The Kyoto industrial exhibition of 1895: held in celebration of the eleven hundredth anniversary of the city's existence. Written at the request of the Kyoto city government

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THE "

KYOTO INDUSTRIAL

EXHIBITION

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1895.

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THE

KYOTO INDUSTRIAL EXHIBITION
OF 1895:

ELD IN CELEBRATION OF

Erratum. — In page 21, line 19, for "ob-
tained from the Fucho or Prefecture," read
" obtained from the City Authorities."

WRITTEN AT THE REQUEST OF

THE KYOTO CITY GOVERNMENT.

BY F. RRINKLEY.

•

THE

KYOTO INDUSTRIAL EXHIBITION
OF 1895:

HELD IN CELEBRATION OF

THE ELEVEN HUNDREDTH ANNIVERSARY

OF THE CITY'S EXISTENCE.

WRITTEN AT THE REQUEST OF

THE KYOTO CITY GOVERNMENT.

BY F. RRINKLEY.

PREFACE.

The author begs to thank Messrs. CHAMBERLAIN and MASON
for permission kindly accorded to draw largely upon early editions
of their excellent Japanese " Hand Book." He has also to thank
Mr. M. YOKOYAMA and Mr. KOBAYASHI for much assistance, and
the City Authorities of Kyoto for ready and valuable aid.

M143645

THE KYOTO INDUSTRIAL EXHIBITION

OF 1895.

From times too remote to be included in written annals, it
was the custom in Japan for the Sovereign and the Heir Apparent
to the Throne to live at different places. The custom, though
not abolished, has been modified to some extent in recent times.
Separate palaces are still provided for the Emperor and the
Prince Imperial, but both, reside in the same city, whereas for-
merly the rule was to choose wholly different localities. It natur-
ally resulted that there grew up about the palace of the Prince
material interests and moral associations opposed to a change of
habitation, and thus, on his accession to the Throne, he trans-
ferred the capital of the empire from the place occupied by his
predecessor to the site of his own palace. In addition to this
source of frequent change, it happened occasionally that the
residence of the Imperial Court, and therefore the capital of the
empire, was moved from one place to another twice or even
thrice during the same reign, the only limit set to all these
shiftings being that the five adjacent provinces, known as the
Gokinai, were regarded as possessing some prescriptive title to
contain the seat of Government, Yamato being especially honored
in that respect. A long list might be compiled of places dis-
tinguished by imperial residence during the early centuries,
notable among them being Kashiwara, the capital of the Emperor
Jimmu-; Naniwa (now Osaka), that of the Emperor Nintoku ;

2 KYOTO EXHIBITION.

Otsu, that of the Emperor Tenchi ; and Fujiwara, that of the
Emperor Temmu. It must be noted, however, that in those ages
of comparative simplicity and frugality, the seat of government
was not invested with attributes of pomp and grandeur such as the
haughtier conceptions of later generations prescribed. The
Sovereign's mode of life differed little from that of his subjects,
and the transfer of his residence from place to place involved no
costly or disturbing effort. But as civilization progressed ; as the
population grew ; as the business of Administration became
more complicated ; and above all, as increasing intercourse
with China furnished new standards for measuring the in-
terval between ruler and ruled, the character of the palace
assumed magnificence proportionate to the imperial ceremonies
and national receptions that had to be held there. It is not
easy to trace the gradual stages of this development, but
it had certainly proceeded far by the beginning of the eighth
century, for the capital then established at Nara by the Empress
Gemmyo was on a scale of unprecedented magnitude and splen-
dour. A lady's name is fitly associated with this first payment
of large tribute to appearances. Seven Sovereigns reigned at
Nara consecutively, held there from generation to generation
partly by the environment they themselves created, and partly
no doubt by a perception of the advantages accruing ^rom
thorough centralization of the governing power. This epoch
bequeathed to Japan a collection of relics clearly indicating the
refinement that pervaded her domestic life eleven hundred years
ago, and the artistic proclivities already exhibited by her people.
A Japanese poet did not exaggerate when he wrote : —

" Nara the Imperial capital
Blooms with prosperity ;
Even as the blossom blooms
With rich colour and sweet fragrance. "

But when the Emperor Kwammu (782-805 A.D.) ascended the
Throne, he found that Nara was not conveniently situated for

KYOTO EXHIBITION. 3

administrative purposes. After some -uncertainty, he finally
(794 A.D.) selected Uda, in the Kadono district of Yamashiro pro-
vince, and took steps to transfer the Court thither. The event
was invested with much ceremony and regarded as a subject of
national rejoicing, the people calling the new capital " Heian-
kyo/; or the "citadel of tranquillity." This is the modern Kyoto.
It continued to be the capital of the empire during a period of
1,074 years, until the seat of Government was removed to Tokyo
at the time of the great Meiji Reformation. The interval that
separated its choice as capital from the establishment of the
Shogun's seat of administration at Kamakura by Yoritomo — an
interval of 392 years, from 794 A,D. to 1186 A.D. — is known in
history as the " Heian epoch." Seventy-seven Emperors held
their courts successively at Kyoto. During so protracted an
epoch the city, of course, underwent many changes, but to this
day its general plan remains on the lines of its earliest pro-
jectors. It was built after the model of Nara, with modifica-
tions introduced from the metropolis of the Tang dynasty
in China. The outline was rectangular, 17,530 feet from
north to south, and 15,080 feet from east to west. Moats
and palisades surrounded the whole — the system of crenelated
walls and flanking towers not having been yet introduced — and
the Imperial Palace, its citadel, administrative departments, and
assembly halls occupied the centre of the northern portion.
The Palace was approached from the south, its main gate
(Shujaku-mon) opening upon a long street 280 feet wide (called
11 Shujaku-oji/' or the Shujaku thoroughfare), which ran right
down the centre of the city, terminating at the " Rojo '' gate.
The city was thus divided into two equal parts, of which the
eastern was designated " Sakyo/' or "left metropolis, " and the
western " Ukyo," or "right" metropolis." The superficial
division was into districts (jo), of which there were nine, all
equal in size except those on the east and west of the Palace.
An elaborate system of sub-division was adopted. The unit, or
ko (house), was a space meaning 100 feet by 50. Eight of these

4 KYOTO EXHIBITION.

units made a row (gyo) ; four rows, a street (cho) ; four streets, a
division (bo); four divisions, a square (ho); and four squares,
a district (jo). The entire capital contained 1,216 cho and 38,912
houses. The arrangement of the streets was strictly regular.
They lay parallel and at right angles, like the lines on a
checkers board. The Imperial citadel measured 3,840 feet
from east to west, and 4,600 feet from north to south. On
each side were "three gates; in the middle stood the Palace,
surrounded by the buildings of the various administrative
departments, and in front were the assembly and audience
halls. The nine districts were divided from each other by
streets, varying in width from 170 feet to 80 feet. They in-
tersected the city from east to west; were numbered from i
to 9, as ichi-jo, ni-jo, san-jo, and so on — names retained until this
day — and were themselves intersected in return by similar streets,
running north and south, and by lanes at regular intervals. The
houses were not of imposing dimensions or appearance. No
Japanese city has ever been beautified by grand public or private
edifices after the manner of the Occident as well as of other parts
of the Orient. The simplicity prescribed by the Shinto cult for-
bade architectural displays, and the peril of constant earthquakes
deterred men from building lofty and solid structures. Wood
was the material employed in every case, and as lightness, airiness,
and ornamentation in general were reserved for chambers open-
ing upon inner courts or looking out on miniature back gardens,
the front effect was sombre and monotonous. Many of the
houses were roofed with shingles, but some had slate-coloured
tiles, and the Palace itself was rendered conspicuous by green
glazed tiles imported from China and supposed to have been
manufactured in Cochin-China because they came to Japan by
that route.

The conception of such a city at such an epoch bears eloquent
testimony to the Emperor Kwammu's greatness of mind and re-
sources. But the Japanese were never a peace-loving people,

KYOTO EXHIBITION. 5

and amid the warlike tumults of later eras no less than among the
dangers from fire and storm that inevitably threaten a wooden
city, there was little chance of Kyoto's remaining uninjured.
Time and again conflagrations swept over the Palace and the
streets, and though new buildings always rose quickly from the
ashes, their dimensions and arrangement naturally underwent
various modifications. The story of the city's vicissitudes is thus
told by Messrs. Satow and Hawes in the second ^edition of Murray's
Guide Book : — " In 1177, the whole of the palace was destroyed by
fire, and three years later the seat of government was removed
by Kiyomori for a short time to Fukuwara, the modern town of
Hyogo. After Yoritomo had made himself master of the State, lie
built a new palace on a reduced scale, which was burnt in 1249
and rebuilt almost immediately. During Go-Daigo Tenno's short
tenure of power, the Dai Dai-ri (Great Palace) was restored to
all its former splendour, only (o be destroyed again when he was
driven from the capital. His successors had to content them-
selves with a much smaller residence. During the O-nin war
(1467-8), though the whole city was destroyed, the palace escaped.
In 1567 a new palace, which was afterwards repaired by Hide-
yoshi and extended by lye-yasu, was completed by Nobunaga on
the site where the present one still stands. Since the beginning
of the 1 7th century the palace has six times been destroyed by
fire, the last occasion having been in 1854. In the following year
it was restored exactly in its previous size- and style. It nearly
experienced this'fate again in 1864, when the armed followers of
the Prince of Cho-shiu attempted to seize the person of the Mi-
kado, but were repulsed by the troops of the Shogun, the Princes
of Satsuma, Aidzu, and other supporters of the Government, The
city, however, did not escape, and as has happened on many oc-
casions during its history, fell a prey to the flames, and nearly
one half of it was laid in ashes. Since the removal of the Mikado
to Tokio, in 1868, its prosperity has greatly diminished, and its
population in 1877 was only 225,539. That its area has greatly
decreased can be seen from the fact that from Shichi-jo Dori S.,

6 KYOTO EXHIBITION.

what was once covered with houses is now laid o.ut in market-
gardens. In 1590, Hide-yoshi constructed an embankment round
the city, which he planted with bamboos, to form the boundary
between it and its suburbs. This embankment is marked on
nearly all the maps of Kioto, and considerable portions still exist
on the W. side of the city, but it is doubtful whether the whole of
the space within it was occupied by houses at the time of its con-
struction. Xavier, in one of his letters, says that it contained
90,000 houses, which would give a population of at least 450,000,
double what it is at the present day. Vilela, writing in 1562,
describes it as merely a faint image of its former magnificence,
and no wonder, since he appears to have been told that in ancient
times it had covered an area of no less than 189 square miles."

The population of the city according to the latest census was
298,000, and there is every reason to think that it will increase
rather than decline. Judging from the city's present water supply,
it does not appear that this point received paramount attention
from the Emperor Kammu's advisers. The river Kamo upon
which the city stands is little more than a wide expanse of pebbly
bed through the middle of which trickles a little rivulet. It is very
possible, of course, that the dimensions of the Kamo-gawa were
very different eleven centuries ago. Popular legends indeed say
that it dwindled to its present size in sympathy with the shrinking
of the great city that had once stood upon its banks. But if the
Kamo-gawa has changed from a broad stream to a waste of peb-
bles, its waters retain in as high a degree as ever remarkable
mineral properties that endear them to the bleacher and dyer
above all other waters in Japan. The Japanese too have a happy
faculty of putting to some graceful use or other everything that
nature offers, and thus it has come about that the unsightly bed of
the Kamo-gawa serves the citizens for a picnic place. There on
summer evenings they set up little tables to which access from the
banks is afforded by tiny bridges of bamboo, and at these tables
the people sit drinking tea, eating cakes, passing the wine. cup

KYOTO EXHIBITION. 7

and making music. It is the carnival of Kyoto, but the enjoy-
ment never lapses into rowdiness or boisterousness. In other
cities where rivers, not rivulets, are accessible, the people take
their summer coolings in flat-bottomed boats with picturesque
roofs that are never prostituted to any use more vulgar than the
carriage of pleasure-seekers. In Kyoto, the river being absent,
the light-hearted people have their picnics where it ought to be.
In this same river-bed may also be seen bleaching grounds where
wide expanses of whitening stuffs take the place of patches of
snow in the imagination of romantic citizens on summer evenings.
But it must not be supposed that because of the insignificant
dimensions of the Kamo-gawa Kyoto is ill supplied with water.
Lying in an amphitheatre of hills, it receives many tiny rivulets
that are led by stone aqueducts hither and thither through the
city, and of late the waters of Lake Biwa have been brought to
its doors by a canal that deserves examination as a specimen of
modern Japanese engineering skill. This canal, communicating
with the Kamo-gawa canal, the Kamo-gawa itself, and the Yodo-
gawa, brings Lake Biwa into navigable communication with Osaka
Bay. Messrs. Chamberlain and Mason, writing in the 4th Edition
of " Murray's Guide," give the follouing description of this inter-
esting work: — "It was begun in 1885, and opened to traffic in the
spring of 1890. Carrying goods and passengers between the pro-
vince of Omi and Kyoto, it has brought the rich harvests of the
former within the reach of the city markets ; and by irrigating the
Yamashina valley and the upper part of the valley of Kyoto, it
has already led to great extension of the area under rice cultiva-
tion. It also supplies water-power to mills and manufactories in
Kyoto. The main canal is 6fm. in length, and in parts of its
course runs through long tunnels. The total fall is I43ft., and at
Keage, near its entrance into Kyoto, the greater part of this fall
is utilised for traffic by an incline £m. long, along which the boats,
placed in wheeled cradles, are drawn by an electric motor
stationed at the foot of the incline. At Keage, at the top of the
incline, the water of the canal divides, one part flowing in a

\

8 KYOTO EXHIBITION.

branch canal, 5im. long, which runs north of Kyoto and is avail-
able only for irrigation and water-power. The other part of the
water enters three 36in. pipes and is conveyed by these to the
foot of the incline, where, before again forming a navigable canal,
it serves to give the power needed to \vo$k the electric motor
which, by means of a wire cable, runs the boats up and down the
incline. This motor also works spinning mills, rice mills, etc.,
besides a system of incandescent and arc electric lights. From
the foot of the incline there is another stretch of open canal, with
a regulating lock between it and the old canal leading to Fushimi,
a suburb of Kyoto. But this old canal being able to pass only
boats of small draught, is of little use ; and a new canal to Fushi-
mi, begun in 1892, is approaching completion. This, the Kamo-
gawa Canal already mentioned, will have eight locks and one
canal-incline, and will carry heavy cargo and passenger boats.
The cost of the Lake Biwa Canal has been officially stated at ij
million yen, and was met one-third by an Imperial grant, one-
third from the national revenue, and one-third by the citizens of
Kyoto. The project of bringing the waters of the lake to Kyoto
was conceived and carried out by Mr. K. Kitagaki when he was
Governor of Kyoto; and a curious personal item in connection
with the matter is the fact that the design of such a water-way,
which should also be suited for the transport of men and mer-
chandise, was made the subject of the graduation essay for the
diploma of the College of Engineering in Tokyo by a student who
then became the engineer entrusted by Governor Kitagaki with
the execution of the work. It thus came about that a very fine
piece of engineering — great both in plan and in execution — was
designed and carried through successfully by a mere youth, who
rose at once to the position of one of the leading engineers in his
country. The same engineer has designed the new Kamo-gawa
Canal ; his name is Tanabe Sakuro. For some two years or so,
when engaged on the work he lost the use of the fingers of his
right hand ; and all the writings for his essays, and the beautifully
executed drawings were done with the left hand which he trained

KYOTO EXHIBITION. 9

lo the task. The natural drainage of the lake is by a river flow-
ing out of its S. end, which bears in succession the names of
Seta-gawa, Uji-gawa, and Yodo-gawa. It is not navigable in its
upper course. After passing circuitously down near Fushimi, where
it receives the waters of the canal, it falls into the sea at Osaka."
One little inaccuracy in the above description deserves correction.
Mr. Tanabe lost the use of his right hand, not while engaged on
the work of the canal, but during his period of studentship at the
College of Engineering where he applied himself to his studies
with excessive diligence.

Kaempfer, writing of Kyoto — or Miako (capital) as he calls
it — in 1690, says: — "Miako is the great magazine of all Japan-
ese manufactures and commodities, and the chief mercantile
town in the empire. There is scarce a house in this large
capital where there is not something made or sold. Here they
refine copper, coin money, print books, weave the richest
stuffs with gold and silver flowers. The best and scarcest
dyes, the most artful carvings, all sorts of musical instruments,
pictures, Japanned cabinets, all sorts of things wrought in gold
and other metals, particularly in steel, as the best tempered
blades and other arms, are made here in the utmost perfection,
as are also the richest dresses and after the best fashion, all
sorts of toys, puppets moving their heads of themselves, and
numberless other things too many to be here- mentioned.
In short, there is nothing can be thought of but what may
be found at Miako, and nothing, though never so neatly
wrought, can be imported from abroad but what some artist or
other in this capital will undertake to imitate it. Considering this,
it is no wonder that the manufactures of Miako are become so
famous throughout the empire as to be easily preferred to all
others, though perhaps inferior in some particulars, only because
they have the name of being made there. There are but few
houses in all the chief streets where there is not something to be
sold, and for my part I could not help wondering whence they

10 KYOTO EXHIBITION.

can have customers enough for such an immense quantity of goods.
JTis true, indeed, there is scarce anybody passes through Miako
but what buys something or other of the manufactures of this
city, either for his own use, or for presents to be made to his
friends and relatives."

It is in this capacity, as a city of art manufactures and indus-
trial enterprise, that the Kyoto of 1895 desires to introduce itself
to the notice of the outer world. It proposes to celebrate the
eleven hundredth anniversary of its foundation by an industrial
exhibition. The plan of stimulating enterprise and familiariz-
ing the public with the products and resources of different
localities by means of industrial exhibitions, was adopted by
Japan after the Meiji Restoration. She laid down for herself a
rule that one such display should be organized, on a national
scale, every fourth year. Minor exhibitions limited to special
articles, as tea, silk, rice, and so forth, are of constant occurrence.
Art exhibitions, too, are frequent, under the auspices of various
Societies. But of national exhibitions there have hitherto been
only three, and all were held in Tokyo. The claims of the
"Western capital " — " Saikyo," as Kyoto is commonly called by
way of analogue to "Tokyo" or "Eastern capital" — have now
been recognised, however, especially in connection with its eleven-
hundredth anniversary, and the fourth National Industrial Exhibi-
tion is to be opened there from the ist of April next. Visitors,
will, therefore, see the city in two aspects — as a centre of art
and industry, and as the time-honoured capital of imperial and
feudal Japan, founded half a century before Lodbrok the Dane
sailed up the Seine, and fifty-five years before the birth of
Alfred the Great. From the latter point of view much has been
written about this most interesting place. Kyoto considered
under its former aspect as the chief town of a highly civilized
nation, is probably the least ostentatious city in the universe.
Apart from its Buddhist temples, which are gorgeous and im-
posing, it may be described as a collection of neat but rustic

KYOTO EXHIBITION. I I

dwellings, nestling among hills of the softest possible contours,
brooded over by a wonderful crystalline atmosphere, and resonant
with the gurgle of limpid streams that babble under its bridges
and beside its thoroughfares. Its water, indeed, is one of the
gentle city's richest possessions. For these rivulets possess
bleaching and dying properties unequalled elsewhere throughout
the empire, so that whoever desires a robe of pure white or of
brilliant hue must go to seek it in the Western Capital (Saikyo).
Kyoto is also a city of gardens. The humblest dwelling has its tiny
park, with miniature waterfalls, toy hills, and dwarf forests. Even
to-day, although, the tide of a ruder civilization has disturbed the
quiet current of old-time life, you may find the potter or en-
ameller decorating his vases or building up his subtle tracery of
many-hued designs, while the flowers and leaves which he copies
look in at him through the windows of his workshop. There is no
dazzling display of wares in shop-fronts. On the contrary, some
of the largest and wealthiest stores are to be distinguished only
by the air of bustle that pervades their precincts, and even that
is hidden from the aristocratic customer, who finds himself
ushered at once into a quiet chamber, opening upon shrubberies
and rockeries, and with the most unbusiness-like aspect conceiv-
able. The very houses have a modest, retiring look, being closed
in front by solid lattices across which the women and children of
former times peeped at processions of nobles and hierarchs
passing through the hushed streets. In truth, to the student of
Japanese art and ethics it would be impossible to find a more
interesting place than Kyoto, and for those that wish to investi-
gate the development of a remarkable nation's civilization, the
city has equal attractions. (( At least a "week," say Messrs.
Chamberlain and Mason, "is necessary to form an adequate
idea of its manifold beauties." Certainly a week is all too
short, and these same writers, in their admirable itinerary of
nine-days' sight-seeing, warn the tourist that, in order to ac-
complish the round of visits in that interval, he must be
content with a superficial examination. With a programme

12 KYOTO EXHIBITION.

mapped out, however, one can easily lengthen or shorten at will
the time devoted to each item, and it would be difficult to devise
a more intelligent programme than that of the above authors, for
they take the points of the compass as a basis, and; commencing
with the north-western quarter of the city, lead the tourist round
in regular geographical sequence. Their advice is as follows :—
ist Day. — The Mikado's Palace, — even a passing glance at the
exterior is better than nothing — Kitano Tenjin, Hirano Jinja,
Daitokuji, the Shinto Shrine of Ota Nobunaga, Kinkakuji,
T6ji-in, Omuro Gosho (if rebuilt and open to the public, which is
doubtful, as it now ranks among the Imperial Palaces), Uzumasa,
Seiryuji, Arashi-yama. 2nd Day. — The Nijo Palace (the exterior
in any case), Nishi Hongwanji, Higashi Hongwanji, Toji, the
Inari temple at Fushimi, Tofukuji, San-ju-san-gen-do, Daibutsu.
3rd Day. — Kenninji, . Nishi Otani, Kiyomizu-dera, the Yasaka
Pagoda, Kodaiji, Shogun-zuka, Maruyama, Higashi Otani, Gion,
Chion-in. 4th Day. — Nanzenji, Eikwando, Kurodani, Shinnyodo,
the temple of Yoshida, Ginkakuji, Shimo-Gamo, Kami-Gamo.
5th Day, — Iwashimizu. 6th Day. — Atago-yama. yth Day. — The
Rapids of the Katsura-gawa. 8th Day. — Uji. gth Day. — Hiei-zan.

Visitors present on the gth of April or the I5th of June should
not fail to witness the famous festivals of Inari Matsuri and Gion
Matsuri, which have furnished themes for one half of the pictorial
and decorative artists of Japan. Nor should they neglect to wit-
ness another quaint and fascinating spectacle, the Miyako-odori, a
ballet that takes place every evening during twenty days, com-
mencing early in April at Hanami-koji, near the Gion-za Theatre.

Concerning the Miyako-odori, the following excellent descrip-
tion from the pen of the late Major-General Palmer, R.E., appeared
some years ago in the columns of The Times : — Kyoto, the western
capital of Japan, is now en fete, and basking in the sunshine of
Royalty. After an interval of a decade, the Emperor has again
favoured with his presence the ancient city, so rich in historical

KYOTO EXHIBITION. 13

association and in the natural beauty of its surroundings, in which
his ancestors, the spiritual rulers of Japan, were born and lived
and died during an unbroken period of nearly eleven hundred
years. And again the spacious palace, remarkable rather for
exquisite and refined simplicity than for characteristics of a more
imposing kind, is filled with the stir and ceremonial of the Im-
perial Court. But, compared with the austere routine which
existed as lately as twenty years ago, the circumstances now
attending the Sovereign's presence in the home of his forefathers
and of his own youth present a truly extraordinary contrast. In
feudal times the palace was virtually the prison of the Emperor.
Immured within its gates and never seen by his subjects, he lived
a life of rigid and mysterious seclusion. Under the new order of
things Japan's present Monarch goes freely over the city and
neighbourhood, beholding and beheld by the people of all degrees.
He visits schools, exhibitions, and temples, inspects public works
and institutions, and reviews his troops and squadrons. He is,
in short, even as other Sovereigns, a palpable and living reality,
a ruler in deed as well as in name. In one respect, however, His
Majesty's position is most happily unchanged. Neither time nor
reform seems to have lessened in any appreciable degree those
sentiments of loyalty and devotion with which the Japanese
people at large have ever regarded the revered person of the
Sovereign. In the hearts of the people he is still, as of old, verily
the King of Kings. It is no wonder, then, that the city of the
Sons of Heaven has put on full holiday garb to do honour to the
occasion of a month's visit by the Imperial party, consisting of
the Emperor and Empress, the Dowager Empress, and certain
Princes of the Blood. The clean streets of the goodly old capital
seem cleaner than ever. The national flag hangs from every
house. Citizens, for the most part arrayed in their best, wear
that air of simple easy-going recreation which comes so naturally
to the pleasure-loving Japanese. Bright dresses of girls and
children fill the streets with life and colour. The shop-fronts are
at their gayest; decorations abound; and everywhere endless

14 KYOTO EXHIBITION.

rows of many-coloured paper lanterns, of imposing size, embellish
the long straight thoroughfares by day and produce the fairest of
effects by night. Lastly, a Fine Arts Exhibition, for the display
of old and new objects of art, has been opened in the castle
grounds, and is in every respect worthy of a city and district
long distinguished as the head-quarters of the cleverest of the
renowned potters, embroiderers, weavers, and other artist-artisans
of Japan. It would have been strange if, among the preparations
for the Imperial visit^ there had not been included some special
form of entertainment by the celebrated Maiko, or danseuses, of
Kyoto. Stage-dancing in japan is an institution of great anti-
quity. It may almost be said to date from the occasion, far back in
the hoary past, when, according to Japanese mythology, the Sun-
Goddess, regarded as the ancestress of the Imperial family, was
tricked into peeping out of her cave-retreat by the noisy revels of
the gods and the sprightly dancing of her beautiful sister-divinity
Ama-no-Usume. That legendary dance, at all events, is regarded
as the origin of Japanese theatrical representation. At first the
dancing ceremonies, thus devised, were only practised as re-
ligious rites. The Kagura, an imitation of Ama-no-Usume's
celebrated dance, and dating from the birth of the Shinto
creed, may still be witnessed on festival days at any important
Shinto shrine. But gradually this and other traditional perform-
ances were made to serve as models for dances of popular
entertainment, the number of which is now considerable. Not to
speak of many kinds of public exhibitions, no dinner or supper
party in Japanese style is complete without its quota of bewitch-
ing and exquisitely dressed lasses, who wait upon the guests with
the prettiest air imaginable, and afterwards entertain them with
music, "^singing, and dancing. Except in the ancient No Kyogen
— still performed occasionally in refined society — or at hilarious
supper-parties when ordinary restraints are abandoned, a Japan-
ese, it is to be observed, never dances himself. I refer, of
course, to the true custom of the country, as distinct from the
taste for Western dancing which has lately sprung up among the

KYOTO EXHIBITION. 15

higher classes in the capital and treaty ports. With befitting
Oriental dignity, he prefers to have his dancing done for him,
and, with the best of judgment, he gets it done by the prettiest
girls in the land. Kyoto, as the Emperer's capital and the centre
of aristocratic residence, was always famous, and is famous still,
for the variety and excellence of its dances, as well as for the
beauty, grace, and skill of the performers, whose accomplish-
ments are a household world in Japan. No visitor should leave
Kyoto without seeing a Maiko performance, Maiko being the
local name for the younger class of dansettses> elsewhere generally
called "Odoriko." The older u Geisha" class includes in its
ranks musicians and singers, as well as dancers. For centuries
the Western capital was the chief school of the dancing art, and
produced its own high-class types, in which the object always
aimed at was to preserve, amid all variety, the courtly elegance
and dignity and beautiful apparel of the ancient styles. Such,
for example, is the Shirabyoshi, a pure Kyoto dance, of consider-
able antiquity. And such, though of modern date, is the Miyako-
Odori, or metropolitan dance, devised barely twenty years ago
by a late director of the dancing of Kyoto. A representation of
this refined dance has just been prepared for the stage with great
care, in honour of the Emperor's visit; and I had an opportunity
of witnessing its performance a few evenings ago. As with many
another attractive spectacle in the old Japanese style, the days
of the Miyako-Odori are probably numbered. Let me therefore
attempt to crystallise it in the columns of The Times.

The theatre of the Kaburenjo, or chief training-school of the
Kyoto Maiko, has all the siir/plicity of architecture and decoration
that is characteristic of the majority of Japanese buildings. It
is of plain unvarnished and unpainted wood, the most striking
features being the usual ponderous roof, carried on a single span
of some, fifty feet, and the high excellence of the carpenters' and
joiners' work. Besides the main stage in front, there are two
narrower stages, occupying the right and left sides of the build-

l6 KYOTO EXHIBITION.

ing. On the fourth side, facing the main stage, is a large room-
like box for the Imperial family and Court, and in front of it are
two or three tiers of raised seats, plainly a modern innovation.
The body of the auditorium, occupying the space between the
side stages, i^ a flat, undivided matted area, in, or rather on,
which the spectators sit in Japanese fashion, and solace them-
selves with their tiny pipes of fragrant tobacco and little cups of
the never-failing tea. On entering, we find the stages concealed
by curtains of white silk-crape, painted with pine, bamboo, and
plum trees, the emblems of longevity, vigour, and fragrance.
These are the only decorations. The lighting is of the simplest
— footlights with candles for the stage, and hanging lamps and
rows of candles for the rest of the interior. On the rise of the
curtains, the scene in front represents a summer-house in the
ground of the Emperor's palace, girt by a verandah with red-
lacquered steps and railings and hung with bamboo blinds. Right
and left, on each side-stage, is a crimson dai's, on which are seated
eight girl-musicians, or geisha, from about eighteen to twenty
years of age, clothed in soft raiment of brilliant hues, and got up
from head to foot in the highest style of Japanese art. The eight
on the right are players of the samisen, a species of three-stringed
guitar, the chords of which are struck with an ivory plectrum. Of
those on the left, four play the tsuzumi, a small drum held in the
air and struck with the hand, the other four performing alter-
nately with the taiko, or flat drum, and bells of delicate tone.
Music and singing are at once begun. These are of the quaint
and, for the most part, somewhat dismal type peculiar to the
higher flights of the musical art in Japan. It is difficult to convey
an idea of them. For Western ears they have but little melody,
and few inspiring strains. One must be a Japanese to appreciate
them. Time and tune, however, a,re evidently well kept, and the
performance is doubtless good of its kind. And, if you cannot
admire the music, you can at least forgive it in contemplation of
the players. After a short overture, the Maiko appear, entering
at the extremities of the side-stages, right and left of the Imperial

KYOTO EXHIBITION. 17

box, and moving in single file toward the main stage. Their
advance, extremely slow, can only be described as a progress.
It is not a march ; neither is it a dance as we understand the
term. Stately almost to solemnity, yet full of grace, it is a series
of artistic posturings and pantomime, in time with the music, and
accompanied by the slowest possible forward movement.

By this time all of the danseuses have entered ; there are
sixteen on either side— young girls of from about fifteen to seven-
teen years old. In dress they are counterparts of the musicians
— aglow with scarlet, light-blue, white, and gold, of robes in great
length and voluminous folds, bound with girdles of truly prodigi-
ous dimensions. In spite, however, of the gorgeous colouring,
there is nothing garish or distasteful to the eye. No cannon of
art or taste is offended. The secret lies in the fabric of the girls'
garments — silk-crape, the delicate softness of which relieves the
brilKancy of tints that might otherwise be displeasing. In person
the Maiko are the prettiest little specimens of budding Japanese
girlhood, rosy-lipped and black-eyed, with comely and delicate
features, tiny hands and feet, and an air of graceful modesty and
innocence rarely seen on any stage. As for their coiffure, it is a
miracle of the Japanese hair-dresser's skill, and rich with adorn-
ments of flowers and coral. How much of their beauty these
dainty little lasses may owe to art it might be unkind to enquire
too closely. Kyoto is famed for its manufacture of shiroi, a white-
lead cosmetic of rare virtue, and said to be used with a skill which
Western ladies of fashion would give a good deal to possess.
But surely there can be little need for it here, if we may judge
from the whiteness of the Maiko's hands and of as much of her
arms as is now and then revealed us. There is also a Japanese
rouge, of great merit, which uncharitable persons might suspect
of having a share in the brilliancy of those " threads of scarlet,"
the Maiko's lips. Tiny razors, too, are even supposed by some
malignant minds to play a part in the finely-penciled eye-brows
of Japanese belles. Kindly folk, however, prefer to put away all

l8 KYOTO EXHIBITION.

such churlish thoughts, and to rest content with the pretty picture
that is now set before them — a reproduction in flesh and blood of
the typical Japanese beauty of our fans and screens, with the
all-important exception that the face of the artist's creation
seldom does justice to the living original.

