Jozan Inari Shrine

 

Jozan Inari Shrine is tucked away at the northern end of the grounds of Matsue Castle and consequently is missed by most visitors.

It was a favorite spot of Lafcadio Hearn who lived literally a stone's throw away across the moat and visited here often.

Jozan Inari Shrine is the origin of the  Shikinen Shinkosai Festival, one of the top three boat festivals in Japan wherein a procession of brightly decorated boats transport the kami of the shrine 10 kilometers downriver to Adakaya Shrine. The festival only takes place every ten years and the next will be in 2029. Some of the boats are stored at Adakaya Shrine which is worth visiting for the unusual straw "serpents"

The shrine was established in 1638,  a couple of decades after the castle was built when the grandson of Ieyasu, Matsudaira Naomasa, took over the domain.

He had a vision that said Inari would protect not only the castle but also his Edo estate.

Though there are many different Inari's, its primary feature was as a kami of rice, although later it became very much associated with business success. In this case Inari was very much seen in Matsue as a kami to protect the home from fire.

The aroach to the shrine is like many others, and lacks the "tunnel" of red torii seen at many Inari shrines.

However, if you venture behind the main buildings you will find thousands of fox statues....

The previous post was on the Western-style Meiji-era guesthouse in the castle grounds.

Lafcadio Hearn's House & Gardens

Lafcadio Hearn's House & Gardens

Lafcadio Hearn was one of the first foreign writers in Japan whose books are still very popular today. Kwaidan, his book of ghost stories, and Glimpses of Unfamiliar Japan are two titles that are perhaps the most well-known, and the latter is what I have shamelessly cribbed for the title of my own blog.

He spent about a year living in the castle town of Matsue in Shimane where he gathered much of the material for "Glimpses of Unfamiliar Japan" and where he married and lived with his wife, the daughter of a local samurai.

The house where he lived for six months is located on Shiomi Nawate, a street of former samurai homes on the north bank of the castle moat.

Hearn, who took Japanese citizenship and the name Koizumi Yakumo, was particularly fond of the gardens in his samurai home.

It is not a very large house, though there is a little furniture and some artwork around. There is almost no infomation, for that you need to go next door.

Immediately adjacent to the former residence is the Lafcadio Hearn Memorial Museum which has a lot of permanent displays on Lafcadio Hearn and his life and works as well as changing temporary exhibitions on related subjects. On a visit, you may meet the curator, a great-grandson of Hearn.

The previous post in the series is the Gesshoji Temple garden.

Gesshoji Temple Matsudaira Tombs

Gesshoji Temple Matsudaira Tombs

Gesshoji Temple lies to the west of Matsue Castle and was used by the ruling Matsudaira clan as their funerary temple where tombs of succeeding daimyo were built

Consequently, the grounds are rather spacious, and not that well visited. 

The tomb of each daimyo has its own gate and there are plenty of stone lanterns given by vassals.

The gardens have a lot of hydrangeas, so in June and July it sees more visitors.

There are also Irises, cherry blossoms, and of course autumn foliage. There is a treasure hall with tea utensils and other artifacts from the clan, and a fine garden which I will cover in a later post.

Some of the gates to the tombs have some nice carvings, one in particular, the tomb of the 6th lord,  has a fine pair of carvings.

Thanks to Lafcadio Hearn, who lived nearby for less than a year, the most famous thing in the grounds is the giant stone turtle. He told how the turtle would wander around the area at night so the local residents placed the huge slab of stone on its back to prevent it....

Matsue City

The design on the main manhole design in Matsue City is a view of Shiomi Nawate Street which runs along the moat to the north of Matsue Castle.

This was one of the areas around the castle where samurai lived, and it is now one of the most popular tourist sites in the city.

There are some shops and a restaurant or two....

And an old samurai house, complete with mannequins, that is open to the public...

Lafcadio Hearns former residence is also here and open to the public, as well as a small museum on him.

Children's Inari Shrine

The 4th shrine I visited on my walk around Matsue was yet another Inari Shrine, knowns as the Children's Inari. It is well known mainly due to the writings of Lafcadio Hearn.

It was built by the Lord of Matsue as a subsidiary shrine of the Jozan Inari within the nearby castle grounds and he named it Komori Shrine which means child guardian.

In Hearns day mothers would come here to ask for help with their children that refused to take baths or have their heads shaved.

Nowadays those two problems are rare but parents leave prayers for any kind of problems they are having with their children, most often illness.

