POPULAR GODS AND SHRINES OF SHINTOISM.
The characteristics of “Pure Shintô” are an absence of an
ethical and doctrinal code, of idol-worship, of priestcraft, and
of any teachings concerning a future state, and the deification
of heroes, emperors and great men, together with the worship
of certain forces and objects in nature. It is said that the
_Kami_, or gods, number 14,000, of whom 3,700 are known to
have shrines; but, practically, the number is infinite. Each
hamlet has its special god, as well as its _Mirja_, or
shrine; and each child is taken to the shrine of the district
in which it is born, a month after birth, and the god of that
shrine becomes his patron. Each god has its annual festival,
while many have particular days in each month on which people
visit their shrines.--MISS ISABELLA BIRD.
THE SEVEN HOUSEHOLD GODS.
Mr. Griffis says: Every Japanese child knows the _Shichifuku
Jin_, or the seven Patrons of Happiness. They have charge of long
life, riches, daily food, contentment, talents, glory and love. Their
images, carved in ivory, wood, stone, or cast in bronze, are found in
every house, sold in the stores, painted on shop-signs, and found in
picture-books. They are a jolly company, and make a happy family. On
New Year’s Eve, a picture of the Treasure-ship (Yakarébuné), laden with
Shippí (the seven jewels) and with all the good things of life which
men most desire, is hung up in houses. The ship is coming into port,
and the passengers are the seven happy fairies who will make gifts to
the people. These seven jewels are the same as those which Momotaro
brought back from the Onis island.
[Illustration: DAIKOKU, THE RICE-GOD, ON HIS THRONE OF
RICE-BAGS.]
First there is Fukoruku Jin, the patron of long life or length of days.
He has an enormously high forehead, rounded at the top, which makes his
head look like a sugar loaf. It is bald and shiny. A few stray white
hairs sometimes sprout up, and the barber, to reach them, has to prop
a ladder against his head to climb up and apply his razor. This big
head comes from thinking so much. His eyebrows are white like cotton,
and a long, snowy beard falls down over his breast. When in a specially
good humor, he ties a handkerchief over his high, slippery crown, and
allows little boys to climb up on top--that is, if they are good boys,
and can write well. When he wants to show how strong and lively he is,
even though so old, he lets Daikoku, the fat fellow, ride on top of his
head while he smokes his pipe and wades across a river. Daikoku has
to hold on tightly, or he will slip down and get a ducking. Usually,
the old shiny-head is a very solemn gentleman, and walks slowly along
with his staff in one hand, while with the other he strokes his long
eyebrows. The tortoise and the crane are always with him, for these
are his pets. Sometimes a stag, with hair white with age, walks behind
him. Everybody likes Fukoruku Jin, because every one wants to get his
favor and live until, like a lobster, his back is bent with age. At a
wedding, you will always see a picture of white-bearded and shiny-pated
Fukoruku Jin.
[Illustration: FUKORUKU JIN, THE GOD WHO CAN BESTOW LONG LIFE.
From a Japanese Picture showing their conception of the way
in which the gods can supervise affairs in various places.]
Daikoku is a short chubby fellow, with eyes half sunk in fat, but
twinkling with fun. He has a flat cap set on his head, a loose sack
over his shoulders, and big boots on his feet. His throne is two straw
bags of rice, and his badge of office is a mallet or hammer, which
makes people rich when he shakes it. The hammer is the symbol of labor,
showing that people may expect to get rich only by hard work. One end
of it is carved to represent the jewel of the ebbing and the flowing
tides, because merchants get rich by commerce on the sea, and must
watch the tides. He is often seen holding the counting-board, on which
you can reckon, do sums, subtract, multiply or divide, by sliding balls
up and down a row of sticks set in a frame, instead of writing the
figures. Beside him is a ledger and day-book. His favorite animal is
the rat, which, like some rich men’s pets, eats or runs away with his
wealth.
The great silver-white radish called _daikon_, two feet long and
as big as a man’s calf, is always seen near him, because it signifies
flourishing prosperity. He keeps his bag tightly shut, for money easily
runs away when the purse is once opened. He never lets go his hammer,
for it is only by constant care that any one can keep money after he
gets it. Even when he frolics with Fukoruku Jin, and rides on his
head, he keeps his hammer swinging at his belt. He has huge lop ears.
