johnliddlephotography

Frozen moments from the infinity that is time


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Meiji Jingu Shrine

A short walk from Harajuku Station, one passes through a magnificent Torii gate (pics 1 and 2) marking the entrance to the Meiji Jingu Shrine – Tokyo’s most significant Shinto shrine. Flanked by impressive Cypress Pines, one then enjoys a pleasant walk crossing a small stream via an arched pedestrian bridge (pic 3) and passing through two more large torii on the way to the main shrine complex (pic 4) cocooned within a forested area of 175 acres.

By this time the concrete, steel and glass environs of the Tokyo metropolis is out of mind and mostly out of sight. One’s attention is drawn to the classic form and the elemental materials used in the construction of the main shrine building (pic 5), arguably enhanced by the appearance through the misty rain of the Tokyo Metropolitan Government Office building in nearby Shinjuku. This is a leviathan of a building, yet the old and new form symmetry so often found in Japan.

Meiji Jingu was established in 1920 to deify the spirits of Emperor Meiji and his consort, Empress Shoken. During the Meiji era of 1868 to 1912, the modern Japan was born, with a focus on building international relationships and improving the prosperity and peace of the nation. Whilst it is somewhat natural to think of this period in terms of modernization and westernization, it is worth remembering that Empress Shoken is recognised as the model of the modern Japanese woman.

Sadly the original shrine building was destroyed by allied bombings in 1945, with rebuilding completed in 1958, largely through public donations, with such support demonstrating the importance of Meiji Jingu to the Japanese people.

For non-Japanese it can be difficult to gain an appreciation of shrines, especially compared to Japanese temples where the buildings and grounds are often more inviting, though it must be said that shrines are often found within temple complexes. In my experience, shrines are best appreciated during ceremonies or periods such as in early January when people flock to Meiji Jingu to worship and buy good-luck charms for the year ahead. As in all cultures, ceremony and the associated emotions speak their own language.

The accompanying photographs were taken around the main shrine building at different times on dry and rainy days. Those who have visited Japan will be familiar with the Ema Plaques (pic 10); small wooden tablets that can be purchased at most shrines and left hanging with one’s prayers or wishes. I have also taken the opportunity to share a few more shots of a Shinto Wedding party (pics 12 to 14) taken on an unfortunately wet day. However, the weather did not detract from their spirits and as can be seen from pics 15 and 16, all one needs is a good umbrella.

In conclusion, there is a question I cannot resist posing. Meiji Jingu is one of several large forested parks one finds around Tokyo that provide welcome respite and serve as green lungs within the metropolis. One wonders if today’s city planners around the world would be generous enough and brave enough to deny developers’ pressures to create similar green lungs.

(Please click on any of the following images for an enlarged view.)


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Nikko – Part 2 (Toshogu and Taiyuan Shrines)

Today’s post is a continuation from my last post on Nikko’s Toshogu and Taiyuan Shrines.  Whilst the emphasis is to provide a more comprehensive coverage of significant buildings and their splendour, it is acknowledged that the surface has barely been scratched.

The Yomeimon Gate is arguably the most eye-catching structure within the Toshogu Shrine complex and as can be appreciated from pic 1, the approach up a flight of rather steep stairs certainly focuses visitors’ attention on what lies ahead.  Those who take the time to peruse the gate more closely are rewarded with an array of 508 sculptures, a selection of which is shown by pics 2 to 4.

The inner wall extending from each side of the Yomeimon Gate (pic 5) is also heavily decorated with sculptures of flora and fauna.  Another interesting sculpture is the Imaginary Elephant (pic 6), which can be seen on the gable of the Kamijinko – the upper of the three sacred warehouses where Samurai-style costumes and Yabusame (archery on horseback) equipment is stored.  Keen observers will notice that the Imaginary Elephant differs in appearance from that of real elephants.  This reflects the fact that the artisans responsible had never seen a real elephant, hence the description Imaginary Elephant.

The Kamijinko is also shown to the left of the Nakajinko (pic 7), or the middle warehouse of the three sacred warehouses.

In front and to the right of the Yomeimon Gate stands the Drum Tower (pic 8) and the Korean Bell (pic 9), which was dedicated by messengers from Korea to celebrate the birth of Iemitsu’s son, later to succeed his father as the fourth Shogun Ietsuna.

During my travels through Japan I was consistently impressed by the craftsmanship and attention to detail assigned to the roofs of old buildings, which have an inherent beauty independent of the buildings they protect.  The examples shown here include a corner section of the Kamijinko roof (pic 10); the Honden roof at the Toshogu Shrine (pic 11); and the Karamon Gate (pic 12).

I could not resist including the detail photo of the doors to the Holy Sutra Library (pic 13), through which is stored volumes of historically significant Buddhist sutra.

Albeit less ornate than the Toshogu Shrine, the Taiyuan Shrine is nevertheless impressive as can be seen from the photographs of the Yashomon Gate (pic 14) and the entry to the Haiden (pic 15).

Apart from being, in my opinion, visually appealing, the old memorial stone (pic 16) I came across within the grounds of the Taiyuan Shrine is somewhat of a mystery.  I have asked a number of native Japanese speakers for assistance in translating the inscription, but the old kanji characters are proving difficult to interpret.  If anyone can translate the characters into English, their help would be most appreciated.

The final shot is included by way of a segue to my next series of posts, where I will pursue the theme of cherry blossom in keeping with that most joyous of Japanese seasons fast approaching.  It is also an appropriate note on which to end this post, where the old structures of Nikko gracefully accommodate the seasonal rebirth of the cherry blossoms – a scene somewhat symbolic of Japan’s ability to accommodate and cherish the coexistence of the old with the new.