Fans of course play a prominent part in the intricate gestures
of tht: Maiko. Those carried now are large and circular, and
richly bedecked with red and white flowers. With these, as with
their heads, hands, limbs, and bodies, the, files display to the full,
on their slow progress up the theatre, that music of motion which
so delights the eyes of the Japanese. Thus, turning, bowing,
swaying, kneeling, and waving, always gracefully and in time
with the music, the ranks at length meet on the front stage, pass
one another, and retire again down the sides, at the end of which
they turn, form into pairs, and regain the stage, one wing soon
leaving it, while the other continues the dance before the foot-
lights tor a few minutes, when it also retires. All this while the
music goes on, now sad and slow, anon in livelier strains, and is
accompanied by the voices of the samisen players, chanting a
hymn of happiness, prosperity, and peace, in which the reign of
11 our. Lord the Sovereign " is likened, in highly flowery language*
to the beauty and tranquillity of Nature "at this first blush of
spring." Next, the bamboo blinds of the verandah are raised,
revealing the first squadron of dancers postured in picturesque
groups between a background of dead gold and the crimson
lacquer of the verandah. These, descending to the stage, resume
the dance. They have parted with their flower-girl fans, and
each girl has a tsuzumi attached to her girdle, with which she
accompanies the orchestra while dancing.. To them, on their
withdrawing, succeed the second squadron, who, with scarlet and
white fans, go through a measure of' singular grace and beauty,
and at length retire to the verandah, which rises wilh them,
bringing the first scene to a close. The second scene is laid in
the fam. MIS gardens of Arashi-yama, in the subusbs of Kyoto, and

KYOTO EXHIBITION. IQ

appears as a fairly-land of flowering cherry-trees, lit by a galaxy
of minute star-like lamps. Here the whole corps gradually re-
assemble, and at length execute a final dance of the same type
as before, after which they retire by the side stages, with the
slow measured movements that marked their first entrance.

Thus, after about an hour's performance, ends the Miyako-
Odori. It illustrates no tale or plot. It is only an elaborate mea-
sure of "woven paces and of waving hands/' such as Vivien may
have trodden " in the wild woods of Broceliande." It has no
objects but those of exhibiting colour, raiment, grace, and beauty
with all the skill that Japanese art-taste can contrive, and of pre-
serving the old classic style of dancing, and setting examples
of the highest forms of strict feminine etiquette. If a foreigner
is unable to enjoy to the full the poetry of motion which has
such fascinations for the Japanese spectator, he at least cannot
fail to appreciate a display not more remarkable for its aesthetic
beauty and finish than for the fastidious delicacy and modesty
which characterise it from beginning totnd. In the latter respect
the Western stage might derive a lesson worthy of imitation. No
Lord Chamberlain, however lynx-eyed or hard-hearted, could
find as much as a ghost of a pretext for interference here.
But the visitor also feels himself impelled to ask, how long
will these things be ? How many years or possibly decades,
are likely to elapse before the chaste Miyako-Odori, wilh its
refined and courtly style and squadrons of decorously-clad little
Maiko, will give place to violent muscular achievements such as
those with which troops of bounding, perspiring, and half-nude
damsels charm the senses of theatre-goers in the West?
Looking to the signs of the times, is it possible to hope that
this and other emblems of Japan's ancient and refined civilization
can long survive the overwhelming tide of change and progress
which is sweeping over the land? It is to be feared thai all are
doomed. We may, and most of us do, regret some of the in-
evitable consequences of this ruthless progress. We may, and

20 KYOTO EXHIBITION.

many do, find fault with the impetuous hurry of this impulsive
race. But, failing some great reaction which there is no reason
to anticipate, Japan, having put her hand to the plough, will not
turn back until her tremendous self-appointed task is done.
Already loud complaints are heard that the Japanese people, not
content with assimilating the best and most solid products of
Occidental civilization, are displaying a giddy and unseemly haste
to put on the pomps and vanities of the Western world, at the
sacrifice of many things belonging to their own most interesting
past which are admirable and more than well worth preserving,
Hard words, not altogether undeserved, are being spoken in
Europe as well as here on this subject, with special reference to
the growing taste for the dress, jewelry, and ball-room dancing
which are approved by the fashions of the Occident. On the
other hand, Japanese leading men and some resident foreigners
who are in a position to interpret truly the minds and objects of
the people and their rulers and the mainsprings of national action,
put the matter in a less unfavourable light. According to them,
the Japanese justify the present movement on the ground that all
these social reforms and new-fangled tastes are either necessary
means to the great end in view or else its inevitable accompani-
ments; and that, this being the case, it is better to adopt them
boldly at once than to avert or postpone them."

As to the various places of interest in Kyoto, exhaustive de-
scriptions are contained in Murray's Hand-book. The authors of
that excellent work have, however, found it necessary to eliminate
from later editions a portion of the mass of historical and anti-
quarian information contained in their earliest publications, and
since the latter are no longer procurable by the general public, it
will not be amiss to reprint their contents here.

The ground-plan of the city remains unchanged from what
it was originally, though much diminished in size. The most
important thoroughfares are San-jo Dori, running across it E.

KYOTO EXHIBITION. 21

and W. a little below its centre, and Tera-machi Dori, which
traverses it from N. to S. almost parallel to, and in the immediate
neighbourhood of, the Kamogawa, which, for the greater part of
the year, is a mere rivulet meandering through a wide pebbly
bed. On the left bank of the river are the suburbs of Awata and
Kiyomidzu, between which lie many of the most interesting
buildings, extending at the foot of Higashi Yama. The most
convenient plan for the traveller who wishes to do everything in
Kioto, and can give ten days or a fortnight to the city and its
environs, will be to visit — i, the Palace and temples to the N.
part of the city; 2, the two Hon-gwan-ji, To-ji, and one or two
other temples in the S. of the city ; 3, to take the places of
interest on the left bank of the Kamogawa, beginning with the
temple of Inari near Fushimi, and working up gradually to the
N. as far as the Imperial Gardens of Shiu-go-In, then to turn
W. and visit the temples on the N. and W., ending with Sei-rio-ji
and Ten-riu-ji at Saga, in the following order: —

The Palace of the Mikado (permission to visit it must be
obtained from the Fu-cho or Prefecture) is bounded by the fol-
lowing streets: — Imade-gawa Dori on the N., Maruta-machi Dori
on the S., Tera-machi Dori on the E., and Karasu-maru Dori on
the W. These limits include not only the Palace proper, but
also the separate enclosure containing the O-miya Go-sho (formerly
the residence of the empress-mother), and the garden called
Sen-to-In Go-sho, as well as the residences of the Kuge or Court
Nobles, nearly all of which have now been removed. The en-
closure of the palace, called Dai-ri, Kin-ri, and more anciently
O-uchi, contains an era of about 26 acres. It is confined within
a roofed wall of earth and plaster, commonly called the Mi-tsmfi,
and has 6 gates, the Nam Mon (Ken-rei Mon) on the S., the Hi-
no Go Mon (Ken-shin Mon) on the E., the Saku-hei Mon on the
N. ; and on the W. 3, the Ku-ge Mon (Sen-shu Mon) and two
others called Mi Daidokoro Mon, or gate of the August Kitchen.
Those in parentheses are literary names. Visitors are admitted

22 KYOTO EXHIBITION.

by the centre gate on the W. side, and enter the palace by a
long corridor which brings them to the back of the Shi-shin-den,
which forms a separate building by itself 120 ft. long by 63 J ft.
in depth. It faces to the S., and opens on to an inner court
enclosed by a colonnade with red posts and white plaster. The
three gates of this court are the Sho-mei Mon on the S., the
Nikka Mon on the left, and the Gekkwa Mon on the right. A row
of cylindrical pillars divides the front part of the interior from the
other three-quarters. The back wall of the hall is divided into
panels, each of which has the portraits of four ancient Chinese
sages, designed with great care in order to avoid anachronism in
the costumes, by Kose no Kana-oka, in 888. The originals were
destroyed by fire about the middle of the I3th century, and
replaced by copies from the hand of Sumiyoshi Tsunetaka. These
were replaced at five different periods by his successors, and the
existing copies were made by Sumiyoshi Hiroyuki, b. 1755, d.
1811. When the palace was destroyed by fire in 1854, all the
screens were saved except one, which was replaced by Sumiyoshi
Hirotsura (b. 1793, d. 1863), who also repaired the damages
sustained by the others on the occasion. It is worth while
noticing that several of the sages are represented as wearing
the peculiar tiger-claw shaped stone ornaments called magatama
by the Japanese. A flight of 18 steps leads down into the court,
corresponding in number to the original series of grades into
which the Mikado's officials were divided. Those who were not
entitled to stand on the lowest step were called fi-ge, or 'down
on the earth,' to distinguished them from Ten-jo-bito — 'persons
who ascend into the hall.' On the left is the cherry-tree called
Sa-kon-no-sakura. When Kwammu first built the palace, he
planted a plum-tree in this position, but it withered away, and
Nimmio (834-50) replaced it by a cherry-tree. The present one
was transplanted hither 25 years ago. On the right side is the
U-kon-no-tachibana, a wild orange-tree, also in accordance with
ancient custom. The name Shi-shin-den is explained as follows :
Shi is purple, the true colour of the sky or heavens; Shin

KYOTO EXHIBITION. 23

denotes that which is mysterious and hidden from the vulgar
gaze ; den is simply * hall.' The building was used for the
enthronement of the Mikado, for the New Year's Audience, and
other important ceremonies. The throne in the centre is quite
modern. The oil portraits of the Mikado and his Consort are
by G. Ugolino, of Milan, from photographs executed in 1874.
Outside the Gekkwa Mon is a shed called Shin-ga-den, 72 ft. by 40,
where the sovereign, when residing at the ancient capital, cele-
brates the Harvest festival (Shin-jo Sai or Nii-name no Maisuri),
in November by offering new rice to his ancestral deities. Out-
side the court on the N.E. of the Shi-shin-den, but connected
with it by a corridor, is a building called Kashiko-dokoro (formerly
Nai-shi-dokoro), where was kept the copy of the sacred mirror
given to the Mikado's ancestor by the Sun-goddess, the original
of which is at her temple in Ise. When the Palace was
destroyed by fire in 960, the mirror flew out of the building in
which it was then deposited, and alighted on the cherry-tree
in front of the Shi-shin-den, where it was found by one of the
Nai-shi, a class of female attendants of the Mikado. Henceforth
the Nai-shi always had charge of it, whence the name Nai-shi-
dokoro. At the Restoration this was exchanged for the present
title, which means 'awful place/ The Sei-rio-den stands im-
mediately N.W. of the Shi-shin-den, 63 ft. by 464, facing E. It
takes its name ' Pure and Cool Hall ' from a small brook that
runs under the steps. In the Dai Dairi this suite of apartments
used to be the ordinary residence of the Sovereign, but in later
times it was used only on the occasion of levees and important
Shin-to festivals, such as the Worship of the Four Quarters on
the morning of New Year's day. In one corner the floor is made
of cement, on which earth was strewn every morning, so that
the Mikado could worship his ancestors on the earth without
descending to the ground. The papered slides are covered with
extremely formal paintings by Tosa Mitsukiyo. Next to this
N.E. comes the suite of rooms called the Ko-go-sho (Lesser Pal ace),
in a building 72 ft. by 42, facing E., where the Mikado gave

24 KYOTO EXHIBITION.

*

audience to personages who had military or civil rank at the

court, and to priests of both religions. Fronting this is a pretty
pond in a garden planted chiefly with evergreens. Adjoining on
the N. is the suite called O Gaku-mon-jo (August Study), in a
building 57 ft. by 48, facing E. When Nobunaga rebuilt the
Palace in 1569 this suite was constructed for the first time. Here
the Mikado's tutors delivered lessons and lectures, and courts for
the cultivation of poetry and music were held. It is beautifully
decorated with painted screens. The wild geese in the Gan-no
Ma are by Ren-zan (Gan-toku), d. 1859 ; the screens of the Ya-
mabuki-no Ma are by Maruyama O-riu ; the chrysanthemums in
the Kiku-no Ma by Okamoto Sukehiko. The three rooms which
form the audience chamber are, ist, the Ge-dan with the Sages
of the Gaku-yo-ro,1 by Hara Zai-sho ; 2nd, the Chiu-dan, re-
presenting the Ran-tei of the Shin dynasty,2 by Gan-tai (b.
1785, d. 1865) ; and 3rd, the Jo-dan with the assembly of the
T6-yei-jiu, 18 Learned Scholars,3 by Kano Ei-gaku. All these
are Chinese scenes. The wooden doors in the corridor are
by Sho-mura Riu-sho, Yoshida K6-kin, Hara Nan-kei, and
Murakami Sei-jiu. N. of this, in a building measuring 57 ft.
by 33, and facing S. towards a small separate court, is a suite
of rooms called the On Mi Ma (August Three Rooms). Here
were held private audiences, and the No performances were
witnessed at a distance by the Mikado sitting on the upper

1 In lO^-l a certain T'Sng Tzu-cliing, having offended the Emperor of China,
was banished to a distant province, where he restored a ruined pavilion, called Yo-
yanglou (Go-yo-r5), and covered its walls with the poems and elegant prose
compositions of the wise men of the Tang dynasty and his own contemporaries.
The poets and authors are the personages depicted here.

3 In Chinese, Lan Ting, the meeting-place of a society of poets and authors in the
4th century A.D., under the patronage of the Emperor.

* Also a Chinese subject. Tai Tsung of the T'ang dynasty (reigned 627 650
invited to his court 18 of the most 'Learned men in the empire, and lodged them in'a
College, where he used to visit them in his leisure hours, in order to hold dis-
cussions on literary questions. He had their portraits painted by the most skilful
artist and their praises sung by the first poet of the day. It was considered a great
honour to belong to this select band, and its members were said metaphorically
to have 'ascended Ying.chou ' (in Japanese to.Yei-J 'iu) , one of the three Isles of
the Rishi or Sen-nin.

KYOTO EXHIBITION. 25

floor or jo-dan. The No stage is under a separate roof,
and cut off from the suite by a high paling, which was re-
moved when a performance took place. The decoration of
the rooms are in the Tosa style. The enthronement scene
in the jo-dan room is by one of the Sumiyoshi, the procession
to the Kamo festival by Komai Taka-nori, and the races at the
temple by Kishi Tamba no Suke. N. of the Gakvi-mon-jo is a
building called the Tsune no Go-ten^ 90 ft. by 74^. It contains
altoegther n rooms, and was the ordinary residence of the
Mikado in modern times — -that is, since the I3th century. The
centre room of the suite facing E. was the ordinary sitting-room,
and the four on the N. were occupied by his female attendants.
At the W. end of this suite was the Moshi no kuchi, literally
' Opening for Speech/ where men who had business with His
Majesty stated their errand to the women, who then transmitted
it to the Mikado. His bedroom was behind his sitting-room, and
entirely surrounded by the other apartments, so that no one
could get near him without the knowledge of his immediate
attendants. On the S. side is a suite of three rooms called the
Ken-shu no Ma, forming an ante-chamber to the closet in which
the stone and the copy of the sword which form part of the
symbols of sovereignty were were kept, the copy of the mirror
being deposited in the Nai-shi-dokoro, as already stated. The
originals of the sword and mirror are respectively kept at the
temple of Atsuta and at the Sun-goddess's temple in Ise".
The doors of the closet are four magnificent, heavy sliding-
screens, with broad, black-lacquered frames, such as in a palace
usually formed the entrance for exalted personages into the hall
of audience. On the floor of the upper room (jo-dan no ma)
are two pairs of additional mats, so arranged that the Mikado
could, wheiAhe doors were thrown open, bow before the sacred
symbols, or rather the side cupboard which contained them,
from two different positions, according to circumstances. On
the N. of the Tsune no Goten are two other suites of smaller
rooms, for the private pleasures of (he Mikado., First come

26 KYOTO EXHIBITION.

two rooms with paintings of animals, birds, and flowers, which
were ante-chambers for his attendants, and then four more, one
of which vyas a tea-room of the orthodox pattern. This pavilion
(called No-rio-den, ' palace or hall for taking the cool') has a
tablet inscribed Kb Shun, ' welcoming the spring.' A narrow
passage leads from this to a still smaller pavilion of six tiny
rooms, called Cho Setsu, 'gazing on the snow;' the tablet
bearing this title is of horse-chestnut wood, with an extremely
beautiful grain. Returning to the Mikado's ordinary apart-
ments, before crossing the court-yard towards the Empress's
palace, we pass the Mikado's bathrooms on the left and reach
the Kata Go-ten, a small building 42 ft. by 36, containing the
rooms of the heir-apparent. A passage, 128 yds. long, formerly
conducted to the Empress's palace, which consists of a suite
60 ft. square. The rooms are decorated as follows : i, Jo-dan no
Ma, the two wives of the Chinese Emperor Shun, by Tosa
Mitsukiyo; 2 Chiu-dan no Ma, Kan-teki1 (Chien-chi), by Yoshida
Gen-chin ; 3, Y6-ki-hi2 and Yu-Shin,3 by Tsurugawa Tan-shin ;
4, Bedroom, birds and flowers by Gan-tei ; 5, Ichi-no-ma, ag-
ricultural scenes by Hara Zai-sho; 6, Ni-no-ma, the four seasons,
by Nakajima Kwa-yo ; 7, Tsugi-no-ma, pine tree on the sea-
shore, by Nakazawa Ro-ho, and bamboos in the rain by Yagi
Kiho ; 8, Mbski no Kuchi, cherry blossoms, by Shimada Ga-k56,
and maples by Isono Kaku-do; 9 Ko-zashiki, or lesser apartments,
Mt. Fuji, by Kano Ei-gaku ; trout in water and rainbow, by

1 Kan-teki and her sister were bathing one day, when a swallow flying past
dropped a beautiful egg. Both ran to seize it, but ICan-teUi was first, and putting
the egg in her mouth for safety, swallowed it by Accident. In consequence she
became pregnant, arxi bore a son, to whom she gave an excellent education. He
grew up a wise and good man, attracted the nutice of the virtuous Kmperor Yao
an Shun, and founded a family from which sprang the emperors of the Shang
dynasty. Kan-teki is the paragon of mothers.

2 Yo-ki-hi (Yang Kwei fei), a favourite concubine of the Emperor Gen-so (Hsu-
an Tsung of the T'ang dynasty), whose infatuation for this bad woman cost him
his crown. She is one of the most notorious females in Chinese history.

3 Yu-Shin was the consort of T'ang, founder of the Shang dynasty, B.C. 1766.
She is celebrated for her wifely virtues and her prudent government of the harem,
from which she contrived to banish jealousy and all other bad passions.

KYOTO EXHIBITION. 2J

Maruyama O-kio ; (one of the rooms on the N. side, painted
with green trees, by Shivvogawa Bun-rin, is perhaps the most
worth close examination) wooden door, Forsythia bush, by
Koku-bu Bun-yu ; other doors by Gan-rio, Yamamoto Tan-rai,
Mitani Iku-la-ro, and Tomida K5-yei. The Empress also had
her own separate hall of audience, or Shi-shin-den, and there
was a separate suite of rooms for a princess, if one should
chance to be born.

The large brick building noticeable on the hill to the right
on quitting the Palace, with several others north of it, belong to
the Doshisha, a Christian University founded in 1875 under the
auspices of the American Board Mission. Connected with the
same institution are a Girls' School, a Training School for Nurses,
and a Hospital.

Kitano Ten-jin, temple of Sugawara no Michizane, popularly
known as Ten-jin sama, in the N.E. of the city was founded in
947-

Sugawara no Michizane, also commonly known as Kan
Sho-jo, was born in 845. He came of a learned family, which
had supplied tutors to successive Mikados, and he early dis-
played great aptitude for the acquisition of knowledge. At the
age of ten he is said to have composed a Chinese stanza in
praise of the plum-blossoms seen by the light of the full moon,
and consequently the plum-tree has been always associated
with his worship. He gradually rose in rank, and in 899 was
made U-dai-jin, or Third Minister of State, his colleague, as
Sa-dai-jin, or Second Minister, being Fujhvara no Toki-hira, a
young noble aged 27. It was the custom then to leave the
post of first Minister vacant. Michizane by his learning and
wisdom had come to be in reality the chief adviser of the
Mikado, which gave great umbrage to Toki-hira. The latter,
after failing to get rid of his rival by magic arts, had re-

28 KYOTO EXHIBITION.

course to slander, and his sister's position as empress gave
him great facilities for pouring into the Mikado's ear his
malicious calumnies. An eclipse of the sun which took place
on New Year's day in 901 afforded him a decisive opportunity.
Persuading the Mikado that this phenomenon, in which the
female principle (the moon) obscured the male, was the fore-
runner of an attempt on Michizane's part to depose him, and
to place another prince, his own son-in-law, on the throne, he
procured Michizane's degradation to the post of Vice-President
of the Da-zai-Fu, or Governor-Generalship of Kiu-shiu, which
was a common form of banishment for men in high position.
The remonstrances of the ex-Emperor Uda had no effect with
the youthful sovereign, whose age, only 16, completely excuses
his weakness on this occasion. Michizane, separated by special
decree from his wife and children (of whom he had 24), pro-
ceeded to his place of exile, and died there about two years
later. As his body was being carried to the cemetery in a
bullock car, the animal suddenly stopped and refused to go
any further, and a spade being hastily procured, a grave was
dug on the spot, and he was there interred. The existing
temple of Ten-jin at Da-zai-Fu was afterwards erected over
his tomb. His worship seems to have grown gradually in
pomp and importance. Tradition says that when Toki-hira died
in 909, Michizane's ghost appeared to him and tormented his
last moments. In 923 the heir-apparent died, and various other
portents having occurred, the Mikado began to feel remorse for
the course he had pursued towards his faithful minister. Re-
voking the decree of banishment, he re-conferred upon the dead
man his office of U-dai-jin, and bestowed a high posthumous rank
on him. Kan Sho-jo is considered to have been the best Chinese
scholar Japan ever produced, and he is celebrated equally for
his skill in Ghinese and Japanese poetry and for his prose
writings. He is popularly looked on as the god of calligraphy.

Entering through the great stone torii on the S., we find

KYOTO EXHIBITION. 29

tea-houses, and stone lanterns presented by votaries of the god.
On the right is a racecourse planted with large keyaki trees, called
the U-kon no Ba-ba. Further up on the left is a bronze re-
clining bull ; next comes the Ema-do, which contains high up in
the roof on the W. side a good pair of tigers by one of the Kano
artists, dated 1610, much defiled with pellets of chewed paper.
It is a tradition that in earlier years these tigers used to descend
from their frames and fight on the cobble-stones beneath, as was
evidenced each morning by the disturbed condition of the pave-
ment on which they had struggled together. The pair of
reclining bulls, of black and of red Akasaka marble, are recent.
A small 2-storied gatehouse, gaudily decorated in colours, forms
the entrance to the temple enclosure. It is called the San-ko
no Man, Gate of the Three Classes of Luminary, i.e. Sun, Moon,
and Stars, from representations of those heavenly bodies which
may be distinguished with much difficulty among the carvings
on the beams of the gateway. The other decorations are a
few heads of lions and other fabulous animals, hardly worth
noticing. The oratory, built by Hideyori in 1606, forms the
N. side of a square, the other three sides being colonnades,
with the Gate of the Sun, Moon, and Stars on the S. Its dimen-
sions are 58 ft. by 24 ft. The cornice is decorated with colour
in the style prevalent at that period. A great number of mirrors
have been offered at different times, amongst which a large pair,
about 3 ft. in diameter, are especially worthy of notice. The
one on the W. side was presented by Ka-to Kiyomasa about
the year 1599, and on its back has a map of Japan, but without
the island of Yezo. In order to repair this omission the well-
known Matsura Take-shi-ro lately presented the other mirror,
which has the map of that island on its reverse side. There
are some painted carvings of birds in the kayeru-mata inside
the oratory and of sen-nin in the same position outside, which
are purely for decorative purposes. The chapel is a separate
building behind, 384 ft. by 32^, separated from the oratory by
a chamber paved with stone, having its roof at right angles to

30 KYOTO EXHIBITION.

the roofs of the oratory and chapel. Behind is the Ji-nushi no
Yashiro, or temple of the ground-landlord, said to have been
founded in 836, and numerous other small chapels. The trea-
sury is built of wooden beams, the section of each beam being
a right-angled triangle, with the right angle outside. E. of
the colonnade are the kagura stage and the building in which
the god's car (mi koshi) is kept. The temple was founded
originally by adherents of the Rio-bu Shin-to, in which much
Buddhism is mingled, and the erection of a pagoda and a
chamber containing a revolving library of the Buddhist canon
naturally followed. During the recent reaction in favour of
pure Shin-to these were demolished. The great annual festival
is celebrated on August 4.

Hirano Temple. — Considerable divergence exists amongst
scholars as to the identity of the gods to whom this temple
is dedicated. According to the ordinary account, these are
Yamato-dake no Mikoto, Chiu-ai Tenno, • Nin-toku Tenno, and
the Sun-goddess ; but it seems more probable that two of them
are merely the gods of the fire-place (kudo) and cooking-pot
(kobe) and one of the Harvest gods. The fact is that the name
of the original god to whom any Shin-to temple is dedicated
is often a mere matter of conjecture at the present day.

It was originally situated at the base of Kinu-kasa yama,
and was removed to its present site in 1620. Founded about
the end of the 8th century, it no doubt underwent the same
vicissitudes as nearly all other wooden buildings in Japan, and
was rebuilt by lye-mitsu in 1626.

Some repairs have lately been made which give it a modern
look. The oratory is an open shed in the centre of the area,
hung with pictures representing the Thirty-six Poets. The
joints in the beams where the repairs have been effected are
considered models of ingenious carpentry. Inside a wooden

KYOTO EXHIBITION. 31

enclosure are two pairs of chapels facing E., with their gables
in front, and connected by a watch-room. On the left of the
avenue is a famous grove of double-cherry trees, the blossoms
of which are said to look best by moonlight and lamplight.
The annual festival, more official than popular, is celebrated the
2nd April.

Kin-kaku-ji is a monastery of the Zen sect, and takes its
name from the Kin-kaku, or ' Golden Pavilion/ in the pretty
garden attached to it. On this spot originally stood the country-
house of a court noble named Sai-on-ji.

In 1397, Ashikaga Yoshimitsu, who had already three years
previously surrendered the title of Sho-gun to his youthful son
Yoshimochi, obtained this place from its owner, and after ex-
tending the grounds, built himself a palace to serve as a retreat
from the world. Here he shaved his head, and nominally as-
sumed the garb of a Buddhist monk, while still continuing to
direct affairs.

The garden is beautifully laid out, with a pond in the centre.
Two of the small islands designed in the form of tortoises
standing up out of the water, which Hide-yoshi overlooked when
he despoiled the garden of its other curious rock-work to de-
corate his own at the Palace of Ju-raku, are specially admired.
The whole of the palace buildings, which, with the garden, were
bequeathed by Yoshimitsu to the monastery of Sho-koku-ji, have
disappeared. The pond is stocked with carp, which crowd
together at the stage below the pavilion when any person appears
there, in expectation of being fed. The pavilion stands on the
water's edge, facing S. It is a three-storied building, its dimen-
sions being 33 ft. by 24 ft. In the lower room are a sitting
effigy of Yoshimitsu after his retirement, and gilt statuettes of
Amida, Kwan-non, and Sei-shi, by the carver Un-kei. In the
second story is a small gilt Kwan-non in an imitation rock-work

32 KYOTO EXHIBITION.

cave, with the Four Deva Kings, attributed to K6-bo Dai-shi,
but evidently of a much later period, and of inferior execution.
The ceiling is painted with ten-nin and a border of conven-
tionalized birds and flowers, by Kano Masanobu (b. 1453, d.
1547) ; the colours have unfortunately peeled off in many places.
The decoration of this ceiling was executed after it had been
put up, rather an uncommon achievement for a Japanese artist ;
it can easily be seen that the seams were covered with black
paint or vanish and the pictures then painted over them. The
third story was completely gilt, the gold being laid on thickly
over varnish composed of bone powder and lacquer upon hempen
cloth. The ceiling, walls, and floor were thus treated, and even
the frames of the sliding screens, the railing of the balcony,
and the small projecting rafters which form the roof of the
balcony, as a careful examination will show, were covered with
the precious metal. Nearly all the gold has disappeared, but
the original wood-work is complete, with the exception of a few
boards that have been put in to replace some that had decayed.
The effect must have been dazzlingly magnificent. On the top
of the roof stands a bronze phoenix 3 ft. high, which was also gilt.
On a little hill behind is a tiny rustic cottage for tea-drinking,
designed for lye-yasu by Kanamori Sowa (b. 1582, d. 1656);
one post in the toko-no-ma is a trunk of nan-ten (Nandina
domestica). Close to the monastery buildings is a fine pine-tree
trained in the shape of a boat in full sail. The large hill seen
W. from the garden of Kin-kaku-ji is Kinu-kasa yama, 'Silk
hat mount/ so called from the incident of the ex-Mikado Uda
having ordered it to be spread with white silk one broiling hot
day in July in order that his eyes at least might enjoy a wintry,
cool sensation. Leaving Kin-kaku-ji, and returning past Hirano
and Kitano, we leave the city on the W. side. Across the
fields on the left is Tsubaki-dera, a monastery celebrated for its
fine collection of camellia shrubs, and for having been the
property of Amano Gi-hei, the honest merchant who materially
aJded the Forty-seven Faithful Retainers to avenge their lord.

KYOTO EXHIBITION. 33

To-ji"Int founded by Ashikaga Taka-uji in the I4th century,
is shortly reached. The reception rooms contain the effigies of
nearly all the Shoguns of the Ashikaga dynasty, beginning with
Taka-uji in the centre chamber, a wooden sitting figure lacquered,
in the court-robe called kari-ginu, with the courtier's wand (shaku)
in the right hand, and wearing a tall black court cap (taka-e-boshi).
A delicate moustache and short pointed beard are in keeping with
the youthful countenance. Opposite to him is Mu-so Koku-shi,
the first abbot of the monastery. In the room to the left are (2)
Yoshinori, (4) Yoshimochi, (6) Yoshinori II., (8) Yoshimasa, (lo)
Yoshizumi, and (12) Yoshiteru. Of these the effgy of Yoshimochi
has most character ; it has a flowing black beard, while those of
the others are short and pointed. The other room contains the
effigies of (3) Yoshimitsu, (7) Yoshikatsu, a mere child, (9) Yoshi-
nawo, (il) Yoshitane, (13) Yoshiharu, a degenerate looking,
dwarfish man, and (15) Yoshi-aki, fat and sensual in appearance.
Most, if not all, may be looked on as contemporary portraits of
the men they represent.

During the period of fomentation which preceded the re-
storation of the Mikado's authority, it was the fashion among the
opponents of the existing regime to load the memory of the Ashi-
kaga Sho-guns with the insults that could not with safety be
offered in a direct manner to the Tokugawa line, and one
morning in April, 1863, the people of Kyoto woke to find the
heads of the effigies of Taka-uji, Yoshinori, and Yoshimitsu,
pilloried on the dry bed of the Kamogavva at the spot where it
was then usual to expose the heads of the worst criminals. Several
of the men concerned in this affair were thrown into prison,
whence they were transferred to the custody of certain Daimio,
and not released for some years afterwards.

A little S.W. of T6-ji-In is the

Omuro Go-sho, also called Nin-na-ji, a monastery founded
towards the end of his life by the Mikado K6-ko.

C

34 KYOTO EXHIBITION.

In 899, the ex-Mikado Udo chose it as his place of retirement,
and occupied the palace built for him here from 901 until his death
in 931. In 890, a decree was issued constituting Nin-na-ji a
residence for descendants of the Mikado, or Mon-zeki, as they
are called, a term applied extensively in later years to other
monasteries founded to provide the miscellaneous Imperial off-
spring with homes, and also conferred as a title of distinction
upon abbots of other than Imperial blood. The Mikado Shun-
jaku entered the priesthood in 952, and took up his residence here,
but no other ex-sovereign ever occupied it. Up to 1868 there
had been 33 successive priest-princes, the last of whom was the
present Prince Higashi-Fushimi. The buildings which form the
existing palace date from some time between 1624 and 1642.

