Shintō is the indigenous religion of Japan and has been around
more than 2,000 years. It has no sacred scriptures but is tied to the Japanese
people and their traditions. Shintō means “way of the gods (kami),” and
the main purpose of shrines is to house one or more kami. The original Shintō
shrines were just sacred places in nature, where a natural feature such as a
waterfall, tree or a rock could serve as a yorishiro that would attract
and hold the kami so they could be accessible to humans. Today, shrines
often have multiple buildings surrounded by walls. In this paper, I will
analyze the evolution of Shintō shrines from quiet spots in nature to their
current complex of buildings, including the motivations for the design changes
and the resulting architectural styles.
Changes in style of architecture usually
occur in conjunction with social or political change (Kishida, 34). and this
is certainly true with Shintō shrine architecture. The first shrines had no
buildings. Temporary altars would be set up outside in sacred spots for
religious rituals. When wood construction and rice cultivation were introduced,
at around the same time, wooden structures were built for homes and for rice
storehouses and eventually for shrines. These buildings may have been inspired
by the introduction of Buddhist
temples (Shintō
Shrines and Japanese People), but they were built in traditional Japanese style. As Buddhism spread and elaborate temples were built, the Shintō
shrines started to copy elements from these temples. Over time, the two
religions began to overlap in both the deities they worshipped and in their
architecture. However, in 1868, when the Meiji leaders made Shintō
the state religion and called for a separation of temples and shrines, shrine
architecture transitioned back into a more traditional Japanese style. This had
been the case until recent years. Now, with many of the old wooden shrines in
need of repair and Japan’s population in decline, some shrines are struggling
to survive. This has led to the use of innovative designs and building
materials. Clearly, Japan has seen a trend in that significant social and political
changes have had an effect on Shintō shrine architecture.
The first Shintō shrines had no buildings. A few times a year a himorogi,
or sacred altar space, would be set up for worship at a sacred place such as a
forest, stream or mountain. The area would be marked off with a shimenawa (sacred
rope border). In the center, a yorishiro (a tree branch or boulder that
a kami could enter during the
service) would be set up and would be the focus of the service. After worship,
the yorishiro would be taken away. This ancient way of marking the space
where the kami descend is an example
of MA, and it influenced traditional
architectural ways of defining spaces. In time, temporary structures would be
built for the worship ceremony and taken down afterwards. Eventually, permanent
buildings were erected at shrines (Isozaki; Hirai).
Rice cultivation led to important social
change in Japan. Wet rice cultivation was introduced from the mainland, during the
Yayoi period (300 BC–300 AD). Rice cultivation brought about increased
prosperity. With the new wealth, population increased and a class structure
emerged. This eventually led to the creation of small states under the rule of
clans (uji) each led by a clan chief (Young, Kindle Locations 455-458).
Wooden construction
developed around the same time as rice cultivation, and homes and storehouses
began to be built out of wood. Rice storehouses became sites for the kami
of the rice grain to be worshipped, and eventually permanent shrines were
built. At this point, the sacred Shintō
site changed. Kami no longer had to be invoked to enter the worship
site. Now they took up residence at the shrine (Hirai).
Izumo Taisha and Ise Jingū are two shrines that were built in the
7th century in the traditional Japanese style. Buildings in Japan at
the time were constructed of wood and raised off the ground on posts. Ise
Jingū, the Ise Grand Shrine, is Japan’s most important shrine. It is actually a
complex of shrines and the inner one, Naikū, is dedicated to the sun goddess,
Amaterasu, from whom the emperor line has descended. Ise Jingū is built in the shinmei-zukuri
style. This is one of the first styles of shrine construction and it is based
on storehouse construction (Cali, Kindle Locations 890-896). Izumo-Taisha is
one of the oldest shrines, if not the oldest, in Japan. It is built in the taisha-zukuri
style, in which the shrines resemble the clan chiefs’ homes of the period.
Izumo
Taisha Ise Jingū
Traditional Japanese buildings, including shrines, have
predominantly been built out of wood. Architecture commonly uses the resources
that are readily available, and Japan has extensive forests. It is believed the
country was covered in forests in ancient times. Also, wood is a good
construction material for Japan’s climate. Wood can absorb water when the air
is moist and release it when the air is dry. If maintained, traditional
post-and-beam buildings can last 1,000 years (Young, Kindle Locations 199-202).
There are fundamental differences between Western architecture and
traditional Japanese architecture. Western architecture uses lintels and arches
to discharge weight and load bearing walls are necessary for additional
support. With this style of architecture, windows and doors must be relatively
small. In traditional Japanese architecture, the column is the main supporting
member. Walls are only used as dividers, so doors and window can be very large
and placed wherever desired. If constructed properly, Japanese wooden
buildings, because of their strength and flexibility, are better at surviving
earthquakes than stone and brick structures (Kishida, 13-15).
