The Architecture and Bracket Complexes (kumimono) of Zen Buddhist Temples in Japan

Antariksa

Introduction

The historical backgrounds of Rinzai Zen sect temples as well as the large monasteries were concentrated inside the cities. The development of the temples was supported by the military government. At that time, the samurai who took over the political power from the court in Ky�to accepted Zen Buddhism (Okumura 1987); in this case the Rinzai Zen sect. And as My�an Esai[1] (1141-1215) received the patronage of the second Kamakura shogun[2], Minamoto no Yoriie (1182-1204) he was able establish temples in Kamakura and in Ky�to. Therefore, Rinzai Zen sect is more popular to the people in the higher ranks and the shogun.

The architecture of Zen style (zenshuy�) was introduced from China during the Sung dynasty (960-1279) and was copied exactly for the Zen monastery in Japan. The Zen sect generally used the Zen style to bring an architecture order to the main buildings inside the monastery. It is said that Japan has send carpenters to China. Tradition states that he sent master carpenters to Hangchow, the Southern Sung capital, to observe carpenters techniques and to study a particularly impressive Zen temple there (Parent 1985). Outside the central complex from the main buildings we find limited beyond which Japanese Zen sect was not except the standard from China, inside the living quarters of the monks. Another said that, though the Zen style was imported from Sung China, it would be a mistake to assume that Japan�s extant Zen structures are perfect replicas of Chinese prototypes (Nishi & Hozumi, 1985). So it must not be confused with the early karay� (Chinese style) of the Chinese Six Dynasties, which was introduced to Japan in the seventh century along with the first Buddhist propaganda (Tsuda 1985).

This study began through a collection of materials based on historical records, field research and also used as references the works of several studies, is written as follows. The bracket were no longer confined, as in the way� (Japanese style) to the top of the pillars, but were increased in number and introduced between the posts as well: certain carved beams decoration came to be used for the gable-ends, and also on the ends of beams, etc (Harada 1985). According to Kin�ya (1966), the bracket of the Zen style has more complicated form then that of Japanese in the respects that it has longitudinal two steps and that it set not only a column axes but also between them. Parent (1985), describes, in Zen style buildings, the bracket are piled up step by step until they are long enough to carry up to five bearing blocks. This is the type of architecture that became fixed in Japan and preserve until the Tokugawa regime, when it burst into such unexampled exuberance and luxury (Cram 1982).
From these references, this study will discuss about the various types of bracket complexes architecture of Zen Buddhist temples which can be categorized into the new architecture style that developed from the Kamakura period (1182-1334).

The Architecture of Zen Style

At the beginning of the Kamakura period there were three different styles of architecture. One was the native style called way� transmitted from the preceding period. The second, the Hindu or Indian style called tenjikuy�, which was introduced from China in connection with the restoration work of the T�dai-ji monastery in Nara. And the third one was the Chinese style called karay� which was introduced with Zen Buddhism. The third style, the new Chinese style called karay�, had the most important position, not only in the Kamakura period but also in the succeeding development of Japanese architecture (Tsuda 1985). At the beginning this style developed independently with the erection of many temples of the Zen sect. But later on, the karay� style was modified by certain elements of indigenous style, which greatly prospered in the succeeding ages. The bracket of

The architecture of Zen style brought a philosophical form which was placed in the Zen Buddhist monasteries, constitute integration between the humans, the buildings and image of the Buddha. The sophisticated architecture in Zen temple was seen to be religious in the arrangement of the buildings. At that time, all such evidence proved that a determined effort was made by the organizers of Zen to bring over Chinese custom including architectural characteristic as complete and correct in form as possible. In case of Zen monastery, temples were quite different both in plan and detail from what had preceded them.Zen style is more complicated in comparison to other bracketing as the way� (Japanese style) or the tenjikuy� (Indian style).

Thus, the central functioning buildings of the Zen Buddhist monastery reflect the repetition, consistency, persistence, and order of the monastery ritual. The ritual was brought from China, and also did almost all parts of the building�s styles including such Chinese elements as swinging doors, windows, tiled floor, etc (Fig. 1).

Fig. 1 It has at the end of these plates and the doors are Chinese paneled style (sankarado) swinging on a pivot and not on hinges (waraza). The doors and window have arched heads (katomado) and the latter wooden latices.