The entrance is by a large two-storied gatehouse (57 ft. by
22 ft.) having in the niches a pair of Ni-6 12 ft. high, carefully
modelled wooden figures. Immediately on the left are the build-
ings called the Omuro Palace. The entrance-hall (gen-kwan)
has walls and sliding screens painted by Kano Tan-yu, with
cranes, bamboos, and peonies, in gorgeous style on a gilt
ground, now much faded. In the room behind are screens
painted by Kano Ei-taku ; subject, the wistaria, much worn
and blackened by time. The next two rooms have copper
pheasants and a pine-tree by Tan-yu, much less stiff than the
pictures in the entrance hall, and the so-tetsu (Cycas revoluta),
with the musk-cat, by the same. In the two rooms immediately
succeeding are — ist, Chinese scenes on a gold ground, painted
by Kano San-raku, much peeled off, the faces, rather grotesque,
with exaggerated noses; and 2nd, similar scenes by Kano Moto-
nobu, representing the Chinese S6-Shi (Hsiao-Shih), who was
celebrated for being able to attract cranes and peacocks by the
beautiful music of his mouth-organ (sho). We come next to the
Tsune Go-ten^ or apartments of the prince of Nin-na-ji. Room i
has wild geese and ducks, peacocks, and cherry-trees with white
embossed flowers on a gold ground, by Kano Ei-toku ; also a

KYOTO EXHIBITION. 35

folding-screen by him, representing an Imperial procession.
Rooms 2 and 3, Chinese scenes on a gold ground, by Kano Moto-
nobu. Room 4, Chinese sages engaged in writing, drawing,
playing the koto, and at the game of checkers, by Kano San-raku.
Room 5, Chinese children at play by Motonobu, in capital pre-
servation. The bedroom is in the very centre of the suite,
surrounded by rooms occupied at night by attendants. The
paintings of chrysanthemums on the walls and sliding-screens are
also attributed to Motonobu ; but if all the pictures said to be by
him are genuine, they must have been transferred hither from some
other place, as these buildings were erected towards the middle
of the lyth century, and Motonobu had died in 1559. On the E.
side is a suite of 3 rooms, at the upper end of which is an effigy
of the Mikado K6-ko (r. fr. 885-7), ^ie founder of Nin-na-ji,
seated on a chair under a canopy of silk supported by black
lacquered posts. The framework of the door is lacquered black
with a tasteful design of the paullownia leaf and bamboos in
thin gold, dating from the early half of the iyth century. These
three rooms were all painted with Chinese scenes by Kano
San-raku. A small chamber to the west of this suite has the
wistaria and tree-peony by Kano Ei-toku. The narrow passage
close by is decorated with young pine-trees, attributed to Tan-yu,
but doubtfully his. In a room called Dattan no Ma are some
very curious Tartar hunting-scenes by Kameya Takumi. Leaving
the palace and proceeding towards the left, we pass a gate on the
left, called the Shi-soku Mon, which has in its kayeru-mata clever
wood carvings of the Rishi Kin-ho and Prince Kio, the one
riding on his carp, the other on the crane. The inner gate-way
(chiii mori) has, left, Bi-sha-mon, right, Ji-koku Ten. The grounds
inside are planted with flowering cherry-trees, which present a
beautiful sight in the beginning of April. Opposite to the
pagoda on the W. of the enclosure is the Hall of Kwan-non,
45 ft. square, dating from some time between 1624 and 1642,
dedicated to the Eleven-faced Thousand-handed Kwan-non, but
containing a number of other images, amongst them three of

36 KYOTO EXHIBITION.

Fu-do, a red pair of the Ni-Ten and the 28 followers of Kwan-
non. At the corners of the platform are the wind-god (green)
and thunder-god (red), easily recognised by their attributes.
Round the walls and at the back of the altar are coarse modern
paintings on wood of the Thirty-three Forms of Kwan-non,
which were fixed in their places after the work had been
executed. In the Kon-do we have Amida in the centre seated
on a lotus, with Kwan-non and Sei-shi on his right and left,
both holding the lotus flower, usually considered the attribute of
the former. In front are very bad copies of the two wooden
lantern-bearing demons belonging to the Kasuga temple at Nara.
On the right of the principal idols is another set of the same
three, and Ai-zen on the left, with the Four Deva Kings at the
two extremities. This building was erected by Hideyoshi in
1590 as the Shi-shin-den (Public Audience Hall) of the Mikado's
palace at Kyoto, and was removed here in 1624. It measures
76 ft. by 54. The Mi-yei-do, dedicated to K6-bo Dai-shi, stands
in a separate enclosure on the N.W. in a corner behind the
belfry. The central image is that of Ko-bo, on his right the first
Imperial Prince who filled the office of abbot in this monastery,
like that of Uda Tenno, all uninteresting sitting figures in
black lacquered shrines. This building was also originally a
part of the Mikado's place at Kyoto. In the 5-storied pagoda,
24 ft. square and 150 high, are the usual four Buddhas, S. Ho-jo,
W. Amida, E. Ashuku, N. Shaka.

Udzumasa, or strictly Kio-riu-ji, is a Buddhist temple, far
out of the city at the end of Ni-jo Street, said to have been
founded in 604 by Sho-toku Tai-shi, who consecrated it to certain
Buddhist idols that had been brought from Korea. The principal
edifice, called the K6-do, was, however, not erected before 836,
and this having been burnt down about 1150, the present
structure was built out of timber saved from the flames. In the
centre is a sitting figure of Amida, 10 ft. high, right, Ko-ku-zo,
left, Ji-zo, on their right and left again are the Omnipotent1

KYOTO EXHIBITION. 37

Thousand-handed and the Unerring Silken Cord2 Kwan-non re-
spectively. At some distance in the rear is the chapel of Sho-toku
Tai-shi, called the J6-gu-O In. The present building, which
dates from 1720, contains his effigy, at the age of 33, said to
have been carved by himse.lf. It is clad in a silken robe of
imperial yellow, presented by the Mikado at his accession, in
accordance with ancient custom. The interior is handsomely
decorated. The chapel and oratory are brought under one roof,
and connected by a wide chamber, the walls of which are
painted with the phoenix, bunches of wistaria, plum-blossoms,
lily, and azalea, by an artist named Narinobu, who flourished •
about the end of the 1 7th century. The oratory has a coffered
ceiling with a great variety of designs upon a yellow ground,
over chalk powder (go-fun] upon the wood. The chapel doors
are adorned with a very effective geometrical pattern. Inside
of these is a matted floor, on the further side of which are
handsome gilded sliding-screens, decorated with the phoenix
and floral designs, and on these being withdrawn the standing
effigy of the prince is disclosed. In his right hand he holds the
courtier's wand, in his left a censer. Besides the yellow robe,
he wears wide trowsers of white silk damask and a black court
hat. The features have a very natural expression, but the
paint on the face has become much discoloured by time. In
the temporary Hon-do are the Buddhist images from Korea.
The most important of these is a gilt wooden figure of the
Nio-5-rin Kwan-non, about 3 ft. high, sitting upon a stool, the
right foot lifted and laid on the left knee, left hand resting on
the right foot. The face is supported on two long fingers
of the right hand. Drapery formal. The hair is drawn back
from the forehead and tied in a knob at the top. The features
are extremely natural, and wear a pensive expression. The

1 The word here rendered Omnipotent is the Sanskrit Kintamani, in Japanese
Nio-i-rin, the name of a fabulous gem, supposed to enable its possessor to obtain
the gratification of all his desires.

a In Sanskrit Amoghap&sa ; Japanese Fu-guken saku.

38 KYOTO EXHIBITION.

hands are beautifully modelled, the arms rather thin, though
showing a good idea of form, but the feet have recently been
restored in a clumsy manner. The gold has been nearly all
rubbed off. At the back of the shrine is a wooden image of
Mi-roku, also Korean, but much inferior. The third idol is a
Yaku-shi, Japanese, dating from about the middle of the gi.li
century, and not to be compared to the other two. Round the
shrine are the 12 'divine generals' who so frequently accompany
Yaku-shi; right and left are Nikko and Gwakko Bo-satsu, behind
are the Four Deva Kings. In a side chapel are, right, Do-sho,
'the 2nd founder of the temple and carver of the Mi-roku in the
Ko-do ; centre, K6-bo, attributed to himself and evidently very
old; left, Ri-gen Dai-shi, lacquered wood. Close to the S.E.
corner of Sho-toku Tai-shi's chapel is the little chapel of
Udzumasa, Mio-jin, under which name is worshipped a Chinese
of Imperial blood who migrated to Japan in the prehistoric age,
and introduced the silkworm, His effigy is a very old image,
but not contemporary. An old Nio-i-rin Kwan-non, said to have
have presented to Sui-ko Tenno by a Chinese Emperor of the
Sui dynasty, is also shown. It is certainly very old, but pos-
sesses no artistic merit whatever.

Seirio-ji is a large temple of the Jo-do Buddhists at Saga, on
the way to Atago san. The lofty 2-storied gatehouse is 160 years
old, though from having been lately cleaned it looks quite modern.
The hon-do, built about 2 centuries ago, is 84 ft. by 72. In the
centre, behind the altar, is the magnificent gilded shrine of Shaka,
with painted carvings, presented by the mother of lyemitsu, third
Sho-gun of the Tokugawa family. On the doors being opened, a
curtain is drawn up, which discloses another set of doors, gilt and
painted, and then a second curtain, splendidly embroidered. Right
and left are Mon-ju and Fu-gen, sitting images. Mon-ju carries
a sword in his right hand, a scroll in his left. The images of
Shaka is said to be Indian, from the life by the sculptor Bi-shu-
katsu-ma (Visva-karman), but it has more the appearance of a

KYOTO EXHIBITION. 39

Chinese work. Chd-nen, a monk of T6-dai-ji at Nara, is said to
have brought it over in the year 987.

According to the legend it was made when Sakya Muni was
absent in the heaven called To-sotsu-Ten (Tushita) preaching
to his mother, and his disciples mourned over his absence.
King U-ten (Udayama) gave red sandal-wood from his stores,
and the saint's portrait having been drawn from memory by
Moku-ren (Maudgalyayana), the sculptor went to work and
speedily completed the statue, which was placed in the monastery
of Gi-on Sho-ja (Getavana Vihara). On the return of Sakya
after an absence of 90 days, the image descended the steps to
meet him, and they entered the monastery together.

Ten-riu-ji, at the village of Saga, one of the largest temples
in the vicinity of Kyoto, was founded by Ashikaga Taka-uji in
honour of the memory of G6-Daigo Tenno, whom he had deposed
and hunted to death in the mountains of Yoshino. Its first
abbot was the celebrated Mu-so Koku-shi (b. 1275, d. 1351).
Before that time the ex-Mikados O-Saga and Kameyama had
successively lived here, after their abdication, in summer palaces
built so as to enjoy the view of the stream and the hill on its
oppposite bank. In 1864, when the followers of Cho-shiu at-
tempted their coup d'etat, they made Ten-riu-ji their head-
quarters. After their defeat in the. city, the remnant of the band
was pursued thither by the loyal troops, and the buildings were
mostly destroyed by fire in the fight that ensued.

Arashi-yama, a favourite resort in summer, is also cele-
brated for its flowering cherry-trees, brought thither from Yoshino
in the I3th century by Kameyama Tenno. There are excellent
Japanese restaurants on the left bank of the stream opposite
to the hill.

The Castle of Ni-jo , at the W. end of Ni-jo Don', was built

40 KYOTO EXHIBITION.

by lye-yasu in 1601, to serve as a pied-&-terre on bis visits to
the capital, on the site of the enlarged residence erected by
Nobunaga in 1569 for the Sho-gun Yoshi-aki, the last of the
Ashikaga line.

It is now occupied as the offices of the prefecture (Fu-cho)
of Kioto. The prefect's reception room, though dingy in ap-
pearance, is a fine specimen of the feudal architecture of the period.

SOUTHERN SECTION.

All the following buildings are in the immediate neighbour-
hood of the Railway Terminus.

Nishi Hon-gwan-ji, the head-quarters of the Western branch
of the Hon-gwan-jl sect.

This sect, also called the Ikko-shiu, and Jodo Shin-shiu, but
now officially recognised only as the Shin-shiu, was founded in
the beginning of the I3th century by Shin-ran Sho-nin (b. 1173,
d. 1262), a man of very good family, as he claimed descent on
the father's side from Ama-tsu-koya-ne no Mikoto, and on the
mother's side from the warrior Yoshi-iye. He was placed while
young in a seminary on Hi-yei-zan, where he studied the doctrines
of the Ten-dai sect, but afterwards became a disciple of the
famous Ho-nen Sho-nin (b. 1133, d. 1212), founder of the Jo-do
sect. Having been banished from the capital, he settled in Hita-
chi, and there promulgated the doctrines on which the teach-
ing of his sect is based. In 1225 he founded a monastery
at Takata in Shimotsuke, which became hereditary in the family
of his pupil Shimbutsu, and thus the Takata in branch of the
sect was established, the head-quarters of which were removed
in 1465 to Isshinden near Tsu in Ise (see p. 169). Some years
later he founded another monastery at Kibe in Omi, called
Kin-shoku-ji, the head-quarters of the Kin-shoku-ji branch.
Eleven years after his death his youngest daughter and one of his

KYOTO EXHIBITION. 41

grandsons erected a monastery near to his tomb at Otai in the E.
suburbs of Kyoto, to which the Mikado gave the title of Hon-
gwan-ji, ' Monastery of the Real Vow/ in allusion to the vow
made by Amida that he would not accept Buddha-ship except
under the condition that salvation was made attainable for all who
should sincerely desire to be born into his kingdom, and signify
their desire by invoking his name ten times. It is upon a passage
in a Buddhist scripture where this vow is recorded that the
doctrine of the sect is based, its central idea being that man is to
be saved by faith in the merciful power of Amida, and not by
works or vain repetition of prayers. In the middle of the I5th
century the Abbot of Hon-gwan-ji built a great gateway to the
monastery, with excited the envy of the monks of Hiyei-san,
who attacked the place and burn it to the ground. The Abbot
fled to Echi-zen, where he was joined by a powerful body of
adherents, and by their aid made himself master of the whole
province of Kaga, which remained in the possession of his suc-
cessors for nearly a century. In 1477 he re-established the Hon-
gwan-ji at Yamashina near Kyoto, and in 1496 founded a monastery
under the same at Ozaka, which towards the middle of the l6th
century became the head-quarters of the sect. Here Nobunaga
unsuccessfully beseiged Ken-nio, the nth Abbot, in 1570, with an
army of 58,000 men. For ten years hostilities were carried on
between him and the adherents of the sect with varying success,
ending in the Abbot consenting to capitulate. But three days
before the date on which it was agreed that the fortress should be
handed over, he set the buildings on fire, and decamped during
the night. In 1591 Hideyoshi ordered the sect to transfer its
head-quarters to Kyoto, whence it had been driven 127 years be-
fore, and forced Kio-nio to resign the headship in favour of his
younger brother, but in 1602 lye-yasu allowed him to found
another monastery in Kyoto, to which the name of Higashi (East-
ern (Hon-gwan-ji was given, while the original foundation was
called Nishi (Western) Hon-gwan-ji, or simply Hon-gwan-ji.

42 KYOTO EXHIBITION.

The principal gate is decorated with beautiful carved designs
of the chrysanthemum flower and leaf. In the courtyard stand a
large Gingko, the Midzufui no Icho, supposed to protect the
temple against fire by discharging showers of water whenever a
conflagration in the vicinity threatens its safety. The interior of
the hondo\s 138 ft. in length by 93 ft. in depth, and the floor covers
an area of 477 mats. As usual in the temples of this sect, the
ge-jin is perfectly plain, of keya-ki wood, with white plaster walls.
Right and left of the chancel are 2 spacious chambers 24 ft. by
36, with gilt pillars and walls, decorated with the lotus flower and
leaf. In them hang large kakemono inscribed with invocations to
Amida in large gold characters on a dark blue ground surrounded
by a glory, by Jaku-nio, I4th Head of the sect (b. 1651, d. 1725),
and portraits of the successive Heads. The front of the ge-jin is
completely gilt, and has gilt trellised folding-doors and sliding-
screens decorated with snow scenes, representing the plum, pine,
and bamboo in their winter covering, the ramma. being filled with
gilt open-work carvings of the tree-peony. The cornice is deco-
rated with coloured arabesques. In the centre of the uai-jin is
the shrine, covered with gilt and painted carved floral designs.
It contains a sitting effigy in black wood of the Founder about 2
ft. high, said to be from his own hand. In front stands a wooden
altar, the front of which is divided into small panels of open-work
flowers and birds against a gilt back-ground. This central apart-
ment has a fine cornice of gilt and painted woodwork, and a
coffered ceiling with the shippo and hana crest on a gold ground.
The dim light renders much of the detail obscure. The building
was erected about 1591 or 1592, and the decorations have been
since renewed every 50 years. Next to the hondo, but of smaller
dimensions, is the Amida Do, 96 ft. wide by 87 ft. in depth, divided
in the same way, but having only one apartment, 30 ft. by 36, on
each side of the central chapel, with a dead-gold wall at the back,
and a coffered ceiling with coloured decorations on paper. Fancy
Portraits of Sho-toku Tai-shi and the ' Seven Great Priests of
India, China and Japan/1 including Ho-nen Shonin founder of the

KYOTO EXHIBITION. 43

Jodo sect, from which the Shin sect is an off-shoot, hang in there
two apartments. A handsome shrine, with slender gilt pillars and
a design composed of the chrysanthemum flower and leaf, con-
tains a gilt wooden statuette of Amida, about 3 ft. high, so much
discoloured by age as to look quite black. It is attributed to the
famous sculptor Kasuga Busshi. Over the gilt carvings of tree-
peonies in the ramma are carvings of ten-nin in full relief. A sli-
ding-screen close to the entrance on the right of the altar, painted
with a peacock and peahen on a gold ground, perched on a peach-
tree with white blossoms, by one of the Kano school, is worth
special notice. Application should be made for permission to
visit the State Apartments, which are very fine. On the way in
are some sliding panels by Kano Ei-toku, which were brought
from Hideyoshi's castle of Fushimi. The largest room (Tai-men-jo] ,
69 ft. deep and 54 ft. wide, has good paintings on the walls by
Kano Hidenobu ; the storks in the ramma are attributed to Hadari
Jingo-ro. Next comes a small room with bamboos on a gold ground,
and a coffered ceiling with floral paintings, by artists of the Kano
school. Another room has wall-paintings of geese is all positions
on a gold ground. It must be noticed, however, that these
paintings are on large sheets of paper, which have been fixed in
their places after having been executed in a horizontal position.

True wall-paintings, that is paintings executed on a vertical
surface, are extremely rare in Japan, and the only well-authenti-
cated examples known to us are the series of paintings on lacquer
at the back on the main altar in the temple of Kwan-on at Asa-
kusa in Tokyo ; those on plaster in the Hon-do of the monastery of
H6-riu-ji near Nara, and some in the lower, story. of the Pagoda
of T6-ji.

The room beyond is decorated with chrysanthemums on the

1 These are the Indians Riti-ju (N£gargutv») and Ten-jin Bo-satsu (Vasai
bandhu), the Chinese Don-ran Dai shi (T'an-luan, b. 562, d. 542), Do-shaku Zen-ji
Tao-ch'o, b. 362, d. 745), and Zen-do Dai-shi (Shan-tao, b. 614, d. 681) and the
(Japanese Gen- shin (b. 9^2, 1017) and Gen-ku, also called Honen (b. 1133, d. 1212).

44 KYOTO EXHIBITION.

walls, and fans in the compartments of the ceiling. We next
pass through an apartment decorated with peacocks and cherry-
trees, and gilt carvings of the wild camelia and phoenix in the
ramma] then a room with Chinese handscapes on a gold ground,
and carvings of wistaria in the ramma, and another with
Chinese architectural scenes and landscapes. These form the
suite called O-biroma, or Chief Audience Room, and the paint-
ings are from the brush of Hasegawa Rio-kei. In the court-yard
opposite to this suite is a stage for the performance of the classic
lyrical drama called No. Passing a small room decorated with
Chinese hunting scenes, and proceeding along a corridor, we
reach an apartment called Tai-ko's Kubi-jikken no Ma, the room
where Hideyoshi used to inspect the heads of his opponents
killed in battle, also from the castle of Fushimi, with drums
painted on the ceiling, and gilt open-work carvings of the flying
squirrel and grapes, a Chinese subject, in the ramma.

Leaving the Apartments, we cross a small court to the gate-
way known as the Choku-shi Mon, or ( Gate of the Imperial
Messenger/ the carvings of which are attributed to Hidari
Jin-go-ro. It once belonged to the Shin-to temple Toyokuni no
Yashiro, erected to the memory of Hideyoshi in the beginning
of the iyth century. The figure on the transverse panels is
Kioyo (Hsii-yu), who, having rejected the Emperor Yao's pro-
posal to resign the throne to him, is represented washing his
ear at a waterfall to get rid of the pollution ; the owner of the
cow opposite is supposed to have quarrelled with him for thus
defiling the stream, at which he was watering his beast. Lions
in different attitudes cover the panels of the gates, surrounded
by arabesques of peonies. The cross-beam is carved so as to
represent a pair of ki-rin. The subjects on the outer side are
Ko-seki-ko holding the scroll and Cho-rio riding on a dragon
and holding out K6-seki-ko's boot.

The traveller is then shown over the Hi-un-kaku, ' Pavilion

KYOTO EXHIBITION. 45

of the Flying Clouds,' removed here from Hideyoshi's Palace of
Momo yama at Fushimi. It is closely surrounded by a small
garden densely planted with conifers. In one of the upper
rooms is a sketch on a gold-paper ground, attributed to Kano
Motonobu (but more probably by Kano Ei-toku), called the Gio-gi
no Fuji, or ( Fuji of Good Manners/ because the outlines can
hardly be distinguished unless the spectator takes up a respectful
attitude on the floor. A small pine in the foreground is said to
have been painted in by Hideyoshi himself.

Higashi Hon-gwan-ji, this, an offshoot of the Nishi Hon-
gwan-ji, was founded fn 1602, and destroyed by fire in 1864
during the unsuccessful attempt made by the followers of the
Prince of Choshu to seize the person of the Mikado. The new
edifice has only just been completed.

This temple, probably the largest in Japan, well deserves a
visit on account of its noble proportions*, and as showing what
a fine Buddhist temple looks like when new. So far as plan
and style are connected, the orthodox model of the temples of
the Hon-gwan-ji sect has been faithfully adhered to, both in the
Daishi-do, or Founder's Hall (the main building), and in the
subsidiary Amida-do. Note the splendid bronze lanterns, four
in number, at the entrance. The wood of all such portions of
the temple as are meant to meet the eye is keyaki ; the beams
in the ceiling are of pine. There are some good carvings of
the signs of the zodiac, of waves, of bamboos, etc. The chief
dimensions of the main building are approximately as follows: —

Length 210

Depth 170

Height 120

Number of large pillars 96

' Number of tiles on roof 163,512

Notwithstanding what has often been said with regard to
the decay of Japanese Buddhism, the rebuilding of this grand

46 KYOTO EXHIBITION.

temple has been a strictly popular enterprise. All the surround-
ing provinces have contributed their quota — vast sums in the
aggregate — while many peasants, considering gifts in kind to be
more honourable and, as it were, more personal than gifts in
money, have presented timber or other materials. The name of
the architect of the main building is Ito Heizaemon, a native
of Owari. The Amida-do is by Kinoko Tosai, a citizen of Kyoto,

Ko-sho-ji, a large temple next door to the Nishi Hon-gwan-ji,
was founded in the I5th century, but the present buildings date
from the i8th century. This temple belongs to the West Branch
of the Shin sect, and a son or younger 'brother of the Head is
usually appointed Abbot. The porch of the Hall of Amida has
handsome carved brackets, with a design formed of the tree-
peon}7 flower and leaf, and over the architrave are good carvings
of the ki-rin, flying dragon, and kara-shishi. The interior of
the building is 28 yds. square, and is in exactly the same style
as that of the Nishi Hon-gwan-ji, except that the ramma have
carvings of Apsaras instead of the tree-peony. The image of
Amida is the work of the sculptor An- Ami. In the apart-
ments are to be seen Tgood paintings of storks by Kano Ei-tei,
about the year 1700, and a suite of three side-rooms containing
paintings by artists of the Shi-jo school, the subjects being
cherry-trees in blossom, willows, the white peach-flower, pine-
trees, deer, and snow scenes.

Hon-koku-ji) close to Nfshi Hon-gwan-ji on the north, but with
its main 'entrance on a line with the back of the latter, belongs
to the Hokke sect, and was originally founded by Nichi-ren at
Kamakura,5* being the first monastery of the new sect established
by him in the middle of the 13111 century. In 1345 it was re-
moved to Kyoto by the command of the reigning Mikado. The
buildings are scattered over a vast area. The Hon-do is de-
dicated to the Hoke-kio, or Sutra of the Lotus of the Good Law,
which is the principal sacred book of this sect. In two large

KYOTO EXHIBITION. 47

buildings used for the reception of members of the sect, called
Ko, kiaku-den and O-kiaku-den, the chief place is assigned to
Nichi-ren himself. The monastery possesses a fine pair of
modern folding-screens, painted with landscapes in Indian ink
on a gold ground, by Rinzan, an artist of the Shi -jo school.

Toft) the head-quarters of the Shin-gon sect, a short dis-
tance south of the railway, was originally the site of one of the
Provincial Monasteries {Koku-bun-ji}, ' which Sho mu Tenno
conceived the idea of building throughout the country, but
in 791, when Kwammu Ten-no constructed the Great Palace
of Kyoto known as the Dai Dai-ri, he placed here the Koro-
kwan, a mansion for the entertainment of foreign envoys. Two
years later the site was restored to its original purpose, and a
monastery was built here, on the east side of the main street,
Shu-jaku Oji, which led south through the city from the principal
Gate of the Palace, to which the name of Toji was consequently
given. In 823 the reigning Mikado bestowed it upon K6-bo
Dai-shi, and henceforth it became the centre of the Shin-gon
doctrine, which he had been the first to introduce from China.
The buildings, which dated from 796, were burnt down in 1486,
and part of those restored shortly afterwards were thrown down
by an earthquake in 1596.

On entering the north gate and turning to the right we come
first to the Soshi-do, or Hall of the Founder, a low building
facing north with a roof of thick shingling. It is said to have been
built in 1380 of materials from an old Audience Hall of the
Mikado's Palace. A wooden image of K6 bo Dai shi, with ex-
pressive features, and holding in its hands the vagra and rosary,
occupies a shrine of good old nashi-ji lacquer. Behind it in a
separate chapel is an image of B5-sha-mon from the monastery
of Sai-ji, which in ancient times stood on the opposite side of the
main street from To ji.

Most of the buildings are in a very rude style, with mud

48 KYOTO EXHIBITION.

floors, pillars and beams coloured red with oxide of iron and
white plaster walls. The Hon-do facing south was built by Hide-
yori in 1610 on the plan of his Dai-butsu temple, but of one-third
the size, being only 113 ft. by6i ft. It is dedicated to Yaku-shi, a
large gilt wooden image. Right and left are Gwakko and Nikko
Bo-satsu, and the Twelve Divine Generals (Jiu ni Jin-sho) or
followers of Yaku-shi. These figures, which are well executed
and show some attempt at anatomical exactnesss, are attributed
to K6-bo Daishi. The small black image is Ai-zen, its pendent
is Ji-zo. The Ko-do, also facing south, 117 ft. long by 52 ft. in
depth, is dedicated to Dai-nichi Nio-rai, surrounded by Amida,
Shaka, Ashuku, and Hojo. On the right stands Fu-do with a
face expressive of great fierceness, on the left a second image
of Dai-nichi, with four others. The images of the Four Deva
Kings are attributed to K6-bo Dai-shi, and are worth noting for
their well-arranged drapery. The four-headed deity sitting on
a lotus supported by four geese is Bon-ten (Brahma). This
building was erected about 1590 by Kita no Mandokoro, the wife
of Hideyoshi. The Jtki-do, also facing south, 97. | ft. in length
by 52 ft. in depth, enshrines an image of the Thousand-handed
Kwan-non by the priest Ri-gen Daishi, who died 909. This
building dates only from the year 1829. The figures of the Four
Deva Kings are very bad ; the image of Kwan-non, colossal and
badly executed, is literally thousand-handed. On the ceiling is
a spirited painting of the dragon by the modern artist Kishi
Gan-ku. The Five-storied-Pagoda is 32^ ft. square at the base
and 174 ft. in height, not including the bronze spire. It was
built in 1641-3 by the Sho-gun lye-mitsu to replace its pre-
decessor, destroyed during the civil wars, and cost 970,640 yei
sen, 1,000 of this coin of account being equal to I no, the coin
which has been replaced by the modern yen. The lower chamber
is gorgeously decorated, and on the walls are fancy portraits
of K6-bo Dai-shi and Seven Spiritual Predecessors.1 The view

1 These are Birosliana Nio-rai (Vairokana Tath&gata), Kon-go Satta (Oagra
Sartva), Riu-rnd or Riuju (Nagarguna), Riu-ciu Ajari (Nagamati Akarya, identified

KYOTO EXHIBITION. 49

from the top storey is extremely fine. Near the pagoda stands one
of the curious wooden-storehouses built of logs, whose section is
a right-angled triangle, the right angle being turned outwards.
It dates from about the year 1000. The Kwan-cho-In, a building
78 ft. long by 71 ft. deep, is used for the ceremony of initiation
into the priesthood, which closely resembles the Christian rite
of baptism. Among the treasures belonging to the monastery
are a pair of folding screens by Kano Motonobu, representing
the fight at the Palace between the Taira and Minamoto clans
in the middle of the I2th century, two pieces of metal-work
thickly gilt from the great gate of the city, called the Ra-jo
Mon, the Sanskrit A written by K6-bo Dai-shi, and an inscrip-
tion by him which was formerly attached to the gateway of the
temple of Hachiman in the monastery grounds, an almanac
of the year 1319 that belonged to the Mikado Go-Uda, on a roll
with beautifully executed metal mountings, a Chinese MS. with
a date corresponding to the year 765, to which the peculiar
reading marks called Wo-koto ten have been added, the Chinese
MS. of a sutra said to be K6-bo Daishi's autograph, and part
of the Ke-gon Kid by him, a MS. of the Dai Han-nia Shin-gio
in gold characters on a dark blue paper, by Ono no Takamura
(b. 801, d. 852), some holograph letters of Go-Daigo Tenno, in
one of which he returns three relics of Sakya Muni to the
monastery, and forbids his descendants ever to touch them, and
a second, in which he repeats the prohibition, dating in the year
1324. It is a remarkably fine, bold hand. The Reception
Rooms of the monastery are very handsome, but special JDCT-
mission must be obtained in order to visit them.

Higashi Hon-giuanji, is sn offshoot, from the Hon-gwanji
proper, and was founded in 1602 by the eldest son of the nth
abbot of the original foundation, lands having been granted to

by some with Dharma-gupta), Kon-go chi Ajari (Vagramati Akarya), Fu-gu-lcon-
go (Amogha Vagra) and the Chinese E-kwa (Hui-kuo).

D

50 KYOTO EXHIBITION.

him for that purpose by lye-yasu, and the title of Go-mon-zaki,
or Imperial Offspring, being conferred on him.

The present buildings are temporary structures erected
after the destruction of the monastery by fire in 1864, during the
unsuccessful attempt made by the followers of the Prince of
Choshiu to seize the person of the Mikado. A pair of handsome
bronze lanterns, about 10 ft. high, stand at the main entrance of
the enclosure. Immediately to the right on entering is the
hondo, delicated to Shin-ran Sho-nin, whose image, said to have
been carved by himself, is contained within the handsome gilded
shrine at the back of this vast hall, which measures 96 by 105 ft.
with the exception of the gilded pillars by the shrine and the
gold wall-paper behind, the building is entirely devoid of de-
coration. Right and left of the shrine hang the portraits of the
21 successive abbots from the time of Kio-nio Sho-nin, the black,
purple, or scarlet robes denoting the rank enjoyed by each.
The altar-cloth embroidered with the ' eight-fold wistaria ' (yatsu-
fuji], the crest of the hereditary High Priest's family, is a
beautiful piece of work. Connected with the Main Hall by a
corridor is the ' Hall of Amida,' whose bronze effigy stands in
front of a richly gilt shrine. Before it is the altar with a splendid
cloth, embroidered with a pair of dragons on a deep blue ground.
On the right are pictures representing the Seven Great Priests
of India, China, and Japan, while a shrine on the left contains
the monumental tablet of the Mikado who founded this hall. All
the furniture is extremely solid and well gilt.

