2024-04-18

Kawaguchi Asama Shrine Torii Gate

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A Glimpse into Torii Gate Architecture at Kawaguchi Asama Shrine

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 15:24・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/200 sec. at ƒ/7.1

The large torii gate warmly welcomes visitors to the cedar-tree lined approach to the Kawaguchi Asama Shrine. Many of these trees are 800 years old and have stood tall since the Kamakura Period (1185–1333).

Historical records indicate the original torii gate was built to a height of approximately 13 m (42.65 ft) in 1688, and rebuilt in 1697 to a height of 16.4 m (53.80 ft).

The current torii gate was built of concrete in 1965 and stands approximately 18 m (59.05 ft) high. One of the cornerstones of the original gate remains at the right foot of the current gate.

The inscription in green on the plaque of the torii gate reads "Sangoku Daiichisan,” In medieval Japan, "sangoku" referred to the three kingdoms of India, China, and Japan, which basically meant the entire world. “Daiichisan” means number one mountain or the highest mountain. So, when put together "Sangoku Daiichisan" means the "The World's Highest Mountain."

This particular naming of torii gates can be readily found at shrines surrounding Mt. Fuji. This naming is rather unique in that the name on a torii gate is usually the name of the shrine to which it belongs. Around Mt. Fuji, however, many torii gates belong to Mt. Fuji as it is a deity in its own rights, and are not named after the shrine to which they are physically attached to. In fact, there are historical records that indicate that some torii gates were put up as gates to Mt. Fuji herself, and the actual Shinto shrine followed later. 

Regardless of whether the torii was built for a shrine or Mt. Fuji, all torii gates are usually erected at entrances to a hallowed precinct (shrine, mountain, boulder, etc.) to demarcate a sacred place from its earthly surroundings.

The torii gate at Kawaguchi Asama Shrine uses an inari torii or daiwa torii design, which closely takes after the myoujin design that dates back to the 9th Century. Like the myoujin design, the daiwa torii design has top lintels with upward curving ends. The tie beam below the lintels is a straight, rectangular beam that extends beyond the pillars for about 1/5 of the tie beam’s length. Unlike the myoujin design, the daiwa design has a circular plate called the daiwa, which is placed on top of each pillar to prevent the seepage of rainwater into the crosscut of the pillar.

In the middle of the tie beam, there is often a framed inscribed panel or plaque called a gakuzuka. Unlike numerous torii gates around Mt. Fuji, typical inscriptions on the panel or plaque will bear the name of the nearby shrine.

Glossary:
  • 三国第一山 Sangoku Daiichisan: In medieval Japan, "sangoku" referred to the three kingdoms of India, China, and Japan, which basically meant the entire world for people at that time. “Daiichisan” means number one mountain or the highest mountain. So, when put together "Sangoku Daiichisan" means the "The World's Highest Mountain."
  • 台輪 daiwa: A circular plate placed at the top of the pillars used for torii gates to prevent the seepage of rainwater into the crosscut of the pillar.
  • 鳥居 torii: A traditional gate-like structure, composed of two pillars with one or two horizontal crosspieces at the top with a tie beam placed below the lintels and often erected at entrances to a Shinto shrine to demarcate a symbolic gateway between the earthly realm and the sacred realm of the spirits.
  • 稲荷鳥居 inari torii / 台輪 daiwa torii: Inari torii and daiwa torii are types of torii gates characterized by a circular plate, known as “daiwa,” placed on top of each pillar. This circular plate serves to prevent rainwater from seeping into the crosscut of the pillar, a feature unique to these designs.
  • 明神鳥居 myoujin torii: The myoujin torii gate, developed around the 9th Century, is the most common type of shrine entrance torii gate. It features upwards curving lintels, a tie beam below, and a framed inscribed plaque connecting the tie beam and the lintel in the middle. Additionally, it is often painted vermilion, adding to its visual prominence.
  • 額束 gakuzuka: Located at the center of the tie beam and connected to the upper lintel, this is a supporting strut that sometimes has a framed plaque attached to it with an inscription of the name of the shrine.
References:

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2024-03-20

Futahashira-Sugi Cedars

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Sacred Ancient Trees at Shinto Shrine

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 15:11・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 6400 for 1/125 sec. at ƒ/8

Situated approximately 20 meters (65 ft) to the east of the Kawaguchi Asama-Jinja Shrine stand two ancient trees known as the Futahashira-Sugi (両柱杉) cedars. The cedar on the right reaches a height of approximately 47.5 meters (156 ft), making it the tallest among the renowned seven cedar trees at the shrine.

