Wabi Sabi

transcendental truths
lost in the passage of time
return to wabi 

that is…
irreversible
colors that cannot be named
while falling backwards

again to sabi...
provoked by a landscape
of unbalanced shapes

that are…
transient beauty
a sense of peace, wonderment
and incompleteness

which…
is unpretentious
philosophical construct
made from nature’s bliss

-- genece hamby, contemporary digital artist & poet
To purchase Wabi Sabi visit http://www.shibuistudio.com/wabisabi.html

Você aprende a fazer o seu Tsuru com uma das monitoras (estudantes do SENAC e parte da equipe da Empresa Jr. de Moda)

Com ele pronto, ainda que troncho...

Você recebei o direito de colocá-lo dentro do Torii e juntar o seu esforço individual ao coletivo.

E é tudo ecologicamente correto, do papel ao brinde (uma linda bolsa com estampa pie de pul feita de tsurus, criada por Jun Nakao).

Digital painting of a Torii Gate standing in still waters with the bright sunlight reflecting a shadow of the gate.

standing in stillness
movement without the noise
of too much color

-- genece hamby, contemporary artist & poet
http://www.shibuistudio.com

Ascending the first of several sets of stairs

Rolling the columns while you climb is said to bring good luck

This gigantic bell can be heard all the way down by the O-torii

About mid-way up, a shady forest houses several shrines and many Buddhist statues. I liked this place because it was so ancient and real. Other places we had been to, such as Osaka Castle, had been remodeled, but the Daishoin Shrine looks the way it did in 600 A.D.

Sunlit statues near the temples

We took off our shoes and entered on of the several shrines. There was a statue that is said to heal a person who touches it; for instance, a person who is tired should touch the eyes while a person who is hungry should touch the mouth or stomach.

Casey rubs the Healing Statue's head

Inside the shrine, there were areas to pray and many intricately carved and painted statues to observe. There was also the shrine of the Dalai Lama.

Ben prayed at one of the altars

Shrine of the Dalai Lama

Further up the path, we came to another temple that had amazing wood carvings of many creatures.

A phoenix is carved into the entrance

Dragons are carved into the ends of all the supports

There was a set of stairs that led under the temple to a path walked by monks as training. I descended the stairs alone in to total darkness. Feeling my way along the black path under the temple was scary and awesome at the same time. There was no light, and my eyes began playing tricks on my brain. I would “see” the path turning one way only to run into a wall where I thought there was an opening. It took me about three minutes to find the exit and emerge into the sunlight on the other side of the temple. As I climbed out, I felt so brave for having made my way through by myself.

From there, we went through several more shrines, removing our shoes to go in the individual temple buildings. Inside and between the buildings, thousands of stone carvings were covered with prayer beads.

Amazing views like could be seen throughout the entire area

Stone statues adorn the entire area

Near the top of the temple, a gigantic pagoda looms over the land. This building reminded me of The Pagoda of Five Mighty Gods from Final Fantasy VII.

Five students, five stories

Climbing up the mountain and walking through the Daishoin Temple area made me appreciate the extensive history of the Japanese culture. It’s intertwined religions of Shinto and Buddhism preach peace and inner calm, which is evident through the plentiful shrines and peaceful temples.

The O-torii is visible from the top of the Daishoin Temple area

After 1,400 years, the temples on Miyajima island remain largely unchanged. Seeing the shrines, temples, and pagoda brought to mind a song that I always associate with a peaceful Buddhist mindset.

Aqueous Transmission by Incubus

I’m floating down a river
Oars freed from their holes long ago
Lying face up on the floor of my vessel
I marvel at the stars
And feel my heart overflow

Further down the river

Two weeks without my lover
I’m in this boat alone
Floating down a river named emotion
Will I make it back to shore?
Or drift into the unknown?

Further down the river

I’m building an antenna
Transmissions will be sent
When I am through
Maybe we can meet again
Further down the river
And share what we both discovered
Then revel in the view

Further down the river

I’m floating down a river

We took the shinkansen (bullet train) to Hiroshima then a smaller train to Miyajimaguchi Station. From there, we rode a ferry across the Inland Sea to Miyajima.

There are no roads to Miyajima

The view from the ferry is incredible. We could see the mainland and the island, both of which have magnificent hills and foliage.

The mainland view from the ferry

The O-torii can be seen from a distance

The boat ride only took about 15 minutes. When we got to the island, there were native deer everywhere! They walked right up to us because they were hungry; signs around the dock said that the deer would eat paper, cloth, or pretty much anything else. They were particularly fond of the maps we had gotten at the tourist booth.

A bite of the map attracts the local wildlife

American deer wouldn’t let this happen

There are so many interesting things to see on the island, including statues, shrines, temples, and great views of the mainland.

Seriously, there are deer everywhere

We finally got close to the O-torii. The tide was out, so we could tell it was built in to a sand bar about 200 feet from the shore. During high tide, it looks like it is just coming out of the water.

The O-torii, eighth wonder of the ancient world

Past the O-torii is the Itsukushima Shrine. The whole structure is built far in to the coast, so it also looks like it is coming out of the water at high tide. There are a lot of intricate stone carvings all around, mostly of symbolic or mythological creatures.

The five-story pagoda is visible from Itsukushima

Some of the walkways through the shrine are decorated with sake casks

On the far side of the shrine, there is an area surrounded by rocks carved with prayers. The center of the rock circle was so peaceful. I washed my hands in the prayer fountain a knelt at the altar for a moment.

There’s something very peaceful about this place

Looking up toward the five-story pagoda, we began the ascent to Daishoin Temple…

Mostly, Jane would rather be teaching. From girlhood, when she sat on the steps of the living room teaching her younger sister Lauren to read at age 2, she'd found her niche, her sense of importance, from being the one who knew things. It made her an expert and a role model, and it made prettier eyes than her own shine at her, despite the dullness of her complexion. Maybe she didn't look like much, but Jane was worth something when she could teach.

