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| Temple Compound |
History
The compounds of Hōryūji consist of the Saiin (Western Precinct) centering around the Kondō (Main Hall) and the Gojū-no-Tō (Five Story Pagoda), and the Tōin (Eastern Precinct) with the Yumedono (Hall of Visions) and the Denpōdō (Hall of Buddhist Teachings) as its central buildings.
The compounds of Hōryūji consist of the Saiin (Western Precinct) centering around the Kondō (Main Hall) and the Gojū-no-Tō (Five Story Pagoda), and the Tōin (Eastern Precinct) with the Yumedono (Hall of Visions) and the Denpōdō (Hall of Buddhist Teachings) as its central buildings.
The importance of Hōryūji from the viewpoint of cultural
history lies in its continuity: in addition to the many superb works of art
from the Asuka Period (552-645 AD), it has innumerable cultural properties of
successive periods. It is a treasure house of Japanese art covering the
respective epochs of Japan’s history.
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| Yakushi Nyorai |
The origin of Hōryūji is described in the
inscription engraved on the back of the halo of the Yakushi Nyorai Buddha
statue in the Main Hall, which states to the following effect: “The Emperor Yōmei,
falling ill in the first year of his reign (586 AD) wished to have a stature of
Yakushi Nyorai, of the Buddha of Healing, made for him, but he passed away
prior to the realization of the project. His sister, the Empress Suiko, and his
son, the Crown Prince Shōtoku, fulfilled his will. The statue was finished in the
fifteenth year of the Empress Suiko’s reign, and the temple was established for
the stature.” This is the origin of Hōryūji.
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| Map of Temple Grounds |
Saiin (Western Precinct)
The nucleus of the Saiin is a block of buildings encircled by the Kairō (Cloister-Gallery), namely the Chūmon (Central Gate), Kondō (Main Hall), Gojū-no-Tō (Five-Story Pagoda), Daikōdō (Great Lecture Hall), Kyōzō (Sutra Repository) and Shōrō (Bell House). To the left of this block is the Sangyōin (Hall of the Three Sutras); to the right, the Shōryō-in (Hall of Prince Shōtoku’s Soul); and to the back, the Kami-no-Midō (Inner Sanctuary) and the Saiendō (West Round Hall). To the east of the Shōryōin are the Tsumamuro (Gabled Quarters), Kōfūzū (Government Sealed Repository), Hosodono (Narrow Hall), Jikidō (Refectory) and other buildings. Still east of these is the Daihōzōin (Galleries of Temple Treasures) with the Kudara Kannon Hall as its nucleus, and storage for the conservation of the mural paintings of the Kondō.
The nucleus of the Saiin is a block of buildings encircled by the Kairō (Cloister-Gallery), namely the Chūmon (Central Gate), Kondō (Main Hall), Gojū-no-Tō (Five-Story Pagoda), Daikōdō (Great Lecture Hall), Kyōzō (Sutra Repository) and Shōrō (Bell House). To the left of this block is the Sangyōin (Hall of the Three Sutras); to the right, the Shōryō-in (Hall of Prince Shōtoku’s Soul); and to the back, the Kami-no-Midō (Inner Sanctuary) and the Saiendō (West Round Hall). To the east of the Shōryōin are the Tsumamuro (Gabled Quarters), Kōfūzū (Government Sealed Repository), Hosodono (Narrow Hall), Jikidō (Refectory) and other buildings. Still east of these is the Daihōzōin (Galleries of Temple Treasures) with the Kudara Kannon Hall as its nucleus, and storage for the conservation of the mural paintings of the Kondō.
The Saiin is the original and essential part of Hōryūji.
Its central buildings, namely the Main Hall and the Five Story Pagoda, are
arranged side by side on an east-west row instead of the usual south-north row.
This unusual layout reveals one of the characteristics of the Asuka Period.
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| South Main Gate |
The Nandaimon, literally meaning the South Main Gate, is the
front entrance to the temple compounds. Built in 1439 during the Muromachi
Period, it is a well balanced building of powerful form.
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| Central Gate |
The Chūmon or Central Gate is the front gate of the central block
of the Western Precinct. It is a two storied gateway, from either side of which
extends the Kairō (Cloister Gallery). With its upper story made
conspicuously smaller than the lower, and its unusual plan of four “bays”
(intercolumnar spaces, i.e. five pillars) frontage and three “bays” in depth,
it is quite different from temple gateways of later periods.
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| Temple Guardian |
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| Five Story Pagoda |
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| Scene of Nirvana |
The ground floor of the pagoda houses four groups of clay statuettes in its four sides illustrating stories concerning the life of Buddha the Savior, and the Pure Land of Miroku (Maitreya), the Future Buddha or Messiah. Though including some which were replaced during later times, the statues are fine works of sculpture dating from 711 together with the Niō in the Central Gate.
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| Main Hall |
The Kondō (Main Hall) is the central building housing the principal object of worship in the temple. It is a two-storied building with a plan of five “bays” by four, the lower story being surrounded by mokoshi (lean-tos). The roof is hipped and gabled (irimoya).
Its architectural characteristics showing Asuka-Period style are
similar to those of the Central Gate, Cloister-Gallery and Five-Story Pagoda.
The upper story is skirted with railings which, like those of the Central Gate,
are ornamented with inset swastika patterns. The inverted V-shaped posts
supporting the railings are also characteristic of the age. These architectural
features are similar to those found on the Tamamushi Zushi preserved in the
Daihōzōden.
