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Kindleストア › "Akutagawa Kenji" ›

U.S.A./England/Germany/
France/Spain/Italy/Japan/Canada/Brazil

When having " the too immoral irresponsibility " essentially,

But ridiculing the diplomacy of Japanese Government formerly with " the transistor diplomacy " about the Europe and America ( especially European )

In the page 6 of The Nikkei today " The purchase of China, 60 airbuses " " China, and the French summit, the France are a nuclear power plant technical cooperation ".

It carried the article which the Shimada Manabu correspondent in Beijing wrote by these indexes.

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The French executive of 50 company super, too, made an Orlando president accompany a visit to China this time.
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Akutagawa read this article and thought of it so, too.

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When having " the too immoral irresponsibility " essentially, Akutagawa is convinced of the the 20th century -type capitalism.
In the capitalism of the type in the 21st century which is not the 20th century -type capitalism, as for Japan, Akutagawa is writing that it is possible to make at the following book.

Please, subscribe.

Kindleストア › "Akutagawa Kenji" ›

U.S.A./England/Germany/
France/Spain/Italy/Japan/Canada/Brazil

“being we tried all means possible. Not to make China in the maximum market expand it of Japan

A feature article by the index with “fighting hard flag of the Rising Sun eco-car” “permitting in the VW future in the developing country " “the rewinding focus in China” was carried on The Nikkei 2 page yesterday.

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When they tried all means possible, the reader, too, should find that it is such a thing．

Hōryū-ji

Hōryū-ji
From Wikipedia, the free encyclopedia

Hōryū-ji (法隆寺, lit. Temple of the Flourishing Law) is a Buddhist temple in Ikaruga, Nara Prefecture, Japan. Its full name is Hōryū Gakumonji (法隆学問寺), or Learning Temple of the Flourishing Law, the complex serving as both a seminary and monastery.
The temple's pagoda is widely acknowledged to be one of the oldest wooden buildings existing in the world, underscoring Hōryū-ji's place as one of the most celebrated temples in Japan.[1][2] In 1993, Hōryū-ji was inscribed together with Hokki-ji as a UNESCO World Heritage Site under the name Buddhist Monuments in the Hōryū-ji Area. The Japanese government lists several of its structures, sculptures and artifacts as National Treasures.
Contents
1 History
1.1 Reconstruction controversy
2 Architecture
2.1 The present complex
2.2 Characteristics
2.3 Pagoda
2.4 Kondō
2.5 Yumedono (Hall of Dreams)
3 Treasures
3.1 Kudara Kannon
3.2 Murals
3.3 Shaka Triad
3.4 Tamamushi Shrine
3.5 Yakushi Nyorai
3.6 Yumedono (Guze) Kannon
4 Serving the needs of architectural research
5 Images
6 See also
7 References
8 External links

History

The temple was originally commissioned by Prince Shōtoku; at the time it was called Ikaruga-dera (斑鳩寺), a name that is still sometimes used. This first temple is believed to have been completed by 607. Hōryū-ji was dedicated to Yakushi Nyorai, the Buddha of healing and in honor of the prince's father. Excavations done in 1939 confirmed that Prince Shotoku's palace, the Ikaruga-no-miya (斑鳩宮), occupied the eastern part of the current temple complex, where the Tō-in (東院) sits today.[3] Also discovered were the ruins of a temple complex which was southwest of the prince's palace and not completely within the present temple complex. The original temple, named by modern historians and archaeologists Wakakusa-garan (若草伽藍), was lost, probably burned to the ground after being hit by lightning in 670. The temple was reconstructed but slightly reoriented in a northwest position, which is believed to have been completed by around 711. The temple was repaired and reassembled in the early twelfth century, in 1374, and 1603.
In 1950 the maintainers of the temple broke away from the Hossō sect. The owners currently call the temple the headquarters of the "Shōtoku" sect.

Reconstruction controversy
After the long controversy ignited by architecture historian Sekino in 1905, the majority consensus view as of 2006 is that the current precinct is a reconstruction. The excavations in 1939 that uncovered the older temple site including architectural remains of a Kondō and a pagoda, are accepted as conclusive proof. The original complex, Wakakusa-garan, probably burned down, but there is still a debate as to whether a fire actually occurred in 670, as recorded in the Nihon Shoki, or whether there was another reason.

Architecture

The present complex
The current temple is made up of two areas, the Sai-in (西院) in the west and the Tō-in (東院) in the east. The western part of the temple contains the Kondō (金堂, sanctuary Hall) and the temple's five-story pagoda. The Tō-in area holds the octagonal Yumedono Hall (夢殿, Hall of Dreams) and sits 122 meters east of the Sai-in area. The complex also contains monk's quarters, lecture halls, libraries, and dining halls.

