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What Is Acala (Fudō Myōō)

His Vow and His Form

Esoteric Buddhism teaches that Acala appears in wrathful form in order to carry out the teaching of Mahāvairocana. His stern face expresses great compassion: the resolve to cut through delusion and save people.
The form of Acala (Fudō Myōō)
Overview

What Is Acala (Fudō Myōō)

Acala is a buddha who takes on a wrathful aspect in order to save people. His gaze is likened to the loving care of a parent looking upon an only child.

Acala (Fudō Myōō) is the Wisdom King most widely revered in Japan, the principal deity of prayers to ward off misfortune and calamity. At Byōdōji, on the night of the 28th of every month, we perform the Fudō goma before Acala. The goma is an esoteric rite in which the sacred fire of wisdom is kindled in a hearth.

Wisdom Kings (myōō) are deities who take a deliberately severe form to guide those who are hard to lead by gentle teaching alone. Acala stands at their center. Esoteric Buddhism teaches that he is the kyōryō rinjin of Mahāvairocana, the embodiment that carries out his teaching. Acala has a name and form of his own, yet in his wrathful aspect he shows Mahāvairocana's saving activity.

Acala dwells always amid flames, and with that fire he burns away every hindrance and the afflictions that torment the mind. With the sword in his right hand he cuts through delusion; with the lasso in his left he draws in those who are lost and leads them toward awakening. Seated firmly upon a great rock, he expresses a concentration that nothing can disturb.

In Sanskrit, Acalanātha. The name means "the Immovable One." He is also called Shō Mudō-son, the Sacred Immovable One.

Vow

A Manifestation of Mahāvairocana

The body that receives Mahāvairocana's command and spreads his teaching in wrathful form is called the kyōryō rinjin. Acala is its foremost example.

One of the texts that call Acala a manifestation of Mahāvairocana is the Ritual Manual for the Secret Attainment of the Forty-Eight Messengers of the Victorious Acala. It was compiled by imperial command by the Tripiṭaka master Amoghavajra and Bianzhi (遍智), a Brahmin monk from India.

Words of the Scripture (Manifestation)

Translation
As for Acala, he is the manifestation of the original Buddha Vairocana (Mahāvairocana). Once one upholds his secret mantra, in life after life he graciously protects the people of the world.
Original text
不動者、本佛毘盧遮那佛化身。一持祕密呪後、生生加護世間之人。 ("As for Acala, he is the manifestation of the original Buddha Vairocana. Once one upholds his secret mantra, in life after life he protects the people of the world.")
Commentary
The original Buddha Vairocana is Mahāvairocana. The passage is a vow that Acala will protect, in every life to come, anyone who has once formed a bond with him through his mantra.
Source
Ritual Manual for the Secret Attainment of the Forty-Eight Messengers of the Victorious Acala (Taishō Tripiṭaka No. 1205)
Form

His Form and Its Meaning

The ritual manuals describe Acala's form in detail. A single braid hangs down on his left, and one eye is narrowed. His right hand grasps a sharp sword, his left holds a lasso, and he sits upon a great rock. In Japan, images with the heaven-and-earth eyes (tenchigan), the right eye looking up to heaven and the left down to earth, became widespread, and his body came to be shown dark blue-black.

Sword

The sharp sword of wisdom that cuts through afflictions. The sword is Acala's samaya form, the emblem of his vow. In ritual practice, the practitioner visualizes Acala's seed syllable hāṃ turning into a keen sword of wisdom, and the sword turning into Acala himself. A Shingon text also reads the sword and the lasso as a pair: the sword is the wisdom that cuts, the rope the afflictions that are cut, and together they show that principle and wisdom are one. The Kurikara sword, with a dragon coiled around the blade, has also been handed down in Japan since early times.

Lasso (kenjaku)

The rope that binds those who are lost and draws them in to be saved.

Great rock (banjaku)

The seat expressing the immovable mind that nothing can shake.

Flames

The wisdom-fire that burns away afflictions. The meditation in which the body gives off this fire is called the fire-generating samādhi (kashō zanmai). The flames are drawn in the shape of the garuda, the great bird said to devour dragons, and are called the garuda flame (karura-en).

