Todays Adachi sensei arranged for Yamanaka san to take me to Taima-dera Temple. I was thinking this might be exess to reirements, though it was obviously very kind of them both. I have visited temples before as a tourist and often one is more saddened than edified to see centres of spirituality turned into museums and this particular day I was tired from jetlag and many engagements, and with more to follow I might have relished a more relaxing day, but it would have been churlish to refuse. In the event, however, the day confounded my ungracious expectations.
The journey took the best part of two hours going, rather less back as we caught a faster train. Taima-dera is famous for its mandala tapestry depicting Amida Nyorai in the Pure Land of Bliss. This mandala was made in the seventh century by a princess become nun. Her story is the stuff of fairy tales with a wicked step-mother, attempted assassinations, refuge in a monstery and eventual apotheosis. I had read about the mandala in books and have a print of it back in Narborough kindly given to me by Ando sensei.
We reached the temple which is on the slopes of a mountain, Nishiyama, itself long associated with the Pure Land because the sun goes down behind it. The temple precinct is quite large encompassing a main temple on three halls, four major sub-temples and nine lesser ones, and inner precint further up the hill and numerous gardens, the most impressive being within the inner precinct, laid out to represent the design of the famous mandala itself.

I was quite taken with the gardens and strayed from our route to spend some time in them. I also enjoyed the ancient architecture. Eventually we made our way into the central hall where one full scale replica of the mandala hangs. The original, being silk and 1300 years old cannot be put on public view as the light would desroy what is left of it. The replicas are themselves several hundred years old. It was interesting.
Then we met up with a woman who is evidently part of one of the temple families. Adachi sensei had prepared the way for us. We were taken round the two slightly smaller halls associated with the main one. One of these was Shingon, enshrining Maitreya with four impressive guardians trampling down jaki (ogres). This, apparntly was the original main hall. Our guide taught me two things. Firstly, I got a real sense of Shingon as an esoteric religion - a secret cult in which, unlike today, the sacred figures would actually be seen by hardly anybody - rather as in the religion of ancient Egypt. It was a religion of mysteries in the original sense. Then she explained the festival that is held every year on the anniversary of the death of the princess. At that time a catwalk is built from the main gate to the main hall which is quite a long way and there is then enacted a mystery play. Seishi and Kwannon and the 25 bodhisattvas descend from the hall, representing Sukhavati, and come and collect the people from the gate and take them back. It enacts what happens at the time of death "so that people shall have no doubts about what is going to happen".

I was quite moved by this account. We went on to a sumptuous lunch privided in a charming Japanese style room, yet my mind was preoccupied with what had been imparted. I now had a strong and completely new sense of the extent to which Japanese religion as a whole is an anticipation of the death time. As we sat eating lunch, the breeze swept gently into the building like the wind of impermanence. All this is bound soon to pass. A great tenderness welled up inside me looking at each person, each flower in the garden beyond the balcony, even the buildings themselves under the aspect of impending impermanence that seemed somehow simultaneously to be the aspect of eternity. It was a gently indulgent feeling. If we are all soon to pass they follies we fall into are of small account.
In this mild rapture I was led on to meet Rev. Kyosyo Kawanaka, an assistant priest whom I had met briefly on a previous visit to Japan. He showed us round the inner precinct. In the central hall I remarked that there seemed to be no altar figure. A screen was lifted and the hidden figure was revealed. Reverend Kyosyo explained. At the time when Honen Shonin was about sixty years old he had a disciple called Saemon Kuwabara, a samurai. Kuwabara was devoted to Honen. He was also a skilled wood sculptor and in his devotion secretly made this statue of his master. This statur before us, therefore, was an actual life portrait. When it was finished, Kuwabara confessed to Honen that he had made this nearly life size carving and asked Honen if he would perform the traditional ceemony of drawing in the eyes and thereby giving the statue its soul, which Honen consented to do. I found this story and the evident piety of our informant deeply touching and was moved to tears. I felt that Honen himself, together with Kuwabara, were there in the room with us. It was profound.

Apparently the statue was moved to this temple from Chion-in in the 14th century after the then head of Jodo-shu had a dream in which Honen appeared to him and instructed the removal in order that the statue be near to the mandala. I felt a deep connection with the young priest, Kawanaka, for his evident sincerity and kindness. I felt we understood each other even though he spoke even less English than I Japanese. It was an understanding of the heart.
When I look back upon the day, I still feel it has been highly significant and that it has changed me and my religious sensitivity in some important way. Rather as I had expected might be the case, the visit to the mandala itself in its glass case did not move me over much. The temple buildings were fine and it was good to see them and be connected with our sacred history. The real meaning of the day, however, had come out in two unanticipated encounters, conveyed by people of real faith and sensitivity. I met them and through them met the holy spirit of it all. A very special day.
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