Takase: Fine Japanese Calligraphy

III. ARCHITECTURE OF SINTO SHRINES

The Sintō shrine may well be considered the architectural symbol of ancient Japanese culture. The Sintō shrine is a building dedicated to Sintoism, the national religion of Japan, which, originating in Nature and ancestor worship and based upon a firm foundation, has prevailed since ancient times and has dominated the spiritual life of the Japanese nation. Even when Buddhism and Confucianism were introduced into Japan, Sintoism harmonized with them and it has come down to the present day. Many Sintō shrine buildings have been preserved unchanged in their original form through the ages.

After the latter part of the Nara Period (645–783), one observes in Sintō shrines a tendency to combine Sintō and Buddhist styles, to which are added some continental elements; but, in most cases, the basic principles of shrine building were faithfully preserved.

When eminent persons died, the early Japanese consecrated their relics as objects of worship. This was the origin of Sintō shrines, and consequently the forms of these buildings were originally similar to those of palaces or dwelling-houses.

Sintō shrines have always been built of wood, and it will no doubt continue to be built with wood. As the building material is wood, the life of a Sintō shrine as a building is on an average about half a century; but in

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Drawing in white lines on black, an elevation above a plan. The elevation shows the front of a building under a high gabled roof topped by a crossed pair of bars, with a smaller gabled porch roof in front of its lower part and a raised floor with railings. The plan below shows a rectangular outline with two rooms side by side inside it and a narrow projecting part at the right with a short bar across its end. — Front elevation and plan of Izumo-Taisya, Kizuki

Drawing in white lines on black, an elevation above a plan. The elevation shows a large block under a roof topped by a thick ridge with small round marks and an upright bar at each end, raised on posts, with a lower roof on posts joined to it at the right. The plan below shows a rectangle divided into two rooms with dots at its corners, a projecting part at the right with a set of parallel lines, and two larger rectangles drawn around it. — Side elevation and plan of Ōtori-zinsya, Ōsaka Prefecture

rebuilding these edifices the original forms of the ancient shrines (that is to say, of palaces and dwelling-houses in ancient times) have been faithfully preserved.

As the Sintō shrine is intended to transport the soul of the worshipper back to the age of the gods, the principles and forms used in their construction must be of a nature to suggest the eternal. The architecture of Sintō shrines is therefore one of feeling, of sentiment and spirit, rather than of theory or substance.

There exist, at present, over 150,000 Sintō shrines in Japan. It may indeed be said that where one sees a forest there one may find a sacred place entirely secluded from worldly life.

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Drawing in white lines on black, an elevation above a plan. The elevation shows a large block under a roof with a ridge carrying a row of small square marks and an upright bar at each end, raised on posts with slatted panels between them and a short stair at the left. The plan below shows a rectangle divided into two rooms by a line, with dots around its edge and a set of parallel lines at the left. — Side elevation and plan of Sumiyosi-zinsya, Ōsaka

Drawing in white lines on black, an elevation above a plan. The elevation shows a large block under a roof with a ridge carrying a row of round marks and an upright bar at each end, raised on posts with a central stair and a railing. The plan below shows an open rectangle with dots at its corners and along its sides, a broad band of parallel lines around it, and a narrow stair at the bottom. — Elevation and plan of Sinmei-zukuri: the type of Ise-Daizingū, Uzi-Yamada

ORIGINAL SINTO SHRINES IN ANCIENT TIMES

We find four principal forms of Sintō shrine building in ancient times: Taisya-zukuri (zukuri means architectural type), Ōtori-zukuri, Sumiyosi-zukuri and Sinmei-zukuri. Typical examples of these four types are: Izumo-Taisya (Taisya means great shrine), Ōtori-zinsya (zinsya means Sintō shrine), Sumiyosi-zinsya and Ise-Daizingū (Daizingū means great shrine).

