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Japanese Architecture

Japanese architecture has been influenced by climate, religion, and foreign cultures over time. Traditional houses used wood and paper with courtyards and overhangs to block winds. Buddhism and Shintoism coexisted as the main religions. Architectural styles evolved from pit houses and stilt structures in early periods to elaborate temples modeled after Chinese designs in Nara and Heian periods. The Muromachi period saw the influence of Zen Buddhism and integration of minimalist garden designs with buildings.

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0% found this document useful (0 votes)
39 views127 pages

Japanese Architecture

Japanese architecture has been influenced by climate, religion, and foreign cultures over time. Traditional houses used wood and paper with courtyards and overhangs to block winds. Buddhism and Shintoism coexisted as the main religions. Architectural styles evolved from pit houses and stilt structures in early periods to elaborate temples modeled after Chinese designs in Nara and Heian periods. The Muromachi period saw the influence of Zen Buddhism and integration of minimalist garden designs with buildings.

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Tianboy
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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JAPANESE

ARCHITECTURE
prepared by
Ma. Socorro A. Gacutan
Nippon Koku or the official name
which means State of Japan
LOCATION
Pacific Ocean , East Asia

6852 islands, with the largest and


the important islands are
Honshu, Kyushu, Shikoku and
Hokkaido

Capital –Tokyo
CLIMATE
Affected by winter in the north
Architectural Style
part and warm air from Pacific
ocean on the south side

Large overhangs on the south


side to shield houses from the sun

COURTYARD WALLS TO BLOCK


THE WINTER NORTH WIND
wood in forms (planks, straw, tree bark,
paper, etc.) for almost all structures.
Structural -relatively earthquake
resistant aesthetic-warm,
GEOLOGICAL interior wood frames carry load of
MATERIALS the structures

Walls made of paper are non-load


bearing

Stone is rarely used


RELIGION
Shintoism -50.7%

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.

Kami- god present in nature

Does not have specific god, no bible, no specific


preacher or savior.

Believe in good over evil


SHINTO
Rituals in prayers, purification and offerings , done
to drive bad spirits

A religion based on Japanese culture and tradition


SHINTO
"SHINTO GODS" ARE CALLED KAMI TAKING THE
FORM O NATURE-ROCKS, MOUNTAINS, RIVERS,
RAIN , WIND ETC.
AMATERASU-THE SUN GODDESS IS THE MOST
IMPORTANT KAMI
HUMANS BECOME KAMI AFTER DEATH AND
BECOME ANCESTRAL KAMI
IMPORTANT PERSONS’ KAMI ARE PLACED IN A
SHRINE
SHINTO Japanese worship at Shinto Shrines
where Kami
dwells

Shinto priests do the rituals. Both genders


can be priests and are allowed to marry.
Priest’s unmarried daughter or other
maiden, in white kimono, are the priest’s
assistant during the rituals
Buddhism
versus
Shintoism

• THERE WAS CONFLICT BETWEEN THE


TWO RELIGIONS. HOWEVER,
INDIFFERENCES WERE SETTLED AND
LATER ON WERE ADOPTED AS THE
RELIGIONS OF JAPAN.
• EVENTS ABOUT LIFE IS CELEBRATED IN
SHINTO SHRINE
DEATH IS CELEBRATED IN BUDDHIST
TEMPLE
PALEOLITHIC - 40,000 TO 36,000 BCE
PREHISTORIC
CONTROVERSIAL PERIOD OF EARLY JAPANESE
EXISTENCE
JAPAN

• PERIOD DOMINATED BY HUNTING PRIOR TO


1. PALEOLITHIC
THE POTTERY AGE 13,000-10,000BCE.
2.
JOMON
Japan at the Last Glacial Maximum in the
Late Pleistocene about 20,000 years ago
3. YAYOI brown - regions above sea level
(white color) - unvegetated

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

Jomon- in Japanese term means pottery .


