Japanese Architecture
Japanese Architecture
ARCHITECTURE
prepared by
Ma. Socorro A. Gacutan
Nippon Koku or the official name
which means State of Japan
LOCATION
Pacific Ocean , East Asia
Capital –Tokyo
CLIMATE
Affected by winter in the north
Architectural Style
part and warm air from Pacific
ocean on the south side
Buddhism-43.6%
Christianity 1.2%
Others -4.5%
BUDDHISM
REACHED JAPAN VIA CHINA AND
KOREA DURING THE THE KUDARA
KINGDOM IN THE 6TH CENTURY BC.
RELIGION
Shintoism
Shinto-or the way of the gods oldest religion.
4. KUFUN - sea
Black- outline indicates present-day Japan
Pre-history 14,000BC to 300 BC
Jomon period Hunter- gatherer inhabitants occupying
permanent settlement with established
culture and tradition
https://en.wikipedia.org/wiki/J%C5%8
Dmon_period
Pit House (Tataena-shiki)
Shotoku Taishi
Imperial 710 AD, Nara was the permanent
capital patterned
Japan after the city of Tang Dynasty
Historical Street layout was in grid
Asuka period
AD 539-710
Nara temples
794 AD with the capital being moved from
Nara to Heian kyō
Muromachi period
AD 1336–1573
Chokakuji temple
Imperial Muromachi in Kyoto was the military base of
Shogun Ashikaga Takauji
Japan Introduced Zen Buddhism in Japan
Historical
Period where tea ceremony (chanoyu) were
held in tea houses were constructed
.
Imperial
Japan Rivalry between the shogunate and the
Historical aristocrats resulted to extravagance in
lifestyle
AD 1573 - 1603
Matsumoto castle is also known as
. Crow Castle because of its black
color
Azuchi-Momoyama
Period
AD 1603-1868
Himeji castle or the “white heron”
is a hilltop Japanese castle Himeji,
Kyogo prefecture.
Imperial
Japan Tokugawa Leyasu founder of Togukawa
Historical Shogunate In 1635 closed japan to
foreigners
And allowing them to trade in Nagasaki
He banned Christianity
Edo Defined social structure for commoners,
Period Samurai are ranked highest, followed by
farmers,
artisans, and merchants.
AD 1603-1868 By 1700, there commerce, trade, literature
and arts flourished
By the early 1700s, cities and commerce flourish.
Imperial Rise of merchant class enjoys Kabuki and
Bunraku theater.
Japan
Historical Printing and publication of books increase;
education becomes available to the urban
population
ROOF
ARCHITECTURAL The roof is the most visually impressive
component, often constituting half the size
CHARACTER of the whole edifice.
ROOF
The slightly curved eaves extend far
beyond the walls, covering verandas,
and their weight must therefore be
supported by complex bracket systems
called tokyō, in the case of temples and
shrines.
ARCHITECTURAL
• THE SLIGHTLY CURVED EAVES
CHARACTER
EXTEND FAR BEYOND THE WALLS,
ROOF COVERING VERANDAS, AND THEIR
WEIGHT MUST THEREFORE BE
SUPPORTED BY COMPLEX BRACKET
SYSTEMS CALLED TOKYŌ, IN THE
CASE OF TEMPLES AND SHRINES.
• TOKYO
• A SYSTEM OF SUPPORTING BLOCKS AND BRACKETS
ARCHITECTURAL
SUPPORTING THE EAVES OF A JAPANESE BUILDING,
CHARACTER USUALLY PART OF A BUDDHIST TEMPLE OR SHINTO
SHRINE.
ROOF
• THE USE OF TOKYŌ IS MADE NECESSARY BY THE
EXTENT TO WHICH THE EAVES PROTRUDE, A
FUNCTIONALLY ESSENTIAL ELEMENT OF JAPANESE
BUDDHIST ARCHITECTURE. THE SYSTEM HAS HOWEVER
ALWAYS HAD ALSO AN IMPORTANT DECORATIVE
FUNCTION.
ARCHITECTURAL
CHARACTER
ROOF
• PLANT ROOFING TILES AND A TYPE
OF CYPRESS CALLED HINOKI WERE
USED FOR ROOFS.
