The Architecture of Kyotos Nanban-ji - Essay Example

of the of the 30 April The Architecture of Kyoto’s Nanban-ji Nanban-ji was a Christian temple that was constructed by the Jesuit or the Society of Jesus in Kyoto in 1561. It is one of the most important architectural creations during the time, which has influenced the succeeding architectural designs of buildings in Kyoto. The word "Nanban-ji" has a literal meaning of "Southern Barbarian Temple", which represents the early European settlers who, at that time, were famously known as Southern Barbarians.

The temple turned out to be the focal point for Christian and European culture. The proliferation of Christianity started to be carried out in 1559; proselytizers sustained their plans and exertions despite the extreme distress that was brought about by oppression, and with the security assured by Nobunaga, a significant growth in the number of Christian followers cropped up. Nearly 20 years later, with backing from hundreds of its supporters and followers, the antiquated worship room was reconstructed, which was followed by a religious gathering in celebration for the achievement of the chapel.

Nanban-ji is known as St. Marys Temple. Probably, the most thought-provoking of all features of the Nanban-ji is the unorthodoxy of its architectural design. The Nanban-ji Church was built by the Europeans, particularly the Southern Barbarians, but there seems to be a more Chinese rather than a European touch on its architectural details. There is a significant resemblance of the architecture during the Momoyama period in Nanban-jis overall design. One important feature of the Nanban-ji is the use of folding screens that are made in pairs (Weston, 79) with decorations fronting the onlookers and guests.

Division is common in Nanban-ji. The substantial utilization of folding screens help set up the Church’s factions: guest hall, worship hall, main hall, kitchen, sleeping quarters, and abbot’s quarters. Looking at Nanban-ji’s integrated architectural plan, an architectural hierarchy manifests in the arrangement and organization of buildings – apart from the Nanban-ji temple. The temple is placed at the centre with smaller buildings encompassing it. Also, the height of the temple, which apparently towers all other buildings, subtly signifies elitism, authority, and power.

The exterior of the temple looks heavily pattered from Buddhist temples. There is little to no manifestation of European element in its interior. Furthermore, gardens are also put up around, a feature that is rather conventional to Chinese Buddhist temples. The sole attempt to spread Christianity in Japan is not reinforced by the general pattern of Nanban-ji. It looks more like a gradual demonstration of continental styles, which is employed in order to conform to the Japanese culture and style.

In addition, the materials used to build the Nanban-ji transcend the aesthetic or schematic objective of the builders. Considering the cold, humid weather of the country, they are meant to resolve problems in the extremity of weather conditions. By and large, the building design of Nanban-ji possesses less universal features in favour of local ones, which make Nanban-ji more like a heterogeneous architectural work. Both the interior and exterior parts of the temple are mostly made up of woods of different types: planks, straws, bark, etc.

Different from the European styles, stones are very rarely used. Nanban-ji uses different kinds of pillars, shafts, and arcs that are interwoven with each other in order to come up with a more complicated architecture. Also, in order to emphasize sophistication and artistic idea, each structure is built with individualistic themes and features such as colours, side halls, etc. The roofs are curved, following the general structure of most Japanese temples, which utilizes columns and lintels that are used as supporting components of the roofs.

Another significant point in the adaptation of Christianity to the Japanese culture is that, normally, European churches go for more space in order to create a sense of miniaturization or smallness, which emanates an essence of the Lord’s supremacy and greatness. Nevertheless, Nanban-ji goes for a relatively balanced environment as expressed by the heterogeneity of its building designs. Work Cited Weston, Victoria (n.d.). Unfolding the Screen: Depicting the Foreign in Hapanese Nanban Byobu [PDF Document]. Web. 30 April 2013.