With two Golden days left, I got back to Tokyo, and even convinced myself to go to church today...although afterwards I came home to revel the rest of the day away lying in my OWN bed, reading. Which is probably where I should still be, but my dedication to you, oh six faithful readers, knows no bounds.
I managed to find one more magical place to check out in Toyama, Sotoshu Chokei-Ji. Perched up on a hillside on the west side of the Jinzu Kawa, the river that splits the city, it's home to 500 rakan, statues of Buddhist disciples. I've come across temples with schloads of these little statues before, most notably at Nenbutsu-Ji, several trips to Kyoto in the past. What I hadn't really thought about before was why these feature in Buddhist temples. I hadn't realized before researching this blog post that it was a theme, not only in sculpture (landscaping?? Installation??? I'm not sure how you'd classify this, artistically speaking) but also in painting. In Japan it seems like they tend to be memorial in nature, although I wasn't able to track down a specific explanation for the Gohyaku Rakan at Chokei-ji.
But what does seem to be true, not only about the rakan in Toyama but also at other temples is that each is an individual. You might be wondering if it's even possible to create 500 variations on the "bald guy in a robe" formula. In fact, I was reminded (particularly when facing this rakan) of a recent episode of my favorite current anime, Dororo, of a sculptor who tried - and failed - to give a fierce face to a Fudo statue. However, as I made my way from level to level, it seemed like the artists who created these rakan managed it. It's possible I was secretly hoping to find one with an arrow on its head, but apparently these guys never met Aang.
This grouping had a different feel to it than the 1200 at Nenbutsu-Ji. More structured, I guess is the way I'd describe it. The sculptures and their stone lanterns were arranged on terraces ascending the hillside. I found myself wishing it was fall, since it seemed like all of the trees were Japanese maples. Since it wasn't, I played with my new photography skillz, trying to capture the textures of the stone and the moss.
On my way up to the temple I passed the Toyama Municipal Folkcraft Village. I'm pretty sure that I could spend years researching all the different craft traditions of Japan, if only I had the time and money. Since I have neither, I suppose it's just as well that my studies are generally restricted to dolls. And here - for once! - I finally managed to find a doll workshop conveniently located and affordably priced. Sure, it was just a simple ohina-sama doll, but even if it lacked the complexity of my current artist crush, Hiromine Nakamura, I think I did a pretty good job of individualizing mine. I used my own features and an amalgamation of all my best boys, while simultaneously adhering to aesthetics. In fact, I could probably make another 499 of them, to create my own take on the Gohyakurakan. Maybe in my next Japan life.
On my way up to the temple I passed the Toyama Municipal Folkcraft Village. I'm pretty sure that I could spend years researching all the different craft traditions of Japan, if only I had the time and money. Since I have neither, I suppose it's just as well that my studies are generally restricted to dolls. And here - for once! - I finally managed to find a doll workshop conveniently located and affordably priced. Sure, it was just a simple ohina-sama doll, but even if it lacked the complexity of my current artist crush, Hiromine Nakamura, I think I did a pretty good job of individualizing mine. I used my own features and an amalgamation of all my best boys, while simultaneously adhering to aesthetics. In fact, I could probably make another 499 of them, to create my own take on the Gohyakurakan. Maybe in my next Japan life.
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