Inhabitants were skillful in the art of
pottery making with cord motif

Pottery was hand-made

https://en.wikipedia.org/wiki/J%C5%8
Dmon_period
Pit House (Tataena-shiki)

Pre-historical o Circular shape


Jomon period o Floor- earth with pith covered with stone
served as place for fire for heating and
Houses cooking

o Walls- thatched made of grass

o Structural- tree parts as pillars


Stilt houses
The interaction with the Han dynasty
gave Yayoi skills in wood construction

Pre-historical Walls- Made of wood

Yayoi period Roof-made of grass

Structural- wood beams, tree trunks for


Houses posts in mortise and tenon

Equipment-used chisel, saw and metal


Presence of rat guard on
construction devises
the post before the floor
The house was raised from the ground to
Removable ladder-
avoid dampness
lifted at night
Houses were used as living quarters and
farm storage.
Rule of Yamato Clan
250 BC-538 AD kofun period –
archeological period

Pre -historical 538–710 Asuka period

Kofun period Yamato clan claimed descendant from


Amaterasu amikami, unified the Yayoi
fragmented group into one central
Japanese society with central militaristic
government.

Exchange of technology and culture


happened due to interaction with China
during the Han dynasty and Korea-Baekje
Kofun -large burial mounds for the
Pre-hisistorical Japanese nobility during the time of
Kofun period Yamato-the name given to the period in
Japan.

Commoners built their kofun in later period

Key-holed shape, the largest about 400


meters in length. Many were located along
the hills. Entrances were either vertical or
horizontal. Surrounded by moat

Rituals were performed and stone burial


chambers were found in the mound.
Asuka -Yamato aristocrats continued to rule Japan
established its capital in Asuka, Nara Japan

Change of Japanese name from Wa to Nihon

Prince Shotoku Taishi from the Soga family – had


contacts with Baekje in korea and Han dynasty
Imperial China influenced him to practice Buddhism. He
introduced Buddhism to Japan which affected the
Japan Japanese culture

Historical He adopted Confucian principles which helped


mend Japan’s chaotic system

Asuka period adopted Chinese calendar system and business


principles.
AD 539-710
constructed many highways and Buddhist temples ,
the Horyu temple considered the oldest surviving
temple

Shotoku Taishi
Imperial 710 AD, Nara was the permanent
capital patterned
Japan after the city of Tang Dynasty
Historical Street layout was in grid

Buildings copied the Chinese capital


Asuka period Chang’an style
AD 539-710
Nara had many Buddhist temples built
and became the center of Buddhist faith
Buddhism
Imperial
Japan
Historical

Asuka period
AD 539-710

Nara temples
794 AD with the capital being moved from
Nara to Heian kyō

Shogun was introduced –military generals to


combat barbarians of the north

Buddhism at its peak, clergy was powerful


Imperial and influential
Japan Height of Confucianism
Historical Buddhist temples increase in height and size
due to additional functions
Heian period Merging of Buddhist architectural influence to
AD 794-1192 Shinto shrines

Ex. Shinto shrine unpainted timber walls were


painted red
Minka house-vernacular house during
the Heian period
Shogun or the generals became powerful
ruled the territories

Architectural as well as technological


advances were introduced
Imperial
Wayo style- the standard style and method
Japan of temple building at the end Heian period.

Historical Wayo or Japanese style


Temples were usually along the mountainside
or hilltop near a village
Kamakura Scenic views: mountains, waterfalls,
period
AD 1192-1333

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

Integration of garden setting with the


Muromachi period building design
AD 1336–1573
Minimalistic approach to garden design’- Kinkaku-ji-Temple of Golden Pavilion
reduced scale around building spaces Also known as Rokuon-ji-Deer Garden temple
Zen Buddhism
against larger landscape areas serving the Zen Buddhist Temple
The garden complex is an excellent example
backdrop of Muromachi period garden design

.
Imperial
Japan Rivalry between the shogunate and the
Historical aristocrats resulted to extravagance in
lifestyle

