KYOTO - CITY OF ZEN

Front endpaper Early morning Page 1 Offerings of sake and
visitors to Heian Shrine peek fresh vegetables are pre-

through the massive vermil- sented on high trays to the
ion doors as shrine priests gods at Hirano Shrine. Even
within perform their morning today, shrine priests, while
tasks. performing Shinto rites, are
garbed in clothing and clogs
modeled on those of the
ancient court.
KYOTO CITY OF ZEN
VISITING THE HERITAGE SITES OF JAPAN’S ANCIENT CAPITAL
Judith Clancy
Photography by Ben Simmons
T UT T L E Publishing
Tokyo Rutland, Vermont Singapore
CONTENTS
CHAPTER 1 CHAPTER 2
Introducing Kyoto Central And Eastern Kyoto
A Brief History of Japan’s Ancient Capital 12 Kyoto’s Imperial Palace 32
Zen Buddhism and the Tea Ceremony 14 Nijo Castle 36
Kyoto’s Amazing Architectural Heritage 18 Heian Shrine 38
Unique Kyoto Food Traditions 22 Downtown Kyoto 42
Kyoto’s Exquisite Arts and Crafts 24 Gion District 48
Kiyomizu Temple 52
Kennin-ji Temple 56
Nanzen-ji Temple 58
Pages 2–3 The poise and grace of Gion’s young kimono-draped maiko (apprentice geiko) extend down to their gleaming white tabi socks in raised
wooden geta footwear.
This page, anticlockwise from top Snowy accents on a lion’s head. Summer visitors enter a noren-curtained entrance for a tea ceremony. A black-
lacquered window frames glorious autumn scenery of Kyoto. Traffic-streaked lights shimmer below the World Heritage pagoda of Toji Temple.
Too good a chance to pass up, a visitor attempts to capture a temple’s resident tabby. A lusciously glazed tea bowl is presented to a guest.
CHAPTER 3 CHAPTER 4 CHAPTER 5
Northern Kyoto Western Kyoto Southern Kyoto
Ginkaku-ji 66 Kinkaku-ji Temple 96 Tofuku-ji Temple 122
The Philosopher’s Path 70 Ryoan-ji Temple 100 Fushimi Inari Shrine 126
Shisendo Temple 74 Ninna-ji Temple 104 Saiho-ji Temple 128
Shugakuin Imperial Villa 76 Myoshin-ji Temple 106 Katsura Imperial Villa 130
Shimogamo and Kamigamo Shrines 78 Arashiyama 108 Daigo-ji Temple 134
Daitoku-ji Temple Complex 80 Sagano Village 114 Byodo-in Temple 136
Mount Hiei and Enryaku-ji Temple 84 Takao Village 116 Ujigami Shrine and Genji Museum 138
Kurama Village 86 Bibliography and Glossary 142
Ohara Village 90 Dedications and Acknowledgments 144
chapter 1
introducing
kyoto

8 T I T LE

CHAPTER

KYOTO’S MAIN HERITAGE

SIGHTS

CENTRAL AND EASTERN KYOTO WESTERN KYOTO

1. Kyoto Imperial Palace, page 32 20. Kinkaku-ji Temple, page 96

2. Nijo Castle, page 36 21. Ryoan-ji Temple, page 100

3. Heian Shrine, page 38 22. Ninna-ji Temple, page 104

4. Downtown Kyoto: Kawaramachi, 23. Myoshin-ji Temple, page 106

Nishiki, Teramachi and Pontocho, 24. Arashiyama, page 108

page 42 25. Sagano Village, page 114

5. Gion District, page 48 26. Takao Village, page 116*

6. Kiyomizu Temple, page 52

7. Kennin-ji Temple, page 56 SOUTHERN KYOTO

8. Nanzen-ji Temple, page 58

27. Tofuku-ji Temple, page 122

28. Fushimi Inari Shrine, page 126

NORTHERN KYOTO

29. Saiho-ji Temple, page 128

9. Ginkaku-ji, page 66 30. Katsura Imperial Villa, page 130

10. The Philosopher’s Path, page 70 31. Daigo-ji Temple, page 134*

11. Shisendo Temple, page 74 32. Byodo-in Temple, page 136*

12. Shugakuin Imperial Villa, page 76* 33. Ujigami Shrine, page 138*

13. Shimogamo Shrine, page 78 34. Genji Museum, page 138*

14. Kamigamo Shrine, page 78*

15. Daitoku-ji Temple Complex, page 80

16. Mount Hiei, page 84*
17. Enryaku-ji Temple, page 84*

18. Kurama Village, page 86*

19. Ohara Village, page 90*

*See district maps on pages 64 (Northern Kyoto), 94 (Western Kyoto) and 120 (Southern Kyoto)

for sites outside this map.

PREVIOUS SPREAD Below a calendar depicting the garden within, a pair of modest zori

thong footwear sit on a shelf in a temple’s entrance.

INTRODUCING KYOTO
For thousands of years, footsteps have smoothed this

land. First barefooted, then wrapped in straw or raised
on wooden clogs, feet continue to pat down mountain
trails and river banks, divide orderly rows of vegetables,
meander through stately gardens, mount temple steps,
thread alleyways and stroll along con-
crete sidewalks. The feet that strode
these passageways span centuries,
encompassing tradition and modernity.
Today, feet shod in sneakers, children’s shoes sporting
cartoon characters, British oxfords and Italian stilettos,
or kimono-clad citizens in elegant zori, impart their
signature tone and tempo to the city.
Above left A young Japanese woman in

traditional kimono visiting Bishamondo
Temple, located in the southeastern
Yamashina district.
Above right A twilight view from atop the
Sky Garden observatory emphasizes
the futuristic architectural design of
the vast central concourse and its
soaring rooflines at the Kyoto Station,
designed by architect Hiroshi Hara.
Left A Buddhist monk closes the great
wooden doors that surround the Hondo
main hall of Chion-in Temple, located
in the Higashiyama district.
10 INTRODUCING KYOTO
The home of seventeen
World Heritage Sites, over a
thousand temples and shrines and some of the
world’s most beautiful gardens, Kyoto now resonates
with the footfall of appreciative tourists.
Top left A winter scene of a young

boy at the main hall of Kuramadera
Temple in the northern Kurama
district.
Top right A visitor feeds a flock of
pigeons in the main courtyard of
Higashi-Hongan-ji Temple, a World
Heritage Site close to Kyoto Station.
Left Toyoke, a neighborhood tofu
and yuba shop, located near Kitano
Shrine.
Right A traditional toro stone lantern
stands at the edge of the garden
pond (with a reflection of the wooden
five-storied pagoda) amidst autumn
foliage at Toji Temple, a World Heri-
tage Site.
INTRODUCING KYOTO 11
A BRIEF HISTORY
OF JAPAN’S
ANCIENT CAPITAL
The city of Kyoto began to take Molded by deep religious beliefs
shape in the 8th century when and rent by warring factions, Kyoto
some of its earliest residents, the began its journey through history,
Hata family, invited the Emperor to not only as an imperial stronghold
make his home on their hunting but also as a vibrant residential
grounds. Under the most rigorous city, with enclaves of astute mer-
dictates of geomancy, planners chants, gifted artisans and hard-
created a grid of roads patterned working commoners who lived
after the western Chinese city of alongside the temples, shrines and the heads of prestigious families,
Xi’an, terminus of the Silk Road. gardens that even today stand as moved from Kyoto to the new
Rich with game, traversed by tributes to the skills and ancient capital of Tokyo, then a collection
rivers and sheltered on three sides aesthetics of their creators. But of rural towns known as Edo.
by mountains, Kyoto began its as much as Kyoto is rich with rem- Despite fear that losing its status
transformation into one of the nants of a remarkable past, it is a as the capital would pitch Kyoto
great cities of the 9th century. By forward-looking city, as embodied into decline, it thrived. The city is
the late 800s, the network of ave- in the architecturally stunning and not only a stronghold of tradition
nues and byways had become the massive Kyoto Station. but early on embraced progress.
new Imperial Capital. Workers who Kyoto is also a city festooned In 1890, it built one of the country’s
lived in rough huts helped build a with ugly electric wires and bur- first large-scale engineering feats,
palace and estates for the nobility. dened with lumpish apartment a canal that allowed rice from the
A political court thrived on ritual, buildings, intrusive sidewalk agricultural prefecture of Shiga to
bureaucratic intrigue, poetry and notices and gaudy neon signs. be shipped efficiently into the city. Top left The top-knotted head
the newly introduced spiritual Discarded bicycles lie in gnarled Kyoto also quickly established of a warrior bowing to the
practices of Buddhism, a faith intro- mounds. For while Kyoto residents hydroelectric power, realigned Emperor.
duced to the former court in Nara. are truly proud of their city and its streets to allow construction of a Left The Imperial chrysanthe-
historic artistic legacy, some have railroad station and boasted the mum motif on a gate at
perfected enough selective vision country’s first tramcar. Shoren-in Temple.
to overlook aesthetic insults. The members of the oldest Top The blossoming of spring
Some would say that it was a families who remained behind along the Eastern Mountains.
Above The straw sandal shod
series of historical accidents that founded Nintendo, Kyocera, Mura-
feet of Kukai, the 9th century
allowed Kyoto to become one of ta Manufacturing and Shimadzu monk who founded the
the world’s metropolitan jewels. Corporation, now among some of Shingon sect of Buddhism in
Other would argue that it could the world’s leading companies, Japan.
have been no other way. In 1868, while Kyoto University boasts of Right Young musicians aboard
after the Meiji Restoration, the Nobel Prize recipients in chemistry the magnificent Naginata
Emperor and his court, as well as and physics. Float during the Gion Festival.
Above center A literary tradi-
tion of poetry writing outings
was one of the pleasures of
the 10th century Heian court,
as depicted in this painting
of nobles seated along a
meandering stream.
Top Tiger motif walls.
Above Painting of courtiers
on horseback.
Left Stone image of a demonic
figure supporting a great
weight.
A BRIEF HISTORY OF JAPAN’S ANCIENT CAPITAL 13

ZEN
BUDDHISM
AND THE TEA CEREMONY
Zen was the last Buddhist sect

to enter Japan, and by the 14th
century one that had a profound
influence on the arts: calligraphy,
Noh drama, architecture and
especially the tea ceremony.
Zen is based on meditation, a
practice in which one looks into
the source of the mind, leading
to an inner equilibrium between
the secular and the sacred and,
hopefully, enlightenment. Some
claim that Zen is more a disci-
pline or philosophy than a reli-
gion, but 1,500 years of Zen
writings reveal it to be one of the
world’s great spiritual traditions.
Unlike conventional religion, with
a transcendent deity outside of
the self, Zen believes that the
essence of mind is innately
enlightened, and that seeing
into one’s Buddha nature is pos-
sible through meditation. It was
largely as an aid to meditation
and good health that Eisai, the
Japanese monk who introduced
Zen to Japan, brought tea seeds
back with him from China and
Left The wall of a Buddhist monastery
hung with straw hats and sandals.
Below left Neatly placed footwear rests
in a temple entrance of pleasingly sym-
metrical lines of wood, stone and tile.
promoted the drinking of tea.

Use of the beverage spread
quickly among the priesthood
and the ruling classes.
After being taken up by the Opposite A Buddhist/men-
aristocracy, the drink became a dicant monk awaits alms
privilege of a rising wealthy class. from passersby.
In the late 16th century, the tea Above Two dragons, one
master, Sen-no-Rikyu, started to clutching the sacred jewel
in its five claws, soar
refine the art of making tea into a
through the vaporous mists
ceremony, stipulating that all who on the high ceiling of a
entered his teahouse were equals Buddhist temple, Kennin-ji.
to share in the pleasure of a Left Monks standing in
simple bowl of whisked powdered repose before being
green tea. This was a revolutionary received into a temple.
ZEN BUDDHISM AND THE TEA CEREMONY 15

idea, since Japanese society was reproduce the simple rice bowls
rigidly class-bound. Thereafter, that are still highly sought after.
the tearoom became a meeting Imparting the softness of human
ground for priests, artisans, mer- touch, the bowls rested lightly
chants and aristocrats, a singu- in two hands, their thick walls
larly powerful cultural statement. warming but not scalding. Sen-
Perhaps this is one reason no-Rikyu recognized beauty in
that Toyotomi Hideyoshi, a com- bowls shaped by an expert eye
mon foot soldier who rose to the and glazed in soft tones—the
rank of warlord, was attracted to pinnacle of graceful simplicity.
the tea of Sen-no-Rikyu. The The Japanese eye has become
warlord became a patron of this trained to recognize rustic beauty
famous tea master, recognizing (wabi), elegant simplicity (sabi),
Rikyu’s influence on society and understated tastefulness (shibui)
his undisputed ability to create and vague mysteriousness
new aesthetic standards. Artists (yugen), a deep response to the
Top left Preparation for a winter tea ceremony begins with setting the iron kettle
were inspired to create utensils passing of beauty (aware) or
into a sunken hearth.
that embodied these aesthetics, refined sophistication (miyabi),
Top center A tea master carefully ladles hot water into a soft-fired Raku tea bowl.
Above A guest closes the shoji paper window set within a black-lacquered
and tea enthusiasts vied in col- as a few examples of the many
cusped frame in this tea ceremony room. Ornamentation is kept to a minimum, lecting new pieces, During one expressions still in the aesthetic
with a hanging scroll in the alcove and a single seasonal bud. military excursion in the 16th cen- lexicon that concern tea utensils.
Right With an outstretched palm, a guest receives the whisked green tea from tury, Hideyoshi invaded Korea and Consequently, most teahouses
a kimono-clad hostess. brought back Korean potters to have rustic settings. Some even
have thatched roofs and all have Left The shadows of autumn
simple unadorned clay walls, reflect on a single bowl of
a hearth or hanging kettle, an powdered green tea resting
alcove for a hanging scroll, a on tatami flooring.
Below Red felt carpeting
simple flower arrangement and
offers a bit of warmth to
tatami mats. For Japanese to
winter visitors in this temple.
slip through the low door, sit The sweet is first consumed,
quietly while listening to the low followed by a sip of slightly
hiss of the kettle sounding like bitter powdered green tea.
the wind through the pine trees,
is a return to the heart of their
culture, a respite from the
demands of modern life and its
interruptions. It is a journey back
to their cultural identity.
17
KYOTO’S AMAZING
Japan’s indigenous kami, or gods,
live not inside shrines but within
the towering cypress trees,
ARCHITECTURAL
sacred springs and waterfalls
that surround the buildings.
There, in nature, devotees can
HERITAGE
stand in the spiritual presence
of the gods while seeking favor
and guidance. The simplicity of
a Shinto shrine never competes
with its natural setting.
Under Shintoism, Japanese
have stood in awe of the power
and beauty of nature and the
religion’s simple shrines embody
this reverence. The torii that
Far left The vermilion doors of
Jikido Hall at Toji Temple, a World
Heritage Site, glow in the sunset.
Center left Elaborate metal fret-
work marks the eaves of the slop-
ing cypress bark palace roofs. The
Imperial chrysanthemum crest
and multilayer roof tiles denote
the building’s imperial status.
Left The Phoenix Hall at Byodo-in
Temple, a World Heritage Site.
Below left Billowy cherry blossoms
and fresh green pines frame the
gleaming gold-layered Golden
Pavilion (Kinkaku-ji).
marks the shrine entrance is to impart a culture distinctly of a cypress tree or the roar of a
often marked by four pieces of different from—and admired as waterfall. It demanded human-
timber. These gates invite those superior to—Japan’s. With its made artifacts: a written text, a
closest to the gods, their feathery sophisticated philosophy and myriad of implements, statuary
messengers the birds, to sit on texts, Buddhism immediately and, grandest of all, huge struc-
the crossbeams, ready to wing appealed to Japan’s courtiers tures to accommodate believers.
supplicants’ prayers heavenward. who controlled the privilege of By 596, temple construction
Temples are an entirely differ- literacy, but the religion rapidly had begun. Chinese carpenters
ent affair. When Buddhism arrived reached even illiterate peasants were invited to Nara and intro-
in Japan in the 6th century, and merchants. duced their techniques to a
Japan, still without an alphabet, The Chinese adaptation of wonderstruck population. The
Top A late afternoon visitor poses under
relied on written Chinese to con- the Indian religion brought new temples we see today in Kyoto, the gigantic gate of Nanzen-ji Temple.
vey the tenets of religion, law and dimensions of the understanding although fairly faithful descen- Above Walls are works of art as well as
philosophy. Scholars, diplomats of the universe and life beyond dants of Japan’s 6th–10th century enclosures. The layered earthen clay
and artisans were invited to the this one. This new theology was originals, differ greatly from those is interlaced with flat tile work inset
Nara court (60 kilometers away) not grounded in the immensity still in existence in China. Japan’s with a single rounded tile.
KYOTO’S AMAZING ARCHITECTURAL HERITAGE 19