The other thing she enjoyed was puzzling. She was off of regular crosswords and onto cryptics by the time she was 15; by the time sudoku started being popular in the United States, she was bored by most of the regular ones and sought out new varieties. It was sudoku, in fact, that cemented her love for Japan, despite the fact that in the country itself, it was never called sudoku; that wouldn't be nearly exotic enough for the foreign-stuff-loving Japanese. No, they had to name it in English: Number Place, or nanpure for short. But that was too boring for American publishers, who had to invent a Japanese name for the puzzle. Who knew. Maybe by now Japanese people had picked up the American name for it. It certainly must sound at least as exotic as the English equivalent.

But it wasn't sudoku that was the origin of Jane's Japanophilia. No, that honor belonged to a photograph she'd seen when she was twelve. It looked like an outdoor tunnel, leafy green background suffused with sunlight and through the middle of it all, an endless set of orange gates like train tracks. They looked like pi symbols, or top-heavy letters H, and there was just one after another after another for what must have been miles. Jane was sure that if she ever found that place in the real world, it would transport her into another dimension entirely. And she wasn't the type who thought much about other dimensions. She'd just never seen anything quite so otherworldly in her life.

The photo, she learned later, was of Fushimi Inari shrine in Kyoto, and the gates were called torii. Literally, "the place where the birds alight." Jane started flapping her wings that very day, confident that if she just tried hard enough and flew far enough, she, too, would be able to alight atop the gate to a Shinto shrine and find her opening to another dimension.

Torii Gate in the Daylight

Torii Gate at Night

I've been playing with soft watercolor washes with the goal of capturing simplicity as an image of beauty. After painting a torii gate in the water during daylight, I decided to invert the file and add a moon above the gate and light dancing off the night waters. It was fun to play with both, day and night.

For the wash, I only used four colors (two shades of blue, a brown and a soft golden yellow) that I laid layers of transparency at various places for effect. Once I completed the wash, I distorted the water below the torii and then applied a Photoshop watercolor filter. For the finishing touch, I added soft lighting.

-- genece hamby, contemporary artist & poet
http://www.shibuistudio.com

L'arrivee du printemps, c'est, ... Ah !! C'est ... Un moment particulier et intense. C'est une multitudes de petits details qui saluent les sens. C'est ... La fin de la saison froide. Le retour des fleurs colorees et parfumees, de l'herbe verte, c'est le gazouilli des oiseaux, c'est le retour des T-shirts a manches courtes, des jolies filles dans les rues, c'est les cerisiers en fleurs. Oui, je sais on en avait deja parle. Sauf que : "Meme joueur, play again" en allant retrouver ces moments magiques un peu plus au nord. Dans le departement de Miyagi, au Nord de Sendai.

Alors ce week-end, nous avons ete saluer une deuxieme fois l'arrivee de la nouvelle saison. Tiens ! Des jonquilles !    

Our final stop on day two in Kyoto was Fushimi Inari Taisha. Fushimi Inari Taisha is a Shinto shrine just south of Kyoto dedicated to Inari. Inari is often described as either an old man or a fox, though the fox is typically understood to ba Inari's worldly messenger. Hundreds, perhaps even thousands of statues of foxes can be found in and around the shrine. One of the two fox statues in front of the gate main carries the symbolic key to the rice granary, while the other carries a jewel. The rice granary is symbolic of fertility, money, and success in business. The most notable thing about Fushimi Inari is the thousands of orange torii gates, many donated by businesses around Japan. If you look at the torii from their back sides you can see the names of the businesses that donated them.

The area near Fushimi Inari is famous for selling inari sushi and also grilled sparrows. We had a quick snack of inari sushi, but skipped the sparrows (and actually, we didn't see anyone selling them, I've just heard that it's a famous snack near there).

We arrived around five, but if you're planning a visit, I recommend getting here a little earlier in the day. There is a lot to see at the main shrine at the foot of the hill, but the best part is walking up some of the many paths on the property to the sub-shrines and finding the gardens filled with fox statues and small torii. Unfortunately, although I generally don't believe in ghosts, being at Fushimi Inari after dark really gives me the creeps, so I didn't make it very far on this trip. There's just something about dark creepy shrines full of fox statues in the middle of a creaky bamboo forest full of crows that really gets to me. Having been told that it's full of ghosts didn't help much either. Of course, if you have nerves of steel, Fushimi Inari is open 24 hours a day, and there is no admission charge. To get there, take the Keihan train line to Fushimi Inari or JR to Inari station.

The fountain visible in the mid to upper-right of this photo has some sort of special property; I can't recall if it is health, wealth, wish-granting, or something else. It was super-dark and creepy so I didn't want to poke around to find out. I have drunk from it in the past though.

Having had a long shinkansen (bullet train) ride from Kyoto (tucking into our obento boxes again as we travelled), and enjoyed three days of intensive sight-seeing, the sea air was rejuvenating.  We were met at the small ferry terminus by a lovely man from Iwaso, our ryokan, who drove us up to a stunning location up in the hillside to Momijidani – valley of the maple trees.  Deer roamed freely about, a river burbled by, interrupted by little waterfalls, and the cherry blossom was mankai –in  full bloom – here, too.  Sure enough, fresh green spring maple leaves that gave the valley its name were bursting forth everywhere.

 Leaving our luggage there we walked over an arched bridge to explore the hills behind the ryokan and happened upon signs for the cable car to the top of Mount Misen.  This mountain, seen as a sacred dwelling for the gods, has been an object of worship since ancient times and rises 535 metres up from sea level.

We decided to jump on.  The first leg of the cable car journey was jelly-knee inducing and breathtaking.  In our own private car, we soared up into the sky towards the first peak, the thick forest far below us.  Behind us lay the sea, shrouded in a fine light mist, the dark shapes of outlying islands visible on the horizon.

We both spotted it at the same time – a vast, brown bird of prey, circling around the empty cable car just ahead of us.  Its wingspan must have stretched three or even four feet.  We were thrilled, not quite managing to take photographs and stumbling about in the car, making it sway alarmingly.

At the top of the first peak – already high up in the clouds, we transferred to a larger cable car which we shared with other visitors, though as it was a Monday afternoon, there weren't many.