Sutras

The Wisdom-Fire of the Goma and the Mahāvairocana Sūtra

Goma is a rite in which the sacred fire of wisdom is kindled in a hearth and offering sticks and other offerings are given to carry prayers to the Buddha. The Mahāvairocana Sūtra teaches two kinds of goma, outer and inner. In another passage, the bodhisattva Vajrapāṇi, speaking to the Buddha, likens the Buddha's wisdom, which destroys delusion, to a fire that burns firewood.

Words of the Scripture (Wisdom-Fire)

Translation
Just as fire burns all firewood and is never sated, so too the all-knowing wisdom of the Buddha burns all the firewood of ignorance (delusion) and is never sated.
Original text
譬如火界燒一切薪無厭足、如是一切智智燒一切無智薪無厭足。 ("Just as the fire-realm burns all firewood without satiety, so too the wisdom of all-knowing wisdom burns all firewood of ignorance without satiety.")
Commentary
The comparison says that just as fire never tires of burning firewood, the Buddha's wisdom never stops burning away delusion.
Source
Mahāvairocana-abhisaṃbodhi Sūtra (Mahāvairocana Sūtra), trans. Śubhakarasiṃha and Yixing (Taishō Tripiṭaka No. 848)
Benefits

Blessings and the Unshakable Mind

Acala is taught to burn away calamities and hindrances with his wisdom-fire, to guard the practitioner day and night, and to lead their wishes to fulfillment.

The ritual manual sings of Acala's gaze in a hymn of praise (san), a verse that extols a buddha.

Words of the Scripture (Compassionate Eyes)

Translation
Though he is an ocean of boundlessly excellent marks, as a means of saving people he manifests this body and changes into a wrathful form. Therefore I bow my head in reverence. He looks upon all beings with eyes of compassion, equally, as if looking upon an only child.
Original text
無邊相好海、方便現此身、變現嗔怒相、故我稽首禮。慈眼視眾生、平等如一子。 ("An ocean of boundless excellent marks, by skillful means he manifests this body and transforms into a wrathful form; therefore I bow my head in homage. With eyes of compassion he regards beings, equally, as an only child.")
Commentary
The hymn sings that a buddha of boundless beauty chose a wrathful form on purpose, in order to save people. Even in that wrathful aspect, the eyes with which he looks upon beings are eyes of compassion, equal toward all, as if looking upon an only child.
Source
Ritual Manual for the Secret Attainment of the Forty-Eight Messengers of the Victorious Acala, Hymn to Acala (Taishō Tripiṭaka No. 1205)

Warding off misfortune and calamity

Acala's wisdom-fire is taught to burn away both outer calamities and inner afflictions. He has been revered as the principal deity of prayers for averting calamity (sokusai) and warding off misfortune.

Protection of the practitioner

His fundamental vow is to guard the practitioner day and night, to drive away demons and hindrances, to draw in those who are lost, and to bring their wishes to fulfillment.

An unshakable mind

The Commentary on the Mahāvairocana Sūtra also teaches, "Fudō is the mind of true and pure awakening," the mind that heads straight toward awakening. True to his name, Acala shows a mind moved neither by outer events nor by inner afflictions.

The Fudō goma on the 28th of every month (explanation)
Shingon

The Five Wisdom Kings

The Five Wisdom Kings place Acala at the center, with four Wisdom Kings guarding the four directions. The arrangement is well known in Japanese Shingon. The four are Trailokyavijaya (Gōzanze), who subdues the three poisons; Kuṇḍali (Gundari), who removes hindrances; Yamāntaka (Daiitoku), who overcomes enemies and evil; and Vajrayakṣa (Kongō Yasha), who crushes demons. In the Heian capital, powerful houses often sponsored the Five-Altar Rite (godanhō), in which the five deities are enshrined on five altars and prayers are offered for protection from calamity and for peace.

In its instructions for drawing the maṇḍala, the Mahāvairocana Sūtra places Acala's seat below Mahāvairocana, to the southwest. As the principal deity of rites for averting calamity, Acala has held a central place in esoteric practice.

