Mount Koya (Koya-san) is a large temple settlement in Wakayama Prefecture,
Japan to the south of Osaka. In the strictest sense, Mount Koya is the
mountain name (sango) of Kongobu-ji Temple, the ecclesiastical headquarters of
the Koyasan sect of Shingon Buddhism.
Danjogaran is at the heartland of the Mount Koya settlement. Garan is a name
for an area that has the main sacred buildings: a main hall, several pagodas,
a scripture storage, a bell tower, a lecture hall, and other halls dedicated
to important deities. There is also a shrine dedicated to the Shinto gods of
that mountain area and in front of it an assembly hall (Sanno-do).
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Gate of the Four Heavenly Kings (Kongobu-ji Chumon Central Gate).
This is the Gate of the Guardians of the Four Directions or Four
Heavenly Kings, each of whom watches over one cardinal direction.
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They are the protectors of the world and fighters of evil, each able
to command a legion of supernatural creatures to protect the Dharma
(Buddhist teachings).
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See more at
Four Heavenly Kings - Wikipedia.
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Vaisravana (Kubera), he who hears everything.
This is the chief of the four kings and protector of the north. He is
the ruler of rain. His symbolic weapons are the umbrella or pagoda.
Wearing heavy armor and carrying the umbrella in his right hand, he is
often associated with the ancient Sri Lankan god of wealth, Kubera.
Associated with the color yellow or green.
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In Japan, Bishamonten, or just Bishamon is thought of as an armor-clad
god of war or warriors and a punisher of evildoers. Bishamon is
portrayed holding a spear in one hand and a small pagoda in the other
hand, the latter symbolizing the divine treasure house, whose contents
he both guards and gives away. In Japanese folklore, he is one of the
Seven Lucky Gods.
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Bishamon is also called Tamonten (lit. "listening to many teachings")
because he is seen as the guardian of the places where the Buddha
preaches. He is believed to live halfway down Mount Sumeru. He is also
associated with Hachiman. Especially in the Shingon tradition that
gives some place and worth to this hybrid character of Bishamon
although most Mahayana temples have Bishamon and his counterpart as
guardians at the entrance gate.
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See more at
Vaiśravaṇa - Wikipedia.
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Virudhaka, he who causes to grow.
King of the south and one who causes good growth of roots. He is the
ruler of the wind. His symbolic weapon is the sword which he carries in
his right hand to protect the Dharma and the southern continent.
Associated with the color blue.
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In Japan, Zojoten is commonly depicted with a fierce expression. He is
clad in armor, often brandishing a sword or spear while trampling a
jaki.
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See more at
Virūḍhaka (Heavenly King) - Wikipedia.
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Dhrtarastra, he who upholds the realm.
King of the east and god of music. His symbolic weapon is the
pipa (stringed instrument). He is harmonious and compassionate
and protects all beings. Uses his music to convert others to Buddhism.
Associated with the color white.
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In Japan, Jikokuten is commonly depicted with a fierce expression. He
is clad in armor, often brandishing a sword or trident spear while
trampling a jaki.
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See more at
Dhṛtarāṣṭra - Wikipedia.
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Virupaksa, he who sees all.
King of the west and one who sees all. His symbolic weapon is a snake or
red cord that is representative of a dragon. As the eye in the sky, he
sees people who do not believe in Buddhism and converts them. His
ancient name means "he who has broad objectives". Associated with the
color red.
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In Japan, Komokuten is commonly depicted holding a brush in his right
hand and a scroll in his left hand. This iconography was used
primarily in the Tempyo period, and variations appeared after the
Heian period. He is commonly seen wearing Tang period military armor
while trampling a jaki.
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In the Womb Realm Mandala of the esoteric tradition, Komokuten is
depicted as having red skin, holding a trident in his right hand while
holding a fist with his left hand. One variation includes him wielding
a snare.
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See more at
Virūpākṣa - Wikipedia.
