JAPAN TRAVEL: KAMAKURA! Day 3
Fantastic day trip south of Tokyo to the historic temple-peppered coastal town of Kamakura. Full of UNESCO sights, we decide to take in a couple of incredible complexes - Engakuji and Kenchoji. Then we hike the Tennin Trail up in the surrounding hills before getting down into Kamakura proper to find some food! And then back to Tokyo for some extra nibbles.
We ate:
Shirasu inari at Hannari Inari
Nameko Soba at Dotechou
Tsukemen at Yasubee
It really is an endearing and romantic little day trip from the big city and I would recommend it 100%
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Live in Japan - Nicolas Parent Trio - Engaku-ji Temple, Kamakura 鎌倉円覚寺
Nicolas Parent trio - Live in Japan
Engaku-ji Temple, Kamakura
ニコラ パロン トリオ、ライブ イン ジャパン
鎌倉円覚寺 2016年11月
• Guillaume Arbonville : Drums* / Percussion
ギヨーム・アルボンヴィル / ドラム＆パーカッシン
• Kentaro Suzuki : Double Bass
スズキ ケンタロー / コントラバス
• Nicolas Parent : Guitars / Composition
ニコラ・パロン / ギター、作曲
• Osamu Watanabe : Video + Son 撮影 渡辺治
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1) Silence サイレンス
2) Cinquième Sens 第五の感覚
3) Zyryab ジリヤブ
4) Train to Isalo イサロへの列車
5) Tori 鳥
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All right reserved © Nicolas Parent
* Guillaume Arbonville plays on TAMA DRUMS
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Japan travel - KAMAKURA
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???????? Takahata Fudo temple Tokyo 高幡不動
高幡不動 Takahata Fudoson is counted as one of three major Fudoson of Kanto area.
The area is especially famous for the hydrangea blossoms in June and maple leave in autumn
More info :
Todaiji Temple
Todaiji (Tōdai-ji, Eastern Great Temple),is a Buddhist temple complex located in the city of Nara, Japan. Its Great Buddha Hall (Daibutsuden), the largest wooden building in the world, houses the world's largest bronze statue of the Buddha Vairocana, known in Japanese simply as Daibutsu . The temple also serves as the Japanese headquarters of the Kegon school of Buddhism. The temple is a listed UNESCO World Heritage Site as Historic Monuments of Ancient Nara, together with seven other sites including temples, shrines and places in the city of Nara. Sika deer, regarded as messengers of the gods in the Shinto religion, roam the grounds freely.
Kamakura: Realism and Spirituality in the Sculpture of Japan
NEW YORK, January 29, 2016 — Kamakura: Realism and Spirituality in the Sculpture of Japan examines the interplay of realism and the sacred in more than thirty Buddhist masterpieces from the Kamakura period (1185–1333). (30 sec.)
Exhibition website:
Lotus_Mantra-Betsuin_Mandala.wmv
Nichiren Shu - Picture Mandala
Unkei and the Kei school
Highlights of sculptures from the Kei school of sculptors. (Kamakura period, Japan)
Unkei is without doubt most important sculptor of the Kei school It is impossible to exaggerate his importance to the world of Japanese Buddhist statuary. Unkei studied with his father Kokei, who was the head of the Kei school at that time. Later Unkei himself assumed the leadership, while all of his six sons also became sculptors. Unkei was a Buddhist priest and an enlightened human being.
Unkei and the Kei school
Video by Walther Sell, music performed by Walther Sell
Highlights of sculptures from the Kei school of sculptors. (Kamakura period, Japan)
In 1180, the major temples in Nara, the Todaiji, the Kofukuji and other temples were burned down during the Gempei war. By winning the Genpei war, the Minamoto clan was able to come to power and establish the first shogunate in Kamakura. A group of artists known as the Kei school was granted the opportunity to restore the Buddhist sculptures that were destroyed during the war. The Kei school's strong and traditional style earned it the favor of the Kamakura shogunate.
Chinese Temple Tour
Best Vegan Mayo!
Amazon Gift Card!
Fudō Myōō - 不動明王 (Japanology excerpt)
Excerpt borrowed from the NHK series Japanology. This episode focused on Japanese Buddhist sculptures, and offered a revealing & intimate look at the processes involved behind producing a large sitting Fudō Myōō (不動明王), using a form of the ancient complex sculpting-assemblage technique called yosegi zukuri (寄木造). The head sculptor is Matsumoto Myokei (松本明慶), the only modern and active daibusshi (great buddhist sculptor) from the Kei school (慶派) which can be traced back to the founding of the great Kamakura period in Japanese art.
