Travel

Jiantian Historic Temple (劍潭古寺)

No matter where you go in Taiwan, it’s highly likely that you’ll encounter a 7-11 or a temple along the way - finding either is about as simple as finding a cup of coffee, and when you’re a tourist, you’re blessed with a multitude of choices to compete for your precious, but limited travel time.

For most people, visiting one or two of what are considered Taipei’s ‘Top Three’ temples is more than enough ‘temple-time’ during a short visit to Taiwan, but there are a number of impressive places of worship in the capital, as well as around the country, where tourists can spend time learning more about the history and culture of this country than they ever will in most of its museums.

I’ve been writing about Taiwan for almost a decade now, and even though I’ve spent a considerable amount of time recommending that people travel outside of the capital in order to better understand, and enjoy all that this beautiful country has to offer, it’s also important to face the fact that not every tourist has the opportunity, or the time to make their way down south. So even though I’d personally highly recommend anyone who visits Taiwan to pay a visit to Tainan’s Confucius Temple, its Grand Mazu Temple or Lukang’s Longshan Temple over most of the places of worship on the ‘Top Three’ list above, like I said, not everyone has the ability to leave Taipei.

Fortunately, there are a number of historic places of worship within the Greater-Taipei area that wonderfully compliment the city’s so-called ‘Top Three’ temples, so if you’ve discovered, like I have, an interest in visiting this sort of destination, here are some of the others I recommend checking out while you’re in town:

Today, I’m going to introduce another one of the city’s more prominent places of worship, and one that should be on your list of places to visit if you have some extra time while you’re in town. Boasting a history that is arguably longer than any other place of worship in Taipei, there’s certainly something special about this temple, but to tell the truth, it’s also somewhat of a confusing place as even locals have a difficult time understanding its significance.

Most commonly referred to either as Jiantan Temple (劍潭寺), or Jiantan Historic Temple (劍潭古寺), what I personally find interesting about this temple is the addition of the word “ancient” or “historic” (古) to its title in both Chinese and in English. There are surprisingly very few places of worship in Taiwan that make the concerted effort to put the word ‘historic’ directly in their name - although in some cases I think they’d prefer you just assume that’s the case - nevertheless, as one of Taipei’s ‘first’ places of worship, this one holds a special place within the history of the city.

The other thing that I think is important to point out about the name of this temple is the name ‘Jiantan’ (劍潭), which is probably confusing for tourists who might not be so familiar with Taipei’s geography. These days, the name ‘Jiantan’ is more or less synonymous with the Jiantan MRT Station (劍潭捷運站), which is home to Shilin Night Market (士林夜市), another one of Taipei’s most popular tourist destinations. Unfortunately, if you’re thinking that a visit to this temple could be combined with a visit to the night market, you might be disappointed. It’s actually not that close.

Never fear, though, as I move on below, I’ll provide a detailed explanation of the temple’s confusing history, how you can get there, all of which should help anyone who reads this better understand the temple, its special architectural design, and ultimately the history of the area we refer to as ‘Jiantan’ today. Before I start though, I have to say that even though this temple is one of the city’s oldest places of worship, it unfortunately doesn’t receive as much attention as it deserves, and very little has been written about it in the English-language, so I hope this article answers any questions you might have about it.

Jiantan Temple (劍潭古寺)

Legend has it that during the 17th Century, while Koxinga (鄭成功) and his army were sailing up the Keelung River, on their way to remove the Dutch from the island, they came upon a sudden and massive storm caused by river serpents. Attempting to prevent them from going any further, the storm was so violent that many in the army wanted to turn around. Koxinga, being the ever-so-clever pirate and experienced captain, was undeterred by the serpent’s interference in his plans, drew his sword and subdued the serpent. However, while in the midst of the fierce battle, his ‘sword’ was lost in the deep pool of water where the serpent lived.

For those of you who are unaware, the words “jian” (劍) and “tan" (潭) when put together basically translate as “Sword Pool” or “Sword Pond,” so even though the Koxinga legend is just local folklore, he was such a prolific figure in Taiwan’s history that a story about him mistakenly dropping his sword into a pool of water was reason enough to give a place a name.

Obviously, when it comes to the origin of the name, historians point to factual events that took place between Dutch traders, and the local indigenous people, but with regard to this temple, the legend of Koxinga is of particular note as you’ll discover later.

Its important to note that there was once a pond along the banks of the Keelung River that had been referred to as “Jiantan” for several hundred years. Located at a point of the river where the it curves between the areas we know today as Dazhi (大直) and Shilin (士林), that pond has since disappeared due to river diversion projects that sought to control water levels and prevent parts of the city from flooding during typhoons.

Today, the area we refer to as Jiantan covers several hundred hectares of land within the city, and even has a mountain that shares the same name.

Link: Jiantan Mountain (劍潭山)

Jiantan Temple during the Japanese-era

If one legend weren’t enough, another explains that in 1634 (崇禎7年), a monk named Huarong (僧侶華榮和尚) was dispatched from his monastery on Putuo Mountain (普陀山) to deliver a stone statue of Guanyin to Taiwan. Arriving in Taiwan at the port in Tamsui (淡水), he continued south on the road to Keelung (基隆), but along the path he encountered a massive red snake that was blocking the way. Personally, I’m not particularly a huge fan of snakes, and if I encountered one while hiking in Taiwan, I’d likely turn around, but for Huarong, this was deemed as an auspicious event.

Note: The number ‘eight’ is an auspicious number for Buddhists, referring to either the Dharma Wheel (法陀) or the Eight Great Bodhisattvas.

Instead of taking off like I would have done, he set up camp for the night where the Buddha appeared before him in his dreams and instructed him to go to the local port (probably in Bangka), and solicit donations from eight merchant captains. When he woke up, he made his way to the port where he came across the eight ships in his dream and when the merchants on the ships heard his story, they donated graciously to his cause. With the money donated by the local merchants, Huarong had a thatched hut built on the location where he came across the red snake, and that became the home of the Guanyin Statue, instead of its original destination in Keelung.

Later, in the early eighteenth century, the thatched hut, which had become known as the Guanyin Pavilion (觀音亭) was replaced by a more formal temple, known as the “Western Temple” (西方寶剎). That name, however, wasn’t one that would remain for very long as the temple was renamed Jiantan Temple (劍潭寺) in 1746 (乾隆11年).

Over the next century, Jiantan Temple became one of the more prominent Buddhist temples in northern Taiwan, resulting in a number of restoration and expansion projects to accommodate the number of monks who came to serve at the temple. Then, when the abbot of the Bangka Longshan Temple (艋舺龍山寺) took administrative control of the temple, he once again oversaw another expansion project that would not only benefit Jiantan Temple, but Longshan Temple as well with monks being able to travel back and forth between two of northern Taiwan’s most important temples.

For the next half century, things more or less stayed the same at the temple, but when the Japanese took control of Taiwan in 1895 (明治28年), the situation changed almost overnight. When the Governor General of Taiwan, Kodama Gentaro (兒玉源太郎) requested monks from the Rinzai school (臨濟宗) of Zen Buddhism to come to Taiwan to promote Japanese Buddhism, the influence of Japanese-style Buddhism started taking over on the island, and Jiantan Temple was promptly converted into a Myoshin Temple (妙心寺).

Link: Huguo Rinzai Temple (臨濟護國禪寺)

The interesting thing to keep in mind was that during the Meiji Restoration (明治維新), which started decades before the Japanese took control of Taiwan, Buddhism was classified by the government as a source of foreign interference. It was during this time that the more than a thousand year old tradition of fusion between Buddhism and Shinto were forcibly separated with the Buddhist temples that were constructed next to Shinto Shrines torn down. Here in Taiwan, though, Buddhism, had a long established a foothold on the island thanks to places of worship like Jiantan Temple, thus they became one of the tools that the Japanese authorities used to help bring the two peoples together.

Ironic given that Buddhism was suppressed back in Japan.

From the outset, the Japanese brought Buddhist monks with them to serve roles within the military as ‘chaplain-missionaries’, offering spiritual guidance during the initial years of the occupation. In addition to serving the military, the monks began to construct language schools and charity hospitals where they would focus on improving the lives of average Taiwanese citizens as well as promoting Japanese-style Buddhism. Over the next few decades, the temple continued to grow, and between 1918 and 1924, the temple was completely reconstructed, making use of modern construction techniques to ensure its longevity. The irony however was that just over a decade after the rebuild was completed, the temple was then forced to relocate due to an expansion project at the Taiwan Grand Shrine (臺灣神宮), which was also located on Jiantan Mountain (劍潭山) to the rear of the temple.

With insufficient funds available for the construction of a new temple, the administration came up with a plan to have the buildings completely deconstructed, and then reconstructed with the materials that could be salvaged in a new location. Migrating several kilometers away to the Dazhi (大直) area, the temple was carefully put back together again. However, the new plot of land that was allocated for the temple wasn’t nearly as larger as the original space, so alterations had to be made, and as you may have noticed from the historic photo above, it is considerably smaller today.

In its current location for nearly a century, Jiantan has been restored several times, repairing elements of the temple that have allowed it to remain intact while also bringing it back to life by refining the building’s decorative elements which were once its defining features.

As one of Taipei’s first major places of worship, predating many of the capital’s other major temples, Jiantan Temple has a long and storied history and while it’s not uncommon for places of worship to be moved to a new location, the experience of deconstructing the temple and sending putting it back together in another location is reminiscent of the nearby Lin An Tai Mansion (林安泰古厝), which had a similar experience.

In 2004 (民國93年), Jiantan Temple was officially recognized by the Taipei City Government under the Cultural Heritage Preservation Act (文化資產保存法) as a protected heritage building (歷史建築).

Link: 臺北市歷史建築列表 (List of Taipei City Protected Heritage Buildings)

Whether you refer to this temple as Jiantan Temple (劍潭寺) or Jiantan Ancient Temple (劍潭古寺), it’s up to you, but one of the things that sets this one apart from many of the other historic temples around Taipei is that it features a little park where it proudly displays its history. Some of the objects within the park, mostly stone tablets and pillars are things that you probably won’t see anywhere else in the capital, but are much more common in Tainan where historic temples are found on almost every street corner. If you visit the temple, I highly recommend you take some time to check out some of the objects on display, even though they are admittedly pretty old and in some cases the words that have been etched on the stone have started to fade.

Deities Enshrined at Jiantan Temple

As you saw from the history detailed above, from the outset, Jiantian Temple was dedicated to Guanyin (觀音), the Chinese version of Avalokiteśvara, the Buddha of Compassion. With a statue brought directly from Putuo Mountain (普陀山), one of China’s four sacred Buddhist mountains, it shouldn’t be much of a surprise to anyone that the figures enshrined within the temple are for the most part, Buddhist. That being said, similar to what you’ll experience if you visit Bangka’s Longshan Temple, which is also primarily a Buddhist place of worship, over the years, figures from Chinese folk religion have been added over the years to the shrine. In Taiwan, this is something that has become quite common, so within the temple you’ll also find shrines dedicated to ‘deities’ who you won’t traditionally find in Buddhist temples elsewhere, especially in other countries where Buddhism is the predominant religion.

  • Guanyin (觀世音菩薩) - As noted earlier, Jiantan Temple was (historically) dedicated primarily to the Buddha of Compassion, Guanyin (觀音), one of the most prolific Buddhist figures in Taiwan. Within the shrine room, you’ll find several different statues dedicated to different incarnations of Guanyin, with two large statues of a sitting Guanyin on either side of the main shrine. The original statue has since been moved to a new location within the main shrine and is somewhat difficult to see amongst the crowd of Buddhist figures in the main shrine. The most important difference between the various statues of Guanyin is that the original is regarded as a ‘Child-Bearing Guanyin’ (送子觀音). In front of the historic statue, you’ll find a version of a sitting Guanyin and as is usually the case, she is accompanied by her two acolytes, a pair of children who went to her side while she was meditating at Mount Putuo, Longnu (龍女) and Shancai (善財童子).

  • Shakyamuni Buddha (釋迦牟尼) - In one of the most recent changes to the ‘ancient’ temple, a statue of Shakyamuni Buddha was added to the main shrine in the post-war period. The jade statue was added shortly after the Foguangshan Organization took over administrative control of the temple, which is something I’ll talk briefly about below. The statue holds a ‘seal’ (降魔印) for subjugating demons. The interesting thing about the statue is that its appearance isn’t typical for a Chinese-style Buddha statue. It appears more as if it came from South East Asia, more specifically the Myanmar area. It possibly came to Taiwan with Chinese refugees from the Yunnan region, but I’m not particularly sure about its origin. During my visit to the temple, I inquired about the design of the statue, and the person who I was talking to was surprised that I could tell the difference between an image of the Buddha from Myanmar compared to one that you’d typically find in Taiwan, but the explanation I received as to its origin wasn’t particularly convincing, and its likely that there were some politics involved that they didn’t really want to mention.

  • The Prince of Yanping (延平郡王) - Looking back to the legends of the naming of Jiantan, you might remember that one of the local folklore stories claims that Koxinga (鄭成功) threw his sword into the pond to dispatch a violent serpent that was preventing them from advancing. What I didn’t mention was that Koxinga would later go on to defeat the Dutch and proclaim a kingdom of his own in the south of Taiwan, known as the Kingdom of Tungning. Given that Koxinga’s legend shares a relationship with the local area, and his being deified in Taiwan after his death, it shouldn’t be a big surprise that there is a shrine dedicated in his honor at the temple. When you find a shrine dedicated to Koxinga in Taiwan, he’ll either be referred to as the Prince of Yanping (延平郡王), a title bestowed upon him by a Ming Emperor, or Kaishan Shengwang (開山聖王). Interestingly, if you climb Jiantan Mountain to the rear of the temple, you’ll find an entire temple dedicated to Koxinga, known as the Taipei Koxinga Temple (成功廟開臺聖王).

  • The Eighteen Arhats (十八羅漢) - On either side of the Main Hall, you’ll find wood-carved representations of the ‘Eighteen Arhats’, who are basically like the twelve disciples of Jesus. The original followers of the Buddha, the ‘Arthats’ are figures each of whom has attained enlightenment, but have dedicated their lives to being reincarnated on earth until everyone attains enlightenment. A common image in Taiwan, you’ll find nine of the arhats on each side of the shrine, and each of them appears quite differently, so you might want to take a moment to look at them as they are all interesting characters.

With regard to the statues in the shrine room, there has been somewhat of an unresolved controversy in recent years as the administration of the temple is now overseen by the large and powerful Foguangshan (佛光山) organization. The controversy revolves around a differing outlook between the followers of the original temple and the new organization that took over. Long story short, the main shrine was originally dedicated to Guanyin, but it was adjusted to provide a seat to the Shakyamuni Buddha, instead.

The historic statue of Guanyin was thus moved to a level below the Buddha, which, angered the followers of the temple. Likewise, some of the other statues of Guanyin that were originally in the temple were moved outside of the temple where they would get rained on and polluted from dirty air.

In the time since the controversy, which made headlines across the country, changes have been made to bring the statues of Guanyin back inside the temple, but the main shrine continues to place the Buddha in the main seat, which doesn’t particularly reflect the history of the temple.

Link: 主神換位 劍潭古寺主位觀音變佛陀 (TVBS)

Jiantan Ancient Temple Timeline

Obviously, Jiantan Temple couldn’t be considered an “ancient” temple if it didn’t have a long history. As one of the first Buddhist places of worship in Taipei, there is clearly a long and interconnected history that coincides with the development of Taiwan’s capital into the high-tech economic powerhouse that it is today. That being said, the history of the temple tends to be a little confusing, and not very well detailed in either Chinese or English. I’ve done my best to put together a list of events with regard to the temple’s history that should give readers an idea of the timeline of events over the past three centuries of its history.

Click the dropdown below to read more:

  • •1634 (崇禎7年) - Buddhist Monk Huarong (僧侶華榮和尚), travels to Taiwan from his monastery on the famed Putuo Mountain (普陀山) to welcome a stone statue of Guanyin to the island.

    •1718 (康熙57年) - A Buddhist temple named the ‘Western Temple’ (西方寶剎) was established along the banks of the Keelung River with Jiantan Mountain to its rear.

    1746 (乾隆11年) - Jiantan Temple (劍潭寺) is officially established.

    1773 (乾隆38年) - The temple goes through its first period of restoration.

    1800 (家慶5年) - The temple goes through another period of restoration.

    1836 (道光17年) - The temple goes through a period of expansion, making space for an official residence for the monks who stayed on-site.