• IT WAS SOMETIME DURING THIS
PERIOD THAT THE HIDDEN ROOF, A
UNIQUELY JAPANESE SOLUTION TO
ROOF DRAINAGE PROBLEMS, WAS
ADOPTED.
ARCHITECTURAL
CHARACTER
ROOF
• HIDDEN ROOF
• IS A TYPE OF ROOF WIDELY USED IN
JAPAN BOTH AT BUDDHIST TEMPLES
AND SHINTO SHRINES.
• IT IS COMPOSED OF A TRUE ROOF
ABOVE AND A SECOND ROOF
BENEATH, PERMITTING AN OUTER
ROOF OF STEEP PITCH TO HAVE
EAVES OF SHALLOW PITCH, JUTTING
WIDELY FROM THE WALLS BUT
WITHOUT OVERHANGING THEM.
ROOF STYLES
ARCHITECTURAL
CHARACTER
ROOF
• IRIMOYA
• IN THE IRIMOYA STYLE ROOF THERE IS A
SIDE OF ROOFING THAT EXTENDS OUT
AND UP FROM EACH SIDE OF THE
RECTANGULAR STRUCTURE. PARTWAY UP
TWO OF THE SHORTER OPPOSITE SIDES
ARE STOPPED AND THE REMAINING
TWO CONTINUE TO THE TOP WHERE
THEY ARE JOINED.
• THE IRIMOYA STYLE ROOF WAS ALSO
CONSIDERED TO BE THE MOST ELEGANT
AND WAS USED BY THE MORE UPPER
CLASS PEOPLE FOR THEIR HOMES. THE
TOP LEVEL OF ALL EXTANT AND
RECONSTRUCTED CASTLES HAS AN
IRIMOYA STYLE ROOF.
ARCHITECTURAL
CHARACTER
ROOF
• KIRIZUMA
• THE SIMPLEST KIND OF ROOF.
• TWO SIDES JOINED AT THE TOP TO
COVER THE BUILDING.
• RARELY SEEN IN CASTLES EXCEPT AS
THE SMALL ROOF THAT COVERS WALLS
OR THE SUPPORT PILLARS OF
KORAIMON GATES.
• SIMPLER AND CHEAPER TO BUILD SO IT
WAS CONSIDERED A LOWER CLASS
TYPE OF ROOF FOR HOMES..
• HOGYO
• ONE OF THE TYPES OF ROOFS
USED IN THE JAPANESE
TRADITIONAL ARCHITECTURE,
ESPECIALLY FOR THE BUDDHIST
CONSTRUCTIONS.
ARCHITECTURAL
CHARACTER • YOSEMUNE
ROOF • A HIPPED ROOF. A THE ROOF THAT
DESCENDS FROM THE RIDGE ON
FOUR SIDES OF A RECTANGULAR
BUILDING.
• HIP DESCEND FROM EACH END OF
THE RIDGE TO THE CORNERS. THE
LENGTH OF THE RIDGE INFLUENCES
THE ANGLES MADE WHEN THE HIP
RAFTER BISECTS THE CORNERS.
• IF THE CORNER IS BISECTED SO
THAT TWO 45 DEGREE ANGLES
ARE CREATED, THE TERM USED IS
MASUMI.
SHINTO SHRINES
(JINJA, 神社)
Torii from
Itsukushima Shrine
in Hiroshima
• THE ROAD APPROACHING THE
SHRINE.
• MARKS THE BEGINNING OF THE
SHRINE’S TERRITORY.
• THERE CAN ALSO BE STONE
LANTERNS AND ANY OTHER
DECORATIONS ALONG THE
PATHWAY.
• THERE CAN BE MORE THAN ONE
SANDŌ (OMOTE-SANDŌ, OR
FRONT SANDŌ, URA-SANDŌ, OR
REAR SANDŌ)
SANDŌ
(PATHWAY, 表参道)
CHŌZUYA
(手水舎)
• WATER-FILLED BASINS
• BEFORE ENTERING THE
SHRINE, VISITORS ARE
TO WASH THEIR HANDS
AND MOUTHS
• THIS SYMBOLIC
PURIFICATION IS
NORMAL BEFORE
WORSHIP AND ALL
MANNED SHRINES HAVE
THIS FACILITY
• THERE IS A WOODEN
CHŌZUYA
Kagura-den at
Fushimi Inari Taisha
in Kyoto
SHAMUSHO
(SHRINE OFFICE,
Togakushi
Cusha Shrine
Nagano, Japan
EMA
• WOODEN PLAQUES
BEARING PRAYERS OR
WISHES.