Period where tea ceremony (chanoyu) were


held in tea houses (chasitsu) were constructed
Muromachi period
AD 1336–1573 Tea ceremony was introduced by Buddhist
monk Eichu to temper the extravagant
aristocrats and to serve soldiers
Tea house
.
Oda Nobunaga consolidated Japan
Imperial after the internal war
Japan
Tea ceremony continued to flourish
Historical
Art and design were patronized by the
locals
Azuchi-Momoyama
Castle construction started during the
Period Muromachi period continued

AD 1573 - 1603
Matsumoto castle is also known as
. Crow Castle because of its black
color

Example of castle built on flat land


Imperial
.
Japan
Historical

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

Population increased leading to the construction of


Edo two story houses
Period
Overspending seen on the construction of aristocrats
palaces Hondo of Kiyomizu-dera, Kyoto,
AD 1603-1868 built in 1633
Great fire of 1657 lead to new approach in urban
design by placing stone embankment
ARCHITECTURAL
CHARACTER

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)

• “PALACE OF THE GOD/S”


• TO ENSHRINE A KAMI (GOD, 神)
• BUDDHIST IN ORIGIN
• LOCATED NEAR ROCKS, WATERFALLS, OR IN
ISLANDS AND MOUNTAINS TO ATTRACT KAMI.
PARTS OF A SHRINE
• THE ENTRANCE TO THE SACRED
AREA
• MADE OF WOOD, STONE, METAL,
CONCRETE OR ANY MATERIAL.
• A SHRINE CAN HAVE ANY
NUMBER OF TORII.
• THEY CAN BE FOUND IN
DIFFERENT PLACES WITHIN A
SHRINE'S PRECINCTS TO SIGNIFY
AN INCREASED LEVEL OF
HOLINESS
• THE DIVISION OF THE REAL
WORLD WITH THE DIVINETORII
WORLD (SHINTO GATE , 鳥居)
TORII
TORII
(SHINTO GATE, 鳥居)

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

Chōzuya from Meiji


Shrine in Shibuya,
Tokyo
TŌRŌ
(STONE LANTERN, 石灯
籠)

• TRADITIONAL LATERN MADE OFA. Hōju or hōshu


STONE, WOOD OR METAL B. Ukebana
C. Kasa
D. Hibukuro
E. Chūdai
F. Sao.
KAGURA-DEN
(GOD-ENTERTAINMENT

• BUILDING DEDICATED TO THE


SACRED KAGURA DANCE
• THE KAGURA DANCE IS A
SHINTO THEATRICAL DANCE
KAGURA-DEN
(GOD-ENTERTAINMENT,

Kagura-den at
Fushimi Inari Taisha
in Kyoto
SHAMUSHO
(SHRINE OFFICE,

• THE FACILITIES WHERE DAY-TO-


DAY SHRINE MANAGEMENT IS
CONDUCTED.
• SUCH OFFICES NORMALLY ALSO
INCLUDE FACILITIES FOR
DISPENSING SHINSATSU (GOOD-
LUCK TALISMANS,幸運のお守り)
• THE OFFICES WHERE
WORSHIPPERS MAY APPLY FOR
THE PERFORMANCE OF SPECIAL
RITUALS OF BLESSING.
SHAMUSHO
(SHRINE OFFICE, 社務所)

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)

• SMALL OR MINIATURE SHRINES


ENTRUSTED TO THE CARE OF A
LARGER SHRINE, GENERALLY DUE
TO SOME DEEP CONNECTION
WITH THE ENSHRINED KAMI.
SESSHA/MASSHA
(AUXILIARY SHRINES, 補助神社)

Setsumatsusha
Fushimi Inari Taisya
kyoto
KOMA
(LION DOGS)

• STATUE PAIRS OF LION-LIKE


CREATURES EITHER GUARDING
THE ENTRANCE OR THE INNER
SHRINE.
• THE LIONS ARE
CALLED SANDŌ KOMAINU,
VISITING ROAD LION DOG)
AND JINNAI KOMAINU
SHRINE INSIDE LION DOG)
KOMAINU
(LION DOGS, 狛犬)

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

Sacred part of the Shinto shrine


where kami, represented by statue
or mirror, is enshrined.

