Basic Informations of Nara
Japan's first permanent capital was established in the year 710 at Heijo, the city now known as Nara. As the influence and political ambitions of the city's powerful Buddhist monasteries grew to become a serious threat to the government, the capital was moved to Nagaoka in 784.
Nara is located in the Kinai plain, less than one hour from Kyoto and Osaka. Due to its past as the first permanent capital, it remains full of historic treasures, including some of Japan's oldest Buddhist temples.
The Famous Ancient Temples and Shrines of Nara Reflect the Everlasting History of Japan.
Nara was the glorious capital, "like a fragrant flower in full bloom," as an ancient poet once described it. Nara was the cradle of the great Japanese arts and the essence of culture in the long-ago Tempyo Period. The old, world-famous temples and shrines of the province of Yamato (presently Nara Prefecture) have handed down to us their precious history. Among others, the cathedrals of Todaiji, Kofukuji, Yakushiji, Toshodaiji and the Kasuga Grand Shrine are settings where one can encounter the rich, elegant ambience of the Tempyo Culture. As you go through the corridors, and glance at the tiled roofs of these cathedrals, the Tempyo Culture will make you forget all about time and space, and will whisper to you about the old days of well over a thousand years as though they were yesterday.
The Buddha in Nara
Nara is also a treasure-house of the Japanese arts. Since the introduction of Buddhism, the Buddhist Images played particularly important roles in creating special "Plastic Arts" in the artistic fields of Buddhism.
The formative (plastic) beauty of our country has been created from the change from the youthful appearance of the Hakuho Period through the gorgeousness and maturity of the Tempyo Period, the delicacy and grace of the Fujiwara Period, and finally to the vigorousness and animation of the Kamakura Period.
The standing dry lacquer figure of Ashura enshrined in the Kofukuji Temple, a masterpiece of the Tempyo Period; the standing Eleven-Headed Kannon (the Goddess of Mercy) enshrined at Hokkeji Temple, a representative product of the Jyogan Period, during which the craftsmanship of wooden carving was popular; and many other famous Buddhist Images are extant in the ancient city of Nara.
As one stars at the face of the Buddha, one gets the feeling that the statue will begin talking at any moment. It is probably true that the passion with which many people make wishes to the Buddha, are in the mind of the Buddha.
Significant Traditional Events in the Ancient City of NARA
As Nara is known as the home of Japanese history and culture, it is not surprising that its traditional events, which are carried out throughout the year, are indeed colorful.
From the Ceremonial Burning of Wakakusa-yama Hill (whose flames illuminate an evening sky in winter); to the Memorial Water-Drawing Ceremony of Nigatsudo (February Hall); through the summer performances of the Firelight Noh (the perfection of that art, performed with an open-air fire for a background); and the Kasuga Grand Shrine Lantern Lighting Ritual (in which about 3,000 stone and hanging bronze lanterns are all lit at once, forming a simple yet elegant atmosphere); to the Deer Antler Cutting Ceremony in the fall; it is no exaggeration to state that the four seasons are beautifully colored by the numerous traditional events that add a sweet innocence to the charm of Nara.
The Fragrance of the Four Seasons in Nara
Nara is the cradle of Japanese culture and the spiritual home of the Japanese people, keeping a beautiful harmony between history and nature.
In the spring, after the Water-Drawing Ceremony is over, the delicate cherry blossoms in the ancient city of temples and shrines begin to bloom all at once. Radiant greenness will cover the roof tiles of these cathedrals in the summer.
Later the ancient capital will be crowded with holiday-makers who seek the beauty of tinted autumnal showing the genuine nature of Nara.
The drama of Nara's four seasons undoubtedly paints its historical remains most colorfully and makes the elegance of an ancient city much more exquisitely attractive.
Arts and Crafts of Nara
Nara is the birthplace of the culture of Japan. Many traditional arts and crafts suited to the natural features and life style of Nara have been handed down to the present day. The techniques of the ancient artists who created the masterpieces designated as Important Cultural Properties have been preserved in this district. These refined techniques can be seen in the splendid works preserved in the Shoso-in (the depository for the treasures of Todaiji Temple) and various temples, shrines and museums. These works are not only magnificent, but also have a feeling of dignity and grace. The artists have given us works containing the essence of Nara, its culture, and its history. Traversing times the spirit of the artisan still exists.
