Razvoj japanske arhitekture

Na arhitekturu u Japanu je dosta uticala kineska arhitektura mada postoje razlike

izmeu njih dve. U kineskoj arhitekturi je, izloeno drvo na graevinama bilo
farbano, a u Japanu nije bilo farbano. Takoe, kineska arhitektura je bazirana na
nainu ivota u kome su se koristile stolice za sedenje dok su u Japanu ljudi
tradicionalno sedeli na podu mada, taj obiaj je krenuo da se menja tokom Meii
perioda (1868-1912).
Na japansku arhitekturu je uticala i klima. Leta u Japanu su duga, vrela i vlana i
prema toj injenici su graene kue. Tradicionalna kua je pravljena tako da vazduh
moe da struji kroz nju, a drvo je bio materijal od koga su se pravile jer je leti bio
hladan, zimi topao i fleksibilan je kada doe do zemljotresa.
U Asuka periodu (593-710), budizam je uveden u Japan iz Kine i budistiki hramovi
su graeni na kontinentalan nain. Od tog vremena, budistika arhitektura je imala
veliki uticaj na japansku arhitekturu. Hram Horjui, sagraen 607. godine i
obnovljen 670. godine posle velikog poara, je jedna od najstarijih drvenih
graevina na svetu. Nalazi se meu budistikim spomenicima, u oblasti Horjui koja
je proglaena Svetskom batinom UNESCO-a 1993. godine.
U Nara periodu (710-794), glavni grad Heiokjo je bio izloen u Nari na nain slian
kineskoj prestonici gde su ulice bile ureene kao tabla za igranje dame. Mnogi
hramovi i palate ovog perioda su bile graene u Tang stilu koji je doao iz Kine.
U Heian periodu (794-1185), kineski elementi su bili potpuno prihvaeni i nacionalni
stil je razvijen. Kue aristokratije (plemstva) u Heiankjou, dananjem Kjotou, su bile
graene u inden-zukuri stilu, u kome su glavne zgrade i sobe za spavanje bile u
centru i bile su povezane hodnicima sa okolnim zgradama.
Mnoge tvrave su izgraene u XVI veku, kada su feudalci vladali japanskim
drutvom. Iako su graene radi odbrane, tvrave su poveavale ugled feudalca i to
je bila njegova kua. Nekoliko ih je ostalo do danas, i dive im se zbog
tenukakua(donon). Graevine u kojima se ivelo unutar tvreve i sobe za
spavanje u budistikim hramovima, su esto graene prema posebnom stilu
nazvanom oin-zukuri, koji je ukljuivao nove karakteristike providan i neprovidan
papir pokriveni klizni paneli (odnosno oi i fusuma) i tepisi od trske (tatami) koji
su i dalje kljuni elementi u tradicionalnoj Japanskoj kui. Velianstven postojei
primer ovog stila je Ninomaru palata, Nino tvrava u Kjotou iz XVII veka.
U XVII veku, oin-zukuri stil je kombinovan sa odlikama sukija, u kui u kojoj se
obavljala ajna ceremonija, da bi se stvorio sukija-zukuri stil. Karakterie ga
delikatna oseajnost, elementi drva i jednostavnost ukrasa. Najbolji postojei primer
ovog stila je Kacura palata u Kjotou, koja je poznata po skladnom uklapanju zgrada
sa pejzaem.

RJOKAN
Rjokan je olicenje najboljih elemenata Japana iz starih vremena kao sto su kultura,
tehnologija,umetnost, obiaji. Rjokan je mesto gde se moze iskusiti zivot japanskog
naroda i oni su idealan nain da se upozna onaj pravi Japan..
Nastaje u Nara periodu, i tad su postojale kuce za odmor, to su objekti za putnike da
prespavaju preko noci,medjutim,jako su bili otezani uslovi za putovanje pa monasi
su sagradili prvi rjokan sa ciljem da pomognu putnicima.
U Heian periodu prvi rjokan su bile vile i hramovi
U kamakura periodu nastaju dve vrste rjokana : kicin jado i hatago..kicin jado je
nastao zbog injenice da obroci nisu bili obezbedjeni, putnici su placali cenu drveta
koji su koristili za kuvanje sopstvenog obroka,

