京都

ROUTE 43. KYŌTO. ENVIRONS: IWASHIMIZU, ATAGO-YAMA, RAPIDS OF THE KATSURA-GAWA, UJI. Kyōto, also called Saikyō. Hotels.-*Kyōto Hotel, also called Tokiwa, in Kawara-machi; *Yaami, fine view; Nakamura-ya, also called Niken-jaya. Japanese Inns.-Ikeshō, Kashiwa-tei, in Kiyamachi; Chakyū, near E. end of Sanjō Bridge. Japanese Restaurants.-Takemura, Hachishin. Religious Services.-Presbyterian, every Sunday morning in the library of the Dōshisha; Roman Catholic Church, close to the Kyōto Hotel. Theatres and other places of amusement, in Shin Kyōgoku; two theatres in Shijō Kawa-Higashi. Telegraph and Post Office, in Sanjō-dōri Higashi-no-Tōin. Kyōto is noted for its pottery and porcelain, its embroideries, cut velvets, and brocades, its bronzes, and its cloisonnés. The following shops may be recommended:- Pottery and Porcelain.-Kinkō-zan, at Awata, where manufacture on a large scale for export is carried on; Nishida, at Gojō-zaka. There are many other manufacturers and dealers in Kiyomizu and at Gojō-zaka, but they work mostly on a small scale. Embroidery, Velvets, and Mercery.-Takashima-ya, Orimono-Gwaisha, Nishimura, Dai-maru, Ono (in Karasu-maru Shichijō). Bronze, Cloisonné, and other Metal-Work.-Shōjōdō (Jōmi), in Teramachi Shijō-sagaru; Kanaya Gorosa; Namikawa, at Shirakawa-bashi (cloisonné only). Curios (especial bronze, cloisonné, and porcelain).-Boeki-Gwaisha, Kyūkyōdō, Takada, and Hayashi, at Furumon-zen; Ikeda, at Shimmonzen. The street called Manjuji-dōri is almost entirely occupied by curio-dealers of the more old-fashioned sort. Lacquer.-Nishimura, in Teramachi. Bamboo-Work.-Wada, in Kiyamachi. Fans and Toys.-Nishida, at Higashi-no-Tōin Shichijō; Misaki in Shichijō-dōri Yanagi-no-Baba.

原資料 p. 325

The Mikado's Palaces (Gosho and Nijō no Rikyū), together with the Imperial villas (Katsura no Rikyū and Shugaku-in), are unfortunately no longer open to the general public. Permits can be obtained only by visitors of distinction, and by those bearing personal recommendations to the Minister representing their country. The same permit admits to all four, and none who are so favoured should omit to make use of the privilege, at least to the extent of visiting the two Palaces. Kyōto's other greatest sights are the San-jū-san-gen-dō, Nishi Hongwanji, Kiyomizu, Gion, and Chion-in temples, in addition to which at least one of the celebrated landscape gardens-say Kinkakuji or Ginkakuji-should be visited, as they are among the most characteristic products of Japanese estheticism. The best general view of Kyōto is to be obtained from a hill called Shōgun-zuka close to

原資料 p. 325

‘ Maruyama on the E. side of the city, 14 hr. excursion from the Kyoto Hotel. Maruyama itself, Kiyomizu-dera, and the Yasaka Pagoda also afford good general views. No one visiting Kyoto at the proper season should fail to see the Miyako-odori, a kind of ballet given every evening from 5 to 11 o’clock at Hanami-koji, near the Gion-za Theatre, entrance 50 sen, 1st class. The performances generally begin in mid-April, and last till early in June. Furthermore, no one having money in his purse should fail to visit the shops, which are perhaps the most attractive in Japan. Though a superficial acquaintance with Kyoto may be gainedin a couple of days, at least a week is necessary to form an adequate idea of its manifold beauties. Owing to the gradual shrinking of the city in modern times, many of the best sights are some distance away in the country and much time is spent in going from one to another by jinrikisha. The following is offered as a sketch of the order in which the various sights of “Kyoto may best be visited. Careful sightseers will scarcely be able to see all that we have crowded into one day for the guidance of such as are pressed for time; but they can* resume next day at the point where they left off, as the order follows regularly round the points of the compass, beginning with the north central portion of the city :— Ist Day.—The Mikado’s Palace, —even a passing glance at the exterior is better than nothing— Kitano Tenjin, Hirano Jinja, Daitokuji, the Shinto shrine of Ota Nobunaga, Kinkakuji, Toji-in, Omuro Gosho (if rebuilt and open to the public, which is doubtful, as it now ranks among the Imperial Palaces), Uzumasa, Seirytiji, Arashi-yama.

原資料 p. 326

2nd Day.—The Nijo Palace (the exterior in any case), Katsura-noRikyu, Toji, the Inari temple at Fushimi, Tofukuji, San-ju-san-gendo, Daibutsu. : Route £3.— Kyoto. 8rd Day.—Kenninji, Nishi Otani, Kiyomizu-dera, the Yasaka Pagoda, Kodaiji, Shogun-zuka, Maruyama, Higashi Otani, Gion, Chion-in, the Awata Palace. ' 4th Day.—Nanuzenji, Hikwando, Kurodani, Shinnyodd, the temple of Yoshida, Ginkakuji, ShimoGamo, Kami-Gamo, Shugaku-in (for those provided with the necessary permit). : 5th Day.—Iwashimizu. 6th Day.—Atago-yama. 7th Day—-The Rapids of the Katsura-gawa. 8th Day.—Uji. 9th Day.—Hiei-zan. History and Topography. — From the earliest ages, the seat of the Mikado’s rule was generally in the province of Yamato; but owing to the ancient custom of not continuing to inhabit the house ofa deceased parent, the actual site was usually changed at the commencement of each reign. At the beginning of the 8th century the capital was established at Nara, where it remained until A.D. 784, when the reigning sovereign Kwammu moyed to Nagaoka, a spot at the foot of the hills about half-way between Yamazaki and Arashi-yama in the province of Yamashiro. In 793, he selected a fresh site at the village of Uda in the same province, and transferred his Court thither towards the end of the following year.

原資料 p. 326

Tn order to conciliate fortune, he is said to have bestowed on his new capital the name of Heian-j6, or the City of Peace; but this never came into use as the common designation of the city, which was spoken of as Miyako or Kyoto, the former being the Japanese, the latter the Chinese word for ‘capital city.’ When first laid out, the site measured nearly 8m. from K. to W., and about 3 m. from N. to8.- The Palace, which occupied about one-fifteenth of the area, was situated in the centre of the N. side, and a fine street 280 ft. wide led from the great gate down to the 8. gate of the city. Nine wide streets, called. Ichi-jo, Ni-j5, San-j6, and so on up to Kujo, intersected the city from E. to W., the widest of these. measuring 170 ft., the narrowest somewhat Jess than half. Similar streets crossing them at right angles ran from N. to 8., and between them at equal distances were lanes each 40 ft. in width. A double ditch, backed by alow wall with a gate at the end of each principal street, surrounded the whole of this huge square. In 1177 the Palace was destroyed by fire, and three years later the seat of government was removed by the all-powerful Minister Kiyomori to Fukuwara, the aa

原資料 p. 326

> The Mikado’s Palace. modern town of Hydégo. The Court, however, soon returned to Kyoto, where it remained stationary until 1868. Both the city and the Palace have repeatedly fallen a prey tothe flames, and as often been rebuilt, as far as possible in the original style. The present Palace was built after the great fire of 1854. Since the foundation of Yedo in 1590, Kyoto gradually declined in size and importance. Its population is only half of what the city is estimated to have held during the Middle Ages; and from Shichi-jO-dori southwards, what once were busy thoroughfares are now laid out in market gardens. Kyoto stands on the Kamogawa, which, for the greater part of the year, is a mere rivulet meandering over a wide pebbly bed. On the 1. bank of the river are the suburbs of Awata and Kiyomizu. The town of Fushimitothe 8. may also he accounted a suburb. The chief modern addition to the topography of Kyoto is, besides the line of railway, the Lake Biwa Canal which connects the neighbouring large lake with the Kamoguwa, as described in Route 44. The nomenclature of the Kyoto streets, apparently complicated, is in reality quite simple, being founded on areference to the points of the compass and to the lay of the land which is slightly bigher on the N. than on the 8. ‘hus the expression Shijo-dori Teramachi Higashi iru signifies that portion of the Shijo or Fourth Thoroughfare which lies a little to the HE. of the Hast and West intersection of that thoroughfare by Teramachi. Teramachidori Shijé sagaru signifies the portion of the North and South Thoroughfare called Teramachi lying a little to the South of the intersection of that thoroughfare by ShijO-d6ri, the term sagaru, to ‘descend,’ being naturally applied tothe South, as agaru, ‘to ascend,’ isto the North.

原資料 p. 327

The Janes mentioned higher up are called KG i, whence such addresses as Yeramachi-dori Ane-ga-K6ji, which means, ‘ Ane Lane’ off the Teramachi Thoroughfare.’ Some curious artificial scars or clearings will be observed on carefully scanning some of the pine-clad hills near the city. In these clearings it is that bonfires are lighted every 18th August at the: close of the Bon festival (Feast of Lanterns). The most conspicuous of these marks is what is called the Dai Monji, or ‘Chinese character for Great, which is written thus, It is situated to the N.E. of the city. To the N.W. is the Hidari Dai Monji, ov ‘Character for Great reversed,’ thus , the difference between the two, though slight to European eyes, being instantly perceptible toany Japanese. ‘There are Several more of these marks which the guide will point out. The Mikado’s Palace (Gosho). This large mass of buildings covers an area of nearly 26 acres. It is Wn WQS 289° confined within a roofed wall of earth and plaster, commonly called the Mi Tswiji, and has six gates. The open space between the wall and the Palace was formerly covered with other lesser buildings in which the Kuge, or Court Nobles, resided. It is now cleared and open to the public, and in the S. E. corner of it is a Bazaar (Hakubutsu-kwan) open every year in spring. Visitors are now admitted into the Palace through the Mz Daidokoro Gomon, or Gate of the August Kitchen, and are first shown into an ante-chamber where they sign their names in the Palace book. From there they are led into the Seiryoden, or Pure and Cool Hall. Tt is so called froma small brook which runs under the steps. to these Japanese palaces will probably think the term ‘ cool’—not to say ‘ chilly” and ‘ draughty ’—most appropriate.

原資料 p. 327

Splendid as is the art displayed, no attempt was ever made towards heating or towards anything which we should call comfort. The Seiryoden faces B., and measures 63 ft. by 464 ft. Originally this suite of apartments was the ordinary residence of the sovereign; but in later times it was used only on the occasion of leyées and important Shinto festivals, such as the worship. of the Four Quarters on the morning of New Year’s day. In one corner the floor is made of cement, on which earth was strewn every morning, so thatthe Mikado could worship his ancestors on the earth without descending to the ground. The papered slides are covered with extremely formal paintings by Tosa Mitsukiyo. Observe the Mikado’s. throne, a sort of catafalque with exquisite silk curtains of white, red, and black, the actual seat being a fine mat. The wood of this, as of all the buildings, is chameecyparis (inoki), the same species as is used for the construction of Shinto temples. The crest everywhere displayed is the sixteenpetalled chrysanthemum. The roofing is of the kind termed hiwadabuki—a kind of thick shingling— The foreign visitor ———

原資料 p. 327

290 tiles appearing only on the very ridge. The empty sanded courts, the white plaster, and the red pillars of the walls give to the Palace a peculiar aspect of solemnity, almost of oppressiveness. Everything, even down to minutiae, had its name, its function, and was never changed. For instance, the two clumps of bamboo in front of the Seiryéden have each a name handed down from hoary antiquity, one being the Kanchikw, the other the Go-chiku, appellations derived from Kan and Go, two kingdoms in ancient China. From the Seirydden the visitor is conducted to the Shishinden, which faces S. and measures 120 ft. by 634 ft. The name Shi-shin-den is explained as follows: shi is purple, the true cblour of the sky or heavens; shin denotes that which is mysterious and hidden from the vulgar gaze; den is simply ‘hall.’ This Building was used for the enthronement of the Mikado, for the New Year’s Audience, and other important ceremonies. The large paintings in the panels of this hall represent Chinese sages. The originals were painted in A.D. 888 by the famous Kose-no-Kanaoka; but they were destroyed long ago, and the present pictures are merely copies of copies. The throne (Mi Chodai), though quite modern, is interesting. The stools on either side of it are intended for the Imperial Insignia,—the sword and the jewel. The pattern on the silken curtains is meant to represent the bark of an aged pine-tree. Observe that the Mikado sat on a chair in this instance, admitted to an audience. A flight of 18 steps leads down into the court. These correspond in number to the original series of grades into which the Mikado’s officials were ‘divided.