EASTERN SECTION.
Inari no Yashiro, on the road to Push i mi.

This popular Shin-to temple, the prototype of the thousands
of Inari temples scattered all over the country, was founded A.D,
711, when the Goddess of Rice is said to have first manifested
herself on the hill behind. Ko-bo Daishi is said to have met

KYOTO EXHIBITION. 51

an old man in the vicinity of T6-ji carrying a sheaf of rice on
his back, whom he recognised as the deity of this temple, and
adopted as the ' Protector ' (Om'n-ju) of that monastery. Hence
the name Inari, which signifies ( Riceman/ and is written with
two Chinese characters meaning ' Rice-bearing.' The first
temple consisted of three small chapels on the three peaks of
the hill behind, whence the worship of the goddess and her
companion deities was removed to its present site in 1246,

It is much visited by cutlers and smiths. There are two
entrances, one of which is reserved for the use of these gods
when they start on their annual journey to visit the temples of
Ise. The leave on April 2gth and return on May 2oth, per-
forming the journey in their sacred cars (mi koshi}. The chief
entrance is by the great red torii on the main road, then up a
flight of steps to the Chief Chapel (Hon-den], which faces West,
passing left the ex-voto shed and right the kagura stage, and
further on two stone foxes on pedestals, protected by cages to
prevent them from being befouled by birds. The pillars of the
portal are plain, but the rest of the walls and pillars are painted
red or white. Curtains (mi su] hang down in front, and before
each of the six compartments is suspended a large metal mirror
about 1 8 in diameter. A pair of gilt koma-inu and ama-inu
guard the extremities of the verandah ; they have bright blue
manes, and on the legs locks of hair tipped with bright green.

The temple, re-erected in 1822 by the Shogun lyenari, is
dedicated in the first place to Uga-no-mi-tama, the Goddess of
Food, child of Susano no Mikoto and the daughter of the Mountain-
god, the secondary deities, according to the present accepted
belief being Omiyanome, who is a personification of the Mikado's
Palace, and Saruda hiko, the monkey-faced god who met Ninigi
no mikoto as he was descending from heaven and welcomed him
to his dominions. To them were afterwards added, about the
year 1270, the Harvest-god O-toshi no kami, who revealed him-

52 KYOTO EXHIBITION.

self in the form of a crane carrying a grain of rice in his bill,
and Oyashima no kami, the islands of Japan personified, thus
making five deities in all. This account differs greatly from that
usually given in books on Shintoism, which assign other names
*o most of the secondary gods.

To the left is a building in which the sacred cars are usually
kept. They are celebrated for the great value of their de-
corations, in gold, silver, copper and iron. On the left of this
again are some wide steps, which lead up to another small
temple called the Jo-den, dedicated to the same five deities.

A path from this to the right through innumerable red torii
passes the 'Shimo no Miya,' and ascending through a pine and
oak wood, full of pink azaleas (which blossom early in May),
reaches the Takeda no yashiro, which commands a fine view
towards Kyoto. Over Arashi-yama some of the mountains of
Tamba are visible, and Atago-san shows above the railway sheds,
while Hi-yei-zan rises due North. The Kamo-gawa is seen tra-
versing] the city, making a remarkable curve as it descends
Kami-Gamo. Over the town of Fushimi the view lies towards the
great swamp (O-ike) and Yawata, with Yamazaki to the right.
The way to Kami no Jin-ja, the Olcu-no-In, or Holy of Holies,
turns to the right through the tea-house below this point of view,
and passes the Kaza no Yashiro, or Temple of the Wind, and
the Naka no Jin-ja, Middle Temple. A huge boulder which lies
here marks the spot where the goddess made her first ap-
pearance in the year 711. On a fine day the castle of Osaka is
visible hence. , An alternative way back to the Takeda no Yashiro
is by descending past the Cho-ja no Y'ashiro, close to which are
some remarkable pointed rocks, objects of great reverence to
pilgrims, thence through the Go-zen-dani, and round the East side
of the hill. It is advisable to take a guide from one of the tea-
houses (5 sen), who will point out and explain the various objects
of interest. An hour can be thus agreeably spent in making

KYOTO EXHIBITION. 53

the whole circuit from the great torii below the main temple and
back again. The principal festival is celebrated on April 9th.

To-fuku-ji, is No. 4. of the five principal monasteries of the
Zen sect, the others being Ten-riu-ji, Sho-koku-ji, Ken-nin-ji,
and Man-ju-ji.

It was founded by Ben-yen, a native of Suruga, who was
received into the Ten-dai sect at the early age of 18. In 1235
he went to China, and studied there for six years. Two years
after his return the Regent Michiiye bestowed on him the head-
ship of this monastery, where he spent the rest of his days. He
died in 1280 at the age of 78. It is said that at his death all
the trees in the place turned pale. In 1312 the Mikado con-
ferred upon him the posthumous title of Sho-ichi Koku-shi,
1 Wholly-Wise National-Teacher.'

A long corridor leads from the hatto over a little dell planted
chiefly with maples, two of which at least are said to have been
brought from China by the first abbot, to the Kai-san-do, a
chapel erected to his memory. It was re-erected in the original
style in 1807, after the destruction of the previous building by
fire. The curious tower in the roof is worthy of notice. In the
interior is an excellent effigy of the first abbot, with his teacher
Bu-shun (Wu-chun) in a shrine on his right. At the East end is
the wooden effigy of Michiiye, holding in his hands a vagra and
rosary. In the tower is a plaster figure of Hotei, lacquered over
thin cloth, evidently a Japanese work, though Ben-yen is said
to have obtained it in China. In the reception rooms attached
to this building are sliding-screens painted by Tosa Mitsunobu,
with flowering trees on a gold paper, and in an inner room
landscapes in Indian-ink by Kano Yu-sho. Amongst the most
valued possessions of the monastery are 45 out of a series of 50
kake-mono, 6 ft. by 3 ft., representing the 5,000 Rakan in groups
of ten, by Cho Den-su. The colours are still brilliant, although

54 KYOTO EXHIBITION.

never retouched. It is curious that the patterns of the stuffs
which the figures wear are not interrupted by the folds of their
dresses. Thirty-three kakemono, \\ ft. by 4. ft. of the 33 Trans-
formations of Kvvannon on silk, are also attributed to him, but
they seem hardly worthy of the artist who painted the Rakan.
A large picture of Sakya's entry into Nirvana by him, 24 ft. by
48 ft., cannot be easily shown on account of its unwieldy size ;
it is exhibited, however, from the I2th to I5th March in each
year. It was intended to be hung in the Bu-tsu-den (recently
destroyed by fire) in front of the principal idol, and is dated
1408, when the artist was 50 years old.

Man-ju-fi is No. 5 of the five principal monasteries of the
Zen sect. The Hon-do was built by Ashikaga Yoshimitsu, nearly
five centuries ago. A large wooden statue of Sakya, with
Ananda and Kasyapa, also the Four Deva Kings in the tra-
ditional posture and armour, are all by Un-kei. The jewels in
the forehead and hair of Sakya are crystals. This monastery pos-
sesses a valuable picture on silk of the Has-sho no Nehan, or
Eight Incidents of (Sakya's) Nirvana, by the Chinese painter
Wu Tao-tzu (Go Do-shi) of the T'ang dynasty. Its dimensions
are 4 ft. by 6. ft. The reds appear to have been retouched, but
otherwise the picture is in its original condition. The attitudes
and expression of the mourners round the bier are perfectly
natural, and the animals are drawn with great correctness. The
other treasure is a kakemono of Sumiyoshi H6-gen, 3! ft. by i ft.,
representing Shaka (Sakya) on a bull, Fu-gen on an elephant,
and Mon-ju on a lion. Shaka's face wears a gentle but, un-
intellectual expression. He is drawn with the crisp black beard
and delicate moustache of a young man. The other two have
feminine countenances, and wear gold ear-rings, armlets, and
coronets. Fu-gen holds a bundle of palm-leaves instead of the
usual paper roll, which suggests that the original design was
Indian. The picture is in Indian ink on white silk, much dis-
coloured by age, but relieved by the gold ornaments and gold

KYOTO EXHIBITION. 55

crossed vagra on the dresses, the lips and eyes also being slightly
coloured. In the two-storied entrance gateway are a pair of
colossal figures by Un-kei, much in need of repair. These are
not the usual Ni-6, but two of the Four Deva Kings. A narrow
path East leads past the tombs of the Satsuma men who fell at
Fushimi on the Mikado's side in 1868, to the monastery of Sen-
yu-ji, which has been the burial-place of successive Mikados,
beginning with Shi-jo (b. 1231, d. 1242). It was founded by
K6-bo Daishi, but was restored later in 836 by Fujiwara no
Morotsugu. It now belongs to the Shin-gon sect. On the left
just just within the gate is a chapel dedicated to an image of
Kwan-non, said to have been carved by the Chinese Emperor
Gen-sho (Hsiian Tsung) of the To (T'ang) dynasty, as an exact
portrait of his favourite concubine Y6-ki-hi (Yang Kwei-fei),
and brought over by Jin-kai in the I3th century. But it is very
doubtful whether the image be a genuine Chinese production.
Descending the path we come to the Butsu-den facing West, 57 ft.
by 51 ft., rebuilt in 1668 by the Sho-gun lyetsuna, and dedicated
to Sakya, Amida and Maitreya. Behind it is the Shari Den,
also facing West, 57 ft. by 53 ft., in which is kept the celebrated
relic supposed to be a tooth of the Buddha, brought from China
by the third abbot Tan-kai. The story goes that as soon as the
Buddha died, a demon named S6-shik-ki stole this tooth and ran
away with it, but was pursued by I-da Ten (Veda Raga) and
forced to restore the precious relic. About 1,600 years later he
made a present of it to a Chinese priest to whom he was under
an obligation, and from this priesc it passed into Tan-kai's hands.
It is kept in a beautifully designed reliquary of gilt metal in
the shape of a pagoda, about 3 ft. high, the upper part being of
Chinese, and the platform on which it stands of Japanese, work-
manship, dating from the Ashikaga period (r 4th- 1 6th) centuries.
The tooth is enormous, and evidently belonged to some large
quadruped, probably a horse. Right and left of the shrine are paint-
ings on wainscot representing the 15 Rakan during their hours of
relaxation. To the rear of this are the tombs, in a grove of cryp-

56 KYOTO EXHIBITION.

tomeria-trees. The buildings, were are recently burnt down, had
been erected after a fire in 1857, which destroyed the whole con-
tents of the enclosure. The tombs of the Mikados are not shown.

San-jiu-san-gen-Do stands close to the Fushimi road.

Founded in 1132 by the ex-Mikado Toba Tenno, who placed
in it 1,001 images of Kwan-non, to which Go-Shirakavva after-
wards added as many more in 1165, it was completely destroyed
with all its contents in 1249. In 1266 the Mikado Kameyama
rebuilt it, and filled it with images of the i,ooo-handed Kwan-non
to the number of 1,000. It is 389 ft. by 57. In 1662 the Sho-
gun lyetsuna restored the building, which takes its name, not
from its length, but from the thirty-three spaces, between the
pillars, which form a single row from end to end.

The massive cross-beams and pillars were originally decorated
with gorgeously-coloured designs, which have for the most part
faded a'way. In the centre is a large sitting figure of the 1,000-
handed Kwan-non, 18 ft. high, by the monk Gio-ki with the assist-
ance of two professional wood-carvers, Ko-kei and Ko-yei.
Round it stand images of the 28 Bu-shiu or Followers of Kwan-
non, 5 ft. high, by Un-kei, which are not in any way remarkable ;
but the pair of Ni-o (Narayen Ken-go or Brahma on her left, and
Misshaku Kon-go or Indra on her right, at the front corners are
admirably executed3 and show considerable knowledge of anatomy.
They are little, if at all, inferior to the fine but sadly neglected
pair in the Hoku-yen-do at Nara. The paint or lacquer of these
figures is put on to the wood without the intervention of cloth,
which seems to be an expedient of comparatively modern inven-
tion. Out of the* 1,000 gilt images of Kwannon, each 5 ft. high,
arranged in ten tiers, gradually rising towards the back of the
building, 300 were executed by Ko-kei and Ko-yei, 200 by Un-
kei, and the remainder by Shichi-jo Dai-busshi. They all repre-
sent the ii-faced i,ooo-handed Kwan-non, and it will be found
that, in spite of the general resemblance, no two have the same
arrangement of hands and articles held in them.

KYOTO EXHIBITION. 57

Tradition says that the ex-Mikado Go-Shirakawa, being
troubled with severe headaches which resisted all the usual
remedies, made a pilgrimage to the temples of Kumano to pray
for relief. He was directed by the god to apply to a celebrated
Indian physician then resident at a temple in the capital.
On returning he at once proceeded thither, and engaged in
prayer until midnight, when a monk of noble mien appeared and
informed him that in a previous state of existence he had been
a pious monk of Kumano named Ren-ge-bo, who for his merits
had been promoted to the rank of Mikado in this present life ;
but his former skull was lying in the botton of a river still undis-
solved, and out of it grew a willow tree which shook when ever
the wind blew, thereby causing His Majesty's head to ache. On
awaking from this vision the ex-Mikado sent to look for the skull,
and having found it, had it enclosed in the head of the principal
Kwan-non of this temple. It used formerly to be the custom,
skilful archers to try how many arrows they could shoot from
one end to the other of the verandah on the West front of the
building. This was called oya-ka-zu, 'greatest number of
arrows/ In 1686 a retainer of the Prince of Ki-shu is said to have
won the prize, shooting 8,133 ou^ °f ^jOSS arrows right to the end.

Dai'butsu. —

In 1588 Hide-yoshi built a temple to hold a large image of
Lokana Buddha, in imitation of Yoritoino, who had originated the
project of constructing a Dai-butsu at Kamakura. It was 200
ft. from the ground to the ridge of the roof, and the wooden image
160 ft. high. Both were destroyed by an earthquake in 1596. Ia
the following year he rebuilt the temple, and placed in it the
famous triple image of Amida, Kvvan-non, and Dai-sei-shi, which
he caused to be removed for the purpose from Zen-ko-ji, but after
his death his widow restored it to the temple at Zen-ko-ji, and
set about the construction of a new Dai-butsu. By the labour
of several hundred workmen and artisans a huge image was com-
pleted up to the neck, but as they were engaged in casting its

58 KYOTO EXHIBITION.

head, the scaffolding accidentally took tire and all efforts to ex-
tinguish the flames, which were fanned by a high wind that was
unluckily blowing at the time, being ineffectual, they spread to
the temple, which was speedily burnt to ashes. This disaster
occurred on Jan. I5th, 1603, but no attempts to repair it were
made until lye-yasu, in pursuance of his policy of weakening his
young rival Hideyori by inducing him to undertake the re-
construction of famous buildings on a scale of magnificence
calculated to exhaust his finance, persuaded him and his mother
that affection for Hideyoshi's memory imposed upon them the
obligation of seeing that his intention of rearing a worthy fane to
Buddha was not finally frustrated. They joyfully adopted the
suggestion, and at once set about the restoration of both image
and building on the same colossal scale as before. By the spring
6f 1614 both were successfully completed, and the population of
the capital and surrounding provinces flocked in crowds to witness
the opening ceremony. But the High Priests who, with the aid
of a thousand bonzes of inferior grade, were to perform the de-
dicatory service, had hardly taken their places and commenced to
repeat their liturgies, when two mounted messengers suddenly
arrived from the Sho-gun's Resident, with orders to interrupt the
proceedings and forbid the consecration. The disorder that
ensued among the assemblage, balked of the sight for which many
of them had come a long distance, and ignorant of the cause of this
unexpected termination of their holiday, ended in a riot, which
the police were unable to repress, and the city is said to have
been actually sacked by the infuriated crowd of country people.
It afterwards become known that lye-yasu had taken offence at the
wording of the inscription on the great bell, into which the charac-
ters forming his name were introduced, by way of mockery, as he
pretended to think, in the phrase kokka anko, ' May the date be
peaceful and prosperous' (ka and ko being the Chinese for iye and
yasu) ; while in another sentence which ran, ' On the east it wel-
comes the bright moon, and on the west bids farewell to the setting
sun/ he chose to discover a comparison of himself to the lesser,

KYOTO EXHIBITION. 59

and of Hideyori to the greater, luminary, from which he then
inferred an intention on the part of Hideyori to attempt his
destruction. Upon finding that the Osaka party were intimidated
by his affected anger at the slights thus offered to his person, he
followed up these pretexts for a quarrel by demanding the
surrender of the Castle of Osaka, the attendance of Hideyori at
Yedo in the general concourse of daimios, and the removal
thither of his mother. Their rejection, as he had foreseen, gave
him the wished-for opportunity of taking up arms and finally
crushing, after two successful campaigns, the only political rival
whom his family could ever have had reason to dread.

The dimensions of Hideyori's structure were, height 150 ft.,
length 272 ft., and depth 167^ ft., while roof was supported by the
92 pillars of from 4^ to 5^ ft., in diameter, composed of timbers
bound together by stout iron rings, one or two of which have
been preserved. The sitting figure of Rokana Buddha was 58^
ft. high. In 1662 the building and idol were destroyed by an
earthquake, and the greater part of the latter was melted
down to cast copper coins; but a few fragments are still in
existence, and are the property of the Kyoto City Museum.
In 1667 a wooden image, of the same dimensions, lacquered a
bronze colour, was constructed in its stead. This was damaged
by lightning in 1775, but restored, only to be set on fire again
by the same agency in 1798 and utterly consumed. The present
insignificant image was built in 1801 at the expense of a public-
spirited Osaka merchant.

The bell above alluded to, nearly 14 ft. high, 9 in. thick, 9
ft. in diameter, and weighing something over 63 tons, hung in a
belfry up to 1868, when it was taken down in order to make way
for some new buildings.

Hideyoshi was buried on the top of a hill called Amida ga
mine, close to the Dai-bntsu temple, and a chapel was erected

60 KYOTO EXHIBITION.

to his memory at the foot of the hill ; but this having gradually
fallen into ruins, a stone monument was put up on its site in
1616. A temple in his honour, to be called Toyo-kuni no Yashi-
ro, is now being erected on a grand scale close to the Dai-butsu.

Mimi-dzuka is a mound opposite to the entrance to the
Dai-butsu temple, on which stands a stone monument of the
dagoba form. Underneath it were buried the noses and ears of
Koreans slain in the war which Hideyoshi had made against
that country in the years 1592 and 1597. They were brought
home by his soldiers instead of the more usual trophies of heads,
as evidence of the exploit performed in his service.

Nishi Otani is the burial-place of Shin-ran Sho-nin, moved
here in 1603 from a spot now included within the grounds of
Chi-on-In. The pond, surrounded by cherry-trees and maples,
was excavated to accommodate the lotus-plants so necessary, it
is thought, to the picturesqueness of temples, and the stone
bridge which crosses it, called megane-bashi, from its resemblance
in shape to a pair of spectacles, was built about 35 years ago by
a mason from Iwakuni in Suwo. There are convenient tea-houses
round the pond where luncheon can be taken. The hon-do
of Nishi Otani is a new building of unpainted wood 26 ft. square,
and contains a handsome gilt lacquer shrine, in which stands the
usual figure of Amida. On its right is a kakemono containing
small portraits of successive Heads of the Nishi Hon-gwanji, on
the left that of the Founder himself. In the court behind is
an office for the reception of the ashes of members of the
sect from all parts of the country, whose relations pay to have
their remains deposited with those of Shinran Sho-nin, instead of
going to the expense of a monument in the adjacent cemetery.
The Kyoto members, on the countrary, bury in the cemetery.
Opposite is the oratory in front of the tomb, which is so concealed
behind a triple fence as to be invisble. The path up the hill
leads through the cemetery to the West gate of.

KYOTO EXHIBITION. 6l

Kiyom idsu-dera. —

The origin of this temple is lost in the mists of antique
fable. According to the legend, the novice En-chin, having
dreamt that he saw a golden stream flowing down into the Yodo-
gawa, went in search of it, and ascending to its source, found
there an old man sitting under a tree, who gave his name as
Gio-yei, and said : — " I have been here for the last two hundred
years repeating the invocation to Kwan-non, and waiting for
you to relieve me. Take my place for a while, that I may per-
form a journey which is required of me. This is a suitable spot
for the erection of a hermitage, and the log which you see lying
here will supply the material' for an image of the Mostf Com-
passionate One." With these words he disappeared, leaving the
novice in charge of the solitude. After a while, finding that the
old man did not return, En-chin climbed a neighbouring hill, and
discovered a pair of shoes lying on its summit from which he in-
ferred that the mysterious old man was none other than Kwan-
non in human form, who had left the shoes behind^on re.
ascending to heaven. He now became determined to make the
image of the god, but found his strength insufficient, and passed
several years looking at the log, vainly planning to overcome the
difficulty. Twenty years had elapsed, when one day good luck
guided the warrior Sakanoye no Tamura-Maro, who was in pursuit
of a stag, to this very spot. While he was resting, En-chin re-
presented his difficulties to the hunter, who was struck with
admiration at the untiring devotion of the novice, and subse-
quently, having taken counsel witli his wife, gave his own house
to be pulled down and re-erected by the cascade as a temple
for the image, which was now at last completed.

The 2-storied gateway at the top of the steps dates from the
Ashikaga period, and contains a pair of badly preserved Ni-o.
Turning almost immediately to the left, we come to the residence
of the chief priest, called Jo-jiu-In, which possesses a beautiful

62 KYOTO EXHIBITION.

garden ; a stone lantern presented by Hideyoshi ; a granite basin,
and a curious stone, shaped like the old cburt-hat, called e-boshi,
the gifts of Ka-to Kiyomasa, are pointed out. Amongst the
MSS. here preserved is a curious letter from Hidetsugu, offering
an endowment of 10,000 koku of rice to the abbot, if by his
prayers he could procure his adopted mother's recovery from
sickness and ensure her life being prolonged, if not for three
years, or two years, at least for thirty clays, and tradition says that
her life was lengthened by three years. There are also various
documents granted by the Ashikaga and other military chiefs in
that age of civil commotion, by which eacli commands his soldiers
to abstain from molesting the monks or levying contributions
on them.

The Hondo is dedicated to the il-faced i,ooo-handed Kwan-
non, whose sitting image, 52 ft. high, is contained in a shrine
that is opened only once is 33 years. Right and left are
images of the 28 followers of Kwan-non, and at each end of the
platform stand two of the Four Deva Kings. The shrine at the
East and contains an image of Bi-sha-mpn, which tradition tells
us appeared to Tamura-Maro, in company with Ji-zo (who image
attributed to the sculptor En-chin, is contained in the West shrine),
and promised him aid in his expedition against the eastern
savages. Pictures of the three hang at one end of the inner
Chapel (nai-dai-jin). The building is 190^ ft. long by 88^ ft. in
depth, arid 53 ft. in height from the platform. It is said to be
built in the same style of a wooden platform in front, called the
bu-tai (dancing stage), supported on a lofty scaffolding of solid
beams, and two small projecting wings which serve as orchestra
{gaku-yd). An open hall full of ex-voto pictures, extending the
whole length of the front, abuts on the ' dancing stage.' To it
succeeds a long narrow matted corridor called the nai-fin, while
the closed chamber which contains the shrines is called nai-nai-
jin ; the front part of this is sunk below the floor and paved with
squared stones. In its general arrangement it somewhat re-

KYOTO EXHIBITION. 63

sembles the chapel of the Gi-on temple. The opposite building
immediately against the hill is the Oku-no-In, also dedicated
to the i.ooo-handed Kwan-non. It stands on the site of Gio-
yei's hut. The best view of the temple is to be obtained here.
The building next to it on the North is the Amida Do, 29 ft.
by 32 ft., dedicated to Amida, supported by Kwan-non and Sei-
shi ; it contains also the effigy of H6-nen Sho-nin, founder of the
Jo-do sect, said to be of his own workmanship. On the West of the
hondo stand, in succession, 1st, the Hokke Sammai do, founded
in the latter part of the i6th century, by Asakura Sadakage, the
images in it being Kwan-non in the centre, Bi-sha-mon on the
right, and Ji-zo on the left ; 2nd the Kai-san-D6, containing the
effigies of Tamura-Maro, his wife Taka-ko, Gio-yei, En-chin, and
Sho-toku Taishi ; 3rd, the Kio-do} or library, with Shaka seated on
the lotus, having Fu-gen on his right on the elephant and Mon-
ju on his left on the lion. The copy of the Buddhist canon sup-
posed to be kept here is incomplete. Fu Dai-ji and his sons are
seen on the right of the main group. The Pagoda is dedicated to
Buddhist deities painted over lacquer on the pillars and walls.
It was formerly gorgeously decorated with coloured designs, most
of which have peeled off. The bell-tower, stable, and lower red
gateway date from the end of the 151!) century. The view of
Kyoto from Kiyomidzu-dera is justly celebrated.

Yasaka Pagoda, five stories in height, dedicated to the four
Nio-rai, No-jo on the South, Amida on the West, on the East
Ashuka, and Shaka on the North. On the 8 panels of the doors
are paintings on a thin coating of plaster. Of the 4 images, the
Shaka alone is old. On the interior walls and pillars are paint-
ings (on paper) of various Buddhist deities. A staircase gives
access to the top story, which commands a fine view of the city.
The pagoda is said to have been founded by Sho-toku Tai-shi
about the end of the 6th century, but another account makes it to
date from 679. It afterwards fell into ruins, and was rebuilt by
Yoritomo in 1192. A century later it was repaired by Ho-jo

64 KYOTO EXHIBITION.

Sadatoki, and again in 1338 by Ashikaga Taka-uji. In 1436 it
was burnt down, but rebuilt at once. In 1518 it was re-erected
by Hidetada.

Ko-tai-ji belongs to the Rin-zai branch of the Zen sect.

Founded in 838, it underwent many vicissitudes, and was
rebuilt in 1605 by Hideyoshi's widow, in order that services might
be performed there for the benefit of the souls of Hideyoshi and
his mother. In 1863 some ronins set the principal buildings on
fire, because it was announced that the ex-prince of Echi-zen,
whom they looked upon as an enemy of the Mikado's party, was
about to take up his quarters there, and the greater part was
destroyed.

The following buildings still remain : — The Butsu-den,
facing East, 93 ft. by 79, originally the hall of meditation (Zen-do),
contains a central sitting image of Shaka 2\ ft. high, right and
left statuettes of Kasho and Anan. 3 ft. high. The Kai-so-do> hall
of the founder, facing South, contains his effigy. The ceiling is
made out of the top of Hideypshi's wife's carriage, and from a
portion of the roof of the war-junk prepared far Hideyoshi's use
in his expeditions against Korea. The 4 panels of the shrine
were painted by Kano Motonobu. A flight of steps called the
gwa-rio no no ro-ka (corridor of the sleeping dragon) lead up to
the rei-ya,) containing the sitting effigy of Hideyoshi, in a
shrine having panels of black lacquer with designs in their
gold, taken from his wife's carriage. On the opposite side
is the effigy of his wife (the Kita no Mandokoro). The Thirty-
six poets, by Tosa Mitsu-nobu, hang round the walls. Four
sliding screens by Kano Motonobu, much injured by time, are
also shown. At the top of another flight of steps stand two
small summer-houses for tea-drinking (cha-shitsu ; the South one,
called shigure no chin, passing-shower pavilion,' brought after
his death from Hideyoshi's Castle of Fushi, commands a beautiful
view over the town South-west ; the other is the karakusa no chin,

KYOTO EXHIBITION. 65

umbrella pavilion, so called from the form of its roof. The
garden below, which is celebrated for its beauty, was designed
by Kobori Totomi no Kami. The picturesque effect is much
heightened by the two lofty pine-clad hills which rear their heads
over the trees at the back. Some very curious pine-trees are
pointed out as having been brought from Maiko no hama near
Akashi.

Ken-nin-ji, a monastery of the Gen sect, in the Yamato O-ji,
south of Shi-jo bridge, was founded by Ei-sai (b. 1144, d. 1215)
in 1203, the land being granted by the Sho-gun Yori-iye at the
instance of the Mikado Tsuchi-mikado. The hon-do is dedicated
to Sakya, with Ananda and Kasyapa on the right and left.

East of it is the small bell-tower, in which hangs a bell, said
by tradition to have been accidentally discovered while the
river was being cleared of its superfluous sand. Although not
very large or heavy, the workmen were unable to move it, until
the abbot taught them to use his name and that of his pupil
Cbo-sai as a charm. A less marvellous account is that this bell
had formerly hung in a temple built by Minamoto no Toru on the
bed of the river at Roku-jo, and was allowed to lie in the stream
after the decay of the building until Ei-sai got leave to appropri-
ate it.

In front of the chapel dedicated to Ei-sai is a remarkable
linden-tree (Tilia) growing with outspread branches at the root ;
tradition says that it was brought from China by Ei-sai, when he
returned from his studies in that country. It is not the true
Bodhi tree (Bo-dai-ju), however, the botanical name which is
Ficus religiosa. From the name of this temple is derived the
term hen-nin-ji> applied to fences of split bamboos fastened close
together against horizontal lattens. The grounds are extensive,
and contain numerous separate suites of apartments for the use
of the monks, who have the reputation of profound Buddhistic
learning.

66 KYOTO EXHIBITION.

Higashi Otani is the burial-place of the founder of the Higashi
Hon-gwan-ji division of the Shin sect. The entrance is close
to that of the Gi-on temple. A long avenue of pine-trees leads
up to the gateway, which is decorated with carvings of chrysan-
themums. The chapel contains a wooden statuette of Amida
by the sculptor Kwai-kei. In a shrine at the side hangs a por-
trait of Shin-ran Sho-nin. There is a fine screen in front of the
tomb which contains a portion of the bones of Shin -ran ; the
carvings of birds at the base appear to have been formerly
coloured with paint. The panels at the sides of the gate, ori-
ginally gilt, represented on the left carp ascending a cascade, and
on the right a lioness casting her cub down a precipice in order to
harden it. On the hill behind is the tomb of the founder Kio-nio
Sho-nin, which was formerly within the grounds of the chief
monastery, and was removed to its present site about 180 years
ago. A remarkable stone, called the tora ishi, ' tiger stone/ lies
on the top of the monument. The other buildings are in hand-
some style, and the grove of flowering cherry-trees makes it a
favourite resort in April.

Gi-on no Yoshiro, lately renamed Yasaka no Yoshiro, said
to have been founded in 656 by a Korean envoy in honour
of Susano no mikoto, to whom the name of Go-den Tenn5 was
given, because he had been originally worshipped on a mountain
in Korea called Go-dzu-san. Gi-on-gi was the name given to a
Buddhist temple dedicated to Yaku-shi and Kwan-non, which
stood in the same enclosure, and by popular usage the same Gi-on
came to be applied to* the Shin-to temple as well. Gi-on, it may
be observed, is the Chinese name of the Getavana Vihara, given to
Sakya Muni by Geta, the son of the King of Sravasti.

After entering the low 2-storied gate at the end of Gi-on
Machi, we pass between the chapel of Hiruko, the misshappen
first-born of Izanagi and Izanami, on the right and that of the
Plague-god on the left. Further on are tea-sheds opposite to an

KYOTO EXHIBITION. 67

Ema-dd heavily laden with large ex-votos, amongst which are a
picture of the fabulous Mount H6-rai by Tai-ga-do, and at the
north-west corner a large picture on wood, dated 1676, representing
Gi-on and the vicinity as they were at that period. The hon-den^
or chapel, stands on one side of a wide area marked off on the
west by a granite paling. It is 69 ft. long by 57 ft. in depth, and
roofed with a thick layer of bark. By ascending on to the matted
floor we can see that the real chapel is a much smaller binding,
enclosed within this outer case, and carefully lacquered. In the
room where the attendants sit is a celebrated screen by Tai-ga-
do, representing Mounts Fuji and H6-rai on the front and back.
In the centre of the area is the praying-shed (hai*ya), and it is
bounded again on the south by a new unpainted 2. storied gateway
of hi-no-ki. Outside this is a torii of Shirakawa granite, erected
in 1662, 30 ft. high, the pillars of which measure n ft. in circum-
ference. At the side of the hon-den is kept a screen painted by
Maruyama O-kio, subject a cock and hen. The principal festival
is celebrated on June 15. The temple is dedicated is Susano no
Mikoto, his wife Kushinada shime and the Hachi O-ji (eight
princes), or the miraculously begotten five sons and three
daugthers of Susano and the Sun-goddess.