    1843 (道光24年) - The abbot of Longshan Temple in Bangka assumes administrative control over the temple, and materials are donated to once again expand and restore the grounds.

    1895 (明治28年) - The Japanese Empire takes control of Taiwan.

    1899 (明治32年) - During the Japanese era, the temple became a Myoshin Temple (妙心寺), part of the Rinzai Sect (臨濟宗) of Japanese Buddhism.

    1914 (大正3年) - The monks living at the temple initiate a fundraising campaign to have the temple reconstructed.

    1918 (大正7年) - With the fund raising campaign completed, famed craftsman Chen Yingbin (陳應彬) is contracted to oversee a complete overhaul and redesign of the temple.

    1924 (大正13年) - The reconstruction project on the temple is completed, with a brand new traditionally Chinese-style design fused with Japanese elements and construction techniques.

    1937 (昭和12年) - Shortly after the expensive reconstruction of the temple is completed, an expansion project at the nearby Taiwan Grand Shrine (台灣神宮) forces the temple to relocate to another location a short distance away. Due to a lack of funds, the temple is more or less deconstructed, and then reconstructed in its original location.

    1945 (民國34年) The Second World War comes to an end and the Republic of China takes control of Taiwan

    1978 (民國67年) - A restoration project takes place, repairing and restoring some of the aging elements of the temple, and replacing the roof tiles with Taiwanese-style yellow tiles (黃色琉璃瓦).

    2004 (民國93年) - The temple is officially recognized as a protected heritage building (歷史建築).

    2007 (民國96年) - A restoration project takes place that restores the shape and design of the roof to its original 1924 design and all of the original decorative elements are carefully reproduced to reflect the original appearance of the temple.

    2017 (民國106年) - A newly constructed Guanyin Shrine is consecrated within the temple.

Architectural Design

The story of Jiantan Temple’s architectural design is a bit of a complicated one, and is something that you may have noticed in the timeline above has been altered several times, throughout its three-century long history. Over the years, the temple has been renovated, expanded, restored, reduced in size, and ultimately moved to an entirely new location.

Fortunately, thanks to the dedication of Japanese-era photographers, we have a pretty good idea of how it originally appeared prior to its migration, as you’ll have seen in some of those photos above. I’m not going to spend too much of your time talking about the temple’s past glory, or what is missing. Instead, I’m only going to focus on what you’ll experience when you visit today, which itself is a beautiful place of worship, full of complex design and decorative elements, some of which are uncommon in Taipei today.

If we take into consideration that the temple migrated to its current location during the Japanese-era, you’ll also discover that even though it maintains many traditional Taiwanese temple features, it is also a case-study in the fusion of Taiwanese-Japanese design of the era, which makes it quite special.

As I mentioned earlier, when the temple was forced to migrate, they lacked the necessary funds to construct an entirely new building. Thus, it was decided that instead of demolishing the original temple that they would have it deconstructed as carefully as possible in order to recycle the original materials to bring it back to life. Unfortunately, due to a lack of space on the plot of land that was allocated to the temple, and the difficulty of deconstructing the original, the end-result was a temple that was considerably smaller than the original.

The current design retains much of the original wood and stone that was used to construct the temple, which have been recycled. The size of the building is officially measured in ‘bays’ (開間), an ancient style of measurement that you won’t see mentioned very often in Taiwan these days, except for at historic places of worship like this. Essentially a ‘bay’ was the space between columns that held up the roof. Generally-speaking that was about 3.6 meters in length. Using this method, Jiantan Temple is officially eleven bays in length (面寬十一開間), which makes it just about 40 meters (131 feet) wide.

Keeping with the traditional design of a Hokkien-style temple, the facade of Jiantan Temple resembles that of the Front Hall (前殿) at Lukang’s famed Longshan Temple (鹿港龍山寺) in that it features a ‘Five Door Hall” (五門殿) style of design. In this style of design, there is a central wing that features the temple’s three main doors, with separate ‘dragon’ and ‘tiger’ wings (龍虎翼廊) on either side. Both of the wings feature a Swallow-Tail Roof (燕尾屋脊), which are equal in height, while the central portion is much higher. This style of roof, which is indicative of Hokkien-style architectural design differs from the typical style of ‘hip-and-gable’ roof that you’ll find at many Chinese, Japanese or Korean-style Buddhist temples. Yet it is one of the most common styles of architectural design with regard to the historic temples, mansions and ancestral halls around Taiwan.

Essentially, a ‘Swallow-Tail Roof’ is a roof that features an upward-curving ridge, resembling the tail of a swallow, and is typically adorned with a number of decorative elements, which are most often porcelain carvings (剪瓷雕). Depending on the amount of cash you have available, and how much you want to show off your wealth, this style of roof could be either single or dual-layered to add even more complexity. In this particular case, you might think with the varying heights between the wings and the central portion of the building that it is dual-layered, but it’s actually only a single-layer roof as the roofs over the wings are independent of the other. Nevertheless, despite the curvature of each of the roofs being one of their key features, you’ll notice that the mid-section is the most prominent as the two wings only feature half-curves, and neither of them reach as high as the mid-section.

One area where the Hokkien-style Swallow-Tail roof resembles that of a hip-and-gable roof is that the roof eclipses the base of the building in size, extending well beyond the front of the building. Thus, to help support the weight of the roof, you’ll find a number of pillars used for support both within the interior and on the exterior as well. The most prominent of these support pillars are located on either side of the middle door, and are beautifully-carved stone dragons that encircle the columns.

Link: Hokkien Architecture (Wiki)

While the temple may seem somewhat subdued in its design from afar, the devil is really in its finer details as the closer you look, the more exquisite you’ll discover its decorative elements are thanks to the 2007 restoration work that went into the temple (mentioned on the timeline above). It was at this time that the yellow cylindrical bamboo-like tiles (燒筒板瓦) that covered the roof were completely replaced as were almost all of the cut-and-stick decorations (剪黏), which are integral to Hokkien-style design.

The newly-designed decorative elements were part of a long research project that ultimately restored the original elements that you would have found at the original temple, when it was still in its original location. In this case, the temple contracted Pan Kundi (潘坤地), a master craftsman who is most well-known for his contributions to the restoration of Dalongdong’s Bao-An Temple (大龍峒保安宮), a Taiwanese national treasure, and recognized by UNESCO for its contribution to the preservation of cultural heritage.

One of the problems that might arise when you visit the temple today is that the ‘finer details’ mentioned above are abundant, and you may find yourself spending quite a bit of time looking at the decorative elements on top of the ridges, between the ridges, and along the ends of each of the them and contemplating their meaning. Never fear, I’ll do my best to answer some of those questions with the help of my telephoto lens!

Starting with the more obvious design elements, you’ll notice the ‘Double Dragon Pagoda’ (雙龍寶塔) directly in the middle of the apex of the roof. This is a decorative element that is common at Buddhist temples, and represents a number of important things - First, it is used to ward off evil spirits and fire, but it also represents ‘filial piety’ and ‘virtue’. Another way of interpreting it is by explaining that ‘pagodas’ were traditionally buildings where Buddhist texts were kept, so having the dragons encircling the pagoda in this way is a way of ‘protecting the Buddha’ or ‘precious things’.

The next thing you’ll probably notice is that on each of the ridges, there is a dragon-like creature facing toward the pagoda. In fact, this creature is referred to as an “Aoyu” (鰲魚), and is basically a carp that is in the process of transforming into a dragon featuring the head of a dragon and the body of a fish. Similar to the Dragon-Pagoda’s nature of helping to ward off fire or other disasters, the Aoyu are known for their ability to ‘swallow fire and spit water’ meaning that they’re also there to offer protection to the temple.

Conveniently located just under the two Aoyu in the mid-section, you’ll find one of the ‘Four Heavenly Kings’ (四大天王) accompanying them. Known as important Buddhist figures with regard to ‘protection’, in Mandarin, the names of the kings go together to form the idiom “fēngtiáoyǔshùn” (風調雨順), or “seasonable weather with gentle breeze and timely rain,” and by this point you’re probably wondering just how often temples burn to the ground. With the amount of candles and incense that are burnt in these temples, it probably shouldn’t be too surprising that it does, unfortunately, happen from time to time.

Two of the four Heavenly Kings on the far left and right.

The design of each of the kings is slightly different, but its important to offer a bit of detail:

  1. Virulhaka (增長天王) - holding a jeweled double-edged sword

  2. Vessavana (多聞天王) - holding a jeweled umbrella

  3. Dhatarattha (持國天王) - holding a pipa (a traditional musical instrument)

  4. Virupakkha (廣目天王) - holding a dragon in his hand

Link: Four Heavenly Kings (Wiki)

Once again, looking carefully along the Xishi Ridge (西施脊), the flat part of the top ridge, you’ll find some pretty intricate decorative elements in the space between the Four Heavenly Kings. Directly under the Dragon Pagoda, there is a mural that depicts the folklore story of ‘Guanyin conquering the phoenix’ (老古板的古建築之旅). The story, which originated in the Song Dynasty (宋朝), is a popular one in Taiwan that has been converted into a Taiwanese opera, which is often performed outside of temples. In the story, “Dapeng” (大鵬金翅明王), the Chinese manifestation of the Hindu deity Garuda turned into a human and came to earth to wreak havoc, forcing Guanyin to appear to make an appearance and back him under control. Legends regarding the mythical ‘Dapeng Phoenix’ appear throughout Chinese history, but in most of the stories, one of the commonalities is that it is often subservient to the Buddha or Guanyin.

One thing that confused me, and sent me down a bit of a rabbit hole looking for information, were the five animals located below the Guanyin mural. It is common to find ‘four’ animals depicted in this particular space within Taiwan’s temples, known as the ‘Auspicious Four Beasts’ (四祥獸), most often represented as a Tiger, Leopard, Lion and Elephant (虎豹獅象) - just like the so-called ‘Four Beasts Mountains’ in Taipei. Once again, as with the other decorative elements discussed so far, the presence of the beasts is meant to help suppress evil spirits and protect the temple. In this case, however, there are ‘Five Auspicious Beasts’ thanks to the inclusion of a Qilin (麒麟), a mythical Chinese chimera.

Link: Four Beasts Hiking Trail (四獸山步道)

Swallow-Tail roofs not only feature an upward-curving ridge at the apex of the roof but also often have eaves that descend from the ridge to the lower section of the roof where you’ll find a platform for additional decorative elements. Known in Taiwanese as the ‘paitoh’ (牌頭), you’ll find another set of elaborate murals at the end of each of the roof’s eaves.

There are two murals in the mid-section, and another one on each of the ends of the eastern and western wings. Two of the murals depict events from the life of the Buddha, while the other two are related to Guanyin.

Speaking of the wings, they feature similar decorative elements along their ridges, but in both cases are a bit more subdued, with simple depictions of peonies (牡丹), phoenixes (鳳), qilin (麒麟) and peacocks (孔雀).

Link: Animals & Mythical Creatures (Buddhist Symbols)

Moving on from the roof, located directly in front of the middle door in the centre of the building, you’ll find a beautifully designed Tiangong Incense Cauldron (天公爐) that features the words ‘Taipei Jiantan Historic Temple’ (台北劍潭古寺) carved on the bowl. The design here is slightly different than what you’d see at other places of worship in Taiwan as it is quite narrow compared to the cauldrons you’ll find at other temples. What remains the same is that you’ll find 'dragons grabbing pearls’ (雙龍戲珠) on either side and an octagonal-covered roof with three legs that represent a ‘tiger’ (寅), ‘horse’ (午) and ‘dog’ (戌), which are considered the ‘triad of heaven, earth and man’ (天地人).

Note: The ‘double dragons grabbing pearls’ (雙龍戲珠) are part of an ancient Chinese-language idiom that symbolizes humanity’s constant pursuit of happiness. It has also become an important image with regard to weddings as the harmony between husband and wife and mutual respect, humility and tolerance.

On either side of the cauldron you’ll find the beautifully-carved traditional stone dragon pillars (龍柱) that I mentioned earlier. The pillars, which aren’t from the original temple, are thought to be a product of the early 1900s, although you won’t find a date carved on them to prove that. Still, they’re well over a century old and have recently been given a bit of restoration. Featuring dragons that encircle each of the pillars. You’ll also find depictions of people and animals walking along each of the dragon's backs.

Directly in front of the cauldron, you’ll find a stone-carved Dragon Ramp (龍陞) between the ground and the platform in front of the doors. Also referred to as a ‘Royal Ramp’ (御路), the sloping ramp is reserved for the passage of royalty, or for whenever one of the statues has to be moved outside of the temple. Even though Taiwan doesn’t have any royalty, and the only royals to have ever visited the country were from the Japanese imperial family, these sloping ramps are a common feature among the temples you’ll find across the country.

Another common feature that the temple shares with most other places of worship in Taiwan is that there is a name plaque located above the middle door. The beautifully inscribed plaque (牌匾) features the temple’s name scripted in calligraphy and obviously if you take a look at it, it’s in pretty good shape, but in this case you can see the date it was placed, which was in August of 1981 (民國70年8月).

Speaking of recent additions, the shrine is currently home to lacquered wooden sliding panels with golden latticed windows. The wood-carved latticed windows (木柵窗格) don’t actually look like typical ‘windows’, but they feature intricately carved floral designs with birds and peacocks.

Finally, if you find yourself standing on the platform by the central door, you’ll discover that there are some really intricate and beautifully hand-carved wooden figures (木雕) that are used to decorate the trusses and eaves that connect to the pillars, which are instrumental in working together to help to support the weight of the roof. The carvings, which feature lions and murals, like the lattice windows below are all painted gold and make the exterior of the temple much more beautiful.

Before I move on to briefly describing the interior of the temple, I think it’s important to note that if you search for images of the temple online, you’re going to notice a stark difference between some of the photos you’ll find.

Prior to 2007, the temple looked considerably different, and very much more ‘plain’ that what you’ll see today. As I mentioned earlier, the design of the roof was completely changed to reflect the temple’s original design and it was during that restoration project that most of the decorative elements that I’ve described above were added. Given that the master craftsman mentioned above is known for not only his skills with traditional Hokkien cut-porcelain carvings (剪瓷雕), but also his wood-carving skills, it’s safe to say that all of the decorative elements that we enjoy today are thanks to his genius and hard work.

I won’t spend too much describing the interior of the temple, simply due to the fact that Hokkien-style Buddhist temples place an incredible amount of detail on the decorative elements of the exterior of the building while the interior is much more subtle. That being said, it has to be mentioned that, like the Lukang Longshan Temple, the temple features a beautifully designed ‘caisson’ (八卦藻井) in the main shrine room. Also known as a “Ba-Gua ceiling,” it would be an understatement to say that it is a masterpiece of architectural design. Octagonal in shape, each side of the caisson symbolizes eight symbols in Taoism that represent the fundamental principles of reality.

Somewhat difficult to describe properly, a caisson is basically a sunken layered panel in a ceiling that raises above the rest of the ceiling almost as if there were a dome above it. The layers of the caisson are often beautifully decorated and with a design at the center which in this case is just a painted flower that has a lamp hanging from the middle.

The most amazing thing to keep in mind about these caissons is that they are designed using expertly measured interlocking pieces that connect together in a way that means that neither beams nor nails are used to keep them in place. They simply lock together to form a six-layer deep spider-web of beauty. It takes a considerable amount of skill and patience to make one of these, so if you visit, one of the first things the people at the temple will do is make sure you take note of it.

As mentioned above, the interior of the temple is split into three sections with the main shrine in the middle. The wing to the left of the main shrine room is used for administrative purposes while the wing on the right is home to the Koxinga Shrine. The passage ways from both of the wings feature a couple of objects that should be noted. First, on the left wing, you’ll find a drum hanging within the passageway while on the right wing you’ll find a large stone bell, both of which are common within Buddhist temples as a way of indicating the time, attracting crowds, and announcing the beginning of preaching.

Finally, one last thing I’d like to point out is the ‘Dragon Altar’ (案桌) in the middle of the shrine - the altar features a painted dragon with the words ‘Jiantan Buddha’ (劍潭佛祖) on it. Likely one of the oldest parts of the current temple (save for the Guanyin statue), the altar dates back to the reign of Emperor Daoguang (道光) of the Qing Dynasty, placing it somewhere between 1821 and 1850. On either side of the altar, you’ll find some stone pillars with calligraphy engraved on each of them. Speaking to the history of the temple, they tell a story of how the migration of the temple to its current location wasn’t an optimal decision, but was forced upon them by the Japanese. I’d attempt to translate the text, but I have to admit that its beyond my level. Nevertheless, the sentiment is a bit salty.

