The Shinto Shrine
Spring 2021 For the Religious Practice of People in Modern Japan course at Arizona State University In Japan, two major religions that have taken a shape of their own and merged into everyday life are Shintoism and Buddhism. Though both of these religions have become a part of the everyday life of Japanese people, their practices of prayers, celebrations, and community are all centered around the shrine or temple. Coming through China and Korea to Japan during the earlier years of Japan’s society (or rather kingdom), Buddhist temple architecture has predominantly taken on Chinese design elements including the use of red painted wood, more ornate and intricate designs/carvings, and the hip and gable roof line. Shinto shrines, on the other hand, are more distinctly Japanese. This probably is due to Shintoism being the indigenous religion of Japan. So, what makes up a Shinto shrine? What are its architectural elements? What architectural elements originated from Japan through Shinto shrines? In fact, the earliest shrines were not these larger, more permanent shrines that we recognize as Shinto shrines seen throughout Japan. The number of Shinto shrines actually exceeds this amount of large scale, permanent shrines due to the earlier smaller, temporary shrines that are either still in use, rebuilt, or newly built today. These shrines are found all over Japan where it is believed that there are higher concentrations of spiritual energy, in other words where kami reside. This could be a waterfall, a cave, a clearing, a large or unusually shaped tree, a prominent stone, a farm, and pretty much anywhere in nature. In modern times, Japanese people have even placed these smaller shrines in their homes as kamidana. Today, these smaller, more temporary shrines are sometimes called “wayward” shrines, as they can be found everywhere, and many are best found walking through nature. The architecture of these “wayward” shrines are actually more “rustic”, as in they could be stones piled up in a certain way, or symbolic objects placed in a makeshift shrine. These shrines even sometimes have ropes (made of rice straw) attached to or wrapped around the kami’s “home” (wrapped around a tree or hung across a cave) to signify the important presence of the kami. These rice straw ropes are used in Shinto purification rituals and have been incorporated into some Shinto architecture. Later “wayward” shrines took on architectural elements of larger shrines, but on a much smaller scale. Though some today are upkept by a single person, a family, or a community, most are left to decay. This is significant in the fact that death is a part of life and allows the lifespan of the shrine to be similar to that of the mortal life found in humans and nature. Afterall, not everything lasts forever. The first larger-scale, permanent Shinto shrines were actually built during the time when Buddhism first entered Japan. This is also when the notion of permanent temples and shrines could be built. While Buddhist temples were fashioned after Chinese designs, Shinto shrines were fashioned after early long-houses that were used as either storehouses or chief’s residences (this is where Shintoism was first practiced, and the chiefs were considered the early priests). In fact, all traditional buildings both built in the past and refurbished or rebuilt today use wood, specifically Japanese hinoki (cypress), are joined together like a jig-saw puzzle, and are built without using nails. This is a fully mastered practice that comes from the Japanese (at least at this intricacy, skill, and fortitude – they can withstand earthquakes and handle the moisture changes found in Japan. Over time, shrines took on individual architectural elements that represented their communities and their specific kami. However, there are certain elements that are common among all Shinto shrines. These include the torii (gate), sando (pathway), chozuya (washing place; water purification), toro (lanterns), stone guardians (usually lions/dogs (komainu) or foxes (inari)), haiden (worship hall; place where people pray to the kami), tamagaki (fence surrounding the honden), and the honden (the shrine itself, where the kami resides). Within the honden, there is an object that represents the kami. This usually is a mirror but could also be a sword or a jewel(s). These items can also be found in “wayward” shrines and kamidana as well. Due to the fact that all Shinto shrines, except kamidana, are found surrounded by nature, as that is where the kami have come down from the heavens or reside, the torii is the initial defining architectural element that tells a person that beyond this gate is sacred ground where a kami resides, where the shrine is. There are even as many as one or many torii for each shrine and the torii usually indicates the status and function of the shrine. Torii literally is translated to “where the birds are”[i] and is usually “constructed of wood, stone, or metal and are sometimes painted red.”[ii] Though there are about sixty different kinds of torii, there are in fact, two major styles of torii, shinmei and myojin. Shinmei torii are very simple in design. They have two poles that are topped by another straight pole and with another pole running between the two vertical poles below the upper horizontal pole. Myojin torii also have two vertical poles but has a beam that runs through the two vertical poles under an upward curving lintel on top that is capped on top with a roof-like element. Some or most torii also have the same kind of rice straw rope hanging between the two poles that are found in “wayward” shrines, called shimenawa.[iii]