The cedar on the right is named after Izanagi-no-Mikoto, a male deity from Japanese mythology who, according to legend, fathered Japan, the sun, the moon, and storm gods. On the left stands a cedar named after Izanami-no-Mikoto, a female deity known for giving birth to numerous gods and being the wife of Izanagi-no-Mikoto.

The origin story of the two trees is fused with the belief that the roots of the right tree gradually grew and intertwined with those of the smaller tree on the left, a process said to have begun around 1,200 years ago. This physical and metaphorical union of the two majestic trees symbolizes a sacred bond, transforming them into revered entities worshiped for their association with successful matchmaking, fertility, and safe childbirth.

To symbolize this sacred union, the two trees are bound together by a shimenawa rope, signifying their holiness and serving as protection against malevolent spirits, thus preserving their status as revered landmarks. Adorned with shide paper streamers, the shimenawa rope further delineates the area surrounding the two trees as a consecrated space.

Glossary:
  • 両柱 futahashira: Two (or both) pillars, posts, cylinders, or support. In the above context, the two deities (large cedar trees), one a male and the other a female, are intertwined as one at their roots.
  • 杉 sugi: Japanese cedar (Cryptomeria japonica)
  • 注連縄 shimenawa: A straw rope hung before or around a site to demarcate sacred or pure space.
  • 垂 shide: folded strips of paper suspended from shimenawa ropes to demarcate a sacred or ritual space.
  • 伊耶那岐命 Izanagi-no-Mikoto: A male creator deity (kami) of both creation and life in Japanese mythology.
  • 伊耶那美命 Izanami-no-Mikoto: A female creator deity of both creation and death in Japanese mythology, as well as the Shinto mother goddess.
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Kawaguchi Asama-Jinja Shrine

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Kawaguchi Asama-Jinja Shrine

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 15:09・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 2500 for 1/125 sec. at ƒ/8

Situated just 1.28 km (4,186 ft) from the shores of Lake Kawaguchi, which lies northeast of Mt. Fuji, Kawaguchi Asama Shrine boasts an ancient history dating back to the Jogan Eruption of Mt. Fuji in 864. The shrine is oriented toward the source of the lava flow rather than Mt. Fuji’s peak, to appease the volcano deity known as Asama or Sengen. Establishment of this shrine marked the beginning of the building up of shrines on the northern flank of Mt. Fuji, which centuries later, would welcome thousands of lay pilgrims every year.

After the devastating Jogan Eruption, which wreaked havoc on the Asama/Sengen shrines located on the southern slopes of Mt. Fuji, the imperial court decreed the construction of a new shrine to the north. This decision aimed to appease the angered deities and safeguard the shrine from potential future eruptions.

The architecture of Kawaguchi Asama Shrine follows the wari-haiden ("divided worship hall") style typical of Sengen shrines. This style features two distinct structures connected by an open space beneath a single roof. In my accompanying photo, you can see a prime example of wari-haiden: the expansive main worship hall (haiden) on the left and the sanctuary housing the shrine's central object of veneration (honden) on the right, both unified under the same roof.

The haiden, positioned on the left side, functions as the primary worship hall within the shrine complex. Depending on factors such as the shrine's size and location, the haiden may also double as a platform for ritual performances, ceremonies, and direct worship of the shrine's kami. Typically situated at the forefront of the sanctuary (honden), the haiden is often constructed on a larger scale compared to the honden. Consequently, it tends to be the most noticeable structure by regular worshippers.

The honden, positioned on the right side, holds paramount significance within the shrine's architecture as it houses the essence of the deity, typically represented by a sacred mirror or, less commonly, a statue. The honden is situated at the rear of the shrine complex and is accessible only to shrine priests or, in the case of major shrines, the Emperor.