The text is provided below for anyone interested:

Note:「寶劍劫灰塵爐火重新光大直,澄潭涵法雨川流終古擁觀音」and「庚辰劍潭古寺移築大直」

Getting There

 

Address: #6, Alley 805, Bei-An Road, Zhongshan District, Taipei

(臺北市中山區北安路805巷6號)

GPS: 25.085910, 121.554330

Conveniently located a short walk from an MRT station, visiting the Jiantan Historic Temple is actually quite straightforward, and is easily accessible for any tourist who’d like to visit. That being said, there are faster options than the MRT if you’re taking public transportation, so I’ll provide directions for both the MRT and the bus routes that will get you there below.

MRT

Located across the Keelung River from Taipei in Neihu’s Dazhi (大直) neighborhood, taking the MRT is obviously one of the most convenient methods of getting to the temple. That being said, even though the MRT drops you off pretty much at the temple’s doorsteps, its convenience doesn’t necessarily mean that it’s the quickest way to get there as the Brown Line trains are considerably slower than the normal underground MRT, and you’ll likely have to pass by Songshan Airport on your way there.

Nevertheless, if your preferred method of transportation is to take the MRT, simply get yourself on the Brown Line either at Zhongxiao Fuxing (忠孝復興) or Nanjing Fuxing (南京復興), heading in the direction of Nangang Station (南港捷運站). Getting off the train at Jiannan Road Station (劍南路捷運站), you’ll take Exit #1 and walk straight along Beian Road (北安路) where you’ll notice Jingye Park (敬業公園) on your right and the temple about a minute away on the left.

Bus

Similarly, given that the Jiannan Road MRT Station is located next to the Miramar Shopping Mall (美麗華百樂園), famed for its giant roof-top ferris wheel, there are a number of bus routes that will help you get there just as easily as the MRT. The closest bus stop to the temple is the Jiannan Road Stop (捷運劍南路站), directly in front of the MRT Station, so if you end up taking a bus, the walking route to the temple follows the same route.

Given the popularity of the Miramar Shopping Center, there are far too many bus routes that service this bus stop, and since Internet links for these things in Taiwan are notoriously unstable, I’m not going going to link to each of the routes individually here. I highly recommend travelers make use of the Taipei eBus website, or download the Bus Tracker Taipei app on your phone (Android | iOS) or use the Real-Time Bus Tracking service offered on the eBus website.

Here are the following routes that service the Jiannan Road Stop: Neihu Express Line (內湖幹線), Red #3 (紅3), Blue #26 (藍26), #28, #33, #42, #72, #208, #222, #247, #256, #267, #268, #287, #556, #620, #646, #681, #683, #902, #957, #1801

Youbike

If you’re feeling adventurous, you can easily hop on one of Taipei’s convenient shared Youbikes and make your way along the Keelung River all the way to Dazhi where you’ll be able to park the bike in front of the Jiannan Road MRT Station and make your way to the temple. If you’d like to make use of a Youbike, one of the best routes would be to grab a bike at the Yuanshan MRT Station (圓山捷運站), and make your way along the Dajia Riverside Park (大家河濱公園) where you’ll cross the pedestrian section of the Dazhi Bridge (大直橋), and from there making your way toward the Jiannan Road Station. There are of course a number of routes that you could take to get there, though, so I recommend opening up Google Maps on your phone and mapping out a bike route from wherever you’re starting from!

If you haven’t already, I highly recommend downloading the Youbike App to your phone so that you’ll have a better idea of the location where you’ll be able to find the closest docking station.

Link: Youbike App - Apple / Android

To be frank, I don’t really spend very much time in the Neihu area of Taipei. I’ve visited most of Taipei’s most important places of worship over the years, but this temple was one that I’ve always had on my list, but took quite a while to actually get around to. It’s not that I didn’t think it was important, or that it should be high on the list of places that people should visit when they’re in town, I just personally only find myself in that area when I’m hiking along the Jiantan Mountain ridge. Nevertheless, if you find yourself in the city and the temples are of particular interest to you, I highly recommend checking out some of those listed above, and if you’ve still got time left, head over to this one to check it out as well!

I suppose that doesn’t particularly sound like a rousing endorsement of the temple, but I’m not sure how much appeals to most short-term tourists. I have to say, though, that the temple was a lot more beautiful than I expected, and if the photos in this article are any indication, you’re in for a treat if you visit, especially since its a much more quiet place of reflection than some of the other major temples that tourists visit.

References

  1. 劍潭古寺 (Wiki)

  2. 劍潭 (Wiki)

  3. 劍潭寺 | Jiantan Temple (台灣宗教文化地圖)

  4. 劍潭寺 (國家文化資產網)

  5. 劍潭古寺 (台灣好廟網)

  6. 劍潭古寺 (Tony的自然人文旅記)

  7. 巴字第974號:劍潭古寺 (地球上的火星人)

  8. 中山區 劍潭古寺 — 隱身於熱鬧商場旁之臺北盆地最早古剎,有段被迫搬遷的過往 (Mobile01)

  9. 剪黏藝術欣賞(五) 劍潭古寺 (老古板的古建築之旅)

  10. 劍潭古寺 (淡水維基館)

  11. Jiantan Temple (Travel Taipei)

  12. Hokkien architecture | 闽南传统建筑 (Wiki)


Kamishikimi Kumanoimasu Shrine (上色見熊野座神社)

I tend to be rather easy-going, so while we were planning our trip to Kyushu, one of our ideas was to stop in Kumamoto City (熊本市) for a night so that we could check out the city’s famous castle, and some of its other sights. After doing a bit of research, however, we found out that the castle was undergoing a massive restoration project as a result of the damage caused by the 2016 Kumamoto Earthquakes. With that souring our plans a bit, my partner suggested we spend a little more time in the Mount Aso (阿蘇山) region, which would include a trip to the top of the volcano, a beautiful gorge, and a couple historic Shinto Shrines.

I thought hey, why not, I mean, I’ve been to Europe and seen my fair share of castles, and I’m not all that impressed by them anymore. Being a bit of a nerd, I had known about Mount Aso for quite a while as it is the home of Godzilla’s frienemy, Rodan (ラドン), the winged fire-demon!

Once in the countryside in the midst of the famed volcano, my partner decided enough was enough and that it was my turn to drive the car. I’ve never actually driven on the ‘right’ side before, so we stopped off in an empty parking lot, and I circled around a few times before I felt confident enough to get on the road. Fortunately, drivers in Japan drive really slowly and really politely, so I was able to get the hang of it in no time.

Unfortunately, as we approached the caldera of the volcano, which is apparently quite beautiful, an incredibly thick fog surrounded us, and although we kept making our way to the parking lot in the hope that it would clear up, once we arrived and made our way to the viewing area, visibility was pretty non-existent.

Feeling somewhat defeated, my partner said to me - “Don’t worry! We have a backup destination. Something I think you’ll enjoy.”

We got back in the car and she input the address of our next destination into the GPS and we were on our way - About an hour later we pulled into an empty parking lot with a food truck that was selling gourmet hotdogs. I scratched my head and wondered if she knew something about these hot dogs that I didn’t, but she laughed and we started walking down the road. About two minutes later we arrived at a set of stairs that featured a shrine gate, and a set of stone lion-dog guardians, so I felt a bit of relief.

I’m not a big fan of hot dogs.

Walking up the stairs to the shrine, it took us about two minutes before we realized that this ‘backup’ destination was likely to become the highlight of our entire trip to Japan. I would later discover that the shrine was the inspiration for a recent Japanese movie, but that was something we were both completely unaware of before arriving.

The thing about Shinto Shrines in Japan is that they’re pretty much everywhere you go, but when you’re able to find one deep in the forest on a mountain like this, they’re a lot more special as they blend so effortlessly in the nature that surrounds them, and this was exactly the experience that I was looking forward to the most.

Link: Into the Forest of Fireflies' Light 蛍火の杜へ (Wiki)

Poster for the Film.

If you’ve seen the film, "Into the Forest of Fireflies' Light” (蛍火の杜へ / ほたるびのもりへ), you may have an idea of what I’m talking about when I try to describe how beautiful this shine is, but if you haven’t, let me take a minute to try to set the scene: At an elevation of about 670 meters on the slopes of Mount Aso, you’ll find a narrow stone path with around three hundred stone steps that climbs a hill in a thick forest of Japanese cedar.

The stone path features nearly one-hundred stone lanterns on either side, each of which has progressively been reclaimed by nature, with thick green moss growing on them. Walking up the stairs, the path is dark, with a mixture of fog and sunlight battling to make their way through the thick forest.

The shrine is eerily quiet, with only the sound of woodpeckers and other animals going about their business. At times you might hear bells ringing, or the chattering of visitors, but if you’re lucky enough to visit when no one else is there, it’s an almost zen-like experience where you’ll feel incredibly relaxed as you make your way up the hill to the shrine.

I wish I could say that the photos I took of the shrine did it justice, but having visited the shrine, the experience of enjoying its peace and quiet is something that probably doesn’t translate as well as I’d like.

The ‘Kamishikimi Kumanoimasu Shrine’ has become a popular destination for travelers in recent years, likely thanks to being featured in the anime, but it is a place of worship that has been around for a very long time. Although although most of what you see at the shrine today is a product of the last century, the shrine has a history of human activity that dates back to the 4th and 5th centuries with the shrine itself possibly dating back to the Kamakura (1185–1333) or Muromachi Periods (1336 to 1573).

Unfortunately there is very little information as to when the shrine was actually established, it’s safe to say that whether its more than a thousand years old or not, it’s probably never been as popular as it is today with visitors from all over the world coming to experience it’s beauty.

As I move on below, I’m going to introduce the origin of the shrine and the kami worshiped there. I’ll then move on to explaining each of the important aspects of the shrine that visitors should pay attention to.

Sadly, there isn’t much written about the shrine apart from simple introductions, so I hope this article helps more people understand what they’ll see when the visit.

Kamishikimi Kumanoimasu Shrine (上色見熊野座神社)

To start introducing the shrine, I think it’s probably a good idea to first break down it’s official name, which actually tells us a lot about its history, and its affiliations.

English: Kamishikimi Kumanoimasu Shrine

Kanji: 上色見熊野座神社

Hiragana: かみしきみくまのざじんじゃ

So let’s start out by breaking down the first part, ‘Kamishikimi’ (上色見)

In the Japanese language, certain Kanji can have a number of pronunciations, so it’s important to note that the ‘Kami’ in the name here isn’t actually referring to Shinto deities - Instead, ‘kami’ (上 / かみ) refers to the ‘upper' reaches of a mountain or a stream. Or, at least, the upper area of ‘Shikimi Village’ (上色村 / しきみむら). In fact, this shrine isn’t the only ‘Shikimi-Kumanoimasu’ Shrine in town, so the ‘kami’ in this case helps to differentiate the two. The second part of the first word, ‘Shikimi’ was once a village within Kumomoto’s Aso County (阿蘇郡) until 1955, when the village was amalgamated into Takamori District (高森町). Situated on the South-Eastern slopes of Mount Aso, the village has traditionally been an agricultural area, with only a small number of residents.

The second part of the name is quite important as it points to the shrine’s affiliation, as it is part of a network of 3,000 shrines that have a relationship with the Kumano Sanzan (熊野三山) shrines in Wakayama Prefecture (和歌山県) on the Main Island’s Southern Kansai Region (関西地方).

The ‘Kumano Sanzan’ are three shrines, which act as the spiritual headquarters for a sect of that is known for its syncretism of Shintoism and Buddhism, known as ‘shinbutsu-shūgō’ (神仏習合 / しんぶつしゅうごう). The Kumano region has been known since ancient times as a place of physical healing, and has become the site of one of the world’s largest religious pilgrimages as people from all walks of life from all over Japan come together to traverse the mountains on a pilgrimage to visit the three shrines.

For a shrine to become affiliated with the Kumano sect, it needs to take part in a ‘divinity-sharing’ pilgrimage in which the power of the Kumano deities are divided up and shared with new members.

Now that we know what the name of the shrine is referring to, let’s talk a bit about it’s history, which unfortunately isn’t very well documented.

It’s unclear as to when the shrine was officially established, but it’s important to keep in mind that even though much of what you’ll see there today is relatively new, people have been coming to this location for a long, long time. As I mentioned earlier, quite a few burial mounds dating back to the 4th and 5th century have been discovered on-site, so it’s safe to say that human activity in the area has been taking place for more than 1500 years.

Ugeto-iwa Cave (穿戸岩)

One of the main reasons why the area became an important religious space was thanks to the rare Ugeto-iwa Cave (穿戸岩) that sits high above where the shrine is located today - Given that one of the core aspects of Shintoism is that ‘kami’ are believed to inhabit all things, including forces of nature and prominent landscape locations, it’s understandable that the rock would become a place of interest, especially for people living in the area more than a thousand years ago. As an important aspect of the shrine’s precinct, the cave also lends to regional legends, which have helped to determine the ‘kami’ who are worshiped at the shrine.

That being said, as I mentioned earlier, it is thought that the shrine may have been established sometime between 1185–1573. Officially, what we do know is that at some point during the 16th century, much of the original shrine was burnt to the ground during the Sengoku Period (戦国時代), otherwise known as Japan’s Warring States Period.

Estimated to have been burnt down sometime between 1573 and 1593, the shrine would have been reconstructed shortly thereafter, nevertheless, it was rebuilt again in 1722, and then again in 1979.

Obviously, as a Kumano Shrine, one of the key things to remember is that the shrine shares a special relationship with the natural environment that surrounds it. With that in mind, it’s important to point out that there are legends told in both the Kojiki (故事書) and Nihon Shoki (日本書紀), which play an important role with regard to the origin of the shrine, and to that extent, the formation of human settlements in the Mount Aso region.

To explain that though, let me first introduce the three ‘kami’ who call the shrine home:

There are three kami enshrined at the shrine, the first two of which are important figures within the Shinto creation myth. The third deity is a much more regional figure, but also hails from the same ‘lineage’ as the other two deities, and the creation of Japan as a landmass and a nation.

The first two kami pretty much go hand-in-hand with each other as they are the central figures in the Japanese creation myth - Brother Izanagi (伊邪那岐命 / いさなき の みこと) and sister Izanami (伊邪那美命 / いざなみのみこと), whose names can be translated as “He Who Invites” and “She Who Invites,” respectively. As important figures in Japan’s creation myth, they are responsible for not only the formation of the islands that make up the Japanese nation, but also a number of other important Shinto deities.

Tales of their exploits are told as myths in the Kojiki and Nihon Shoki, and as the Japanese Imperial Family claims ancestry from their daughter, Amaterasu (天照大神), who it is said sent her own son to earth to rule over Japan as its first emperor.

The important thing to keep in mind about the Izanami and Izanagi enshrined here is that they are connected to a network of over 3,000 shrines in Japan where their divinity has been shared by a process of propagation called bunrei (分霊) or kanjō (勧請). Basically, it’s a process of ‘dividing’ the power of a deity. Shared directly from the Kumano Sanzan (熊野三山) shrines mentioned earlier.

Now, let’s get into some specifics about the third kami, which is a figure that is closely related to the Mount Aso region in addition to being someone who could is considered a distant relative of Izanagi and Izanami.

General Ishikun (石君大将軍 / たけいわたつのみこと)

One of the more confusing aspects with regard to my research about the shrine was when it came to identifying who ‘General Ishikun’ actually was. With the title ‘Seii Taishōgun’ (征夷大将軍 / せいいたいしょうぐん), or what we would refer to as a ‘Shogun’ in the west, one might come to the conclusion that the ‘Ishikun’ enshrined here might have been a historic army commander, who shared a relationship with the Shikimi region.

After an hour or so of searching for information about the shogun, I discovered that he wasn’t actually a ‘shogun' at all, it is just another name for ‘Takeiwatatsu no Mikoto’ (健磐龍命 / たけいわたつのみこと), a legendary figure known in the region as the god of agriculture.

Japanese cedar forest

Considered to be the grandson of Emperor Jimmu (神武天皇 / じんむてんのう), the first emperor of Japan, myths of his life are told in the Kojiki and Nihon Shoki, but given how incredible the stories are, it’s debated whether or not he ever existed. Suffice to say, legends explain that Takeiwatatsu was sent to the region of Kyushu we know as ‘Aso’ (阿蘇) today to assist in the creation of an agricultural community there.

With divine abilities thanks to his great grandmother, the Goddess Amaterasu, it is said that he traversed Aso Mountain (阿蘇山) and forcibly kicked down part of the caldera’s rim, which drained its volcanic lake, allowing the local people to become incredibly successful farmers.

