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EARLY MODERN JAPAN FALL-WINTER, 2004 Naritasan EARLY MODERN JAPAN FALL-WINTER, 2004 Naritasan Shinshōji and Common- ment of numerous branch temples throughout Ja- pan, where worshippers offer their prayers to Fudō er Patronage During the Edo Pe- Myōō's empowered replicas.3 Today, getting to riod Naritasan is an easy train ride of an hour or so ©Patricia J. Graham from the city, but during the Edo period, the forty- three mile (seventy kilometer) distance took two University of Kansas 4 days and one night of travel by foot and boat. The Shingon temple of Naritasan Shinshōji 成 Nevertheless, even then it attracted large numbers of visitors, mostly commoners from the city of 田山新勝寺 (popularly known as "Naritasan") is Edo, who sought practical benefits from the tem- a sprawling religious complex located close to ple's illustrious main deity and an opportunity for Narita Airport outside Tokyo. Along with the a short vacation in the countryside away from the Meiji Shrine 明治神宮 and Kawasaki Daishi congested urban environs. 川崎大師, it is one of Japan's three most visited My focus here is to illuminate the strength of religious sites during the New Year's season. Not motivations for, and manifestations of Buddhist coincidentally, all three are located in and around patronage at Naritasan by commoners from the Tokyo, Japan's most populous urban center. Nari- nearby metropolis of Edo, throughout the Edo pe- tasan's main object of worship is Fudō Myōō (Skt: riod. The tangible results of commoner devotion Acalanātha) 不動明王, one of the five Buddhist primarily take the form of a fine group of well Wisdom Kings (Godai Myōō 五大明王).1 In re- preserved buildings and numerous artifacts do- cent decades, this statue of Fudō has become so nated to the temple, both by Edo luminaries and associated with its ability to ensure devotees' anonymous Edo era townspeople. These artifacts travel safety, especially for auto travel, that Nari- include a large number of votive tablets (ema 絵 tasan now ranks first among temples nationwide 馬), some painted by famous Edo period artists, where people go to purchase car amulets and to and many others, made and donated by unknown request ritual blessing of their cars by temple commoners. Devotion to Buddhism on the part of 2 priests. This fame has engendered the establish- Edo commoners has recently been addressed in English in a study of Sensōji 浅草寺, another important temple in the Tokyo area during the Edo 1 The five Buddhist wisdom kings are wrath- period, but because most of the buildings there ful manifestations of the five most important were destroyed during World War II, the author, Buddhas in the esoteric Buddhist pantheon. not a historian of art or architecture, discussed the Among these kings, Fudo Myōō occupies the cen- nature and significance of the religious practice at tral position as manifestation of the supreme, cos- the site rather than the material remains their de- mic Buddha, Dainichi (Skt: Mahāvairocana). He votion wrought.5 either stands or sits on a rock with his body framed by a aura of fire. His facial expression is fierce, with one eye peering up and the other down mon Religion of Japan (Honolulu: University of and two fangs, also pointing in opposite directions. Hawai'i Press, 1998), p. 42. He usually holds a sword in his right hand to slash 3 For a discussion of one of these branches, demons and a cord in his left to bind them and see Ian Reader, Religion in Contemporary Japan also to capture devotees and lead them into Para- (Honolulu: University of Hawaii Press, 1991), pp. dise. Iconographic information from: Carmen 144-145. Blacker, The Catalpa Bow: A Study of Shamanistic 4 Laurence R. Kominz, The Stars Who Cre- Practices in Japan (London: Allen and Unwin, ated Kabuki: Their Lives, Loves, and Legacy 1975), p. , 175 and Louis Frédéric, Buddhism: (Tokyo: Kodansha International, 1997), p. 37. Flammarion Iconographic Guides (Paris and New 5 Nam-lin Hur, Prayer and Play in Late Toku- York: Flammarion, 1995), pp. 203-205. gawa Japan: Asakusa Sensōji and Edo So-ciety 2 Ian Reader and George J. Tanabe, Jr., Prac- (Cambridge, MA: Harvard University Asia Center, tically Religions: Worldly Benefits and the Com- 2000). 11 EARLY MODERN JAPAN FALL-WINTER, 2004 This article is part of a larger book project in misconception number two: a dearth of scholar- which I am engaged that assesses Buddhist faith ship on late premodern (post-Muromachi period) and power as manifested in devotional pictures, Japanese Buddhist art and architecture, except for sculpted icons, and sites of worship associated study of a limited corpus of materials, because of with mainstream sects of Buddhism in Japan from the belief in its aesthetic inferiority, especially as the seventeenth century to the present. I have cho- associated with materials produced by and for sen to focus here on patronage at Naritasan as a commoners.7 Scholars have been preconditioned means of emphasizing a significant new group of to regard only those Japanese Buddhist arts and influential