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Torii origins

 

Torii – entrance to a sacred world

 

The origins of the torii are something this blog has explored before, noting the Korean connections and the possibility that tori-i (bird’s roost) may have served as a perch for chickens and roosters at the gateway to villages.  Roosters are special in Shinto because they wake up the sun in the morning, and in the famous Rock Cave myth they wake up the Sun Goddess herself.

Now a long article on torii origins has been published on the fascinating Japanese Mythology website.  The website declares its purpose as ‘to map the mythologies of Japan and to back-track the trails of their origins outside of Japan.’  It’s a refreshingly broad and international approach to what can often be stiflingly insular.

Mikoshi with phoenix on top being borne in a festival at Hakone Jinja

One possibility the article explores is the notion that the bird in question is not the rooster, but the phoenix.  Strange one might think, ’till one realises that the phoenix sits on top of the mikoshi which bears kami in parades.  Intriguing…   it is after all a symbol of renewal, and renewal lies at the very heart of Shinto.

Moreover, it’s associated with fire, and fire is the very essence of the sun.  ‘To the Japanese the Phoenix is a Talisman for Rectitude…. and they consider it a manifestation of the Sun,’ wrote William Thomas and Kate Pavitt in1922 (The Book of Talismans, Amulets and Zodiacal Gems).

The Japanese Mythology website traces the phoenix gate connection back to Persia, or to Indo-Iranic influences spread by Saka migrants.  Photos show evidence of the trail of symbolic gates across Asia from India up to Korea, from where they may have spread to Japan.  There’s even analysis of blood groups to back up the possibility of immigrants into Japan bringing such customs with them….

It may be that early forms of the eruv doorpost emerged from and were carried by an extremely ancient migratory lineage of Semitic-Arab origin who are represented by haplogroup D-bearing  (Y-DNA) ethnic population groups including the Druzes, the Kalash(pre-Vedic culture of Pamir-Hindu Kush mountains), the Sindhi of Pakistan, etc. (see the map of the haplogroup D trail) who eventually reached Japan during the Kofun Period in substantial numbers as bearers of pre-Vedic rituals and horse and sacrificial culture with them.

Gate before a Korean burial mound in Seoul

Most fascinating of all, to me personally, is the notion that the sixth-century Japanese capital at Asuka may derive its name from the Persian for ‘Ark Saca’ or sacred place of the Saccas (Scythians).

It’s noted too that the written characters used for Asuka – 飛鳥 –  mean ‘flying bird’.  Flying bird?!!  For shamanic cultures flying birds were emissaries from on high, acting as the intermediaries between earth and  heaven.  Is this linked to the introduction of the torii in Japan, and if so which sacred bird would it be referring to?

The Japanese Mythology site has its own suggestion, deriving from the area around the Indian subcontinent.  But while travelling through Manchuria, I came across bird representations associated with shamanism that led me to suppose they may well be linked with or been imported into Japan.  It’s surely no coincidence that the emperor of Japan has a bird-shaped walking stick, not unlike the bird-surmounted pillar that stood in the Manchurian emperor’s palace.

Whatever the truth about its origins, the torii like other components in Shinto clearly shares a common heritage with East Asia.  There’s nothing unique about it, but there is something deeply appealing about it.

Gate at Yoshinogari Yayoi site in Kyushu acting as bird perch (tori-i)

A model of how Yayoi-era rituals may have looked in Himiko’s time during the third century

The most famous torii in the world? Itsukushima Shrine set in the Inland Sea

Ueno Park shrines

The Chinese-style entrance to Ueno Tosho-gu

 

The lantern-lined path leading to the Worship Hall of Tosho-gu

 

Ueno Park in Tokyo is famous for several reasons.  It houses many of the country’s top museums.  It has a zoo.  Its cherry blossom parties are legendary.  And it was the site of a decisive battle in the Boshin Civil War, featuring Saigo Takamori (‘the last samurai’) whose statue stands near the southern entrance.

Not many people know, however, that the park also boasts three shrines.  The most famous is the Toshogu Shrine, one of some 200 around the country dedicated to the spirit of Tokugawa Ieyasu (1543-1616).  The shogun was deified after his death as Tosho Daigongen (Great Avatar of the Shining East).  The shrine was originally built in 1627 by a Tokugawa follower, but was rebuilt in grander style in 1651 by the third Tokugawa shogun, Iemitsu, who glorified his grandfather.

