The main reason why the Gohyaku Rakanji Temple was considered “strange” was a technique of “immediate-impact hall, the first in Japanese Buddhist history” (Screech 415). This meant that statue of Buddha, rich ornaments and five hundred of arhats were seen by view from the entrance. Another particular feature of the construction was that the Turbo Hall was three-storied instead of a regular, single-story building characteristic for temples of Edo period (Screech 417). It was also opened to all visitors, which was not regular for other Japanese temples, pagodas or praying houses (Screech 417). Another peculiarity of the Turbo Hall was its spiral shape. Visitors were engaged in perpetual movement and gained the impression of spirituality and sensation (Screech 423). The greatest awkwardness of the temple for its contemporaries was Chinese statuary of Buddhist arhats and canvases created by Dutch artist Willem Frederic van Royen (Screech 424-425).
If I had an opportunity to visit Edo of that time, I would have to choose between sights-seeing of famous classic sight, in the central districts of Edo, or going straight to the Gohyaku Rakanji (Temple of Five Hundred Arhats). If I had only one day, I would choose the Temple. First, I would visit the Rakan Hall and see the statue of Buddha surrounded with reach ornaments and statues of arhats. I would also visit the August Gate, the Rock of August Incumbition and the August Victualling Palace (Screech 414). There I would find images of the Four Heavenly Kings, Guanyu and Budai. I would really like to see the famous pine tree which was believed to be from Chiyoda Castle (Screech 414). In the Turbo Hall, I would like to experience the climbing of spiral halls and gain sensation of its height. I would also like to view the Mountain Fuji from Turbo Hall’s balcony.
The two objects, which I would bring to the present, would be a pine cone and a candle from the temple. I would be able to take the pine cone for free, just picking it up from the ground. I would take a candle in exchange for some coins of donation. The fact that I would give modern coins would not matter much, since donations were taken in any form. While the producer of the first object was nature, the second was manufactured by monks of the temple. The pine cone symbolizes the purity of nature and closeness of Edo culture to it. It would remind me of the purity I had witnessed. The candle symbolizes spirituality and holiness of the place. It would comfort me in the darkest hours of doubt and disbelief.
Work Cited
Screech, T. “The Strangest Place in Edo.The Temple of the Five Hundred Arhats”,
Monumenta Nipponica, 48.4 (Winter, 1993): 407–428. Print.