Kamakura
Visita ao Templo de Kamakura
Unkei's Fudo Myo-o (運慶の不動明王)
Video taken on a quiet morning in early October 2011, where I was the only guest in the Ganjojuin for nearly an hour. The kind, elderly monk even left the temple and closed the doors behind him to give me some privacy. He asked me to not be shy about admiring these designated Important Cultural Properties up close (which are not even behind plexiglas or any other sort of barrier); a gesture that no museum can afford to offer. For that perfect hour, it was only myself and these early masterpieces of Japan's most celebrated sculptor. After having anticipated visiting this temple for over half a decade, I can attest that these works were far more beautiful in person than any web video or textbook photo could convey.
SEE ALSO:
(BISHAMONTEN)
(FUDO -MYO-O)
Sculpted in 1186 while the Kei school was bidding on the commission for replacing the statuary at the Todaiji in Nara, these relatively early works of Unkei are located at the Ganjojuin in the Shizuoka Prefecture. Fudo and his two boy attendants, Seitaka Doji (with the fierce expression) and Kongara Doji (with the innocent expression) were carved at a time when Unkei was receiving commissions to produce statuary for warring samurai classes in Eastern Japan.
Some scholars believe that these smaller commissions for feuding clans away from home strongly influenced the development of Unkei's strong masculine and bold style, which had been relatively unseen in the Nara region. About ten years later, the Kei school finally won the commission from the Todaiji, and in 1203 Unkei and Kaikei produced the most famous extant statues of the Kamakura Era, the Nio Guardians at the Todai-ji's Great South Gate.
Also seen here is a glimpse of Unkei's Amida Nyorai, which is the principal image of the rather small, intimate Gangojuin.
Unkei's Fudo Myo-o (運慶の不動明王)
Sculpted in 1186 while the Kei school was bidding on the commission for replacing the statuary at the Todaiji in Nara, these relatively early works of Unkei are located at the Ganjojuin in the Shizuoka Prefecture. Fudo and his two boy attendants, Seitaka Doji (with the fierce expression) and Kongara Doji (with the innocent expression) were carved at a time when Unkei was receiving commissions to produce statuary for warring samurai classes in Eastern Japan.
Some scholars believe that these smaller commissions for feuding clans away from home strongly influenced the development of Unkei's strong masculine and bold style, which had been relatively unseen in the Nara region. About ten years later, the Kei school finally won the commission from the Todaiji, and in 1203 Unkei and Kaikei produced the most famous extant statues of the Kamakura Era, the Nio Guardians at the Todai-ji's Great South Gate.
Unkei's Bishamonten (運慶の毘沙門天)
Video taken on a quiet morning in early October 2011, where I was the only guest in the Ganjojuin for nearly an hour. The kind, elderly monk even left the temple and closed the doors behind him to give me some privacy. He asked me to not be shy about admiring these designated Important Cultural Properties up close (which are not even behind plexiglas or any other sort of barrier); a gesture that no museum can afford to offer. For that perfect hour, it was only myself and these early masterpieces of Japan's most celebrated sculptor. After having anticipated visiting this temple for over half a decade, I can attest that these works were far more beautiful in person than any web video or textbook photo could convey.
Sculpted in 1186 while the Kei school was bidding on the commission for replacing the statuary at the Todaiji in Nara, these relatively early works of Unkei are located at the Ganjojuin in the Shizuoka Prefecture. Bishamonten standing atop two defeated jyaki demons was carved at a time when Unkei was receiving commissions to produce statuary for warring samurai classes in Eastern Japan.
Some scholars believe that these smaller commissions for feuding clans away from home strongly influenced the development of Unkei's strong masculine and bold style, which had been relatively unseen in the Nara region. About ten years later, the Kei school finally won the commission from the Todaiji, and in 1203 Unkei and Kaikei produced the most famous extant statues of the Kamakura Era, the Nio Guardians at the Todai-ji's Great South Gate.
Also seen here is a glimpse of Unkei's Amida Nyorai, which is the principal image of the rather small, intimate Gangojuin.
Unkei and the Kei school Part II
In October and November of 2017 the largest exhibit to date on the Japanese sculptor Unkei (Kamakura period) was held in Tokyo.
National Treasures of Yamato - Ungyo and Agyo (Todai-ji)
Vistas desde Hasedera, Kamakura, Japón
Vistas desde Hasedera, Kamakura, Japón
Beach Near the Temple in Kamakura by nerdtinkerer.com
Beach Near the Temple in Kamakura by nerdtinkerer.com
►More about the tour I was on at
Kamakura, a seaside town and one of the previous capitals of Japan, is home to some of the most beautiful temple grounds in the area. It also features a giant Buddha statue (known as a daibutsu), and a shrine where traditional wedding ceremonies are performed.