At the cable car station at the top of the ropeway, signs warned us to leave our belongings in lockers free of charge so that we didn't tempt the monkeys.  Monkeys?  Sure enough, when we stepped out into the open, clusters of monkeys ran about, some of them very little and cute, preening each other and chattering and huddling together to keep warm.

From this point we walked up and up, past odd, misshapen boulders with names like “Kujiraishi” (whale rock) or “Kugureiwa” (duck-under rock – you had to duck under it to carry on along the path).  The atmosphere of the mountain felt heavy and awe-inspiring.

 The more pragmatic Paul said it was just the mist, but I really felt struck by a sense of mystery up there.  We were completely alone as we huffed and puffed up the steep paths, overhung with thick foliage and flanked by vast cedars and tall pines, elegant bamboo thickets and flowering bushes.  We pushed onwards toward the summit, passing by shinto shrines and sacred places where we would stop to pay our respects and the occasional gap in the forest which revealed extraordinary views down to the sea.

Once at the top, there was complete silence.  Just the wind quietly blew puffs of cloud past us.  I opened my mouth to swallow the mist and said “Look, I'm eating the clouds on the mountains of the gods”.  Normally Paul would have taken the mickey, but even he was struck by the atmosphere up there, and he smiled.

It was stunning.

Clambering back to the cable car stop in time for the last one back (being left behind would mean a three hour walk back down to the bottom), we landed at the bottom just in time to be shown to our beautiful tatami mat, Japanese-style room, to take a restful bath and be served our evening meal by the nice lady looking after us, Shigeoka san.  Iwaso is an old ryokan but had recently been refurbished – its baths were sparking new and stylish, swapping over from male to female once a day so that Paul and I could again see where the other had bathed the night before.

Two sets of baths each – indoor and outdoor.  Unlike the Hakone hot springs (which were natural rock pools, also lovely), the outdoor baths were modern, sleek, large squares of pale Japanese pine sunk into a granite floor, framed with miniature Japanese gardens and overlooking the river rushing by below.  Again, a stunning location, dreamlike and breathtaking.  I had a lovely conversation with a regal-looking 82 year old lady (she didn't look it) who said she had spent much of her life travelling with her late husband, not just to Europe and America, but to places Japanese tourists rarely went in the 60s and 70s.

Dinner was superb, as usual – I'll just show photos here rather than describe each dish, or this post will be the length of war and peace.  It was exquisite – as was breakfast – though now I'm reserving the truly memorable meals for dedicated posts.

Having eaten our evening meal, we changed out of our yukata (cotton robes) and headed back to the harbour, where we boarded a little narrow boat, lit up with paper lanterns, that was to take us out to the torii in the sea.  The man explained the history and origin of the massive gate, each pillar hewn out of massive camphor trees and the whole thing simply resting on the sea bed, its weight keeping it in place.  However, as the pillars gradually shifted apart over the years, a stone was set into the wood in the archway to anchor it into place.  At low tide, it is possible to walk under the gate, but that evening we went under by boat, the high tide an incredible ten metres higher than it was that morning when we saw people walking under it.

As the shrine the gate faces is especially sacred, seen as the world of the gods not to be accessed by humans (you can walk through designated corridor-bridges in the shrine during the daytime), we were asked to practice oihai together – all fifteen of us passengers - as we went under the gate.

Oihai – paying respects – in Shinto practice involves bowing deeply first, hands clasped together as if in prayer, then clapping the hands together twice (to alert the gods to your presence – in some shrines, there are ropes attached to bells you can ring as well), then bowing again with hands together.  In Buddhism, you eliminate the clapping, otherwise the bowing and hand clasping is the same.

So we all did this in silence as we went under the floodlit gate, which towered impressively over us, and indeed, you did feel as if you were encroaching on the territory of the gods.  Speaking of gods, if you have never seen Hayao Miyazaki's animated film “Spirited Away” - (Sen to Chihiro no Kamikakushi), I would recommend this as a good introduction to the mystery of Shinto gods and goddesses.

At the end of our boat journey, guided by a kind local man who gave an excellent talk as we sailed around the gate, we were given a shamoji each – a rice spatula, a local craft specialty.  It is so famed a product that in the village there is a huge 270 year old “o-shakushi” o display, the world's biggest rice scoop weighing in at two and a half tons and 7.7 metres long.

We walked along the shoreside, where stone lanterns were lit with candles, casting a warm glow and lending the place a peaceful atmosphere as the water lapped against the shore.  It seems the local people were keen to preserve the gentleness and historic authenticity of the place, so there were few artificial lights, lending the place an ancient air.  We could see the torii looming up out of the water ahead – this was subtly floodlit, to good effect.  There were few people around, just Paul and me and a few Japanese tourists gazing out at the gate.  Before long though, we all shifted our amazed gaze from the sacred gate to a large group of German tourists who had suddenly arrived, all wearing their ryokan yukata out there in the cold, complete with socks and shoes....

Once up in the morning, having bathed in the wonderful hot springs again (my skin and hair was baby-soft afterwards) and eaten our (once again) fabulous Japanese breakfast, we left our things at the ryokan and set out to explore.  We visited Senjokaku, known as the “thousand tatami temple” - the vast open main hall of Hokoku temple with views out to the sea and surrounded by blossom.  We watched a deer nibbling at the drifts of cherry blossom petals on the ground.  They're certainly tasty enough to feature as a popular springtime ingredient in Japanese cuisine, so it wasn't surprising that it was appealling to the deer too.

We walked down to the shoreside area, a long street of artisanal  and local food shops, selling the specialities of Miyajima, mainy Momijidango (maple-leaf dumplings), a sweet red bean paste filed soft sponge dumpling in the shape of a maple leaf.  We watched a few shops making these – some using fully automated Heath Robinson-like machines, others by hand.  Paul and I sat and shared a few  to eat while sipping hot green tea – one containing cherry blossom flavoured bean paste, which was fragrant, slightly savoury, warm and delicious.

Feeling duty-bound to savour the main specialities of the island, we also had a grilled oyster each.  Oysters are one of the island's speciaities – we had come past oyster beds when we arrived by ferry – and these, charcoal roasted so that they were warm, but still raw and dressed with a yuzu soya sauce dressing, these were absolutely scrumptious.