Behind the temple, from its very confines to the base of the
hill, extends the Maruyama, almost exclusively occupied by ( tea-
houses ' (restaurants), the resort of people bent on dancing,
drinking, or bathing. Between Higashi Otani and Maruyama a
path climbs the hill above to the point of view called

Sko-gun-zuka, about 570 ft. above the river. It takes its
name, 'General's Mound,' from the tradition that when Kwammu
removed his capital to its present situation, he buried here the
effigy of a warrior in full armour, provided with bow and arrows
to act as the protecting deity of the new city. It commands a
wide prospect over the city and the surrounding country up to the
mountains which bound Yamashiro on the west and north. Just

68 KYOTO EXHIBITION.

below are the 2-storied gateway of Chi-on-In and the temple of
Gi-on, from which Shi-jo Street can be traced right across the
city. Above the Shi-jo bridge are the San-jo and Ni-jo bridges,
below it that of Go-jo. The high mountain with a clump of trees on
its top bearing nearly north-west is Atago-yama, about 2,900 feet
above the sea. A long white wall under it indicates Nin-na-ji or
Omuro Go-sho, recognised also by its pagoda. In front of this
again is the castle of Ni-jo. By following the line of the Ni-jo
bridge we come to the garden of what was formerly the Retired
Mikado's Palace, and behind it the Palace of the Mikado. A little
west of north is the broad bed of the Kamo-gawa ; at the base of
the mountain range from which it issues lies the temple of Kami-
Gamo, beyond which is the mountain road to Kurama. At the
junction of the Kamo-gawa and Hirano-gawa is a dense grove
which conceals the temples of Shimo-Gamo and Kawai. Hi-yei-
zan's summit bears north-east by north. Half-way between its foot
and the spectator lie Kurodani with its pagoda and numerous
buildings, and the large roof of Shin-nio-do, with its pagoda
further west. Nearer is the two-storied gate of Nan-zen-ji, half
hidden among the trees. A little south of west are the two high
roofs of Nishi Hon-gwan-ji and the single large hall of Ko-sho-ji.
A little further south is the pagoda of T6-ji behind the railway
station, and south-west in the far distance are Ten-no-zan at the
end of the western hills (Nishi Yama), above Yamazaki station,
and the Yodo-gawa flowing gently along its half-choked bed
towards the sea. From the east brow of the hill the view com-
mands the T6-kai-do and the railway winding round the base of
the opposite range.

Chi-on-In is the principal monastery of the Jo-do sect. It
was founded in 1211 by En-ko Dai-shi, also known as Ho-
nen Sho-nin. He was born in 1133 of respectable parents in
the province of Mimasaka, and various portents are said to have
accompanied his birth. At the age of 9 he was entered as a
pupil at a seminary in his native province, but his teacher re-

KYOTO EXHIBITION. 69

cognising his exceptional powers, sent him up to the great
monastery on Hi-yei-zan in 1147, with a letter containing only
these words ; (I send you an image of the great sage Mon-ju.'
On the latter being presented, the priest to whom it was address-
ed asked where the image was, and was much astonished when
the child alone appeared before him. But he soon justified the
implied estimate of his great intellectual powers, and the young
novice made such rapid progress in his studies that at the end of
the same year he was judged fit to be admitted to the priesthood.
The prospect was held out to him of ultimately obtaining the
headship of the Ten-dai sect, but he preferred to devote himself
to the study of theology, and finally developed a special doctrine
of salvation, or the road to the ' Pure Land,' from which the new
sect was named, Jo-do meaning Sukhavati or ' Pure Land,' the
heaven of Amida. In 1207 he settled at Kyoto near the site of
the present monastery, and there breathed his last in 1232 at the
age of 79.

The buildings were twice destroyed by fire in the I5th
century and once again in the beginning of the i6th. lye-yasu
rebuilt the monastery entirely in 1603, but it was burnt again in
1633, with the exception of the two-storied entrance-gate, the
Library, and the Sei-shi Do. Its restoration was immediately
commenced, and in 1630, during the reign of the 3rd Sho-gun,
lye-mitsu, the whole was completed.

A broad avenue between banks planted with cherry-trees
leads up to the main entrance, or Sammon, a huge two-storied
structure 81 ft. by 37 J, the total height from the ground being 80 ft.
A staircase on the south side gives access to the upper storey,
which contains images of Sakya, with Sudattaand Zen-zai D6-ji on
his right and left, and beyond them on each side 8 of the 16 Rakan
in gorgeous dresses, all life-size, the work of a carver of Buddhist
idols named K6-yu, the 22nd in descent from J6-cho. The
cornices and cross-beams are richly decorated with coloured
arabesques and geometrical patterns and fabulous animals ; the

70 KYOTO EXHIBITION.

ceilings, which lose their effect by being so low, have dragons
and musical female angels on a yellow ground. The gallery
outside commands a charming view of the city through the pine-
tree tops, while to the north towards Hi-yei-zan the prospect is
extremely beautiful. At the south end there is another pretty view
of the densely wooded hills crowned with pine-trees. Two
flights of steps, one steep, the other rising gently, conduct us to
the great court, and to the front of the Hon-do. Beyond a tea-
shed on the right, on a small elevation among the trees stands
the bell-tower, completed in 1618, containing the great bell,
height l8'8 ft., diameter 9 ft., thickness 9^ in., weight 125,000
catties (nearly 14 tons), cast in 1633. The Hon-do, which faces
south, is 167 ft. in length by 138 in depth, and 94^ in from the
ground, thus being the largest building of the kind in Kyoto.
It is dedicated to En-ko Dai-shi, whose shrine stands on a stage
(called the Shumi-dan) at the back of the nai-jin, within a space
marked off by four tall gilded pillars. The gilded metal lotus
plants in bronze vases which stands before the front pillars reach
a height of 21 ft. from the floor, nearly half the height of the
building. The dimensions and the confinement of decoration to
this single part render this interior very effective. On the west
of the chief shrine is a second containing memorial tablets of
lyeyasu, his mother, and Hide-tada, while on. the opp'osite side
(east) are Amida in the centre and the memorial tablets of suc-
cessive abbots. The tablet over the architrave of the nai-jm was
designed by Go-Nara Tenno (1527-57). Under the eaves of the
front gallery is an umbrella, said to have flown thither from the
hands of a boy, whose shape had been assumed by the Shinto
god of Inari, guardian deity of this monastery. East of the Hon-do
is the Library, containing a complete copy of the Buddhist canon.
The Ho -jo or official apartments of the abbot, situated behind the
Hon-do, contain rooms decorated with paintings by artists of
the Kano school, chiefly of the l/th century; firstly, 2 rooms
containing cranes and pine-trees by Nawonobu ; then 2 rooms
decorated with pictures of Sen-nin by Nobumasa. In the alcove

KYOTO EXHIBITION. 71

of the principal room bangs a Chinese picture of Shaka, with
Mon-ju and Fugen at his side, and surrounded by the 500 Rakan,
by the Chinese artist Fa-neng (Ho-no Zen-ji), of the Sung period.
At the corner where the two suites of apartments touch, are a
pair of wooden doors with geese, by Kano Motonobu (1475-1559),
excellently done; a cat on the back is much admired by the
Japanese because it appears to front the spectator from what-
ever point of view he may observe it. Passing round to the left
we come to rooms painted chiefly by Nobumasa, landscapes with
figures, pine-trees, geese, bamboos, &c. The 3rd room contains
Rakan by the same. The principal rooms of this suite are by
Nawonobu. At the back of the first in returning we pass rooms
decorated by Nobumasa, containing the celebrated sparrow (nuke-
suzume) which flew through the screen after it was painted, and
the i-nawori no sagi, 'egret in the act of rising.' In the verandah
are a pair of wpoden doors painted with pine-trees, which are
said to have been so lifelike as to exude resin. Two other rooms
at the west end are by Sadanobu. The monastery is rich in curio-
sities, amongst which the most remarkable are ancient MSS, by
Ono no To-fu (b. 894, d. 964), a Buddhist sutra in gold on a dark
blue paper, with a Buddhist picture prefixed ; by K6-bo Dai-shi
(b. 774, d. 834), Sho-mu Tenno (724-49) and his Empress ; by Kan
Sho-jo (b. 845, d. 903), in gold on light purple paper ; by Sa-ga
Tenno, gold letters on dark blue paper, and one partly in
hira-gana, a very elegant hand, by Go-Fushimi Tenno (1299-
1302). These MSS. are only to be seen by making application
through the authorities of the city of Kyoto. The tomb of En-ko
Dai-shi is situated further up the hill, and is reached by ascend-
ing the steps east on the Hon-do.

Nan-zen-ji, at the base of the hills on the left hand side of the
suburb of Awata, belongs to the Rin-zai division of the Zen sect.
It originally belonged to Mi-i-dera at Otsu, but about 1280 the
ex-Mikado, Kameyama, appropriated for his it own residence, and
in 1289 converted it into a monastery of the Zen sect. The two-

72 KYOTO EXHIBITION.

storied gateway, facing west, 66 ft. by 32, was built in 1628 by
To-do Takatora, prince of Tsu in Ise, at the cost of a year's re-
venue. The famous robber Ishikawa G6-ye-mon is said to have
made his residence in the gatehouse which preceded the present
building. In the upper storey are Shaka and the 16 Rakan ; the
colours are in good preservation. The cornice and wall plate are
gorgeously decorated with coloured diapers and arabesques. On
the cross-beams are painted the fabulous kirin and ' flying dragon ;'
on the ceiling the phoenix and ten-nin on the wood, in subdued
colours on a pale yellow ground. The whole interior presents a
magnificent example of the style of decoration. In two small black
lacquered shrines are kept effigies of Takatora and of lye-yasu.
The hon-do was burnt during the civil wars of O-nin (1467-9),
and built by lye-yasu in 1606. Images of Shaka, Fu-gen, and Mon-
ju, flanked by two Diva Kings, are on a lofty platform, lacquered
with vermilion brought from Korea, as were also the two bronze
bowl-shaped gongs, as an inscription shows. East of the platform
are the original founder of the Zen sect (the Chinese Hui-k'o), a
Daruma, Rin-zai Zen-ji, originator of the subdivision of the Zen
sect called after his name, and Nan-nin Koku-shi, the ( second
founder/ or restorer in modern times. A path up on the hill
south conducts to the temporary hd-jo> containing an effigy of the
Mikado Kameyama, who is said to have become abbot of this
monastery after his abdication. This building, which dates from
1702, has a prettily arranged garden, in which stands a chapel
containing a portion of Kameyama's ashes. At the sub-monastery
called Kon-chi-In is the Tsurukame no Niwa, a celebrated garden,
called after two piles of rockwork in imitation of the crane and
tortoise : it was designed by Kobori Masakazu. Here are also
a chapel and oratory to the memory of lye-yasu. A fine gateway,
which formed the entrance, has been removed in order to be re-
erected at theToyokumi no Yashiro, now being built in honour
of Hideyoshi near the Dai-butsu.

Ei-kwan-dot belonging to the Jo-do sect, originally founded

KYOTO EXHIBITION. 73

about the middle of the gth century, was restored by the priest
Ei-kwan (b. 1032, d. mi). The garden is planted with fine
maples. In the Founder's Hall (Kai-san-do), once gorgeously de-
corated, but now much faded, is a celebrated statuette called mi-
kayeri no Amida} from its attitude with the head turned half
round to the left as if looking backwards ; the drapery is well
rendered, but the position somewhat stiff; height 2| ft. The
legend is that Ei-kwan, who used to spend his time in walking
round the image repeating the formula ( Namu Amida/ one
day heard his name called twice or thrice, and looking round,
perceived the image with its face turned in his direction, and so
it has remained fixed until this day. In the kiaku-den are
Amida, with Fu-gen and Mon-ju on the elephant and lion. In the
room behind the entrance hall are some sliding-screens painted
with bamboos on a gold ground, capitally executed, by a former
abbot, who painted under the name of Gioku-rin.

Kurodani) a monastery of the ordinary Jo-do sect, stands on
the spot where the Founder H6-nen Sho-nin built his humble
cabin on abandoning the Ten-dai school of Hi-yei-zan. It is
named after the 'black ravine' on that mountain, where he had
previously resided. The monastery at Kurodani was begun in the
end of the I3th century, and gradual additions were made until
it was completed in the beginning of the 151!). After being de-
stroyed by fire and rebuilt two or three successive times, the
whole establishment was re-erected in the beginning of the pre-
sent century.

The Hon-do, facing south, has good carvings of tennin over
the row of pillars which separate the nave from the chancel. At
the back of the latter stands a large and handsome gilt shrine,
about 100 years old, the side panels of which have small groups
of birds and animals in carved open-work, about 4 in. by 9,
particularly well executed. It contains the effigy of Ho-nen Sho-
nin, carved by himself in 1207, and first brought to this monastery

74 KYOTQ EXHIBITION.

in 1606 ; it is a sitting figure of wood, with the paint rubbed off
by frequent cleaning. Two long lacquered boards, with texts
containing the fundamental truths of the sect, hang on the pillars
right and left -of the altar. A handsome gilt baldaquin and
numerous handsome banners are suspended from the ceiling.
Near the south-east corner of the building is the pine-tree on
which Nawozane, coming hither to seek consolation from the
good monk Ho-nen, when tormented by remorse for having slain
the boy Atsumori, is said to have hung his armour. In the
reception rooms are a sitting image of Amida, gilt wood, modern ;
a portrait of lye-yasu, sitting on a bright green mat, under a
brilliant curtain and against a gold background, about 12 in. by
17; also contemporary effigies of some successors of Ho-nen
Sho-nin. Behind these rooms lies a charming garden, with the,
top of the Shin-nio-do pagoda appearing over the trees. The
monastery owns ten sliding-screens with landscapes by Tan-yu
in rather bad condition. The two-storied gatehouse, open to the
public on the i5th of March and October, has upstairs a Shaka,
Fu-gen, and Mon-ju, about 25 years old, with a set of the 16
Rakan, said to be about 300 years old, the work of an unknown
Hizen sculptor, but recently restored, The interior is devoid of
decoration. In the Kumagai Do is the effigy of Nawozane, carved
by himself at the age of 65, a life-like black statuette, about 2 ft.
high. On his left is the sitting figure of Atsumori in the robes
of a court noble, at the age of 16, also by Nawozane. To the
right is a portrait of Ho-nen, painted by Nawozane on the silk
coat (horo) in which he brought Atsumori's head from the field
of battle. At the top of the steps facing this little chapel are
two stone monuments about 200 years old (in the go-rin-to style),
which mark the graves of Nawozane and of the head of Atsu-
mori.1 Up the steps through the cemetery to the three-storied
pagoda dedicated to Mon-ju, who is represented with a sword
in his right hand a lotus in his left, and on a kara-shishi led by

1 That is to say, if tradition is to be believed. It is more probable, however,
that Atsumori's head was buried elsewhere.

KYOTO EXHIBITION. 75

Shudaisu Cho-ja (Su-datta). The lion is modern. The figure of
Mon-ju is attributed to Un-kei, but the length of the eye points
to the influence of an Indian model. Behind Shudatsu is Sha-
ri-hotsu (Sari-puttra), on the other side Yuima Koji (Vimalakirrti),
with a pointed beard and staff. Passing through the cemetery
we reach the Shin-nio-do, a temple of the Ten-dai sect. The
Hon-do t loo ft. by 96, has a large portico in front running the
whole length of the building. The ramma of the three central
spaces on the front are occupied by coloured carvings in relief.
The carvings of animals in the kayeru-mata of the porch are
attributed to Hidari Jin-go-ro, but as the structure dates from
the end of the iyth century this can scarcely be correct. The
image of Amida in the shrine on the shu-mi-dan is attributed to
Ji-gaku Dai-shi (b. 794, d, 864), the looo-handed Kwan-non to
Den-gio (b. 767, d. 822), and the Fu-do on the right by an un-
known sculptor, is said to have belonged to Abe no Sei-mei (b.
920, d. 1005). The panels are covered with a mass of coarsely
executed painted carving, and date from the end of the i6th or
beginning of the J7th century. On the wall behind is a large
group, 30 ft. by 12, of Shaka, Fu-gen (on hi's elephant), and
Mon-ju (on the lion), painted on a backgroudd of gilt paper.
An avenue of fine old maples leads down from the Hon-do to
the front gate.

Yoshida no Yashiro, one of the great Shin-to temples of
Japan, founded towards the end of the 9th century, has been
deprived of the two-storied gate-house which once formed the
entrance to the precinct. The chapel is octagonal, a form
seldom seen in Shin-to temples, and painted white and vermilion.
It is dedicated to the same gods as the temple of Kasuga at
Nara, but according to some, to the gods of the 3,132 temples
enumerated in the official catalogues of the chronological period
En-gi. Round the enclosure are rows of little cupboard-like
chapels delicated to numerous other deities. The chapels of the
' 8 gods worshipped in the Jtn-gi-kwanS which formerly stood

76 KYOTO EXHIBITION.

in the rear of the chief chapel, have been removed, as those
gods are now installed in the Mikado's palace. Two chapels
dedicated to the goddesses of the two temples in Ise still remain
in the rear; they are thatched with kaya grass in the primitive
style, and on the torii of the Sun-goddess' chapel is an inscription
written by Yoshimasa's wife, Tomi-ko.

Gin-kaku-ji. — In 1479 Ashikaga Yoshimasa, after his abdica-
tion of the Sho-gun's office, built himself a country house here,
the wall of which extended as far as the hill on which stands Shin-
nio-do. He is said to have had that temple removed because it stood
in his way, but afterwards repenting of the act, to have restored
it to its original site at his own expense. The two-storied
building, called Gin-kaku (Silver Pavilion), was a summer-house
in the garden of this principal reception hall. The garden was
designed by So-Ami. Of course none of the original trees are
now left, and the arrangement of the garden is all that remains.

In the upper storey of the Gin-kaku is an image of Kwan-non,

2 ft. high, by Un-kei. Yoshimasa left the palace to the monks of
Sho-koku-ji, with directions that it should be converted into a
monastery. A second building which formed part of the palace
is the T6-gu-do, which contains the oldest tea-room is Japan,
where Yoshimasa, his retainer So-Ami, and the monk Shu-ko
started the tea-drinking mania, which was subsequently elevated
almost to the rank of a fine art. The walls of this room are
covered with slight Indian ink sketches attributed to Kano
Motonobu, Kano Ei-no, So-Ami, and the modern painter Maru-
yama O-kio. In the front room are the effigy of Yoshimasa in
priest's robes, and his favourite image of Amida carved by E-shin
about 600 years ago. Amongst the treasures of Gin-kaku-ji are

3 kake-mono by Tan-yu (2 landscapes and a Daruma), one of
the wild red camellia by the Chinese Shiu Shi-ben (Chou
Chi-mien), and one by the Gen (Yuan) artist Shun-kio (Shun-
chii), a MS. on the art of drinking tea by So-Ami, a kake-

KYOTO EXHIBITION. 77

mono of Shaka expounding the Dai-han-nia-kio (Maha pragna
sutra) to the 16 'good spirits,' by Maruyama O-kio, on paper,
pictures of Mon-ju and Fu-gen attributed to Cho Den-su, and a
pair of screens with paintings of bamboos that were once the
property of Yoshimasa. The sliding screens in one of the rooms
have figures by Tai-ga-do, and a remarkable landscape with
willows blown about by the wind by Bu-son, a very original artist.
In the reception rooms (Kiaku-den) is an image of Shaka declar-
ing the Kegon-kio, by J6-cho, a Ji-zo about 9 in. in height attri-
buted to K6-bo Daishi (but very doubtful, although certainly old),
and Bindzuru (Pindola) holding a small shrine containing a relic
of the Buddha. In another room are sliding screens by Bu-son,
river scenes with willows, rather dashed in than drawn, and in a
third, screens with crows flying and perching among palms (Cha-
maerops excelsa), also by Bu-son, very truthful, but too black and
startling for such a small apartment.

Shu-gaku-In no Ri-kiii is a garden belonging to the Mikado at
the base of Hi-yei-zan, formed by the Mikado Go-Midzuno in the
I7th century. It originally consisted of three gardens, but the
middle one was converted by him into a nunnery for one of his
daughters, A small fee is charged for admission. The upper
garden, which is the finest, was formerly the site of a temple of
Fu-do, erected by a monk of Hi-yei-zan in the end of the loth
century. Go-Midzuno is said to have liked it for the view which
it commands of the palace in the city, which is seen very clearly
by the reflection of the slanting beams of the morning sun. The
pagoda of T6-ji is the most conspicuous object in the view over
the city, rising up in the gap between Otoko-yama and Ten-no-
zan. The fine cherry-trees and maples were planted by Ko-kaku
Ten-no, the grandfather of the present Mikado.

ShimO'Gamo. — The ancient Shin-to temple stands in a fine
grove of patriarchal maples, cryptomeria, and evergreen oak.
Particularly curious is a pair of tall sakakt (Cleyera japonica)

78 KYOTO EXHIBITION.

outside the colonnade, which are joined together by a branch that
has grown from one trunk into the other ; they are much visited
by women who desire to live in harmony with their husbands.
This temple, dedicated to Tamayori-hime under the name of Mi-
oya no kami, was founded in 977. It was one of the 22 chief
temples of the empire, and is still one of those which are main-
tained at the expense of the State. It is surrounded by a painted
colonnade, with a red two-storied gatehouse in the centre, opposite
to which is the kai-den> ashed 24 ft. by 18 ft. To the right are two
other sheds called the hoso-dono, for the musicians \vho play for
the performers of the Adsuma mai (dance) in honour of the gods,
and the hashi-dono built over a walled canal, used by the reader
of the norito or ritual. The canal is called Mi-tara-shi-gatva, and
is supposed to contain a stream of water which should bubble up
under a little chapel close to the outer wall. On the left of the Ora-
tory is the kagura stage, usually kept closed, and beyond is the
kitchen, where the offerings for the gods are prepared. A second
colonnade, constructed of unpainted wood, shuts off the public
from the chapels of the gods. At a little distance inside the gate-
way is a fence, behind which stands a second oratory, and then
come the two chapels, facing south, of unpainted wood, but with red
steps. Right and left of the interior oratory the trellised colonnade
is continued to the wall, of mud tiles and plaster, which forms the
back and part of the sides of the enclosure. West of the chapels,
and facing towards them, in the same enclosure, is a treasury built
of beams in the same style as that at Kitano Ten-jin already describ-
ed Outside the colonnade is suspended along picture of K6-mei
Tenno's procession to this temple in 1863, which was a great event
at the time, as it was a political demonstration of the possibility of
the Mikado coming forth from his palace to take part in worldly
matters. On the west, in another division of the great enclosure,
are a number of subordinate small chapels, surrounding a praying-
shed. The principal chapels used to be renewed every twenty
years, which accounts for their architecture being inexpensive and
unpretentious. The inner colonnade dates from 1708. Behind

KYOTO EXHIBITION. 79

the kitchen is a small chapel called Hiiragi no miya ; it is believed
that evergreens, of any species which resemble the hiiragi (Olea
aquifolia) in general appearance, but having no spines on the
leaves, will be converted into that species if planted before this
chapel, and shrubs supposed to be in process of transformation
are pointed out by the guides. The principal annual festival is
celebrated on April 15, when the double cherry-trees which adorn
the adjacent racecourse are in full bloom. Passing along this to
the South we reach the Kawai no Yashiro, or Temple of the
Meeting of the Streams, which stands close to the confluence of the
Kamogawa and Takanogawa. It is dedicated to the mother of
Wake Ikadzuchi no kami, and was founded earlier than the temples
of Kami and Shimo-Gamo, for which reason the procession at
the annual festival always used to call here before proceeding
to the other two temples. The enclosure is divided transversely
into two by a trellised colonnade. In the front part are a num-
ber of small subordinate chapels and the oratory, and in the
inner part are the two principal chapels.

ENVIRONS OF KYOTO.

liuashimidzu Hachi-man Gu, on the left bank of the Yodo-
gavva, close to the village of Yawata, opposite to the Yamazaki
station on the Osaka and Kyoto Railway.

This temple, also popularly called Otoko-yama, was founded
in the year 860 by a Buddhist monk, who gave out that the gods
of Usa Hachi-man in Buzen had revealed themselves, and pro-
mised, if a temple was built for them in its neighbourhood, to
extend their protection to the Mikado's palace. The temple
of Usa Hachi-man consists of three chapels, that on the right
being dedicated to Hachi-man, under which name is understood
the apotheosized Mikado, O-jin, in the centre the three daughters
of the Sword of Susano no mikoto, and left Jin -go K6-gu. The
centre chapel is the oldest foundation, and dates probably from

80 KYOTO EXHIBITION.

prehistoric times. That of Hachi-man is said to date from the
year 570, when, as the legend declares, a god appeared to
a young child, and announced himself as ( Hiro-hata Ya-hata
Maro, the i6th of the Human Rules/ in consequence of which
the reigning Mikado Kimmei caused a temple to be founded at
Usa in his ancestor's honour. The Chinese equivalent of Ya-hata
being Hachi-man, the latter became the most usual title of the
god, and as he came to be called Hachi-man Dai-bo-satsu after
the Buddhist priesthood had introduced the dogma that all the
gods of Shin-to religion were but later manifestations of Buddhist
deities, it has often been assumed that his worship originated
with the teachers of Buddhism, especially as the foundation
of the temple dates 18 years after the first recorded in-
troduction into Japan of Buddhist books and images. Besides,
no satisfactory explanation seems ever to have been given of
the Ya-hata, Eight Banners, nor of the manner in which it came
to be applied to the Mikado 6-jin Tenno. It is said that at
some remote period four white and four red banners fell from
heaven at Usa, which was thence called Ya-hata or Hachi-man. But
still we are unable to account for the worship of this Mikado
taking root at a place with which legend does not connect him,
and also for the popular notion which regards him as the God of
War* No warlike exploits were ever ascribed to him, and it
can scarcely be supposed that because his mother was pregnant
of him during her famous expedition against Korea, he was en-
titled to the credit of her achievements. The worship of Jin-go
Ko-gu was first joined to that O-jin Tenno in the year 820. At
Iwashimidzu the goddess Tama-yoshi hime, mother of Jimmu
Tenno, is substituted for the three original goddesses of Usa.

The temple stands on a hill some 300 ft. above the river, and
built in the Rio-bu Shin-to style, on a stone-faced platform 10 ft.
high. Boots and shoes have to be taken off at the bottom of the
steps. In former times pilgrims were allowed to walk round the
outer edge of the corridor which surrounds the building, so that

KYOTO EXHIBITION. Si

they were able to see the golden gutter between the eaves of the
oratory and chapel, which is still said to be in its place, in spite
of the great temptation to convert it into current coin. From
the east gate a few flights of steps descend to the well called Iwa-
shi-midzu, ' Pure rock water,' after which the temple is named.
The ornamental stone lanterns that stand on either side of the
stone fence number about 350.

Crossing the river by the Ishiba no Watashi (ferry), the
visitor should ascend the hill Tenno-zan to the pagoda of Takara-
dera, 200 ft. above the bank. Here are buried some of the Cho-
shiu men who performed hara-kiri on the top of the hill above,
after the repulse of the attack made on the Mikado's palace by the
warriors of that clan in 1864; 300 ft. higher is a gigantic stone
torii) and a little further, on the slope where they killed them-
selves rather than surrender to be treated as common criminals,
stands the monument raised to their memory by the prince of
Cho-shiu. This hill and the narrow pass between it and the
river, occupied by the village of Yamazaki, are famous in Japanese
history as the battle-field where Hideyoshi routed the forces of
the traitor Akechi Mitsuhide 5u 1582, and thus avenged the assas-
sination of his patron Nobunaga. It was by seizing this hill at an
early period of the fight that the battle was won. Yamazaki and
the villages of Yawata and Hashimoto opposite were also the
scenes of hard fighting in the beginning of 1868, when the Toku-
gawa troops were being driven backwards upon their base by
the victorious samurai of Satsuma and Cho-shiu. On this oc-
casion the treachery of the To-do men, who were posted at Yama-
zaki, converted the retreat of the former into a disorderly rout.

TO UJI BY WAY OF FUJI-NO-MORI AND 6-BAKU-SAN.

Travellers to Nara will find it worth their while to make
this round, instead of going by the direct route from Fushimi,
and they should engage kuruma for the whole way, \\ yen
each man. The route is by the Fushima Kai-do, past the

82 KYOTO EXHIBITION.

Dai-hutsu, San-jiu-san-gen-Do, Sen-yu-yi and the temple of
Inari. The temple of Fuji-no-Mori is dedicated to Toneri Shin-
no (b. 676, d. 735), chifly remembered as having presided over
the commission to which the compilation of the first official
history, entitled Ni-hon-gi, Annals of Japan, was entrusted. It
was founded in 767 at Fuji-no, and removed to its present site
in 1438. With him are worshipped two other Princes, Sora no
Shinnio and lyo no Shinnio, the former the eldest son of Kwam-
mu Tenno, who having been condemned to exile in 785 for the
murder of his enemy the Prime Minister, starved himself to death
on the way to his place of banishment ; the latter, another
son of the same Mikado, who being falsely accused of treason,
was thrown into prison and there poisoned himself. The
chapel is a separate building, surrounded by a closed colon-
nade, with a hai-ya, or praying-shed in the front of its centre.
Opposite is the oratory (hal-den), a separate building, used only
on special occasions. On one side of the court are a kagura
stage and an ex-voto shed. Enst of the chapel enclosure, on
a small raised platform, rises a tall overgreen oak, said to have
been planted by Jin-go K6-gu on her return from subjugation
Korea. It is called her flag-pole, and underneath is believed to
be buried the armour worn by her during the expedition. The
road now ascends slightly through the tea-plantations at the back
of Fushimi, and descends again into the valley of the Uji-kawa,
and passing the villages of Roku Ji-zo and Kohata, arrives at the
front gate of Oba-ku-san.

This monastery, more strictly called Manpuku-ji, was found-
ed in 1659 by the Chinese priest In-gen (Yin-yuan), a native of
Fuelling, in the province of Fuh-kien, who emigrated to Japan
in 1654. The site had previously been owned by the Konoye
family, from whom it was taken by the Sho-gun lyesasu, in order
to transfer it to In-gen. The buildings were commenced in 1661
and completed in 1668, on the plan of a great temple of the
Zen sect in China. In-gen died in 1673.

KYOTO EXHIBITION. 83

On entering the grounds, the first building on the left is the
Sho-in-Do, where In-gen lived and died. Here is kept a group
consisting of Kwan-non, with Bi-sha-mon and I-da Ten on his
right and left, brought over by In-gen, besides original Chinese
pictures of Rakan and other religious subjects, of no great merit,
At right angles to it is the Kai-san-Do (Hall of the Founder), de-
dicated to his memory, and containing his effigy, besides port-
raits of all the abbots up to the present time, including In-gen.
Most of this successors up to the 2ist, excepting two, were Chin-
nese. The priests still wear Chinese shoes, and a peculiar kind
of cap, resembling the French ' beret.' On the roof are three
remarkable bronzes, a shachi-hoko, or dolphin, at each end, and the
model of a pagoda in the centre. Close by is the tomb of In-gen.
Passing through the red wooden 2-storied Sammon, and up a
courtyard planted with pines, we come to the Ten-no-Do, which
contains a stout figure, from the chisel of a Chinese sculptor, of
the priest Ho-tei, \\ho is here worshipped as Mi-roku Bo-satsu.
Behind is an image of I-da Ten, a handsome youth leaning on a
sceptre, and at the two ends of the building stand the Four Deva
Kings, much sturdier figures than usual, without the demons upon
which they are ordinally represented as trampling. The pillars are
of Chinese Limber, called tetsu-ri-boku, 'iron pear-wood/ by the
Japanese. On the right hand side of the next court is a chapel
containing numerous images of Kwan-non in different forms, as
the Thousand-handed and Eleven-faced, &c., besides tablets bear-
ing the names of monks who completed their studies here,
The next is the Ga-ran-do, dedicated to Ke-ko Bo-satsu. On the
opposite side of the court is the So-ki-Do, or ' Hall of the
Founder ' (i.e. of the Sect), dedicated to Daruma Dai-shi. The
Hon-do, which stands at the further end of the court, is also
called Dai-o Ho-do, l Precious Hall of the Great Man,' one of the
epithets of Shaka, to whom the building is dedicated. The large
gilt wooden figure, sitting not on a lotus flower, but on a double
throne, the backing decorated with good open-work carvings,
is flanked by statues of Anan and Ka-sho, rather above life-size,

84 KYOTO EXHIBITION.

At the two ends of the building are the Sixteen Rakan. The
massive pillars, some 40 in number, are of the Chinese timber
just mentioned. Behind the Hon-do, on the opposite side of a
square court, is the Hatto, where the most important religious
ceremonies are performed, and religious instruction is given
to the neophytes. It is dedicated to Kwan-non, whose image
sits on a four-fold throne, highly carved and gilt. This mon-
astery possesses a complete set of wooden blocks for printing
the Chinese version of the Buddhist canon.