原資料 p. 328

Those who were not entitled to stand on the lowest step were called ji-ge, or ‘down on the earth,’ to distinguish them from the ten-j6bito, or ‘persons who ascend into the hall.” On the 1. is a cherry-tree called Sakon no sakura. When the Emperor Kwammu first built the as did all those here Toute 43.,—Kyito. palace, he planted a plum-tree in this position; but it withered away, and the Emperor Nimmyd (834 to 850) replaced it by a cherry-tree. The present one was transplanted hither thirty years ago. On ther. side is the Ukon no tachibana, a wild orange-tree, also a relic of ancient custom. Sakon and Ukon were the names of ancient ranks, and the application of them to these trees may be compared. to the knighting of the Sirloin of Beef by Charles II. A corridor leads from the Shishinden to the O Gakumonjo, or Imperial Study, where the Mikado’s tutors delivered lectures, and where courts were held for the cultivation of poetry and music. The decoration of the sliding screens in this suite calls for special notice. Most of the rooms, as will be noticed by those acquainted with the Japanese language, take their names from the subjects delineated in them. The wild geese in the Gan no Ma are by Renzan (Gantoku), d. 1859; the screens of the Yamabuki no Ma are by Maruyama Oryt; the chrysanthemums in the Kikwno Ma, by Okamoto Sukehiko. The three rooms which form the audience chamber, called respectively Gedan, Chidan, and Jodan, are decorated with Chinese scenes. The wooden doors in the corridor are by Shomura Rytsho, Yoshida Kokin, Hara Nankei, and Murakami Seijt. North of the Imperial study, in a building measuring 57 ft. by 38 ft., and facing S.towardsa small separatecourt, is a suite of rooms called the On Mi Ma (August Three Rooms).

原資料 p. 328

Here were held private audiences, and the No performances (a kind of lyric drama) were witnessed at a distance by the Mikado seated on the upper floor or jadan. The No stage is under a separate roof, and cut off from the suite by a high paling, which was removed when @ performance took place. The decorations of the rooms are in the Tosa style.

原資料 p. 328

tee Mikado’s. Palace. The last suite of apartments we Kitano Tenjin is a which visitors -are now generally admitted is the ’swne Goten, or Usual Residence of the Mikados, consisting of 11 rooms, which, from the 13th century onward, formed the place in which generations of Mikados lived and died. The centre room of the suite facing EK. was His Majesty’s ordinary sitting-room, the four on the N. being occupied by his female attendants. At the W. end of this suite was the Moshi no kuch, literally ‘Opening for Speech,’ where men who had business with His Majesty stated their errand to the women, who then transmitted it to the Mikado. The Imperial bedroom was behind the sitting-room, and entirely surrounded by the other apartments, so that no one could get near His Majesty without the knowledge of his immediate attendants. Beyond the Tsune Goten lie the Noryoden, or Palace . for Enjoying the Cool Air, which was reserved for the Mikado’s private pleasures, and the Kita Goten, or Northern Palace, containing the apartments of the Heir Apparent. There were formerly also palaces for the Empress, Empress Dowager, and Princesses, besides various other buildings now destroyed or removed. For instance, the Kas iko-dokoro, or Fearful Place, in which is preserved the sacred mirror of the SunGoddess, has been transferred bodily to Jimmu Tenno’s mausoleum in the province of Yamato. The large white building in foreign style, noticed on the hill r. on quitting the Palace, is the Doshisha, a Christian University founded in 1875 under the auspices of the American Board Mission. Intimately connected with its success is the name of the Rey. Joseph Neeshima, one of the most eminent of the early Japanese conyerts to Presbyterianism.

原資料 p. 329

This flourishing institution ) now includes a special Theological : Department, a Girls’ School, a Science School, a Hospital, and a c Training School. Daoshisha. Kitano Tenjin. 291 5 temple dedicated to Tenjin Sama (see p. 32), by which latter name indeed it ig generally known. Entering through the great stone forii on the S., we find tea-houses, and stone lanterns presented by votaries of the god. A small two-storied gate-house, gaudily decorated in colours, forms the entrance to the temple’ enclosure. It is called the San-ko no Mon, or Gate of the Three Luminaries, i.e. the Sun, Moon, and Stars, from representations of those heavenly bodies which may be distinguished with much difficulty among the carvings on the beams of the gateway. The oratory, built by Hideyori in 1607, forms the N. side of a ; square, the other three sides being colonnades, with the Gate of the Sun, Moon, and Stars on the 8) Its dimensions are 58 ft. by 24 ft. The cornice is decorated with colour in the style prevalent at that period. The chapel behind, 384 ft. by 324 ft, is separated from the oratory by a chamber paved with stone, having > its roof at right angles to the roofs of the oratory and chapel. is the Jinushino Yashiro, or Temple _ of the Lord of the Soil, said to have been numerous other small chapels. The treasury is built of wooden beams, , the section of each beam being a, right-angled triangle with the right angle outside, a form of construction much followed in this portion of Japan. East of the colonnade are the kagwra stage and the building in which the god’s car (mikosht) is kept.

原資料 p. 329

The temple was founded originally by adherents of the Ryobu Shinto sect, and is still an excellent specimen of the style of that variety of Shinto, which is much mixed with Buddhism and miscellaneous popular superstitions. The numberless stone lanterns, the stone and metal bulls (offered up here because Tenjin is said to have ridden on one of those animals), the ex-voto shed (ema-do) with its grotesque pictures, the elaborately carved and painted founded in A. D. 836, and ! Behind '

原資料 p. 329

The gateways and swaying lanterns all testify to a form of worship of the baser popular sort. One of the queerest features of the main building is a set of framed pictures of the Thirty-Six Geniuses of Poetry, made of woven stuffs, recently presented by the manufacturers and thus serving as an advertisement. Such pictures are among the usual adornments of temples. Hirano Jinja deserves passing notice as a good example of a place of worship rebuilt according to the architectural canons of pure Shinto. The oratory is an open shed hung with pictures of the Thirty-Six Geniuses of Poetry. Beyond it are five chapels, two pairs connected by a watch-room and one detached, dedicated to minor Shinto deities. The annual festival is on the 2nd May. The cherry-trees in the grounds are much visited in blossom season, especially at night; they are of many varieties, and each has some fanciful poetical name.

原資料 p. 330

Daitokuji, belonging to the Zen sect, was founded by Daito Kokushi, an abbot of the early 14th century to whom miraculous birth and precocious wisdom are ascribed. This once magnificent temple merits a visit for its stately proportions. Note the Higurashi no Mon, so called because a day might be spent examining its carvings, and the fine gilt image of Shaka in the Garan-do. Daitokuji is celebrated for the treasures stored in its godowns, and is said to possess an unrivalled number of valuable kakemonos. Though most are hidden, the Apartments deserve careful scrutiny: sliding doors by Kano Tanyu, screens by the same artist, peacocks by Okyo, works by Kano Tanshin, and a famous sepia drawing by Tanyu of a man making a monkey dance. An old wooden portrait bust represents Ota Nobunaga. His Shinto shrine on Funaoka-yama near Daitokuji commands a fine panorama and was built in 1880 by admirers of the hero. Kinkakuji, more properly Rokuonji, takes its popular name from the Golden Pavilion in its grounds.

原資料 p. 330

In 1897, Ashikaga Yoshimitsu, who had three years previously surrendered the title of Shogun to his youthful son Yoshimochi, obtained this place from its.former owner, and after extending the grounds, built himself a palace to serve nominally as a retreat from the world, Here he ’ shaved his head, and assumed the garb _of a Buddhist monk, while still continuing ‘in reality to direct the affairs of state. The garden is beautifully laid out. 'In the middle is a lake with pineclad shores and pine-clad islets, whose quiet charm none would expect to find so close to a large metropolis. The lake is. stocked with carp, which, when visitors appear there, crowd together at the stage below the Pavilion, in exectation of being fed. All the palace buildings have disappeared. he Pavilion alone remains, much. Ba Mins : L f) AV y ( ; ¢ é A he yi ye yt

原資料 p. 330

f i _ seated effigy of Yoshimitsu in shaven pate and priestly garb, and gilt statuettes of Amida, Kwannon, and an imitation rock-work cave, with’ the Shi-Tenno. Atnkakeyt : f LL” rn ™ dimmed by age. Tt ante on the water’s edge, facing S., and is a three-storied building, 33 ft. by 24 ft. In the lower room are a Seishi, bythe carver Unkei. In the second storey isa small Kwannon in The paintings on the ceiling by Kano Masanobu are now scarcely recognisable. The third storey was completely gilt, the gold being laid on thickly over varnish composed of hone powder and lacquer upon hempen cloth. The ceiling, walls, and floor were thus treated; and even the frames of the sliding sereens, the railing of the balcony, and the small projecting rafters which form the roof of the balcony, were, as a careful examination will show, covered with the precious metal. Nearly all the gold has disappeared, but the original woodwork is complete, with the exception of a few boards that have been put in to replace some that had decayed. The effect, now so dingy, must have been dazzlingly beautiful. On the top of the roof stands a bronze phoenix 38 ft. high, also formerly gilt. The large hill seen to the r. from the third storey of the Pavilion is Kinukasa-yama. This name means Silk Hat Mountain, and was given in allusion to the incident of the ex-Mikado Uda having ordered it to be spread with white silk one hot day in July, in order that his eyes at least might enjoy a cool wintry, sensation.

原資料 p. 331

The guide may lead the traveller round the grounds behind the Pavilion, where Yoshimitsu's footsteps and doings are minutely pointed out, but these have little interest except for Japanese visitors. The Apartments deserve more careful inspection for their sliding screens by Kano Tanyu and Jakuchu, folding screens by Korin and Soami, kakemonos by Shubun, Hishin, Okyo, Korin, Sesson, Cho Densu, and others, and relics and autographs of the Ashikaga Shoguns. The priest sometimes ends by serving tea in the cha-no-yu style. Toji-in, founded by Ashikaga Takauji in the 14th century, contains effigies of nearly all the Ashikaga Shoguns, beginning with Takauji in the centre chamber, and also one of Ieyasu opposite him. Other rooms contain images of Yoshinori, Yoshimasa, Yoshizumi, Yoshiteru, Yoshimitsu, Yoshikatsu, Yoshinao, Yoshitane, Yoshiharu, and Yoshiaki.