WORLD HERITAGE
Heijo Palace Site
The extensive open space of lawn seen between Saidaiji Station and Shin-Omiya Station on the Kintetsu Line is the Heijo Palace, the center of Heijo-kyo Capital, which lasted for 74 years over the 7 successive reigns. The Palace was located in the northernmost area of the central Heijo-kyo Capital and, with an extended area toward the east, it had a total area of about 120 hectares. Containing the Daigoku-den and the Chodo-in for formal ceremonies, the Dairl as an emperors' residence, the To-in, and government offices with 8 ministries and 100 agencies, the Palace is considered to have been surrounded by mud walls and moats with a total of 12 gates, 3 gates being built in each direction. A continuous excarvation has been carried out by the Nara National Cultural Properties Research Institute since the 34th year of Showa(1959).
Moreover, the "Suzaku-mon," or the formal gate to the Heijo Palace, and the "To-in" Garden, or the site of aristocrats' banquets and ceremonies, were restored and have been open to public since April of the 10th year of Heisei(1998).
(Near the bus stop Heijo-kyuseki on the bus route for Saidaiji Kitaguchi)
Kofuku-ji Temple
The Kofuku-ji Temple, situated next to the Todai-ji Temple, was prosperous as a forerunner of "Buddhism for aristocrats" in the Nara period. Among the seven biggest temples of Nara, the Kofuku-ji Temple has developed through the closest relationship with the town of Nara. In the 3rd year of the Wado era (710), the Umayasaka Temple, the predecessor of the present Kofuku-ji Temple, was transferred from Asuka to the Nara capital by Fujiwara-no-Fuhito. Then, as a tutelary temple of the Fujiwara family, it extended its influence with the prosperity of the family. The temple was attacked by the Taira family in the fourth year of Jisho (1180), and most of the temple buildings were burned down. In the Kamakura period (1192-1333), however, the Fujiwara family took a position of the Military Commissioner of Nara, and eventually became so influential that they occasionally appealed to the Imperial Palace with soldier monks.
In the vast precincts of the temple are the Chukon-do Hall, the Tokon-do Hall, the Hokuen-do Hall, the Nan'en-do Hall, the Five-storied Pagoda, the Three-storied Pagoda, the Ooyuya Bathhouse, the Oomi-do Hall and the Treasure Hall, some of which were constructed in and after the Kamakura period. As for Buddhist sculptures, there are a lot of famus articles and masterpieces of the Tempyo era.
(5 monutes' walk from Kintetsu Nara Station)
Kasuga Grand Shrine
The Shrine lies in a primeval forest of cedars and a kind of Chinese black pines. The brilliant vermillon edifices are beautifully contrasted with their surrounding greenery. Going through the first and second Torii gates, you can see a lot of stone lanterns standing on both sides of the approach to the shrine. Going on further, you will find the south gate on the left. The main hall is located among trees behind the gate. From the gate a corridor extends to the left and to the right. A great number of lanterns hung from the eaves of the corridor are producing an elegant atmosphere.
In the 3rd year of the Wado era (710), when the capital was transferred to Nara, Fujiwara-no-Fuhito celebrated a mass for tutelary deities of the Fujiwara family, which is considered to be the origin of this shrine. In the 2nd year of the Jingo-Keiun era (768), shrine buildings started to be constructed here. Just like the Kofuku-ji Temple,shrine buildings were added, along with the prosperity of the Fujiwara family. In the first half of the Heian period (794-1192), shrine buildings were completed on the same scale as they are today. After the Middle Ages, the belief was prevalent among commoners, which is shown by the fact that various-shaped hanging lanterns and stone lanterns known as "Mantoro" were mostly the donations from common people.
The tutelary deities enshrined here are Takemikazuchi-no-Mikoto from Kashima of Ibaraki Prefecture, Futsunushi-no-Mikoto from Katori of Chiba Prefecture, Amenokoyane-no-Mikoto and Himegami from Hiraoka of Osaka Prefecture.
(10 minutes' walk from the bus stop Kasuga Taisha Omote Sando of Loop Line Bus of the city)
Kasuga-yama hill Primeval Forest
Gango-ji Temple
This edifice used to be a part of the priests' living quarters of the Gango-ji Temple, and was reconstructed as its main hall (National Treasure) and Zen hall (National Treasure) in the Kamakura period (1192-1333). The temple has attracted commoners since the Middle Ages. Numerous stone Buddhas and folk materials were discovered in the precincts. Thanks to the grand repair from the 25th to 29th year of Showa (1950-1954), we can enjoy appreciating the temple structures at the time of the Kamakura period's reconstruction.
In the storehouse are a small wooden five-storied pagoda (National Treasure), a wooden sitting statue of Amida Buddha, Chiko Mandala, an abundance of articles on folk belief, and so on.