Uji is on the Uji-kawa, which rises in Lake Bivva. This
place is surrounded by tea plantations, and is celebrated for pro-
ducing the best quality of tea in Japan. The tea begins to come
to market about May 10, but the preparation of the leaf can be
seen going on busily in the peasants' houses for some time later.
The finest kinds, such as Sabo Mukashi and Gioku-ro, are sold
at very high, prices, as much as from 5 to 7^ yen a pound.

Close to Uji is the ancient Buddhist temple of Bio-do-ln,
belonging to the Mi-i-dera branch of the Ten-dai sect.

This place was originally the country house of a celebrated
noble poet, Kawara no Sadai-jin, but subsequently passed into
the possession of the Imperial family. Later on it became the
property of Mi-do no Kwam-baku, whose son converted it into
a monastery in 1052. Here Gen-sam-mi Yorimasa committed
suicide in 1180, after the battle of the Uji Bridge, where, with
300 men, he resisted the 20,000 troops of the Hei-ke in order to
afford time for Prince Mochi-hito to make his escape. After
prodigies of valour had been performed by this little band, most
of whom fell in the defence of the bridge, Yorimasa retired to
Bio-do-in, and while his remaining followers kept the enemy at
bay, calmly ran himself through with his sword in the manner
of an ancient Japanese hero. His age was 75 years. Yorimasa is
famous in Japanese romance for having with the aid of his trusty

KYOTO EXHIBITION. 85

squire I no Hayata, slain the monster called saru-tora-hebi which
tormented the Emperor Ni-jo no In. A stone monument has been
recently erected to mark the spot where he ripped himself up.

Immediately within the main entrance is a chapel, contain-
ing a large Eleven-faced Kwan-non, ascribed to Kasuga Bushi,
with Bi-sha-mon and Ta-mon-Ten by H6-kio Toku-6. To the
right of the shrine is a figure of Ji-zo by the sculptor Tan-kei.
The Hon-do is one of the oldest wooden structures in Japan,
after the temples of H6-riu-ji in Yamato, dating as it does from
1052. It is called the H5-6-D6, f Phcenix Hall,' on account of its
shape, which is intended to represent that fabulous bird, the two-
storied central part being the body, the colonnades right and left
the wings, and the corridor behind forming the tail. The ceiling
is divided into small coffers, inlaid with mother-of-pearl. Round
the top of the walls runs a sort of frieze representing the Twenty-
five Bodhisattvas and various female personages. The doors,
and the walls right and left and back of the altar are covered with
partly obliterated ancient Buddhist paintings by Tame-nari, of
the Nine Regions of Sukhavati (Kubon Jo-do), the Pure Land in
the West, where the saints are located according to their degree
of merit. The wood was first covered with cloth, then lacquered
black, after which a thin coating of tonoko was spread over to
form a surface for the application of the colours. The altar or
stage was originally covered with nashi-ji gold lacquer, inlaid
with mother-of-pearl. The bronze plates, with hammered designs
of the Lion and Tree-peony, date only from about 1680. The
sitting figure of Amida is the work of J6-cho. On the roof are
two phoenixes in bronze, 3 ft. high, which serve as weathercocks.

At a slight elevation beyond hangs an ancient bronze bell
with reliefs on the exterior representing lions and Apsaras. It
is celebrated for its beautiful shape and tone, and for the in-
scription. Amongst the treasures of the monastery are portraits
of the Mikado Takakure no In and of Yorimasa, evidently not

86 KYOTO EXHIBITION.

contemporary, and a Ji-zo by Jo-cho, a small black image
sitting on a lotus, with Sho-zen do-ji and Sho-aku do-ji right
and left, also a large image of Tai-shaku, the Sho-Kwan-non
by E-shin, two old pictures (kake-mono) representing the life and
adventures of Yorimasa, the bow with which he is said to have
slain the monster above-mentioned, some old MSS. (one at-
tributed to Ko-bo Dai-shi, and another to the originator of the
On-ye-riu calligraphy), and Kvvan-non in a boat, with the efflgy
of the artist at his side, regarded as a patron deity of sailors.

a

The walk up the stream to the temple of Ko-sho-ji (ferry),
returning over the Uji Bridge, is extremely pretty. To return
to Kyoto, the most agreeable way is to take boat, and drop
down to the Kio-Bashi at Fushimi in about an hour, and from
there in kuruma.

HI-YEN-ZAN.

(The ascent and descent take about 6 hrs., and ponies can
be ridden up by the Shim-michi.)

One of the finest views in Japan is enjoyed from the top
of this mountain, which rises N.E. of the city upon the boundary
between Yamashiro and Omi. Its original name was Hiye no
yama, perhaps meaning 'Cold Mountain,' and the temple Hiye
at Sakamoto at the East foot of the mountain, popularly known
as San no sama; is called after it.

The ascent is best made by way of Shirakawa, noted for its
granite quarries, and up the Yamanaka-goye for a short distance
to a neat granite bridge, where the path turns off to the left.
After climbing about 1,800 ft. we suddenly come in sight of the
southern end of the lake. The path now continues along the
breast of the mountain in a northerly direction, winding in and
out, through a wood, round a projecting point, and then descends
some .way to the Chiu-do, a large red building roofed with copper,
in which is enshrined an image of the god Yaku-shi, attributed

KYOTO EXHIBITION. 87

to Deii-gio Dai-shi. It has a covered colonnade at the sides and
in front. The Kio-do, a similar large building having no colonnade,
is dedicated to Dai-nichi Nio-rai. Passing below the Hokke-
kio no Tsuka, the path ascends to the grassy top of Shi-mei
gatake, the highest point of all, about 2,700 ft. above the sea.
This place commands a magnificent panorama of the valley of
Kyoto, and also of Lake Biwa and its shores, up to the N.
end, but towards the N. the view is cut off by Mount Hira. It
is advisable to make arrangements for lunching here, in order
to enjoy the prospect at leisure. To descend, there are three
other paths, known as Kirara-zaka, Sai-to-zaka, and Yokawa.
Sai-to-zaka is a bad path, frequently ascending and descending,
until it makes a final plunge downwards over loose, sharp stones to
Takano, whence there is a good broad road through Yama-bana
along the bank of the Takano-gawa to its junction with the Kamo-
gawa. Kirara-zaka descends to the Summer Palace of Shu-
gaku-In.

The temples of Hi-yei-zan all belong to a single monastery,
called En-riaku-ji, from the fact of its having been constituted
during the chronological period of En-riaku, which corresponds to
the reign of Kwammu Tenno, the founder of Kyoto (782-806).
Den-gio Daishi, who introduced the doctrines of the Ten-dai
sect into Japan, was the first abbot. From its walls went forth
the founders of numerous other sects, such as Ho-nen Sho-nin,
who established the Jo-do shiu, Shin-ran Sho-nin, to whom the
powerful sect of the Shin-shiu is indebted for its origin, and
Nichi-ren, the founder of the Hokke shiu, the rival of the latter
in popularity. At once time the seminaries inhabited by its
monks numbered 3,000. During the middle ages, like other
religious establishments, En-riaku-ji became an important political
factor and partisan, until Nobunaga, in order to revenge himself
upon the monks for Echi-zen, attacked the place and committed
it to the flames. The monks were dispersed'far and wide, until
the coming to power of the Tokugawa Sho-guns, who re-

88 KYOTO EXHIBITION.

established the monastery, but on a much smaller scale than
before, the seminaries founded by them numbering only 125.
They bestowed on it lands to the value of 5,000 koku.

KAMI-GAMO AND KURAMA YAMA.

The Shin-to temple of Kami-Gamo stands on the left bank
of the Kamo-gawa, in grassy grounds well planted with conifers
and flowering cherry-trees, which form a small park. A broad
pathway with a torii at each end leads past a racecourse into
the sandy area in front of the temple. Right and left are
stages for kagura dances and for the orchestra. A little stream,
the Mi-tarashi-gawa, which flows through the grounds, is crossed
by a sacred stone bridge. This brings us to a two-storied gate-
house in the colonnade, constructed of red-painted wood and
white plaster, with green gratings, which encloses the front of
the temple. From this entrance a broad flight of steps leads up
to another colonnade, through the door of which part of a chapel
can just be perceived, adorned with painted and sculptured Ama inu.

This temple is usually said to have been founded in 677 by
Temmu Tenno in honour of Wake ika-dzuchi no Kami, but there
seems to be some uncertainty attaching to its early history.
Some say that the two temples are merely a repetition of the
temple of Kano in Yamato, and that the name of the god to
which they are commonly ascribed is taken by a misunderstand-
ing from that of the hill at the foot of which Kami-gamo stands,
namely Wake-dzuchi yama. According to the legend, as Tama-
yori Hime, daughter of Kano Take-tsumi no Mikoto, was walking
by the side of the stream, a red arrow winged with a duck's
feather came floating toward her, which she picked up and carried
home. Shortly afterwards she was discovered to be pregnant
and she eventually gave birth to a male infant. It was un-
known who its fatjier was, and as her parents disbelieved her
declaration that she had never known a man, they determined
as soon as the child could understand what was said to it, to

KYOTO EXHIBITION. 89

arrive at the secret by resorting to a kind of ordeal. Inviting
all the villagers to a feast, they gave the child a wine-cup, telling
him to offer it to his father, but instead of taking it to one of the
company, he ran out of the house and placed it in front of
the arrow which Tama-yori Hime had thrust into the roof. Then
transforming himself into a thunderbolt, he ascended to heaven,
followed by his mother. This is undoubtedly a myth invented
to explain the application of the name Kamo, Duck, to these
temples, and the less poetical explanation of their origin is the
true one.

Hence to Kurama yama is a walk of 2 ri through the hills.
From the great gateway below there is a steep ascent to Bi-sha-
mon Do, about 1,200 ft. above the sea, and 10 cho further over a
hill is a Shin-to chapel built at the spot where Yoshitsune as
a boy used to visit a friendly monk in order to obtain instruction
in the theory of war.

After the death of Yoshimoto in the civil war of 1159, his
beautiful mistress was forced to yield to the desires of Kiyomori,
and the lives of her three children were spared on the condition
that they became monks. Yoshitsune, the youngest, better
known during his boyhood as Ushiwaka (Young Bull), was
placed as a pupil in the monastery of Kuruma yama. His
natural disposition inclined him far more to the calling of a
warrior than to the study of Buddhist theology, and he spent
his time in archery, fencing, athletic exercises, and other con-
genial amusements, to the great distraction of the priests in
whose charge he had been placed. On his attaining the age of
16 they urged him to become a monk, and to spend the rest of his
day in praying for the soul of his father, but Ushiwaka replied
that his ignorance of priestly lore would be a bar to his rising to
the church, and as he did not choose to sink into the position of a
begging monk, he preferred to remain a layman. Shortly after-
wards he disappeared from the monastery, and fled into O-shu
in company with his friend, the gold-merchant Kichiji.

90 KYOTO EXHIBITION.

The name Kurama is said to be derived from an incident in
the life of Temmu Tenno, who in 683, in order to escape from
Prince Otomo, fled hither on a ' saddled horse,' which he left
tied up at this spot.

The temple was founded in 797 by a certain T6-no-Isen-do,
who being a devout Buddhist, had long being possessed by an
earnest desire to build a chapel in honour of Kwan-nou. One
night he dreamt that he was on a mountain on the north of the city,
where he met on the road a god in the shape of an old man, who
told him that this was the fittest place for his purpose, because
its summit resembled a three-pronged vagra, and was constantly
surrounded by a cloud of many colours. On waking from his
dream, he found himself unable to remember the exact position
of the site recommended to him by the god, but recalling how
Matanga and Dharma had brought the relics of Buddha and
some Buddhist books to China by the aid of a white horse, he
saddled a similar animal of his own, which had been kept for
some days without food, and sent it forth under the guidance
of a boy. The horse made its way into the mountains, and
finally came to a halt at a spot overgrown with grass, and Ise-do
having been guided there by the boy, recognised the place he
had seen in his dream, and found an image of Bi-sha-mon, for
which he erected a chapel. Still he was troubled at not at-
taining his desire of founding a temple to Kwan-non, but having
been informed in a dream that the two deities were in reality
identical, he built a chapel in honour of the Thousand-handed
Kwan-non. In former times the tradesmen of Kyoto used to
flock in crowds to the temple of Bi-sha-mon on the first 'day
of the tiger' in the first moon, to pray for a blessing on their
transactions.

Instead of returning by the same way, a pleasant route may
be taken over the hills to Shidzu-hara and Ohara, thence to Yase
i J ri. Here the women wear trowsers like the men, and carry

KYOTO EXHIBITION. 91

burdens on their beads, supported on a thick cushion. From
Yase to the San -jo Bridge is 2\ ri.

ATAGO YAMA.

Alago yama, to the N.W. of the city, is conspicuous peak
in the range on that side of the plain, about 2,900 ft. above the
sea. The route passes by Udzumasa and turns to the right at
Katabira no Tsuji.

There is a tradition that the corpse of Danrin Ko-go (some
say Ono no Komachi) was carried out of the city and exposed to
natural decay, instead of receiving the ordinary rites of sepul-
ture, in accordance with her dying instructions, and that in
passing the spot the funeral clothes (Kataoira) fell off, whence
the name. The empress is celebrated for her piety and good
works. She was the mother of two Mikado, Junna Tenno
and Nimmio Tenno. After the death of the latter, her grief
was so intense that she resolved to retire from the world,
and accordingly became a nun, but died almost immediately
afterwards, at the age of 94.

At Kami Saga is the monastery of Sei-rio-ji. A short dis-
tance further is a red torii at the bottom of a hill called
Kokoro-mi zaka, which might be rendered ' Test Hill,' as it puts
the pilgrim's endurance to a first trial before he reaches the
more arduous ascent to the summit of the mountain. Descend-
ing to the village of Kiyotaki, 17 cho, we cross the stream
which lower down unites with the Oi-gawa to form the Katsura-
gawa, and then begin to climb a very steep path to the Mina-
kuchi-ya. On the way up are two resting-places which command
a fine view of the plain. The last half of the ascent is much less
steep, and the distance from the last tea-house to the summit is
but 5 cho. On the right a glimpse is caught of the Oi-gawa and
the town of Kame-oka in the plain of Tamba. The ordinary

92 KYOTQ EXHIBITION.

time required from Kiyotaki is if hours. There is a fine bronze
torii with a boar in relief at the top of the ascent. Several
flights of stone steps lead up to the front chapel, dedicated to
Izanami no mikoto and her child the God of Fire, variously known
as Kagutsuchi no Kami and Homusubi no mikoto. The most
common ex-voto is a picture of a wild boar. At the back is a
second chapel dedicated to Toyo-ukehime (the Goddess of Food),
and two other gods.

As in many other cases, the foundation of this temple in
honour of the fire-god is enveloped in obscurity, and it probably
dates from the prehistoric period, but in 781 the Buddhist monk
Kei-shun dedicated here a chapel to Ji-zo, on whom he conferred
the epithet of Sho-gun or general, to suit the warlike tastes of the
Japanese people. From this period the temple fell under the in-
fluence of Rio-bu Shintoism, from which it has only recently been
freed. Charms are sold by the priests as a protection against fire.

THE RAPIDS OF THE KATSURA-GAWA.

This delightful expedition is much to be recommended,
and it will occupy, including stoppages, from 6 to 7 hours,
The distance from San-jo Bridge to Yamamoto, where boats are
engaged for the descent of the rapids, is 5 ri 16 cho ; but the
road, though practicable for kuruma with two men, is in places
very hilly and rough, and after rain extremely muddy. It is a
good plan to engage kuruma to go the whole round, as they
can seldom be got at the landing place at Arashi-yama, the point
to which the descent of the river is made. There is no extra
charge for taking them in the boat. Fare for kuruma for the
whole trip, including the return from Arashi-yama to the hotel
it Maru-yama, i^ yen. The charge for a large boat to descend
the rapids is 3 yen, but it is advisable to reach Yamamoto before
noon, as the boatmen make a double charge after that hour, on
the ground of their not being able to re-ascend the river the same
day. Visitors from Kobe or Ozaka should get out at Muko-machi,

KYOTO EXHIBITION. 93

the station before reaching Kioto, and join the road at Katagi-
wara, thereby saving in distance 2 ri g cho> and the additional
journey by rail. At Muko-machi kuruma (i yen for the whole
trip) can be engaged ; the distance to the junction of the roads at
Katagiwara is 18 cho,

After crossing the Katsura-gawa, \ hour from San-jo Bridge,
the road begins to rise gradually, and readies Katagiwara in 20
min. (2 ri} 27 cho), where the road from Muko-machi falls in on the
left. At the further end of this village the road ascends a steep
hill called the Tane-ya-zaka, up which it is necessary to walk.
The way is then over undulating country for 25 cho to Kutsukake,
whence it crosses a second hill called Oi no Saka to (ij ri) Oji.
The road over this hill was in 1875 rendered practicable for
-fcurumd) on which, as well as on horses, a small toll is levied on
crossing. It is still, however, in places so steep that it is often
necessary to walk, and a new road, which will avoid the hill com-
pletely, is now being constructed. It diverges to the right just
beyond Kutsukake, and joins the old road near the hamlet of
Toge mura at the foot of the descent on the other side. From
Oji the way is level to Hiro-machi (10 cho). Here a narrow path
branches off right across the fields to the river at Yamamoto
(8 cho). The Katsura-gawa is here called the Kazu-gawa,
and at this point the rapids almost immediately commence.
The bed of the river is very rocky, but the stream at its
ordinary height is not very swift. The scenery is extremely
pretty. The river at once enters the hills which soon rise pre-
cipitously on either hand, and continues its course between
them for about 15 miles along the foot of Arashiyama. Of the
numerous small rapids and races, the following are the most ex-
citing : — Koya-no-taki (' Hut Rapid '), a long race termining in a
pretty rapid, the passage being narrow between artificially con-
structed embankments of rock; Takase ('High Rapid'), Shi-shi
no Kuchi ('The Lion's Mouth '), and Tonase-daki, the last on the
descent where the river rushes between numerous rocks and

94 KYOTO EXHIBITION.

islets. One ri before reaching Arashi-yama the Kiyotaki-gavva
falls in on the right. The descent takes on an average about 2
hours, but varies slightly according to the amount of water. From
the landing place to Maru-yama is a journey of I hour by kuruma"

We have hitherto been speaking of Kyoto only, but it must
be noted that the projectors of the Exhibition have determined to
embrace in its sphere the celebrated regions of Nagoya, Yamada,
Gifu, and Shiga in the east, and Hiroshima, Kompira, Kobe,
Osaka, and Nara in the west. To describe the attractions of these
various places would extend this volume to unreasonable limits.
Nor is the task at all necessary, for the tourist pr the student will
find all necessary information in the latest edition of Murray's
admirable "Hand-book for Japan.'* We may mention, however,
that at all these places special arrangements will be made in con-
nection with the Exhibition. At Nara the unique specimens of
ancient Japanese art preserved in the various temples will be
collected so as to facilitate inspection, and the Imperial collection
in the Shoso-in — a collection dating from the 8th century and ab-
solutely without peer in the East — will be visible on special
application. At Nagoya, not only will the castle be thrown open,
but in addition to its attractions as a splendid example of Japanese
military architecture, there will be displayed in the rooms a
number of celebrated swords and suits of armour, lent by the
representatives of the old feudal nobility. At Yamada, in Ise,
where stand the well known Shinto Shrines, it has been arranged
that the lovely scenery and religious interest of the place shall be
supplemented by a display of at least part of the paraphernalia
employed in 1889, when the great ceremony of removing the
principal shrine, after the periodical reconstruction, was performed.
Within easy reach of Yamada by rail is Gifu, now a centre of
artistic manufactures, and from time immemorial the head-quarters
of that most curious and interesting pursuit " ugai" (fishing with
cormorants). At the renowned temples in the vicinity of Otsu
the heirlooms will be displayed, and steamers will carry visitors

KYOTO EXHIBITION. 95

•to the "eight scenic gems " of the district. Osaka, the business
centre of Japan, will have a museum stocked with samples
interesting to students of Japanese industrial and commercial
progress. In Kobe the Nunobiki waterfall will be the nucleus of
a scenic display to celebrate the 56oth anniversary of the death
of the celebrated warrior Kusunoki Masashige. As for Hiro-
shima, the fact that it has served the Head-Quarters of the Japanese
Armies during the present war will be sufficient attraction, even
were it not within easy reach of Miyajima, one of the loveliest
spots in Japan. There also certain ceremonials and national
dances will be organized, and the public will have access to a
museum stocked with rare objects of art,

INDUSTRIAL KYOTO.

Kyoto, however, does not seek to introduce itself to public
notice merely for the sake of its historical and religious monu-
ments. It aims at securing recognition as a seat of industrial
enterprise. Brief reference must therefore be. made here to the
chief industries for which it is already noted or promises to become
noted.

KERAMICS.

First among these industries must be placed keramics. The
history of Kyoto keramics is the history of individual artists
rather than of special manufactures. Speaking broadly, however,
four different varieties of ware are usually distinguished. They
are Raku-yaki} Awata-yaki, Iwakura-yaki, and Kiyomizu-yaki.
Raku-yakiis essentially the domestic faience of Japan ; for, being
entirely hand-made and fired at a low temperature, its manufac-
ture offers few difficulties, and has consequently been carried on by
amateurs in their own homes at various places thoughout the coun-
try. The Raku-yaki of Kyoto is the parent of all the rest. It was
first produced by a Korean who emigrated to Japan in the early part
of the sixteenth century. But the term Raku-yaki did not come

96 KYOTO EXHIBITION.

into use until the close of the century when Chojiro (artistic name,
Choryu) received from Hideyoshi (the Taiko) a seal bearing the
ideograph raku,\v\(\\ which he thenceforth stamped his productions.
Thirteen generations of the same family carried on the work,
each using a stamp with the same ideograph, its caligraphy, how-
ever, differing sufficiently to be identified by connoisseurs. The
faience is thick and clumsy, having soft, brittle, and very light
pate. The staple type has black glaze showing little lustre, and
in choice varieties this is curiously speckled and pitted with red.
Salmon-coloured, red, yellow, and white glazes are also found,
and in late specimens gilding was added. The Raku faience
owed much of its popularity to the patronage of the " tea clubs/'
The nature of its paste and glaze adapted it for the infusion of
powdered tea, and its homely character suited the austere canons
of the " tea ceremonies." Awata-yaki is the best-known among
the keramic productions of Kyoto. There is evidence to show
that the art of decoration with enamels over the glaze reached
Kyoto from Hizen in the middle of the seventeenth century.
Just at that time there flourished in the Western capital a potter
of remarkable ability, called Nomura Seisuke. He immediately
utilised the new method, and produced many beautiful examples of
jewelled faience, having close, hard pdtet yellowish white or
brownish white glaze covered with a network of fine crackle, and
sparse decoration in pure full-bodied colours — red, green, gold,
and silver. He worked chiefly at Awata, and thus brought
that factory into prominence. Nomura Seisuke, or Ninsei, as
he is commonly called, was one of Japan's greatest keramists.
Genuine examples of his faience have always been highly
prized, and numerous imitations were subsequently produced,
all stamped with the ideographs Ninsei. After Ninsei's time
the most renowned keramists of the Awata factories were
Kenzan (1688-1740) ; Ebisei, a comtemporary of Kenzan ;
Dohachi (1751-1763), who subsequently moved to Kiyomizu-
/,aka, another part of Kyoto, the faience of which constitutes
the Kiyomizu-yaki mentioned above; Kinkozan (1775-1860);

KYOTO EXHIBITION. 97

Hozan (1690-1721) ; Taizan (1760-1800); Bizan (1810-1838); and
Tanzan who is now living. It must he noted that several of these
names, as Kenzan, Dohachi, Kinkozan, Hozan and Taizan, were
not limited to one artist. They are family names, and though
the dates we have given indicate the eras of the most noted
keramists in each family, amateurs must not draw any chronolo-
gical conclusion from the mere fact that a specimen bears such
and such a name. The origin of the Iwakura-yaki is somewhat
obscure, and its history, at an early date, becomes confused with
that of the A-wata-yaki, from which, indeed, it does not materially
differ. To separate the two and describe their slight distinctions,
would carry us beyond the limits of the space at our disposal.
In the term Kiyomizu-yaki may be included roughly all the faience
of Kyto, witfi the exception of the three varieties described
above. The distinction between Kiyomizu, Awata, and Iwakura
is primarily local. They are parts of the same city, and if their
names have been used to designate particular classes of pottery,
it is not because the technical or decorative features of each class
distinguish it from the other two, but chiefly for the purpose of
identifying the place of production. On the slopes called
Kiyomizu-zaka and Gojo-zaka lived a number of keramists, all
following virtually the same models with variations due to in-
dividual genius. The principal Kiyomizu artists were : — Ebisei,
who moved from Awata to Gojo-zaka in 1688 ; Eisen and Rokubei,
pnpils of Ebisei ; Mokubei, also a pupil of Eisen, but more cele-
brated than his master ; Shuhei (1790-1810); Kentei (1782-1820),
and Zengoro Hozen, generally known as Eiraku (1790-1850).
Eisen was the first to manufacture porcelain (as distinguished
from faience) in Kyoto, and this branch of the art was carried to
a high standard of excellent by Eiraku, whose speciality was a
rich coral-red glaze with finely executed decoration in gold.
The latter keramist also excelled in the production of purple,
green, and yellow glazes, which he combined with admirable
skill and taste. Some choice ware of tbe latter type was manu-
factured by him in Kishu, by order of the feudal chief of that

gS . KYOTO EXHIBITION.

province. It is known as Kairaku-yen-yaki) or " ware of the
Kairaku Park."

SEIFU.

Undoubtedly the first place among the modern potters of
Kyoto belongs to Seifu Yohei. There is scarcely any variety o*
porcelain or faience that this master cannot produce with skill at
least equal to that of any of his predecessors. Many of the chefs-
d} csuvre of the celebrated Chinese epochs have, it is true, never
been attempted by him, but in -many others he has achieved
marked success. Thus his blues sous converte, his celadons,
monochromatic or with lace decoration, his yellows with reserved
designs in blue, his coral-red monochromes, his ivory white and
his jewelled wares, all belong to the very highest category of
keramic skill. Possibly the most remarkable among them is
Ivory White. He had been working at this for many years before
he developed the beautiful ware of which doubtless some grand
specimens will be shown at the approaching Exhibition. Seifu is
his own designer. He works on a comparatively small scale.

KlNKOZAN.

Kinkozan Sobei has the most important keramic factory in
Kyoto. His wares belong to the florid and highly decorative
school; they are in fact modernized representatives of the well
known Awata-yaki, Kikozan employs 1,000 workmen and has
three special kilns of his own, unlike most of the other Kyoto
keramists who burn their ware in one kiln common to all. There
have been eight generations of his family since they became
eminent potters, but the present Kinkozan-yaki differs from that
formerly produced in several respects. It has suffered from a
malady common to all Japanese art manufactures, namely, con-
tact with foreign markets. The old ware had an exquisitely soft
buff colour consorting admirably with its sober, but rich, deco-
ration, and regularity of crackle as well as fineness of pdte were
among its chief attractions. But the foreigner who buys to

KYOTO EXHIBITION. 99

furnish his house rather than to adorn it, thinks pure white
preferable to what he ignorantly calls "dirty yellow," and cares
little about crackle and less about pate. This is not written of
the foreign connoisseur, but only of the every-day buyer to whose
taste, unfortunately, the Japanese artist finds it most lucrative
to adapt himself. Kinkozan soon learned by experience that
the more brilliant he could make his wares, the better their
chance of selling abroad, and for a time he sacrificed refinement
to ornamentation. But he has gradually returned to truer canons,
and now the designs made by himself, as well as by his artists
Nagai (Seiko) and Hashimoto (Seikei) worthily represent Japan-
ese taste. Visitors to his store — a spacious place standing in a
tasteful garden — may regale their eyes by examining books full of
beautiful decorative designs, the product of the three men's fancy,
and will not attach less value to these happy fancies because the
emoluments of the Japanese Keramic artist are, in Occidental
eyes, a wretched pittance of some £40 per annum.

TANZAN.

Tanzan Rokuro stands head and shoulders above all his fellows
in the man ufacture of pate-sur-pate faience. His style of work
has been in existence since the beginning of the century, but did
not come into vogue until the present era. Hozan's celebrated
fern arabesques, dating from the latter half of the i8th century,
and some of the contemporary imitations of Delft faience, belong
to the same category. But never until Tanzan's time was decor-
ation of this kind carried to such an extraordinary pitch of elabo-
ration, and combined with body glazes of such remarkable variety
and dexterous manipulation. This admirable faience found great
favour in the United States some years ago, but it is now pro-
duced chiefly for the home market, the majority of the specimes
consequently taking the form of tiny cups, sake bottles, bowls, and
other objects of household use.

100 KYOTO EXHIBITION.

TAIZAN.

Taizan Yohei's productions do not differ greatly from those
Kinkozan, but are, on the whole, truer to Japanese taste. He
works on a comparatively small scale, and has not made any
material change in his style for several years. The technical
features of his faience occupy a large share of his attention, so
that his pate and crackle are of high quality. He has bestowed
much pains upon reproductions of certain varieties of the cele-
brated Yeiraku ware, and has also been successful in obtaining
very delicate decoration in blue over a soft cream-white glaze.

SHOZAN.

Okamura Shozan is a potter whose fame in Japan is foundep
chiefly upon really remarkable imitations of wares by former
celebrities, as Nomura Ninsei, Yeiraku, and so forth. These
works are in faience, but Okamura is successful in the production
of porcelain also. Of late years he has broken away from the
imitative role, and now turns out many specimens always re-
markable for sobriety of style and fidelity of technique.

DOHACHI.

Dohachi, whose father and grandfather were celebrated for
their faience, occupies himself principally with the manufacture
of porcelain and succeeds in producing several beautiful varieties.
He lives in a most unpretending little place, so small and retired
that one would never think of going there in search of objects of
art. The man himself, too, like all the art artizans of Japan,
seems to deprecate the notion of his own ability, and displays his
scanty stock of wares as if he really felt quite ashamed to invite
attention to such trifles. Yet they certainly deserve attention,
His blue under the glaze, for which he always uses Chinese cobalt,
having successfully overcome the extreme difficulties experienced
by all potters in employing that mineral, is of admirable tone,
though not, indeed, equal to its Chinese prototypes of good eras.

KYOTO EXHIBITION. IOI

One of his most remarkable productions is a mirror-black glaze
with silver surface-ornamentation and designs incised in \\\z pate
after the manner of old bronzes. His use of red sous couverte in
combination with blue, shows great delicacy of taste, and his pate,
the ingredients of which are brought from the island of Amakusa
off the coast of Hizen, is close and fine.

TOZAN.

Mention must finally be made of Ito Tozan, who, in the early
days of his industry, manufactured porcelain only, but has now
developed remarkable ability in the making of faience. His glazes
area specialty. They derive their distinctive appearance from the
fact that the ashes of bamboo-grass and red pine enter into their
composition. This process is not new, but Tozan appears to
to the only keramist in Kyoto that now adopts it. He is 44 years
of age and has been working as a potter since he was a boy of
10. During many years the chief object of his ambition has been
to develop various sous couverte colours in the principal furnace—-
that is to say, to develop them simultaneously with the burning
of the pate itself, He has succeeded remarkably well. Under a
peculiar vitreous glaze we find beautifully executed designs in
green, black, brown, blue, and yellow. The effect is charming,
but like many other Japanese artists, Tozan thinks much more of
the quality than of the quantity of his productions, so that his re-
putation is still confined to a narrow circle of connoisseurs.

