While wandering my local neighborhood of Tokyo, Kinshicho, I found these orange flowers growing in a garden outside an elementary school near my apartment. It looked so good I had to take a shot, and this is what I got. It looks so perfect you’d think it was photoshopped, but actually I only added some relatively heavy vignetting to cut down on peripheral distractions. What do you think?
Copyright Brian Heise, 2019
Support what I do and drop a tip in the tip jar. Be sure to like and comment as well!
The following post is Part 2 of my two part series about Hôdô-san Shrine in the town of Nagatoro, Japan. Be sure to check out Part 1 before reading on! And be sure to leave a comment and let me know what you think.
The Sub-Shrines at Hôdô-san
It isn’t at all uncommon for Shinto shrines to be accompanied by one or more sub-shrines, or betsu-gû (別宮). In Hôdô-san’s case, there are three: Tenmanten Shrine, Hogyoku Inari Shrine, and Yamato Takeru Shrine. Each is dedicated to a different spirit, and each has its own legends, traditions, and holidays, which are explained below.
Originally, this shrine was simply dedicated to the renowned Heian Period (794-1185) poet and statesman Sugawara no Michizane (菅原道真). However, in later years another nearby shrine was combined with this one and so was renamed Tenmanten Shrine (天満天神社). Michizane, however, remained as the venerated spirit, and is today revered as a deity of calligraphy, scholarship, and agriculture.
In the past the temple’s holy day was called Hatsutenjin (初天神) and was held every year on January 25th. On that day, the local children would make a visit to the shrine to present their first calligraphy of the year. Afterwards, they would gather together at a nearby house to spend the day having fun playing traditional Japanese games like karuta (歌留多) and sugoroku (双六) and eating delicious food.
These days, owing to modern work schedules, the holiday is now celebrated on the nearest Saturday to January 25th. These days, parents and children who are preparing for a test or for school admissions visit the temple to pray for success in these endeavors. For this reason the holiday is also called Kangaku-sai, or the “Encouraging Study Festival.” Those celebrating the holiday also leave small wooden ema (絵馬) plaques in front of the temple containing such messages as prayers for success in school or, as in the old days, the year’s first calligraphy.
Hôgyoku Inari Shrine (宝玉稲荷)
The Hôgyoku Inari Shrine is just one of the countless shrines across the country dedicated to fox god Inari, a god not of mischief as in the western tradition but of rice, tea, sake, and fertility. I suppose these things go together. This particular shrine was established on December 14 of the year Bunsei 5 (1822) when half of the spirit of Uka-no-Mitama (倉稻魂, the spirit of rice in storehouses), an associated deity to Inari, was enshrined here. I say half of because according to custom, that’s literally what is believed: a spirit cannot be simply worshiped in two places since the spirit is not considered to be omnipresent as in many Western traditions, and it has to be ritually divided in order to be worshiped in two different locations. The other half of Uka-no-Mitama’s spirit can be found at its original home at Fushimi Inari Shrine (伏見稲荷社).
This shrine is revered by numerous people both within and without Nagatoro for it’s divine virtues, which are said to bring about bountiful harvests, prosperity in trade, and domestic security. It is also believed that if you visit the shrine at times when you’ve lost something, it will miraculously return to you.
The annual festival of Hôgyoku Inari Shrine is called Hatsuuma-sai (初午際), or the “First Horse Festival,” so named because it falls on the first day of the horse by the old lunar calendar. Additionally, there is a ritual held on the 25th each month called Otaki-age Matsuri (御炊上際), or “The Cook-up Festival.” This festival starts at 3 pm with prayers for wealth and happiness followed by offerings of red beans, rice, and holy sake left in the grottoes around the mountain so that the messenger of Uka-no-Mitama, the white fox Obyakko (御白狐), will come to work miracles.
