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Kinkaku-ji Temple

Kinkaku-ji (literally "Temple of the Golden Pavilion"), officially named Rokuon-ji (lit. 'Deer Garden Temple'), is a Zen Buddhist temple in Kyoto, Japan.

It is one of the most popular buildings in Kyoto, attracting many visitors annually.

The present pavilion structure dates from 1955, when it was rebuilt. The pavilion is three stories high, 12.5 meters (40 feet) in height.

In 1984, it was discovered that the gold leaf on the reconstructed building had peeled off, and from 1986 to 1987, it was replaced with 0.5 μm gold leaf, five times the thickness of the gold leaf on the reconstructed building. Although Japanese gold leaf has become thinner with the passage of time due to improved technology, the 0.5 μm gold leaf is as thick as traditional Japanese gold leaf.

Additionally, the interior of the building, including the paintings and Yoshimitsu's statue, were also restored. Finally, the roof was restored in 2003.

Kinkaku-ji Temple map.
The site of Kinkaku-ji was originally a villa called Kitayama-dai, belonging to a powerful statesman, Saionji Kintsune.

  • Kinkaku-ji's history dates to 1397, when the villa was purchased from the Saionji family by shogun Ashikaga Yoshimitsu and transformed into the Kinkaku-ji complex.
  • When Yoshimitsu died the building was converted into a Zen temple by his son, according to his wishes.

Gate of the three liberations (Sanmom).
A sanmon, also called sangedatsumon (lit. "gate of the three liberations"), is the most important gate of a Japanese Zen Buddhist temple, and is part of the Zen shichido garan, the group of buildings that forms the heart of a Zen Buddhist temple.

  • Most sanmon are 2- or 3-bay nijumon (a type of two-storied gate), but the name by itself does not imply any specific architecture.
  • See more at Sanmon - Wikipedia.

Bell tower (left) and Chinese gate (front).

Bell tower (Shoro).
The shoro, shuro (lit. bell building) or kanetsuki-do (lit. bell-striking hall) is the bell tower of a Buddhist temple in Japan, housing the temple's bonsho.

  • During the Nara period (710–794), immediately after the arrival of Buddhism in Japan bell towers were 3 x 2 bay, 2 storied buildings. A typical temple garan had normally two, one to the left and one to the right of the sutra repository (kyozo or kyo-do.)
  • During the following Heian period (794–1185) was developed a new style called hakamagoshi which consisted of a two storied, hourglass-shaped building with the bell hanging from the second story.
  • Finally, during the 13th century the fukihanachi type was created at Todai-ji by making all structural parts visible. The bell tower in this case usually consists of a 1-ken wide, 1-ken high structure with no walls and having the bell at its center.
  • See more at Shōrō - Wikipedia.

Strolling garden (Kaiyu-shiki-teien).
The Golden Pavilion is set in a Japanese strolling garden (kaiyu-shiki-teien, lit. a landscape garden in the go-round style).

  • The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world.

Golden Pavilion seen from the south.
The Golden Pavilion (Kinkaku) is a three-story building on the grounds of the Rokuon-ji temple complex.

  • The top two stories of the pavilion are covered with pure gold leaf.
  • The pavilion functions as a shariden, housing relics of the Buddha (Buddha's Ashes).

Mirror Pond (Kyoko-chi).
The pavilion extends over a pond, called Mirror Pond (Kyoko-chi), that reflects the building.

  • The pond contains 10 smaller islands.
  • The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature.
  • Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion.

Golden Pavilion seen from the southeast.
The roof is in a thatched pyramid with shingles. The building is topped with a bronze phoenix (hoo) ornament.

  • From the outside, viewers can see gold plating added to the upper stories of the pavilion.
  • The gold leaf covering the upper stories hints at what is housed inside: the shrines. The outside is a reflection of the inside.
  • The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.

Ship-shaped Pine (left) and Abbot's Quarters (right).
The pine was shaped like a sailing ship, with the crown suggesting the mast and one of the branches suggesting the ship.