Once in a while, when he wishes to take exercise, and Fukoruku Jin
wants to show how frisky he can be, even if he is old, they have a
wrestling-match together. Daikoku nearly always beats, because Fukoruku
Jin is so tall that he has to bend down to grip Daikoku, who is fat and
short, and thus he becomes top-heavy. Then Daikoku gets his rival’s
long head under his left arm, seizes him over his back by the belt, and
throws him over his shoulder flat on the ground. But if Fukoruku Jin
can only get hold of Daikoku’s lop ears both fall together. Then they
laugh heartily and try it again.
[Illustration: DOMESTIC ALTAR OF THE GODS OF DAILY FOOD AND
OF RICE.]
Ebisu is the patron of daily food, which is usually rice and fish, and
in old times was chiefly the latter. He is nearly as fat as Daikoku. He
wears a court noble’s high cap. He is always fishing or enjoying his
game. When very happy, he sits on a rock by the sea, with his right
leg bent under him, and a big red fish, called the tai, a fish like a
perch, under his left arm. He carries a straw wallet on his back to
hold his fish and keep it fresh. Often he is seen standing knee deep in
the water, pole in hand, watching for a nibble. Some say that Ebisu is
the same scamp that goes by the other name of Sosanoō.
[Illustration: HOTEI, THE GOD OF HAPPINESS.]
Hotei is the patron of contentment, and, of course, is the father of
happiness. He does not wear much clothing, for the truth is that all
his property consists of an old, ragged wrapper, a fan and a wallet.
He is as round as a pudding, and as fat as if rolled out of dough. His
body is like a lump of rice pastry, and his limbs like _dango_
dumplings. He has lop ears that hang down over his shoulders, a
tremendous double chin, and a round belly. Though he will not let his
beard grow long, the slovenly old fellow never has it shaven when he
ought to. He is a jolly vagabond and never fit for company; but he is
a great friend of the children, who romp over his knees and shoulders,
pull his ears and climb up over his shaven head. He always keeps
something good for them in his wallet. Sometimes he opens it wide and
then makes them guess what is inside. They try to peep in, but they are
not tall enough to look over the edge. He makes tops, paints pictures
or kites for the boys, and is the children’s greatest friend. When
the seven patrons meet together, Hotei is apt to drink more wine than
is good for him. Toshi-toku is almost the only one of the seven who
never lays aside his dignity. He has a very grave countenance. He is
the patron of talents. His pet animal is a spotted fawn. He travels
about a good deal to find and reward good boys who are diligent in
their studies, and men who are fitted to rule. In one hand he carries
a crooked staff of bamboo, at the top of which is hung a book or roll
of manuscript. His dress is like that of a learned doctor, with square
cap, stole and high-toed slippers.
Bishamon is the patron of glory and fame. He is a mighty soldier. He
wears a golden helmet, breast-plate and complete armor. He is the
protector of priests and warriors. He gives them skill in fencing,
horsemanship and archery. He holds a pagoda in one hand and a dragon
sword in the other. His pet animal is the tiger.
Six out of the jolly worthies are men. Benten is the only lady. She is
the patron of the family and of the sea. She plays the flute and the
guitar for the others, and amuses them at their feasts, sometimes even
dancing for them. Her real home is in Rin Gu, and she is the queen
of the world under the sea. She often dwells in the caves of the sea
or ocean. Her favorite animal is the snake and her servants are the
dragons.
Once a year the jolly seven meet together to talk over old times,
relate their adventures, and have a luxuriant supper. Then they proceed
to business, which is to arrange all the marriages for the coming year.
They have a great many skeins of red and white silk, which are the
threads of fate of those to be married. The white threads are the men,
the red are the women. At first they select the threads very carefully,
and tie a great many pairs or couples neatly and strongly together, so
that the matches are perfect. All such marriages of threads make happy
marriages among human beings. But by and by they get tired and lazy,
and instead of tying the knots carefully, they hurry up the work and
then jumble them carelessly, and finally toss and tangle up all the
rest. This is the reason why so many marriages are unhappy. This work
done they begin to frolic like big boys. Benten plays the guitar, and
Bishamon lies down on the floor resting upon his elbows to hear it.