Below Framed by the temple
climate and earthquake-prone landmark for Kyoto residents.
corridors of Daitoku-ji, this is the
land made elevated buildings a The buildings themselves,
smallest rock garden of its kind.
Bottom The vermilion north gate necessity. Its rich supply of zel- tested by earthquakes, fire and
inside Sanjusangendo’s courtyard kova, cypress, oak and cedar war, withstood all sorts of disas-
is shut for the day. forests lent itself to increasingly ter, and when they fell into disre-
Bottom right Breeze-scattered mammoth worship halls as the pair, skilled carpenters, known
leaves on waves of raked sand. population embraced the comfort as miyadaiku, restored them. With
of salvation within a Buddhist new sects entering Japan, new
paradise. temple compounds were estab-
Not only did places of worship lished. The last Buddhist sect to
begin to be shaped in Kyoto, but come was Zen, which entered in
some of the world’s greatest the late 12th century, and played
collections of Buddhist images a major role in Kyoto’s architec-
are found here. One of Asia’s most tural, political and religious
iconic forms, the pagoda, contin- heritage. Thus, one of Asia’s
ues to pierce the ancient skyline, most resplendent cities developed
serving as a reliquary for Bud- and matured, along with the skills
dha’s remains and as a revered of its craftsmen and artists.
Above A single large stepping
stone awaits a garden visitor.
Right Autumn enhances the
already sumptuous beauty of
Kyoto’s gardens.
Below Mount Hiei in the distance
extends the view of the Zen
garden at Shoden-ji. About to
burst into bloom, the azalea
bushes represent a mother tiger
and her cubs.
Below right Deep red swathes of
color reflect the beauty of Kyoto’s
maples.
KYOTO’S AMAZING ARCHITECTURAL HERITAGE 21

UNIQUE KYOTO FOOD
TRADITIONS
Above The White Plum Inn Traditional Japanese cuisine, espe- The fields of Kyoto boast several coagulant. The mixture is then
is accessed by a narrow cially that of Kyoto, is one of the distinct vegetables, collectively poured into block molds to set.
bridge across the Shiraka- most sophisticated food cultures in called kyo-yasai. Kyotoites are very Tofu adopts itself to a variety of
wa River. The delicate the world. Kyoto’s rich food culture familiar with their local produce, dishes. Smooth silky tofu (kino) is
interior lighting of the
dates back a thousand years, with and accord it a place of honor in served cold in summer with a dab
shoji paper doors is one
of the refined features of
today’s chefs drawing on centuries- exclusive restaurants and in the of grated ginger. A firmer type,
inns and restaurants along old records detailing ingredients and homes of discerning epicures. momen, is often cut into cubes,
this section of the river. techniques. Specialized food for the The soy product tofu is a Kyoto simmered in a kelp broth, and then
Above center A diner grace- old Imperial court and, later, wealthy specialty. It is made by soaking scooped out and dipped into a light
fully lifts thin strands of merchants, was presented, as it still dried beans overnight in good qual- soy-flavored sauce. In addition to
noodles to dip into a soy- is today, in bite-sized pieces easily ity well water, churning them into plain tofu, many of Kyoto’s super-
based broth. handled with chopsticks. Often a smooth mash, straining and then markets as well as the food courts
served cold, it was accompanied boiling the resulting soy milk, and found in the basements of depart-
by a hot soup and rice. adding calcium sulfate to act as a ment stores sell tofu flavored with
Left The colorful selection of
lightly pickled vegetables signals
the end of a traditional meal.
Below Old roads that led out of
Kyoto to mountain passes had
rest stops for pilgrims to enjoy a
final repast before setting out.
This famous inn is in the Arashi-
yama area in western Kyoto.
sesame seeds, black beans or shiso of the simple meal served at a for- will consider color and texture and Top Multi-courses of elabo-
(beefsteak plant). mal tea ceremony. The present-day perhaps even reference the food to rately presented meals are
Another unique Kyoto soy-based kaiseki meal developed in the 16th– flowers or poetry. Presentation is served on a selection of
food product is yuba, the film formed 17th centuries as the merchant so highly regarded that diners often ceramic dishes, lacquered
bowls and sometimes
on the surface of boiled soy milk. class gained wealth and sought out whip out their cell phones to photo-
leaves, making the meal
The thin, translucent beige sheets rarified ingredients and preparations graph the dish before them, perhaps as visually pleasing as it
are hung, and then sold dried or to impress prospective clients. to show their friends or to relish in is a culinary delight.
fresh. The taste is a delicate, slightly While delicious, kaiseki’s most memory the anticipation of culinary Above Blowfish (fugu) is as
sweet concentrate of soy milk. Yuba striking characteristic, however, is pleasure—before a single taste! expensive as it is occasion-
accompanies many a Kyoto dish, what meets the eye. Moritsuke, the Then comes the pleasure of uncov- ally lethal. Chefs must be
especially in the multi-course kaiseki artistic arrangement of food, is an ering the different dishes as one specially licensed to serve
meal served in better restaurants. art form in itself, and the dishes on would unwrap a present, each this delicacy, for the liver,
Although it is the gourmet epito- which the food is served are a critical course a delight to both eye and when improperly prepared,
me of Kyoto cuisine, kaiseki grew out component. For example, the chef palette, each a culinary gift. can be highly toxic.
UNIQUE KYOTO FOOD TRADITIONS 23

kyoto’s exquisite arts and
CRAFTS The variety of arts and crafts available most notably kimono and obi sashes,
to Kyoto residents, the fruit of genera- for rarely does a single person design
tions of artists and ateliers, is truly and make one item. Most are collec-
splendid. Surprisingly, the best place tive enterprises that span many ages
to survey the breathe and width of and skills. The Nishijin district is filled
This page Home to the
crafts is a department store, notably with businesses that import raw silk,
court for 1,000 years, the
one of the larger ones: Takashimaya, begin the process of dyeing it, encase
city attracted its most
talented artisans who Daimaru and Fuji Daimaru. The sixth some threads with gold or silver foil
continue to produce the floors are reserved for crafts: lacquer for the obi, sell and repair looms,
highly prized crafts of ware, metal utensils, ceramics, bam- operate spinning machines, special-
Kyoto. Lacquered paper boo and wooden items, kimono and ize in threading looms—all leading to
umbrellas, painted doors all manner of woven and dyed items. the production of clothing—and the
backed with gold foil, Exhibition halls and galleries are also wholesellers who line Muromachi
handcrafted paper- an integral part of the stores as are Street offering magnificent seasonal
covered tea canisters, the restaurants on the seventh floors, showings of their products, for kimo-
paper fans of seasonal
making department stores mam- no and obi are not mass produced;
motifs and a gorgeously
glazed array of dishes moth reservoirs of social, culinary each is custom designed and made.
produced in the Kiyomizu and cultural activity, in addition to Just saying the word “Nishijin”
area along the Eastern their primary commercial role. conjures up resplendent images of
Hills, reveal the refine- There are numerous craftspeople elegant wear, but the original mean-
ment of its artisans. practicing their art in the city today, ing of the word denotes the Western
KYOTO’S EXQUISITE ARTS AND CRAFTS 25

campsite of a decades-long war.
The rivers in Kyoto might be one
of the reasons the weaving and
dyeing industry settled here, for
the Kamo River was often the site
of luxurious lengths of dyed silk
being washed and readied for the
next stage of work. Today, most
looms are automatic Jacquard
looms, but individual artists still
dot the area, especially the finger-
nail weavers, who spend hours
bent over the cloths patiently
straightening the weft with
serrated fingernails, and the obi
weavers, who create unique
designs either for wealthy clients
or performing artists.
Another famous product is
Kiyomizu-yaki, ceramics made
near the Kiyomizu Temple. Today,
the old wood-firing kilns are not
allowed in the city, and most pro-
duction takes place in a ward
beyond the Eastern Mountains. Top Many steps are necessary
Using centuries-old techniques, in producing a kimono. This
steady hands apply delicate ten- woman is shading a stretched
length of silk to be dyed, one of
drils of gold enamel glaze before Many antique and print shops
the early steps in the process.
loading the pots into kilns for and galleries are clustered along Above left The art of wearing a
their last firing. Many shops and Nawate-dori, Furumonzen-dori kimono involves understanding
galleries along the Eastern Hills and Shinmonzen-dori, three areas motifs and color combinations,
(Higashiyama) display fine porce- north of Shijo, near the Shinmachi the dictates of the social status
lain and clay products, often with and Gion districts, and along of the wearer and the demands
high prices that reflect the work Teramachi, north of Sanjo-dori. of the occasion. Here, a model
and talent that went into them. A stroll along these streets can pivots on the runway during one
The best-known crafts shop is be like visiting a museum, but one of the kimono shows that are
the Kyoto Handicraft Center, west in which you are allowed to handle featured daily at the Nishijin
Textile Center.
of Higashi-oji, on Marutamachi- the exhibits.
Above A busy employee in the
dori. Items range from simple The best artists in the land textile center answers a cus-
greeting cards to high-end served the court, and even today tomer’s question.
antiques with a nice representation the concentration of ateliers Left A fragrant branch of the
of woodblock prints, cloisonné, makes Kyoto a delight for those blossoming daphne infuses the
pearls, lacquerware and swords. with a discerning eye. tearoom with spring.
Above Decades of experience are
needed to become a master weaver:
an understanding of the textures and
colors of the threads to be selected, Top Katsuji Yamade applies hot liquid wax to a length of
along with the technical dexterity of silk hung across his studio and held in place with bamboo
managing all the spindles and shut- stays. He will decorate the entire length before the cloth
tles involved in producing a single obi. is sent to the steamers for fixing the dyes and then to a
Right An exquisite array of dyed silk seamstress for assembly.
skeins fills several walls at Kawa- Above A careful selection of colored silk is readied to bring
mura Weavers in Nishijin. to the loom.
KYOTO’S EXQUISITE ARTS AND CRAFTS 27

chapter 2
central and
eastern kyoto
HERITAGE Kyoto’s central district features many of the easiest
to access and best-known sights in the ancient
SIGHTS OF capital. The former Imperial Palace and its
CENTRAL surrounding park, marked by the large green
AND EASTERN rectangular area in the center of all Kyoto maps,
KYOTO is open 24 hours a day. The palace site features
tiny shrines, two ponds, a mean-
dering stream and the official
State Guest House, as well as
traces of the former estates of
courtiers and aristocrats.
Kyoto’s beloved Kiyomizu, a World Heritage
Site, sits atop one of the 36 peaks that form
the Eastern Mountains.
The central streets are easy to navigate
and those in the foothills slope gently upwards.
Above The pagoda on the East-
ern Hills of the Kiyomizu The pace is slow and leisurely, perfect for a day of visiting the
Temple complex against the Above Two clay foxes, symbols of
evening sky. former palace, temples, shrines and shops that tempt the fecundity, guard a small Shinto
eye along the way. shrine.
Previous spread Two visitors pause to appreciate an expansive

white sand garden at Kennin-ji Temple.
Top right A view from the vermilion Nikkamon Gate within
the Kyoto Imperial Palace across the white sand Dantei
inner garden courtyard of the Shishinden Ceremonial Hall
to Gekkamon Gate.
Left During the Shichigosan Festival in October, parents take
their three- and seven-year-old daughters, such as these
two girls, and five-year-old sons to shrines to pray for their
child’s growth and good health
Right The Kamo River banks are wide and well landscaped,
giving Kyoto inhabitants a chance to escape the confines of
the ancient city, stretch their legs and admire views of the
mountains that border the city.
30 CENTRAL AND EASTERN KYOTO

Kitashirakawa

Nishijin

Tanaka

Jodoji

Yoshida

Shishigatani

Shogoin

Okazaki

Nanzenji

Awadaguchi

Kawaramachi Gion

Hinooka

Shimabara

KYOTO’S IMPERIAL PALACE

Visitors can easily slip back 150 Twice a year, in the spring and Opposite Open twice a year to the Below The outer walls of the palace
years in the Imperial Park that fall, the inner palace is open to general public and upon request, the are constructed of stone and clay, the
surrounds the former Imperial the public. The Shinshin-den, or brilliant cinnabar-colored doors of five white lines denoting an Imperial
the former Imperial Palace reveal dwelling. Massive gates, cypress
Palace. Until the Emperor moved main building (destroyed by fire
an expansive inner courtyard. bark roofs and slate gray funneled
to Tokyo in 1868, the spacious and rebuilt in 1855), is where new roof tiles belie Japan’s preference
grounds were home to more emperors are enthroned. Its for understated design in carpentry
than 100 aristocrats. Today, their gates are brilliant vermilion, but and masonry skills.
names are inscribed on markers the inner palace buildings are of
scattered among the large boul- unpainted wood with huge, curved
ders and stately old trees, the cypress bark roofs.
remains of their private estates The smaller hall, the Shunko-
and gardens. den, contains the sacred mirror of
Today, much of the parkland the Imperial family, a symbol of
is public: student sports groups Imperial presence used only on
jog outside the wall of the inner special occasions. It harkens back
palace, parents mind barefooted to ancient mythology when the
toddlers wading in the narrow sun goddess, Amaterasu-no-
stream in the southwest side, Mikami, emerged from a cave,
dog walkers meet and chat along bringing light back into the world.
the large gravel-covered paths. Shrine mirrors, often of bronze,
There are tennis courts, baseball reflect the light of the sun as it
mounds and a small court for passes along the southern hori-
gate-ball, a croquet-like sport zon, and remain one of the essen-
popular with older people. tial possessions of Shinto shrines.
The two former Imperial resi- The front courtyard of Shinshin-
dences, Kyoto Gosho in the center den is of the purist white gravel.
of the park and Sento Gosho in Japanese believe that in such
the southeast corner, require sacred spaces, known as yuniwa,
permission to enter, obtained one can sense the presence of
from the Imperial Household deities and it is here that they listen
Agency in the northwest corner. to the petitions of their devotees.
The entrance gates to the Entrance to the interior rooms
inner palace are formidable struc- is not permitted but its gardens
tures, magnificent in their own are compact masterpieces of
right. The largest, Kenreimon, landscaping and worth seeing.
faces directly south and was The outer Imperial Park is
accessible solely by the Emperor. also well maintained by the same
The east gate, Kenshumon, was special corps of specially trained
for the Empress. The architecture gardeners. The plum, peach and
exemplifies the restrained beauty cherry trees are among the most
that is so characteristic of Japa- popular destinations in spring,
nese art and is a marvel of ancient and the park’s ponds and old-
carpentry traditions. growth trees a haven for birds.
KYOTO’S IMPERIAL PALACE 33

This page Most traditional
carpentry involves precise
joinery, with scant use of
nails, but when nails are
used they are covered to
enhance the integrity of
the overall design. The
red struts of the under
eaves at left and the
smooth curves of the
cypress-layered roof
below show centuries-
long skill in the handling
of natural materials.

Left Frolicking tigers depict-
ed on the sliding doors of the
Tiger Room in Shodaibunoma
Hall at Kyoto Imperial Palace.
Above Paintings of two
Chinese immortals enhance
wooden sliding doors.
Right Tranquil and

sedate, the panoramic
backdrop of the Eastern
Hills highlights the
elegant lines of an
arched stone bridge in
the grounds of Sento
Imperial Palace.
a select few permitted into the
farthest chamber where the
Shogun conducted business.
More practical than aesthetic,
the garden beside the main room
is an expanse of rocks (gifts from
different provinces) and short, stout
cycad palms that offer no place to
hide. The inner uguisu-bari, or
nightingale floors, also designed
for defense, “chirp” when trod on
to alert guards to an intruder.
The art in the inner audience
rooms, painted by Kano Tanyu
(1602–74), embodies wealth and
strength, with hawks, tigers and
huge powerful creatures rampant
on gold leaf surfaces. Ohiroma,
the most impressive room, where
the Shogun met the highest offi-
NIJO
cials, is painted with images of
Like its European counterpart, magnificent pines. Rather than a
this castle, the administrative display of weaponry, a room large
center for the Tokugawa Shogu- enough to accommodate this art-
nate who ruled Japan from 1615 work illustrated the ruler’s power.
to 1868, has a moat. But there the The ponds, exotic trees and
CASTLE
similarities end. While Nijo’s gate paths through the outer gardens
is imposing and its earthen walls are as much a reminder of the
thick, it is the ornate rooms, gold residential environment of Japan’s
foil-backed screens and exotic military class as the buildings
stroll garden that wielded the themselves. The gardens are
power to intimidate enemies. especially lovely in the cherry
At Ninomaru Palace is a gold- blossom season and are lit nightly.
Above The gates of the highlighted, elaborately carved
outer wall at Nijo Castle, wooden Chinese Gate brought
a World Heritage Site, are from a warlord’s castle in Fushimi.
open to visitors. The carriage entrance is precursor
Left A family visits the
to the genkan, where guests, even
castle’s garden in spring.
today, shed their outer clothing
and remove their footwear.
The palace rooms lie in diago-
nal succession. Guests entered
only as far as rank allowed, with

Above Originating along
China’s Silk Road, elabo-
rately designed fretwork
remains an integral part
of Japan’s design tradi-
tion.
Above left Traffic streams
by the southeast corner
of the spotlit castle
turret.
From left to right Granite
steps lead to the western
entrance of the castle
complex. Gold was em-
ployed to lighten the
interior and denote the
wealth of the resident
warlord. Stepping stones
were sent as gifts to the
warlord from farflung
prefectures. Gardeners
are needed all year round
to maintain the castle’s
extensive grounds.
NIJO CASTLE 37
HEIAN
The magnificent torii gate on The setting is a little east of
Jingu-michi Street, south of the the Kamo River, thus outside the
main entrance to Heian Shrine, ancient city proper, but a splendid
marks the shrine as a major site to construct one of the city’s
tourist attraction, and justifiably most gorgeous stroll gardens.
SHRINE
so. Curiously, given the hundreds The present buildings, with
of shrines in the city, this is one their vermilion woodwork and
of the newest. green tile roofs, closely resemble
Heian Jingu was constructed the original palace but were con-
in 1895 to commemorate 1,100 structed at two-thirds the original
years of the city’s founding, and size. Ablaze in sunlight, they are
dedicated to emperors Kammu a notable testament to Japanese
(Kyoto’s first emperor, 794) and carpentry skills. Entrance to the
Komei (1831–67, father of the shrine is free but the expansive
Meiji Emperor). stroll garden requires a fee.
Designed by Ogawa Jihei
(1860–1933), one of Kyoto’s fore-
most gardeners, the grounds
blend contemporary and ancient
aesthetics. Copious and innovative
use of flowering plants is incorpo-
rated into the millennium-old
layout favored by Heian nobles.
Paths first wind through the
hanging cherry garden, an incom-
parable display of deep pink blos-
soms in April, possibly one of the
loveliest places on earth when in
bloom. The first pond, surrounded
by azalea bushes and long-
stemmed irises, is best seen in
May and June. The stepping
stones in the pond were formed
from the stone pillars from Gojo
and Sanjo bridge supports. The
pond beyond has a variety of later
blooming azaleas and water lilies
in June. The unadorned wooden
bridge that crosses the pond was
moved here from a former Impe-
rial palace and has bench seating
that allows visitors a restful view
of the grounds.

