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The Hojo, the head priest's former residence, has several tatami rooms with fusuma-e (Japanese sliding doors). They are painted with scenes from nature such as mountains, forests or animals.
It was a rainy and cloudy day that day, so the light wasn't very good. No tripod, so I made this one handheld. Despite the poor quality, I wanted to show it to you.
The Hoyo of the Ryoanji Temple (龍安寺 or 竜安寺, Ryōanji) , Kyoto, Japan
The temple and its gardens are listed as one of the Historic Monuments of Ancient Kyoto, and as an UNESCO World Heritage.
Different view of the Hojo, the head priest's former residence. Here you see all the tatami rooms with fusuma-e (Japanese sliding doors). They are painted with scenes from nature such as mountains, forests or animals.
I made a photo of a detail of one of the paintings.
On the left side, you go to the veranda to admire the famous Rock Garden. Straight ahead you can enjoy the beauty of one of the little gardens, another man in black is doing so ;-))
The Hoyo of the Ryoanji Temple (龍安寺 or 竜安寺, Ryōanji), Kyoto, Japan
The temple and its gardens are listed as one of the Historic Monuments of Ancient Kyoto, and as an UNESCO World Heritage.
I processed my previous photo "Detail of a painting" on one Japanese sliding door (fusuma) of the tatami rooms of the Hoyo of the Ryoanji Temple (龍安寺 or 竜安寺, Ryōanji), Kyoto, Japan.
It looks more like a blueprint now ;-))
Here you can see a photo with a total view from the Hoyo.
The temple and its gardens are listed as one of the Historic Monuments of Ancient Kyoto, and as an UNESCO World Heritage.
Chishaku-in temple was founded in the 14th century, is the head temple of Shingon Buddhism Chizan Sect.This temple has excellent Shoheki-ga (Fusuma-e) paintings that are National Treasures, as well as a wonderful garden.
... If I've Been Enveloped by Tenderness ...
-----
Kimono :
NAMINOKE : Sakura Kimono
NAMINOKE : Sakura Horns
Headpiece :
Zibska : Raban Set
Eyes:
Gloom. - Isekai Collection
all available at NEO-JAPAN SL Event
from 26 March to 17 April
- Landscaping & Animal Elements –
Konoha: Leucanthemum Cindy daisies
Konoha: Prunus Furisuki tree
Konoha: Bluebells
Air_Shidare Sakura (pink) flowers (on cats)
Foxwood - Chonky Kitty - Sit 2
Foxwood - Moon Kitty - Light – Sleep
Foxwood - Munchkin Kitten – Stand
Foxwood - Little Wild Cat – hold (on bed)
HPMD* LittleBird in Forest
Hideki Wooden Bear (on bed)
Siamese Oona, blogger’s own
- Decor Elements –
++Twilight++ Sakura Mankai (left, lantern holder)
Nutmeg. Dacha Crumpled Towel
ROIRO - Sakura vase maru & Sakura vase long
taikou / futon bed & tatami mat
{-Maru Kado-} fusuma screen doors
L
☑[SHIFUKU] Antique Kimono (beige)
☑BOILDEGG SUZUNARI MASK WHITE
R
☑[SHIFUKU] Antique Kimono (black）
☑=BENTEN-DOU= SCULL MASK
☑Butanik83 - SUZUNE Hair Ornaments
event：Japonica
♡I like the silhouette these clothes give me：)
☑kokeC fusuma aka okinawa gift→event：okinawa
☑[^.^Ayashi^.^] Evelina hair
Zen Practice Room – Shicchu 室中
locatiion : Daitokuji Temple Ryogenin, Kyoto city , Kyoro Prefecture,Japan
大徳寺 龍源院 方丈
Located in the centre of Hojo*,this is where the resistant abbot expounded on the Dharma principles of Zen Buddhism,or gave Dahma talks.
At times, ceremonies and the memorials were held here as well.
The inner area is called the Shinzen 真前（Front of the Truth）,and images of Masters Linji and Tokei,along with other objects,are enshrined here.
We attend to them as if they are still live here, and we hold fast to the first teaching of Zen Buddhism,Ho-on Sha-toku 報恩謝得( display gratitude for the kindness and virtue shown to us)
The illustration of the dragons and waves on the sliding partitions are in the Nanga Style南画(painting of Chinese landscape s by Japanese literati) from the early Edo period( early 17th century),but the identity of the artist is unknown.