The pagoda which stands adjacent to Tosho-gu was once part of a large Shinto-Buddhist complex. Now it's in the grounds of Ueno Zoo, cut off from the adjacent Shinto shrine - an example of the ruthlessness of the separation of Shinto and Buddhism.

The shrine was built in an elaborate Gongen style, with separate structures for pilgrims and rituals.  It was part of the sprawling complex of Kanei-ji Temple, which was a funereal temple for the Tokugawa (six shoguns are buried there).

The temple was badly damaged in the Boshin War and its Shinto components separated off by the Meiji government.  The remainder was mainly destroyed in WW2, leaving the Shinobazu Pond and a five-storey pagoda to tell of the glory that once was.

Tosho-gu itself not only miraculously survived the Boshin War, but also fire and the Great Tokyo Earthquake of 1923,  In all, it’s been partially rebuilt no fewer than 16 times, and the shrine is under renovation now (till December).

Sadly I had no chance to see the colourful carvings and lavish decorations (including Kano Tanyu paintings), but the grounds boast a botan garden (peonies) and an ornate Chinese-style gate prized as an important cultural asset.

There are 200 stone lanterns lining the approach as well as 48 bronze lanterns donated by daimyo (feudal lords), whose names are written on them. Rather than illumination, the latter are used for ritual purposes as sacred fires for purification.

Gojouten Jinja, dedicated to medicine and healing. This is the place to come if you or your loved ones fall sick.

 

The other two shrines in the park now form a sort of unitary set, as they stand side-by-side.  One is a simple shrine dedicated to medicine and healing, Gojouten Shrine.  Every month on the tenth it has a medicine festival (iyaku sai).  Shrine tradition says it was established about 500 years ago, and it moved to its present position in 1928.  Like other healing shrines, it’s dedicated to Omamuchi and Sukunahikona no mikoto; in the Nihon shoki the latter is the assistant of Onamuchi in the making of Izumo and helps to heal illness among humans and their animals.

Adjacent to it is the Hanazono Inari Shrine, one of possibly 30,000 dedicated to the rice kami around the nation.  Its origins are unknown, but Tokugawa Iemitsu received a message in a dream that he should rebuild it.  In 1873 it was again rebuilt, renamed and later put together with the Gojouten Shrine.  As well as the characteristic red torii tunnel and fox guardians, the most interesting feature is an Ana-Inari Shrine (or Hole Inari), built in a rocky recess to honour a fox which was displaced by the building of Kaneiji Temple – a welcome example of sensitivity to the plight of animals which one hopes has rubbed off on nearby Ueno Zoo.

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For a sumptuous photo tour of Ueno Toshogu, see Joseph Cali’s Shinto Shrines blog here.

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Torii tunnel leading to Hanazono Inari Jinja

 

The Hanazono Inari Shrine worship hall

 

The Ana Inari Shrine (Hole Inari) built for a displaced fox

Wedding styles

(Picture by AP)

 

The picture today in Japan Today is of a Shinto wedding at Meiji Jingu in Tokyo.  I don’t have statistics to hand, but I’ve heard there’s a slight trend back towards Shinto-style weddings in recent years, after the fashion for wedding chapels swept the nation and captured something like 70% of the market.  (Shinto marriages were down to just 12%, with the rest at public venues.)

I’m no expert on wedding clothes, but I gather the style of hat in the above picture is the sweeping Wataboshi (cotton hat), rather than the Tsunokakushi (pictured right). The Wataboshi apparently is akin to a veil, shielding the bride’s face from others so that only the husband gets to see her in full.

The Tsunaboshi on the other hand means ‘hide the horns’, and refers to the horns of jealousy which women bear.  It symbolises the intention of the bride once married to cover up her own ‘selfish’ feelings.  No wonder Japanese women are widely reputed to make the best wives!

According to the website, factsanddetails.com, the bride’s wedding costume used to include a small dagger like those used in ritual suicides in case she dishonored her husband. The white dress is not only a symbol of purity but of mourning, because the bride is ‘dying’ to her old family and joining a new one.

Factsanddetails also say that “Shinto weddings ceremonies usually last around 20 to 30 minutes. The couple is blessing by a Shinto priest, they sip some sake and a say few words. There is no best men and no giving the bride away. Sometimes rings are exchanged. After the ceremony the families of the bride’s and groom are formally introduced to each other.  The wedding ceremony is usually only attended by close family members. Most of the guests for the wedding don’t even show up for the ceremony. They only go to the wedding party afterwards.”

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For absolutely everything about Japanese weddings, click here.

