DOCSLIB.ORG

Minecraft Japanese Temple Blueprints

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Minecraft Japanese Temple Blueprints Minecraft japanese temple blueprints Continue Author: BloodZelos Block count: 3974 Views: 35530 (left click: forward, right click: backward, Movement: W, A, S, D, R, F, Switch mouse tracking - C) E W N S 28 Blocks 26 Blocks Back to Objects show Comments Wooop, finally something from Japanese culture! This build represents a typical Japan ... Details Drawings I've come in the right place, a Japanese house... who does not love these houses? Just look... Details Blueprints This looks like some cartoon creature :) And those roofs are really over the top. If you l... Details Blueprints Japan houses are the best, imagine living in a house like this. I bet you all your Fri... Details Blueprints I hope you know how to make sliding doors, because this is the first thing that comes in m. Details Blueprints First it looks like a boxing ring! But in this case boxing should take place in thi ... Details Blueprints I'm sure the roof was the first thing you saw, right? To be honest the first thing I saw ... Details Blueprints Well, this ceiling is really over the top, don't you think? But hey, it's cool, fun and diffe... Details Blueprints There are a lot of Japan houses here but each of them is a little different than the oth... Details Blueprints What do you usually think of Japanese houses? To be honest they're really cool, aren't they? About... Details Blueprints Japan houses are seriously unique, right? I mean the dark and light colors, big rooms, tin... Details Blueprints This feudal Japan House has a roof with a sweeping curvature that rises in the corners of ... Details Blueprints Are You More of a Tea or Coffee Person? Because if you love teas more than Your life then... Details Blueprints Can you imagine living in a clan? I feel like it's really fun, don't you think? ... Details Blueprints The biggest house actually looks like a ship! In this Feudal Japan Clan Headquarters You ca ... Details Blueprints This headquarters here is some serious stuff, I can already imagine getting guards in front of... Details Blueprints Hi everyone, I was wondering if anyone could share a drawing of a nice Japanese style house, castle, or temple. After looking around for a while with little or no luck, I have come to ask you all. I use the direwolf20 package. Author: BloodZelos Block count: 3974 Views: 35530 (left click: forward, right click: backward, Movement: W, A, S, D, R, F, Switch mouse tracking - C) E W N S 28 Blocks 26 Blocks Back to Objects show Comments Wooop, finally something from Japanese culture! This build represents a typical Japan ... Details Drawings I've come in the right place, a Japanese house... who does not love these houses? Just look... Details Blueprints This looks like some cartoon creature :) And those roofs are really over the top. If you l... Details Blueprints Japan houses are the best, imagine living in a like this. I bet you all your Fri... Details Details I hope you know how to make sliding doors, because this is the first thing that comes in m... Details Blueprints First it looks like a boxing ring! But in this case boxing should take place in thi ... Details Blueprints I'm sure the roof was the first thing you saw, right? To be honest the first thing I saw ... Details Blueprints Well, this ceiling is really over the top, don't you think? But hey, it's cool, fun and diffe... Details Blueprints There are a lot of Japan houses here but each of them is a little different than the oth... Details Blueprints What do you usually think of Japanese houses? To be honest they're really cool, aren't they? About... Details Blueprints Japan houses are seriously unique, right? I mean the dark and light colors, big rooms, tin... Details Blueprints This feudal Japan House has a roof with a sweeping curvature that rises in the corners of ... Details Blueprints Are You More of a Tea or Coffee Person? Because if you love teas more than Your life then... Details Blueprints Can you imagine living in a clan? I feel like it's really fun, don't you think? ... Details Blueprints The biggest house actually looks like a ship! In this Feudal Japan Clan Headquarters You ca ... Details Blueprints This headquarters here is some serious stuff, I can already imagine getting guards in front of... Details Blueprints Hi everyone, I was wondering if anyone could share a drawing of a nice Japanese style house, castle, or temple. After looking around for a while with little or no luck, I have come to ask you all. I use the direwolf20 package. Author: BloodZelos Block count: 3974 Views: 35530 (left click: forward, right click: backward, Movement: W, A, S, D, R, F, Switch mouse tracking - C) E W N S 28 Blocks 26 Blocks Back to Items Show Comments Join Planet Minecraft! We are a community of creative sharing all minecraft! Even if you don't post your own creations, we appreciate feedback on ours. Join us! Updated the description to make it cleaner, updated social media links and remove AddFly from the download. No more add will your way when you download the map. 1 Start by building a foundation for your house. Place a 3x4 rectangle of oak logs. There should be a three-block gap between each log. Fill the rectangle with oak wood planks. Place a ring of oak wooden planks around the outside of the rectangle. Place a ring of oak wooden plates around the outside. Replace the corners with full blocks. 