Characteristics

The reconstructed buildings embraces the architectural influences ranging from Eastern Han to Northern Wei of China, as well as from the Three Kingdoms of Korea, particularly those of Baekje. With its origin dating back to early 7th century, the reconstruction has allowed Hōryū-ji to absorb and feature a unique fusion of early Asuka period style elements, added with some distinct ones only seen in Hōryū-ji, that were not found again in the architecture of the following Nara period.
There are certain features that suggest the current precinct of Hōryu-ji is not simply representative of the pure Asuka style.
One of the most notable is its layout. While most Japanese temples built during the Asuka period were arranged like their Chinese and Korean prototypes―the main gate, a pagoda, the main hall and the lecture hall on a straight line―the reconstructed Hōryū-ji breaks from those patterns by arranging the Kondō and pagoda side-by-side in the courtyard.

Another example found through the excavations at Yamada-dera, a lost temple originally dated 643, is the difference in the style of the corridor. Whereas Yamada-dera had thicker horizontal poles placed much more densely in the windows, those at Hōryū-ji are thinner, and placed at larger intervals.
On the other hand, major Asuka style characteristics seen in Hōryu-ji, and resembling designs found in the Yungang Grottoes (Northern Wei) are:
the railings, decorated with repeat-patterned swastika (卍字崩し高欄 manji kuzushi koran), and placed below are the inverted "V" shape support (人字形割束 ninji gata warizuka)
the entasis columns
The other notable Asuka style element that is only found in Japan to-date, and with the only surviving originals in Hōryu-ji is:
the cloud-shape hybrid bracket supporter (a 組物 kumimono (hybrid) of 雲斗 kumoto and 雲肘木 kumohijiki)
These Asuka characteristics are not seen in Nara period temples.

Pagoda

The pagoda has certain characteristics unique to Hōryū-ji
The five-story pagoda, located in Sai-in area, stands at 32.45 meters in height (122 feet) and is approximately 20X20 in width and is one of the oldest wooden buildings in the world. The wood used in the center pillar of the pagoda is estimated through a dendrochronological analysis to have been felled in 594.The central pillar rests three meters below the surface of the massive foundation stone, stretching into the ground. At its base is enshrined what is believed to be a fragment of one of Buddha's bones. Around it, four sculpted scenes from the life of the Buddha face north, east, south and west. Although the pagoda is five-storied, it does not allow one to climb up inside, but it is rather designed to inspire people with its external view.

Kondō

The kondō
The kondō, located side-by-side to the Pagoda in Sai-in, is another one of the oldest wood buildings extant in the world. The hall measures 18.5 meters by 15.2 meters. The hall is two storied, with roofs curved in the corners but only the first story has a double roof (裳階 mokoshi). This was added later in the Nara period with extra posts to hold up the original first roof because it extended more than four meters past the building.
Due to a fire incident that broke out on January 26, 1949, severe damage was caused to the building, mainly its first floor, and the murals. As a result of the restoration (completed in 1954), it is estimated that about fifteen to twenty percent of the original seventh century Kondo materials is left in the current building, while the charred members were carefully removed and rebuilt to a separate fireproof warehouse for future research.
Through a recent dendrochronological analysis carried out using the materials preserved during the restorations done in the 1950s, it has turned out that some of them were felled prior to 670, suggesting a possibility that the current kondō was already under construction when "the fire in 670", as recorded in the Nihon Shoki, burned the former Wakakusa-garan down.
The hall holds the famous Shaka Triad, together with a bronze Yakushi and Amida Nyorai statues, and other national treasures. The wall paintings shown today in the Kondō are a reproduction from 1967.


Yumedono, a hall associated with Prince Shōtoku

Yumedono (Hall of Dreams)
Yumedono is one of the main constructions in the Tō-in area, built on the ground which was once Prince Shōtoku's private palace, Ikaruga no miya. The present incarnation of this hall was built in 739 to assuage the Prince's spirit. The hall acquired its present-day common name in the Heian period, after a legend that says a Buddha arrived as Prince Shōtoku and meditated in a hall that existed here. The hall also contains the famous Yumedono Kannon (also Kuse-, or Guze Kannon); which is only displayed at certain times of the year.

Treasures

The treasures of the temple are considered to be a time capsule of Buddhist art from the sixth and seventh century. Much of the frescoes, statues, and other pieces of art within the temple, as well as the architecture of the temple's buildings themselves show the strong cultural influence from China, Korea and India and demonstrated the international connection of the countries of East Asia.
The Tokyo National Museum holds over 300 objects which were donated to the Imperial Household by Hōryu-ji in 1878. Some of these items are on public display, and all are available for study as part of the museum's digital collection.

