{"id":41587,"date":"2023-08-23T05:35:05","date_gmt":"2023-08-22T20:35:05","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=41587"},"modified":"2023-08-23T14:14:20","modified_gmt":"2023-08-23T05:14:20","slug":"%e3%80%90%e3%82%ad%e3%83%83%e3%83%81%e3%83%a5%e3%81%aa%e5%85%83%e7%a6%84%e5%bb%ba%e7%af%89%e3%80%8c%e6%8b%9d%e6%ae%bf%e3%80%8d%e3%83%bb%e9%a6%99%e5%8f%96%e7%a5%9e%e5%ae%ae%e2%91%a3-%e6%9d%b1%e5%9b%bd","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=41587","title":{"rendered":"\u3010\u30ad\u30c3\u30c1\u30e5\u306a\u5143\u7984\u5efa\u7bc9\u300c\u62dd\u6bbf\u300d\u30fb\u9999\u53d6\u795e\u5bae\u2463 \u6771\u56fd\u4e09\u793e\u63a2\u8a2a-18\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
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\n\"\"<\/a>
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\n\"\"<\/a>
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English version\u2b07<\/p>\n

Katori Jingu Shrine, a kitschy Genroku-style building (4)
\nThe world has changed since the early Edo period, and perhaps the building was intended to show the prestige of the shogunate. The building’s inclination toward showiness is astonishing. The building’s design is a bit of an eccentricity.<\/p>\n

After passing through the gate, the worship hall of the Katori Jingu Shrine appears straight before the eyes of visitors. The triangular gable and the gently curving karahafu (Chinese gable) below it draw us in. As someone who has visited Kashima Jingu Shrine before Katori Jingu Shrine, I find the simplicity and profundity of the ancient “Okumiya” of Kashima Jingu Shrine to be quite different from the sense of design.
\nIt is wrapped in an air of being built in 1700 during the Edo period (13th year of the Genroku era), as if it were a direct expression of its historical phase. I am sorry to say that I feel a little uncomfortable about why this kind of expression has flourished.<\/p>\n

This is the Kashima Jingu Shrine Okumiya before it was rebuilt 2-3 years ago. The moss edges also emphasize its yukashisa (gracefulness). Incidentally, this is a building donated during the Ieyasu era.
\nOn the other hand, the Katori Jingu worship and main shrines in the photo above were donated by the 5th Tokugawa Shogun, so the intention of the Shogunate was to “show its prestige,” which is a projection of the sense of the full maturity of Edo period culture. There is also an inner shrine in Katori, which I will introduce later, but that is fine (laughs)….
\nAs a modern Japanese who can experience diverse sensitivities in a diachronic manner, I feel more affinity with this Kashima Okumiya as a design expression. However, in the early Tokugawa period, the number of visitors to the shrine was probably on the rise, and the shrine was required to be large enough to scare people away with its mossy appearance. This kind of expression was probably required to appeal to the general public in the Edo period, when people’s minds had changed from the time of the Okumiya shrine.<\/p>\n

This photo shows the kitsch design of the “toadstools (kaerumata)” of the “main shrine” building. This kind of structural reinforcement material for wooden buildings has a transition of Japanese design sense accumulation.
\nToadstools were introduced as an architectural style for temple buildings when Buddhism was introduced to Japan, and were used as reinforcements to take the load of the roof. It was one of the necessary structural members of a building, but it eventually became a decorative element for Japanese taste. While toadstools are of course also found in Chinese and Korean temple architecture, the development of toadstools to this extent is said to be a uniquely Japanese development. The following is a brief description of the changes over time.
\nNara Period: Thick and solid
\nHeian period (794-1192): A little decorative element appears.
\nKamakura period (1185-1333): Openworking and other decorative processes began to be used.
\nMuromachi and Azuchi-Momoyama Periods: Carvings and curves became a feature.
\nEarly Edo period: Lavish coloring and carving
\nLate Edo period: Carving techniques jump out
\nPresent: Vague, fusion, or a combination of the best of both worlds
\nIs it an indication of the trend of the Japanese public’s mood that the Japanese artwork has become more and more elaborate with each passing era?<\/p>\n

Japanese architecture, however, is a witness to the transition of the Japanese mentality. It conveys to us a more direct sensitivity than verbal expressions or ideas. The wooden craftsmen and architectural expressionists conceived of the design process, and repeatedly trained the aesthetic of the decorative elements for it.
\nAs a modern human being, I would like to respectfully acknowledge this.<\/p>\n","protected":false},"excerpt":{"rendered":"

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