原資料 p. 331

Most, if not all, may be looked on as contemporary portraits of the men they represent. Observe that in their time (14th, 15th, and 16th centuries), the Japanese fashion was to wear a moustache and small pointed beard. The Apartments of this monastery also contain various kakemonos by Kano Tan-;ya and other famous +The numbers in brackets refer to the order of each in the dynasty to which they all belonged. % (4) Yoshimochi, (6) Yo 7 fi

原資料 p. 331

294 artists. The sliding screens in sepia are all by Kano Sanraku. Those round one of the rooms depict the acts of devotion of the Four-and-Twenty Paragons of Filial Piety. ; During the period of fermentation which preceded the restoration of the Mikado’s authority, it was the fashion among the opponents of the feudal régime to load the memory of the Ashikaga Shodguns with the insults that could not safely be offered in a direct manner to those of the Tokugawa line; and one morning in April, 1863, the people of Ky6io woke to find the heads of the effigies of Takauji, Yoshinori, and Yoshimitsu pilloried in the dry bed of the Kamogawa at the spot where it was then usual to expose the heads of the worst criminals. Several of the men concerned in this affair were thrown into -prison, whence they where transferred to the custody of certain Daimyos, and not “released for some years afterwards. Myoshinji is a large temple of the Zen sect, founded by Kwanzan Kokushi, an abbot of the 14th century. Omuro Gosho, also called Ninnaji, is a monastery founded towards the end of his life by the Mikado Koko. In A.D. 899 the ex-Mikado Uda chose it as his place of retirement, and occupied the palace built for him here from 901 until his death in 931. In 890a decree was issued constituting Ninnajia residence for ‘ descendants of the Mikado,’ or Monzeki, as they are called, a term applied extensively in later years to monasteries founded to provide the miscellaneous Imperial offspring with homes, and also conferred as a title of distinction upon abbots of other than Imperial blood. The Mikado Shujaku entered the priesthood in 952, and took up his residence here, but no other ex-sovereign eyer occupied it.

原資料 p. 332

Up to 1868 there had been thirty three successive priest-princes, the last of whom was the present Prince Higashi Fushimi. Burnt to the ground in 1887, this monastery, now counted among the Imperial summer palaces, is being rebuilt (1891) in a suitably ornamental style, and will doubtless, when finished, be well-worth a visit. The grounds, which are spacious, show to best advantage during the season of the cherry-blossoms. There is a fine five-storied pagoda, which, with a few other of the lesser buildings, escaped the fire, Half a 7i beyond Omuro Gosho lies Takao-zan, celebrated for its Momiji-yama, or ‘maple mountain,’ on one side of a romantic glen. There is a tea-house on the top with a delightful prospect. 3 Uznmasa, more properly called Koryuji, stands far out of the city at the end of the Nijo street. This very ancient Buddhist temple is said to have heen founded in A.D. 604 by Shotoku Taishi, who consecrated it to certain Buddhist gods whose images had been brought from Korea. The principal edifice, called.the Kod6, was, however, not erected before 836, and this having been burnt down. about 1150, the present structure was built out of timber saved from the flames. The other buildings are of much later date—17th and 18th centuries —and are now (1891) undergoing repairs. This temple will have special attraction for the student of Japanese statuary, which can nowhere, except at Nara, be studied in sucha multitude of very early specimens.f Most of them are about life-size or else half life-size. The most interesting of these wooden statues is one of Shotoku Taishi at the age of thirty-three, said to have been carved by himself. It is clad ina silken robe of imperial yellow, presented by the Mikado at his accession, in accordance with ancient custom.

原資料 p. 332

In its r., hand the image holds the courtier’s wand, in its 1. a censer. Besides the yellow robe, it wears wide trowsers of white silk damask and a black court hat. The features have a very natural ex-° pression, but the paint on_ the face has become discoloured by time. In the temporary hondo are the Buddhist images from Korea. The most important of these is a gilt wooden figure of Nio-i-rin Kwannon, about 3 ft. high, seated upon a stool, the r. foot lifted and laid on the 1. knee, the 1. hand +He will of course remember that many of these, though called Japanese, are either Korean or else carved under the instruction of Korean teachers. See the very interesting opening pages of Anderson’s ‘ Catalogue of Japanese and Chinese Paintings in the British Museum,’

原資料 p. 332

Uzumasa. vesting on the r. foot. The face is supported on two long fingers of the y. hand. Drapery formal. . The hair is drawn back from the forehead, and tied in a knob at the top. The features are perfectly natural, and wear a pensive expression. The hands are beautifully modelled, the arms rather thin, though: showing a good idea of form; but the feet have recently been restored in a clumsy manner. ‘he gold has been nearly all rubbed off. Round the shrine are the ‘Twelve Divine Generals’ (Ju-ni-ten), who so frequently accompany the god Yakushi, of which latter there is an image dating from the 9th century. <A curious feature is a box about 12 ft. square, containing- no less than 1,000 (Sen-tai Jizo). Saga no Shaka-d6, more popularly called Seiryuji, is a large temple of , the Jodo sect of Buddhists, to which lads and girls 13 years old make a pilgrimage on the 13th day of the 3rd month in order to obtain wisdom— a pilgrimage which goes by the name of the ju-san-mairi. The present building is about two centuries old. Behind the altar, is a magnificently gilt shrine of Shaka, with painted carvings presented by the mother of Jemitsu, third Shogun of the Tokugawa dynasty. On the doors being opened, a curtain is drawn up, which discloses another set of doors, gilded and painted, and then a second curtain splendidly embroidered. R.and 1. are seated images of Monju and Fugen. The image of Shaka is said to be Indian, and to have been executed from life by the scuiptor Bishukatsuma (Vishvakarman), but it has more the appearance of a Chinese work. Chonen, a monk of TOdaiji at Nara, is said to have brought it over in the year 987.

原資料 p. 333

According to the legend, it was carved when Shaka Muni was absent in the heaven called osotsu-Ten ( Tushita), preaching to his mother, during which time his disciples mourned over his absence. King Uten (Udiyana) gave red sandal- wood from his stores, and the saint’s portrait having been drawn from memory by Mokuren (Maudgalydyana), the Arashi-yama, microscopic images of Jizo Nijo Palace. sculptor went to work and speedily completed the statue, which was placed in the monastery of Gion~ Shoja (the Jétavana Vihara). On the return of Shaka after ; an absence of 90 days, the image descended the steps to meet him, and they entered the monastery together. ATGS M-Yama is @ picturesque gorge up the River Katsura, here called the Oigawa, and _ higher up the Hozugawa. “The hills are everywhere covered with pine-trees. Soa There are also plantations of cherry- = trees, brought from Yoshino in the “J 7 r a: 13th century by the Emperor Kame z... ” yama, and of maple-trees which 5 add greatly to the natural beauty of the spot in spring and autumn. ‘The place boasts some good tea-houses, especially the Nakamura-ya and Hototogisu. The rafts seen on the river bring down timber from the ' province of Tamba. Hard by, in the vill. of Saga, is Tenryujé, formerly a vast congeries of temples , and priests’ dwellings, of which, however, a fire that took place during the civil war of 1864 has left but few remnants standing. The Nijo Palace (Nijo no Rikyu). This site originally held a mansion eree~ : ted by Nobunaga in A.D. 1569 for Yoshi- aki, the last of the Ashikaga dynasty of Shoguns, The present editice dates from 1601, when Ieyasu built it to serve asa pied-a-terre on the occasion of his visits to Kyoto.

原資料 p. 333

During his time and that of his ' successors, the ‘Tokugiwa Shoguns, it was known as Ni76 no Shiro, ov the Nijo Castle. On the 6th April, 1863, the present Mikado, just ve-invested with his full ancestral rights by the revolution then in progress, here met the Council of State, and in their presence swore to grant a deliberative assembly and to decide all measures by public opinion. After this, the Castle was for some time used as_ the office of the Kyoto Prefecture, but was taken over in 1883 as one ofthe Imperial summer palaces. Though as many as possible of the wall paintings, being on paper, were rolled up and put away during the occupation of the palace by the prefecture, much harm was done to painted doors and to precious metal-work by the almost ineredible van— dalism and neglect which ran riot at that period all over Japan, when to deface antique works of art was considered a sign of civilisation and ‘progress.’ The restoration of the Nij6 Palace to something like its former splendour dates from 1885-6, at which time the Imperial crest of the sixteen— petalled chrysanthemum was substituted im en Remnant Oca 7 a, o_o ‘

原資料 p. 333

296 most places” for that of the Tokugawa “thickness, are now reduced to the ShOguns. ‘This palace, a dream of golden beauty within, is externally a good example of the Japanese fortress, with its turrets at the corners and its wall of cyclopean masonry. is only, however, a fraction of its former self. The present building is what was called the Ni no maru, or Second Keep, the Hommaru, or Chief Keep, having been destroyed by fire about 100 years ago. Alighting at a fine gate called Karagon or Yotsu-ashi-mon, decorated with exquisite metal-work and gilt carvings, the visitor is admitted ‘ : ) sides, the two sides are in reality through a side-door into a court planted with pine-trees.. Opposite stands a second gate, called O Au- TUMA-YOSC, ZoYgeous with gold and colours and curious carvings of peonies and phoenixes, the work of Hidari Jingoro, brought from Hideyoshi’s famous palace at Fushimi. Turning to the r., the visitor is then admitted to the Palace proper, where, haying signed his name ‘in the book, he is shown over the various suites of rooms, the chief character of which is spaciousness, while the profuse employment of gold as the ground of the mural that gold ground give to the whole an aspect of grandeur, power, and riehness rarely seen in a country “whose art, generally speaking, restricts itself to the small and the delicate. All the wood used in the construction is hinoki and keyaki ; that of the doors is cryptomeria. The rooms are named according to the objects painted on the sliding screens round their walls. Some have willow-trees, some palm-trees and tigers, some immense eagles hovering over pine-trees life size ; others have fans, large baskets o flowers, etc., all by artists of the Kano school.

原資料 p. 334

The coffered ceilings, too, where not injured, are very handsome. The floors, formerly covered with soft mats of a specially rich It _ of the rooms are exquisitely minute. prefectural vandalism, this precious work of art was used as a noticedecorations, and the unusual size board to paste notifications on! ‘and boldness’ of the paintings on bare boards—a strange discord in the golden magnificence. Their yemoval is said to have been Thus, where the obverse has peacocks, the reverse will have peonies. Most of the suites of apartments are connected — by wooden doors having fine, bold paintings by unknown artists. One it produces, in its simplicity, an impression .which, when the plac =a, i caused by the desire to imitate European usage and lay carpets down, but this has never been done. The carvings in the ramma of some: One pair, in particular, attributed to Hidari Jingord, in the suite called Ohiroma, which vrepresents peacocks, is a triumph of art. A peculiarity of some of these carved ramma is that, though appearing to be open-work and therefore identical on both quite different from each other. of these paintings is celebrated in the artistic world under the name of Naonobu no nare-sagi (‘the wet: heron by Naonobu’). It represents a heron perched on the gunwale of a boat. During the reign of The Sotetsu no Ma, or ‘Palmetto. Room,’ was entirely and irrecoverably defaced at the same time. The most splendid apartment of allis the Go Taimenjo, or Hall of Audience, the last room in the suite called O-hircma. It positively blazes and sparkles with gold, and the extraordinary size and boldness of the pine-trees painted all around was the scene of the reception by a Shogun of his prostrate vassals, ue Daimyos, must haye been over? whelming.

原資料 p. 334

The metal fastenings are all gilt, and of exquisite workmanship. They represent chiefly phoenixes, conventional foliage, and the Tokugawa crest. Here too the mats have been replaced in the

原資料 p. 334

The mats have here been replaced in the old style, an evidence of good taste said to have been prompted by foreign visitors. Notice the two levels: the raised jodan for the Shogun, the lower gedan for ordinary mortals. The Kuro-shoin is a smaller but equally gorgeous reception room, all gold, with cherry-trees in blossom and beautiful shelves, one showing early cloisonne with the Shogun's crest. The Shiro-shoin differs from the rest, with dull-gold fusuma painted in sepia with Chinese scenes by Kano Koi. At the end is the Chokushi no Ma, or Apartment of the Imperial Ambassadors, resplendent with gold and life-size trees. Katsura no Rikyu, formerly belonging to Princess Katsura, is now an Imperial summer palace. The building is plain and somewhat ramshackle, but the Kano-school paintings and the Tsukimi-dai, or moon-viewing frame, are noted.