We wandered past more of the food shops – a good indication of what the local food specialitie were – then headed to a shop recommended by the ryokan manager to eat the other famous speciality of Miyajima – anago meshi.  Anago is conger eel, anago meshi is eel on rice, with a savoury-sweet soya based sauce.  Fujitaya, tucked away on its own down a traditional side street behind Itsukushima shrine has been serving anago to its customers for over 100 years; a sign tells customers there is a fifteen minute wait between ordering and eating - this is because each bowl of anago meshi is made to order from swimming and fresh....

While waiting, I ordered us some anago no kimo, a delicacy – eel liver.  This arrived in a little bowl, warm and dressed with parsley.  They had been simmered in broth and each tiny morsel was delicious.  Paul hesitated only for a second before tucking in.  Eventually, our anago meshi arrived – together with a bowl of miso soup with whelks.  This was really tasty stuff, soft and tender, sweet and savoury, just gorgeous and melting.  Clearly, Fujitaya had had plenty of practice to get this right and the recommendation had been an excellent one.

Stuffed (once again), we reluctantly headed back to the ryokan to pick up our luggage and get a lift down to the ferry terminus.  Heading back on the ferry, I gazed back at this extraordinary island and hoped that it wouldn't be too long before I'd see it again.  Again, autumn would be a good time to visit, when all the maple trees in Momijidani turn red, russet and gold.

We were now off again, next, to Nagasaki on the southern island of Kyushu.  It would be a world away from Kyoto and Miyajima, both on the island of Honshu.  We were going to experience another of the myriad faces of Japan.

Es heißt in vielen Religionen sinngemäß, dass man nur durch große Anstrengungen zu Gott gelangt. Der japanische Reis- und Sakegott Inari ist offensichtlich ebenfalls dieser Ansicht. Auf diesen Gedanken kann man jedenfalls kommen, wenn man sich sich seinen/ihren Schrein in Fushimi, einem Vorort von Kyoto, genauer ansieht.

Die ersten Stufen und ein Fuchs im Wald

Auf den ersten Blick wirkt Fushimiinari-taisha wie jeder größere Shinto-Shrein: Ein großes Torii markiert den Eingang auf das Gelände, vor dem Hauptgebäude (das nicht betreten wird) finden wir eine Gebetshalle und vor dieser wiederum steht der Opferstock mit der Glocke. Auch fehlt es nicht an kleinen und kleinsten Nebenschreinen, einer Bühne für heilige Tänze, Verkaufsbuden für Glücksbringer und Votivtafeln, Andenkenläden und (eine Besonderheit bei Inari geweihten Schreinen) Fuchsstatuen.

Blick nach unten - Kleine Klingeln

Das Interessante (und Magnet für hunderte Touristen aus dem In- und Ausland) findet man hinter dem Hauptschrein: Über einem Rundweg, der vom Schrein zum Gipfel des Berges Inariyama und zurück führt, spannen sich tausende Torii. Stufe um Stufe steigt der Besucher hinauf, begleitet vom Rauschen des Windes, dem Rufen der Raben und dem Plätschern der Bäche. Wohin man blickt sieht man das rote Holz der Torii, beschriftet mit dem Namen des Stifters und Datum der Errichtung.

Ich habe die Stufen nicht gezählt - Grauer Stein und rotes Holz

Links und rechts des Weges stehen (teils dicht an dicht) weitere, für mich unzählbare Schreine und Altäre. Meist sind es nur gravierte Steine, denen ebenfalls kleine hölzerne Modell-Torii, aber auch Girlanden aus Origamikranichen, Kerzen, Weihrauch, Geld oder Lebensmittel geopfert werden. Das ist natürlich eine hochinteressante Sache, daher wimmelt es an dieser Stätte von Pilgern und Touristen. Letztere (also auch wir :-)) sind einfach zu erkennen: meist Europäer (bzw. Amerikaner, Australier etc.), die Kamera in der Hand. Aber auch die Japaner sind reisefreudig. Wir haben viele Familien den Berg besteigen sehen, ältere Damen im Kimono, Geschäftsleute im Anzug, Sportler auf dem Weg zum oder vom Training und - jetzt kommt's - Jogger, die wohl etwas für Körper und Seele gleichzeitig tun wollten.

Auf dem Gipfel - Blick auf dem halben Weg nach oben

Je weiter man nach oben kommt, um so spärlicher werden die großen Torii und um so einsamer wird der Weg. Bis ganz nach oben, zum kleinen Gipfelschrein, wagen sich nur wenige Besucher hinauf. Aber ganz alleine ist man in einem Land, dessen Urreligion angeblich Myriaden Götter kennt eh niemals. Wer es bis ganz nach oben schafft, wird mit einem tollen Gefühl des "Jetzt hab ich's geschafft!" belohnt - und erhascht vielleicht wie wir einen Blick auf eine Katze, die Speiseopfer (das das Essen noch verpackt war stört wohl nicht) vom Altar klaut!

Description

Those who have visited Shinto (native religion of Japan) shrines in Japan may recall passing beneath one or more large gates (mon) at the entrance to the shrine complex.  These distinctive structures are called torii in Japanese and are thought to mark the boundary between the secular world and the sanctified grounds of the shrine.  In passing beneath a torii one is, in fact, making his or her initial approach towards the inner sanctuary, and accordingly many Japanese will first bow before stepping under the gate.  Shinto shrines may include multiple gates, and paths within the shrine may be lined with dozens of closely set torii which together create the effect of a long, enclosed corridor.  Believers may use their walk through such passages as an aid in helping to clear their mind of worldly distractions and in preparation for making an appearance before the enshrined deity.  Torii gates are traditionally made of wood though it is not uncommon to see gates made of metal, concrete, stone or other durable material.  Many wooden torii are unpainted and over time will take on a beautiful weathered appearance much in keeping with the shrine's natural-looking landscape.  Torii are often produced using local timber and therefore shrines which are located in high mountain forests may feature torii constructed simply from a few rough cut conifers.  Such torii blend in nicely with the surrounding forest and are emblematic of the Japanese love of nature.  Though the torii has become a symbol of Japan as a country it is nevertheless a very unique and important part of the Shinto religious tradition.