The Bracketing Complex of the shariden of Engaku-ji Temple

This temple, once one of the great centers of Zen Buddhism, was established in 1282 by H�j� Tokimune (1251-1284). The shariden[3] has a kagami tenj� (mirror ceiling) in which innumerable slats of wood radiate out the like umbrella spokes from a square of planks at the top. From the outside, the buildings, with the slim outer pillars and perky wood-single roof have a delicate, almost petite appearance (Fig. 2). But inside, the high mirror ceiling and majestic pillars reaching up to it, lend an aura of strength and space unimaginable from the outside (Aston, 1989). Here the relic of Buddha�s tooth, brought over from China, is enshrined. The hall is five spans square, of double-story construction. It has a heavily thatched irimoya roof, the eaves of which are supported by a double row of ribs spreading out like the sticks of a fan (Tsuda, 1985). The exact date of its construction is not known, but it is believed that the building, which is an out standing example of the karay�, was built in the last decade of the thirteenth century[4] (Munsterberg 1988).

Fig. 2 The sahriden of Engaku-ji (Boger 1964).

The bracketing of the lower story is simple enough, but that of the upper is rather complex, with close bracketing on the plates that lie on the tops of the pillar. The composition of one bracket complex with the next bracket complex seems precisely equal in arrangement. Bracket complexes are set not only on the top of pillars, but are lined up in the bays between them, and called inter-columnar bracket complexes (tsumegumi). The bracket complex of the lower roof, which is simpler than the upper roof, is an expression both of Zen spiritual with strength and beauty to make accomplishment. The upper roof is an three-stepped tail rafters (odaruki), the shape of the bearing block (masu) and the bracket arms (hijiki) are refined in structure. At most of the Zen temples which use the Zen style architecture, the bracket complexes have the building upper roof that is more complicated than the lower roof (Fig. 3). It is quite unique, with plain bracket under the eaves of the lower roof and very complex bracket in the space between the upper and lower roof (Munsterberg 1988).

Fig. 3 The bracket complex of the shariden of Engaku-ji temple (Ota 1977).

The Bracketing Complex of the pagoda of Anraku-ji temple

The finest of the Zen style bracket complexes, which are perfect, is the one of the pagoda of Anraku-ji temple in Nagano. The three storied pagoda exhibits a pure Zen style with its inter-columnar bracketing, fan rafters and earthen floors. With its octagonal shapes, roofs delicately uplifted at each corner, this building reveals that elegant proportions were achieved through stronger framing and joinery techniques. In many cases, the bracket complex of the Zen style gives the feeling of being very tightly packed. Tail rafters (odaruki) are also doubled. In case of the pagoda of Anraku-ji temple was different as mentioned above. The octagonal joinery corner in every storied used the bracket complex with a three-stepped bracket arrangement, then the tail rafters are inserted on the three steps (Fig. 4). If it is compared to the Chinese architecture bracket complex, the bracket complex is similar to that in typical Chinese temples. Under the penthouse the column-head unit has two false ang, while under the main roof it has two tiers of hua arms and one false ang. The inter-columnar unit in the same situational has, respectively, one hua plus one true ang; and one hua plus two true ang (Sicman & Soper, 1955). According to Kin�ya (1966), it was known that the architectural style of bracket complex was named eizo yoshiki taken from the Chinese architecture style (Fig. 5). Thus, if a three-stepped bracket arrangement is used, the tail rafters are inserted on two steps. Also if a two-stepped bracket arrangement is used, the tail rafters are inserted on one step. The tail rafters extend to the interior and are visible. (Figs. 6 and 7)

Fig. 4 The three-stepped (mitesaki) bracket complex of the pagoda of Anraku-ji temple, Nagano (Yutaka 1972).

