Rimōhitsu Hōken Hyō: A National Treasure Born from the Art of the Brush

Deep within the treasure vaults of Daigo-ji Temple in Kyoto lies a document that bridges the worlds of religion, art, and craftsmanship—the Rimōhitsu Hōken Hyō (狸毛筆奉献表), a National Treasure attributed to Kūkai, known posthumously as Kōbō Daishi. This remarkable calligraphic work, dating to the early Heian period (9th century), records the presentation of specially crafted tanuki (raccoon dog) hair brushes from Kūkai to Emperor Saga, offering a rare glimpse into the origins of Japanese brush-making culture and the profound relationship between two of Japan's greatest calligraphers.

For international visitors with an interest in Japanese calligraphy, Buddhist history, or cultural heritage, this National Treasure provides a uniquely compelling reason to explore Daigo-ji—a UNESCO World Heritage Site that houses over 150,000 cultural artifacts spanning more than a millennium of Japanese history.

What Is the Rimōhitsu Hōken Hyō?

The Rimōhitsu Hōken Hyō (literally "Memorial on the Presentation of Tanuki-Hair Brushes") is a single-scroll document classified as an ancient manuscript (古文書, komonjo). It is a copy of the formal letter, or memorial (表, hyō), that Kūkai composed in 812 (Kōnin 3) when he presented four brushes made from tanuki hair to Emperor Saga.

According to the text, Kūkai had learned brush-making techniques during his studies in Tang Dynasty China (804–806) and instructed a craftsman named Sakanai no Kiyokawa to produce the brushes using these methods. The four brushes were each designed for a specific calligraphic purpose: one for regular script (楷書, kaisho), one for semi-cursive script (行書, gyōsho), one for cursive script (草書, sōsho), and one for sutra copying (写経, shakyō).

In the memorial, Kūkai notes that the brushes were made following the emperor's instructions from the previous day, and that while their quality was comparable to Chinese brushes, there were variations in size, length, firmness, and tip shape depending on individual preference. The document measures approximately 27.6 cm in height and 21.1 cm in width. It bears an afterword written in 1625 (Kan'ei 2) by Gien, the head abbot of Daigo-ji, which adds further historical context to the scroll.

Why Is It Designated a National Treasure?

The Rimōhitsu Hōken Hyō was designated a National Treasure on March 29, 1952. Several factors contribute to its exceptional cultural significance.

First, it stands as one of the most important documents related to Kūkai's legacy as a calligrapher. Kūkai, Emperor Saga, and Tachibana no Hayanari are celebrated as the Sanpitsu (三筆, "Three Brushes")—the three supreme calligraphers of early Heian Japan. This document directly connects two of these masters through the act of brush presentation, illuminating their artistic relationship and mutual respect.

Second, the document provides irreplaceable evidence of the origins of Japanese brush-making. Kūkai's detailed description of brush types suited to different calligraphic styles reveals the sophisticated understanding of tools that underpinned Heian-period calligraphy. His insistence that calligraphers should change brushes according to the script and character size challenged the later proverb "Kōbō does not choose his brush" (弘法筆を択ばず), showing that the real Kūkai was, in fact, deeply particular about his instruments.

Third, the scroll carries a fascinating historical episode. Emperor Go-Mizunoo (1596–1680), upon viewing the document, was so captivated by the calligraphy that he had two lines (41 characters) cut out and taken for his personal collection. This excision, documented in Gien's afterword of 1625, paradoxically adds to the scroll's provenance and prestige—a testament to the esteem in which the calligraphy was held even centuries after its creation.

Kūkai: The Monk Who Transformed Japanese Calligraphy

To appreciate the Rimōhitsu Hōken Hyō fully, one must understand the extraordinary figure who composed the original text. Kūkai (774–835) was not only the founder of the Shingon school of esoteric Buddhism but also one of the most accomplished calligraphers in Japanese history. He traveled to Tang China in 804, where he studied not only Buddhist teachings under the master Huiguo but also absorbed the latest developments in Chinese calligraphy, particularly the bold new style championed by Yan Zhenqing.