In early June, when the open borns, the growth of children and
courtyard is the setting for torch- young couples, so many suppli-
lit Noh plays during the evenings, cants come especially on those
the shrine provides an exotic occasions.
backdrop to this traditional form
of drama. Opposite Proud parents snap a photo
This is a popular shrine for of their formally dressed daughter in
parents to come and ask the the late afternoon sun.
Above The view from the bridge that
Shinto gods for blessings for their
spans the cherry-lined pond at Heian
three-, five- and seven-year old Shrine, a structure that once was part
children and for weddings in the of a former Imperial palace.
special hall to the east of the Main Right The “tail of the dragon” stepping
Hall. The gods play a vital part in stones caution visitors to mind their
dispensing their grace on new- step when crossing the pond.
HEIAN SHRINE 39
Above The main exhibition
hall of Heian Shrine con-
tains shards of ancient
tiles that belonged to the
estate of an emperor’s
consort. A replica of a
former Imperial palace,
the shrine presents a
page of architectural
history with its Chinese-
influenced symmetry.
Right Peering through
the closed door, a visitor
awaits entry.
Far right Women visitors
enjoy the tranquil view
of the garden’s pond.

Left Picture Scroll of
Annual Rites and Cere-
monies, a 12th century
source of ancient build-
ings in the capital, has
been used in hip-and-
gable construction. The
addition of roof tiles
began in the 6th century
as Chinese building tech-
niques began to enter
Japan. Both building
traditions merge within
the capital’s buildings.
Above The soft rustle of
silk marks the passing
of a shrine maiden.
HEIAN SHRINE 41
DOWNTOWN
KYOTO
KAWARAMACHI, NISHIKI,
Central Kyoto’s streets and alleys
team with shoppers, business
people, tourists, students and
TERAMACHI AND PONTOCHO sightseers. They are drawn by

the department stores, boutiques,
restaurants, banks and food
markets that line Kawaramachi
and Teramachi, between Sanjo
and Shijo-dori, and Nishiki-koji,
from Teramachi to Karasuma.
Kyoto’s downtown district has
not changed much in centuries.
Now, cars and modern dress
replace carts and traditional
dress and glitzy neon and colorful

lettering supplant the subdued flowing stream within a vast by Takase River carried charcoal Above left Seated at the busy down-
hand-carved signs once mounted sandy expanse. Realizing that and cords of wood to the pottery town section of Sanjo and Kawabata-
over shop entrances, but the when the river was low the city kilns along Gojo Street in the dori is an image of a top-knotted
entrepreneurial spirit remains. was vulnerable to attack, the war- central eastern part of the city. samurai, Takayama Hikokuro (1747–
93), who shows his respect to the
Some streets, such as lord Hideyoshi (1536–98) began a Over the centuries, the defen-
Emperor by bowing in the direction
Kawaramachi-dori, did not exist project to reshape the capital by sive earthen walls that confined of the Imperial Palace.
1,000 years ago. The easternmost enclosing it with a large earthen and guarded the city’s eastern Above The narrow street that runs
street then was Kyogoku (now wall and building sturdy bridges. flank disintegrated and Kyoto through Pontocho, one of Kyoto’s
called Shinkyogoku or New Kyo- Sanjo Bridge, constructed in 1590, pushed east. Eventually, the main geiko districts, is lined with
goku Street) that runs parallel to still closely resembles depictions expanded area to the east of the some of the city’s most traditional
Kawaramachi on the west. of the original bridge seen in old Kamo River became home to architecture. The bordering chaya
To the east, Kawaramachi was woodblock prints. the villas and ateliers of wealthier (teahouses) are lit with lanterns
bordered by the Kamo River, an The Kamo River banks were citizens and artists. welcoming guests and the maiko
and geiko who will provide entertain-
overflowing torrent during heavy home to entertainers, precursors Teramachi (literally, Temple
ment for the evening.
rain but reduced to a shallow of Kabuki, while the narrow near- District) got its name when
DOWNTOWN KYOTO: KAWARAMACHI, NISHIKI, TERAMACHI AND PONTOCHO 43

Left In full bloom, April’s
cherry trees extend their
blossoms over the canal-
like Takase River.
Below left This young boy’s
clothing marks his participa-
tion in one of the city’s many
festivals.
Below Two women ascend
the multistoried escalator
at Kyoto Station.
Right Nishiki-koji is the main
shopping market street,
selling all the delicacies that
please the Japanese palette.
Hideyoshi moved many temples

to this street and to Shinkyogoku.
His goal was not to show off Kyo-
to’s religious heritage to travelers,
but to provide defense if the city
were attacked from the east.
Today, some shops still sell
religious goods: altar ornaments,
handmade candles, prayer beads,
incense and Buddhist images.
But the clutter of souvenir stores,
restaurants, cafes, boutiques and
game centers have largely crowd-
ed them out. As covered pedes-
trian only streets, both Teramachi
and Shinkyogoku remain extrem-
ely popular with shoppers. sounds unhappily like Excrement About 300 years ago, as the
Nishiki-koji (Brocade Street) Street. The dismayed Emperor demand for armor decreased,
does not reflect its name. Origi- renamed it “brocade” in 1054 to the convenient location drew fish-
nally called Gusoku-koji, this wide complement Twill Street (Aya no mongers and other food vendors.
street was where warriors’ armor Koji) two blocks south, thereby Many items are displayed along
was forged and sold. But the protecting Kyoto’s reputation as the arcade, uncovered and within
name, pronounced quickly, a refined aristocratic capital. inches of onlookers, so that

From top to bottom The local
shrine at the eastern end of
Nishiki-koji. A maiko on her
way to an assignment. A
downtown resident cycling
with her young son seated
up front. Waiting for a friend?
Many restaurants line the
Kamo River. This one, aglow
with convivial customers, is
beside the Shijo Bridge.
45
Above Giant chopsticks mounted strolling along the narrow street
over the entrance of this “chopsticks is a visual and olfactory adven-
gallery.” No Japanese traveler can ture, even for locals. Prices are
resist buying souvenirs, and Terama-
higher than at local supermar-
chi and Shinkyoko streets are the
places to go.
kets, but customers, from house-
Right Lanterns with the names of wives to discerning chefs from
patrons and shop names all contribute Kyoto’s finest restaurants, rely
to Nishiki Tenmangu Shrine so that on the quality of the vendors,
the gods may continue to favor them. whose reputations can go back
generations.

Right Mendicant monks with alms
bowl extended appear occasionally
on Shijo and Sanjo bridges.
Below Words are not needed to find
this restaurant with its large mounted
animatronic crustacean at the corner
of Sanjo and Teramachi streets. Crab,
mostly from the chilly depths of the
Japan Sea, is its specialty.
GION
DISTRICT
The traditional entertainment districts of
Gion, Pontocho, Shimabara, Miyagawa-cho
and Kamishichiken have especially beauti-
ful restaurants and chaya (establishments
which offer geiko and maiko performances).
The refined gait of a maiko, gorgeously
attired in kimono with lacquered paper
umbrella in hand, passing the dark-fronted
houses, presents an exotic opportunity to
appreciate a moment of grace. The refined
bow of a geiko as she enters a place of
entertainment, a glimpse of a flowing silk-
en sleeve as the door slides quietly shut,
bring another dimension to beauty in these
districts.
In Kyoto, geisha are known as geiko,
the term meaning a woman accomplished
in the arts. Her understudy is a maiko, a
young woman who apprentices, usually
from age sixteen, at the okiya in the geiko
districts of Gion, Pontocho, Miyagawa-cho
and Kamishichiken.
Left Flowing down from Mount Hiei,

the narrow, picturesque Shirakawa
River passes through Gion and
offers refuge to migrating ducks
and a home to tricolored carp.

Left Aglow with soft interior lighting, the delicate
latticework of windows displays some of the fine
characteristics of Gion architecture.
Above A maiko, wrapped bundle in one hand and
a fine lacquered umbrella in the other, waits to
cross an intersection.
Below Twice a year, in the spring and fall, the
women of the geiko and maiko districts hold
dance performances. These reviews highlight
the skill and grace of Japanese dance.
The Western sexualization

of this ancient practice is both
unfortunate and inaccurate. The
gei in geiko refers to the arts,
usually the performing arts of
singing, dancing and playing
musical instruments, including
the shamisen, a three-stringed
banjo-like instrument. The mai
in maiko means dance, one of
the first skills a young woman
learns, because moving grace-
fully in a kimono requires practice,
good posture and elegant, con-
trolled bearing.
But to see kimono at their
most magnificent, the beautiful
streets that traverse Gion and
Pontocho districts and their adja-
cent theaters are the places to
go. There, you can step back
hundreds of years to glimpse a
maiko passing the elegant old
wooden teahouses on her way to
her music lesson or hairdresser.
GION DISTRICT 49
It is almost like spotting a rare The buildings lining the streets
bird, and as the maiko comes into of Pontocho and Gion are another
view, throngs of camera-wielding of Kyoto’s treasures. The soft-
tourists congregate, seemingly colored wooden lattice doors that
emerging from nowhere, to slide soundlessly open to reveal
capture the excitement of the miniature gardens and stone
moment. On occasion, so many paths are as beautiful as they are
people gather that volunteer distinctive. The chaya teahouse
guides must keep them from differs from the dwellings of
impeding the maiko’s elegant ordinary residents. The buildings
passage. are constructed of many small
Opposite above The lantern
reads “Minamiza,” Kyoto’s
Kabuki theater.
Opposite below A formally
dressed performer observes
spring visitors.
Left Dogs everywhere, even
in Gion, need to be walked.
Below A shallow wooden tub
for making sushi rice, and
ladle, set out to dry.
Bottom In lantern-lit Hanami-
koji Street, Gion, geiko on
their way to see clients and
a taxi plying its trade.
rooms, some with alcoves dis-

playing a treasured object and
flower arrangement. Within these
rooms, guests assemble. The
crystal clear flow of sake as it is
poured into tiny delicate cups and
the many courses are accompa-
nied by the swish of a silk kimono
and the graceful demeanor of the
server. The seemingly effortless
elegance by which a dinner pro-
ceeds defines an evening well
spent and encompasses the
essence of the geisha districts.
51
KIYOMIZU
TEMPLE
Named after the pure healing to offer prayers to the Goddess of

waters that flow from Otowa no Mercy. The street names came
Taki waterfall, the World Heritage from a superstition that if one
Site of Kiyomizu is older than tumbled on the age-softened
Top Hands folded in sup- the city, founded by General stones, that person would incur
plication. Sakanoue no Tamuramaro and two or three years of misfortune.
Below A mendicant monk
given to the priest Enchin in 780. On both sides of the entrance
stopping to pray.
Opposite The famous pavil-
For over 1,000 years, suppli- to the complex is the gate with
ion of Kiyomizu Temple, a cants, some on their knees, muscular Nio temple guardians,
World Heritage Site, afloat ascended the two main staired both challenging the evil beliefs
in cherry blossoms and streets known as the “two-year of those attempting to pass
budding maple trees. slope” and the “three-year slope” between them. The gate (1478)
is one of the oldest structures in
the complex (the Sutra Hall is
oldest).
The Main Hall, rebuilt in 1633,
is a magnificent structure with
an extended “dancing platform”
supported by massive beams
that form the scaffolding beneath,
a 400-year-old marvel of engi-
neered joinery without nails. In
the cool, dark recesses behind
the main altar, gilded bodhisat-
tvas glimmer dimly, adding to the
mystical atmosphere. The main
figure, Kannon, the Bodhisattva
of Mercy, is so sacred that it is
only displayed every 30 years, with
the next opportunity in 2024.

KIYOMIZU TEMPLE 53
Top A child ladles water from the Top right Brilliant cinnabar-colored
spout of the “Sound of Feathers struts of the Ro-mon Tower Gate.
Waterfall.” Above right Stylized impression of
Above Some of the renowned Buddha’s footprints are carved in
blossoms of Kiyomizu. stone.

Left The magnificent sunset
setting of the pavilion at
Kiyomizu.
Below Taking a call in the
temple complex.
The path to Okuno-in, another Bottom Devotees slipping
building supported by scaffolding, into their shoes.
Opposite below The gentle
offers a spectacular view of the
sound of water flowing from
Main Hall and the city beyond. In
a length of bamboo into a
the late afternoon, the sun bathes stone basin.
the halls in a rosy glow, peeling
away centuries and evoking the
time when pilgrims traveled far Antique shops, cafes and eat-
to see this magical vista that eries catering to all tastes fill the
remains one of Kyoto’s most Higashiyama area, and shops still
popular tourist destinations. feature the characteristic porce-
The waterfall flowing from lain ceramics and enameled
the mountain, from which the stoneware. Generations of potters
temple takes its name, has been took advantage of the foothill’s
divided into three channels, with updraft to evenly fire their pottery
long-handled dippers available for in climbing kilns on the slopes
visitors to sample its efficacious until pollution laws in the 1950s
water. required them to relocate.
Walking farther along the Higashiyama offers many
wooded pathway leads to the pleasures, from window shopping
three-tiered pagoda and another to visiting a temple that predates
panoramic view of the Main Kyoto, while the area’s playful and
Hall and Okuno-in, the second relaxed atmosphere encourages
pavilion. one to linger for hours.
The Higashiyama (Eastern
Mountains) district around the
temple is rich in color and craft.
Rickshaws swoop around the
hilly terrain carrying tourists.
Tiny twisting streets and alley-
ways are lined with shops selling
shichimi-togarashi, seasoned chili
powder, while characteristic arch-
shaped baked sweets, yatsuhashi,
permeate the air with the aroma
of cinnamon.
Thrilled and embarrassed by
the attention they draw, young
women visitors, professionally
dressed in the gorgeous kimono
and obi worn by maiko, stroll the
streets, snapping each other’s
photos and posing for tourists.
KENNIN-JI
Enter the Kennin-ji complex in Kennin-ji, like the other Zen
its busy midtown setting and the temples in Kyoto, is laid out in
city fades away. Chinese style in a grid pattern
The monk Eisai (1141–1241) based on a north–south axis,
TEMPLE
founded this Rinzai temple in with subtemples and small gar-
1202, making it the oldest of Kyo- dens constructed in Japanese
to’s Zen temples. The Rinzai sect style lining the periphery. An
emphasizes reaching enlighten- immense hall in the center of
ment through sudden under- the compound houses an image
standing, aided by pondering a of Shakyamuni flanked by two
koan. By giving the student this attendant images.
conundrum with no rational Recent renovations allow visi-
answer, the teacher spurs the tors to enter the Abbot’s Quarters
acolyte to higher awareness. and the buildings connected to it

