zen | Blue Lapis Road

DAY 7 (3/7): POETICS OF ARCHITECTURE, D T Suzuki Museum (鈴木大拙館), Kanazawa (金沢), Ishikawa Prefecture (石川県), Japan, 2018.05.31

In counter to a globalized world where International Style architecture can be erected anywhere in the world without connections with the regional culture and landscape, architectural historian Kenneth Frampton suggests Critical Regionalism as an alternative approach that integrates Modernist design with regional essence. From Kenzo Tange to Tadao Ando and Kengo Kuma, the beauty of traditional Japanese architecture have made a strong presence in modern architectural designs in Japan. Located just a block southeast of SANAA’s 21st Century Museum of Contemporary Art, the D T Suzuki Museum is an elegant piece of modern architecture that contains deep roots in the beauty of Japanese Zen traditions. Famous for designing a number of museums in Japan and, the most well known of all, the new wing of New York’s MOMA, architect Yoshio Taniguchi (谷口吉生) completed this small museum in 2011 to commemorate the life and works of Suzuki Daisetz Teitaro (1870-1966), an influential Zen Buddhist philosopher who was largely responsible for introducing Japanese Zen Buddhism to the West.

Famous for the spatial qualities and fine detailing, Yoshio Taniguchi’s D T Suzuki Museum goes much beyond a sleek building that houses a collection of artefacts. From the humble entrance to a hallway guided by a slit of light, from a cozy exhibition hall that tells the story of the zen master to a small library of Suzuki’s works for visitor’s better understanding on the philosophy of Zen, and from a courtyard of a rugged stone wall and tranquil mirror pool for visitors’ self reflection to a spiritual pavilion surrounded by water for self contemplation, a visit to the D T Suzuki Museum offers an inspiring journey designated for the beauty of spiritual enlightenment, Zen Buddhism and life itself. Though small in scale, the experience and beauty of D T Suzuki Museum provided us much more food for thought than many catchy and sleek designs that spark a few minutes of wow effect and then nothing more.

Reference to traditional Japanese houses and Modernist architecture, a band of vertical strips conceal the humble entrance and glazed reception lobby.

A square abstract pattern of lines and strokes define the logo of the D T Suzuki Museum.

After obtaining our tickets, we followed a hallway with skirting light into the exhibition space.

In the middle of the hallway, an angular glazed corner allowed us to have a peek into the modern zen garden outside.

No photography was allowed in the exhibition and library areas. After the exhibit, the journey took us out to the courtyard of mirror pond and the contemplation pavilion with its paper-thin roof.

We sat on a wooden bench in front of a stone wall for quite some time to feel the breeze and take in the atmosphere and let the beauty of the courtyard to sink into our hearts.

Water ripples was generated automatically from time to time in the pool, serving as a visual massage to further calm down our mind.

Every elements in the complex are minimal, light and elegant, as if the world has been striped of every excessive and undesirable element with only the essence left behind.

Refined detailing of the pool railing showed us the architect’s careful attention to minimize excessive lines and connection hardware throughout the complex.

At four corners of the pavilion, rainwater chains were provided along with beautiful water feature of small water droplets forming tiny ripples in the pool.

The pavilion for contemplation can be reached from all four sides. With indirect lighting from the overhead oculus and the four openings each framing a garden view, one can stay, meditate and make peace with him/herself in the pavilion for a long time.

The courtyard wasn’t very big, but it was full of interesting design details and magnificent spots to appreciate order of zen architecture.

The edge of the pool is carefully treated with a perimeter band of pebble stones.

From the garden lookout, the pavilion and its reflection appear perfect in geometry under the shade of the willow tree.

The essence of minimalist architecture is evident from the limited number of lines and elements in the design.

Less doesn’t mean lacking: unique features in the museum garden offer touches of design sophistication to enhance user experience at different spots throughout the journey.

For many tourists, D T Suzuki Museum has provided one of the most pleasant surprises and inspiring moments in their Kanazawa experience. We couldn’t agree more.

