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Gioji Temple

Gioji Temple is a former nunnery nestled in the hills of the Okusaga area, which lies just past Saga-Arashiyama in western Kyoto. The temple is known for its garden of lush moss and maple trees that frame a rustic, thatched-roof building. Its history has a strong connection to Gio, a court dancer turned nun, whose story is detailed in Heike Monogatari (The Tale of the Heike), a classic thirteenth-century epic.

According to the story, Gio was a talented court dancer (shirabyoshi) who won the heart of Taira no Kiyomori (1118–1181), a military leader and one of the most powerful men in Kyoto. Though she enjoyed his favor for several years, he eventually turned his attentions to a younger dancer named Hotoke Gozen. Gio was not only sent away from Kiyomori’s side, but was even forced to perform for his new favorite. Humiliated, Gio contemplated suicide, but ultimately chose to leave the capital and become a nun together with her mother Toji and sister Gijo. They settled in a small hut on the grounds of a large temple called Ojoin in the Okusaga area and dedicated their lives to prayer. Hotoke Gozen, realizing that eventually she would also be tossed aside and wishing to atone for the pain she had caused, followed the three women, and they spent the rest of their days together as nuns.

A small nunnery on the grounds of Ojoin later came to be known as Gioji in memory of Gio. Even after Ojoin itself fell into disrepair, the nunnery remained active until the Meiji government ordered the separation of Shinto and Buddhist religious practice in 1868, after which Buddhist temples fell out of favor. In 1895, Gioji was reestablished with the support of the nearby Daikakuji Temple, which had been keeping its sacred objects safe. A thatched-roof building with tatami floors and a round, latticed window was donated by a former Kyoto governor to support the temple’s revival. It now houses a statue of Dainichi Buddha as the principal object of worship, surrounded by statues of Gio, Gijo, Toji, Hotoke Gozen, and Kiyomori. Of these, the statues of Gio and Gijo are considered to date back to the Kamakura period (1185–1333). A modest graveyard and two large stone markers honoring the figures from Gio’s story can be found a short distance away. The taller marker on the left memorializes Gio, Gijo, and Toji, while the one on the right pays tribute to Kiyomori.

The famous garden at Gioji is filled with maple trees and is thickly carpeted with moss that covers most of the temple’s grounds. There are more than 20 varieties of moss, tended just enough to make the most of their natural beauty. One corner of the garden displays samples of the different species of moss that grow there, demonstrating the various textures and hues. The garden path meanders past evergreen camellias, a small winding stream, a bamboo grove just beyond the fence line, and traditional landscape decorations of stone lanterns and water basins. The garden is particularly popular in autumn, but offers beautiful scenery in every season.

祇王寺

祇王寺從前是一座尼庵，坐落在京都西面的嵯峨嵐山背後、奧嵯峨地區的丘陵地帶。寺院的庭院以濃郁的青苔、繁茂的楓樹以及質樸天然的茅葺建築而聞名。寺院歷史與一位名叫「祇王」的宮廷舞姬關聯密切，她原本是一名「白拍子」（盛行於平安時代末期至室町時代初期一種歌舞表演的舞者），後來出家為尼，她的故事在13世紀的著名長篇歷史小說《平家物語》中有詳細記敘。

據故事所說，祇王是一名非常有天賦的舞蹈家，深得當時京都最有權勢的武將之一平清盛（1118-1181）的青睞。平清盛儘管寵愛祇王多年，但目光最終還是轉向了另一位更年輕的名為「佛御前」的白拍子。祇王不但被平清盛從身邊趕走，更被迫為取悅他的新寵表演。祇王不堪羞辱想過自殺，但最終還是選擇離開都城，和母親刀自、妹妹祇女一同出家為尼。她們在奧嵯峨地區一個名叫「往生院」的大寺中結廬而居，一心一意誦經奉佛。後來，佛御前幡然醒悟，意識到自己終有一天也難逃被拋棄的命運，於是想要彌補自己曾為祇王帶來的痛苦，最終追隨她們母女三人削髮為尼，四人相伴度過了餘生。

