The artistry, the pride of Japan reduced to mountain of debris
The magnificent wings so strong as if ready to soar high into the sky.. The bright crimson feather was the image of fervent flame.
This ceramic art was called "The Phoenix", which adorned the walls of the grand reception hall imparting to the viewers the spirit of bravery and courage. A masterpiece with stature of 3 meters in height and span of 12 meters in width.
Designed by Matazo Kayama, one of the greatest of the painters in Japan and completed by the ceramic artist, Tokuro Kato, the work was the collaboration by two major modern Japanese artists, Kayama and Kato. This ceramic masterpiece was not simply the property of Taiseki-ji temple but an important cultural asset of Japan to vaunt to the rest of the world.
In August of 1995, Nikken made the decision to tear down the grand reception hall.
By this time, Nikken had already destroyed other buildings constructed during his predecessor high priest Nittatsu's era such as the "Mutsubo" and "Daike-Jyo". He eventually decided to demolish the grand reception hall as well.
The grand reception hall received numerous architectural awards including the Japanese Architectural Institute Award when it was completed in 1964 and the Architectural Association Award the following year. Despite the voices of opposition from within and outside of the priesthood regarding the decision to demolish, Nikken simply ignored them and demanded the wreckers to expedite the destruction of the building and mercilessly tore down the ceramic painting "The Phoenix".
Nikken had absolutely no intention of protecting the artwork from the onset. Ordinarily, a masterpiece of this quality, the ceramic painting is handled very carefully when dismantled from the wall so that it can be restored at a later time.Nikken mandated the building demolition contractor to take down the artwork. Pressured by Nikken to accelerate the work, the contractor bore the shovel of the demo crane between the ceramic panels and recklessly tore it apart.
Furthermore, Nikken left the dismembered panels under the eaves of the Hoan-Den building for over 2 years exposed to the elements. Later as he moved the panels to the woods behind the Taibo building, the panels were covered with vinyl sheets and left abandoned.
The outrageous handling of the painting brought numerous criticism to Nikken from both within and outside of the priesthood. Soon after Nikken had the panels assembled back together and claimed that it was restored, but the work was done so haphazardly that in reality, the damaged panels were simply retouched crudely with some paint.
His act is of absolute disrespect and ignorance toward world culture and art. Many scholars and observers in society have voiced their protest toward Nikken's inability to discern the indispensable value of artistry.