Takeiwatatsu no Mikoto is today the primary deity enshrined within the Aso Shrine (阿蘇神社), the highest-ranking shrine in Kumamoto Prefecture (熊本縣), and many of the other Shinto Shrines in the region worship him as well, including this shrine.

How Takeiwatatsu no Mikoto relates to this shrine in particular, however, is an interesting part of the region’s folklore, thanks to the legends told in the Kojiki. Essentially the story goes a little like this - While Takeiwatatsu was doing his ‘work’ on Mount Aso, helping to shape the land, allowing for the volcanic water to help with irrigation, he often took breaks to practice shooting his bow as he was also a gifted archer.

With his assistant Kihachi (鬼八) by his side, he shot ninety-nine arrows from the peak of Mount Aso, with his assistant running off into the distance to retrieve them. By the time he shot the one-hundredth arrow however, Kihachi was exhausted. So, instead of carrying the arrow back, he kicked it toward Takeiwatatsu, who got angry and pursued him around the mountain. Kihachi fled for his life, but he found himself blocked by a rock and couldn’t escape, so he used his last bit of strength to kick it in.

Unfortunately, he was eventually caught and Takeiwatatsu cut his head off.

The giant hole in the mountain thus is part of legends that date back as far as the Kojiki, which was written between 711-712.

The mountains behind the cave, presumably from which the legends came from.

Interestingly, there is a shrine nearby that is dedicated to Kihachi, who was thought to have turned into an ‘evil spirit’ after being murdered by Takeiwatatsu. Seeking revenge for his murder, he destroyed all of the crops that were planted in the area. So, to appease Kihachi’s tormented soul, Takeiwatatsu had his head enshrined at the Shimomiya Shrine.

Read more about the shrine, and its unique annual event in the link below:

Link: Shimomiya Shrine - A small shrine that holds an interesting yearly event (Japan Travel)

As to the reason why the name ‘General Ishikun’ was used instead of the title that more people are familiar with, I still haven’t figured that out - If anyone has any idea, feel free to let me know in the comments below!

Architectural Design

As mentioned earlier, there isn’t particularly a lot for tourists to see and do in the Takamori area, but in recent years thanks to it’s likeness appearing in a popular Japanese anime, the shrine attracts a fair number of tourists, who stop by to enjoy its beauty - and its architectural design is one of the main reasons why it has become so popular. It goes without saying that the main attraction for most tourists is the mixture of the mountain’s natural beauty, and the stone path that leads up to the shrine - while the shrine itself might just be an added bonus.

The walk up the hill makes for a perfectly ‘instagrammable' experience, but its still important to understand the purpose of each part of the shrine. Unfortunately, due to there being so little information available, most tourists might have difficulty understanding what’s actually going on, and why things are the way they are, which is something that I’ll hopefully be able to clear up as I break down the shrine below.

The Visiting Path (參道 / さんどう)

The Visiting Path, otherwise known as the “sando” (さんどう), is an important aspect of the design of any Shinto Shrine, and in most cases is essentially just a long pathway that leads visitors to the shrine. While these paths serve a functional purpose, they are also quite symbolic in that the “road” is the path that one takes on the road to spiritual purification. Shintoism itself is literally translated as the “Pathway to the Gods” (神道), so having a physical pathway that leads the worshiper from the realm of the profane to that of the sacred is quite important. 

In this case, the Visiting Path is the most iconic part of the shrine, consisting of a stone set of stairs that leads visitors up the mountain to where the sacred space of the shrine is located. Covered entirely by a thick green forest, the path tends to be dark, damp and quiet, often covered in mist or decorated with beams of sunlight that pierce their way through the thick forest.

Starting at the entrance to the Visiting path, you’ll find the first of the two Shrine Gates (鳥居 / とりい), which mark the entrance to where you start your journey into the ‘sacred space’ of the shrine. The first Shrine Gate dates back to 1955 (昭和30年), and was constructed in the classic shinmei-style (神明鳥居 / しんめいとりい). Hanging from the gate, you’ll find a ‘shimenawa’ (標縄 / しめなわ) sacred rope and a plaque in the center that reads “Kumano Shrine” (熊野宮) in Kanji.

Note: In most cases these name plaques on the gates demarcates the name of the shrine, but in this case, it only displays “Kumano Shrine,” which gives people an indication of what to expect within.

Halfway up the Visiting Path, you’ll find the second Shrine Gate, which dates back to 1973 (昭和48年), and is almost identical to the first, but most notably, it has started being taken over by nature.

After passing through the first Shrine Gate, you’ll find two sets of stone guardians. The so-called ‘Lion-Dogs’ are prominent features of any Shinto Shrine, and are similar to the stone lions that act as temple guardians at other temples across Asia. Known in Japan as ‘komainu’ (狛犬 / こまいぬ), the word translates as “Korean Dog” (高麗犬), referring to the ancient Korean Kingdom of “Koguryo” (高麗國), where it is thought that the tradition was passed on to Japan. The interesting thing about the lion-dogs at the shrine is that the newer set appears to be quite traditional, only dating back to 1966 (昭和41年) while the other set doesn’t appear like any of the stone guardians that you’ll find at other shrines. The date of their donation is unknown, but they do appear to be quite old.

Although there can be exceptions to the rule, the lion-dogs generally appear as a pair and are placed on either side of a visiting path or at the entrance to a shrine. Often appearing as a male and female, they are only distinguishable only by their facial expressions, with the male “a-gyo” (阿型) having an open mouth and the female “un-gyo” (吽形) having a closed mouth. The male komainu in the traditional set has its mouth open with a stone ball between its teeth while the other set looks as if he’s smiling awkwardly with its mouth open.

Link: Komainu Lion Dogs (Japan Visitor)

Further up the Visiting Path, as you approach the level where the Worship Hall is located, you’ll find another set of stone guardians. Interestingly, these guardians are somewhat of a fusion of the two sets below in that they’re shaped like traditional lion-dogs, but their mouths appear more similar to the the other set with one clenching its teeth and the other barely opening its mouth. This set dates back to 1967 (昭和42年) and have been there long enough for nature to start taking over with moss growing all over them, making the inscriptions on the base a bit difficult to see.

The Visiting Path is about 200 meters in length, with about 260 stone steps from ground level up the side of the mountain to the base where the Worship Hall is located. As mentioned earlier, for almost every visitor, the highlight of any visit to this shrine are the Stone Lanterns (石燈籠 / しゃむしょ) that are lined symmetrically on both sides of the path.

While I didn’t count the number of lanterns, there are about a hundred of them. For those of you who don’t know, on the front side of each of the lanterns you’ll find the Kanji for ‘donated’ (奉納 / ほうのう). Donations like this are common at Shinto Shrines, and you’ll often find that sections of the shrine were paid for through the generosity of private individuals or companies. On the rear side of the lanterns, you’ll find more details about the donation, so it’s always important to check out some of the finer details.

In this case, the lanterns were part of a very generous donation by a local entrepreneurs who gave thanks to the shrine for their financial successes. With so many lanterns, I didn’t check every single one of them, but it seems like most of them were donated between 1969 and 1980.

Note: The rear of the lanterns don’t list dates from the western calendar, instead making use of the Japanese calendar, which is based off of the year of the reign of the emperor. In this case, most of the lanterns at the shrine list the years “昭和44” and “昭和55”, which are the 44th and 55th year of the reign of Emperor Showa (昭和皇帝), known to most in the west as Hirohito, or 1969 and 1980, respectively.

When you start walking up the Visiting Path, the distance between the lanterns seems a little more spread out, but as it becomes narrower, the distance between them becomes much shorter. Keeping that in mind, most of the photos that you’ll see of the shrine are from the areas where the Visiting Path becomes narrow and the lanterns are squeezed together, but the other areas of the path are just as beautiful.

The Purification Fountain (手水舍 / ちょうずしゃ)

Located along the Visiting Path, between the first Shrine Gate and the second, you’ll find what is known as the Purification Fountain, an essential addition to any Shinto Shrine. One of the key aspects of a Shinto Shrine’s Visiting Path is that it symbolizes the journey that visitors take from the realm of the profane to that of the sacred, known as “hare and ke” (ハレとケ), or the "sacred-profane dichotomy."

As part of that symbolic journey, it is important for visitors who are crossing the barrier into the sacred realm to do so in the cleanliest possible manner by performing a symbolic purification at the Purification Fountain, known either as a chozuya (ちょうずしゃ) or temizuya (てみずしゃ).

Purification Fountains at Shinto Shrines come in all shapes and sizes, but as a small shrine on the side of a mountain, this one is pretty basic. You’ll get to purify yourself with mountain spring water in the fountain provided.

Amazingly, you can also relieve yourself in the restrooms provided directly opposite the fountain. While the fountain itself is quite basic, the restroom is fully equipped and is comparable to the facilities you’d find in a department store in Fukuoka!

Hall of Worship (拜殿 / はいでん)

Once you’ve reached the end of the Visiting Path, you’ll find the ‘Hall of Worship’ directly in front of you. Known as the “haiden” (拜殿 /はいでん), for the vast majority of locals who visit, this building is regarded as the spiritual heart of the shrine - It’s also the largest building on site, providing an ample amount of space in the interior for any of the annual ceremonies that take place there.

It’s unclear as to when the shrine’s first Hall of Worship was constructed, but it was apparently destroyed by fire sometime between 1573 and 1593. It was rebuilt again at some point shortly thereafter, and then reconstructed again in 1722 (享保7年).

The current Hall of Worship was reconstructed in 1979 (昭和54年).

The Hall of Worship was constructed using the ubiquitous irimoya-zukuri (入母造 / いりもやづくり) architectural style, one of the most common of Japan’s traditional architectural designs. Constructed almost entirely of wood, the building is elevated off of the ground using thick wooden pillars that also help to support the weight of the roof.

With twelve pillars used to prop up the core of the building, known as the ‘moya’ (母屋 / もや), and a network of trusses within the interior, the roof is able to extend well-beyond the base, eclipsing the lower section in size.

Given that the building falls under the irimoya style of architectural design, it goes without saying that the roof is going to be constructed with what is known as a hip-and-gable (歇山頂) design. Within Japanese architectural design, there are a number of styles of roof that fall under this category, but the two that are most often associated with irimoya are a combination of the two-sided kirizuma-zukuri (切妻造 / きりづまづくり), and the four-sided yosemune-zukuri (寄棟造 / よせむねづくり) styles, which work together to create a curvy 3D-like design.

To explain what this means in simple terms, the lower ‘yosumune’ section is the four-sided ‘hip’ part of the roof that both covers and extends beyond the base. The upper ‘kirizuma’ portion is a two-sided sloping ‘gable’, which is likened to the shape of an open book. The combination of both styles of the roof is probably better explained in the diagram below:

Most people might miss this while visiting the shrine, but if we take into consideration that the Hall of Worship ‘connects’ to the Main Hall of the shrine at the rear of the building, an extension has been constructed at the rear where the people in charge of the shrine are able to make their way up the set of stairs to the building where the kami make their home.

If you continue walking up the hill towards the cave, you may notice this extension at the rear from the side of the building as you make your way up the path. The reason I mention the extension is because it is covered by a two-sided roof of its own that connects to the main roof of the building.

As is the case with most Shinto Shrines, the Hall of Worship isn’t actually ‘open’ to the general public, so most people just approach the front of the building to announce their arrival. To help out with that announcement, the front of the building features three large ropes that are attached to bells, so when you’re getting close to the shrine, it’s likely that you’ll hear the bells ringing as visitors are showing their respect at the front of the shrine.

Similar to the two Shrine Gates on the Visiting Path below, there is a plaque just above the front door that reads ‘Kumano Shrine’ (熊野宮). Also, for those familiar with these things, there is a donation box at the entrance where people throw coins as offerings. On the front of the box, you’ll be able to see the ‘Leaf Emblem’ (梛紋 / 違い梛の葉 / ちがいなぎのは), a kamon (家紋 / かもん) that is emblematic of the sacred tree of the Kumano Shrines in Wakayama Prefecture (和歌山縣), and is another way to help identify the relationship this shrine shares with the Kumano sect.

Link: Kamon Symbols of Japan (Encyclopedia of Japan)

Main Hall (本殿 / ほんでん)

Located to the rear of the Hall of Worship, you’ll find the Main Hall, otherwise known as the “honden” (本殿/ほんでん), the most sacred part of any Shinto Shrine as it is the home of the kami. As mentioned earlier, from the rear extension of the larger building, there is a set of stairs that’ll brings you up another flattened section of the mountain where the Main Hall is located. In most cases, these Main Halls are off limits to the general public, especially at larger shrines where you might only be able to catch a quick glimpse of the building. In this case however, you can walk up to the building to check it out while on your way up the path to the cave above.

At the top of the stairs, in front of the building, you’ll find the fourth set of Stone Guardian Lion-Dogs. The smallest set at the shrine, the lion dogs are facing each other and are meant to add a bit of extra ‘protection’ to the unmanned shrine. This particular set was donated to the shrine in 1968 (昭和43年), which is interesting because the Main Hall was reconstructed alongside the Hall of Worship in 1979, which means that they’re older than the building they protect, but presumably they were placed there before the original building was torn down.

Like the Hall of Worship, the Main Hall is elevated off of the ground on a cement base, and is a much smaller building than the one in front of it. The architectural style of the building remains quite traditional given that it only serves as a repository, or a home for the kami. Appearing quite similar to many of it contemporaries across the country, it was constructed using the nagare-zukuri (流造 / ながれづくり) style.

More specifically, the building is a ‘ichiken’ (一間社流造) style of building, which means that the roof is modest in size and features a sloping two-sided kirizuma-zukuri (切妻造 / きりづまづくり) roof similar to the Hall of Worship. The biggest difference with this building however, is that the front side slopes a bit further and extends well-beyond the front steps of the building.

One might think that the roof of the building appears a lot more basic than the Hall of Worship, but there are actually quite a few elements that have been added that make it stand out as it is decorated with katsuogi (鰹木/かつおぎ) and chigi (千木 / ちぎ) ornaments on it’s ridge. To the naked eye, they may just seem like unimportant decorations, but they have traditionally been used to assist in differentiating Shinto Shrines from Buddhist Temples as well as giving an indication as to the ‘kami’ that are enshrined within.

Katsuogi are long timber-like pieces of wood that rest atop the flat base of a roof. While they serve a decorative purpose, they are also functional in that an even number of them indicates that a female divinity resides within the building, while an odd number signifies a male. In this case, there are three of them, which indicates that the kami enshrined within are male. On the other hand, the chigi, which are located on the two ends of the roof are also used as a method for identifying the kami enshrined within the building depending on the direction they’re facing. In this case, I found it interesting that they identify that the kami within are female.

One might hypothesize that the katsuogi and chigi were constructed in this conflicting way because there are both male and female kami within, but I have seen others suggested that it indicates that the kami are androgynous.

Moving on, located on the gables of both sides of the roof, you’ll find decorative ‘hanging fish’, known as gegyo (懸魚 / げぎょ). Unlike the two elements mentioned above, they don’t serve any relation to the kami housed within the building, but they are placed there as ‘protective’ elements to help prevent the building from burning down.

It is highly unlikely that the doors to the Main Hall will ever be open during your visit, unless you happen to go on a day when there is an event taking place. Nevertheless, located within the building there are what’s called ‘shintai’ (神体 / しんたい) for each of the three kami that are worshiped at the shrine. For those who are unaware, ‘shintai’ basically translates as the ‘sacred body of a kami’, but unlike in other places of worship around Asia, doesn’t feature a statue, instead, the ‘shintai’ is essentially a ‘repository’ that most often appears in the form of a mirror.

Ugeto-iwa Cave (穿戸岩 / うげといわ)

If you continue to follow the path up the mountain, you’ll eventually reach the Ugetoiwa Cave, which is quite important with regard to the origin of the shrine. I’m going to throw this out here and say that ‘cave’ is probably not the best word usage for this spot. Basically, it’s a massive rock at at the top of the ridge on the mountain where the shrine is located.

The rock has a giant hole in the middle, which is about ten meters in depth and looks almost as if its providing a window to the other side of the valley.

As part of the legends mentioned earlier as to the origin of the shrine, if you find yourself visiting the area, you should probably make sure to take a few minutes to walk to the top of the hill to check it out.

There is a small shrine nestled within the rock, and it is said that if you pay respect at the shrine, you’re likely to receive some help with regard to success in life and business ventures.

