Monograph No. 3
SYMPOSIUM of CULTURAL HISTORY
‐ CONTENTS ‐
Page
Kuninaka-no-muraji Kimimaro 国中連公麻呂; one of the serial studies on the life and works of Japaneses sculptors
T. Kobayashi, LLD. 3
A Study of the Buddhist chapels constructed by Fujiwara Kanezane 藤原兼実
N. Sugiyama. 7
Study of the buildings and topography appropriated for the construction of the Shugaku-in 修学院 Villa
O. Mori, Dr. Tech. 11
General report on the well, No. I (round), found in the play ground of Nara High School
I. Tanaka. 14
Inscriptions for offertory deeds, Kishin-jo 寄進状
M. Tanaka. 16
1955
TENRI
KUNINAKA-NO-MURAJI KIMIMARO, 國中連公麻呂
one of the serial studies on the life and works of Japanese sculptors.
By Takeshi Kobayashi, LLD.
1‐ Introduction
2‐ Career of Kuninaka-no-muraji Kimimaro
3‐ Functions of the Todai-ji Construction Bureau, Zo-Todai-ji shi 造東大寺司, and the Konkomyo-ji 金光明寺 Construction Bureau.
4‐ Works of Kimimaro (1): Construction of the Konkomyo-ji Temple.
5‐ Works of Kimimaro (2): Construction of the Colossal Buddha, Dai-butsu 大仏, of the Todai-ji Temple
6‐ Works of Kimimaro (3): Construction of the Amida-jodo-in 阿彌陀浄土院 Temple.
7‐ Work of Kimimaro (4): As Vice-Directer, Jikan 次官, of the Todai-ji Construction Bureau.
8‐ Conclusion
Kuninaka-no-Muraji Kimimaro is the sculptor who made the so-called Colossal Buddha of Nara, the large Buddhist statue of the Todai-ji 東大寺 Temple, about 1,200 years ago, in the Tempyo 天平 period. The statue was constructed under the auspices of the Emperor Shomu 聖武 First, Kimimaro was in the charge of the sculpture work, and his great success gained him the high court rank of the 4thgrade, which no one had dreamed would be awarded to a mere artisan such as he. Moreover, he was later promoted even to the post of Vice-Director of the Todai-ji Construction Bureau, and superintended not only the sculpture, but the constructing work in general.
Kimimaro’s name first appears in history in A. D. 745, the 17th year of Tempyo, when he was selected as the Chief of the Buddhist-statue Factory, Zobutsu-sho 造仏所, where most of the immense Buddhist statues of the Todai-ji Temple were made, and then he was promoted to the court rank of the 5th-grade. His duty was to make many statues of the so-called Sangatsu-do 三月堂 the March Hall, of the temple. It was originally called the Konkomyo-ji Temple of Yamato Province, and later called Kenzaku-do 羂索堂, or Hokke-do, and he made, as the chief of the factory, the central statue of the Hall, the Fuku-kenzaku Kannon, as well as those of his two followers, the Nikko, and Gakko-Bosatsu, and a set of the Four Guardian Kings, Caturmaharaja kayikas: Jikoku-ten, Zocho-ten, Komoku-ken and Tamon-ten.
Among these, only the statues of the Four Guardian Kings have by now been removed to the Kaidan-in Hall 戒壇院 of the same temple, and all the other statues still remain in the Sangatsu-do, and we can see them now in their original positions. These statues are ranked among the highest examples of Japanese sculpture, and we may call them the masterpieces of Oriental art. These examples, which were made under his direction, are proof of the highest artistic ability of Kimimaro. (vid. Pls. 1-10)
Also, about A. D. 745 to 749, the 17th year of Tempyo to the 1st year of Tempyo-shoho 天平勝宝, he was engaged in the construction of the Colossal Buddha. First, a model statue was made, after which a statue of clay was erected and then it was cast in copper. The casting work began with the bottom of the statue and then gradually were casted the upper parts, divided into eight sections. It took three years to complete the casting of the whole statue, which, as it is today, was over 16-meters high.