原資料 p. 335

The object of visiting Katsura is the Garden, a representative example of Japanese landscape gardening as practised by Kobori Enshu and other aristocratic enthusiasts of cha-no-yu. The summer-houses are plain and primitive in the tea-ceremony style. There are pools, artificial streams, rustic bridges, large stepping-stones, shaped trees, islets, mossy hillocks, stone lanterns, and a lake full of kohone, usually yellow-flowered but here also red. Toji was first erected on this site in the 8th century, then briefly converted into a lodging for envoys from China and Korea, and in A.D. 823 bestowed on Kobo Daishi, becoming headquarters of the Shingon sect. The earlier buildings were burnt in 1486; the present ones date from about 1640. Near this temple stood the ancient city gate Rashomon, connected with the legend of the Ogre of Oeyama.

原資料 p. 335

This edifice, it is said, after completion, began to lean to one side. K6bd Daishi, nothing daunted, prayed that it might be restored to the vertical position, and forthwith the pagoda stood straight. A more rationalistic version of the story is that Kobo Daishi corrected the tendency of the tower to lean to one side by digging a pond on the other; and a pond full of lotuses is shown to this day as a mute witness to the truth of the legend. Tourists are advised to visit this temple on the 21st day of the month, when the festival of K6bd Daishi is held. Otherwise the place is apt to

原資料 p. 335

Jook desolate, especially now that the disestablishment of Buddhism is causing all but a few of the most popular temples to fall into neglect and consequent decay. Most of the buildings are in a rude style, with mud floors, pillars and beams coJoured red with oxide of iron, and white plaster walls. Several of the images are attributed to the chisel of Kobo Daishi. The Reception Rooms of the monastery are very hhandsome, but special permission must be obtained in order to visit them. The Shinto Temple of Inari (nari no Yashiro), on the road to Fushimi. This popular Shinto temple, the prototype of the thousands of Inari temples Was * scattered all over the country, founded in A.D. 711, when the Goddess of Rice is said to have first manifested herself on the hill behind. K6Obo Daishi is said to have met*an old man in the on his back, whom he recognised as the deity of this temple, and adopted as the *Protector’ of that monastery. Hence the name Jnari, which signifies ‘ Riceman,’ and is written with two Chinese characters meaning ‘Rice-bearing.’ The first temple consisted of three small chapels on the three peaks of the hill behind, whence the worship of the goddess and her companion deities was removed to its present site in 1216. Inari is said to have assisted the famous smith Kokaji to forge one of his historical swords, and to have here cut the rock with it in order to try its blade—a legend which forms the subject-matter of one of the No, or Lyrie Dramas. Hence this temple is regarded with special reverence by smiths and cutlers. The Inari deities annually visit the Shinto temple of Ise, leaving Kyoto onthe 29th April and returning on the 20th May, the journey being performed in their sacred cars.

原資料 p. 336

The best time to visit Inari is either on the 9th April, when the annual festival is held, or on the days of the Horse and Serpent in each month, when devotees - make the circuit of the mountain (0 yamu suru). Streams of pilgrims may be found the night between these two days. The chief entrance is by the great red torii on the main road, then up a flight of steps, and through a large gate flanked by huge stone foxes to the haiden, or oratory. Thence one comes to the chief chapel (hon‘ tected by cages to prevent them inw guard the extremities of the extreme. 1. vicinity of Toji carrying a sheaf of rice temple grounds. circwlating up and down all night long on s den), passing . the ex-voto shed and r. the kagura stage, and further on: two stone foxes on pedestals, profrom being defiled by birds. The pillars of the portal of the. chief chapel are plain; but the rest of the: walls and pillars are painted red or white. Curtains (mis) hang down in front, and before each of*the six compartments is suspended a large metal mirror about 18 in. in diameter. Two gilt koma-inw and amaverandah. They have bright blue: manes, and on the legs, locks. of hair tipped with bright green.) Behind, to the r., is a white go-! down in which the sacred cars are: usually kept. They are celebrated. for the great value of their decorations in gold, silver, copper, and iron. The plain building to the is the temple office: (Shamusho). A path to the 1. leads up to a. second level space where stand various insignificant shrines; then up another flight of steps to a) shrine called Kami no Yashiro,. where begins what is termed the Hora-meguri, or ‘Cireuit of the Mountain Hollows,’ so called on account of various fox-holes by the way.

原資料 p. 336

The beginning of the Inari circuit is marked by innumerable small red torii placed so close together as to form a colonnade. Visitors short of time may turn right after a few minutes to the tea-house Sasayama-tei on a minor hill with a good view, about half an hour from the entrance. The full mountain circuit takes at least an hour. Along the way are large inscribed boulders, walled enclosures, numerous torii, and tea-sheds at each boulder-shrine. The summit is called Ichi-no-mine, more popularly Suehiro-san.

原資料 p. 336

san. One descends another way, the view just below the summit being particularly fine towards the §., including Uji with its river, the Kizugawa, Momoyama, Fushimi, Yawata, Yamazaki, and on the other side the swamp of Ogura, the Kamogawa, the Katsura-gawa, and the Yodogawa. On the way down are a shrine called Chaja no Jinja, -a number of sacred boulders as_before, and some fox-holes called O Samba, supposed to be the places in which the vixens give birth to their young. Just above the latter, 2 cho off the road, a fine view of the city is obtained. The path is good the whole way. The mountain is celebrated for producing the best mushrooms (matswtake) in Japan. of the temple are crammed with little earthenware dolls and effigies called Fushini ningyo. Tdfukuji, one of the chief monasteries of the Zen sect, was founded by Shdichi Kokushi in the 13th century. It is noted for the mapletrees lining both sides of a gully which is spanned by a bridge or gallery called Z'su-ten-kyd, that is, ‘the bridge communicating with heaven.’ ‘This: gallery and a tower in the roof give to Tofukuji an _. joriginal and, striking appearance. Of the formerly very extensive «buildings, only a few now remain. sy ‘The temple contains some good wooden images, and a number of < kakemonos of the Five Hundred '© Rakan by the famous artist Cho =4Densu, who spent several , years » hereas an acolyte. Butits greatest ta ‘Ss Nirvana (Nehanzo), 24 ft. by 48 it. e It is dated 1408, when the artist ‘was 50 years old. In the Apart‘ments, which were rebuilt in 1889, are some screens by Tosa Mitsunobu, Kano Witoku, and Kano Motonori, together with kakemonos by good artists. Sen-yaji lies in a hollow surrounded by pine-clad hills. It is skin artist of Shaka’s Entry into Inari. Tofukuji. Sen-yuji.

原資料 p. 337

Sennyuji lies in a hollow surrounded by pine-clad hills. It is remarkable as having been for over six centuries (1244-1868) the burial-place of the Mikados; but as neither the tombs nor the temple treasures are shown, there is little object in visiting it. The mortuary shrine of Komei Tenno, father of the present Mikado, appears handsome. The chief treasure is one of Buddha's teeth, said to have been brought from China by the third abbot, Tankai, and kept in a gilt-metal reliquary shaped like a pagoda. The tooth is enormous and evidently belonged to some large quadruped, probably a horse. The little bridge between Tofukuji and Sennyuji is called Yume no Ukihashi, Floating Bridge of Dreams; offerings at Imperial burials were thrown from it into the stream as the procession passed at midnight. Sanjusangendo is the Temple of the 33,333 images of Kwannon.

原資料 p. 337

Founded in 1182 by the ex-Emperor Toba who placed in it 1,001 images of Kwannon, to which the Emperor GoShirakawa afterwards added as many more in 1165, it was completely destroyed with all its contents in 1249, In 1266 the Emperor Kameyama: rebuilt it, and filled it with images of the Thousand-handed Kwannon to the number of 1,000. Its dimensions are 389 ft. by 57 ft. In 1662 the Shogun Ietsuna restored the building, which takes its name, not from its length, but from the thirty-three spaces between the pillars, which form a single row from end to end. fi ibian

原資料 p. 337

Few temples in Japan are more impressive than Sanjusangendo, with its vast assemblage of gilded images rising tier behind tier. Each large image is 5 ft. high and represents the Eleven-faced Thousand-handed Kwannon. There are 1,000 of them; the total 33,333 is reached by counting the smaller effigies on foreheads, halos, and hands. Three hundred were executed by Kokei and Koei, two hundred by Unkei, and the rest by Shichijo Daibusshi. No two arrange their hands and attributes in exactly the same way. The large seated image in the centre is also Kwannon, surrounded by the deity's twenty-eight followers. A legend explains Go-Shirakawa's headaches by saying that his former skull lay in a river, with a willow growing from it; the tree shook in the wind and so caused his pain.

原資料 p. 338

Onawaking from this vision the ex-Mikado sent to look for the skull, and having found it, had it enclosed in the head of the principal Kwannon of this temple. It used formerly to be the custom for skilful archers to try how many arrows they could shoot from one end tothe other of the verandah on the W. front of the building. This was called 6-ya-kazu, or the ‘greatest number of arrows.’ In 1686 a retainer of the prince.of Kisht is said to have won the prize, shooting $,183 out of 15,053 arrows right to the end. The grounds of the San-ji-sangen-do will shortly contain a Fine Art Museum (Lijutsu-kwan), to be completed in 1892. Also in the same enclosure is the celebrated Daibutsu, or Great Buddha. In 1588 Hideyoshi built a temple to hold a large image of Roshana Butsu, the God of Light, in imitation of Yoritomo, who had originated the project of constructing a Daibutsu at Kamakura. The temple was 200 ft. from the ground tothe ridge of the roof, and the wooden image was 160 ft. high. Both were destroyed by an earthquake in 1596. Inthe following year he rebuilt the temple, and placed in it the famous triple image of Amida, Kwannon, and Daiseishi, which he caused to be removed-for this purpose from Zenkdji; but after his death his widow restored it to the temple at ZenkOji, and set about the construction of anew Daibutsu. By the labour of several hundred workmen andartisans, a huge image was completed up to the neck; but as they were engaged in casting its head, the scaffolding accidentally took fire, and all efforts to extinguish the flames, being ineffectual, the temple was speedily burnt to ashes.

原資料 p. 338

This disaster occurred on the 15th January, 1613; but no attempts to repair it were. made until Ieyasu, in pursuance of his policy of weakening his young rival Hideyori by inducing him to undert:ke the reconstruction of famous buildings on a scale of magnificence calculated to exhaust his finances, persuaded him and his mother that due regard for Hideyoshi’s memory imposed upon them the obligation of seeing that his intention of rearing a worthy fane to Buddha was not finally frustrated. They joyfully adopted the suggestion, and at ouce set about the restoration of both image and building on the same colossal scale as before. By the spring of 1614 both were successfully completed, and, the population of the capital and surrounding provinces flocked in crowds to witness the opening ceremony. But the High Priests who, with the aid of a thousand bonzes of inferior grade, were to perform the dedicatory service, had hardly taken their places and commenced to repeat their liturgies, when two mounted messengers suddenly arrived from the Shdgun’s Resident, with orders to interrupt the proceedings and forbid the consecration. ‘The disorder that ensued among the assemblage, baulked of the ° sight for which many of them had come a long distance, and ignorant of the cause of this unexpected termination of their holiday, ended in a riot which the police were unable to repress, and the city is said to have been actually sacked by the infuriated crowd of ‘country people. It afterwards became known that leyasu had taken offence at the wording of the inscription on the great bell, into which the characters forming his name were introduced, by way of mockery, as he pretended to think, in the phrase Kokka anko, * May the state be peaceful and pros

原資料 p. 338

Ieyasu also professed to take offence at another sentence on the great bell, interpreting its words about the moon and sun as a comparison of himself to the lesser luminary and Hideyori to the greater. Hideyori's building measured about 150 ft. high, 272 ft. long, and 167 1/2 ft. deep, with 92 huge pillars bound by iron rings; the seated Buddha was 58 1/2 ft. high. Earthquake destroyed both building and image in 1662, and much of the metal was made into copper coins. A wooden replacement was damaged by lightning in 1775, restored, and burnt by lightning in 1798. The present image, built in 1801 by a public-spirited Osaka merchant, consists only of head and shoulders, yet reaches the ceiling. It is of wood, the head gilt and the shoulders not. Round the walls hang 188 modern pictures of Kwannon and some large iron relics of the former pillars.