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CHUBU (中部地方) 2018, Japan, 2018.05.25 – 06.03
Introduction

Day 1: Tokyo (東京)
1.1 TSUKIJI OUTER MARKET (築地場外市場)
1.2 TSUKIJI INNER MARKET (築地中央卸売市場)
1.3 MORI ART MUSEUM (森美術館), 21_21 DESIGN SIGHT & CAFE KITSUNE

Day 2: Matsumoto (松本)& Kamikochi (上高地)
2.1 MATSUMOTO CASTLE (松本城), Matsumoto (松本)
2.2 “ALL ABOUT MY LOVE”, Yayoi Kusama’s Exhibition at Matsumoto City Museum of Art (松本市美術館), Matsumoto (松本)
2.3 MATSUMOTO PERFORMING ARTS CENTER (まつもと市民芸術館), Matsumoto (松本)
2.4 FROM MATSUMOTO (松本) TO KAMIKOCHI (上高地)
2.5 ARRIVAL IN KAMIKOCHI (上高地), Chūbu-Sangaku National Park (中部山岳国立公園)

Day 3: Kamikochi (上高地)
3.1 MORNING WALK IN KAMIKOCHI (上高地), Nagano Prefecture (長野県)
3.2 DAKESAWA HIKE (岳沢), Kamikochi (上高地)

Day 4: Kamikochi (上高地) & Shirahone Onsen (白骨温泉)
4.1 TAISHO POND (大正池), Kamikochi (上高地)
4.2 RETREAT IN THE JAPANESE ALPS, Shirahone Onsen (白骨温泉)
4.3 MOMENTS OF ESCAPE, Tsuruya Ryokan (つるや旅館), Shirahone Onsen (白骨温泉)

Day 5: Hida-Takayama (飛騨高山)
5.1 CITY IN THE MOUNTAINS, Hida-Takayama (飛騨高山)
5.2 HIDA BEEF (飛騨牛), Hida-Takayama (飛騨高山)
5.3 SAKE (日本酒) BREWERIES, Hida-Takayama (飛騨高山)
5.4 YOSHIJIMA HOUSE (吉島家住宅), Hida-Takayama (飛騨高山)
5.5 HIGASHIYAMA WALKING COURSE (東山遊歩道), Hida-Takayama (飛騨高山)

Day 6: Hida-Takayama (飛騨高山), Shirakawa-go (白川郷) & Ainokura (相倉)
6.1 MIYAGAWA MORNING MARKET (宮川朝市), Hida-Takayama (飛騨高山), Gifu Prefecture (岐阜県)
6.2 OGIMACHI IN THE RAIN, Shirakawa-go (白川郷), Gifu Prefecture (岐阜県)
6.3 SOBA, TEMPLE & LOOKOUT, Shirakawa-go (白川郷)
6.4 RAINY AFTERNOON IN AINOKURA (相倉), Gokayama (五箇山)
6.5 GASSHO MINSHUKU, FLOWER BEDS & RICE PADDY FIELDS, Ainokura (相倉), Gokayama (五箇山)
6.6 CROAKING FROGS AND MOONLIGHT REFLECTIONS, Gokayama (五箇山)

Day 7: Kanazawa (金沢)
7.1 DEPARTURE IN THE RAIN, Ainokura (相倉) to Kanazawa (金沢)
7.2 A SEAFOOD PARADISE – OMICHO MARKET (近江町市場)
7.3 D T Suzuki Museum (鈴木大拙館)
7.4 Kenroku-en Garden (兼六園)
7.5 Oyama Shrine (尾山神社) and Nagamachi Samurai District (長町)
7.6 Nomura Samurai House (武家屋敷跡野村家), Nagamachi Samurai District (長町)
7.7 Sushi Ippei (一平鮨), Katamachi (片町)

Day 8: Kanazawa, Ishikawa Prefecture (金沢, 石川県)
8.1 Iki Iki Tei (いきいき亭) and Higashide Coffee (東出珈琲店), Omicho Market (近江町市場)
8.2 21st Century Museum of Contemporary Art (21世紀美術館)
8.3 Kazuemachi District (主計町茶屋街)
8.4 Higashi Chaya District (東山ひがし茶屋街)
8.5 Kaga Yuzen Toro Nagashi (加賀友禅燈ろう流し), Asano River (浅野川)
8.6 AFTERMATH OF KAGA YUZEN TORO NAGASHI (加賀友禅燈ろう流し)