Opposite Soft mounds of moss
in the Main Hall’s garden offer
visitors an opportunity to sit
and ponder life.
via tiled roof corridors. The doors Left A bowl of whisked green
have been removed to allow views tea and a sweet for someone.
of the expansive kare-sansui sand Below A dry landscape garden
and rock garden. Zen gardens are (kare-sansui ) beyond the
for contemplation, an aid in tran- cusped window
scending the mundane through Bottom left The art of combin-
ing gravel, stone and sand.
the abstract principles implied in
Bottom center A young visitor
the rocks and sand. One popular
rests in a priest’s chair.
interpretation of this garden is the Bottom right Perfect raked arcs
grouping of three standing rocks of sand at the end of a wooden
in the raked sand, often thought plank veranda.
of as representing Buddha and
two acolytes. The sumptuously
green moss garden is called the
Sound of the Tide Garden. With Other halls open to the public
its soft undulating mounds of contain sliding fusuma doors
star moss, it is as soothing to the painted by famous Kyoto artists,
eyes as the former is stimulating, and include Hashimoto Kan-
evoking entirely different images setsu’s depiction of the Zen prin-
and reflections. ciples in “The Cycle of Death and
In 2002, Kennin-ji celebrated Rebirth.” The temple gallery fea-
its 800th anniversary and com- tures replicas of painted screens
missioned artist Koizumi Junsaka (the originals are in the Kyoto
(1924–2012) to paint two majestic National Museum) of the thunder
twin dragons charging through gods, Fujin and Raijin.
the heavens, the wish-granting A few steps away from Kyoto’s
jewel in one five-taloned claw. busiest intersection, Kennin-ji,
The ink painting, on thick Japa- an active monastery, remains
nese paper, was attached to the a world apart from its secular
ceiling of Nenge-do Hall. neighbors.
KENNIN-JI TEMPLE 57
NANZEN-JI
TEMPLE
Resting at the wooded foothills of artwork, and Tenju-an’s north
the Eastern Mountains, Nanzen- garden as well as its south-facing
ji, was once the villa of the retired stroll garden and carp pond were
emperor Kameyama, and was recently re-landscaped.
converted into a Rinzai Zen tem- The resplendent carved gate
ple in 1291. of black lacquer in Konchi-an
The Sanmon Gate and most dates from 1628, and serves as a
of the structures date to the early shrine to the Tokugawa Shogun
17th century. Shoes in hand, a very who bestowed the temple to its
steep climb and a narrow bridge first abbot. Konchi-in’s classic
lead to the second floor. Although Zen garden evokes the shapes of
the wall paintings and views are a crane and a tortoise, symbol-
lovely, the real attraction is his- izing longevity and immortality.
toric. Ishikawa Goemon, a well- A unique and remarkably
known thief, a Japanese version beautiful structure on the east
of Robin Hood, was captured side of the grounds is an arched
there and sentenced to death in brick conduit carrying water into
1594 by boiling in a cauldron. In the city from Lake Biwa. After
times past, many houses had the Meiji Emperor moved to Edo
fire-heated cast iron tubs in their (now Tokyo), the city of Kyoto
bathrooms, which became known feared it would suffer from a loss
as Goemon-buro, and thus giving of its well-established influential
the thief a place in bathing nome- classes and undertook several
clature. noteworthy projects. This was
The Hojo (Abbot’s Quarters) one. Tunnels had to be blasted
contains famous paintings by through the Eastern Mountains,
the Kano School masters and an bricks fired and carried here to
expansive garden of raked white start construction on the country’s
gravel, enclosed by an earthen first hydroelectric water plant.
wall, itself an object of beauty. This symbol of 120-year-old tech-
The subtemples all have nology blends seamlessly with
beautifully crafted grounds and the existing Buddhist antiquity, a

Opposite Ishi-tatami, a term which means the
placement of stones as found in tatami rooms.
The granite and moss approach to the temple
is a masterpiece of simplicity.
Above A view of visitors from the massive gate.
Right The long veranda of Seiryoden Hall is
constructed so that support columns do not
obstruct the view of the Hojo Zen garden.
Below A shoreline of moss and rock at the edge
of raked sand
Below left Gigantic round posts support the Main

Gate of the complex.
Below right Young visitors conferring where to go
next.
NANZEN-JI TEMPLE 59
reminder of the city’s pride in its
religious traditions and innovative
skills.
The Nanzen-ji complex is
especially crowded in autumn,
when the canopy of stately deep
green pines allows the lower
maple trees to set the grounds
ablaze with color.
Below Shaping this pine tree took

years of study and a whole day to
trim.
Right Elegant in its ancient shape,
the final stages of beauty are appreci-
ated in aged trees.
60
Above Early morning sun warms
two visitors under the Main Gate.
Top right Whisked tea and a
sweet await the visitor.
Center right Fine patterns of
moss, stone and raked gravel
in the side garden at Tenju-an.
Right Oni-gawara are the demon-
faced tiles set at ends of a main
roof ridge to deflect evil spirits
from approaching a sacred place.
NANZEN-JI TEMPLE 61
chapter 3
northern
KYOTO

64

C
HAPTER TITLE

HERITAGE The crowds begin to thin, the pace
becomes more leisurely and it is definitely
SIGHTS OF cooler in the summer months. From
NORTHERN Shirakawa-dori, Kyoto’s easternmost
KYOTO street, the roads slope uphill and car traffic
is limited to local residents. The Eastern Mountains cast their shadows
over the district until late morning, allowing moisture-
loving ferns and moss to thrive.
In ages past, anywhere east of the Kamo River was
considered remote. But beginning
in the 17th century, these foothills
attracted wealthy residents with a
means of transport into the city, as well as artists
who coveted isolation for their ateliers. This mix of
the estates of the wealthy and successful artists
with distinguished taste, bestowed a reputation for
refinement on Northern Kyoto.
Top Bundled branches form the brooms used to gently

Previous spread A temple sweep fallen leaves from delicate moss.
monk’s life consists of Above A single pine needle tops this carefully formed sand
the mundane as well as cone at Kamigamo Shrine, a World Heritage Site.
the spiritual.
Above Bronze guardian
lions at the Main Hall of
Kuramadera.
Left Pagoda at Amida-do
Temple at the Buddha
Hall of Enryakuji Temple,
a World Heritage Site,
located atop Mount
Hieizan.
Right Black, white and
red—nature’s gift to the
winter visitor.
HERITAGE SIGHTS OF NORTHERN KYOTO 65

Originally an emperor’s villa,
the Silver Pavilion (Ginkaku-ji)
was built as a retreat from the
GINKAKU-JI
demands of ruling and the
intrigues of court politics. During
the 14th and 15th centuries, the
Ashikaga Shogun Takauji won his
throne through betrayal and skill.
When his grandson Yoshimasa
became Shogun, the clan’s posi-
tion was waning and the country
was perched on the verge of
several wars. The Shogun, then a
mere teenager, had little interest
in the intrigues of the court and
66 NORTHERN KYOTO
left the center of power to take
up residence in the northeastern
district of Kyoto.
To the detriment of a starving,
war-ridden populace, the young
Shogun pursued his interest in
the fine arts. He came under the
tutelage of three artists: Noami,
Geiami and Soami, who contrib-
uted a great aesthetic legacy of
painting, architecture and the tea
ceremony.
Yoshimasa’s estate, built in
1489, was called the Silver Pavil- base. The three-tiered approach
ion, but it remained ungilded, goes way beyond a mere wooden
either because of an empty trea- gate to announce the status of its
sury or as an allusion to the soft resident. This might be the most
glow of moonlight on the roof. impressive entrance to any of Opposite above A gardener steps back from his work. The
Wealth and its implied power Kyoto’s ancient villas. The first wrapped towel on his head makes a handy hat, one often
was shown in the amount of glimpse of the complex is of the used by laborers.
Opposite below The serene reflection of the Main Hall of
property one owned then and kare-sansui sand and rock garden
Ginkaku-ji, a World Heritage Site.
even today. The magnificent through a large cusped window,
Top left Three tiers of natural materials—stone, bamboo
approach to Ginkaku-ji, a World an aesthetic tease of the most and hedge—denote an Imperial villa.
Heritage Site, is a clear display refined sort for the entrant. Top right The blush of woodwork at sunset.
of affluence, with its towering, After the Shogun’s death, Above left Schoolchildren crossing the pond’s garden.
expertly trimmed hedge above the temple became known as Above The symmetrical raked sand garden beyond the elegant
a bamboo fence on a cut stone Jisho-ji, Yoshimasu’s posthumous curve of the cusped window.
GINKAKU-JI 67
Buddhist name. Today, monks
practice and reside here, so
entrance to the buildings is not
permitted, but it is the gardens
that attract thousands of visitors
a year. The white raked sand and
rock garden beside the main
pavilion enhances the effect of a
moonlight setting, shimmering in
the light. Although the dry garden
is strictly for viewing, the grounds
are traversed with paths that lead
to a pond, waterfall and sloping
trails that offer numerous views
of the grounds.
Lying as it does in the shade of
the wooded hills, the Silver Pavil-
ion enjoys a luxurious abundance
of different kinds of moss. Unob-
trusive flowering plants, such as
those used in tea gardens, mostly
in soft hues and not too fragrant,

bring a stillness to the complex.
There are two sand cones in
the front garden, one suggesting
Mount Fuji, or a sacred Buddhist
mountain in China. These later
additions have been a tantalizing
puzzle to many since they were
not part of the original design,
but they create a focal point of
special interest to visitors.
68 NORTHERN KYOTO
Opposite above A bridge
formed from a single slab
of granite.
Opposite below The conical
sand dome represents
a mountain piercing the
surface of the sea.
Center left A less formal
stroll garden leads up the
foothills of the Eastern
Mountains.
Left The sheer elegance of
materials and landscaping
make a visit to Ginkaku-ji
a rewarding aesthetic
experience.
Above Various types of
moss are labeled for
visitors.
Below Slender trunked
cypress trees rise from the
edge of the stroll garden.
THE
Tetsugaku-no-michi unfolds with
temples, Imperial tombs, tiny
PHILOSOPHER’S
shrines, cemeteries, shops and
galleries, and, in June, a twinkling
host of fireflies.
The cherry tree-lined canal is
PATH
named for Nishida Kitaro (1870–
1945), a Kyoto University professor
whose philosophy blended East
and West, and whose Zen medi-
tation practice included a daily
stroll along this route.
South of the Silver Pavilion,
the first temple one meets is
Honen-in, founded in 1680. Both
entrances are lined with stately
pines, and in March the blooms of
the bush camellia trees pave the
approach in fallen pink pedals.
70 NORTHERN KYOTO
The handsome thatched gate
embodies the understated beauty
characteristic of Japanese art, as
well as the humility and simplicity
of life lived according to Buddhist
principles. More explicitly, the
large stone pillar outside the stone
stairway asks that those who par-
take in spirits or eat flesh refrain
from entering, two religious pre-
cepts to which Buddhists, strictly
speaking, must conform.
Beyond the gate are two raised
beds of sand that resemble clouds,
waves, a swirling cosmos or flower
pedals, depending on the skill of
the monk and the eye of the be-
holder. Because Honen-in houses
and trains acolytes, only invited
guests may enter the inner temple.
But the open areas offer rich
rewards in the beauty of the
Above left On the edge of the East-

ern Hills flows a canal and an
ancient path, beloved of the phi-
losopher Nishida Kitaro.
Above A local resident allows a
photo of himself.
Right Autumn colors are set
against emerald-like foliage in
Japan’s mild climate.
grounds, an art gallery and a
peaceful setting twittering with
birdsong in spring and the whirr
of cicadas in late summer.
The next temple, Anraku-ji,
only opens on spring weekends
when the azaleas bloom. It pre-
dates Honen-in, but both temples
are associated with the founder
of Jodo Buddhism, Honen (1133–
1212). Except for the May and June
display of floral color, the garden’s
palette is a wide range of serene
greens. The graves of two of
Honen disciples, killed after they
converted court ladies, lie on the
grounds.
The Philosopher’s Path passes
Otoyo Shrine, founded in 865, with
its glorious array of winter camel-
lia and guardian stone rats to
Eikan-do at its southern end.
Named after its founder, the Main
Hall houses one of Kyoto’s most
unusual images of Amida, stand-
ing erect but with its head turned
to look behind him. Traces of inset
abalone shell can be seen in the
black-lacquered pillars.
In spring, billowy clouds of the
soft cherry blossoms hover above
the path, and in autumn their
leaves, tinged with gold, add a
lustrous display of nature’s art.
72 NORTHERN KYOTO
Opposite above left Mounds of azalea are about to burst Top The entrance to Honen-in has two
with color at Anraku-ji Temple. raised beds of sculpted sand, vari-
Left The thatched gate of Anraku-ji acts as a symbol of ously interpreted as seascape, coast-
the humility and simplicity of Buddhist life. line, waves, clouds and space—de-
Top The fallen petals of multicolored camellia bushes pending on the eyes of the beholder.
on raked sand within the inner garden of Honen-in. Above Monks follow the path through
Above A resident monk dressed for early morning chores. the towering pines.
THE PHILOSOPHER’S PATH 73

SHISENDO
TEMPLE
Exceptionally large deciduous trees cast year-round
shade on the modest stone walkway to the former villa
of poet and calligrapher Ishikawa Jozan (1583–1672).
But the unassuming entrance is deceptive. The sloping
grounds of Shisendo, now a Soto Zen temple, reveal one
of Kyoto’s most elegant gardens.
Ishikawa, forced to leave Edo and take the tonsure in
1615, retreated to this site to build his villa and write. It
still remains somewhat isolated, one reason why it is so
attractive. As one moves past a set of standing folding
screens to the villa’s veranda, light suddenly pours from
an expanse of dazzling white sand. Expertly trimmed
azalea bushes enclose the garden’s edge, backed by
the forested hillside. This is where most visitors sit and
enjoy the beauty before them. The only sound, other than
whispered conversations and the gentle rustling of bam-
boo leaves, is a sudden clack as a bamboo tube behind
the azalea bushes fills with water, upends and strikes
the stone below. This device, called a shishi-odoshi, or
deer cautioner, is used to scare stray deer or wild boar
from entering the garden. Nowadays, the sound recalls
a rustic remoteness that vanished long ago.
Left Cell phones and

cameras are easily
tucked into an obi.
Right Azaleas have
been cultivated in
Asia for centuries
and Shisendo has
some splendid ex-
amples.
74
The garden has a lower level,
which guests are encouraged to
visit. It is only after donning slip-
pers and moving into the garden
that the structure’s charming
moon-viewing tower, an appropri-
ately poetic conceit, can be seen.
The lower level has an aged
wisteria arbor of purple and white
blossoms in May, along with a
few scattered seats that afford
a little privacy to visitors.
Ishikawa was a poet and
calligrapher, and as a tribute to
the literati who lived before him
has paintings of the 36 classical
poets made by the famous Kano
Yan’yu mounted in one of the
chambers.
The contrast between the
dark interior of the rooms and
the sparkling exterior creates a
dramatic contrast in the use of
light and shadow. The forested
hillsides have been incorporated Top left When upturned, the water-
into the landscape, contributing loaded length of bamboo tips and
to the secluded atmosphere. strikes stone, sounding a caution to
approaching deer.
Deep pink azaleas set the garden
Top right The reluctant gardener’s task.
ablaze in spring, maples in Above Sculpted azalea bushes are
autumn and, in winter, the about to transform the garden with
blooms of a particularly large color.
camellia bush bring a minimal Right Irregularly shaped stepping
splash of color to the landscape stones in a symmetrical setting, a
palette. microcosm of Zen landscaping.
shugakuin
imperial
VILLA
Of the three Imperial villas that The stone lantern, named the
require permission to enter, “kimono sleeve,” is sometimes
Shugakuin, with its dynamic referred to as the alligator’s
mountain-backed setting, has the mouth, and is an amazingly mod-
most expansive scenery. Uncon- ern looking ornament consider-
strained by the highly regulated ing the villa was built in 1650, an
design of most gardens, the scale indication of the timelessness of
is as imperial as its designer and Japanese artistry.
first resident, Emperor Gomizuno The middle villa was the resi-
(1596–1680). The villa was Gomizu- dence of the Emperor’s eighth
no’s retreat after he abdicated, daughter. Amid its multitude of below, one of Kyoto’s greatest Opposite above Ornamental
but he visited only occasionally, flowering shrubs is a magnificent examples of “borrowed scenery.” scattered pebbles around a
and the fragile and transient spreading pine tree, named “the The fabulous reconfiguration of stepping stone in the garden’s
appearance of the buildings adds umbrella pine.” Several of the nature seems completely natural. teahouse.
Opposite below A blending of
to their preciousness. doors in this old residence are The walk slows as visitors
architectural styles: Chinese
An official guide leads visitors painted, some with artisans dye- are guided around the shallow,
influence brought windows
along the pathways, pointing out ing kimono, others of Gion Festival manmade pond, which cools resi- that hinged from above and
important structures and the floats. One of particular interest dents during the sultry summer were kept open with stays,
poetic references employed to is of large carp that used to elude months. A fine example of carpen- whereas Japanese doors and
enhance a view. Sophisticated the fisherman’s net until the try and design, “The Bridge of windows slide open.
gardening techniques are evident famous artist Maruyama Okyo Eternity” rests near the mouth of Top left Wide placement of
everywhere. In autumn, red and (1733–95) painted nets over them the pond, donated by an admirer garden materials creates a
yellow maples emerge from the to capture them forever on these to the Emperor in 1824. spacious stroll garden.
same trunk, a testimony to the wooden doors. To the south lie the Imperial Top right The teahouse on a
rise within the garden.
skill of the gardeners to success- The upper villa was meticu- rice fields, still farmed by local
Above left A floral crest.
fully graft different species of lously designed by Gomizuno to farmers, an elegant combination Above right Brilliant maple
trees in order to create such a incorporate the panorama of of the regal and rural nature of carpeting.
rich botanical display. forested hills and glistening pond Japanese aristocracy.
SHUGAKUIN IMPERIAL VILLA 77