U edo periodu, putevi su konstruisani, ekonomska situacija se popravila, to je dovelo

do cestih putovanja trgovaca. Da bi ih podrzali hatago je obezbedio hranu i bio novo
osnovan. U pocetku su kicin jado i hatago bili jedno pord drugog ali u drugoj
polovini edo perioda hatago je postao nesto sassvim uobicajeno.
U medjuvremenu sogunat je stabilizovao sistem poznat kao sankin kotai sa ciljem
da se spreci da feudalni carevi zloupotrebe svoju moc. Zbog toga su mroali da
putuju u Edo i kada bi putovali morali su da prenoce. Zato se pojavljuju dve vrste
smestaja : hodjin i vaki hodjin. Hodjin je primarni a vaki hodjin sekundarni smestaj.
Kada bi se poredio hodjin i hatago onda bi se reklo da je hatago sasvim uobicajen
smestaj dok je hodjin luksuzniji.
Kasnije tokom Meidji reformacije donete su radikalne promene u nainu putovanja.
Umesto da putuju peske poceo je voz da se koristi kao transportno sredstvo i mnogi
rjokana bili su blizu zeleznike stanice.
Sredinom 195o ponovo postaju popularni jer se ekonomija razvila, rjokan se
izgradjuje jedan za drugim, ljudi cu poceli da ih posecuju zbog unapredjenja,
kvaliteta, jedinstvene karakteristike.
Japanske kuce
U drevnom Japanu su u pocetku postojale samo dve vrste kuca. Prva vrsta je ustvari
bila vrsta zemunica, koja se gradila tako sto su se stubovi ubacivali u prethodno
iskopanu rupu, a strane tih stubova bile prekrivene travom.
Druga vrsta su kuce sa podom izdignutim od zemlje. Ovaj stil kuca je dosao iz
juznoistocne Azije i ova gradjevina je bila koriscena uglavnom za cuvanje hrane,
kako se ne bi ukvarila usled vrucine i vlaznosti.
Oko XI veka, kada je jedinstvenost japanske kulture bilo u punom cvatu, clanovi
aristokratije su poceli da prave upecatljive kuce za sebe, ovaj stil se zvao shinden-

zukuri . Ova vrsta kuce je stojala u sredini velike baste, bila je simetrica i njene sobe
su bile povezane velikim hodnicima.
Kako je politicka moc prelazila sa samuraje i dolaskom budizma u Japan, dolazi do
stvaranja novog stila, zvani shoin-zukuri.
Kuce u kojima su obicni ljudi ziveli su se razvijale drugacije. Zemljoradnici u
razliccitm regionima su gradili kuce u skladu sa lokalnim uslovima. Kuce su se
gradile u gassho stilu. Neki zemljoradnici su imali i posebno odredjen prostor u
sklopu kuce u kome su drzali stoku i konje, dok su kuce gradskih ljudi bili pribijene
jedna uz drugu i do ulice. Posto je nacin oporezivanja bio na osnovu zemljista koju
kuca zauzima, njihove kuce su bile uske i visoke. Ovaj stil se moze videti i danas u
starijim gradovima kao sto su Tokio.
Izgradnja kuca se menjala i tokom Meiji ere. Neke gradske kuce su bile gradjene u
kura-zukuri stilu, koje su izgledale kao i tradicionalne kuce samo sto su bile gradjene
od materijala koji su vise otporni na vatru. Stil kojim se danas grade kuce u Japanu
su uglavnom shoin-zukuri pomesani sa zapadnjackom kulturom.
Budisticki hramovi
Budizam iz Kine u Japan dolazi u VI veku , i sa njim poinje da se razvija budistika
arhitektura. Vremenom se menjala i razvijala , pa je tako dobila i neki poseban
japanski stil gradnje ovih hramova.
Za izgradnju ovih hramova se koriste prirodni materijali , najee drvo. Kamen se
gotovo ne upotrebljava , osim u sluaju izgradnje temelja podie (podijuma) I
pagode.
Sistem gradnje je uglavnom uvek bio isti- dva vertikalna stuba koja dre jednu
gredu , i naravno krov , koji zauzima najvie prostora kod svakog budistikog hrama.
Enterijer hrama je obino bio jako jednostavan. Jedna soba koja se nazivala moya i
ponekad je hram bio podeljen hodnicima koji su se nazivali hisashi.Zidovi su
najee bili od papira i bili su pokretni.
Krivudavi krov je najupeatljiviji detalj svakog budistikog hrama. Ne samo da
estetski lepo izgleda , vec ima i svoju simbliku vrednost. .Postoji vie legendi o
krivudavim krovovima , ja u izdvojiti dve. Naime , budisti veruju da e krivudavi
krovovi odbiti zle duhove za koje se verovalo da se kreu samo pravolinijski. A druga
legenda je da ako kojim sluajem zli duh padne sa neba , krivudavi krov e ih
odbaciti nazad.Struktura duplih krovova se naziva kondo i odaje neki utisak mone
graevine.
Postoje etiri glavna stila izgradnje budistikih krovova , a to su:
Vajo stil se razvija u Heian periodu. Ovaj stil karakterie jednostavnost i uzdravanje
od preteranog ukraavanja. Pagoda je predstavnik ovog stila , i ona zapravo
predstavlja pet elemenata iz prirode: nebo , vetar , vatra , voda i zemlja.