Mantra

The Mantra to Recite

The Mantra of Acala (the Jiku-shu)

nōmaku sanmanda bazaradan senda makaroshada sowataya un tarata kanman

namaḥ samanta-vajrāṇāṃ caṇḍa-mahāroṣaṇa sphoṭaya hūṃ traṭ hāṃ māṃ

A mantra that prays, "I take refuge in the all-pervading Vajra Ones. O fierce and greatly wrathful one, shatter the hindrances." Taught under the name Jiku in the Ritual Manual for the Secret Attainment of the Forty-Eight Messengers of the Victorious Acala, it is Acala's medium-length mantra and the one most widely recited. The twelfth-century Shoson yōshō also prescribes it for the central recitation (shōnenju) of the rite. It has been handed down together with a contemplation in which each syllable is placed on the body and the practitioner becomes one with Acala.

The one-syllable mantra (short mantra)

nōmaku sanmanda bazaradan kan

namaḥ samanta-vajrāṇāṃ hāṃ

The shortest mantra, centered on Acala's seed syllable hāṃ. The longer fire-realm mantra (the great mantra) is also recorded, together with the root mudrā, in the tenth-century Yōson dōjōkan, and it is recited according to the ritual procedure (shidai) of each lineage.

Japan

Devotion in Japan

Fudō is the Wisdom King most beloved in Japan, long revered as the principal deity of prayers for blessings in this life.

  • The Three Fudō. The Yellow Fudō (Mii-dera; National Treasure), the Blue Fudō (Shōren-in; National Treasure), and the Red Fudō (Myōō-in on Mount Kōya) are three paintings of Acala renowned as masterpieces. The Yellow Fudō is said to have been painted from the golden figure that Chishō Daishi Enchin saw before his eyes in 838, at the age of twenty-five, during his practice. That figure is said to have told him, "I will always protect you."
  • Renowned statues. The Fudō of Dōju-in in Kyoto is a jōroku seated image said to be the central deity of the Five Great Hall of Hosshō-ji (1006), built by Fujiwara no Michinaga, and is attributed to the sculptor Kōjō, father of Jōchō. The Namikiri ("Wave-Cutting") Fudō of Mount Kōya is a sacred image said to have cut a path through the raging waves that struck the ship of Kōbō Daishi Kūkai on his return from Tang China. Records say that at the time of the Mongol invasions it was carried to an island in Hakata Bay, where a goma was performed for the subjugation of the enemy.
  • Sacred sites. Beginning with the Kinki Thirty-Six Fudō Pilgrimage, there are Fudō sacred sites and pilgrimage temples throughout Japan.
  • Fudō's day. The 28th is Fudō's ennichi (feast day). In the thirty-day rotation of hidden buddhas, a custom that assigns a deity to each day, the 28th belongs to Mahāvairocana, and so Fudō, his manifestation, came to be linked with the 28th.
Byōdōji

The Acala of Byōdōji

Byōdōji, the twenty-second station of the Shikoku Eighty-Eight Sacred Sites and a temple of the Kōyasan Shingon school, holds deep devotion to Fudō and performs the Fudō goma on the night of the 28th of every month. The 28th is Fudō's ennichi.

The Acala enshrined at Byōdōji is a seated image in joined-woodblock construction (yosegi-zukuri), held to date from the Edo period. He grasps a sharp sword in his right hand and a lasso in his left, with the heaven-and-earth eyes and bared fangs of a wrathful form.

Byōdōji also performs the Shō Hassenmai-ku, a great goma in which eight thousand offering sticks are cast into the flames, as a major rite with Acala as its principal deity. The eight-thousand-stick goma has been handed down as one of the great practices of the Fudō rite. The twelfth-century Shoson yōshō sets out its procedure, and the Gojikkanshō of the late-twelfth-century scholar-monk Kōnen records the same procedure. The Hishō kuketsu records an oral teaching that, of the many separate rites in the ritual manuals, the only ones handed down at Tō-ji are Fudō's eight thousand sticks and the Kokūzō gumonji practice, in which the mantra of Ākāśagarbha is recited a million times.

The Shō Hassenmai-ku is a rite performed chiefly for averting calamity (sokusai). The monthly Fudō goma is the center of everyday devotion to Acala.

At Byōdōji, we offer prayers on the wisdom-fire of the goma for warding off misfortune and calamity, for protection from harm and long life, and for every wish to cut off disaster and guard the body. The links below explain how to attend and how to apply. You can also take part online.

