Near the entrance there is a superb incense-burner in the most massive style of the older bronzes, with a mythical beast rampant upon it, and in high relief round it the Japanese signs of the zodiac—the rat, ox, tiger, rabbit, dragon, serpent, horse, goat, monkey, cock, dog, and hog. Clouds of incense rise continually from the perforations round the edge, and a black-toothed woman who keeps it burning is perpetually receiving small coins from the worshippers, who then pass on to the front of the altar to pray. The high altar, and indeed all that I should regard as properly the temple, are protected by a screen of coarsely-netted iron wire. This holy of holies is full of shrines and gods, gigantic candlesticks, colossal lotuses of gilded silver, offerings, lamps, lacquer, litany books, gongs, drums, bells, and all the mysterious symbols of a faith which is a system of morals and metaphysics to the educated and initiated, and an idolatrous superstition to the masses. In this interior the light was dim, the lamps burned low, the atmosphere was heavy with incense, and amidst its fumes shaven priests in chasubles and stoles moved noiselessly over the soft matting round the high altar on which Kwan-non is enshrined, lighting candles, striking bells, and murmuring prayers. In front of the screen is the treasury, a wooden chest 14 feet by 10, with a deep slit, into which all the worshippers cast copper coins with a ceaseless clinking sound.
There, too, they pray, if that can be called prayer which frequently consists only in the repetition of an uncomprehended phrase in a foreign tongue, bowing the head, raising the hands and rubbing them, murmuring a few words, telling beads, clapping the hands, bowing again, and then passing out or on to another shrine to repeat the same form. Merchants in silk clothing, soldiers in shabby French uniforms, farmers, coolies in “vile raiment,” mothers, maidens, swells in European clothes, even the samurai policemen, bow before the goddess of mercy. Most of the prayers were offered rapidly, a mere momentary interlude in the gurgle of careless talk, and without a pretence of reverence; but some of the petitioners obviously brought real woes in simple “faith.”
In one shrine there is a large idol, spotted all over with pellets of paper, and hundreds of these are sticking to the wire netting which protects him. A worshipper writes his petition on paper, or, better still, has it written for him by the priest, chews it to a pulp, and spits it at the divinity. If, having been well aimed, it passes through the wire and sticks, it is a good omen, if it lodges in the netting the prayer has probably been unheard. The Ni-ô and some of the gods outside the temple are similarly disfigured. On the left there is a shrine with a screen, to the bars of which innumerable prayers have been tied. On the right, accessible to all, sits Binzuru, one of Buddha’s original sixteen disciples. His face and appearance have been calm and amiable, with something of the quiet dignity of an elderly country gentleman of the reign of George III.; but he is now worn and defaced, and has not much more of eyes, nose, and mouth than the Sphinx; and the polished, red lacquer has disappeared from his hands and feet, for Binzuru is a great medicine god, and centuries of sick people have rubbed his face and limbs, and then have rubbed their own. A young woman went up to him, rubbed the back of his neck, and then rubbed her own. Then a modest-looking girl, leading an ancient woman with badly inflamed eyelids and paralysed arms, rubbed his eyelids, and then gently stroked the closed eyelids of the crone. Then a coolie, with a swelled knee, applied himself vigorously to Binzuru’s knee, and more gently to his own. Remember, this is the great temple of the populace, and “not many rich, not many noble, not many mighty,” enter its dim, dirty, crowded halls. [27]
But the great temple to Kwan-non is not the only sight of Asakusa. Outside it are countless shrines and temples, huge stone Amainu, or heavenly dogs, on rude blocks of stone, large cisterns of stone and bronze with and without canopies, containing water for the ablutions of the worshippers, cast iron Amainu on hewn stone pedestals—a recent gift—bronze and stone lanterns, a stone prayer-wheel in a stone post, figures of Buddha with the serene countenance of one who rests from his labours, stone idols, on which devotees have pasted slips of paper inscribed with prayers, with sticks of incense rising out of the ashes of hundreds of former sticks smouldering before them, blocks of hewn stone with Chinese and Sanskrit inscriptions, an eight-sided temple in which are figures of the “Five Hundred Disciples” of Buddha, a temple with the roof and upper part of the walls richly coloured, the circular Shintô mirror in an inner shrine, a bronze treasury outside with a bell, which is rung to attract the god’s attention, a striking, five-storied pagoda, with much red lacquer, and the ends of the roof-beams very boldly carved, its heavy eaves fringed with wind bells, and its uppermost roof terminating in a graceful copper spiral of great height, with the “sacred pearl” surrounded by flames for its finial. Near it, as near most temples, is an upright frame of plain wood with tablets, on which are inscribed the names of donors to the temple, and the amount of their gifts.