TEXTILE FABRICS.

Kyoto at first sight is a most disappointing city. There are
no visible evidences of imperialism about it. Surrounded closely
by mountains, it never lacks picturesqueness, for wherever one
turns, some beauty of varied foliage or softness of many-sloped
hill meets the eye. But as a place where human beings congre-
gate, its general aspect is obtrusively unpretending and humble.
The houses look everywhere poor and sombre. Their uniform

102 KYOTO EXHIBITION.

lowliness and even dinginess convey the impression of a wooden
encampment, rather than of a thriving city. There is complete
absence of architectural achievement or display of wealth. In all
this the city is thoroughly Japanese. Sobriety of exterior has
ever been a canon of good taste and good breeding in Japan.
Just as in a work of art the genuine Japanese artist invariably
seeks to supply details of beauty and technique that become
visible only on close examination, so the Kyoto citizen builds
his house in such a manner that whatever it possesses of the
admirable or the tasteful is apparent only on passing within.
The visitor is astonished to find that a building seeming to consist
altogether of a few weather-beaten boards and gloomy lattices,
forms the front of a spacious compound within which are fire-
proof ware-houses, neat and tasteful chambers, charming gardens,
and, in short, everything indicative of refined life and prosperous
business. There is no other city in Japan where so much that
merits display is concealed behind such a complete absence of
ostentation. In Tokyo the dealer's idea of attracting custom
resembles that of an Occidental store-keeper. He marshals his
most attractive ware in the front of his shop so as to arrest public
attention. It is true that, partly in obedience to the canons noted
above, partly for the sake of security, he keeps his most precious
specimens packed away in fire-proof godowns. But on the whole
it may be said that having seen the outer section of his shop, one
has seen the cream of his wares. Precisely the opposite is true
of Kyoto. Sign-boards constitute the only guides to the contents
of a shop. Externally the places of business are almost repellant
in their homeliness. But there are no such shops and stores
anywhere else in Japan. No where else can one see bric-a-brac
and objects of art displayed with so much taste and charm amid
an environment at once so tasteless and so uninviting. Perhaps
this incongruity between externals and facts becomes most
marked when we consider the textile fabrics of Kyoto. These
are the very acme of magnificence and richness. They display
the perfection of art in combining colours and the most finished

KYOTO EXHIBITION. 103

technical skill. Yet they are produced under conditions of the
humblest and least inspiring character.

KAWASHIMA.

Kawashima Jimbei has no superior in Japan as a master
weaver; some say that he has no equal, but upon that point no
opinion need be offered here. Like many an other Japanese now
quietly following the path of commerce or manufacture, he traces
his lineage back to a noble origin in bygone centuries. A branch
of the historically renowned house of Takeda Shingen, his an-
cestor engaged in the silk trade three hundred years ago,
making its eastern capital, Yedo (now Tokyo), his centre of
business. The third generation, however, moved away from that
city, and of the subsequent fortunes of the family no account
need be given here, further than to note that this continuity of
lineage and profession through so many generations conferred
an exceptional benefit, since it enabled the family gradually
to accumulate a collection of specimens of textile fabrics and
embroideries such as probably very few museums in the world
can show. These the present representative of the family prizes
at their true worth and preserves with appropriate care. One of
the constant difficulties against which the Japanese art artizan
has to contend is inaccessibility of specimens from which to
derive inspiration or instruction. He is virtually without the aid
of great museums such as Europe possesses^and throws freely
open to every student, and his own circumstances are generally
so straitened that he can not think of collecting chefs-d'ouvre
for himself. The manufacturer of textile fabrics is better situated
so far as concerns the comparative cheapness of fragments suffi-
ciently large to show the nature, the pattern and the colours of
the works produced by weavers and embroiderers of past gene-
rations. At the same time, to get together a collection such as
that of Kawashima, would involve an outlay beyond the limits of
any ordinary fortune, even supposing that specimens so unique

104 KYOTO EXHIBITION.

were to be found in the market, which is not the case. Mr.
Kawashima keeps this splendid assemblage of examples in a
library of pretty albums, carefully numbered and catalogued, with
the exception of some special pieces which, on account of their
unique associations, or because of the tender condition to which
their great age has reduced them, have to be enshrined separately
each in a little wooden case of its own. These are not num-
bered, but for the rest the numbers run to 70,000. Of course, no
attempt can be made to sketch, however roughly, the ground
covered by such a collection. One may see there magnificent
examples of Chinese textile fabrics, woven and embroidered,
dating as far back as the Sung dynasty, and one may obtain
from them fresh confirmation of the established fact that
in all branches of art China has been Japan's teacher, though
the pupil has often outstripped the master. One may also
be disposed to renew one's faith in the familiar saying that
nothing can be found anywhere which did not exist at some
time or other in China, for certainly many of the most beauti-
ful and popular designs seen on the products of Japanese looms
and of her embroiderers' needles are to be found in the pages of
Kawashima's albums. One album is devoted wholly to pieces of
Chinese fabrics brought from the Middle Kingdom for the use of
the Ashikaga Shoguns in the days of their magnificent sway.
A fragment of the stole of Shotaku Taishi is also preserved, and
so too are pieces of the surcoats that Hideyoshi, the Taiko, and
Yoritomo, the Great Kamakura ruler, wore over their armour.
This admirable and unique collection is kept by its owner in a
room on the second floor of his house in Ichijo, Horikawa. It is
a room worthy of its contents, being constructed entirely of the
finest Keyaki wood, joined as only Japanese carpenters can join
timber. On the third floor of the ""same house are the reception
rooms, where visitors are shown the exquisite fabrics for which
Kawashima's factories have become famous. The rooms are
worth a visit for their own sake, as examples of Japanese taste
and decorative skill. The whole of one side of the inner chamber

KYOTO EXHIBITION. 105

is covered with a grand Gobelin, and the other sides have silk
coverings, the surbase of which is of woods variously inlaid
to suit the surface above. The ceiling, gracefully domed, is in
gold with white herons flying across. In the corners stand two
small six-leaved screens, with pictures from the brush of the great
artist Matahei, the father of genre painting in Japan. The fur-
niture is of carved teak, and on the table, which has a cover of
rich silk damask, stands a superb vase of white jade. Separated
from this room by large doors exquisitely decorated, the outer
chamber has a ceiling partly formed of pure Keyaki slabs, partly
covered with a plaiting of fine matwork, partly draped so as to
form an alcove within which hangs an ancient Chinese Gobelin,
the background for a chair of great beauty, formed of milk-white
wood, massive but carved so as to look light and graceful, and
having thrown over it a strip of the richest white damask silk
bearing a golden device of the Paullownia crest. It was in this
chair that the Empress Dowager sat, and subsequently the
Czarewitch, when they honoured Kawashima's house with a
visit. The other chairs and the table in this room are not
merely pretty articles of furniture, but have also interesting
associations, the frames of the chairs being lecterns from the
great Hongwan temple, and the table — which has a cover of
rich brocaded silk with a lace centre — being made of wood that
once formed a mirror stand in the Mito palace. The brazier of
cloisonne enamel, the lacquer book-shelf, in short everything
within these rooms is an object of art.

Kawashima's specialty, the manufacture for which he is
chiefly famous, is Gobelins. It seems impertinent to apply a
European term to a fabric that was produced on Eastern looms
long before the great French expert gave his name to the method.
But few people in the West seem to be familiar with the name
" tsuzure-ori" by which this peculiar and beautiful style of
weaving has been known in Japan since its 'first examples came
over from China. How long ago that occurred tradition does

106 KYOTO EXHIBITION.

not say. But it is certainly an event some centuries old, for
there are preserved in Japanese collections specimens of Chinese
" tsuzure-ori " known to have been in the possession of the
families now holding them since the i6th century. It does not
appear, however, that much attention was paid to this class of
fabrics by the Japanese of modern times until Ka w ash i ma's visit
to the first French Exhibition showed him the great value attach-
ing to them in Western opinion. Thenceforth he applied himself
energetically to the manufacture, and he has now carried it to a
point far beyond anything reached either in Europe or in China.
To attempt any description of his " tsuzure-ori }) in writing would
be. a hopeless task. They must be seen to be appreciated. It
will further be understood that they constitute but a small part of
the exquisite fabrics manufactured on his looms or by his em-
broiderers.

NISHIMURA.

Nishimura Shozaemon ranks next to Kawashima as a manu-
facturer of textile fabrics, and it must be confessed that the
interval between them is exceedingly small. Nishimura's show-
rooms are more spacious than those of Kawashima, though not,
perhaps, so artistic, but in each place alike the visitor may easily
spend a week examining specimen after specimen of the most
attractive character. Embroideries are possibly most notable
among Nishimura's productions. Some idea of the quantity of
embroidery produced in Kyoto may be gathered from the fact
that 3,500 persons are constantly engaged in the industry. These
people work almost entirely in their own houses. It has been
found that, for some reason difficult to analyse, the embroiderer
does not develop his highest skill when working in a factory.
There are, indeed, a few ateliers where one may see 50 or 60
embroiderers plying their needles at the same time, but this
arrangement has its origin in considerations apart from the tech-
nique of the art, as, for example, when employment is furnished
for deaf mutes, by whom an appreciable portion of the coarser

KYOTO EXHIBITION. 107

Kyoto embroidery is done. One would naturally suppose that
women, with their delicate and nimble fingers, ought to make the
best embroiderers. It is not so, however. For such minor objects
as leaves, grass, and so forth, female work is well suited, but the
finest products are by men. The best experts in this craft earn
the noble competence of about two shillings a day. Of course
the most renowned painters of the era, as Keinen, Chikudo, Bai-
rei, Kansai, and so forth, are employed to furnish designs for the
embroiderers, and ever since the days of the immortal Okyo the
genius of the Kyoto school of art has been specially suited to
such a purpose.

These artists also furnish designs for another kind of fabric
that has long been associated with the Kyoto work-shops. It
derives its name — yuzen — from an artizan who lived 300 years
ago. He did not invent the fabric, but only improved its manu-
facture so greatly as to be counted its originator. Briefly speaking,
•yuzen is silk crape or h abut aye on which pictures are painted direct
by the artist and are afterwards fixed by steaming. This steaming
.process was first used by Nishimura, and its result has been to
include in the rank of really' serviceable articles a fabric pre-
viously regarded as merely ornamental. The painting and steaming
must be seen to be appreciated, and as any visitor to Kyoto can
see them by taking a little trouble, it is unnecessary to describe
them here. Much of the yuzen now in common use is stencilled.

Yitzen-birodo, better known as cut velvet, is another of the
most remarkable fabrics of modern Kyoto. As yet the staff of
cutting artists that have reached a really expert grade, is small.
Perhaps the best way to appreciate the immense interval between
the elaborateness of the result attained and the extreme simplicity
of the cutting process is to visit the cutters and watch them as
they work, for although the velvet has undergone many processes
before it passes into their hands, it is to their knives that it owes
its ultimate charm. Among the best known of these cutters are

108 KYOTO EXHIBITION.

Asada Bunsliichi and his two sons. They live in a house of the
most modest dimensions and character, opening on to the street,
and they work at a bench of about the quality of a cook's rolling
board. They have only one tool, a small, sharp chisel, the edge
at an acute angle to the back so as to give a point. This chisel is
passed into an iron pencil, having at the end guards between which
the point of the chisel projects, it being thus impossible for the user
to cut beyond a certain depth. He has no other tool of any kind.
The velvet comes to him finished so far as the limning and dyeing
of the design are concerned. It has already been subjected to
tbejWjBteii process and has received a coloured picture permanently
fixed. The wires, however, have not yet been drawn out. It is,
in fact, velvet without a nap ; or velvet that has been subjected to
all the usual processes of manufacture except the cutting of the
thread along each wire and the withdrawal of the wire. The
cutting artist takes the piece of velvet thus far finished, and laying
it before him on a wooden b.ench, proceeds to carve into the
pattern with his chisel, just as though he were shading the lines
of the design with a steel pencil. There is a limit of necessity to
the depth of his cutting, for he must never injure the fine wires
woven into the velvet. Did the point of his sharp tool weaken
one of these wires at any place, the subsequent extraction of the
wire would become difficult, if not impossible. Within that limit
he cuts to all degrees of depth. When the pattern is lightly
traced, he uses his knife delicately. When the lines are strong
and the shadows heavy, he makes the point pierce deeply. In
short, the sharp little chisel becomes in his deft fingers a pain,
ter's brush. It is as though he reproduced by cutting a picture
already depicted by the brushes of the artist and the dyer. When
we remember that the basis upon which he works is simply a
thread of silk, and that his hand must be trained to such delicacy
of muscular effort as to be capable of arresting the edge of his
knife at varying depths within the diameter of the tiny filament,
the achievement seems truly marvellous. Of course such pains-
taking and tedious manipulation is not employed in every case.

KYOTO EXHIBITION. IOQ

Many specimens of Yuzen-birodo} beautiful enough, though not
of the highest quality, have no pictures chiselled in the nap. In
manufacturing them, it has been thought sufficient to throw certain
portions of the design into soft relief by the comparatively simple
process of cutting the silk threads right down to the wire, and
thus producing the ordinary velvet nap. The finer the specimen
the more painstaking the process. Of many of the more ex-
quisite pieces shown in the rooms of Nishimura, it may truly be said
that upon a field not thicker then a thread of silk the cutter has
engraved a design, putting in the chiaroscuro and marking the
relative distance of objects almost as faithfully as though he were
working with brushes of varying sizes and colours of graded tones,
Of course it will be understood that the edge of the cutting tool
is never allowed to trespass upon a line which the exigencies of
the* design require to be solid. The veining of a cherry petal
for example, the tessellation of a carp's scales, the serration of a
leaf's edge — all these lines would remain intact, spared by the
cutter's tool, while the leaf itself, or the petal or the scales of the
fish, would have the threads forming them cut so as to show the
familiar velvet nap, and to appear in soft low relief. Charming
and admirably realistic effects are obtained, but the process is
infinitely laborious. A manufacture demanding such immense
expenditure of time, toil, patience, eyesight, and artistic ability
is possible in Japan alone. Even in Japan there are very
few skilled cutters: probably not more than five in the whole
empire. In Kyoto, indeed, tradesmen affirm that with the ex-
ception of Asada and his eldest son, whose study of painting
has given him special art facility, no cutter can be trusted with
first-class work. Cutting horizontally or vertically, that is to say,
directly along or directly across the wires, is comparatively easy,
but to cut diagonally and at the same time, to preserve firmness
and delicacy of touch, tests the skill of the most expert. It has
been stated that the lives of persons thus employed are very
short owing to the deleterious results of inhaling the particles of
cut velvet. No basis appears to exist for the theory. In the

I 10 KYOTO EXHIBITION.

first place, the art has not been practised long enough to test its
effect upon the life of any one; and in the second, the process
does not shred off any portions of the silk thread. Were the
knife applied so as to cut away the thread altogether, a crude and
comparatively poor result would be obtained. The most that is
done is to open the threads forming a rib of the velvet so that
their released ends become the nap. In cases where a slip of
gold foil is laid under each wire, and left in position after the
wire is withdrawn, the cutting tool is used with freedom in
some parts of the design, so that the gold gleams through the
severed thread, producing a beautifully rich and suggestive effect.
Gold thus used plays the part performed by certain colours
in brocaded silk ; the light striking it at various angles produces
varied degrees of sheen. Viewed in some positions, the gold does
not show as gold, though its presence produces an undefinat)le
impression of richness. Under other aspects its full glow is
plainly seen ; while occasionally it merely peeps out from the
pattern like an accidental sparkle. Velvet, however, is not
capable of being made the basis for pictures so elaborate and
microscopically accurate as those produced by the Yuzen process;
on silk crape or habutaye. The richly toned yet soft plumage of
birds or the magnificent variety of colours in a bunch of peonies
chrysanthemums, and so forth, can not b'e obtained with fidelity
on the ribbed surface of velvet. The artist is obliged to select
subjects of severer type ; as a landscape in sepia with a few
touches of colour; a school of swimming carp ; a clump of bam-
boos or autumn grasses and so forth. Peacocks, mandarin ducks,
and such things are attempted occasionally but without marked
effect.

TAKASH1MAYA.

In speaking of the great vendors and manufacturers of silk
fabrics in Kyoto, it is difficult to know with what name to begin.
If we have placed Takashimaya third inx this notice, it is not
because the beauty or scope of his manufactures is below that of

KYOTO EXHIBITION. Ill

any of his rivals. In truth his store is not second to any in
variety and excellence of display. There, at least as well as any-
where else, a visitor can trace the giant strides that Japan has
made in this branch of her art ; strides that have placed her
at the head of all countries of the world as a weaver and
embroiderer. Her productions in these lines were always
admirable, as every collector knows, but in pre-Restoration days
few pieces of size and splendour were made, if we except the
curtains used for draping festival cars and the hangings of
temples. Tapestry as it is employed in Europe was not thought
of, nor indeed could the small handlooms of the time be easily
adapted to such work. All that has been changed, however.
Arras of magnificent dimensions, showing marvellous workman-
ship and grand combinations of colour, are now manufactured in
Kyoto, the product of years of patient toil on the part of designer,
weaver, or embroiderer. Specimens of this class may be seen at
Takashimaya's show-rooms, and as for his display of articles
suitable for ladies' costumes, there is virtually no limit. These,
however, we must pass with a general recognition of their beauty
and variety, confining ourselves to a few words about the em-
broideries produced under Takashimaya's direction.

The embroiderer's craft having been followed for centuries
in Japan with eminent success, the stimulus of access to foreign
markets might well have been expected to induce great progress.
Such has indeed been the case. Embroidery is a kind of work
eminently fitted to the great manual dexterity, inexhaustible
patience, and fine decorative instinct of the Japanese. We still
live in an era when workers, whose skill and expert experience
would command great emoluments in the west, are content to toil
in Japan for a mere pittance. Under any other circumstances the
cost of many of the pieces shown in Kyoto would be prohibitive.
One sees, for example, a landscape, every detail of which is
rendered with wonderful fidelity — forests of pine and bamboo,
shrub-clad slopes, lake and river, all combining to produce an effect

112 KYOTO EXHIBITION.

of admirable softness and solidity, neither perspective nor chiaros-
curo being absent-. One marvels that such results can be attained
with the needle. It is, in fact, needle painting, and many of the
finer embroideries of Kyoto are almost indistinguishable so far as
concerns pictorial elements, from the paintings of an artist. It is
difficult, indeed, to conceive how the embroiderer's art can be
carried beyond the height it has reached in modern japan. One
is disposed to fear, on the contrary, that it has almost passed the
limits of reason. Fortunate are the folk that can afford to
become possessors of the master-pieces now offered in Kyoto.
Japan will cease to produce them so soon as she shall have been
completely swept into the rapids of the Occident's scrambling
competition and mercantile egoism. The patient self-effacing
artizan, who contendedly exchanges his skill and genius for a
loaf of bread, and, satisfied to have wrought a master-piece, cares
little into what pockets the gains flow ; this creator of marvels
and despiser of profits, survives in Japan alone. But his exist-
ence cannot be greatly prolonged ; he is already much out of
touch with the time. Space fails us to speak of other places
where textile fabrics of the finest quality are manufactured or
exhibited ; as, for example, the Orimono-kwaisha, Daimaru,
Tanaka Rishichi, Ono, and so forth.

WORKS IN METAL.

It is sometimes said that the Meiji era, has witnessed a
marked revival of the Japanese metal-workers' art. Such is not
the case. There was no need of a revival : the art had never
lost its vitality. For a season, indeed, it was applied to de-
grading proposes — the manufacture of spurious sword furniture
for export to Europe and America. That was when Western
connoisseurs were searching with avidity for specimens of the
extraordinary glyptic skill and surface treatment displayed by
the Tsuba, Kozuka, and Menuki of pre-Restoration days. Pro-
bably among the massive gold or silver sword-guards now

KYOTO EXHIBITION. 113

preserved as chefs-d'ceuvre in American collections, there are
many that were manufactured expressly to find a place there.
The fact implies no disparagement. Sucli specimens, to what-
ever era they belong, are worthy of all admiration. The ability
of the old artists had been bequeathed in full measure to their
Meiji representatives, though circumstances temporarily dictated
that it should be exercised to produce forgeries rather than
original works. Had such a state of affairs continued, de-
generation of talent must have ensued. But happily a field
for the honest use of skill was found when the public, re-
covering from the deluded craze for antiquities, began to
discover that a modern Japanese work of art may be just as ad-
mirable and just as wonderful as an ancient. To-day, it may
confidently be stated that Japan can boast art workers in metal
at least worthy to rank with their predecessors. Necessarily in
the days when every gentleman wore two swords and every
wearer of a sword sought to have its furniture distinguished by
some excellence of workmanship, there existed for master-
chisellers such extensive patronage as they have never since
received and are not likely to receive in the immediate future.
But the talent is there, just as abundantly as ever, and the only
perplexity is to find directions in which it can be usefully
exercised. We have not yet begun to hang metal pictures upon
our walls, or to decorate our tables with metal plaques instead
of photograph frames. Yet upon these things the perplexed
artist expends much of his time and talent. Jewel-cases and
cigar-boxes, again, offer a certain field, but the demand for works
of fine art to devote to such purposes in necessarily limited.
Some commercial genius will certainly discover how to pro-
fitably utilize the wonderful talent possessed by the Japanese.
For the moment, however, it is painfully evident that the
artists ate puzzled to know what to make. As for the
bronzes of Kyoto, their most admirable characteristic is,
perhaps, surface effects, the reputation of the southern city

being perpetually associated with the fame of the Gorosaburo

H

114 KYOTO EXHIBITION.

family and their beautiful golden bronzes. There is a tradition
that the idea of this kind of metal was accidentally suggested in
the Hsuan-te era of the Ming Dynasty, when the Ming conquerors
threw the copper and gold utensils of the conquered Mongols
into the same furnace. Hence this particular kind of bronze is
known in Japan as " Sentoku" that being the Japanese pro-
nunciation of Hsuan-te. But if the Japanese began by copying a
Chinese model, they soon excelled their prototype, and developed
a skill in producing patinas that is absolutely unequalled else-
where. It may almost be said \vith truth that they use patinas
and compound metals with the same facility and in the same
manner as a painter uses pigments.

JOMI YLISUKE.

This3 artist stands easily at the head of the bronze manu-
facturers of Kyoto, and indeed has few peers anywhere in Japan.
His pieces, having designs in relief formed of silver, gold, shaku-
dot shibuichi 2i\\& so forth on a glowing golden ground, show the
perfection of work in bronzes. There is hardly any colour that
he cannot produce with certainty, though some, of course, present
greater difficulties than others. The celebrated lobster-red,
unattainable in Europe and declared by foreign writers to be an
accidental result in Japan, is no accident in Jomi's factory. Most
remarkable, perhaps, is the process that this artist has developed
of manufacturing bronze so as to be entirely proof against climatic
influences. As an example, the visitor need only look at the
balcony of Jomi's show-room which, though it has been exposed
for years to sunshine, rain, and frost, retains its lustrous, rich-
coloured surface as perfect as when it was first placed in position.
In his factory one may also see a tour de force peculiar to Japan-
ese workers in metal, namely, the conversion of the surface of
cast iron into wrought iron, by which means it becomes possible
to chisel elaborate designs at comparatively small cost upon com-
mon household utensils. Jomi has 95 medals of gold or silver,

((°°

KYOTO EXHIBITION. 115

and certificates of merit obtained at various exhibitions, domestic
and foreign.

GOROSABURO KAMAYA.

The Gorosaburo family were always counted Kyoto's re-
presentative workers in metal until Jomi Yeisuke, by his more
progressive tendencies and versatile enterprise, dethroned them
from the leading place. During eight generations, however, they
were without rivals, and in the days of the Taiko their work was
prized so highly that the then head of the house was ennobled
under the title of Ando Tsushimi no Kami. The atelier of the
present representative is, however, a small place not suggestive
of prosperity. But the specimens produced there are all of the
highest quality, and their variety may be appreciated from the
fact that Gorosaburo is able to obtain no less than twenty-two
different surface colours.

CLOISONNE ENAMEL.

The art of enamelling upon metal may almost be said to
date in Japan from the Meiji era, for although its processes had
been familiar during nearly three centuries before the fall of
feudalism (1871), the enamels produced never showed any really
artistic or decorative qualities. Occasionally, when used in
subsidiary parts of metal work, champleve or cloisonne enamel
played a pleasing role. But, as an independent fashion of
decoration, it failed signally. Thin copper vessels, carrying
diapers or floral scrolls in impure colours, without bril-
liancy or variety, sombre, technically defective, and artistically
crude, were never likely to appeal to Japanese taste, and,
as a matter of fact, never did appeal to it. The Chinese
enamellers were incomparably superior. They could not,
indeed, secure their surfaces against the common bane of all
former workers in cloisonne enamels, pitting and blistering ;
but they could produce grand colours, at once strong and restful,
and they knew how to impart to their pieces an appearance of
solidity essential in the case of such decoration, though never

Il6 KYOTO EXHIBITION.

achieved by the Japanese. In degree and in quality alike, the
difference between Japanese and Chinese enamels of bygone
years corresponded with the difference between the monochro-
matic porcelain glazes of the two countries. The Chinese pro-
duced noble and pure colours ; the Japanese, weak and muddy
half-tones. But during the past decade Japan has made such
strides that her enamels have left their Chinese predecessors at
an immeasurable distance, and stand easily at the head of every-
thing of the kind the world has ever seen. There are now three
schools of enamellers in the country, the Old School, the Mono-
chromatic School, and the Cloisonless School. The great re-
presentative of the Old School is Namikawa Seishi of Kyoto,
and the prominent characteristic of the decoration peculiar to his
School is that it depends upon elaborate technique rather than
upon brilliancy of colour. Not that there is any fault to be found
with the Kyoto colours ; they are pure, beautiful, and harmonious.
The assertion that elaborate technique is chiefly relied on, has no
reference to the quality of the colours, but signifies simply that
the Kyoto School does not affect broad fields of monochrome
such as are found in the works of the other two contemporary
schools. The artist of the southern capital sets himself to trace
out upon his piece a pattern into some part of which convention-
ality certainly enters. The central conception of the design may
be a bunch of flowers, a group of birds, or even a landscape ; but
associated with it there is inevitably found a wealth of arabesque,
scroll, and diaper, betraying infinite patience and faultless techni-
que. Solid, restful colours are chosen in preference to brilliant
and striking, and the general character of the piece is sober
and unobtrusive, not challenging admiration but rather need-
ing close scrutiny to be appreciated On every part labour
is lavished, and nowhere can the minutest technical blemish
be discovered. Vases of this class are gems of the enameller's
art. Choice may hesitate between the style they represent
and the styles of the other two schools, but as to their de-
corative grade and technical excellence, there can not be a

KYOTO EXHIBITION. 117

moment's uncertainty. The Monochromatic School had its origin
in the ateliers of Tokyo and Nagoya, but probably derives its
earliest inspiration from the broad, solid-coloured fields seen on
some Chinese enamels of the best periods. The decorative style
is pictorial, and in this respect differs essentially from the con-
ventionality of the Kyoto School. Typical specimens are vases
covered with Monochrome enamel, of delicate colour and more
or less varying tone, in which float designs of birds, flowers,
fishes or some other freely limned subject. Rims and bases are
often decorated with arabesques, diapers, and scrolls, but these
things are purely subsidiary, the leading features being invariably
single-colour effects and free-hand treatment. Often the ground
colours are magnificent; reds of the " liquid-dawn," sang-de-
b&uf, or ruby type; celadon or grass green ; canary or straw
yellow; ripe-grape or claret purple; delicate lilac, deep indigo,
ivory-white, kingfisher blue, and so on ; the enameller's palette
being apparently inexhaustible. The Cloisonless School has
only one master in Japan, its inventor, Namikawa Sosuke. Con-
noisseurs have not yet made up their minds whether enamel in
which the cloisons are hidden should be regarded as an anomalous
curiosity or an artistic triumph. It is the furthest development
of the pictorical school. To enclose a design in copper cloisons
is to surround it with outlines having no existence in nature.
Namikawa Sosuke conceived the idea of abolishing the cloisons
—•removing them at a certain stage of the manufacture or con-
cealing them — and limning veritable pictures with coloured
enamels upon monochromatic enamel surfaces. For many years
the public paid no attention to this singularly bold essay. An
exquisite snow scene sent by Namikawa to the .Fisheries Ex-
hibition in London, hung skied and unnoticed throughout the
show. If people looked at it all, they passed it by as a painting
with no special claims to consideration. But at last a French
connoisseur — the French are always first in such matters — dis-
covered Namikawa, and now he is counted the prince of Japanese
enamellers.

Il8 KYOTO EXHIBITION.

We would fain speak at length of the Kyoto Art School, of
the Lace School, of the Deaf and Dumb School, of the workers
in Lacquer, and of many other industries whose attractive pro-
ducts will certainly figure at the Exhibition. But the space at
our command is limited to this brief notice.

IKEDA SEISUKE.

Among the general art manufacturers of Kyoto, mention
must be made of Mr. Ikeda Seisuke, who, though originally a
dealer in bric-a-brac only, has of late years developed a spirit of
remarkable enterprise. His show-rooms are in themselves worthy
of a visit, for they certainly rank at the head of all such places in
Japan, and constitute a striking example of the national taste in
interior arrangement combined with the facilities of an exhibition.
It was evidently Ikeda's prime idea to contrive that his customers
should be able to see for themselves the actual processes whose
beautiful products are displayed in his show-rooms, so that he
might appeal simultaneously to the inquisitive and acquisitive
propensities of the public. In one of his ateliers may be seen the
manufacture of that beautiful tetsu-zogan, or iron inlaid with gold
and silver, for which Kyoto and Kaga are so famous. Ten
years' constant practice is needed to educate a proficient in
this most difficult work, but like all the beautiful products
of Japan the processes are simple and the appliances few.
The emoluments, too, are petty, for an artizan, whatever
skill he may develop, cannot look forward to receiving more
than £40 annually. One of Mr. Ikeda's most notable innova-
tions is the use of copper as a basis for lacquer. Only the finest
gold lacquer can support the extreme changes of temperature in
an American residence : the wood on which the lacquer is laid
warps and splits. This difficulty is of course overcome by sub-
stituting metal for wood, and in Ikeda's factory the substitution
has been effected with such skill that while the lightness and
delicacy of the wooden fabric are preserved, absolute durability
under all circumstances is secured.

KYOTO EXHIBITION. 119

BRIC-A-BRAC STORES.

HAYASHI AND YAMANAKA.

A word must be added about th'e bric-a-brac stores of Kyoto,
for certainly in tastefulness of arrangement and variety of con-
tents they stand at the head of all such establishments in Japan.
Ikeda's store, at Shimmon-zen, strictly belongs to this category,
but has been placed in a different section on account of
the art manufactures carried on there. Kyoto, though it
possesses an immense number of small shops \\here "very
old curios" are deal in, has only three important stores,
namely, these of Ikeda, Hayashi, and Yamanaka. Readers are
begged to understand that in writing of these places, there is no
thought of guaranteeing the universal trustworthiness of the so
called " old " objects offered for sale there. Many years' ex-
perience enables me to say that I have never known or heard of
a wilful deception practised by either Mr. Yamanaka or Mr.
Hayashi, but where there is question of acquiring old objects of
of art, an amateur without sufficient knowledge or judgment to
save him from the many pitfalls prepared by wary dealers, can
not reasonably hope to escape without an occasional fall. Pro-
bably a maximum of safety may be looked for in the beautiful
show-rooms of Mr. Hayashi and the less ornate but equally well
stocked stores of Mr. Yamanaka.

THE EXHIBITION BUILDINGS.

This brief notice should conclude with some account of the
Exhibition buildings and their arrangement. But as we write for
the convenience of visitors, it is unnecessary to attempt any
verbal description of things that will come under direct observa-
tion. We may say, however, that the buildings of the Exhibition
proper will cover some 9 acres of space; that the cosfc of erection
will aggregate about half a million yen\ that thegiounds in which
the buildings stand measures over 40 acres; that at Wada Point
there is an annexe (over 19 acr^s) devoted to the purposes of a

120 KYOTO EXHIBITION.

fisheries exhibit ; that sale-rooms erected by private enterprise
cover a large additional area, and that the Exhibition opens on
April ist and closes on July 3ist, but may possibly be extended
for a longer period.