1. Izumo-Taisya (Kizuki, Simane Prefecture)

The founding of this great shrine dates back to

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Black-and-white photograph of a wide building with a large sweeping roof and a curved roof over a central porch, standing on a raised floor with a railing along the front. A thick twisted rope hangs across the porch, with a pale round lantern at each side post, and a few small steps lead up to it. Other roofs and wooded hills show behind at the right and left, and a bare open ground lies in front. — *Hai-den* of Izumo-Taisya, Kizuki

Japan’s mythological age, but the present building is a restoration of the original form in the middle of the 18th century. This shrine is the oldest in Japan, and also the largest in scale. It is noteworthy that this shrine building has the form of a dwelling-house of ancient times, and that it is supposed to have been the house of Ōkuni-nusi-no-Mikoto, to whose spirit the shrine is dedicated. The floor plan of the building is square and the roof is provided with tigi (a cross-shaped ornamental device at the end of the roof ridge), and katuogi (round straight bars placed crosswise in rows upon the roof ridge). Its plan is somewhat unorthodox when compared with that of most other Sintō shrines, as its entrance and altar are not in line with the central axis (see plan on page 35). But, as the plan of a dwelling-house, it is a moderately

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Black-and-white photograph of a building with a large steep roof topped by crossed bars at the ends of its ridge and short horizontal logs along it, standing on a raised floor on tall posts with a railing around it. A steep stair at the right climbs to a lower sloping roof over a covered porch. Wooded hills rise behind and a low fence runs along the front. — *Hon-den* of Izumo-Taisya, Kizuki

good one harmonizing with the land conditions of the place. Sintō shrines of this style are found chiefly in the San-in Provinces.

2. Ōtori-zinsya (Ōtori, Ōsaka)

The plan of this shrine represents a developed stage of Taisya-zukuri, having the entrance and altar on the central axis, and being divided into an outer and inner section to heighten its dignity as a shrine building (see plan on page 35).

3. Sumiyosi-zinsya (Sumiyosi, Ōsaka)

The plan of this shrine represents a later stage of development in the constructional style known as Ōtori-zukuri (see plan on page 36).

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4. Ise-Daizingū (Uzi-Yamada, Mie Prefecture)

There are two shrines at Ise; one is the Gekū (outer shrine) and the other the Naikū (inner shrine). These shrines are built on the same principle and in accordance with the same forms, representing a more developed stage in the art of Sintō shrine-building than the three types mentioned above. The sublime and solemn atmosphere of Sintō shrines pervades the whole precinct of the Ise Grand Shrine, and it is here that this atmosphere attains its highest expression. It is, so to speak, the symbol of Japan. Japanese spirit and taste will never fail to be recognized here.

Ise-Daizingū is the most sacred place in Japan. Spirit, nature and architecture are here united, and create a unique atmosphere which gives the visitor the impression of having been transported to the land of gods. The Ise-Daizingū is the highest embodiment of the Japanese spirit, and its architecture is the purest expression of original and genuine Japanese taste. I should like to quote here the following words from an essay by the late Prof. Bruno Taut, the world-famous German architect, who had a perfect understanding of Japanese architecture:

“Ise-Daizingū, and especially the Gekū, is not a ruin as is the Acropolis, but it stands with its solid 21-year-old new building, ever new in the eyes of the Japanese, a thing, which, moreover, the world cannot show. Neither can the world show the purity of its material, its construction or its proportions. The Japanese worship it as their National Shrine, and the Japanese architects venerate it specially as their sanctuary. None can reproduce its beauty in any picture, and to it ought all the world’s

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Black-and-white photograph of a large gate made of two round upright posts joined by two crossbars, the upper crossbar longer than the posts' spread. Behind it stands a wide building with a broad dark roof and bars rising at the ends of its ridge. An old black car is parked at the left, tall lanterns on stands stand at the right, and the ground in front is open and pale. — *Torii*, the symbol of Sintō shrines

architects to make a pilgrimage, for this genuinely original expression of the Land of Nippon has become a work which belongs to the whole world. The Gekū is the Shrine of Architecture.”