 

Wedding ceremony at Futarasan Jinja, Nikko

 

A newly married pair emerge from a Tokyo shrine

 

A red carpet procession for the newly married pair, led by priests and miko to a future of conjugal bliss – maybe

Kami (2): Types

Part Two of our mini-series on the kami is also extracted from the Shinto Shrines book recently out from the University of Hawaii Press.  Illustrations are my own, and not those of the publication, as is the paragraphing.

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Sacred rocks can house kami of nature

Types of kami
Because kami worship was originally site specific in nature, there is a great variety and number. Even where the same kami has been enshrined in a different location, it will take on the local traditions of its new home. In addition, the multiple nature of kami is a factor in their elusive image. For example, a single kami has a rough nature (aramitama), gentle nature (nigimitama), wondrous nature, (kushimitama), and nurturing nature (sakimitama). These shikon (four spirits) are often enshrined separately. The complex nature of the Japanese language, whereby inconsistency even in naming is common, adds to the problem. It may be helpful to understand something of the “eight million” kami (yaoyorozu) of Shinto by looking at the various ways they are made manifest.

Kami of nature:
There are kami that reside in a certain place, or manifest in that place spontaneously or when called upon. Often the place is notable in some way: a waterfall, a mountain of distinct shape, a volcano, a large rock, a large or unusually shaped tree. Though there are many tales of kami making an appearance in humanoid or animal form (especially white animals), the manifestation is generally considered to be in the heart of the worshipper, or in the result that occurs from calling the kami (such as healing or an answered prayer). Kami of nature can also be manifest in the active forces such as rain, wind, thunder, fire, and sunshine.

Kami of folk worship:
What is sometimes called “Folk Shinto” pertains to the local beliefs and practices that grow spontaneously among the people of a given location. It is usually a result of an ad hoc blending of myths, legends, superstitions, literary works, or clan origins. It also reflects the degree of isolation or wider distribution of a particular clan or occupational group.

Dosojin from a roadside in Nagano Prefecture

Some folk kami, such as the dosojin (deities of roads and boundaries), tend to be phallic in nature, and are most often seen in male/female pairs. Such kami are generally related to the concerns of daily life such as agriculture, fishing, the hearth, fertility, disease prevention, and good or bad fortune. It could be argued that so-called “folk worship” is the origin of Shinto, its true source and the power that sustains it. Folk Shinto is closely related to shamanism and divination as well.

Kami of deification:
These are humans who were raised to the status of kami after death. There are numerous examples and various reasons for such enshrinement. For example, Emperor Ojin (r. A.D. 270–310) is enshrined as the kami Hachiman, who is revered as a protector of the country and a god of war. Thanks largely to his popularity among the samurai of the Kamakura period (1185–1333), there are said to be about 25,000 Hachiman shrines in Japan today.

A different case involves Sugawara no Michizane, enshrined as the kami Tenman Tenjin. Though he came to be considered a kami of education, he was originally enshrined to appease his vengeful ghost (goryo), which was thought to be causing plagues in the capital of Kyoto. Today there are about 10,000 Tenjin shrines throughout the country.

Another example is Tokugawa Ieyasu, the first Edo shogun, who unified the country and who decided that after his death he should be enshrined as a kami, for the purpose of watching over the country. His descendants duly carried out his wish, and today the magnificent Nikko Toshogu is one of the most popular destinations in Japan for worshippers and tourists alike. It was mentioned above that deification of kami was somewhat akin to that of a saint, but it differs in that the attributes that make a kami are not decided by any central authority and the person concerned is generally a secular figure such as a scholar, a general, an ancestor or benefactor of a community or clan (uji), or a member of the imperial family.

The grave of Ieyasu at Tosho-gu, Nikko, where he is deified as Tosho Daigongen (Great Avatar of the Shining East)

 

Kami of shared belief: Kami that are common to a wide spectrum of geographical areas are generally those that have been spread from one original location. Such are the kami of the Kojiki and Nihon shoki—for example, Amaterasu, Susano-o, and Okuninushi—who were local kami proselytized into national figures, along with the beliefs surrounding them.

The process of enshrining the kami of one place in another location is called “dividing the spirit” (bunrei). Essentially, the kami is “invited” to enter into a new place and installed there in a ceremony called kanjo; there is no limitation on the number of places that a kami can be enshrined, nor is the power of the divided deity any less than the original. In addition to the Hachiman and Tenjin shrines mentioned above, Inari shrines are said to be the most frequent at about 32,000, followed by about 18,000 for Ise shrines. (However, though they enshrine Amaterasu and are called Ise shrines, the spirit is not divided from Ise Jingu).