However, the Colossal Buddha we see now is not the one which was made thus. For, about 430 years later, in A. D. 1180 (4th year of Jisho 治承), the head and some part of the body was destroyed by fire caused by Taira-no Shigehira 平詩重衡 in a battle. The statue was soon restored under the auspices of the High Priest Shunjobo Chogen 俊乗坊重源上人. Again, about 390 years later, in A. D. 1567, the 10th year of Eiroku 永祿, the head was burnt down during the insurrection of Matsunaga Hisahide 松永久秀, and was restored again by the High Preist Kokei 公慶上人, in 1692, the 5th Year of Genroku 元祿. Thus the present figure of the Colossal Buddha might be far from the original one, but the some figures of Buddhas and Sattvas incised on the lotus petals of the pedestal well represent the caliber of work of the artist, and are enough to show us how beautiful was the original by Kimimaro, that signifies the highest virtue of perfection and satisfaction of Buddha.
Also a large bronze lantern placed in front of the Hall of the Colossal Buddha, which bears a figure in relief of an angel playing flute, named Gakuten 楽天 or Onjo Bosatsu 音声菩薩, is an indispensable example in considering the Colossal Buddha. The figure of this lovely celestial being is typical Tempyo art in its expression of the buxom elegance.
Then, in A. D. 761, the 5th year of Tempyo-hoji 天平宝字, he was in charge of constructing a chapel named Amida-jodo-in 阿彌陀浄土院, in the precinct of the Hokke-ji 法華寺 Temple, Nara, and of producing the triptych statue of Amitabha 阿彌陀三尊 and that of Onjo-Bosatsu, for the commemoration of the 1st anniversary of the late Empress, Komyo Kogo 光明皇后.
Thereafter, 761-767, he served as the Vice-Director of the Todai-ji Construction Bureau, and was ranked among the court dignitiaries. He was no longer an astisan, but he continued to make a great contribution to the glory of the Tempyo period, and he was awarded the court rank of the 4th-grade in 767, the 3rd year of Tempyo-jingo 天平神護. In the sixth year of Hoki 宝亀, 775, he passed away, proving his whole life to be a sculptor most productive and honorable.
Few examples can be found in the whole history of Japanese sculpture which show so great a success in leaving us so many marvellous works as did Kimimaro. It is very peculiar that such a great name as his should remain almost obscure in our society, but his fame and deeds shall last as long as the Colossal Buddha exists in the peaceful surroundings of Nara.
List of Plates
1. Sangatsu-do 三月堂 (March Hall), or Hokke-do 法華堂, of Todai-ji 東大寺 Temple.
2. Statue of Fuku-kenzaku Kannon 不空羂索観音, Amogapasa, the central statue of Sangatsu-do.
3. Gakko Bosatsu 月光菩薩 Sangatsu-do.
4. Nikko Bosatsu 日光菩薩 Sangatsu-do.
5. Jikoku-ten 持国天, Phritarastra, Kaidan-in 戒壇院 Hall.
6. Zocho-ten 増長天, Viruhaka, Kaidan-in Hall.
7. Komoku-ten 広目天, Virupaksa, Kaidan-in Hall.
8. Tamon-ten 多聞天, Dhanada, Kaidan-in Hall.
9. Bonten 梵天, Brahma Deva, Sangatsu-do.
10. Taishakuten 帝釈天, Sakra devanam Indra, Sangatsu-do.
11. Kongo Rikishi 金剛力士, Vajara deva, of un-type 呍形, Sangatsu-do.
12. Kongo Rikishi, of a-type 阿形, Sangatsu-do.
13. Jikoku-ten, Sangatsu-do.
14. Tamon-ten, Sangatsu-do.
15. Zocho-ten, Sangatsu-do.
16. Komoku-ten, Sangatsu-do.
17. Original appearance of the Colossal Buddha, Dai-butsu 大仏, prior to the fire of Jisho 治承 age, 12 century. detail from the “Picture Scroll of Mt. Shigi”, Shigisan Engi Emaki 信貴山縁起絵巻.
18. The Colossal Buddha, present state.
19. Figure of Buddha, incised on the lotus petal of the pedestal of the Colossal Buddha.
20. Ditto: Figure of Bodhisattva.
21. Figure of Gakuten 楽天, music angel, a relief on the open-worked wing of the bronze lantern, in front of the Hall of the Colossal Buddha.