- Ryogen-in
Hojo ( abbot's quarters) - constracted in 1502,during the Muromachi period .
Fusuma ( papered sliding door) Painting
location : The oldest zen temple Kennin-ji 建仁寺
Kyoto city,Kyoto Prefecture,Japan
The interior of the Myoko-an pavilion, a spot for contemplating the raked gravel garden (off to the left), or practicing calligraphy (at the tables shown), in the gardens of the Okochi Sanso villa in Arashiyama, Kyoto, Japan.
Okochi Sanso is the former home and garden of actor Denjiro Okochi. The house and other buildings and the gardens were built up over a period of 30 years, and were opened to the public after Okochi's death in 1962.
Sony FE 24-105mm F4 G OSS
41mm; 1/50 sec; f/5.6; ISO 800
It's where fondness
meets tranquility and
smiles shine bright.
Days with emotions
and memories made.
Always In the mind.
-------------------------------
Thanks for watching.
Gion.
Nato intorno al XIV secolo per accogliere i pellegrini in visita al santuario di Yasaka, Gion è conosciuto in tutto il mondo per essere uno dei quartieri di Kyoto in cui vivono tutt’oggi le geisha, “geiko” in dialetto locale.
Qui si concentrano numerose case da tè e “okiya”, dove le geiko e le maiko vivono.
Per questo motivo, le strade di Gion hanno conservato l’aspetto di una volta: tutti gli edifici sono ancora interamente in legno, con finestre rivestite in carta di riso e porte scorrevoli dette “fusuma”.
Passeggiare per il quartiere è come viaggiare indietro nel tempo e i più fortunati potrebbero addirittura incontrare delle geiko e maiko a passeggio.
Gion.
Born around the fourteenth century to welcome pilgrims visiting the Yasaka shrine, Gion is known throughout the world for being one of the districts of Kyoto where geisha, "geiko" in the local dialect, still live today.
Numerous tea houses and "okiya" are concentrated here, where the geiko and maiko live.
For this reason, the streets of Gion have retained the appearance of the past: all the buildings are still entirely made of wood, with windows covered in rice paper and sliding doors called "fusuma".
Walking through the neighborhood is like traveling back in time and the lucky ones might even meet some geiko and maiko walking around.
OHFP0395m
Higashiyama Kyoto Gion Geisha Maiko
Detail of a fusuma, a sliding screen door, at the Myoko-an pavilion, in the gardens of the Okochi Sanso villa in Arashiyama, Kyoto, Japan.
Okochi Sanso is the former home and garden of actor Denjiro Okochi. The house and other buildings and the gardens were built up over a period of 30 years, and were opened to the public after Okochi's death in 1962.
Sony FE 24-105mm F4 G OSS
95mm; 1/100 sec; f/5; ISO 1000
The Japanese-style room with royal blue walls,lovely KIMONO tapestries, and painted Fusuma doors.
location : Higashi Chaya District( Higashi Chayagai), Kanazawa city, Ishikawa Prefecture, Japan
金沢 東茶屋街 お茶屋
location : Daikakuji temple 大覚寺
（note: This is Daikakuji Temple, not Nijo Castle.
這是大覺寺，不二條城 ー撮影場所は二条城ではなく
嵯峨野の大覚寺です。 )
Fusuma painting 紅白梅図 by Kanō Sanraku
Kanō Sanraku (狩野 山楽, 1559 – September 30, 1635) was a Japanese painter also known as Kimura Heizō (his birth name), Shūri, Mitsuyori, and Sanraku. Sanraku's works combine the forceful quality of Momoyama work with the tranquil depiction of nature, and they have a more refined use of color typical of the Edo period.His father was the painter Kimura Nagamitsu who flourished circa 1570, and he was born in Shiga Prefecture and died in Kyoto.
Sanraku worked for Toyotomi Hideyoshi in the 1570s,which led to him studying under and being adopted by Kanō Eitoku.Sanraku was the half-sibling and teacher of Kanō Sansetsu, and became Eitoku's son-in-law and later the head of the Kanō school.When Sanraku had no son he married Kanō Sansetsu (1589–1651) to his daughter and adopted him. Sansetsu and his school remained in Kyoto when most Kanō artists moved to Edo (often after a summons from the shogun), and he continued to adhere to the brightly coloured style of the Momoyama period. His son Einō painted in the same style, but is better known for a biographical history of Japanese painting, which gave the Kanō school pride of place.