Kudara Kannon

The Kudara Kannon is a statue of Guanyin and made of gilded camphor wood. It is 210 centimeters in height and shoulders the halo. The statue is unique in Japanese art, and regarded as one of the most important works of ancient Japan. It is housed in a specially created room in the temple's recently constructed treasure hall.
The statue is very thin which also creates the illusion of height. The word "Kudara" in Japanese stands for the kingdom of Baekje from the Three Kingdoms Period of Korea. A text from 1698 describes the statue as being rediscovered, but its origin is still unknown. Its name was given in the Meiji period because the legend that this statue came to Japan via the Korean Peninsula from India, and prior to this the statue was called Kokuzo Bosatsu. Some art critics[who] believe it to be a Korean creation, although another source suggests that the statue was carved in Japan. Japanese art historians believe that the statue was carved in late 7th century and influenced from the Southern dynasties styles.

Murals


Amidhaba paradise before fire
The murals of the kondō comprise fifty walls; four larger walls, eight mid-sized walls and thirty-eight small wall areas inside the building. The original murals were removed after the fire incident in 1949 and is kept in a non-public treasure house. Twenty small wall paints, escaping from the 1949 fire, are in its original place while reproductions replaced the parts that were removed due to damage.
It is generally believed that the paints on the large walls represents the Pure Land (浄土 jōdo) with Shaka, Amida, Miroku and Yakushi Nyorai Bhuddas. Some of the looks and clothing drawn carries certain similarities with murals found in Ajanta Caves (India) or Dunhuang (China.) Also observed are Tang and Inidian flavors of the Bosatsu and Kannon drawn on the sides of the Amida.
Judging from the early Tang influences, the present day consensus on the time of creation of the paintings is end of 7th century. Thus ruling out the possibilities of authorship by those early 7th century figures who were once believed to be the creator, e.g. Tori or Donchō, there is no one clearly credited to this work.

Shaka Triad
Tori Busshi is credited with the casting of this massive Buddhist statue. It is a triad and so Sakyamuni, the center Buddha, is attended by two other figures, Bhaisajyaguru to its right and Amitābha to its left. The statues are dated to 623 and the style originates in Northern Wei art.The style of the statue is also known as Tori style and is characterized by the two-dimensionality of the figure and the repetitive pattern-like depictions of the cloth the triad sits upon. At each corner of the triad stand four wooden Shitennō statues from the end of the Asuka period. They are the oldest examples of Shitennō statues in Japan.

Tamamushi Shrine

The Tamamushi Shrine, Tamamushi-no-zushi, a miniature shrine once decorated with the iridescent wings of the tamamushi beetle (Chrysochroa fulgidissima)
For more details on this topic, see Tamamushi Shrine.
The Tamamushi Shrine is a rare example of Asuka period painting and provides important evidence for contemporary architecture. The shrine is named for the many wings of the tamamushi beetle that once adorned it but have since deteriorated. The paintings that cover building and dais are of Jataka tales, bodhisattvas, the Four Heavenly Kings, and other buddhist iconography. The front panels of the building show the Four Guardian Kings clad in armor with long flowing scarves. On the side doors are bodhisattvas holding lotus blossoms and forming a mudra. On the back is represented a sacred landscape with heights topped with pagodas. The dais shows on its front relics, seated monks making offerings, and apsara. On the back is depicted Mount Sumeru. The right side shows a scene from the Nirvana Sutra, where the Buddha offers his life in return for more of the sacred teachings, before being caught in his plummet by Indra. On the left panel of the dais is a scene from the Golden Light Sutra of a bodhisattva removing his upper garments before casting himself from a cliff to feed a hungry tigress and her cubs.

Yakushi Nyorai
The statue of Yakushi of the original temple was saved during the fire of 670.[28] While the temple was being rebuilt the Shaka Triad was commissioned or had been already cast.

Yumedono (Guze) Kannon
This Kannon is a statue that supposedly is the representation of Prince Shotoku. It is approximate six feet and one inch and some sources believe that Shotoku was that height. It is 197 centimeters in height.The kannon is made of gilded wood. It is suggested that the statue was made to assuage the dead prince's spirit based on the fact that the halo was attached to the statue by a nail driven through the head. The statue bears a close resemblance to extant portraiture of the prince. The Kannon retains most of its gilt. It is in superb condition because it was kept in the Dream Hall and wrapped in five hundred meters of cloth and never viewed in sunlight. The statue was held to be sacred and was never seen until it was unwrapped at the demand of Ernest Fenollosa, who was charged by the Japanese government to catalogue the art of the state and later became a curator at the Boston Museum of Fine Art. Art historians suggest that this figure is based on the Tori style.

