Japan

Akashi Kaikyo Bridge

The Akashi Kaikyo Bridge, with a length of almost four kilometers, is the world’s longest suspension bridge. Opened in 1998, it spans the Akashi Strait (Akashi Kaikyo) between Kobe and Awaji Island and is part of the Kobe-Awaji-Naruto Expressway.

Prior to the bridge’s construction, the strait was considered one of the world’s most dangerous waterways. For instance, in 1955 a severe storm caused two ferries to sink resulting in the deaths of 168 people.

How to get to Akashi Kaikyo

If you are coming from Osaka, you have to get down at the Maiko Station, on the Sanyo Line. Shinkansen trains don’t stop here, you have to use a local train. I had purchased a Kansai Wide Pass. If you want to stop at various stations just to take photos this pass makes it very cheap to travel around the Kansai region.

Once you come out of the Maiko station, you will have to cross the road and walk past the Akashi Kaikyo Bridge Exhibition Center on the left. A few meters away a small lane goes right to the edge of the Akashi Strait.

It took 180,000 tonnes of steel to complete the Akashi Kaikyo Bridge

It is a substantial 6-lane road bridge that connects Kobe on the main island of Honshu with Iwyaya on the smaller Japanese island of Awaji. This, in turn, is linked to the island of Shikoku via the Ōnaruto Bridge over the Naruto Strait.

The bridge was originally planned by the Japanese National Railways (now JR) in the mid-1950’s, as part of a rail link between the islands of Honshu and Shikoku. In 1975, after an exhaustive study, the Japanese government elected to build JR’s bridge, the Seto Bridge, over a much shorter span closer to Okayama. If you have been to the island of Shikoku by rail, you must have already used this route.

About 300,000 kilometers of cabling was used in the bridge’s construction

The length of the bridge alone presented a tremendous challenge to the engineers, but that wasn’t the only issue they had to face in designing this monumental structure. For one, the bridge also had to be tall enough to let boat traffic in the strait pass unimpeded.

As the bridge stands in a seismically unstable part of the world, engineers also needed to ensure its design would stand the test of time. To this end, the bridge includes a complex system of counterweights, pendulums, and steel-truss girders that allow the bridge to withstand wind speeds of up to 290 km/h. The foundation depth of the bridge is equivalent to that of a 20-storey apartment. Yet despite its inherent strength, the bridge is also able to expand and contract several times a day.

The rocky bank is a beautiful spot to take a shot of the lovely bridge. I had reached the spot at around 5 pm. The bridge is exactly 3,911 meters long, has three spans supported by two main supporting towers that stand 297 meters apiece and a series of anchoring cables. This makes Akashi Kaikyo Bridge also one of the world’s tallest.

Light was pretty bright. At first I took some shots with a 10-stop ND filter. They came out okay. I wasn’t too excited to see the results since the skies had no drama.

The bridge is used by around 25,000 cars everyday

How I took captured Night View of Akashi Kaikyo Bridge

After that I walked further west along the coast but couldn’t find a better spot, so I walked back to the earlier spot and waited for the lights to come on and then took this shot. I used the 10-24mm nikkor at 24mm on my Nikon D7100. I lowered the aperture to F16 to slow down the shutter speed to get the water to look smooth.

The Akashi–Kaikyo bridge has a total of 1,737 illumination lights!

The Akashi–Kaikyo bridge has a total of 1,737 illumination lights: 1,084 for the main cables, 116 for the main towers, 405 for the girders and 132 for the anchorages. Sets of three high-intensity discharge lamps in the colors red, green and blue are mounted on the main cables. The RGB colour model and computer technology make for a variety of combinations.

How long did it take to build the Akashi Kaikyo Bridge?

Ten years (1988 -1998)

What is the longest span bridge in the world?

Akashi Kaikyo Bridge

Why is the Akashi Kaikyo Bridge called the Pearl Bridge?

The Akashi Kaikyo Bridge is called the ‘Pearl Bridge’ because of the 28 different patterns and various colors of lights used to illuminate her at night. When illuminated it gives the appearance of beautiful pearls on a necklace.

Who designed Akashi Kaikyo Bridge?

Honshu Shikoku Bridge Authority

When was Akashi Kaikyo opened to public?

April 5, 1998

The Nio Guardians of Japan

During my recent visits to Japanese Buddhist temples, I have been fascinated by the two fierce-looking Nio protectors guarding the gates at each one of them. These pair of protectors, one on either side of the entrance, are diverse in styles, but each of them with their bare-chested bodies rippling with muscles, fierce visages, and brandishing weapons, seem violent and threatening.

These Nio guardians are named, each after a particular cosmic sound. If you look closely at these mythical shrine protectors, you will notice that one of them has its mouth open while the other has its mouth closed. The open-mouth figure is commonly placed to the right of the temple and is known as Agyo, who is uttering the sound “ah,” meaning birth. Its closed-mouth partner generally stands to the left of the temple and is called Ungyo, pronouncing the sound “un” meaning death. The closed-mouth Nio is supposed to stop the evil from entering the temple while the open-mouth Nio welcomes the good spirits inside.

Origins of Nio

Buddhism began in India, and then became part of Chinese culture. Around 550 AD it was introduced into Japan via Korea. This non-native religion gradually became an important part of Japanese culture during the Nara period (710-790 AD), especially among the aristocracy.

The Nio guardians were introduced to Japan around the 8th century. The oldest standing statues of the two, date back to 711 AD, located at Horyuji Temple ( 法隆寺) in Nara.

The Nio guardians are said to originate from Hindu deities who were adopted by the Japanese into Buddhist teachings. In Buddhism they are regarded as protectors against evil spirits. The Nio’s fierce and threatening appearance is said to ward off evil spirits and keep the temple grounds free of demons. The most famous Nio in Japan can be found at the entrance gate of Todaiji Temple (東大寺) in Nara. These 26-feet-tall statues were made in 1203 AD, reportedly under the direction of the famous sculptors Unkei and Kaikei.

At Shinto shrines, however, the Nio guardians are replaced with a pair of Koma-Inu (Shishi Lion-Dogs) or with two foxes. These mythical shrine guardians are also depicted with similar postures – one mouth open, one closed.

Legends & Myths

The word Nio itself is said to mean “Benevolent Kings” and in some Japanese historical accounts, they were said to have followed and protected Buddha on his travels throughout India. Being an Indian, though I haven’t read anything along these lines in Indian historical records.

According to another Japanese mythology, there once was a king who had two wives. His first wife bore a thousand children who all decided to become monks and follow the Buddha’s law. His second wife had only two sons. The youngest was named Non-o and helped his monk brothers with their worship. The eldest, Kongo Rikishi (金剛力士), however, had a much more aggressive personality. He vowed to protect the Buddha and his worshipers by fighting against evil and ignorance.

Kongo Rikishi is considered to be the first of the heavenly kings, called Nio. Within the generally pacifist traditions of Buddhism, stories of Nio guardians like Kongo Rikishi justified the use of physical force to protect the cherished values and beliefs against evil. Many fragments of the Japanese mythology are unmistakably Indian. Kongo Rikishi, according to Japanese conception used to ride a mythical creature called Karura, very similar to Garuda, the magical bird from Ramayana in Indian mythology. Garuda is said to be the mount of the Lord Vishnu.

Conceived as a pair, the Nio complement each other. In other records the Nio are also referred to as Misshaku Kongo & Naeren Kongo. Misshaku Kongo, representing power in action, bares his teeth and raises his fist in action, while Naeren Kongo, representing potential might, holds his mouth tightly closed and waits with both arms tensed but lowered. In some ways they remind me how the Indian gods, Shiva & Vishnu, compliment each other. What is another hint of Indian influence is that Naeren sounds very much like Narayan in Sanskrit, which in Hindu mythology refers to Vishnu. My wife, Mani has done a thorough research on the connection between Indian Gods and Japanese mythology. Jump to this link if that interests you.

Nio Guardians Features

The features of the Nio guardians have been skillfully exaggerated by artists. Bulging muscles in their huge chests and arms communicate power. Their drapery always depicted as swirling around them like a dragon engulfing its prey. The exaggerated depiction continues in their extended jaws, and facial expressions. The Nio’s bulging eyes, furrowed brows, flaring nostrils, and distorted grimaces bring their faces to life. Their hair, flying in the wind, pulled tightly into topknots, adds to their imposing height.

How the Nio sculptures were created

The vast majority of Nio are made out of wood and are usually housed in their own gate houses to protect them from the weather.The Nio guardians were created by a joined woodblock carving technique called Yosegi. Hinoki, or Japanese cypress, a wood that ages remarkably well, was used. Each Nio is created from many pieces of wood pegged together with iron clamps and nails. This allowed the artists to create monumental figures with dynamic poses. The seams along the joints were covered with fabric or paper. The surface was then covered with layers of Gesso, (baked seashells and water) and black lacquer. Note that not all Nio sculptures are painted. The ones that are, have immense details such as the pupils of the eyes and the decorative pattern on the drapery.

Nio Guardians at Todai-ji, Nara

Todai-ji was built in the eighth century by imperial order in the ancient capital city of Nara, as a symbol of Japan’s emergence as an important center for Buddhist culture. The complex includes a huge bronze statue of a seated Buddha, housed inside the Daibutsen, claimed to be the world’s largest wooden building. The Nio at this temple were erected after parts of the temple were destroyed by warring clans in the 12th century.

Many art historians regard the two sculptures at Todai-ji, as the greatest works of two of Japan’s greatest sculptors, Unkei and Kaikei. They are impressive for their size and the technological hurdles that their 13th-century creators had to overcome. They were carved during the Kamakura Period (1192-1333) Each statue is over eight meters tall and weighs close to seven tons. Recently the Nio sculptures were repaired at a cost of 19 million yen ($187,500).