Getting There

 

Address: 2619 Kamishikimi, Takamori, Aso, Kumamoto (阿蘇郡高森町上色見2619)

GPS: 32.853848,131.158438

Telephone: 0967-62-1111

Unfortunately, this is where I have to let you in on a bit of bad news about the shrine. As I mentioned earlier, it’s located on the southern slopes of Mount Aso, in the countryside of Kumamoto Prefecture. Travel websites will say that it is a ten minute drive from Takamori Station (高森駅), but what they don’t tell you is that most of the stations along the Minami-Aso Railway (南阿蘇鉄道高森線) were damaged and shut down as a result of the 2016 Kumamoto Earthquakes, and are yet to re-open.

The important thing to keep in mind here is that the five stations that are (currently) operating on the line are yet to be re-connected to the Hohi Main Line (豊肥本線), which is accessible from Kumamoto and the other major cities in Kyushu.

Note: It is likely that the Minami-Aso Railway will re-open in its entirety in July 2023, so the railway from Kumamoto may once again become an option for getting to the shrine. Not a great one, though.

Yours truly.

The next problem you’ll face with the train is that even if you find yourself at Takamori Station, it’s not a highly trafficked station, so it might not be very easy to find a taxi to take you to the shrine. The more important issue in this regard isn’t getting the taxi to the shrine, it’s getting back that’ll cause the most difficulty. There is a taxi station located across from the train station, so you may be able to find a driver and negotiate a reasonable price, but it likely won’t be very cheap if you want them to wait for you while you check out the shrine.

The next issue travelers will face if that even though it’s not impossible to take a bus to the shrine, the buses only come a few times a day, so unless you plan on spending three or four hours at the shrine, public transport isn’t really a very good option.

Local travel sites often provide some public transport options to the shrine, but most of these are pre-pandemic, and in some cases, pre-earthquake, which means that they don’t take into consideration that many of these routes have been shut down due to a lack of tourists in the area.

My best suggestion would be to ignore anything you see on travel sites and simply open up Google Maps on your phone, map out your route to the shrine, and it’ll list the best options and the times that the buses will arrive.

Reminder: You’ll want to make sure that you’ve checked ‘Kamishikimi Kumanoimasu Shrine’ and not the nearby ‘Shikimi-Kumanoimasu Shrine’, which is another Kumano Shrine a short distance away.

For most travelers, the easiest way to get to the shrine is to take part in a Mount Aso day-trip tour, which is likely to include a stop at the shrine as part of the itinerary, or renting a car and getting there on your own.

Renting a vehicle in Japan is (surprisingly) inexpensive, and driving in this area in specific is quite leisurely as people drive quite slowly and politely.

If you have your own means of transportation, simply input the telephone number listed above into your vehicle’s navigation system and it’ll map out your route for you. One thing that is important to remember is that there is a large parking lot that is available for visitors free of charge, a short distance from the entrance. If you plan on visiting, don’t park on the side of the road, the parking lot is spacious enough that you won’t have any issue finding a spot.



Usa Grand Shrine (宇佐神宮)

Every person living on this planet is shaped by their experiences, and the environment for which they’ve grown up in. I’m the kind of writer that prefers letting the destinations I visit tell their own stories, but with this one, I’d like to start by offering a bit of personal perspective - I’m a Canadian, who has lived and worked in Taiwan for well over a decade. For both of the beautiful countries I’ve been lucky enough to call home throughout my life, one of the commonalities that you’ll find is that, for better or worse, they have both been very significantly shaped by their relatively modern colonial experiences.

As is the case with many countries around the world that have become popular tourist destinations, if you’re interested in taking in some of the country’s history, most of the time, the most historic locations you’re able to visit are their places of worship - To offer a few specific examples, the Cathedral-Basilica of Notre-Dame in Québec, and the Penghu Mazu Temple (澎湖天后宮), are generally regarded as the oldest places of worship in either Canada and Taiwan, both of which only back to the 16th century.

Four centuries of history certainly isn’t what many would consider short, but its all relatively modest by comparison if you find yourself traveling through Europe, especially in Rome, where buildings tend to measure their history in millennia rather than centuries. Similarly, although it might surprise a lot of people, Japan is one of those special countries where there are destinations you can visit that predate the written word. Obviously, some of the most historic buildings you’ll find in the country are its places of worship, most often it’s Shinto Shrines, some of which amazingly date back longer than human’s have been documenting these things!

With an estimated one-hundred thousand shrines scattered across the country, anyone who visits Japan won’t ever find themselves very far away from one of them. However, one thing you’ll learn during a trip to the country is that there are shrines, and then there are shrines. What I mean is that when it comes to the country’s most significant places of worship, there are the shrines that receive few visitors, and then there are others that have become so popular that tens of thousands of people visit daily, and have become some of the most popular destinations for international tourists.

When it comes to experience and perspective that I mentioned earlier, I’ve been fortunate over the years to have visited Shinto Shrines in Japan, Okinawa, and even some of the few remaining here in Taiwan. These places of worship come in all shapes and sizes, and one thing you’ll learn during your travels is that their age doesn’t necessarily indicate very much but in some cases, the size and the age of a shrine are on such a scale that your experience and perspective might change entirely.

In Japan, shrines are most often referred to as ‘jinja’ (神社/じんじゃ), but when it comes to the kind of scale and perspective that I’m addressing today, there are only about thirty shrines out of the one-hundred thousand that are given the title ‘jingu’ (神宮 / じんぐう). The most important shrine in the entire country, Ise Grand Shrine (伊勢神宮), is a shrine so important that its existence coincides with the origin of the Japanese nation, and its culture and language. So when it comes to these ‘Grand Shrines’, you’re likely to notice that not only are they some of the most historic places of worship in the country, but they are also related closely to the imperial family, and the origin of some of the most important figures in Shintoism.

The subject of today’s article is Kyushu’s Usa Grand Shrine (宇佐神宮), which in terms of ranking, is considered second only to the Ise Grand Shrine, making it one of the nation’s most sacred shrines. Dedicated to Hachiman (八幡神 / はちまんしん), the shrine is the headquarters of a network of more than 44,000 shrines scattered throughout Japan, dedicated to one of the nation’s most beloved spiritual figures. An emperor during his mortal life, it is said that Hachiman made his appearance as a ‘kami’ in this location several thousand years ago, and as the ‘protector deity’ of the country, the importance of this shrine is one that can’t be overstated.

Sadly, it seems that very little has been written about this shrine in the English language, so after quite a bit of research and translation, this article may end up becoming one of the most in-depth pieces that you’ll be able to find on the Internet. Yes, it’s a long article, but I’m attempting to tell the story of one of Japan’s most important and oldest shrines, dedicated to one of its most prolific religious figures.

I’ll start by introducing Hachiman, and then move on to the shrine’s history, its architectural design, and then end with details about how you can visit. If you plan on visiting the shrine, or have already visited and just want to know more about it, I hope you’ll find this article of use.   

Usa Grand Shrine (宇佐神宮 / うさじんぐう)

When it comes to the long list of kami within Shintoism, Hachiman is regarded as somewhat of a newcomer in the scheme of things. Compared to Izanagi (伊邪那岐) and Izanami (伊弉冉尊), the creator deities, and their daughter Amaterasu (天照大神), whom the Japanese Imperial Family derives their ancestry from, it took Hachiman considerably longer to make an appearance. Nevertheless, in the ‘short time’ that he’s been around, he has cemented his position as one of the most prolific spiritual figures in Japan, regarded as the divine protector of the Japanese nation, the Japanese people, and the Imperial House. With over 44,000 shrines dedicated in his honor, you might be wondering what specific relevance he has to a somewhat obscure coastal town in northern Kyushu, which is something I’m going to explain, as the legend of Hachiman, and the spread of his worship throughout the country are all things that got their start in this quiet community.

In the English-language, ‘Hachiman’ is often referred to as the Japanese ‘God of War’, but that is something that I’d consider a vastly over-simplification of the role he has played as a spiritual protector of the Japanese nation. Has his worship been usurped for war-like purposes? Sure. But when your ‘official messenger’ is a dove, you probably aren’t the Japanese version of the Greek God Ares. Better known as a tutelary god of warriors, Hachiman is better referred to as a ‘protector deity’, and although he is often associated with archery, he is also an important figure with regard to providing blessings to farmers, fishers, and travelers, as well as being a patron deity of commerce and industry, scholarship and the arts, among numerous other roles.

Cementing his popularity and role as a ‘protector’ deity, Hachiman is regarded as being responsible for the ‘Divine Wind’, better known as ‘Kamikaze’ (神風 / かみかぜ) that helped to stave off the invasion of Mongol forces on two separate occasions. In both cases, it’s likely that typhoons in the Sea of Japan thwarted the attempted invasions that took place in 1274 and 1281, nevertheless, they ensured that large portions of the invasion forces that helped ensure that Japan would become one of the few countries of Asia that were able to resist the power of Kublai Khan.

The story of Hachiman, however, goes back almost a thousand years prior to the Mongol invasions, to the life of Emperor Ojin (應神天皇 / おうじんてんのう), the fifteenth emperor of Japan, who is considered to have ruled the country between 370 and 410AD. Yet, something that we need to take into consideration when telling the life story of the emperor is that his life took place before written record became common in Japan.

Thus, much of what we know about his life is told in the Kojiki (古事記), and the Nihon Shoki (日本書紀),  known in English as the ‘Records of Ancient Matters’ and the ‘Chronicles of Japan,’ respectively. These books, which are part historical record, part myths and legends are essentially a historical account of the ‘origin’ of the Japanese nation, the imperial line of succession and the origin of many of the most important deities worshiped in the country. However, if we take into consideration that both of these chronicles were authored several hundred years after the emperor’s death, it is difficult (but important) to differentiate fact and fiction.

Like most stories, Emperor Ojin’s starts with his parents, Emperor Chuai (仲哀天皇 / ちゅうあいてんの), the fourteenth Emperor of Japan, who was thought to have ruled between 192 and 200AD, and his mother, Empress Jingu (神功皇后 / じんぐうこうごう). Part of the reason why Hachiman worship, and by extension, the worship of the Sumiyoshi Sanjin (住吉三神) are so common in Kyushu is in part due to Ojin’s father setting up his capital in Kyushu rather than Yamato (大和国), as well as the legends that resulted in Ojin’s birth. It’s actually kind of amazing when you realize that events which took place in Kyushu, long before the written word became common in Japan, are still having such an immense effect on the people of the country today.

Link: Emperor Chuai (Wiki) | Emperor Chuai (Japanese Wiki)

Ojin’s mother, Empress Jingu was a shamaness, who is said to have been possessed by supernatural force on the eve of a battle with a clan just outside of the area we know today as Fukuoka. According to the legend, the ‘supernatural force’ insisted that the Emperor abandon his battle with the clan, and instead take to the water to conquer the ancient Korean kingdoms of Silla, Goguryeo, and Baekje. Scorning the idea, the emperor continued with his battle plans, and ended up dying in the process. Having warned her husband to pay homage to the gods, the emperor’s refusal to adhere to their will was considered the reason for his untimely demise. Thus, the Empress Consort, who was pregnant with their son at the time, ascended the throne as regent, and carried out the gods request to invade the Korean kingdoms.

According to the legends in the Kojiki and Nihon Shoki, the Empress prayed to the ‘Sumiyoshi Sanjin’ prior to setting sail, and with the blessing of the gods, the military expedition went quite smoothly. The legends of Jingu’s ascension to the throne, her status as a shaman, and the conquest of the Korean kingdoms is explained quite well in the article below, as are the questions to whether they are actually based on historic fact.

Link: Jingu c. 201–269 (Encyclopedia) | Empress Jingū (Wiki)

Prince Ojin was born in 201AD in Tsukushi Province (筑紫国) a region that would later become known as Chikuzen Province (筑前国), and most recently Fukuoka Prefecture (福岡縣). When the prince was born, ‘eight banners’ were raised on top of a mountain on an island that celebrated his birth (and in some accounts) celebrating the victory over the Korean kingdoms. According to records, he was crowned prince at the age of four, but for some reason his mother clung onto power until he was (at least) seventy years old. His reign would then last for the next four decades, which means he lived until he was 110 years old, but some accounts suggest he died at the age of 130.

The life of Emperor Ojin, and the length of his reign are open for debate, but it’s generally thought that he was born in 201, died in 310, and his reign lasted from 270-310. Obviously, it’s not likely that he lived until he was 130 years old, but legends are legendary for a reason.

During his reign, it is said that he encouraged agricultural development and the construction of irrigation networks. He also invited craftsman, artists and scholars from both China and Korea, who came to Japan, bringing with them knowledge of spinning, sewing and weaving as well as the introduction of literature, which helped to further develop scholarship in the country.

As things go, one fateful day on the northern coast of Kyushu, in the land of Usa (宇佐の地), a kami going by the name of ‘Hachiman (八幡神 / はちまんしん) emerged from a freshwater pool in front of a priest named Oganohigi-no-mikoto (大神比義 / おおがのひぎ). First appearing in the form of a three-year old child sitting on a bamboo leaf, the kami introduced himself before transforming into a golden hawk and flying along the Yakkan River, which runs through the Land of Usa, eventually finding a perch on top of a pine tree next to the river.

According to legends, strange events started taking place at the ‘divine pool’ several years before Hachiman appeared, so Oganohigi, went to the pool, announced to the kami that he would go on a fast, and pray in front of the pond every day until the kami appeared. Praying for three years, the kami finally emerged and proclaimed:

I am Hachiman, the incarnation of the Sixteenth Emperor of Japan, Hondawake.

「我は是れ日本人皇第十六代誉田天皇広幡八幡麻呂なり」

(ほんだのすめらみことひろはたのやはたまろ)

I am a powerful Bodhisattva, and will use my power to protect the nation.

「我が名は、護国霊験威力神通大自在王菩薩」

(ごこくれいげんいりきじんつうだいじざいおうぼさつ)

Note: According to the traditional list of emperors, Emperor Ojin was the ‘fifteenth’ emperor, but when he appeared as Hachiman, he referred to himself as the ‘sixteenth’ emperor. It’s likely that he considered his mother, Empress Jingu, to be the fifteenth ruler of the country, not himself. Likewise, he referred to himself as ‘Hondawake’ (誉田別尊), which was one of his courtesy names. Finally, he referred to himself as a ‘Bodhisattva’, or a ‘Buddha’, which conveniently points to his future position within the syncretization of Buddhism and Shintoism, which started at the Usa Shrine. Obviously, given that these aren’t direct quotes, we’ll just have to believe that this is what he actually said.

Link: 宇佐神宮 (九州の神社) | List of Japanese Emperors (Wiki)

These days, it might seem a bit strange that the appearance of a supernatural figure in a random pond would offer much proof of the identity of god, but if we take a look at his name, it offers us some pretty important clues. Known either as ‘Yahata-no-kami’ (やはたのかみ), or Hachiman (はちまんしん), the name used to represent the kami essentially translates to the ‘Kami of Eight Banners,’ which should have been a pretty good indication as to his identity to anyone living in the area at the time.

One of the most important things to keep in mind about the legend of Hachiman’s first appearance, though is that although he appeared in the pool within the precinct of the Usa Grand Shrine today, the first shrine constructed in his honor wasn’t actually in this location. After proclaiming to the priest that he was Hachiman, the kami transformed into a Golden Hawk and then flew down the river until he found a suitable place to perch. Thus, the first Hachiman Shrine, known today as the Takai Shrine (鷹居神社 / たかいじんじゃ) is located a short distance away along the river, where it is said that Hachiman stopped to rest. Nevertheless, the shrine would eventually expand, and within a decade, it was moved to its current location.

Construction on the Usa Grand Shrine was completed in stages, but work on the shrine started in the year 725, which (as I’m writing this) makes the shrine just short of 1300 years old. Constructed on the peak of Mount Usakame (宇佐亀山), which overlooks the divine pool, between 725 and 729, the shrines to Hachiman and Hime-no-Okami were constructed, with the third shrine dedicated to Empress Jingu completed in 823.

For those of you who are interested in the evolution of the modern Japanese state, you’re likely aware of how the ‘Meiji Restoration’ (明治維新) brought about enormous changes in Japan's political and social structure, but also acted as the first steps in the nation’s march toward becoming an imperialist state. Of the major changes that took place within Japan at the time was the forced separation of Buddhism from Shinto places of worship. Known in Japan as ‘Shinbutsu Bunri’ (神仏分離 / しんぶつぶんり), the separation policy ended the thousand year syncretic-relationship between the two, as Buddhism had become regarded as a foreign influence, whereas Shintoism would become a vehicle for the promotion of Japanese nationalism.