Upon returning to Japan in 806, Kūkai brought back not only sutras and ritual implements but also knowledge of brush and paper manufacturing techniques. His calligraphic works—including the celebrated Fūshinchō (Wind-Trusting Letter) held at Tō-ji Temple—are considered masterpieces that marked a turning point in Japanese calligraphy, blending Chinese grandeur with a uniquely Japanese sensibility.

Emperor Saga, the recipient of the brushes described in this document, was himself a passionate calligrapher and poet. The artistic friendship between these two men fostered a golden age of calligraphy at the Heian court, and the Rimōhitsu Hōken Hyō is a tangible memento of that creative partnership.

Highlights and Points of Interest

For visitors fortunate enough to see the Rimōhitsu Hōken Hyō during one of its rare public exhibitions, several aspects deserve special attention.

The calligraphy itself, attributed to Kūkai, displays the vigorous yet refined brushwork characteristic of early Heian-period writing. Although scholars note the designation "den" (伝, "attributed to"), indicating some uncertainty about direct authorship, the quality of the brushwork places it firmly within the tradition of the Sanpitsu masters.

The visible gap where Emperor Go-Mizunoo's two lines were removed offers a poignant physical trace of the document's journey through history—a story within a story that connects the Heian period to the early Edo period across eight centuries.

Gien's afterword, written in 1625, provides valuable context about how the document was preserved and regarded within Daigo-ji. Gien himself was a significant historical figure—the son of the regent Nijō Haruyoshi and a key figure in the temple's restoration under the patronage of Toyotomi Hideyoshi.

Daigo-ji Temple: Home of the National Treasure

Daigo-ji Temple, the custodian of the Rimōhitsu Hōken Hyō, is itself a cultural monument of the highest order. Founded in 874 by Shōbō (Rigen Daishi), a disciple in the lineage of Kūkai, the temple encompasses both Kami-Daigo (Upper Daigo) on the mountain summit and Shimo-Daigo (Lower Daigo) at its base, spanning a vast temple precinct of approximately 2 million tsubo (about 660 hectares).

As the head temple of the Shingon Daigo school, Daigo-ji holds over 150,000 cultural artifacts, including more than 75,000 items designated as National Treasures. Its Five-Story Pagoda, completed in 951, is the oldest wooden structure in Kyoto Prefecture. The temple was inscribed as a UNESCO World Heritage Site in 1994 as part of the "Historic Monuments of Ancient Kyoto."

The Reihokan (Spirit Treasure Hall), established in 1935, serves as the temple's museum and is the most likely venue for viewing the Rimōhitsu Hōken Hyō. Special exhibitions are held in spring and autumn, when selected treasures from the vast collection are displayed on a rotating basis.

Surrounding Attractions

A visit to Daigo-ji can be combined with exploration of several nearby cultural sites. The Sanbō-in, a sub-temple within the Daigo-ji complex, features a magnificent garden designed under the direction of Toyotomi Hideyoshi, designated as both a Special Scenic Spot and Special Historic Site. The temple grounds are also renowned as one of Kyoto's finest cherry blossom viewing spots, with approximately 700 trees that recall Hideyoshi's legendary "Daigo no Hanami" flower-viewing party of 1598.

Nearby, visitors can explore Hōkai-ji Temple, known for its Heian-period Amida Hall (National Treasure), located about 15 minutes on foot from Daigo-ji. The Fushimi district, accessible by subway, offers sake brewery tours and the famous Fushimi Inari Taisha shrine with its thousands of vermilion torii gates.

For those interested in Japanese calligraphy, a visit to the Kyoto National Museum in central Kyoto provides opportunities to see other calligraphic masterpieces, while Tō-ji Temple holds the Fūshinchō—another iconic work attributed to Kūkai.