There is a handsome stone-floored temple to the south-east of the main building, to which we were the sole visitors. It is lofty and very richly decorated. In the centre is an octagonal revolving room, or rather shrine, of rich red lacquer most gorgeously ornamented. It rests on a frame of carved black lacquer, and has a lacquer gallery running round it, on which several richly decorated doors open. On the application of several shoulders to this gallery the shrine rotates. It is, in fact, a revolving library of the Buddhist Scriptures, and a single turn is equivalent to a single pious perusal of them. It is an exceedingly beautiful specimen of ancient decorative lacquer work. At the back part of the temple is a draped brass figure of Buddha, with one hand raised—a dignified piece of casting. All the Buddhas have Hindoo features, and the graceful drapery and oriental repose which have been imported from India contrast singularly with the grotesque extravagances of the indigenous Japanese conceptions. In the same temple are four monstrously extravagant figures carved in wood, life-size, with clawed toes on their feet, and two great fangs in addition to the teeth in each mouth. The heads of all are surrounded with flames, and are backed by golden circlets. They are extravagantly clothed in garments which look as if they were agitated by a violent wind; they wear helmets and partial suits of armour, and hold in their right hands something between a monarch’s sceptre and a priest’s staff. They have goggle eyes and open mouths, and their faces are in distorted and exaggerated action. One, painted bright red, tramples on a writhing devil painted bright pink; another, painted emerald green, tramples on a sea-green devil, an indigo blue monster tramples on a sky-blue fiend, and a bright pink monster treads under his clawed feet a flesh-coloured demon. I cannot give you any idea of the hideousness of their aspect, and was much inclined to sympathise with the more innocent-looking fiends whom they were maltreating. They occur very frequently in Buddhist temples, and are said by some to be assistant-torturers to Yemma, the lord of hell, and are called by others “The gods of the Four Quarters.”
The temple grounds are a most extraordinary sight. No English fair in the palmiest days of fairs ever presented such an array of attractions. Behind the temple are archery galleries in numbers, where girls, hardly so modest-looking as usual, smile and smirk, and bring straw-coloured tea in dainty cups, and tasteless sweetmeats on lacquer trays, and smoke their tiny pipes, and offer you bows of slender bamboo strips, two feet long, with rests for the arrows, and tiny cherry-wood arrows, bone-tipped, and feathered red, blue, and white, and smilingly, but quite unobtrusively, ask you to try your skill or luck at a target hanging in front of a square drum, flanked by red cushions. A click, a boom, or a hardly audible “thud,” indicate the result. Nearly all the archers were grown-up men, and many of them spend hours at a time in this childish sport.
All over the grounds booths with the usual charcoal fire, copper boiler, iron kettle of curious workmanship, tiny cups, fragrant aroma of tea, and winsome, graceful girls, invite you to drink and rest, and more solid but less inviting refreshments are also to be had. Rows of pretty paper lanterns decorate all the stalls. Then there are photograph galleries, mimic tea-gardens, tableaux in which a large number of groups of life-size figures with appropriate scenery are put into motion by a creaking wheel of great size, matted lounges for rest, stands with saucers of rice, beans and peas for offerings to the gods, the pigeons, and the two sacred horses, Albino ponies, with pink eyes and noses, revoltingly greedy creatures, eating all day long and still craving for more. There are booths for singing and dancing, and under one a professional story-teller was reciting to a densely packed crowd one of the old, popular stories of crime. There are booths where for a few rin you may have the pleasure of feeding some very ugly and greedy apes, or of watching mangy monkeys which have been taught to prostrate themselves Japanese fashion.
This letter is far too long, but to pass over Asakusa and its novelties when the impression of them is fresh would be to omit one of the most interesting sights in Japan. On the way back we passed red mail carts like those in London, a squadron of cavalry in European uniforms and with European saddles, and the carriage of the Minister of Marine, an English brougham with a pair of horses in English harness, and an escort of six troopers—a painful precaution adopted since the political assassination of Okubo, the Home Minister, three weeks ago. So the old and the new in this great city contrast with and jostle each other. The Mikado and his ministers, naval and military officers and men, the whole of the civil officials and the police, wear European clothes, as well as a number of dissipated-looking young men who aspire to represent “young Japan.” Carriages and houses in English style, with carpets, chairs, and tables, are becoming increasingly numerous, and the bad taste which regulates the purchase of foreign furnishings is as marked as the good taste which everywhere presides over the adornment of the houses in purely Japanese style. Happily these expensive and unbecoming innovations have scarcely affected female dress, and some ladies who adopted our fashions have given them up because of their discomfort and manifold difficulties and complications.
The Empress on State occasions appears in scarlet satin hakama, and flowing robes, and she and the Court ladies invariably wear the national costume. I have only seen two ladies in European dress; and this was at a dinner-party here, and they were the wives of Mr. Mori, the go-ahead Vice-Minister for Foreign Affairs, and of the Japanese Consul at Hong Kong; and both by long residence abroad have learned to wear it with ease. The wife of Saigo, the Minister of Education, called one day in an exquisite Japanese dress of dove-coloured silk crêpe, with a pale pink under-dress of the same material, which showed a little at the neck and sleeves. Her girdle was of rich dove-coloured silk, with a ghost of a pale pink blossom hovering upon it here and there. She had no frills or fripperies of any description, or ornaments, except a single pin in her chignon, and, with a sweet and charming face, she looked as graceful and dignified in her Japanese costume as she would have looked exactly the reverse in ours. Their costume has one striking advantage over ours. A woman is perfectly clothed if she has one garment and a girdle on, and perfectly dressed if she has two. There is a difference in features and expression—much exaggerated, however, by Japanese artists—between the faces of high-born women and those of the middle and lower classes. I decline to admire fat-faces, pug noses, thick lips, long eyes, turned up at the outer corners, and complexions which owe much to powder and paint. The habit of painting the lips with a reddish-yellow pigment, and of heavily powdering the face and throat with pearl powder, is a repulsive one. But it is hard to pronounce any unfavourable criticism on women who have so much kindly grace of manner.