Serving the needs of architectural research

The Nihon Shoki records the arrival of a carpenter and a buddhist sculptor in 577, along with the monks, from Baekje to Japan, which is an underlying fact of importing the mainland expertise through this Korean kingdom with whom Japan enjoyed close relations, in order to build temples locally. These experts are recorded to have stationed in Naniwa, or present-day Osaka, where the Shitennō-ji was built.[29]
There is no record, on the other hand, as to who exactly were the people that have engaged in the constructing of Hōryū-ji, although the Nihon Shoki records the existence of 46 temples in 624.[6] The bracket work of Hōryū-ji resembles that of the partial remainder of a miniature Baekje gilt bronze pagoda.[30] Since there is no surviving architecture of the same period in Korea, Hōryu-ji, being the only wooden structure extant even partially from such time, is a living hint for estimating what Baekje temples would have looked like.[citation needed] In Samguk Sagi concerning the affairs of Baekje, it is recorded that the Yakushi was created by a Baekje craftsmen by Prince Shotoku to assist the recovery of his father, who, as it turned out, died before the completion of the temple complex

Avatamsaka Sutra

Avatamsaka Sutra
From Wikipedia, the free encyclopedia

The Avataṃsaka Sūtra (Sanskrit: महावैपुल्यबुद्धावतंसकसूत्र Mahāvaipulya Buddhāvataṃsaka Sūtra) is one of the most influential Mahayana sutras of East Asian Buddhism. The title is rendered in English as Flower Garland Sutra, Flower Adornment Sutra, or Flower Ornament Scripture.
The Avataṃsaka Sūtra describes a cosmos of infinite realms upon realms, mutually containing one another. The vision expressed in this work was the foundation for the creation of the Huayan school of Chinese Buddhism, which was characterized by a philosophy of interpenetration. Huayan is known as Kegon in Japan.

Title

This work has been used in a variety of countries. Some major traditional titles include the following:
Sanskrit: Mahāvaipulya Buddhāvataṃsaka Sūtra ( महावैपुल्यबुद्धावतंसकसूत्र). "The Great Vaipulya Sutra of the Buddha's Flower Garland." Vaipulya ("extensive") refers to key sizable, inclusive sūtras.[1] "Flower garland/wreath/adornment" refers to a manifestation of the beauty of Buddha's virtues or his inspiring glory.

Chinese: Dàfāngguǎng Fóhuáyán Jīng (大方廣佛華嚴經), commonly shortened to Huáyán Jīng (華嚴經), meaning "Flower-adorned (Splendid & Solemn) Sūtra." Vaipulya here is translated as "corrective and expansive", fāngguǎng (方廣). Huá (華) means at once "flower" (archaic) and "magnificence." Yán (嚴), short for zhuàngyán (莊嚴), means "to decorate (so that it is solemn, dignified)."
Japanese: Daihōkō Butsu-kegon Kyō (大方広仏華厳経), commonly Kegon Kyō (華厳経). This title is identical to Chinese above, just in Shinjitai characters.
Korean: Daebanggwang Bul-hwa-eom Gyeong (대방광불화엄경), commonly Hwa-eom Gyeong (화엄경). This title is also from Chinese, the same words written in Hangeul.
Vietnamese: Đại Phương Quảng Phật Hoa Nghiêm kinh, shortened to Hoa Nghiêm kinh. This title is similarly derived from the Chinese titles, transcribed in Quốc Ngữ.
Tibetan: མདོཕལཔོཆེ་, Wylie: mdo-phal-po-che
According to a Dunhuang manuscript, this text was also known as the Bodhisattvapiṭaka Buddhāvataṃsaka Sūtra.

