Buddhist temples or monasteries are (along with Shinto shrines) the most numerous, famous, and important religious buildings in Japan.The term "Shinto shrine" is used in contrast to "Buddhist temple" to mirror the distinction made in Japanese between Shinto and Buddhist religious structures. In Japanese the first are called , the second . The shogunates or leaders of Japan have made it a priority to update and rebuild Buddhist temples since the Momoyama period (late 16th century). The Japanese word for a Buddhist monastery is (kun reading), and the same kanji also has the pronunciation (on reading), so temple names frequently end in (voiced) or -. Another ending, , is normally used to refer to minor temples. Examples of temple names that have these suffixes are Kiyomizu-dera, Enryaku-ji and Kōtoku-in.
Etymology The Japanese word for a Buddhist temple, , was anciently also written phonetically , , and is cognate with the Modern Korean Chǒl from Middle Korean , the Jurchen and the reconstructed Old Chinese , all meaning "Buddhist monastery". These words are apparently derived from the Aramaic word for "Monastery" dērā/ dairā/ dēr (from the root dwr "to live together"), rather than from the unrelated and later Indian word for monastery vihara, and may have been transmitted by the first Central Asian translators of Buddhist scriptures, such as An Shigao or Lokaksema.
Buddhist and Shinto structures
In Japan, Buddhist temples co-exist with Shinto shrines and both share the basic features of Japanese traditional architecture. Both torii and rōmon mark the entrance to a shrine, as well as to temples, although torii is associated with Shinto and rōmon with Buddhism. Some shrines, for example Iwashimizu Hachiman-gū, have a Buddhist-style main gate called sōmon. Many temples have a temizuya and komainu, like a shrine. Conversely, some shrines make use of incense or have a shōrō belltower. Others – for example, Tanzan Shrine in Nara – even have a pagoda.
Similarities between temples and shrines are also functional. Like a shrine, a Buddhist temple is not primarily a place of worship: its most important buildings are used for the safekeeping of sacred objects (the honzon, equivalent to a shrine's shintai) and are not accessible to worshipers. Unlike a Christian church, a temple is also a monastery. There are specialized buildings for certain rites, but these are usually open only to a limited number of participants. Religious mass gatherings do not take place with regularity as with Christian religions and are in any event not held inside the temple. If many people are involved in a ceremony, it will assume a festive character and will be held outdoors. The architectural elements of a Buddhist temple are meant to embody themes and teachings of Buddhism.
The reason for the great structural resemblances between the Buddhist temples and Shinto shrines lies in their common history. When Shintoism first encountered Buddhism it became more interpretive as it did not try to explain the universe as Buddhism sometimes tried to. It is normal for a temple to have been also a shrine, and obvious architectural differences between the two are few, such that often only a specialist will notice them. Many visitors to Buddhist temples and Shinto shrines go for similar reasons, such as prayer and for luck. The two religions coexist due to increased popularity of religions and the birth of new religions.
Shrines enshrining local kami existed long before the arrival of Buddhism, but they consisted either of demarcated land areas with no building, or of temporary shrines, erected when needed.Fujita, Koga (2008:20-21) With the arrival of Buddhism in Japan in the 6th century, shrines were subjected to its influence and adopted both the concept of permanent structures and the architecture of Buddhist temples.
The successive development of (syncretism of Buddhism and kami worship) and of the honji suijaku theory brought to the almost complete fusion of kami worship and Buddhism. It became normal for shrines to be accompanied by temples in mixed complexes called or .The fact was reflected in their name. Kamakura's Tsurugaoka Hachiman-gū, for example, was then called Tsurugaoka Hachiman-gūji, or Tsurugaoka Shrine-temple. The opposite was also common: most temples had at least a small shrine dedicated to its tutelary kami and were therefore called . The Meiji era eliminated most , but left jisha intact, such that even today most temples have at least one shrine, sometimes very large, on their premises, and the Buddhist goddess Benzaiten is often worshiped at Shinto shrines.An extant example of the syncretic fusion of Buddhism and Shinto is Seiganto-ji, part of the Kumano Sanzan shrine complex. It is one of the few still in existence after the forced separation of Shinto and Buddhism by the Japanese government during the Meiji restoration. For details of the subject of shrine-temples, see the article Shinbutsu shūgō.
As a consequence, for centuries shrines and temples had a symbiotic relationship where each influenced the other. Shrines took from Buddhism its gates (mon), the use of a hall for lay worshipers, the use of vermilion-colored wood and more, while Chinese Buddhist architecture was adapted to Japanese tastes with more asymmetrical layouts, greater use of natural materials, and an adaptation of the monastery to the pre-existing natural environment., p=47
The clear separation between Buddhist temples and Shinto shrines, which today is the norm, emerges only as a result of the ("separation of kami and Buddhas") law of 1868. This separation was mandated by law, and many shrine-temples were forced to become just shrines, among them famous ones like Usa Hachiman-gū and Tsurugaoka Hachiman-gū.