A STUDY OF BUDDHIST CHAPELS CONSTRUCTED BY FUJIWARA KANEZANE 藤原兼実
By Nobuzo Sugiyama
1- Introduction
2- Palace of Princess Kokamon-in 皇嘉門院 and the Kujo Chapel 九条御堂
3- The Daijo-in 大乗院 Chapel in the Mudo-ji 無動寺 Temple
4- The Ho-on-in 報恩院 Chapel in the Hosho-ji 法性寺 Temple
5- Conclusion
I ‐ In the history of Japanese architecture, we find the 12th century, from the late Fujiwara to the early Kamakura period, has been left almost untouched, because of the extreme scarcity of existing examples, resulting from the incessant fighting between the two antagonistic families of the Genji 源氏 and the Heike 平家, which was conducted throughout the country, but especially around the capital city of Kyoto. In the present paper, the author trys to fill up this blank by referring to such contemporary documents as the journal of Fujiwara Kanezane 藤原兼実, the top courtier-politician of the time, called Gyokuyo 玉葉, and the Picture Scroll of the High Priest Honen, called Honen Shonin Emaki 法然上人絵巻, depicting the life of the High Priest Honen, including some scenes connected with the courtier Kanezane. For, peculiarly enough, the latter was an ardent follower of the former.
Though little is known of the architecture of the 12th century, this is by no means considered to be a depressed or degenerate age. For history tells us that at that time the big temple of Hoshoji 法勝寺 and more temples were built in Shirakawa (modern Okazaki) district, in Kyoto city, and some more temples and towers too were constructed in other districts.
Just prior to this time, in the 11th century, the gorgeous temple of Hojo-ji 法成寺 was built by Fujiwara Michinaga 藤原道長 in Kyoto, and his son Yorimich 頼通 also built the temple of Byodo-in 平等院 at Uji 宇治, the main hall of which, the Phoenix Hall, Ho-o-do 鳳凰堂, still boasts of its unsurpassed elegance.
Still more, as early as 1190, just after the unification of Japan was brought aout by Minamoto Yoritomo 源頼朝 by the elimination of the Heike family, the reconstruction of the Todai-ji 東大寺 Temple was completed. Though its main buildings were burnt in the middle of the 16th century, also as a result of the feudalists struggle, the South Gate, Nandaimon 南大門, only remaining structure, nowadays shows us the grandeur attained by the contemporary architecture. Thus we may believe that the 12th century architecture in general, including that of the Hosho-ji Temple and others noted above, is by no means inferior to those examples of preceding and following ages.
II ‐ The elder sister of Kanezane, Sei-shi 聖子, was Empress Consort of the Emperor Sutoku 崇徳 and was called Kokamon-in 皇嘉門院, but she led a solitary life after the Emperor was exiled to Shikoku Island, following his defeat in the Hogen 保元 incident. In consolation for her lonely life, Kanezane built a Buddhist chapel in the 2nd year of Kao 嘉応, 1170, in the grounds of the Palace which Sei-shi inherited from her mother. The date of the construction of this palace is unknown ; however, both the palace and the chapel burned in February, 1174, the 4th year of Shoan 承安. The reconstruction was undertaken at once, and the palace was inhabited in December of the same year, and the dedication of the chapel was held in the next year, on April 29th. The latter remained intact for several centuries with some slight retouchings, but the former was set on fire in 1177, and again in 1181, both on March 4th and on March 21st successively. The reconstruction was begun in Aug. 1181 and it was inhabited by the end of the same year before it was perfectly finished, but just at this time, in December, the Queen Consort passed away.
Prior to her death a memorial ceremony had been held every year, on February 29, by the Queen Consort and Kanezane in memory of their father Fujiwara Tadamichi 忠通, and one year the High Priest Honen was invited to the ceremony. This event is described in the Picture Scroll of Honen, and there we find a sketch of that chapel, which tells us that the building was originally the central hall of a so-called Shinden 寝殿 style residence building, but that the interior was planned as a chapel with a Buddhist alter in the center. That chapel was given to Kanezane, who in turn gave it to his daughter Ninshi 任子 alias Gishumon-in 宜秋門院 Empress Consort of the Emperor Gotoba 後鳥羽. This chapel is recorded as the Sho-shinnyo-in 証真如院 in his deed. Also it was called Kujo-mido 九条御堂, according to its location at Kujo Madeno-koji 九条万里小路 in Kyoto city-. However there is no knowing when it was demolished or disappeared.