About the Listed Item

Brand new, small size model Shinto torii wooden shrine gate.  Adhesive pads at the base of each of the gate's pillars allow the torii to be secured in place when on display.  This gate is held together through the use of old style wooden pegs and is made of high quality Hinoki Japanese cypress.  This is the prime variety of Japanese cypress and has been known and used in Japan since ancient times.  Its habitat extends from the mountainous reaches of Fukushima prefecture on the Japanese island of Honshu, south to the island of Shikoku.  Hinoki is favored by Japanese craftsmen who appreciate it's resilience and resistance to cracking, high density and light weight.  Hinoki woodcraft are normally left unfinished in order that the fine straight grain and natural whiteness may be appreciated.  Hinoki has long been the preferred wood for the making of Shinto ceremonial objects.  The Shinto religion places great emphasis on purity, and the clean white appearance and pleasant fragrance of freshly planed (Japanese craftsmen rarely use sandpaper) hinoki make it perfect for the manufacture of religious implements.  This torii is suitable for use with small kamidana god shelves or in any setting where one might wish to impart the spirit and essence of Japan.  Please click here to see this same torii in red for use with kamidana dedicated to the deity Inari.

Size:
Height: 6.2 inches (16.0 centimeters)
Width (at top): 7.6 inches (19.5 centimeters)
Width (at base): 6.0 inches (15.5 centimeters)
Weight: 1.7 ounces (48 grams)

Click here to see more torii gates!
Click here to see more Shinto items!
Click here to see additional treasures from Japan!

More about the Shinto religion

Shinto is one of the two major religions of Japan (the other is Buddhism).  Shinto is often considered to be the native religion of Japan, and is as old as Japan itself.  The name Shinto means "the way of the gods."  Shinto is a pantheistic religion, in which many thousands of major and minor gods are thought to exist.  The Japanese have built thousands of shrines (jinja) throughout the country to honor and worship these gods.  Some shrines are huge and are devoted to important deities.  Other shrines are small and may be easily missed when strolling along roads in the countryside.

Shinto gods are called kami.  Kami are thought to have influence on human affairs, and for this reason many Japanese make regular pilgrimage to community shrines in order to offer prayers to local kami.  The act of prayer involves approaching the shrine structure, passing through the gate-like torii, cleansing the hands and mouth with water and possibly ascending stairs to the main entrance of the shrine.  Usually without entering the shrine the worshipper will throw some coins into a stone or wooden collection box and then rattle the suzu bell which is at the top of a long hemp rope.  The worshiper grabs hold of the rope and shakes it back and forth causing the copper bell at the top to rattle.  This is thought to get the attention of the shrine god.  The worshipper then bows twice, claps his or her hands twice and then bows again.  In addition, the worshipper may clasp their hands together in silent prayer.  Shintoism and Buddhism have managed to find a comfortable coexistence in Japan.  Evidence of this harmonious relationship is found in the fact that that most Japanese are married in a Shinto shrine, but buried by a Buddhist priest.

item code: INV-0000113_01
category code: (toriimon)
ship code: G3

Description

Those who have visited Shinto (native religion of Japan) shrines in Japan may recall passing beneath one or more large gates (mon) at the entrance to the shrine complex.  These distinctive structures are called torii in Japanese and are thought to mark the boundary between the secular world and the sanctified grounds of the shrine.  In passing beneath a torii one is, in fact, making his or her initial approach towards the inner sanctuary, and accordingly many Japanese will first bow before stepping under the gate.  Shinto shrines may include multiple gates, and paths within the shrine may be lined with dozens of closely set torii which together create the effect of a long, enclosed corridor.  Believers may use their walk through such passages as an aid in helping to clear their mind of worldly distractions and in preparation for making an appearance before the enshrined deity.  Torii gates are traditionally made of wood though it is not uncommon to see gates made of metal, concrete, stone or other durable material.  Many wooden torii are unpainted and over time will take on a beautiful weathered appearance much in keeping with the shrine's natural-looking landscape.  Torii are often produced using local timber and therefore shrines which are located in high mountain forests may feature torii constructed simply from a few rough cut conifers.  Such torii blend in nicely with the surrounding forest and are emblematic of the Japanese love of nature.  Though the torii has become a symbol of Japan as a country it is nevertheless a very unique and important part of the Shinto religious tradition.

About the Listed Item

Brand new, small model Shinto Inari-style torii wooden shrine gate.  Adhesive pads at the base of each of the gate's pillars allow the torii to be secured in place when on display.  This gate is held together through the use of old style wooden pegs and is made of high quality Hinoki Japanese cypress.  This is the prime variety of Japanese cypress and has been known and used in Japan since ancient times.  Its habitat extends from the mountainous reaches of Fukushima prefecture on the Japanese island of Honshu, south to the island of Shikoku.  Hinoki is favored by Japanese craftsmen who appreciate it's resilience and resistance to cracking, high density and light weight.  Hinoki has long been the preferred wood for the making of Shinto ceremonial objects.  The Shinto religion places great emphasis on purity, and the clean white appearance and pleasant fragrance of freshly planed (Japanese craftsmen rarely use sandpaper) hinoki make it perfect for the manufacture of religious implements.  This particular style torii is suitable for use with small kamidana god shelves dedicated to the deity Inari or in any setting where one might wish to impart the spirit and essence of Japan.  Please read below to learn more about the god Inari and click here to see an unpainted version of this same torii for use with any kamidana shrine.