Hotei drinks wine out of a shallow red cup which is as wide as a dinner
plate. Daikoku and Fukoruku Jin begin to wrestle, and when Daikoku
gets his man down he pounds his big head with an empty gourd, while
Toshi-toku and Ebisu begin to eat tai fish. When this fun is over,
Benten and Fukoruku Jin play a game of checkers, while the others look
on and bet; except Hotei, the fat fellow, who is asleep. Finally they
get ashamed of themselves for gambling, and after a few days, the party
breaks up and each one goes to his regular business again.
THE SACRED MOUNTAIN.
Almost the first object which meets the gaze of the traveler after
crossing the Pacific Ocean and as he nears the land, is the matchless
mountain, Fuji-yama. Its snow-covered heights rise some 13,000 feet
above the sea. To the people of Japan this is the sacred mountain.
It is depicted on all their lacquer-ware, their china-ware and their
drawings. It is described in all their poems and sacred books. It
has a strong hold on the people. It is a sleeping volcano. Nearly
2,000 feet of its sides are cultivated. Then comes a wide belt of
forest. The ascent of the mountain is a sacred pilgrimage, and there
are accordingly a number of roads to the top, with nine huts on each
road. The pilgrims are dressed in white robes, and pray to the rising
sun while climbing the mountain sides. Sometimes one may see several
hundreds of Shinto pilgrims in their white robes turning out from their
shelters, and joining their chants to the rising sun. The view of the
long sweeping sides of this mountain, rising from an almost level
plain and climbing away to the clouds, through which it thrusts its
snow-crowned top, is one of the grandest in the world.
[Illustration: THE SACRED MOUNTAIN, FUJI-YAMA.]
SHINTO TEMPLES AND GATE-WAYS.
The temples are usually of very simple style, being constructed of
wood and thatched. They contain no idols; but in the courtyards or
approaches figures of real and imaginary animals are not at all
uncommon, especially in the case of large temples. The approach is
spanned by one or more _torii_. The _torii_, it is now generally
admitted, was originally a perch for the fowls offered to the gods, not
as food, but to give warning of daybreak. Its present use is not for
this purpose, but is simply as a decoration. At the outer shrine of
Isé, which is called the _gékû_, there is an immense number of votive
_torii_ standing close to each other in long rows. But the more common
form of votive offering is a large lantern, several feet in height, and
formed either of wrought stone or of bronze. These are sometimes of
very large size, even ten or twelve feet high, and are often crowded
thickly near the approaches alike of Shinto and Buddhist temples. The
worshiper does not enter the temple to worship at a Shinto shrine. He
stands in front of it, striking his hands together, and offers, bowed,
and usually in silence, the short and simple prayer which his own
necessities dictate.
[Illustration: SHINTO SHRINE, NEAR YOKOHAMA, JAPAN, WITH
WORSHIPERS, VESSEL OF HOLY WATER, ETC.]
[Illustration: A TENTO, OR “HEAVENLY LANTERN.”]
THE SACRED SHRINES OF ISÉ.
First for sacredness among the Japanese Shinto temples are the Shrines
of Isé. These are to Japan what Mecca is to Mohammedan lands and what
Jerusalem was to the Holy Land. Thousands of pilgrims visit these
shrines every year. Sir E. J. Reed, thus describes his visit:
“At the entrance we were met by two Shinto priests, who had been
deputed to show us the sacred place. Passing under the _torii_,
we were at once amid trees of an age and magnitude not often equaled.
Within the temple-limits we came first to a small edifice, in which
was the white horse of the deity of the place, which happened to be
an artificial horse, the real one having recently died, and another
not being forthcoming at present, for reasons which I did not learn.
Soon afterward we came to two living black horses, consecrated to
the service of the temple, and more particularly for the god of the
place--‘the god of food, clothes and house living,’ according to one
authority; or, ‘the god of the earth’s produce,’ as another has it, to
ride upon in the processions of the great temple ceremonials.
