Glimpses of Unfamiliar Japan Volume I Part 3

Meanwhile I have related to Akira the story of my disappointments.

'Oh, you can see him to-day,' responds Akira, 'if you will take a walk with me to the Temple of Zotokuin. For this is the Busshoe, the festival of the Birthday of Buddha. But he is very small, only a few inches high.

If you want to see a great Buddha, you must go to Kamakura. There is a Buddha in that place, sitting upon a lotus; and he is fifty feet high.'

So I go forth under the guidance of Akira. He says he may be able to show me 'some curious things.'

Sec. 3

There is a sound of happy voices from the temple, and the steps are crowded with smiling mothers and laughing children. Entering, I find women and babies pressing about a lacquered table in front of the doorway. Upon it is a little tub-shaped vessel of sweet tea--amacha; and standing in the tea is a tiny figure of Buddha, one hand pointing upward and one downward. The women, having made the customary offering, take up some of the tea with a wooden ladle of curious shape, and pour it over the statue, and then, filling the ladle a second time, drink a little, and give a sip to their babies. This is the ceremony of was.h.i.+ng the statue of Buddha.

Near the lacquered stand on which the vessel of sweet tea rests is another and lower stand supporting a temple bell shaped like a great bowl. A priest approaches with a padded mallet in his hand and strikes the bell. But the bell does not sound properly: he starts, looks into it, and stoops to lift out of it a smiling j.a.panese baby. The mother, laughing, runs to relieve him of his burden; and priest, mother, and baby all look at us with a frankness of mirth in which we join.

Akira leaves me a moment to speak with one of the temple attendants, and presently returns with a curious lacquered box, about a foot in length, and four inches wide on each of its four sides. There is only a small hole in one end of it; no appearance of a lid of any sort.

'Now,' says Akira, 'if you wish to pay two sen, we shall learn our future lot according to the will of the G.o.ds.'

I pay the two sen, and Akira shakes the box. Out comes a narrow slip of bamboo, with Chinese characters written thereon.

'Kitsu!' cries Akira. 'Good-fortune. The number is fifty-and-one.'

Again he shakes the box; a second bamboo slip issues from the slit.

'Dai kitsu! great good-fortune. The number is ninety-and-nine.

Once more the box is shaken; once more the oracular bamboo protrudes.

'Kyo!' laughs Akira. 'Evil will befall us. The number is sixty-and- four.'

He returns the box to a priest, and receives three mysterious papers, numbered with numbers corresponding to the numbers of the bamboo slips.

These little bamboo slips, or divining-sticks, are called mikuji.

This, as translated by Akira, is the substance of the text of the paper numbered fifty-and-one:

'He who draweth forth this mikuji, let him live according to the heavenly law and wors.h.i.+p Kwannon. If his trouble be a sickness, it shall pa.s.s from him. If he have lost aught, it shall be found. If he have a suit at law, he shall gain. If he love a woman, he shall surely win her -though he should have to wait. And many happinesses will come to him.'

The dai-kitsu paper reads almost similarly, with the sole differences that, instead of Kwannon, the deities of wealth and prosperity-- Daikoku, Bishamon, and Benten--are to be wors.h.i.+pped, and that the fortunate man will not have to wait at all for the woman loved. But the kyo paper reads thus:

'He who draweth forth this mikuji, it will be well for him to obey the heavenly law and to wors.h.i.+p Kwannon the Merciful. If he have any sickness, even much more sick he shall become. If he have lost aught, it shall never be found. If he have a suit at law, he shall never gain it.

If he love a woman, let him have no more expectation of winning her.

Only by the most diligent piety can he hope to escape the most frightful calamities. And there shall be no felicity in his portion.'

'All the same, we are fortunate,' declares Akira. 'Twice out of three times we have found luck. Now we will go to see another statue of Buddha.' And he guides me, through many curious streets, to the southern verge of the city.

Sec. 4

Before us rises a hill, with a broad flight of stone steps sloping to its summit, between foliage of cedars and maples. We climb; and I see above me the Lions of Buddha waiting--the male yawning menace, the female with mouth closed. Pa.s.sing between them, we enter a large temple court, at whose farther end rises another wooded eminence.

And here is the temple, with roof of blue-painted copper tiles, and tilted eaves and gargoyles and dragons, all weather-stained to one neutral tone. The paper screens are open, but a melancholy rhythmic chant from within tells us that the noonday service is being held: the priests are chanting the syllables of Sanscrit texts transliterated into Chinese--intoning the Sutra called the Sutra of the Lotus of the Good Law. One of those who chant keeps time by tapping with a mallet, cotton- wrapped, some grotesque object shaped like a dolphin's head, all lacquered in scarlet and gold, which gives forth a dull, booming tone-- a mokugyo.