What you might not be aware of, though, is that the practice of ‘Shinbutsu-shugo’ (神仏習合 / しんぶつしゅうごう), or the ‘syncretic-relationship of Shintoism and Buddhism mentioned above, got its start shortly after the introduction of Buddhism to Japan in the 6th century. It is generally agreed upon that the model of the syncretic-relationship that would form between the two religions originated at the Usa Shrine, with the construction of the Miroku-ji Temple (弥勒寺) within the shrine’s precinct. As the first-known fusion of a Grand Shrine with a Buddhist Temple, the shrine was known as Usa Hachimangu-ji (宇佐八幡宮寺) for the next thousand years.

Keeping in mind that when Hachiman made his first appearance at the Divine Pool, he referred to himself as a ‘Great Bodhisattva’ (八幡大菩薩), this is something that could be interpreted as a sign of the times, given that Buddhism had at that point just started to have an influence on Japan. Nevertheless, as a kami that shared a special relationship with Buddhism, Usa Grand Shrine is also known for another ‘first’, in that it was the first shrine to make use of a ‘mikoshi’ (神輿 / みこし), essentially a ‘sacred palanquin’ that allows an enshrined kami to go on a road trip. In the thousand years since, these palanquins have become quite common across Japan, but when those in charge of overseeing the construction of the Grand Buddha (大仏) at the Todai Temple (東大寺) in Nara requested the presence of Japan’s protector deity, Hachiman made the trip from Usa to Nara in his mikoshi to help oversee the process.

As the centuries passed, the shrine continued to expand, and as the influence of Hachiman grew, the Iwashimizu Hachimangu Shrine (石清水八幡宮) was constructed in the capital of Kyoto in 823, and shortly after, Hakozaki Shrine (筥崎宮) was constructed at the site of the birthplace of Emperor Ojin in Hakata Bay in 923. Together, the shrines are today known as the ‘Three Most Important Hachiman Shrines in Japan’ (日本三大八幡宮). Obviously, the Usa Grand Shrine has played an important role throughout its history as the birthplace of Hachiman worship, but it’s important to note that Fukuoka’s Hakozaki Shrine is widely regarded as having played an instrumental role in the explosion of Hachiman worship in Japan.

Link: Hakozaki Shrine (筥崎宮)

Known as the ‘Great Protector Deity of the Japanese nation’, when the Mongols attempted an invasion of Japan, people prayed at the Hakozaki Shrine for Hachiman’s protection. Then, as the invasion forces approached Hakata Bay, a ‘Divine Wind’, better known as ‘Kamikaze’ (神風 / かみかぜ) suddenly appeared and swept away the vast majority of the invasion forces. This happened not only once, but on two separate attempts, ensuring that Japan would become one of the few countries of Asia that would resist the power of Kublai Khan. As you can imagine, as news of these ‘Divine Winds’ spread around 13th Century Japan like wildfire, and the popularity of Hachiman swelled, with every community wanting a Hachiman Shrine of their own.

As the head Hachiman shrine in the country, the responsibility of the Usa Grand Shrine grew over the centuries, yet as the shrine’s importance grew, it also found itself involved with the various struggles that took place in the country with people attempting to usurp the power of Hachiman for their own benefit. The shrine was partially destroyed on several occasions throughout its history falling victim to civil war, earthquakes and typhoons. However, two major changes took place during the Meiji and Showa eras that need to be mentioned.

I touched upon the first event earlier when the Meiji Restoration forced the separation of Buddhist influences from Shinto Shrines. Sadly, this meant that the more than a thousand year old Miroku-ji Temple, which was a major part of the shine was torn down, removing an important piece of the beating heart of the shrine. The empty space in the shrine caused by the removal of the temple forced a major remodeling project that took place in 1932-1941, known as the ‘Great Showa Reconstruction’ (昭和大營造) transforming the layout of the shrine, which is something that I’ll touch on a bit later.

Newly constructed Visiting Path dating back to the Showa Reconstruction.

Detailing the history of a 1300 year old place of worship is a difficult task, and even though I’ve just barely touched on some of the important events that have shaped this shrine, I think the most important thing to keep in mind is that the Usa Grand Shrine is one that has had a tremendous influence over the people of Japan. It has also for many reasons throughout its history been a trendsetter, and as it approaches its thirteenth century of existence, it would be an understatement to say that the shrine has a lot to celebrate.

Below, I’ve put together a timeline of important dates that took place over the thirteen centuries of the shrine’s history. This list is by no means complete, but I’ve done my best to include some of the key events that helped create the Usa Grand Shrine that we’re able to enjoy today:

Usa Shrine Timeline

  • 571 (欽明天皇32年) - Hachiman emerges from the Divine Pool (御霊水) in the land of Usa on the northern coast of Kyushu.

  • 712 (和銅5年) - The first Hachiman Shrine is constructed in the land of Usa, currently known as the Takai Hachiman Shrine (鷹居八幡神社).

  • 716 (霊亀2年) - The shrine is moved further into the mountains to a location that is currently known as the Oyamada Shrine (小山田神社).

  • 720 (養老4年) - Japan’s first Hojo-e festival (放生会), a ritual of releasing captive animals is held at the shrine. The festival would become a popular ritual among the major Hachiman shrines.

  • 725 (神亀2年) - The Ichinogoten (一之御殿), dedicated to Hachiman is constructed on Mount Usakame (宇佐亀山)

  • 729 (天平元年) - The Ni-no-goten (二之御殿) is constructed to enshrine Hime-no-Okami (比売大神).

  • 738 (天平10年) - The Miroku-ji Temple (弥勒寺) was constructed on the shrine’s grounds, creating what is considered to be the first instance of a ‘Jingu-ji’ (神宮寺), a fusion of Shinto Shrine and Buddhist Temple within one precinct. The shrine would be known as the Usa Hachimangu-ji (宇佐八幡宮寺) for the next thousand years.

  • 749 (天平勝宝元年) - The earliest recorded usage of a ‘mikoshi' (神輿 / みこし), or a sacred palanquin, takes place when the spirit of Hachiman makes the trip from Usa to Nara (奈良) to guard over the construction of the Daibutsu (大仏) at Todai-ji (東大寺).

  • 769 (神護景雲3年) - When Buddhist monk Dokyo (道镜) attempted to usurp the throne by manipulating Empress Shotoku (称徳天皇), Wake no Kiyomaro (和気清麻呂), a high-ranking court official was sent to the shrine to receive a ‘divine message’ that only the descendants of Amaterasu could become emperor, which prevented the monk from taking the throne.

  • 804 (延暦23) - Kukai (空海) and Saicho (最澄) visit the shrine to pray for safety prior to their voyage to China. The two would eventually return to found the Shingon (真言宗) and Tendai (天台宗) sects of Buddhism in Japan.

  • 810-824 (弘仁年中) - The Lower Shrine (下宮) is constructed.

  • 823 (弘仁14) - The San-no-goten (三之御 / さんのごてん) is completed and Empress Jingu (神功皇后) is enshrined next to Hachiman.

  • 859 (貞観元年) - The Iwashimizu Hachimangu Shrine (石清水八幡宮) is constructed in Kyoto as a branch of Usa Shrine, with the purpose of spreading Hachiman’s influence over the capital.

  • 923 (延喜21年) - Hakozaki Shrine (筥崎宮) is constructed near Hakata Bay, in what is thought to be the birthplace of Emperor Ojin. The shrine would ultimately become instrumental in the spread of Hachiman’s worship in Japan.

  • 1868 (明治元年) - The Meiji Restoration (明治維新) decrees that Shinto Shrines and Buddhist Temples must be separated in order to protect the state religion from foreign influences. Thus, the Buddhist temples located within the shrine were removed.

  • 1872 (明治5年) - The shrine is officially renamed Usa Grand Shrine (宇佐神宮).

  • 1952 (昭和27年) - The Main Hall is designated as a national treasure (国宝).

  • 1986 (昭和61年) - The shrine is designated as a national historic site (日本の史跡一覧).

  • 1991-1995 (平成3-7年) The main shrine, and other buildings within the precinct have their roofs re-done with fresh cypress bark (檜皮葺 / ひわだぶき).

  • 2012-2015 (平成24-27年) - The Main Hall undergoes a three-year period of restoration.

  • 2016 (平成28年) - The Kumamoto Earthquakes rock Kyushu, and parts of the shrine are damaged.

  • 2022-2025 (令和4年 - 7年) - The Upper Shrine’s Western Gate (上宮西大門) undergoes an expansive three-year restoration project

  • 2023 (令和5年年) - Repair work on the shrine’s famed Kure Bridge (呉橋 / くれはし) is completed.

Hachiman’s Crest, and the crest of the Usa Grand Shrine.

Kami Enshrined at the Usa Shrine

In addition to Hachiman, there are another two kami enshrined within the Main Hall of the Usa Shrine. That being said, there are a number of auxiliary shrines on-site that are home to a several other important figures, which I’ll cover a bit later. As mentioned in the timeline above, these three kami have been housed within their respective buildings since 725, 729, and 823, which means that it has been their home for almost thirteen centuries.

The three kami enshrined within are as follows:

  1. Hachiman (八幡神 / はちまんしん), otherwise known as Emperor Ojin (應神天皇 / おうじんてんのう), as mentioned earlier he serves a number of roles as the ‘Protector of Japan,’ the ‘Protector of the Imperial Family,’ and is the patron of seafarers and farmers, commerce, industry, scholarship, the arts, archers, martial arts, etc.

  2. Hime no Okami (比売大神 / ひめのおおかみ) - This one is a bit confusing as ‘Hime no Okami’ isn’t the name of a specific kami, but is the name that is often used for the ‘wife’ or the ‘daughter’ of the primary kami of a shrine. There is a bit of debate regarding this, but it is generally thought that the ‘Hime no Okami’ that appear at Hachiman Shrines are in fact the three Munakata Goddesses (宗像三女神 /むなかたさんじょじん), direct descendants of Amaterasu who are worshiped by travelers and seafarers alike.

  3. Empress Jingu (神功皇后 / じんぐうこうごう) - The mother of Emperor Ojin, who was an empress and shamaness. Stories of her life are told in the Kojiki and Nihon Shoki, and as a kami she is worshiped for good fortune, passing exams, health and wellness, martial arts, etc. Like her son, Ojin, she has also been syncretized with Buddhism where she is important for childbirth and child-rearing, household safety, etc.

Architectural Design

When you talk about this shrine, there are quite a few superlative facts that make it stand out among the hundreds of thousands of shrines across the country - as the ‘first’ shrine constructed for the worship of Hachiman, over the past thirteen centuries, it has taken on the role as the head shrine of the more than forty-thousand shrines that have been constructed across the country in his honor. Given that the shrine is widely regarded as second only in importance to the Ise Grand Shrine (伊勢神宮), it is on the short list of shrines that receive imperial patronage, and also finds itself on an even shorter list of shrines that receive imperial envoys

Note: In the modern system of ranking these places of worship, shrines are divided up into a hierarchical classification system that differentiates official governmental shrines from others. Of the imperial shrines, sixty-seven of them are classed as culturally or historically significant and receive regular visits from members of the royal family. Within this hierarchy of shrines, Usa Jingu finds itself on the list of first-rank shrines, as well as an even more exclusive list, both of which I’ll link to below if you’re interested in researching further.

Kanpei-sha (官幣大社 / かんぺいたいしゃ) - a list of sixty-seven shrines throughout the country that receive imperial patronage and visits. Known for their cultural and historic value.

Chokusaisha (勅祭社/ちょくさいしゃ) - a list of sixteen shrines around the country that receive imperial envoys who come to perform rituals at the shrines once every ten years. Notably, the shrines on this list are some of the most influential in Japan.

Obviously, the Usa Hachiman Shrine is significant for a number of reasons, but as the first shrine dedicated to Hachiman, one of the main reasons that the shrine stands out is because it has become a prototype of the Hachiman-style of architectural design. Hachiman-zukuri (八幡造 / はちまんづくり) as it is known in Japan, has become an style of architectural design that has been emulated across the country, and refined over the past thirteen centuries. Taking into consideration that there are nearly a hundred-thousand shrines spread throughout Japan, and just a little under half of them are dedicated to Hachiman, this style of architectural design, which got its start with the Usa Jingu, is one of the most significant in the country, and has a very well-established set of standards that dictates how certain buildings and objects are constructed to ensure that they are given Hachiman’s stamp of approval.

In my article about Fukuoka’s Sumiyoshi Shrine, one of the important points I made regarding its architectural design is that it serves as the archetype of one of the three ancient styles of architectural design that pre-dated the introduction of Buddhism to Japan. When you visit that particular shrine, what you’ll experience is purely ‘Japanese’ in design - However, in the case of the Usa Hachiman Shrine, and those that followed in its footsteps, the ‘hachiman-zukuri’ design was one that was heavily influenced by the introduction of Buddhism to Japan, and many of its design elements were borrowed from the architectural styles inspired by China and Korea. Nevertheless, one of the things we have to keep in mind is that the shrine that we see today isn’t the original that was constructed over a thousand years ago, so even though it serves as the prototype, people often also look to the Iwashimizu Hachimangu (石清水八幡宮 / いわしみずはちまんぐう) in Kyoto, and the Ima Hachimanguu (今八幡宮 / いまはちまんぐう) in Yamaguchi (山口縣) as the (current) oldest known examples of this style of architectural design.

As I move on below, I’m going to introduce the key parts of the shrine individually, and in each case I’ll do my best to offer information about their age, their architecture, and what defines the ‘Hachiman-style’ of design. Before I start though, it has to be said that this shrine is expansive, so I won’t be covering every single thing that you’ll see. If I could make a comparison, this shrine is a bit like a visit to Disneyland. Obviously when you visit a place like that, you want to see as much as possible, but due to time constraints, it’s just not possible to see and do everything. Similarly, a few of the buildings at the shrine were being restored during my visit, so I won’t be including much detail about them.

That being said, I realize that some of you may not be all that interested in all of this detailed information - So if you just want to know what each part of the shrine is in simple terms, click the collapsible button below. Within, I’ll provide the map of the shrine with translations as to what each section is so that you can better understand what you’ll see when you visit.

    1. The Visiting Path (參道 / さんどう) - a long walking path that features shrine gates (鳥居), stone lanterns (石燈籠), and stone guardians (狛犬), in addition to practical things like a car park, restaurants, etc.

    2. The Purification Fountain (手水舍 / ちょうずしゃ) - a fountain where visitors are expected to perform a purification ritual before entering the sacred space of the shrine.

    3. Talisman Hall (絵馬殿 / えまでん) - a building that is used to collect plaques and talismans that help to tell the story of the shrine’s history.

    4. Administration Offices (社務所 / しゃむしょ) - the shrine is home to two Administration Offices where visitors are able to purchase talismans.

    5. Western Gate (西大門) - the main entrance to the sacred space of the upper shrine.

    6. Tower Gate (樓門 / ろうもん) - one of the stand out architectural features of the shrine, the Tower Gate helps to form a perimeter around the Main Hall.

    7. Main Hall (上宮本殿 / ほんでん) - the most sacred space of the shrine, home to its three primary kami.

    8. Divine Tree (御神木·大楠) - an eight hundred year old tree next to the Hall of Worship.

    9. Lower Shrine (下宮)  - similar to the upper shrine, but is the location where the kami go to rest during the afternoon and nights.

    10. Divine Water Pool (御霊水 / ごれいすい) - a pool of water where it is claimed that Hachiman made his first appearance as a kami.

    11. Auxiliary Shrines (攝末社 / せつまつしゃ) - the shrine is home to a number of auxiliary shrines, each of which has its own dedicated building in different locations throughout the grounds.

The Visiting Path (參道 / さんどう)

The Visiting Path, otherwise known as the “sando” (さんどう) is an important aspect of the design of any Shinto Shrine. It is essentially just a long road that leads visitors to the shrine. While these paths serve a functional purpose, they are also quite symbolic in that the “road” is the path that one takes on the road to spiritual purification. Keeping in mind that ‘Shintoism’ itself is literally translated as the “Pathway to the Gods” (神道), having a literal path that leads the worshiper from the realm of the profane to that of the sacred is quite important. 

The average length of a Visiting Path at a shrine tends to vary based on the amount of space reserved for the shrine, but one thing that almost always remains true is that you’ll find stone lanterns (石燈籠 / しゃむしょ), shrine gates (鳥居 / とりい) and stone guardians (狛犬 / こまいぬ) on your journey.

In this case, the Visiting Path is a bit more complex than what you’ll find at other shrines as there are several entrances to the shrine, all of which eventually meet up with the main path. One thing that remains the same for each option is that you’ll have to cross one of the four ‘sacred bridges’ (神橋 / しんきょう) over the Yorimo River (寄藻川 / よりもがわ).

