--- title: Names of Incense Used., part 6 — In Ghostly Japan · full text with trees description: Names of Incense Used., part 6, «In Ghostly Japan» by Lafcadio Hearn: the whole chapter, every sentence with its dependency tree and pragmatics. It begins: “_En-myō-In, Hō-yō-I-tei-ken-shi, Hō-ni’:—‘Nun-of-the-Law, Illustrious, Pure-of-heart-and-will, Famed-in-the-Law,—inhabiting the Mansion-of-the- --- [Mova](https://md.mova.elamur.ai/free/en/) · [this page in HTML](https://mova.elamur.ai/free/en/corpora/tales/pg8128/8/) [home](https://md.mova.elamur.ai/free/en/) / [corpora](https://md.mova.elamur.ai/free/en/corpora/) / [tales](https://md.mova.elamur.ai/free/en/corpora/tales/) / [In Ghostly Japan](https://md.mova.elamur.ai/free/en/corpora/tales/pg8128/) / Names of Incense Used., part 6 # Names of Incense Used., part 6 Names of Incense Used., part 6 of «In Ghostly Japan» by Lafcadio Hearn: the whole text, 138 sentences and 2741 words. The small number after every sentence leads to its own page with its syntax tree and pragmatics, parsed by Mova itself. **1** [2](https://md.mova.elamur.ai/free/en/corpora/tales/pg8128/8/page/2/) “\_En-myō-In, Hō-yō-I-tei-ken-shi, Hō-ni’:—‘Nun-of-the-Law, Illustrious, Pure-of-heart-and-will, Famed-in-the-Law,—inhabiting the Mansion-of-the-Preaching-of-Wonder.[1](1/ "tree and pragmatics") The grave of some Buddhist nun.”[2](2/ "tree and pragmatics") “What utter humbug!”[3](3/ "tree and pragmatics") I exclaimed.[4](4/ "tree and pragmatics") “That woman was only making fun of us.”[5](5/ "tree and pragmatics") “Now,” my friend protested, “you are unjust to the, woman\![6](6/ "tree and pragmatics") You came here because you wanted a sensation; and she tried her very best to please you.[7](7/ "tree and pragmatics") You did not suppose that ghost-story was true, did you?”[8](8/ "tree and pragmatics") Footprints of the Buddha[9](9/ "tree and pragmatics") I[10](10/ "tree and pragmatics") I was recently surprised to find, in Anderson’s catalogue of Japanese and Chinese paintings in the British Museum, this remarkable statement:—“It is to be noted that in Japan the figure of the Buddha is never represented by the feet, or pedestal alone, as in the Amravati remains, and many other Indian art-relics.”[11](11/ "tree and pragmatics") As a matter of fact the representation is not even rare in Japan.[12](12/ "tree and pragmatics") It is to be found not only upon stone monuments, but also in religious paintings,—especially certain kakemono suspended in temples.[13](13/ "tree and pragmatics") These kakemono usually display the footprints upon a very large scale, with a multitude of mystical symbols and characters.[14](14/ "tree and pragmatics") The sculptures may be less common; but in Tōkyō alone there are a number of \_Butsu-soku-séki\_, or “Buddha-foot stones,” which I have seen,—and probably several which I have not seen.[15](15/ "tree and pragmatics") There is one at the temple of Ekō-In, near Ryōgoku-bashi; one at the temple of Denbō-In, in Koishikawa; one at the temple of Denbō-In, in Asakusa; and a beautiful example at Zōjōji in Shiba.[16](16/ "tree and pragmatics") These are not cut out of a single block, but are composed of fragments cemented into the irregular traditional shape, and capped with a heavy slab of Nebukawa granite, on the polished surface of which the design is engraved in lines about one-tenth of an inch in depth.[17](17/ "tree and pragmatics") I should judge the average height of these pedestals to be about two feet four inches, and their greatest diameter about three feet.[18](18/ "tree and pragmatics") Around the footprints there are carved (in most of the examples) twelve little bunches of leaves and buds of the \_Bodai-jū\_ (“Bodhidruma”), or Bodhi-tree of Buddhist legend.[19](19/ "tree and pragmatics") In all cases the footprint design is about the same; but the monuments are different in quality and finish.