Naikū was founded in the reign of the Emperor Suinin (29 B.C.–70 A.D.) and enshrines Amaterasu-Ōmikami; Gekū was founded in the reign of the Emperor Yūryaku (456–479 A.D.) and enshrines Toyouke-no-Ōmikami. After the reign of the Emperor Tenmu (673–686) the custom of reconstructing the shrine at the end of every 20 years was established and this custom has been almost continuously carried out to the present day, the present buildings representing the 58th reconstruction.

The main shrine building stands in the centre of the

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Black-and-white photograph of a gate building with a layered curved roof rising above a long covered walkway hung with many small lanterns. A railing runs beside a flight of steps at the left, and a grassy slope with a few lanterns on stands lies at the right. Trees fill the upper part of the picture. — Kasuga-zinsya, Nara. The *Hon-den* is behind the central gate

precincts, surrounded by fourfold wooden fences, and is approached through torii.* The architectural treatment is quite simple and rather primitive throughout; the form is perfectly clear cut and the whole structure is without any curve or application of colours.

ECLECTIC AND COMPROMISED STYLE IN SINTO SHRINES

The original Sintō shrines such as the Ise-Daizingū, Izumo-Taisya and Sumiyosi-zinsya were of pure Japanese

* Every Sintō shrine has torii. Torii is a kind of portal which symbolizes Sintoism. There is nothing quite so simple or refined as torii. Someone has said: “Torii is simple and noble, and it is the symbol of the Japanese nation.”

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Black-and-white photograph of a gate tower with a large curved roof over a railed upper story, standing on posts, with a long covered corridor running away from it to the right and left. White panels fill the spaces between the dark posts of the corridor. A wide pale court lies in front, with trees at the left and upper right. — Simogamo-zinsya, Kyōto

style. But owing to the introduction of Buddhist arts, continental influences came to bear upon shrine building, so that new and compromised styles of shrine building developed during the 8th century. In the latter part of that century, there evolved such new styles of shrine building as the Kasuga-zukuri, Nagare-zukuri, Hatiman-zukuri and Hiyosi-zukuri. Typical examples of these new styles are the Kasuga-zinsya, Simogamo-zinsya, Usa-zingū and Hie-zinsya.

I. Kasuga-zinsya (Kasugano, Nara)

No visitor to Nara will fail to go to this beautiful shrine, its rich vermilion colour contrasting with the green of the old trees of the surrounding forests. It was founded about the middle of the 8th century, but it took its present

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form of Kasuga-zukuri at the beginning of the Heian Period (784–1185). One of its architectural characteristics is the eaves (in Japanese kōhai*) which project over the front stairway and form a unique design in harmony with the front gable. The bright colours on the wood, and the complex curves of the roof show the influence of continental styles.

2. Simogamo-zinsya (Simogamo, Kyōto)

Though this shrine was originally established before the founding of the Heian Capital (now Kyōto), the present buildings date from the beginning of the 17th century, and are well preserved in the original forms. Its architectural characteristic is kōhai, which is not found in the type of shrine buildings represented by the Ise-Daizingū. It may be mentioned here that the festival known as “Aoimaturi,” held on the 15th of May, is interesting and well worth seeing.

3. Usa-zingū (Usa, Ōita Prefecture)

The present buildings of this shrine are of the Edo Period (1615–1867), though it was founded at a much earlier date. The architectural peculiarity found here is the “Ai-no-ma” (intermediate room) which communicates with the front and rear buildings. The rear building is identical in type to that of the Ise-Daizingū.

4. Hie-zinsa (Sakamoto, Siga Prefecture)

Situated at the foot of Mt. Hiei opposite Kyōto and

* Roof extending over the main front stairway leading to the entrance.