The standout feature of this shrine that immediately captivated my attention is its remarkable nagare-zukuri (流造) design, showcased in the roofs of both the worship hall and the sanctuary. Characterized by gently sloping curves that seamlessly extend to the eaves, this style of gabled roof is distinctive for its integrated roof-eave structure. Nagare-zukuri roofs can be crafted from a variety of materials, such as thatch, cypress bark, and copper plating, contributing to the shrine's aesthetic appeal.

I'm also fascinated by the metal fittings positioned at the ends of the rafters, which extend to the edge of the eaves. Typically crafted from iron, copper, or gilt bronze, these fittings serve not only as decorative elements but also play a functional role in safeguarding the structural components from weather-related wear and tear.

Terminology:
  • 割拝殿・wari-haiden: A specific architectural style commonly found in Shinto shrines, characterized by a long structure under a single roof that is divided in the center by a passageway. This passageway connects the haiden, the main worship hall, with the honden, which houses the shrine's central object of veneration. The wari-haiden design allows for a seamless flow between the two essential components of the shrine while maintaining structural integrity and aesthetic unity.
  • 拝殿・haiden: Primary worship hall within a Shinto shrine, typically positioned on the same axis as the main sanctuary (honden). It serves as a space for ritual worship, ceremonies, and offerings to the shrine's deity or deities. The haiden is often the focal point of religious activities and is designed to accommodate worshippers during various religious observances.
  • 本殿・honden: The sanctuary of a Shinto shrine, revered as the most sacred building because it enshrines the deity (kami). This central structure serves as the spiritual heart of the shrine, where worshippers offer prayers and reverence to the divine presence believed to reside within.
  • 神・kami: Divine beings in Shinto belief, encompassing a wide range of entities, including deities, spirits of nature, ancestors, and even revered objects or phenomena. They can be symbolized by various items such as amulets, mirrors, swords, carved statues, as well as natural elements like trees, rocks, and animals. Kami are revered for their power and influence over different aspects of the world, including the elements, natural forces, and human affairs.
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Kayabuki Farmhouse for Silkworms

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From Silk Worms to Scarves: Inside the Historic Farmhouses of Saiko Iyashi-no-Sato Nenba

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 12:24・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 400 for 1/125 sec. at ƒ/11

This farmhouse stands as the epitome of a traditional Japanese rural dwelling, characterized by its iconic thatched roof and adorned with a few unique features tailored for silk production.

A defining trait of many restored farmhouses in the Saiko Iyashi-no-Sato Nenba open-air museum is their incorporation of second-floor windows. These windows play a pivotal role in regulating airflow, light, and temperature, essential for the cultivation of silkworms. This industry was central to the village's existence, tracing back to the Edo Period (1603-1867).

The houses in this village used a distinctive thatched roof design, known as kabuto-zukuri (兜造り), owes its origin to the necessities of sericulture. The name, kabuto-zukuri, translates to "helmet structure,” and derives from the roof's resemblance to the helmet worn by samurai warriors.

Ventilation and ample sunlight were indispensable for successful sericulture, thus these dwellings were crafted to cater to the needs of silk production, reflecting one of the primary livelihoods of the local farmers .

Today, this meticulously restored farmhouse serves a new purpose as the home of Fujisan Silk, a gift shop offering a variety of silk products. From scarves to ties, these items are crafted by Kashiwagi Co., Ltd., a silk textiles manufacturer with a rich history spanning over 300 years in the neighboring town of Fujiyoshida.

Terms:
  • 茅葺屋根 kayabuki yane: thatched roof
  • 民家 minka: rural dwelling or farmhouse
  • 茅葺き民家 kayabuki minka: thatched roof house
  • 兜 kabuto: a type of helmet first used by ancient Japanese warriors and later by the samurai class 
  • 造り tsukuri: structure
  • 兜造り kabuto-dzukuri: structure of roof resembling samurai helmet
References:


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Vintage Mailbox and Shoiko Backpacks

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Historic Relics Next to the Watanabe Residence

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 12:06・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
53 mm ISO 100 for 1/50 sec. at ƒ/6.3

Next to the former Watanabe Residence, a Registered Tangible Cultural Property of Japan, sits a quaint shed adorned with charming relics of the past – an older style mailbox and shoiko backpacks.