The Shrine to Yamato Takeru no Mikoto
Longtime readers of this blog will have already heard something of the famous 8th century warrior and son of the 12th emperor of Japan Yamato Takeru no Mikoto, who led a great expedition to eastern Japan to subdue rebellious subjects. There are more than a few locations in this area that have legends about this man attached to them. Here at Hôdô-san, he holds a special place as the founder of this holy site.
According to legend, Yamato Takeru was enthralled with the beautiful shape and mystical atmosphere of this mountain, and so he decided to establish a shrine here (see the previous post for more information). Those who remembered Takeru’s compassion built this shrine, near the spring where he ritually purified himself before climbing the mountain.
The festival for Yamato Takeru is called the 88th Night, so named because it occurs on the 88th day following the first day of spring by the old lunar calendar, which is May 2nd by the current system. On this day believers reenact Takeru’s climb to the summit, carrying a ritual palanquin holding his spirit to the Inner Shrine at the top of Hôdô-san, where the festival is carried out and traditional Shinto dances and songs are performed. Another name for the festival is Tsutsuji Matsuri, or the Azalea Festival, because a prominent variety of azalea blooms at this time. In addition to marking the start of the farming season in the Chichibu area, it is also the official day when the mountain is ceremonially opened for the year, so the summit is lively with believers and hikers alike at this time.
Kagura: Entertaining the Gods
Among the several outbuildings at Hôdô-san Shrine lies one building that isn’t actually a sub-shrine per-se, but is rather a hall dedicated to a traditional form of Japanese theatrical performance known as Kagura (神楽), or the God’s Entertainment. This practice is rooted in the most ancient of Japanese mythology and originates from the following tale.
Long ago, the sun goddess Amaterasu (天照) hid herself in a cave to sulk after a dispute with her brother, thus casting the world into darkness. The goddess Ame-no-Uzu danced at the entrance of the cave in order to coax her out. The plan worked: Amaterasu was intrigued by her dance and came out to watch, and so light was restored to the world. From then on, the people of Japan commemorated this important event by repeating Ame-no-Uzu’s dance, which is now called Kagura (神楽), or “the gods’ entertainment.”
Though the Kagura tradition is carried out in some form all across Japan, the practice takes various shapes, from the formalized mikagura (御神楽) of official shrines to the folk versions known as Village Kagura, or satokagura (里神楽). In the Chichibu area, there are a total of six lineages of Kagura, one of which is still practiced today at Hôdô-san Shrine. The unique characteristic of this form of Kagura is the fact that there are individual dances dedicated to many gods that appear in the two great classics of Japanese mythology, the Kojiki and Nihon Shoki. In addition to simple dances, theatrical performances of famous stories from these two books also occur. Whether dance or theater, all of the performances are done silently save for a single Waka poem that appears in one of the stories, which is uttered aloud. In addition, a cauldron containing hot water used in a special purification ritual is hung outside of the Kagura Hall (pictured below).
The variety of Kagura performed at Chichibu’s shrines dates back to the early 19th century, but these activities were suspended roughly half a century later during the political upheavals that led to the end of the Tokugawa regime (1603-1868). The formal practice resumed once more in the 1920s; prior to that the dances were performed by roaming Kagura troupes. One of those troupes was the Hinozawa Futobuto Society (日野沢太々協会) of Hinozawa village in nearby Minano Town (a few stops down on the Chichibu Line from Hôdô-san). At that time, the people of Nagatoro (then called Fujiyabuchi, 藤谷淵), lacking their own Kagura Troupe, went there to engage in the practice. However, in 1910 the Nagatoro’s own Fujiyabuchi Kagura Troupe was founded, and so the two troupes began to take turns giving Kagura performances at the local shrines.
In 1922 the Fujiyabuchi Troupe became the official Kagura performers for Hôdô-san Shrine and thus changed their name to Hôdô-san Shrine Kagura Troupe (Hôdô-san Jinja Kagura-dan, 寳登山神社神楽団). Since then, they have continued to preserve traditional performances and so in 1960 they were designated as an intangible cultural heritage of Nagatoro.
