Historic, ornate Buddhist temple with a traditional Zen garden, tea ceremonies & colorful murals.

Universal Studios Japan

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Kenninji Temple

Kenninji, Kyoto's oldest Zen temple, founded in 1202 by Eisai, distinguishes itself through its unique blend of Zen Buddhism and other religious influences. Unlike many purely Zen establishments, Kenninji incorporates elements of Shingon Buddhism, reflecting Eisai's broader spiritual background. The temple's ceiling painting of twin dragons, a relatively recent addition by Koizumi Junsaku, is a breathtaking spectacle, yet it subtly contrasts with the temple's ancient origins. Kenninji's tea plantation, said to be the oldest in Japan, is a testament to Eisai's introduction of tea cultivation from China, not merely as a beverage, but as a medicinal aid to Zen practice. The temple's architectural layout, while adhering to Zen principles, also reveals subtle influences from continental temple designs, a nod to Eisai's extensive travels. Kenninji's continued use as a training center for Zen monks ensures its enduring legacy as a vital hub for spiritual practice.

Introduction

Kenninji Temple in Kyoto stands as a testament to the profound legacy of Eisai, the monk credited with introducing Zen Buddhism and tea culture to Japan. Founded by Eisai in 1202, Kenninji holds the distinction of being Kyoto's oldest Zen temple, deeply intertwined with Eisai's mission. Initially, Kenninji served as a unique blend of Zen, Tendai, and Shingon practices, reflecting Eisai's strategic approach to establishing Zen Buddhism in Kyoto. Eisai's vision extended beyond spiritual practice; he brought tea seeds from China, advocating for tea's health benefits and proper etiquette, significantly shaping Japanese culture.

The temple commemorates Eisai's birth annually with the Yotsugashira Chakai ceremony, a unique tea ceremony style within the Rinzai sect, highlighting Kenninji's central role in Japanese tea culture. This legacy is further honored through the Shizu Chakai tea ceremony held on Eisai's birthday, now recognized as an intangible folk cultural property of Kyoto City. Eisai's association with tea is remembered each year on May 2nd with a procession of tea jars from Uji to Yasaka Shrine.

Eisai, also known as the "father of tea," is buried on the temple grounds, solidifying Kenninji as a site deeply connected to his life and teachings. The temple houses a teahouse, and the sub-temple Ryosokuin maintains close ties to the Yabunai school of tea ceremony, reinforcing Kenninji's pivotal role in the development of tea ceremony culture in Japan.

Eisai's Legacy

Kenninji Temple distinguishes itself with three distinct gardens, each embodying unique aspects of Zen aesthetics. The Daio-en Garden presents a traditional karesansui, or dry landscape garden, featuring powerful rock arrangements, meticulously maintained moss, precisely raked sand patterns, and carefully chosen trees, fostering an atmosphere of tranquility. Visitors often find themselves absorbed in contemplation while viewing the garden from the engawa, or veranda, of the adjacent Hojo Hall.

In contrast, the Choon-en Garden offers a courtyard setting, showcasing three prominent stone arrangements surrounded by maple trees. Its design ensures captivating views from all sides, providing a dynamic visual experience as one moves around the garden.

The ○△□ Garden introduces an innovative design, incorporating the shapes of a circle, triangle, and square. These shapes symbolize the fundamental forms of the universe, adding a layer of philosophical depth to the garden's aesthetic. Convenient seating is arranged along the walking course to allow visitors a leisurely contemplation of the gardens’ beauty at any angle. These gardens exemplify the Rinzai Zen Buddhism teachings, offering spaces for quiet reflection and appreciation of harmony.

Zen Gardens

Kenninji Temple, Kyoto's oldest Zen temple, holds a stunning secret above: the Twin Dragons ceiling painting. Created by artist Koizumi Junsaku to commemorate the temple's 800th anniversary in 2002, this massive artwork stretches across the ceiling of the Hondo Hall, measuring 11.4 by 15.7 meters, equivalent to 108 tatami mats. The painting, a bold black ink drawing on thick Japanese paper, took nearly two years to complete and was initially painted in a gymnasium in Hokkaido before being transported to Kyoto.

The Twin Dragons depict two dragons appearing to chase a pearl, their dynamic poses and intricate details captivating viewers. One dragon clasps the pearl, while the other gazes at it, leaving it ambiguous whether they are playing or battling for possession. Unlike traditional dragon ceiling paintings that are often confined within a circle, these dragons roam freely across the expansive ceiling, enhancing the artwork's grandeur. The dragons symbolize eternal life, strength, and the spiritual protection Kenninji has offered for centuries. The artwork is a testament to both artistic skill and the enduring spiritual significance of Kenninji Temple.

Twin Dragons Ceiling Painting

Kennin-ji Temple's most celebrated treasure is the painted folding screen "Fūjin and Raijin" (Wind and Thunder Gods) by Tawaraya Sōtatsu, a co-founder of the Rinpa school. Though the original is housed at the Kyoto National Museum, a replica remains on display at the temple, demonstrating the screen's profound influence on Japanese art, with its imagery appearing throughout Kyoto. Created around 1639, the screen features the Wind God running across the sky with his white cloth to make wind, depicted with a green body. The Thunder God, in contrast, is shown creating thunder by beating his drums, his body white, illustrating a contrast of speed, power, and movement.

Sōtatsu, who might have died a few years after completing this work, favored gold, white, and green and broke from traditional painting styles in its creation. Unusually, he focused solely on these two gods, who were typically portrayed as followers of the thousand-armed Kannon, and imbued them with a humorous, friendly expression. The screen's unique composition includes a large open space between the gods, emphasizing the vast sky and their dynamic movements extending beyond the frame.

It's believed Sōtatsu painted the screen for Myoko-ji Temple, a sub-temple of Kennin-ji, allowing him creative freedom. In 1829, the head priest of Myoko-ji Temple moved to Kennin-ji, bringing the screen with him, where it has remained a temple treasure ever since. Another Rimpa school artist, Kōrin Ogata, created a copy of Sōtatsu's screen around 1710, likely at Myoko-ji Temple, further cementing its legacy.

Kenninji Temple

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