SHIMOGAMO AND
KAMIGAMO SHRINES
Founded by Kyoto’s earliest set- period court dress, led by a young Numerous minor shrines are
tlers in the 7th century, the Lower man on horseback acting as the set amidst the extensive wooded
and Upper Kamo Shrines predate Imperial messenger. The stately, park along the heavily shaded
the city’s role as Imperial capital. hours-long procession moves paths to Shimogamo. Tadasuno-
The Kamo clan’s tutelary from the Imperial Palace to mori, “The Forest Where Lies
shrines host the annual Holly- Shimogamo Shrine, along the are Revealed,” was considered
hock Festival. Every May, a young Kamo River (named after the a place of judgment, as well as a
woman, appointed to act as Saio, clan), and ends at the Kamigamo site that could repel misfortune.
an Imperial priestess, travels by Shrine. City traffic halts as the The shrine’s primeval forests are
ox-drawn carriage to the World plodding oxen pull the wisteria- never cut or pruned, and sections
Heritage Sites accompanied by draped carriage bearing the destroyed by fire are left to regen-
hundreds of attendants in Heian- regally seated, swaying Saio. erate naturally.
78 NORTHERN KYOTO
Kamigamo Shrine to the shrines, are called ema, a votive Above far left The heavily wooded Above A visitor entering Shimogamo.
north, companion of the Shigo- tablet with a picture of a horse, approach to Shimogamo Shrine. Opposite below A single pine needle
gamo Shrine, has expanses once a highly desired possession, Above center left Two sharp claps to tops this mound of sand, welcoming
catch the gods’ ears, a whispered the gods to descend to earth.
of lawn on either side of its as well as a means to convey
prayer and a bow of thanks. Below A shrine priest approaches
approach, which are reserved for one’s written wishes to the gods.
Above left Maple leaves entangled the arched cinnabar-colored
equestrian events twice a year. Representing the mountain in slender shaga lily leaves. bridge at Shimogamo.
Horsemen in ancient court dress where the shrine god descended,
re-enact the travels of a messen- two sand cones rise in the court-
ger from the Imperial Palace, yard. Each is topped with a single
who rode to the shrines to read pine needle, alluding to the word
the message from the Emperor for “pray,” a homonym of “pine”
praising the gods and asking for (matsu).
their continued divine guidance. Small stone bridges span the
Close to the entrance to the stream, the Myojin River, that
shrine grounds is a wooden stall flows through the shine’s precinct
for the Imperial horse, a steed and joins the waterway outside
that represents a messenger the shrine, flowing past the beau-
to the gods. The little wooden tiful old residences of generations
plaques sold, and left to hang at of shrine priests.
DAITOKU-JI
A signboard, now gone, in this
complex noted the five desires
of mankind that monks in Zen
training vow to suppress: wealth,
TEMPLE COMPLEX sex, food, pride and sleep. Several

times a year, the thwack of a
flat wooden stick will resound
through the grounds. Sleep and
distraction are so tempting during
an all-night meditation session
that acolytes bow and request the
attending monk to administer this
sharp stimulus to enhance focus.
80 NORTHERN KYOTO
Opposite One of Kyoto’s many contemplative Zen gardens.
Zen temples house Kyoto’s
Right Twine-knotted stones denote closed paths.
great repositories of 16th century
Below Mountains and sea, asymmetrical design inte-
art forms, including exquisite grated with symmetrical patterns, is a basic principle in
tearooms with their gardens, Zen gardening.
utensils, fine calligraphy and Bottom The moss-lined path and bamboo railing is the
brush-and-ink paintings. Set in approach to Koto-in, a subtemple of Daitoku-ji.
a residential area, the Daitoku-ji
Temple complex is open to the
public, but the subtemples, which
contain some of Kyoto’s finest
kare-sansui Zen gardens, require
an entrance fee.
Daitoku-ji is a Rinzai sect Zen
temple that was established in
1319, and was gradually enlarged
under the largess of the wealthy
patrons from Sakai City and the
famous abbot Ikkyu (1394–1481).
Sakai City, in southern Osaka,
had many tea enthusiasts, one
of whom, Sen-no-Rikyu, later
became a leading proponent of
this art while living in Kyoto.
When tea first came into wide
use, it was imbibed for its medici-
nal value. As a stimulant, it allowed
monks to stay awake during long
meditation sessions. Eventually,
thanks to the genius of its early
practitioners and enthusiasts, the
act of making and receiving a cup
of tea was codified into a ceremo-
ny, further evolving into a spiritual Sammon Gate, with a history that
discipline as well as a sophisti- brings into focus two of Japan’s
cated form of entertainment. most famous men: the warlord
Daitoku-ji’s main buildings, as Toyotomi Hideyoshi (1537–98) and
with most Zen temples, are con- Sen-no-Rikyu (1511–91), the well-
structed on a north–south axis, respected tea master from Sakai
with all halls facing south. The and a leading connoisseur of the
first major building in this grid is arts connected to tea. Theirs
a large cypress-covered gate, the was an entangled relationship of
“Imperial Messenger’s Gate,” and mutual admiration and jealousy.
directly north of it is the vermilion After a strain in their relations,
81
Above Fallen pine needles feel the gentle sweep of the broom.
Right Islands of moss are created in the raked seascape.
Below Moss that has been carefully cleaned of intruding plants.
Rikyu ordered an image of him-

self put on the second floor of
the gate, knowing that Hideyoshi
would pass beneath his image.
Hideyoshi did, and upon learning
what Rikyu had done, ordered
Rikyu to kill himself, bringing an
end to the life of one of Japan’s
great arbiters in the fine arts, and
imbuing the gate with a reminder
of the whims of a powerful ruler
and a man who challenged him.
All of the subtemples within
Daitoku-ji are defined by the Zen
aesthetics of rustic simplicity and
elegant unpretentiousness. The
beauty of patina, whether on a
mildew-embedded earthen wall,
the aging limb of a pine tree
propped up by wooden stays, or
the fine crackle of glaze in a well-
used tea bowl, are testimonies to
the richness and lasting beauty
of Japanese aesthetic concepts.
82
Left The simplicity and
mystique of the Zen
garden.
Right, clockwise from top
left The art of frugality—
materials are replaced
only when necessary.
Metal nail covers. A
bamboo fence bound with
bamboo straps. Black-
ened by the rain, these
pebbles form a glistening
border.
Below Visiting temple
gardens is a popular date
for young couples.
MOUNT HIEI AND
ENRYAKU-JI TEMPLE
Traveling up the mountain via cable car concepts, and returned to influence
or hiking the 1,000-year-old trodden the lives and culture of millions.
paths to a site which once hosted 3,000 Imported Buddhism and native
temples often reduces visitors to a Shinto, represented by the Emperor,
silent reverence. co-exist, but the abbots of Mount Hiei
Enryaku-ji, founded in 806, spreads were proselytizing a foreign faith. Using
across mountains redolent of cypress the belief that evil emanated from the
and lyrical with birdsong. The three northeast, they assured the Imperial
major compounds of this magnificent court that the monks’ prayers on this
World Heritage Site—Todo, Saito and northeastern mountain would shield
Yokawa—attest to Buddhism’s place in the city from harm. The Emperor
Japanese history. accepted that protection, and Enryaku-
Saicho (767–822), the founder of ji’s fortunes flourished. The number of
Enryaku-ji, established the Tendai sect monks grew, as did their power, both
of Buddhism upon his return from religious and military.
studies in China. Braving sea travel, In 1571, political boundaries were
he mastered a new language and crossed and the warlord Oda Nobu-
84 NORTHERN KYOTO
Far left Banners are hung to mark a
religious event.
Center left The massive roof of Konpo
Chudo (Central Main Hall) framed by
cypress.
Left A sacred jewel in Jizo’s upturned
palm.
Opposite below A precise task.
Below A view of Mount Hiei incorpo-
rated into the garden of Shinnyodo
Temple, a technique known as
shakkei.
Bottom Tendai Buddhist priests in
richly woven garments.
naga burned the temples to the ground would take root in Japan and grow.
and massacred the entire population. Three lanterns remain eternally lit
In the 17th century, Oda’s successor, before an image of Yakushi Nyorai, the
Hideyoshi, and the Shogun Tokugawa Buddha of spiritual and physical heal-
rebuilt the monastery and some sub- ing, in the recessed altar in the interior
temples. Today, a mere 70 remain, but of the Hall, blackened from centuries
all are glorious testaments to religious of candles lit by petitioners.
devotion and the will to maintain this Below a coffered ceiling, fine sculpt-
veritable religious city atop an 824- ed figures of winged bodhisattvas and
meter-high mountain. paintings decorate the walls in a tatami
Immediately inside the Konpon room were visitors and devotees mingle.
Chudo Hall is an open courtyard, remi- The antiquity of the structure and
niscent of Chinese architectural influ- the towering cypress forest that sur-
ence, with two thickets of bamboo that rounds it impart an austere but serene
are a symbol of hope that this sect beauty.
MOUNT HIEI AND ENRYAKU-JI TEMPLE 85

KURAMA VILLAGE
The Keifuku Eizan railroad from on condition that he enter the hero, and believe that the myste- a cable car but the walk is much
Demachi Yanagi offers visitors priesthood at Kurama Temple. rious master swordsman was more satisfying, for the surround-
and local residents one of the He obliged his captors by studying actually a tengu, sometimes ing forest, with its 100-meter-high
city’s most scenic rides to this the sutras, but snuck out into the pictured as a long-nosed, red- cypress trees, imparts a spiritual
northern village in its comfortable forest at night to meet and be faced man and at other times a dimension that is unique to
glass-enclosed cars. trained by a master swordsman. mythical creature with a bird’s mountaintop temples. Midway
This remote area—still inhabi- People point to the split boulders beak, as evidenced by all the up the steps is Yuki Shrine, where
ted by monkeys, serow (mountain scattered around the mountain as masks on sale near the station. visitors pass under the elegant,
goats), bear and deer—evokes the evidence of his prowess with the Trekkers, pilgrims and tourists unadorned cypress roof that
story of Minamoto no Yoshitsune sword. Although the rifts result disembark from the train at its covers a divided hall.
(1159–89). After rivals killed his when water drips into the rock, terminus to begin the ascent up Supposedly, centuries ago
family, they spared the young boy children love the legend of this the long stone stairway. There is the shrine’s deity arrived in the
86 NORTHERN KYOTO
Left Tengu, the long-nosed Below center The cinnabar from Demachiyanagi station
goblin, a mythical resident of railing competes with na- offers passengers views from
these mountains. ture’s shades of crimson. both sides of its cars.
Below far left The mountain- Below The torii gate leading Bottom right The conductor’s
top temple in Kurama resides up to the temple. seat along this picturesque
in a jeweled autumn setting. Bottom left The Eizan trainline mountain track.
form of a flaming torch carried

from the Imperial Palace. Every
October, in one of Kyoto’s major
fire festivals, the town re-enacts
this event. Village men carry
enormous torches through the
streets to the shrine, sparks scat-
tering in the wind and showering
down on to onlookers.
Having repeatedly experienced
the destructive power of fire, the
mountaintop temple of Kurama
87
Above The Main Hall atop Mount Kura- is made of concrete, but this
ma. does not detract from its spiritu-
Below Snow—another layer of beauty. ally imposing atmosphere. The
Right Scarlet lanterns line the ap- interior is ancient, filled with the
proach, visitors ascend on the left and
fragrance of incense and with
descend on the right.
Buddhist images that date back
to the 10th and 12th centuries.
The sacred flat rock enclosed
with straw rope outside the Main
Hall is associated with Mao-son,
the temple’s principal deity. From
here, numerous peaks, fading
into the misty distance, reaffirm
the steep mountainous terrain
of Japan as well as the tenacity
of devotees in building on these
isolated peaks.
88 NORTHERN KYOTO
Above Pilgrims and trekkers
visit Okuno-in, a small sub-
temple deep in the mountain.
Above right Rural houses in the
village hug the main road.
Right The roots of giant cryptom-
eria trees are exposed due to
centuries of gradual erosion.
A short distance from the

Main Hall is a rise entangled with
the exposed intertwining roots of
massive cypress trees. Although
many of Japan’s forests have
been extensively logged, the
slopes of sacred mountains such
as Kurama remain primeval.
Centuries of slow erosion have
exposed the gnarled roots that
seem to cling to the mountain.
They—along with ferns, wild lilies,
bush camellia and moss-carpet-
ed ground—help visitors experi-
ence the sanctity with which
Japanese regard their mountains
and other natural phenomena.
KURAMA VILLAGE 89
OHARA VILLAGE
women in cotton indigo ikat who craft
and cart small bouquets of home-grown
flowers twice monthly to the inner city
for family and neighborhood altars.
Ohara is also the home to some very
special temples, Sanzen-in being the
The old Saba-kaido (Mackerel Route) best known and most visited. Its ancient
curves through the mountains to the Amida Hall was first built in 985 and
Japan Sea coast, starting from the east rebuilt in the same style in 1148. It is
side of Kyoto and passing through the shaped like an inverted boat to accom-
old farming village of Ohara. modate the immense image of Amida
The valley is wide, with roads shaded purportedly carved by the temple’s found-
by cherry trees in spring and rice fields er, Genshin. A hundred years later, two
lined with brilliant amaryllis in autumn. images, Kannon and Seishi, were carved
Its picturesque appeal attracts many and assembled from blocks of wood and
artists to set up their easels and photog- placed on either side of the main image.
raphers to roam the slopes searching for The walls have traces of paintings that
a drowsy dragonfly or fluttering cherry once filled the dark hall with color. The
blossoms against a backdrop of thatched building, which is called Ojo-Gokuraku-in,
farmhouses and bubbly streams. the Temple of Rebirth in Paradise, and
The village’s remote and bucolic feel- its hushed setting in an expanse of lush
ing is best represented by Oharame, moss dappled with sunlight filtering
through the tall cyrptomeria trees, is
truly otherworldly.
The monks from Mount Hiei came
to Ohara to be trained in shomyo or
Buddhist chanting. Set out on a shelf in
Hosen-in is a set of stones, which, when
struck, sound the tones to chant a sutra.
Hosen-in also preserves the bloodied
floor planks taken from Fushimi Castle,
when, in 1615, hundreds of warriors
faithful to the first Tokugawa Shogun,
committed mass ritual suicide rather
than surrender. Distributed to several
temples, the planks at Hosen-in form
ceilings so that no foot can ever des-
ecrate the warriors’ sacrifice.
Throughout this naturally beautiful
valley, tiny vegetable patches are inter-
spersed with rice paddies, produce dries
in farmhouse courtyards, persimmons
hang from eaves, and hawks soar effort-
lessly overhead.
Opposite above Whisking up the fallen leaves.

Far left Mountain trails allow for fine views of
this valley.
Center left A masterpiece of sculpted sand in
Hosen-in.
Left The view from Hosen-in.
Top Among their temple tasks, twice a year
monks must corral the fallen leaves.
Above At Hosen-in, a priest explains the origin
of the post-battle, blood-smeared ceiling
preserved in the temple.
OHARA VILLAGE 91
chapter 4
western
KYOTO

Mt. Sawayama
516m
Takao
Mt. Momoyama
460m

Mt. Washiga-mine

Okitayama

Mt. Daimonji-
yama

Kinugasa

Mt. Kinugasa

Umegahata

Kitasaga Narutaki

Ryoanji

Kitano

Yamagoe

Hanazono

Arashiyama

Uzumasa-

Yasui

Sagano Uzumasa

HERITAGE In the foothills of Kitayama, beyond the northwestern
corner of the neat grid that bounded ancient Kyoto, lie
SIGHTS OF large, elegant estates and villas formerly owned by court
WESTERN nobles, two of which are now famous Zen temples. Past
KYOTO them lie the houses and flat open fields of Sagano and
Arashiyama. Over the centuries, these districts were con-
tinually destroyed when the Hozu River flooded, entering
the city from between the sharp ravine that cuts through
the mountains of Arashiyama.
The steeply pitched road north from Saga-
no continues upward until crossing Togano-o
Pass and down into a thickly forested narrow valley and
to a temple even older than Kyoto, a hideaway for a
monk escaping from the intrigues of the Nara court.
Today, the Takao district is popu-
lated by the woodsmen who cut then reforested
the mountainsides with the famous cedars of
Kitayama. Sophisticated centers of Buddhist pur-
suit, ancient villas and fabulous scenery lie at the
foot of these.
Left A young, energetic rick-

shaw driver regales visitors
with local local while whisk-
ing them through the narrow
Previous spread Leaving no foot- byways.
print behind is one of the secrets Center right Weary visitors.
of Zen gardening. Right Dories—shallow-
Top Moss-encrusted stone figure. bottomed boats—are avail-
Top right An isle of pine and fallen able for parties to view the
pine needles. scenery from mid-river.
HERITAGE SIGHTS OF WESTERN KYOTO 95