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| Shaka Triad |
In the Kondō are the bronze statues of Shaka (Śākamuni) Triad at
the center, Yakushi (Bhaisajyaguru) on its right and Amida (Amitābha) on the
left. The Shaka Triad is a typical example of Asuka-Period sculpture. The
inscription engraved on its halo states it was made by the sculptor Tori in the
thirty-first year of the reign of Empress Suiko (623 AD) for the peaceful rest
of the Prince Shōtoku. Tori was one of the Buddhist sculptors active during
this period. His art was after the style of Chinese sculpture of the Northern
Wei Dynasty as is evidenced by the smiling faces, the double pedestal, the
rather flat representation, and the large halo covering the three statues. This
Northern Wei style was a primary influence of Japanese sculpture during the
Asuka period. The Yakushi shows similar influence.
The Kondō was formerly decorated with mural paintings on its
twelve walls. The majority of the murals were destroyed by accidental fire in
1949. These paintings, comparable with those in Ajantā in India, were world
famous masterpieces. The damaged original paintings are now kept in the storage
hall. Reproductions are attached to the walls of the Kondō.
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| Great Lecture Hall |
The Daikōdō (Great Lecture Hall) is the place where the monks of
the temple study. The original building was burnt in 925 during the Heian
Period, and the present structure was built in 990. It therefore differs in
style from the other earlier buildings in the compound.
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| Yakushi Triad in Great Lecture hall |
The building houses the statues of Yakushi Nyorai at the center,
Nikkō Bosatsu (Sūryaprabha) and Gakkō Bosatsu (Candraprabha) on its right and
left, and Shitenno at the four corners. Dating from the same period as the
building, they are typical examples of Japanese Buddhist sculpture in the
middle part of the Heian Period.
The Kyōzō (Sutra Repository) and the Shōrō (Bell House) are
situated to the right and left of the Kōdō. The two are largely similar
buildings of an elegant form, but the former dates from the second half of the
Nara Period and the latter from the early part of the Heian Period. Their
difference in age is revealed in the pillars and eaves.
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| Hall of Prince Shotoku |
The Shōryōin (Hall of Prince Shōtoku’s Soul) occupies the south
end of the Higashimuro (East Quarters), a building for accommodation of the
resident monks like the Nishimuro (West Quarters). It was a part of the east
quarters and was converted, at the reconstruction of the building at the end of
the Heian Period, into a hall dedicated to the soul of Prince Shōtoku. In it
are enshrined the statues of Prince Shōtoku, his sons, his teacher, the monk
Eji and other persons associated with him. The Tsumamuro (Gabled Quarters)
which is to the east of this building is also a dormitory in the Heian Period.
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| Prince Shotoku |
Tōin (Eastern Precinct)
The route passes the Todaimon (East Main Gate) and leads to the
place originally occupied by the Ikaruga Palace, which was the home of Prince
Shōtoku. The palace was constructed in 601 AD but after the death of Prince
Shōtoku the palace fell into decay. In 739 AD the monk Gyōshin Sōzu constructed
an octagonal hall (later known as the Yumedono) as well as the Denpōdō (Hall of
Buddhist Teachings), Sōbō (monks’ dwelling quarters) and other buildings, and a
statue of Kuse Kannon (Avalokitesvara the Savior), revered by the Prince during
his lifetime, was enshrined in the Yumedono. With the wide spread of worship of
the Prince in the Heian and Kamakura Periods, the Eastern Precinct was
furnished with more buildings such as the Eden (Hall of Paintings), Shariden
(Reliquary Hall), Shōrō (Bell House), Raidō (Hall of Worship) and Kairō (Cloister-Gallery).
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| Yumedono Octagonal Hall |
Yumedono is a building standing on a double terrace and is the
oldest example of an octagonal hall in existence in Japan. Of note is the roof
ornament consisting of a lotus flower, a sacred vase, a canopy and a sacred
gem. The double terrace was a style of the Asuka Period. It may have had its
origin here as the Yumedono was built on the site of Ikaruga Palace.
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| E-den Hall |
The present E-den Hall (Hall of Painting), which is connected to
the Shariden hall (Reliquary hall), was rebuilt in 1219. It is part of a
structure formerly known as Shichijōya. The painting depicting various stages
of Prince Shōtoku’s life on the sliding doors of the building was painted by
Hata Chishin in 1069. The painting was designated as an Imperial Treasure and
has been kept by the Imperial Family. The current painting housed at E-den hall
is a replacement copy.
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| Interior of Hall of Buddhist Teachings |
The Denpōdō (Hall of Buddhist Teachings), similar in nature to the
Kōdō (Lecture Hall) of the Western Precinct, was donated by
Tachibana-no-Konakachi, wife of Emperor Shōmu, in 739. Repair work done
(1939-1943) revealed that the building was originally a residence of nobility
at the time and was converted into a Buddhist building. As such, it holds
insight into the history of Japanese residential architecture. In the hall are
twenty statues, all of which are works of Buddhist sculpture from the Nara and
Heian Periods. Included are the central Amida Triad and a group of kanshitsu (dry-lacquer) statues from the
Nara Period.
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| Bell House |
The Shōrō (Bell House) of the Eastern Precinct is a shapely
building with its lower part in a trapezoidal form known as hakamagoshi (spreading skirt). The bell
hung in it, dating from the Nara Period, has an engraved inscription reading
“Chūgūji.” It is registered as a National Treasure by the Japanese Government.
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Hōryūji Sannai, Ikaruga, Ikoma District, Nara Prefecture 636-0115