III ‐ The Central Hall of the palace, constructed in Dec. 1181, was where Queen Consort Kokamon-in died. It was later conveyed in sections to the Daijo-in Hall 大乗院 of the Mudo-ji 無動寺 Temple, Mt. Hiei 比叡山, in Aug. 16, 1194, according to the Gyokuyo. It is also found in the Mon-yo-ki 門葉記, a collection of documents of the temple, which consists of copies of documents concerning the reason and aim of the temple’s establishment, as well as a rather complicated map of its layout, including the stand on which a Buddhist image was erected. The length of the front of this hall was five-ken 五間 and the depth was four-ken. Other buildings around this hall might be later additions.
IV ‐ Kanezane built also a villa called Tsukinowa-dono 月輪殿, in the vicinity of the Saisho-kongo-in 最勝金剛院 Temple that his mother built, in the precinct of the Hosho-ji 法性寺 Temple, at Higashiyama. He died here some years later, but we cannot find any description in the Gyokuyo on it. However, we can recognize in the journal of Fujiwara Teika 藤原定家 called Meigetsu-ki 明月記, that it was established around 1200 A. D., the 2nd year of Shoji 正治, and that Kanezane lived here after 1203 A. D., 3rd year of Kennin 建仁. The villa had a chapel in its grounds, called Ho-on-in 報恩院, and later the whole villa was called by this name. The deed written by Kanezane and that by his grandson Michi-ie, have descriptions of the buildings of Ho-on-in Chapel, and most of them are considered to be formerly residences. It is very interesting to find a sketch of the chapel in the Picture Scroll of the High Priest Honen, in the scene portraying the High Priest visiting the Tsukinowa-dono. Though we have no knowledge of the accuracy of the sketch, it gives us some notion of the contemporary residential architecture of the aristocrat class.
An old map preserved in the Tofuku-ji 東福寺 Temple shows us that the Saisho-kongo-in Temple was located on its East side, and the Gyokuyo tells us the Ho-on-in Chapel was located to the North of the Saisho-kongo-in, on the opposite side of a stream. Thus we come to know that the chapel was located on the site of a modern hall called Sokushu-in 即宗院. The plan of the chapel was a simple one. It was one-ken square, with eaves on all four sides (we call this style “one-ken square hall,” “Ikken Shimen Do” 一間四面堂), and inside of the chapel was placed a holy treasure tower, called Taho-to 多宝塔.
There is no knowing of the time when the chapel was turned into the Sokushu-in Temple, but the comeplete lack of any materials dating from the late 15 century to the end of the 16th century, i. e., from the great confusion of Onin 応仁 through the later turbulent years of the feudalistic struggles, seems to indicate that the change occurred in this period.
V ‐ The chapels constructed by Kanezane number three in all. Two were erected on private ground, and one was converted from a residential building, and again two were in residential style, of which one was a small square hall. These are rather poor monuments for the elder of a big aristocratic family, such as Kanezane, if they are compared with many gorgeous preceeding examples, but this may have been the natural outcome of the decline of the power of his family, Fujiwara. However, if we consider that he exercised a great influence over the big recon struction work of the temples of Todai-ji 東大寺 and Kofuku-ji 興福寺, both of which had been fired by the Heike general, Taira-no Shigehira 平重衡 in 1180, it might be said that he put more of his powers into those public buildings than into his private enterprises.
List of Plates
1. Kanezane’s villa, called Tsukinowa-dono 月輪殿, in the Picture Scroll of the High Priest Honen 法然上人絵巻, the 2nd section of the 11th scroll, (by courtesy of Chion-in 知恩院 Temple)
2. Complete Deed of Fujiwara Kanezane 藤原兼実 (by courtesy of Kujo Household.)
3. Plan of the Chapel of Daijo-in 大乗院, in the Mon-yo-ki 門葉記
4. The Kujo Chapel, called Kujo-mido 九条御堂, ibid, the 2nd section of the 11th scroll.
5. Deed of Fujiwara Kanezane. (by courtesy of Kujo Household)
6. Deed of Fujiwara Michiie 藤原道家 (by courtesy of Tofuku-ji 東福寺 Temple)
7. Kanezane’s Villa, Tsukinowa-dono, ibid, the 5th section of the 8th scroll, (by courtesy of Chion-in Temple)
8. Old map of the Hosho-ji 法性寺 and the Tofuku-ji temples.
9. Deed of Fujiwara Michiie. (by courtesy of the Tofuku-ji Temple)
10. Plan of the Saisho-kongo-in 最勝金剛院 Temple, (by courtesy of Kyoto University)
STUDY OF THE BUILDINGS AND TOPOGRAPHY APPROPRIATED FOR THE CONSTRUCTION OF SHUGAKU-IN 修学院 VILLA
By Osamu Mori, Dr. Tech.