Kinkaku-ji
Temple
A thousand years ago, the
Emperor’s palace sat near the
intersection of Senbon Maruta-
machi. Favored nobles, granted
land nearby, established estates
within the city. Others, including
the Saionji clan, settled in Kita-
yama, the North Mountains, a
rural hilly area north and west of
the official Imperial residences,
home to deer and wild boar.
In 1397, the Ashikaga Shogun
Yoshimitsu purchased the Saionji
estate, rebuilt it and lived there in
retirement until his death, where-
upon it was bequeathed to his
son to convert into a Rinzai sect
Zen temple.
During the 14th century, Sung
Dynasty architecture and painting
entranced Japan. Influenced
by its opulent style, Yoshimitsu
gilded the roof of his Kitayama
house in pure gold. The sumptu-
ous yet delicate structure, poised
Opposite The Golden Pavilion reflected

in Kyoko-chi (Mirror Pond).
Top left Topped by a golden phoenix, the
pavilion is a masterpiece of 14th century
architecture.
Top right A wattle window set within an
earthen wall.
Above A shimmering allusion of Amida’s
Western paradise.
Left Kinkaku-ji, a must-see for thou-
sands of young Japanese students.
KINKAKU-JI TEMPLE 97
a covered dock for boats, which
allowed the Shogun to view the
scenery from the pond.
The second floor resembled
a hall for an image of Amida
Buddha, and the third floor,
where Yoshimitsu received his
special guests, was adorned,
Zen temple style, with cusped
windows and paneled doors.
Destroyed by fire in 1950, an exact
replica was built following the
well-studied original plans. The
seamless integration of architec-
tural styles reflects Yoshimitsu’s
eclectic tastes, and has secured
the villa a distinguished place in
Kyoto history.
Above Completed in 2003, pure gold gracefully on the edge of a and somehow un-Japanese in The garden, too, is a marvel
leaf was used to restore the pavilion. reflecting pond, was considered its ostentation. of accumulated styles that reach
Below, from left to right A single rock an architectural achievement The structure of the World back a millennium—one formed
pierces the reflecting pond. Snow-
and its gold an extravagant touch. Heritage Site was also remark- from aristocratic tastes to that of
laced grounds, a special winter treat.
But for many Kyotoites today, able. Where most buildings had a disciplined religion. A rock and
Waterfalls have been used in Japa-
nese landscape gardening for centu- the deep luster of the re-gilded only one or, occasionally, two sand Zen garden features small
ries. A pine tree-covered isle. roof, completed in 2003 with five stories, this had three. The first isles and outcroppings of rock
Opposite Kinkaku-ji on an early winter times the original amount of gold, floor, built in the Shinden style that seem to magically expand
morning. while impressive is a little unreal popular in the Heian period, has their boundaries. The stillness of
98 WESTERN KYOTO
the water guarantees a near creation of an academy of fine
perfect reflection of the pavilion, arts at Shokoku-ji Temple where
and even on cloudy days is an he assembled a salon of artists
ingenious feat of landscape per- and aesthetes interested in paint-
spective. The scene evokes a ing, ceramics and the performing
more tranquil time, when the only arts. After his death, the arts
sound was the rustle of passing connected to this era became
deer or the flutter of a pheasant known as the Kitayama Culture.
in the underbrush. A visit to Kinkaku-ji encom-
Yoshimitsu was an ardent passes more than seeing a gold-
admirer of aesthetics whose cul- gilded building. It represents an
tural achievements included his opportunity to view an entire
patronage of Noh drama and his period of artistic splendor.
KINKAKU-JI TEMPLE 99
RYOAN-JI
TEMPLE
This is a Zen garden that immediately captures

the eye, often in bewilderment, and then the
heart as the eye matures. It is the iconic Zen
garden, in many guidebooks as well as Japa-
nese schoolchildren’s textbooks, and one of
the most photographed and researched plots
of real estate in the world.
The rock garden is located within the walls
of the temple—a simple setting yet challeng-
ing. Some pass through, unimpressed, others
cannot leave. Some might note the compact
freshness of the space, gain insight into the
islands of stone, absorb the pattern of patina
on the earthen walls, or feel the agelessness
of beauty. All this does not often happen in a
single exposure. Ryoan-ji is like a landscaped
koan puzzle for onlookers to pon- A thousand years ago, a Fuji- Opposite left The famed
der and wrestle, an opportunity to wara noble owned the estate. In rock garden—a study in
question what this space reflects the 15th century, it passed to the the contemplative arts.
within the onlooker’s spirit. It is a Hosokawa family, and when Gen- Opposite above A water
basin shaped like an old
garden that expands the confined eral Hosokawa Katsumoro died in
Chinese coin.
idea of “garden,” and continues to 1477, it became a Rinzai Zen tem-
Above A task that takes
reveal a different perspective with ple, “The Dragon of Peace Temple.” years to perfect and hours
each viewing. The kare-sansui dry sand and to perform.
Whether you come on a slow rock garden was likely designed Right The final touches.
day when only the padding of a after Hosokawa’s death, and
few feet and the occasional creak- rebuilt after a fire in the 1790s.
ing board intrude on your solitude, A small mock-up of the garden
or when you are mobbed to in the foyer notes that the 15 rock
distraction by a busload of high and moss groupings may repre-
school visitors, the garden leaves sent isles in the sea, or a tigress
an enduring impression. swimming with her cubs. The
RYOAN-JI TEMPLE 101

Below left The ink brush
explanations are not meant to be The veranda leads to the back purple and white wisteria blooms
paintings on the sliding
definitive, but only to suggest the of the temple, passing an unusual in May; the vivid azalea bushes in
doors in the Main Hall.
possibilities that this space could water basin shaped like a Chinese late spring, and pastel water lilies Below right An arched
represent. coin with a square center. Exiting in early summer, and in Novem- stone bridge connects
Whether the frigid air is dust- the temple, paths pass a smaller ber, the brilliant purple berries of to Bentenjima Island in
ed with snow or the rocks glisten temple pavilion winding through the Japanese Beauty Berry bush- Kyoyochi Pond.
with summer rain, whether grounds of softly textured moss es offset a persimmon tree heavy Right The soft covering of
graceful cherry branches brush and on to a small cemetery for with deep russet fruit. Both snow brings the garden
the earthen walls or brilliant temple patrons. gardens, diligently groomed by into another aesthetic
autumn leaves float down on to The pond in the outer garden a large staff, offset the inexpli- realm.
Far right A painting of
the raked sand, there is never a attracts various transient birds cable yet genuine beauty of the
Chinese immortals on
bad time to visit Ryoan-ji. and ducks. An arbor of fragrant sand and rock garden within. the inner sliding doors.
RYOAN-JI TEMPLE 103
NINNA-JI TEMPLE
Left A bronze image of

a bodhisattva.
On either side of the entrance to Right A view from the
the two-story Ninna-ji Temple, veranda of the Shinden
constructed in the early 17th cen- reveals a palette of
greens highlighted with
tury, stand two huge Nio guardian
brilliant red maples.
deities. But the history of the tem- Far right A monzeki
ple goes back to 886 when Emper- temple was an Imperial
or Uda retired to Omuro Gosho temple and residence
(Omuro Palace), as it was then of retired emperors.
known, and became its first abbot. The sumptuous interiors
The tradition continued. Members were adorned with gold
of the Imperial family or high- foil-backed paintings.
ranking families given the religious
rank of abbot headed temples using 1,000-year-old blueprints. The first glimpse of the east- known as Kobo Daishi (774–835).
known as monzeki. The walls The structure retained its open ern garden is of a particularly long This monk and his followers hailed
around Ninna-ji, a World Heritage rooms divided by sliding doors, pine branch framing the main from the island of Shikoku, where
Site, have five white inset lines and covered verandas with low garden beyond. Viewed from the 88 temples form a favorite pilgrim-
designating its Imperial rank. railings that link together several Shinden, the garden reveals a age route for Shingon devotees
Fire, war and earthquakes other single-story structures. different scene, alluding to a Chi- and, more recently, for anyone
have claimed Kyoto’s historic From the entrance, the visitor nese brush painting and natural desiring an arduous trek for per-
buildings repeatedly but ruling is guided through room after shoreline. The sound of the water- sonal or spiritual growth.
authorities have been wise enough room, each opening on to an art- fall was purposefully tempered to In honor of Kobo Daishi, Ninna-
to reconstruct and maintain these fully constructed view. This temple enhance the tranquil setting. ji has a miniature pilgrimage path
religious monuments through the is also the home of the Omuro Ninna-ji belongs to the Shin- that winds up the mountain behind
centuries. When the Shinden School of Flower Arranging and gon sect of Esoteric Buddhism, the complex. It is dotted with 88
(Main Hall) was destroyed by fire large floral arrangements are and the Founder’s Hall is dedi- small pavilion-like temples where
about 130 years ago, it was rebuilt always on display in the entrance. cated to Kukai, posthumously devotees can pray.
104 WESTERN KYOTO

Top left Wooden ornamen-
tation.
Top right Vertical slats in a
cusped window.
Far left The elaborately tiled
roof of the Shinden beyond
a blazing red maple.
Left Arched bamboo stays
guide visitors through the
moss garden.
NINNA-JI TEMPLE 105

As with Kinkaku-ji and Roan-ji, this painting of a majestic dragon circling
temple site was once the estate of Heian the heavens. Tan’yu painted this mythical
nobles, Kiyowara Natsuno (782–837) creature with the horns of a deer, the
and later the retired Emperor Hanazono mouth of a crocodile, the scaled body of
(1308–18), before it became a Rinzai sect a carp, the talons of a falcon, and glaring
Zen temple. eyes that are said to follow visitors every-
MYOSHIN-JI Like Kyoto’s four other Zen temples,

Myoshin-ji lies along a north–south axis
where in the hall.
The bathhouse was an interesting
TEMPLE
in accordance with Chinese temple introduction into the daily life of a Zen
dictates, with a sanmon (Main Gate, monk. Cleanliness, like clean clothes,
1599), hatto (Lecture Hall, 1656), and hojo was a worldly pleasure monks were
(Abbot’s Hall, 1603). Visitors can apply to required to relinquish. Even heads had
join a tour of the steam bathhouse and to wait shaving and bathing was allowed
lecture hall, with its Kano Tan’yu ceiling only on specific days. Until a few hun-
106 WESTERN KYOTO

Opposite above The Japa-
nese tearoom combines
simplicity with a touch of
rusticity: tatami flooring,
wood and paper doors
and earthen walls. The
low door at the back is
where guests enter, bow-
ing deeply to enter the
humbling world of tea.
Opposite below Raked
black gravel sweeps
around rocks and moss
in the Muromachi-era
Zen garden at Taizo-in,
established in 1404, the
oldest subtemple of
Myoshin-ji Temple.
Left Three gentle tugs on
the wood beam before
releasing it to strike the
temple bell at Daiho-in.
Top right A crow-topped
tile temple roof.
Right Powdered green
tea being served on the
temple veranda at Daiho-
in.
Below The extended
branch of a pine bough
below an elegant cusped
window.
dred years ago, the ordinary person did sand gardens, Taizo-in’s hilly contours
not always bathe in a deep tub of hot and abundant greenery present a much
water, but typically loosened the grime more natural scene. The painstaking
in a steam room, scrubbed with a brush, diligence necessary to maintain the
and then rinsed with cool water. grounds reflects the life of a Zen monk,
Within the Myoshin-ji complex are since, in addition to sitting and meditat-
47 subtemples, the most famous being- ing, tireless mundane tasks must be
Taizo-in, the former residence of the performed until they are perfected.
painter Kano Motonobu. Viewed from In the modern garden he designed,
below, the uniquely steep pitch of the Nakane Kinsaku combined large boul-
grounds resembles a landscape painting ders with smooth-shaped mounds of
complete with a stream flowing around azalea bushes that perfume the May
miniature cliffs and boulders. Unlike the air, adding a sensual dimension to the
more formal Zen kare-sansui rock and usually austere Zen garden experience.
MYOSHIN-JI TEMPLE 107

ARASHIYAMA
108 WESTERN KYOTO

Arashiyama, on Kyoto’s western
edge, is such a popular destina-
tion that three train lines serve it.
You can even enter the valley from
Kameoka City by a more adven-
turous route plied by the boatmen
who poll the Hozu River rapids
through the narrow gorge that
cleaves the mountains and emp-
ties into the placid basin where
egrets and herons perch on the
weirs in the river watching fami-
lies in rowboats and floating food
stalls arriving from upstream.
Abundant in literary and artis-
tic allusions, Arashiyama means
“Storm Mountains,” and when
mists descend on its peaks, the
area is reminiscent of an ancient
Chinese ink-and-brush painting.
Its iconic landmark is Togetsu-
kyo, “The Moon Crossing Bridge,”
an irresistible span used as a Opposite above Rowboats
motif for kimono dyers and artists, for hire.
Opposite below A boatman
and a rustic poets’ hermitage,
poles a passenger craft
Rakushi-sha, with the enchanting
through the still waters
name of “The House of the Fallen of the Oi River, a heavily
Persimmon.” forested mountain gorge
The district’s small byways to the west of Kyoto.
are lined with shivering stands of Above Togetsu-kyo, the
bamboo interspersed with villas, Moon Crossing Bridge
that spans the Oi River, is
a motif beloved of artists
throughout Japan.
Left One charming aspect
of Kyoto is its rural areas.
This farmer carries her
newly harvested Chinese
cabbage.
Right The thick thatched
roof of Sukiya Zukuri
Teahouse at Hogon-in
Temple.
ARASHIYAMA 109
homes and farmhouses, while but as with many a temple, war,
Kyoto’s wily resident monkeys fire and declining finances left it in
claim Mt Iwatayama as home. It is ruins. The present buildings thus
a steep climb but one well worth only date back 250 years, but the
the effort to have a look at the grounds date back to the Heian
Japanese macaque, a primate era, when they formed the estate
with the northernmost habitant in of Muso Kokushi (1275–1351), a
the world. (Kyoto University main- nobleman, priest and landscape
tains two feeding stations in Kyoto designer. He created a pond and
and this one is open to the public.) designed the garden’s focal point:
Across the bridge is Arashi- a grouping of seven vertical rocks
yama’s premier temple, Tenryu-ji, inspired by Chinese Sung paint-
a World Heritage Site. From its ings. Gardening techniques were
establishment in 1339, it was one still developing and the term shak-
of the five great Zen temples in kei, a technique whereby back-
the city, with 150 subtemples. Its ground scenery is incorporated
grounds covered vast tracts of land, into the foreground, in this case,
Above Schoolgirls are en-

tranced to run into a bevy of
arriving maiko.
Left Taking a spin through the
bamboo-lined roads. Lots of
young people work the rick-
shaws, pulling, guiding and
chatting with customers all
day long.
Above right The Main Hall of
Tenryu-ji, a World Heritage
Site, diffused with sunlight.
Right, from left Autumn
leaves against the roof of the
Meditation Hall at Tenryu-ji
Temple, bamboo and more
bamboo.
ARASHIYAMA 111
the mountain peaks of Arashiyama Jojakko-ji is up a long stone stair-
and Kameyama, was first used here. way, its hillside covered in maple
Close by is Nonomiya Jinja, where trees and a lovely pagoda near the top
imperial princesses served as shrine of the grounds. Farther along is the
maidens, and which also figures in temple Nison-in, founded by Emperor
the 1,000-year-old novel, The Tale of Saga in 841, and the site of many old
Genji, when the “Shining Prince” had elegant Imperial graves. Remote and
a rendezvous with Lady Rokujo at quiet, the unadorned gate seems a
the shrine. Romantic connotations remarkably humble tribute to the
abound, now aided by the panoply of aristocratic spirits who reside within
love charms available there. its grounds.
112 WESTERN KYOTO

Opposite above The Raden
train line serves locals as
well as myriads of tourists
bound for Arashiyama.
Opposite below Stone figure
of a Rakan, a Buddhist saint
worthy of receiving respect
and offerings.
Above left Rowboats for hire
at Y1,400 an hour.
Above Rounded pebbles
nestled in star moss.
Left The lyrical sound of
water in a lush fall setting.
ARASHIYAMA 113
Numerous hand-carved stone images
sit impassively along the roadsides in
this western district, evoking a bygone
SAGANO
but palpable religious spirit. The area
remains rural, its distance from down-
town Kyoto sheltering it from over-
development.
VILLAGE
The very large temple of Daikaku-ji,
originally the 9th century retirement
villa of Emperor Saga, lies a little apart
from the cluster of sites near the train
stations shared by Sagano and Arashi-
yama. In autumn, the temple pond
is the site of moon-viewing activities, Routes out of Kyoto pass through
when the gentle strum of the Japanese Sagano, where pilgrims and travelers
koto, a horizontal harp-like instrument, once paused at wayside teahouses for
provides a soothing complement to the a respite from the journey and weather.
moon’s lustrous reflection. Tsutaya, with its large paper lantern
Long ago, unable to afford a proper and heavy thatched roof, still welcomes
burial, the bodies of the dead were passersby in its rustic yet elegant tea-
left along the nearby foothills. People rooms. The sun never bestows more
marked the simple graves with a stone than a sliver of light on this teahouse,
image praying for the repose of that but the penetrating shadows imbue
spirit. As the images increased, they the old structure with a settled beauty
were gathered up and placed in Adashi- that photographers cannot resist.
no Nebutsu-ji and cared for by the One large vermilion torii gate, the
temple’s devotees. entrance to Atago Shrine, sits astride
Above, from left to right
A wayside moss-clad Bud-
dhist image. Monks steering
their boat in Daikaku-ji
pond. Splashing water to
keep down the dust at the
entrance to Nison-in Tem-
ple. A straw hat and mantle
left to dry at the rustic cot-
tage in Rakushisha where
Basho wrote Saga Nikki.
Center, left to right Handi-
crafts and mementos for
visitors to the Sagano area.
Cranes fly among stylized
the approach at the western end of
clouds in this wood relief on
Sagano. Farther along, the road passes the wall of the Main Hall at
through a tunnel, then descends to the Nison-in Temple. Pine trees
tiny hamlet of Kiyotaki, famous for its against gold foil-backed
waterfall and stunningly beautiful river- wooden doors.
side walk to Takao. The second torii is Opposite below An arched
at the foot of a steep stone stairway that bridge at Gosha Myojin
climbs Kyoto’s highest mountain, Mt Shrine and Osawa-no-ike
Atago (924 m). The two and a half hour pond, said to be the oldest
garden pond in Japan, at
trek to the top requires sturdy legs and
Daikaku-ji Temple.
stamina. But hundreds do it weekly, Left A revered red pine finds
some as exercise and others to win the the support it needs to
gods’ protection from fire, the bane of flourish.
a city filled with wood construction.
SAGANO VILLAGE 115

Right Tiled roofs
Within the temple complex
emerge from a steep
of Kozan-ji, a World Heritage Site,
forested valley.
Opposite top left The is Sekisui-in Hall, a renowned
simple practice of example of 13th century architec-
meditation and the ture, with its delicate roof line
orderly placing of and overall simplicity of design.
sandals form part Up a slight slope in the western
of a priest’s life. part of the complex, shaded by
Opposite top right tall cedar trees and moist with
Symmetrical patterns moss and lichens, are rows of
and those of nature
tea bushes, replanted here, the
are present in this
view from Kozan-ji
site of the original plantation
Temple. brought from China by the monk
Eisai in the 13th century.
It is within this isolated hamlet
that a disgruntled priest fled the
intrigues of the 8th century Nara
court to establish Jingo-ji, a tem-
ple with many treasured images
TAKAO
belonging to the Shingon-shu,
the Esoteric sect of Buddhism.
The wide stone steps up to the
Main Hall are so steep they tempt
the climber with visions of cliff-
VILLAGE clinging Himalayan retreats.