[20](20/ "tree and pragmatics") That of Zōjōji,—with figures of divinities cut in low relief on its sides,—is the most ornate and costly of the four.[21](21/ "tree and pragmatics") The specimen at Ekō-In is very poor and plain.[22](22/ "tree and pragmatics") The first \_Butsu-soku-séki\_ made in Japan was that erected at Tōdaiji, in Nara.[23](23/ "tree and pragmatics") It was designed after a similar monument in China, said to be the faithful copy of an Indian original.[24](24/ "tree and pragmatics") Concerning this Indian original, the following tradition is given in an old Buddhist book:\[1\]—“In a temple of the province of Makada \[\_Maghada\_\] there is a great stone.[25](25/ "tree and pragmatics") The Buddha once trod upon this stone; and the prints of the soles of his feet remain upon its surface.[26](26/ "tree and pragmatics") The length of the impressions is one foot and eight inches,\[2\] and the width of them a little more than six inches.[27](27/ "tree and pragmatics") On the sole-part of each footprint there is the impression of a wheel; and upon each of the prints of the ten toes there is a flower-like design, which sometimes radiates light.[28](28/ "tree and pragmatics") When the Buddha felt that the time of his Nirvâna was approaching, he went to Kushina \[\_Kusinârâ\_\], and there stood upon that stone.[29](29/ "tree and pragmatics") He stood with his face to the south.[30](30/ "tree and pragmatics") Then he said to his disciple Anan \[\_Ânanda\_\]: ‘In this place I leave the impression of my feet, to remain for a last token.[31](31/ "tree and pragmatics") Although a king of this country will try to destroy the impression, it can never be entirely destroyed.’[32](32/ "tree and pragmatics") And indeed it has not been destroyed unto this day.[33](33/ "tree and pragmatics") Once a king who hated Buddhism caused the top of the stone to be pared off, so as to remove the impression; but after the surface had been removed, the footprints reappeared upon the stone.”[34](34/ "tree and pragmatics") \[1\] The Chinese title is pronounced by Japanese as \_Sei-iki-ki\_.[35](35/ "tree and pragmatics") “Sei-iki”(the Country of the West) was the old Japanese name for India; and thus the title might be rendered, “The Book about India.”[36](36/ "tree and pragmatics") I suppose this is the work known to Western scholars as \_Si-yu-ki\_.[37](37/ "tree and pragmatics") \[2\] “One \_shaku\_ and eight \_sun\_.”[38](38/ "tree and pragmatics") But the Japanese foot and inch are considerably longer than the English.[39](39/ "tree and pragmatics") Concerning the virtue of the representation of the footprints of the Buddha, there is sometimes quoted a text from the \_Kwan-butsu-sanmai-kyō\_ \[“Buddha-dhyâna-samâdhi-sâgara-sûtra”\], thus translated for me:—“In that time Shaka \[“Sâkyamuni”\] lifted up his foot….[40](40/ "tree and pragmatics") When the Buddha lifted up his foot all could perceive upon the sole of it the appearance of a wheel of a thousand spokes….[41](41/ "tree and pragmatics") And Shaka said: ‘Whosoever beholds the sign upon the sole of my foot shall be purified from all his faults.[42](42/ "tree and pragmatics") Even he who beholds the sign after my death shall be delivered from all the evil results of all his errors.”[43](43/ "tree and pragmatics") Various other texts of Japanese Buddhism affirm that whoever looks upon the footprints of the Buddha “shall be freed from the bonds of error, and conducted upon the Way of Enlightenment.”[44](44/ "tree and pragmatics") An outline of the footprints as engraved on one of the Japanese pedestals\[3\] should have some interest even for persons familiar with Indian sculptures of the S’rîpâda.