Inari is the name of the Japanese Shinto (native religion of Japan) god who watches over and protects the rice harvest.  As rice has long been the staple food of the Japanese, this god is obviously very important, and shrines to Inari are reported to number more than 20,000 in Japan.  Inari's messenger is the magical, shape-shifting fox or kitsune as it is called in Japanese.  Images of foxes are commonly seen flanking Inari in paintings of this god, as well as guarding the entrance to Inari shrines.  Inari messenger foxes are said to possess the ability to hear and see all human activities as well as to transform into human form (usually a bewitching woman).  Inari fox messengers are said to grow in power as they age and will only gain a tail (a symbol of power) after reaching the ripe old age of 100.  Fox messengers are most powerful after they have lived for 1000 years at which point they may have a total of nine tails, grey or white fur and will have attained the power of infinite vision.  Fox lore is common in Asia, though it is normally thought to have originated in India.  Some Asian cultures view the fox as a strictly malevolent creature, though it Japan it is just as often portrayed as a powerful, yet kind creature with a genuine interest in the welfare of humans.

Size:
Height: 6.2 inches (16.0 centimeters)
Width (at top): 7.6 inches (19.5 centimeters)
Width (at base): 6.0 inches (15.5 centimeters)
Weight: 1.7 ounces (48 grams)

Click here to see more torii gates!
Click here to see more Shinto items!
Click here to see additional treasures from Japan!

More about the Shinto religion

Shinto is one of the two major religions of Japan (the other is Buddhism).  Shinto is often considered to be the native religion of Japan, and is as old as Japan itself.  The name Shinto means "the way of the gods."  Shinto is a pantheistic religion, in which many thousands of major and minor gods are thought to exist.  The Japanese have built thousands of shrines (jinja) throughout the country to honor and worship these gods.  Some shrines are huge and are devoted to important deities.  Other shrines are small and may be easily missed when strolling along roads in the countryside.

Shinto gods are called kami.  Kami are thought to have influence on human affairs, and for this reason many Japanese make regular pilgrimage to community shrines in order to offer prayers to local kami.  The act of prayer involves approaching the shrine structure, passing through the gate-like torii, cleansing the hands and mouth with water and possibly ascending stairs to the main entrance of the shrine.  Usually without entering the shrine the worshipper will throw some coins into a stone or wooden collection box and then rattle the suzu bell which is at the top of a long hemp rope.  The worshiper grabs hold of the rope and shakes it back and forth causing the copper bell at the top to rattle.  This is thought to get the attention of the shrine god.  The worshipper then bows twice, claps his or her hands twice and then bows again.  In addition, the worshipper may clasp their hands together in silent prayer.  Shintoism and Buddhism have managed to find a comfortable coexistence in Japan.  Evidence of this harmonious relationship is found in the fact that that most Japanese are married in a Shinto shrine, but buried by a Buddhist priest.

item code: INV-0000113_02
category code: (toriimon)
ship code: G3

Description

Those who have visited Shinto (native religion of Japan) shrines in Japan may recall passing beneath one or more large gates (mon) at the entrance to the shrine complex.  These distinctive structures are called torii in Japanese and are thought to mark the boundary between the secular world and the sanctified grounds of the shrine.  In passing beneath a torii one is, in fact, making his or her initial approach towards the inner sanctuary, and accordingly many Japanese will first bow before stepping under the gate.  Shinto shrines may include multiple gates, and paths within the shrine may be lined with dozens of closely set torii which together create the effect of a long, enclosed corridor.  Believers may use their walk through such passages as an aid in helping to clear their mind of worldly distractions and in preparation for making an appearance before the enshrined deity.  Torii gates are traditionally made of wood though it is not uncommon to see gates made of metal, concrete, stone or other durable material.  Many wooden torii are unpainted and over time will take on a beautiful weathered appearance much in keeping with the shrine's natural-looking landscape.  Torii are often produced using local timber and therefore shrines which are located in high mountain forests may feature torii constructed simply from a few rough cut conifers.  Such torii blend in nicely with the surrounding forest and are emblematic of the Japanese love of nature.  Though the torii has become a symbol of Japan as a country it is nevertheless a very unique and important part of the Shinto religious tradition.

About the Listed Item

Brand new, small model Shinto Inari-style torii wooden shrine gate finished with red and black lacquer.  This high-quality shrine gate is made of Hinoki Japanese cypress which is the preferred wood for use in making Shinto religious items.  Japanese cypress and has been known and used in Japan since ancient times and its habitat extends from the mountainous reaches of Fukushima prefecture on the Japanese island of Honshu, south to the island of Shikoku.  Hinoki is favored by Japanese craftsmen who appreciate it's resilience and resistance to cracking, high density and light weight.  Hinoki has long been the preferred wood for the making of Shinto ceremonial objects.  The Shinto religion places great emphasis on purity, and the clean white appearance and pleasant fragrance of freshly planed (Japanese craftsmen rarely use sandpaper) hinoki make it perfect for the manufacture of religious implements.  This particular style torii is suitable for use with small to medium size kamidana god shelves dedicated to the deity Inari or in any setting where one might wish to impart the spirit and essence of Japan.  Please read below to learn more about the the Shinto religion.

Inari is the name of the Japanese Shinto god who watches over and protects the rice harvest.  As rice has long been the staple food of the Japanese, this god is obviously very important, and shrines to Inari are reported to number more than 20,000 in Japan.  Inari's messenger is the magical, shape-shifting fox or kitsune as it is called in Japanese.  Images of foxes are commonly seen flanking Inari in paintings of this god, as well as guarding the entrance to Inari shrines.  Inari messenger foxes are said to possess the ability to hear and see all human activities as well as to transform into human form (usually a bewitching woman).  Inari fox messengers are said to grow in power as they age and will only gain a tail (a symbol of power) after reaching the ripe old age of 100.  Fox messengers are most powerful after they have lived for 1000 years at which point they may have a total of nine tails, grey or white fur and will have attained the power of infinite vision.  Fox lore is common in Asia, though it is normally thought to have originated in India.  Some Asian cultures view the fox as a strictly malevolent creature, though it Japan it is just as often portrayed as a powerful, yet kind creature with a genuine interest in the welfare of humans.

Size:
Height: 8.6 inches (22.0 centimeters)
Width (at top): 9.8 inches (25.0 centimeters)
Width (at base): 6.6 inches (17.0 centimeters)
Weight: 3.0 ounces (85 grams)

Click here to see more torii gates!
Click here to see more Shinto items!
Click here to see additional treasures from Japan!