Sanraku's patrons included Tokugawa Hidetada. Like most Kanō artists of the period, he painted in a variety of styles, including both large works for decorating castles (like the two illustrated), and smaller scrolls, often in a monochrome style derived from Chinese ink-wash painting.
Kanō Sanraku, cuyo verdadero nombre era Kanō Mitsuyori, y era apodado Heizō o Shuri, fue un pintor japonés de la Escuela Kano1 que pintó bajo el nombre artístico de Sanraku,. Nació en Omi en 1559 y falleció el 30 de septiembre de 1635.
Hijo del pintor Kimara Nagamitsu, fue adoptado por su maestro, Kanō Eitoku (1543-1590), del cual fue el discípulo favorito. A la muerte de Mitsunobu, hijo mayor de de Eitoku, en 1608, está junto a Kanō Sadanobu (1597-1623) al frente del taller familiar y es, sin duda, el artista que mejor ilustra la segunda parte de la época Momoyama, en Kyōto.
Hijo de guerrero, sirve de page al Shogun Hideyoshi quien, dándose cuenta de su talento, lo pone en aprendizaje con Eitoku. Sanraku continuará beneficiándose del amparo de Hideyoshi, sobre todo después de la muerte Eitoku, y en 1592 se le encarga la decoración del castillo de Momoyama.
Cuando la familia Kanō se instala en Edo, nuevo centro del poder, Sankaru permanece en Kyōto y sus descendientes aseguran después de él la continuidad de su taller bajo el nombre de Kyō- Kanō, familia Kanō de Kyōto. Nos han llegado numerosas obras de Sanraku, desde tintas en estilo cursivo a grandes composiciones decorativas en colores, de paisajes delicados a escenas históricas chinas, mostrando toda la extensión de su talento y la seguridad de su técnica.
Hacia 1620 trabaja en las exquisitas pinturas murales de dos edificios del monasterio Daitoku-ji de Kyōto, donde nos encontramos con los paisajes y los pinos con halcones monocromos, inscritos en la tradición Kanō, inaugurada por Motonobu (1476-1559). Su tendencia a la estilización del trazo llega al extremo en las composiciones del santuario Tenkyû-in, en el templo zen Myōshin-ji de Kyōto, ejecutadas por Sanraku y su hijo adoptivo Sansetsu (1590-1651) entre 1631 y 1635, justo antes del fallecimiento del pintor.
Los colores han guardado toda su frescura, ya sea en las pinturas de los tigres de las salas centrales, en las enredaderas floridas de la clausura de bambú de la sala Este o los ciruelos y los pájaros de la sala Oeste. Gran parte del conjunto se dene a Sansetsu; sin embargo, la delicada sensibilidad de Sanraku se deja ver en el sabio cálculo del ritmo, el aspecto casi geométrico de las rocas y del árbol torcido, cercano a una belleza estática, incluso abstracta. Da rienda suelta a su talento diseñador en un biombo del antiguo palacio de Kujô, actualmente conservado en el Museo nacional de Tōkyō.
C'est une scène historique japonaise tirée du Roman de Genji : Kuruma-Arasoi. Les personnages historiques sont traités avec toute la minutie de l'École Tosa, dynastie des peintres de cour, mais Sanraku, en introduisant des personnalités contemporaines, confère à l'œuvre une extrême vivacité.
- wikipedia
Kanō Sanraku (狩野 山楽, 1559 – September 30, 1635) was a Japanese painter also known as Kimura Heizō (his birth name), Shūri, Mitsuyori, and Sanraku. Sanraku's works combine the forceful quality of Momoyama work with the tranquil depiction of nature, and they have a more refined use of color typical of the Edo period.His father was the painter Kimura Nagamitsu who flourished circa 1570, and he was born in Shiga Prefecture and died in Kyoto.