The face of Acala, with the heaven-and-earth eyes and fangs
The heaven-and-earth eyes and the fangs

About the Statue

PeriodEdo period (estimated)
MaterialJoined-woodblock (yosegi-zukuri)
FormSeated; holding sword and lasso
The Acala of Byōdōji (introduction)The Fudō goma on the 28th of every month (explanation and application)

Frequently Asked Questions

Why does Fudō have a fearsome face?

To show the strength that cuts through delusion and leads people to salvation. The ritual manual likens his gaze to the eyes of a parent looking upon an only child.

What is the relationship between Acala and Mahāvairocana?

Esoteric Buddhism teaches that Acala is the kyōryō rinjin of Mahāvairocana, carrying out his teaching in wrathful form. Acala has a name and form distinct from Mahāvairocana's, yet in his stern aspect he shows Mahāvairocana's saving activity.

What does one pray to Acala for?

He is the principal deity of prayers to cut off calamity and guard the body: warding off misfortune and calamity, averting harm, and long life. The ritual texts teach that he burns away calamities and hindrances with the wisdom-fire and protects the practitioner day and night.

What do the sword and rope represent?

The sword in his right hand is the wisdom that cuts through delusion, and the lasso (rope) in his left is the work of drawing in and saving those who are lost. The great rock he sits on is the unshakable mind, and the flames behind him are the wisdom-fire that burns away afflictions.

How can I receive the Fudō goma at Byōdōji?

It is performed on the night of the 28th of every month. Details are given on the page "The Fudō Goma on the 28th of Every Month." We also accept applications online. If you feel a connection, please apply.

Choose a Goma by your wish

Byodoji accepts online applications for five monthly Goma rites. Choose the deity closest to your wish, then review the details on the application screen.

Choose from five Goma rites by your wish
References

References and Sources

This article was written by Taniguchi Shinryō, chief priest of Byōdōji, a Kōyasan Shingon temple, on the basis of the following primary texts and materials. The Chinese-language ritual manuals and commentaries and the Shingon ritual handbooks are verified against the original text of the Taishō Revised Tripiṭaka (CBETA; Kūkai's writings and the ritual handbooks via the SAT Daizōkyō Text Database) and of the Shingonshū Zensho. "No." refers to the text number in the Taishō Tripiṭaka. Research articles whose full text is available on J-Stage are linked.

Chinese primary sources (sutras and ritual manuals)

Mahāvairocana-abhisaṃbodhi Sūtra (Mahāvairocana Sūtra), "Chapter on Entering the Maṇḍala with the Requisite Conditions," trans. Śubhakarasiṃha and Yixing (Taishō No. 848). The verse describing Acala as "the messenger of the Tathāgata, holding the sword of wisdom and the lasso" (fascicle 1) is the root scriptural basis for regarding Acala as Mahāvairocana's messenger and as the deity embodying the Buddha's command. The verse also fixes his seat in the maṇḍala, below Mahāvairocana to the southwest.
Ritual Manual of the Recitation of the Most Excellent Standing Mudrā of the Sacred Immovable Wrathful King (Standing-Mudrā Manual), trans. Amoghavajra (Taishō No. 1199)
Tri-samaya Rite of Recitation for the Wrathful King Messenger of Acala, trans. Amoghavajra (Taishō No. 1200)
Tri-samaya Secret Rite of Recitation for the Sage Acala, trans. Amoghavajra (Taishō No. 1201; 3 fascicles; calls Acala "the Dharma-body of the Tathāgata" and "the mind of true and pure awakening," and explains in detail the four meanings of the wisdom-fire and the fire-generating samādhi)
Secret Dhāraṇī Method of the Messenger Acala, trans. Vajrabodhi (Taishō No. 1202; describes the Messenger Acala as "a manifestation of Mahāvairocana Buddha")
Ritual Manual for the Secret Attainment of the Forty-Eight Messengers of the Victorious Acala, compiled by Amoghavajra and Bianzhi (遍智) (Taishō No. 1205). The passage on Acala as a manifestation of Mahāvairocana, the four vows (beginning "Whoever sees my body gives rise to the aspiration for awakening"), the Hymn to Acala (the verse on his compassionate eyes), and the Jiku-shu and one-syllable mantra cited in this article all come from this manual.