(Please click on any of the following images for an enlarged view.)


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Nikko (Toshogu & Taiyuan Shrines)

Someone told me that Nikko is the place every Japanese person wants to visit at least once.  After visiting there twice in different seasons I came to understand why, but I had no idea how their words would resonate on my feeling that this post does not do justice to Nikko’s importance to the Japanese.

In Nikko, all roads lead to the complex including the Toshogu, Futarasan and Taiyuin shrines and it is from this complex that today’s images are drawn.  Words that may typically be used to describe Japanese temples and shrines such as subtle and understated do not apply here.  There is nothing understated about these shrines.  Quite the opposite, yet still their underlying message is that of reverence and respect for those honoured here.

Toshogu is the dominant shrine, as evidenced by the buildings of the Taiyuan Shrine being oriented to face Toshogu as a mark of respect for Tokugawa Ieyasu, the first shogun of the Tokugawa era.  As well as being the driving force behind the construction of Toshogu Shrine to honour his grandfather, Iemitsu (the third shogun) is perhaps better known as the shogun who closed Japan to foreign commerce and isolated it from the rest of the world for 200 years.

The tree-lined path to Toshogu Shrine is dominated by Ishidorii (pic 1), a granite torii gate that majestically draws one forward.  In my humble opinion, it must surely rank among Japan’s most significant torii.  To the left of Ishidorii is the five-storey pagoda (pic 2), where the storeys represent, in ascending order, the elements of earth, water, fire, wind and heaven.

Toshogu’s most famous attraction is perhaps the Sacred Stable (pics 3 and 4), or more specifically the story of stages in a monkey’s life told through a series of carvings on the walls of the building.  Since early times in Japan, monkeys have been regarded as guardians of horses, hence their significance to the stable building.  The most famous carving is, of course, that of the three wise monkeys, whose message of “hear no evil, speak no evil and see no evil” has been an aspirational refrain of parents through the ages.

Other structures of interest include my favourite, the relatively subdued Rinzo or Holy Sutra Library (pic 5), which houses a collection of valuable Buddhist scriptures; the heavily decorated Yomeimon Gate (pic 6) flanked on each side by statues of the first shogun Tokugawa Ieyasu, whose presence remains imposing (pic 7); and the designated national treasure – the Karamon Gate (pic 8).

The heavily wooded setting makes for pleasant walking and throughout the grounds one finds areas of interest such as small roadside shrines (pic 10) and many stone and metal lanterns (pic 9) donated by feudal lords.  To walk these grounds with someone steeped in Nikko history would be a pleasure, though the stories behind each building and object may require a lifetime of walks.

Although not as grand as the Toshogu Shrine, the Taiyuan Shrine is no less interesting.  Prior to climbing several sets of stairs and passing through a series of gates, one finds The Cistern for Holy Water (pic 11).  Water from a nearby stream is channeled down through a system of gutters into a solid granite basin so perfectly aligned that the water evenly overflows each edge.  Visitors stop here for purification before proceeding to the Nitenmon Gate, which can be seen in the background.

Taiyuan is built on a fairly steep slope, thus opening up vistas such as those shown (pics 12 and 13) at various points during the climb.  Reaching the upper level, one finds the largest building (pic 14), with this view showing the Ainomo or connecting chamber between the Haiden (sanctuary) and Honden (inner sanctuary).  Adjacent to the Honden is the Koukamon Gate (pic 15), the final gate behind which lies the Okunoin – the tomb of the third shogun Iemitsu.  Neither the Koukamon Gate nor Okunoin are open to the public.

Finally, walking back to central Nikko, one passes the Shinkyo Bridge (pic 16), regarded as one of the three most significant bridges in Japan.  The bridge across the Daikyo River was originally built in 1636 (rebuilt 1907) for the use of the Shogun and imperial messengers.

A visit to these sites is at first a visual assault on the senses, such is the splendour and grandeur one encounters.  However, the true value is felt by slowing down and allowing Nikko to seep into one’s senses.  One can then begin (only begin) to understand why it is so revered by the Japanese people.

(Please click on any of the following images for an enlarged view.)


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Fushimi Inari Shrine (Kyoto)

A short train journey from central Kyoto, the Fushimi Inari Shrine is one of Japan’s best known and most venerated shrines.  With its thousands of vermillion coloured torii gates, its impact is both immediate and lasting – particularly for those who allow themselves to be drawn through the gates to explore further.

Torii gates mark the entrance to Japanese shrines and there are many impressive torii gates throughout Japan.  However, nowhere else does one find so many torii in one place.  Each of the Fushimi Inari gates has been donated by a company or an individual seeking good fortune from Inari – the god of rice.

With trails leading up and around a low mountain offering wonderful views over Kyoto, a visit to Fushimi Inari can involve a lot of walking.  I found the various trails to be irresistible, which led to my becoming lost at one point and ending up outside the shrine area.  However, after teaming-up with some Mexican travelers who were similarly lost, together we found our way back.  In fact, getting lost must be easy as several Japanese people asked us for directions.  One presumes they were visiting from elsewhere in Japan.

Readers who remember the movie Memoirs of a Geisha may also remember the scene of the young Sayuri running between Fushimi Inari’s torii gates dreaming of her future life as a geisha.  Perhaps the scene had a healthy dose of poetic licence, but it nevertheless shows the ability of the location to inspire.

(Please click on any of the following images for an enlarged view.)