Sanraku worked for Toyotomi Hideyoshi in the 1570s,which led to him studying under and being adopted by Kanō Eitoku.[2][4] Sanraku was the half-sibling and teacher of Kanō Sansetsu, and became Eitoku's son-in-law and later the head of the Kanō school.When Sanraku had no son he married Kanō Sansetsu (1589–1651) to his daughter and adopted him. Sansetsu and his school remained in Kyoto when most Kanō artists moved to Edo (often after a summons from the shogun), and he continued to adhere to the brightly coloured style of the Momoyama period. His son Einō painted in the same style, but is better known for a biographical history of Japanese painting, which gave the Kanō school pride of place.[6]
Sanraku's patrons included Tokugawa Hidetada. Like most Kanō artists of the period, he painted in a variety of styles, including both large works for decorating castles (like the two illustrated), and smaller scrolls, often in a monochrome style derived from Chinese ink-wash painting.
Kanō Sanraku, cuyo verdadero nombre era Kanō Mitsuyori, y era apodado Heizō o Shuri, fue un pintor japonés de la Escuela Kano1 que pintó bajo el nombre artístico de Sanraku,. Nació en Omi en 1559 y falleció el 30 de septiembre de 1635.
Hijo del pintor Kimara Nagamitsu, fue adoptado por su maestro, Kanō Eitoku (1543-1590), del cual fue el discípulo favorito. A la muerte de Mitsunobu, hijo mayor de de Eitoku, en 1608, está junto a Kanō Sadanobu (1597-1623) al frente del taller familiar y es, sin duda, el artista que mejor ilustra la segunda parte de la época Momoyama, en Kyōto.
Hijo de guerrero, sirve de page al Shogun Hideyoshi quien, dándose cuenta de su talento, lo pone en aprendizaje con Eitoku. Sanraku continuará beneficiándose del amparo de Hideyoshi, sobre todo después de la muerte Eitoku, y en 1592 se le encarga la decoración del castillo de Momoyama.
Cuando la familia Kanō se instala en Edo, nuevo centro del poder, Sankaru permanece en Kyōto y sus descendientes aseguran después de él la continuidad de su taller bajo el nombre de Kyō- Kanō, familia Kanō de Kyōto. Nos han llegado numerosas obras de Sanraku, desde tintas en estilo cursivo a grandes composiciones decorativas en colores, de paisajes delicados a escenas históricas chinas, mostrando toda la extensión de su talento y la seguridad de su técnica.
Hacia 1620 trabaja en las exquisitas pinturas murales de dos edificios del monasterio Daitoku-ji de Kyōto, donde nos encontramos con los paisajes y los pinos con halcones monocromos, inscritos en la tradición Kanō, inaugurada por Motonobu (1476-1559). Su tendencia a la estilización del trazo llega al extremo en las composiciones del santuario Tenkyû-in, en el templo zen Myōshin-ji de Kyōto, ejecutadas por Sanraku y su hijo adoptivo Sansetsu (1590-1651) entre 1631 y 1635, justo antes del fallecimiento del pintor.
Los colores han guardado toda su frescura, ya sea en las pinturas de los tigres de las salas centrales, en las enredaderas floridas de la clausura de bambú de la sala Este o los ciruelos y los pájaros de la sala Oeste. Gran parte del conjunto se dene a Sansetsu; sin embargo, la delicada sensibilidad de Sanraku se deja ver en el sabio cálculo del ritmo, el aspecto casi geométrico de las rocas y del árbol torcido, cercano a una belleza estática, incluso abstracta. Da rienda suelta a su talento diseñador en un biombo del antiguo palacio de Kujô, actualmente conservado en el Museo nacional de Tōkyō.
C'est une scène historique japonaise tirée du Roman de Genji : Kuruma-Arasoi. Les personnages historiques sont traités avec toute la minutie de l'École Tosa, dynastie des peintres de cour, mais Sanraku, en introduisant des personnalités contemporaines, confère à l'œuvre une extrême vivacité.
- wikipedia
(狩野 山楽, 1559 – September 30, 1635) was a Japanese painter also known as Kimura Heizō (his birth name), Shūri, Mitsuyori, and Sanraku. Sanraku's works combine the forceful quality of Momoyama work with the tranquil depiction of nature, and they have a more refined use of color typical of the Edo period.His father was the painter Kimura Nagamitsu who flourished circa 1570, and he was born in Shiga Prefecture and died in Kyoto.
