Fukuoka: Hakata Iccho-ken
While we were in Kyoto with Kurahashi-san, he was commenting on the
condition of shakuhachi temples in Japan at the present time. He said
that the Renpo-ken Temple in Fukushima is now no longer existent. There
are only a few existing Komuso temples left: Meian-ji in Kyoto, Hakata
Iccho-ken in Fukuoka, and Koukoku-ji in Wakyama. There used to be over
60 temples all across Japan but they're all gone now after the Meiji
government outlawed Komuso activity before the turn of the 20th
century.
We arrived in the evening of the 26th in Hakata, Fukuoka, and took a
taxi to the Kashima Honkan traditional Japanese Inn. It is a very
comfortable and charming place. The cold I contracted was really
hitting me hard now so as soon as I got into the room I took some
Tylenol, pulled out the futon, and crashed till the next morning. The
others went out and explored the always interesting Canal City, a huge
super mall in the center of Fukuoka City.
The next morning I was still a little weak from the cold but I had
scheduled a meeting with Iso Jozan, the abbot of Hakata Iccho-ken
Temple. I was told by the Inn caretaker that the temple I was looking
for was close to Sou Fuku-ji, and he gave me a map with directions how
to get there. So all of us took a long walk to the temple and found out
from the monk that the temple complex we were looking for not Sou
Fuku-ji but Shou Fuku-ji Temple complex (the very first Zen temple in
Japan). He also told me that Iccho-ken is also known as Saiko-ji
(Western Light Temple). We took a taxi to Shou Fuku-ji to save time as
we had no idea where we were. We finally made it to Sou Fuku-ji and
realized it was only 3 minutes from our ryokan!
As we entered the small front area of Iccho-ken Temple we were struck
by the slight dilapidated condition of the temple grounds. But it was
well kept and clean. As I was looking for the entrance of the building,
I turned a corner and and was startled by a bald-headed monk in black
robes sitting on the veranda overlooking the yard, behind sliding glass
doors. I bowed and he bowed back and got up and walked down a hall. I
approached the dark wooden sliding doors of the temple entrance and
slid the doors open and entered with the greeting,, "Ohayogozaimasu.
Sumimasen...." We were greeted by an elderly woman who gestured for us
to enter. We left our shoes in the genkan then walked to the guest room
where the monk on the veranda, Iso Jozan and his son, Genmyou-san were
waiting. Genmyou-san was also a priest as his head was shaved and he
wore monks clothes. After initial greetings I presented them with
omiyage (gifts) from Canada, then Iso Jozan made us ma-cha (ceremonial
powdered tea) served in beautiful tea bowls from Hagi City in Yamaguchi
Prefecture, and delicious sweets from Fukuoka. We all enjoyed the warm
atmosphere and energy. Iso Jozan and Genmyou didn't have much time to
spend with us that day as they had appointments to attend to that
morning so after our tea and sweets we all quickly entered the main
hall where the Butsudan was. There were 5 zabuton ready for us in front
of the altar facing the east window. If front of the butsudan was a low
table and a long cushion to sit on while playing shakuhachi. In this
ceremony we were to play one piece of shakuhachi honkyoku in front of
the Buddha image as a sign of respect and gratitude. Before playing we
did sanpai (three prostrations) in front of the Buddha statue. Iso
Jozan began with striking the large gong then chanted the Heart Sutra
(Hannya Shingyo) then we all took turns playing honkoyku. Darren
started with Tamuke; Ramona and Jane played Honshirabe together; I
played Yamagoe; then Genmyo played Hi Fu Mi Cho; and Iso Jozan played
Hachigaeshi to end the ceremony. He is about 89 years old and he played
very deeply and wonderfully. Quite inspirational. Then we all took
several photos of the space. Afterwards we all went back into the
guestroom and Iso Jozan and Genmyou bid us farewell as they had to go
to their appointments. I wanted to come back again the next day and
they said they had time then and that we were welcome.
The experience of playing with Iso Jozan and Genmyou-san was beautiful.
To play Yamagoe (a.k.a. Reiho, Shin Saji) at the place of its origin
was also a very special experience for me. Iso Jozan said that Yamagoe
was also called Kyuushu Reibo. Iso Jozan complimented our playing and
said that all who play shakuahchi are the same.
We spent the rest of the morning speaking with Mrs. Jozan. She related
to us some of Iso Jozan's story. He was originally from Hokkaido and
came to Kyuushu in his 20's. He was trained as a Buddhist monk in Kyoto
and was a komuso travelling all over Japan learning pieces from
different temples. He basically stayed in Fukuoka because it was the
warmest place he has been. She met him when he came to Saiko-ji to
study shakuhachi and eventually they got married and he became the head
monk there. Mrs. Jozan also told us a little bit about herself. She has
been playing since she was 13 (she's now 87) and started playing
shakuhachi as her father played shakuhachi and was surrounded by many
shakuhachi players growing up. Her primary repetoir is Meian Taizan-ha,
from Higuchi Taizan, the former head priest of Kyoto Meian-ji. I
commented that it is rare to meet a woman shakuhachi player but she
disagreed. She said that there are more women shakuhachi players than
we know. She said she was several women shakuhachi students. I asked if
she would play a piece for us, but she said she doesn't play much as
she has some health problems she's dealing with. But she still teaches
by speaking. She did treat us by showing us her flutes some of which
were very old....like over 200 years old which are in great condition.
A common trend in the old days that we noticed was that the maker would
carve many Chinese characters onto the surface of the shakuhachi and
inlay the characters with gold or some other precious metal. The pieces
she showed us were very beautiful and well-made. I asked if I could
blow the flutes, but she forbade it.
We left Saiko-ji around 12:00 noon and said we would be back tomorrow.
She said just call before we come.
Our next destination...............Kumamoto to visit Koryu Nishimura,
the son of legendary Kyotaku master, Nishimura Kokuu.
Follow the rise of the root
Within the heart of the beautiful shoot
Currents of clouds in our bones
Never too far from the stones
Standing alone on the plane
Casting shadows of time like the rain
For the bell of the mind to control
Evermore, nevermore, to ignore
The blade of the mouth to entrust
A wish so elusive it hurts
To make because empty is True
And Empty's emptiness more so
In gaseous matrix we breathe
Separated by thoughts we achieve
Grounding and vertical rise
Gripping the soil with no eyes
We struggle for such deep release
Which keeps us from finding the peace
of oceans and lakes far beyond
the 5 holes that mesmerize Dawn
and Dusk which sings to me now
As we walk into eternal glow
----Alcvin Takegawa Ramos, Nov. 2005
=<+>=<+>=<+>=<+>=<+>=<+>=<+>=
Alcvin Takegawa Ramos
Director
The Shakuhachi Society of BC (Bamboo-In)
=<+>=<+>=<+>=<+>=<+>=<+>=<+>=<+>=<+>=
S9-C3
Madeira Park, B.C.,V0N 2H0
Canada
tel: 604.883.2023
cell: 604.788.0060
MAIL: ramos@bamboo-in.com
WEB: http://www.bamboo-in.com/about-us/ramos.htm
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