(10 minutes' walk from Kintetsu Nara Station)
Yakushi-ji Temple
The establishment of the temple started in the 9th year of the Temmu era(680) with the wish of Emperor Temmu that Empress would recover from her illness. With the transfer of the capital to Nara, the temple was moved to the present site in the 2nd year of the Yoro era (718). As for the transfer of the temple, there are two theories, one being that temple buildings and images of Buddha were totally transferred to the present site, and the other going that only the name of the temple was transferred, and temple buildings and images were newly constructed on the present site. If the former theory is correct, the East Pagoda and the Yakushi Triad prove to have been made in the Hakuho period. But if the latter is correct, those are the works of the early Tempyo period. The two theories used to pose a controversial issue for the academic society of art history,but the latter theory has recently been predominant over the former. Two three-storied pagodas (the East Pagoda and the West Pagoda) are placed centering around the Golden Hall and Lecture Hall. The arrangement of the temple buildings is so unique that the style of this temple is called "Yakushi Style". A fire broke out several times and most of the buildings were burned down. The East Pagoda is now the only structure that was constructed at the time of the foundation of the temple. The other buildings including the Golden Hall were reconstructed, and finally in the spring of the 56th year of Showa(1982), the West Pagoda was completed.
The popular visiting course is to start from the station and begin with the Lecture Hall. Another course can be to go through the south gate and then visit the East Pagoda, the West Pagoda, the Golden Hall, the Bussoku-do Hall, Toin-do Hall,and the Lecture Hall in this order. After you finish visiting this temple, why don't you go to Toshodai-ji Temple?
(1 minute's walk from Kintetsu Nishinokyo Station)
Toshodai-ji Temple
This temple was founded in the 3rd year of the Tempyo era(759) by the Chinese Buddhist priest Ganjin Wajo, who, with the invitation of Emperor Shomu, came to Japan after going through all sorts of hardships. The whole temple, including the Golden Hall called "Tempyo-no-Iraka," the Lecture Hall and the Treasure Hall, still keeps its original appearance. The temple buildings are beautifully arranged, which shows us broad-mindedness of the people of the Tempyo era.
After the capital was transferred to Kyoto, the temple declined for some time. In the Kamakura period (1192-1333), however, the temple buildings were restored by the priest Kakujo, and in the Edo period, its edifices were repaired.
(5 minutes' walk from Kintetsu Nishinokyo Station)
Arts and Crafs
Nara Fude
Though early brushes of our country came from Han, Tang-style brushes of Nagaho were introduced by priest Kukai, who learned their making method in China. He is said to have had Sakaina Kiyokawa of Imai in Yamato Province make brushes following the newly-introduced method, and presented them to Emperor Saga and his crown prince.
Offspring of Kiyokawa engaged in brush making in Imai but later the center of brush making moved to Nara, where there was a large production of Sumi (India ink) and a high demand of brushes by temples and shrines.
Kukai's brush had its core made of tight-rolled hemp paper. The core is then covered thinly with hairy cloth. It is called Makifude.
Brushes without a core, which are used today, were first made in Genroku (1688-1704) of the Edo period. Hosoi Kotaku invented Suihitsu, which is made of hard and soft hair mixed and glued into one. Then this style spread, resulting in the manufature of such brushes in many parts of the country. Later other types of brushes called Sabakifude were invented as calligraphy got more popular. Now there are hundreds of types of brushes: large and small, long and short, and soft and hard according to the writing styles.
In October 1977, the Minister of Trade and Industry designated Narafude as "Traditional Art Craft" according to "the law on promotion of the traditional craftwork industry." Unlike Sumi, this type of brush is also produced in Hiroshima, Aichi, Sendai and Niigata, which are major places of production other than Nara nowadays, but Nara is still well-known to be the original place of writing brushes of our country, high-quality goods being its main products.
Nara Sumi
Sumi making is well reputed as a traditional industry in Nara. Its history and the large production of today's Sumi make it unique to Nara.
Sumi is classified into two kinds: one is "Shoenzumi" made from burned resin and the other is "Yuenzumi" made by burning rapeseed oil, sesame oil or paulownia oil. The manufacturing process of the so-called Nara Sumi, equivalent to Nanto-Yuenzumi, was brought back by Kukai together with writing brushes when he returned from China as Kentoshi (delegate). In Japan Sumi was first produced at Nitaibo of Kofuku-ji Temple in this method. Though Shoenzumi was produced even after the Fujiwara era in Kishu (Wakayama today) and Omi (Shiga), it was not produced any longer after the Kamakura period.(1192-1333).
