Tōji Temple

Tōji has been an important temple in Kyoto since the 9^th century and is the headquarters of the Shingon Sect of Japanese Buddhism. 

“Since Esoteric Buddhist teachings are so profound as to defy expression in writing, they are revealed through the medium of painting to those not yet enlightened.” Kūkai

Emperor Kanmu left Nara in 794 to establish a new capital at Heian-kyō, present day Kyoto. In his new capital, he decided to foster new Buddhist sects. In 803, Kanmu sponsored the monks Kūkai and Saichō to take part in a diplomatic trip to Tang China to study. Kūkai and Saichō returned from China with texts and practices of Mikkyō (Esoteric Buddhism) that transformed Japanese Buddhism. Saichō started the Tendai Sect on Mt. Hiei. Kūkai started the Shingon Sect.

In the planning the city of Heian-kyō, Kanmu allowed only two temples in the city and they were placed far away from the court – Tōji (East Temple) and Sai-ji (West Temple). Tōji was located on the east side of Rajōmon Gate (main gate of the city at that time); Sai-ji Temple was on the west side of the gate. Unfortunately Sai-ji burned down in 1233 and the Rajōmon Gate no longer exists. The present Tōji complex of 24 acres is only one-fourth of its former size.

By imperial decree Kūkai had the exclusive use of Tōji for the Shingon school, which was precedent setting.  Previously, temples were open to all forms of Buddhism. Tōji was to become a seminary for Mikkyō (Esoteric Buddhism) under Kūkai, who was to train 50 monks at Tōji in shingon. The Shingon-shū sect founded by Kūkai teaches the mystic doctrine that by chanting shingon (words of truth) and entering into a spirit of Buddhahood, it is possible to become a living Buddha. At one time, Tōji was the chief Buddhist temple in Japan and site of all services to pray for peace and security of the country.

Kūkai built the Lecture Hall in 825, which was specifically designed along Shingon principles, which included creating 14 Buddha images. The Lecture Hall or Kōdō was rebuilt in the 17^th century. The roof is in the Irimoya style. Northwest of the Lecture Hall is the Miei-do or Taishi-do (Great Teacher’s Hall) where Kūkai lived.

In 826, he initiated the construction of a large pagoda which was not completed in his lifetime (the present pagoda). The Gojū-no-tō (the pagoda) is the tallest wooden structure in Japan, 55 meters. The original one burnt and the present one was built in 1644 by Shogun Tokugawa Iemitsu. The Nandaimon Gate (Main Gate) is not the original, which burnt. The present gate was moved from Sanjusan gen-do Hall in 1894.  Its roof is in the kiritsuma style.

The Main Hall or Kondō that was rebuilt in 1606 is considered a Momoyama Era masterpiece of Buddhist architecture, with Japanese, Chinese, and Indian influences. Its roof is in the double Irimoya style. It contains several mandalas dating from the Heian Era. Two mandalas that are among the oldest in Japan are at Tōji. Womb World represents the physical sphere and shows hundreds of deities around Dainichi–nyorai, the source and expression of the universe. Diamond World represents the transcendental sphere, intended as a study guide to meditate. There are statues forming a three dimensional mandala laid out by Kūkai. These 21 massive statues represent the heart of Shingon universe. The angry looking Fudo Myo-o is a terrifying expression directed towards enemies of Buddhism such as ignorance and greed, which he attacks with his sword.

At Tōji Kūkai put art to the service of religion with mandalas. A mandala is a Buddhist picture representing a perfect enlightened universe or a stylized representation of Buddhist teachings. Instead of spending years studying sutras, one finds enlightenment fixating on the mandala and achieves Buddhahood in one’s own body without having to die first.

Main Features

The main features include the Lecture Hall, the Main Hall, the Main Gate, and the pagoda.

Taizōkai Mandala. Each depicts Dainichi-nyorai (the sun as Buddha) at its center surrounded by other Buddhas in a circular pattern. The twenty-one Buddha statues in the Lecture Hall are arranged in the same pattern.

Tobatsu Bishamonten has the sacred pagoda in its left hand and a sacred spear in the right, symbolic of the divine power to drive away enemies, originally mounted on Rajōmon Gate.

Senju Kannon dates from 877. Kannon is the goddess of mercy, with 1000 arms and 1000 eyes, representing unending mercy. It is the largest wooden statue in Japan.

Jinkokuten are of Four Devas that guard the east. It is an example of ichiboku (one block of wood) carving.

Fudō-myō-ō depicts Dainichi-nyorai with an angry expression, destroying evil spirits and earthly passions. Sculpted in the ichiboku style (one block of wood) it is considered the finest example of its type.

Art: Paintings

Five Guardian Kings (kenpon chakushoku godai sonzō), Heian period, five hanging scrolls, color on silk.

Twelve Devas screen (kenpon chakushoku jūnitenzō), attributed to Takuma Shōga, late Heian period, 1191, Pair of six-section folding screens (byōbu), color on paper.

Mandala of the Two Realms (kenpon chakushoku ryōkaimandarazu) or Den shingon-in mandala, two hanging scrolls (mandalas), color on silk.

Portraits of Seven Shingon Patriarchs (kenpon chakushoku shingon shichisozō), with inscriptions attributed to Kūkai and possibly Emperor Saga, Five portraits were brought back by Kūkai from his trip to China. Two portraits of Ryūmō and Ryūchi were added later, in 821, in Japan. Tang dynasty and Heian period, Seven hanging scrolls, color on silk.

Art: Sculpture

Tōji is especially known for its sculptures, which include:

Bonten (mokuzō bonten zazō) and Taishakuten  (taishakuten hankazō) Heian period, Colored wood (faded) Lecture Hall (kōdō);

Tobatsu Bishamonten (mokuzō tobatsu bishamonten ryūzō), Formerly enshrined in the Bishamon Hall (bishamon–dō), Tang dynasty, 9th century, Wood, gold leaf over lacquer (shippaku), colored, Treasure Hall (reihōkan);

Five Great Bosatsu (mokuzō godai bosatsu zazō). Heian period, Wood. Lecture Hall (kōdō);

Five Wisdom Kings (mokuzō godai myōōzō), Heian period, Colored wood. Lecture Hall (kōdō):

Kōbō Daishi (Kūkai) (mokuzō Kōbō Daishi zazō), By Kōshō. Kamakura period, 1233 Colored wood, crystal eyes. Miei Hall (mieidō);

Four Heavenly Kings (mokuzō shitennō ryūzō) Heian period, Wood Standing, Lecture Hall (kōdō);

Hachiman in the guise of a seated monk (mokuzō sōgyō hachimanjin zazō), Heian period, 9th century wood-core dry lacquer, painted or gilded;

Fudō Myōō (Acala) (mokuzō fudō myōō zazō) and Canopy (mokuzō tengai), Heian period, second half of 9th century, wood, Miei Hall (miei-dō).