Commentaries and Shingon ritual handbooks

Commentary on the Mahāvairocana Sūtra (Mahāvairocana Sūtra Commentary), recorded by Yixing (Taishō No. 1796). It explains Acala as one who long ago attained buddhahood on Mahāvairocana's lotus dais, yet takes the form of a servant to attend the Tathāgata and carry out his many tasks, and it describes his rock seat as Sumeru, king of mountains, that is, the pure mind of awakening. The words "Fudō is the mind of true and pure awakening," quoted under "An unshakable mind" above, come from this commentary.
Shunnyū (Ishiyama Naigu), comp., Yōson dōjōkan (also called Ishiyama dōjōkan) (Taishō No. 2468). Tenth century, Ishiyama-dera. One of the earliest extant Shingon ritual handbooks, containing the visualization of the practice hall for Fudō, the Nineteen Contemplations, the contemplation of placing nineteen syllables on the body, and the fourteen root mudrās. The Nineteen Contemplations and the visualization of the sword in this article follow this text.
Jitsuun, Shoson yōshō (Taishō No. 2484). Twelfth century. Contains the use of the Jiku-shu and the fire-realm mantra in the Fudō rite, the Nineteen Contemplations, and the procedure for the eight thousand milk-wood sticks.
Kōnen, Gojikkanshō, part 32, the Fudō rite (Shingonshū Zensho, vol. 30, pp. 201-205). A late-twelfth-century compendium of ritual practice. It quotes the Nineteen Contemplations in full, stating "The Ishiyama dōjōkan says," and notes for each article its source in the Teiri sutra or the Commentary on the Mahāvairocana Sūtra. The same part also contains sections on the eight thousand sticks and on their meaning.
Kyōshun, Hishō kuketsu, part 20, the Fudō rite (Shingonshū Zensho, vol. 28, pp. 322 ff.; the eight thousand sticks on p. 332). It states that although there are many separate rites for the various deities, the only ones handed down at Tō-ji are Fudō's eight thousand sticks and the Kokūzō gumonji practice, and it teaches that the eight thousand sticks are performed solely for averting calamity. As oral teaching, it records even the wood for the milk-wood sticks, how they are cut, and how many times the rite was actually performed.
Ryūgyō, Saiin-ryū Nōzenbō denjuroku (Shingonshū Zensho, vol. 32, p. 97 and elsewhere). A record of the procedures of the preliminary training (kegyō). It assigns the Jiku-shu to the central recitation and the fire-realm mantra and the Jiku-shu to the general recitation, and hands down the visualization of the practice hall in which the seed syllable hāṃ turns into a sword of wisdom and the sword turns into Fudō Myōō.
Dōchō et al., Sanbōin-ryū Tōsen sōjō kuketsu (Shingonshū Zensho, vol. 34, pp. 154-155). It records that the Nineteen Contemplations come from the Ishiyama dōjōkan, as handed down by Shunnyū.
Shunnyū, Shishu goma shōki (Shingonshū Zensho, vol. 26, pp. 7-82). A tenth-century ritual handbook of Ishiyama-dera on the four kinds of goma, for averting calamity, increasing benefit, love and respect, and subjugation, and on how each is performed.
A commentary collected in Shingonshū Zensho, vol. 36 (pp. 385-386). It regards Fudō's samaya form as the pair of sword and rope, expressing the nonduality of principle and wisdom, and explains one by one the meaning of the rock, the two eyes, the two attendant boys, and Kurikara.
Shingonshū Zensho, 42 vols., Shingonshū Zensho Kankōkai. The basic collection of Shingon writings on doctrine and ritual practice.