Daibucujo stil je suta suprotnost vajo stilu. Pojavljuje se krajem XII poetkom XIII
veka , svetenik ogen ga je prvi predstavio. Odlikuju ga velianstvene i
prenaglaene graevine.
Zenujo stil se takoe javlja krajem XII poetkom XII veka. Osniva Zen kole je prvi
predstavio ovaj stil. Glavne karakteristike su zemljani podovi , dekorativni krovovi i
obloena vrata.
Senujo stil se pojavio u Japanu tokom Muromai perioda . i predstavlja kombinaciju
ova tri prethodna stila
Shinto Shrines
A Shinto shrine (jinja, meaning: "place of the god") is a structure whose main
purpose is to house ("enshrine") one or more Shinto kami. Although only one word
("shrine") is used in English, in Japanese Shinto shrines may carry any one of many
different, non-equivalent names like gongen, -g, jinja, jing, mori, myjin, -sha,
taisha, ubusuna or yashiro.
Structurally, a Shinto shrine is usually characterized by the presence of a honden or
sanctuary, where the kami is enshrined. The honden may however be completely
absent, as for example when the shrine stands on a sacred mountain to which it is
dedicated, and which is worshiped directly. The honden may be missing also when
there are nearby altar-like structures called himorogi or objects believed capable of
attracting spirits called yorishiro that can serve as a direct bond to a kami. There
may be a haiden (hall of worship) and other structures as well. However, the
shrines' most important building is used for the safekeeping of sacred objects rather
than for worship.
Miniature shrines (hokora) can occasionally be found on roadsides. Large shrines
sometimes have on their precincts miniature shrines (sessha or massha). The
portable shrines (mikoshi) which are carried on poles during festivals (matsuri)
enshrine kami and are therefore true shrines.
The number of Shinto shrines in Japan is estimated to be around 100,000.
Early origins
During the Yayoi period, the Japanese did not have the notion of anthropomorphic
deities but felt the presence of spirits in nature and its phenomena. Mountains,
forests, rain, wind, lightning, and sometimes animals were thought to be charged
with spiritual power, whose worldly manifestations were worshipped as kami,
entities closer in their essence to Polynesian mana than to Western gods. The spirits
that gave life to humans come from nature and return to it after death. Ancestors
are therefore kami to be worshiped. Yayoi-period village councils sought the advice
of ancestors and other kami, and developed instruments (yorishiro) to evoke them.

Yoshishiro means "approach substitute" and were conceived to attract the kami to
allow them physical space, thus making kami accessible to human beings.
Village-council sessions were held in quiet spots in the mountains or in forests near
great trees or other natural objects that served as yorishiro. These sacred places
and their yorishiro gradually evolved into today's shrines, whose origins can be still
seen in the Japanese words for "mountain" and "forest", which can also mean
"shrine". Many shrines have on their grounds one of the original great yorishiro: a
big tree, surrounded by a sacred rope called shimenawa.
The first buildings at places dedicated to worship were surely huts built to house
some yorishiro. A trace of this origin can be found in the term hokura, "deity
storehouse", which evolved into hokora, and is considered to be one of the first
words for shrine.
First temporary shrines
True shrines arose with the beginning of agriculture, when the need arose to attract
kami to ensure good harvests. These were, however, just temporary structures built
for a particular purpose, a tradition of which traces can be found in some rituals.
Hints of the first shrines can still be found here and there. miwa shrine in Nara, for
example, contains no sacred images or objects because it is believed to serve the
mountain on which it stands. Those images or objects are therefore unnecessary.
For the same reason, it has a worship hall (haiden) but no place to house the kami
(shinden). Archeology confirms that, during the Yayoi period, the most common
shintai (a yorishiro actually housing the enshrined kami) in the earliest shrines were
nearby mountain peaks that supplied stream water to the plains where people lived.
Besides the already mentioned miwa Shrine, another important example is Mt.
Nantai, a phallus-shaped mountain in Nikko which constitutes Futarasan shrine's
shintai. Significantly, the name Nantai means "man's body". The mountain not only
provides water to the rice paddies below but has the shape of the phallic stone rods
found in pre-agricultural Joumon sites.
Arrival and impact of Buddhism
The arrival of Buddhism changed the situation, introducing to Japan the concept of
the permanent shrine. A great number of Buddhist temples were built next to
existing shrines in mixed complexes called jinguu-ji (lit. shrine temple) to help
priesthood deal with local kami, making those shrines permanent. Some time in
their evolution, the word Miya, meaning "palace", came into use, indicating that
shrines had by then become the imposing structures of today.
Once the first permanent shrines were built, Shinto revealed a strong tendency to
resist architectural change, a tendency which manifested itself in the so-called
Shikinen seng-sai, the tradition of rebuilding shrines faithfully at regular intervals

