The great Ise Shrines in Japan Building and context
Table of Contents List of Figures…………………………………………………………………………………………………………… i Introduction…………………………………………………………………………………………………………………… 1 What it is made of and where it is placed…………………………………………………… 2 Attentiveness to detail…………………………………………………………………………………………………….4 Influences……………………………………………………………………………………………………………………………………… 5 Conclusion……………………………………………………………………………………………………………………………………… 5 List of sources consulted……………………………………………………………………………………………… 6
List of figures Figure 1. Ise Shrine, frontal view of one end of the Shoden (main sanctuary), inner precinct, detailing roof construction and balustrade. Photography by Yasuhiro Ishimoto ....................... 1 Figure 2. Typical plan illustrating tsuma-iri entrance style of ancient Japanese shrine architecture and one illustrating hira-iri entrance style of ancient Japanese shrine architecture ............. 2 Figure 3. One of the shrine buildings at Ise Jingu. In the foreground is the graveled area where an exact copy will e reconstructed when the complex is replaced in 20 years. Photographer unknown ............................................................ 3 Figure 4. The main compound (viewed from the south) of the Naiku at Ise Jingu consists of a sanctuary and two treasure houses enclosed by a series of fences. To the west of the compound is another white graveled lot where the new Naiku will be located when the present structures are dismantled. ......................................... 4
The great Ise Shrines in Japan Introduction Japanese architecture is well known for its bold use of wood, joyful enthusiasm shown in colour schemes and its attention to detail. These are only a few of the basic principles that are followed in constructing Japanese architecture. This essay is an analaysis of the Grand Shrines at Ise, particularly the Ise Jing. The headings to each aspect of this analysis are adapted from the book The Art of Japanese Architecture by David and Michiko Young that speaks about the basic principles of Japanese architecture (Young 2007: preface).
The Ise Shrines are significant because they are an early example of typical Japanese architecture, with its exposed thatch roof and unpainted poles and walls, raised structures and modification of the building to suit its natural environment. The landscapes are harmonious with the architecture, which is suitable since the shrines are where the Shinto, who believe in the ‘kami’, have their ceremonies. Most of the shrines are surrounded by rocks and forest, as Figure 1. Ise Shrine, frontal view of one end of the Shoden (main architect Hayahiko sanctuary), inner precinct, detailing roof construction and balustrade. Photography by Yasuhiro Ishimoto (Young 2007: 14) Takasi’s points out in his paper ‘The Great Ise Shrine at Ise’. He says that trees and stones have “long been objects of deep devotion in Japan”. (Takasi 2009:1).
What it is made of and where it is placed Traditional Japanese architecture tends to lean towards the use of natural materials. Wood is a preferred building material for the Japanese climate.(Young 2007:17). The Ise Shrines are constructed primarily of wood. The bold use of a wooden structure makes the buildings appear prominent, as the wooden posts and beams are quite large and decorative. Other natural materials used in the shrine buildings include reeds, clay and bark, which are used in the roof. There is a strong emphasis on straight lines and symmetry in the roof. The basic floor plan of the shrine buildings suggests a form of symmetry, which is similar to many other indigenous and foreign traditions. Most of Japanese architecture, the shrines included too, prefers a natural setting, and the use of natural materials in building them assists in keeping the harmony between the unnaturally built and the natural.
Figure 2. Typical plan illustrating tsuma-iri entrance style of ancient Japanese shrine architecture and one illustrating hira-iri entrance style of ancient Japanese shrine architecture. (Isozaki 2006: 32).
The landscape in which they are placed plays a significant role, especially concerning the specific use of the building itself. The Ise shrines support the belief in a divine power in nature, which is referred to as ‘kami’, that is predominant in some aspects of nature like waterfalls and mountains and forests. So, often these shrines are placed particularly close to such phenomena. The Ise shrines are situated within an ancient cedar forest. They were probably placed there for the same fore-mentioned reason - the presence of the ‘kami’. (Isozaki 2006: 32)
Figure 3. One of the shrine buildings at Ise Jingu. In the foreground is the graveled area where an exact copy will e reconstructed when the complex is replaced in 20 years. Photographer unknown
The shrine buildings are separated from the world by high series of fences.
Figure 4. The main compound (viewed from the south) of the Naiku at Ise Jingu consists of a sanctuary and two treasure houses enclosed by a series of fences. To the west of the compound is another white graveled lot where the new Naiku will be located when the present structures are dismantled. (Young 2006: 15)
Attentiveness to detail The Ise shrines show an extensive level of craftsmanship. This can be seen in Figure 1 as well. The detail of the roof and connections of the timber beams and posts is remarkable. The connections are intricate, and although complex, they allow for the building to be disassembled and assembled periodically. The shrines are rebuilt every twenty years, maintaining their style and materiality. From afar, the overall effect may seem simple, but with close inspection one can notice numerous details. Most of the time, the brackets in the building are repeated over and over again creating a rhythmic emphasis that is integrated and unified. (Isozaki 2006: 42)
Influences From the preceding writing, the Ise Jingu building shows no evidence of other cultural influences. The style still remains ‘Japanese’ even after every rebuild.
As much as the Japanese
have welcomed foreign influences, when it comes to their shrines, they have been kept purely Japanese even though they have been rebuilt in different time periods every twenty years. This shows the Japanese’s longing to want to preserve their past.
Conclusion From the analysis above, one can see that for the Japanese, more specifically the Shinto, preservation of tradition is important. The fact that they dismantle and reassemble the shrines over periods of time, and do not allow any influence from foreign traditions proves this. These building are sacred to them as they keep them the same way for generations to come so they appreciate their tradition for what it is.
List of sources consulted Young, D & S. 2007. The art of Japanese Architecture. Vermont: Tuttle Publishing Isozaki, A. 2006. Japan-ness inarchitecture. London:Massachusetts Institute of Technology