For the rest of the shrine complex, the architectural designs and elements are similar to those of the honden and haiden. The haiden always faces in the same direction as the honden, since that is the direction in which the visitor/believer/layperson is to pray (towards the kami). After all, humans, other than priests, cannot go beyond the tamagaki and into the honden. Though each shrine is almost unique in their design, there are about fifteen different types that are mainly defined by their roof lines/designs, some of which are very similar. This is due to changes in technology and interests of the government/people. At first Shinto shrines were mostly separate from Buddhist temples, but for about a few hundred years, Shinto shrines and Buddhist temples were practically combined, and then during the Meiji Restoration, they were again separated. However, most shrines had specific architectural elements that were originally Shinto. These include gabled roofs with chigi (ornamental crossbeams) and katsuogi (ornamental logs arranged perpendicular to the ridgeline of the roof), highly raised timbered floors, absence of tile used for roofing (wasn’t good in Japan’s climate and considered bad for Shinto shrines), absence of earthen walls, and simple (not decorative). Also, many shrines are made of wood/timber that are deeply rooted into the ground and most have a central core pillar called a “heart pillar.”
Prior to the influence of Buddhism, there were three main types of architectural styles taisha (Izumo Shrine), sumiyoshi (Sumiyoshi Shrine, Osaka), and shimmei/shinmei (The Grand Shrines at Ise). Taisha style shrines have gracefully curved gabled roof, and its entrance is on the shorter side. Sumiyoshi style shrines have no veranda or core pillar, and their roofs are gabled with a linear shape and embellished pediments with their entrance on the gabled side. Shimmei/Shinmei style shrines are considered the oldest style of shrine aarchitecture and is mainly found at the Izumo Shrine. This style has a very straight design with its entrance on the long side of the building, and its supporting gables do not terminate when they meet but rather form more chigi that are topped with metal fittings.
During the influence of Buddhism, newer styles emerged, Kasuga (Kasuga Shrine, Nara), Nagare (Ujigami Shrine, Uji), Hie (Hiyoshi Shrine, Shiga Prefecture), and Hachiman (Usa Jingu, Oita Prefecture). Kasuga style shrines are the second most common type of shrines with the entrance on the short side, a separate roof that covers the steps, and the gabled roof has a curve toward each side. This style also has been painted (most likely red), which is similar to Buddhist temples. Nagare style shrines, which can also include ryonagare style shrines are an advanced variation of shimmei/shinmei style shrines and are the most common type of shrine with the entrance on the long side, and a curved front sloped gabled roof that extends over the steps. Hie style shrines, are also called hiyoshi or gongen style, and typically this style integrates both the honden and the haiden by connecting them with a low building called an ishinoma. This style actually has a half-hipped roof combined with a gabled roof. Hachiman style shrines are typical of guji/jingu shrines that usually, but not always hold a deified person or a person that became a kami. This style is also seen in shrines whose primary kami is Hachiman, god of war. This style is seen with two buildings interconnected back-to-back, almost as if they were one, combining the honden and the haiden in a front and back hall system.
After the Meiji Restoration, there were a few other styles that appeared that were a nod back to the original Shinto shrine architecture found prior to the influences of Buddhism. Though even today, both traditional and traditionally built shrines have influences from both local traditions, Buddhist styles (mainly the red paint), and some modern technologies (stone, concrete, metal/steel). As the desire to preserve these shrines came into prominence and modern technologies allowed for new ways to do this, there are six different methods depending on the condition of the wood and the shrine; regular renewal, recycle materials, preservation, remodeling, restoration, and reconstruction.