The major performances each year occur on January 1st, February 3rd or 4th (depending on the year), April 3rd, and May 4th.
What did you think about this post? Did you enjoy learning about the history and culture of this rural shrine? Let me know in the comments down below! And, if you want to make sure I can keep writing similar articles, consider leaving a tip in the tip jar! Be sure to stay tuned next week, as we move on down the Fureai Trail to see what lies on Section VIII: the Path Gazing Down on the Chichibu Basin!
Out in the mountains northwest of Tokyo in a region known as Chichibu, Section VII of the Saitama’s portion of the Fureai Trail winds through the quaint riverside town of Nagatoro (長瀞). Given it’s rural location, one would hardly expect such a place to have much to recommend it, but in fact the area boasts one of the most beautiful and historic shrines that I’ve ever found in such a place: ancient Hôdô-san Shrine (寳登山神社), which according to legend has been operating in some capacity for nearly 2,000 years. Put together with the many other nearby attractions, this certainly makes Nagatoro a must-see destination for anyone looking for a day-trip out of Tokyo.
The Founding Legend
According to legend, Hôdô-san was established more than 1,900 years ago by the imperial prince Yamato Takeru no Mikoto (日本武尊), a child of the 12th emperor of Japan. Takeru arrived in the Chichibu area while on a military expedition to subjugate the locals, who had not yet bowed to his father’s rule. Upon reaching present-day Nagatoro, his heart was taken by the mysterious atmosphere and beautiful shape a mountain on the west side of the river, so he ritually purified himself in springwater and attempted to climb to the top. Not long after setting out, however, a wildfire suddenly broke out on the mountain and in no time he was surrounded by flames. Takeru and company fought the flames and it seemed like they might not survive, but then a group of large wolves appeared who helped him quell the rampant flames. After that, they accompanied him to the summit, but disappeared once he arrived there. Takeru considered these animals to have been the divine messengers of the wolf god Ôkuchima-kami (大口真神).
After the event, Takeru decided to call the mountain Hôdô-san (火止山), meaning “fire quelling mountain.” Looking out at the magnificent view of the mountains of Chichibu, he deemed it a place befitting the worship of the gods, so he established three shrines on the summit: one to the spirit of Emperor Jimmu, the legendary first emperor of Japan; one to Ôyamatsumi-no-Mikoto (大山祇命), the spirit who made the mountains; and one to Homusubi-no-Kami (火産霊神), the spirit of fire. In later years, the place became a prosperous holy site, and so an inner shrine (okumiya, 奥宮) at the summit and the main shrine (honden, 本殿) at the foot of the mountain were established to venerate Takeru’s spirit.
In the early 9th century, a mystical orb was seen soaring over the mountaintop, which was taken as an auspicious sign from the gods. Consequently, the shrine and mountain were renamed Hôdô-san (寳登山), which possessed a similar pronunciation to the original but was written with the characters meaning Jewel-Ascending Mountain. From then to this day, the shrine has been an important place of worship.
Today Hôdô-san Shrine can be found at the end of a long, wide thoroughfare marked by a large white torii gate that runs straight from Nagatoro Station to the foot of the foot of the mountain. The distance is easily walk-able, but taxis and buses are also available to suit the elderly and those with small children.
The main shrine complex features a main hall surrounded by a series of minor shrines dedicated to various gods and spirits and is located at the foot of the mountain. An inner shrine can be found at the summit and is accessible by either on foot or by cable car.
The Main Hall
Easily the most recognizable building at the Hôdô-san, the Main Hall is located at the top of a steep flight of stone steps at the end of the main approach, or omote-sando (表参道). In contrast to the typical Shinto Shrines found in the area, which tend to be either unpainted wood or painted plain red, this one is covered in a variety of bright colors and designs reminiscent of more famous shrines like the Toshogu in Nikko.