Day 9 & 10: Tokyo (東京)
9.1 Marunouchi (丸の内) & Nihonbashi (日本橋)
10.1 OEDO ANTIQUE MARKET (大江戸骨董市), Tokyo Forum (東京国際フォーラム)
10.2 FARMER’S MARKET, United Nations University (東京国連大学), Aoyama (青山)

October 28, 2018 | Categories: Japan, Japan: Chubu 2018, Kanazawa | Tags: architect, Architecture, Buddhism, courtyard, D T Suzuki, design, 金沢, 鈴木大拙館, 谷口吉生, garden, Ishikawa, Kanazawa, minimalism, museum, Taniguchi, Yoshio, zen | Leave a comment

DAY 3 (6/7): GINKAKUJI (銀閣寺), Kyoto (京都), Japan, 2016.12.05

Modeled after Kinkakuji (Golden Pavilion), Ginkakuji Temple (銀閣寺, Silver Pavilion) is probably the most popular Zen temple in Northern Higashiyama. Unlike Kinkakuji which was the cultural focus for Kyoto aristocrats, Ginkakuji was always the centre of cultural activities for the majority throughout history. As a Zen Buddhist temple, Ginkakuji was also named Jishō-ji (慈照寺). It was a focus of the local cultures, and influential in a number of traditional arts, including tea ceremony, flower arrangement, poetry, theatre, horticulture, and architectural design. Consisted of several temple buildings including the Silver Pavilion, a dry sand garden and a lush-green moss garden, Ginkakuji represents the grand finale at the northern end of the Philosopher’s Path. After Honenin Temple, we finished the remaining portion of the Philosopher’s Path and turned right onto Ginkakuji Sando (銀閣寺参道), the approaching route that led us to the famous Zen temple.

Beyond the main gate, the Ginkakuji Fence (銀閣寺垣) stood right in front of us. We turned right and walked towards the ticket office.

After getting our tickets, we immediately entered a small dry Zen garden. A few pine trees stood in magnificent gestures.

Everything in the dry Zen garden was carefully thought out and maintained.

Going through the Hoshokan Gate, we arrived at the main temple ground. Everything in the main garden centred at the Kinkyochi Pond (Mirror Pond).

Unlike Kinkakuji (Golden Pavilion), the Ginkakuji (Silver Pavilion) was never painted silver in colour. The humble timber structure matched perfectly well with the natural surroundings.

As we began to stroll along the garden path, we immediately arrived at the unique sand garden. The first unique feature was the Kogetsudai (向月台, Moon Viewing Platform).

The path brought us around the Ginshadan (銀沙灘, Silver Beach) in front of Hondo (Main Hall).

The linear patterns of the Ginshadan (銀沙灘, Silver Beach) were carefully maintained.

The round edge of the Ginshadan (銀沙灘, Silver Beach) with Kogetsudai (向月台) at the background.

A moss-covered rock in the Kinkyochi Pond (Mirror Pond) stood like a sculpture in the water.

Moss covered landscape around the tranquil Kinkyochi Pond (Mirror Pond).

The path continued to a peaceful waterfall known as Sengetsusen Waterfall (洗月泉, Moon Cleansing Waterfall).

The Sengetsusen waterfall (洗月泉) had become a fountain of wishes, where visitors would throw coins onto the stone in the water to make wishes.

Leaving the Togudo Hall (東求堂) and Hondo behind, the path began to climb up gently onto the hill behind the temple.

The undulating ground of the slope was covered with lush-green moss.

A good mix of vegetation on the hill, including maples and bamboo.

The path led us to a corner at the temple ground where the Ochanoi (Well for Tea Ceremony) was located.

On the hill, the view back down towards the temple buildings and the Kyoto scenery beyond was spectacular.

Looking down to the Ginshadan, the linear patterns of the Silver Beach looked really neat.

The path followed the topography led us gradually downhill back to the level of Kinkyochi Pond. Along the way, we passed by the beautiful slopes covered with green moss.

On our way out of Ginkakuji, we had a last peek at the Silver Pavilion beyond the autumn maples and the beautiful moss garden.

