Naramachi Jorin-in: Touring Todai-ji and its Vicinity (8)

This might be sudden, but

Kyobate

↑Do you know how to read this?
"Kyoshu," "Kyojimai," "Keishu," "Kyotsui"...?
I thought of various possibilities, but none of them were correct.

Actually,

"Kyobate"

is how you read it!

According to AI,
it was named with the meaning of "the end of the capital" or "the edge of the capital" because it was located at the southern tip of the outer capital of Heijo-kyo, the capital during the Nara period.

If that's the case, it would seem better to write it as "Kyoka" (Capital Fruit/End), but I cannot help but feel the depth of the Japanese language in the fact that they intentionally make the character for "end" (shi) be read as "hate" (edge/end).

This tour around Todai-ji starts from a station with a difficult-to-read name that even I, a Kansai native, did not know.

It is one stop from JR Nara Station, and this line, which continues to Takada Station, is called the "Sakurai Line," but its common name,"Manyo Mahoroba Line,"is more famous.
I don't know if it was accidental or intentional, but it is said that this name was given because there are many famous historical sites mentioned in the Manyoshu along the line.

The station building looks old-fashioned at first glance, but it clearly looks new.
That is because it was intentionally renovated to its Meiji-era appearance on November 7, 2019, and only 6 years have passed since then.
Come to think of it, I also used the restroom, and it was properly equipped with the latest facilities.

Using stations north and south of Naramachi

Generally, "Naramachi" was written as "Nara-machi" until a while ago, but now the hiragana spelling has become established.
In terms of location, it is situated just to the southeast of Todai-ji, and it is an area with streets that preserve the landscape from the Edo period onwards, making it an optimal area for a leisurely stroll if the weather is nice.

I only had the fixed idea that to go to Naramachi, one had to head south from Kintetsu Nara Station, but when I picked out a few places to stop by, I noticed that the nearest station for one of them was "Kyobate Station," and when I looked it up, I found that it was at the southernmost tip of "Naramachi"!

Why is this station not listed on the tourist "Naramachi Tekuteku Map"?"Naramachi Tekuteku Map"?
I think there are people who come on the Mahoroba Line, but perhaps the number is small?

Moreover, even though it was only June, it had been predicted for several days that it would be a midsummer day with blazing sun and temperatures over 30 degrees, so the moment I learned of this station's existence, I realized that a one-way traverse from the southern Kyobate Station to the north would be easier than a round-trip traverse from the northern Kintetsu Nara Station, and I smirked.

Furthermore, I was interested in the "Manyo Mahoroba Line" and "Kyobate Station," so it was a perfect opportunity.

Since this was a trip with Peko-chan and me, we both dislike walking.
As people who share the same sense of wanting to avoid unnecessary effort as much as possible, our itinerary was decided immediately.

Naramachi Labyrinth

However, even when I started from Kyobate Station and tried to head to my destination, the roads were narrow yet frequently used by cars, and on top of that, there were so many unnecessary corners that I completely lost my sense of direction while wandering aimlessly.

Unlike Kyoto, it is not laid out in a grid; just when you think you have turned a few hook-shaped corners, you end up turning in the opposite direction, so there are very few straight roads.

It is still a densely populated residential area, but the land division, which seems to have remained completely undeveloped since the old "village" days, became a major trap for us.

It is a labyrinth from which you can never escape unless you use navigation on your smartphone.
Thanks to that, I wasted my smartphone battery, and by the time I returned to the nearest station, I only had 18% left.

A masterpiece of a stone Buddha shrine!
The principal image of Jurin-in Temple is amazing

Anyway, while having my smartphone navigate for me, I somehow arrived at Jurin-in Temple and what I really wanted to see was something called a stone Buddha shrine.
"Stone Buddha" means exactly what it says, but a "shrine" (gan) refers to a "zushi" (cabinet), a storage box for important items such as Buddha statues, Buddhist paintings, and sutras.
While they are generally made of wood, stone ones are quite rare.

I learned of its existence in Kenbutsu-ki (Buddha Viewing Record), which I am currently reading, and since the excitement and emotion of both Jun Miura and Seiko Ito were conveyed so well, I strongly wanted to see it for myself.

A moving encounter!

I wanted to see it as soon as possible, but since the website did not specify where it was located on the grounds, I first headed straight into the main hall.

Then, it suddenly appeared, and I was left speechless.

It is a pity that I cannot show it to you because photography is prohibited.
Anyway, my first impression was it is big and deep!, and it had an overwhelming presence.

That is no surprise, as it is said to be 2.68m wide, 2.45m deep, and 2.42m high.