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Approaching the Main temple hall (Kondo).
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Bronze lantern (Dai-doro).
Originating in China, stone lanterns spread to Japan, Korea and Vietnam,
though they are most commonly found in both China – extant in Buddhist
temples and traditional Chinese gardens – and Japan. In Japan,
toro were originally used only in Buddhist temples, where they
lined and illuminated paths. Lit lanterns were then considered an
offering to Buddha.
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The oldest extant bronze and stone lanterns in Japan can be found in
Nara.
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Toro can be classified in two main types:
tsuri-doro (lit. 'hanging lamp'), which usually hang from the
eaves of a roof, and dai-doro (lit. 'platform lamp'), used in
gardens and along the approach (sand) of a shrine or temple.
The two most common types of dai-doro are the bronze lantern
and the stone lantern, which look like hanging lanterns laid to rest
on a pedestal.
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Main Temple hall (Kondo).
The Kondo, or main temple hall, has served a central function at Mount
Koya since the middle of the Heian period (9th century).
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When Kobo Daishi first opened Mount Koya, this was the building that,
following the main temple, was first constructed. At the time, it was
referred to as the Kodo.
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Since the middle Heian period, it has served a key role as the central
hall on Mount Koya.
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The current building is the seventh reconstruction and was completed
in Showa 7 (1932). The transverse beams are 23.8m long, while those
perpendicular are 30m long. The building is 23.73m tall and contains a
gabled, hipped roof.
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It was designed and constructed by Goichi Takeda, considered the
father of modern architecture in western Japan, and uses a
ferroconcrete core out of consideration towards the earthquakes and
fires that had razed the building in the past.
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The interior frescoes were painted by master painter Fuzan Kimura, who
studied under Tenshin Okakura, himself responsible for major
developments with the Japanese Academy of Fine Arts. These works are
Shakajodo Kyogakukaiji and Hakkuyo Bosatsuzo.
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The principal object of worship is an image of Akshobhya and was
created by Koun Takamura, a sculptor who took interest in Western
traditions of photorealism in sculpture. He incorporated photorealism
in wood carving, ushering in modernization to what had been the
prevailing style until the Edo period.
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Hexagonal Pagoda (Rokkaku Kyuzo).
One very interesting, and also quite rare type of Japanese Buddhist
constructions is the revolving, circular repository called rinzo,
a “wheel repository". This is where the sacred sutras are preserved, and
a particular about this construction is that it sits on a central
pillar, and can be rotated easily, by pushing handles.
- Eric Bouteloup shows us how it works.
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Shinto shrine (Miyashiro).
In year 10 of the Konin era (819 AD), Kobo Daishi prayed for the
transfer of the tutelary deity from Amano-sha Shrine in the foothills of
Mount Koya, and the deity ceremonially transferred to this site.
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As the anecdotes of the opening of Mount Koy indicate, the mountains
were originally the province of Niu Shrine.
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As Kobo Daishi preached the teaching across Japan, his ideas gained
respect and support among the local deities, and this spurred on the
syncretism of Shinto and Buddhist traditions.
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Support and faith for Shisha-Myojin Shrine is considered a crucial
aspect of this area, as the shrine is held to protect practitioners
who come to the mount.
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There are three main buildings: the first is Niu-Myojin, the second is
Koya-Myojin, and the third is a shrine that is dedicated collectively
to 12 princes and 120 gods.
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Niu- and Koya-Myojin are built using the traditional Kasuga-zukuri
style, while the third shrine features Sangensha Nagaremisedana-zukuri
construction.
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All of the buildings use thatched roofs made from hinoki bark. The
current shrine complex is a reconstruction of the original built in
Bunroku 3 (1594).
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West Pagoda (Kongobu-ji).
This edifice was built by Shinzen Daitoku, the successor to Kobo Daishi,
based on the latter’s plans for the Garan.
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Kobo Daishi’s idea was to utilize the Daito and Saito pagodas as
representations of the esoteric world of Vairocana.