Located at the back away from


public. Only priest are allowed to
use the hall.

Raised platform surrounded with


fence known as tamagaki
TAMAGAKI

• 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

• 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 COVERED WITH CYPRESS
BARK.
Hachiman-zukuri
• THERE ARE TWO
PARALLEL STRUCTURES HONDEN
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.
Hachiman-zukuri

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.

• THE ROOF IS SIMPLE, DOESN'T


CURVE UPWARDS AT THE EAVES AND
IS DECORATED WITH PURELY
ORNAMENTAL POLES CALLED CHIGI
AND KATSUOGI.

• THE BUILDING IS SURROUNDED BY A


FENCE CALLED MIZUGAKI IN ITS
TURN SURROUNDED BY ANOTHER
CALLED TAMAGAKI.

• THERE IS NO VERANDA, AND A


SHORT STAIRWAY LEADS TO THE
DOOR.
Sumiyoshi-zukuri
• THE FOUR IDENTICAL
HONDEN BUILDINGS THAT COMPOSE IT
HONDEN
ARE 4 KEN WIDE AND 2 KEN DEEP AND
HAVE AN ENTRANCE UNDER ONE OF
THE GABLES.
• THE ROOF IS SIMPLE, DOESN'T CURVE
UPWARDS AT THE EAVES AND IS
DECORATED WITH PURELY
ORNAMENTAL POLES CALLED CHIGI
AND KATSUOGI.

• THE BUILDING IS SURROUNDED BY A


FENCE CALLED MIZUGAKI IN ITS TURN
SURROUNDED BY ANOTHER
CALLED TAMAGAKI.
• THERE IS NO VERANDA, AND A SHORT
STAIRWAY LEADS TO THE DOOR.
Taisha-zukuri
• HAS AN ENTRANCE ON THE
GABLED SIDE.HONDEN
• IT HAS PURELY ORNAMENTAL POLES
CALLED CHIGI AND KATSUOGI ON A
CYPRESS BARK-COVERED ROOF,
PLUS ARCHAIC FEATURES LIKE
GABLE-END PILLARS AND A SINGLE
CENTRAL PILLAR.
• THE EXTERNAL STAIRWAY IS
COVERED BY AN INDEPENDENT
BARK-COVERED ROOF.
Nagare-zukuri HONDEN

• 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

Zenshū Temple (全集) in


Tokyo
KYŌZŌ
(SCRIPTURE DEPOSIT,)

• A repository for sūtras and


chronicles of the temple history.
• All storage buildings are equipped
with shelving to store the
containers that hold the
rolled sūtras.
KYŌZŌ
(SCRIPTURE
DEPOSIT

Kyōzō at Hōryū-ji
in Nara
KONDŌ
(GOLDEN HALL

• The centerpiece of an ancient


Buddhist temple's garan (compound) in
Japan.
• Housing the main object of worship
KONDŌ
(GOLDEN
HALL,

Kondō at Hōryū-ji
in Nara
SANMON
(GATE OF THE THREE
LIBERATIONS,

• The most important gate of the temple


• The size is the indicater of the temple’s
status
• The fact that the gate has an entrance
but no doors and cannot therefore be
closed, emphasizes its purely symbolic
function as a limit between the sacred
and the profane.
SANMON
(GATE OF THE
THREE
LIBERATIONS, 三門)

Sanmon at Chion-in
in Higashiyama-ku,
Kyoto

Sanmon (National Treasure of Japan



(PAGODA
• A tiered tower with multiple eaves,
built in traditions originating in
historic South Asia

• Some are built in wood and are


collectively known as mokutō (wood
pagoda, but most are carved out of
stone or sekitō (stone pagoda,

(PAGODA,
塔)

Tō at Seiganto-ji, in
Wakayama
TŌ Sōrin (Alternate rings
(PAGODA, 塔)

• THE
VERTICAL
SHAFT
WHICH
TOPS
A JAPANESE
PAGODA,
WHETHER

(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

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

• THE HŌJU ON PAGODAS


AND BUDDHIST HALLS ARE
USUALLY MADE OF BRONZE

(PAGODA, 塔)

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

(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.