Introduction
Chap. I: Research on the Rakushi-ken Pavilion
1- Investigation of the map of direction
2- Investigation on the filled-up holes on its pillars
3- The elevation of the south side
Chap. II: Researches on the reconstructed parts of the building appropriated for the Reception Hall, Kyaku-den
1- The matted verandah
2- The boarded verandah and the balustrade
3- The annexed corridor
4- The front elevation of the Reception Hall
Chap. III: On the Reception Hall of the Rinkyu-ji Nunnery
Chap. IV: South Front Gate, Omote-somon, of the Middle Villa
Chap. V: Investigation on the original topography of the garden of the Shugaku-in Villa
1- General topography
2- The Upper Villa
3- The Middle Villa
4- The Lower Villa
Conclusion
In his previous work, “Study on the Imperial Villa of Shugaku-in”, Nara State Institute for Cultural Materials, Monograph, No. 2, the present author tried to restore the original plan of the Villa in general, with its many buildings and gardens, on the basis of the old maps which he found in the Imperial Library. And in the present paper, in order to achieve a more detailed approach, he trys to research the original plans of the several buildings taken from other sites for the construction of the Villa, such as the Rakushi-ken 楽只軒 Pavilion (P1. 4), the Reception Hall (Kyaku-den 客殿) (P1. 5), and the South Front Gate (Omote-somon 表惣門) (P1. 10) of the Middle Villa and also the Reception Hall of the Rinkyu-ji 林丘寺 Nunnery (P1. 11), for which purpose he studied during 1954.
Since the publication of his previous work the author has succeeded in finding the following documents:
(1) Paper stuck to the back of the tablet of the Rakushiken Pavilion, which is now hung in the Rinkyu-ji (P1. 1, 2), and which tells that the pavilion was so named in the 8th year of Kambun 寛文, 1668.
(2) A map of a plan of the Imperial Living Room of the Palace of the Empress Consort (Fig. 3, 4), dated the 5th year of Empo 延宝 1676.
(3) That of the Osatobo 御里坊 of the Rinkyu-ji Nunnery (Fig. 15). Also a closer examination of the wooden pillars of the Rakushi-ken Pavilion (Fig. 7-10), as well as of the terrace around the Reception Hall (Fig. 14-24), revealed through their repairs that they had been moved from their original sites.
Among the buildings of Rinkyu-ji Nunnery, which is now located outside of the grounds of the Villa, some part of the building now used as the Reception Hall (P1.9), is found to be the former Studio of the Villa, which was located in the lawn ground, with the Umbrella Pine (Kasa-Matsu 傘松) in the centre, from its construction in 1682, the second year of Tenwa 天和, till the early period of Meiji 明治 when the nunnery was separated from the Villa. (This building formerly constituted the Waiting Room for Ladies in Waiting and the storehouse attached to the Palace of the Empress Consort, but there is no exact knowing as to why the reconstruction was done.)
Next, the present Front Gate was found to be originally the “Kitte Gomon” 切手御門 of the Palace of the Empress Consort. By measuring the South Front Gate, or Omote Somon 表惣門, as it is called, it was found that the proportion of its parts closely parallels those of the Reception Hall of the Middle Villa. (Fig. 34, 40)
After all, the building of Rakushi-ken bears an air of a cottage nunnery, well suited as a place of retirement for an Imperial Princess, which was its original purpose as the Akenomiya Gosho 朱宮御所. This can be perceived in such a design as that of the low-window in front of it, in the Lady’s Living Room facing the garden. (Fig. 13) Also the area which consists of the Reception Hall and the Front Gate of the Middle Villa, bears features suitable to buildings in the Empress Palace, which was built in 1677. The present Reception Hall and its Porch of the Rinkyu-ji Nunnery are considered to have been built originally as the Studio of the Rinkyu-ji Nunnery, around 1662. We can now clearly perceive the history of this building by examining it more closely.
