Emperors and Shrines and Haniwa Oh My!

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The Kofun era of Japan, which is characterized by the creation of old tombs, marks the beginning of the imperial system stating that emperors were directly descended from the Shinto deities (Stokstad, 87). When an emperor from the Kofun period died, chamber burial tombs were formed on hilltops. All along the hilltop up to the apex of the mountain were haniwas standing guard. Haniwas are hallow ceramic works of sculpture which are found surrounding old tombs in the Early Asia time period. The figures evolved from simple cylindrical jars with ceremonial offerings, to shapes of ceremonial objects such as houses and boats, to living creatures such as birds and horse, and lastly in the 6th century human shapes (Stokstad, 87). It is commonly believed that the haniwas symbolize a continued service to the deceased in the after life (Britannica).

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Furthermore, the haniwas are characterized as being extremely simply designed, but with a bold form. Haniwas, depending on what the object they are depicting is, usually only have a simple geometric design, nothing too elaborate. They are rarely perfectly symmetrical, which is seen in the picture with the warrior haniwa’s shoulder canting downward. This was meant to embody the idiosyncrasy and unpredictability of life and individuality (Stokstad, 87). Also, their eyes, mouths, and noses are hollowed out, which is seen in many other of the sculptures of other cultures we have analyzed.

Unlike their Chinese counterparts, the haniwa’s clay bodies were left unglazed and typically not painted unless it was simple pigments (Britannica). This is very standard of Early Asian Japanese art at the time which really valued simplicity at the highest level.

Just as how the Japanese valued simplicity in their sculptures around burial tombs, they also kept their architecture very simple, focusing on the spiritual value of the site. The Grand Shrine at Ise is one of the great Shinto monuments in Japan where the sun goddess, Amaterasu-Omikami is worshipped. Amaterasu-Omikami is said to have been the ancestor of Japan’s imperial family and thus her shrine is revered. What is interesting about the shrine at Ise is that is routinely rebuilt every 20 years, alternating the two sites of the shrine. Carpenters training all their lives for this task build and then dismantle one of the sites of the shrine, replacing the rubble with beautiful white pebbles. This process is meant to embody a component of the Shinto faith, ritual purification; respecting the cycle of seasons where new life can emerge (Stokstad, 89).

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The shrine is home to the Sacred Mirror, one of the three sacred treasures in Japan and only those of the imperial family can access the mirror (Britannica). Architecturally, the shrine is very much characteristic of Shinto culture, just like the haniwa. It promotes natural simplicity as it is made of Japanese cyprus trees and lacks imposing size and elaborate decoration. The shape of the shrine comes from old granaries which were used to store food during ancient times in Japan (Stokstad, 89).

Moreover, both the haniwa and the Great Shrine of Ise exemplify the value of the simplicity of sculpture and architecture that Japan maintains. creating impactful pieces of art.

Below is a video describing the rebuilding and culture of the Ise Shrine for further understanding of the Shinto culture.

Stokstad, Marilyn. Art: A Brief History. Fourth Edition. (Prentice-Hall, 2009).

“Haniwa”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 1 June. 2015

“Ise Shrine”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 1 June. 2015

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