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Fukiji Temple

The approach

As you climb the first steps on the approach to the gates of Fukiji Temple, notice the indentations in the stones. At one time, these held oil that was lit to illuminate the entrance at night, and it must have been a magical sight.

Halfway up the steps, on both sides of the wooden main gate, are fearsome stone deities standing guard. These are called nio, and were probably made much later than when the temple was built. They were carved out of the local stone, which is remarkably soft, and ideal for statuary. The one on the right has his mouth open to pronounce the sound “a” and the one on the left has his closed to pronounce the sound “un.” The phrase “a-un” is a Buddhist concept representing the beginning and end of all things, similar to the Biblical use of the Greek “alpha” and “omega.”

You’ll notice many examples of stone carving artistry all over this peninsula: in temples, by the side of the road—even in people’s private gardens. The stone in this area is ideal for carving, and it is said that some 70 percent of the country’s stone Buddhist statues can be found on the Kunisaki Peninsula. Although the surface of the stone guardians of Fukiji Temple has become worn and discolored, this matches the overall aesthetic of the temple today.

Amida Hall

The Fukiji Odo main hall, a building of subdued beauty, is very important to Kunisaki’s Buddhist heritage. It was built in the late Heian period (794–1185) as a hall to host the Buddhist deity Amida, who invites true believers to paradise. There are two large trees at the top of the steps: the one on the left is nutmeg; the one on the right is gingko. The graceful curves of the roof are meant to resemble a phoenix, one of Buddhism’s sacred animals.

The building is a National Treasure and the oldest wooden structure still standing in Kyushu. It is made of the wood of the nutmeg tree, one that legend says was over 3,000 meters tall. The legend goes on to say that woodsmen had a hard time cutting it down, because each night it would return to its former shape. But they eventually were able to fell it, and thus finish the temple. Today, the variety of the trees in the grounds help surround the temple in beauty year-round.

The interior

The appearance of the interior today is very different from when it was built. Most of the surface then was covered in paintings done in bright colors: reds, yellows, blues, and greens. The statue of Amida, which is 86 centimeters tall and also made of the wood of the nutmeg tree, was covered entirely in gold leaf. It must have been a stunning sight in the light filtering in under the low eaves.

Even the bare wooden columns that you see were once covered in intricate paintings, and the wall behind the statue featured a heavenly landscape. People who came to worship would circle the hallway around the statue in a clockwise direction as they said their prayers. Once your eyes have adjusted to the darkness, look up to where the walls meet the ceiling and you can catch a glimpse of many heavenly figures, though the paintings have faded over the years.

In later years, this kind of lavish decoration lost favor, and a more refined and sober style of art and architecture became popular throughout the country. It was thought that buildings like this one should show their years of wear and tear, and Fukiji Odo is a perfect example of the sublime beauty that has resulted from this aesthetic.

富貴寺

參道

登上通往富貴寺入口參道石階的第一級與第二級時，請仔細注意石頭上的凹洞。過去的人們會將燈油注入凹洞，入夜後點火，以照亮入口。遙想當時的風景，應是夢幻無比。

走至石階的一半，可見木造正門的兩側，分別立有一尊形貌可怖的石雕守護神。兩位神祇名叫仁王，據推測應是寺院建成很久後才另外增設。雕像石材質地極為柔軟，是該地區的特產，也是理想的石雕素材。右側雕像張口，示意「阿」聲；左側雕像閉口，表示「吽」聲。兩者合稱「阿吽」，為佛教概念，與聖經中的「阿耳法」和「敖默加」相似，意指宇宙的始終。

整座國東半島，處處可見石造藝術。無論是寺院、路邊、亦或是民宅庭園，相關作品琳瑯滿目。此地區的石材極適合雕刻，據說日本的石雕佛像中，有七成位於國東半島。雖然富貴寺的守護神像如今已磨損褪色，卻與寺院相得益彰，魅力不減。

阿彌陀堂

飄溢靜謐莊嚴之美的富貴寺大堂，在國東半島佛教遺產中的地位可說是無可取代。阿彌陀堂興建於平安時代（794-1185）後期，奉祀著指點信徒通往極樂淨土的佛教神祇阿彌陀如來。登上石階後，可見兩株巨樹，左右分別為榧樹和銀杏樹。