To the right of the temple is a little shrine, filling the air with fragrance of incense-burning. I peer in through the blue smoke that curls up from half a dozen tiny rods planted in a small brazier full of ashes; and far back in the shadow I see a swarthy Buddha, tiara-coiffed, with head bowed and hands joined, just as I see the j.a.panese praying, erect in the sun, before the thresholds of temples. The figure is of wood, rudely wrought and rudely coloured: still the placid face has beauty of suggestion.

Crossing the court to the left of the building, I find another flight of steps before me, leading up a slope to something mysterious still higher, among enormous trees. I ascend these steps also, reach the top, guarded by two small symbolic lions, and suddenly find myself in cool shadow, and startled by a spectacle totally unfamiliar.

Dark--almost black--soil and the shadowing of trees immemorially old, through whose vaulted foliage the sunlight leaks thinly down in rare flecks; a crepuscular light, tender and solemn, revealing the weirdest host of unfamiliar shapes--a vast congregation of grey, columnar, mossy things, stony, monumental, sculptured with Chinese ideographs. And about them, behind them, rising high above them, thickly set as rushes in a marsh-verge, tall slender wooden tablets, like laths, covered with similar fantastic lettering, pierce the green gloom by thousands, by tens of thousands.

And before I can note other details, I know that I am in a hakaba, a cemetery--a very ancient Buddhist cemetery.

These laths are called in the j.a.panese tongue sotoba. [1] All have notches cut upon their edges on both sides near the top-five notches; and all are painted with Chinese characters on both faces. One inscription is always the phrase 'To promote Buddhahood,' painted immediately below the dead man's name; the inscription upon the other surface is always a sentence in Sanscrit whose meaning has been forgotten even by those priests who perform the funeral rites. One such lath is planted behind the tomb as soon as the monument (haka) is set up; then another every seven days for forty-nine days, then one after the lapse of a hundred days; then one at the end of a year; then one after the pa.s.sing of three years; and at successively longer periods others are erected during one hundred years.

And in almost every group I notice some quite new, or freshly planed unpainted white wood, standing beside others grey or even black with age; and there are many, still older from whose surface all the characters have disappeared. Others are lying on the sombre clay.

Hundreds stand so loose in the soil that the least breeze jostles and clatters them together.

Not less unfamiliar in their forms, but far more interesting, are the monuments of stone. One shape I know represents five of the Buddhist elements: a cube supporting a sphere which upholds a pyramid on which rests a shallow square cup with four crescent edges and tilted corners, and in the cup a pyriform body poised with the point upwards. These successively typify Earth, Water, Fire, Wind, Ether, the five substances wherefrom the body is shapen, and into which it is resolved by death; the absence of any emblem for the Sixth element, Knowledge, touches more than any imagery conceivable could do. And nevertheless, in the purpose of the symbolism, this omission was never planned with the same idea that it suggests to the Occidental mind.

Very numerous also among the monuments are low, square, flat-topped shafts, with a j.a.panese inscription in black or gold, or merely cut into the stone itself. Then there are upright slabs of various shapes and heights, mostly rounded at the top, usually bearing sculptures in relief. Finally, there are many curiously angled stones, or natural rocks, dressed on one side only, with designs etched upon the smoothed surface. There would appear to be some meaning even in the irregularity of the shape of these slabs; the rock always seems to have been broken out of its bed at five angles, and the manner in which it remains balanced perpendicularly upon its pedestal is a secret that the first hasty examination fails to reveal.

The pedestals themselves vary in construction; most have three orifices in the projecting surface in front of the monument supported by them, usually one large oval cavity, with two small round holes flanking it.

These smaller holes serve for the burning of incense-rods; the larger cavity is filled with water. I do not know exactly why. Only my j.a.panese companion tells me 'it is an ancient custom in j.a.pan thus to pour out water for the dead.' There are also bamboo cups on either side of the monument in which to place flowers.

Many of the sculptures represent Buddha in meditation, or in the att.i.tude of exhorting; a few represent him asleep, with the placid, dreaming face of a child, a j.a.panese child; this means Nirvana. A common design upon many tombs also seems to be two lotus-blossoms with stalks intertwined.

In one place I see a stone with an English name upon it, and above that name a rudely chiselled cross. Verily the priests of Buddha have blessed tolerance; for this is a Christian tomb!

And all is chipped and mouldered and mossed; and the grey stones stand closely in hosts of ranks, only one or two inches apart, ranks of thousands upon thousands, always in the shadow of the great trees.

Overhead innumerable birds sweeten the air with their trilling; and far below, down the steps behind us, I still hear the melancholy chant of the priests, faintly, like a humming of bees.

Akira leads the way in silence to where other steps descend into a darker and older part of the cemetery; and at the head of the steps, to the right, I see a group of colossal monuments, very tall, ma.s.sive, mossed by time, with characters cut more than two inches deep into the grey rock of them. And behind them, in lieu of laths, are planted large sotoba, twelve to fourteen feet high, and thick as the beams of a temple roof. These are graves of priests.