原資料 p. 339

At the top of a gallery behind the image is a rude altar containing a black image of Fud6, which Hideyoshi used to consider as his guardian spirit. in battle. By round this gallery, one sees into tine inside of the image, which is hollow from which he then inferred Kashaji.going Honkokuji. 301 but contains a quantity of beam: k. ‘On the east it welcomes the beaker: bright moon, and on the west bids fare- well to the setting sun,’ he chose to dis- a comparison of himself to the The huge Bell already alluded to is seen on quitting the Daibutsu. It is nearly 14 ft. high, 9 in. thick, 9 ft. in diameter, and weighs over 63 tons, being thus one of the two biggest bells in Japan. Its companion in size is at Chionin, also in Kyoto. That at Nara comes third. The Daibutsu bell hangs in a new belfry dating from 1884, the ceiling of which is gaudily decorated with paintings of Buddhist angels. The new Shinto shrine, called Toyokunt no Yashiro, near to the belfry on the 1. as one departs, is dedicated to Hideyoshi, who was buried on a hill close by. ,The handsome gate, which®is an old one, was brought from his palace of Momoyama at Fushimi. Opposite is the Mimi-zuka, or Ear Mound, beneath which were buried the ears and noses. of Koreans slain in the war which Hideyoshi waged against their country in the years 1592 and 1597. They were brought home by his soldiers instead of the more usual _ trophies of heads, as evidence of the exploits performed in his service. Koshoji, a large temple next door to the Nishi Hongwanji (see next page), was founded in the 15th cen_ tury, but the present buildings date only from the 18th century. The in_ terior of the building is 28 yds. square, and is in the same style as the Nishi Hongwanji.

原資料 p. 339

In the Apartments are to be seen good paintings of storks by Kano Hitei, of about the year 1700, and a suite of three siderooms containing paintings by artists of the Shijo school. Honkokuji, close to the Nishi Hongwanji on the N., is remarkable chiefly for the vast area over which its buildings are scattered, and for the fact that it was the first monastery founded by Nichiren when he established the sect which bears his name. —

原資料 p. 339

Nishi Hongwanji, the headquarters of the Western branch of the Hongwanji sect of Buddhists, is a grand massive structure, as usual with the temples of this sect. The principal gate is decorated with beautifully carved designs of the chrysanthemum flower and leaf. The wire netting covering its intevior part is placed there, as in a good many other edifices, in order to prevent birds from building their nests among the rafters. The apparently useless wall just inside the gate serves the purpose of securing privacy for the temple by shutting out the view from the street. The large tree (a Gingko biloba, Jap. icho) in the courtyard is supposed to protect the temple against fire, by discharging showers of water whenever a conflagration in the vicinity threatens danger. The interior of the main building is 188 ft. in length by 93 ft. in depth, and the floor covers an area of 477 mats. As usual in the temples of this sect, the nave~ (gejin) is perfectly plain, of keyakt wood, with white plaster walls. R. and 1. ofthe chancel are two spacious chambers 24 ft. by 36 ft., with gilt pillars and walls, decorated with the lotusflower and leaf. In them hang large kakemonos nearly 200 years old, inscribed with invocations to Amida in large gold characters on a dark blue ground surrounded by a glory, and portraits of the successive Heads of the sect.

原資料 p. 340

The front of the nave is completely gilt, with gilt trellised folding-doors and sliding screens of snow scenes: plum, pine, and bamboo in winter, with gilt open-work peony carvings in the ramma. In the centre of the chancel is the shrine, covered with gilt and painted floral carving, containing a seated black-wood effigy of the Founder about 2 ft. high, said to be by his own hand. Before it stands a wooden altar with panels of open-work flowers and birds on a gilt ground. The central apartment has a fine cornice and coffered ceiling with shippo and hana crests. The building dates from about 1591 or 1592, with decorations renewed every 50 years. The smaller Kodo or Amida-do, 96 ft. by 87 ft., is similarly divided and contains portraits of Shotoku Taishi and the Seven Great Priests of India, China, and Japan, including Honen Shonin.

原資料 p. 340

A handsome shrine, with slender gilt pillars and a design composed of the chrysanthemum flower and leaf, contains a gilé wooden statuette of Amida, about 3 ft. high, so much discoloured by age as to look quite black. It is attributed to the famous sculptor Kasuga Busshi. Over the gilt carvings of tree-peonies in the ramma are carvings of angels in full relief. A sliding-screen close to the entrance on the r. of the altar, painted with a peacock and pea-hen one of the Kano school, is worth special notice. Application should be made for permission to visit the State Apartments, which are—ver fine. On the way in are some _sliding panels by Kano Eitoku, which were brought from ~ Hideyoshi’s castle at Fushimi.~ The largest room (Zaimenjo), 69 ft. deep and 54 ft. wide, has good paintings on the walls by Kano Hidenobu; the

原資料 p. 340

initia storks in the ramma are attributed to Hidari Jingoro. Next comes a small room with bamboos on a gold ground, and a coffered ceiling with floral paintings, by artists of the Kano school. Another room has wall-paintings of geese in all positions on a gold ground. It must be noted, however, that these paintings are on large sheets of paper, which have been tixed in their places after having been executed in a horizontal position. True wall-paintings, that is, paintings ’ So executed ona vertical surface, are extremely rare in Japan, the only well-authenticated examples known to us being the series of paintings on” lacquer ut the back of the main altur in the temple of Kwannon at Asakusa in TOky0, those on plaster in the Kondé of the monastery of Horyuji near Nara, and some in the lower storey of the pagoda of Toji. ‘ . The room beyond is decorated with chrysanthemunis on the walls, and fans in the compartments of the ceiling. We next pass through an apartment decorated with peacocks and cherry-trees, and gilt carvings of the wild camellia and phenix in the ramma; then a room with Chinese landscapes on a gold ground, and carvings of wistaria in the ranuna, and another with Chinese architectural Scenes and landscapes. ¥ n u no Fuji, or Fuji of Good Manners, because the outlines can hardly be © distinguished unless the spectator takes wp a respectful attitude on _ These form the suite called Obiroma, or Chief Audience Room, and the paintings are from the brush of “Hasegawa Ryokei. In the courtyard opposite to this suite, is a stage for the performance of the No.

原資料 p. 341

After rooms decorated with Chinese hunting scenes, the visitor reaches the Taiko Kubijikken no Ma, the room where Hideyoshi inspected heads of enemies killed in battle; it came from Fushimi Castle and has drums painted on the ceiling and carvings of flying squirrels and grapes. The Chokushi Mon, Gate of the Imperial Messenger, once glittered with gold. Its carvings are attributed to Hidari Jingoro; one panel shows Kyo-yo washing his ear after refusing the throne offered by Emperor Yao. Near the Nishi Hongwanji are modern buildings used as a seminary for priests and a girls' school. The Hiun-kaku, Pavilion of the Flying Clouds, was removed from Hideyoshi's Momoyama palace. Higashi Hongwanji, an offshoot of Nishi Hongwanji, was founded in 1602 and burnt in 1864 during the Choshu attempt to seize the Mikado.

原資料 p. 341

The new edifice now in process of erection is expected to be completed in 1892. Though as yet unfinished, this temple well deserves a visit on account of its noble proportions, andas showing what a fine Buddhist temple looks like when new. When completed, it will probably be the largest Buddhist temple in Japan. So far as plan and style are concerned, the orthodox model of the ; 303: koro-Mon, ov Kitchen Gate, are a. priests and wh , gold-paper ground, attributed to ye Kano Motonobu (but more probably’y , » 4

原資料 p. 341

The orthodox model of temples of this class has been followed in both the Daishido, or Founder's Hall, and the subsidiary Amida-do. Note the four splendid bronze lanterns at the entrance. The visible woodwork is keyaki; ceiling beams are pine; carvings show the zodiac, waves, bamboos, and other subjects. The main building is about 210 ft. long and 205 ft. deep, with 96 large pillars and 163,512 roof tiles. Despite talk of Buddhist decline, rebuilding this grand temple has been a popular enterprise supported by surrounding provinces and by peasants giving timber and materials. The architect of the main building was Ito Heizaemon of Owari; the Amida-do is by Kinoko Tosai of Kyoto. Kenninji, a Zen monastery founded by Eisai in 1203, has little to detain the tourist, though its grounds are extensive and its monks have a reputation for learning. A fair for old clothes is held on the 10th of every month.

原資料 p. 342

From the name of this temple is derived) the term kenninji, applied to fences of split ; ‘bamboos fastened close together ageiety horizontal lattens, Nishi Otani is the beriahplned f the larger portion of the Loe Hy it af Shinran Shonin, transferred here in 1603 from a spot now included within the grounds of Chion-in. The stone bridge spanning the lotus-pond is termed Megane-bashi, from its resemblance toa pair of spectacles. Several of the ornamental knobs on the balustrade can be turned round. A flight of steps leads to the handsome main gate, inside which 1. stands, as usual in the temples of this sect, the: Vaiko-dé, a handsomely carved two-storied structure, which is used as a place of confinement Jor refractory priests, and receives its name from the drum (taiko) which they are set to beat as a penance. There are some handsome bronzes in front of the main temple, a new building, plain outside, but with a sufficiently handsome interior, a striking effect being produced by the restriction of gold ornamentation to the vicinity of the altar. .A gilt figure of Amida stands in a gold lacquer shrine. In the court behind is an office for the reception of the ashes of members of the sect from all parts of the country, whose relations pay to haye their remains deposited with those of Shinran Sh6énin, instead of going to the expense of a monument in the adjacent cemetery. The Kyoto members, on the contrary, are interred in the cemetery. Opposite is the oratory in front of the tomb, which is so concealed behind a triple fence as to be invisible. The path up the hill leads through the cemetery to the W. gate of Kiyomizu-dera. Pod AS The origin of this temple is lost in the ~ mists of antique fable.

原資料 p. 342

According to the ) legend, the novice Knchin, having dreamt who have the reputation of profou ind that he saw a golden stream flowing down into the Yodogawa, went in search of it, and ascending to its source, found there an old man sitting under a tree, who gave his name as GyOci, and said: *T have been here for the last two hundred. © years repeating the invocation to Kwannon, and waiting for you to relieve me. Take my place tor a while, that I may perform a journey which is required of me. Thisis a suitable spot for the erection of a hermitage, and the log which you see lying here will supply the _—, é te — iS ee aps

原資料 p. 342

Kiyomizu-dera. material for an image of the Most Compassionate One,’ (i.e. Kwannon). With these words he disappeared, leaving the novice in charge of the solitude. After a while, finding that the old man did not return, Hnehin climbed a neighbouring hill, and discovered a pair of shoes lying on its summit, from which he inferred that the mysterious old man was none other than Kwannon in human form, who to heaven. He now determined to make the image of the god, but found his strength insufficient, and passed several years looking at the log, vainly planning how to overcome the difficulty, Twenty years had elapsed, when one day good luck guided the warrior Sikanceno-Tamura-Maro, who was in pursuit of a stag, to this very spot. While he was resting, Enchin represented his difficulties miration at the untiring devotion of the novice, and subsequently, haying taken counsel with his wife, gave his own house to be pulled down and re-erected by the side of the cascade as a temple for the image, which was now at last completed, A steep street of shops, where little earthenware dolls (Hushime ningyo) of every variety are to be had, leads up to the temple, which is situated in a striking position on the hill-side and commands a justly celebrated view of the city. The two-storied gateway at the top of the steps dates from the Ashikaga period, and contains a pair of huge Ni-6. One may pass either through it, or through another gate higher up which abuts on the three-storied Pagoda. To the 1. of and beyond the Pagoda, are several minor chapels. The visitor then passes up through a colonnade to the hondo or main temple, whose roughhewn columns and bare floor produce an unusual impression.