富貴寺是九州現存最古老的木造建築，目前已被日本政府指定為國寶。建築採用榧樹木材製作，傳說該樹高達三千公尺以上。民間更口耳相傳——從前的樵夫嘗試多次伐木無果。無論如何砍伐，每晚榧樹都會恢復原狀，不過最終總算大功告成，建築得以竣工。寺院境內如今鬱鬱蔥蔥，一年四季，皆是美景。

內部裝潢

研究認為，目前寺院的內部裝潢，與興建當初相差甚遠。起初寺院內的裝潢全面採用紅、黃、藍、綠等色彩極為繽紛的壁畫。高86公分的阿彌陀如来坐像，其材料與寺院同為榧木，從前更佈滿金箔，當昔日的陽光穿透低矮屋簷照於佛像身上時，定是一幅精美絕倫、璀璨動人之景。如今，木柱的塗漆雖已剝落，其實曾繪滿細膩的畫作，且佛像背後的牆面更繪有絢麗的極樂淨土。參拜者會在誦經的同時，順時鐘繞行中央的佛像。待雙眼習慣較暗的環境後，請仔細欣賞牆壁與天花板交疊的部分，可一覽眾多描繪極樂淨土的傑作，雖然已嚴重褪色，不過仍可品味其意韻。

之後，富麗堂皇的裝潢形式不再流行，日本的藝術與建築樣式轉向簡約洗鍊的風格。設計豪華的建築在歲月的流逝中日益陳舊，而這種效果正符合當時的審美，氛圍莊嚴的富貴寺大堂便是從此審美觀孕育而出的完美代表。

富贵寺

参道

登上通往富贵寺入口参道石阶的第一级与第二级时，请细心观察石块上的凹洞。昔日的人们会对着凹洞注入灯油，入夜后点火，以照亮入口。遥想当时的风景，应是极其梦幻唯美。

走至石阶的一半，可见木造正门的两侧，分别立有一尊形貌可怖的石雕守护神。两位神明名唤仁王，据推测，应是寺院建成很久后才另行添设。雕像的石材质地相当柔软，是该地区的特产，也是理想的石雕素材。右侧雕像张口，示意“阿”声；左侧雕像闭口，表示“吽”声。两者合称“阿吽”，为佛教概念，与圣经中的“阿耳法”和“敖默加”相似，意指宇宙的始终。

石造艺术数量繁多，遍布整座国东半岛。无论是寺院、路边、还是民宅庭园，相关作品处处可见。此地区的石材极适合雕刻，据说日本的石雕佛像中，有七成位于国东半岛。虽然富贵寺的守护神像如今已磨损褪色，却与寺院相得益彰，丝毫不减其魅力。

阿弥陀堂

飘溢静谧庄严之美的富贵寺大堂，在国东半岛佛教遗产中拥有举足轻重的地位。阿弥陀堂兴建于平安时代（794-1185）后期，奉祀着指引信徒通往极乐净土的佛教神祇——阿弥陀如来。登上石阶后，可见两株巨树，左为榧树、右为银杏。

富贵寺是九州现存最古老的木造建筑，现今被日本政府指定为国宝。建筑采用榧树木材制作，传说该树高达三千米以上。民间代代相传——从前的樵夫尝试多次伐木，但无论如何砍伐，每晚榧树都会恢复原状。不过最终总算大功告成，建筑得以竣工。寺院境内如今郁郁葱葱，一年四季，皆是迷人盛景。

内部装潢

研究认为，目前寺院的内部装潢，与兴建之初大相径庭。起初寺院内的墙面布满了红、黄、蓝、绿等色彩极为缤纷的壁画。高86厘米的阿弥陀如來坐像，其材料与寺院同为榧木，从前更覆满金箔，当昔日的阳光穿透低矮屋檐映于佛像身躯时，定是一幅精美纷呈、扣人心弦的美景。如今，木柱的涂漆已剥落，而原本木柱上则绘满了细腻的画作，且佛像背后的墙面更绘有绮丽的极乐净土。参拜者会在诵经的同时，顺时针绕行中央的佛像。待双眼习惯昏暗的环境后，可仔细欣赏墙壁与天花板交叠的部分。其间有众多描绘极乐净土的杰作，虽然已严重褪色，不过仍可一观，细细品味其中妙韵。

随后，富丽堂皇的装潢形式逐渐被冷落，日本的艺术与建筑样式开始转向简约质朴的风格。设计豪华富丽的建筑在经年累月间日益磨损，而这种效果正符合当时的审美观，氛围庄严的富贵寺大堂便是从此审美孕育而出的杰出代表。