Sesshū and Hōfukuji Temple
Hōfukuji is best known for its connection with Sesshū, one of Japan’s greatest ink painters. According to a famous legend, the young Sesshū was so absorbed in drawing that he neglected his Buddhist training. As a lesson, his Zen master tied him to a pillar. Sesshū then used his tears to draw a mouse on the floor, astonishing those who saw the picture. This story has been passed down through generations and symbolizes his extraordinary artistic talent and determination.
The temple grounds also contain a three-story pagoda dating from the medieval period. Designated an Important Cultural Property of Japan, the pagoda is particularly beautiful amid fresh greenery in spring and vivid autumn foliage. Hōfukuji also offers Zen meditation sessions on the second Sunday of each month, except August. Reservations are not required, giving visitors an opportunity to experience the practice of Zen firsthand.
Founding and the Adoption of Rinzai Zen
The exact date of Hōfukuji’s founding is unknown. It is believed to have originated as a Tendai Buddhist temple before converting to Rinzai Zen during the middle of the Kamakura period (1185–1333). The temple developed into an influential center of Zen Buddhism under Don’an Eizō, a Zen monk from Makabe in Bitchū Province, now part of Sōja City.
According to tradition, Don’an prayed for the recovery of an emperor who was ill. During the prayers, a star fell in front of the altar. A well was subsequently dug at the spot and named Sensha-ku-i, or the Thousand-Foot Well. This story is said to explain the origin of the temple’s mountain name, Iyama.
Hōfukuji later became an imperial prayer temple and flourished as a major religious complex. At its height, it reportedly had 55 subtemples and monastic institutions and 300 affiliated temples, making it one of the region’s most powerful Buddhist centers.
Destruction During the Sengoku Period and Reconstruction
During the Sengoku period (1467–1615), Hōfukuji became caught up in the military conflicts known as the Bitchū Wars. Because the temple supported the local warlord clan, the Mimura, most of its buildings were destroyed in 1575, during the Tenshō era. The three-story pagoda was the only major structure to survive the fires.
The temple was gradually restored during the Edo period (1603–1868). Its main gate, Buddhist hall, abbot’s quarters, kitchen and monks’ living quarters, meditation hall, bell tower, and sutra repository were rebuilt. The complex once again developed into a full-scale Zen temple with the traditional arrangement of seven principal buildings. The Buddhist hall, which serves as the main worship building, was reconstructed in 1735.
The Three-Story Pagoda and Its Cultural Significance
The three-story pagoda at Hōfukuji was built in 1376, during the Nanboku-chō period (1336–1392). It is the second-oldest surviving three-story pagoda in Okayama Prefecture, after the pagoda at Chōfukuji Temple in Mimasaka City.
Having survived the warfare of the Sengoku period, the pagoda is the only surviving building from the temple’s prewar complex. It features traditional tiled roofing and red-painted wooden surfaces. Its carefully balanced proportions make it a particularly admired example of medieval Japanese Buddhist architecture. The pagoda was designated an Important Cultural Property of Japan in 1927.
Sesshū: The Life and Legacy of a Master Ink Painter
Sesshū was born in 1420 in Bitchū Province, in what is now Sōja City, Okayama Prefecture. His Buddhist name was Tōyō, while Sesshū became the name by which he was widely known. After his early training at Hōfukuji, he moved to Shōkokuji Temple in Kyoto to continue his Zen studies.
As a painter and Buddhist monk, Sesshū studied classical Chinese art from the Song and Yuan dynasties, as well as the Zhe School style of the Ming dynasty. He traveled extensively, observing landscapes and nature firsthand. Through these experiences, he developed a distinctive style of ink painting that moved beyond direct imitation of Chinese models and helped establish a uniquely Japanese artistic tradition.
Studies in China and Artistic Achievements
Sesshū traveled to China aboard a Japanese diplomatic mission ship sent during the Ming dynasty. There, he studied Chinese painting techniques under the painter Li Zai and encountered the artistic traditions of the Ming court. After returning to Japan, he continued working in regions including Suō, Bungo, and Iwami.
His work had a profound influence on subsequent generations of Japanese painters. Six of his paintings have been designated National Treasures of Japan: Amanohashidate, Landscape of the Four Seasons: Winter and Autumn, Landscape of the Four Seasons Scroll, Splashed-Ink Landscape, Huike Offering His Arm to Bodhidharma, and Landscape.
The Legend of Sesshū’s Mouse Drawing
The story of Sesshū drawing a mouse with his tears remains one of the temple’s best-known legends. As a child, he loved painting so much that he sometimes neglected his religious training. One day, his master tied him to a pillar to discipline him. Sesshū cried, and with his tears, traced the shape of a mouse on the floor. The drawing was so convincing that the mouse appeared almost alive.
Although the story has been passed down as a legend, it captures the dedication and natural talent that would later make Sesshū one of Japan’s most celebrated artists. Visitors to Hōfukuji can experience the peaceful setting associated with his formative years and reflect on the connection between Zen discipline and artistic creativity.
Cultural Properties of Hōfukuji Temple
Important Cultural Properties of Japan
Three-Story Pagoda: Built in 1376, the pagoda stands 18.47 meters tall and is the second-oldest three-story pagoda in Okayama Prefecture.
Jizō Bosatsu Painting on Silk: A traditional Buddhist painting depicting Jizō Bosatsu, the bodhisattva who protects travelers and beings in the afterlife.
Painting of the Ten Kings on Silk: A Buddhist work depicting the Ten Kings who judge the dead in the afterlife.
Registered Tangible Cultural Properties of Japan
Numerous buildings and structures within the temple grounds are registered Tangible Cultural Properties. These include the abbot’s quarters, the earthen wall surrounding them, the entrance and dining hall, the monks’ kitchen and living quarters, the treasure repository, the central well, the Tenzo Well, the Thousand-Foot Well, the Buddhist hall, the sutra repository, the bell tower, the study hall, the Zen meditation hall, the main gate, the gate’s stone walls and earthen walls, the single-log bridge, the Founder’s Hall, its front gate and surrounding walls, and several structures associated with Akiba Shrine, including its main sanctuary, worship hall, connecting hall, Five Shrines Sanctuary, purification pavilion, and surrounding stone walls and railings.
These structures were registered on January 8 and April 28, 2009. They were built over several centuries, from the middle of the Edo period through the Meiji period (1868–1912), reflecting the temple’s long architectural history.
Important Cultural Properties of Okayama Prefecture
Temple Bell: Cast in 1468, the bell was designated an Important Cultural Property of Okayama Prefecture on March 27, 1959.
Hōfukuji Documents: This collection includes regulations governing Hōfukuji and its subtemples from the Nanboku-chō period, calligraphy left by the Zen monk Mumū Isshin, and documents relating to fundraising for temple repairs during the early Edo period. The collection was designated an Important Cultural Property of Okayama Prefecture on March 4, 2011.
Hōfukuji Today
Hōfukuji remains an important center of Rinzai Zen Buddhism and a popular destination for visitors interested in the life and art of Sesshū. Its historic buildings, celebrated three-story pagoda, and peaceful temple grounds make it an appealing place to explore throughout the year, especially during the fresh greenery of spring and the autumn foliage season.
Visitors can also take part in Zen meditation sessions to experience the discipline and stillness at the heart of Zen practice. With its architectural heritage, cultural treasures, and enduring connection to one of Japan’s greatest painters, Hōfukuji is a valuable part of Okayama’s historical and cultural legacy.