History

The Avataṃsaka Sūtra was written in stages, beginning from at least 500 years after the death of the Buddha. It is "a very long text composed of a number of originally independent scriptures of diverse provenance, all of which were combined, probably in Central Asia, in the late third or the fourth century CE." Two full Chinese translations of the Avataṃsaka Sūtra were made. Fragmentary translation probably began in the 2nd century CE, and the famous Ten Stages Sutra, often treated as an individual scripture, was first translated in the 3rd century. The first complete Chinese version was completed by Buddhabhadra around 420 in 60 scrolls with 34 chapters,and the second by Śikṣānanda around 699 in 80 scrolls with 40 chapters. There is also a translation of the Gaṇḍavyūha section by Prajñā around 798. The second translation includes more sutras than the first, and the Tibetan translation, which is still later, includes many differences with the 80 scrolls version. Scholars conclude that sutras were being added to the collection.
According to Paramārtha, a 6th century monk from Ujjain in central India, the Avataṃsaka Sūtra is also called the "Bodhisattva Piṭaka." In his translation of the Mahāyānasaṃgrahabhāṣya, there is a reference to the Bodhisattva Piṭaka, which Paramārtha notes is the same as the Avataṃsaka Sūtra in 100,000 lines.Identification of the Avataṃsaka Sūtra as a "Bodhisattva Piṭaka" was also recorded in the colophon of a Chinese manuscript at the Mogao Caves: "Explication of the Ten Stages, entitled Creator of the Wisdom of an Omniscient Being by Degrees, a chapter of the Mahāyāna sūtra Bodhisattvapiṭaka Buddhāvataṃsaka, has ended."

Format

The sutra, among the longest in the Buddhist canon, contains 40 chapters on disparate topics, although there are overarching themes:[citation needed]
The interdependency of all phenomena (dharmas)
The progression of the Buddhist path to full Enlightenment, or Buddhahood
Two of the chapters serve as sutras in their own right, and have been cited in the writings of many Buddhists in East Asia.

The Ten-Stages Sutra

The sutra is also well known for its detailed description of the course of the bodhisattva's practice through ten stages where the Ten Stages Sutra, or Daśabhūmika Sūtra (Ch. 十地經, Wyl. phags pa sa bcu pa'i mdo), is the name given to this chapter of the Avataṃsaka Sūtra.[9] This sutra gives details on the ten stages (bhūmi) of development a bodhisattva must undergo to attain supreme enlightenment. The ten stages are also depicted in the Lankavatara Sutra and the Shurangama Sutra. The sutra also touches on the subject of the development of the "aspiration for Enlightenment" (Bodhicitta) to attain supreme Buddhahood.
[edit]The Gandavyuha Sutra

The last chapter of the Avatamsaka circulates as a separate and important text known as the Gaṇḍavyūha Sutra, which details the pilgrimage of the youth Sudhana at the behest of the bodhisattva Manjusri. Sudhana would converse with 52 masters in his quest for enlightenment. The antepenultimate master of Sudhana's pilgrimage is Maitreya. It is here that Sudhana encounters the Tower of Maitreya, which along with Indra's net, is a most startling metaphor for the infinite:
In the middle of the great tower... he saw the billion-world universe... and everywhere there was Sudhana at his feet... Thus Sudhana saw Maitreya's practices of... transcendence over countless eons (kalpa), from each of the squares of the check board wall... In the same way Sudhana... saw the whole supernal manifestation, was perfectly aware of it, understood it, contemplated it, used it as a means, beheld it, and saw himself there.

The penultimate master that Sudhana visits is the Manjusri Bodhisattva, the bodhisattva of great wisdom. Thus, one of the grandest of pilgrimages approaches its conclusion by revisiting where it began. The Gandavyhua suggests that with a subtle shift of perspective we may come to see that the enlightenment that the pilgrim so fervently sought was not only with him at every stage of his journey, but before it began as well―that enlightenment is not something to be gained, but "something" the pilgrim never departed from. The final master that Sudhana visits is Samantabhadra Bodhisattva, who teaches him that wisdom only exists for the sake of putting it into practice; that it is only good insofar as it benefits all living beings.

English translations

The Avataṃsaka Sūtra was translated in its entirety from the Śikṣānanda edition by Thomas Cleary, and was divided originally into three volumes. The latest edition, from 1993, is contained in a large single volume spanning 1656 pages.
The Flower Ornament Scripture : A Translation of the Avatamsaka Sūtra (1993) by Thomas Cleary, ISBN 0-87773-940-4
In addition to Thomas Cleary's translation, City of Ten Thousand Buddhas is translating the Avataṃsaka Sūtra along with a lengthy commentary by Venerable Hsuan Hua. Currently over twenty volumes are available, and it is estimated that there may be 75-100 volumes in the complete edition.

Tōdai-ji (東大寺 Tōdai-ji, Eastern Great Temple)

From Wikipedia, the free encyclopedia
Tōdai-ji

Tōdai-ji (東大寺 Tōdai-ji, Eastern Great Temple),is a Buddhist temple complex located in the city of Nara, Japan. Its Great Buddha Hall (大仏殿 Daibutsuden), houses the world's largest bronze statue of the Buddha Vairocana,[2] known in Japanese simply as Daibutsu (大仏). The temple also serves as the Japanese headquarters of the Kegon school of Buddhism. The temple is a listed UNESCO World Heritage Site as "Historic Monuments of Ancient Nara", together with seven other sites including temples, shrines and places in the city of Nara. Sika deer, regarded as messengers of the gods in the Shinto religion, roam the grounds freely.