***

February 9, 2017 | Categories: Japan, Japan: Kyoto and Nara 2016, Kyoto and Nara | Tags: Architecture, Buddhism, Buddhist, 銀閣寺, 銀閣寺垣, fence, garden, Ginkakuji, Higashiyama, Hondo, Japan, Jishoji, Kyoto, moss, paviion, pavilion, sand, silver, Temple, Togudo, zen, 慈照寺, 京都 | Leave a comment

DAY 3 (5/7): HONENIN (法然院), Kyoto (京都), Japan, 2016.12.05

We decided to make a detour to visit Honenin Temple (法然院) when we about to reach the northern end of the Philosopher’s Path. Built in 1680 to commemorate 12th century Buddhist priest Honen, the founder of Pure Land Sect of Buddhism (浄土真宗, Jodo-shin-shu), Honenin is a modest and quiet complex hidden in the forested mountain just ten minutes walk away from the much popular Ginkakuji Temple (銀閣寺). Although the Main Hall would only open two times a year at the first week of either April or November, we still wanted to check out the tranquil temple ground and its famous thatched entrance hut.

Honenin Temple was only a few minute walk off the Philosopher’s Path.

The temple complex of Honenin was hidden beyond a flight of steps up a forested slope.

We came a little late to see the entrance path of Honenin Temple fully covered by red autumn leaves.

South of the Honenin Temple was a tranquil graveyard.

Because of its peaceful setting, many well known individuals chose to be buried here, including painter Heihachiro Fukuda (福田平八郎), economist Hajime Kawakami (河上肇), philosopher Shuzo Kuki (九鬼周造), etc. But the grave that we wanted to pay respect to was writer and scholar Junichiro Tanizaki (谷崎潤一郎).

There were hundreds of tombs in the graveyard and there was no one around that we could ask. We searched online and find a photograph of Junichiro Tanizaki’s tombstone. Based on that photo, we figured it could be situated at the back row.

After a few minutes of searching we finally found the tomb of Junichiro Tanizaki and his wife. One of the most influential Japanese author in the 20th century, Junichiro Tanizaki ‘s In Praise of Shadows(陰翳礼讃, In’ei Raisan) is a great essay for anyone who is interested to understand the concept of Japanese aesthetics. It’s a homage to the dark timber structures and dimly lit interior of traditional Japanese architecture.

After a detour to the graveyard, we finally approached the thatched entrance hut of Honenin Temple.

Once inside the gate, we were greeted by a pair of Byakusadan or mount of conceptualized water that were meant to purify one’s mind.

Most of the buildings were not open for visitors. We spent a few minutes to stroll around the central court.

We couldn’t admire the paintings inside the buildings. This was the only painting we saw without entering.

A beautiful 9-level stone pagoda in autumn setting.

Outside the thatched entrance gate stood a woodland with autumn colours.

***

February 8, 2017 | Categories: Japan, Japan: Kyoto and Nara 2016, Kyoto and Nara | Tags: Buddhism, Byakusadan, garden, Ginkakuji, Higashiyama, Honen, Honenin, Japan, Kyoto, moss, Philosopher's Path, Pure Land Sect, zen, 法然院, 浄土真宗 | Leave a comment

DAY 3 (3/7): NANZENIN (南禅院) & TENJUAN (天授庵), Nanzenji (南禅寺), Kyoto (京都), Japan, 2016.12.05

There are about a dozen of sub-temples in the Nanzenji compound. After visiting the Hojo, we headed back to the Suiro-kaku Aqueduct. A flight of steps behind the aqueduct led us to the upper platform of Nanzenji. There we arrived at the entrance of Nanzenin (南禅院), one of the sub-temples of Nanzenji with a tranquil pond garden surrounded by lush-green forest. Visitors were not allowed to enter the building, but we were able to tour the garden. Centered at a small water pond, Nanzenin’s garden was designed in Chisen Kaiyu, or the pond strolling style. A stone path led us around the pond. Left of the pond, there was a elegant pavilion inside an enclosure wall. It was the royal mausoleum of Emperor Kameyama (亀山天皇), the founding emperor of Nanzenji who converted his retirement villa into a Zen Buddhist temple in the 13th century. According to a 15th century account, cherry trees from Yoshino, reed plants from Nanba, and maple trees from Tatsuta were transplanted, and frogs from Ide were released for the making of the garden. The autumn foliage had just past its peak. Most of the vivid red leaves had fallen into the pond, or scattered on the moss covered rocks around the pond.

