I have previously inquired into the origin of Kyozuka under the title of "Considerations on Kyozuka," mainly discussing the historical background of Kimpusen Kyozuka of Michinaga Fujiwara and Eizan-Yokawa Kyozuka of Jotomonin. Here, in this essay, I should like to deal with the Kimpusen Kyozuka of Moromichi, the great grandson of Michinaga and to consider the process how Kyozuka, originally made as "dharma-kayasya sarira-stupah"-relic-mound for the spiritual body of Tathagata, had turned into ritual or conventional one: that is, the formal changes of stupa, the places of sarira within the stupa, and the positions of the stupa in the arrangement of Garan, with the relation between Kyozuka and Shugendo and the geographical meaning of Kyozuka.
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