Roots

The beginning of building a temple where the huge Tōdai-ji complex sits today can be dated to 728, when Emperor Shōmu established Kinshōsen-ji (金鐘山寺) as an appeasement for Prince Motoi, his first son with his Fujiwara clan consort Kōmyōshi. Prince Motoi died a year after his birth.
During the Tenpyō era, Japan suffered from a series of disasters and epidemics. It was after experiencing these problems that Emperor Shōmu issued an edict in 741 to promote the construction of provincial temples throughout the nation. Tōdai-ji (still Kinshōsen-ji at the time) was appointed as the Provincial temple of Yamato Province and the head of all the provincial temples. With the alleged coup d'état by Nagaya in 729, an outbreak of smallpox around 735–737, worsened by consecutive years of poor crops, then followed by a rebellion led by Fujiwara no Hirotsugu in 740, the country was in a chaotic position. Emperor Shōmu had been forced to move the capital four times, indicating the level of instability during this period.[5]
[edit]Role in early Japanese Buddhism
Under the Ritsuryō system of government in the Nara Period, Buddhism was heavily regulated by the state through the Sōgō (僧綱?, Office of Priestly Affairs). During this time, Tōdai-ji served as the central administrative temple for the provincial temples[6] for the six Buddhist schools in Japan at the time: the Hossō, Kegon, Jōjitsu, Sanron, Ritsu and Kusha. Letters dating from this time also show that all six Buddhist schools had offices at Tōdai-ji, complete with administrators, shrines and their own library.[6]

Japanese Buddhism during this time still maintained the lineage of the Vinaya and all officially licensed monks had to take their ordination under the Vinaya at Tōdai-ji. In 754, ordination was given by Ganjin, who arrived in Japan after overcoming hardships over 12 years and six attempts of crossing the sea from China, to Empress Kōken, former Emperor Shōmu and others. Later Buddhist monks, including Kūkai and Saichō took their ordination here as well. During Kūkai's administration of the Sōgō, additional ordination ceremonies were added to Tōdai-ji, including ordination of the Bodhisattva Precepts from the Brahma Net Sutra and the esoteric Precepts, or Samaya, from Kukai's own newly established Shingon school of Buddhism. Additionally, Kūkai added an Abhiseka Hall for the use of initiating monks of the six Nara schools into the esoteric teachings. by 829.
During its height of power, Tōdai-ji's famous Shuni-e ceremony was established by the monk Jitchū, and continues to this day.
[edit]Decline
As the center of power in Japanese Buddhism shifted away from Nara to Mount Hiei and the Tendai sect, and later when the capital of Japan moved to Kamakura, Tōdai-ji's role in maintaining authority declined as well. In later generations, the Vinaya lineage also died out, despite repeated attempts to revive it, thus no more ordination ceremonies take place at Tōdai-ji.

Architecture

Initial construction

In 743, Emperor Shōmu issued a law in which he stated that the people should become directly involved with the establishment of new Buddha temples throughout Japan. His personal belief was that such piety would inspire Buddha to protect his country from further disaster. Gyōki, with his pupils, traveled the provinces asking for donations. According to records kept by Tōdai-ji, more than 2,600,000 people in total helped construct the Great Buddha and its Hall.The 16 m (52 ft)[10] high statue was built through eight castings over three years, the head and neck being cast together as a separate element.[11] The making of the statue was started first in Shigaraki. After enduring multiple fires and earthquakes, the construction was eventually resumed in Nara in 745, and the Buddha was finally completed in 751. A year later, in 752, the eye-opening ceremony was held with an attendance of 10,000 people to celebrate the completion of the Buddha. The Indian priest Bodhisena performed the eye-opening for Emperor Shōmu. The project nearly bankrupted Japan's economy, consuming most of the available bronze of the time.
The original complex also contained two 100 m pagodas, perhaps second only to the pyramids of Egypt in height at the time. These were destroyed by earthquake. The Shōsōin was its storehouse, and now contains many artifacts from the Tenpyo period of Japanese history.