The temple hall of Nanzenin (南禅院) was not open to the public.

The water pond in Nanzenin’s garden was created in a heart shape.

Much of the red leaves around the pond had fallen into the water.

A sense of deep autumn on the moss-covered ground.

Most of the stone path was damp and peaceful.

The mausoleum of Emperor Kameyama (亀山天皇) elegantly stood at the left side of the pond.

Moss covered a large area of the ground around the pond.

Outside Nanzenin, the remaining autumn foliage, dark timber structures and blue-grey roof tiles evoked a sense of solitude and serenity for the otherwise historical setting.

***

Lastly we came to Tenjuan Temple (天授庵), another sub-temple of Nanzenji dedicated to the Zen master who served Emperor Kameyama. Constructed in 1337, Tenjuan contained both a dry rock garden and a wet pond garden. We stepped into the complex of Tenjuan as the sun had climbed above the Higashiyama Mountains (Eastern Mountains), casting a touch of warmth into the gardens. Similar to Nanzenin, we were not allowed to enter the building interior. Instead, the main focus was again the two gardens. In the dry rock garden, moss seemed grew naturally around stepping stones, creating a romantic ground cover on the gravel pool. We sat at the veranda for a few minutes to admire the dry landscape. At the back, there was the Chisen Kaiyu or pond strolling garden. Just like the garden at Nanzenin, we circled the pond at Tenjuan. The stroll was quite interesting, especially at the part walking on the zigzag stepping stones across the water. A school of koi or nishikigoi fish (錦鯉) swam freely in the pond. When we stopped at the shore, the fish would swim over and gather right in front of us, perhaps hoping that we might feed them? It was almost 10am by the time we finished with Tenjuan. We decided to leave the compound of Nanzenji and found our way to the Philosopher’s Path.

We bought our admission tickets at the entrance courtyard of Tenjuan (天授庵). The main building was not open to the public. We followed a side path into the gardens at the back to start our visit.

The dry landscape of Tenjuan was dominant by the moss and paver patterns.

It was a pleasant morning strolling around the naturalistic pond.

The zigzag stepping stones was a neat feature in the journey.

Part of the journey brought us closer to the Tenjuan buildings.

Another feature was a timber bridge. At this tie of the year the bridge was covered with autumn leaves.

Maple and bamboo were two prominent natural features in the garden.

The moss, fallen leaves and pond reflections offered a serene atmosphere around us.

As we stood by the water to take photos, the koi fish approached us from afar.

The koi fish gathered in front of us.

Before leaving Nanzenji, the maples at the entrance court reminded us once again the season of late autumn.

February 3, 2017 | Categories: Japan, Kyoto and Nara | Tags: autumn, bamboo, Buddhism, Buddhist, Chisen Kaiyu, fish, foliage, garden, Higashiyama, Japan, Japanese, Kameyama, koi, Kyoto, maples, Nanzenin, Nanzenji, nishikigoi, Temple, Tenjuan, zen, 南禅院, 南禅寺, 天授庵, 亀山天皇, 京都 | Leave a comment

DAY 3 (2/7): NANZENJI (南禅寺), Kyoto (京都), Japan, 2016.12.05

After the peaceful stroll in the nearby neighborhood, we approached the Sammon Gate (三門) from its side. Built in 1628, the enormous 5-bay Sammon Gate stood proudly at the entrance plaza of Nanzenji Temple. The timber structure of the Sammon Gate darkened as it aged. The reddish tone of the wood matched well with the autumn foliage. Sammon, or triple gate, is a common feature of a Zen Buddhist temple. It is the short form for sangedatsumon (三解脱門) or gate of three liberation. To obtain liberation and achieve enlightenment, Zen Buddhism believes the three liberation: to understand that nothing in this world has a distinctive character, therefore there is no fixed form, and as a result there is nothing in this world to be sought after. The staff wasn’t there so we didn’t get a chance to climb up to the upper deck. From the Sammon Gate, we walked straight into the middle courtyard where a number of pine and beautiful maple trees stood. In the middle, the Hatto or Dharma (法堂) was not open to the public. We could only circle the building from the outside.