patrons of Buddhism that first emerged architecture, created during Japan's ancient and during the Edo period: urban commoners. Com- medieval eras (roughly the seventh through mid- moner support of Buddhism did not replace that of sixteenth centuries), for temples in and around the the elites, the high ranking samurai and courtiers who were from Buddhism's earliest days in Japan the religion's most ardent supporters, and who Buddhist Reform." in Confucianism and Toku- continued to patronize nationally renowned head gawa Culture, edited by Peter Nosco (Princeton: temple complexes and familial sites of worship. Princeton University Press, 1984), pp. 188-191; Rather, it created a new and powerful core group and more fully in Janine Tasca Sawada, "Toku- of supporters for Buddhism, whose enduring pa- gawa Religious History: Studies in Western Lan- tronage has enabled certain institutions to thrive to guages," in Early Modern Japan: An Inter- the present. Understanding modern Japanese Bud- disciplinary Journal 10, no. 1 (Spring 2002): 39- dhism's prosperity, and the religion's continued 64, see especially pp. 51-56 (section on Buddhist stimulation of artistic production, requires a solid Studies). Nam-lin Hur's study of Sensōji, cited in grasp of urban commoner patronage networks that note 1 above, is an important contribution to the emerged first during the Edo period at places such understanding of Edo period Buddhism as as Naritasan. practiced by urban commoners. Surprisingly, this temple and its treasures have 7 On the acceptance of the inferiority of Edo received remarkably little attention from scholars period Buddhist art and architecture, see Neil of early modern Japanese art and architecture. Not McMullin, Buddhism and the State in Sixteenth- until 1981 did all the major Edo period buildings Century Japan (Princeton: Princeton University at Shinshōji become designated as Important Cul- Press, 1984), pp. 266-267. Among the limited cor- tural Properties (jūyō bunkazai 重要文化財). pus of Edo period Buddhist arts for commoners Many scholars with whom I informally discussed that have long been appreciated in both Japan and my research on this site have never visited the the West are Zen painting and calligraphies and temple, or have only heard of it because of its selected self-taught Buddhist sculptors admired as proximity to the Tokyo airport. I assert that this mingei (folk art). On these standard canonical ma- omission is due to three significant misconcep- terials defined as Edo period Buddhist, see Tsuji tions about Edo period Buddhism and its influence Nobuo, ed., Edo no shūkyō bijutsu: Enkū, Moku- on the arts and architecture of the time, which jiki, Hakuin, Sengai, Ryōkan (Religious Art of the some scholars have recently begun to question. Edo Period: Enkū, Mokujiki, Hakuin, Sengai, The first misconception is the widely held con- Ryōkan) (Tokyo: Gakushū Kenkyūsha, 1979). For viction that Buddhism had declined in cultural a historiographic study of Western language writ- importance by the Edo period and, institutionally, ings on religious architecture and arts in relation to had become so degenerate that it could not en- 6 that of other arts of the early modern era, see courage devout belief. This accounts in part for Patricia J. Graham, "Early Modern Japanese Art History: An Overview of the State of the Field," Early Modern Japan: An Interdisciplinary Journal 6 Scholarship that accepts the degradation of 10, no. 2 (Fall 2002): 2-21. For discussion of reli- Buddhism during the Edo period is reappraised in gious art see pp. 19-20 and for an extensive bibli- Paul B. Watt, "Jiun Sonja (1718-1804): A ography of writings in English on religious sites, Response to Confucianism within the Context of icons, and other devotional arts, see pp. 99-100. 12 EARLY MODERN JAPAN FALL-WINTER, 2004 great early imperial and political capitals of Nara, Tsuji Nobuo and some younger scholars, many of Kyoto, and Kamakura, as among the supreme them his former students, have begun to reassess monuments of Japan's cultural heritage. This pre- this contention. 9 As for revisionist scholarship in eminence of early Buddhist material developed in Western languages, except for copious writings the late nineteenth century, when the political and about Zen painting and calligraphy, a few studies economic leaders of Japan created the chronologi- of important sites associated with the highest cal parameters of the nation's aesthetic canon echelon samurai,10 unusual images (by imperial which remains largely unchanged today.8 nuns),11 and some materials categorized as folk These first two issues lead to a third widely held arts,12 much of this later Buddhist art, and espe- misunderstanding: that because Buddhism was not important in the Edo period, the best building de- signers, artists and craftspeople of the era devoted 9 See Tsuji Nobuo, ed., Shōmin bukkyō themselves to the production of secular rather than (Buddhism of Commoners) in Zusetsu Nihon no religious arts and architecture.
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