Reconstructions post-Nara Period

The Great Buddha Hall (Daibutsuden) has been rebuilt twice after fire. The current building was finished in 1709, and although immense―57 m long and 50 m wide―it is actually 30% smaller than its predecessor. Until 1998, it was the world's largest wooden building.It has been surpassed by modern structures, such as the Japanese baseball stadium 'Odate Jukai Dome', amongst others. The Great Buddha statue has been recast several times for various reasons, including earthquake damage. The current hands of the statue were made in the Momoyama Period (1568–1615), and the head was made in the Edo period (1615–1867).
The existing Nandaimon (Great South Gate) is a reconstruction of end-12th century based on Song Dynasty style. The dancing figures of the Nio, the two 28-foot-tall guardians at the Nandaimon, were built at around the same time by Unkei, Kaikei and their workshop members. The Nio are an A-un pair known as Ungyo, which by tradition has a facial expression with a closed mouth, and Agyo, which has an open mouthed expression.The two figures were closely evaluated and extensively restored by a team of art conservators between 1988 and 1993. Until then, these sculptures had never before been moved from the niches in which they were originally installed. This complex preservation project, costing $4.7 million, involved a restoration team of 15 experts from the National Treasure Repairing Institute in Kyoto.

Last night, too, the television was showing the perfection of such philosophy.

Last night, too, the television was showing the perfection of such philosophy.
But the TV station which is a subsidiary in the Asahi accomplished a report about the company where Asahi made know the actual state for the first time day before yesterday
This company can last out frequently on the paper, big advertising.
Yesterday, Asahi made to be consequential as the newspaper.
It fulfilled a function to tell a concealed fact to the large majority person.
However, as for Asahi where the mistake doesn't lie in being the newspaper of the capitalistic society, too, in the news last night, only touching was told by the feature with the newspaper only of that.
Rather, it was the report of so-called “the lift that the reserve worked “which faces a chairman in the company.

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about the philosophy of the the 20th century -type capitalism.

Ever, it criticized little remaining money and it accomplished a leaflet to The Nikkei.
It was the article which Akutagawa who chose Oosaka as the stage in the life of the contents, “resign from Osaka's turning only below ", wrote with the feeling that it is necessary to make know.

It constructed Tower condominium to the place where the way of Midosuji of Yodoya-bashi which is a business central part in Oosaka these days is a little way and to sell in lots, the land with ideal area came out.
As for 99 % of the developers who constructs now Tower condominium which they named in succession　and of them it is being sold in lots, at that time, it didn't find a local implication.

In only Akutagawa, for many years, only the big business company which did a close relationship distinguished between the implications.
However, the wealthy person in the district to have bought the land at Akutagawa's recommending a merit and for it to have been acquired by was influenced by the negative opinion which can have done from the developers who were for only lower lookig people and did the promise of the business decision with above-mentioned big business company in the wastepaper boiling.
As for the tribe who was maneuvering secretly in the back at this time, the enumeration didn't have time to the office worker who did a proper face from the waster.

Of Umeda's northern yard however, they accomplished the same thing.
This twice and in the land not to leave, the just competitive bid which was opened by the world and so on continued to emit only a negative comment to the business while it didn't do at all and acquiring beforehand in the half price 8 ticks.
1.5 years, it delayed set business commencing time, saying not noticing that it is possible to see nothing if not concerning to have carried the relaxation of the architecture condition behind the merit, too, and turning down it and the bad of the economic condition.
The coming mayor of the mass media which oneself have the instigator who made Japan's lost 20 let out Yes by a word to this proposal.

In the get-together of such feeblemindedness, JR-west Japan which was not created New Osaka City in the as scheduled building, being completed to effectively use land in Oosaka station which is the land of them.
Rucua Osaka which is the part was reported to have drawn in customers practicing only in the 100,000,000 person in the half year.
It saw it and as for the first time feeblemindedness, it recognized what place the northern yard was.

If making to be called such feeblemindedness that the word passes, it will should call the suitable sample of saying that it is one as much as it with the philosophy of the the 20th century -type capitalism.

Celebrity however, of course, there are all of them.

Doing some ceaselessness in Asahi, the newspaperman attended the opinion of these celebrities and several times put together the style special collection which sides with their opinion.

Doesn't it know whether to know that the land which is called a north yard is national fortune substantively and that it is property?

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in Asahi yesterday, the problem of the simultaneous throughout the country achievement test

It crossed and in Asahi yesterday, the problem of the simultaneous throughout the country achievement test of the schoolchild, the junior high school student was carried on the number page.
When Akutagawa was a schoolchild, this simultaneous throughout the country achievement test and a simultaneous throughout the country intelligence test were regularly done.
Saying that it is prohibited in the reason that this connects with the discrimination in recent years
The false moralism which is called what was it?
Recently, it removed the ban.

