Fukoji

Fukoji Temple traces its origins back to 1221 during the Kamakura Shogunate under Shogun Minamoto no Sanetomo. At that time, the local governor generously donated land to the Bishamondo, or Hall of Bishamonten - a sacred site originally founded in 807 by General Sakanoue no Tamuramaro during Emperor Heizei’s reign. The general established the hall to protect the nation during campaigns against eastern tribes, enshrining Bishamonten (Vaiśravaṇa), whose statue is said to have been crafted by the Indian Buddhist artisan Bishukarma.

The monk Dojobo Benkaku was appointed head priest of Bishamondo and played a crucial role in establishing a sacred boundary in the western Uonuma area of Urasa through a decree of “eternal prohibition of killing”. To promote this decree and oversee temple affairs, Benkaku constructed a large temple complex on the site - marking the true founding of Fukoji Temple.

Bishamondo gained significant prestige over the centuries. By 1382, generous donations from the Fujiwara family and six military commanders supported its prosperity. By the Muromachi period, many feudal lords contributed land and funds, resulting in a grand temple complex featuring a five-by-five bay structure with a distinctive hip-and-gable (irimoya) roof and traditional thatching.

In 1603, Lord Hori Naoyori donated rice-producing land that increased the temple’s holdings to 50 koku (about 7.5 tons of rice annually). During the Keian era (1648-1652), Shogun Tokugawa Iemitsu formally recognised all prior grants and awarded Bishamondo imperial certification (goshuin), elevating it to the status of an institution equivalent to 100,000 koku  a mark of considerable political and religious standing. From the Kyoho era (1716-1736) onward, Bishamondo held the unique right to levy roof-thatching taxes across the Uonuma region, a privilege maintained until the Meiji Restoration.

Fukoji Temple faced adversity during the Keicho era (1596-1615), when a devastating fire destroyed the main hall. For nearly seventy years, the temple remained without a central building until April 1680, when the 20th head priest led a major reconstruction supported by devoted parishioners. The rebuilt temple was dedicated to ideals of peace, longevity for the sovereign, favourable weather, and the happiness of all people - forming the foundation of the temple as it stands today.

In 1657, reflecting concerns over societal morals, the Tokugawa Shogunate issued an “Ordinance to Prohibit Luxury”, influencing the architectural style of Fukoji Temple. This spirit of simplicity endures, with subtle traces visible in structural elements such as its pillars.

For over three centuries, Fukoji Temple has been a spiritual anchor for the community - serving as a place of worship, the headquarters for the annual Bishamonten Hadaka Oshiai Grand Festival (commonly known as the 'Naked Men Festival'), and lodging for festival participants. The original thatched reed roof eventually became difficult to maintain due to shortages of materials and skilled craftsmen. In August 1969, parishioner support enabled the installation of a metal roof over the thatch, facilitating natural snow runoff during winters.

Bishamondo itself was designated a Specially Protected National Building in 1917 but tragically burned down in April 1931. Reconstruction began immediately, supported by widespread donations and volunteer efforts. The new hall was completed within five years, designed by renowned architect Dr. Chuta Ito, emeritus professor at the University of Tokyo. Although initially planned to have a copper roof, wartime metal shortages led to a wooden shingle roof instead. Post-war damage necessitated further repairs, culminating in the 1997 restoration that reinstated Dr. Ito’s original copper roofing design - parishioners’ support was instrumental in this effort. His original architectural drawings are preserved and displayed in the corridor between the main hall and the treasure hall.

Between 1983 and 1984, Fukoji Temple played a significant role in national Buddhist commemorations by hosting the grand ceremony for the 1150th memorial of Kobo Daishi (Kukai) - the founder of Shingon Buddhism - and welcoming the head of the Buzan sect from its head temple. Today, Fukoji Temple continues to serve as the regional training centre for the Buzan sect in the Echigo, Sado, and Shinano regions.

Fukoji Temple and the Boshin War

In April 1868, the Boshin War reached the Uonuma region, culminating in the Battle of Koidejima in nearby Koide. Fukoji Temple served as the headquarters for the pro-Imperial vanguard and functioned as a field hospital. The wounded and fallen were brought to the temple, where eight soldiers from the Satsuma and Choshu domains lost their lives. A cemetery was established on the western hill behind the temple to bury them, and their memory is still honoured today at the temple’s Shokonsha - a shrine dedicated to the spirits of the war dead.