2 Place 3 ecarstocks on top of each log in the foundation. These pillars will form the foundations of the walls. 3 Place three oak fence posts on the corners. These will serve as roof supports. 4 Use wool to create an outline of where your roof will go. The roof is one of the most difficult parts, and can make or break a build. After you've practiced a little, you can do this without the outline. 5 a plan for how to shape your roof. Try Try curve it towards the top. The red lines are at one-block gaps, so you can see how to place the blocks. 6 Extend the lower layer of the roof plan to a rectangle. Replace the four corner plates with full blocks. 7 Build the next layer of the plan into a rectangle. Make sure it is nested inside the first layer. 8 Extend the third layer to a rectangle. 9 Add the fourth layer. For this layer, just build the long sides of the rectangle, and not the short sides. Note that they extend out on the third layer. 10 Extend the remaining layers out into strips, like the fourth layer. 11 Fill in the space in between the top layers of the ceiling, to create an alcove. Repeat at the opposite end of the roof. 12 Add a couple of oak wooden steps to each end of the top of the ceiling. This improves the appearance. 13 Go under the roof, and fill in the gap between the roof and the pillars with oak wood planks. 14 Fill in the inside of the ceiling. This creates a flatter roof inside your building. 15 Use glowstone to light it up. Don't want mobs playing inside! 16 Fill in the gaps between the pillars with white stained glass windows. Remember to leave a gap in one of them for the door. 17Use white stained glass windows to divide the inside of the building, if desired. 1 Create the framework for the foundation. Place a six with six square sofa of oak logs, with a 3 block gap in between each one. 2 Place an oak log in the center of the square. this will be the central pillar of the building. 3 Fill in the space between the logs with oak wood planks. Also, place a ring of oak wooden planks, then a ring of oak wooden tiles, around the outside of the square of logs. 4 Place three oak logs on top of each log in the foundation. 5 Place a ring of oak wooden planks around the top of the pillars. 6 Place white stained glass windows between the logs. Leave a hole in one for the doorway. 7 Place a ring of oak wood plates around the ring on top of the pillars. 8 Place a second ring of oak wooden plates around the one you just made. Replace the corners for full blocks. 9 Create a guide on where the next layer of the roof will go. 10 Expand each of the blocks in the wizard to an entire square. Each box should be nested inside the others. 11 Build the central pillar to level the ceiling. 12 Fill in the ceiling with oak planks. This will form the floor of the next layer. 13 Place a ring of oak wood columns on the floor you have just filled out. 15 Place a ring of oak wood planks around the tops of the pillars. 16 Fill in the gaps between the pillars with white stained glass windows. 17 Create a guide for where the next roof will go. 18 Expand each layer of the guide to a square. Replace the corners for full blocks. 19 Build up the central pillar. 20 Fill the floor. 21 Build a three-block high pillar of oak wood in each corner of the new layer.
Load more

Recommended publications
  • The Reliquaries of Hyrule: a Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time
    Press Start The Reliquaries of Hyrule The Reliquaries of Hyrule: A Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time Jared Hansen University of Oregon Abstract This study is a semiotic and iconographic analysis of the sacred architecture in The Legend of Zelda: Ocarina of Time (Nintendo, 1998). Through an analysis of the visual elements of the game, the researcher found evidence of visual metaphors that coded three temples as sacred spaces. This coding of the temples is accomplished through the symbolism of progression that matches the design of shrines and cathedrals, drawing on iconography and other symbolism associated with Shinto, Buddhist, and Christian sacred architecture. Such indications of sacred spaces highlight the ways in which these virtual environments are designed to symbolize the progression of the player from secular to sacred, much like the player’s progression from zero to hero. By using the architecture and symbolism of the three aforementioned belief systems, Ocarina of Time signifies these temples as reliquaries—that is, sacred places that house reverential items as part of the apotheosis of the player. Keywords Art history; The Legend of Zelda; sacred space; symbolism; temple. Press Start 2021 | Volume 7 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Hansen The Reliquaries of Hyrule Introduction The video game experiences that I remember and treasure most are the feelings I have within the virtual environments.