Sanraku worked for Toyotomi Hideyoshi in the 1570s,which led to him studying under and being adopted by Kanō Eitoku.[2][4] Sanraku was the half-sibling and teacher of Kanō Sansetsu, and became Eitoku's son-in-law and later the head of the Kanō school.When Sanraku had no son he married Kanō Sansetsu (1589–1651) to his daughter and adopted him. Sansetsu and his school remained in Kyoto when most Kanō artists moved to Edo (often after a summons from the shogun), and he continued to adhere to the brightly coloured style of the Momoyama period. His son Einō painted in the same style, but is better known for a biographical history of Japanese painting, which gave the Kanō school pride of place.[6]
Sanraku's patrons included Tokugawa Hidetada. Like most Kanō artists of the period, he painted in a variety of styles, including both large works for decorating castles (like the two illustrated), and smaller scrolls, often in a monochrome style derived from Chinese ink-wash painting.
Kanō Sanraku, cuyo verdadero nombre era Kanō Mitsuyori, y era apodado Heizō o Shuri, fue un pintor japonés de la Escuela Kano1 que pintó bajo el nombre artístico de Sanraku,. Nació en Omi en 1559 y falleció el 30 de septiembre de 1635.
Hijo del pintor Kimara Nagamitsu, fue adoptado por su maestro, Kanō Eitoku (1543-1590), del cual fue el discípulo favorito. A la muerte de Mitsunobu, hijo mayor de de Eitoku, en 1608, está junto a Kanō Sadanobu (1597-1623) al frente del taller familiar y es, sin duda, el artista que mejor ilustra la segunda parte de la época Momoyama, en Kyōto.
Hijo de guerrero, sirve de page al Shogun Hideyoshi quien, dándose cuenta de su talento, lo pone en aprendizaje con Eitoku. Sanraku continuará beneficiándose del amparo de Hideyoshi, sobre todo después de la muerte Eitoku, y en 1592 se le encarga la decoración del castillo de Momoyama.
Cuando la familia Kanō se instala en Edo, nuevo centro del poder, Sankaru permanece en Kyōto y sus descendientes aseguran después de él la continuidad de su taller bajo el nombre de Kyō- Kanō, familia Kanō de Kyōto. Nos han llegado numerosas obras de Sanraku, desde tintas en estilo cursivo a grandes composiciones decorativas en colores, de paisajes delicados a escenas históricas chinas, mostrando toda la extensión de su talento y la seguridad de su técnica.
Hacia 1620 trabaja en las exquisitas pinturas murales de dos edificios del monasterio Daitoku-ji de Kyōto, donde nos encontramos con los paisajes y los pinos con halcones monocromos, inscritos en la tradición Kanō, inaugurada por Motonobu (1476-1559). Su tendencia a la estilización del trazo llega al extremo en las composiciones del santuario Tenkyû-in, en el templo zen Myōshin-ji de Kyōto, ejecutadas por Sanraku y su hijo adoptivo Sansetsu (1590-1651) entre 1631 y 1635, justo antes del fallecimiento del pintor.
Los colores han guardado toda su frescura, ya sea en las pinturas de los tigres de las salas centrales, en las enredaderas floridas de la clausura de bambú de la sala Este o los ciruelos y los pájaros de la sala Oeste. Gran parte del conjunto se dene a Sansetsu; sin embargo, la delicada sensibilidad de Sanraku se deja ver en el sabio cálculo del ritmo, el aspecto casi geométrico de las rocas y del árbol torcido, cercano a una belleza estática, incluso abstracta. Da rienda suelta a su talento diseñador en un biombo del antiguo palacio de Kujô, actualmente conservado en el Museo nacional de Tōkyō.
C'est une scène historique japonaise tirée du Roman de Genji : Kuruma-Arasoi. Les personnages historiques sont traités avec toute la minutie de l'École Tosa, dynastie des peintres de cour, mais Sanraku, en introduisant des personnalités contemporaines, confère à l'œuvre une extrême vivacité.
- wikipedia
This temple has an explicit no-tripod policy also. So tripods, including monopods, are usually prohibited here.
location : Shogo-in temple ,Kyoto city,Kyoto prefecture,Japan
Shogo-in temple ( founded in 1090 by Priest Zouyo) is a monzeki temple,a special temple classfied as a very celebrated one since it holds a deep connection to the imperial household with successive imperial princes serving as its chief priest.