There is a smaller Inari shrine just behind the main building. There are many Inaris. According to the signboard at the shrine the main kami is listed as Uganomitama, the female as opposed to the more usual male Ukanomiama.

In the wake of Lafcadio Hearn. Part 3

"Then we advance, picking our way very, very carefully between the stone-towers, toward the mouth of the inner grotto, and reach the statue of Jizo before it. A seated Jizo carven in granite, holding in one hand the mystic jewel by virtue of which all wishes may be fulfilled; in the other his shakujo, or pilgrim's staff. Before him (strange condescension of Shinto faith!) a little torii has been erected, and a pair of gohei! Evidently this gentle divinity has no enemies; at the feet of the lover of children's ghosts, both creeds unite in tender homage."

"I said feet. But this subterranean Jizo has only one foot. The carven lotus on which he reposes has been fractured and broken: two great petals are missing; and the right foot, which must have rested upon one of them, has been knocked off at the ankle. This, I learn upon inquiry, has been done by the waves. In times of great storm the billows rush into the cavern like raging Oni, and sweep all the little stone towers into shingle as they come, and dash the statues against the rocks. But always during the first still night after the tempest the work is reconstructed as before!"

"Hotoke ga shimpai shite: naki-naki tsumi naoshi-masu.' They make mourning, the hotoke; weeping, they pile up the stones again, they rebuild their towers of prayer."

"All about the black mouth of the inner grotto the bone-coloured rock bears some resemblance to a vast pair of yawning jaws. Downward from this sinister portal the cavern-floor slopes into a deeper and darker aperture. And within it, as one's eyes become accustomed to the gloom, a still larger vision of stone towers is disclosed; and beyond them, in a nook of the grotto, three other statues of Jizo smile, each one with a torii before it. Here I have the misfortune to upset first one stone- pile and then another, while trying to proceed. My kurumaya, almost simultaneously, ruins a third. To atone therefore, we must build six new towers, or double the number of those which we have cast down. And while we are thus busied, the boatwoman tells of two fishermen who remained in the cavern through all one night, and heard the humming of the viewless gathering, and sounds of speech, like the speech of children murmuring in multitude."

"Only at night do the shadowy children come to build their little stone- heaps at the feet of Jizo; and it is said that every night the stones are changed. When I ask why they do not work by day, when there is none to see them, I am answered: 'O-Hi-San [2] might see them; the dead exceedingly fear the Lady-Sun.'"

"To the question, 'Why do they come from the sea?' I can get no satisfactory answer. But doubtless in the quaint imagination of this people, as also in that of many another, there lingers still the
primitive idea of some communication, mysterious and awful, between the world of waters and the world of the dead. It is always over the sea, after the Feast of Souls, that the spirits pass murmuring back to their dim realm, in those elfish little ships of straw which are launched for them upon the sixteenth day of the seventh moon. Even when these are launched upon rivers, or when floating lanterns are set adrift upon lakes or canals to light the ghosts upon their way, or when a mother
bereaved drops into some running stream one hundred little prints of Jizo for the sake of her lost darling, the vague idea behind the pious act is that all waters flow to the sea and the sea itself unto the 'Nether-distant Land.'"

In the Wake of Lafcadio Hearn. Part 2

"From the caves of the Kami we retrace our course for about a quarter of a mile; then make directly for an immense perpendicular wrinkle in the long line of black cliffs. Immediately before it a huge dark rock towers from the sea, whipped by the foam of breaking swells. Rounding it, we glide behind it into still water and shadow, the shadow of a monstrous cleft in the precipice of the coast."

"And suddenly, at an unsuspected angle, the mouth of another cavern yawns before us; and in another moment our boat touches its threshold of stone with a little shock that sends a long sonorous echo, like the sound of a temple drum, booming through all the abysmal place. A single glance tells me whither we have come."

"Far within the dusk I see the face of a Jizo, smiling in palestone, and before him, and all about him, a weird congregation of grey shapes without shape--a host of fantasticalities that strangely suggest
the wreck of a cemetery. From the sea the ribbed floor of the cavern slopes high through deepening shadows hack to the black mouth of a farther grotto; and all that slope is covered with hundreds and
thousands of forms like shattered haka. But as the eyes grow accustomed to the gloaming it becomes manifest that these were never haka; they are only little towers of stone and pebbles deftly piled up by long and patient labour."

"'Shinda kodomo no shigoto,' my kurumaya murmurs with a compassionate smile; 'all this is the work of the dead children.'"