The Sammon Gate (三門) of Nanzenji is one of the biggest in temple gate in Kyoto.

Close up of a timber column of Nanzenji’s Sammon Gate (三門).

There are five bays in Nanzenji’s Sammon Gate.

The majestic Sammon as seen from inside the compound.

Hatto or Dharma (法堂), the large lecture hall, was not open to the public.

We then made a turn to the right side of Hatto, reaching a uniquely long structure, Suiro-kaku Aqueduct (水路閣). The arched brick structure was built in the Meiji Period (1889) as part of the water infrastructure that brought water from Lake Biwa to Kyoto. Today, the Suiro-kaku still maintains as the only Western style aqueduct in the city. Standing 93m in length, 4m wide, and 14m high, the aqueduct bisects the temple complex into two. Originally seen as a clash with the Buddhist structures, the skeptical Kyoto citizens soon became fond of the new addition to Nanzenji. Today, the Suiro-kaku Aqueduct has been designated a national historical site, an integral component of the temple ground of Nanzenji.

Constructed in late 19th century, the Suiro-kaku (水路閣) Aqueduct passes through the compound of Nanzenji.

The red brick archways of the Suiro-kaku (水路閣).

The magnificent design details of the Suiro-kaku (水路閣).

Behind the Hatto stood the Hojo (方丈) or abbot’s quarter. The Hojo turned out to be a great place to check out karesansui or dry rock gardens. Ohojo Garden, the karesansui or dry landscape rock garden of the Hojo, contained six stones of various sizes, abstractly depicting a tiger cub crossing a river. The garden was created by Enshu Kobori in the Kanei Era (1624-1644). Another dry garden in the Hojo was Kohojo Garden (小方丈庭園). Constructed in the model times (1966), this dry garden aimed to illustrate the Chinese character of “heart”. Further into the complex we arrived at Rokudo-tei Garden (六道庭), a series of Zen gardens created by Ueyakato Landscape Co,. Ltd.in 1967. This garden was much larger and aimed to conceptualize the Buddhist concept of “reincarnation in six realms” into the garden design. We wandered in the gardens a bit and moved on to visit other sub-temples in the compound.

One of the rooms in the Hojo (方丈) or abbot’s quarter with screens open to the attractive Zen garden.

Timber screens and veranda of the Hojo.

Kohojo Garden (小方丈庭園), created by Ueyakato Landscape (植彌加藤造園) in 1966, depicts the Chinese character of heart.

Detail of a stone and the ripple gravel pattern in the Kohojo Garden (小方丈庭園).

Ohojo Garden (方丈庭園) was created by Enshu Kobori (伝小堀遠州) in the 17th century.

Vivid maple and moss covered rocks at the Ohojo Garden (方丈庭園), a dry landscape rock garden that abstractly depicts a tiger cub crossing a river.

Rokudo-tei Garden (六道庭), by Ueyakato Landscape Co,. Ltd.(植彌加藤造園) in 1967, expresses the Buddhist concept of “reincarnation in six realms”.

Rokudo-tei Garden (六道庭)

A tea ceremony house was called Kyushin-tei.

Rain chain at the veranda of the Hojo.

The tea room of the Hojo was not open yet when we left the building.

***

February 2, 2017 | Categories: Japan, Japan: Kyoto and Nara 2016, Kyoto and Nara | Tags: abbot, aqueduct, Buddhism, Buddhist, Enshu Kobori, garden, gozan, Hatto, Higashiyama, Hojo, Japan, karesansui, Kohojo, Kyoto, Nanzenji, Ohojo, rock, Rokudo-tei, Sammon, Temple, Ueyakato, zen, 六道庭, 南禅寺, 小方丈庭園, 方丈庭園, 水路閣, 三門, 京都五山, 伝小堀遠州 | Leave a comment

DAY 2 (4/6): ○△□ and Chouontei Garden and Ceiling of Twin Dragons, KENNINJI TEMPLE (建仁寺), Kyoto (京都), Japan, 2016.12.04

