Antariksa
Introduction
In the middle of the fourteenth century, the Five Temples or Five Mountains (gozan) took rank of the others in Kamakura and Kyoto. However in the Muromachi period (1394-1596), the system was reformed and more importance was laid on the temple of Ky�to was the government site. Those have been the best days for the Zen sect�s temple. After that, the Zen sects throve under the protection of the warriors, the Kamakura government (1182-1333), the Muromachi government and the Ed� government (1596-1868). Historically, there has been a close relationship between Zen and the warrior class in Japan. Most of Zen temples were patronized by warriors� families. The Zen complex is in general axial in plan and roughly symmetrically bilateral. This reflects the regimentation of the Zen monk�s daily life, in which each act is expected to contribute to an over all attitude of religious discipline (Nishi & Hozumi, 1986). The layout of Tien-t�ung and Pei are of special significance because traces of their influence can be found in numerous Zen temples of Japan (Dumoulin, 1988). The purpose of this study is to attempt to clarify the history and architecture of Rinzai Zen sect Buddhist monastery in Ky�to.
THE ARCHITECTURE AND HISTORY OF RINKA GROUP IN KYOTO
There are two rinka temples which are still remains until now a Daitoku-ji and My�shin-ji. Both of this monasteries mentioned above have characteristic in the arrangement plan, which are not far different, thus likewise in the architecture in a whole. The main building place in one straight line and as the point of the buildings is the hatt�.
The My�shin-ji temple
The temple of My�shin-ji was found in 1337, the year of great revolution of Japan. Seeking earnestly in the disorder of the society for Zen in order to solve his deep suffering, the Emperor Hanazono (r.1308-1317) built this temple. Then, priest Kanzan Egen (1277-1360) became its founder. A new period of growth for My�shin-ji began under the leadership of the renewed priest Sekk� S�shin (1508-1486), who after the devastations of the Onin period (1467-1469), restored order to the monastery internal and economic life and succeeded in getting back all the monastic properties.
The architecture of the Myoshin-ji temple was designed Zen in style. All the main buildings it was remains with one straight line in arrangement plan. The sanmon, butsuden and hatt� are the Zen style in architecture. The butsuden and hatt� where connected with a corridor. There is one movement space from one part into the other part with higher sphere of space. The movement of space is contained by the one transition space called corridor which connect between two spaces mentions. (Figs. 1 and 2)
Fig. 1 The Buddha hall (butsuden) and Dharma hall (hatt�) of My�shin-ji monastery were connected with a corridor.
Fig. 2 The plan of butsudenhatt� of My�shin-ji monastery.
Enter into the modern times the My�shin-ji monastery remarkable enrich, the construction at the center of the main buildings almost separated in two terms. The first in Momoyama period is butsuden (1583), h�j� (1592), the sanmon (1599) and chokushimon (Imperial Gate Messenger) in 1610 were erection. The �h�j� (1654), hatt� (1656), an k�h�j� (1603) was erected, the central part of My�shin-ji monastery is furnished. Furthermore, the bustuden was reconstruction in the later days of Tokugawa government, in 1827. In the early Kamakura and Muromachi periods the daizenin was different, in front of the butsuden, kuin and s�d� was not be place at there. Then in the early of Momoyama and Edo periods the feudal lords founder and establishment many sub temples (tattch�) surroundings at My�shin-ji monastery. This is the best Rinzai sect monastery whose in arrangement used the architecture of the Zen style.
The Daitoku-ji Temple
A priest Sh�ho My�ch� (Daito Kokushi, 1282-1338) founded it. This temple it was not ranked among gozan, but it had unique character though it was powerless. During the sixteenth century Daitoku-ji was patronized by the prominent warriors of the time. It was this period that most of its numerous temples were founded. Daitoku-ji has had many priest famous in history such as Takuan S�h� (1573-1645) who was punished by the government in 1627 and Ikkyu (1394-1481) who in spite of treats accomplished his own study of the human Zen. So it was deeply related to the �tea ceremony� founded by tea master Sen no Rikyu (1521-1591). The arrangement plan of this temple still remains in the present day, showed the grandeur of the monastery with Zen style architecture design. If we pay attention to this architecture of this temple, we can see one experience in architecture movement from the main buildings enter in to sub temples. In this plan between the bustuden and hatt� was connected by the corridor (kair�).
The chokushimon (Imperial Messenger Gate), a national treasure, is the first gate at the inner enclosure, and it is closed on ordinary days. The gate was originally built as the south gate of the Imperial Palace in the eighteenth year of Tensh� (1590) constructed by Toyotomi Hideyoshi and served as a gate of the Imperial Palace until 1640. It was given to Daitoku-ji as a gift from the Empress Meisho. It is a fine example of the carved-gable style of the Momoyama period. The chokushimon it is close placed in front of the sanmon gate with different characteristic in both styles of their buildings. The roof of this gate is typically borrowed from Chinese in its style. (Fig. 3)
Fig. 3 The chokushimon (Imperial Messenger Gate). It was constructed in 1590; it is an example of the curved-gable style of the Momoyama period.
