Hōryū-ji

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Horyu-ji. The kondo is one of the oldest wooden buildings in the world, both which reside in this temple complex.

Hōryū-ji (法隆寺, lit. Temple of the Flourishing Law^?) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji (法隆学問寺), or Learning Temple of the Flourishing Law, named as such because the site serves as a seminary as well as a monastery. The temple is widely acknowledged to have some of the oldest wooden buildings existing in the world. [1] [2] [3] While there are older and more important temples, Hōryū-ji is the most celebrated temple in Japan. [4] In 1993, Hōryū-ji was nominated as a UNESCO World Heritage Site and the Japanese government lists it as a National Treasure.

1 History
- 1.1 Fire controversy
2 Architecture
3 Treasures
4 See also
5 External links

[edit] History

The daikodo

The temple was originally commissioned by Prince Shotoku, using the construction firm Kongō Gumi; at the time it was called "Ikaruga-dera"(斑鳩寺). This first temple was completed in 607. Hōryū-ji was dedicated to Yakushi, the Nyorai of healing and in honor of the prince's father. [5]. Excavations done at the present site of the temple confirmed that Prince Shotoku's palace occupied the eastern part of where temple sits today. [6]. Also discovered were the ruins of a temple complex which was south of the prince's palace and not within the modern temple complex. [7]. The temple was hit by lightning and burned to the ground in 670. From 670 to 700 the temple was reconstructed in its original style but reoriented in a northwest position. [8]. The temple has been repaired and reassembled in the early twelfth century, in 1374, and 1603. [9]. It is estimated that only fifteen to twenty percent of the Kondo contains materials from the original reconstruction. [10].

The Soga clan defeated Shotoku's family in a power struggle and Shotoku's family was summarily exterminated. [11]. It is a testament of the respect of the prince that a rival family, the Soga, permitted the reconstruction of a temple for a rival and powerless family. [12].

The temple later became a major religious center for Hossō Buddhism.

[edit] Fire controversy

Although, the majority consensus view is that the current temple is a reconstruction from the fire of 670, there is still a debate as to whether the fire actually occurred. Proponents of the theory that there was no fire point out the absence of proof of a fire based on soil samples of the temple complex, the fact that the temple measurements were based on the Goguryeo shaku instead of the Tang shaku, and the archaic style of the temple that is incongruent with architectural styles of the early eighth century. [13]. [14].

Proponents of the fire theory point out that the Nihon Shoki states that there was a massive fire in 670 in which not a single building was left standing; the biography of Prince Shotoku states that there was a temple fire in 610. [15]. [16]. The excavations that uncovered the older temple site is accepted as conclusive proof that there was an original temple that burned down and that the current temple was a reconstruction. [17].

[edit] Architecture

the kondo and the five-story pagoda

The current temple is classified into two areas, the western Sai-in area and the eastern To-in. The western part of the temple contains the kondo (Golden Hall) and the temple's five-story pagoda. The To-in area holds the octagonal Yumedono Hall (Hall of Dreams) and sits 122 meters east of the Sai-in area. The complex also contains monk's quarters, lecture halls, libraries, and dining halls. [18].

While most early Japanese temples were arranged like their Korean and Chinese prototypes, the reconstructed Hōryū-ji breaks from those patterns by arranging the kondo and pagoda side-by-side in the courtyard. [19]. The statue of Yakushi of the original temple was saved during the fire of 670. [20]. While the temple was being rebuilt the Shaka Triad was commissioned or had been already cast. Because the temple builders wanted to honor both statues equally, the kondo and pagoda were set next to each other creating a unique arrangement. [21].

Excavations at Yamadadera shows discrepancies between a temple dated to 643 and the Hōryū-ji suggesting that the oldest buildings of the temple are not representative of the pure Asuka style. [22].

The temple architecture was strongly influenced by the Korean kingdom of Baekje, with whom Wa (Japan) enjoyed close relations, and gives clues as to what Baekje architecture would look like. [23]. There is evidence that Baekje architects, craftsmen, and artisans provided the technical expertise to help the Japanese build the Hōryū-ji, as the Japanese at the time were likely to have lacked skills to undertake such a massive structural enterprise. [24]. Baekje artisans helped build the first Japanese Buddhist temple, Hōkō-ji (Asuka-dera) at the end of the sixth century. Additionally, the bracket work of a Baekje gilt bronze pagoda matches the Hōryū-ji bracket work exactly. [25]. In the book of Samguk Sagi concerning the affairs of Baekje, it is recorded that the Yakushi was created by a Baekje craftsmen by Prince Shotoku to assist the recovery of his father, who, as it turned out, passed away before the completion of the temple complex.

