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UNESCO VERSION:
Brief Description
The shrines and temples of
Nikko, together with their natural surroundings, have for centuries
been a sacred site known for its architectural and decorative
masterpieces. They are closely associated with the history of the
Tokugawa Shoguns.
日光神殿和庙宇
几个世纪以来,日光神殿和神庙与它们周围的自然环境一直被视为神圣之地,并因其杰出的建筑和装饰而闻名于世。同时该遗址与德川幕府时期的历史具有密切的关系。
Long Description
Nikko is a perfect illustration of the architectural
style of the Edo period as applied to Shinto shrines and Buddhist
temples. The ingenuity and creativity of its architects and
decorators are revealed in an outstanding and distinguished. The
shrines and temples, together with their environment, are an
outstanding example of a traditional Japanese religious centre,
associated with the Shinto perception of the relationship of man
with nature, in which mountains and forests have a sacred meaning
and are objects of veneration, in a religious practice that is
still very much alive today.
At the end of the 8th century a Buddhist monk,
Shodo, erected the first buildings on the slopes of Nikko sacred
mountain, which had been worshipped since time immemorial. At the
end of the 12th century, the Kamakura Shogunate established itself
in the region of Kanto, enabling Nikko to strengthen its position
further as a major sacred site in Kanto. However, the site was
abandoned owing to the upheavals of the Muromachi period, in the
16th century. It was chosen as the site for the Tôshôgu, a
sanctuary composed of several buildings erected to house the
mausoleum of T Ieyasu, the founder of the Tokugawa Shogunate. This
regime was in power for over 250 years in the history of Japan.
Since this period, Nikko has played a very important role as a
symbol of national sovereignty, not only in the eyes of local
authorities but also those of leaders of neighbouring countries who
sent their emissaries to pay tribute to Ieyasu, a deified
personage.
In 1871, the Meiji government decided to divide
the site and its religious buildings into three groups entrusted to
three separate religious organizations: Futarasan-jinja and Tôshôgu
for the Shinto cult and Rinnô-ji for Buddhism. This reorganization
entailed moving and restoring certain buildings.
·
The Futarasan-jinja: devoted to the three
divinities of Mount Nantai, it forms a complex of buildings. Most
of them were restored or built in the 17th century, following old
traditions, and they exerted a general influence in the layout of
shrines throughout Japan. Among the buildings, mention should be
made of the Honden and the Haiden, the heart of the shrine, the
Betsugû Takino-o-jinja Honden, with a construction plan dating back
to the year 825, and the Shin-yosha, the oldest example of an
architectural style which was to inspire the first construction
phases of the Tôshôgu. The Shinkyô is also part of the
Futarasan-jinja. This sacred bridge, straddling the river Daiya,
appears to belong to the Muromachi period. Its present
configuration, a vermilion lacquer bridge resting on massive stone
pillars, goes back to 1636.
·
The Tôshôgu: this shrine, founded in the 17th
century, comprises a large number of buildings. A suite of three
sacred chambers is a perfect illustration of the H-shaped
architectural layout known as Gongen-zukuri. The Shômen Karamon and
the Haimen Karamon, a masterpiece of craftsmanship is inspired by a
foreign style, hence the common name of 'Chinese door'. The
Yômeimon, erected in 1636, is probably the best-known example of
the architectural style of Nikko. It is covered in a profusion and
infinite variety of decoration. The Tôzai Sukibe, also dating to
1636, is a wall about 160 m long, surrounding
the Honden , Ishinoma and Haiden group.
The Tôzai Kairo, a corridor 220 m long, with a
southern section formed of 25 sculpted panels, surrounds three
sides of the
same Honden , Ishinoma and Haiden group.
·
The Rinnô-ji: the origin of this Buddhist temple
goes back to the 8th century, and it has always remained a place of
worship. Major constructions were added at the beginning of the Edo
period, especially in 1653 for the mausoleum of the third shogun,
Togukawa Iemitsu. The group, in the Gongen-zukuri shape and style
and composed of the Taiyû-in Reibyô Honden, Ainoma and Haiden, is
listed as a National Treasure. It is a pure masterpiece of
architecture and decoration.
Thanks to centuries of landscaping, the temples
and shrines blend harmoniously into their natural setting. The
buildings are arranged on the mountain slopes in such a way as to
create different visual effects. Thousands of Japanese cedars
(Cryptomeria ) were planted during the
Tôshôgu construction period in the early 17th century. This forest
provides an exceptional natural bower for the shrines and temples,
adding considerably to the beauty and sacred character of the
site.
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