Research articles

Matsunaga Yūken, 「鎌倉時代の鎮護国家思想と不動明王」 (Acala and the Thought of State Protection in the Kamakura Period), Mikkyō Kenkyū, no. 74, 1940, pp. 81-91 (titled 「鎌倉時代の護國思想と不動明王」 in the journal). Traces from historical sources the rites of the Namikiri Fudō at the time of the Mongol invasions and the flame mound (kaenzuka) on Shikanoshima. Read on J-Stage
朝日道雄, 「京都同聚院藏 不動明王像と佛師康尚との關係」 (The Fudō Myōō Image of Dōju-in, Kyoto, and the Sculptor Kōjō), Mikkyō Kenkyū, no. 66, 1938, pp. 22-32. A study that regards the Dōju-in Fudō as the central deity of the Five Great Hall of Hosshō-ji and argues that it is the work of the sculptor Kōjō. Read on J-Stage
Kameda Tsutomu, 「黄不動抄」 (Notes on the Yellow Fudō), Mikkyō Kenkyū, no. 89, 1944, pp. 21-32. A study examining the biographical sources and the iconography of the Yellow Fudō painting that Enchin beheld. Read on J-Stage
Saitō Hikomatsu, 「倶哩迦竜不動明王信仰の研究」 (A Study on the Faith in Kulikanagacalanatha), Indogaku Bukkyōgaku Kenkyū, vol. 27, no. 1, 1978, pp. 377-380. Traces the origins of Kurikara's name and form from Indian texts to the ritual manuals. Read on J-Stage
田中悠文, 「智山所伝の『不動法』諸本について」 (On the Various Versions of the Chisan Edition of the Fudō Rite), Chisan Gakuhō, no. 65, 2016, pp. 305-320. A study of the transmission of the procedure texts for the Fudō rite and of the versions of the contemplation in which the syllables of the mantra are placed on the body. Read on J-Stage

Surveys and introductory books

Watanabe Shōkō, Fudō Myōō, Asahi Sensho, Asahi Shinbunsha, 1975 (later Iwanami Gendai Bunko, Gakujutsu 285, 2013; and Yoshikawa Kōbunkan "Yominaosu Nihonshi," 2022, ISBN 978-4-642-07350-9). A classic overview of the origins of Acala faith and its reception in Japan, and a good first book.Amazonで見る
Yoritomi Motohiro, Kannon, Jizō, Fudō: Buddhas of the Common People, Kadokawa Sophia Bunko, 2024 (first published as Shomin no hotoke: Kannon, Jizō, Fudō, NHK Books, 1984). A paperback survey of popular devotion to these three deities.Amazonで見る
Shimoizumi Zengyō, Fudō Myōō: All About the Buddha of Wisdom and Power, Shunjūsha, 2013, ISBN 978-4-393-11908-2. An overview, by a present-day priest, from the ritual manuals to iconography and rites.Amazonで見る
Hada Shukai, Yomu dake de Fudō Myōō kara chikara o moraeru hon (A Book for Receiving Strength from Fudō Myōō Simply by Reading), Daihōrinkaku, 2016, ISBN 978-4-8046-1386-4. A gentle introduction that goes into the practice of devotion.Amazonで見る
Nakano Genzō, Fudō Myōō zō (Images of Fudō Myōō; Nihon no bijutsu, no. 238), Shibundō, 1986. An introduction to iconography that teaches, through plates, how to look at the images.Amazonで探す
Miyasaka Yūshō (ed.), Fudō shinkō jiten (Encyclopedia of Fudō Devotion; Shinbutsu shinkō jiten series, 9), Ebisu Kōshō Shuppan, 2006. An encyclopedia in which the history, sacred sites, and iconography of Fudō devotion can be looked up by entry.Amazonで探す
Sawa Ryūken (supervisor), Naritasan Shinshōji and the Esoteric Buddhism Society of Shuchiin University (eds.), Sōran Fudō Myōō (Compendium of Acala), Hōzōkan, 1984. A basic compilation of surviving Fudō images and iconography.Amazonで探す
Yoritomi Motohiro, Mikkyōbutsu no kenkyū: Studies from Both Textual and Art-Historical Sources, Hōzōkan, 1990. A study of the esoteric deities from both texts and surviving works of art.Amazonで探す

Temples, pilgrimage sites, and databases

Onjōji (Mii-dera, Shiga). It preserves the Yellow Fudō (National Treasure), one of the Three Fudō of Japan. Official site
Shōren-in Monzeki (Kyoto). It preserves the Blue Fudō (National Treasure), one of the Three Fudō of Japan. Official site
Myōō-in, a special head temple of Kōyasan (Wakayama). It preserves the Red Fudō, one of the Three Fudō of Japan. Official site
Kinki Thirty-Six Fudō Pilgrimage Association (founded 1979). Official site
Naritasan Shinshōji, a head temple (daihonzan) in Chiba. One of the leading temples of Fudō devotion. Official site
e-Museum (National Institutes for Cultural Heritage). High-resolution images of Fudō Myōō images designated National Treasures and Important Cultural Properties. Official site
Cultural Heritage Online (Agency for Cultural Affairs). Search designated cultural properties across Japan. Official site
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