Beginning in 1782,the nearby Kyoto imperial Palace burned down by the Great Fire of the Tenmei era.天明の大火.After that the Emperor Kokaku 光格天皇 (1771-1840)had lived here as his temporary palace for three years.
And then in the Jodan-no-ma 上段の間 ,the Emperor Kokaku had administerd goverment affairs sitting on his throne in the rear..
The temple has around 130 paintings on the sliding doors ( Fusuma-e 襖絵 or Shoheki-ga 障壁画 in Japanese) decorated gorgeous colours and gold .All of them were painted by members of Kano school, Einou Kano 狩野永納（1631-1697)Kyo-Kano school)and Masunobu Kano 狩野益信（1625-1694Edo-Kano school).
Thank you for your interest and seeing my photo :)
Caon EOS M5 / EF-M22mm f/2 STM/ƒ/2.8 22.0 mm
1/60 sec ISO400/ manual exposure/auto white balance/focus AF＋MF / no crop
This temple has an explicit no-tripod policy, so tripods, including monopods, are usually prohibited.
p.s .As just before wedding ceremony , the red carpets are spread and golden sake radles are prepared on the tatami floor.
503CX, CF 4.0/50 FLE, Kodak TMax 400 ISO (TMY), Epson V600, Affinity Photo
Picture taken at Kanazawa, Japan
iPhoneの超広角カメラで撮った和室。RAWで撮って現像してみた。
@Okazaki Higashi park, Okazaki city, Aichi pref. （愛知県岡崎市 岡崎東公園 旧本多忠次邸）
La maison de thé Kaikaro
Le Kaikaro est une maison de thé Chaya rénovée et originellement construite il y a plus de 180 ans. On trouve à l’intérieur des escaliers vermillon laqués, des tatami (nattes épaisses faites de paille tissée) teints avec des herbes, des fusuma-e (peintures sur les panneaux des portes coulissantes) créés par un artiste contemporain et une salle pour le thé japonais avec des tatami en paille tissée d’or qui reconstituent l'atmosphère des maisons de thé Chaya à l’époque avec une touche contemporaine. Le Kaikaro sert le thé autour de l’Irori (foyer creusé dans le sol), propose une boutique de souvenirs dans son Dozo (magasin en pisé) et organise des découvertes des arts du spectacle données par des Geisha (irrégulièrement et sur réservation).
www.kanazawa-tourism.com/french/guide/guide1_4.php?no=3
_____________________________________
Kaikaro
Kaikaro is a refurbished chaya house originally existed more than 180 years ago. The interior of the house includes vermilion-lacquered stairs, vegetable-dyed tatami (mats made of woven straw), fusuma-e (paintings on sliding-door panels) created by a contemporary artist, and a Japanese tearoom with tatami made of gold-laced woven straw, all of which have reproduced the atmosphere of the chaya house in those days with a contemporary feeling. Kaikaro offers a tea service around a sunken hearth, has a souvenir shop, and occasionally holds a guestroom experience time with geisha's attendance.
A traditional japanese room with a nice shoji (sliding panel that is made of translucent paper in a wooden frame)
Tsukuba, Japan.
© All Rights Reserved by Romain Chassagne
Kongorinji Temple , Aisho Town , Shiga , Japan
滋賀県 愛荘町 金剛輪寺
It's painting on a Fusuma.
Fusuma is sliding door.
***** RAW developed + trimmed *****
複製することで我々一般人もほぼ本物に近いものが見られるのですから、良い時代になったものです。
@Kenninji, Higashiyama ward, Kyoto, Kyoto. （京都府京都市東山区 建仁寺）
Their old warehouses are special room for family ceremonial functions and rest space for customers.
You can enter the building and see the tatami-mat floored interior full of authentic wooden furniture, fusuma sliding-door paintings by Kakunodate-born painter Reiwa Nishinomiya.
A beautiful temple from Kyoto .