More about the Shinto religion

Shinto is one of the two major religions of Japan (the other is Buddhism).  Shinto is often considered to be the native religion of Japan, and is as old as Japan itself.  The name Shinto means "the way of the gods."  Shinto is a pantheistic religion, in which many thousands of major and minor gods are thought to exist.  The Japanese have built thousands of shrines (jinja) throughout the country to honor and worship these gods.  Some shrines are huge and are devoted to important deities.  Other shrines are small and may be easily missed when strolling along roads in the countryside.

Shinto gods are called kami.  Kami are thought to have influence on human affairs, and for this reason many Japanese make regular pilgrimage to community shrines in order to offer prayers to local kami.  The act of prayer involves approaching the shrine structure, passing through the gate-like torii, cleansing the hands and mouth with water and possibly ascending stairs to the main entrance of the shrine.  Usually without entering the shrine the worshipper will throw some coins into a stone or wooden collection box and then rattle the suzu bell which is at the top of a long hemp rope.  The worshiper grabs hold of the rope and shakes it back and forth causing the copper bell at the top to rattle.  This is thought to get the attention of the shrine god.  The worshipper then bows twice, claps his or her hands twice and then bows again.  In addition, the worshipper may clasp their hands together in silent prayer.  Shintoism and Buddhism have managed to find a comfortable coexistence in Japan.  Evidence of this harmonious relationship is found in the fact that that most Japanese are married in a Shinto shrine, but buried by a Buddhist priest.

item code: INV-0000118_01
category code: (toriimon)
ship code: G6

Description

Those who have visited Shinto (native religion of Japan) shrines in Japan may recall passing beneath one or more large gates (mon) at the entrance to the shrine complex.  These distinctive structures are called torii in Japanese and are thought to mark the boundary between the secular world and the sanctified grounds of the shrine.  In passing beneath a torii one is, in fact, making his or her initial approach towards the inner sanctuary, and accordingly many Japanese will first bow before stepping under the gate.  Shinto shrines may include multiple gates, and paths within the shrine may be lined with dozens of closely set torii which together create the effect of a long, enclosed corridor.  Believers may use their walk through such passages as an aid in helping to clear their mind of worldly distractions and in preparation for making an appearance before the enshrined deity.  Torii gates are traditionally made of wood though it is not uncommon to see gates made of metal, concrete, stone or other durable material.  Many wooden torii are unpainted and over time will take on a beautiful weathered appearance much in keeping with the shrine's natural-looking landscape.  Torii are often produced using local timber and therefore shrines which are located in high mountain forests may feature torii constructed simply from a few rough cut conifers.  Such torii blend in nicely with the surrounding forest and are emblematic of the Japanese love of nature.  Though the torii has become a symbol of Japan as a country it is nevertheless a very unique and important part of the Shinto religious tradition.

About the Listed Item

Brand new, small model Shinto Inari-style torii wooden shrine gate finished with red and black lacquer.  This high-quality shrine gate is made of Hinoki Japanese cypress which is the preferred wood for use in making Shinto religious items.  Japanese cypress and has been known and used in Japan since ancient times and its habitat extends from the mountainous reaches of Fukushima prefecture on the Japanese island of Honshu, south to the island of Shikoku.  Hinoki is favored by Japanese craftsmen who appreciate it's resilience and resistance to cracking, high density and light weight.  Hinoki has long been the preferred wood for the making of Shinto ceremonial objects.  The Shinto religion places great emphasis on purity, and the clean white appearance and pleasant fragrance of freshly planed (Japanese craftsmen rarely use sandpaper) hinoki make it perfect for the manufacture of religious implements.  This particular style torii is suitable for use with small to medium size kamidana god shelves dedicated to the deity Inari or in any setting where one might wish to impart the spirit and essence of Japan.  Please read below to learn more about the the Shinto religion.

Inari is the name of the Japanese Shinto god who watches over and protects the rice harvest.  As rice has long been the staple food of the Japanese, this god is obviously very important, and shrines to Inari are reported to number more than 20,000 in Japan.  Inari's messenger is the magical, shape-shifting fox or kitsune as it is called in Japanese.  Images of foxes are commonly seen flanking Inari in paintings of this god, as well as guarding the entrance to Inari shrines.  Inari messenger foxes are said to possess the ability to hear and see all human activities as well as to transform into human form (usually a bewitching woman).  Inari fox messengers are said to grow in power as they age and will only gain a tail (a symbol of power) after reaching the ripe old age of 100.  Fox messengers are most powerful after they have lived for 1000 years at which point they may have a total of nine tails, grey or white fur and will have attained the power of infinite vision.  Fox lore is common in Asia, though it is normally thought to have originated in India.  Some Asian cultures view the fox as a strictly malevolent creature, though it Japan it is just as often portrayed as a powerful, yet kind creature with a genuine interest in the welfare of humans.

Size:
Height: 8.6 inches (22.0 centimeters)
Width (at top): 9.8 inches (25.0 centimeters)
Width (at base): 6.6 inches (17.0 centimeters)
Weight: 3.0 ounces (85 grams)

Click here to see more torii gates!
Click here to see more Shinto items!
Click here to see additional treasures from Japan!

More about the Shinto religion

Shinto is one of the two major religions of Japan (the other is Buddhism).  Shinto is often considered to be the native religion of Japan, and is as old as Japan itself.  The name Shinto means "the way of the gods."  Shinto is a pantheistic religion, in which many thousands of major and minor gods are thought to exist.  The Japanese have built thousands of shrines (jinja) throughout the country to honor and worship these gods.  Some shrines are huge and are devoted to important deities.  Other shrines are small and may be easily missed when strolling along roads in the countryside.