Because mixing the two religions was now forbidden, had to give away some of their properties or dismantle some of their buildings, thus damaging the integrity of their cultural heritage and decreasing the historical and economic value of their properties.Kamakura Official Textbook for Culture and Tourism For example, Tsurugaoka Hachiman-gū's giant Niō (the two wooden wardens usually found at the sides of a temple's entrance), being objects of Buddhist worship and therefore illegal where they were, were sold to Jufuku-ji, where they still are.Mutsu (1995:172) The shrine-temple also had to destroy Buddhism-related buildings, for example its , its and its .
Architecture
General features
Buddhist architecture in Japan is not native, but imported from China and other Asian cultures over the centuries with such constancy that the building styles of all Six Dynasties are represented. Its history is, as a consequence, dominated by Chinese and other Asian techniques and styles (present even in Ise Shrine, held to be the quintessence of Japanese architecture) on one side, and by Japanese original variations on those themes on the other.Hozumi (1996:9-11)
Partly due also to the variety of climates in Japan and the millennium encompassed between the first cultural import and the last, the result is extremely heterogeneous, but several practically universal features can be found nonetheless. First of all is the choice of materials, always wood in various forms (planks, straw, tree bark, etc.) for almost all structures. Unlike both Western and some Chinese architecture, the use of stone is avoided except for certain specific uses, for example temple podia and pagoda foundations.
The general structure is almost always the same: post and lintel support a large and gently curved roof, while the walls are paper-thin, often movable and in any case non-carrying. The post and lintel structure embodies the Axis Mundi of an iconic form of the Buddha that is typically represented in pagodas and Indian stupas. Arches and barrel roofs are completely absent. Gable and eave curves are gentler than in China and columnar entasis (convexity at the center) limited.
The roof is the most visually impressive component, often constituting half the size of the whole edifice. The slightly curved eaves extend far beyond the walls, covering verandas, and their weight must therefore be supported by complex bracket systems called . These oversize eaves give the interior a characteristic dimness, which contributes to the temple's atmosphere. The interior of the building normally consists of a single room at the center called moya, from which sometimes depart other less important spaces, for example corridors called hisashi.
Inner space divisions are fluid, and room size can be modified through the use of screens or movable paper walls. The large, single space offered by the main hall can therefore be altered according to the need. The separation between inside and outside is itself in some measure not absolute as entire walls can be removed, opening the temple to visitors. Verandas appear to be part of the building to an outsider, but part of the external world to those in the temple. Structures are therefore made to a certain extent part of their environment. The use of construction modules keeps proportions between different parts of the edifice constant, preserving its overall harmony. (On the subject of temple proportions, see also the article ken).
Even in cases as that of Nikkō Tōshō-gū, where every available space is heavily decorated, ornamentation tends to follow, and therefore emphasize rather than hide, basic structures.
Being shared by both sacred and profane architecture, these architectonic features made it easy converting a lay building into a temple. This happened for example at Hōryū-ji, where a noblewoman's mansion was transformed into a religious building.
Buddhist architecture of the Heian period consisted of the re-emergence of national tastes. The temple Hojoji represents paradise and the pure land, which embodies elements of Pure Land Buddhism. The last formal temple was Motsuji.
Muroji is a temple complex found below the mountain of Mount Muro. The area behind the temple is sacred and is off limits to visitors and pilgrims. The caves of Mount Muro are especially sacred. The famous Dragon Cave is the thought to house the Dragon King who protects the country. This is an example of how natural elements are sacred aspects of Buddhist temples.
Four great temples of the seventh century There are four great temples of the seventh century: Asukadera, Kudara Odera, Kawaradera and Yakushiji.
Asuka-Dera This great hall had three golden halls and was the first full-scale temple. It was the most significant temple in the Asuka period. The founder of Asukadera was Soga no Umako and he had built a smaller scaled residence similar to the great hall. Many royal palaces were built in this natural environment for centuries later. When visited today it barely holds its grandeur it once had as there are no clear marks of where the original halls were and now the main scene is the parking lot with tour buses.
Kudara Odera The foundation remains might be those of the remains found on the site of Kibi Pond (Kibi Ike). This grand temple had a nine-story pagoda that was constructed at the beginnings of Buddhism in Japan.
Kawaradera The excavations and reconstruction of Kawaradera help to understand what it originally looked like. The plan originally had two golden halls with a pagoda and then residential spaces for monks. It was in an asymmetrical arrangement that was new and very innovative for this time. Sources lack in the history of its construction and who commissioned it.
Yakushiji In the early eighth century this temple was constructed in Nara and has been reproduced into the original layout today. The monumental Yakushi triad exists here. The structure is in bright colors as it also would have originally been.
History