Golden Pavilion seen from the east.
The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor. Each floor of the Kinkaku uses a different architectural style.


First floor.
The first floor, called The Chamber of Dharma Waters (Ho-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy. It is evocative of the Shinden palace style.

  • It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize the surrounding landscape.
  • The walls and fenestration also affect the views from inside the pavilion.
  • Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights.

Second floor.
The second floor, called The Tower of Sound Waves (Cho-on-do), is built in the style of warrior aristocrats, or buke-zukuri.

  • On this floor, sliding wood doors and latticed windows create a feeling of impermanence.
  • The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon.

Third floor.
The third floor is built in traditional Chinese chan (Jpn. zen) style, also known as zenshu-butsuden-zukuri.

  • It is called the Cupola of the Ultimate (Kukkyo-cho).
  • The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.

Fishing deck and small islets at the rear of the pavilion.
A small fishing hall (tsuri-dono) or roofed deck is attached to the rear of the pavilion building, allowing a small boat to be moored under it.

  • The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth.
  • The largest islet in the pond represents the Japanese islands.
  • The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.

Milky way spring (Ginga-sen).

Rock into the water (Ganka-Sui).

Fence (Kaki).

Ryumon-taki Fall (Koi Stone).

Wishing well.
Towards the end of the path there are Buddhist effigies that resemble a wishing well.

  • Throw a few coins towards the opening in the center and make a wish.

Stream bed for rainwater drainage.

White Snake Mound with Pagoda.

Golden Pavilion seen from the northeast.

Old path through the woods.

Tea room (Yukatei).
It has been handed down as a favorite of Sowa since ancient times, burned down in the first year of the Meiji era, and rebuilt in the same year (1875).

  • It is said that the name comes from the fact that Kinkakuji, which shines in the setting sun, is particularly beautiful.
  • An old Nanten tree is used for the central alcove pillar, and a Hagi tree staggered shelf (Hagi tree roots and branch tips are alternately combined and Oshukubai is placed in the center) is placed on the right.
  • The washbasin in the tea room was handed down by Lord Yoshimitsu.

Taboret of the Noble (Kijin-tou).

Fudo Hall (Fudo-do).
Fudo Myoo (Acala), was never popular in Indian, Tibetan or even Chinese Buddhism, but in Japan it became the object of a flourishing cult with esoteric overtones.

  • The cult of Acala was first brought to Japan by the esoteric master Kukai, the founder of the Shingon school, and his successors, where it developed as part of the growing popularity of rituals for the protection of the state.
  • While Acala was at first simply regarded as the primus inter pares among the five wisdom kings, he gradually became a focus of worship in his own right, subsuming characteristics of the other four vidyarajas (who came to be perceived as emanating from him), and became installed as the main deity (honzon) at many temples and outdoor shrines.
  • Acala, as a powerful vanquisher of evil, was regarded both as a protector of the imperial court and the nation as a whole (in which capacity he was invoked during state-sponsored rituals) and the personal guardian of ritual practitioners. Many eminent Buddhist priests like Kukai, Kakuban, Ennin, Enchin, and Soo worshiped Acala as their patron deity, and stories of how he miraculously rescued his devotees in times of danger were widely circulated.
  • At temples dedicated to Acala, priests perform the Fudo-ho, or ritual service to enlist the deity's power of purification to benefit the faithful. This rite routinely involves the use of the Homa ritual (goma) as a purification tool.
  • See more at Acala - Wikipedia.

Dakiniten shrine (Dakini-ten).
In Japan, Dakiniten is believed to be a goddess of good fortune.

  • In Hinduism, a dakini is a female spirit or deity who eats the flesh and heart of humans nearing death.
  • In Japan, the deity entered the Buddhist canon as a converted Hindu goddess, Dakiniten.
  • Dakiniten was further conflated with the Shinto kami (deity) Inari, who was associated with abundance, especially of rice.
  • See more at Dakini - Wikipedia.

Leaving Kinkaku-ji Temple.

See also

Source

Location

Location: 1 Kinkakujichō, Kita Ward, Kyoto, 603-8361, Japan