The Stone Begging Bowl of Buddha: A Legend of Deceit and Desire
Japan’s oldest surviving narrative, The Tale of the Bamboo Cutter (Taketori Monogatari), is a treasure trove of folklore, romance, and mystical artifacts. Among the most famous elements of this 10th-century story are the five impossible tasks assigned by Princess Kaguya to her aristocratic suitors. While many seek treasures of nature, one object stands out for its religious significance and the sheer audacity of the quest: The Stone Begging Bowl of Buddha (仏の御石の鉢).
This legendary artifact represents more than just a physical object; it serves as a litmus test for character, honesty, and the futility of material desire. In this article, we delve into the origins of the bowl, the tragicomic legend of Prince Ishizukuri, and how this ancient story continues to shape Japanese culture today.
Origins of the Sacred Vessel
To understand the gravity of Princess Kaguya’s request, one must first understand the object itself. The “Stone Begging Bowl” refers to the alms bowl (patra) attributed to Shakyamuni Buddha. In Buddhist tradition, the bowl is a symbol of monastic life, humility, and the rejection of worldly possessions. Monks use such bowls to collect alms (food donations) from the lay community.
The specific bowl mentioned in the legend was said to be made of stone and possessed a supernatural radiance. According to religious texts, the Four Heavenly Kings offered stone bowls to the Buddha following his enlightenment, which he miraculously fused into a single vessel. This bowl was believed to be enshrined in India (Tenjiku), far beyond the reach of a Heian-period Japanese aristocrat.
By demanding this specific holy relic, Princess Kaguya was not merely asking for a souvenir; she was demanding a journey of immense spiritual and physical difficulty, knowing well that the suitors were likely motivated by lust and greed rather than piety.
The Legend: Prince Ishizukuri’s Grand Deception
The story of the bowl focuses on Prince Ishizukuri, one of the five noble suitors vying for Kaguya-hime’s hand. While the other suitors faced physical perils fighting dragons or searching for mythical islands, Prince Ishizukuri was defined by his cunning and laziness.
Kaguya commanded him to travel to India and bring back the Buddha’s stone bowl, which was said to sparkle with a holy purple light. Ishizukuri, unwilling to undertake the dangerous ocean voyage, formulated a deceitful plan. He told Kaguya he was departing for India but instead traveled to a temple in Yamato Province (modern-day Nara prefecture). There, he waited for three years to simulate the length of the journey.
Eventually, he plucked a dirty, blackened stone bowl from in front of a temple altar—likely a common bin for offerings—wrapped it in glorious brocade, and returned to Kaguya. He presented the bowl with a poem, claiming he had crossed oceans to retrieve it.
However, the deception unraveled immediately. When Kaguya opened the package, the bowl did not shine. It was dull, dark, and ordinary. Kaguya realized it was a fake and rejected him with a witty poem emphasizing that there was no light (hikari) in the bowl, only shame.
This segment of the tale is famous for a linguistic pun. In Japanese, the word for “shame” is haji, which sounds phonetically similar to hachi (bowl). By discarding the bowl, Kaguya was also discarding his shameful attempt at deception.
Modern Culture and Media
The legacy of the Stone Begging Bowl persists in modern Japanese pop culture, serving as a recognizable trope for impossible quests and magical items.
- Studio Ghibli: In Isao Takahata’s masterpiece The Tale of the Princess Kaguya (2013), the segment regarding Prince Ishizukuri is depicted with artistic flair, highlighting the superficial nature of the aristocracy.
- Video Games: The artifact appears frequently in Japanese role-playing games (RPGs) and the Touhou Project series, often as a high-level item or a spell card related to Kaguya Houraisan, a character based on the princess.
- Literature: The story is a staple in Japanese education, used to teach classical grammar and the cultural value of honesty over artifice.
Traveler’s Tips: Seeking the Legend in Kyoto and Nara
While the “real” stone bowl was mythologically located in India, travelers can visit sites in Japan that resonate with the legend.
- Gango-ji Temple (Nara): Some variations of the folklore suggest the fake bowl was taken from a mountain temple near the historic capitals. Exploring the ancient temples of Nara offers a glimpse into the aesthetic of the Heian period.
- Seiryoji Temple (Kyoto): Also known as Saga Shakadō, this temple is famous for its statue of the Historical Buddha. While not the location of the bowl story specifically, it is a central hub for Buddha relics and iconography in the Kansai region.
- Arashiyama Bamboo Grove (Kyoto): To feel the atmosphere of the Taketori Monogatari, a walk through the towering bamboo groves of Arashiyama is essential. It is easy to imagine a glowing stalk of bamboo hiding a moon princess in this ethereal setting.
Sources & Further Reading
For those wishing to explore the depths of this legend, the following texts are essential:
- The Tale of the Bamboo Cutter (Taketori Monogatari): The primary source of the legend. English translations by Donald Keene are highly recommended for capturing the nuance of the poetry.
- Nihon Shoki (The Chronicles of Japan): While the tale is fiction, the suitors are believed to be parodies of real historical figures from the Jinshin War era described in this 8th-century historical text. Prince Ishizukuri is often identified with Tajihi no Shima.
- Konjaku Monogatarishu: This late Heian-period collection of tales includes various Buddhist legends that provide context on how holy relics like bowls and robes were viewed by the ancient Japanese populace.
The Stone Begging Bowl of Buddha remains a powerful symbol of the gap between human greed and divine purity. It reminds us that no amount of brocade or poetry can disguise a hollow attempt at greatness.