In the center stands the "Honchi Jizo," a Jizo Bodhisattva considered a deity in the Honji Suijaku theory (syncretism of Shinto and Buddhism), with his right hand lowered and palm facing forward in the "Varada Mudra" (wish-granting gesture).
Surprisingly, as attendants, there is a "Shaka Nyorai" on the left and a "Miroku Bosatsu" on the right.
Furthermore, on both sides of them are two of the Four Heavenly Kings: "Tamonten" on the left and "Jikokuten" on the right. On both sides of those are five judges each, known as the "Ten Kings".

In "Kenbutsu-ki," they were specially shown the back side, and it was confirmed that the remaining two of the Four Heavenly Kings, "Zochoten" and "Komokuten," were also carved, meaning the full set of Four Heavenly Kings firmly guards the four corners of the shrine.

"So this was the boundary between the afterlife and this world."

I cannot forget the tingling sensation I felt at this line from Jun Miura when I read "Kenbutsu-ki."
Even seeing the real thing, a mysterious tingling sensation ran through my whole body, and I experienced an indescribable feeling.

This is because a flat stone called the "Indo-ishi" (guidance stone) is placed in the front center, and it is said that coffins were placed there to send the deceased to the afterlife.
Thinking that the Jizo in the center is the one who communicates and passes on messages to go from this world to the afterlife, it makes perfect sense that it is the "Varada Mudra" for granting wishes.

The phrase that stuck in my head so strangely,
—the boundary between this world and the next—
—a phrase by Mr. Miura—feels incredibly real when looking at this site.
Rather than feeling eerie, it is a sensation of an infinitely sacred space, and even for someone like me with little religious faith, it left a deep impression.
Knowing that "death" comes equally to everyone, and that we all receive the protection of various Buddhas equally as we depart, I felt I could accept it with peace of mind.

Hmm. Isn't this a supreme masterpiece of Buddhist art?
Christian three-dimensional sculptures are also detailed and wonderful, but this is also magnificent!
Seeing the faint traces of color remaining on the Maitreya Bodhisattva, it must have been stunningly vibrant in full color back in the day.

This Jurin-in Temple was founded in the early Kamakura period, and this Jizo Bodhisattva is also considered to be a work from the same era.
According to the guide's explanation, despite the legend that it was created by Kobo Daishi, it was once left exposed to the elements in the precincts of "Gangoji Temple," which used to occupy most of this Naramachi area.

Jurin-in, which was one of the sub-temples at the time, enshrined that Jizo Bodhisattva as its principal image, treating it as a more essential and important presence than even Shakyamuni Buddha or Maitreya Bodhisattva.

You shouldn't underestimate folk religion.

Mr. Seiko Ito also seemed to view stone Buddhas as lower in rank, but he says that when he saw the principal image here, his perception changed.

Indeed, I also had the impression that stone Buddhas, and even Jizo Bodhisattva, were just familiar and accessible Buddhist statues enshrined everywhere in local areas.
Seeing that this Jizo is worshipped above all else here and holds such great significance, my perspective has changed greatly.

I used to think that stone Buddhas were nothing more than small-scale folk beliefs enshrined on roadsides here and there in villages, but I realized that for Japanese people, they are actually the absolute key figures who guide us to the world after death.

Buddhist statues in glass cases

I was shocked by the anecdote about the elephant-headed "Kangiten" that I heard from the young female guide.

Cutting off your own child's head—!
It was too extreme and we were both terrified, but just how bad was he?
I have heard that Kangiten was originally an evil deity, but he must have been on quite a level.

I am thrilled to meet a Buddha with an afro hairstyle like a helmet here.
It's rude to say, but it's truly adorable.

In addition to the Buddhist statues, many antiques from the chief priest's collection were packed into two large glass cases.

Eigo Kawashima's gravestone

The young lady who guided us thoroughly from the beginning mentioned that this was her family home, so she must be married now.
Realizing that the lunch reservation for 11:30 was approaching, I bowed deeply to thank her and was about to leave when she casually mentioned that Eigo Kawashima's grave was also here, so I hurried to see it.

I wonder if young people know him.
Eigo Kawashima was a singer-songwriter who produced many hits, and among them, "Sake to Namida to Otoko to Onna" (Sake, Tears, Men, and Women) remains a masterpiece in my heart as an anthem of my youth.

Of course, he was from Osaka, but he had a connection to this Jurin-in Temple, became a parishioner, and was laid to rest here.

The words engraved on his tombstone, much like his songs, touched my heartstrings with a sincerity that moved me once again.

The young woman who guided us even wrote the goshuin (temple seal) herself.
I was surprised that she was a superwoman who handled everything from reception and guiding to writing the calligraphy for the goshuin, and on top of that, she was slim and beautiful—a perfect woman.

Oh no! Our lunch reservation time is approaching.
Since we weren't even sure of the exact location, we rushed into the Naramachi labyrinth in a panic, once again challenging its maze.

To be continued.