日後，為了紀念祇王，人們在往生院內建起一座小小的尼庵，起名「祇王寺」。即使在往生院本身已經荒蕪廢棄時，祇王寺依然香火不斷，直到1868年，明治政府下令拆分神道教和佛教，各佛教寺院從此式微乃至沒落。幸而有相距不遠的大覺寺代為保住了祇王寺的佛像和古墓。1895年，在大覺寺的支援下，祇王寺得以重建。為援助寺廟復興，原京都府知事（直轄市市長、縣長）捐建了一座有榻榻米地板、格子圓窗的茅葺房屋。如今祇王寺的本尊佛大日如來像就供奉在這處建築中，佛像周圍環侍著祇王、祇女、刀自、佛御前以及平清盛的塑像，其中祇王像和祇女像被認為出自鐮倉時代（1185-1333）。相距此地不遠有一處不起眼的墓地和兩座祭奠祇王故事人物的大石塔。左側石塔較高大，用來紀念祇王、祇女和刀自，右邊石塔則為祭拜平清盛而設。

著名的祇王寺庭院裡種滿了楓樹，地面大多覆蓋著厚厚的青苔，寺院內的苔蘚種類不下20種，在精心養護之下，充分展現著苔蘚本身的自然之美。庭院一角彙聚了寺院內各種苔蘚的樣本，呈現出各自不同的質地與色調。院內曲徑蜿蜒，串連起四季常青的山茶花、曲曲折折的小溪，最終通往院牆外的竹林。這樣傳統園林景觀中自然也少不了石燈籠和蹲踞（茶室外低矮的手水缽）的妝點。庭院風景四時皆宜，春有粉櫻，夏有綠野，冬有白雪，但秋季紅葉飄零時尤其美麗，那也是遊客最多的時候。

祇王寺

祇王寺从前是一处尼庵，坐落在京都西部嵯峨岚山背后、奥嵯峨地区的丘陵地带之中。寺院以其庭院中浓郁的青苔、繁茂的枫树以及质朴天然的茅葺建筑而闻名。寺院历史与一位名叫“祇王”的宫廷舞姬有着密切的关联，她原本是一名“白拍子”（盛行于平安时代末期至室町时代初期的一种歌舞表演的舞者），后来出家为尼，她的故事在13世纪的著名长篇历史小说《平家物语》中有详细记叙。

据故事所说，祇王是一名非常有天赋的舞蹈家，深得当时京都最有权势的武将之一平清盛(1118-1181)的青睐。平清盛宠爱祇王多年，但最终还是将目光转向了另一位名叫“佛御前”的年轻白拍子。祇王不但被平清盛从身边赶走，更被迫为取悦他的新宠而表演。祇王不堪羞辱，想过自杀，但最终还是选择离开都城，和母亲刀自、妹妹祇女一同出家为尼。她们在奥嵯峨地区一个名叫“往生院”的大寺中结庐而居，一心一意诵经奉佛。后来，佛御前幡然醒悟，意识到自己终有一天也难逃被抛弃的命运，于是想要弥补自己曾为祇王带来的痛苦，最终，追随她们母女三人削发为尼，四人相伴度过了余生。

后来，为了纪念祇王，人们在往生院内建起一座小小的尼庵，起名“祇王寺”。即使在往生院本身已经荒芜废弃时，祇王寺依然香火不断，直到1868年，明治政府下令拆分神道教和佛教，各佛教寺院从此式微，甚至于没落。幸而有相距不远的大觉寺代为保住了祇王寺的佛像和古墓。1895年，在大觉寺的支援下，祇王寺得以重建。为援助寺庙复兴，原京都府知事（行政长官）捐建了一座有榻榻米地板和格子圆窗的茅葺房屋。如今，祇王寺的本尊佛大日如来像就供奉在这处建筑中，佛像周围环侍着祇王、祇女、刀自、佛御前以及平清盛的塑像。其中，祇王像和祇女像被认为出自镰仓时代(1185-1333)。相距此处不远，有一个不起眼的墓地和两座祭奠祇王故事人物的大石塔。左侧石塔较高大，用来纪念祇王、祇女和刀自，右边石塔则为祭拜平清盛而设。

著名的祇王寺庭院里种满了枫树，地面大多覆盖着厚厚的青苔。寺院内的苔藓种类不下20种，在精心养护之下，充分展现着它们天生具有的自然之美。庭院一角汇聚了寺院内各种苔藓的样本，呈现出它们各自不同的质感与色调。院内曲径蜿蜒，串连起四季常青的山茶花、曲曲折折的小溪，一直通往院墙外的竹林。在这样的传统园林景观中，自然也少不了石灯笼和蹲踞（茶室外低矮的手水钵）的点缀。庭院风景四时皆宜，春有粉樱，夏有绿野，冬有白雪，但秋季红叶飘零时尤其美丽，那也是游人最多的时候。