adhering strictly to their original design. This custom is the reason ancient styles
have been replicated through the centuries to the present day, remaining more or
less intact. Ise Shrine, still rebuilt every 20 years, is its best extant example. The
tradition of rebuilding shrines or temples is present in other religions, but in Shinto it
has played a particularly significant role in preserving ancient architectural styles.
Izumo Taisha, Sumiyoshi Taisha and Nishina Shinmei Shrine in fact represent each a
different style whose origin is believed to predate Buddhism in Japan, a religion
which arrived in Japan around the beginning of the sixth century. These three styles
are known respectively as taisha-zukuri, sumiyoshi-zukuri and shinmei-zukuri.
Shrines weren't of course completely immune to change, and in fact show various
influences, particularly that of Buddhism, a cultural import which provided much of
Shinto architecture's vocabulary. The rmon (tower gate), the haiden, the kair
(corridor), the tr (stone lantern), and the komainu, or lion dogs, are all elements
borrowed from Buddhism.
Shinbutsu shg and the jingji
Until the Meiji period (18681912), shrines as we know them today were rare. With
very few exceptions like Ise Shrine and Izumo Taisha, they were just a part of a
temple-shrine complex controlled by Buddhist clergy. These complexes were called
jing-ji (shrine temple), places of worship composed of a Buddhist temple and of a
shrine dedicated to a local kami. The complexes were born when a temple was
erected next to a shrine to help its kami with its karmic problems. At the time, kami
were thought to be also subjected to karma, and therefore in need of a salvation
only Buddhism could provide. Having first appeared during the Nara period (710 794), the jing-ji remained common for over a millennium until, with few exceptions,
they were destroyed in compliance with the new policies of the Meiji administration
in 1868.
Shinbutsu bunri
The Shinto shrine went through a cataclysmic change when the Meiji administration
promulgated a new policy of separation of kami and foreign Buddhas (shinbutsu
bunri) with the Kami and Buddhas Separation Order (Shinbutsu Hanzenrei). This
event is of great historical importance partly because it triggered the haibutsu
kishaku, a violent anti-Buddhist movement which in the final years of the Tokugawa
shogunate and during the Meiji Restoration caused the forcible closure of thousands
of Buddhist temples, the confiscation of their land, the forced return to lay life of
monks, and the destruction of books, statues and other Buddhist property.
Until the end of Edo period, local kami beliefs and Buddhism were intimately
connected in what was called shinbutsu shg, up to the point that even the same
buildings were used as both Shinto shrines and Buddhist temples.

After the law, the two would be forcibly separated, causing great damage to the
nation's heritage. This was done in several stages. A first order issued by the
Jingijimuka on April 1868 ordered the defrocking of shas and bett (shrine monks
performing Buddhist rites at Shinto shrines).
A few days later, the 'Daijkan' banned the application of Buddhist terminology such
as gongen to Japanese kami and the veneration of Buddhist statues in shrines.
The third stage consisted of the prohibition against applying the Buddhist term
Daibosatsu (Great Bodhisattva) to the syncretic kami Hachiman at the Iwashimizu
Hachiman-g and Usa Hachiman-g shrines.
In the fourth and final stage, all the defrocked bett and shas were told to become
"shrine priests" (kannushi) and return to their shrines. Also, monks of the Nichiren
sect were told not to refer to some deities as kami.
After a short period in which it enjoyed popular favor, the process of separation of
Buddhas and kami however stalled and is still only partially completed: to this day,
almost all Buddhist temples in Japan have a small shrine (chinjusha) dedicated to its
Shinto tutelary kami, and vice-versa Buddhist figures (e.g. goddess Kannon) are
revered in Shinto shrines.
Shintai
The defining features of a shrine are the kami it enshrines and the shintai (or goshintai if the honorific prefix go- is used) that houses it. While the name literally
means "body of a kami", shintai are physical objects worshiped at or near Shinto
shrines because a kami is believed to reside in them. In spite of what their name
may suggest, shintai are not themselves part of kami, but rather just symbolic
repositories which make them accessible to human beings for worship. It is said
therefore that the kami inhabits them. Shintai are also of necessity yorishiro.
The most common shintai are man-made objects like mirrors, swords, jewels (for
example comma-shaped stones called magatama), gohei (wands used during
religious rites), and sculptures of kami called shinz, but they can be also natural
objects such as rocks, mountains, trees and waterfalls. Mountains were among the
first, and are still among the most important, shintai, and are worshiped at several
famous shrines. A mountain believed to house a kami, as for example Mount Fuji or
Mount Miwa, is called a shintai-zan. In the case of a man-made shintai, a kami must
be invited to reside in it (see the next subsection, Kanj).
The founding of a new shrine requires the presence of either a pre-existing,
naturally occurring shintai (for example a rock or waterfall housing a local kami), or
of an artificial one, which must therefore be procured or made to the purpose. An
example of the first case are the Nachi Falls, worshiped at Hiry Shrine near
Kumano Nachi Taisha and believed to be inhabited by a kami called Hiry Gongen.