TRADE p MARK.

&

NOGAWA, »

•

MANUFACTURER OF

ft, BRONZE WARE I

& INLAID WITH GOLD AND SILVER;

HE pfj

DEALER IN

;" PORCELAIN, LACQUERED WARE,;

-a: &c., &c.

No, 22, Shijio Otabi-cho,

KYOTO.

S. IKEDA.

COLLECTOR OF ANTIQUITIES

AND

•FINE ART MANUFACTURER.

Shinmonzen, Mumemotocho,

KYOTO, JAPAN.

fi S. HAYASHI,

39, HlGASHI-IRU MlYOSHICHO, YAMATO-OJI, ICHOME,
FURUMONZEN, KYOTO.

* LACQUERS, BRONZES, CROCKERY,

AND

SILK EMBROIDERIES

OF THE

ANCENT AND MODERN ART OF JAPAN.

A FINE COLLECTION OF

CURIOS.

INSPECTION IS CORDIALLY INVITED.

Z. ONO,

EMBROIDERED & HAND PAINTED SILKS

OF EVERY DESCRIPTION,

SCREENS, CURTAINS, TABLE-CLOTHS, BED-
SPREADS, HANDKERCHIEFS, DOILIES, FANS,
VELVET PICTURES, ETC., ETC.

OTHERS PROMPTLY AND ACCURATELY EXECUTED.

MAIN STORKS,
KARASUMABU SHICHIJO, KYOTO.

BRANCH STORES,
HONCHO SAWCHOME, YOKOHAMA.

ALL KINDS of EMBROIDERIES & SILK GOODS

OF THE BEST QUALITY

WILL BE FOUND AT
TRADE &> MARK.

YAJIMA SHOKO,

WHOLESALE AND RETAIL,

59, GION, HACHIKEN, SHINKOMICHI KADO,

KYOTO, JAPAN.

ORDERS EXECUTED PROMPTLY, FAITHFULLY, AND AT
REASONABLE PRICES.

Y. NAMIKAWA,

#

MANUFACTURER AND DEALER OF

* CLOISONNE WARE jj

1,1 (SHIPPO-YAKI). 3f

Q
A FINE ASSORTMENT ALWAYS ON HAND, W

JLJt

All orders intrusted to me will be faithfully executed
in any design and at reasonable rates,

fflj

Sanjo, Sliirakawa-bashi, Kitaura, Horiike-maclii,

KYOTO, JAPAN.

MK. YAMANAKA,

S.S* DEALER IN CURIOS & FINE ARTS

7ft iff LACQUER WARE, BRONZES, PORCELAINS,
^ ^ SCREENS, CARVINGS, & ORNAMENTS;

*M*p WEAVINGS AND PICTURES,

1=1 * * S &c>) &c§

£ Jig PRINCIPAL STORES;

ff «^ No. 21, TERAMACHI, DIKE, KYOTO,

SS No, 5, KORAIBASHI, 2-CHOME, OSAKA,

- JAPAN.

TRADE JGr'Qh MARK.

KYUKYODO,

MANUFACTURER AND DEALER IN

JAPANESE INCENSE, PERFUMERY,

STATIONERY, AND ARTISTS' MATERIALS

OF ALL KINDS.

MAIN STORE: Teramachi Anegakoji, Kyoto.
BRANCH STORE : No. 1, Owaricho Itchome, Kyobashiku, Tokyo.

ALSO DFALER IN

OLD AND MODERN PICTURES, KAKEMONO, CENSERS,

OLD BRONZE WARE, JEWELRY, CRYSTALS, AND

CHOICE CURIOS OF EVERY DESCRIPTION.

ONE PRICE ONLY!

HIKOBEI NISHIMURA,

No. 19. AYANOKOJi, TERAMACHI, Ho. 19.

KYOTO, JAPAN.

LACQUERED WARES, OLD and NEWLY MADE. SILVER
and GOLD LACQUER, and every other line, and elaborate
descriptions of Furniture suitable for trade.

GOODS are curious, well selected, and most durable.

DIRECT relations with the LACQUERERS and ARTISTS
enable us to offer their works at the LOWEST PRICES.

Those who send us orders for Goods may rely upon us, so that
they will find their highest expectations in quality more than
fulfilled.

Gentlemen, we respectfully solicit your esteemed patronage.

m m & s, g * m HI a m & m & a JB * * it * * *

m

YASUDA^&BROS^

s PORCELAIN r, 1

AND

CLOISONNE WARE, |

T

&C.5 «S:C., »"

MANUFACTURER. I

No. 4O, Umemiyacho, Awata,j

KYOTO, JAPAN. jfi

YAAMI HOTEL,

MARUYAMA, KYOTO.

THIS old established and favourite Hotel has been ENLARGED
by the addition of two new buildings, four and two stories,
and affords EXTENSIVE and EXCELLENT ACCOMMODATION. It
occupies a cool and healthy situation on the flank of the Maru-
yama Hill, commanding a magnificent panorama of the whole
city and neighbourhood. All the rooms are well ventilated and
comfortably furnished in European style. Baths can be obtained
at all hours, and the strictest attention is paid to sanitary re-
quirements. Many of the most celebrated temples and other
chief sights of this ancient metropolis are in the immediate
vicinity, and the.re are charming walks in various directions.
Travellers announcing their exact arrival by letter or telegram,
will be met at the Railway Station and their luggage carefully
looked after. Guides speaking English may be engaged.

I THE TABLE D'HOTE.

Also meals served to order at all hours. The CUISINE is in
the hands of an Experienced CHEF.

THE KYOTO HOTEL,

which has recently been re-furnished in best style, is now under
the same management.

THE GREEN RIBBON MEDAL

WAS BESTOWED ACCORDING TO IMPERIAL MANDATE.

/^VRDERS have

VTEW designs

S. NISHIMURA,

ESTABLISHED IN 1 604,

SANJO-DORI, KARASUMARO, KYOTO.

\ • .

ALL ^x prompt attention.
KINDS OF \^ are bei|)g prepared.

EMBROIDERIES,'

Velvet, Crapes, Silks, & Brocades,

INCLUDING

BEDSPREADS, CUSHIONS,

Dresses, Handkerchiefs, Hanging Pictures

MUFFLERS

EMONO, PARASOLS
PRICES

•DEDUCTION

INTENDED to

THING is of the
latest fashion.

\

moderate,
is never made,
furnish the best.

/CAREFULLY packed
stock

&c. *jr and shipped,
always on hand,

INCENSE.

The custom of burning incense on ceremonial occasion.1?, private as well as oliicial, in the
Court of Emperor and in the residences of the nobility and gentry, has been handed down to us
for fifteen hundred years.

During the period of the Ashikaga Shognns, about live hundred ye^rs ago, burning incense
became fashionable, and & regular ceremony, generally known as •• Jushukoho," was established.
This ceremony, however, prevailed only among nobility and the wealthy.

The utensils used for the occasion were naturally of the mu>t precious sort, and some of them
are still preserved.

The fragrance of burning incense refreshes the mind, enlivens the spirits, and stimulates the
circulation of the blood, and it is therefore held in high esteem in the higher circles of Japanese
society. Ladies and gentlemen will find its use in the home either by burning or as a perfume for
clothing both agreeable and beneficial.

The best formulas for making incense are known only to us, and hence we have the exclusive
supply of the Imperial Household, and also that of many noble families.

Besides the medals awarded by our government at Home Exhibitions, we obtained a " Mfilal
of Honor" at the Spanish International Exhibition, in 1888.

WRITING AND PAINTING BRUSHES.

Our writing and painting brushes date their origin as for back as the ninth century A.M.

We actually possess brushes a thousand years old, a fair proof^that our brushes can be kept in
good condition for a long time. But the old method of making them must of course be modified to
meet the necessary changes in the style of writing and painting in different periods. At the time
when our country was opened to foreigners, European paper was at^once brought in use, and thus
further improvement was necessitated.

The brushes now produced have a large and constant drmand from all quarters of the globe.

SOLID INK.

As soon as writing and painting brushes began to be used, ink was invented. Different kinds
of paper require different kinds of ink. Our solid ink best suits Japanese and American paper.

Paper like the Chinese which contains much cotton and is therefore porous, requires a kind of
ink with more glue.

Our store keeps all kinds of ink and brushes.

We have the honour of supplying the same to the ImperialHousehold aiui all Government offices.

We obtained the Gold Medal at the International Exhibition in France, in 1889.

No one can fail to recognize the necessity and importance of good brushes and ink, to progress
in art. It is too much to say that the great artists, like Eano Motonobu and Tosa Mitsuoki, now
known in the art circles of the West could not have attained so great an cm'mence had they
lacked suitable ink and brushes. Another and more striking proof of the usefulness of our solid
ink is to be seen in the fact that Europeans very largely demand it, as beh>« most suitable for
drawing maps and sketches.

The reason is that our ink, containing less ylue than the Chinese, flows freely from pen* or
brushes.

K. KYUKYODO,

TERAMACHI ANEGAKOJI, KYOTO, JAPAN.
BRANCH STORE,

NO. I, OWARICHO ITCHOME, KYOBASHIKU, TOKYO, JAPAN.

TRADE MARK.

ISHIDZUMI,

MANUFACTURER & DEALER IN ALL KINDS OF FANS.

SILK FANS, IVORY AND TORTOISE-SHELL.

Nagahara-cho, Yanagino-banba, Bukkoji, Kyoto, Japan.

,; S. NISHIDA & Co.

H (Telegraphic Address: " FANNfSHIDA, KYOTO.'')

| MANUFACTURERS OF

3 FANS, FIRE-SCREENS, ETC,

_j EJJ All orders promptly executed. Prices moderate.

2 No. 21, HIGASHI-NO-TOIN, SHICHIJO,

ZJ~ (Close to R.W. Station on Tokaido line)

18} £, KYOTO, JAPAN,

jS Factories : — KYOTO AND FUSHXMI.

ATAMI HOTEL,

5 ri from Hakone, 9 ri from Kodzu Station, and 7 ri from Odawara,
THE GEYSER SPRING OF ATAMI,

WHICH boils up intermittently 6 times a day, one of the
great wonders of the world, is noted as a marvellous cure
tor Rheumatism, and diseases of the Blood, Skin, Membranes,
and Nerves.

THE HOTEL, situated on a hill near the sea, commands a
line view, and the rooms are well furnished.

Hie locality is very cool and the air healthy.
Spring and Steam Baths always ready. Good Cook and
moderate Charges.

C. HIGUCHI, Proprietor.

AWARD 20 PRIZE MEDALS AT HOME AND
FOREIGN EXHIBITIONS.

OR

0

I. B. KUMAGAI,

MANUFACTURER OK AND DEALER IK ALL KINDS OF

1 JAPANESE FANCY SILK GOODS: *

IV

E

INCLUDING

D BROCADES.
£ CRAPE,
A VELVET,
J EMBROI-
fi DERV.

^ SILK and

COTTON
GOODS, &c.

DRESSES, 11
ROOM DECO- j!
RATIONS, "
HAND-
KERCHIEFS, R
and fi

JAPANESE ~
KIMONO, &c U

0

0
N
L
Y

RADEN ORI

i.\

OF BROCAHK),

SPECIALLY PATENTED

ENGLISH WELL SPOKEN.
PUBLIC PATRONAGE SOLICITED.

No. 25, 26, & 27, Otabicho, Kyoto, Japan.

VISITORS

TO

JAPAN

DON'T FAIL TO SEE

THE Largest and Best Stock 6f the" Finest Views of cele-
brated places in Japan ; also Costumes and Groups, and
Complete sets of Views of the progress of the Tea and Silk
Industries.

Albums made up of Choice Pictures, Strongly bound, Richly
Lacquered, and Tastefully painted in Gold, superior to any others
in Japan,

My colouring has been pronounced by competent judges to
be unsurpassed by any in this country, although my charges are
much lower than those made by other Photographers.

Attention is also called to the fact that, as I use only the best
Chemicals, my Photographs are durable and do not fade,

K, TAMAMURA,

PHOTOGRAPER,

No. 2, Bentendori, Itchome,
YOKOHAMA.

ESTABLISHED 1863.

SILK & COTTON CRAPES.

FORIE6N PRINTED COTTON # FLANNELS.

WHOLESALE AND RETAIL.

S. J. YAMATOYA,

SHIRT MANUFACTURER S TAILOR,

No. 6, Bentendori Ichome, Yokohama,

"OETURNS his sincere thanks to the Public generally for the
J-V. support and patronage accorded him for a period of Thirty
one- years, and begs to inform them that he has always in stock
a fine assortment of the above-mentioned Goods, with all the
latest improvements, at moderate prices.

With the object of giving satisfaction of hfs Customers,
Choice Goods of the newest, and most Elegant Patterns and
Excellent Workmen are kept in his Establishment, which is
recommended by many Ladies and Gentlemen of all nationalities
as one of the best Shirt Manufactories in Eastern Asia.

The proprietor earnestly solicits the public abroad to try
his Shirts, and orders will be promptly attended to.

DAIBUTSU & CO.,

NO. 16, WATER STREET,
Is situated next to GRAND HOTEL.

THR MANUFACTORY
OF

LADIES' AND GENTLEMEN'S

BOOTS and SHOES.

PERFECT FIT GUARANTEED WITH BEST QUALITY.

TRUNKS AND BAGS.

TRUNKS REPAIRED PROMPTLY.

w

E have the best Hands for Ladies' beautiful Fancy Work
and every sort of Gentlemen's Stylish SHOES and
BOOTS, made with the very best Quality of Leather all imported
from America and Europe. Written orders sent with patterns
will be promptly executed and shipped to any part of the world
and to the interior of Japan.

All Leather Work nicely executed, and especially Ladies'
HAND BAGS, GLADSTONE, BRIEF, FITTED BAGS, and
SUIT CASES.

MODERATE PRICES.

A. FARSARI & Co.,

PHOTOGRAPH STUDIO,
Ho. 16, BOND, YOKOHAMA.

THE BEST PHOTOGRAPHIC
VIEWS AND COSTUMES

OF JAPAN.

PORTRAITS-GROUPS-HOUSES,

REPRODUCTIONS-ENLARGEMENTS,
TRANSPARENCIES-LANTERN SLIDES,
PORTRAITS IN JAPANESE COSTUME.

WORK OF ALL KINDS

FOR

AMATEUR PHOTOGRAPHERS,

NO. 16, BUND,

YOKOHAMA.

ESTABLISHED 1858.

MUSASHIYA,

DEALERS IN WORKS OF ART,

IVORIES, LACQUERS,

GOLD AND SILVER WARE,

BRONZE, CLOISONNfi,

FINELY-WORKED JEWELLERY A SPECIALTY.

Works of Art of All Descriptions
made to order.

TEA SETS, SPOONS, ETC.,
PUNCH BOWLS and Other Articles in Sifter made to order,

NO. 66, HONCHODORI, YOKOHAMA,
JAPAN.

TRADE ngP^l giFJIfllF MARK.

I NOZAWAYA, S

m SILK STORE, $

* N0' 30' 1

* Bentendori Nichome,

-j-

Yokohama,

A LARGE STOCK OF

SILKS, CRAPES, BROCADES,

EMBROIDERED DRESS GOODS,

OPERA HOODS, SASHES, GAUZES,

JAPANESE COSTUMES KIMONO,

Specially cut to fit the Figure,

SILK HANDKERCHIEFS.

Beautiful Fabrics in (.lit latest designs

ALWAYS ON HAND.

Orders are executed with care and promptitude at Moderate
(fixed) Prices.

MURAMATSU HOTEL,

IKAO, JAPAN.

THIS, the best Hotel in the district, is unequalled for the
comfort it affords, and is situated near the most celebrated
Hot Spring in Japan. There are several well ventilated,
commodious BED and SITTING ROOMS, and also a spacious
DINING ROOM, furnished in EUROPEAN STYLE. For the
convenience of Visitors, the Meals are prepared by experienced
Cooks. All kinds of WINES are always on hand. Baths free,
hot and cold. A large BILLIARD SALOON with European Tables.

CHARGES MODERATE.

Special Terms can be made by Week or Month.

H. MURAMATSU, Proprietor.

TAKEUCHI CHIUBEI, 1

PORCELAIN MANUFACTURER, ?

<S?

Factory No. I5I,Shindomachi, Nagoya, j®

Aichi, Prefecture. M

£

* PATENTED SHIPPO METAL WARE. I

ft PATENTED ISH1NOMAKI PORCELAIN. |

& PATENTED TRANSPARENT PORCELAIN. |

Patented Porcelain with Elevated Figures in Gold 2
Brocade. i

* COPPER SHIPPO. LACQUER SHIPPO. t

NIKKO

HOTEL.

Visitor to Nikko can not help exclaiming " Nikko is Kekko.'' This
old established Hotel is very favourably situated on the healthiest spot. All
the rooms are well furnished, and first class European cuisine is served. The place
is very quiet, the sir is delightfully pure, while the beauty and magnificence of the
surrounding scenery are far beyond description. The guests in our hotel will
hear nothing but the harmonious music of Nature, or see anything but the silvery
streams dancing in the sun and the beauty of Nature's handiwork. But when you
hear that " Nikko is Kekko," remember that the Nikko Hotel is " Kekko" too.

Visitors to Nikko, who have enough leisure to make a round-about journey,
are advised to come up here via Ashio and its vicinity, where much tine scenery
will he found. They, have no need to make the Nakasendo journey in doing so.
But if travellers have not much time, the visit should be made by train or tram.

KINDAYU HOTEL,

HOT SPRING BATH,

IKAO, JOSHU.

CHUZENJI LAKE,

2 HOURS FROM NIKKO, 4,500 FEET ABOVE SEA LEVEL,

/COMFORTABLE ACCOMMODATION and FOREIGN FOOD, as
>L/ well as WINES, SPIRITS, KIRIN BKER, &c., can be obtained at

KOMEYA'S HOTEL.

CHUZENJI is the COOLEST and HEALTHIEST SUMMER RESORT IN JAPAN. The

Maples in the early Autumn are'unsurpassed. Excellent Salmon

Fishing. Boats for hire.

F. TANIKAWA.

JAPANESE AND ENGLISH

STATIONERY AND FANCY GOODS.

No, 1, Minami Hakadori, Yokohama, Japan,

AH SHING & Co^

No, 16, WATER STREET, A FEW DOORS FROM GRAND HOTEL,

GENERAL TAILORS, OUTFITTERS, & DRESS MAKERS. A good Fit Guaranteed.

Everything latest in CLOTHS, CHINA SILKS, FURS, &c., always on hand.

All orders neatly and promptly executed. Prices very Moderate.

A CALL IS RESPECTFULLY SOLICITED. DON'T FORGET THE PLACE.

No. 16, Water Street, near Grand Hotel, Yokohama, Japan.

«EU DON," "Shanghai."

FINE ART EXHIBITION.

OLD & MODERN CURIOS. EVERY DESCRIPTION of JAPANESE ART GOODS
CARVED WOOD & ART FURNITURE ARE SPECIALITIES.

I HAVE the greatest pleasure in slating to all my patrons that the
Furniture manufactured by me is perfectly safe in any climate, be-
cause mine is the only house in Japan that pays attention to Seasoning

the wood.

n, KITANAKA-DORI, ITCHOME, YOKOHAMA, NEAR G. P.O.

~K7SHIEN,O, I

SILK STORE;

No. 19. HONCHO DORI, YOKOHAMA, No. 19.

ALWAYS ON HAND EMBROIDERED TEA GOWNS, DRESSING
GOWNS, BED COVERS, HANDKERCHIEFS, ETC.,

AND ALL KINDS OF

SILK AND SATIN CRAPES.

Orders, Wholesale or Retail, Promptly Executed.

DAITO-KWAN HOTEL,

SHIZUOKA.

ONLY a few steps from the Shizuoka Station will take Visitors
to this elegant Hotel, which is already known all over the
world. All the rooms are clean, airy, and well furnished with all
modern improvements. A magnificent view of the famous Fuji
Mountain can be enjoyed without moving a step out of the rooms,
and is enough to make Guests forget the fatigue of a long journey.
First class European cuisine will be served, and every desirable
convenience obtained at moderate charges.

SHINACHU HOTEL,

(HOTEL DU PROGRES)
NAGOYA, JAPAN.

HOTEL is pleasantly situated near the centre of
the city of Nagoya, which is celebrated for its porce-
lain and cloisonne factories and for an ancient Castle.

The Hotel is only ten minutes' ride from the Station
and fifteen minutes walk from the Castle.

offer the best European accommodation to be had
in the city.

MIYAKAWA KOZAN,
MAKUZU PORCELAIN MANUFACTURERS,

FUJIYAMA-SHITA, OTA, YOKOHAMA.

FINE PORCELAIN MADE TO ORDER.

""• SUZUKI, HONDA & Co,

FINE CLOISONNE MANUFACTURERS.

All orders promptly executed. Prices moderate.

No. 6-A, Shinyanagicho Nichome, Nagoya, Japan,

/CLOISONNE or Shippo is a kind of enamel having a beautiful polish and a high colour. The
>^ process of making CLOISONNE is long and intricate. First the coppersmith moulds and
cuts the copper into the shape desired, then wire is fired on the piece according to the design al-
re-dy drawn. The spaces between the wire are filled in with enamel of different colours and fired.
'I his firing process is repeated seven or eight times, each time more enamel being filled in. After
the piece has been fired it is put in the polisher's hands and becomes a beautiful piece of finished
cloissone of many colours and designs.

NAGOYA Hil- HOTEL.

THE fame of Nagoya City is very widely known as the central
Metropolis of the Japanese Empire, and it is scarcely
inferior to either of the three great cities, with its gloriously
shining golden (< Shachi Fish " set on the top of the famous Castle.
But the lack of a good Hotel in Nagoya has always occasioned
unspeakable inconvenience to Visitors. Therefore, the plan
has- just been carried out of constructing a perfect Hotel to give
the comfort and convenience desired by every visitor, and the
Hotel is expected to be completed before March of the twenty-
eighth year of Meiji (1895). The announcement will be made
when the Hotel is ready Lo welcome guests, and this opportunity
is taken of informing the world that the grand scheme has been
put into execution.

tt S. GOTO, 2 1

d* MANUFACTURER OF AND DEALER IN ^.

CLOISONNE WARE (SHIPPO),

4^ Uchidacho Hatchome, Yokohama.

H|

*js TTAVING had great experience during Twenty years ^ $

JLJ. (1874), the Cloisonne Ware from my factory is superior ^» g

to any other. Tourists are invited to inspect the process of /{ g;

-*~ manufacture. -~ «

4j£ Orders guaranteed to give complete satisfaction and at

Z® moderate prices. @

HAFUYA HOTEL,

HAKONE,

COMMANDS the BEST VIEWS of the CELEBRATED
\-s HAKONE LAKE and its vicinity, and offers the ONLY
SUPERIOR ACCOMMODATION in this beautiful Summer

Resort.

2 ETCHU-YA,

fi FINK ART STORE,

BEL ^^^^^m

ft No. 17, Idiome, Jfal Ginza, Tokyo, Japan.
* T. ISHIGURO,

J£ ^ DEALER AND MANUFACTURER IN

| NEW AND OLD BRONZE WARE,

5-J LACQUERED PORCELAIN,

an

+ PICTURES OF ALL KINDS,

gfL AT THE

tt CHEAPEST PRICE.

w

H?

Cu
t— <

O

D
O

CO

K. KOBAYASHI,

"JOKO."

MANUFACTURER OF AND WHOLESALE DEALER IN

FINE ART OBJECTS,

Ivory fork, Gold, Silver, and Bronze Ware, Lacquers,
Cloisonne' and Enamel Ware,

WOOD CARVING, CROCKERY,

&c., &c.,

BOTH ANCIENT AND MODERN.

21, UMICHO, KIOBASHi DIST,, BRANCH : 4, SAKAICHO iTCHOME,

TOKYO, JAPAN. YOKOHAMA, JAPAN.

DIRECT relations with the Artists enable us to offer their
works as the lowest prices, from which no reduction will
will be made.

Many Medals awarded at Domestic and Foreign Exhibitions.
All are cordially invited feo inspect the processes of manufacture.
Designs and objects specially made to order.

NAKAMURA,

NO. 13, OWARICHO, NICHOME,

SHIMBASHI STA™". rnftinn
THE IMPERIAL HOTEL, 1UIUU'

LACQUER, BRONZES, PORCELAIN,

CLOISONNE, AND IVORY CARVINGS.

ALSO

COLLECTIONS OF VARIOUS OTHER CURIOS,

BOTH NEW AND OLD.

Important to Travellers and Wholesale Buyers of Beally Fine and
Curios Objects of Japanese Art Work.

THE HIGH CLASS HOUSE, 13, Owaricho Nichome, Kin-
hashilvii, Tokyo, Managed by K. Nakamura, will be found
the most advantageous place in Japan to buy at.

NO TROUBLE TO SHOW GOODS.

GOODS CAREFULLY PACKED AND SHIPPED TO ALL
PARTS OF THE WORLD.

DOMEI

(IWAMOTO),

DEALER IN

HIGH-CLASS BROCADES,

EMBROIDERIES IN ANCIENT JAPANESE STYLE,

EMBROIDERED CLOTHING, TABLE COVERS,

SILK WRAPPERS & COVERINGS (FUKUSA),

&c., &c., &c.

EVERY ARTICLE MARKED IN PLAIN FIGURES,

NO REDUCTION AT ALL.

ALL GOODS GUARANTEED AS REPRESENTED
OR MONEY REFUNDED.

VISITORS TO JAPAN ARE CORDIALLY INVITED TO
INSPECT OUR COLLECTION.

No. 16, Kawase-Kokucho, Nakadori,
Nihombashi-ku, Tokyo.

KIMBEI MURATA,

9, KAWASE-KOKUCHO, NIHONBASHI, TOKYO.

OLD PRINTS, PICTURES, PICTURE-BOOKS,

LACQUERS, BRONZES, PORCELAINS, SWORDS,

ARMOUR, WOOD & IVORY CARVINGS,

ANCIENT AND MODERN

METAL-WORK,

ETC., Ere.

ANY KIND OF FINE -ART CURIOS CAN BE
OBTAINED AT MY SHOP AT MODERATE

PRICES.

PATRONIZED BY THE IMPERIAL HOUSEHOLD DEPARTMENT.

K. SANO

(KEIYEIDO),

FINE ART CURIO DEPOT.

No. 14, Shinyemoncho, flihonbashi-lui, Tokyo, Japan.

BRANCH:

In the Imperial Hotel, Tokyo.

PATRONIZED by H.I.M. THE EMPEROR

S. NAMIKAWA,

y MANU-
FACTURER

EXPORTER OF

CLOISONNE WARE

8, Shinyemoncho,

Nihonbashi-ku, Tokyo,

JAPAN.

INLAID WITH GOLD AND SILVER.

Painted Porcelains and every Description of Pottery.

have manufactured these poods r<nd denlt in them for many years. \Ve began the manu-
facture of a peculiar kind of Cloisonne in 1880. By bringing out improvements from time to
time, our wares have become noted for their excellence and have secured not a few Gold and Silver
Medals at domestic and foreign exhibitions. Among manufacturers, we alone received orders from
the Government for Cloisonne to be used in decorating the New Palace of the Emperor. Our
Cloisonne Ware without wires (first manufactured in 1889) secured a Gold Medal at the Thud
National Exhibitron, Prize Medals at the Fine Art Exhibition and the Competitive Exhibition held
in Uyeno Park, Tokyo, also Grand Prix at the Paris Exhibition.

All orders entrusted to me will be faithfully executed in any design? and at reasonable rates.

Inspection cordially invited.

LICENSED GUIDES.

S. 1TO.

J. KIMOTO.

Y. YAMAGUCHI.

K. YASHIMA.

H. YAMATO.

K. iSAKI.

K. YAMAMOTO.
T. TATSUMI.
T. NAKAMURA.

ASSISTANTS.

G. OGAWA. Y. OKITA.

K. FUJISAWA. Y. KOMORI.

E. YASUDA. G. FUKAYE.

J. MORITA. S. TAMURA.
S. INUTSUKA.

ECHIGOYA S. IKEDA,

'313, MOTOMACHI-DORL KOBE.
COLLECTOR OF ANTIQUITIES

IN

GOLD LACQUER WARE, PORCELAIN, SWORDS,

&c., £c., &c.
ESPECIALLY

OLD SATSUMA WARE.

MANUFACTURER OF

IVORY CARVINGS GOLD AND SILVER INLAID WORK

AND

FINE DECORATED SATSUMA WARE AND CLOISONNE,

and other examples ut Japanese Fine Art.

VISITORS ARE CORDIALLY INVITED,

All articles marked in PLAIN FIGURES at MODERATE

PRICES.

ARAKI KIMBEI'S HOTEL,

MIYATSU.

S Establishment is situated near AMANO-HASHIDATE,
one of the three most celebrated views of Japan, and is
about 75 miles from Kyoto. Taken altogether, the advantages
to be obtained in a visit to this Hotel are only to be found in
very few places in Japan. The accommodation is first-class, and
the Hotel, which is away from the tumult of the town, is placed
upon high, well-drained ground, and commands good views in
every direction, with perfect quiet. To the East a narrow strip
of sea separates the Hotel from a mountain, vessels constantly
passing to and fro. To the South is seen the harbour of Miyatsu,
and on the North a splendid view of Amano-Hashidate, with its
wonderful bridge-like strip of shining white sand about two
miles long shows in strong contrast with the dark green foliage
of the pines.

The vicinity is noted for its beautiful Peonies and Cherry
Blossoms, which when in full bloom present a scene never to
be forgotten.

As a health resort, this Hotel possesses great attractions, the air
being cool and full of ozone, the water perfectly pure, and the sea
smooth and limpid and unsurpassed for bathing; and these con-
ditions are found all through the Spring, Summer, and Autumn.

A wonderful spectacle is the Lantern Festival, and there is a
dance, known as the Miyatsu-odori, only to be seen in this
neighbourhood.

With all these advantages, the Hotel is well patronised, but
more guests will be cordially welcomed and treated with the
utmost consideration.

TRADE «&rrffe3 MARK.

EXHIBITION DEPARTMENT OF "GENROKU-KWAN."

R. OKAMOTO,

NO. 1, SHICHOME, MOTO-SUKIYACHO, KYOBASHIKU, TOKYO,

(Near the Shimbashi Terminus and the Principal Hotels.)

THE BEST COLOURED PHOTOGRAPHS

OF

SCENERY, COSTUMES, FLOWERS, ETC,,
Collotypes, Bromide Photographs, & Magic Lantern Slides,

ARTISTIC ALBUMS OF EVERY DESCRIPTION
AT MODERATE PRICES.

MR. KAJIMA SEIBEI,

(President of the kl Genroku-kwan," a Celebrated Photographic Studio.)

JAPAN, the Garden of the World, has been reproduced in the
unrivalled photographs of the celebrated Amateur, Mr.
KAJIMA SEIBEI, in such a manner as to make his work the
\vonder and admiration of every Visitor to our studio. Millions
of examples of Japanese Scenery and Costumes from the nega-
tives kindly lent by him were submitted to the Photographic
Society of Japan (Viscount ENOMOTO, President), and the Selec-
tion made from them has earned for Mr. KAJIMA the title of
" King of Amateur Photographers/' and the unqualified praise of
various European Photographic periodicals. This result he has
achieved by the excellence of his apparatus and his own match-
less artistic skill. A day is too short for a visit to our studio,
which is like making a tour of Japan. The best Artists ar^
employed for the Coloured Work.

ALL SHOULD COME AND SEE FOR THEMSELVES.

14 DAY USE

RETURN TO DESK FROM WHICH BORROWED

LOAN DEPT.

This book is due on the last date stamped below, or

on the date to which renewed.
Renewed books are subject to immediate recall.

SEP 12 1960

REC'D

T-

SEP? 1960

LJUN °1 fflfo

*.«•• J3&™\

:- -- - • : .'. ' A,

NOV 0 / '

U. C. BE

LD 21A-50m-4.'60
(A9562slO)476B-

General Library

University of California

Berkeley

te KVoto lindustria'
Iheld in celebration of

anniversary

of the city'

M143645

T.G7I

THE UNIVERSITY OF CALIFORNIA LIBRARY