Claimed to be the oldest Zen Buddhist temple in Kyoto, Kenninji Temple (建仁寺) is a Buddhist temple famous for its zen gardens and traditional paintings in Gion (祇園). Kenninji was founded in 1202 by Buddhist priest Eisai/Yousai (明菴栄西). Two times Yousai went to China and brought back with him Zen scriptures and tea seeds, from which Zen Buddhism and the practice of green tea drinking flourished in Japan ever since. As a result, Yousai was also considered to be the founder of the tea ceremony in Japan. Since the 14th century, Kenninji was considered one of the five most important Zen Buddhist temples in Kyoto, known as the Gozan (五山十刹制度) or the Five Mountain System. Today, Kenninji stands at third in this ranking system, behind Tenryuji (天龍寺) and Shokokuji (相国寺), and ahead of Tofukuji (東福寺) and Manjuji (万寿寺). On top of this five temples is Nanzenji, which serves as the leading Zen Buddhist temple in today’s Kyoto.

Today, with its meditation gardens, ancient teahouse, and timber halls, Kenninji serves as a tranquil oasis in the busy and dense neighborhood of Gion. We entered the Kenninji compound from its North Gate at Hanamikoji Dori. Once inside, we took off our shoes and paid our admission at Hojo (方丈). Inside Hojo, one of the most popular art work on display was “Fujin and Raijin”, a pair of two-folded screen depicting the Wind and Thunder Gods by Tawaraya Sotatsu (俵屋宗達) from the early 17 century. The dry landscape garden in front of Hojo was also quite impressive, so as the traditional paintings on the sliding doors of the building, including the Cloud Dragon (雲龍図) and Seven Sages of the Bamboo Grove (竹林七賢図). But for us, the most amazing artwork at Kenninji was Twin Dragons (双龍図), a 11.4m x 15.7m ceiling mural by Koizumi Junsaku in the Hatto (法堂), or Dharma Hall to celebrate the 800-year anniversary of the temple. Completed in 2002, it took Koizumi Junsaku two years to finish this enormous ceiling painting in the gymnasium of an elementary school in Hokkaido.

Also worth noting was the Toyobo Tea-house, a two mat tea room dated back to the 16th century. We peeked through an opening into the tea-house and saw a simple interior with tatami flooring and a semi-open partition supported by a natural wooden branch as column. Before leaving, we spent a considerable period of time at Choontei Garden (潮音庭), a beautifully constructed zen garden surrounded by wooden verandas. At Choontei, there were three stones at the centre of the courtyard, representing Buddha and two Zen monks. Choontei was also the perfect courtyard to sit on the veranda and admire the autumn maples. On our way out, we passed by another small courtyard which named as ○△□. The serene garden introduces landscape components such as a tree in circular planter or a square area of gravel as visual representations of ○△□, which symbolized water, fire and earth. The spiritual experience of the gardens, the lovely visual palette of the dark timber, green moss and crimson maples, and the refreshing breeze and warm sunlight enabled us to enjoy a moment of meditation. Leaving this tranquil dimension, we would meander through Gion, cross the picturesque Kamo River, and enter the busy streets of Downtown Kyoto.

Entering the Hojo (方丈) Hall, which was built in 1599.

The first thing of the visit was to take off our shoes.

Centuries-old timber structure of the Hojo (方丈) Hall.

“Fujin and Raijin”or the Wind and Thunder God, is the most popular artworks in Kenninji Temple.

The semi open interior space of Hojo (方丈) allows sunlight to enter the building from different directions.

Visitors sitting by the veranda of Hojo to admire the dry landscape garden.

The Cloud Dragon screen paintings at the Hojo were by 16th century artist Kaiho Yusho.

The elegant prayer hall of Hojo with the painting of Seven Sages of the Bamboo Grove (竹林七賢図) on the sliding screens.

Zen Garden or the dry landscape garden at Hojo.

Visitors relaxed themselves at the veranda in front of the Zen Garden.

We saw quite a number of young women dressed traditional kimono dress in several sights of Kyoto, including Kenninji.