The first duty of a shrine is to house and protect its shintai and the kami which
inhabits it. If a shrine has more than one building, the one containing the shintai is
called honden; because it is meant for the exclusive use of the kami, it is always
closed to the public and is not used for prayer or religious ceremonies. The shintai
leaves the honden only during festivals, when it is put in portable shrines (mikoshi)
and carried around the streets among the faithful. The portable shrine is used to
physically protect the shintai and to hide it from sight.
Structure of a Shinto shrine
1.Torii - Shinto gate
2.Stone stairs
3.Sand - the approach to the shrine
4.Chzuya or temizuya - purification font to cleanse one's hands and mouth
5.Tr - decorative stone lanterns
6.Kagura-den - building dedicated to Noh or the sacred kagura dance
7.Shamusho - the shrine's administrative office
8.Ema - wooden plaques bearing prayers or wishes
9.Sessha/massha - small auxiliary shrines
10.Komainu - the so-called "lion dogs", guardians of the shrine
11.Haiden - oratory or hall of worship
12.Tamagaki - fence surrounding the honden
13.Honden - main hall, enshrining the kami
14.On the roof of the haiden and honden are visible chigi (forked roof finials) and
katsuogi (short horizontal logs), both common shrine ornamentations.
The general blueprint of a Shinto shrine is Buddhist in origin. The presence of
verandas, stone lanterns, and elaborate gates is an example of this influence. The
composition of a Shinto shrine is extremely variable, and none of its possible
features is necessarily present. Even the honden can be missing if the shrine
worships a nearby natural shintai.
However, since its grounds are sacred, they are usually surrounded by a fence made
of stone or wood called tamagaki, while access is made possible by an approach
called sand. The entrances themselves are straddled by gates called torii, which
are usually the simplest way to identify a Shinto shrine.

A shrine may include within its grounds several structures, each destined to a
different purpose. Among them are the already mentioned honden or sanctuary,
where the kami are enshrined, the heiden or hall of offerings, where offers and
prayers are presented, and the haiden or hall of worship, where there may be seats
for worshippers. The honden is the building that contains the shintai, literally, "the
sacred body of the kami". Of these, only the haiden is open to the laity. The honden
is usually located behind the haiden and is often much smaller and unadorned.
Other notable shrine features are the temizuya, the fountain where visitors cleanse
their hands and mouth, and the shamusho, the office which oversees the shrine.
Buildings are often adorned by chigi and katsuogi, variously oriented poles which
protrude from their roof.
As already explained above, before the Meiji Restoration it was common for a
Buddhist temple to be built inside or next to a shrine, or viceversa for a shrine to
include Buddhist subtemples. If a shrine housed a Buddhist temple, it was called a
jingji. Analogously, temples all over Japan adopted tutelary kami (chinju) and built
temple shrines (jisha) to house them. After the forcible separation of Buddhist
temples and Shinto shrines (shinbutsu bunri) ordered by the new government in the
Meiji period, the connection between the two religions was officially severed, but
continued nonetheless in practice and is still visible today.
Shrine architectural styles
Shrine buildings can have many different basic layouts, usually named either after a
famous shrine's honden (e.g. hiyoshi-zukuri, named after Hiyoshi Taisha), or a
structural characteristic (e.g. irimoya-zukuri, after the hip-and gable roof it adopts.
The suffix -zukuri in this case means "structure".)
The honden's roof is always gabled, and some styles also have a veranda-like aisle
called hisashi (a 1-ken wide corridor surrounding one or more sides of the core of a
shrine or temple). Among the factors involved in the classification, important are
the presence or absence of:
-hirairi or hirairi-zukuri - a style of construction in which the building has its main
entrance on the side which runs parallel to the roof's ridge (non gabled-side). The
shinmei-zukuri, nagare-zukuri, hachiman-zukuri, and hie-zukuri belong to this type.
-tsumairi or tsumairi-zukuri - a style of construction in which the building has its
main entrance on the side which runs perpendicular to the roof's ridge (gabled
side). The taisha-zukuri, sumiyoshi-zukuri, tori-zukuri and kasuga-zukuri belong to
this type.
Proportions are also important. A building of a given style often must have certain
proportions measured in ken (the distance between pillars, a quantity variable from
one shrine to another or even within the same shrine).