The Agyo Nio Guardian at Todai-ji

Image of

The Agyo Nio Guardian at Todai-ji welcomes the good spirits inside the temple

Read more about Todai-ji

Nio Guardians of Toshogu Shrine in Nikko, Tochigi

Agyo Nio Guardian

Image of

Agyo Nio Guardian at Niomon Gate of Toshogu Shrine

Nio Guardians of Fudarakusanji Temple in Nachi, Wakayama

Agyo Nio Guardian at Fudarakusan-ji Temple

Image of

The Agyo Nio Guardian welcoming the good spirits

Hike to Nachi Falls

Nio Guardians of Senso-ji, Tokyo

Agyo Nio Guardian at Sensoji Temple

Image of

Agyo Nio Guardian at Senso-ji Temple

Photo-walk to Senso-ji

Nio Guardians of Yakushi-ji, Nara

Ungyo Nio Statue at Yakushi-ji

Image of

Ungyo Nio Statue at Yakushi-ji

Photo-walk to Yakushi-ji

It was an interesting week for me researching through the history of Nio Guardians. I hope you find it interesting too. Leave your comments below and let me know if there is something I missed.

Torii at Miyajima

For some extra fun on New Years weekend we had traveled to the renowned prefecture of Hiroshima from Nara. We were staying at the lovely Hiroshima Garden Palace Hotel. The all day travelling from the day before had sapped us of our energy so we woke up late. In the afternoon, we decided to visit the magnificent Miyajima Island, I had heard so much about.

Miyajima is a small island located less than an hour away from the city of Hiroshima. Located in the Seto Inland Sea, ten miles southwest of the Hiroshima, the island is sacred for both Shinto and Buddhist practitioners. The island’s real name is Itsukushima (厳島), but it is known more by its popular nickname of Miyajima which means “Shrine Island”.

Before heading to Miyajima, we dropped by at the Hiroshima Castle for a few minutes. We didn’t have the luxury of time so we decided to go inside on our next visit.

At the castle grounds you can find a bunch of eateries selling local delicacies. We took an early lunch of fries with Takoyaki and Yakitori in one of the many food stalls. After the sumptuous brunch, we took the train from JR Hiroshima station to Miyajimaguchi.

The train was crowded with tourists. Many, like us had come down to Hiroshima during the new years extended weekend. From the Miyajimaguchi station we walked down to the ferry. There are no bridges connecting Miyajima to the mainland and ferries are the only way to reach the island.

The ferries from Miyajimaguchi are run by JR and Matsudai at frequent intervals. The trip takes about 10 minutes and costs ¥180 each way. Japan Rail Pass holders can use the JR ferry for free.

As we reached the ferry station, one of the Matsudai ferries was readying to leave in a few minutes. We hurriedly purchased the round trip ferry tickets that cost us ¥360 per head and ran towards the pier to catch it. Once on the ferry, all seats were taken. Almost out of breath, we found an empty spot to stand near in the bottom deck. The ferry left in a couple of minutes. As we left the dock, we passed one of JR ferries, coming back from the island, carrying tourists back to the mainland.

It was a hazy day. We watched the sea as the ferry made its way amidst gentle waves. Even though it was afternoon, the bay was shrouded in mist.

As we got down from the ferry, we were surprised by the presence of this huge crowd on the island. There were queues everywhere. Food vendors on the roadsides were overwhelmed by the patrons. The souvenir shops were over-run by hordes of tourists. I have never witnessed such busy crowds in Japan, anywhere.

Miyajima is considered as a very holy place by the Japanese. In 806 AD, the monk Kōbō Daishi established Mt. Misen as an ascetic site for the Shingon sect of Buddhism. In the years since, the island’s Buddhist temples and Shinto shrines have existed in close harmony. In the past, the conservatives would not allow women on the island. The old people would be moved elsewhere to die, to keep the spiritual purity of the site, unspoiled.

We took the path to our right, walking along the seafront promenade towards the Itsukushima Shrine. On the way , I was also surprised by the large presence of deer on the island. In addition to its many beautiful temples, Miyajima Island is also famous for its freely roaming deer, many of which mingle with tourists and pilgrims walking around the temples. In Shinto religion, the deer are said to be sacred and considered messengers of the Gods. But they are very naughty unlike their kin in Nara. One of them grabbed the paper map dangling from my cargo pocket and almost ate it. I had to really tug hard to make it give me back my property.

After walking down the path for a few minutes we were in front of the famous Miyajima Torii. The Torii (gate) was standing in the blue waters of the sea. Standing in the bay in front of the shrine, the floating Torii is the gate to Itsukushima. The Itsukushima shrine was just up ahead standing in the water as if floating on the sea. The tide had started to recede and part of the wooden stilts were showing below the shrine complex. Make sure when visiting Miyajima to go during higher tide, to view the Great Torii while it’s surrounded by water.

Itsukushima Shrine is a Shinto Shrine considered to be the boundary between the spirits and human world. Long before Buddhism came to Japan in the 5th century AD, Shinto sages lived as hermits in these mountain’s forested hills. This UNESCO World Heritage Site with its red-lacquered complex of halls and pathways on stilts, was originally so built so the commoners could visit the shrine without defiling the island with their footprints.

The shrine was flooded with enthusiastic tourists and we decided to stay away. I hate crowds. Places like these have a peaceful aura around them, you cannot feel that, surrounded by maddening crowds. We decided to walk around the area and come back later in the evening, hoping the crowds would disperse by then.

The beach looked inviting so we grabbed some prawn tempura and sat there watching the ducks swimming with the waves. While sitting on the beach, I noticed one of the deer grab a bag of food from a tourist. However the innocent deer was also eating away the plastic bag. I immediately ran and tugged the plastic away from the foolish creature. In spite of a feeding ban, tourists inadvertently feed them, which eventually results in a painful death for the deer.

After enjoying the tempura we wandered inland up the hill. After a few minutes, we reached the Hokoku Shrine, hidden within the trees at the edge of a hill. The inner part of this shrine, known as the Senjokaku, was constructed by the fabled Japanese warrior Hideyoshi Toyotomi for the souls of the warriors who died in war. Parts of the building, such as the ceiling and front entrance, remain unfinished because of the untimely demise of Hideyoshi. Just adjacent to Senjokaku, stands the vermilion colored five-storied pagoda built in 1407.

We took some photos outside the shrine and then walked towards Omotesando Street. This is the main shopping street on Miyajima Island. It is filled with gift shops, restaurants, coffee shops, ice cream shops, candy stores, art and historical artifacts. The place was like a carnival. People were enjoying themselves.

Mani took me to the Kimono shop she visited way back in 2011. She was excited finding the shop was still there. We bought some souvenirs from the shops. Mani bought me a box of cookies.

You can get a good taste of the culture of Hiroshima from hanging out on this street. The area is like a maze of narrow streets.

Soon we reached the docks again. We had gone round a full circle without knowing. It was 4 pm. We went back towards the Itsukushima shrine hoping it would be less crowded by then.

The Torii looked lovely in the evening. Most tour groups were gone and sanity had been restored to the peaceful shrine. We walked towards the entrance of the shrine. The deer were still at it, harassing tourists for food. It was evening already and dusk was gradually creeping in. I captured the dying sun as it set behind the ancient forests of Mt. Misen. The battle between the sun and the darkness didn’t last long. As it grew dark, the shrine was lit up in golden light from the lanterns lining the seafront.

Once the Sun was gone, the sky turned a beautiful blue. I set up the tripod to capture the Torii in this beautiful light. After taking some photos, we hurried along to the shrine, which was still open. The entry to the shrine cost us ¥300 per head. The Treasure Hall costs another ¥500, but we weren’t that interested in going inside.

Miyajima’s primary temple, the Itsukushima Shrine, was first constructed in 593 CE and later enlarged to its present size in 1168. The complex of buildings includes the main shrine, several subsidiary temples and even a Noh drama and dance stage.

Weddings are occasionally held at the shrine. The shrine is dedicated to three Shinto goddesses of the sea, Ichikishima, Tagori, and Tagitsu, each of whom is believed to live within the inner sanctum of the shrine. No metal nails were used in the construction of the buildings and there are precisely calculated crevices between the floor slabs in order to alleviate the pressure of high tidal waves caused by typhoons.

Some of the ancient wooden planks used for flooring are 1.5 meters wide and over 10 meters long, and these enormous boards were laboriously brought down to Miyajima from hundreds of miles away in northern Japan. One of the bridges leading to the shrine is known as the Soribashi or Imperial Envoy’s Bridge. Constructed in 1557, it was used by court nobles sent to Itsukushima by the Emperor.

It was dark by then. In some distance on the hill, we could see the illuminated Pagoda. The stone lanterns were all lit and appeared like pearls along the circumference of the island. There are many smaller shrines positioned at intervals around the 19-mile circumference of the island. There are no roads to most of these shrines and pilgrims use small boats to approach these temples.

The beautiful Torii gate, standing in the sea and leading to the Itsukushima shrine was glowing in the darkness. The present Torii, the eighth that was constructed since the Heian period (794-1192), was built in 1875 with the wood of camphor trees. It is 16 meters tall, the roof is 24 meters long, and the main pillars are made from single trees. During the mid-July Kangensai music festival, colorfully decorated boats are sailed through the giant gate while dancers aboard the boats perform classical sacred dances.

The receding tide had revealed the base of the Torii. We got down onto the beach and walked up to the Torii.

The island has many more attractions including Daisho-in Temple and an Aquarium, but I think to see all that one should stay back at the island for a night. It is not possible to cover all these in a single day. It was almost 8 pm by the time we left on the ferry back to the mainland. Note that from Miyajimaguchi, The last ferry leaves for the mainland at 10.14 pm.

It was an interesting day. We missed some places like the Daisho-in Temple but we also had a lot of fun in the streets of Miyajima and enjoyed many local delicacies. The island town still retains a classic Edo-era look. Deer wander freely through the streets and parks. Though some modern buildings have snuck in, the seafront promenade and the shrine look magical, especially later in the day when the rampaging tourists head home and the stone lanterns are lit.

Thanks for reading. Leave me a comment or follow my story as we hike up to the Peace Memorial Park in Hiroshima.

How do I reach Miyajima Island

Miyajima Island can be reached only via ferries. It takes about 10 minutes by ferry to travel from Miyajimaguchi pier to the world cultural heritage site of Miyajima. Two ferry companies operate between Miyajimaguchi and Miyajima island: the JR ferry and the Miyajima Matsudai Kisen.

Ringing in the new year at Todai-ji

We decided to do something different this new year eve. We walked down to Todai-ji at midnight to usher in the new year with the blessings of the great Daibutsu. Todai-ji is the largest of the Seven Great Temples of Nara and one of the “Historic Monuments of Ancient Nara“.