In the temple’s upper chamber, memorial tablets bearing the family crests of Satsuma and Choshu list the secular names of sixteen fallen soldiers. War relics, including battle helmets and other preserved items, are also housed there. In July 1868, the citizens of Urasa were formally commended by the authorities for their devoted care of the wounded.

Betsugyo-den (Treasure Hall)

Inside the treasure hall stands a statue of Dainichi Nyorai, the cosmic Buddha and central deity in Shingon Buddhism, traditionally attributed to the famous sculptor Unkei. At each corner of the hall are statues of the Four Heavenly Kings - Jikokuten, Zojoten, Komokuten, and Tamonten - who are the protectors of the four cardinal directions. Depicted wearing armour and wielding weapons, these statues feature rare and intricate helmet ornaments. Notably, when worshiped alone, Tamonten is revered as Bishamonten himself.

The Statue of Fudo Myoo (Acala)

Fukoji Temple houses what is believed to be one of Japan’s largest stone statues of Fudo Myoo, the fierce protector deity also known as Acala. Fudo Myoo is one of the Five Myo-o (Kings of Brightness), powerful Buddhist guardian deities who protect the faithful by vanquishing evil and ignorance. This statue was carved in the early Meiji era by a skilled stonemason from Muikamachi. The ritual water basin used for purification was crafted from a massive stone quarried at Mount Botan. During the dry season, the stone was transported across the shallow Uono River using a large sled and ropes braided from women’s hair - a testament to the extraordinary effort invested in creating this sacred site.

Fukoji Temple’s Sanmon (Niomon Gate)

Approaching the temple, visitors are greeted by the Sanmon Gate, bearing a plaque inscribed with the sango (‘mountain name’ - temple’s honorary name) Kisshozan (吉祥山). Built in 1831, the gate was donated and constructed by a wealthy local merchant known by his house name Wakamatsuya. He prospered through sake brewing and regional trade, conducting business as far as Osaka and Edo.

The master carpenter was Tozo Naito, a shrine builder from Muikamachi, whose family had moved from Echizen Province in 1598 with Lord Hori Naoyori, participating in the construction of Sakado Castle.

Before beginning construction, Master Naito traveled to Nikko to study the famed Yomeimon Gate (also known as the “Gate of the Setting Sun”). Based on his meticulous research, he designed the gate using zelkova wood, ensuring it could withstand heavy snowfall and earthquakes. The project spanned over ten years and required more than 15,000 man-days. 

Twin Dragon Ceiling Painting

The ceiling panel painting of twin dragons beneath the main gate was created by the famous Edo-period artist Tani Buncho. It was originally intended to be painted by a different artist, but Buncho expressed a strong desire to take on the work himself. Thus, the artwork known as the “Eight-Direction Stare of the Dragons” was born.

For nearly 200 years, the painting endured the elements, but by around 60 years ago, the ink lines had faded so much that the dragons were barely visible. As a result, those familiar with the original work began calling for its restoration. In response, in January 1997, Japanese-style painter Nagamori Ichiro undertook the task and successfully restored the painting to its former glory.

Statues of the 28 Attendants of Bishamonten

On the second floor of the temple gate, facing east and backed by a tiered gold-leafed altar, are enshrined statues of Bishamonten’s Twenty-Eight Attendants, along with figures of a revered monk and a master carpenter. These works are believed to have been created collaboratively during the period between 1831 and 1836.

Ceiling and Wall Paintings

The second-floor ceiling displays 23 panel paintings of celestial maidens (tennyo) in elegant poses. The surrounding walls feature depictions of the “Descent of Shakyamuni” and the “Ascetic Practices of the Sixteen Arhats”. These works, created by Sakatani Keishu, are considered his masterpieces, rendered in vibrant colour. The paintings are preserved in near-original condition thanks to the room being kept shuttered.

In October 2023, the Sanmon Gate underwent major restoration with the support of the 'Cultural Property Protection Grant' from the 'Asahi Shimbun Foundation', ensuring the continued preservation of this historic structure.