• THE EMA ARE THEN LEFT
HANGING UP, WHERE
THE KAMI ARE BELIEVED
TO RECEIVE THEM.
• THEY BEAR VARIOUS
PICTURES, OFTEN OF
ANIMALS OR OTHER
SHINTO IMAGERY, AND
MANY HAVE THE
WORD GAN‘I (WISH, 願
意) WRITTEN ALONG THE
SIDE.
EMA
(PICTURE HORSE,
Ema at
Washinomiya Shrine
in Saitama
SESSHA/MASHA
(AUXILIARY SHRINES, 補
助神社)
Setsumatsusha
Fushimi Inari Taisya
kyoto
KOMA
(LION DOGS)
Komainu
HAIDEN
• HALL OF WORSHIP
OR ORATORY
• IT IS PLACED IN
FRONT OF THE
SHRINE'S MAIN
SANCTUARY
(HONDEN)
• OFTEN CONNECTED
TO
THE HONDEN BY
• ISHI-NO-MA-ZUKURI (石の間造)
KITANO TENMANGŪ IN KAMIGYŌ-KU, KYOTO
KIBITSU SHRINE IN OKAYAMA
HAIDEN
(拝殿)
Izumo shrine
HONDEN
•
• A FENCE
SURROUNDING THE
SHRINE.
• MADE OF A VARIETY
OF MATERIALS
INCLUDING WOOD,
STONE AND — IN
RECENT YEARS —
CONCRETE.
Tamagaki in
Toshogu shrine TAMAGAKI
HONDEN katsuogi
• CONNECTED TO THE REST OF THE SHRINE BUT chigi
USUALLY RAISED ABOVE IT, AND PROTECTED
FROM PUBLIC ACCESS BY THE TAMAGAKI. On the roof of
the haiden and honden are
• RELATIVELY SMALL AND WITH A GABLED ROOF. visible chigi (forked
roof finials) and katsuogi
• ITS DOORS ARE USUALLY KEPT CLOSED, EXCEPT (short horizontal logs), both
AT RELIGIOUS FESTIVALS. SHINTO common shrine
ornamentations.
PRIESTS THEMSELVES ENTER ONLY TO PERFORM
RITUALS.
• THE GO-SHINTAI (THE SACRED BODY OF THE
KAMI, 御神体) IS PLACED INSIDE. THE GO-
SHINTAI IS ACTUALLY NOT DIVINE, BUT JUST A
TEMPORARY REPOSITORY OF THE
ENSHRINED KAMI.
Shinmei-zukuri
HONDEN
•
(MAIN HALL,
THIS STYLE IS CHARACTERIZED
BY AN EXTREME
SIMPLICITY. BUILT IN PLANE- 本殿)
UNFINISHED WOOD, HAS A
RAISED FLOOR, A GABLED
ROOF WITH AN ENTRY ON
ONE THE NON-GABLED SIDES,
NO UPWARD CURVE AT THE
EAVES, AND PURELY
DECORATIVE LOGS
CALLED CHIGI (FORKED FINIAL)
AND KATSUOGI (HORIZONTAL
) PROTRUDING FROM THE
ROOF'S RIDGE.
CHIGI
• THIS STYLE IS CHARACTERIZED
Shinmei-zukuri
BY AN EXTREME
HONDEN SIMPLICITY. BUILT IN PLANE- KATSUOGI
(MAIN HALL, 本殿) UNFINISHED WOOD, HAS A
RAISED FLOOR, A GABLED
ROOF WITH AN ENTRY ON
ONE THE NON-GABLED SIDES,
NO UPWARD CURVE AT THE
EAVES, AND PURELY MUNAMOCHI
DECORATIVE LOGS BASHIRA
CALLED CHIGI (FORKED
FINIALS)
AND KATSUOGI (HORIZONTAL)
PROTRUDING FROM THE
ROOF'S RIDGE.