Another characteristic of traditional Japanese architecture is the
fact that the main structural components are left exposed. The column, girder,
and other support parts serve as ornamental members as well as structural ones.
In Western architecture, the structural components are usually hidden (Kishida,
15).
The roof is a very significant element in Japanese architecture.
Flat roofs are not found on the wood buildings because of the large amounts of
rainfall. Therefore, roofs are pitched. There are several kinds, including
gabled, hipped, pyramidal, and irimoya (hipped roof with gables) and
they are all impressive (Kishida, 16-20). As Tanizaki Junichirō stated in In Praise of Shadows, “like
most buildings of the past, their roofs give the impression of possessing far
greater weight, height, and surface than all that stands beneath the eaves”
(Tanizaki, 17).
The eaves, or overhangs,
of the roofs are important, not just for decoration. They allow the windows to
be opened for ventilation in the summer, when it is hot and rainy. Also, they
keep the heat of the sun out. However, in the winter when the sun is low in the
sky, the eaves allow the sunlight to get in and warm the room (Kishida, 20-22).
The arrival of Buddhism had a significant social impact on the Japanese
culture. It was brought to
Japan from the Asian mainland in the 6th century along with an
influx of knowledge in philosophy, literature, art, architecture, science,
government, and a writing system. The Japanese were impressed by these
learnings and adapted them to their culture. Not only was Buddhism embraced and
practiced by many Japanese including some leaders, it also influenced Shintō.
Until that point, Shintō was a native religion with no name and no sacred
scriptures. In response to Buddhism’s ethical code and elaborate rituals, Shintō
was given its name, and its beliefs and practices were written down in the Kojiki and Nihon
Shoki (Nihongi). Also, the decision to build permanent shrines at
sacred Shintō sites may have been in response to the construction of Buddhist
temples.
After Buddhism began to flourish in Japan,
Buddhist temples were built using Chinese architectural techniques. The
elaborate Buddhist temples, which began to be built in the 7th
century, included such features as curved roofs, vermilion-colored wood, tile
roofing, semi-gabled and hipped roofing, interlocking corbel systems beneath
the eaves, and a special space for worshippers. In the 8th century, Shintō
architects also began to emulate the architecture of the Buddhist temples. Many
temples were built next to existing shrines and the resulting complexes were
often controlled by Buddhist clergy. As the centuries passed, Shintō and
Buddhism developed shared beliefs and rituals. This resulted in a blending of
architectural styles as well (Kishida,
43; Kuroda; Young, Kindle Locations 1138-1178).
True Japanese architecture uses linear construction. The roofs of
ancient shrines were straight, and usually thatched or wood shingled. Chinese
temples have very curved roofs and are often tiled. Shintō shrines adopted the
curved roofs. However, the Japanese modified and smoothed out the curve
(Kishida, 29).
Ancient Shintō shrines traditionally used natural colors,
reflecting the strong connection the Japanese people have with nature. Their
tastes were simple and refined. However, the Chinese brought their use of
bright color to Japanese architecture. The Chinese used colors on all surfaces
of their buildings, and some Shintō shrines also began to add color (Kishida,
23-26). Kasuga Taisha (Kasuga Grand Shrine) in Nara is a shrine with Buddhist influences
found. The shrine, built in Nara in the 8th century in the Kasuga-zukuri
style, has brightly painted wood and an intricately curved roof.
The Meiji Restoration of 1868
brought significant political and social change to Japan. In 1868, Shintō became the state religion, and all
shrines and Buddhist temples were immediately separated in a process called shinbutsu
bunri. (Cali, Kindle Location 110). Buddhism fell out of favor and
thousands of temples were closed and their land confiscated. Kami could no
longer be associated with Buddhist deities and all Buddhist imagery was removed
from shrines.
All shrines had to join a national association, and shrines
constructed after this were built in the older pre-Buddhist shinmei-zukuri
style similar to that of Ise Jingū. Examples include the Meiji Shrine in Tokyo
and Kashihara Jingū in Nara Prefecture (Young, Kindle Locations 1223-1229).
State Shintō was abolished at the end of World War II, and government support
for shrines ended. Now the government subsidizes renovations of shrines
designated as Important Cultural Properties. All other shrines are financed by
donations (Cali, Kindle Locations 660-677).