原資料 p. 343

Indeed the whole aspect of Kiyomizu is unique and. original, notwithstanding a certain dowdiness which seems to have settled down upon it. The main temple is dedicated to the Hleven-faced Thousand-handed Kwannon, whose seated image, a little over 5 ft. high, is contained in a shrine that is opened only once in thirty three years. R. and 1. are images of the Hight-and-twenty followers of Kwannon, and at each end of the platform stand two of the tae ee case pao eomoenvenpest had left’the shoes behind on re-ascending : to the hunter, who was struck with ad- Yasaka Pagoda. 305: Shi-Tenno. The shrine at the E.. end contains an image of Bishamon,,. who, as tradition tells us, appeared to Tamura-Maro, in company with Jizod (whose image, attributed to the: sculptor Enchin, is enclosed in the W. shrine), and promised him aid in his expedition against the Ainos of N.E. Japan. Pictures of the three hang at one end of the inner chapel. The building is 1904 ft. long by 884 ft. in depth, and 53 ft. in height from the platform. It has a wooden platform in front,: called the butat (dancing stage),. supported on a lofty scaffolding of solid beams, and two small projecting wings which serve as_orchestra (gakuya). An open hall full of ex-voto pictures, extending the whole length of the front, abuts: on the dancing stage. To it succeeds a long narrow matted corridor called the satjin, while the closed chamber which contains the shrines. is called nat-naijin; the front part of this is sunk below the floor and paved with squared stones. Lights are always kept burning in the temple, and worshippers pass in and out all night.

原資料 p. 343

A feature adding to Kiyomizu's peculiar aspect is the abyss dividing the main temple from the Oku-no-in dedicated to Kwannon, built out from the opposite hill on piles. It stands on the site of Gyoei's hut. Below is the Otowa no taki cascade; on the hill to the left are various smaller shrines. The Yasaka Pagoda, five storeys high, is worth ascending for its close and complete view of the city, though the ladder-like stairs are unpleasantly steep. Like many Japanese pagodas, it is dedicated to four Nyorai: Hojo to the south, Amida to the west, Ashuku to the east, and Shaka to the north. The door panels have paintings on thin plaster; of the four images, only that of Shaka is old.

原資料 p. 343

ao modest terior walls and pillars. are paintings of various Buddhist deities. This pagoda is said to have been founded by Shotoku Taishi about the end of the 6th century, but another account makes it date from 679. from 1618. Kodaiji, noted for its relics of Hideyoshi, belongs to the Rinzai branch of the Zen sect. Founded in A.D. 888, it underwent many vicissitudes, and was rebuilt in 1605 by Hideyoshi’s widow, in order that services might be performed there for the benefit of the souls of Hideyoshi and his mother. In 1863 some 76vins set the principal buildings on fire, beernse it was announced that the ex-Prince of Echizen, whom they looked upon as an enemy of the Mikado’s party, wis about to take up his quarters there. ‘The greater part of the buildings perishThe present building dates ed on this occasion; but some few por- tions, together with the fine garden, still remain, The visitor is first ushered into the Apartments, which, though of proportions, contain some good works of art. There are gold screens by Kano Motonobu, Kano Koi, and Hasegawa Tohaku. One by Matahei is very curious, as representing the arrival of Korean envoys at Sakaiin Japan, while a ' brilliant but anonymous kakemono depicts the Chinese emperor Shinno-Shikod. There are also various relics of Hideyoshi and his wife —his writing-box in mother-of-pearl the black lacquered ‘horse’ on which she hung her clothes, etc. From the Apartments the acolyte who acts as cicerone will show the way to the Garden, which was designed by the celebrated esthete, Kobori Enshu. Its picturesque effect is much heightened by the two lofty pine-clad hills that rear their heads over the trees at the back. We next pass up a gallery, which was brought from Hideyoshi’s palace of Momoyama.

原資料 p. 344

Hideyoshi used to sit on the little square in the middle ofthis gallery to gaze at the moon. Then one comes to the <Kaisan-do, or Founder’s Hall, the painted ornamentation of which is highly original in style. ‘The ceiling is made of the top of Hideyoshi’s wife’s carriage, and from a portion of the roof of the war-junk prepared for Hideyoshi’s use in his expeditions against Korea. The four panels of the shrine were painted by Kano Motonobu. A curious incense-burner in front of the little altar was brought from Korea by Katéd Kiyomasa, and is shaped like an octopus. The dragon on the ceiling is by Kano Hitoku. From the Founder’s Hall we pass up another covered gallery named the Gwaryo no Roka, that is, the Corridor of the Sleeping Dragon, to the O Tamaya, or Mortuary Chapel, which contains a seated effigy of Hideyoshi in a _ shrine having panels of black lacquer with designs in thin gold taken from his wife’s carriage. The hat was one given to him by the Emperor of China. On the: opposite side is the effigy of his wife (Kita-no-Mandokoro) in the garb of a Buddhist nun. The Thirty-six Poets, by Tosa Mitsunobu, hang round the walls. Four sliding screens by Kano Motonobu, much injured by time, are also shown. Note the gold pattern on the black lacquer steps inside the altar. It represents rafts and fallen cherry-blossoms floating down the current of a river. The way leads down the gallery again, and so. out. The guide may offer to take the traveller up to the Shigzare no Chin and Karakasa no Chin on the hill behind; but they are not worth spending time over, being mere little thatched summer-houses, old and quite abandoned. Shogun-zuka is about 570 ft. above the river.

原資料 p. 344

It takes its name, which means the Generalissimo’s Mound, from the tradition that when the Emperor Kwammu removed his capital toits present situation, he buried here the effigy of a warrior in full armour, provided with a bow and arrows, to act as the protecting deity of the new city. This eminence commands a wide prospect over the city and surrounding country, up to the moun-~ tains bounding the province of Yama I

原資料 p. 344

Shogun-zuka. Higashi Otani. Gion. shiroonthe W.andN. Just beloware the two-storied gateway of Chion-in and the temple of Gion, from which Shijo Street can be traced right across the city. Above the Shijo bridge are the Sanjo and Nijo bridges, below it that of Gojo. The high mountain with a clump of trees on its top bearing nearly N.W. is Atago-yama. A long white wall under it indicates Ninnaji or Omuro Gosho, to be recognised also by its pagoda. In front of this again is the Nijo Palace. By following the line of the Nijo bridge we perceive the garden of. what was formerly the Palace of the abdicated Mikado, and behind it the Palace of the reigning Mikado. A little W. of N. is the broad bed of the Kamogawa; at the base of the mountain range from which this river issues lies the temple of Kami-Gamo, beyond which is the mountain road to Kurama. At the junction of the Kamogawa and Hirano-gawa is a dense grove which conceals the temples of Shimo-Gamo and “Kawai. The summit of Hieizan bears N.l. by N. Half-way between its foot and the spectator lie Kurodani with its pagoda and numerous buildings, and the large roof of Shinnyo-dd with its pagoda further W. Nearer is the twostoried gate of Nanzenji, half-hidden among the trees. A little S. of W. - are the two high roofs of Nishi Hongwanji and the single large hall of Koshoji. A little further S. is the pagoda of Toji beyond the railway station, and S.W. in the far distance are Tenné-zan at the end of the Western Hills (Nishiyama), above Yamazaki station, and the Yodogawa flowing gently along its half-choked bed towards the sea. From the E. brow of the hill the view commands the Tokaidéd and the railway winding round the base of the opposite range.

原資料 p. 345

Nearer than Shdgun-zuka to the city proper, is Maruyama, a suburb almost exclusively occupied by tea-houses—the resort of holidaymakers bent on dancing, drinking, lioness casting her -cub down a precipice in order to harden it, both do), though small, is a glorious 307 or bathing. Some may find it more convenient to visit the Higashi Otani, Gion, and Chion-in temples first, and to take Maruyama and Shogunzuka afterwards. ' Higashi Otani, is the burial-place. of a-portion of the remains of Shinran Shonin, founder of the Monta or Hongwanji sect, of Kennyo the founder of this its EKastern branch, and of Kennyo’s successors the later abbots. The grounds are extensive, and finely situated on a hill-side facing Atago-yama and Kurama-yama. An avenue of pinetrees leads up to the gateway, which is decorated with good carvings of chrysanthemums. The chapel (honspecimen of Buddhistic art,—lovely in its rich simplicity of gold with no other colours to distract the eye. On the altar is a wooden statuette of Amida by thesculptor Kwaikei. Ina shrine at the side’ hangs a portrait of Shinran Shonin. Observe the ‘wheel of the law,’ repeated nine times on the frieze above the main altar. <A flight of steps behind the chapel leads up to the tomb, in front of which stands a beautiful gate carved by Hidari Jingoro. The ~ panels at the sides of this gate, originally gilt, represent 1. the carp ascending a cascade—the symbol of effort and success in life—and r. the tatis — ee cena ane ieee ion ee ee en favourite motives with the artists of Japan. On the top of the tomb lies a remarkable stone called the ‘tiger-stone’ (tora-ishi). The arrangements for interring members of the sect_are similar to those at the Nishi Otani (see p. 304).

原資料 p. 345

In the grounds near the chapel is a splendid bronze fountain, lotusshaped with a dragon rampant atop. As in the Nishi Otani temple, so here too there is a 7'aiko-d6é fer the confinement of refractory priests, * Pinines. i sacramental ns ltsiand siiaideeiciials salaletaaialh Gion no Yashiro, less’ often called Yasaka no Yashiro, stands close to Higashi Otani.

原資料 p. 345

Gion no Yashiro, more rarely called Yasaka no Yashiro, is said to have been founded in A.D. 656 by a Korean envoy in honour of Susano-o. Gion-ji was the name of a Buddhist temple dedicated to Yakushi and Kwannon in the same enclosure, and the name Gion came by popular usage to denote the Shinto temple as well. Gion is the Japanese rendering of Jetavana Vihara, the monastery presented to Buddha by Anathapindika. Though famous and much frequented, the temple looks shabby. The honden is 69 ft. by 57 ft., roofed with thick bark; the annual festival is on the 15th June. Chion-in, chief monastery of the Jodo sect, stands on a hill in Eastern Kyoto. It was founded in 1211 by Enko Daishi, or Honen Shonin, born in 1133 in Mimasaka. At nine he entered a seminary; in 1147 his teacher sent him to Hiei-zan with a letter saying, "I send you an image of the great sage Monju."

原資料 p. 346

The young novice soon proved his powers and before the end of the year was admitted to the priesthood. Though offered the prospect of Tendai leadership, he devoted himself to theology and developed a doctrine of salvation through the Pure Land, giving rise to the Jodo sect, the word corresponding to Sanskrit Sukhavati, Amida's heaven. In 1207 he settled near the present monastery and died in 1212 aged 79. The buildings were twice burnt in the 15th century and again early in the 16th. Ieyasu rebuilt the monastery in 1603; it burnt again in 1633 except for the gate, library, and Seishi-do, and was restored under Iemitsu. The great Sanmon is a two-storied gate 81 ft. by 37 1/2 ft. and 80 ft. high. Its upper storey contains Shaka, Sudatta, Zenzai Doji, and sixteen Rakan; cornices and beams are richly decorated with arabesques, patterns, and fabulous animals.

原資料 p. 346

The ceilings, which lose their effect by being too low, have dragons and angels on a yellow ground. The gallery outside commands a charming view of the city through the pine-tree tops, while to the N. towards Hiei-zan the prospect is wonderfully beautiful. At the S. end there is another pretty view of the densely wooded hills. Two flights of steps, one steep, the other rising gently, conduct us to the great court, and to the front of the Hondo, or Main Temple. On ther., on a small elevation among the trees, stands the bell-tower, completed in 1618, containing the Great Bell, height 10.8 ft., diameter 9 ft., thickness 94 in., weight 125,000 catties (nearly 74 tons), cast in 1633. The Hondo, which faces S., is 167 ft.in length by 138 ft. in depth, and 944 ft. in height from the ground, thus being the largest building of the kind in Kyoto. It is dedicated to Enko Daishi, whose shrine stands on a stage, called the Shumi-dan, at the back of the chancel, within a space marked off by four tall gilt pillars. The gilt metal lotuses in bronze vases,

原資料 p. 346

The gilt metal lotuses in bronze vases before the front pillars reach 21 ft. from the floor, nearly half the height of the building, and the concentration of decoration here gives the interior great effect. West of the chief shrine is another containing memorial tablets of Ieyasu, his mother, and Hidetada; east are Amida and tablets of successive abbots. Under the front eaves is an umbrella said to have flown there from a boy-form assumed by Inari, guardian deity of the monastery. East of the Main Temple is the Library with the Buddhist canon. Behind is the Shueido, with altars holding Amida by Eshin Sozu, Kwannon, Seishi, and a large gilt Amida by the brothers Kebunshi and Kebundo. The Goten, built by Iemitsu, is divided into O-Hojo and Ko-Hojo, with fine Kano-school screens: cranes and pines by Naonobu, pines by Naonobu and Nobumasa, and a famous cat-painted door that seems to face the spectator from every side.