    [Show full text]
  • Description of Fences
    Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Description of Fences フェンスの説明 / Description des obstacles Fence 1 – The Great Wave off Kanagawa. Hokusai. Author: (Katsushika Hokusai) Original Title: (Kanagawa-oki nami ura) Year: 1829 – 1832 Base/stand: Colour-engraved upon a wooden block. Japanese ukiyo-e master. The Great Wave is the most recognized piece by Japanese painter Katsushika Hokusai, who specializes in ukiyo-e. Published between 1830 and 1833 during the Edo period, it forms part of the collection “Thirty-six views of Mount Fuji”, even though Mount Fuji is the smallest element. The wave references the relentless force of nature, the sea, and the importance this event has in Japan’s economy and its cultural development, given the country is formed by 4 islands. EQUO JUMPTEAM----------FNL-0002RR--_03B 1 Report Created SAT 7 AUG 2021 16 :45 Page 1/7 Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Fence 4 – Mascot of the Tokyo 2020 Olympics Japanese illustrator Ryo Taniguchi. Manga and gamer references are seen, in representation of the Japanese contemporary visual culture and with a character design inspired by the Tokyo 2020 Olympic Games’ Logo. The pair of futuristic characters combine tradition and innovation. The name of the Olympics mascot, Miraitowa, fuses the Japanese words for future and eternity. Someity, the Paralympics mascot, is derived from Somei-yoshino, a type of cherry blossom, cherry blossom variety "Someiyoshino" and is a play on words with the English phrase “So mighty”.
    [Show full text]
  • Watanabe, Tokyo, E
    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed.
    [Show full text]
  • A POPULAR DICTIONARY of Shinto
    A POPULAR DICTIONARY OF Shinto A POPULAR DICTIONARY OF Shinto BRIAN BOCKING Curzon First published by Curzon Press 15 The Quadrant, Richmond Surrey, TW9 1BP This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” Copyright © 1995 by Brian Bocking Revised edition 1997 Cover photograph by Sharon Hoogstraten Cover design by Kim Bartko All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0-203-98627-X Master e-book ISBN ISBN 0-7007-1051-5 (Print Edition) To Shelagh INTRODUCTION How to use this dictionary A Popular Dictionary of Shintō lists in alphabetical order more than a thousand terms relating to Shintō. Almost all are Japanese terms. The dictionary can be used in the ordinary way if the Shintō term you want to look up is already in Japanese (e.g. kami rather than ‘deity’) and has a main entry in the dictionary. If, as is very likely, the concept or word you want is in English such as ‘pollution’, ‘children’, ‘shrine’, etc., or perhaps a place-name like ‘Kyōto’ or ‘Akita’ which does not have a main entry, then consult the comprehensive Thematic Index of English and Japanese terms at the end of the Dictionary first.
    [Show full text]
  • America and Japan: Influences and Impacts of Westernization on Japanese
    America and Japan: Influences and Impacts of Westernization on Japanese Architecture An Honors Thesis (HONRS 499) by Mark Figgins Thesis Advisor Michele Chiuini Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Traditional Japanese architecture is among the finest in the world. Japan's isolation allowed its traditions and customs to be refined over centuries, whereas the origins of American architecture reside in European styling. When Commodore Matthew Perry sailed into Tokyo Bay in 1853, he opened Japan up to an influx of Western culture that transformed it into a modern nation. Japan's struggle to find a modern identity and to reconcile Western and traditional architecture is examined from 1853 to the present. Acknowledgments I would like to thank Professor Michele Chiuini for advising me. His knowledge and patience have helped me immensely throughout this project. Table of Contents Influences on Traditional Japanese Architecture 1 The Japanese Honle 5 Early American Architecture 9 Conlmodore Perry's Opening of Japan 16 Japanese Architecture: Meiji Period 21 Frank Lloyd Wright 23 Japanese Architecture: Meiji to World War II 25 Kenzo Tange and Modernism 27 1 Japan has a rich history of tradition and culture. It is highly modernized, yet throughout its landscape, glimpses of a time centuries ago can still be seen. Its traditional architecture, simple, but with great attention to detail and beauty, is among the most fascinating in the world. When American Commodore Perry opened up Japan to an influx of Western culture, it sparked a desire to industrialize and use Western technology to further its goals.
