{"id":40065,"date":"2023-03-14T05:20:06","date_gmt":"2023-03-13T20:20:06","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=40065"},"modified":"2023-03-15T22:06:55","modified_gmt":"2023-03-15T13:06:55","slug":"%e3%80%90%e9%8e%ae%e9%ad%82%e3%81%ae%e7%a9%ba%e9%96%93%e3%81%a8%e3%80%8c%e9%9f%b3%e6%a5%bd%e6%80%a7%e3%80%8d%e8%a6%81%e7%b4%a0-%e7%ab%b9%e6%9e%97%e5%af%ba%e7%b4%8d%e9%aa%a8%e5%a0%82-5%e3%80%91","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=40065","title":{"rendered":"\u3010\u93ae\u9b42\u306e\u7a7a\u9593\u3068\u300c\u97f3\u697d\u6027\u300d\u8981\u7d20 \u7af9\u6797\u5bfa\u7d0d\u9aa8\u5802-5\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
\n\"\"<\/a>
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\n\u7d0d\u9aa8\u5802\u3068\u3044\u3046\u93ae\u9b42\u7a7a\u9593\u3092\u5f69\u308b\u97f3\u697d\u6027\u30fb\u5efa\u7bc9\u6027\u3068\u3057\u3066\u6c34\u76e4\u3092\u9078\u3073\u53d6\u3063\u305f\u611f\u899a\u306b\u306f\u6df1\u304f\u540c\u610f\u3059\u308b\u3002
\n\"\"<\/a>
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\n\u305d\u3057\u3066\u3084\u304c\u3066\u7d0d\u9aa8\u5802\u304b\u3089\u96e2\u308c\u3001\u7af9\u6797\u5bfa\u306e\u5883\u5185\u306b\u79fb\u52d5\u3057\u3066\u3044\u304f\u3051\u308c\u3069\u3001\u3042\u308b\u7a2e\u306e\u56de\u751f\u306b\u3082\u4f3c\u305f\u6c17\u5206\u3092\u611f\u3058\u306a\u304c\u3089\u3001\u65e5\u5e38\u306b\u9084\u3063\u3066\u3044\u304f\u611f\u899a\u304c\u3042\u3063\u305f\u3002<\/p>\n

English version\u2b07<\/p>\n

Space for Requiem and “Musicality” Element Chikurinji Ossuary-5
\nThe Japanese sense of “reading the air” may have been built up from a variety of experiences of Buddhism acceptance at the DNA level. …<\/p>\n

Now, one leaves the concrete space dominated by the faint sound of water from the water basin. At Tadao Ando’s “Awaji Yumebutai,” a children’s song “Winter Night” was played as background music by the Hotel Grand Nikko just in time, and although several months have already passed, the melody still remains in my memory.
\nThe sound of water in the ossuary here is not the actual sound of water, but a visual sound, or perhaps it is strange to say, but there is a residue of such a sensation. I have never really thought about the relationship between architecture and music.
\nHowever, in one of Ryotaro Shiba’s writings, he writes that when the first Buddhist temples were opened in Japan, the musicality of the “Buddhist chanting” repeated in the morning and evening seeped into people’s minds like a precipitation. It is said that the musicality of “Nembutsu Yomiky\u014d,” which was repeated in the morning and evening at the time the Buddhist temple was first opened in Japan, played an important role for the people living in the archipelago, who had never seen or heard such music. This was introduced into the culture in tandem with the religious architecture of the temple complexes. The “mandala” worldview, from the high-rise architecture of stupas and five-story pagodas to the corridor-style inner sanctuary and outer sanctuary, was developed in the architectural space of Buddhist temples in one fell swoop. It must have been a truly astonishing worldview.
\nIt is highly likely that the Japanese people’s acceptance of Buddhism, which can be considered to be at the level of their DNA, was greatly influenced by the experience of Buddhism, including its musicality. While Buddhism was dying out in India and China, Japanese society continued to revere this religious culture, which seems to have been deeply related to the Japanese mentality as a people with a high emotional level who “reads the air. The “change” factor is so enormous that it may be almost imperceptible to later generations. As something similar to such a feeling, I was left with the impression of the water-board device as a typical musical element.
\nI deeply agree with the sense that the water basin was chosen as a musical and architectural element to color the requiem space of the ossuary.<\/p>\n

The concrete building body, both interior and exterior, is clad in wood. The ossuary is required by law to be fireproof. The wooden sections that make up the roof are all made of 105 square meters of prefectural Japanese cedar, with a 1995mm grid. The wood is laid out or stacked in layers. The truly “honest” expression of the materials enhances the atmosphere of the place of repose. Also, the lighting and ventilation from the twin windows add color to the repose of souls at this place.
\nEventually, we left the ossuary and moved to the precincts of Chikurin-ji Temple, and I felt a sense of returning to my daily life, feeling a kind of reincarnation.<\/p>\n","protected":false},"excerpt":{"rendered":"

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