate renovated. A popular story has it that he placed an image of himself in the second floor of this gate, which enraged Hideyoshi so much that he ordered him to commit seppuku.
To this day, the whole temple complex is a living monastery, where monks learn, teach, and practice Buddhism. Therefore, many of the subtemples are generally not accessible to the public, except for short viewings during select times.
One of the most important subtemples is Shinju-an, which was founded in 1491 in memory of Ikkyu Sojun, who was essential for the rebuilding of Daitoku-ji. He was a rather eccentric priest, and Shinju-an treasures his memory with fusuma paintings by contemporary artists. It is also the place where the fathers of modern Noh, Kan-ami and Ze-ami, are buried.
The subtemple Daisen-in is one of the most important Zen temples of all Kyoto. It has fusuma paintings by Zen monk Soami, but the important thing to see is the dry landscape garden that stems from the Muromachi era. It depicts the Chinese idea of paradise, and its pebbly waters flow all around the main hall.
Juko-in is the family temple for Sen-no-Rikyu and his descendants, and thus plays an important role in Kyoto’s tea world. All the heads of the three main family branches of tea ceremony are buried here. Juko-in is also famous for its16th-century fusuma paintings by Kano Eitoku.
Most of the subtemples of Daitoku-ji hold important treasures of Japanese history, may it be their buildings themselves, their fusuma paintings, or Buddhist statues or other relics. While they may seem all alike to the casual observer, it is worth looking at the little details that make all the difference.
As mentioned, the subtemples are only accessible at select times. On most days, 2-4 subtemples are open to the public. Daisen-in, Zuiho-in, Koto-in, and Ryogen-in are open throughout the year, many others for short periods in spring and autumn or during special occasions. This makes Daitoku-ji one of the quieter places to visit in Kyoto and fun to explore.
Daigo-ji lies a bit off the beaten tracks in Fushimi, but for those who like everything super-sized, this is the perfect place to go in Kyoto: On the precincts of 300 hectares (mostly forest of Mt. Daigo) 80 different species of birds can be found, 1000 cherry trees, and more than 100,000 artefacts are kept in the temple’s museum. Many of its 80+ buildings are designated as National Treasures, and the 5-story pagoda is the oldest building in Kyoto. I went a day after it snowed in Kyoto, which makes for especially beautiful photos. The road to Kami-Daigo was still closed, but I probably wouldn’t have attempted it anyway, it’s too long a hike…
This temple dates back to 874 when the monk Shobo (posthumously named Rigen Daishi) built a small hermitage close to a well on Mt. Daigo. This part of the temple near the mountain top is nowadays known as Kami Daigo, and three successive emperors donated buildings there. Emperor Daigo moved here after his retirement, and after his death (when he was named after the temple in which he had lived for many years), the pagoda was completed at the foot of the mountain (Shimo Daigo) in 951 in his honour.
Unfortunately, the 15th-century Onin War destroyed most of the buildings of Daigo-ji. However, since the temple’s head priests managed to maintain good relationships to whomever was in power at the time, the temple was rebuilt several times and continued to grow through the centuries. When Hideyoshi came to power, Daigo-ji received his special patronage. He restored the Sanboin (originally from 1115) and had 700 cherry trees planted.
In the Edo period, Shugendo yamabushi began practising at Daigo-ji, and to this day, part of their training and worshipping consists of long, meditative walks around the temples’ precincts. The temple’s prosperity declined during the anti-Buddhism movement of the Meiji period. However, dedicated head priests could preserve the precincts and the numerous temple treasures until today.
As mentioned above, the vast precincts of Daigo-ji can roughly be divided into three parts. The Sanboin-Reihokan area lies directly behind the Somon main gate of the temple. The Sanboin on the left side is the former residence of Daigo-ji’s head priests. Just inside the gate is an enormous cherry tree called “Taiko Shidarezakura” that is 160 years old. The Sanboin itself was founded in 1115, but the current building dates back to 1598, when it was reconstructed and enlarged for Hideyoshi’s famous hanami party. The beautiful Karamon gate with golden imperial chrysanthemums and Hideyoshi’s own paulownia crest on black lacquer is a National Treasure.
So is the Omote Shoin, the main drawing room of Sanboin. It is constructed in three parts, each one a bit higher than the previous; the lowest part can be used as a Noh stage when the mats are removed. From the Omoto Shoin, the whole garden can be seen, a masterpiece of Momoyama garden designs, created by Hideyoshi himself. The main hall of Sanboin with a Buddha statue and statues of Kobo Daishi and Rigen Daishi that lies a bit to the back is not usually open to the public.
Opposite the Sanboin lies the Reihokan, the temple’s museum. Opened in 1935, it is home to over 100,000 Buddhist statues, paintings, and other artefacts. Around 75500 National Treasures are collected here and trace the history and culture of Daigo-ji back to its beginnings. There are special exhibitions in spring and autumn.
