A Temple to Treasure: Futaiji, The Fairy-tale Temple of Nara

“I have always known
That at last I would
Take this road, but yesterday
I did not know that it would be today.”

From Tales of Ise. Translated by Kenneth Rexroth

This is one of many beautiful poems found in Tales of Ise, attributed to Ariwara no Narihira, who is traditionally thought to have been the model for its protagonist. There are a number of sites in Nara connected to the famed Narihira, and one of them is a Buddhist temple said to have been founded by him: Futaiji (or, “Temple of Non-Regression”). Both the literary and foundational attributions situate us in the ninth century and, as with many of the literary works and sites of the time, veracity can’t be easily affirmed, but connections at least attest to some kind of strong link. There are high imperial figures related to it, too: Emperor Heizei is thought to have used it as his retirement palace – the “Kaya no Gosho” (Kaya Palace) after his abdication from the throne.

Today, the temple is nestled in a lush and enchanting environment, a little distance from a local railway line with its regular whistling-by of trains and narrow streets crowded with more modern yet typically Nara residences (which can be quite quirky and wonderfully charming to the foreigner), yet still somewhat hidden away. Less palatial than fairy-tale like, it invites its visitors into what feels like a secret world. Indeed, since Narihira was, as the tales tell us, a romantic aristocrat lover in avid pursuit of both poetic and female beauty, he rather well fits a fairy tale narrative as well as a princely one. And though the temple is now less grand as it must once have been (though its past inspires flights of the imagination), real splendors still lie at every turn. In fact, in addition to a garden that rivals – in my opinion – the more manicured and high-design Isuien (for example) by showcasing an entirely different sense of landscape and one overflowing with floral beauty, it is home to some rare architectural motifs, and an ancient stone coffin – and it houses some fascinating and very early Buddhist statues.

Where to start? Why not logically, at the entrance? I drove there with a colleague one evening on the cusp of sundown just to check the route before a lengthier visit the following day and (as you may already be able to tell), fell in love at first sight. In a later conversation, Japanese historian of Nara’s (and Kyoto’s) temple architecture Tadamine Maki (of art.kyoto.jp) captured it well: the trees just in front of the entrance of Futaiji create a green tunnel, he remarked, reminding him of the soft sunlight through the trees in the landscape paintings by artist Jean-Baptiste Camille Corot, adding that “the tunnel also foreshadows the richness of nature inside Futaiji”. Indeed, the passage into the temple and the grounds within feel organically connected.

Within, architecture typical of the Nara period abounds – robust proportions of the main hall and the shape of the roof, for example – even though much of it is medieval reconstruction. In contrast the pagoda is remarkably delicate in proportion, details, and curves. Other features on the main buildings such as lattices (the motif used on one is named after Narihira) and the eaves display typical period and functional aesthetics and techniques. Such contrasts and details are a treat for the architecturally-inclined, and of course even for the less-informed eye that delights in sheer beauty and craftsmanship.

Entering the main hall, one is awed by an altar that functions as stage for a pantheon of fantastical Buddhist figures of the esoteric (or Tantric) tradition. The principal icon – Kannon Bodhisattva – appears to be very feminine, leading legend-makers to propose Narihira made it himself and that it was in the image of his ideal woman. It is thus popularly known as the “Narihira Kannon”. It is, too, designated an Important Cultural Property, a high accolade in the world of Japanese statuary (and its arts as a whole), in part for its construction and appearance and in part for its place in the early period of Buddhist sculpture in Japan. Interestingly, it probably wasn’t the original main icon here. An almost identical statue exists elsewhere, suggesting that it was once part of a later separated pair that stood either side of a different icon in typical triad formation. Five Wisdom Kings –guardians in the esoteric tradition – stand around our Kannon, and most are of the early Heian period (possibly as early as the 10th century), as indicated by softer expressions than those exhibited by later ferocious versions that tend to be seen now as typical for this group within the pantheon.

Wending one’s way along a narrow path from the main hall, a strange stone structure is glimpsed. A coffin, that seems to have been removed from a ancient tomb situated nearby (don’t forget that Nara is dotted with ancient tombs, many in the “keyhole” style, which still present mysteries but were undoubtedly the resting places of powerful leaders who ruled in and from the region). It is said that some embankment work was undertaken when Futaiji was built and the coffin found in a nearby ancient tomb at that time was probably moved there. Like the statues in the main hall, such objects are more often found in museums, but it is pleasing, in some way, that they remain here, connected territorially to their history.

And, finally, a little secret from my historian friend: according to temple staff, various birds such as Japanese nightingales (uguisu), kingfishers, sparrows, and crows flock to the temple. The nightingales are famous for their ho-ho-kekyo song but they usually need a bit of practice before a confident performance is given. And so, apparently, the nightingales will rehearse their song in a secluded area of the temple site before emerging to perform in the more conspicuous area in front of the main hall – their stage, so to speak.

This lovely temple with a history that winds back through the vicissitudes of history all the way to a famed poet and an imperial line, in its a wild and bountiful garden (its forsythia blooms are just one attraction of an astonishing variety), with its calm and pretty pond, old and interesting architecture, a mysterious tomb, performing nightingales, and a set of outstanding statues, is quite something amid the other ancient treasures of Nara. And whether it be for a private period of contemplation – so needed in our modern, rushed lives – or for stimulating (and in some cases satisfying) curiosity about Japanese history, it is truly worth a visit. Another hidden corner of Nara, just waiting to be discovered – at least, by those who can keep a secret.

Directions:

Address: 517, Horencho, Nara-shi, Nara

Nearest Station: from Shinomiya Station ( Kintetsu-nara Line), 14 minutes on foot

Turn north from Ichijo-dori, which runs east-west through the north side of the city, and cross the JR Kansai Line railroad crossing to find the old temple gate. 

Hours: 9-5