The enormous ceiling mural of Twin Dragons (双龍図) in the Hatto (法堂) or the Dharma Hall.

Twin Dragons over the main altar at Hatto.

A stone tsukubai (蹲踞) or stone waterbasin in the tea house garden of Kenninji.

The minimalist Toyobo Tea-house was built in 1587.

A path of stone pavers connected a prayer pavilion with the building’s veranda.

Chouontei Garden (潮音庭) as viewed from the inside.

Awesome autumn colours at Chouontei Garden (潮音庭).

Deep sense of autumn at Chouontei Garden (潮音庭).

Overview of Chouontei Garden (潮音庭), with the San-zon seki (the three stones that represent Buddha and two Zen monks.

The ○△□ Garden (○△□乃庭) was a simple Zen garden.

The ○△□ symbolizes water, fire and earth.

Leaving Kenninji behind, we were ready to venture into Downtown Kyoto to experience the other side of the ancient city.

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January 22, 2017 | Categories: Japan, Japan: Kyoto and Nara 2016, Kyoto and Nara | Tags: abbot, Architecture, autumn, ○△□, Buddhism, Buddhist, ceiling, courtyard, 竹林七賢図, dragon, Eisai, 雲龍図, fall, foliage, Fujin, Fujin and Raijin, garden, Gion, gozan, Higashiyama, house, Japan, Kenninji, Koizumi Junsaku, Kyoto, maples, Raijin, Rinzai, Tawaraya Sotatsu, tea, Temple, timber, zen, 明菴栄西, 五山十刹制度, 京都, 潮音庭, 俵屋宗達 | Leave a comment

DAY 2 (3/6): KIYOMIZU DERA to KENNINJI, Kyoto (京都), Japan, 2016.12.04

Leaving Kiyomizu-dera behind, we walked down Matsubara Dori (松原通) to the intersection of Gojo-zaka (五条坂), where we were drawn by a small shop selling different senbei (煎餅), or Japanese rice crackers snacks. The shop Terakoya Honpo (寺子屋本舗) is a well known chain store of senbei in Japan. We couldn’t resist but picked up a piece of delicious senbei with seaweed spices. Turning into Sannen-zaka (三年坂), we found our way back to Yasaka Dori (八坂通), the historical alleyway dominated by the iconic Yasaka-no-to Pagoda of Hokanji Temple (法観寺八坂の塔). A number of locals and tourists dressed in traditional kimonos were posing for photos in front of the pagoda. A strong coffee aroma led us to a few shops down from the pagoda. The sleek design of curved glazing and minimal decor of %Arabica Coffee provided a pleasant contrast to the historical atmosphere of Higashiyama. We went in, ordered two cups of hand drip coffee, and sat down at the communal table. A female staff took our order and prepared the coffee at the counter. After about ten minutes, our magnificent morning coffee were ready, and that was probably one of the best coffees we ever had.

Just round the street corner from %Arabica along Higashioji Dori (東大路通), we arrived at a alleyway leading to the Shinto shrine Yasui Konpiragu (安井金比羅宮). Nothing monumental or extravagant, the low profile shrine in a residential neighborhood was surprisingly popular with local worshipers due to the specialized wishes of “sever bad relationships and established good relationships (悪縁を切り良縁を結ぶ). In the shrine complex, the centre piece “Power Stone Monument” is a 3m x 1.5m tall rock with an oval hole in the middle. The monument is fully covered with white paper charms. When we were there, there was a long queue of visitors (mostly young women) waiting for their turns to crawl through the oval hole in a ritual of making wishes related to relationships. The main shrine building stood adjacent to the “Power Stone Monument”. In front of the main shrine, racks fully loaded with ema (絵馬) wooden plaques and paper charms written with wishes captured our attention. Judging from the amount of ema, Yasui Konpiragu should be considered a very popular Shinto shrine. We exited the shrine complex through a side torii gateway into a residential lane, and soon found ourselves just steps away from the perimeter wall of Kenninji Temple (建仁寺). Before entering this oldest Zen temple in Kyoto, we stopped by a soba restaurant next to the temple entrance for a quick lunch.

Outside of Kiyomizu-dera, visitors including us began to walk down Matsubara Dori (松原通) towards the city.