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28-527: The site of Kinkaku-ji was originally a villa called Kitayama-dai (北山第), belonging to a powerful statesman, Saionji Kintsune . Kinkaku-ji's history dates to 1397, when the villa was purchased from the Saionji family by shōgun Ashikaga Yoshimitsu and transformed into the Kinkaku-ji complex. When Yoshimitsu died the building was converted into a Zen temple by his son, according to his wishes. During

56-618: A shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji , which are also located in Kyoto. When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors. The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor. Each floor of

84-595: A feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon. The third floor is built in traditional Chinese chán (Jpn. zen ) style, also known as zenshū- butsuden -zukuri . It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period. The roof

112-460: A pond, called Kyōko-chi ( 鏡湖池 , Mirror Pond ) , that reflects the building. The pond contains 10 smaller islands. The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature. Vantage points and focal points were established because of the strategic placement of the pavilion to view

140-404: A structure in which people take off their shoes and enter the house on stilts, sitting or sleeping directly on tatami mats without using chairs or beds, a roof made of laminated hinoki (Japanese cypress) bark instead of ceramic tiles, and a natural texture that is not painted on pillars. This style reached its peak in the 10th to 11th century, but when the samurai class gained power in

168-416: A sudden attack. To help guard against these attacks, a yagura or tower was built and torches were scattered around the gardens so they could be lit as quickly as possible. With the increase of people living under the same roof, extra rooms called hiro-bisashi ("spacious room under the eaves") were built grouped around the shinden . The zensho (膳所 kitchen) was also built bigger in order to accommodate

196-475: Is derived from the gold leaf that the pavilion is covered in. Gold was an important addition to the pavilion because of its underlying meaning. The gold employed was intended to mitigate and purify any pollution or negative thoughts and feelings towards death. Other than the symbolic meaning behind the gold leaf, the Muromachi period heavily relied on visual excesses. With the focus on the Golden Pavilion,

224-419: Is in a thatched pyramid with shingles. The building is topped with a bronze hōō (phoenix) ornament. From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines. The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between

252-527: Is one big space partitioned by portable screens (see List of partitions of traditional Japanese architecture ). Guests and residents of the house are seated on mats , laid out separately on a polished wooden floor. As the style developed, the moya became a formal, public space, and the hisashi was divided into private spaces. Since the shinden-zukuri -style house flourished during the Heian period, houses tended to be furnished and adorned with characteristic art of

280-605: The kentōshi (Japanese missions to Tang China) , distanced itself from Chinese culture, and brought into bloom a culture called ' Kokufu bunka (lit., national culture), which was in keeping with the Japanese climate and aesthetic sense. This style was an expression of Kokufu bunka in architecture, clearly showing the uniqueness of Japanese architecture and defining the characteristics of later Japanese architecture. Its features include an open structure with few walls that can be opened and closed with doors, shitomi and sudare ,

308-523: The Kamakura period (1185－1333), the buke-zukuri style became popular, and declined in the Muromachi period (1336－1573) due to the development of the shoin-zukuri style. The main characteristics of the shinden-zukuri are a special symmetry of the group of buildings and undeveloped space between them. A mansion was usually set on a one chō ( 町 , 109.1 m ) square. The main building,

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336-446: The shinden ( 寝殿 , sleeping place ) , is on the central north–south axis and faces south on an open courtyard. Two subsidiary buildings, the tai-no-ya ( 對屋・対屋 , lit. opposing rooms ) , are built to the right and left of the shinden , both running east–west. The tai-no-ya and the shinden are connected by two corridors called respectively sukiwatadono (透渡殿) and watadono (渡殿). A chūmon-rō (中門廊, central gate corridor) at

364-495: The Ōnin war (1467–1477), all of the buildings in the complex aside from the pavilion were burned down. On 2 July 1950, at 2:30 am, the pavilion was burned down by a 22-year-old novice monk, Hayashi Yoken ( Kinkaku-ji arson incident  [ ja ] ), who then attempted suicide on the Daimon-ji hill behind the building. He survived, and was subsequently taken into custody. The monk was sentenced to seven years in prison, but

392-519: The Japanese islands. The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology. The garden complex is an excellent example of Muromachi period garden design. The Muromachi period is considered to be a classical age of Japanese garden design. The correlation between buildings and its settings were greatly emphasized during this period. It