原資料 p. 347

The next room, with snow scenes, was the reception room of the Imperial Prince who acted as high priest (Kwacho-no-Miya). The Sixteen Rakan are by Nobumasa. A small eight-matted room behind the O-Hojo, painted by Naonobu with plum and bamboo, is called the room where the Prince was initiated into the priesthood. Other celebrated works include Nobumasa's sparrow (nuke-suzume), said to have flown through the screen after it was painted, and the i-naori no sagi, or egret rising. Wooden doors with pine-trees were said to exude resin from their lifelike quality. The monastery has manuscripts visible only by official application. Enko Daishi's tomb is up the hill. Nearby Awata no Goten was first built as a retreat for Emperor Seiwa in A.D. 879; the present buildings are later, with screens by Kano artists and coloured paintings of Gion festival cars on the doors.

原資料 p. 347

The garden was planned by Soami. On the way to Nanzenji one passes what looks like a railway, but is actually a portage between two sections of the Lake Biwa Canal: boats navigating either side are placed on trucks and rolled for a few hundred yards.

原資料 p. 347

nin asi aime 310 trucks and rolled along for a few hundred yards. Through the grounds of Nanzenji, too, passes the aqueduct that conveys water from Otsu to Kyoto, a red brick structure whose arches rather add to than deteriorate from the picturesqueness of the place. Nanzenji. This temple of the Rinzai division of the Zen sect originally belonged to Miidera at Otsu; but about 1280 the exEmperor Kameyama appropriated it for his own residence, and in 1289 converted it into a monastery of the Zen sect. The present main temple was built by Ieyasu in 1606. The two-storied gateway facing W., 66 ft. by 32 ft, was built in 1628 by Todo Takatora, prince of T'su in Ise, at the cost of a year’s revenue. The famous robber Ishikawa Goemon is said to have made his residence in the gate-house which pre‘ceded the present building. The Hatto, as the main temple is called, produces a somewhat striking effect, on account of its mixture of richness and simplicity, the dark blue tiled floor picked out with white and the plain brown wooden columns contrasting with the rich red and black altar and the gold of the images enthroned aloft thereon. These images represent Shaka, Fugen, and Monju, flanked by the Ni-o lacquered with vermilion brought from Korea, as were also the two bronze bowl-shaped gongs in front. E. of the altar are the original founder of the Zen sect (the Chinese Hui-k‘e), Daruma, Rinzai Zenji, originator of the subdivision of the Zen sect called after his name, and Nannin Kokushi, the ‘second founder,’ or restorer of the monastery in modern times. In the unusually large two-storied gate-way are Shaka and the Sixteen Rakan, the colours in good preservation. The cornice and wall-plate are gorgeously decorated with coloured diapers and arabesques.

原資料 p. 348

The gate interior at Nanzenji is richly decorated: kirin and flying dragon on the cross-beams, phoenixes and angels on the ceiling, and portraits of Takatora and Ieyasu in small black lacquered shrines. Eikando, a Jodo temple on Higashi-yama, is especially worth visiting in lotus or maple season. Its famous image is Mi-kaeri Amida, Amida Looking over his Shoulder. Founded in the 9th century and restored by Eikwan (1032-1111), the temple takes its present name from him. The image is 2 1/2 ft. high, with the head turned left as if looking back. It is unveiled with ritual: lights, bell, priestly explanation, and a drawn curtain. The legend says Eikwan, walking round the image while repeating Namu Amida, heard his name and saw the image turned toward him; so it has remained.

原資料 p. 348

Hikwan’s own statue is one of those placed to the r. of the altar and a little behind it, so that Amida now permanently looks in his direction. A sequel to the legend says that a certain Daimyo, Lord ot Akashi, having doubted the image’s power, struck it on the r. side in order to see what would happen, when blood flowed from the wound down on to its breast. ’ Kurodani is 2 monastery of the ‘Jodo sect, beautifully _ situated on peo gsreTinerEress It stands on the spot where the founder, I Honen Shonin, built his humble cabin on abandoning the Tendai school of Hiei-zan, and is named after the ‘black ravine’ on ‘that mountain, where he had previously ‘resided, The monastery of Kurodani was WA Yq s ence

原資料 p. 348

Kurodani was begun at the end of the 13th century and completed early in the 15th; after repeated fires it was rebuilt in the latter 18th century. Its chief historical interest is its connection with Kumagai Naozane, who here exchanged the soldier's sword for the monk's rosary and penance. In front of the main temple are two trained pines: Ogi no Matsu, fan-shaped, and Yoroi-kake-matsu, where Naozane is said to have hung his armour. The altar is a grand mass of gold with a central baldachin, silk banners, and gilt keman ornaments. A gilt shrine contains Honen Shonin's image, carved by himself in 1207 and brought here in 1609. Behind the altar is a bold picture of Seishi Bosatsu called happo shomen, because its eyes seem to meet the beholder from every direction. Splendid kakemonos are displayed from time to time.

原資料 p. 349

One is a Painted. mandara, that is to “say, an aa is @ magnificent specimen of that art. It represents Buddha’s. Entry into Nirvana (Nehanz6). In the Apartments, which are fine . eons a number Me ores of dail Jingoro, of 50 Buddhas*whose bodies and lib aXors “Mitsuki with scenes- from. the “Genjt Monogatari, a carious kakemono .of the mourning for Honen. Shonin by his disciples, a grotesque “black statuette of Jurojin by Hidari ry remarkable kakemono hialos*turn out on inspection” to be Hothing but the Chinese characters. Namw Amida Biitsu constantly, re-., peated, a gilt statue of Amida,..by: Eshin, and round the walls of the same room the whole biography of Honen Shonin in a set of minutely and brilliantly painted Lakemonos by an unknown artist. 'Tn another room © isenshrinéd, ina richly wrought gilt case, a notewor thy kakemono of Jizo submitting to be burnt in save others ot Yata no Jizo)S" There are “also Some old kakemonos by Chinese artists, a black image of Shinran Shonin by himself at the age of 35, and in.a.separate room a kalemono of Naozane, together with his rosary, his enormous rice-pestle, and his, tremendously long and heayy sword. No wonder that the hero is alleged. to have been 7 ft. 8 in. in stature. Next come more images—Amida ‘by Jikaku Daishi With Fudo and Benten, and beyond these a kakemono. of the 25 Bosatsu, Amida in the middle with rays. of Hight streaming from his eye.. Behind the Apartments lies a pretty garden, #, the pond meandering which is called Yorot- sute Ue) Tke, , “because Naozane is said to hav thrown his armour into it. On quitting the temple, the visitor should glance in 1. at the fine large gilt image of Amida by Genshi Sozu in the lesser shrine dedicated to that deity.

原資料 p. 349

Behind this, at a little distance, is the graveyard where Naozane and Atsumori lie buried. The Kwmagai-do, dedicated to the memory of the former, is not worth visiting, neither are the graves. One may, however, on the way to ‘ rder t0... through —F-. o£ 2 ee “y at a “at i

原資料 p. 349

On the way to Shinnyodo one may pass through the cemetery, extensive and prettily situated on a hillside crowned by a pagoda, with several large bronze Buddhas. Most graves are those of Kyoto tradesfolk. Shinnyodo, a Tendai temple, has on its high altar an image of Amida attributed to Jikaku Daishi. The tablet over the entrance is by Kobo Daishi; one character is imperfect, giving rise to the saying that even Kobo's brush can err. Yoshida no Yashiro is a prettily situated Shinto temple on a hillside.

原資料 p. 350

Yoshida no Yashiro is octagonal, a form seldom seen in Shinto temples, and is painted white and vermilion. Ginkakuji, properly Jishoji, stands in Jodoji-mura at the north-east end of Kyoto. In 1479 Ashikaga Yoshimasa, after resigning the Shogunate, built a country house here, extending to the hill of Shinnyodo. The two-storied Ginkaku, or Silver Pavilion, was a summer-house in the garden of his reception hall, built in imitation of the Golden Pavilion. The garden was designed by Soami. Here Yoshimasa, with Soami and Shuko, practised tea ceremonies, raising them nearly to a fine art. The visitor first sees the Apartments, especially screens by Buson in black and white or pale colours.

原資料 p. 350

After Buson's rooms comes an image of Yoshimasa in priestly robes, dark with age but lifelike, and a tiny tea-room, the first in Japan built to the canon of four and a half mats. It has slight screens by Soami and Okyo and a sketch of plum-blossoms by Hogen Motonobu. The Garden charms partly because of the high pine-clad hill behind it. The white sand heap is Ginshadan, the Silver Sand Platform; behind it is Kogetsudai, the Mound Facing the Moon. Each bridge, stone, and tree has a name: the Moon-washing Fountain, the Stone of Ecstatic Contemplation, the Bridge of the Immortals, and so on. The Pavilion was never actually silvered, Yoshimasa having died before that stage. The visit usually ends with tea in the cha-no-yu style. Shimo-Gamo, dedicated to Tamayori-hime under the name Mioya-no-kami, was founded in A.D. 677.

原資料 p. 350

Shimo-Gamo was one of the twenty-two chief temples of the Empire and is still maintained by the State. It stands in a fine grove of maples, cryptomerias, and evergreen oaks. Two tall sakaki outside the gate are joined by a branch grown from one trunk into the other; women seeking harmony with their husbands visit them, and a small torii marks them as divine. The temple is surrounded by a painted colonnade, with a red two-storied gatehouse opposite the haiden. To the right are the hosodono for musicians and the hashidono over the Mitarashi-gawa, used by the reader of the norito. A picture of Komei Tenno's 1863 procession hangs outside the watch-house, commemorating an early public appearance of the Mikado in worldly affairs. A smaller shrine, Hiiragi no Miya, is connected with a belief that certain evergreens planted before it become hiiragi.

原資料 p. 351

The principal annual festival is celebrated on the 15th April, when the double cherry-blossoms at Netra _ are called’ Kamni-Gamo. 3138 which adorn theadjacent race-course are all out. The races, however, do not take place till the 5th May. A pretty road leads from ShimoGamo to Kami-Gamo through an avenue of pine-trees 50 cho long, formerly the scene of many an Imperial progress, with the Kamogawa, to the r., up whose course the avenue goes, while Hieizan rises behind it and Kurama-yama ahead. Kami-Gamo. This temple is usually said to have been founded in 677 by the Emperor ’emmu in honour of Wake-ikazuchi-no-Kami, but there seems to be some uncertainty attaching to its early history. According to the legend, as ‘Tama-yori-Hime, daughter of the god Kamo-no-Take-tsumi, was walking by the side of the stream, there came floating towards her a red arrow winged with a duck’s feather, which she picked up and carried home. Shortly afterwards she was discovered to be pregnant, and she eventually gave birth toa son. The father was unknown, and as her parents disbelieved her declaration that she had never known @ man, they determined, as soon as the child could understand what was said to it, to arrive at the secret by resorting toa kind of ordeal. Inviting all the villagers to a feast, they gave the child a wine-cup, telling him to offer it to his father; but instead of taking it to one of the company, he ran out of the house and placed it in front of the arrow which Tama-yori-Hime had thrust into the roof. ‘Then transforming himself into a thunderbolt, he ascended to heaven, followed by his mother. This myth evidently originated in an attempt to account for the name of the River Kamo, which means ‘ duck.’ The temple buildings are quite plain and beginning to look old.