The roads were lit and the streets were empty. Nothing new for someone who has lived in Nara even for a short amount of time. Once we reached the Nara Park area, we could see some families walking towards the temple. A group of deer were gathered under the street lights.

The narrow road comes directly up to the temple from behind. As we reached the Todaiji grounds, the crowd became denser. The regular gate that is used for entry for tourists was closed. The caretakers were preparing to open the imposing main gate. Generally the main gate remains closed and visitors have to use the two smaller side gates on each side. A huge queue had formed in front of the main gate. It looked like all of Nara had descended to the temple. It was still not midnight. We went towards the back of the queue and took our positions. We waited patiently for the clock to strike, midnight. The gate was opened to the public exactly at midnight and they started letting people in to the courtyard.

New Years Eve in Nara

Once we went through the gate, the horned roof of the Daibutsuden is the first thing that comes into view. People gradually made their way to the Daibutsu Hall. Todaiji houses the Nara Daibutsu, a gigantic bronze statue completed around 757. It took 9 years and an enormous manpower of 2 million workers working together to complete this magnificent statue. In the dark my Nikon D7100 was struggling to take photos. Mani was having better luck with her Sony Alpha 6000. It does offer better results in low light.

Over the years, the main wooden building and the statue have been damaged by fire and natural calamities several times. Each time it was repaired keeping the authenticity of the place intact. As we got closer, we could see the Buddha face clearly from the windows on the upper floor. It is one of the motivations for the huge crowd. The upper floor windows are opened rarely and on very important occasions. People come from afar just to see Buddha’s face from these windows.

I fished out my zoom lens and took a closer shot of the face. This was taken handheld as tripods are not allowed to be set up inside the premises.

On both sides of the wide path, there were several bonfires in tub like apparatus. It was cold and we waited near one of the bonfires for the initial crowd to disperse.

Once the crowd was sparse, we went towards the Daibutsuden Hall. It has begun to drizzle. Rain had been forecast and so we had brought along our waterproof jackets.

I have been inside the Daibutsuden before but on entering the dimly lit main hall, one can’t, but be overwhelmed over and over again by the 15 meter high, gilt bronze statue sitting on sacred lotus leaves. The blackened statue depicts Rushana, also known as Dainichi Nyorai or the Cosmic Buddha.

After paying respects, we walked out. At the main gate, the queue was no more, but there was still a steady stream of enthusiasts who wanted so see the face of the Buddha through the upper doors. I set up my tripod and took some pictures of the entrance gate.

Near the Nakamon Gate, there is a small pond and Todai-ji looked amazing from there.

Everything about Todaiji is huge. It has a long history and many stories attached to it. Every time I come and see the huge Daibutsuden Hall, I feel really small. We were supposed to leave for Hiroshima at dawn, so we left early for home. Nara Park with its herds of deer and the Todaiji make for an amazing night. If you are around Kyoto or Osaka, do take out a day to visit this lovely place.

Thanks for reading. Please leave me a comment if you liked my post. I also visited Todaiji during the day time some time back. You may find useful information if you are planning a visit.

The majestic Heijo Palace

While I was living in Nara, Kyoto used to be one of my favourite places to hang out during the weekends. Unless I had a JR Pass lying around, I would generally take the Kintetsu local line from Nara to Kyoto. On-route, the train line passes through a wide stretch of paddy fields with a beautiful building standing majestically at the Heijo Palace site.

As the local train used to run past the heritage building, it used to captivate me each time, especially during my late-evening rides. Today I took out some time to explore the Palace grounds and capture its majestic persona, which at one point of time, used to be graced by the presence of emperors.

To understand the importance of Heijo Palace site, we need to go all the way back to the Nara Period (710-794 CE). It is said that the Japanese empire was born from Yamato Imperial dynasty, towards the end of the 7th century which also coincided with the end of the Asuka period. Before the last of the emperors of the Yamato kindom – Emperor Monmu passed away, he expressed his will to have his mother succeed him till his son would be mature enough to assume the imperial position.

One of the first actions taken by the Empress Genmei, was relocating the capital to Nara, which provided an auspicious location surrounded by mountains on three sides. In those times this region was known as Heijo-kyo. Empress Genmei, during her reign between 707 through 715 CE, established this region as her capital and commissioned many new Buddhist temples as well as moving and rebuilding older ones. Except for a five-year period (740–745), when the capital was briefly moved after the death of the emperor, it remained the capital of Japanese civilization until Emperor Kanmu established a new capital in Nagaoka-kyō in 784.

How to reach Heijo Palace Grounds

Because we stayed near Kintetsu Nara Station, we took the Nara Kotsu bus #12 from the nearby bus stand to Saki-cho bus stop. The ride takes about 20 minutes and the bus will drop you just beside the Daigoku-den Hall near the Heijo Palace Site Museum. As an alternative route, you can catch the Kintetsu-Nara local and get down at Yamato-Saidaiji. From there it is a 12 minute walk to the Heijo Palace site.

The bus route involves less walking and you can buy an all day bus pass that costs ¥500, if you are planning for an all day outing around Nara.

Origins of Heijo Palace

Heijo-kyo became the site of the Imperial capital when it moved from Fujiwara near Asuka in 710, thus establishing the Nara Period of Japanese history. It is said that the capital was designed on the model of the Chinese city of Chang’an, present-day Xi’an.

In its heydays, Heijo Palace site covered an area of about about one square kilometer. The site used to have on its premises the emperor’s residence as well as numerous government offices. For its great historical and cultural importance, the excavated remains of the palace, and the surrounding area, were established as a UNESCO World Heritage Site in 1998.

Although the palace site once stood as the majestic center of the ancient capital, all of its original buildings were eventually lost, with the exception of a single hall that was moved in the 8th century and now stands at Toshodai-ji Temple.

When the capital was moved away from Heijo-kyo in 784, Heijo Palace site and its adjoining government buildings were abandoned as officials and other citizens flocked to the new capital. The temples on the outskirts of the former capital, however, retained their importance, and the city of Nara eventually resumed its growth around these temples, while the palace grounds and its surrounding areas were reduced to paddy fields and waste grasslands.

As the bus dropped us off, we found ourselves in rural atmosphere. There were hardly any houses for as far the eye could see. Far away from the hum-dum of Nara park, the Heijo Palace site, sits quietly, rarely frequented by the hoards of tourists that flock to Nara.

The government however has gone to considerable lengths to showcase the history of Heijo Palace for visitors with historical reconstructions and museums. We decided to explore the museum first, gain some extra insight before going on to the ruins of the site itself. One of the first things you will notice inside the museum is excavations of a burial ground.

The Nara National Research Institute for Cultural Properties has conducted research and investigation of the site on a continual basis since 1959. Some other artifacts from the original palace building have been secured here like this shaft from the well inside the Imperial domicile area.

Here we see excavated remains of the roof tiles of the buildings surrounding the palace. Traditional Japanese roof tiles, Kawara are a highly visible and elaborate component of Japanese architecture. They display a technical and artistic sophistication while being highly functional.

Tiles of terracotta and clay were introduced to Japan in the sixth century and became popular immediately. These strong tiles could be easily made using locally sourced and readily available clay, they were fireproof and naturally water resistant, an important consideration in a country with heavy snow and rainfall.

In addition, the hall exhibits miniature models of the Imperial Palace and government offices from the Nara period. If you observe closely, these models used roofs instead of tiles. Such roofs were known as Warabuki. In this process, dried straw is tied into bundles which are then tied to the roof structure, with upper bundles overlapping the lower ones. The Warabuki roofs provided good protection from the snow and rain, but they were also susceptible to catching fire quite easily.

In the image below you can see an artists representation of how the Palace grounds used to look at the time when Nara was the capital of Japan. In the center of Heijo-kyo, there used to exist a 74-meters wide Suzakuoji Street extended straight from Rajomon Gate, the south gate to the capital. The western and eastern area of this street was respectively called Ukyo and Sakyo.

The planning of the capital was based on the Jobo system to layout the streets in a grid-like pattern. It is said that more than 100,000 people lived in Heijo-kyo during this period. Exploring the exhibits at the museum will take you about an hour.

As we came out into the bright daylight outside the museum, there are just ruins stretching far and wide. These are the base of the columns of the Latter Audience Hall. It was built on the orders of the Emperor Shomu after the capital moved back to Nara from Shigaraki in 745 CE. All that remains now of the Latter Imperial Audience Hall are the excavated foundations of the hall and the nearby ruins. 

From here we walked down to the Daigoku-den. Three major structures of the former palace complex have been reconstructed in recent decades. Foremost among them is the Former Audience Hall (Daigoku-den) which was recreated during the 1300th anniversary of Nara becoming Japan’s capital in 2010.

The emperor and empress lived, worked and received visitors in the imperial domicile section. It was surrounded by a roofed walkway, divided lengthwise by an earthen wall.  The building is called the “former” audience hall, because it was replaced by the “latter” audience hall in the second half of the Nara Period.

The large audience hall was used as the site of important ceremonies and meetings. Its ceiling is decorated by the four animals of the direction on the compass and the twelve animals of the lunar calendar. A throne stands in the center of the hall. The building is called the “former” audience hall, because it was replaced by the “latter” audience hall in the second half of the Nara Period. The latter audience hall’s foundations are visible to the east of the former audience hall.

The reconstruction was started in 2001 and completed in 2010. For the reconstruction, Japanese cypress wood was used. The building’s pillars and beams were painted in vermilion, the walls in white, the roof with ceramic tiles. The upper part of the interior of the hall was painted with symbols of the Chinese zodiac such as the Tiger, the Horse and the Ox alongside the walls, and floral pattern on the ceiling. The paintings were executed by the renowned painter Atsushi Uemura based on designs from the Nara period.

Inside the Daigoku-den hall, you can find many replicas created using historic documents left behind by people from the same period. This is a replica of the Shibi ( 鴟尾 ) that used to adorn the palace. A shibi is a Japanese ornamental tile set on both ends of the ridgepole that tops a shingled roof of Japanese castles and other important structures.

Here you can see the ornament that used to adorn the center part of the roof between the two Shibis.

In the center of the audience hall you can find a replica of the emperor’s throne, called Takamikura (高御座). This was an important item that symbolised the imperial office, and at state events such as the enthronement and New Year’s Day ceremonies the emperor proceeded to the audience hall and took his seat on the throne. Nobles lined up in the inner court south of the hall and paid their respect.