420-538: The Kinkaku uses a different architectural style. The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy. It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize

448-507: The details below. Request from 172.68.168.133 via cp1102 cp1102, Varnish XID 547773510 Upstream caches: cp1102 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 05:46:46 GMT Buke-zukuri Shinden-zukuri (寝殿造) refers to an architectural style created in the Heian period (794－1185) in Japan and used mainly for palaces and residences of nobles. In 894, Japan abolished

476-506: The era. In front of the moya across the courtyard is a garden with a pond. Water runs from a stream ( yarimizu 遣水) into a large pond to the south of the courtyard. The pond had islets and bridges combined with mountain shapes, trees, and rocks aimed at creating the feeling of being in the land of the Amida Buddha . Officers and guards lived by the east gates. The buke-zukuri was the style of houses built for military families. It

504-530: The gardens surrounding the pavilion. A small fishing hall ( 釣殿 , tsuri-dono ) or roofed deck is attached to the rear of the pavilion building, allowing a small boat to be moored under it. The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida , intending to illustrate a harmony between heaven and earth. The largest islet in the pond represents

532-458: The half-way points of the two corridors lead to a south courtyard, where many ceremonies were celebrated. From the watadono , narrow corridors extend south and end in tsuridono , small pavilions that travel in a U-shape around the courtyard. Wealthier aristocrats built more buildings behind the shinden and tai-no-ya . The room at the core of the shinden ( moya ) is surrounded by a (one ken wide) roofed aisle called hisashi . The moya

560-423: The pavilion and outside intrusions. The Golden Pavilion is set in a Japanese strolling garden ( 回遊式庭園 , kaiyū-shiki-teien , lit. a landscape garden in the go-round style) . The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over

588-434: The required people needed to cook all the food for the soldiers and members of the household. Unlike the shinden-zukuri , buke-zukuri homes were simple and practical, keeping away from the submersion into art and beauty that led to the downfall of the Heian court. Rooms characteristic of a buke-zukuri home are as follows: The buke-zukuri style changed throughout the Kamakura and Muromachi periods , and over times

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616-457: The surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ), is built in the style of warrior aristocrats, or buke-zukuri . On this floor, sliding wood doors and latticed windows create

644-420: The thickness of the gold leaf on the reconstructed building. Although Japanese gold leaf has become thinner with the passage of time due to improved technology, the 0.5 μm gold leaf is as thick as traditional Japanese gold leaf. Additionally, the interior of the building, including the paintings and Yoshimitsu's statue, were also restored. Finally, the roof was restored in 2003. The name Kinkaku (金閣 gold pavilion )

672-458: The way that the structure is mainly covered in that material creates an impression that stands out because of the sunlight reflecting and the effect the reflection creates on the pond. The Golden Pavilion ( 金閣 , Kinkaku ) is a three-story building on the grounds of the Rokuon-ji temple complex. The top two stories of the pavilion are covered with pure gold leaf . The pavilion functions as

700-522: Was an artistic way to integrate the structure within the landscape. The garden designs were characterized by a reduction in scale, a more central purpose, and a distinct setting. A minimalistic approach was brought to the garden design by recreating larger landscapes in a smaller scale around a structure. Saionji Kintsune Too Many Requests If you report this error to the Wikimedia System Administrators, please include

728-419: Was rebuilt. The pavilion is three stories high, 12.5 meters (40 feet) in height. The reconstruction is said to be a close copy of the original, although some have questioned whether such an extensive gold-leaf coating was used on the original structure. In 1984, it was discovered that the gold leaf on the reconstructed building had peeled off, and from 1986 to 1987, it was replaced with 0.5 μm gold leaf, five times

756-520: Was released because of mental illnesses ( persecution complex and schizophrenia ) on 29 September 1955; he died of tuberculosis in March 1956. During the fire, the original statue of Ashikaga Yoshimitsu was lost to the flames (now restored). A fictionalized version of these events is at the center of Yukio Mishima 's 1956 book The Temple of the Golden Pavilion , and another in the ballet RAkU . The present pavilion structure dates from 1955, when it

784-417: Was similar in structure to the regular shinden-zukuri with a few room changes to accommodate the differences between the aristocratic family and the military family. During the time when military families rose in power over the aristocrats, living quarters changed. Each lord had to build extra space in order to keep his soldiers around him at all times with their weapons within reach on the grounds in case of

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