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However, the construction was ultimately delayed and not completed
until the second year of the Ninna era (886).
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While the Daito enshrines an image of Vairocana in the Womb Realm,
Saito has images of both the Womb and Diamond Realms.
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The current tower was rebuilt in Tempo 5 (1834) and features an
ornamental knob at the top. The pagoda is 27.27 meters tall.
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Kujakudo Pavilion (Kujaku-do) and Cundi Hall (Junteido).
Emperor Go-Toba built Kujakudo (left) as a gesture of thanks to Engo,
one of the stewards of Toji Temple, who used the Kujaku (peacock) rite
to usher in rain and rescue the capital from a long drought. The figure
of Cundi at Junteido (right), the principal object of worship, is said
to have been made by Kobo Daishi himself for a ritual upon entering the
priesthood.
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Kujaku-do (left): In the first year of Shoji (1199), Engo, the head
abbot of Toji, performed a prayer for rain at Shinsen-en at the
request of Emperor Go-Toba, and the prayer was answered. This act was
to be consecrated on Mount Koya, and the following year, the miracle
was enshrined at this site. In the first year of Showa (1926), a large
fire spread from Kondo and burned this site, but it was rebuilt in
1983 as part of the commemoration of the 1,150th anniversary since
Kobo Daishi entered the next realm. The enshrined image of Mahamayuri
is designated as an important cultural asset and is currently stored
at the Reihokan.
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Junteido (right): The Cundi image enshrined here is said to have been
created by Kobo Daishi himself upon his entering the priesthood. When
the Garan was built, this Cundi image was installed in the eating
quarters. In Tenroku 4 (973), with the creation of the Junteido, the
image was moved. Although this edifice burned down many times, the
latest incarnation was rebuilt in Meiji 16 (1883). Every year on July
1st, a special service revolving around the Cundi image is held here.
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Great Portrait Hall (Miedo).
Originally built as a hall for Kobo Daishi to enshrine his Buddhist
images and train, it later went on to be used as a site to enshrine
portraits of Kobo Daishi and his disciples, giving it the name it has
today.
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The hall is lined with images of ten of Kobo Daishi’s disciples.
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The Miedo is considered the most sacred location on Mount Koya, and
only a select few were originally permitted to enter.
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However, on the night before the Chinese New Year (March 21),
following a special service, lay visitors are permitted to enter the
outer sanctum.
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Trident Pine (Sanko no Matsu).
When Kobo Daishi hurled a vajra scepter from China, it traveled to Japan
and landed on this tree, causing it to give off light every night.
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When Kobo Daishi prepared to return from T’ang China, he threw a vajra
trident (sanko) from China towards Japan as a means of divining the
ideal site to promote Shingon Buddhism in Japan. Purple clouds emerged
and carried the trident to Japan. When Kobo Daishi later made his
visit to the Koya area, he heard from local hunters that there was a
nearby tree that glowed every night. He went to the tree and found the
trident stuck in it. So amazed was he that he decided this would be
the site to bring Shingon Buddhism to Japan.
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Like the trident itself, the pine tree had three-pronged leaves, so it
was dubbed Trident Pine (Sanko no Matsu) and treated as a sacred site.
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Visitors today treat leaves fallen from this tree as talismans and
keep them as lucky charms.
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Tower bell (Daito bell Koyashiro).
Initiated in Kobo Daishi’s days out of a desire to save all sentient
beings, this bell was finally cast during the era of his successor,
Shinzen Daitoku.
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The current copper bell was built in Tembun 16 (1547) and has a
diameter of 2.12 meters, making it the fourth largest bell in Japan.
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The name “Koyashiro” is a play on the name of the mountain and the
name given to one’s fourth son.
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Fudodo.
Hachijo-nyoin, the Imperial Princess under Emperor Toba, prayed for the
repose of all beings and had this hall built by Gyosho-shonin.