    [Show full text]
  • Mount Fuji, Symbol of Japan
    Discovering Japan 2014 no.13 Special Feature Mount Fuji, Symbol of Japan niponica is published in Japanese and six other languages (Arabic, Chinese, English, Special Feature French, Russian and Spanish), to introduce the world to the people and culture of Japan today. The title niponica is derived from “Nip- pon,” the Japanese word for Japan. no.13 Mount Fuji, contents Symbol of Japan Special Feature Mount Fuji, Symbol of Japan 04 Mount Fuji: One of the World’s Treasures 08 Reverence for Mount Fuji No. 13 12 October 31, 2014 Mount Fuji and Surrounding Area Published by: Ministry of Foreign Affairs of Japan 14 An Eco-tour to a Mysterious Kasumigaseki 2-2-1, Forest on Mount Fuji Chiyoda-ku, Tokyo 100-8919, Japan http://www.mofa.go.jp/ 18 Fuji—Here, There, and Everywhere Cover photo: Mount Fuji, offset with cherry blossoms 24 (Photo courtesy of Aflo) Soak in a Hot Spring while Admiring Mount Fuji 26 Tasty Japan: Time to Eat! Wasabi 28 Souvenirs of Japan Mount Fuji Sweets Mount Fuji, so tall, so beautiful. And for many centuries, revered as a sacred place, as well as a source of artistic inspiration. These qualities were recognized in 2013 when UNESCO inscribed Fuji on its World Heritage List as “Fujisan, sacred place and source of artistic inspiration.” The following pages take you closer to this symbol of Japan. Above: A work of art made in 1838, entitled Fujisan Shinzu (“A Lifelike Illustration Depicting Places on Mount Fuji”), showing points of interest in relief form. Made by gluing sheets of paper together.
    [Show full text]
  • Ancient Road to Fujisan
    Fujisan-michi Road ANCIENT ROAD Koshu-dochu road was one of the highways starting from Onuma (Milestone / Wade-miya) Koasumi (Lake Asumiko) Shimoyoshida / Omuro Sengen-jinja Oshi-machi (the base town for Nihonbashi in Edo (present-day Tokyo). People living in the Kanto It was around the present-day Onuma area in Nishikatsura Lake Asumiko is a small lake, but it is one of eight lakes called Shrine worship-ascent) plains walked along Koshu-dochu road to the west, heading for TO FUJISAN Town that people coming along Fujisan-michi could get a chance “Uchihakkai”, which were regarded as the pilgrimage destinations. Silk fabrics have been one of the major industries in Fujisan. e road forked at Otsuki post-town and they walked up for the rst time to see the whole mountain of Fujisan trailing It was drawn as “Fuji seen from Asumi Village” in “Fugaku Shimoyoshida since the Edo period. People have reared silkworms Yamura-ji road along the Katsura River to come to Yoshida. e — Pilgrimage Routes of Fujisan — gently in a conic shape. e old road at Onuma was called Hyakkei”, or one hundred landscapes of Fujisan, by Katsushika to reel silk o cocoons and made silk fabrics. e industry has been Fujisan worshipers named the whole road from Edo “Shuku-dori”, which ourished as a post-town for Hokusai. Lake Asumiko was part of Koasumi Village in the Edo supported by the abundant subsoil water from Fujisan. It has “Fujisan-michi”. worship-ascenders to the summer mountain during the period period, and the people aiming for Fujisan would perform water grown in auence, making the best use of the natural condition, from the Edo era through the present days.