On passing through the Niomon Gate (erected 1605; the Nio statues are from 1134), visitors enter the Garan or main temple area. Here lies Daigo-ji’s Kondo or main hall, with a statue of Yakushi Nyorai, the Buddha who heals illnesses. Both kondo and the pagoda nearby are National Treasures.
Opposite lies the famous Goju-no-to, a five-story pagoda that stands 38 meters tall. Built between 936 and 951, it has survived wars, earthquakes, and fires, and is now Kyoto’s oldest building. On the first floor are culturally significant wall paintings, but the building is not usually open to the public. Interestingly, the special construction of this pagoda makes it almost automatically earthquake-safe, and it inspired the similar construction of Tokyo’s Skytree.
Further uphill lies the Kannondo, which is the 11th temple of the Saikoku 33 Kannon pilgrimage. It enshrines a Juntei Kannon that is said to grant wishes to have children. Next to it is the Bentendo hall for Benten, the goddess of music. While this may not be the most culturally significant building of Daigo-ji, its beautiful colours mirrored in the pond easily make it the most photogenic one.
Beyond the Bentendo and its pond and garden lies the third part of Daigo-ji, called Kami-Daigo. It takes about one hour to reach it, but the views from the top of the mountain are certainly worth the hike. Furthermore, Kami-Daigo is the oldest part of the temple, and most of the buildings there are National Treasures or Important Cultural Properties. Among them is Daigo-sui, which marks the spot of Rigen Daishi’s original hermitage. The Kaisando from the Momoyama period (1606) is the largest building on Mt. Daigo. When it was first built in 911, it was dedicated to Rigen Daishi, and his statue there is from the Kamakura period.
The vast precincts of Daigo-ji make this temple a great place for hikers and people who like to explore on their own. Since Kami-Daigo takes a while to reach on foot, it does not see many visitors throughout the year, but the other areas at Shimo Daigo can get quite busy during hanami and the autumn colours.
This is one of the 24 subtemples of Daitoku-ji, one of the headquarters of a branch of Rinzai Zen Buddhism. Soken-in dates back to 1583, when it was established by Toyotomi Hideyoshi as the mortuary temple for Oda Nobunaga, who dies one year earlier in what is known as the Honno-ji incident.
Soken-in’s main hall holds a lacquered statue of Nobunaga that was created at the temple’s founding. The seated lord is 115 cm tall and wears ikan-taito courtdress. He looks down upon visitors with inlaid eyes and has a somewhat haughty expression on his face.
At the back of the temple lie the graves of Nobunaga and some of his sons and family members, or rather: one of Nobunaga’s “graves”. After he had committed suicide at Honno-ji in 1582, the temple was burned to the ground and destroyed the body. Thus unable to properly cremate his lord, Hideyoshi had two life-sized statues made from agarwood. One of the statues is the one mentioned above, the other was cremated in lieu of Nobunaga’s body and put into the grave at Soken-in. Agarwood is very fragrant, and contemporary sources tell how the smell from the burnt wood hung over Kyoto for days. To this day, there is a grand Buddhist ceremony on June 2nd, the day when Nobunaga died.
As can be surmised from the fact that Soken-in has no less than 3 tea houses, there is a strong connection to tea ceremony as well. The founding abbot, Kokei Sochin, was the Zen-master of Sen-no-Rikyu, who is revered as the one who perfected tea ceremony as we know it today. Coincidentally, Rikyu’s own mortuary temple, Juko-in, is just next door. In 1585, Hideyoshi held one of his large tea gatherings in Soken-in, where he prepared tea with his own hands. And there is also a chasenzuka, a memorial mound for tea whisks. Sadly, the yearly ceremonies to give thanks to used tea whisks were stopped already before the pandemic and are unlikely to return.
Unfortunately, many of the temple’s buildings are not original. After the Meiji Restoration of 1868, there was a movement to abolish Buddhism, and many of the buildings were destroyed, and only restored in the 1920s; the main hall being from 1928. This gives the temple, especially its front garden and the grave site, a modern, almost cold appearance.
Nevertheless, there are still original features from the 16th century, and they can be found on the temple’s boundaries, literally. The main gate dates back to 1583, as well as the beautiful bell tower that lies just outside the precincts and is an Important Cultural Property. In contrast, the earthen wall surrounding the temple doesn’t look extraordinary at all. However, it is in fact two walls built next to one another with a hollow space in between and a roof on top. This unusual construction has earned it the name “mother and child wall”.
So, is Soken-in worth a visit? I think Nobunaga’s statue is beautiful, and if it’s true that it resembles him closely, it is interesting to see. But since the buildings and grounds are fairly recent, and there is o typical Zen garden, Soken-in lacks this peaceful ambience I am looking for in a temple. The tea houses are nice too, but overall, Soken-in is not the most picturesque temple of Daitoku-ji.
It’s getting a bit late here, so I’ll add pictures tomorrow. 😉