By the way, it was when Akutagawa was the fifth grade of an elementary school.
It was invited to the principal's office by the result of this test.
The headmaster told Akutagawa.
The terrible figure appeared.
You have the ability of the high school 3 grader already.

If America is born in the rich and happy home in Akutagawa, there is not a mistake in graduating from Harvard by the teen-ager.
However, the God continued to give a trial to make Akutagawa write "The Turntable of Civilization".
As the person in now who is anonymous so far, it continued to place in ordinary citizen.

Tadao Umesao and Jared diamond lived as the scholar; it continued to accomplish a true fieldwork and deepened consideration.
The God have made Akutagawa choose life as the businessman with empty pockets and made continue to accomplish a fieldwork in the real world.

Then, Akutagawa discovered the truth, "The Turntable of Civilization", ahead by several years of 20 in Rome.
Shunsuke Tsurumi oneself has the big consideration person whom Japan produced.
Akutagawa has a feeling like him therefore for the trial which was given by Akutagawa.

Of becoming 85 years old still, as for the education of the mother, it is always still more ignorant of the thought like the thought at referring Tsurumi, saying the mistaking of a mistaken anti- way to Tsurumi.

Because, peacefully, when wanting to be, the being of the unexpected human being of wanting to be happy, and so on, is done because it is not.

It was too cruel.

This is the common point which faces Shunsuke Tsurumi's and Akutagawa's family.

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Now, to be returning to the place where there should be Japanese economy

Now, to be returning to the place where there should be Japanese economy after Abe prime minister takes a right economic policy barely as the politician in Japan is as the world knew.
As the result, 20 years of long-range trends in the stock market in Japan which continued a fall changed to the rise.
As for the world, it knew this thing historically.
As it pointed out Akutagawa to the cause of extraordinary appreciation of yen of the separate few years therefore, the mass media and the men of culture in the incompetence, the shiftlessness of the politician in Japan and Japan which promoted this had a responsibility.
It knocked down a gap in this Japan and the developing country which becomes a competitor in Japan continued to take an extreme exchange poor policy.
Because Japan which continued to suffer damage most said nothing, America said nothing.
By the way, to prove a preceding chapter, it thinks that the people of the keen eyed owner understand ready therefore but the world must be explained because there are more overwhelmingly many people who don't accompany.
but not becoming as the thought of the tribe who headed a market arbitrarily because that 1 dollar breaks through 100 yen is natural flow now
That the stock market in Japan was floundering completely until Abe prime minister appeared is a historic fact.
Even now, it drops only several percent of money on the futures market only and the flow can be stopped.
When floundering, the tribe to have brought appreciation of yen Japan and to have come continued to operate always as the thinking.
Subscribe to Akutagawa's "The Turntable of Civilization" right now.
It isn't exaggerated even if it says that it is the only book which wrote the truth which has continued to be violated by the condition of which short selling is called the fall of appreciation of yen and the stock market by being able to be always hung on the such tribe.

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However, as for the boiling, as for notedness's, name's not having relation, a television in the newspaper, today yesterday was clear proved about whether or not it was genuine.
As for the thing, it should have known Japan's true first-class.
of doing the terrible of the impact of Akutagawa's appearance
Because because, Akutagawa is first-class on the inside of being first-class to be true that it is possible to have grown in this country
They should have known all facts to be an ace in their classmate.
The classmates should have thought of Akutagawa's appearing barely

There was an article which proves the right of "The Turntable of Civilization" in the Asahi

There was an article which proves the right of "The Turntable of Civilization" in page 9 in the Asahi newspapers yesterday.
To be the newspaper that Asahi represents Japan which is proud of the maximum circulation of the world is needless to say but as Akutagawa referred several times, it is still subscribed to only to about 16 % of the family in Japan.
Therefore, the people in 80 percent of family in Japan don't find that the beginning means what at all.
Of the subscriber in Asahi however, there should be many overlooking persons.

But the index was quite big
In 100 yen of 1 dollar of weak yen “The wall”
The option-trade
Is it the investor, the resistance who does loss?
Lastly, Nagasaki Junichiro newspaperman who wrote this article ended as follows.

The preamble great part abbreviation

It says that there is an investor who tries to lead to appreciation of yen to prevent right's passing away with the 100 yen breakthrough.
“The order to buy yen in the level verge of 100 yen is stagnant at the thousands-of-billions-of yen scale” There is a point of view with (the bigbank), too.
The trading volume of the dollar and the yen in the Tokyo market is about 15,000,000,000,000 yen of 1 daily-means.
About several% of the 15,000,000,000,000 yen of 1 daily “the defensive fight buying “obstructs a 100 yen level breakthrough.

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