Nara Sumi, which was made at Nitaibo, was given a reputation by Matsui Dochin (founder of Kobaien), who also made it into business of private sectors. From then on, one factory was built after another in Nara, which attracted high technology and skilled workers from all over the country, resulting in the decline of other production cities. Nara boasts 90 % of its national production today.
Akahada Yaki
n the mid-Edo period, Yanagisawa Gyozan, the owner of the Yamato-Koriyama Castle, invited china artists, Inosuke and Jihei from Kiyomizu, Kyoto, to rekindle the ceramic industry, and he protected and promoted the industry by exclusively using its products. People like Aoki Mokuto, a court doctor,who gained the title "Mokuto" by presenting Rakuyaki ware to Lord Gyozan, and Okuda Mokuhaku, who produced many masterpieces while managing a fancy goodsshop in Yamato-Koriyama City, made Akahada pottery popular nationwide. Today some artists try to give new perspectives to this technology, which is still loved as a native art of Nara.
Nara Sarashi
Though the origin of Nara Sarashi goes back to the age of Kojiki, or Records of Ancient Matters, it only became widely known in the early Edo period.
Then a man named Kiyosumi Sishiro improved this bleaching technology and gave it a sudden popularity. Until then Sarashi was mainly used for the clothing of priests and later of Bushi (warriers) as the material of their formal suits. Nara Sarashi manufacturing came to be such a big business that Ieyasu Tokugawa picked a habit of using it regularly and had to enforce a law to control its production and sale.
Nara Sarashi sees the completion of its white color and cool touch in the clean stream in the mountains after its pre-refined cloth is carefully woven from hemp thread for about one month. Therefore, Nara Sarashi is said to be given life by water running between mountain rocks, while quality cloth of Echigo is considered in need of good snow.
Because of its clean and elegant texture, it is used not only for the costumes of traditional performing art but for tea ceremony cloths, table centers with designs of treasures at Shoso-in Storehouse, and Noren (cloth dangling at the entrance to a Japanese restaurant).
Kogaku Men
Masks for Japanese classical music first came from China in the early 7th century (at the reign of Empress Suiko) as part of Buddhist art. Most of them are kept at temples and shrines in Nara today. The first masks to come were "Gigaku-men" for Gigaku (ancient mask show), replaced later by Bugaku (court dance and music) masks called "Bugaku-men." They were followed by "Gyodo-men," which were used at religious events and processions (Gyodo), through which Buddhist merits and ecstacy were given widely to the general public.
In the 11th century, as Nohgaku and Kyogen occurred and developed, uniquely Japanese masks were created. It was not until the modern age that these masks were imitated and made objects of artistic appreciation. Especially after the Second World War, they were no longer mere souvenirs of Nara, but came to be seen as art works of interior decoration and even sold at places like department stores, since people reconsidered ancient fine arts unique to Japan and found them full of conspicuous values.
Some artists are active in Nara, making wooden masks usable at Noh and Kyogen stages.
Nara Ningyo\
The colorful dolls that decorated Hanagaza (a hat adorned with flowers) of Den-gaku Hoshi (a performer of ancient ritual music and dancing) or Shimadai (an ornament on a stand representing the Isle of Eternal Youth) at Kasuga Wakamiya Festival, which started in late Heian period, are the first forms of Nara Dolls.
Afterwards, doll making developed as accessories to ceremonies of Kasuga and other shrines. It made rapid progress in the Azuchi-Momoyama period. During this time such rulers as Nobunaga, Hideyoshi and Ieyasu received gifts of dolls from various parts of the country. And "Tamon-in Nikki," or the diary by Tamon-in, says the foremost one from Nara was the Nara doll used for Noh performance and that it decorated wine tables, which were also beautifully colored. This was the time when "Sarugaku Noh," which originated in Sangaku, the oldest form of performing art of Chinese origin, established itself as Nohgaku. Accordingly, Nara dolls, which were for the most part Noh dolls, took their original form.
Around the mid-Edo period, Okano Shoju, whose family had been of doll manipulators for 13 generations, gained Nara dolls fame. And from late Edo through Meiji, Morikawa Toen, who was also a kyogen performer, enhanced the quality of Nara dolls to the level of an art.
