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

Katori Jingu Shrine 5: Exploration of Three Shrines in Eastern Japan – 19
\nThe same objects as the Shosoin treasures are the sacred treasures. The Shosoin treasures are the same as the Shosoin treasures, cutting-edge artifacts imported through trade with the Tang Dynasty. The Takejin also cared about the appearance of these treasures (laugh)…<\/p>\n

Before the Meiji era, only three Shinto shrines in Japan, Ise, Katori, and Kashima, were entrusted with the name “Jingu” (Shrine).
\nIn the case of shrine architecture, the “hon-den” is the building where the deities are enshrined, and the “haiden” is the place of worship where visitors pay homage. In general shrine architecture, these two are considered to be one and the same. At the Hokkaido Jingu Shrine, which I visit every day, the main hall is located behind the worship hall. The Katori Jingu Shrine has the same style, with the main hall behind the worship hall, and the two are architecturally “connected” and built in a series of buildings. At Kashima Jingu, the main hall was temporarily enclosed during the reconstruction of 2021, but it was built in the same style as this Katori shrine, in a series of linked buildings.
\nThe design trend in both buildings is the uniquely evolved decorative style of the Edo period (1603-1868) when they were built. The roof is cypress bark thatched with a color similar to deer skin, and the walls are painted black.
\nOn the other hand, in Ise Jingu, the main shrine is completely separated from the outer shrine, and there is no worship hall in the outer shrine, but only a simple main shrine built on a paving stone level, which is worshipped while looking up to it. Because of the simplicity of the structure, the shrine has been reconstructed in the form of shikinen sengu (ceremonial relocation of the shrine) for most of its history, although there was a decline for a period of time.
\nAs is typical of an imperial shrine, the main hall of Katori Jingu Shrine has a gold-work chrysanthemum crest as a roof decoration, and the gable below it is also decorated with gold work, which contrasts with the black coloring of the main body, creating an eye-catching decorative effect. The gold work on the gable below the chrysanthemum crest is also gold-plated, contrasting with the black coloring of the main body, and creating a sense of eye-catching ornamentation. Is this a god of war who has awakened to fashion?
\nJapanese society during the Edo period was, by its very nature, a military-dominated society, but the image of the warrior gods may have changed as peace continued for a long period of time. The environment surrounding the Katori Jingu Shrine has also changed. I feel that this corresponds to the success of the great engineering project of the eastward shift of the Tone River, which caused the “Katori Sea” to shrink and transform into the Tone River.<\/p>\n

This is the Katori Jingu Shrine’s sacred treasure, the National Treasure Kaiju Budo Kagami (mirror of sea beasts and grapes). The Katori Jingu Shrine was founded in the 18th year of the Jinmu period, although there is no way to confirm this.
\nThis is the same treasure as five other treasures in the Shosoin Repository. Among them, this treasure is said to be the same type as the one housed in Shosoin’s Nanzang No. 9. The Shosoin was built in 756 A.D., which means that the history of Katori Jingu can be traced back at least to that time.
\nThe mirror is 29.7 cm in diameter. The mirror is 29.7 cm in diameter, with a gouged-in outer circle. The knob is in the shape of a beast with a mane and backbone, and a fawn in its mouth. The inner category of beasts includes an antlered eminence and a lion, surrounded by 13 smaller beasts, each of which has a different aspect. The grapevine pattern on the outer section extends above the band and is surrounded by a grape and boxwood pattern, with small birds and insects between the grape and boxwood patterns. The outer band has an arabesque design with a mixture of cloud and flower patterns and palmetto patterns. The large mirror shape can be said to be one of the most complete forms.
\nAs the deity that ruled the Kanto region, these treasures expressed his prestige. But did this mirror awaken your sense of fashion?<\/p>\n","protected":false},"excerpt":{"rendered":"

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