The point that really sets this building apart from other shrines in Japan, however, are the scenes carved on its exterior. Each of these are drawn from classics of Chinese literature, namely four from The 24 Filial Exemplars (13th century) by the scholar Guo Jujing and a fifth from the Record of the Three Kingdoms (4th century) by Chen Shou. Their presence here at a holy place for Japan’s native religion shows the strong effect that Chinese culture had on Japan over the centuries, and the deep respect afforded to its wisdom.
The Filial Exemplars
The 24 Filial Exemplars is a collection of parables intended to illustrate the proper application of the Confucian moral principal of filial piety, or loyalty to one’s parents. Although in the West we tend to learn of Confucius and his teachings as a distinct system of thought, these principles were in fact widely accepted as a basic philosophy of life all across Asia and were thus followed in tandem with the teachings of other religions, hence their appearance here at a Shinto shrine. The four scenes depicted here can be found high on left wall towards the front of the main hall, above the sliding wooden windows and below the eaves. Each scene progresses from right to left in the order that they are presented below.
He Fed His Parents with Doe’s Milk Enshi’s (郯子) parents were losing their eyesight, so for their sake tried to obtain doe’s milk for medicine. He therefore donned the skin of a deer approached the herd, but a hunter mistakenly shot him. Nonetheless, Enshi obtained the milk and thus fulfilled his filial duty.
He Carried Rice for His Parents
Shiro (子路), one of Confucius’ 10 disciples, lived a life of poverty, but though he himself ate meager meals, he spent his daily earnings on rice which he delivered to his parents without begrudging the long road. Thus, he fulfilled his filial duty. Confucius greatly lamented Shiro’s passing.
He Fought a Tiger to Save His Father
Yôkô (陽香) and his father were working in the mountains when a tiger appeared before them. In an attempt to sacrifice himself for his father, Yôkô leaped out in front of the tiger though might have eaten him at any moment. Even the tiger could sense the depth of his filial devotion in risking one’s life for his parent, and so both father and son were saved.
He Cried and Bamboo Sprouted
Môsô’s (孟宗) mother was deathly ill during a brutally cold winter, but she desired to eat bamboo shoots in spite of their being out of season. In order to grant her request, Môsô went out into the cold bamboo forest to look for shoots even though he knew he could not possibly find one. However even the heavens were moved by this display of filial devotion, and so the gods made shoots grow up through the snow.
Interestingly, the story as presented at the shrine differs from the original telling. In that story, Môsô was told by a physician that his sick mother needed a soup made of bamboo shoots to be healed, but since it was winter and they were unavailable he simply went to the forest and cried. Suddenly, he heard a loud noise and, going to the source, he found bamboo shoots growing.
The Record of the Three Kingdoms
The Record of the Three Kingdoms might be the most famous work of early Chinese scholarship and chronicles the history of the country from the end of the Han Dynasty (206 BC – 220 CE) through the Three Kingdoms Period (220–280), from whence the book derives its name. The work was so monumental that it became widely read throughout east Asia, including in Korea and Japan, hence why a depiction from the book can be found on Hôdô-san’s Main Shrine. The carving here is of General Zhao Yun (趙雲) at the Battle of Changban Dike (長坂坡の戦い) in 208 CE.
Zhao Yun is counted among the many beloved characters of the book along with his beloved horse White Dragon (白龍) and his spear Yajiao (涯角). At the Battle of Changban Dike, which preceded the even more famous Battle of Red Cliff (the subject of Jon Woo’s movie), Zhao Yun was tasked with defending Liu Shan (阿斗), the son of his leader Liu Bei (劉備). Zhao Yun fought hard to protect the boy, who would later go on to rule the kingdom of Shu. For this reason, he was often called “The Pillar of Shu” (蜀の柱石).
This post started getting a little long, so the second half will appear next week. If you enjoyed reading about this shrine, be sure to like and comment below! And, of course, click subscribe on the bar on the right to make sure you get to see next week’s post.