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Black-and-white photograph of a building with a broad, curving roof of rough-looking surface and a ridge with small studs along it, set on a raised floor with a railing, among trees. A long low roofed fence of upright slats runs across the foreground, a tilted tree trunk stands in front of the building, and part of another roof shows at the left. — *Hon-den* of Hie-zinsya, Sakamoto

near Lake Biwa, this shrine is very attractive and popular. Though its foundation dates back to olden times, the present buildings are of the Momoyama Period (1573–1614). The outstanding feature of the architecture here is the unique shape of the roof.

In the Huziwara or later Heian Period (898–1185), the architectural elements of Buddhistic temples were adapted on a large scale to Sintō shrine building. In the shrines of this period we find new grand colonnades surrounding the shrine site, or a gorgeous two-storied gate structure instead of the former simple fences or torii. The architectural style has now deviated from the original form of ancient shrine building and closely approaches the form of palaces or nobleman’s mansions, resulting in a new type of building such as was not found in former

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shrines. It is as sacred as ever, but one now finds some feeling of ease, intimacy and freedom. A good example of this kind is the Itukusima-zinsya.

The Itukusima-zinsya (Itukusima, Hirosima Prefecture) is situated at one of the three most beautiful scenic spots in Japan. Though founded originally in ancient times, the shrine at present consists of buildings which were restored in the latter part of the Huziwara Period.

In the Momoyama Period (1573–1614), a new style of shrine architecture known as Gongen-zukuri was evolved. The peculiarity of this style is the “Ai-no-ma” which links the front and rear shrine buildings, as in the style of Hatiman-zukuri. Good examples of this style are Kitano-zinsya, Kyōto, and the Ōsaki-hatiman-zinsya, Sendai. These two shrine buildings well represent the characteristic decorative style of the Momoyama Period, especially in their treatment of detail, their rich decorations in colour and sculpture which are wonderful.

The main building of the Nikkō-Tōsyō-gū is also a good example of Gongen-zukuri, even though it is not an orthodox Sintō shrine, but a kind of building known as “Byō” in Japanese. “Byō” is a combination of Sintō shrine, Buddhistic temple and mausoleum.

5. Nikkō-Tōsyō-gū (Nikkō, Totigi Prefecture)

The Japanese have a saying, “Don’t use the word magnificent until you have seen Nikkō,” indicative of their own appreciation of one of the wonder spots of their land. The Tōsyō-gū enshrines Tokugawa-Ieyasu (the first Syōgun of the Tokugawa Syōgunate) and the buildings were completed in 1636 by the third Syōgun Iemitu.

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Black-and-white photograph looking out from under a roof past a large round post and a heavy crossbeam above it. Beyond, a long roofed walkway on posts runs out over what looks like still water, with a railing along it and a hanging lantern at the near left and another at the right on a long chain. A pale gate stands far out in the water at the center, and leaves show at the right edge. — A picturesque view of Itukusima-zinsya, Itukusima

Nikkō is now a place not only of national fame, but also of international renown.

The decoration of the Tōsyō-gū gives perfect expression to the high standard of technical development achieved in the applied arts in the beginning of the Edo Period (1615–1867). It is indeed a magnificent and wonderful thing to see. Only it must be noted that from the point of view of architectural aesthetics, the buildings at Nikkō do not represent the pure “spirit of Japan,” as their decoration is exaggerated in its detail, and their architecture is marked by certain defects when judged in the light of “sibumi,” the sole canon by which true Japanese architecture may be appraised.

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Black-and-white photograph taken from below at a steep tilt of the end of a roof. A long flat board with small slots cut in it slants up past the roof's top at the upper right, crossed near the top by a second board. A row of small round knobs lies along the ridge, and short parallel bars show at the left. Bare branches cross the lower part and leaves fill the right edge. — Typical *Tigi* of the shrine-building

Black-and-white photograph of an elaborately decorated gate building with a curved roof and carved ornament, set between long covered corridors with carved panels along them. A wide flight of steps with a balustrade leads up to it, and lanterns on stands stand in the foreground at the lower left and center. The dark underside of a roof edge fills the upper left corner, and wooded hills rise behind. — Full decoration of Yōmeimon Gate, Nikkō-Tōsyō-gū