[edit] Pagoda

The five-story pagoda stands at 32.45 meters in height (122 feet) and is widely regarded as one of the two oldest wood buildings in the world. It is likely of Baekje Korean or Tang Chinese style and was probably completed in 700. [26]. The brackets and railings of the pagoda are almost identical to those of the kondo. [27]. Of note is the probable existence of a reliquary or sarira casket underneath the pagoda. The massive foundation stone, set three meters into the ground, contains a hollow for relics. [28]. Unfortunately, because of the weight of the pagoda itself, the treasures will probably never be retrieved. [29]. Visitors are not allowed to enter the pagoda and far from having a function is designed to inspire people. [30].

[edit] Kondo

The kondo is widely regarded as the other oldest wood building extant in the world. The hall measures 18.5 meters by 15.2 meters. [31]. It is based on Chinese and Korean prototypes. [32]. The hall is double roofed with curved corners and the original Kondo roof had to be held up with extra posts because they extended more than four meters past the building. [33]. Repair work on the roof structure and upper part of the hall was stopped during the Second World War because of the damage being done to the famous wall murals in the interior of the temple. [34]. [35]. During this renovation, on January 26, 1949, a fire broke out in the temple because of a heating pad and severely damaged the remaining portion of the structure and the wall murals. [36]. [37]. Because the fire had singed the wood to a depth of three centimeters it was determined that the burnt areas would have to be rebuilt with new wood. [38]. The charred leftovers of the original reconstruction are now housed in a fire-proof warehouse where only a select few are allowed to study them and glean information about ancient building techniques. [39]. The hall also holds the famous Shaka Triad.

[edit] Yumedono

It is believed that Prince Shotoku resided in this hall to study the Buddhist scripture. [40]. The present incarnation of this hall was built in 739 and repaired in the ninth century. [41]. The hall also contains the famous Yumedono or Guze or Kuze Kannon; which is only displayed at certain times of the year.

[edit] Treasures

The treasures of the temple are considered to be a time capsule of Buddhist art from the sixth and seventh century. Much of the frescoes, statues, and other pieces of art within the temple, as well as the architecture of the temple's buildings themselves show the strong cultural influence from Korea, China, and India and demonstrated the international connection of the countries of East Asia. [42]. [43].

[edit] Murals

The Korean monk Tamjing (Doncho in Japanese) from Goguryeo is credited as the painter of the famous murals on the walls of the Kondo. [44]. [45].

[edit] Kudara Kannon

The Kudara Kannon is a statue of Kannon and made of gilded camphor wood. It is 210 centimeters in height and therefore very tall. [46]. The statue is very thin which also creates the illusion of height. The word Kudara is the Japanese for the Baekje Kingdom. The statue is unique in Japanese art. [47]. Some art critics believe it to be a Korean creation. [48]. Another source suggests that the statue was carved in Japan but does not describe its origins. [49].

[edit] Yumedono (Guze) Kannon

This Kannon is a statue that supposedly is the representation of Prince Shotoku. It is approximate six feet and one inch and some sources believe that Shotoku was that height. It is 197 centimeters in height. [50]. The kannon is made of gilded wood. It is suggested that the statue was made to assuage the dead prince's spirit based on the fact that the halo was attached to the statue by a nail driven through the head. [51]. The statue bears a close resemblance to extant portraiture of the prince. [52].

The Kannon retains most of its' gilt. It is in superb condition because it was kept in the Dream Hall and wrapped in five hundred meters of cloth and never viewed in sunlight. The statue was held to be sacred and was never seen until it was unwrapped at the demand of Ernest Fenollosa, who was charged by the Japanese government to catalogue the art of the state and later became a curator at the Boston Museum. [53]. Fenellosa believed that the Kannon was Korean. [54]. Additionally, it is suggested that the Kannon is a Korean synthesis of Northern and Southern Chinese influences. [55]. However, other art historians suggest that this figure is based on the Tori style. [56].

[edit] Shaka Triad

Tori Busshi is credited with the casting of this massive Buddhist statue. It is a triad and so the center Buddha is attended by two other figures. The figure is dated to 623 and the style originates in Northern Wei art. [57]. The style of the statue is also known as Tori style and is characterized by the two-dimensionality of the figure and the repetitive pattern-like depictions of the cloth the triad sits upon. [58].