Shingon Shu Hawaiʻi

Born, reborn and born again,
The beginnings of their births they do not know.
Dying, dying and dying once again,
The end of their deaths they do not know.
(Odaishisama)

The founder of the Shingon Buddhism sect in Japan, Kūkai (more commonly known as Kōbō Daishi or Odaishisama) lived between the years 774 to 835. In Japanese folklore, he has been given mystical powers, ability to create wells and springs for areas stricken by drought, abilities to heal the sick and raise the dead.

Born to an aristocratic family, Kūkai was well educated and charismatic, always able to gain the confidence of the people around him. While travelling to China, Kukai discovered Shingon esotericism and brought this back to Japan.

He convinced the Japanese Emperor to provide land for a temple complex on Mount Kōya, now the world headquarters of the Kōyasan Shingon sect of Japanese Buddhism.

Odaishisama’s Shingon Esoteric view of life is based on the idea of the how things originate with the Six Great-Elements of earth, water, fire, wind, space and consciousness (all of the Six Great-Elements are expressed in the single sanskrit letter "A;" the Shingon view of life lies in the realization that there is no beginning or end to the world of the Buddha.  (shingon-org)

Kūkai was a calligrapher; among the many achievements attributed to him is the invention of the kana, the syllabic Japanese script with which, in combination with Chinese characters (kanji,) the Japanese language is written today.

Having predicted his death the year before, Kūkai died on April 23, 835; it is believed that he remains in spirit.  He was given the name Kōbō Daishi after his death (Odaishisama) and is remembered as a saint, scholar, savior and spiritual healer.

The Issei (first generation) Japanese immigrants that came to Hawaiʻi immigrated to the Islands from 1885 to 1924.  Like the other ethnic immigrant groups, the Issei worked on sugar and pineapple plantations.  The term Issei came into common use and represented the idea of a new beginning and belonging.  When they came, they believed Odaishisama crossed the ocean with them.

On leaving Japan, the young Shingon followers received small portrait scrolls of Odaishisama from their elderly parents, who with tears in their eyes surely told them, "When you go to Hawaii there will be times of hardship and suffering, and also times when you will become sick. At those times, ask Odaishisama for help. Do not forget to say “Namu Daishi Henjo Kongo” (the mantra of Kōbō Daishi, “Homage to the Great Master, the Vajra of all-pervading spiritual radiance”) (NPS)

Shingon Shu Hawaiʻi (Hawai‘i Shingon Mission) was founded March 15, 1915 in Honolulu.  The first temple was built on the site in 1918, completed by Nakagawa Katsutaro, a master builder of Japanese-style temples. In 1929, Hego Fuchino renovated the temple along the lines of the Japanese Design Style.

The temple is a congregational Buddhist school, interested in studying and sharing the faith of Shingon esoteric Buddhism; the temple follows the original tenets established by Kobo Daishi who brought the teachings of esoteric Buddhism to Japan from China in 806 AD.  (ShingunShuHawaii)

The Hawaiʻi Shingon Mission (Shingon Shu Hawaiʻi) is one of seven missions remaining of this type of Japanese Design Style of architecture in Hawaiʻi. As the mother church for the Shingon sect in Hawaii, the Hawaiʻi Shingon Mission on Sheridan Street in Honolulu is one of the most elaborately decorated Buddhist temples in Hawaiʻi.

Although it was altered in 1978 and a major addition was built in 1992, the roof and its original carvings form the framework of its character and the interior furnishings brought from Japan maintain a major part of its significance. The most visible portion of the Hawaii Shingon Mission is its irimoya or steeply sloped-hipped gable roof with elaborate carvings adorning each gable end.

Termed "Japanese Design Style" by Lorraine Minatoishi Palumbo in her dissertation on Japanese temple architecture in Hawaiʻi, it is representative of a time period in Hawaiʻi when the Japanese, proud of their heritage, wanted the familiarity of home.

While this style lasted only 22 years before the Japanese took a decided lean towards a Western influence, the results of this strong connection to a style in Japan makes these buildings stand out in Hawaiʻi.

At the very top of the roof is a depiction of the tomoe, which suggests the yin-yang symbol of China, but represents the circle of life in Japan.

The karahafu-kohai or cusped gable entrance roof with a carving of the Hozo, a phoenix on top of the cusp and within the eyebrow, mark a well-defined entry. The phoenix is widely considered to represent the cycle of life, death, and rebirth. There is also a dragon, representing wisdom, good fortune and power, resting in the clouds.