This tour was put together by the amazing folks over at
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Futasujihi Sadamune (二筋樋貞宗): Japanese sword dedicated to Fudo Myoo (不動明王)
This sword is a replica of the original sword, Futasujihi Sadamune (二筋樋貞宗), which is designated as Japan's Important Cultural Property. The swordsmith who made the original is Soshu Sadamnue (相州貞宗). Sadamune is from the late Kamakura period and is one of the ten high apprentices of Masamune (正宗). Futasujihi (二筋樋) refers to the two line-like grooves put parallel to the blade. The line-like groove, or hi (樋) in Japanese, not only has practical purposes such as strengthening the blade and making the blade lighter, but also is a representation of religious belief; more specifically, the two line-like grooves mimic the iron chopsticks used during goma (written in Japanese as 護摩, which is typically a fire ceremony held in veneration of Fudo Myoo, or 不動明王 in Japanese, in the context of Esoteric Buddhism). This sword was once held by Toyotomi Hideyoshi (豊臣秀吉), and is currently owned personally by an individual.
■ Fudo Myoo mantra: No-maku Samanda Bazara (da) Senda Makaroshada Sowataya (um) Tarata Kanman
■ Seven vows of Fudo Myoo worshiper (
We express our gratitude to the infinite compassion of the Fudo Myoo, and will do our best to follow the vows of the deity.
1: By following the servant nature of the Fudo Myoo, we will serve everyone in this world.
2: Based on the guidance provided by the rope of Fudo Myoo , we will help one another.
3: Based on the unwavering will of the Fudo Myoo, we will persevere all difficulties
4: Like the Fudo Myoo's furiously burning flame, we will continue to put in our very best efforts.
5: As a representation of Fudo Myoo's unwavering mind, we will concentrate and integrate our minds.
6: Based on the Fudo Myoo's wisdom represented in its sword, we will judge things correctly and find our true selves.
7: We will benefit from the Kaji (加持) power of the Fudo Myoo, and we wish to equally benefit from the power.
■ PRAJNA-PARAMITA-HRIDAYA-SUTRA
ADORATION TO THE OMNISCIENT!
The venerable Bodhisattva Avalokitesvara, performing his study in the deep Prajnaparamita (perfection of wisdom) thought thus: `There are the five Skandhas, and these he considered as by their nature empty (phenomenal)`.
`O Sariputra,` he said, `form here is emptiness, and emptiness indeed is form. Emptiness is not different from form, form is not different from emptiness. What is form that is emptiness, what is emptiness that is form.`
`The same applies to perception, name, conception, and knowledge.`
`Here, O Sariputra, all things have the character of emptiness, they have no beginning, no end, they are faultless and not faultless, they are not imperfect and not perfect. Therefore, O Sariputra, in this emptiness there is no form, no perception, no name, no concepts, no knowledge. No eye, ear, nose, tongue, body, mind. No form, sound, smell, taste, touch, objects.`
`There is no eye,&c., til we come to `there is no mind.`
(What is left out here are the eighteen Dhatus or aggregates, viz. eye, form, vision; ear, sound, hearing; nose, odour, smelling; tongue, flavour, tasting, body, touch, feeling; mind, objects, thought.)
`There is no knowledge, no ignorance, no destruction of knowledge, no destruction of ignorance,`&c., till we come to `there is no decay and death, no destruction of decay and death; there are not (the four truths, viz. that there) is pain, origin of pain, stoppage of pain, and the path to it. There is no knowledge, no obtaining (of Nirvana)`.
`A man who has approached the Prajnaparamita of the Bodhisattva dwells enveloped in consciousness. * But when the envelopment of consciousness has been annihilated, then he becomes free of all fear, beyond the reach of change, enjoying final Nirvana.
`All Buddhas of the past, present, and future, after approaching the Prajnaparamita, have awoke to the highest perfect knowledge. `
`Therefore one ought to know the great verse of the Prajnaparamita, the verse of great wisdom, the unsurpassed verse, the peerless verse, which appeases all pain - it is truth, because it is not false - the verse proclaimed in the Prajnaparamita; O wisdom, gone, gone, gone to the other shore, landed at the other shore, Svaha!`
Thus ends the heart of the Prajnaparamita.
* See Childers, s.v. cittam.
This translation of the Heart Sutra is Max Müller's.
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