The Tower gate (sanmon) of the temple was rebuilt at that time of Ikkyu�s. The Tower gate, for instance: while the lower half dates from 1523-1526, the upper storey was added about 1589 by the most celebrated masters of the tea master Sen no Rikyu. Among the protrusion of paintings and statues is a statue of Rikyu himself, carved by him. The shogun Toyotomi Hideyoshi was one of Rikyu�s tea students, but when, for political reasons, the teacher felt out of favor, Hideyoshi was narrowly prevented from destroying the temple in history. The architecture form of this gate showed smear with Zen style, appear in the composition of the brackets detail. It was set up along the eaves and between inter columnar of the pillars, then all of the buildings was covered with red color. This gate has a plaque which says �kemono-kaku� (golden hair pavilion), made by the sixteenth century priest Sengaku Sodo, and the end tiles of the roof are decorated with the character for gold. The idea of a main gate with the usable second story was introduced in the Kamakura period by the large Zen temples. In order to reach the upper storey a stairway was needed, and since there was no place for one inside the structure, stairway were put up out side, at either end, and completed by a small entry house at the foot of the steps (Mosher, 1987). (Fig. 4)
Fig. 4 The sanmon of Daitoku-ji monastery, the upper storey was added by the tea master Sen no Rikyu in 1589.
The butsuden, the present structure dates from 1665. Its principal image is shaka, seated on a lotus blossom decorated with wheels, the symbol of Buddhist law. In two alcoves a long the back wall are six other images, given in 1540, the three memorial tablets in front of shaka are for the Emperor Go-Daigo, Daito Kokushi, and Tett� Gik� (1295-1369) the successor of Daito. The butsuden was designed with the architecture of the Zen style. Among the details of this building which make it characteristic of the architecture imported by the Zen sect are the cusped-arch windows, the tile floor, the suspended swinging wood doors, and the curved lateral interior beam the last used in China to connect members on two levels but in Japan reduced to a purely decorative function (Mosher 1987). (Fig. 5)
Fig. 5 Details of the butsuden, this which make it characteristic of the architecture of Zen style.
The Daitoku-ji monastery first building was a lecture hall (hatt�), but it burned many times and the present hall dates from 1636. It is probably similar to the fourteenth century original, which was the temple�s first building. The hatt� of Daitoku-ji is typical of both Zen Buddha halls and lecture halls. In that it is nearly square, five by four bays covered by a flat ceiling which was punished, like all of them, with a circular painting of a shaggy but not very fear some looking dragon. Where the Buddha hall has an altar platform with images, the lecture hall has an elevated pulpit, reached by stairs from both sides and crowned by a throne under a canopy; all these features reinforce the authority of the abbot (Popham, 1990). The sole furniture of the building is the abbot�s throne near the back, with canopy hanging over it. The dragon on the ceiling, a standard component of orthodox Zen sect lecture halls, was painted by the famous Kan� Tany� (1602-1674). Architecturally the hatt�, like the butsuden is characteristic of the Zen style. This building had corridor connecting in to the h�j�.
CONCLUSION
In the case of the layout plan of Rinzai sect monasteries in Ky�to, not all of these monasteries used the south-north arrangement axis. For instance Nanzen-ji and Tenry�-ji monasteries had used the east-west arrangement axis. The special arrangement of the plan of these two Rinzai sect monastery temples, gave encouragement towards a modification different from that of the Chinese plan layout.
The central functioning buildings of the Zen Buddhism monastery reflect the repetition, consistency, persistence, and order of the monastery ritual.Outside the monastery, small Zen temples always show the presence of difference architecture which opposite in free designated. Compare with the architecture of the Zen monasteries which rigid and consistent. To find the reason for this contradiction, we must turn to the character of the sect itself.
REFERENCES
Dumoulin, H. Zen Buddhism: A History India and China, Translated by James W. Heisig and Paul Knitter, vol. 1, New York: Macmillan Publishing Company, 1988a.
Dumoulin, H. Zen Buddhism: A History Japan, Translated by James W. Heisig and Paul Knitter, vol. 2, New York: Macmillan Publishing Company, 1988b.
Mosher, G. Ky�t�, A Contemplative Guide, Toky�: Charles E. Tuttle Company, 1987.
Nishi, K. & Hozumi, K. What is Japanese Architecture? A survey of traditional Japanese architecture, with a list of sites and map, Translated, adapted, and with an introduction by H. Mack Horton, Toky�: Kodansha International Ltd., 1985.
Popham, P. Wooden Temples of Japan, Travel to Landmark, London: Tauris Park Books, 1990.
Copyright � 2008 by antariksa
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