Culturally, the social history of the Japanese is intertwined in the Buddhist philosophy (which originated in northern India by Prince Siddhartha Gautama, known as Buddha, in 528 BC.) (Lots of information here from NPS.)

The image shows the Shingon Shu Hawaiʻi (Hawai‘i Shingon Mission.)  In addition, I have included other related images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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Makiki Christian Church

At age 29, Reverend Takie Okumura of Japan set sail for Hawaiʻi in 1894. He was initially appointed to serve as minister of the Japanese Christian Church, the predecessor to today's Nuʻuanu Congregational Church.

Okumura left there and began his work in the section of Honolulu centering about Makiki district in November, 1902.  The work commenced in a little shed on Kīnaʻu Street near a Japanese camp and without a single church member.  (The Friend, November 1930)

Within a year, the shed became too small and a cottage across the street was rented which would accommodate about eighty people.  By his untiring effort, Okumura was able to organize the Makiki Church with 24-members on April 8, 1904.  The church continued to grow and was moved to the present building on the corner of King and Pensacola Streets in 1906.  (The Friend, November 1930)

In early-1910, the Makiki Japanese Church (later known as the Makiki Christian Church) introduced the custom of one English sermon per month.  The Church acquired property near McKinley High School (at the corner of Pensacola and Elm.)  Then, in the 1930, a new, enlarged church was contemplated and then constructed.   It was modeled after a Japanese Castle.

The "Makiki Castle" was the inspiration of the Reverend Okumura.  Okumura asked Hego Fuchino to design the church.

Born and educated in Japan, Fuchino immigrated to Hawaiʻi at age 17 or 18 and worked his way through ʻIolani School and the University of Hawaiʻi. He worked as a land surveyor and engineer in Honolulu while he taught himself architecture, and became one of the first Japanese architects in Hawaiʻi.

One of Fuchino's earliest works was the Kuakini Hospital, which he designed in 1919. He designed the Izumo Taisha Mission; commercial buildings; movie theaters such as the Haleiwa Theater; residences and apartments; and schools such as the Hawaiian Mission Academy.

Inspired by the early-Edo period Himeji Castle in Japan, the church is the only Christian church in the United States to be modeled after a sixteenth-century Japanese castle.

The Makiki Christian Church is a five-story redwood building whose main tower rises ninety feet above street level.  A three- story parish hall and Sunday school, built four years after the tower, extends out from the tower to give the building a T- shaped floor plan.

“The castle-like edifice with its stone wall and high tower is after the style of the castle built by Oda Nobuuaga, famous Shogun, in 1577 at Omi. A number of years before that the feudal lord of Yaniato, Matsunaga, built a castle with a high tower and called his tower "Tenshukaku," "ten" meaning heaven; "shu" lord; and "kaku," lower or the place to worship the Lord of Heaven.”  (The Friend, November 1930)

Rather than a building associated with war, Okumura indicated that the castle was a place of defense, meant to provide protection and peace, and that the earliest known building erected in Japan for Christian worship was Tamon Castle.

To the pastor, this design symbolized refuge, security and grandeur.  Finally convinced it was not warlike, the congregation raised funds to build the tower, lobby and chapel in 1931.  (Hibbard)

At the time of construction, China and Japan were at war; however, as a gesture of goodwill to show that animosity between the two nations did not extend to Hawaiʻi, Okumura specified that all building materials were to be purchased from City Mill, owned by KA Chung.  (HHF)

Later, the castle became "A Place To Protect The Country" but it is true that the tower originated as "A Place To Worship God."  The Makiki Church erects its new edifice with its tower indicating the thought of the Psalmist who sang "Jehovah is my fortress—my high tower.”  (The Friend, November 1930)

In November 1932 the tower was completed and in 1936 the Parish Hall was added to the church.

The churchyard is entered from the Elm Street side through a munekado (a gable-roofed gate supported by two pillars). The building's entrance is fourteen feet high with a pair of massive solid wooden doors.

A large vestibule, thirty feet in height, runs parallel to the sanctuary and provides access to the church and the parish hall wing. The interior includes acid-stained concrete floors, columns with elbow brackets, and 164 ceiling panels depicting fruits, flowers, and vegetables painted by Yunosuke Ogura.

Before he died in 1951, Okumura also established the Okumura Boys and Girls Home, which provided young men and women affordable housing; he started the first Japanese-language school and the first AJA baseball league.

Makiki Christian Church is listed on the Hawaii Register of Historic Places (No. 80-14-9719, dated September 30, 1988;) it is one of the most photographed churches in the Islands.