Within the Main Hall is a pair
of enormous hanging scrolls,
the Two Worlds Mandala and
the Womb Mandala, a National
On the far side of the Togano-o generations. Today, while much Treasure and an extraordinary
mountain pass, the road of the lumber for house construc- work of Buddhist art. Another
descends into a narrow valley tion is imported, Japanese-grown National Treasure is the statue
where the famous Kitayama wood remains a vital part of inte- of the Healing Buddha, which
cedars are grown and harvested. rior design and lumber ware- is carved from a single piece of
For centuries, man decimated houses dot the valley. wood.
this precious resource. After wide Takao is also noted for its A visitor may try to break the
swathes of hillside were lost to luxurious growth of maple trees, profound quiet by turning the Above Descending the
the lumber needs of a growing and in autumn chartered buses heavy stone prayer wheel, but moss-softened stone
stairway at Jingo-ji.
city, erosion triggered landslides fill the area with visitors eager to the slight grinding sound is swal-
Right After a sudden
and rivers filled with silt and admire the brilliant red blaze of lowed by a vast open courtyard rain, the veranda at
flooded. Eventually, leaders were foliage. Mention of the maples reminiscent of ancient palaces, Kozan-ji needs the
pressured to implement policies causes Kyotoites to gaze into the and evocative of an era that is touch of a dry cloth.
to ensure timber for future distance and smile knowingly. lost in time.
116 WESTERN KYOTO

chapter 5
southern
kyoto
HERITAGE Mountains surround and cradle Kyoto’s broad flat plain,
where three major rivers, the Hozu, Kamo and Uji, con-
SIGHTS OF verge to form the Yodo River, which then flows through
SOUTHERN Osaka to the Inland Sea. When flooding was a seasonal
KYOTO hazard, most buildings rested on higher land or hills, but
close enough to rivers for farming and to
facilitate the transport of goods, including produce from
the fields that still comprise Kyoto’s southern outskirts.
The rivers are now embanked,
and the highways and three train
lines that carry people and goods
have forever altered the character
and look of the landscape. Some
farmlands and features have
disappeared entirely, including
the entrance to the ancient capital, Rashomon
Gate, which lay a little southwest of where Kyoto
Above Nio, one of the fierce-
Station is now located. looking temple guardians at
the entrance gate to Daigo-ji.
Top left Sunset reveals the fine car-

pentry and tile work of a wing of the
Phoenix Hall at Byodo-in Temple.
Top right Square stones in billowing
mounds of moss, the famous garden
designed by Shigemori Mirei at
Previous spread Vermilion tributes Tofuku-ji Temple.
to the gods’ blessings sought by Left The closing utterance of “un”
businesses: a thousand torii gates from a stone guardian dog at Ujigami
line the pathway up Mt Inari, each Shrine, a World Heritage Site.
bearing the name of the donor on Right A tea ceremony guest in the
the upward approach. garden of a subtemple at Daigo-ji.
HERITAGE SIGHTS OF SOUTHERN KYOTO 121

TOFUKU-JI TEMPLE
Zen was the last major Buddhist
sect to enter Japan. By the 13th
century, Kyoto was funding the
construction of Zen complexes
within the capital and, as with
Nanzen-ji and Tenryu-ji, near the
Eastern and Western Mountains
respectively, away from the old
established thoroughfares. Tofu-
ku-ji lies at the very southeastern
part of the city.
Zen exerted tremendous
influence on calligraphy, the tea
ceremony, gardens and architec-
ture, and today’s Zen complexes
are significant historic reposito-
ries for some of Kyoto’s finest
works of art.
The oldest temple gate in the
country, Tofuku-ji’s Sanmon, is
open only in November, when
visitors crowd the grounds to view
the famous maples. Below the
Main Hall, a narrow ravine filled
with slender Japanese maples, is
one of Kyoto’s most photographed
autumn sights. The picturesque
covered bridge, Tsutenkyo, spans
the gorge and leads to one of
Tofuku-ji’s subtemples, Kaisan-
do. Its garden dramatically
presents a well-known garden
concept of a tortoise formed by
Opposite above and

below The renowned
kare-sansui sand and
rock garden of Tofuku-
ji, a study in strength
and endurance.
Above Visitors photo-
graph the foliage in
the deep gorge.
Left Swirling waves of
sand flow past the soft
mounds of moss.
Right The Heavenly
Way Bridge crosses
the scarlet scenery of
autumn.
TOFUKU-JI TEMPLE 123

a cluster of rocks and bushes,
and a tree as a crane, motifs
popularly used to symbolize lon-
gevity and fidelity in marriage.
The Hojo, the Abbot’s Quar-
ters, was rebuilt in 1890 and its
gardens were redone by the
famous landscaper Shigemori
Mirei (1895–1975), whose work is
undisputedly excellent, innovative
and exciting.
In 1939, he set out to reintro-
duce the essence of the Zen
garden by borrowing ancient
concepts and enlarging on them.
He redesigned Tofuku-ji’s gar-
dens with innovative verve.
The front garden, almost
overpowering with its strong
vertical rock grouping within a
confined space, challenges view-
ers to reflect on the designer’s long, narrow wooden and plaster
intent. building has open wooden slat
The use of old granite founda- windows that allow users to view
tion pillars in the side garden to two raised rows with evenly
construct a representation of the spaced marked depressions. The
celestial Big Dipper, was a revolu- discipline of Zen emphasizes
tionary departure from tradition. simplicity in daily activities, train-
Shigemori’s most imaginative ing its acolytes to focus on the
work, though, is seen in the north immediate, in an attempt to con-
garden. Square blocks of granite trol and eventually free the mind
inset in an undulating blanket of from secular matters. Keeping
star moss dominate an open grid. this building clean was one such
In the west, short, highly pruned task, and it gives modern visitors
azalea bushes intersperse with a glimpse into a lifestyle that
white gravel to define another enveloped all aspects of a monk’s
checkerboard grid. Both gardens life, even of the lowliest.
are marvels of modern gardening
technology and attentive mainte-
nance.
A unique object of interest is
the Tosu, the latrine that served
residents in ancient times. The
124 SOUTHERN KYOTO

Opposite above and below
The art of Zen garden-
ing: patterns that stimu-
late thoughts of the
universe, eternity and
transience.
Above left Centuries
of careful skills and
motives produced these
gardens to ignite a
different kind of aware-
ness
Above The rain-
drenched hills of moss,
or mountains rising
from the sea?
Left A departure from
the usual rock and sand
Zen gardens, the stone
checkered moss setting
in the Abbot’s Quarters
enhances the viewers’
idea of landscape.
125
FUSHIMI
INARI
SHRINE
The iconic images of brilliant red torii
gates along the winding paths of Mt Inari
is a visual delight for visitors making the
leisurely two-hour walk around the
mountain. There is nothing like it in any
other city in Japan, perhaps in the world.
Inari Shrine, older that the capital
itself, is the tutelary shrine of the Hata
family, a clan of Korean origin who owned
much of the land in the city. They invited
the Emperor to make use of its hunting
grounds before offering it to the Imperial
court as the new capital. Fertile, with a
good supply of wood and water, the land
could support a growing population, while
its surrounding mountains provided natu-
ral defenses. The court moved here in
794, and builders soon made use of the
abundant supply of timber to construct
Inari Shrine and To-ji Temple.
The main purpose of the shrine was
to proffer the gods offerings to assure
abundant rice crops. After entering Japan
around 300 BCE, this nutritious plant
quickly became the basic dietary staple
and a key trade commodity.
Rice production, and Inari, are closely
associated with foxes, and the shrine is
covered with their images on prayer
plaques and in paintings. Legend has it
126
that a couple of frisky foxes
frolicked in the rice fields, and
returned at harvest with a bounty
of their own, thus binding the
image of the fecund fox to that of
a good harvest.
Inari Shrine is covered with
prayer plaques in the shape of
foxes, for not only did Kyoto’s early
citizens depend on the crop as
food, once rice was fermented
and made into sake, the gods
smiled even more broadly on their
devotees, including today’s red-
faced tipsy visitors to the shrine.
Casts of sake decorate many of
Kyoto’s major shrines, and espe-
cially here, with the nearby brew-
eries in Fushimi, which are major Above Mt Inari is covered with
contributors to the shrine. brilliant red torii, all given by
The torii have the names of devotees to the gods that
patrons on the left side as you reside in this shrine.
ascend, businesses on the right Left Priced according to size,
side. Written on the top of the visitors will see hundreds of
posts are two Chinese characters: torii on route up the mountain.
noho, roughly translated means
“appreciative offering.”
A climb through the vermilion
tunnel is to bask in the sensual
glow of centuries of grateful
donations, tributes to ongoing life
and the spirits.
Opposite Sunbeams cut

through the closely placed
cinnabar-colored torii gates.
Left Twine and bamboo slat
covers rest on a stone basin.
Right A shrine maiden per-
forms a dance to confer the
gods’ blessings on guests.
FUSHIMI INARI SHRINE 127

SAIHO-JI
Before Zen reached Japan in the 14th garden. Saiho-ji and most later Zen
century, other sects preceded it, and gardens effectively utilize the concept
one was Jodo. In the 8th century, the behind the kare-sansui as a meditative
garden of Saiho, a World Heritage Site, aid that attempts to ease the grasp of
TEMPLE
was constructed according to Jodo a worldly mind, allowing the student
precepts, a physical embodiment of of Zen to reach a more spiritual
the spiritual realm, an earthly paradise. awareness.
Muso Soseki (1275–1351) was an At first, Saiho-ji may seem the
influential Zen priest and dedicated antithesis of this sobering rock and
gardener who believed that landscape sand concept but from the moment
could be an effective aid in meditation. a visitor enters, the lush dark green
Rather than merely enjoying the land- ground covering of moss seeks to
scape, he posited that the garden could soothe and counter a restless mind
be an instrument to enlighten. Muso and lull it into another state by the
was the first to use the kare-sansui dry absolute stillness of its grounds.
garden as a spiritual tool. The upper Muso was also one of the first
area garden has a cluster of rocks persons to employ Sung Dynasty
implying a waterfall, with the “flow“ of paintings of scenery when planning
sand swirling away from this grouping. landscape. The emphasis on the
Later, the concept was developed to insignificance of man, dwarfed by
the point of being almost exclusively the wonder of nature, proved an
thought of as a characteristic of a Zen attractive precept to employ. The
128 SOUTHERN KYOTO

Opposite above and below
Nestled in a basin, Kyoto
is humid year round. This
has allowed a prolifera-
tion of moss and ferns to
take over some gardens
as has happened to Saiho-
ji, the Moss Garden.
Center left Pathways of
irregular shaped stepping
stones slow one’s pace to
impart the timelessness
of the scenery.
Left Gardeners with soft-
soled tabi boots gently
gather fallen leaves.
Below The algae-dense
pond is a perfect counter-
point to the shades of rich
lush green.
humid climate of Kyoto assisted his

task and the moisture that clings to the
moss, trees roots and glistening stones
enthralls and comforts.
Visiting Saiho-ji during or after a
heavy rain brings out the rich greens of
the 40 species of moss in the garden. In
the spring, when the trees are budding
and the azaleas are in bloom, spots of
pink and magenta create lustrous touch-
es of color against the rich verdant
backdrop. Maples in autumn add their
brilliance to the setting and a greater
appreciation of Muso’s earthly paradise.
Because of the very large numbers of
visitors in previous years, permission to
enter is necessary and guests are asked
to sit in contemplation before entering
the grounds. Those who are skillful with
a brush are asked to copy a sutra, but all
are asked to respect the religious intent
of the temple’s priests and creator.
SAIHO-JI TEMPLE 129

KATSURA IMPERIAL VILLA
Built in 1620 by Prince Toshihito
(1579–1629), the villa’s garden
and buildings are lauded as the
quintessence of landscape and
architectural design.
Katsura is an intricate tapestry
woven of diverse art forms, and
created and refined over many
years. Appreciating it requires
some knowledge of not only Japa-
nese design principles but also
of literature and art. The garden
paths, for example, reflect Prince
Toshihito’s literary knowledge by
referencing views in famous
Chinese and Japanese poems. A
miniaturized vista of Aminohashi-
date is a bow to the long sandbar
dotted with tall slender pine trees
that lies within his wife’s family
domain in northern Kyoto.
The Katsura garden is set on
a flat piece of land and would
seem to make for easy walking,
but strolling the garden in kimono
and zori slippers means treading
slowly and carefully, especially
since the stepping stones are laid
at purposefully asymmetrical
angles. Forced to look down while
stepping, the visitor, on looking
up, finds a changed scene, remi-
niscent of a poem perhaps or a
130 SOUTHERN KYOTO

Left The serene sunlight-dappled
interior of the villa offers a garden
view from every angle, a masterful
merging of architectural and land-
scaping techniques.
Above Within the building, each open-
ing of the sliding doors sharpens the
focal point of the onlooker.
Right A different landscape unfolds
from every angle and viewpoint in an
eternally refreshing way. Each scene
encountered presents the beauty of
seasons in different stages of growth,
for the gardeners understand how to
artfully combine the components of
building and landscape.
play, a painting or the passing of

a season.
Several words in the Japanese
aesthetic lexicon—wabi, sabi and
yugen—help explain the under-
lying concepts. These terms can
be applied to the arts, ranging
from gardening to painting, flower
arrangement to pottery, tea cer-
emony utensils to architecture.
But in gardening, a simple yet
elegantly humble example of
wabi would be how a flower, just
Left The rustic and hum-
ble yet exquisite thatched
gate frames the garden,
a conceit that raises
anticipation and stimu-
lates the eye.
coming into bloom, triggers an

anticipation of pleasure. Sabi, the
fulfillment of beauty, is felt during
the brief pause when that bloom
is fully open, but before its petals
begin to fall. Another key tenet of
garden aesthetics is the use is
yugen—the sense of mystery and
lingering suspense found in a
wizened tree trunk or mountain
peaks piercing a mist-laden valley.
Another relevant concept is
the three levels of formal, semi-
formal and informal (shin-gyo-so).
A straight path of rather equally
sized and evenly placed stones is
regarded as formal, while asym-
metrically placed, odd-shaped
stones are the least formal. Japa-
nese recognize and appreciate
this delineation. Katsura’s 1,716
stones, all deliberately positioned
on this spectrum of formality, are
designed to provoke thoughtful
aesthetic pleasure.
Visitors may not enter the
Top right As natural as the gardens Opposite above left The exposed under-
buildings, architectural master-
may appear, maintenance requires a ceiling of the garden pavilion.
great number of attentive caretakers. Opposite above right A simple woven
pieces whose layout reflects the
Above Visitors must step carefully on wattle window and shades of patina aristocratic estates of the Heian
the irregular stepping stones as they in the earthern walls, offset the age that ended 400 years before
approach the moss-lined earthen and symmetry of rectangular doors and Katsura was built. Tools had
wooden bridge and the hall beyond. square paper windows. greatly advanced in the inter-
132 SOUTHERN KYOTO

Bottom left The reflecting pond ex- Bottom right The low wooden door is
tends the scenery from a shoreline the entrance to the tearoom, a study
of smooth pebbles and the placement of paper, bamboo and soft earthen
of outcroppings of rocks. walls.
vening centuries and carpenters

used rare woods to create exqui-
site, highly detailed and individu-
alized designs. Alcoves display
staggered shelves, beams have
well-fashioned nail covers and
the eaves of each building sit at
different levels to create a cas-
cading effect.
A Western villa is usually at its
best when approached from the
front. But Katsura’s entrance is
set at a diagonal, so that if viewed
from above, the modular rooms
of the building complex form a
staggered V-shape. This angle
allows greater inclusion of garden
views to delight the resident and
visitor, a complete integration of
architecture and landscape.
KATSURA IMPERIAL VILLA 133

