31 pages • 1 hour read
Kamo no ChōmeiHōjōki: Visions of a Torn World
Nonfiction | Essay / Speech | Adult | Published in 1212A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Key Figures
Kamo no Chōmei
Kamo no Chōmei (1155-1216) is a famous Japanese author who was prominent during the late Heian period and the early Kamakura period. Chōmei was born to a priest of Shimogamo (Lower Kamo) Shrine, where he studied poetry and eventually won government recognition for his literary talent. Chōmei took Buddhist orders in 1204 and eventually left court life to live in seclusion in the Ohara foothills. Later, he built his small hut near Mount Hino, where he would write several of his most famous works—including “Hōjōki”— and live out the rest of his life.
Chōmei’s reasons for leaving society have never been officially confirmed, but it is widely believed that he grew disillusioned with politics and court life after being passed over for his father’s position at the shrine upon his father’s death. Chōmei himself cites events such as the shifting of the capital (from Kyoto to Fukuhara and back in 1180) and a string of natural disasters like the Famine of Yōwa in 1181 as further reasons for retreating to a peaceful, unattached life in the wilderness.
In addition to “Hōjōki,” Chōmei wrote Mumyōshō and Hosshinshū during his seclusion. Mumyōshō is a book of notes and commentary on poetry, particularly classical waka poetry and its relevant literary theories. That Chōmei wrote Mumyōshō indicates a lingering connection to the court and his early life, despite living in the mountains. Hosshinshū is a collection of Buddhist stories pertaining to reclusive behavior. In “Hōjōki,” Chōmei ponders whether or not he is a true ascetic, or if his escape from society is simply a different form of secular attachment: “Have I put on the form of a recluse while my heart remains impure?” (20). In Hosshinshū, Chōmei writes of figures like Saigyō (1118-1190), the famous poet who became a monk in 1140 and fully renounced worldly life. It is unknown whether Chōmei wrote Hosshinshū before or after “Hōjōki,” but the focus on detachment and seclusion suggests that they were penned around the same time.
In modern times, Chōmei is a well-known representative of the reclusive literature movement and a renowned poet, and his works are studied as a standard part of the Japanese curriculum.
Bodhisattvas (Amida, Fugen, Fudō Myō-ō)
Buddhism is a major element of “Hōjōki,” and Chōmei refers to several Bodhisattvas by name. Specifically, he mentions “a picture of Amida Buddha [...] while on the doors of his shrine are painted pictures of Fugen and Fudo” (13), referring to Fugen Bosatsu and Fudō Myō-ō. The Sadler translation of “Hōjōki” translates these names as the Bodhisattvas Samanta Bahdra and Akshobya, but these are more commonly known as Samantabahdra and Acala, with the latter sometimes being merged with Akshobhya.
Amida, also known as Amitābha (or Amida Butsu in Japanese), is a major figure in Japanese Buddhism. He rules over the Pure Land, also known as the Western Paradise or other similar variations of this name. Saigyō, who was born Satō Norikiyo, changed his name as a reference to this: the characters for “Saigyō” are 西行, meaning “west” and “to go.” Amida is said to welcome anyone who calls upon him into his paradise, and he represents love and light. Though Pure Land Buddhism and Amida worship were present in Japan as early as the Nara period (7th century), they grew increasingly popular during Chōmei’s time (Crothers, Wayne. “Japanese Amida Buddha.” NGV, 30 Jan. 2013). In “Hōjōki,” Chōmei comments on monks marking the foreheads of the deceased with Amida’s symbol to ensure their souls could find enlightenment. Chōmei’s focus on Pure Land Buddhism likely relates to the tragedies and strife he describes in “Hōjōki”; Amida’s paradise represents an escape from the suffering and hardships of life and a reward for renouncing worldly attachments.
Fugen is a bodhisattva who represents meditation and Buddhist practices. He is found in several branches of Buddhism, but within Japan, he is most prominent in Tendai and Shingon Buddhism. Fudō Myō-ō is a particularly important figure in several Japanese Buddhist sects, and worship of him grew prominent after Kūkai (774-835), the founder of Shingon Buddhism, brought him to Japan. He is regarded as a protector of his faithful devotees, and he is known to ferociously subdue evil, often depicted with a menacing expression. He also symbolizes fortitude, and he is connected with Yamabushi, a type of monk who lives in the mountains (Lisina, Elena. “Fudo Myo.” Japan Travel, 13 Dec. 2021). Chōmei’s depiction of Fugen and Fudō Myō-ō together, particularly on the doors of Amida’s shrine, indicate Chōmei’s reminders to himself to stay true to his Buddhist teachings and to engage in regular worship.