"And we disembark. By counsel, I take off my shoes and put on a pair of zori, or straw sandals provided for me, as the rock is extremely slippery. The others land barefoot. But how to proceed soon becomes a puzzle: the countless stone-piles stand so close together that no space for the foot seems to be left between them."

"'Mada michiga arimasu!' the boatwoman announces, leading the way. There is a path."

"Following after her, we squeeze ourselves between the wall of the cavern on the right and some large rocks, and discover a very, very narrow passage left open between the stone-towers. But we are warned to be careful for the sake of the little ghosts: if any of their work be overturned, they will cry. So we move very cautiously and slowly across the cave to a space bare of stone-heaps, where the rocky floor is covered with a thin layer of sand, detritus of a crumbling ledge above it. And in that sand I see light prints of little feet, children's feet, tiny naked feet, only three or four inches long--the footprints of the infant ghosts."

"Had we come earlier, the boatwoman says, we should have seen many more. For 'tis at night, when the soil of the cavern is moist with dews and drippings from the roof, that They leave Their footprints upon it; but when the heat of the day comes, and the sand and the rocks dry up, the
prints of the little feet vanish away."

Text by Lafcadio Hearn. Glimpses of Unfamiliar Japan (1894)
Photos by Ojisanjake More Glimpses of Unfamilar japan (2009)

In the Wake of Lafcadio Hearn Part 1

In the wake of Lafcadio Hearn. part 1

"We cross the broad opening of the bay, journey along another half-mile of ghastly sea-precipice, and finally make for a lofty promontory of naked Plutonic rock. We pass by its menacing foot, slip along its side, and lo! at an angle opens the arched mouth of a wonderful cavern, broad, lofty, and
full of light, with no floor but the sea. Beneath us, as we slip into it, I can see rocks fully twenty feet down. The water is clear as air."

"This is the Shin-Kukedo, called the New Cavern, though assuredly older than human record by a hundred thousand years."

"A more beautiful sea-cave could scarcely be imagined. The sea, tunnelling the tall promontory through and through, has also, like a great architect, ribbed and groined and polished its mighty work. The arch of the entrance is certainly twenty feet above the deep water, and fifteen wide; and trillions of wave tongues have licked the vault and walls into wondrous smoothness."

"As we proceed, the rock-roof steadily heightens and the way widens. Then we unexpectedly glide under a heavy shower of fresh water, dripping from overhead. This spring is called the o-chozubachi or mitarashi [1] of Shin-Kukedo-San.. From the high vault at this point it is believed that a great stone will detach itself and fall upon any evil-hearted person who should attempt to enter the cave. I safely pass through the ordeal!"

Suddenly as we advance the boatwoman takes a stone from the bottom of the boat, and with it begins to rap heavily on the bow; and the hollow echoing is reiterated with thundering repercussions through all the cave. And in another instant we pass into a great burst of light, coming from the mouth of a magnificent and lofty archway on the left, opening into the cavern at right angles. This explains the singular illumination of the long vault, which at first seemed to come from beneath; for while the opening was still invisible all the water appeared to be suffused with light. Through this grand arch, between outlying rocks, a strip of beautiful green undulating coast appears, over miles of azure water. We glide on toward the third entrance to the Kukedo, opposite to that by which we came in; and enter the dwelling-place of the Kami and the Hotoke, for this grotto is sacred both to Shinto and to Buddhist faith.

"Here the Kukedo reaches its greatest altitude and breadth. Its vault is fully forty feet above the water, and its walls thirty feet apart. Far up on the right, near the roof, is a projecting white rock, and above the rock an orifice wherefrom a slow stream drips, seeming white as the rock itself."

"This is the legendary Fountain of Jizo, the fountain of milk at which the souls of dead children drink. Sometimes it flows more swiftly, sometimes more slowly; but it never ceases by night or day. And mothers suffering from want of milk come hither to pray that milk may be given unto them; and their prayer is heard. And mothers having more milk than their infants need come hither also, and pray to Jizo that so much as they can give may be taken for the dead children; and their prayer is heard, and their milk diminishes."

"At least thus the peasants of Izumo say."

"And the echoing of the swells leaping against the rocks without, the rushing and rippling of the tide against the walls, the heavy rain of percolating water, sounds of lapping and gurgling and plashing, and sounds of mysterious origin coming from no visible where, make it difficult for us to hear each other speak. The cavern seems full of voices, as if a host of invisible beings were holding tumultuous converse."

Text by Lafcadio Hearn. Glimpses of Unfamiliar Japan (1894)
Photos by Ojisanjake More Glimpses of Unfamilar japan (2009)