• FOUR DECORATIVE MET


AL PLATES JOINED AT RI
GHT ANGLES

(PAGODA, 塔)

Ukebana (受花)

• A CIRCLE OF
UPTURNED LOT
US PETALS,
USUALLY
EIGHT IN
NUMBER.
THERE CAN
ALSO BE
ANOTHER

(PAGODA, 塔)

Horin/Korin (九輪)

• SYMBOLIZES THE FIVE


FAMOUS JINA DEITIES
AND FOUR FAMOUS
BODHISATTVA

• THE LARGEST
COMPONENT OF
THE SŌRIN.

(PAGODA, 塔)
Fukubachi (伏鉢)

• AN INVERTED
BOWL-LIKE
FIXTURE
WHICH
SYMBOLIZES A
GRAVE

(PAGODA, 塔)

Roban (露盤)

• ON WHICH
RESTS THE
ENTIRE FINIAL.
• IT COVERS THE
TOP OF THE
ROOF IN
ORDER TO
PREVENT
LEAKS, IT

(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

(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

• depicting a Japanese ogre (oni) or a


fearsome beast.

• The present design is thought to have come


from a previous architectural element,
the oni-ita, which is a board painted with the
face of an oni and was meant to stop roof
leaks.
ONIGAWARA
(OGRE TILE,
鬼瓦)
KEGYO
(装飾図案)
• Architectural ornamentation
generally consisting of a decorated
plaque attached to the ends of the
ridge beams of a roof to hide them
and protect them from elements.
KEGYO
(装飾図案)
SAKERENGE
(反転蓮の花)

• Posts based on the motive


of an inverted lotus flower
KATŌMADO
(火灯窓)

• A style of pointed arch or


bell-shaped window found
in Japanese architecture
KATŌMADO
(火灯窓)
OOMUNE
(大棟)
• A generic term for the main,
crowning, timber ridge, ridge
pole or ridge beam that runs
horizontal to the ground. It is
joined to the front sloping
framework of the roof.
TORIBUSUMA