The image shows an early look of the  Makiki Christian Church.  In addition, I have added other images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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No Nails, Screws or Bolts

Japanese immigration to Hawaiʻi that began in 1868 marked the beginnings of large-scale settlement and, with it, the establishment of a new religious base.

Shinto is an ancient Japanese religion that evolved out of nature worship, fertility practices, divination, local folklore, notable heroes and shamanism.

Shinto worship natural places like mountains, springs and groves.   The Kami are the Shinto deities.  Animals are viewed as messengers of the Kami.

In 1882, the Izumo Taishakyo was formally incorporated and recognized by the Japanese government as an independent sect. Since then, the Izumo Taishakyo has been known as a "sectarian" or "religious" Shinto, as opposed to Jinja or Shrine Shinto, which was systematically placed under the management of the Japanese government.

The Rev. Katsuyoshi Miyao was sent by the headquarters in Japan to establish a branch in Hawaiʻi. He arrived in 1906 to offer the first Izumo Taisha service for the pioneer Japanese issei (first generation.)  They needed a temple.

Architect Hego Fuchino was retained to design the Izumo Taishakyo Mission for the Hawaiʻi branch.  Born (July 15, 1888) and educated in Japan, Hego Fuchino immigrated to Hawaiʻi at age 17 or 18 and worked his way through ʻIolani School and the University of Hawaiʻi.

He worked as a land surveyer and engineer in Honolulu, while he taught himself architecture, and became one of the first Japanese architects in Hawaiʻi. One of his earliest works was the Kuakini Hospital, which he designed in 1919.

He designed numerous churches, shrines and temples; commercial buildings; movie theaters, such as the Haleiwa Theater; residences and apartments; and schools such as the Hawaiian Mission Academy (many of which exist today.)  His designs reflect his Japanese heritage.

Fuchino designed a wooden A-frame building, replicating the early Shinto shrine of Izumo Taisha in Shimane Prefecture, Japan.  This finely detailed shrine was constructed by Takata, a master builder brought from Japan expressly for this project. Takata used wooden pegs instead of nails in building the shrine.  (Hibbard)

It is one of the few Shinto shrines in the US.  The temple was a place for worship and community activity they each shared. The shrine was seen as a place to go for healing, meditation and the casting out of devils.

Bishop Shigemaru Miyao, son of the Rev. Katsuyoshi Miyao, succeeded as head of the shrine (from 1935 until 1993.)

During WWII, while Bishop Shigemaru Miyao and his family were interned on the continent, the shrine property became the property of the City and County of Honolulu.  (Litigation suggests the mission felt pressured to turn it over to the C&C; the building was moved to Leleo Lane.)

Beginning in 1946, a small building was used as a temporary shrine. In 1953, more than 10,000 signatures petitioning for the return of the Shrine property were presented to the then-Board of Supervisors. Hearings and court actions followed.

In 1962, the court finally ordered the return of the shrine property to the shrine organization. Fund-raising continued from 1962 until 1968.

The dilapidated shrine was moved to its present site in 1966.   It was modified to conform to modern building codes, following plans by Robert Katsuyoshi.  It was rededicated in 1968 at the present location.

In 1985, the Hiroshima Prefectural Government (a sister city with Honolulu) presented a replica of the Hiroshima Peace bell as a gift to the people of Hawaiʻi, in recognition of their long-standing and strong relationship; it was dedicated at placed at Izumo Taishakyo Mission in 1990.

A visit to the shrine begins by passing under the torii (gate).  There are many symbolic steps which follow.

The washing of hands with running water at the basin represents a spiritual cleansing of oneself. The decoration of bamboo and pine represents the resilience and evergreen freshness welcoming the new year.

The shimenawa (straw rope) hung at the entrance to the Shrine was woven by the elder people of Shimane, Japan, and was displayed at the Honolulu Academy of Arts 1994 exhibition, "Traditional Japanese New Years."

While the head is bowed before the offering box, the priest's assistant waves the wooden wand (gohei) with paper streamers over the head of the worshipper. The wand and white paper and the waving represent purification and blessing.

The worshipper next approaches the booth where a communion of sake (rice wine) is served and ofuda (amulet for the protection of individuals) are obtained.

The image shows the Izumo Taishakyo Mission on College Walk on Nuʻuanu Stream.  Lots of information here from Honolulu Advertiser "Where We Worship."  In addition, I have added other images in a folder of like name in the Photos section on my Facebook and Google+ pages.

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