Kasuga-zukuri HONDEN
• THE ENTRANCE IS ON
THE GABLED END
COVERED BY A
VERANDA. SUPPORTING
STRUCTURES ARE
PAINTED VERMILION,
WHILE THE PLANK
WALLS ARE WHITE. THE
ROOF IS GABLED
DECORATED WITH
PURELY ORNAMENTAL
POLES
CALLED CHIGI (VERTICAL
) OR KATSUOGI
(HORIZONTAL), AND
Kasuga-zukuri\
HONDEN
HONDEN
• THERE ARE TWO PARALLEL
STRUCTURES WITH
GABLED ROOFS ARE
INTERCONNECTED ON THE
NON-GABLED SIDE,
FORMING ONE BUILDING
WHICH, WHEN SEEN
FROM THE SIDE, GIVES THE
IMPRESSION OF TWO.
• THE STRUCTURES ARE
CALLED GAIDEN
AND NAIDEN AND
TOGETHER THEY FORM
THE HONDEN.
• THE FOUR IDENTICAL
Sumiyoshi-
HONDEN BUILDINGS THAT zukuri
COMPOSE IT ARE 4 KEN WIDE AND
2 KEN DEEP AND HAVE AN HONDEN
ENTRANCE UNDER ONE OF
THE GABLES.
• HAS A VERY
ASYMMETRICAL GABLED ROOF
PROJECTING OUTWARDS ON ONE
OF THE NON-GABLED SIDES, ABOVE
THE MAIN ENTRANCE, TO FORM A
PORTICO. THE BUILDING HAS ITS
MAIN ENTRANCE ON THE SIDE
WHICH RUNS PARALLEL TO THE
ROOF'S RIDGE.
BUDDHIST TEMPLES
BUDDHIST TEMPLES
• NOT PRIMARILY A PLACE OF WORSHIP; ITS
MOST IMPORTANT BUILDINGS ARE USED
FOR THE SAFEKEEPING OF SACRED
OBJECTS
• ALWAYS USES WOOD IN VARIOUS FORMS.
(PLANKS, STRAW, TREE BARK, ETC.)THE USE
OF STONE IS AVOIDED EXCEPT FOR
CERTAIN SPECIFIC USES, FOR EXAMPLE
TEMPLE PODIA AND PAGODA FOUNDATIO
NS
• USES POST AND LINTEL TO SUPPORT A
LARGE AND GENTLY CURVED ROOF, WHILE
THE WALLS ARE PAPER-THIN. GABLE AND
EAVE CURVES ARE GENTLE AND BUDDHIST TEMPLES
COLUMNAR ENTASIS LIMITED. (BUKKYŌ JIIN,
PARTS OF A TEMPLE
BUDDHIST TEMPLES
Shitennō-ji Temple
(Osaka
BUDDHIST
TEMPLES
Tōdai-ji Temple
in Nara
BUDDHIST TEMPLES
Kyōzō at Hōryū-ji
in Nara
KONDŌ
(GOLDEN HALL
Kondō at Hōryū-ji
in Nara
SANMON
(GATE OF THE THREE
LIBERATIONS,
Sanmon at Chion-in
in Higashiyama-ku,
Kyoto
Tō at Seiganto-ji, in
Wakayama
TŌ Sōrin (Alternate rings
(PAGODA, 塔)
• THE
VERTICAL
SHAFT
WHICH
TOPS
A JAPANESE
PAGODA,
WHETHER
TŌ
(PAGODA, 塔)
Fūtaku (wind bell
• SMALL BELLS
ATTACHED TO THE
EDGES OF
A SŌRIN'S RINGS
OR OF THE SUIEN
• SYMBOLIZES THE
PEOPLE'S FAITH IS
AS LONG AS
ICHIGAMI (EBISU
GOD) AND A
TŌ
Hōju(PAGODA, 塔
• USUALLY A BALL OR TEAR-
DROP SHAPE OBJECT THAT
IS SACRED TO BUDDHISM. IT
IS BELIEVED TO HAVE THE
POWER TO EXPEL EVIL,
CLEANSE CORRUPTION,
AND FULFILL WISHES.
• THIS SHAPE IS USED ON THE
TOP OF A PAGODA, ON THE
TOP OF A PYRAMIDAL
ROOF OF A BUDDHIST HALL,
ON A STONE LANTERN OR
ON THE SCULPTURED HEAD
OF RAILING PILLARS
Ryusha
• A ROUND OR EGG-
SHAPED PART OF THE
UPPER DECORATION OF
A PAGODA.