With no records of the construction or design of the Takamikura of the Nara period, the details are unknown. The reconstructed model of the Takamikura was made after experts consulted various literature and historical materials, and based on the throne in the Kyoto Imperial Palace which dates to the Taishō era. Details of the design and patterns were created by referring to materials such as the treasure of the Shōsōin repository.

After exploring the audience hall, we walked down tords the next compelling structure on the premises – Suzakumon Gate

The Suzakumon Gate

The placement followed the ancient Chinese palace model requirements at the time, where Suzaku (朱雀 Suzaku), the Vermilion Bird was the Guardian of the South. Research for the restoration of Suzakumon Gate started with excavations at the former site in 1964, and the production of a one-to-ten scale miniature model in 1965. In 1993, it was decided that the gate of Nara would be reconstructed.

In front of the Suzaku Gate, ceremonies were conducted on New Year’s Day and for welcoming or farewelling foreign envoys. In addition, ancient men and women exchanged their love songs there, calling it utagaki. The magnificent gate has an air of dignity as the front gate of the Palace.

It proved extremely difficult to work out what Suzakumon had looked like, as there were no surviving structural remnants. A conjectural model was developed, based on comparable architecture elsewhere, and the new gate was constructed from a mixture of traditional building materials (cypress wood and tiles) and concrete, in order to resist earthquakes. The reconstructed gate was opened in 1998.

As per old records, various ceremonies were conducted on New Year’s Day and other important occasions in front of the Suzaku Gate. In addition, men and women in those times exchanged their love songs here, during the celebration of <em>utagaki</em>. Villagers would sing and dance along with reciting of poetry, in celebration of the beginning of spring or autumn.

Many of the songs and poems, as well as accounts of the ritual itself, are recorded in the Man’yōshū and other contemporary documents, making them among the oldest forms of literature in Japan. These traditions, albeit in a modern way, have still been kept alive and if you find yourself in Nara around August, you must visit the site.

Suzakumon Gate was protected by guards and was usually closed. Its magnificent appearance as the main gate to the palace exhibited the authority of the government inside and outside.. The magnificent gate certainly has an air of dignity befitting the front gate of the Palace.

In front of the Suzakumon Gate lies a statue of Tanada Kajuro. At first I thought it was the statue of one of the emperors but you will be surprised that he was a local gardener who worked dedicatedly for protection of the heritage site.

After the capital was transferred from Nara to Nagaokakyo, various attempts were made to return the capital to Heijokyo, but as time passed, the ancient capital was in ruins as nature slowly took back the city.

Around the end of the Edo period, Kitaura Sadamasa started research on the site of Heijokyo. Then, at end of the Meiji Period, research by Sekino Tadashi and Kida Sadakichi revealed the appearance of the ancient capital of Nara. In between the Meiji and Taisho period, local people including Tanada Kajuro along with Mizobe Bunshiro launched a movement to preserve the former site of Daigoku-den.

If you are willing to stay the evening you can capture some breathtaking shots of the palace. As light falls, the palace is illuminated. It appears as if any moment, we will be transported to the times when the Emperor would address his subjects during ceremonies.

As light falls, the palace is illuminated. The Former Imperial Audience Hall (Daigokuden) at the northern end of the palace was the largest and most important building in the complex. Here the Emperor had his throne and addressed his subjects on New Year’s Day just as the present Japanese emperor still does on January 2nd.

Thanks for reading! I look forward to your comments and questions. If you are looking to explore more of the Mie region, follow my story as I visit the married rocks of Futami

Opening Hours

9:00 to 16:30 (Last Admission 16:00)

Closed Days

Every Monday (If Monday is a national holiday, on Tuesday)
31st December
1st January

Admission Fee

Free

Todai-ji : Home of Buddha

Today we went for a walk to Nara Park to explore the age-old Buddhist temple of Todai-ji (東大寺). Once the most powerful temple in all of Japan, guarded by the fierce Sohei warrior monks, its phenomenal rise eventually forced the Emperor to shift their capital from Nara to Kyoto to stop its growing influence.

After a long week of dull cloudy days, the sun was finally shining through. It was a Monday and I was hoping the crowd would be less compared to the weekends. The last time we were at the park, it was late in the evening and the temple hall had closed down for the day. Shrines and temple in Japan close down early around 5/5.30 pm depending on the season. The last entry time is generally around 30 minutes before closing time.

Mani & I walked down to Todai-ji along the route from Nara University. The lanes on this route are much peaceful compared to the regular thoroughfare via Kofuku-ji. The narrow lanes lined with vintage wooden houses adds to the nostalgia. After walking for about 10 minutes, we were at the Daibutsu-ike pond.

Nandai-mon Gate of Todai-ji

A few paces beyond the pond, we took a right turn to reach the Nandai-mon Gate – a large wooden gate watched over by two fierce-looking Asuras. Eighteen giant pillars, each of 21 m height, support the roof with the entire structure rising to about 25 meters above the stone plinth on which it rests. The Nandai-mon Gate is the largest temple entrance gate in Japan, complementing perfectly in scale to the huge Daibutsuden (Buddha Hall).

The original structure erected during the Nara period was destroyed by a typhoon in the Heian period (794-1185). The present gate, which dates to the Kamakura period (1185–1333), was reconstructed by Chōgen, the monk responsible for restoring Tōdai-ji, at the end of the twelfth century. The ridgepole was raised in 1199 and the structure was completed in 1203.

The Nio statues, positioned on either sides of the gate, were carved sometime in the 13th century by the sculptors Unkei and Kaikei. It is said they took only 69 days to carve out these immensely detailed wooden statues. The massive statues are about 8.4 meters in height and look particularly impressive at night when they are illuminated.

The statues represent the Nio Guardian Kings. Known as Kongo Rikishi , the statues, one with mouth open, the other with mouth closed, are said to represent life and death. In Indian mythology, these two guardian kings are referred to as Vajradharas or thunderbolt holders. I have researched in more detail about the history of Nio Guardians. You can read all about it here.

The 7m-tall wooden kongorikishi statues at Tōdai-ji in Nara were made by Busshi Unkei in 1203.

Just beyond the Nandai-mon, you can find the entrance gate to the main grounds of the temple. This gate however is opened only on special festive days. To enter the compound you have to take a left turn to the corner where you will find a smaller door that leads to the admission ticket booth inside.

Kagami-ike

Beside the gate, you can find the beautiful Kagami-ike pond. The pond features a tiny green island. On the island there’s a small shrine dedicated to three female kami, protectors of fishermen, called Itsukushima. The name of the pond implies its a mirror, and at a certain angle you can see the reflection of Todai-ji in the pond.

From the pond, we made our way towards the admission booth that lies inside the outer compound. The tickets cost us ¥600 per person. After buying the tickets, one has to go past a narrow gate, beyond which you will find a black Urn semi-filled with ashes. Three troll like creatures hold up the urn on their shoulders.

There is a small rectangular box adjacent to the urn called the saisen-bako, where you can drop some money that goes towards the upkeep of the temple grounds. You should avoid throwing your offering so as not to appear disrespectful. While it is less about the amount of the offering than the sincerity of your prayers, Japanese superstition dictates that certain yen amounts bring good or bad luck. Beside the donation box there are bunches of incense sticks. You can light up a few before offering your prayers.

The five-yen coin is considered a good choice for donation because it sounds like ‘go-en’, the Japanese word for luck. The ten-yen coin, however, is considered unlucky despite being worth twice as much because it sounds like ‘tou-en’, which means that your luck will be far away.

Standing at the urn and looking towards the Great Hall is a grand sight. Pictures cannot convey the feeling I had as I gradually started walking towards the main hall. I felt like a tiny tiny person.

Todai-ji’s grounds are spacious. Within the precincts of the temple are an array of other buildings in the hills, including halls and storehouses that spread over a big part of northern Nara Park. Visitors are not allowed to wander into these areas. As you walk towards the main hall, you will find a small structure to your right where you should wash your hands. It is not necessary but recommended.

Todai-ji’s main hall, the Daibutsuden (Big Buddha Hall) is the world’s largest wooden building.

Origins of Todai-ji

Buddhism might have its roots amidst the overwhelming Himalayas, it might have bloomed in the Indian districts of Gaya, but ultimately it found its home in the beautiful islands of Japan, specially in this small part of Nara.

The name Todai-ji literally means giant temple east of the capital. It served as an institute of higher learning for monks and as the headquarters of Kokubunji temples established by Emperor Shomu across the nation to propagate Buddhist teachings.

The reign of Emperor Shōmu extended from 724-749 CE. It was marked by several attempted coups and rebellions, as well as natural disasters and epidemics. Towards the later stages of his reign, he tried to be a virtuous ruler. He was inspired by his wife, who opened medical clinics and cared for the needy. He began to believe that Buddhism could bring protection, peace, and prosperity to his people.

There’s a document that verifies that a decision was reached by the emperor in 734 after he’d been worrying greatly about his leadership. Around that time, many people had starved to death after a series of natural disasters, including drought, famine, and a major earthquake. Such was the anarchy that people stole from one another to survive.

In 741, Emperor Shōmu issued an edict that said every province should have a monastery and nunnery. The system of monasteries was known as Kokubun-ji. In 743, the he announced plans to build a huge statue of Vairocana, the Cosmic Buddha.

History of Todai-ji

Todai-ji is the headquarters of the Kegon sect of Japanese Buddhism and Vairocana Buddha is considered by followers of the sect to be the spiritual body of the historical Buddha – Gautama Buddha or Sakyamuni. Construction of the Great Buddha began in 743. The 53-foot-high bronze statue was cast in eight stages. It included 500 tons of ornamentation made of copper, tin, lead, and gold. The casting process used up all the copper in the Japanese archipelago. The chief sculptor, Kuninaka no Kimimaro, was the son of a Korean immigrant.

Did you know: An artist named Kuninaka no Kimimaro led the original Daibutsu construction project

The vast temple was constructed as a symbol of imperial power and took over 15 years to complete. Once the casting was completed in 749, Shōmu gave up the throne and became a Buddhist priest.

