Kyoto. John H. Martin

      The Heiden (Offertory) in front of the Honden (Main Hall) at Hokoku Shrine.

      To create the appropriate space that Meiji grandeur demanded for the restored Shinto shrine to Hideyoshi, some of the buildings of the Hoko-ji Temple were moved to the north, thereby restricting the temple to but a corner of its original site. By September 15, 1875 the shrine was in place and, in a great ceremony, Hideyoshi’s spirit was transferred to the inner shrine building. Hideyoshi’s cynicism in the creation of the Hoko-ji Temple, with its great Buddha, was now being equaled by that of the Meiji government in the re-creation of this Shinto shrine in order to reverse the disdain of Ieyasu for Hideyoshi. But its underlying motive was to show the new government’s hatred of both the Tokugawa Shoguns and their 260 years of political rule of Japan and of Buddhism.

      The Hokoku Shrine consists of a number of buildings and, as with most Shinto shrines, all but the Honden (Spirit Hall) and its enclosure are open to the public. A traditional torii stands at the entrance to the grounds, and beyond it a series of lanterns (in vermilion painted wood) are raised on posts leading to the Kara-mon (Chinese Gate). The gate faces west down Shomen-dori, and from it hangs the original tablet-name for the shrine, created by the Emperor Go-Yozei in 1599. The cypress bark roofed Kara-mon gateway is supported by six large wooden pillars. Relief carvings of cranes on the transoms enhance the doors of this gateway as do the two finely carved cranes under the front gable. So realistic are the carvings of the cranes by the noted 16th century sculptor Hidari Jingoro that it is said that he left them without eyes so that they would not fly away. In keeping with the ostentatious nature of the Momoyama style of Hideyoshi’s day, the ornaments of the restored gate were gold-plated. Beyond the Kara-mon gate is the Honden, the sacred building where the spirit of Hideyoshi is enshrined, ensconced behind a fence which separates the sacred from the secular realm. A gilded statue of the seated Hideyoshi stands before the fenced inner area of the Hokoku Shrine. To the north of the main pathway is a smaller Shinto shrine with a series of small vermilion torii before its small shrine building. To the southeast of the main shrine is the Treasure House with items connected with Hideyoshi and his times, including the folding screen mentioned above that depicts the seventh anniversary of Hideyoshi’s death. In addition, swords, armor, iron lanterns and manuscripts of the 16th century, all with Hideyoshi associations, are on display.

      6 KAWAI KANJIRO MEMORIAL HOUSE

      In contrast to the late 19th century attempt to glorify Hideyoshi at the Hokoku Shrine, a short walk to the northeast of the shrine brings one to a simpler and more attractive site. Seldom can a visitor to Kyoto see the interior of a traditional Japanese house, but the Kawai Kanjiro Memorial House offers just such an opportunity. On leaving the Hokoku Shrine, a right turn brings you on to Yamatooji-dori. Follow this street to the north for three blocks. At the third cross street, turn right and walk east for two blocks before turning left (north). Kawai Kanjiro house is midway on the east side of this street. The house is open from 10:00 a.m. to 4:30 p.m. except on Mondays. It is closed from August 10 to 20 and from December 24 to January 7. Entry fee for adults, children free.

      Born in 1890, Kawai Kanjiro became a noted 20th century potter and master of ceramic craftsmanship. His growing interest in traditional pottery led him to be one of the founders of the Japan Folk Craft Museum in Tokyo and to bring attention to traditional Japanese folk crafts. Living in Kyoto, the center of traditional craftsmanship, he established a kiln at the rear of his house, and both his home and studio can be visited today. In 1937, his home was destroyed in a storm, and in rebuilding it and his work area he was inspired by traditional rural Japanese house architecture. The entrance to the house has a hall that would have been the area in which a farmer kept his animals. Here Kanjiro hung one of his wooden sculptures, an art form he took up in his later years. Beyond the entry hall is the reception room with a Korean-style wooden floor and an open hearth. A calligraphic inscription on the rear wall translates as “Folk Craft Study Collection,” and display shelves that can be viewed from either side hold some of his treasured folk collections. The room beyond the reception room was the family dining area with a large table. Under the table is a kotatsu, the traditional brazier to provide warmth to those at the table. An image of the Buddha carved by a 17th century priest-folk artist sits upon the table.