With regard to the complexity of the shrine’s Visiting Path, we have to go back to some points made earlier about the shrine’s history. Keeping in mind that for most of its history, it was also the home to the Miroku-ji Buddhist Temple, the original approach, known as the ‘Nishi Sando’ (西參道) would have crossed the river on the Kurehashi Bridge (吳橋) where visitors would be met with a number of restaurants, shops and inns prior to arriving at the temple.

When the temple was removed from the site during the Meiji Restoration in the late 1800s, the path remained the primary path for the next few decades, but a major remodeling project between 1932-1941, known as the ‘Great Showa Reconstruction’ (昭和大營造) altered the original Visiting Path, with all of the shops and restaurants relocated to their current location. Notably, one of the major aspects of the reconstruction project with regard to the Visiting Path was that the beautiful ‘Hishigata Pond’ (菱形池) within the shrine was also reshaped and expanded to make way for the path.

Note: Today, the famed Kurehashi Bridge is only accessible for members of the imperial family, and is typically only opened up once every decade for the general public.

For the average visitor, the path starts from the main entrance to the shrine, where there is a large parking lot for cars and tour buses. Next to where the path starts, you’ll find a number of restaurants and gift shops where you can get something to eat, or have a snack before you visit the shrine, or purchase some of the local specialties.

Starting from this area, you’ll pass through the first large shrine gate, then cross a bridge along the way to the shrine. Shortly after crossing the bridge, you’ll find a set of stone guardians (狛犬 / こまいぬ), followed by an even larger shrine gate as the Visiting Path opens up to a much wider road that leads to the sacred space of the shrine.

Of particular note, along the Visiting Path, you’ll encounter five shrine gates. Traditionally, in Japan, these gates are given numbers, for example, the first gate (一の鳥居), second gate (二の鳥居), third gate (三の鳥居), and so on. In this case, the naming of the gates is a bit confusing. The reason for the confusion is due to the fact that the gate that is located in front of the entrance to the Upper Shrine is referred to as either ‘the first gate’, the ‘Hachiman Gate’ (八幡鳥居) or the ‘Usa Gate’ (宇佐鳥居). In most cases, being the fifth gate within the shrine, it would be referred to simple as the ‘fifth gate’ (五の鳥居) in terms of numerical progression. The reason for the naming in this case is quite simple - as the oldest gate at the shrine, it is regarded as the first known example of the ‘Usa-style gate’ (宇佐鳥居), which is architecturally different in its design than many of the other styles of gate designs you’ll find across Japan.

In this style of design, you’ll notice that the top beam is curved upwards with two black circular rings below it. The horizontal beams are not connected with a central strut, and you won’t find a shrine name plate in the middle of the space between the top and lower beams. Following suit with the buildings that you’ll see at the shrine, the shrine gates are colored in a red vermilion lacquer, which has a symbolism of protecting the shrine from evil and misfortune. The ‘first’ shrine gate has a history dating back at least 1300 years, but the date of the construction of the current gate is unknown, however it is estimated that it is at least more than 150 years old.

Link: Usa Tori Gates (Usa City Tourist Navigation)

In another departure from the norm, once you cross the bridge, you’ll encounter what is the largest shrine gate at the shrine. Looking at the map of the shrine, it would normally be regarded as the ‘second shrine gate’, but instead, it is known simply as the ‘Ootori’ (大鳥居), or the ‘large shrine gate.’ Obviously, given its name, the scale of this gate is much larger than the others you’ll find within the shrine, and it’s absolutely beautiful. This particular gate originally dates back to the year 1111, but it was destroyed by a typhoon in the 1930s, and replaced with the current gate in 1937, making use of cement to ensure its longevity.

The original visiting path mentioned above still exists today, and you can go and check out the ruins where the Buddhist temple once existed, but the path today is tree-lined and meets a back road where you’ll have to cross another bridge to get back to the main road. Obviously all of the businesses, restaurants and inns that used to line the street have been torn down, with most of them moved close to the parking lot.

Administration Offices (社務所 / しゃむしょ)

Typically, within a Shinto Shrine, you’ll find space reserved for administrative purposes. Most often referred to in Japanese as the ‘shamusho’ (社務所 / しゃむしょ), within these buildings, the shrine’s priests, priestesses, and other personnel rest when they are not performing their duties. Similarly, within larger shrines like this, you’ll also find space allocated for holding lectures, or for anyone who has a special request for prayers or rites. Given the importance of the shrine, there is also a large building that is used primarily for holding wedding banquets and large events. For most visitors, though, the most popular section of a shrine’s administration space is it’s ‘Public Counter’ (授与所 / じゅよじょ), which is like a gift shop where visitors can ‘receive' (purchase) shrine branded tokens and amulets, or talismans to hang.

Located along the Visiting Path just beyond the main shrine gate, you’ll find several large buildings to the opposite of the Purification Fountain and the Talisman Hall. The main administrative offices of the shrine are located in this area, while the Wedding Hall (參集殿) is located within a beautiful building set upon a lake that is filled with lotus blossoms. Next to the lake you’ll find the administrative buildings, which are housed within large traditionally designed buildings that maintain the red lacquer color scheme that you’ll see with the other buildings within the shrine. The interior space of these buildings aren’t part of the tour, and (for the most part) aren’t accessible to visitors, so you can’t actually go inside. However, next to the main administrative building, you’ll find a smaller building, which acts as one of the shrine’s two gift shops, where you can purchase amulets from the shrine staff.

Given that there is a considerable distance between the lower ground-level section of the shrine, and the Upper Shrine space, you’ll discover that the administration space is divided into two sections. So when you reach the interior of the shrine after climbing up the mountain, there’s yet another Public Counter where you can purchase talismans, and another large traditionally designed administration building where the shrine’s staff are able to hang out.

I’m not making a commission from sales or anything, but if you’ve taken the time to visit the shrine, I highly recommend purchasing one of the small amulets while you’re there. They have a number of them, which serve different purposes, such as traffic safety, good luck, health, etc. They’re not expensive, and they help with the costs of running the shrine. They’re also great as souvenirs to bring back from a trip to Japan.

Talisman Hall (絵馬殿 / えまでん)

Located directly across from the shrine’s administration office, and next to a lake, you’ll find an open-style building known as the ‘Talisman Hall’, which is actually something that is relatively new to me. I’ve visited a few Shinto Shrines, but I only ever recall encountering these buildings at the Hakozaki Shrine as well as the Dazaifu Tenmangu Shrine (太宰府天満宮), both of which are located in Fukuoka.

For visitors to a Shinto Shrine, ‘talismans’ are the pieces of wood, known as ‘Ema’ (絵馬/えま) that you’re able to purchase from the shrine staff. The talismans act as both a donation to the shrine, but are also quite decorative as people write prayers or wishes on them and leave them hanging at the shrine. This building isn’t for those types of talismans, though. What you’ll find within are large wooden plaques that feature quite a bit of information on them. Given their age, though, many of them have faded over the years.

During my visit, the hall was empty, but it was an excellent refuge from a short spot of rain that was coming down. Following suit with the color scheme that you’ll find with most of the buildings at the shrine, the Talisman Hall has white walls with red lacquer. The space is mostly open, with large wooden pillars within the interior working together with a network of trusses in the ceiling to help support a large asymmetrical-gabled kirizuma (切妻屋根) roof. The interior of the building tends to be pretty dark, or at least it was on the day that I visited, due to it being rainy at the time. If you’re inside, take a few minutes to check out some of the plaques.

The Purification Fountain (手水舍 / ちょうずしゃ)

Located across from one of the shrine’s administration buildings along the Visiting Path, you’ll find what is known as the 'Purification Fountain’, another essential addition to any Shinto Shrine. These fountains are sure to appear in some shape or form at every shrine you visit as they mark another important philosophical aspect of Shintoism, referred to as “hare and ke” (ハレとケ), or the sacred-profane dichotomy. Similar to the Visiting Path, which marks the ‘journey’ from the sacred to the profane, it is important for anyone who enters the sacred space of a shrine to cross the barrier in the cleanliest possible manner.

To achieve this, visitors take part in a symbolic purification ceremony at the chozuya (ちょうずしゃ) or temizuya (てみずしゃ) provided prior to making their way toward the inner sanctum of the shrine. 

For the Japanese, this symbolic purification ceremony is something that comes naturally, as it is something that they have grown up with. For those of us international tourists, the process can be somewhat confusing, so the shrine has placed easy to understand step-by-step instructions next to the fountain that assists in the process. To save yourself from making a cultural faux-pas during your visit, you should follow these steps:

  1. Pick up a ladle with your right hand.

  2. Scoop some water from the fountain

  3. Purify the left hand.

  4. Purify the right hand.

  5. Pour some water in your left hand and put it in your mouth.

  6. Bend over and (cover your mouth as you) spit the water on the ground.

  7. Purify the handle of the ladle and then lay the dipper face down for the next person to use.

Link: How to Perform the “Temizu” Ritual (Youtube)

The fountain is rectangular in shape with fresh water constantly moving around. In the middle you’ll find a network of bamboo poles that are there to allow visitors to place their ladles on when they’ve completed the purification process. According to my research, the fountain was constructed using 24 tons of Japanese granite, which is quite impressive.

The fountain is contained within an open-structure that is supported by four thick wooden pillars, which help to support another beautiful asymmetrical-gabled kirizuma-zukuri style (切妻造 / きりづまづくり) roof. Like the Talisman Hall next door, the shape of the roof is likened to that of an ‘open book’ that is placed face down with a high arch and two sides that slope down. In terms of its craftsmanship, I absolutely love open buildings like this as the four pillars that hold up the roof allow you to see the network of trusses within that help support and distribute the weight of the roof, which is absolutely genius in its design.

Unlike other parts of the shrine, the Purification Fountain doesn’t really show signs of age, so its likely quite new, and was possibly replaced at some point in recent memory. The wooden pillars and trusses within are all painted with the red lacquer that you’ll find used on all of the other buildings. In a departure from the older buildings on site, the roof uses more modern copper tiles instead of cypress bark tiles, which make it much more seamless and flowing in its design.

Lower Shrine (下宮 / げぐう)

The Usa Grand Shrine is a rare example of a single place of worship that consists of two shrines dedicated the same deities. The Lower Shrine, which is known as the ‘Gegu’ (下宮 / げぐう), and the Upper Shrine, or ‘Jogu’ (上宮 / じょうぐう) both serve as the homes of Hachiman, Hime-no-Okami and Empress Jingu, with the only difference being that they serve ‘slightly’ different purposes. Within some of the information you’ll find about the two shrines, people have likened them to a situation similar to that of an ancient emperor, holding court in his palace during the day and then retiring to his personal cottage at night. Nevertheless, there are some pretty important things to keep in mind regarding the Upper and Lower Shrines.

While this isn’t the case today, the two shrines were once segregated, with the Upper Shrine only accessible to higher-ups in society. The lower shrine was thus a place of worship for the average visitor like you and me. This segregation created somewhat of a lasting variance between the way people worship at both of the shrines. In the case of the Upper Shrine, the kami were worshiped for their ‘national protection’ abilities whereas the lower shrine focused more on protecting people and the livelihoods, especially with regard to fishing and farming.

Interestingly, the lower shrine was once used as a space for the preparation of ‘sacred meals’ for the gods, and because of that it has often also been referred to as the ‘Sacred Kitchen’  (御炊殿 / みけでん). These days, it’s used primarily as a space for daily rituals by the shrine’s priests, and as both of the shrines are open to the general public, it is essential during any visit to the shrine to pay your respect at both.

The Lower Shrine was originally constructed during the ninth century, but the building we can see today is relatively new. Reconstructed in 1939 during the massive Showa-era reconstruction project mentioned earlier, the current buildings have maintained a similar architectural design to their predecessor, and are a celebration of the Hachiman-style of design. As Usa remains the birthplace of the Hachiman-style of architectural design, it should be no surprise that the Lower Shrine remains largely the same as what you’ll see in the Upper Shrine, save for some minor differences in its scale and design.

To reach the interior of the shrine space, you’ll have to pass through a gate where you’ll notice that the perimeter of the space is surrounded on all sides by a large fence. Once you’ve passed through the gate, you’ll enter a large courtyard along the eastern-edges of the building. As you approach the front of the building, you’ll note that there are three different doors where visitors can approach to announce their arrival to the kami housed within.

Similar to the architectural design of the Upper Shrine, you’ll be afforded a line of sight with each of the three buildings, but you won’t be able to approach them, or enter through the front of the building as it is fenced off.

The front part of the hall acts as a barrier, but also helps to form a perimeter around the interior of the shrine, with yet another courtyard inside. As you’ll see with my description of the Upper Shrine below, when it comes to Shinto Shrines, larger shrines like this rarely ever actually allow visitors to approach the interior of the main shrine, but the Hachiman-style of architectural design is expertly set up in such a way that anyone visiting has access to the kami, while also keeping them a safe distance away.

Essentially, in both cases, the center of the front hall of the shrines acts as a connecting piece for the walls that continue around the perimeter of the building. At the Lower Shrine, the middle section isn’t as grand in scale, but it features a two-sided kirizuma-style roof that is higher than the roof to the left and right of the main doors.

Upper Shrine (上宮拜殿 / はいでん)

The main attraction of the Usa Grand Shrine, the ‘Upper Shrine’ complex takes a while to reach, but once you get there, you get to experience something quite special. Enclosed within a gate that surrounds the peak of the mountain, the Upper Shrine is the inner-most sanctum of the shrine, and thus the most sacred part of the journey through the shrine.

Once you pass through the gate, you’ll notice that the atmosphere becomes a little more serious than the other areas along the route. There’s likely to be a flurry of activity within, with people praying, and the shrine staff going about their business. There is a public counter on the right with staff there ready to assist visitors with questions, in addition to selling amulets and talismans. At the far end of the courtyard, as mentioned earlier, you’ll find a large traditional building that acts as part of the shrine’s administration. The building itself is relatively new, and while it does look traditional, the interior is quite modern in its interior design.

Obviously, though, the main attraction is the iconic shrine, something that the people of Japan are probably all very familiar with. There is very little information available in English regarding the architectural design of the shrine, so I’ll spend a bit of time on this in an attempt to help people better understand what they’ll see when they visit.

One of the main issues when it comes to describing the interior space of the Usa Shrine, or any shrine that has since been constructed with the Hachiman-style of architectural design, is that you can’t actually enter the sacred space, nor are you able to really see very much of it from the outside. So, to better describe what is actually going on within the interior, I’m going to make use of some diagrams to illustrate how the Hachiman-style differentiates itself from other traditional styles of Japanese shrine design.

One of the first things people will notice about the shrine as the enter through the main gate is that there are several tall roofs protruding above the fence that surrounds the perimeter of the shrine. Given that visitors enter through the gate on the eastern side of the shrine, the angle of view is almost identical with that of the lower shrine. From this vantage point, when you look at the buildings from the side, it gives off the impression that there are at least six tall shrines within the interior, but if you’re looking at them from the front, you’ll only see three.

Within the interior of the Upper Shrine, there are only three of these buildings (excluding the auxiliary shrines that are also located within the space), which are used to house the kami. The three buildings, were reconstructed between 1859-1861, feature two-sided kirizuma-zukuri roofs (切妻屋根 / きりづまやね), which are split in two, to create something of an “M” like-shape. The reason for this is because each of these three buildings are split into two sections, known as the Inner Sanctum (前殿 / ぜんでん) and the Outer Sanctum (後殿 / こうでん).

The thought-process behind the separation between the front and the back sections are that the kami have a space to listen to people during the day, but then then also have a space to rest during the night. The odd thing about this is that people often claim that is actually what the Lower Shrine’s purpose is, but maybe it’s just their summer palace, instead?

The architectural design of these three buildings is quite interesting, because they feature the two separate roofs, but where they meet in the middle, you’ll find a flat space, with a specially-designed gutter that allows rain water to flow smoothly off the sides. There are also large doors on either side that allow shrine staff to enter. As is the case with these spaces that are home to the kami, they are all elevated off of the ground, with a set of stairs on the front, and a veranda that encircles the perimeter of the building. Taking into consideration that the Hachiman-style of architectural design originated during the Hei’an Period (平安時代), it is noticeable that the design of these buildings are reminiscent of what would have been considered quite aristocratic at the time.