    [Show full text]
  • Dimensions of Sacred Space in Japanese Popular Culture *
    Intercultural Communication Studies VI: 2 1996 Randall Nadeau Dimensions of Sacred Space in Japanese Popular Culture * Randall L. Nadeau Trinity University Abstract This paper explores the centrality of the concept of "sacred space" in Japanese Shinto. Based in large part upon the sacred-space analysis of Dr. Tokutaro Sakurai of Komazawa University, Tokyo (see in particular his Nihon minkan shinkô ron [A Study of Japanese Folk Beliefs], 1958), the paper explores the idea of spiritual hierophany in concentric realms of space, from the sacrality of the nation, to the community, to the residence, to the house, and to the person. These realms of sacrality are definitive of Shinto and emphasize the importance of the distinction between the pure "inner" and the impure "outer" in Japanese culture. It is the torii gate which marks the division between sacred and profane space, and the paper explores the meaning and significance of the torii and other boundary- indicators to an understanding of the Japanese identity. In particular, I argue that these boundary-markers are indicative of the peculiarly Japanese association of interiority and sacrality, and serve as "invisible barriers" to communication between Japanese and outsiders. In effect, the outside world is "marked" as profane, as it does not participate in the sacred quality of the heart, home, community, and nation. Torii gates are symbolic markers indicating the boundary between two kinds of space: profane space and sacred space. They are located at the entrances to shrines and temples, cemeteries, gardens, mountains and forests, harbors, villages, city wards, imperial residences and private homes. They are not really "gates" at all, as they rarely stand within a fence or wall and have no doors to open or close.
    [Show full text]
  • Eternal Change at the Grand Shrine of Ise by Florian Coulmas Japan Quarterly January-March 1994 T Was Raining. a Fine Drizzle Co
    Eternal Change at the Grand Shrine of Ise By Florian Coulmas Japan Quarterly January-March 1994 t was raining. A fine drizzle continued to fall as I crossed the Uji Bridge spanning the Isuzu River. A huge wooden torii Ion either side of the gently arched wooden bridge marked the sacred gateway to Ise Jingû, or the Grand Shrine of Ise, the largest and spiritually most important of all Shinto shrines in Japan. I was accompanied by Yano Ken'ichi, a high-ranking priest of Ise Jingû, who was willing to show me around. Clad in white traditional dress, tabi, and geta and carrying a white paper umbrella, he did not seem to mind the rain. "Ise," he said, "is beautiful every day, rain or shine. The gods reside here." I had to agree, for the luxuriant grove of trees along the bank of the river is one of the most delicate and delightful sceneries of Japan. The bridge we had just crossed smelled of fresh timber. It was brand-new, every plank and beam cut of unfinished wood. The metal caps on the pillars still glittered, untainted by the corrosion that would soon turn them green. The bridge was new because 1993 was the year of the periodic renewal at Ise Jingû. Every 20 years, a cycle of ceremonies is performed there to celebrate the removal of the sanctuaries of the shrine and the transfer of the deities to their new residences. In the process, all major structures on the precincts of Ise Jingû are rebuilt, including the bridge.
    [Show full text]
  • Remembering Manchukuo………………………………………………..319
    Utopia/Dystopia: Japan’s Image of the Manchurian Ideal by Kari Leanne Shepherdson-Scott Department of Art, Art History, and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Gennifer Weisenfeld, Supervisor ___________________________ David Ambaras ___________________________ Mark Antliff ___________________________ Stanley Abe Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History, and Visual Studies in the Graduate School of Duke University 2012 i v ABSTRACT Utopia/Dystopia: Japan’s Image of the Manchurian Ideal by Kari Leanne Shepherdson-Scott Department of Art, Art History, and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Gennifer Weisenfeld, Supervisor ___________________________ David Ambaras ___________________________ Mark Antliff ___________________________ Stanley Abe An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History, and Visual Studies in the Graduate School of Duke University 2012 Copyright by Kari Leanne Shepherdson-Scott 2012 Abstract This project focuses on the visual culture that emerged from Japan’s relationship with Manchuria during the Manchukuo period (1932-1945). It was during this time that Japanese official and popular interest in the region reached its peak. Fueling the Japanese attraction and investment in this region were numerous romanticized images of Manchuria’s bounty and space, issued to bolster enthusiasm for Japanese occupation and development of the region. I examine the Japanese visual production of a utopian Manchuria during the 1930s and early 1940s through a variety of interrelated media and spatial constructions: graphic magazines, photography, exhibition spaces, and urban planning.