The Daibutsu, or Great Buddha, was more than 60 feet high and included three million pounds of metal covered with gold. The original temple hall is said to have been even more spectacular. It is said that the original was 86 meters wide, so 29 meters wider than the current building. It incorporated a blue-tiled roof, white walls, and lacquered pillars. Built in the style of a Chinese palace building, the main hall had enormous red columns along with a yellow ceiling, green window frames, and a black tile roof. Two 90-meter-tall, seven-story pagodas stood at opposite ends of the from the hall. Both were destroyed over a period of time. The Great Buddha Hall was finished in 751 CE.

Fact-file: Its hard to imagine that Daibutsuden is now only two-thirds of its original size. Wonder how huge it was originally

The construction of Todai-ji and the bronze Buddha used up extensive amount of bronze, and by the time it was completed in 749, it had used up all of Japan’s bronze resources.

The Great Buddha and Tōdai-ji temple were consecrated in 752. The “eye-opening” ceremony was attended by visitors from the Asian continent. The 17,000 attendees included monks and nobles from Japan, as well as monks and dignitaries from China, Korea, and India. Of course, the reigning Empress Kōken was there. So was her father, the retired emperor Shōmu.

Though it was originally founded in the year 738 CE, Todai-ji was not opened to public until the year 752 CE.

Just before you enter the temple, you will find the Octagonal Lantern in the style of a Tachi-gata. The lantern dates from the time of the founding of Todai-ji. The distinctive large fire chamber (hibukuro) is covered with a sloping roof (kasa) surmounted by a jewel finial (kurin). It rests upon a stone base surrounded by small stone posts emanating from the pedestal. Eight panels makeup the fire chamber, ornamented with celestial musicians. The lantern contains four pairs of hinged doors decorated with lions running across clouds.

If you look closely you can find on one of the panels a representation of Krishna, a Hindu deity, playing his flute.

Myths surrounding Todai-ji

There are a number of mythical tales surrounding Todai-ji. I will share one of the interesting ones that is mentioned in the 12th century, Konjaku monogatari shu, a collection of folklores.

The story goes like – after Todai-ji was completed, Emperor Shomu desired to hold a dedication ceremony to consecrate its new statue of Buddha. A monk from India known as Baramon was asked to serve as the lecturer at the dedication ceremony. The priest Gyoki and the Emperor were still deliberating on who will read the sutras. Gyoki, himself being a monk of high regard, who became a monk at Asuka-dera, a temple in Nara, at the age of 15 and studied under Dōshō as one of his first pupils.

One night in his dreams, the Emperor was visited by a heavenly being and was told that someone will show up in front of the temple on the morning of the dedication ceremony. Whether he be a priest or a commoner, he or she should be the reader.

The next morning, the emperor confided in Gyoki, his dream and they sent a messenger to the gate of the Temple at dawn in front of the gate of the temple. It so happened that an old man came along, carrying on his back a bamboo basket filled with blue mackerel.

The emperor firmly believed in his dream and asked the old man to be dressed in religious robes and serve as the reader of the sutras. The old man protested that he just a fishmonger and not qualified for such a task. The emperor however would not accept his refusal.

Did you know: 2.6 million people were employed to construct the original Daibutsuden wood building

When the dedication ceremony started, the emperor had the fishmonger take a seat on the dias, beside the lecturer. The babboo basket with th fish was kept on the east dide of the hall. When the dedication ceremony ended, the fishmonger suddenly vanished into thin air. The emperor was not surprised at this as he had expected something miraculous to happen because of his dream. He asked his attendants to check the bamboo basket whis was still there. To their surprise, theu found eighty volumes of the Flower Garland Sutra in place of the mackarel. The local folk to this day beleive that the Buddha hiself had appeared to see through the ceremony.

It was March 14, 752 CE. From that day on, the emperor designated that day for an annual religious service called the “Flower Garland Sutra” service. And so the story was passed on through the ages.

At the entrance to the main temple building that houses the massive Daibutsu, lies another urn where you can light incense sticks and pray before entering. We paid our respects in front of the incense burning urn before entering the ancient building.

The massive building is somewhat darker inside with a pleasant smell of the incense. Inside lies one of Japan’s largest bronze statues of Buddha. The 15 meter tall Buddha represents Vairocana and is flanked by two Bodhisattvas.

After achieving enlightenment in what is now the small town of Bodh Gaya in Bihar, northern India, Buddha sat for a week in deep meditation and it is this pose that is represented in the giant statue. The current sitting Buddha statue is 72 feet high, weighs over 550 tons, and is covered with almost 130 Kg of gold.

To build such a large statue and buildings, workers had to dig down 2.5 meters over a 90 meters by 60 meter area, larger than a football field – just to find firm ground. Concrete-like layers of clay, ballast and sand were then placed on the firm ground similar to how the foundations of the Great Wall of China was built.

The Todai-ji Buddha has been severely damaged over the years. In one such instance in the ninth century, its head was knocked down during an earthquake. On two separate occasions, first in 1180, and again in 1567, its right hand melted in a fire that also ravaged the temple. The body of the statue was reconstructed in 1185, and the head rebuilt in 1692. The present statue is said to be only two thirds the size of the original.

Todai-ji’s Indian Connection

Todai-ji also has a strong connection with India, my home country. At the time, the Great Buddha and the Todai-ji were erected, many Indian monks were residing in China, teaching Dhamma and translating Buddhist scriptures into Chinese. In 730 CE the Japanese envoy to the Chinese court, met Bodhisena, a Buddhist monk from south India, and invited him to visit Japan.

After a long journey, Bodhisena and his fellow monks arrived in Osaka and later moved to Nara in the year 736. The monk Bodhisena helped spread the use of Sanskrit and establish Huayan Buddhism in the country. On the invitation of Emperor Shomu, when the temple was inaugurated, Monk Bodhisena took a huge brush and filled in the pupil of the eyes of the Great Buddha.

To the left and right of Buddha lies an image of Nyoirin Kannon; one of the 33 forms of Kannon (Guānyīn/ Avalokiteśvara, the bodhisattva of compassionate mercy). Nyoirin Kannon, the bodhisattva of the jewel and the wheel, presides over the six realms of karmic rebirth. The statues were added in the Heian period. These eighth-century statues at Todai-ji can be considered undisputed landmarks in the development of Japanese sculpture.

Here in a corner you can find a replica of the golden horn-shaped decorative roof piece that adorns the roof of Todai-ji, known as Shibi. These tail-shaped roof ornaments were first used in China, and became popular in Japan in the Asuka and Hakuhō periods (552 – 710).

They were positioned on the main ridge of temples and palaces, and were thought to provide protection against fire. Japan’s oldest Shibi can be found at Tōshōdaiji Temple in Nara and are dated to the 8th century.

As we walked towards the back, in the clockwise direction, there lies two towering 30-foot-high wooden statues of warriors. The first one we approached was the Kōmokuten (広目天). He is referred to as the King of the West. He is a Hindu deity incorporated into Buddhism as one of the four Shintennō, a group of fierce-looking guardian deities who protect the four cardinal directions of Buddha’s realm. The four are typically placed around the central deity on Buddhist altars. Kōmokuten protects the western quarter. Like the other members of the Shintennō group, Kōmokuten is typically dressed in armor and stands atop a demon.

The Kōmokuten are generally depicted holding a writing brush in right hand and a sutra in left – symbolizing the power of Buddha’s teachings to overcome ignorance, evil, and all obstacles.

On the other corner of the hall lies the Tamon-ten (多聞天). He is said to be the most powerful of the four Shitennō, with the other three serving as his vassals.

Tamon-ten protects holy places and places where Buddha expounds the teachings. He is generally depicted carrying a pagoda-shaped treasure house in his right hand (from which he gives wealth to only “the worthy”) and holding a spear with his left hand to ward off distractions. He is also believed to have a deadly dragon breadth which is why he always stands with his mouth shut.

In-between the two statues, towards the back of the Daibutsuden Hall, several detailed miniature models of the former buildings are on display.

Another popular attraction inside the hall is a pillar with a hole in its base. It is said that those who can squeeze through this opening will be granted enlightenment in their next life. Quite a few kids were going through in there. I had no chance but I did notice some adult Japanese trying their utmost and succeeding.

We went around a full circle around the Buddha statue and came up to the exit. Several souvenir shops can be found near the exit where they sell charms, hand-beads and other souvenirs.

Outside the hall, to the right of the temple is a wooden statue of Binzuru Pindola Bharadvaja, seated in the lotus position. One of 16 Arhats designated by the Buddha Sakyamuni at his death to keep spreading his teachings. There is a belief that the statue has a gift of healing. if one touches a part of the Pindola in the same part of his body where they have any health concern, it would get cured right away.

On a lighter note, because of its positioning, you cannot reach the back of the statue, so people with back problems can stay away!

According to local stories, one day, the Buddha asked Binzuru to visit a wealthy man whose family was plagued by evil spirits with simple instructions to exorcise the spirits. Binzuru banished the demons in the house. The wealthy man, being grateful, wanted to celebrate. After repeated offers of the drink, Binzuru capitulated to have one as not to be rude to his host. It was not long before he was all drunk and the spirits returned.

Buddha, hearing of this, banished Binzuru from his company. Binzuru, filled with regret, followed the Buddha around the country and sat outside the Buddha’s tent to hear his sermons. On his deathbed, Buddha, acknowledging his loyalty, called for Binzuru and forgave him. He commanded Binzuru to remain in the world as a healer. Binzuru thus always sits outside the temple, so people come to him to ease their suffering.

As we walked out, I noticed many omikuji tied along wooden posts. The omikuji are random fortunes written on white strips of paper at Shinto shrines and Buddhist temples in Japan. When people receive a negative forecast they tend to tie the omikuji at the temple to ward off the negative fortune.

It was truly a memorable experience visiting Todai-ji. I may not be a religious person but I love the wonderful tales these historic places tell.

We wandered around Nara Park all day spending some time at the Kasuga Taisha. The area also has some wonderful restaurants where you can indulge in local delicacies. In the evening, we went down to Ukimido to capture the lovely pavilion in the vivid colors of sunset. Once it was dark and the street lights began to come on, surrounding us in a romantic light, as we walked back towards the city.

I went back to Nara Park various times to capture the heritage site during the night. During these late hours, visitors are comparatively much fewer and it is easier to photograph these mesmerizing structures.