Fig. 5 The eizo yoshiki tokyo. The Chinese bracket complex architecture style. (Kin�ya 1966)

Fig. 6 The two-stepped (futatesaki) bracket complex arrangement with one-tail rafter (odaruki) inserted. (Kin�ya 1966)

Fig. 7 The three-stepped (mitesaki) bracket complex arrangement with two-tails rafter (odaruki) inserted. (Kin�ya 1966)

The Bracketing Complex of the sanmon of T�fukuji temple

The sanmon (Tower gate) of T�fuku-ji was built in 1236. It is a two-storied gate of five spans and two spans both with three doorways. Both sides are provided with staircases (sanr�) leading to the upper story. This is the earliest sanmon remaining of the Zen monasteries, and the general style of construction is a mixture of Zen style (zenshuy� or karay�) and Indian style (Tenjikuy�). The tenjikuy� bracket complex system is combined with the karay�, and also in other aspect the tenjikuy� is harmoniously combined with the karay� (Fig. 8). This only exception is an excellent example of contemporary architecture, which shows a mixture of traditional Japanese and continental traits, which have been built in pure Chinese style. The bracket arms (sasihijiki) is purely tenjikuy�, giving an expression so strength and is arranged orderly which are simply placed a top the post. The most peculiar feature of this style is its bracketing. The main pillars, in the first place, rise all the way to the underside of the roof. In case of the sanmon of T�fuku-ji temple, they give an experience for the Tenjikuy� to involve into the Zen monastery temple. The bracket complexes of the sanmon and the butsuden (Buddha hall) have the same characteristic style.

Fig. 8 The bracket complex of the sanmon of T�fuku-ji monastery temple. The arms (hijiki) emerge from the building, each with a bearing block (masu) at its end to assist the further projection of the one above.

The Bracketing Complex of the sanmon of Kennin-ji temple

The Kennin-ji temple in Kyoto, is the first Sung-inspired building complex which were completed in the early thirteenth century. The bracket complex of the Tower gate (sanmon) of this temple has two styles that was influenced this gate. The style and the architecture form of this building are constituted of mixture of Japanese style (way�) and Zen style (zenshuy�). It can be seen on the details of bracket complex, and between inter-columnar of the two pillars there can be found the frog-leg strut (kaerumata) carvings with flora. Generally, in Zen style within inter-columnar of the two pillars placed the close-bracketing, this arrangement called tsumegumi. It is clear that the bracket complex of the sanmon of Kennin-ji temple is the modification between Japanese style and Zen style (Fig. 9). The kaerumata is placed between below the daiwa (wall plate) and above is penetrating tie beam (nuki), which is part above from the tie beam placed small block in line. The bracket complex of the sanmon is simplified if compared to the bracket of the Dharma hall (hatt�). The second-storied bracket complex is three-stepped complex (mitesaki) which two-tail rafters are set on the bearing block to support the middle purlin, and the lower tail rafters have bearing block that support the upper tail rafters. The bracket complex of the sanmon have the second such assembly projecting one-stepped complex (hitotesaki), and the second storied used two-stepped complex (futatesaki) a second step outward to support a second purlin. The second story of this gate between two columns, which is set up strut and block (kentozuka) is provided by inter-columnar support (nakazonae). This strut and block is set up below the daiwa and above the tie beam (nuki) and have the same arrangement with first story. The bracket complex of second story in the joinery corners had two-tail rafters. The basic composition of bracket complex is simple in arrangement compared to other sanmon of Kyoto gozan and rinka monasteries temple[5]. These temple tower gates probably were developed in the Muromachi period (1395-1596).

Fig. 9 The bracketing complex of the sanmon of Kennin-ji monastery temple. The frog-leg strut (kaerumata) it can be seen between inter-columnar two pillars.

The Bracketing Complex of the sanmon of Nanzen-ji temple

The bracket complex of the sanmon of Nanzen-ji temple used the Zen style and was set up under the eaves of the building. The sanmon is a two-storied building and the bracket complex is placed in both storied. The structural elements produced a rich decorative effect. The second-storied bracket complex is a three-stepped complex (mitesaki). It has a two-tail rafters which are set on the bearing block to support the middle purlin, and the lower tail rafters has bearing block that supports the upper tail rafters. The bracket complex between the upper roof and lower roof of the hatt� in Nanzen-ji temple was different in style, and it was mixture of the Japanese style and the Zen style. (Fig. 10) It is the same compared to the bracket complex of Daitoku-ji and My�shin-ji monastery temples are purely used the Zen style. For instance, the bracket complex of the sanmon of My�shin-ji is a simple one-stepped complex (degumi or hitotesaki) which it is compared to the second story of the bracket complex. (Figs. 11 and 12)

Fig. 10 The bracketing complex details of the sanmon of Nanzen-ji monastery temple.

Fig. 11 The bracketing complex of the sanmon of Daitoku-ji monastery temple.

