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Beside the entrance to Jomyoji, the Nameri River ripples down to the sea in its rocky bed. Although so small, this stream is the chief river of Kamakura, and moreover is rendered historical by an incident concerning it which is known to every man, woman, and child of Japanese birth.
In ancient days there lived a magistrate of Kamakura named Aoto Fujitsuna, a man of lofty character and noted for his wisdom and strict integrity. He exercised his judicial talents under two of the Hojo regents, and one evening on returning from his duties at the Regency Office, he accidentally let fall some small pieces of copper money into the stream. Determined that government funds, however trifling, should not be allowed to disappear in this manner, Fujitsuna at once procured pine torches and enlisted the services of assistants, so that the coins were all successfully recovered. But as the cost of retrieving them naturally far exceeded the slight value of what was lost, the people criticized the worthy magistrate for his zeal in what seemed to be a wasteful and senseless proceeding. However, Fujitsuna, disgusted at their ignorance, indignantly pointed out that the coins if left in the riverbed would be permanently useless, while the money expended upon the torches and rewards to the assistants went into the pockets of the tradespeople, who would certainly be able to benefit therefrom.
The actual scene of this well-known incident appears to have been lost sight of: according to the temple authorities it took place in the immediate neighborhood of Jomyo-ji, but a notice is erected adjoining the temple of Hokai-ji claiming this part of the stream as the original spot.
Footnotes
* Now stored in the Kokuhokan (Kamakura National Treasure House) in the precincts of Tsurugaoka Hachiman Shrine.
* This statue is now stored in the temple's treasury, the small shrines having been destroyed in a typhoon.
Kōsoku-ji (Jūniso)
ABOUT TEN chō (a little over half a mile) beyond Jomyoji on the Kanazawa high road is the small village of Juniso. The chief feature of this insignificant cluster of farmers' cottages is the temple of Kosoku-ji, wherein is enshrined a famous statue of great and quity, known as the Hoyake, or Cheek-branded Amida.
Founded in the thirteenth century, the building was gradually falling into decay, when in a severe storm some sixty years ago the old temple was completely wrecked by the violence of a typhoon. However, shortly afterward it was rebuilt, various of the original timbers being retrieved from the debris and used in the reconstruction. Above the entrance hangs a valued symbol of imperial patronage—the ancient tablet whereon the name Kosokuji was inscribed by the emperor Go-Daigo (1318-39). The interior is inviting and quite attractive, with carvings painted in gay colors. Before the sanctuary is suspended an elaborate gilt canopy with long glittering pendants.
At the rear, an unexpected object reposes upon a side altar in the shape of a gigantic head of the Buddha, black with age, and which is said to be a memento of the Kamakura period. According to the story, to commemorate the third anniversary of Yoritomo's death, his widow Masako caused a huge statue of Buddha to be constructed and installed within a temple erected for that purpose. However, at a later date, the building caught fire and was entirely consumed. The body of the sacred figure shared the same fate, but the head was rescued from the flames and is venerated today as a relic of those remote times. Another side-altar is embellished with an excellent and convincing effigy of the first priest and founder of this temple—the famous Ippen Shonin (p. 118) who was also the spiritual founder of Yiigyo-ji the temple of the wandering priests at Fujisawa. Many stories and legends are related regarding this celebrated priest. It is recorded that on one occasion he made a pilgrimage to the Kumano Gongen (Shinto deity), and there practiced rigid austerities for the space of one hundred days. At the end of his penance the holy man implored the Almighty that a sign might be granted to prove his ministration had found favor in the sight of heaven. That night in a dream the sacred figure of Amida appeared in a luminous vapor near the bedside of the sleeping priest, offering him with extended hand a small paper. On awakening, Ippen Shonin found the paper of his dream lying beside his pillow, and inscribed with the words Namu Amida Butsu—the formula that has since been so fervently declaimed by countless numbers of pious enthusiasts. Thereupon in joy and triumph the priest bore his precious message on a proselytizing tour throughout the land, by its virtue gaining large numbers of converts to the faith.
The main altar is simplicity itself. A gilt figure of the Buddha keeps guard before the locked doors of the sanctuary wherein is enshrined the holy treasure of the temple—the Hoyake Amida, and to which no lesser functionary dian the head priest has sole access. From the dim recesses of its sanctum the large spiked aureole glimmers with reflected luster from the tapers lit before it; the gleaming eyes of jade seem to flash in a weird and threatening manner upon the invaders of its peace and solitude.
The sacred figure is three feet in height. With one hand uplifted as though in benison, this venerable and impressive statue has stood upon the petals of its tarnished lotus for the long space of seven centuries. A fine work of art, it is said to be one of the masterpieces of Unkei, and to which a quaint and unusual legend is attached.
An early record to Kamakura relates the following tradition:
In the days of the emperor Juntoku (1211-42) a sculptor called Unkei was practicing his art in Kyoto. His skill in carving sacred images achieved such fame that the shogun Sanetomo summoned him to Kamakura, in order that the temples and shrines of the military capital might benefit by his genius.
It happened that amongst the lathes residing in Kamakura was one Machi no Tsubone, well known for her piety and spiritual proclivities. On the arrival of the great sculptor, this lady specially requested him to carve a figure of Amida Nyorai (a personification of the ultimate reality of the universe—nyorai signifies benevolence and love), to install as the chief object of worship in her private shrine; moreover she desired the artist to complete the work within the space of forty-eight days, to commemorate the forty-eight desires of Amida for the rescue and salvation of mankind. The figure of the divinity was duly executed within the appointed time, to the great satisfaction of the lady Machi; the new acquisition was duly deposited in her shrine with all appropriate offerings of flowers and incense.
Now amongst the inmates of this lady's household was a priest of low grade named Manzai: this man, although of pious tendencies, was apparently not without his weak points.
Some time after the carving of the image, the inmates of households frequented by this priest began to miss certain of their possessions; gradually an insidious tongue circulated the report that the disappearance of these articles was connected with the ministrations of Manzai. These scandalous rumors at last assumed such proportions that the neighbors' indignation reached a climax—the priest was arrested, and by order of his incensed patron was placed in confinement during her absence, urgent business having compelled her immediate departure for a place called Shibuya.
After his mistress had set out the priest was seized, and as a mark of the public horror at his supposed crime, he was branded with a heated iron upon the left cheek. Whilst Manzai was undergoing this torture he cried in a loud voice to the compassionate Amida to preserve his servant from the hand of the enemy. Lo! a miracle was wrought! All traces of the seared flesh immediately disappeared, leaving the cheek of the outraged priest smooth and immaculate as before. Astounded at his non-success, the assailant repeated his cruel action; each time pressing the hot iron deeper into his victim's face—but as before, after each impression the scar miraculously vanished as though by magic.
That night the lady Machi had a strange dream. A vision of her statue of Amida appeared, and sorrowfully indicated his left cheek, as though in amazement at having been accorded such persecution. On awakening, Machi no Tsubone experienced such alarm and consternation that she decided to immediately return to Kamakura. Her first action upon arrival