Beethoven and Buddhism in a Japanese Religion: Culture as Cultivation in Soka Gakkai

Why is the museum at the headquarters of the lay Japanese Buddhist organization Soka Gakkai full of pianos? How did Gakkai members in Japan come to revere the compositions and ethos of Ludwig van Beethoven as means of defending Buddhist orthodoxy? And how did this Buddhist organization come to rely on classical music as a key form of self-cultivation and institution building? This article draws on ethnographic engagements with musicians in Soka Gakkai, along with study of the Gakkai’s development in 20th-century Japan, to detail how practitioners’ Buddho-cultural pursuits demonstrate ways cultural practices can create religion. Attention to Soka Gakkai’s fusions of European high culture with lay Buddhist teachings and practices troubles static definitions of “Buddhism” and signals the need for broader inquiry into the nature of religious belonging through investigations of aesthetic forms.

Shinto as an Intrinsic Japanese Religion

Motoori (1730–1801) often criticized China, saying “Adashi Michi (alien way)” or “Kara Gokoro (Chinese mind).”“In China, they often say heaven’s way, heaven’s order or heaven’s reason and regard them as the most reverential and awesome things … firstly heaven is … not a thing with the mind, there cannot be such a thing as heaven’s order …” He concludes that there is no “way of nature” in China. He also mentions in his essay Tamakatsuma [Beautiful Bamboo Basket]: “We think that heaven and earth grow all things, but this is not true. It is the deed of Kami that all things grow. Heaven and earth is only the place where Kami grows all things. It is not heaven and earth that grow them.” Kami in this case seems to be different from heaven and earth, but this Kami is one with “nature” and he does not mean that Kami is above “nature.” I think that Motori resumes the essence of Shinto, comparing the thoughts of China.

Shintō is the Indigenous Religion of the World

This article responds to a call for more research on the theme of “universality” in Japanese religion as articulated by Michel Mohr in his recent monograph (2014). The article focuses on Deguchi Onisaburō 出口王仁三郎 and examines the ways in which he utilized “Shintō” as a self-universalizing framework. He argued that Shintō is the spiritual foundation of the entire world, a kind of cosmic principle that pervades the universe. Based on this, he claimed that all religions around the world are merely different forms of Shintō. Onisaburō was not the first to advance this type of universalizing argument, as a number of Shintō thinkers had made comparable claims since the medieval period. What was at stake for Onisaburō and his predecessors, in other words, was not Shintō’s “indigeneity” to Japan, but its universality. This observation helps to further relativize and historicize the prevailing characterization of Shintō as Japan’s “indigenous religion.”

Kokoro

Kokoro is a comprehensive term in Japanese religion, philosophy and aesthetics often translated as ‘heart’, whose range of meanings includes mind, wisdom, aspiration, essence, attention, sincerity and sensibility. In Buddhist texts and in philosophy, kokoro (or shin in its Sino-Japanese reading) denotes mind, heart or inner nature, the site of human sentience or delusion. By extension, in pre-modern theories of art, kokoro signifies simultaneously the emotional capacity of the artist to respond to the natural world, which ideally catalyzes the act of creation; the parallel ability of an audience to respond to such a work of art and thus indirectly to the experience of the artist; and finally the evaluation of such a work as possessing the ‘right conception’, kokoro ari or alternatively ushin.