原資料 p. 351

The brick-red palings at Kami-Gamo are striking rather than pretty. In cherry-blossom season the place is lively with visitors and tea-booths; otherwise it chiefly suits those making a long stay in Kyoto and visiting Kurama-yama as well. Kurama's name is said to come from Emperor Temmu, who in A.D. 683 fled there on a saddled horse to escape Prince Otomo, leaving the horse tied at the spot.

原資料 p. 351

The walk back from Kurama-yama to Kyoto may be varied by crossing the hills to Shizuhara and Ohara, thence to Yase, 1 1/4 ri. At Yase the women wear trousers and carry loads on their heads with a thick cushion. From Yase to Sanjo Bridge is 2 1/4 ri. Shugaku-in is an Imperial garden at the base of Hiei-zan, planned by the Mikado Go-Mizunoo in the 17th century. The pagoda of Toji is conspicuous in the view over the city, rising between Otoko-yama and Tenno-zan. Environs of Kyoto. Several places already mentioned are strictly in the environs rather than inside the shrunken modern city. The following, farther afield, each require a day. Iwashimizu Hachiman-gu lies south-west of Kyoto on the left bank of the Yodogawa near Yawata, opposite Yamazaki station. It is dedicated to Emperor Ojin, worshipped as Hachiman, god of war.

原資料 p. 352

The temple stands on a hill some 300 ft. above the river, and is built and Neighbourhood. in the Rydbu-Shinto style, on a stone-faced platform 10 ft. high. In former times pilgrims were ‘allowed to walk round the outer edge of the corridor surrounding the building, so that they were able to see the golden gutter between the eaves of the oratory and chapel. This is still said to be in its place, in spite of the great temptation to convert it into current coin. From the E. gate a few flights of steps. descend to the well called Iwa-shimizu, that is, ‘Pure rock water,’ after which the temple is named. Crossing the river by the Ishibano-Watashi (ferry), the should ascend Tenno-zan to the pagoda of Takara-dera, 200 ft. above: the bank. Here are buried some of the Choshit men who performed harakiri on the top of the hill above, after the repulse of the attack made on the Mikado’s palace by the warriors of that clan in 1864. Three hundred feet higher is a gigantic stone fori?; and a little further, on the slope where they killed themselves rather than surrender: to be treated as common criminals, stands the monument raised to their memory by the prince of Chosht. This hill and the narrow pass between it and the river, occupied by the vill. of Yamazaki, are famous in Japanese history as the battlefield where Hideyoshi routed the forces of the traitor Akechi Mitsuhide in 1582, and thus avenged the assassination of his patron Nobunaga. Yamazaki and the ; Villages of Yawata and Hashimoto oppomanding each the greater part of ; et site were also the scene of hard fighting in the beginning of 1868, when the Tokugawa troops were being driven backwards: upon their base by the victorious samurat of Satsuma and Chosht.

原資料 p. 352

Other places which native holidaymakers would combine in the same day’s expedition are Ao no Konvydjit,. Nagaoka no Tenjin, and Hashimoto. 2. Atago-yama is a conspicuous. peak to the N. W. of Kyoto, about 2,900 ft. above the sea. The ascent of it may advantageously be combined with a visit to Omuro Gosho (see p. 294), Uzumasa (p. 294), and Seiryaji (p. 295), which all lie in the same direction. A short distance beyond Seirytiji is a red tori at the bottom of a. hill called Kokoromi-zaka, which might be visitor:

原資料 p. 352

rendered ‘Test Hill,’ as it puts the pilgrim’s endurance to a first triad before he reaches the more arduous ascent to the summit of the mountain. Descending to the vill. of Kiyotaki, 17 cha, we cross the stream which lower down unites with the Oigawa to form the Katsura-gawa, and then begin to climb a very steep path to the Minakuchi-ya. On the way up are two resting-places which command a fine view of the plain. The last half of the ascent is much less steep, and the distance from the last tea-house to the summit is - but 5 chd. On the 1. a glimpse is caught of the Oigawa and the town of Kameoka in the plain of Tamba. There isa fine bronze torit with a boar in relief at the top of the ascent. Several flights of stone steps lead up to the front chapel, which is dedicated to the creatress Izanami and her child the God of Fire, whose birth caused her death. The most common ex-voto is a picture of a wild boar. At the back is a second chapel dedicated to ToyoCharms are sold as a protection two other deities. by the priests against fire. va 3. Kurama-yama. See p. 313. ie Rapids of the Katsuragawa. his expedition makes a pleasing variety in the midst of days spent chiefly in visiting temples. The distance from the Kyoto Hotel to the vill. of Hézu, where boats are engaged for the descent of the rapids, is under 6 71; but the road, though practicable for jinrikishas the whole way, is hilly and rough in places, so that two coolies should be taken. A good plan is to engage jinrikishas for the whole round, as none can, be counted on at the landing-place at Arashiyama, the point to which the descent of the river is made. There is no extra charge for taking them in the boat. Fare for jinrikishas for the whole trip, including the return from Arashi-yama to the Hotel, Atago-yama.

原資料 p. 353

Rapids of the Katsura-gawa. Uji. uke-hime, the Goddess of Food, and , 815 $14. The charge for a large boat to descend the rapids is $34; but it is advisable to reach Hozu before noon, as the boatmen make a double charge after that hour, on the ground of their not being able to reascend the river the same day. Visitors from Kobe or Osaka should alight from the train at Mukomachi, the station before reaching Kyoto, and join the road at Katagiwara, thereby saving in distance 2 ri 9 cho and the additional journey by rail. At Mukomachi jinrikishas © ($1 for the whole trip) can be engaged; the distance to the junction of the roads at Katagiwara is 18 cho. The villages of Kutsukake and Oji are traversed before reaching Hozu, the point of embarkation. The rapids commence almost immedi-ately. The bed of the river is very rocky, but the stream at its ordinary height not particularly swift. The scenery is charming. The river at once enters the hills which soon rise precipitously on, either hand, and continues its course between them for about 13 m. to Arashiyama. Of the numerous small rapids and races, the following are a few of the most exciting :—Koya no taki, or Hut Rapid, a long race terminating in a pretty rapid, the passage being narrow between artificially constructed embankments of rock; Takase, or High Rapid, Shishi no Kuchi, ov The Lion’s Mouth, and Tonase-daki, the last on the descent, where the river rushes, between numerous rocks and islets. § One 77 before reaching Arashi-yama, the Kiyotaki-gawa falls in on the’l. The descent takes on an average about 2 hrs., but varies slightly, according to the amount of water ° in the river. From the landing-place is a journey of 1 hr. by jinrikisha. 5. Uji (Inns, Yorozu-ya on the .

原資料 p. 353

Kyoto side of the river, and Kikuya on the other side) lies a little under 477 8. of Kyoto. There is a 7 : at Arashi-yama to the Kyoto Hotel, =] ¥

原資料 p. 353

There is a good jinrikisha road the whole way. This neat little town, picturesquely situated on the Yodogawa, here called Ujigawa, which drains Lake Biwa, is surrounded by tea plantations famous for many centuries as producing the finest tea in Japan. Tea is believed to have been introduced from China in 805 by Dengyo Daishi. The Uji plantations date from the close of the 12th century. Tea begins to come to market about the 10th May, but preparation of the leaf may be seen in peasant houses for some time later. The finest kinds, such as Gyokuro, are sold at very high prices, as much as $5 to $7 1/2 a pound. Each family works independently on a small scale and gives its tea a fanciful name. Kyoto citizens visit Uji in summer to see the fireflies and the charming view up the river. Uji's chief sight is Byodo-in, a Tendai temple connected with Gen-sammi Yorimasa. The monastery dates from 1052. Yorimasa committed suicide here in 1180 after the battle of Uji Bridge, where 300 warriors resisted 20,000 Taira men to give Prince Mochihito time to escape.

原資料 p. 354

After prodigies of valour had been performed by this little band, most of whom fell in the defence of the bridge, Yorimasa retired to Byodo-in, and while his remaining followers kept the enemy at bay, calmly ran himself through with his sword in the manner of anancient Japanese hero, He was then 75 years of age. Yorimasa is famous in Japanese romance for having, with the aid of his trusty squire I-no-Hayata, slain the monster called Saru-tora-hebi which tormented the Emperor Nij6-no-in. The large stone monument of ixregular shape, seen to the 1, on Route

原資料 p. 354

48.—Kyoto and Neighbourhood. entering the grounds of Byédo-in, was erected in 1887 to hand down the praises of Uji tea to posterity. The building beyond the lotus pond is the Ho6-dé, or Phoenix Hall, one. of the most ancient wooden structures in Japan, perhaps the most original in shape, and formerly one of the most beautiful, though now™ unfortunately a good deal decayed. It derives its name from the fact _ that it is intended to represent a phoenix, the two-storied central part © being the body and the colonnades r. and . the wings, while the corridor behind forms the tail. The ceil- ing into small coffers inlaid with mother-of-pearl. Round the top of the walls runs a sort of is divided frieze representing the Twenty-five Bosatsu and various female personages. The doors and the walls r. and 1. and behind the altar are ~ covered with ancient Buddhist © paintings by Tamenari, now almost i obliterated, of the Nine nen of Sukhavdti (Jap. Kubon Jodo), the © Pure Land in the West, where the © saints dwell according to their. degree of merit. i The altar or stage was originally © covered with nashiji gold lacquer inlaid with mother-of-pearl; and as_ every inch of the walls and columns . was elaborately decorated with © paintings, the effect of the whole — when new must have been truly” dazzling. By criminal neglect this gem of art was left open to every wind of heaven for many years, and what between the ravages of the weather and the ravages of thieves, the place has been reduced to its present state of decay. On the roof are two phoenixes in bronze, 3 ft. high, which serve as weathercocks. The Hondo, or present main temple, which is much newer, has _ nothing calling for special mention.

原資料 p. 354

The Apartments, though poor, contain various objects of interest,— kakemonos, illustrated scrolls, and relics of Yorimasa, among other things his flag which is inscribed

原資料 p. 354

with Sanskrit characters, his bow, saddle, and armour, a small coloured image of him in priestly garb which looks like a portrait, and a very old kakemono representing his life and adventures. There is also a flag interesting as a very early example of the Japanese national device of the red sun on a white ground. On the sun are inscribed the characters Namu Amida Butsu, and a date corresponding to the 30th November, 1185. The collection contains furthermore quite a number of small Buddhist images. The walk up the stream to the temple of Kōshōji (ferry), returning over the Uji bridge, is very pretty. The most agreeable way of returning to Kyōto is to take boat, and drop down to the Kyōbashi at Fushimi in about an hour, whence home by jinrikisha. Observe that an expedition to Uji may be combined with a visit to the Daibutsu (see p. 300), San-jū-san-gen-dō (p. 299), Tōfukuji (p. 299), and the temple of Inari (p. 298). Instead of following the main road from Kyōto to Uji, some recommend a détour viâ the temples of Fuji-no-mori and Obaku-san. Both of these ancient and once celebrated edifices have, however, fallen into such lamentable decay as really not to be worth going out of one's way to see. Fuji-no-Mori is dedicated to Toneri Shinnō, the chief compiler of the Nihongi, or 'Chronicles of Japan,' A.D. 720. Obaku-san, founded in 1659 by a Chinese priest named Ingen, possesses a complete set of wooden blocks for printing the Chinese version of the Buddhist scriptures. Those who prefer jinrikisha riding to the train might go from Kyōto to Nara viâ Uji-not much more than a half-day's run-passing through the vill. of Nagaike and along the banks of the Kizugawa. 6. Lake Biwa, either viâ Ōtsu or over Hiei-zan. (See next Route for details.)

原資料 p. 355