Todai-ji at Night

If you can come back in the evening, the park looks completely different. Late in the evening, the temple grounds close, but the gates around the park are brightly lit up. Apart from one or two people, the area is generally devoid of tourists. With no tourists around to feed them, the deer wander away down to the meadows to graze. This is the Nandai-mon Gate at night.

Past the  Nandai-mon Gate, I took some more shots of the main temple entrance gate.

A few paces to the east, the Todai-ji was also looking beautiful overlooking the Kagami-ike pond. It is because of this beautiful reflection on the surface of the pond that gets its name Kagami-ike or ‘mirror lake.’

You can find more pictures of the Todai-ji temple when I visited it on New Year’s Eve when the main hall is opened to the public even during the night.

Admission Timings

Apr – Oct : 7:30 – 17:30
Nov – Mar : 8:00 – 17:00

Admission Fees

Adult ¥600

Built

752 CE

Built by

Emperor Shomu

On the trail of the Ninjas of Iga Ueno

It was a grey Sunday. The clouds had enveloped Nara and everything appeared gloomy. We had plans for Kyoto but seeing the depressing weather, we decided to go a bit far to escape the elements and thus the plan to visit the Ninja town of Iga Ueno came to happen.

Iga Ueno is a small town located in mountains of western Mie. It is particularly famous as the birthplace of the Iga Ninja spies & the art of Ninjutsu, but it also hides within its boundaries a few other secrets.

The origins of the Ninja is somewhat shrouded in secrecy. The art was practiced by the Shinobi or Ninja that rose to prominence during Japan’s Sengoku period in the 14th-century, but then some records also show the practice to be around as early as the Heian Era (794 CE to 1185 CE).

Ninjutsu is a systemized art of warfare used by the Ninjas, for the specific purpose of espionage. Ninjutsu developed mainly in the regions of Iga in Mie Prefecture, and Koka in Shiga Prefecture in Japan. In the village of Iga, Ninjas honed their unique skills using psychology and pharmacology, combined with martial arts.

The Ninjas would infiltrate into the enemy’s ranks, undetected using their special skills, mostly with the objectives of scouting, and obtaining valuable information. Point to note that they were predominantly spies and not warriors.

Did you know that Ninjas have been known by different names during different periods of Japanese history. Today we know them as Ninjas, because that name stuck and became popular in the Western world.

Nara to Iga Ueno

To go to Iga Ueno from Nara, one has to catch a train from JR Nara Station to Kamo Station and then switch to a local train to Iga-Ueno Station. The route should be the same if you are coming from Osaka or Kyoto.

Tickets for the full length of the travel can be purchased at one go. It cost us ¥670 per head. The platforms have information boards in English as well Japanese, so it was not difficult to follow the instructions.

The ride to Kamo was uneventful. The lush paddy fields looked lifeless in the constant drizzle. At Kamo Station, a blue colored, two coach train was waiting for us. This connecting train would take us all the way to Iga Ueno.

The rain had relented by then, leaving behind a mysterious mist. A large group of kids dressed in scout uniforms joined us on the train bringing some cheer to the otherwise mundane coach.

After Kamo, the train tracks run parallel to the Yasu River. The ride through this part of Mie Prefecture is very-picturesque. It felt like going into a mystical land. We chugged across several bamboo forests and then into the mountains engulfed by the thick mist.

The group of kids got down at Kasagi Station. They were probably heading for the Kasagi Camping Grounds by the Yasu River. Quite a few tents could be seen right from the train windows, set up on the edges of the river bed.

We reached Iga Ueno Station by noon. The skies had cleared up a bit, but it was still gray all around. The outside of the station was desolate with not a person in sight. You can find a bike rental just beside the station, if you are interested. The staff at the station was very helpful. They provided us a map with directions and helpful markings, towards Ueno Castle.

If you are coming by train get down at Uenoshi Station which is located a mere five to ten minute walk from Ueno Castle.

The castle is about 3 km away from the station. It was going to be a long walk, but it was fun walking in the cool breeze, chatting away with my wife, Mani. Coming from a crowded country like India, it felt a bit strange seeing absolutely no people around. Even the petrol pump we passed was unmanned. Time and again a car would pass us by, and that was it.

A few minutes into the walk, a car stopped and an elderly lady walked out towards us. She offered us a ride to our destination, but we politely declined, as it was much more interesting walking nonchalantly past this desolate yet beautiful suburb. She was the only person I would see for the rest of the way.

Midway to the castle, we crossed the bridge over Hattori river. Hattori Hanzo is one of the most famous Ninja Grandmaster from Iga. The river was named after him.

A few minutes after passing the bridge, we found ourselves near a field of Cosmos flowers. Cosmos is the seasonal word for “autumn” in Japan. It’s Kanji “秋桜” means “autumn cherry blossom”. Fields of cosmos can be seen in many places in Japan because they are easy to grow as long as they get a lot of sunshine.

Just before the entrance to the castle park, we stumbled upon an orange colored post box. I haven’t seen one like these in India for quite some time now. It lends a nostalgic feel to the surrounding along with the old wooden houses.

The history of Japan’s mail box began in 1871. Over the years, predominantly in the urban areas, its shape has changed into a rectangular box shape and seeing this original version, felt like we were transported to a medieval world.

After walking some 40 odd-minutes from the station, we were finally at the Ueno Castle grounds. The area surrounding the castle is a park, and the atmosphere is very relaxing. Tall trees decorate the path all the way up to the castle.

The sidewalks were littered with acorns fallen from the trees. I picked up some for feeding them to the Shika deer in Nara Park. With no one to point us in the right direction, we just kept following the map.

Ueno Castle, Iga

After the moat, a winding stone staircase leads you up to the Castle. After the morning showers, the old stone steps were wet and had moss growing at the edges. It was quite slippery to walk so we took our time as neither of us were in a hurry.

At the end of the stairs, you can find the looming castle surrounded by Momiji trees. Unlike numerous other Japanese castles which were recreated in the twentieth century utilizing concrete, Iga Ueno Castle was revamped with wood just, giving it a wonderful, unique look and environment.

Construction on Iga Ueno Castle began in 1585 CE on the command of Takigawa Katsutoshi. His successor Tsutsui Sadatsugu built the honmaru and three level main keep. After the Battle of Sekigahara (1608), Sadatsugu’s lands were confiscated by the Tokugawa and given to Todo Takatora. Todo Takatora renovated the Honmaru, increasing the walls height to 30-meters, to fortify the defenses against any resurgence by Sadatsugu’s followers, which to this day remains the tallest among all castles in Japan.

We sat on a bench in front of the castle for some time staring at one of the most beautiful architecture, I have laid my eyes upon in recent times. Because of its pure white color and mesmerizing beauty, the castle is also known as “Hakuho” or “White Phoenix Castle.”

Todo Takatora’s main keep was originally never completed, so the current keep was created using designs from nearby structures.

Exhibits at Iga Ueno Castle

Iga Ueno Castle was designated as a national treasure in 1967. The castle has three floors, with historical artifacts displayed on each floor. The ticket booth in inside the castle on the first floor. Admission tickets cost us ¥500 each. Before you enter the castle, you will have to leave your shoes at the shoe stall near the entrance to the Hall. The first floor exhibits various armor and weapons used in battle.

The most important of the exhibits is a seated model of Todo Takatora and his famous hat, which is on display both as a replica, as well as the original behind a glass case. Just in case you’re wondering, Todo Takatora was the successor of Tsutsui Sadatsugu.

As an innovative architect for many castles, Takatora developed techniques for building bigger, stronger, cheaper Sotogata type tenshu keeps, being much faster and cheaper to build than the traditional Borogata style keeps. His castles were also famed for their steep, high walls, particularly those of Iga Ueno Castle. He also perfected the Masugata type, or Death Box of gate systems, greatly strengthening the defense of the many castles he designed.

Visitors can see the intricate details of traditional body armor and battle helmets up close as they walk through the exhibition room. Fortunately photography is allowed inside.

A sujikabuto is a type of helmet that occurred in the late Kamakura period and the Northern and Southern eras of Japan. Unlike a star helmet, it does not show the studs that hold the iron plates that form the helmet body, but twists the edges of the iron plates to make the joints look like streaks.

You can also find a miniature model of the Iga Ueno Castle among the exhibits.

Below you can find a couple of wakizashi swords on display at the museum. The wakizashi has a blade between 30 and 60 cm. The katana was the big or long sword and the wakizashi the “little” or companion sword. It being carried together with the katana was the official sign that the wearer was a samurai or swordsman.

The wakizashi is a traditionally made Japanese sword worn by the samurai in feudal Japan

Iga-yaki

An extremely narrow wooden staircase leads up to the second floor. This floor displays ceramic utensils from the Edo Period (1603-1868). Iga has a long history with ceramics and its utensils referred to as Iga yaki have come to be loved by many masters of the tea ceremony.

The history of Japanese ceramics began with Jomon earthenware, followed by Yayoi (300 BCE – 250 CE) and later in the Kofun period (300 CE to 538 CE) the technique was succeeded by Hajiware and haniwa terracotta figures. Iga yaki is a specially referred to the porcelain produced in this area, surrounding the city of Iga.

In ancient times, the ever-popular Lake Biwa, which is now limited to the Shiga prefecture, used to extended all the way to Iga. Over centuries, even though the lake gradually receded from the area, it left behind its rich clay. This clay fostered the production of Iga yaki, an art of earth and fire that has withstood the test of time.

Iga ware’s origins are believed to date to the second half of the 7th century and 8th century CE, during the Nara period (710-794). Shigaraki and Iga, which are adjacent to each other have had a close relationship since the medieval period in terms of pottery styles. Back then, there was not a significant difference between Iga ware and Shiga-raki styles. It was often said that there are “Handles on Iga, no handles on Shigaraki,” since the handle was almost the only difference that distinguished the products of the two localities.

The items baked at the time were mainly mortars and pots. These early Iga ware is referred to as “old Iga” (Ko-Iga). These usually had wavelike patterns made by spatula scraping or stamped lattice patterns.

The main point of divergence from Iga-ware came during the Azuchi-Momoyama period (1574–1600), when tea ceremony culture was also flourishing. Many distinctive pieces of Iga ware were produced at this time, including pieces with wave-like patterns that were created using spatulas or a technique of deliberately breaking the piece by hand to generate an “out-of-tune beauty”.

