Most wooden pagodas in Japan are either three or five stories. This pagoda at Hatsukaishi in Hiroshima Prefecture is a UNESCO World Heritage Site.
In contrast to preservation, remodeling involves modifying a structure to bring it into line with contemporary styles or to enable it to meet the requirements of a revised function. One of the most interesting examples of remodeling is the Higashi Chōshūden, a building constructed in the early eighth century (Nara Period) for government workers at the Heijōkyō Palace. The building was remodeled as a temple around 760 when it was moved to become the Lecture Hall of Tōshōdaiji Temple in Nara. In the process of remodeling, the slope of the roof was increased and its shape was altered. In addition, the bays between the posts were filled in with walls, doors, and windows to make it resemble other temples from that period. The Lecture Hall was remodeled again in the thirteenth century, giving its current appearance.
The Main Hall and Meditation Hall at Gangōji Temple. These beautiful multicolored tiles, made by Korean craftsmen in the Asuka Period, are the oldest tiles in Japan. The more recent tiles used on the adjacent roof slope to the right are more uniform in color.
This close-up of a post at Hōryūji Temple, near Nara, demonstrates one method of preservation: cutting out a rotted piece of wood and replacing it with a plug made from the same kind of material.
Reconstruction of the Main Hall at Yakushiji Temple in Nara was completed in 1976, after being destroyed centuries earlier, on the basis of archaeological evidence, a Heian Period document, and a surviving pagoda on the grounds.
In restoration, those parts of a structure that have been damaged by natural forces, such as fire, or that have decayed over time and cannot be saved, are replaced. To continue the story of Tōshōdaiji Temple related above, when it was decided in the year 2000 that the Main Hall had to undergo a major restoration, a one-tenth scale model was constructed and exact measurements were taken of every part of the building. The hall’s main frame consists of 20,000 interlocking parts that fit together like a giant jigsaw puzzle, without the use of nails, making it possible to take the building apart without serious damage. Each piece of wood that is being removed is given a tag indicating its original location, and is replicated if necessary.
Frequently, there is nothing left to be preserved, remodeled, or restored. Reconstruction refers to the necessity of rebuilding a structure that no longer exists, or replacing parts of a structure that have been lost. For example, in 1967 Yakushiji Temple in Nara embarked upon a large-scale program of reconstructing the grandeur of its original Nara Period compound.
The first project was to restore the Main Hall that had been destroyed several centuries earlier. There were no extant drawings, but fortunately the temple possessed a Heian Period document that described the original temple complex. On the basis of this and other evidence, such as an archaeological excavation of the original site, the Main Hall was back in its original position in 1976, after nine years of intensive effort.
The giant vermilion torii gate at Itsukushima Shrine on the island of Itsukushima (or Miyajima), a UNESCO World Heritage Site. The gate appears to float when the tide is in.
Status and Function
For many centuries Japan has been a hierarchical society, with considerable emphasis upon status, authority, and power. Differences in architectural styles provide a material expression of these differences in rank. To some extent, the history of Japanese traditional architecture can be viewed in terms of the contrast between the architecture of the élite and the architecture of common people. The former is exemplified by palaces and villas, as well as the temples and shrines patronized by rulers. The latter can be seen in farmhouses and the shop-dwellings of merchants. These élite and commoner traditions are, however, not immutable. They sometimes come together, as in the case of a wealthy farmer who includes a formal Shoin style room, associated with élite dwellings, in his farmhouse. Differences in architectural styles are also associated with differences in function. Thus the styles of a Shinto shrine and Buddhist temple can be quite distinct, despite the fact that they both are religious edifices. Here again, however, the differences should not be overemphasized. Shinto and Buddhist architecture often influenced each other, and at one time the two religions were even combined, creating an eclectic style of religious architecture.
The structure that most concretely indicates status and function is the gate. Gates have practical significance in terms of controlling access to spaces. They also have symbolic significance in that their design, size, and materials indicate something about the wealth and power of their owners or the people who enter. A few examples are described below.
A torii is a gate without doors that marks the entrance to a Shinto shrine precinct. Literally, torii means “where the birds are.” Some scholars have suggested that originally torii may have provided a perch for sacred birds, such as the chickens which played a role in a famous myth about the sun goddess, the ancestress of the imperial line. Regardless of the origins of torii, their main function is to provide a dividing line between the exterior profane world and the interior sacred space where the kami dwell (see pages 28–9). Torii are constructed of wood, stone, or metal and are sometimes painted red. They vary in size from small structures, such as those at the entrance to a neighborhood shrine, to enormous edifices that mark the entry to a major Shinto compound. After the coming of Buddhism, many major shrines adopted a Buddhist style gate, retaining one or more torii to mark the approach.
Early temples in Japan were based on the Chinese custom of enclosing important buildings in a fenced compound with a gate on the south. There are three basic types of temple gates. The first, a single-story gate, can be constructed in different sizes and can vary considerably in terms of the complexity of the decorations. For example, a karamon is a relatively small single-story gate with a curved Chinese style roof and ornate decorations. The second, a rōmon is a two-story gate with a single roof. Thirdly, a nijūmon is a two-story structure with a double roof. Rōmon and nijūmon often have guardian deities in alcoves on both sides of the entrance. Nijūmon originally were used in large Nara Period temple complexes such as Tōdaiji and Yakushiji, but are also typical of later Jōdo and Zen temples and monasteries. The rōmon, used in both temples and many major post-Buddhist shrines, was an adaptation of the nijūmon in which the roof above the first floor was replaced by a simple balcony. The choice of which gate to use depended upon the status and function of the temple.
TEMPLE AND SHRINE GATES
The importance of a temple or shrine is often indicated by the size and complexity of its gate(s), of which there are three basic types: single-story gates, two-story gates with a single roof, and two-story gates with a double roof.
Beyond the torii (Shinto gate) is the Saidaimon (Large West Gate) of Usa Jingū in Kyushu (see pages 50–1). Remodeled around 1592 in the Momoyama Period, this colorful gate is in the kirizuma style (entrance on the long side rather than the gable end). The Chinese style pitched roof (karahafu) is covered with hinoki bark.