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Originally located in Isshin-in-dani (the current site of Kinrinto),
the pagoda was later moved to the Garan.
- The current building was rebuilt in the early 14th century.
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Each of the four corners of the tower is different; this is believed
to be because the four craftsmen who engaged in the construction each
took their own approach.
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It is presumed that this hall was originally used to enshrine an image
of Amhitaba, but it now enshrines Acala and his eight attendants. The
eight attendants are famous as pieces by the sculptor Unkei, and they
are now housed in the Reihokan Museum.
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See more at
Koyasan Reihōkan - Wikipedia.
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Aizendo.
In the first year of Kenmu (1334), Emperor Go-Daigo ordered that this
pagoda be built as a prayer for world peace and the health and longevity
of the emperor.
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Enshrined is an image of Ragaraja, its proportions are said to be
based off of Emperor Go-Daigo himself.
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This pagoda was originally called "Shingakudo" and was the site of
prayer rituals.
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The building was damaged and destroyed over the years. Its current
incarnation was built in the first year of Kaiei (1848).
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Daiedo.
Gotsuji Saiin, imperial princess under Emperor Toba, had this hall built
in honor of her father.
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It was originally located elsewhere, but it was moved to the Garan as
the site of certain rituals, where it came to be called the Rengejoin.
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The current building was reconstructed in the first year of Kaei
(1848). It enshrines an image of Amitabha, flanked by images of
Avalokitesvara and Mahasthamaprapta.
- Currently it acts as a gathering hall when services are held.
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Sanmaido.
Saiko held the Rishu Zanmai rite at this hall, so it came to be called
Sanmaido.
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Head priest Saiko (870-942) had this hall built in the seventh year of
Encho (929). It was originally located within the precinct of Soji-in.
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The hall was later moved to the Garan, where it is said that Saigyo
Hoshi was involved in the construction.
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The cherry trees in front of Sanmaido are called Saigyo-sakura after
Saigyo himself, who is said to have planted them. Legend has it that
he planted the trees to commemorate the completion of the hall.
- The current building was reconstructed in Bunka 13 (1816).
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East Pagoda (Kongobu-ji).
In the second year of Daiji (1127), Emperor Shirakawa had this pagoda
built by Daigo Sanboin Shokaku Gon no Sojo.
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At the time, a rendering of Usnisavijaya in the image of the emperor
was enshrined here, with Acala and Trailokyavijaya Vidya-raja flanking
it.
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In Tempo 14 (1843), the building burned, and it went without being
rebuilt for 140 years. In Showa 59 (1984), it was finally constructed
anew.
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Water ablution pavilion (Chozuya).
Chozu-ya or temizu-ya is a Shinto water ablution pavilion for a
ceremonial purification rite known as temizu or chozu
(lit. 'hand-water'). The pavilion contains a large water-filled basin
called a chozubachi ('hand water basin').
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At shrines, these chozubachi are used by worshippers for washing their
left hands, right hands, mouth and finally the handle of the water
ladle to purify themselves before approaching the main Shinto shrine
or shaden.
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This symbolic purification is normal before worship and all manned
shrines have this facility, as well as many Buddhist temples and some
new religious houses of worship.
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See more at
Chōzuya - Wikipedia.
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Leaving the complex using Jabara-michi Temple Road.
This small path extends from the monastery entrance. The view of Mount
Koya seen from here was likened to the belly of a dragon, which is where
the route’s name comes from.
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The small path that winds its way from the entrance to the Garan
towards the east side of the Toto pagoda is called Jabara-michi.
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Kobo Daishi likened Mount Koya’s layout to the belly of a reclining
dragon: the Danjo Garan is the head, with the area spanning up to
Rengein being the figure of a dragon.
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The Jabara-michi happens to fall around where the dragon’s stomach
would be, which is what the name of the path means (technically
“snake’s belly,” and also the word appropriately used to describe
camera bellows.)
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See also
Source
Location