Characteristically, Iga ware has a asymmetrical beauty created by deliberately distorting well-shaped forms and making each piece unique. This style of Iga-ware was backed by Tsutsui Sadatsugu, feudal lord of what was then Iga province, and Takatora Todo, also a feudal lord. These kinds of pieces were particularly prized in tea ceremonies for the sense of wabi-sabi they evoked. The most well-known kilns were at Makiyama and Marubashira, in the Ayama district of Iga city.

Iga ware uses local clay which is extremely resistant to heat, reacts well to repeated firing, and is fired over three days in a kiln dug into the ground. The clay tends to have a high level of hardness and is created on a pottery wheel. The potter delicately uses a spatula to give curvature. This distinctive curve lets the flames lick over the round edge. Furthermore, tiny pebbles in the clay give it additional surface texture.

The surface texture of Iga ware comes about from the long firing at high temperatures whereby the ashes fall on the pots and turn a glassy green. Features such as ash glaze, black scorching, and cracks can all be seen as natural effects of the firing process. The reddish color of Iga ware is a result of the red flames hitting the grainy stone textured clay in the kiln. When moistened, the glassy green glaze on these vessels glistens, heightening the taste of foods or sake.

The lugs on an Iga ware vase are called “ears” (mimitsuki). Vases tend to be made out of rough clay, sometimes with tiny white stones added. In the past these were kneaded by hand, which gave it a distorted form and thus character, but later production by wheel also developed.

Iga-ware does not use applied glaze. Instead it is fired at a very high temperature in a kiln causing it to crystallize in a reddish hue, often with brown-grey scorch marks caused by log ashes called koge, and a translucent green ash glaze from the burning wood forms. This occurs when firewood ash melts at 1400 Celsius.

Since they are free of impurities, a clear jade translucent glass called biidoro is created. Sometimes the biidoro glass coagulates to form a globule called a “dragonfly eye.” The clay’s durability means it can be fired multiple times without cracking, sometimes up to three times. The ash glaze builds up in layers and produces a translucence which does not form in modern gas-fired kilns.

The walls on this level contain pictures of some of the most important castles in Japan. While Mani was checking out the artifacts, I was taking mental notes of the castles I must visit on my next trip to Japan. From here a wooden staircase leads to the observatory on the third floor where visitors can gaze upon the whole town.

It was a bit early for the Fall, but in the mountains, the leaves had already started to change color.

Iga-ryu Ninja House

After coming out of the Castle, we walked around on the grounds. We came across a souvenir shop. It was a bit crowded, so we decided to come back to it later. A few meters beyond the shop we reached the Ninja House. Tickets to the Ninja House costs ¥700 each. They organize an immersive Ninja martial art demonstration for visitors.

The Iga-ryu Ninja House is maintained by actual descendants of Ninjas. The innocuous house is full of smart contraptions, such as trick doors (Shikakedo), secret passages (Nukemichi) and even false floors to hide weapons. A lady guide, dressed as Kunoichi (female ninja), demonstrated to us how these were used by the Ninjas to avoid conflict or overpower stronger foes.

Room by room, the lady showed us how the Ninjas set up hidden traps in preparation for enemy attacks. Ordinary-looking walls that revolve so Ninjas could hide behind to attack unsuspecting enemies. Hidden escape routes that secretly lead outside of the house. It was fun!

The annual “Iga Ueno Ninja Festa” is held from 1st April to 4th May. During that time the city comes to life with many exhibits, competitions and the opportunity for the visitors to practice their Ninja skills.

Iga-ryu Ninja Museum

After the marvelous show at Ninja House, we walked towards the Ninja Tradition Hall. The Ninja Tradition Hall is a place where visitors can learn about the history of Ninja and look at documents and other materials. In the hall, various tools are displayed, including weapons, code books and gunpowder.

I found some peasant dolls near the entrance. If you are interested in Japanese dolls, try to visit the Saitama Doll Museum.

Here we can see various types of weapons on display, that the Ninjas used. Makibishi are sharp spiked objects that were used in feudal Japan by the Ninjas to slow down pursuers. These iron caltrops could penetrate the thin soles of the shoes such as the waraji sandals that were commonly worn in feudal Japan.

The most popular, Shuriken (throwing blades) are on display here. Also known as throwing stars or ninja stars, the Shuriken were originally designed in many different shapes.

These weapons were thrown to inflict a wound on the enemy. Ninjas used to poison the edges of the blade of Shuriken to make it more potent. Although the range of Shuriken is short about 6 to 7 meter with an expert, it could be said that Shuriken was an excellent weapon in times of eluding pursuit.

You can also find the Sojin-gama tools here. The Sojin-gama was originally a farming tool but could easily double up as a weapon. Because of its use in farming, Ninjas could move around with it without arousing any suspicion.

Here we see a Mizugumo on display. The devices were worn on the feet to walk on water. However it was not really meant for walking on water but though marshy areas where regular shoes would stick in the mud .

Towards the end of the hall is the museum shop, Ninjabo. They sell various ninja goods, including ninja stars. We bought some souvenirs from here.

On our way back we stopped at a Ramen shop for lunch at the Aikat-tei restaurant. The restaurant lies inside the castle grounds near the museum.

After lunch we walked across to the souvenir shop and bought a few gifts. We wandered around the grounds for a bit and then started on the long walk back to the Iga Ueno Station. The old, meandering streets were still very empty, which was kind of nice as we could enjoy the old houses without the usual crowds.

On the way we stopped for a bit at a Mall along the road. I bought some Meiji chocolates for gifting friends in India and then we were back on the road to the train station. As we walked past the Hattori river, it was looking lovely in the dying sunlight.

The clouds had gathered again. The sun was fighting with the thick clouds to take a peep at the Earth by the time we reached the station. The local trains are scheduled every hour, so we had to wait for a while before the train came along.

From the train, I took some beautiful dusk shots as we headed back to Nara.

Thanks for reading. Please leave me a comment if you liked the post or follow my story as I visit the home of Buddha – Todai-ji.

Built

1585 CE

Built by

Tsutsui Sadatsugu

Admission Fees

¥ 500  (Castle only)
¥ 1500 yen (Castle, Ninja Museum and Danjiri Kaikan)

Which is the nearest station to Iga Ueno Castle

Ueno Castle is located a five to ten minute walk north of Uenoshi Station.

Hanging out in Kyoto

Weekend was finally here. I had been slugging long nights working during US business hours and needed a break badly. We had been planning to visit Kyoto during one of the extended weekends but it was impossible to get a hotel booking. Eventually we decided to just go, roam around and come back the same day. Its hardly an hour away anyways, less if one uses the Limited Express trains.

We got up early, had a light breakfast and walked down to Kintetsu Nara Station. We caught the Limited Express to Kyoto, it cost us ¥ 1300 each. You can also catch a train from JR Nara Statation, whichever is closest to you. Its almost double of the local train, but being an express train, its about 20 minutes faster.

The train arrived in a few minutes. The seat numbers and the platform were printed on the ticket, so we didn’t face any difficulty boarding the train. The Kintetsu Nara Station is underground. The train rose above the ground a few minutes into the journey. It cruised past most stations only stopping at a handful and were in Kyoto in 35 minutes.

Day tour of Kyoto

Nara is a quiet city. Coming from there, I was taken aback by the bustling crowd at Kyoto Station. We walked down to the Information Center. A guy at the counter gave us a map and a bus information sheet. The sheet contained various permutations for sightseeing the interesting places in Kyoto along with respective Bus numbers. He also provided us with an all day bus pass for ¥ 500 each.

Nijo Castle

The first stop on our route was Nijo Castle. It takes around 20 minutes to reach the castle from Kyoto Station. As we got down, I was a bit disappointed seeing the entrance gate covered up for repairs. Thankfully it was only the front gate that was being repaired. The admission tickets cost ¥ 600 per person. A wide gravel path took us towards the main gate of Ninomaru Palace inside the castle.

Nijo-jo is a flat land castle. It was constructed in 1603 CE as the residence of Tokugawa Ieyasu. Tokugawa Ieyasu(1542-1616) was the founder and first shogun of the Tokugawa shogunate of Japan. The castle consists of two concentric rings of fortifications, the Ninomaru Palace and the ruins of the Honmaru Palace.

The sun was playing hide & seek. We stood near the beautifully crafted gate decorated with lavish quantities of gold leaf and elaborate wood carvings trying to get a clear shot of the gate. Eventually we surrendered to the steady flow of people and went inside the Ninomaru Palace. One has to take off their shoes to go inside the palace. Photography is not allowed inside.

The Ninomaru Palace is famous for its “nightingale floors” which were designed to squeak when stepped on and thus alert guards to any intruders. Inside, we came across a huge room with  life-size sculptures depicting the shogun meeting the warlords (Daimyo). The Ninomaru Palace contains gorgeous paintings on the walls. They are painted in rich colors depicting flowers, trees, birds and tigers. I was surprised not to see a single furniture in any of the chambers. Mani reminded me, the Japanese didn’t use any, in ancient times.

As we went deeper inside the castle, I observed some of smaller chambers were painted differently. A plaque before us told us that the shogun used to have different guest chambers for each season. Each of these chambers were painted differently, to give a feel of that particular season. These paintings are said to be created by the revered artist Kano and his sons.

After touring the Ninomaru Palace, we took a leisurely stroll through the wonderful Seiryu-en Garden, which surrounds the castle. The castle grounds houses a beautiful rock pond with a tiny waterfall.

A narrow path led us to a bigger garden with groves of plum and cherry trees. Another deep moat surrounds the remains of the Honmaru Palace. A stone bridge over the moat went inside the castle.

I wanted to roam around a bit more on the grounds, so we didn’t go inside. We circled around the castle and reached the rear gate. The rear gate was huge, with thick wooden doors.

Past the stone walls, a staircase leads to a high lookout point. From here one can keep a good watch over the inside moat and the gardens.

We roamed around in the garden for some time and then headed back to the bus stop for Kinkaku-ji.

Opening hours:
8.45am-5pm, last entry 4pm

Closed:
Tuesdays in December, January, July, August, and December 26 – January 4

Admission:
Adults: 600 Yen

Kinkaku-ji

The bus dropped us off in front of the temple. We were hungry from all the walking so we sauntered down the road looking for an eatery. There are rows of restaurants. Mani wanted to have Soba Udon so we hunted around a bit for one that served. After a warm light lunch, we walked back towards  Kinkaku-ji.