Since around this time, Nara dolls have been called "Ittobori" (one cutter carving) and have been used for Kyogen like "Takasago," Bugaku like "Ranryo-oh," animals of Junishi (Oriental Zodiac), but currently, Hina dolls are quite popular as well. Nara dolls' charm lies in the mysterious harmony of their simple figure and their extreme but meticulous colors. Lately original artists of Nara dolls have appeared.
Nara Shikki
The lacquerware technology of our country reached its zenith as part of the Tempyo culture, which flowered together with Buddhism. This art was a mixture of various techniques including those seen in painting with lacquer, Raden (mother-of-pearl work), Hyomon (pasting thin gold or silver plates on lacquer surfaces),etc. All this created very beautiful eye-catching products.Probably, craftsmen of lacquerware came from China when finished products were imported, and they taught their technology in Japan. Many pieces of that age are kept at Shosoin Storehouse in Nara, so Nara is thought to be the birthplace of Japanese lacquerware.
In the Middle Ages, Nurishi (japanner), Urushiya Za (Japanners' union) came into being. Living and working at temples and shrines in Nara as building japanners, these technicians also made lacquer dishes. Some were masters of tea ceremony utensil japanning, while others worked on soldiers weapons.
Later in the Meiji era (post-feudal age) Nara Expo Company was founded, and the First Expo (1876), where precious furniture of Shosoin and other temples and shrines were exhibited, encouraged lacquer painters in Nara to make replicas of the displayed objects, which led to the restoration of Nara lacquerware. Of all kinds of lacquer technologies, Raden-nuri (unique japanningmethods in mother-of-pearl work) is seen exclusively in Nara.
MATSURI
All over Japan summer sets the stage for annual traditions of spectacle and ceremony. This season's matsuri (festivals) beseech the gods to stave off illness and insect scourges, ensure a bountiful harvest, and provide safe passage for spirits of ancestors returning home.
The Japanese celebrate this joyous supplication with dazzling decorations, float-filled processions, glowing paper lanterns, bursts of fireworks, music and drumbeat, costumes and sometimes carnival atmosphere. Join Kateigaho International on a pictorial tour of 15 summer spectaculars.
From one end of the archipelago to the other, festivals fill the calendar of summer-time Japan. Originally observances of the indigenous Shinto faith, matsuri evolved through the ages to include certain seasonal rites of Chinese Buddhist origin as well. These ancient celebrations continue to hold an honored and beloved place in contemporary Japanese life.
The Shinto deities are called kami, divine forces of the unseen world. In a mutually beneficial relationship, gods serve the people and the people serve the gods, giving them their due at the proper time and place and in ancient, prescribed ways. Matsuri are the culmination of this worship, providing people opportunities to offer the gods their prayers, gifts, reverence, and joy.
When Slovenian photographer Gorazd Vilhar first arrived in Japan in 1985, he was immediately attracted to the visual power of matsuri. Having grown up in a family of artists and steeped himself academically in art history, Vilhar is passionate about color, form, and detail. In fact, it is his boundless fascination with the aesthetic richness and iconic symbolism in traditional Japanese culture that has compelled him to remain here through the years.
Vilhar was delighted to discover that the genial atmosphere of festivals offers a welcome opportunity for closer contact with the customarily reserved Japanese. Perhaps emboldened by the celebratory spirit, communal goodwill, and some sanctified sake too, people suddenly become more sociable, less restrained. Matsuri are not secret rites for true believers or initiates only, but celebrations for all who care to attend.
Foreign visitors are unquestionably welcome, and their sincere interest in the proceedings is appreciated and enjoyed.
Though many countries have festival customs, Vilhar believes Japan's exceed them all. Not only are they far more numerous and varied here, but the ancient practices are also extremely well preserved. Considerable attention is devoted to the ritual attire and accouterments. The finest materials and workmanship are essential. Details receive painstaking care and enormous investments of money and time, clearly reflecting Japan's affluence and renowned dedication to quality.
The matsuri is many things to the Japanese people: an opportunity for communion with their gods and ancestral spirits; an avowal of their common past reaching far back into mythical times; a celebration of nature and renewal with the cycle of the seasons; and, not least of all, an excuse for exuberant merrymaking with family and neighbors, thereby reaffirming communal bonds and providing welcome relief from the work and routine of daily life. In the past, when life was difficult for most, well-being seemed wholly at the mercy of the kami. Yet even today, the sense of protection and security they offer helps explain their appeal.
For visitors to Japan, festivals can offer a window into traditional culture, providing unforgettable moments and memories. With their roots in the distant past, matsuri embody the continuum of form and heritage upon which Japan was built and provide considerable insight into a society striving to hold on to its identity in a fast-changing world.