Regular renewal was common in earlier Shinto shrines. This involved “periodically making a… exact copy of a building, after which the original was torn down.”[iv] This is done with the Ise Shrine every twenty years starting in 685. The newer copy is created directly next to the older version where “At the center of each vacant lot” prior to construction, “is a miniature wooden building that covers a hinoki stick that marks the spot where the sacred “heart pillar” under the center of the new building will be erected.”[v] After the new shrine complex is approved by the priests, the old one is “torn down and their materials are given to tributary shrines throughout Japan. This method ensures a faithful transmission of the old style.”[vi] Twelve years after the new shrine is built, the process for building the next copy is started and over the next eight years, carpenters, metalworkers, and other craftsman create/construct these new pieces in the traditional way, without the use of nails.
One of the most common forms of preservation in Japan is the use of recycled materials from buildings that have collapsed, been partially destroyed, or torn down. These materials are then used “in the construction or repair of other buildings.”[vii] Preservation on the other hand “is the practice of taking steps to save architectural members that are decaying, and reinforcing structures that are in danger of collapse.”[viii] And with modern technology carbon fiber is now injected into the damaged parts to help preserve the overall structure and design of the shrine. Remodeling is actually the only form of preservation that doesn’t actually fully preserve the past. Instead, shrines are modified by bringing in contemporary styles or revise the overall function of the shrine buildings/complex. As for restoration, and even reconstruction, parts or the whole building/complex, respectively, is replaced. This is usually due to damage done by natural forces (and even sometimes manmade) or shrines that have been lost over time.
Though Shinto shrines did not start out as permanent structures, they have come to be a central part of Japanese culture and communities. It is a place where prayers to the kami are made, and celebrations take place. It is also a place that connects people to nature, ancestors, and kami, especially in a chaotic modern world. Shinto shrines are also buildings of the past and symbols of traditional Japan. And even though these shrines have been influenced by Buddhism, they are still distinctly Japanese, which can be seen in their architecture from their overall design, to their specific detailed elements. For these reasons, the Japanese value their traditional Shinto architecture and use a variety of ways to preserve the variety of architectural styles that are almost unique to each shrine, kami, and community.
Bibliography
Dezeen. 2020. Shinto temple gates are "symbolic entrances into a new world": One Minute Architecture: Dezeen. Accessed 2021. http://www.youtube,com/watch?v=0LccT6tYBxw.
Japanese Shrine Architecture. Accessed 2021. https://doyouknowjapan.com/architecture/shrine/.
Matsuyama, Hiroko. n.d. Shinto Shrine: History, Architecture, and Functions. https://www.patternz.jp/shinto-shrine-history-architecture-functions/.
Rujivacharakul, Vimalin. n.d. Architecture and Sacred Spaces in Shinto. https://orias.berkeley.edu/resources-teachers/architecture-and-sacred-spaces-shinto.
Ryūji, Kuroda. n.d. History and Typology of Shrine Architecture. http://eos.kokugakuin.ac.jp/modules/xwords/entry.php?entryID=248.
2019-2020. The architecture of Japanese Shinto shrines. Accessed 2021. https://www.kanpai-japan.com/religion-and-spirituality-in-japan/the-architecture-of-japanese-shinto-shrines.
Young, David, and Michiko Young. 2019. The Art of Japanese Architecture: History, Culture,Design. Tuttle Publishing.
Notes
[i] Young, David; Young, Michiko. The Art of Japanese Architecture: History, Culture, Design. Tuttle Publishing. 2019. [ii] Ibid., [iii] Dezeen. Shinto temple gates are “symbolic entrances into a new world”: One Minute Architecture: Dezeen. Accessed April 2021. https://www.youtube.com/watch?v=0LccT6tYBxw [iv] Young, David; Young, Michiko. The Art of Japanese Architecture: History, Culture, Design. Tuttle Publishing. 2019. [v] Ibid., [vi] Ibid., [vii] Ibid., [viii] Ibid.,