Located in the southeastern corner of the grounds of Gangoji Temple, Jurin-in Temple is situated within the peaceful Naramachi district of Nara City. Said to have been built under the decree of Empress Genshō (715-724), Jurin-in was a subsidiary temple of Gangoji Temple. During the Muromachi period (1336-1573), many of the temple's treasures were lost in fighting and conflict, while the early Edo period (1603-1868) brought the patronage of the Tokugawa family, which led to the restoration of the temple's halls.
Renowned German architect Bruno Taut (1880-1938), who showcased Japanese aesthetics for the world, wrote, "When one comes to Nara, one should first visit Jurin-in Temple, a small but excellent example of the ancient style of simplicity and elegance, and quietly contemplate its beauty, then roam the rustic streets and alleys nearby to one's heart's content."
The poets Mori Ogai, Shuoshi Mizuhara, and Seisei Matsuse are among the many literary figures who have alluded and referred to the temple in their work. Visit the historic Jurin-in Temple and experience a part of the history and beauty of the ancient capital of Nara.
The Main Hall of Jurin-in Temple was built in the early Kamakura period (1185-1333) as a hall of worship for the Stone Buddha Altar (sekibutsugan).
Standing low, the building has latticed shutters (shitomido) beyond its broad front veranda. The shutters are boards clasped between crisscross lattices that open up into top and bottom sections. The overall design of the hall is reminiscent of a medieval Japanese house. With boarded eaves rather than rafters, the building exhibits many features that are distinctly different from the halls of most Buddhist temples.
Across the top of two beams at the front of the hall is an excellent example of a strong frog-leg strut (kaerumata) in the Kamakura style. Named for their shape that resembles a frog spreading its legs, frog-leg struts are structural elements used to disperse weight on beams and such support structures of a building. “Kaeru” means frog while “mata” means groin.
Other noteworthy architectural details include the wooden bracket complexes supporting the deep eaves from below (nokishita kumimono) and smoothly curved moldings (kurikata) carved into the upper portions of the pillars. This building is designated as a National Treasure of Japan.
No. of Structures:
1
Period of Construction:
Early Kamakura (13th century)
Composition and Form:
Length approx. 9 m (9.8 yd), breadth approx. 7.3 m (8 yd), single-floored, rectangular building covered with a hipped roof (yosemune-zukuri), hongawarabuki tiled roof (tiling method of alternating convex marugawara tiles and concave hiragawara tiles)
Important Cultural Property Designation Date:
April 17, 1902 (Meiji 35)
National Treasure Designation Date:
February 8, 1958 (Showa 33)
Crafted during the early Kamakura period (1185-1333), the Jizo Stone Buddha Altar is the main object of worship of Jurin-in Temple and is a type of Buddhist statue that is extremely rare in Japan. “Gan” of sekibutsugan refers to the altar housing an image of the Buddha. Carved out of granite, this Stone Buddha Altar depicts the world of Jizo, with a Jizo Bosatsu in the center.
The Jizo Bosatsu who stands in the center of the altar does not wield a staff (shakujō), a style seen in older representations, with Shaka Nyorai and Miroku Bosatsu on both sides. After the passing of Shakyamuni Buddha, there is a period of 5.67 billion years when no Buddha will appear until the coming of Miroku Bosatsu. During this time, Jizo Bosatsu is the bodhisattva tasked to save all beings (shujō, meaning all sentient beings and those who have lost their way) on behalf of the Buddhas.
Other Buddhas and pagodas are carved around the Jizo Bosatsu to depict Jodo, the Pure Land of Bliss, Jizo's paradise that is free of suffering, into which beings wish to be reborn after death. Placed in front of the Stone Buddha Altar is a guiding stone where the bones or coffins of the dead are enshrined. Bosatsu inscriptions of constellations such as the Big Dipper and zodiacal constellations can be seen inscribed across the top and to the left and right of the altar. From these inscriptions, one can perceive that there was also a belief that worship brought benefits for the living in the form of longevity and avoidance of natural disasters. On both sides of the guiding stone stand two traditional stone pillars (kyōdō) in the tradition of Nara Buddhism, inscribed with the names of scriptures and Buddhas. It is an extremely rare composition of a Stone Buddha Altar crafted based on the teachings of Nanto Buddhism and influenced by the folk beliefs of that time. Another interesting aspect is that it also gives the impression of being influenced by carving techniques from the Asian continent.
With visible traces of color remaining, one can imagine that it was once painted to depict the image of Jodo, the Pure Land of Bliss.
No. of Structures:
1
Period:
Early Kamakura (13th century)
Composition and Form:
Buddha Altar made of stone
Important Cultural Property Designation Date:
April 24, 1925 (Taisho 14)
This front gate standing before the Main Hall is a simple four-legged gate (shikyakumon) structure with no decorative features. With its slightly inward-leaning support pillars and a roof styled similarly to that of the Main Hall with boarded eaves and no rafters, it is a simple structure that is not commonly seen.
The frog-leg strut (kaerumata, named for its shape like a frog, kaeru, spreading its legs, with structural elements used to disperse weight on beams and other supporting structures) in the South Gate is shaped from a thick board. Unlike the decorative honkaerumata frog-leg strut that is visible through this side, it emanates a sense of simplicity.
As it has many features similar to the Main Hall, this gate is thought to have been constructed during the same period.
No. of Structures:
1
Period:
Early Kamakura (13th century)
Composition and Form:
Four-legged gate, roof shaped like an open book facing downward (kirizuma-zukuri), hongawarabuki tiled roof (tiling method of alternating convex marugawara tiles and concave hiragawara tiles)
Important Cultural Property Designation Date:
August 13, 1917 (Taisho 6)
Said to have been crafted by Buddhist monk Chishō Daishi sometime between the late Heian period (794-1185) and early Kamakura period (1185-1333), the statues of Fudō Myō-ō and his two acolytes Kongara-dōji and Seitaka-dōji are housed in the Goma Hall. Not normally available for viewing by the public, visitors can see and worship the statues when the Goma fire ritual is performed before Fudō Myō-ō on the 28th of every month (not performed in August, December, and days when the temple is closed).
The Fudō Myō-ō statue has a head of knotted hair tied into a braid hanging down his left shoulder. With his left eye narrowed, he bears his upper left and lower right teeth, biting his lips in an expression of anger (funnusō). The halo of fire on his back represents a fire-breathing bird. Wielding a sword in his right hand and a lasso (kensaku) that is said to save all beings (shujō, meaning all sentient beings and those who have lost their way), he stands tall on a stone-shaped pedestal flanked by his two acolytes on both sides. To the right of the statue, Kongara-dōji looks up towards him with palms held together, while to the left, Seitaka-dōji turns round to face him in a slightly crouched pose. Exuding elegance despite a fearsome appearance, the rounded and well-decorated form of Fudō Myō-ō exhibits many features of images from the late Heian period.
Since olden times, many have come to worship in the belief that if they make only one sincere wish, that wish will come true.
No. of Structures:
3