Kashihara Jingū
The ancient Shintō shrines, built before the arrival of Buddhist temple architecture, probably only had a honden, the building where the kami was enshrined (Cali, Kindle Locations 901-919). They did not provide any place for the people to worship. In fact, the sacred areas were often off limits for worshippers (Young, Kindle Locations 1174-1178). This is still the case at the inner shrine of Ise Jingū where people pray outside the gate. However, temples, with their main hall for prayers and offerings in front of Buddha’s image and their multiple buildings in the complex, inspired changes in shrines. A worship hall (haiden) was added for prayer and ceremonies and, over time, other buildings and features were added as well (Young, Kindle Locations 1138-41, 1174-78).
While Shintō shrines have been built in a variety of
styles, there are certain features that are found at most shrines. These are
included in the drawing here and described below:
1. Torii
1. Torii
Torii are gates which
mark sacred areas. They stand in front of shrines. They have two vertical
pillars and one or two horizontal lintels across the top. Additional torii can
be seen at shrines marking increasingly sacred areas.
2.
Stone stairs
4.
Temizuya
The Temizuya is a
water fountain at the front of the shrine where people wash their hands and
rinse their mouths. It symbolizes purification.
5. Tōrō
Tōrō are
lanterns made of stone
wood or metal. They line the pathways at shrines. Worshippers donate them as
offerings to kami.
6. Kaguraden
A kaguraden is a raised, covered stage used for a sacred dance called kagura, a court dance called bugaku, and court music called gagaku. It can also be used for other rituals and performances Kaguraden are usually in front of the haiden.
A kaguraden is a raised, covered stage used for a sacred dance called kagura, a court dance called bugaku, and court music called gagaku. It can also be used for other rituals and performances Kaguraden are usually in front of the haiden.
7. Shamusho
The shamusho is
the administrative building for the shrine. It is the place they sell omamori
(amulets) and fortunes.
8. Ema
Ema are wooden plaques that
are hung in shrines as offerings for the kami. People buy them from shrines and
write wishes on them.
9. Sessha/massha
Sessha/Massha are small auxiliary
shrines that are said to house family members of the main shrine’s kami.
10. Komainu
Komainu are guardian
statues at shrines. Their name means Korean dog, but they represent lions and
are meant to ward off evil.
A haiden is an oratory or
worship hall. It is usually in front of the honden
and is a bigger building that obstructs the view to the honden. It is used for ceremonies and worship of the shrine’s kami.
12. Tamagaki
Tamagaki are picket fences that
surround the honden and often the
entire shrine.
13.
Honden
The honden is the main shrine building. It is where the
sacred object of worship is kept and is the most sacred space within the shrine
because it is where the kami is believed to reside or descend.
Shrines are good examples of the concept of wrapping of space. The
ancient ritual of marking off the himorogi
with the shimenawa showed the
wrapping of a sacred area. Today, this is seen in the tamagaki that surround
most shrines, and wrapping is found throughout the shrine. The grounds
are surrounded by one or more tamagaki and torii, each marking a more sacred space as you move further
into the shrine. The sacred object of worship is hidden in the honden, the most sacred building deep
in the shrine.
Another interesting
ritual at Shintō shrines is the periodic rebuilding procedure known as shikinen
sengu. The rebuilding is done at a fixed time, usually around twenty years.
It allows the shrine to maintain its purity, since wood deteriorates over time,
while retaining its ancient style, because the shrine is rebuilt exactly like
it was. Important structures at Ise Jingū have been rebuilt every twenty years
since the 7th century, except for one hundred years during the Warring States
period between the fifteenth and sixteenth centuries. Ise Jingū’s sixty-second
rebuilding was completed in 2013 (Cali, Kindle Locations 930-938).
Over the centuries, shrine architecture has changed in
various ways. As discussed in this paper, this phenomenon is seen during
periods of social or political change, and the new architectural style then
reflects the cultural change.
Works Cited
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this stylish shrine like?" Fun! Japan Indonesia. N.p., Nov.
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Honolulu: University of Hawaii
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Hirai, Naofusa. “The History of
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Isozaki, Arata. MA: Space-Time
in Japan. New York:
Cooper-Hewitt Museum, 1979.
Kishida, Hideto. Japanese Architecture. Tokyo:
Japan Travel Bureau, 1952.
Kuroda, Ryūji “History and Typology of
Shrine Architecture.” Encyclopedia of Shinto. Tokyo: Kokugakuin University, 2005. Accessed 22 Mar. 2017.
"Modern Shinto Shrines with a New
Image." Hiragana Times. N.p., 24 Apr. 2014. Web. 25 Mar. 2017.
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Tanizaki, Junichirō. “In Praise of
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