Shinto gods are called kami.  Kami are thought to have influence on human affairs, and for this reason many Japanese make regular pilgrimage to community shrines in order to offer prayers to local kami.  The act of prayer involves approaching the shrine structure, passing through the gate-like torii, cleansing the hands and mouth with water and possibly ascending stairs to the main entrance of the shrine.  Usually without entering the shrine the worshipper will throw some coins into a stone or wooden collection box and then rattle the suzu bell which is at the top of a long hemp rope.  The worshiper grabs hold of the rope and shakes it back and forth causing the copper bell at the top to rattle.  This is thought to get the attention of the shrine god.  The worshipper then bows twice, claps his or her hands twice and then bows again.  In addition, the worshipper may clasp their hands together in silent prayer.  Shintoism and Buddhism have managed to find a comfortable coexistence in Japan.  Evidence of this harmonious relationship is found in the fact that that most Japanese are married in a Shinto shrine, but buried by a Buddhist priest.

item code: INV-0000118_01
category code: (toriimon)
ship code: G6

Description

This small and original old photograph is in poor condition with some scratches, stains, fading and discoloration.  The photo appears to have been previously mounted in an album as there is some torn paper from the album stuck to the back of the photo as well as at the corners.  The photo dates from the early to mid 20th century and was acquired in the historic city of Shizuoka, Japan near the foot of Mt. Fuji.

Size of photographic image*:
Height: 1.6 inches (4.2 centimeters)
Width: 2.1 inches (5.5 centimeters)
*excluding any mounting or border

Important notes:
To the best of our knowledge the photographic image offered with this listing is an original print and not a later duplication.  Age estimates as well as descriptions of the people and events occurring in the image are based on available information such as settings and activities depicted in the image as well as our experience with Japanese culture.  All photographs purchased from us are carefully sealed in plastic and shipped in a box instead of an envelope to prevent damage during transit.

Many of the photographs we list are uploaded to our Japan Vintage Photo Blog which is an on-line gallery of unique and interesting images of old Japan.  The purpose of this blog is strictly to share some of the wonderful photographs we encounter in the course of our work, and to provide a digital archive to preserve these images into the future.  If you purchase a photograph from us and do not want a digital copy of your image displayed in the photo blog or archive then please simply send us an email indicating your preference and we will promptly remove the image.

 Please contact us with any questions.

Click here to see more old photos!
Click here to see additional treasures from Japan!

item code: R3S5B2A6-0003527
category code: furuishashin
ship code: L1650

Description

This small and original old photograph is in poor condition with some scratches, stains, fading and discoloration.  The photo appears to have been previously mounted in an album as there is some torn paper from the album stuck to the back of the photo as well as at the corners.  The photo dates from the early to mid 20th century and was acquired in the historic city of Shizuoka, Japan near the foot of Mt. Fuji.

Size of photographic image*:
Height: 1.6 inches (4.2 centimeters)
Width: 2.1 inches (5.5 centimeters)
*excluding any mounting or border

Important notes:
To the best of our knowledge the photographic image offered with this listing is an original print and not a later duplication.  Age estimates as well as descriptions of the people and events occurring in the image are based on available information such as settings and activities depicted in the image as well as our experience with Japanese culture.  All photographs purchased from us are carefully sealed in plastic and shipped in a box instead of an envelope to prevent damage during transit.

Many of the photographs we list are uploaded to our Japan Vintage Photo Blog which is an on-line gallery of unique and interesting images of old Japan.  The purpose of this blog is strictly to share some of the wonderful photographs we encounter in the course of our work, and to provide a digital archive to preserve these images into the future.  If you purchase a photograph from us and do not want a digital copy of your image displayed in the photo blog or archive then please simply send us an email indicating your preference and we will promptly remove the image.

 Please contact us with any questions.

Click here to see more old photos!
Click here to see additional treasures from Japan!

item code: R3S5B2A6-0003527
category code: furuishashin
ship code: L1650

After lunch we headed off to the Gion section of the city which is know as the geisha area of Kyoto. We saw two walking around a corner in front of us and Carolyn took off like a bat out of hell to catch up to them and get their picture. She said there are only around 1000 of them left in all of Japan so it was a treat to see the real thing and get a few pictures. We also went up to Kodaiji Temple while we were in the area, It was pretty nice but 600 Yen to get in. Most of the temples are starting to look pretty similar to me so I think it will be the last one we pay to get into.

On our way back to the hotel we came across "the smallest ukiyo-e museum" across from the Kenoinji Temple. It's only about the size of a small room and isn't really a museum, just a shop where they sell woodblock prints but the owner was a very nice old man. He gave us a free Christmas card with the small prints we bought, so being the nice Canadians we are we gave him a small stuffed moose with a Canadian flag in return. He was so excited he ran back into his house to show us a small stuffed koala someone from Australia had given him as well, then he gave us a 5 yen coin in an ornate paper bag and said we would be friends forever. Something nice travelers from only the good countries of the world get to experience I'm sure... not to single any other countries out.

Mike

Description

Those who have visited Shinto (native religion of Japan) shrines in Japan may recall passing beneath one or more large gates (mon) at the entrance to the shrine complex.  These distinctive structures are called torii in Japanese and are thought to mark the boundary between the secular world and the sanctified grounds of the shrine.  In passing beneath a torii one is, in fact, making his or her initial approach towards the inner sanctuary, and accordingly many Japanese will first bow before stepping under the gate.  Shinto shrines may include multiple gates, and paths within the shrine may be lined with dozens of closely set torii which together create the effect of a long, enclosed corridor.  Believers may use their walk through such passages as an aid in helping to clear their mind of worldly distractions and in preparation for making an appearance before the enshrined deity.  Torii gates are traditionally made of wood though it is not uncommon to see gates made of metal, concrete, stone or other durable material.  Many wooden torii are unpainted and over time will take on a beautiful weathered appearance much in keeping with the shrine's natural-looking landscape.  Torii are often produced using local timber and therefore shrines which are located in high mountain forests may feature torii constructed simply from a few rough cut conifers.  Such torii blend in nicely with the surrounding forest and are emblematic of the Japanese love of nature.  Though the torii has become a symbol of Japan as a country it is nevertheless a very unique and important part of the Shinto religious tradition.

About the Listed Item

Brand new, small model Shinto Inari-style torii wooden shrine gate.  Adhesive pads at the base of each of the gate's pillars allow the torii to be secured in place when on display.  This gate is held together through the