The oldest styles are the tsumairi shinmei-zukuri, taisha-zukuri, and sumiyoshizukuri, believed to predate the arrival of Buddhism.
The two most common are the hirairi nagare-zukuri and the tsumairi kasuga-zukuri.
Larger, more important shrines tend to have unique styles.
Most common styles
Nagare-zukuri
The nagare-zukuri (flowing style) or nagare hafu-zukuri (flowing gabled style) is a
style characterized by a very asymmetrical gabled roof (kirizuma-yane in Japanese)
projecting outwards on the non-gabled side, above the main entrance, to form a
portico. This is the feature which gives the style its name, the most common among
shrines all over the country. Sometimes the basic layout consisting of an elevated
core (moya) partially surrounded by a veranda called hisashi (all under the same
roof) is modified by the addition of a room in front of the entrance. The honden
varies in roof ridge length from 1 to 11 ken, but is never 6 or 8 ken. The most
common sizes are 1 and 3 ken. The oldest shrine in Japan, Uji's Ujigami Shrine, has
a honden of this type. Its external dimensions are 5x3 ken, but internally it is
composed of three sanctuaries (naiden) measuring 1 ken each.
Kasuga-zukuri
Kasuga-zukuri as a style takes its name from Kasuga Taisha's honden. It is
characterized by the extreme smallness of the building, just 1x1 ken in size. In
Kasuga Taisha's case, this translates in 1.9 m x 2.6 m. The roof is gabled with a
single entrance at the gabled end, decorated with chigi and katsuogi, covered with
cypress bark and curved upwards at the eaves. Supporting structures are painted
vermillion, while the plank walls are white.
After the Nagare-zukuri, this is the most common style, with most instances in the
Kansai region around Nara.
Styles predating the arrival of Buddhism
The following four styles predate the arrival in Japan of Buddhism.
Primitive shrine layout with no honden
This style is rare, but historically important. It is also unique in that the honden,
normally the very center of a shrine, is missing. It is believed shrines of this type are
reminiscent of what shrines were like in prehistorical times. The first shrines had no
honden because the shintai, or object of worship, was the mountain on which they
stood. An extant example is Nara's miwa Shrine, which still has no honden. An
area near the haiden (hall of worship), sacred and taboo, replaces it for worship.

Another prominent example of this style is Futarasan Shrine near Nikk, whose
shintai is Mount Nantai. For details, see Birth and evolution of Shinto shrines above.
Shinmei-zukuri
Shinmei-zukuri is an ancient style typical of, and most common at, Ise Grand Shrine,
the holiest of Shinto shrines. It is most common in Mie prefecture. Characterized by
an extreme simplicity, its basic features can be seen in Japanese architecture from
the Kofun period (250538 C.E.) onwards and it is considered the pinnacle of
Japanese traditional architecture. Built in planed, unfinished wood, the honden is
either 3x2 ken or 1x1ken in size, has a raised floor, a gabled roof with an entry on
one the non-gabled sides, no upward curve at the eaves, and decorative logs called
chigi and katsuogi protruding from the roof's ridge. The oldest extant example is
Nishina Shinmei Shrine.
Sumiyoshi-zukuri
Sumiyoshi-zukuri takes its name from Sumiyoshi Taisha's honden in saka. The
building is 4 ken wide and 2 ken deep, and has an entrance under the gable. Its
interior is divided in two sections, one at the front (gejin) and one at the back
(naijin) with a single entrance at the front. Construction is simple, but the pillars are
painted in vermilion and the walls in white.
The style is supposed to have its origin in old palace architecture. Another example
of this style is Sumiyoshi Jinja, part of the Sumiyoshi Sanjin complex in Fukuoka
Prefecture. In both cases, as in many others, there is no veranda.
Taisha-zukuri
Taisha-zukuri or yashiro-zukuri is the oldest shrine style, takes its name from
Izumo Taisha and, like Ise Grand Shrine's, has chigi and katsuogi, plus archaic
features like gable-end pillars and a single central pillar (shin no mihashira).
Because its floor is raised on stilts, it is believed to have its origin in raised-floor
granaries similar to those found in Toro, Shizuoka prefecture.
The honden normally has a 2x2 ken footprint (12.46x12.46 m in Izumo Taisha's
case), with an entrance on the gabled end. The stairs to the honden are covered by
a cypress bark roof. The oldest extant example of the style is Kamosu Jinja's honden
in Shimane prefecture, built in the 16th century.
Zamkovi i palate
Zamkovi predstavljaju najvanije i najlepe spomenike iz doba samuraja. Japanska
re za zamak je iro i to je japansko itanja ideograma. Kinesko itanje je o i ono se
koristi kada se govori o nekom odreenom zamku (npr. Osaka o). Vetina izgradnje
zamkova se naziva ikuo ucu (chikujo jutsu).