IT SYMBOLIZES A
VEHICLE FOR THE
ANGELS TO COME
DOWN TO EARTH.
• SYMBOLIZES A COURIER
USED BY HIGH STATUS
PEOPLE
TŌ
(PAGODA, 塔)
Suien
• ORIGINALLY, IT MEANT
FIRE. BUT PEOPLE THINK
THAT FIRE CAUSES THE
PAGODA TO BURN SO
THEY RENAMED IT. SUI
MEANS WATER IN
JAPANESE.
Ukebana (受花)
• A CIRCLE OF
UPTURNED LOT
US PETALS,
USUALLY
EIGHT IN
NUMBER.
THERE CAN
ALSO BE
ANOTHER
TŌ
(PAGODA, 塔)
Horin/Korin (九輪)
• THE LARGEST
COMPONENT OF
THE SŌRIN.
TŌ
(PAGODA, 塔)
Fukubachi (伏鉢)
• AN INVERTED
BOWL-LIKE
FIXTURE
WHICH
SYMBOLIZES A
GRAVE
TŌ
(PAGODA, 塔)
Roban (露盤)
• ON WHICH
RESTS THE
ENTIRE FINIAL.
• IT COVERS THE
TOP OF THE
ROOF IN
ORDER TO
PREVENT
LEAKS, IT
TŌ
(PAGODA, 塔)
Shinbashira (心柱)
• THE CENTRAL PILLAR AT
THE CORE.
• HAS BEEN LONG
THOUGHT TO BE THE
KEY TO JAPANESE
PAGODA’S
EXCEPTIONAL
EARTHQUAKE
RESISTANCE
TŌ
(PAGODA, 塔)
Mokoshi (Cuff Storey, 裳階)
• A DECORATIVE PENT
ROOF SURROUNDING
A BUILDING BELOW
THE TRUE.
• IT GIVES THE
IMPRESSION OF THERE
BEING MORE FLOORS
THAN THERE REALLY
ARE.
• ITS PURPOSE WAS IN
FACT TO HIDE THE
VARIOUS FEATURES
OF
TEMPLES
ONIGAWARA
(OGRE TILE,
• A type of roof ornamentation.
• They are generally roof tiles or statues
Seiryo-den
TAKAMIKURA
• THE IMPERIAL THRONE. IT HAS BEEN USED ON THE OCCASION OF THE ENTHRONEMENT CEREMONIES
COMMENCING IN 707 IN THE REIGN OF EMPEROR GENMEI.
• THE ACTUAL THRONE IS A CHAIR IN BLACK LACQUER, PLACED UNDER AN OCTAGONAL CANOPY RESTING
ON A THREE-TIERED DAIS PAINTED WITH BLACK LACQUER WITH BALUSTRADES OF VERMILION. ON BOTH
SIDE OF THE THRONE ARE TWO LITTLE TABLES, WHERE THE IMPERIAL REGALIA SUCH AS THE SWORD AND
THE GREAT SEAL WOULD BE PLACED. ON TOP OF THE CANOPY IS A STATUE OF A LARGE PHOENIX
CALLED HO-O. SURROUNDING THE CANOPY ARE EIGHT SMALL PHOENIXES, JEWELS AND MIRRORS.
HANGING FROM THE CANOPY ARE METAL ORNAMENTS AND CURTAINS.
• THE SLIDING DOOR THAT HID THE MONARCH FROM VIEW IS CALLED KENJO NO SHOJI , AND HAD AN
IMAGE OF 32 CHINESE SAINTS PAINTED UPON IT, WHICH BECAME ONE OF THE PRIMARY MODELS FOR ALL
OF HEIAN PERIOD PAINTING.
Takamikura
GATES
• KENREIMON, WHICH HAS A CYPRESS-WOOD Jomeimon, the inner gate, which is painted in
ROOF, AND IS SUPPORTED BY FOUR UNPAINTED vermilion and roofed in tile
WOODEN PILLARS. THIS GATE WOULD HAVE
BEEN USED ON THE RARE OCCASIONS OF THE
EMPEROR WELCOMING A FOREIGN DIPLOMAT
OR DIGNITARY, AS WELL AS FOR MANY OTHER
IMPORTANT STATE CEREMONIES