[Illustration: SHRINES OF ISÉ, THE MOST SACRED PLACE OF
SHINTOISM.]
“There are secondary deities worshiped there, the chief of whom is the
adopted grandson of the sun-goddess and the great-grandfather of the
first Mikado, Jimmu Tenno, who commenced his reign in the Japanese year
1. According to the legend, the goddess wished to send her adopted
son, Oshi-ho-mimi-no-mikoto, down upon earth to subdue it, but he put
forth his own son instead as leader of the expedition. The goddess then
presented Ninigi-no-mikoto with various treasures, the most important
among which--and here we touch upon the central sacredness alike of
the race of Mikados and of the symbols of the Shinto faith--were
the mirror, sword and stone, or ball (afterwards the regalia of the
Japanese sovereigns). She also attached to his person the other two
inferior gods of Geku. With reference to the mirror, she said, ‘Look
upon this mirror as my spirit; keep it in the same house and on the
same floor with yourself, and worship it as if you were worshiping my
actual presence.’
“Passing under another _torii_ of plain, unpainted timber, like
all the _torii_ of the Isé shrines, we came to the outer gate of
the temple proper, to which alone of three successive gates we and the
other pilgrims were allowed to approach. With certain extremely rare
exceptions, extending only to the Mikado and commissioners of his,
none but priests are allowed to pass this first gate. It was an open
gate, however, with a simple white curtain or cloth thrown across it,
blowing about as the wind listed. Through this open gate, or past the
sides of it, if you preferred to stand there, you could see the next
gate, and beyond that again was a third, and then came the temple
proper, which could not be seen. This was all! The buildings, as far as
seen, were all of the plainest possible kind, not unlike substantial,
well-thatched farm-buildings at home. The mirror at this outer temple
was not the original mirror, and the priest did not for a moment lead
us to suppose that it was. There was, in fact, no pretence of any kind
about the place. The ancient buildings and the plain white curtain were
left to produce that which is perhaps the deepest and most lasting of
all impressions made by religious externals, namely, that of combined
simplicity and antiquity. Of this outer temple I need only add, that
it is in every respect a sequel and appendage to the inner and more
ancient temple, having been built by the desire of the goddess of the
older Isé temple, who wished to have the deity Toyouké near her. This,
the outer and later temple, dates from the reign of the twenty-second
Mikado of the present reigning dynasty, Yuriaku, in the year 479 A.D.
[Illustration: INTERIOR OF A SHINTO TEMPLE, SHOWING THE
ARRANGEMENTS FOR WORSHIP.]
“Soon afterwards we started for the inner temple, Naiku. Here is kept
the original sacred mirror, which is the most precious emblem of the
Shinto faith, and which, with the sacred sword and ball, is also the
authenticating memorial of the imperial dynasty. So all Japan has
regarded it for 2,500 years, even down to 1868, and so most of the
people regard it still. This temple came to be built in the following
manner: The sacred emblems of the national religion had, up to the
time of the great Mikado Sujin, been kept in the imperial palace or
temple; but he, as some say to increase their safety, and as others
allege because he viewed a rebellion which broke out as a mark of
divine disapprobation of their remaining in his custody, gave them into
the charge of his daughter, in a temple dedicated to them. They were
subsequently removed and carried from place to place, but at length,
in the twenty-sixth year of the reign of Suinin Tenno, and therefore
in the year 3 B.C., it was resolved to fix the mirror at the village
of Uji on the River Suzugawa, and there and then the present temple
was built. The old building does not exist. On the contrary, a new
temple is erected every twenty years, but each new temple is an exact
repetition of the original, and therefore the present one is a perfect
representation of the architecture of Japan at the time of Christ. The
principal deity here worshiped is Amaterasu, the sun-goddess herself.