Prvi zamkovi koji su se javili tokom drevnog perioda pripadali su Ainu narodu i
nazivali su se ai, to znai zamak na ainu jeziku. Gospodske kue poznate kao tai
na severu Honua takoe su predstavljale prvobitne zamkove. Tokom perioda Nara,
graena su dva tipa zamka:
1)planinski zamkovi u korejskom stilu
2)mizuki zamkovi koji su, kao to im ime nagovetava, bili okrueni vodenim
rovovima
Zamkovi su se razvijali tokom Heian perioda, da bi u srednjem veku, iako su oduvek
bili graeni na strateki odabranim mestima u odbrambene svrhe, dobili ulogu
ratnih utvrenja. Ovo je logino jer je srednji vek bio period zaraenih drava u
Japanu koje su se borile za ujedinjenje, pa je samim tim odlikovao estim ratnim
sukobima. U ovom periodu arhitektura zamkova dostie svoj vrhunac, naroito
tokom perioda Azui-Momojama koji je ak dobio naziv po zamkovima dva kljuna
daimjoa u tom periodu (zamak Azui u Azuiju Ode Nobunage i zamak Tojotomija
Hidejoija Fuimi-Momojama u Kjotu).
Kao i veina arhitektonskih dostignua Japana, zamkovi su se takoe
tradicionalno u poetku gradili od drveta. Meutim, Japanci su ubrzo shvatili da
ovakvi zamkove nisu dovoljno otporni i vrsti, a naroito je problem predstavljala
neotpornost drveta na vatru. Japanci su ovo pokuali da ree uvoenjem nurigome
zukurija. Nurigome zukuri predstavlja tehniku nanoenja nekoliko sloja maltera
jedan preko drugog. Smatra se da je ova tehnika prvi put primenjena ja Azui zamku
Ode Nobunage. Iako je ovo donekle ovrslo konstrukciju zamka, nije bilo dovoljno.
Uskoro je kamen postao neodvojivi element zamka. Naime, poela je izgradnja
zidova na razliitim nivoima i kamenih bedema oko zamka. Tokungava ogunat je
ak zabranjivao izgradnju zamkova od drveta, osim kule koja predstavlja glavni deo.
Kamen se u poetku koristio neobraen, onakav kakav je naen u prirodi. Zidovi
nisu bili zakoeni, pa je bilo mogue popeti se i stii do same kule koristei izboine
kamena, pa je, samim tim, zatita bila nepotpuna. Ovo je kasnije ispravljeno.
Kameni zidovi daju japanskim zamkovima autentian izgled koji je nalik na lavirint.
Kula se nalazila na vrhu zamka i naziva se donon. Prvobitna uloga donona
je bila uloga male prostorije za osmatranje. Kasnije prerasta u sobu za sastanke, a
vremenom poinju da se grade viespratni dononi koji su sadrali kuhinju, toalet,
bunari i druge prostorije.
Sa dolaskom perioda mira uspostavljanjem Tokugava ogunata i ujedinjenjem
Japana, menja se i uloga zamka. Umesto ratnog utvrenja, zamak tokom ovog
perioda pre svega predstavlja ekonomski i politiki centar. Tokugava reim je
zahtevao da svaki daimjo ima svoj zamak u kome e iveti i u kome e boraviti
njegova vojska samuraja. Kada predstavlja mesto stanovanja daimjoa, zamak
moemo zvati palatom. Veliina i dekoracije su predstavljale olienje moi daimjoa.
Dizajn enterijera je takoe bio vaan.

Shodno sa politikim promenama i promenama glavne funkcije zamka,

javljaju se etiri osnovna tipa zamka:
1)
2)
3)
4)