This process was expedited during certain periods of history, when the right to enshrine a particular kami was sold, as was the case with the expansion of Inari (a rice kami) shrines—a sort of religious franchising. Enshrinement of these kami expanded to the extent that today, two-thirds of existing shrines are said to be of the Hachiman, Inari, Ise, or Tenjin lineages.

A word of caution: there are no precise figures on the number or type of enshrinements of a particular divinity. The numbers quoted in this book are from an old survey and probably represent guesswork more than actual accounting. (For example, the total number of just these shrines exceeds the overall number registered as religious bodies.) Indeed, the number of registered Hachiman shrines is said to be no more than two thousand. Since no comprehensive shrine count has ever been done, numbers are anecdotal and vary widely.

Red torii tunnels, characteristic of Inari shrines where the rice kami is enshrined

Kami (1): Concept

Playing for the kami... but what exactly is a kami?


Kami are central to Shinto.  Indeed, the very name Shinto means ‘way of the kami’.  So an obvious question is what exactly is or are kami?

In Shinto Shrines (University of Hawaii Press), Joseph Cali provides an admirably clear overview of the subject. Well, as co-author I would say that, wouldn’t I…   But I do stand in genuine admiration of what Joseph accomplished in the book, particularly in terms of a 50-page Introduction that is as objective and succinct as any account I’ve seen.  (The extract below is accompanied by my own photos.)

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Broad definition of Shinto
If there is one single, broad definition of Shinto, it would probably be “Shinto is a belief in kami.” Shinto is considered a “natural” as opposed to a revealed religion. It has no founder and no prophets. It has morality tales and myths that have been preserved in writings and influence its practices, but there is no doctrine such as the “Ten Commandments” that dictates the correct way to live as mandated by God. It is a belief system that developed over thousands of years at different locations within Japan, and is centered on local as opposed to universal beliefs.

Beliefs and practice can differ according to local custom

Nature is its primary source of inspiration and it has incorporated a number of elements from Buddhism, Confucianism, Daoism, and Chinese divination (called onmyodo in Japanese), and from different parts of Asia. Over the centuries many of the ancient, local beliefs were formalized and nationalized by the ruling and priestly classes. This included giving names to nameless kami and creating shrine buildings. Finally, a radical restructuring and standardization took place between the late nineteenth and mid-twentieth centuries that is reflected in the Shinto we now find in most shrines.

What are kami ?
As mentioned above, Shinto can be defined as a belief in kami, which is usually translated as “god,” “deity,” or “spirit” (Japanese makes no distinction between singular and plural). Kami are not like the God of monotheistic religions or even like the Buddha. Although Shinto in the eighteenth century saw new sects emerge based on the concept of a singular creator divinity, they never held sway. Shinto is not only a polytheistic, but also a pantheistic faith, meaning that kami manifest in everything. It is also considered animistic, because its gods are in the forces and manifestations of nature.

Making offerings to the kami

The kami make themselves “present” in living beings, in the dead, in organic and inorganic matter, and in actions beyond the control of man such as earthquakes, storms, droughts, and plagues. The concept of kami also includes great people who are venerated as kami after they die and who are worshipped by subsequent generations as protectors or ancestor kami. This is somewhat akin to the Christian concept of sainthood—though people enshrined as kami were more often agents of power rather than of good works. There are times too, as in the case of the emperor, where a living person can be venerated as a kami.

Like the gods of Mount Olympus, kami perform both good and bad deeds, causing both bountiful harvests and disasters (though preventing the latter is de-emphasized in modern-day Shinto it was once the prime motivation of kami ritual). To gain the blessings and avoid the destructive actions of kami, offerings and prayers are directed to them on a regular basis. Such offerings traditionally consisted of cloth, food, swords, horses, and other valuable objects. These days offerings by priests are primarily food and drink, or sprigs of the sacred sakaki tree, while those from worshippers are usually monetary.

From the eighth century, kami were given official ranks that could be raised as a reward for good behavior. In this and other ways, kami came to be treated as if human, with similar emotions, needs, and desires. On the other hand, they were rarely portrayed in art in an anthropomorphic way, except under the influence of Buddhism. There is, however, one category of imported kami for whom visual representation is common: the shichifukujin (Seven Lucky Gods).

Eight myriad kami being borne on sakaki branches at an Izumo festival held every autumn

Solar power

Who do you think might have written the following?