[45](45/ "tree and pragmatics") The double-page drawing, accompanying this paper, and showing both footprints, has been made after the tracing at Dentsu-In, where the footprints have the full legendary dimension, It will be observed that there are only seven emblems: these are called in Japan the \_Shichi-Sō\_, or “Seven Appearances.”[46](46/ "tree and pragmatics") I got some information about them from the \_Shō-Ekō-Hō-Kwan\_,—a book used by the Jodo sect.[47](47/ "tree and pragmatics") This book also contains rough woodcuts of the footprints; and one of them I reproduce here for the purpose of calling attention to the curious form of the emblems upon the toes.[48](48/ "tree and pragmatics") They are said to be modifications of the \_manji\_, or svastikâ, but I doubt it.[49](49/ "tree and pragmatics") In the \_Butsu-soku-séki\_-tracings, the corresponding figures suggest the “flower-like design” mentioned in the tradition of the Maghada stone; while the symbols in the book-print suggest fire.[50](50/ "tree and pragmatics") Indeed their outline so much resembles the conventional flamelet-design of Buddhist decoration, that I cannot help thinking them originally intended to indicate the traditional luminosity of the footprints.[51](51/ "tree and pragmatics") Moreover, there is a text in the book called \_Hō-Kai-Shidai\_ that lends support to this supposition:—“The sole of the foot of the Buddha is flat,—like the base of a toilet-stand….[52](52/ "tree and pragmatics") Upon it are lines forming the appearance of a wheel of a thousand spokes….[53](53/ "tree and pragmatics") The toes are slender, round, long, straight, graceful, \_and somewhat luminous\_.”[54](54/ "tree and pragmatics") \[3\] A monument at Nara exhibits the \_S’rîpâda\_ in a form differing considerably from the design upon the Tōkyō pedestals.[55](55/ "tree and pragmatics") Bukkyō-Hyakkwa-Zensho) Right: (From the Shō-Ekō-Hō-Kwan)\][56](56/ "tree and pragmatics") The explanation of the Seven Appearances which is given by the \_Shō-Ekō-Hō-Kwan\_ cannot be called satisfactory; but it is not without interest in relation to Japanese popular Buddhism.[57](57/ "tree and pragmatics") The emblems are considered in the following order:—[58](58/ "tree and pragmatics") I.—\_The Svastikâ\_.[59](59/ "tree and pragmatics") The figure upon each toe is said to be a modification of the \_manji\_;\[4\] and although I doubt whether this is always the case, I have observed that on some of the large kakémono representing the footprints, the emblem really \_is\_ the svastikâ,—not a flamelet nor a flower-shape.[60](60/ "tree and pragmatics") \[5\] The Japanese commentator explains the svastikâ as a symbol of “everlasting bliss.”[61](61/ "tree and pragmatics") \[4\] Lit.: “The thousand-character” sign.[62](62/ "tree and pragmatics") \[5\] On some monuments and drawings there is a sort of disk made by a single line in spiral, on each toe,—together with the image of a small wheel.[63](63/ "tree and pragmatics") II.—\_The Fish\_ (\_Gyo\_).[64](64/ "tree and pragmatics") The fish signifies freedom from all restraints.[65](65/ "tree and pragmatics") As in the water a fish moves easily in any direction, so in the Buddha-state the fully-emancipated knows no restraints or obstructions.[66](66/ "tree and pragmatics") III.—\_The Diamond-Mace\_ (Jap.[67](67/ "tree and pragmatics") \_Kongō-sho;\_—Sansc.[68](68/ "tree and pragmatics") “Vadjra”).[69](69/ "tree and pragmatics") Explained as signifying the divine force that “strikes and breaks all the lusts (\_bonnō\_) of the world.”[70](70/ "tree and pragmatics") **1** [2](https://md.mova.elamur.ai/free/en/corpora/tales/pg8128/8/page/2/) - ← previous: [Names of Incense Used., part 5](https://md.mova.elamur.ai/free/en/corpora/tales/pg8128/7/) - next →: [page 2](https://md.mova.elamur.ai/free/en/corpora/tales/pg8128/8/page/2/) - ↑ back to [In Ghostly Japan](https://md.mova.elamur.ai/free/en/corpora/tales/pg8128/)