jamairo
hinajamairo
hinairo
mizuiro

Jamairo su graeni na vrhovima planina. Obino nisu previe velike povrine. Zbog
prirodnog okruenja na kome su graeni, dodatna zatita kamenih zidova nije bila
neophodzna. Meutim, graenje kamenog temena, a potom i celog zamka,
zahtevalo je dosta vremena i izuzetnu vetinu. Hinajamairo su bili graeni na
brdima ili visoravnima, njima je ve bila potrebna dodatna zatita. Hinairo su bili
graeni u ravnicama i ovaj tip se pojavio tokom perioda mira kada je zamak dobio
politiki i ekonomski znaaj. Poto su graeni na ravnoj povrini, bili su fleksibilniji i
mogli su biti vee povrine, to je bilo i neophodno kako bi se vojska samuraja
nastanila u njemu. Meutim, ovom tipu zamka bila je potrebna i dodatna zatita.
Uveden je poseban tip kapije masugata, to znai kapija etvrtastog oblika. Naime,
glavna kapija se nalazi na spoljanjem zidu. Odlikuju je posebni ukrasi koji pokazuju
bogatsvo gospodara. Iza nje se nalazi jo jedan zid na kojoj je druga kapija. Znai da
se ulazi u zemljini prostor kvadratnog oblika i da je nemogue videti unutranjost
zamka pre prolaska kroz drugu kapiju.
Pored ovog vida zatite, zidovi, za razliku od onih na zapadu, nisu imali
stepenice pomou kojih bi bilo mogue popeti se do kule. Jedini stepenici na strani
zida okrenutoj ka kuli bili su ii ui tana, koji su sluili strelcima za stajanje pri
gaanju. Jo jedan vid odbramenog mehanizma predstavljala je sama. Same su bile
otvori u zidu koji su sluili za ispaljivanje metaka, topova ili strela. U zavisnosti od
toga za koju su vrstu oruja namenjeni, postoje jasama, toposama i taihosama. Iako
su jagure, kule na krajevima zidova uglavnom sluile kao prostorije za zabavu, imale
su i odbrambenu funkciju.
Jo jedna od jedinstvenosti japanskih zamkova je navabari. Navabari
predstavlja plan izgradnje zamka i nigde nije razvijen kao u Japanu. Osim rasporeda
zidina, donona i odbrambenih mehanizama, kljunu ulogu je igrala i topografija.
Prirodna okruenja su se uzimala u obzir ak i kada se prelo na izgradnju zamkova
u ravnim predelima. Zamkovi su se jo uvek gradili blizu reka, jezera ili rovova.
Mizuiro su obino potpuno okrueni vodom. Jedan od primera mizuira je ve
pomenuti Azui zamak koga uokviruje jezero Biva, najvee japansko jezero. Vezu sa
kopnom predstavlja most. Kasniji zamkovi su podrazumevali unutranje citadele
(hon maru), sredinje citadele (ni no maru) i spoljanje citadele (san no maru).
Tipovi navabarija su:

1)
2)
3)

rinkaku
haigogaku
renkaku

Rinkaku tip podrazumeva citadele poreanje u koncentrinim krugovima.

Najefikasniji je kada je odbrambena funkcija u pitanju. Meutim, ovakav tip
navabarija zahteva dosta vremena, prostora, novca i truda, pa nije bio est.
Haigogaku podrazumeva stepenasto sputanje citadela i zahtevao je dodatno
zatitu. Renkaku stil je podrazumevao glavnu citadelu na sredini, a ostale sa strane.
Takoe je zahtevao dodatnu zatitu.
Iako je osnovna funkcija zamka bila ista kao na zapadu, njihovi izgledi su
sasvim drugaiji. Japanski zamkovi imaju mnogo sloeniju grau koja podrazumeva
kamene zidove koji mu daju dizajn lavirinta, dok na zapadu nije bilo potrebe za tim
jer je kompletan zamak bio od kamena. Mnogi zapadni zamkovi odlikuje mehanizam
pokretnog mosta. U Japanu on nikada nije bio razvijen, koristili su se obini drveni
mostovi. Jedinstveni dizajn krova daje japanskom zamku posebnu lepotu. Uglavnom
su nainjeni od crepa i obojeni. Na vrhu se nalazi figura delfina u skoku.
Zamkovi danas predstavljaju turistiku atrakciju i mogu se nai irom Japana.
Najbrojniji su na Honuu. Meutim, mnogi od ovih zamkova predstavljaju replike i
dizajn se poklapa sa originalom samo spolja. Za unutranji deo zamka su uglavom
korieni beton i cigle zbog dugotrajnosti. Smatra se da je tokom Sengoku ere bilo
vie od 3000 zamkova irom Japana. Tokom perioda Tokugava, broj se znatno
smanjio na oko 120. Bila su izdavana nareenja da se zamkovi rue i bile potrebne
posebne dozvole za izgradnju. Dalje ratna dogaanja su ovaj broj jo vie umanjili.
Danas postoji oko 47 zamkova u Japanu, od kojih je samo 12 ouvano u originalu sa
povremenim obnavljanjima. Jedan od njih je zamak koji se smatra najlepim
japanskim zamkom, a to je zamak Himei u prefekturi Hjogo. Iako nije posebno
velike povrine, to njegova lepota. Smatra se da je navabari prvi put primenjen u
izgradnji ovog zamka, to je jedna od inovacija u ovom tipu arhitekture u tom
vremenu. Nurigome zukuri je primenjen na ceo zamak, zbog njegove bele boje i
krova, esto je nazivan zamkom bele aplje (Hakuro j ili Shirasagi j). UNESCO ju je
proglasio jednim od istorijskih kulturnih naslea.