Regarding the grounds the author succeeded this year in finishing the measurement of its the topography outside the present boundaries of which he left untouched last year (Fig. 41). He also succeeded in measuring the sections of the Nishihama 西浜 Embankment in several points, which gave him some possibility of estimating the whole quantity of soil needed in constructing the bank.
Besides, in these years, 1952-54, the author was fortunate enough to collect materials concerning the identification of the designer of the Villa and also those enabling him to study the Villa’s original features by comparing the structure of many buildings and gardens ‐ mainly of the temples ‐ especially with those of the Katsura Villa 桂離宮. There are also some materials which indicate the unique position which the Shugaku-in Villa occupies in the history of Japanese architecture and gardening. These points should have been described in this paper; however, shortage of space forces him to await another opportunity.
List of Plates
1. Tablet of the Rakushi-ken 楽只軒 Pavilion ; front side, (possession of the Rinkyu-ji Nunnery)
2. Ditto: back side. ( 〃 〃 )
3. Self-portrait of Princess Nun Teruko 光子, the foundress of the Rinkyu-ji Nunnery.
4. South front of the Rakushi-ken Pavilion, in the Middle Villa of Shugaku-in.
5. Kyaku-den, or the Reception Hall, Middle Villa.
6. Hijikake-mado 肱掛窓 or a low window, in the North of a buildding that lies in the back of the Hojo 方丈, Main Hall, Daisen-in 大仙院 Hall, the Daitoku-ji 大徳寺 Temple.
7. Low window of the Jishin-ryo 侍真寮 of the Zui-un-ken 瑞雲軒 Pavilion, the Daitoku-ji 大徳寺 Temple.
8. Low window in the East side of Gakki-no-ma 楽器の間, Katsura Palace.
9. Garden of the Katsura Palace, viewed from the window of the South terrace of Kehai-no-ma 化粧の間, the Powder Room, of Shin-goten 新御殿, the New Hall, Katsura Palace.
10. South Gate, Minami Somon 南惣門, of the Middle Villa, at the old site of the Rinkyu-ji 林丘寺 Nunnery, Shugaku-in.
11. Entrance of the Rinkyu-ji Nunnery.
12. Masonry of the Middle Villa, former Rinkyu-ji Nunnery.
13. Topograhy of the ground lying between the Middle Villa and the Lower Villa.
14. Garden stones of kare-sansui 枯山水, or rock garden style, located on a slope of the Lower Villa.
15. Original topography of the slope on which the Rin-un-tei 隣雲亭 Pavilion of the Upper Villa stands.
16. Masonry underlying the so-called Okarikomi 大刈込, the grand trimmed hedge, of the Nishihama Embankment and the eroded topography beneath it.
17. Stream flowing along the West side of the Upper Villa and the eroded topography of its lower reaches.
GENERAL REPORT ON THE WELL NO.Ⅰ (ROUND), FOUND IN THE PLAY-GROUND OF NARA HIGH SCHOOL
By Ichiro Tanaka
1 Process of the Research
2 Remaining Construction
3 Remainning Objects
(A) Natural objects:
Vegetable objects
Animal objects
(B) Earthenware:
Pottery
Roof tiles
Other earthen objects
(C) Wooden objects:
Wooden sandals
Sasa-toba
Materials for the shaft
Wooden panels of the well-tube
4 Conclusion
(1) Site:
Hillside in the North corner of the grounds of Nara High School, Horen-cho 法蓮町, Nara City.
(2) Remaining Construction:
When enlarging the play ground, removing the surface soil, many remains of the rotten roots of old wooden pillars of a building were uncovered. The site covers a considerable area, under which the well, No. 1, round in shape, and the well, No. 2, square in shape, were found, 2 feet under the ground level.
The wall of the shaft is covered around by tub-like wooden tubes, each of which consists of 20 pieces of wooden plates of ca. 2 feet long and 1/2-1 feet wide, and these pieces were connected with each other by means of pegs and holes on their sides.