Kinkakuji (金閣寺, Golden Pavilion) is a Zen temple in northern Kyoto whose top two floors are completely covered in gold leaf. Formally known as Rokuonji, the temple was the retirement villa of the shogun Ashikaga Yoshimitsu, and according to his will it became a Zen temple of the Rinzai sect after his death in 1408. Kinkakuji was the inspiration for the similarly named Ginkakuji (Silver Pavilion), built by Yoshimitsu's grandson, Ashikaga Yoshimasa, on the other side of the city a few decades later.
Kinkakuji is an impressive structure built overlooking a large pond, and is the only building left of Yoshimitsu's former retirement complex. It has burned down numerous times throughout its history including twice during the Onin War, a civil war that destroyed much of Kyoto; and once again more recently in 1950 when it was set on fire by a fanatic monk. The present structure was rebuilt in 1955.
Kinkakuji was built to echo the extravagant Kitayama culture that developed in the wealthy aristocratic circles of Kyoto during Yoshimitsu's times. Each floor represents a different style of architecture.
The first floor is built in the Shinden style used for palace buildings during the Heian Period, and with its natural wood pillars and white plaster walls contrasts yet complements the gilded upper stories of the pavilion. Statues of the Shaka Buddha (historical Buddha) and Yoshimitsu are stored in the first floor. Although it is not possible to enter the pavilion, the statues can be viewed from across the pond if you look closely, as the front windows of the first floor are usually kept open.
The second floor is built in the Bukke style used in samurai residences, and has its exterior completely covered in gold leaf. Inside is a seated Kannon Bodhisattva surrounded by statues of the Four Heavenly Kings; however, the statues are not shown to the public. Finally, the third and uppermost floor is built in the style of a Chinese Zen Hall, is gilded inside and out, and is capped with a golden phoenix.
After viewing Kinkakuji from across the pond, visitors pass by the head priest's former living quarters (hojo) which are known for their painted sliding doors (fusuma), but are not open to the public. The path once again passes by Kinkakuji from behind then leads through the temple's gardens which have retained their original design from Yoshimitsu's days. The gardens hold a few other spots of interest including Anmintaku Pond that is said to never dry up, and statues that people throw coins at for luck.
Continuing through the garden takes you to the Sekkatei Teahouse, added to Kinkakuji during the Edo Period, before you exit the paid temple area. Outside the exit are souvenir shops, a small tea garden, where you can have matcha tea and sweets, and Fudo Hall, a small temple hall which houses a statue of Fudo Myoo, one of the Five Wisdom Kings and protector of Buddhism. The statue is said to be carved by Kobo Daishi, one of the most important figures in Japanese religious history.
Kinkakuji can be accessed from Kyoto Station by direct Kyoto City Bus number 101 or 205 in about 40 minutes and for 230 yen. Alternatively, it can be faster and more reliable to take the Karasuma Subway Line to Kitaoji Station (15 minutes, 260 yen) and take a taxi (10 minutes, 1000-1200 yen) or bus (10 minutes, 230 yen, bus numbers 101, 102, 204 or 205) from there to Kinkakuji.
Waiting to return, one day, in my favourite Country...
Diorama (fusuma, tatami) handmade by me.
Yukata from Japan (Kyoto)
Le Sanzen-in (三千院), aussi appelé Ōjō Gokuraku-in, est un temple bouddhiste de l'école Tendai monzeki situé à Ōhara, Kyoto au Japon. La triade d'Amida Nyorai flanquée de serviteurs datant de l'époque de Heian est un trésor national.
fr.wikipedia.org/wiki/Sanzen-in
Le Temple Sanzenin est la principale attraction de la ville rurale de Ohara, qui est situé à environ une heure au nord du centre de Kyoto. L'approche de Ohara est bordée de boutiques et de restaurants pour les visiteurs du temple, et il y a un certain nombre de petits temples dans les environs. Le Temple Sanzenin lui-même est situé dans un grand parc de nombreux bâtiments, des jardins et des sentiers pédestres.
Sanzenin a été fondée par le moine Saicho qui a introduit le bouddhisme Tendai au Japon en 804. Sanzenin est un temple de monzeki, l'un des seuls temples dont le chef des prêtres est choisit pour être membres de la famille impériale.
Après être entré dans le temple par la porte principale, les visiteurs passent par une série de bâtiments connectés entre eux par des sentiers. Le premier bâtiment majeur est la Kyakuden (salle de séjour), qui présente des œuvres de calligraphie japonaise et des peintures sur ses portes coulissantes (fusuma). Le bâtiment ouvre sur le jardin Shuhekien, un jardin traditionnel japonais avec un petit étang et une colline.