“The gate-way was open, and hung, like that of the other temple,
with a long white curtain, and beyond were seen another _torii_
and other gate-ways, but nothing could be seen of the temple itself,
and as little, of course, of the heaven-wrought mirror within. As we
stood, however, the pilgrims continued to come, of both sexes and all
ages, and casting upon the ground a few coins, some wrapped in paper,
stooping, clapping their hands, and uttering a few words of prayer,
thus attained and completed the object for which their journeyings had
been undertaken. I asked if this was all they saw and did, and was told
that it was. I inquired if they attended no religious service, saw no
dances, heard no music, received no advice; and found that as a rule
they did not. Was no blessing pronounced, no simple memorial of some
kind presented to them? Nothing; but they all bought little mementos of
the place at the stall in the grounds or at the shops in the village.
What was it they said during the minute or two that they stooped before
the shrine? They no doubt asked for whatever they wanted in particular,
and generally for long life, and the means of life and happiness in the
years to come.
“Our companions, the priests, suggested that we ought to see one of
the ceremonial dances of the temple, and to this we gladly assented
on learning that it would not be a repetition of what we had seen at
Osaka and Nara, but that it was one of the most ancient description,
handed down from generation to generation at these Isé shrines.
The room had an altar at the end opposite the entrance, over which
was a large mirror. Round the altar and walks were an abundance of
_goheis_, and of bands and tassels. At the altar-end of the room
a priest sat on one side, and along each of the side walls were the
musicians and dancers, all sitting on their heels. The musicians,
who were also singers, were all men; the dancers were quite young
girls attired in white and red, with frontlets of brass, from each
end of which depended a cord and tassel. On the tops of their heads
were large bunches of flowers; their back hair was in a queue, with
tassels attached, surmounted with gilt bows and ribbons. There were
two equally young girls in red and blue with plainer head-dresses,
who in a certain way attended on the others. The dance began by a
subordinate priest coming in by a side entrance with a wet branch of
the sacred _sakaki_ tree in his hand. After bowing to the shrine,
he turned to the visitors, and waved it a few times swiftly before
them, and then disappeared. Returning again to the same entrance, he
handed in to the two blue-and-red attendants, trays of herbs, rice and
fruits in succession. These were borne ceremoniously elevated to the
six priestesses, who conveyed them in a similar manner to the altar,
placing the contents of the first two trays upon an inner altar, and
those of the remaining four upon an outer altar, then returning the
trays to their two attendants, who passed them out of the building.
[Illustration: CEREMONIAL DANCE OF THE SHINTO PRIESTS.]
“While this was proceeding, the band sent forth what sounded to me as
wailing, imploring, importunate sounds, with an occasional rap upon the
drum for emphasis. The priest, who wore the ancient head-dress like
that of the Mikado, now rose, and after a few obeisances before the
mirror sat down upon his heels, facing the altar, and intoned a prayer,
or novito, from a large sheet of paper held outspread before him, the
musicians, and dancers, and attendants all sitting with bowed heads
to its end. Small branches of _sakaki_ were now brought to the
priestesses, and the dance took place to an accompaniment of livelier
music. The dance comprised no very active movements, but consisted
mainly of short, slow and grave promenading, with occasional stately
bowings and much slow waving of the branches. This over, a boy entered,
dressed in the military undress robes of a _kugé_ (court noble)
of the olden time, and holding in his hands a branch of _sakaki_,
with a pendant hoop, doubtless in lieu of a mirror. He danced, as it
is called, to much louder music, but the dancing was little more than
further promenading and making certain sweeping movements with the
branch of sakaki, with an occasional high step. Of course, it is a
great pity for the significance of all this to be lost; but nothing
explanatory could be elicited from any of the Japanese present, and
from the answers of the priests I infer that if the various movements
of these dances ever had any great and special significance, the
remembrance of it is pretty nearly or quite lost. The priest next came
forward again, and, after elevating the written prayer a few times
before the shrine, left the building by the side door. The process of
placing the fruits and other offerings upon the altar was now reversed,
and everything was removed from the altars and taken away, the music
meanwhile playing loud and joyous strains. With this ended the most
ancient of the dances in the most sacred national shrine of Japan.”
Very great changes have occurred in Japan since the year 1868, when
the Mikado became the temporal as well as the spiritual head of the
Empire. The interests of Shintoism have suffered in the change. Prof.
Max Müller estimates that there are now only 200,000 Shintoists in all
Japan.