• A cylindrical bird perch tile which


has a strong upward curve and is
placed on top of an ogre tile.
• They are placed at the ends of a
main ridge on corner ridges or on
descending ridges.
• Toribusuma have a decorative
pendant tile at the front end.
• The upper surface has minimal to
exaggerated curves.
TORIBUSUMA
RENGE-MON AND TOMOE-
MON
(蓮華文, 巴文)
• A decorative floral and vine design
motif and A pattern of one or more
curled tadpole shapes inside a circle
which is attached to a
nokidomoegawara (軒巴瓦) semi-
cylindrical eave-end tile which has a
circular pendant disk.
HOUSES
SHOIN-ZUKURI
• A STYLE OF JAPANESE
RESIDENTIAL
ARCHITECTURE USED IN
THE MANSIONS OF THE
MILITARY, AND TEMPLE
GUEST HALLS.
• IT FORMS THE BASIS OF
TODAY'S TRADITIONAL-
STYLE JAPANESE HOUSE
SHINDEN-ZUKURI
• REFERS TO
THE STYLE OF
DOMESTIC
ARCHITECTUR
E DEVELOPED
FOR PALATIAL
OR ARISTOC
RATICMANSI
ONS BUILT IN
KYOTO IN
THE HEIAN
PERIOD
• SHINDEN, THE MAIN BUILDING (SLEEPING PLACE), IS ON THE
CENTRAL NORTH-SOUTH AXIS AND FACES SOUTH ON AN OPEN
COURTYARD.
• TAI-NO-YA, TWO SUBSIDIARY BUILDINGS, ARE BUILT TO THE RIGHT
Parts of the AND LEFT OF THE SHINDEN, BOTH RUNNING EAST-WEST. THE TAI-
house NO-YA AND THE SHINDEN ARE CONNECTED BY TWO CORRIDORS
CALLED RESPECTIVELY SUKIWATADONO AND WATADONO.
• CHUMON-RO (CENTRAL GATE CORRIDOR) AT THE HALF-WAY
POINTS OF THE TWO CORRIDORS LEAD TO A SOUTH COURTYARD,
WHERE MANY CEREMONIES WERE CELEBRATED.
• MOYA, ONE BIG SPACE PARTITIONED BY PORTABLE SCREENS AND
THE ROOM AT THE CORE OF THE SHINDEN IS SURROUNDED BY A
ONE KEN WIDE ROOFED AISLE CALLED HISASHI.
Parts of
Japanese tea
house
PALACE
Imperial palaces are the seat of the emperor. In the past, a new
palace was built with the relocation of the capital every time a new
emperor ascended to the throne. In 710, the first permanent
capital was set up in nara, and thus the first permanent palace,
the Heijo palace, was built. The palace's former site is open to
tourists today and exhibits a few rebuilt structure. The imperial
capital was later moved to kyoto where it remained for over a
thousand years until 1868.
KYOTO IMPERIAL PALACE
STRUCTURES
• SHISHIN-DEN – (HALL FOR STATE CEREMONIES)
- MOST IMPORTANT CEREMONIAL BUILDING
WITHIN THE PALACE GROUNDS. THE ENTHRONEMENT
CEREMONIES OF EMPEROR TAISHO AND EMPEROR SHOWA
TOOK PLACE HERE.
- TRADITIONAL ARCHITECTURAL STYLE, WITH A
GABLED AND HIPPED ROOF.
-THE CENTRE OF THE SHISHIN-DEN IS
SURROUNDED BY A HISASHI (庇), A LONG, THIN HALLWAY
WHICH SURROUNDED THE MAIN WING OF AN
ARISTOCRAT'S HOME, IN TRADITIONAL HEIAN ARCHITECTURE.
WITHIN THIS IS A WIDE OPEN SPACE, CROSSED BY
BOARDED-OVER SECTIONS, LEADING TO THE CENTRAL
THRONE ROOM.
• SEIRYO-DEN – (EMPEROR'S HABITUAL RESIDENCE)
-A PLACE WHERE THE EMPEROR WOULD CONDUCT
HIS OWN PERSONAL AFFAIRS, IT WAS LATER USED FOR
VARIOUS GATHERINGS AND MEETINGS AS WELL.
- IN THE CENTRE IS AN AREA WHERE THE EMPEROR
WOULD REST, AND ON THE EAST SIDE OF THE HALL, AN AREA
OF TWO TATAMI WAS SET ASIDE FOR DIGNITARIES AND
ARISTOCRATS TO SIT.

• KO-GOSHO – (COURT ROOM)


- A PLACE WHERE THE EMPEROR RECEIVED
BANNERMEN UNDER THE DIRECT CONTROL OF THE TOKUGAWA
SHOGUN (BUKE). IT WAS ALSO USED FOR SOME RITUALS.

• O-GAKUMONJO – (IMPERIAL STUDY OR LIBRARY)


- WAS FOR READING RITES, A MONTHLY POETRY
RECITAL AND ALSO A PLACE THE EMPEROR RECEIVED NOBLES.

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

Kenshunmon, another gate in the outer


courtyard

• GEKKAMON, A SMALLER GATE ON THE WEST


SIDE OF THE MAIN COURTYARD
Flatland Castles (hirajiro)
Mountain top Castle
Were erected on plains where
(yamashiro)
Types of Were constructed on tops of
surrounding castle towns could
be built to serve as administrative
Castle mountains where they were
centers.
protected by the rough
Water castle (muzishiro)
terrain as well as the
Jut out into a body of water.
reluctance of Japanese to
Several, such as azuchi castle,
attack the habitat of spirits
built by Oda Nobunaga in1579,
associated with nature.
were built around Lake Biwa, the
Flat-land Mountians
largest ,lake in Japan.
(hirayamajiro)
Built on a hill or high plateau
in the middle of a lord’s
domain, included residences
for the lord and his chief
retainers.

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