Amaterasu, sun goddess and primal deity in the Shinto pantheon

‘”The Sun is god!” cried J.M.W. Turner as he died, and plenty of other people have thought there was much in his analysis. The Aztecs agreed, and so did the pharaohs of Egypt. We are an arrogant lot these days, and we tend to underestimate the importance of our governor and creator.

We forget that we were once just a clod of cooled-down solar dust; we forget that without the Sun there would have been no photosynthesis, no hydrocarbons — and that it was the great celestial orb that effectively called life into being on Earth. In so far as we are able to heat our homes or turn on our computers or drive to work it is thanks to the unlocking of energy from the Sun.

As a species, we human beings have become so blind with conceit and self-love that we genuinely believe that the fate of the planet is in our hands — when the reality is that everything, or almost everything, depends on the behaviour and caprice of the gigantic thermonuclear fireball around which we revolve.’

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Well, it’s not a Shinto apologist, nor is it a new-age religionist…   it’s a British politician by the name of Boris Johnson writing an article about the vagaries of the weather in Britain, which is currently suffering from a blanket of snow and feeling miserable for itself.

But in writing of the sun as ‘our governor and creator’ the maverick politician seems to be hitting on a similar theme to ancient humans.  In acknowledging the solar primacy, perhaps we may come to recognise that conditions on earth depend on activity up there.  By allying itself with the rising sun, the nascent Japanese state may have been unconsciously tapping into a scientific, as well as a higher, truth.

Ceremony to welcome the sun rise on the longest day of the year at the Meoto Rocks at Ise

Year of Renewal (Sengu)

Outer gate at Naiku, one of the more than 100 buildings that are being renewed at Ise jingu

 

2013 is going to be the year of the Shikinen Sengu (rebuilding) at the country’s premier shrines of Ise and Izumo.  By coincidence, both major shrines are due to complete their rebuilding this year amidst rites and celebrations.  My local shrine of Shimogamo here in Kyoto is due to complete its renewal also.  Only ten shrines around the country still carry out the ancient practice apparently.  What a year it will be….

“Everybody storms to Ise Jingu in reverence for the Shikinen Sengu Ceremony.” – Matsuo Basho

But what on earth is it?  Here’s an explanation, courtesy of the Shimane website….

A shrine building at Ise with the allotted space next to it for the rebuilding

Sengu
The term sengu is used any time work is done on a shrine building, from simple roof repairs to a complete rebuilding of the shrine, or even a relocation of the shrine building. While work is being done on a shrine, the deity is moved to a temporary shrine. Then, once all work is finished, the deity is returned to the repaired, rebuilt, or relocated shrine. This is because a shrine is considered to be a holy place, and things like people standing on a shrine roof to work or noisy construction are thought to be offensive to the gods.

Practically, sengu are done for shrine upkeep, but there is a spiritual aspect to sengu as well. By making the shrine new again, a sengu symbolizes a renewal of power and vitality for the deity of that shrine. The most well-known example of a sengu is that of Ise Grand Shrine in Mie Prefecture, where all the shrine buildings on the ground are completely rebuilt every 20 years.

While most shrines only have a sengu when work is absolutely necessary, Izumo Taisha is one of the other few examples of a sengu being held on a regular schedule. Izumo Taisha’s sengu, however, is held every 60 years. At 24 meters tall, Izumo Taisha’s main hall is the tallest of its kind in Japan, and a complete reconstruction at its current size is infeasible. There are no longer any trees left in Japan of the height and width necessary to build a 24-meter high shrine building. So to preserve the current main hall as long as possible, Izumo Taisha’s main hall is reroofed every 60 years.

The current main hall was built in 1744, and has been designated as a national treasure. The roof of the shrine, which is made of bark from Japanese cypress trees (hinoki), is totally exposed to the elements.
After 60 years, the wind, rain, snow, and sun take their toll on the roof. Birds also pull out pieces of bark to make their nests in the roof, and large patches of moss grow near the eaves.

60 years is considered to be the general limit for a cypress bark roof to last, so it is removed, and any other necessary repairs on the building structure are performed. This is no small task. The thin strips of cypress bark that make up the roof are almost a meter thick in places, and it takes over 640,000 strips of bark, weighing nearly 47 tons, to roof the entire shrine.

The current sengu started in 2008 and is scheduled to finish in 2013, the same year as the sengu for Ise Grand Shrine will be completed.

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There’s an explanation of the Ise sengu here.  For a list of the asscociated ceremonies culminating in October, see here.

Inside one of the Izumo Taisha buildings... Imagine having to rebuild the whole of that, roof and all...

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