Fig. 12 The bracketing complex of the sanmon of My�shin-ji monastery temple.

Conclusion

The Zen style has different it is compared to Japanese style (way�) architecture, for instance the arrangement plan and the details of the bracketing complex, but many Zen sect independent temples have mixed both two styles of architecture. Generally, between the Zen style and the Japanese style can live together which the religious borrowed from China, but the architecture of the buildings is always combined in different style.

The architecture of the bracket complex in the Zen monastery temples in Kyoto is different in arrangement style of each temple. The main buildings of the Zen monasteries reveal the spirits about both Zen style and Japanese style that used in the buildings. However, the bracket complex has function as a part to complete structure of buildings and to make more attractive in detail.

The bracket complex of the Zen temples with the Zen style architecture has the buildings upper roof, which is more complicated than the lower roof. Thus, if a three-stepped bracket arrangement is used, the tail rafters (odaruki) are inserted on two steps. The tail rafters extend to the interior and are visible. The inner ends of the upper tail rafters are set on bearing blocks (masu) to support the middle purlin, and the lower tail rafters have bearing blocks that support the upper tail rafters. The incline of the lower tail rafters changes where they support the upper ones.

References

Aston, M. Zen Reflection, Engaku-ji�s shariden, translated from the �Fumetsu no Kenchiku� (Immortal Buildings of Japan), Mainichi Daily News, December 20, 1989.

Cram, R. A. Impressions of Japanese Architecture and the Allied Arts. Tokyo: Charles E. Tuttle Co., Inc.1982.

Harada, J. The Lesson of Japanese Architecture, edited by CG. Holme. New York: Dover Publication Inc. 1985.

Kin�ya, S. The Bracket of the Zen Style, Journal of Architecture Planning and Environmental Engineering, AIJ. 129. 1966.

Munsterberg, H. The Art of Japan, An Illustrated History. Toky�: Charles E. Tuttle Company. 1988.

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. Tokyo: Kodansha International Ltd. 1985.

Okumura, S. Shobogenzo Zuimonki. Kyoto: Kyoto Soto-Zen Center Sosenji. 1987.

Ota, H. Koza Bunkazai, Nihon no Kenchiku 3 Chusei II, Tokyo: Daiichihoki Shuppan Kabushiki Gaisha. 1977.

Parent, M. N. The Roof in Japanese Buddhist Architecture. New York and Tokyo: Weatherhill/Kajima. 1985.

Sicman L. & Soper, A. The Art and Architecture of China. London: Penguin Books Ltd. 1955.

Tsuda, N. Handbook of Japanese Art. Toky�: Charles E. Tuttle Company.1985.

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[1] The founder of Rinzai sect of Zen Buddhism in Japan.

[2] Shogun is an abbreviation of Seiyi tai shogun, or Commander-in-Chief of the Armies that fight the Barbarians. This title was first conferred on Yoritomo of the Minamoto family, who destroyed the Tairas. The long successions of military regents of Japan, after this date, were called Shoguns, and of them, the Minamotos reigned in Kamakura, the Ashikagas in Kyoto, and the Tokugawas in Yedo (Tokio).

[3] These bone fragments from Buddha are called �shari� hence the name �shariden� (�temple of the shari�). Legend has it that the Buddha�s bones were divided up, among eight temples in India and were later divided again into 80.000 pieces. Engaku-ji�s �shari� was brought from China in a small crystal vessel made in the shape of a tower and given as a gift to the Shogun of the time, Minamoto Sanetomo (1192-1219) and in 1285 it was enshrined at the Engaku-ji, then one of the official temples of the Shogunate.

[4] Scholars do not know exactly when the shariden was built, but by comparing it to other Zen style buildings they guess it was erected around 1407.

[5] In the medieval age, Rinzai sect temples in Ky�to, such as Nanzen-ji, Tenry�-ji, Kennin-ji, T�fuku-ji. And Manju-ji became the center of gozan group. They were called �sorin�. While Daitoku-ji and My�shin-ji temples belonged to the �rinka� group of Rinzai sect temples.

Versi artikel ilmiahnya pernah dipublikasikan pada tahun 2001 dalam Jurnal TEKNOLOGI (Journal of Technology), XV (1): 85-95, dengan judul Study on The Architecture of Zen Buddhist Temples Bracket Complexes (kumimono).

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