DAIGO-JI
TEMPLE
Two major sections comprise the temple complex,
a World Heritage Site: Shimo-daigo at the foot of
the mountain, and Kami-daigo an hour’s walk to
the top. Both levels of the complex are noted for
their magnificent structures.
Founded in the 9th century as an imperial
temple, Daigo fell into ruins during the mid-15th
century Onin Wars and was restored by the 16th
century warlord Hideyoshi, the first person to unite
the country politically. He is known for his ruthless
military forays but also for his aesthetic pleasures,
which included an influential enthusiasm for the
tea ceremony, which enveloped all attendant
arts—calligraphy, architecture and tea utensils,
be they made of paper, bamboo, wood, iron or
more precious metals—as well as gardens.
The Sambo-in subtemple, with its opulent
garden, is especially representative of the war-
lord’s taste and fortunes. A commoner, Hideyoshi
remained a man of the people and hosted massive
public events at Daigo-ji, including cherry blossom
viewings. Even today, the crowds flock to enjoy
the trees in April.
Hideyoshi rebuilt Sambo-in, founded 400 years
earlier, in 1595. The garden contains over 700
stones, some gifts from those currying favor, oth-
ers purchased at unthinkable expense, a display of
power, force and subservience. The Heian period
shinden-style architecture of the building seems
ethereal, even indifferent to the bravado of the
massed rocks in the garden. A meandering stream
flows beneath the veranda at one section, counter-
ing the heaviness of the garden.
On the main grounds of the lower level is Kyo-
to’s oldest five-tiered wooden pagoda (951), the
second oldest such structure in Japan, and farther
134 SOUTHERN KYOTO

Opposite This five-storied pagoda is the oldest in
Kyoto and one of only two in all of Japan. The solid
wooden structure has survived centuries of earth-
quakes, its struts, brackets and supporting beams
thoroughly and skillfully joined.
Left Meandering streams are an essential part of
gardens, supplying thirsty moss with moisture and
opening new vistas with each crook in the path.
Below left Monks at work at the entrance to their
school, Denpo Gakuin at Daigo-ji.
Below Daigo-ji is famed for its hanging cherry
trees, planted by the warlord Hideyoshi in 1598.
The petals open and appreciative crowds descend,
even after 400 years.
Bottom Names scribbled on a cinnabar-colored gate.
to the east is the approach to

Upper Daigo, marked by Nyonin-
do, built as a worship hall for
women. Considered impure,
females were barred from
ascending sacred mountains.
Today, however, the tinkling bells
attached to pilgrims adorn both
sexes as they climb to Kannon
Hall, the eleventh stop on Western
Japan’s Thirty-three Bodhisattva
of Mercy pilgrimage.
The buildings at the top of Mt
Daigo are impressive structures,
especially considering the labor
it must have required in 1121 to
construct the Yakushi-do Hall, a
National Treasure. The image of
the Yakushi Nyorai (the Healing
Buddha) within dates back to 907.
The grounds are forested, the
slopes filled with flowering trees.
BYODO-IN Below A veil of cherry
blossoms obscures the
pavilion, while the pond,
TEMPLE
known as the Western
Ocean, offers a reverse
pristine image.
Below right A demon end
tile to ward off misfor-
Like the phoenix atop it, the graceful tune.
architecture of the Byodo-in Temple
seems about to take winged flight.
Within the Main Hall of the World
Heritage Site is an image of the
compassionate Amida, the Buddha
of the Pure Land, believed to save all
who invoke his name.
Top Phoenix Hall, aptly named, The Pure Land sect gained popu-
resembles the outstretched wings larity in the late Heian period (894–
of a mythical bird about to take 1195), when Kyoto’s sophisticated
flight. Graceful and lithe, the pa- Imperial court supported wide rang-
vilion contains the sacred image
ing cultural growth. The era produced
of Amida Buddha, carved in 1057.
Above Women admire the artifacts
the world’s first novel, Tales of Genji;
in a shop just outside the entrance a broad expansion of an indigenous
to Byodo-in. alphabet; and the adoption of many
Above center The front gate, bolted cultural imports from China’s 6th
shut for the day. century Tang Dynasty. The legacy of
136 SOUTHERN KYOTO

Right The villa-temple was built by a Heian
period noble as a retreat and to symbolize the
Pure Land Paradise of Amida Buddha. Poised
as if to take flight, the intricate construction is
as otherworldly as it is aesthetically pleasing.
Heian’s artists, carpenters and sculptors

inspired their counterparts centuries
later to recapture the glory of this
extraordinary era in such temples as
Katsura Rikyu and Kinkaku-ji.
Fujiwara Michinaga (966–1027), a court
noble, bequeathed his villa to his son Yor-
imichi (922–1074), Regent to the Emperor,
who completed the Phoenix Hall in 1060.
Only one story high, the struts and elabo-
rate eaves create an illusion of height that
is intensified by their reflection in a peb-
ble-bordered pond. Originally, the building
was brightly painted, with sumptuous use
of mother-of-pearl and lustrous black
lacquer. Celestial bodhisattva bearing
ancient musical instruments float
through the stylized clouds near the
gold-leafed image of Amida seated high
within the hall, calmly gazing down upon
his worshippers, an image created by the
sculptor Jocho (d. 1057).
A new museum on the site has a video
showing a replica of the original hall in
vibrant colors that may seem unreal,
almost gaudy, to modern visitors. Accus-
tomed to equating the patina of time with
Japanese taste, modern visitors tend to
forget that to 11th century sensibilities the
building and its interior portrayed the
ethereal beauty of a promised paradise
and the presence of a powerful deity.
UJIGAMI SHRINE AND
GENJI MUSEUM
138 SOUTHERN KYOTO

Uji, a town evocative of romantic
longings and unrequited love, has
a special place in ancient literature.
The town lies a 30 minute train
ride south of Kyoto. The walls of
the Keihan train station are inset
with displays of tea ceremony courtiers who established hand- A short walk from Uji Bridge
utensils, because Uji is an area some villas along its banks. is the country’s oldest wooden
renowned for one of Japan’s fore- Uji also is well known as a Shinto structure. Uji Shrine (1060),
most restorative beverages, green setting for the world’s first novel, comprising three small shrines,
tea. The undulating rows of dense The Tale of Genji, written by Mura- is so small and unobtrusive that
bushes that sweep up and over saki Shikibu (c. 1000). Although sightseers would often overlook it
the surrounding hillsides yield an Lady Murasaki’s hero, “the shining before it was designated a World
aromatic tea with the smoothness prince,” was the son of an emper- Heritage Site. The unadorned
of fine silk. or, his mother was a low-ranking cypress structure and the tech-
Uji’s main street is lined with court lady. Nonetheless, Genji, niques used reflect the construc-
teashops that exhibit old grinding a handsome courtier and a fine tion of the equally old Byodo-in.
Opposite Afloat on the Uji River, one of
stones and clay jars, which were poet, was alluringly sensitive to Ancient stone-lined culverts Kyoto’s main rivers, flowing from Lake
once filled with the newly picked the dreams of high-born court line nearby pathways, so that the Biwa to Osaka, during the glorious
leaves and proudly carried each ladies. The rustling of a silk gar- sound of flowing water accents cherry blossom season.
year to the Imperial court. ment, the subtle fragrance of an the gentility that Uji modestly Top left Boat moorings along the river.
The greatest activity seems to incense-infused robe, and the embodies. Top The Main Hall of Ujigami Shrine,
come from the wide and surpris- delicate calligraphy of a message the oldest wooden shrine building in
ingly vigorous passage of the Uji brushed on pastel paper, would Japan, dated at around 1060.
Above A twisted straw rope and paper
River as it rushes under the Uji set the amorous prince in search
cuttings denote a sacred object, in this
Bridge, first built in 646 and re- of yet another romance. The mid-
case a large rock on the shrine
constructed many times since night trysts in the story reveal a grounds. Loose stones have been
then. The mists that rose above sophisticated society, entwined tossed with a prayer. Those that stay
the tumbling waters of the river, by romantic longings that still fill on the mound will be granted.
an important crossing between the hearts and dreams of many Left A mantle of moss softens a steep
Nara and Kyoto, appealed to modern Japanese. curving roof.
UJIGAMI SHRINE AND GENJI MUSEUM 139

Right A mountain
cherry tree along the
Uji River.
Below A twilight view
of the statue of noble-
woman Murasaki
Shikibu, the author
of The Tale of Genji,
published in the early
11th century and con-
sidered by many to be
the world’s first novel.
In the background is
the Uji Bridge over the
Uji River. Uji was the
setting of the later
chapters, and the
place most associated
with the book.
Above A form of court dance

based on a 6th century Tang
Dynasty performance. The
gorgeous costumes in the
Genji Museum are pat-
terned on those that existed
1,000 years ago.
140 SOUTHERN KYOTO

Left A detailed view of
The Room of Genji in the
Hondo Main Hall at Ishi-
yamadera Temple in
Otsu City, southeast of
Kyoto. It reveals the fine
kimono and delicate
expression of a life-size
doll-like statue repre-
senting Lady Murasaki
Shikibu, who is purport-
ed to have written The
Tale of Genji in 1004 at
the temple.
Above A statue of Lady
Murasaki Shikibu amidst
garden greenery at
Ishiyamadera Temple.
141
BIBLIOGRAPHY GLOSSARY
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Culture of Japanese Food, Kegan Seike, Kiyosi, The Art of Japanese ceremony in which both thin geta Raised wooden thong
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Design, Charles E. Tuttle, 1996. Slowly, Katsura Press, 1997. chaya Establishments which -in Denotes a subtemple.
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-ji Denotes a temple.
Nicholas, Gateway to Japan, The Guide to the Gardens of Kyoto, performances; literally a
Kodansha, 1990. Shufunotomo, 1993. teahouse. kaiseki Elegant traditional
cuisine served in many
-cho Denotes a district within
courses.
the city.
kami The gods and spirits of
-dori Denotes a street.
the animist and Shinto
fusuma A sliding wood lattice pantheon.
screen covered with an
kare-sansui A dry rock and
opaque paper panel often
sand garden found in
decorated with paintings.
many Zen temples.
gawa/kawa River.
kimono Used to refer to
geiko The preferred term for traditional Japanese
geisha in Kyoto. clothing.
kinu Silk; when paired with miyabi An aesthetic term okunomiyaki A wheat-
tofu, a silky smooth that indicates a playful based pancake-like
soybean curd product. elegance. concoction with
vegetables, topped with
komainu The guardian dogs miyadaiku Specially trained
bonito fish flakes and a
that are often paired in temple carpenters.
sweet date-based sauce.
front of shrines, one with mochi A special type of
an open mouth, the other osechi Specialized
glutinous rice pounded
closed. Japanese cuisine only
into round-shaped
served during the New
kyoyaki The elegant “cakes”.
Year, originally mostly
ceramics produced in the momen Cotton; when vegetarian but nowadays
Kiyomizu area of Kyoto. paired with tofu, it refers with meat and fish
kyo-yasai Vegetables grown to a heartier, rougher soy products.
in the Kyoto district. bean curd product. Shogun Warlord. of two horizontal posts and
pagoda A multi-tiered
maiko A young woman moritsuke The attractive two vertical beams.
structure in temple shoji A thin, almost
studying the traditional arrangement of food that complexes that houses transparent paper used uguisu-bari The sound
performing arts in the contrasts color, texture Buddhist relics. to cover wooden lattice resembling a bush warbler
geiko district of Gion. and shapes in one doors and windows. that wood planks emit when
raku The name of a family
serving. trod upon.
mama-charin A sturdy of well-known Kyoto shomyo Buddhist chanting.
bicycle with seats Noh A form of drama with a potters and a form of wabi An aesthetic term that
shrine A designated space
attached to the back spoken libretto and drum soft-fired pottery. means beautiful rusticity.
wherein one can
and sometimes front and flute accompaniment.
sabi An aesthetic term that commune with the yama Mountain.
handlebars, used by noren curtain-like hanging means the aged beauty Shinto gods. yatsuhashi A cinnamon-
young mothers to panels of fabric above of an object. tabi Socks; an ankle-high based curved confectionary.
transport their toddlers shop doorways.
around town. shakkei Borrowed scenery, foot covering which yuba The skimmed surface
obi A woven silk sash that a gardening concept that separates the big toe from
matcha Powdered green tea. of boiled soy beans hung on
secures the kimono. extends and includes the the others and is worn with sheets and sold fresh or in
scenery beyond the zori footwear. dried curls.
garden proper. tatami Thick rectangular yugen An aesthetic term
shamisen A three-stringed woven covered reed mats that means a mysterious
banjo-like instrument. used as flooring. beauty that evokes a
shibui An aesthetic term that temple A structure that profound feeling in the viewer.
means an understated houses Buddhist images Zen A sect of Buddhism;
and subtle elegance. and where Buddhist that entered Japan in the 12th
ceremonies are held. century and believes that the
shichimi-togarashi A spicy
condiment. tofu Soy bean curd. world and self are illusions.
Shinto Native Japanese torii The gate to a Shinto zori Thong footwear for men
religion. shrine, usually constructed and women.
BIBLIOGRAPHY AND GLOSSARY 143

DEDICATIONS AND
ACKNOWLEDGMENTS
Dedicated to Eric Oey, for sharing his insights Writing about Kyoto’s major temples and shrines
on publishing, and to Judith Clancy, for im- has been an overwhelming task and a joy. I could
parting her wisdom about all things Kyoto. not have done it without the contributions of
Heartfelt thanks to June Chong, Chan Sow people who, over centuries, have documented,
Yun, Noor Azlina Yunus, Yuichi Kurakami, protected, preserved and cherished this city’s
Yuri Yanagisawa, Takuji Yanagisawa, Tomoyo architectural and cultural traditions and trea-
Yasuda and family, Yoko Yamada, Shiro Na- sures. I wish to dedicate this book to them.
kane, Donald Richie, Mira Locher, Katharine Ben Simmon’s perceptive photography forms
Markulin Hama, Sekiko Yamade, Katsuji the foundation of the written text. His skill and
Yamade, Hakusa Sonso, Ryokan Rikiya, Julia vision expand the eye and imagination, bringing
Nolet, Teiko Seki, Kathryn Gremley, Dennis new life to aspects of Kyoto which contribute to
“Bones” Carpenter, Deborah Collier, Rebecca its beauty and well-deserved acclaim.
Stockwell, Sarah Moon, and Michael Gramlow Appreciative thanks to tea and culinary experts
for their kindest support and invaluable Gary Callwaller and Joseph Justice for their
assistance. advice on kaiseki cuisine.
Catherine Ludvik, a specialist in Japanese
Ben Simmons, photographer religions, patiently answered questions I had Page 142 above Texting takes
about Buddhism, and Thomas Kichner graciously preference, even in front of the
shared his inestimable knowledge as a Zen monk. Honden Main Hall at Higashi-
Honganji Temple, a World
Dendrochronologist Takumi Mitsutani provided
Heritage Site.
constructive information on Ujigami Shrine. Page 142 below An ancient priestly
Insightful initial editing by Terry J. Allen, a chore in an ancient shrine.
former resident and potter in Japan and now a Page 143 above Vendors clad in
US-based journalist, gave the text freshness and traditional wear take a break.
precision. Page 143 below Young women
dressed for the afternoon as
Lastly, a word of thanks to editorial supervisor
maiko take each other’s photos.
June Chong, who helped me organize years of Left A boy from a private school
work into a tribute to the city I love, and which has totally captivated by a book.
been my home for 40 years. Back endpaper The garden at
Tofuku-ji, a perfect synthesis
Judith Clancy, author of symmetry and asymmetry.
144 D E D I C AT I O N S A N D ACKNOWLEDGMENTS
THE TUTTLE STORY
Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd
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Text © 2012 Periplus Edition (HK) Ltd.
Photos © 2012 Ben Simmons
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KYOTO - CITY OF ZEN

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Front endpaper Early morning Page 1 Offerings of sake and

visitors to Heian Shrine peek fresh vegetables are pre-

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KYOTO’S MAIN HERITAGE

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5. Gion District, page 48 26. Takao Village, page 116*

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   thong footwear sit on a shelf in a temple’s entrance.

For thousands of years, footsteps have smoothed this

Above left A young Japanese woman in

Top left A winter scene of a young

A BRIEF HISTORY OF JAPAN’S ANCIENT CAPITAL 13

Zen was the last Buddhist sect

promoted the drinking of tea.

ZEN BUDDHISM AND THE TEA CEREMONY 15

KYOTO’S AMAZING ARCHITECTURAL HERITAGE 19

KYOTO’S AMAZING ARCHITECTURAL HERITAGE 21

UNIQUE KYOTO FOOD TRADITIONS 23

KYOTO’S EXQUISITE ARTS AND CRAFTS 25

KYOTO’S EXQUISITE ARTS AND CRAFTS 27

Previous spread Two visitors pause to appreciate an expansive

30 CENTRAL AND EASTERN KYOTO

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thong footwear sit on a shelf in a temple’s entrance.

Shimabara