Kinkaku-ji was built in 1393 CE as a retirement villa for Shogun Yoshimitsu Ashikaga (1358-1409). He intended to cover the exterior with gold, but only managed to coat the ceiling of the third floor with gold leaf before his death. The shogun lived here in luxury as Kyoto’s people suffered from severe famine, earthquakes and plague. After Yoshimitsu’s death, as indicated in his will, the building, officially named Rokuon-ji was converted into a temple of the Zen sect of Buddhism.

Kinkaku-ji burned down several times during the Onin War. In 1950, the Golden Pavilion got burned again, this time by a fanatical monk. The present temple structure dates from 1955, which was rebuilt true to the original except for a significant enhancement: both upper stories are covered in gold leaf, in accordance with Ashikaga’s original intentions. In 1987, the temple was re-covered in gold leaf five times thicker than the original coating. Recognized by UNESCO as a World Cultural Heritage, Kinkaku-ji is one of the historical buildings most representative of Japan.

As we neared the temple the crowd also grew. Kinkaku-ji must be on everyone’s “must-see” list. This was the only place where we had to get in a queue for admission tickets. The entrance was packed with hoards of tourists. As we went inside I was finding it difficult to even move freely, such was the crowd. A few meters inside I understood why!

My eyes transfixed on the Golden Pavilion (kinka-ku), sitting picturesquely in its garden at the edge of a lake. The pavilion extends partially over the pond and is beautifully reflected in the calm waters from here. I slowly pushed and shoved till I was able to reach the railing overseeing the lake. We stood there admiring one of the most beautiful sights in Kyoto. No wonder there is so much crowd!

We walked up the path getting closer to the temple. The wooden pavilion has three stories surrounded by balconies, the upper two of which are completely covered in gleaming gold leaf. The shogun only managed to gild the interior ceiling, but he always intended to cover the outside as well. In addition to its worldly treasure, Kinkaku-ji is highly valuable because it is a shariden, housing relics of the Buddha. The first floor of the pavilion, known as the Hôsuiin (“Temple of Dharma Water”), is built in the shinden style  associated with 11th-century Heian nobility. The walls separating it from the balcony only rise half-way, allowing plenty of light and fresh air into the room.

The second story, called the Chôondô (“Tower of Sound Waves”), is built in the buke style of samurai houses. It houses a statue of Kannon. The third floor of Kinkaku-ji is built in the style of a Buddha Hall in a Zen temple and is known as the Kukkyocho. It has round-headed windows and is more richly ornamented than the other floors. Inside, it shelters an Amida triad and 25 Bodhisattvas. The roof is topped with a golden Chinese phoenix.

As we walked towards the back, I saw a rock garden called Kyoko-chi, surrounded by the pond with Koi fishes swimming in abundance. We walked around the temple grounds. At the back there are few souvenir stalls. Some locals were selling crackers and wasabi nuts. I just love Wasabi Nuts! It was a wonderful experience at Kinkaku-ji, but I would have preferred less crowds. It was early evening and we hurried towards our next stop.

Opening hours:
9.00am-5pm, last entry 4pm

Closed:
Open all days

Admission:
Adults: 400 Yen

Kiyomizu-dera

We were a bit out of time, so we skipped Ginkakuji and headed straight to Kiyomizu-dera. On the way we passed Gion. Mani wanted to go there, we plan to go there next time we are in Kyoto. It was almost 4 by the time we reached Kiyomizu-dera bus stop. It’s a long walk to the temple. The narrow alley is lined with sweet & souvenir shops. Hundreds of girls in kimono going up the path. It was like a festival.

Kiyomizu-dera, officially Otowa-san Kiyomizu-dera is an independent Buddhist temple in eastern Kyoto. The platform of the main hall, which is supported by 139 giant pillars.

Located halfway up Otowa Mountain in the eastern part of Kyoto City, Kiyomizu-dera is a historic temple that was established in 778 AD. Since its inception, the temple has burned down many times. Most of the current buildings were rebuilt by the third Shogun Tokugawa Iemitsu in the early Edo period.

The Main Hall (Hondo) of the temple is designated as a national treasure. The temple has many other important cultural properties including the Deva gate, west gate, three-storied pagoda and bell tower. In 1994, it was registered on the UNESCO World Cultural Heritage List as one of the Historic Monuments of Ancient Kyoto.

The two most famous places of the temple are the Main Hall, where the Eleven Headed and Thousand Armed Kannon Bodhisattva – which is famous for the power of answering prayers – is enshrined and Kiyomizu Stage, which is the veranda of the Main Hall extended over a precipice which affords a spectacular view of the town of Kyoto. Along the ravine to the south of the main hall grow cherry and maple trees. This temple is known for its cherry blossoms in the spring, and its red leaves during the fall.

Kiyomizu-dera (the temple of clear water) was named after Otowa Waterfall. Water from a spring in the mountain has been falling there since its foundation. We went down to the Otowa-no-taki, the waterfall where visitors drink for health, longevity, and success in studies. Many visitors had lined up for same and a small queue had built up. After taking a sip of the cold Otowa water we headed towards the three-storied pagoda. In the failing light, the crowd had petered down and we were able to get some good pictures of the pagoda.

It gets dark very early in Japan. By 5 p.m. it was already very dark. We head back to the bus stop. One the way we stopped for some shopping. The shops were closing down fast. In the little time we got, Mani bought me a Yukata. We also bought a pack of  local sweets. While walking back, a guy was selling cuttlefish tempura. It was a bit cold and I totally enjoyed the warm fish.

The bus back to Kyoto Station was extremely crowded. I haven’t been on such a crowded bus since my younger days when I used to go to office in Kolkata.

We took the regular train to Nara. Its cheaper by half (670 Yen), though it took us around an hour to reach Nara. There are days and this was one of “those” days. It was memorable to visit Kinkaku-ji, watching the girls in Kimono on the streets leading to Kiyomizu-dera, and lovely Japanese food.. I sure am having the time of my life 🙂

Opening hours:
6.00am-6pm, last entry 4pm (closing time differs according to the season: http://www.kiyomizudera.or.jp/lang/01.html#menu02)

Closed:
Open all days

Admission:
Adults: 300 Yen

Photo Walk to Kasuga Taisha

The sun was shining again and I didn’t want to miss out on an opportunity to explore Kasuga Taisha. We had missed going inside the shrine on the day we went for a walk in the Nara Deer Park and it looked like a lovely day to fix it.

Kasuga Taisha was built in 768 CE by Lord Fujiwara, by the order of Emperor Shotoku. It enshrines four gods from important shrines around the country. From the 8th century, as the Fujiwara dynasty grew in clout, the Kasuga shrine also prospered. Kasuga Taisha became so powerful that even Emperors came to worship here. During that time, the Fujiwara clan wielded such huge amount of political influence that some emperors even married daughters from this clan.

I had stashed up a handful of acorns the day before when I was at Toshodaiji. As I walked past the Deer park, herds came running towards me with needy smiles. After feeding them, I sat in the park for a few minutes with my camera bag doubling up as a back pillow.

The deer gleefully loitered in the verdant greens, munching on the soft grass. It was funny sometimes as they would head-butt the visitors with senbei in their hands and chase them around the park.

The males would keep an eye on the females and if anyone wandered too far they would run after them screeching at them to rejoin the herd.

After an hour of lazying in the soft sun, I started towards the Kasuga Taisha shrine. The road to the shrine goes through a truly primordial forest. The wide gravel path is lined on both sides with hundreds of moss-covered stone lanterns. These lanterns numbering around 2000, are lit during Lantern Festivals in early February and mid August, which must be an awe-inspiring sight.

At the gate, a pair of Shishi, lion-dogs stood guard. The lion-dogs also called Koma-inu, traditionally stand guard outside the gates of most Japanese Shinto shrines. In contrast, the Buddhist temples are typically guarded by the Nio Protectors. As guardians outside the shrine gate, one Shishi is depicted with its mouth open, to scare off demons, and the other with its mouth closed, to shelter the good spirits.

A few minutes up the path is the main entrance. The whole shrine is painted in bright red with green accents. I stood near the entrance to get a clean shot without people, but they just kept streaming in. The priestesses were dressed in lovely red & white Kimono. Near the shops, you can find some ema wood planks hanging with prayers from the visitors.

Near the gate the fortune-telling stalls were doing good business. The outer area is free, but to enter the shrine, one has to pay an admission fee. After waiting for some time, once the crowd thinned out, I went to the admission booth. The ticket cost me ¥500. Inside the path is marked with arrows for tourists.

While outside all lanterns are made from stone, the ones inside are cast in bronze. Some of them are covered with gold leaf. The architecture of the Shrine is known as the “Kasuga style” due to the unique shape of its roof.  

According to Japanese Shinto rituals, shrines were generally destroyed and rebuilt every 20 years for purification. So, technically the current structure as of today is the 57th Kasuga Shrine, an exact reconstruction based on the original layout.

Main Lantern

The first hall I walked into was the prayer room or Kyojyo. A priest was reciting Sutras. Shinto worship is highly ritualized, and follows strict conventions of protocol, order and control.

Past the prayer room, I reached a corridor lined with many bronze lanterns.

At the far end of the corridor was a closed room. The room was dark and dimly lit by the lanterns. It was an un-earthly experience inside the room. I had to really crank up the ISO to take this shot.

I circled back towards the front area. There I found many more golden lanterns hanging in a neat row.

To the left of the front building was another path. I followed it towards the back of the shrine.

There are a couple of smaller shrines towards the back, surrounded by thick green grove. I walked around taking some pictures.

It was evening and time for me to head back to the university cafeteria for an early dinner.

Admission Timings

6:00 to 18:00 (April to September)
6:30 to 17:30 (October to March)

Admission Fees

¥ Free (outer area)
500 Yen (inner area)

Built

768 CE

Built by

Lord Fujiwara, by the order of Emperor Shotoku

Hit enter to search or ESC to close

Popular Travel Topics

Beaches Castles Culture Hokkaido Honshu India Japan Kansai Kanto Karnataka Nara Sunset Tamil Nadu Temples Unesco World Heritage Site