    [Show full text]
  • Mythological Links to Shinto Architecture Grace B
    Oglethorpe Journal of Undergraduate Research Volume 1 | Issue 1 Article 5 February 2013 Mythological Links to Shinto Architecture Grace B. Djokoto Oglethorpe University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/ojur Part of the History of Religions of Eastern Origins Commons, and the Other Architecture Commons Recommended Citation Djokoto, Grace B. (2013) "Mythological Links to Shinto Architecture," Oglethorpe Journal of Undergraduate Research: Vol. 1 : Iss. 1 , Article 5. Available at: https://digitalcommons.kennesaw.edu/ojur/vol1/iss1/5 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Oglethorpe Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Djokoto: Mythological Links to Shinto Architecture Shinto (“The Kami Way”) is the native religion of Japan that centers on the worship of kami, or spirits. Shrines are major components of the religion, as each shrine is dedicated to specific kami. The location of a shrine is very important. Some of the most ancient and famous shrines were founded at places where mythological events were reputed to have occurred.1 For example, The Ise shrine is dedicated to the Sun Goddess Amaterasu, who appeared to Princess Yamato and said, “It is a secluded and pleasant land. In this land I wish to dwell.”2 Shinto worship in its earliest form did not occur at a shrine building, but at a sacred tree of life in which the spirit of the kami dwells and operates, which originates from the myth of the High Tree Deity declaring that he would place a sacred tree and a sacred enclosure in heaven to pray for the prosperity of the emperor.3 The move to shrine worship involved the construction of various structures, some symbolic and others purely ornamental.
    [Show full text]
  • Let's Take a Stroll Around Koishikawa and Zoshigaya !
    Opening Information Place of ISHIKAWA Takuboku’s Main Hall of Gokoku-ji Temple Death [Open] All Year (except special events [Open] All Year or activities at the main hall) [Hours] All Day ※The principal image is unveiled on [Fee] Free the 18th of each months Tokyo Heritage Week [Hours] All Day Memorial to Ishikawa Takuboku [Fee] Free Monument and Gallery [Open] All Year (except the Year-End Former McCaleb Residence Let’s take a stroll around and New Year and the exceptional (Old Missionary House, Zoshigaya ) closing period) [Open] All Year (except Mondays, Koishikawa and Zoshigaya ! [Hours] 9:00～17:00 Sunday of the 3rd week and the [Fee] Free Year-End and New Year. If a holiday A rolling land of Koishikawa and Zoshigaya area is formed by falls on them, the following day) midsize and small rivers pouring into Kanda-gawa River and plateau. Koishikawa area is known for temples associated with the Tokugawa Koishikawa Botanical Garden [Hours] 9:00～16:30 [Open] All Year (except Mondays and [Fee] Free Shogunate, and temple towns were developed around such temples, territories and roadside of “Kasuga-dori Street” and “Otowa-dori the Year-End and New Year. If a Street”. Tokugawa Tsunayoshi, the fifth shogun, specially had a close holiday falls on Monday, closed on Avenue of Zelkova Trees at connection to the area. Zoshigaya Kishimojin Temple was worshipped Tuesday. If there are consecutive Kishimojin Daimon by a wide range of believers and thrived in the Edo period. [Open] All Year holidays, the day after the last holiday This route introduces the historic sites such as Gokoku-ji Temple will be closed) [Hours] All Day and Zoshigaya Kishimojin Temple that allow us to experience the [Hours] 9:00～16:30 (Enter by 16:00) [Fee] Free atmosphere of the Edo period, as well as the Former McCaleb [Fee] General ￥400 (a group more than Residence and Jiyu Gakuen Myonichikan built in the Meiji and the 20 pers ￥300), Elementary school & Jr Ginkgo of Zoshigaya Kishimojin Taisho era.
    [Show full text]