Sec. 5

Descending the shadowed steps, I find myself face to face with six little statues about three feet high, standing in a row upon one long pedestal. The first holds a Buddhist incense-box; the second, a lotus; the third, a pilgrim's staff (tsue); the fourth is telling the beads of a Buddhist rosary; the fifth stands in the att.i.tude of prayer, with hands joined; the sixth bears in one hand the shakujo or mendicant priest's staff, having six rings attached to the top of it and in the other hand the mystic jewel, Nio-i ho-jiu, by virtue whereof all desires may be accomplished. But the faces of the Six are the same: each figure differs from the other by the att.i.tude only and emblematic attribute; and all are smiling the like faint smile. About the neck of each figure a white cotton bag is suspended; and all the bags are filled with pebbles; and pebbles have been piled high also about the feet of the statues, and upon their knees, and upon their shoulders; and even upon their aureoles of stone, little pebbles are balanced. Archaic, mysterious, but inexplicably touching, all these soft childish faces are.

Roku Jizo--'The Six Jizo'--these images are called in the speech of the people; and such groups may be seen in many a j.a.panese cemetery.

They are representations of the most beautiful and tender figure in j.a.panese popular faith, that charming divinity who cares for the souls of little children, and consoles them in the place of unrest, and saves them from the demons. 'But why are those little stones piled about the statues?' I ask.

Well, it is because some say the child-ghosts must build little towers of stones for penance in the Sai-no-Kawara, which is the place to which all children after death must go. And the Oni, who are demons, come to throw down the little stone-piles as fast as the children build; and these demons frighten the children, and torment them. But the little souls run to Jizo, who hides them in his great sleeves, and comforts them, and makes the demons go away. And every stone one lays upon the knees or at the feet of Jizo, with a prayer from the heart, helps some child-soul in the Sai-no-Kawara to perform its long penance. [2]

'All little children,' says the young Buddhist student who tells all this, with a smile as gentle as Jizo's own, 'must go to the Sai-no- Kawara when they die. And there they play with Jizo. The Sai-no-Kawara is beneath us, below the ground. [3]

'And Jizo has long sleeves to his robe; and they pull him by the sleeves in their play; and they pile up little stones before him to amuse themselves. And those stones you see heaped about the statues are put there by people for the sake of the little ones, most often by mothers of dead children who pray to Jizo. But grown people do not go to the Sai-no-Kawara when they die.' [4]

And the young student, leaving the Roku-Jizo, leads the way to other strange surprises, guiding me among the tombs, showing me the sculptured divinities.

Some of them are quaintly touching; all are interesting; a few are positively beautiful.

The greater number have nimbi. Many are represented kneeling, with hands joined exactly like the figures of saints in old Christian art. Others, holding lotus-flowers, appear to dream the dreams that are meditations.

One figure reposes on the coils of a great serpent. Another, coiffed with something resembling a tiara, has six hands, one pair joined in prayer, the rest, extended, holding out various objects; and this figure stands upon a prostrate demon, crouching face downwards. Yet another image, cut in low relief, has arms innumerable. The first pair of hands are joined, with the palms together; while from behind the line of the shoulders, as if shadowily emanating therefrom, mult.i.tudinous arms reach out in all directions, vapoury, spiritual, holding forth all kinds of objects as in answer to supplication, and symbolising, perhaps, the omnipotence of love. This is but one of the many forms of Kwannon, the G.o.ddess of mercy, the gentle divinity who refused the rest of Nirvana to save the souls of men, and who is most frequently pictured as a beautiful j.a.panese girl. But here she appears as Senjiu-Kwannon (Kwannon-of-the-Thousand-Hands). Close by stands a great slab bearing upon the upper portion of its chiselled surface an image in relief of Buddha, meditating upon a lotus; and below are carven three weird little figures, one with hands upon its eyes, one with hands upon its ears, one with hands upon its mouth; these are Apes. 'What do they signify?' I inquire. My friend answers vaguely, mimicking each gesture of the three sculptured shapes:-'I see no bad thing; I hear no bad thing; I speak no bad thing.'

Gradually, by dint of reiterated explanations, I myself learn to recognise some of the G.o.ds at sight. The figure seated upon a lotus, holding a sword in its hand, and surrounded by bickering fire, is Fudo- Sama--Buddha as the Unmoved, the Immutable: the Sword signifies Intellect; the Fire, Power. Here is a meditating divinity, holding in one hand a coil of ropes: the divinity is Buddha; those are the ropes which bind the pa.s.sions and desires. Here also is Buddha slumbering, with the gentlest, softest j.a.panese face--a child face--and eyes closed, and hand pillowing the cheek, in Nirvana. Here is a beautiful virgin-figure, standing upon a lily: Kwannon-Sama, the j.a.panese Madonna.