The uppermost tube was made with doubled plates, and it was fastened with two logs. Besides, it was reinforced with more plates on its East, West and South sides. The shaft was ca 4.5 feet in diameter, and its depth was ca 2.5 feet when it was uncovered. The bottom was coverd blueish gray clay, and there being no masonry work. By examining the soil around the shaft we could make out that at first the pit, with a diameter of ca. 7 feet, was dug in the construction of the well, No. 1, and in the case of the well, No. 2, it was almost 6.5-8.5 feet in diameter, which is considered to be very remarkable case in .the construction of wells.
Also, by geological examination, we found that the digging was made aiming at the stratum between those of pebbles and of sand, anticipating the sprouting or standing point of subterranean water, and this also is significant from the engineering viewpoint.
(3) Remnants found at the site:
A wooden sandal; a sasa-toba; pieces of roof tiles unglazed; some haji 土師 earthenwares, reddish and fragile; some sue 須恵 potteries, hard and gray; unglazed clay figure of a horse; some plants (chestnut, maple, zebra-grass) ; animal remains (wings of insects) ; a fragment of pottery with an inscription, in indian ink, of Oharida-dera 小治田寺.
List of Figures
1. General view of the site of No. 1 well (round).
2. Plan of the grounds of Nara High School, including the site of the well.
3. Plan & section-map of the well.
4. Plan of the pit dug for the construction of the shaft.
5. Pottery figure of a horse, found in the well. (measured)
6. Wooden sandal. (measured)
7. Sasa-toba. (measured)
8. Materials constituting the innerside of the shaft. (measured)
9. Panels for the well-tube. (measured)
10. Panels of the well-tube, found at No. 2 well (square).
INSCRIPTIONS OF OFFERTORY DEEDS, KISHIN-JO 寄進状
By Minoru Tanaka.
1. Introduction
2. Materials of Gokuraku-in 極楽院 Temple
3. Materials of Toshodai-ji 唐招提寺 Temple
4. Conclusion
Most of the offertory deeds, contributing grounds, etc., to temples, are written on paper or on wooden tablets. However, recently, seven examples of offertory deeds of land inscribed on pillars were found in the Central Hall of Gokuraku-in 極楽院 Temple, Nara, during repair work. Indeed, these belong to the rarest instances of discovery of documents, insomuch as they were found in numbers.
On the wall of the Treasure Store of Toshodai-ji 唐招提寺 Temple, there is found also a wooden tablet fixed with nails, on which ricefield dedication is written in indian-ink. In the Shari-den 舎利殿, Hall of the Holy Bones of Buddha, of the same temple, another examples are found, where paper documents are preserved in hollowed wooden boxes, which are fixed with nails to the lintel. These examples are remarkable in that they seem to foretell the later practice of inscribing dedications on wooden tablets.
Here the author presents some of the offertory inscriptions found in the Gokuraku-in & Toshodai-ji Temples, as materials for further referrence.
List of Plates
1. Priest Jikei’s 僧慈経 offertory deed of a rice-field. (dated March 25, 1171)
2. Priest Sojitsu’s 宋実 offertory deed of a rice-field. (dated April, 1201)
3. Ditto. (the same date.)
4. Priest Eiki’s 栄基 offertory deed of a cultivated field. (dated Oct. 13, 1209)
5. Priest Gen-e’s 玄恵 offertory deed of a rice-field. (dated Aug. 15, 1211), First half.
6. Ditto: Second half.
7. Priest Yukei’s 有慶 offertory deed of a cultivated field. (dated Apr. 25, 1222)
8. Priest Keishun’s 継春 offertory deed of a rice-field. (dated Jun. 28, 1233)
9. Iome’s 伊王女 deed of sale of residential ground (Mar. 27, 1265), First half.
10. Ditto: Second half.
11. Document box: Okuda’s 奥田殿 offertory deed of a rice-field with certificate.
12. Document box: Document of Misokata 味曽方 (Nov. 21st, 1453.)
13. Document box: Priest Engen’s 円元房 offertory deed of a rice-field.
14. Okuda Shigekata’s 奥田重賢 offertory deed of a rice-field. (Apr. 5th, 1449)
15. Catalogue of offertory fields for memorial ceremonies, I.
16. Ditto: II.
Pls. 1-10: By courtesy of Gokuraku-in Temple.
Pls. 11-16: By courtesy of Toshodai-ji Temple.
昭和三十年十二月十日発行
奈良国立文化財研究所学報 第三冊
文化史論叢