This particular design of mailbox traces its origins back to 1949, a time when the use of iron for casting durable mailboxes resumed to normal levels as critical materials became once again available for civilian use following the end of World War II.

Seventy-four years have passed since then, yet this particular style of mailbox can still be found in both rural areas and older neighborhoods in urban Japan.

Dating back to the Edo Period (1603-1867), two shoiko backpacks hang on the shed's wall. Crafted from hardwood and straw ropes, these vintage backpacks served as indispensable tools for farmers and their families. They were utilized for transporting charcoal, harvested crops, firewood, and rice bundles. Given the expectation for children to assist with chores, smaller shoiko backpacks tailored for youngsters were also commonplace.

Terms:
  • 背負子 (shoiko): a vintage style of backpack; wooden rack with shoulder straps for carrying loads on one's back
References:

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Hinomiya and Fire Tower

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From Fire Lookout to Costume Haven: Hinomiya Building in Saiko Iyashi-no-Sato Nenba

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 12:02・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/40 sec. at ƒ/11

The Hinomiya building (火の見屋) is a restored thatched-roof house currently being used as a costume rental shop within the Saiko Iyashi-no-Sato Nenba open-air museum in Yamanashi Prefecture, Japan. Visitors can rent costumes tailored as kimonos, sets of samurai armor, ninja costumes, and more to wear and pose for photos around the museum.

The name "Hinomi" (火の見) translates to “fire lookout,” which explains the presence of a bell at the top of the tower situated in the front yard of this old restored house.

In pre-modern Japan, many villages and cities were constructed from flammable materials such as wood, bamboo, straw, and paper. Due to the proximity of structures, fires could easily spread. In response, the Shogunate mandated the construction of watch towers in 1723. For further insight into this historical context, consider reading “Fire-Fighting and Disaster Prevention in Edo” published by the Journal of Japanese Trade & Industry in November/December 2000, authored by historian Sumiyoshi Yamamoto.

The restored Hinomiya building now serves as a costume rental shop, offering over 100 different types of kimonos and sets of armor for rent. Visitors can enjoy wearing these costumes while exploring the museum grounds and capturing fun photos with the traditional buildings as backdrops. With luck, you might even catch a shot of Mt. Fuji in the background.

Terms:
  • 半鐘 (hanshō): alarm bell
  • 火の見櫓 (hinomi-yagura): fire lookout towers
References:

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Goronekan Rest House

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Rest and Rejuvenation: A Respite Space in Yamanashi

Location: Fujikawaguchiko, Yamanashi Pref., Japan
Timestamp: 11:55・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
31 mm ISO 100 for 1/320 sec. at ƒ/8

The Goronekan (ごろ寝館) is a meticulously restored thatched-roof structure within the Saiko Iyashi-no-Sato Nenba open-air museum, in Yamanashi Prefecture, Japan. This restored house offers visitors a serene retreat, and serves as an intimate venue for small concerts featuring traditional Japanese musical instruments, adding a cultural dimension to its charm.

The name itself, Goronekan, translates to “falling asleep in one's clothes to take a nap" combined with "public building." Essentially, Goronekan serves as a respite for weary visitors, offering a place to rest and rejuvenate on traditional tatami mats or wooden floors after exploring the village's many attractions.

Perched at the highest point of the open-air museum, Goronekan treats visitors to a majestic vista of Mount Fuji, framed by the quaint thatched roofs of neighboring buildings, provided the weather cooperates.

Admission is free, inviting guests to bring along their own food and tea to savor while reclining in the same manner as Japanese families would have done many generations ago. Whether engaging in conversation with fellow visitors, delving into a good book, or simply indulging in a nap ("gorone"), the tranquil ambiance of Goronekan invites relaxation.

Moreover, for those seeking a more private affair, Goronekan can be rented out for a fee, accommodating private parties, gatherings, or local community meetings. Its main hall offers a versatile space, suitable for intimate musical performances or serving as a stage for event hosts.

Terms:
  • ごろ寝 (gorone): roll over, spread out, and take a nape (in your clothes)
  • 館 (〜kan): mansion; palace; manor house; castle, large building, public building
  • 娯楽室 (gorakushitsu): recreation, amusement, or relaxing room 
References:


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