As with the Lower Shrine, the perimeter of the interior space of the Upper Shrine is completely surrounded by a wall that prevents people from entering the interior. In this case, however, the scale is on a completely different level, and while the Lower Shrine is beautiful in its own right, what you see here is iconic, and regarded as a precious national treasure.

Taking inspiration from the architectural design of Buddhist temples, the facade features what is known as a ‘Tower Gate’ (樓門 / ろうもん). The inclusion of these style of gates is somewhat uncommon with Shinto architecture, but has become closely associated with Hachiman Shrines throughout the country, and absorbed into the Hachiman-style of design.

In this case, the gate is known as the Imperial Envoy Gate (勅使門 / ちょくしもん), or the ‘chokushimon’ and the current version dates back to 1742 (寬保2年). Keeping in mind that there are three kami enshrined within the interior, the front facade of the shrine has been specially designed to feature three entrances (三間一戸), each of which opens to the position where you’ll find the shrines within. Given that the gate’s name is translated as the ‘Imperial Envoy Gate’, the door to the gate is rarely ever opened, unless a representative from the emperor is visiting. Instead, there are two doors to the left of the tower, and one to the right where you can pray to each of the kami enshrined within.

On either side of the gate’s closed door, you’ll find statues of ceremonial guards known as ’Kadomori-no-kami’ (門守の神) and although they are somewhat obscured, you’ll notice that they’re both well-dressed figures who are holding weapons.

During my travels in Japan, whenever I’ve encountered these door gods at Shinto Shrines, the two figures who appear within these spaces are Yadaijin (矢大臣) and Sadajin (左大臣), but in this case we have Kora Tamatare no Mikoto (高良大明神 / こうらだいみょいうじん) and Takeiwatatsu-no-Mikoto (阿蘇大明神 / たけいわたつのみこと), two important historic figures who have their own shrines elsewhere in Kyushu (Kora Shrine in Kurume, and Aso Shrine in Aso, respectively).

The 10.5 meter high Tower Gate is constructed in the irimoya-zukuri (入母造 / いりもやづくり) style or architectural design, featuring a ‘moya’ (母屋), or a ‘base’ that is considerably smaller than the hip-and-gable roof on top. The roof is covered with Japanese cedar bark (檜皮葺) and as a traditional hip-and-gable roof (歇山頂) it features a combination of the two-sided kirizuma-zukuri (切妻造 / きりづまづくり), and the four-sided yosemune-zukuri (寄棟造 / よせむねづくり) styles of roof design, working together to create the curvy hip-and-gable design.

On either side of the tower, you’ll find a lower section where the three doors that open up to allow for a view of the interior. While the tower gate features a hip-and-gable roof, the flat section features a sloping two-sided kirizuma roof which covers the remainder of the front shrine’s facade.  Similar to the roof of the tower, the roof here is covered in cedar bark while the entire building has been coated with the red lacquer that has been used on almost all of the buildings at the shrine. The tower and the lower sections on either side have all been elevated off of the ground with sets of stairs that allow visitors to walk up and approach each of the doors.

The decorative elements on the front facade of the gate are quite liberal, but one of the things you’ll want to pay attention to are the complex network of wooden three-step brackets, known as ‘mitesaki’ (三手先 / みてさき). While these brackets are functional in that they help to support and distribute the weight of the roof, they are also quite beautiful in their decorative nature as they are joined together by a genius almost puzzle-like network of geometric shapes.

The architectural design of the Upper Shrine is complex, iconic, and beautiful in its simplicity, but one of the most important elements of the Upper Shrine, that isn’t part of the architectural design, is the ‘Divine Tree’ (御神木) that is located at the far end. The eight-century old tree is by far the oldest part of the shrine, and has offered shade to several iterations of the building next to it. When you visit the shrine, you’ll notice quite a few people standing next to three showing their appreciation.

Divine Water Pool (御霊水 / ごれいすい)

The Divine Water Pool, or ‘goreisui ‘ (ごれいすい) is the location where Hachiman is said to have made his first appearance as a kami. With this in mind, you’d think that the physical location where one of Japan’s most important religious figures made his first appearance would be a special spot within the shrine that receives a lot of attention and care. Surprisingly, when I arrived at the pool, I was quite surprised at its condition.

The pool is located just across from the lake at the base of the mountain where the main parts of the shrine were built. You’ll find it within a dark, yet lush alcove surrounded by trees. The space is damp, which is probably why its difficult to construct very much around the pool.

Surrounding the pool space, you’ll find a half-stone fence with red lacquered wood on the top. At the entrance, there is a small, but typical red Hachiman-style shrine gate and as you enter there is a donation box just in front of the first pool. To the left of the entrance, you’ll find a roof-covered shelf-like structure that has ladles and bowls to dip in the water, if you’d like.

Next to each of the pools, you’ll find a stone lantern, with a heavy bamboo cover placed over each of them. The covers can be lifted up to take a look inside, but the still-water inside appears murky, and to tell the truth, looks quite dirty. That being said, the spring water is apparently supposed to be ‘pure’ and ‘ever-flowing’, and visitors often use the ladles provided to scoop some of it into a container to bring home for use in religious offerings.

Suffice to say, anyone visiting the shrine should take the time to visit the pool, but just don’t expect too much as there really isn’t all that much to see, especially for a spot that holds so much importance to the Japanese nation.

Auxiliary Shrines

Given the age and the importance of the Usa Grand Shrine, you’re likely to notice that it is also home to a number of smaller shrines both in and around the precinct. These ‘auxiliary shrines’ are most commonly known as ‘setsumatsusha’ (攝末社 / せつまつしゃ), but it’s important in this case to note that the is a conjunction of ‘sessha’ (攝社 / せっしゃ) and ‘massha’ (末社 / まっしゃ), which refer to the miniature shrines you’ll often find within a larger shrine. Generally speaking, the kami who are enshrined within these spaces share a relationship with those enshrined within the larger shrine space, offering visitors a broader experience while visiting. This shrine plays host to nearly two dozen of these auxiliary shrines located in the inner area of the shrine’s precinct, as well as a number of others that are located just outside nearby. As a Grand Shrine, there are also a number of shrines that are located within Usa that share a historic relationship with the shrine that I’ll also include on the list.

Link: Setsumatsusha | 摂末社 (Wiki)

I’m going to list each of these auxiliary shrines below, starting with their names and following with the kami enshrined within each of them. There isn’t much information available about these auxiliary shrines in English, so I’ll do my best to provide a link to the kami enshrined within for those of you who are interested in learning more about them. In total, the Usa Grand Shrine is home to twenty-one of these auxiliary shrines.

In terms of their architectural design, in each case, they come in different shapes and sizes, and although most of them attempt to mimic the Hachiman-style of architectural design, they do so on a much smaller scale. Nevertheless, as each of these spaces is home to a kami, you’ll find that these miniature shrines feature all of the essential architectural elements that you’d find on a larger shrine, just on a much smaller scale.

This means you’ll find elaborately designed roofs, stairs, doors, and other decorative elements that make them worthy of being a home for a god. However, as mentioned earlier, due to time constraints, I wasn’t able to visit all of them, but I did take some time to visit some.

Unfortunately, I don’t have photos of all of them, so I’m just gong to be sharing a few photos in this section.

Interior Sessha Shrines (境内摂社)

  1. Wakamiya Shrine (若宮神社 / わかみやじんじゃ) - dedicated to the five children of Emperor Ojin, Osasagi no Mikoto (大鷦鷯命), Obae no Miko (大葉枝皇子), Kobae no Miko (小葉枝皇子), Hayabusawake no Miko (隼別皇子), and Metori no Himemiko (雌鳥皇女). The shrine was originally constructed in 852, but the current building dates back to 1843.

  2. Sumiyoshi Shrine (住吉神社 / すみよしじんじゃ) - dedicated to the Sumiyoshi Sanjin (住吉三神), who act as guardians of the shrine.

  3. Kuroo Shrine (黒男神社 / くろどんじんじゃ) - dedicated to Takenouchi no Sukune, a legendary Japanese statesman and hero (武内宿禰 / たけしうちのすくね).

  4. Togu Shrine (春宮神社 / とうぐうじんじゃ) - dedicated to the son of Emperor Ojin, Prince Uji no Wakiiratsuko (菟道稚郎子命 / うじのわきいらつこ)

  5. So Shrine (宇佐祖神社 / うさそじんじゃ) - Usatsuhiko no Mikoto (菟狭津彦命 / うさつひこのみこと)

Exterior Sessha Shrines (境外摂社)

  1. O'o Shrine (大尾神社 / おおじんじゃ) - dedicated to Hachiman (八幡大神)

  2. Oomoto Shrine (大元神社 / おおもとたいしゃ) - dedicated to Hime Okami (比売大神)

Boundary Shrines (行幸会八社)

Each of these shrines are located within or around Usa, and share historic links with the grand shrine, often holding ceremonies to offer tribute to the shrine. These eight shrines however aren’t really considered to be within walking distance of the grand shrine.

  1. Onegawa Shrine (大根川神社 / おおねがわじんじゃ)

  2. Otome Shrine (乙咩神社 / おとめじんじゃ)

  3. Izumi Shrine (泉神社 / いずみじんじゃ)

  4. Korisera Shrine (郡瀬神社 / ごうせじんじゃ)

  5. Takai Shrine (鷹居神社 / たかいじんじゃ)

  6. Tabue Shrine (田笛神社 / たふえじんじゃ)

  7. Tsumagaki Shrine (妻垣神社 / つまがきじんしゃ)

  8. Oyamada Shrine (小山田神社 / おやまだじんじゃ)

Interior Massha shrines (境內末社)

  1. Kasuga Shrine (春日神社 / かすがたいしゃ) - dedicated to Ame-no-Koyane, the son of the creation deities, and who is charged with overseeing divine affairs (天児屋根命 / あまのこや の みこと).

  2. Yako Shrine (八子神社 / やこたいしゃ) - dedicated to Emperor Nintoku, the sixteenth emperor of Japan, and the fourth son of Emperor Ojin (仁徳天皇/にんとくてんのう)

  3. Kameyama Shrine (亀山神社 / かめやまじんじゃ) - dedicated to Oyamatsumi, the god of the mountains, sea and war (大山津見神 / おおやまつみのかみ).

  4. Yasaka Shrine (八坂神社 / やさかじんじゃ) - God of the sea, storms and fields, Susanoo-no-Mikoto (須佐之男命 / たけはやすさのおのみこと).

  5. Mokushoso Shrine (木匠祖神社 / もくしょうそじんじゃ) - dedicated to the guardian deities of carpenters and craftsman Taokihooi-no-Mikoto (手置帆負命 / たおきほおいのみこと) and Hikosachi-no-Mikoto (彦狭知命 / ひこさちのみこと).

  6. Mikumari Shrine (水分神社) - dedicated to five kami who govern the water, Takaokami (高龗神 / たかおかみのかみ)、Ame-no-mikumari-no-kami (天水分神 / あめのみくまりのかみ)、Kuni-no-mikumari-no-kami (国水分神 / くにのみくまりのかみ), Ame-no-minakanushi (天汲匏持神 / あめのくひざもちのかみ) and Kuni-no-kuhizamochi-no-kami (国汲匏持神 / くにのくひざもちのかみ).

  7. Tenmangu Shrine (天満神社 / てんまんじんじゃ) - dedicated to the kami of learning, Sugawara no Michizane (菅原道真 / すがわらのみちざね).

  8. Go’o Shrine (護皇神社 / ごおうじんじゃ) - dedicated to Wake no Kiyomaro, the governmental official who was sent to the shrine to receive a divine message from the oracle (和気清麻呂 / わけのきよまろ).

  9. Hokushin Shrine (北辰神社 / ほくしんじんじゃ) - The three deities of creation, protector-guardians of Hachiman, known as the Kotoamatsukami (別天津神 /ことあまつかみ).

Getting There

 

Address: #2859 Minamiusa, Usa, Oita Prefecture

(大分県宇佐市大字南宇佐2859)

GPS: 33.527808,131.373130

MAPCODE: 459 360 376*30

Phone: 0978-37-0001

For most tourists who visit Kyushu, the port city of Fukuoka is likely to be their starting point on a trip to various destinations around the island. Kyushu, like most other areas of the country has an excellent network of public transportation, with the JR trains, the Shinkansen, and bus routes. Within the vicinity of the city, a lot of people will choose to visit Hakozaki Shrine, which is accessible by JR, bus, and the Fukuoka Subway. Similarly, the Dazaifu Tenmangu Shrine, to the south of the city is another popular tourist attraction, both of which are a short commute.

Visiting the Usa Grand Shrine, on the other hand, requires considerably more time, and makes for a much longer day-trip if you’re visiting from Fukuoka, and returning on the same day. Nevertheless, if you plan to visit, you have the option of either driving a rental car, or make use of public transportation. Either way, the shrine is about 135 kilometers from Fukuoka, so the commute should take at least two hours.

If you’re taking the train out of Fukuoka, your quickest method of getting to Usa would be to take the Shinkansen from Hakata Station (博多駅 / はかたえき) to Kokura Station (小倉駅 / こくらえき), and from there switching to the JR’s Nippo Main Line (日豊本線 / にっぽうほんせん) where you’ll continue east until you reach the Usa Railway Station (宇佐駅/うさえき). Once you’re at the station, there is a bus stop outside that you’ll take until you reach the Usa Hachiman Bus Stop (宇佐八幡).

The Nippo Main Line that you’ll transfer to starts from Kokura Station in Kitakyushu City (北九州市), so you shouldn’t have too much trouble transferring from the Shinkansen to the JR. If you choose this method, the Shinkansen might be a little more expensive than the typical JR out of Hakata Station, but it takes the fastest and most direct route to the northern coast of the island, so it’ll save you a considerable amount of time.

If, on the other hand you’ve rented a car, I won’t spend too much time explaining the route to the shrine. The great thing about Japan is that every car has a navigation system where you’ll input the address, phone number, or MAPCODE provided above, and it’ll map out the most direct route based on whether you want to take the highway (more expensive) or normal roads.

If you’re driving a car, you’re in luck as there are several parking lots provided at the shrine, and they’re all relatively inexpensive, so you won’t have to worry too much about finding parking when you arrive, unless of course you decide to visit during one of the shrine’s festivals.

Obviously, I’m going off of the assumption that most people who visit the shrine would be doing do from a starting point in Fukuoka, but if you’re traveling from another area of Kyushu, you’ll be able to reach the shrine via the Kyushu Railway, so I recommend checking out their website to book your tickets, or you could simply visit the nearest station and purchase tickets there.

Link: Kyushu Railway Company

My visit to the Usa Grand Shrine was part of a several day trip where we drove around half of Kyushu from Fukuoka to Usa and then around Mount Aso to Kumamoto and back. Visiting the shrine obviously takes special effort, especially if you’re only in the area for a short time, but I can assure you that any visit to this shrine will be a special one.

As the first, and the head of all of the Hachiman Shrines in Japan, this shrine is often ranked only second to the Ise Grand Shrine. With well over a hundred thousand Shinto Shrines in Japan, being ranked number two means that this is a pretty special place, and once you visit, you’ll understand why. If you plan on visiting the shrine, I hope you’ll find the information in this article helpful in explaining what you’ll see when you’re there. Obviously, I highly recommend a visit, so if you’re visiting Kyushu and are looking to bring home some amazing memories of your trip, this shrine should be high on your list!

References

  1. Usa Jingu | 宇佐神宮 中文 | 宇佐神宮 日文 (Wiki)

  2. Oita Prefecture | 大分县 中文 | 大分県 日文 (Wiki)

  3. Hachiman | 八幡神 中文 | 八幡神 日文 (Wiki)

  4. Hachiman shrine | 八幡宮 (Wiki)

  5. Hachiman-zukuri | 八幡造 日文 (Wiki)

  6. Empress Jingu | 神功皇后 中文 | 神功皇后 日文 (Wiki)

  7. 大神比義 (Wiki)

  8. Site of Mirokuji Temple (Usa City)

  9. Hachiman-zukuri (JAANUS)

  10. Hachiman-zukuri style (Japanese Wiki Corpus)

  11. Japanese Mythology: Empress Jingu (Proanon)

  12. Usa Shrine (Japan Guide)

  13. 宇佐神宮 (九州神社)

  14. 宇佐神宮 (Official Site)

  15. 日本神社之探討 (王福順老師 / 修平科技大學)

  16. 宇佐神宮の御朱印~八幡神社の総本宮 (御朱印のじかん)

  17. 宇佐神宮.日本四萬四千間八幡神宮的總本社 (旅遊圖中)

  18. 【186日目】伊勢の神宮につぐ第二の宗廟、豊前一之宮『宇佐神宮』