Connecté au Kyakuden par un couloir, la Shinden (salle principale) affiche des statues de trois divinités bouddhistes, la figure centrale du bouddha Amida étant flanqués par les agents Kannon et Fudo Myoo. Les visiteurs de Shinden peuvent profiter de la vue la plus célèbre du Temple Sanzenin: Ojo Gokuraku-Hall vu à travers les arbres d'érable et de cèdre sur un jardin de mousse.
Après avoir admiré la vue depuis le Shinden, les visiteurs se promènent à travers le jardin de mousse. Une atmosphère tranquille imprègne le jardin, et il y a un certain nombre de statues de pierre amusantes qui l'on peut apercevoir sur la mousse. Avec le reste du temple, le jardin est particulièrement impressionnant aux couleurs d'automne, le plus souvent à la mi-Novembre, environ une semaine plus tôt que dans le centre de Kyoto.
Situé au milieu du jardin de mousse, le Ojo Gokuraku-Hall est le bâtiment le plus ancien temple à Sanzenin. La salle a été construite en 985 et plus récemment reconstruit en 1143. Il est contient une statue de bouddha Amida, le trésor le plus précieux de Sanzenin. La statue de Amida est accompagné de deux divinités auxiliaires, Kannon d'un côté et Seishi de l'autre.
Depuis l'Ojo Gokuraku-Hall un chemin qui mène à l'arrière de l'enceinte du temple, où se trouvent quelques bâtiments de construction plus récente. Les rangées de statues miniatures de Kannon qui ont été donnés au temple par les visiteurs sont à voir. Sur le chemin du retour vers la porte d'entrée se trouve la maison de trésor qui expose quelques uns des artefacts de Sanzenin.
Traduit de :
en.wikipedia.org/wiki/Sanzen-in
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Sanzen-in (三千院?) is a Tendai school monzeki temple in Ōhara, Kyoto, Japan. The Heian period triad of Amida Nyorai flanked by attendants is a National Treasure.[1][2]
Sanzenin Temple is the main attraction of the rural town of Ohara, which is located about an hour north of central Kyoto. The approach from Ohara bus stop to Sanzenin is lined with shops and restaurants catering to temple visitors, and there are a number of smaller temples in the vicinity. Sanzenin Temple itself has large temple grounds and a variety of buildings, gardens and walking paths.
Sanzenin was founded by the monk Saicho who introduced Tendai Buddhism to Japan in 804. Sanzenin is a monzeki temple, one of only a few temples whose head priests used to be members of the imperial family.
After entering the temple through the front gate, visitors to Sanzenin pass through a series of connected temple buildings. The first major building is the Kyakuden (guest hall), which displays works of Japanese calligraphy and paintings on sliding doors (fusuma). The building opens up onto the Shuhekien Garden, a traditional Japanese garden that has a small pond and hill.
Connected to the Kyakuden by a corridor, the Shinden (main hall) displays statues of three Buddhist deities, the central figure of Amida Buddha being flanked by the attendants Kannon and Fudo Myoo. From the Shinden visitors can enjoy the most famous view of Sanzenin Temple: the Ojo Gokuraku-in Hall seen through maple and cedar trees across a moss garden.
After admiring the view from the Shinden, visitors walk through the moss garden. A tranquil atmosphere permeates the garden, and there are a number of amusing stone statues that peek out from the moss. Along with the rest of the temple, the garden is particularly impressive during the autumn colors, which usually take place in mid November, about a week earlier than in central Kyoto.
Located in the middle of the moss garden, the Ojo Gokuraku-in Hall is the oldest temple building at Sanzenin. The hall was first built in 985 and most recently rebuilt in 1143. It holds a statue of Amida Buddha, Sanzenin's most valued treasure. The statue of Amida is accompanied by two attendant deities, Kannon on one side and Seishi on the other.
From the Ojo Gokuraku-in Hall there is a path that leads to the back of the temple grounds, where there are a few temple buildings of more recent construction. One interesting spot has rows of miniature statues of Kannon that were donated to the temple by visitors. On the way back to the front gate stands a treasure house that displays a few more of Sanzenin's artifacts.