Page 60 - Edo: Art in Japan, 1615–1868

Nagoya, Mito, Wakayama, and Hie. Even today the Nikko Toshogü's continuing national importance is
demonstrated by the Japanese government's designation of nine of its structures as National Treasures
and forty-six as Important Cultural Properties.
The ornamentation was arranged to maximize its visual impact. Almost all of the decoration —
paintings and especially carvings — was placed toward the front of the structures, where it would be most
visible. There was also an emphasis on placing auspicious designs at entrances and windows. Three
large gates leading into the inner sanctum of the shrine became increasingly ornate in closer proximity
14
to the sacred space, a visual reinforcement of the spiritually symbolic function of the sanctuary.
The type of ornament employed at the Nikkó Tóshógü can be divided into four categories: the
human figure, animals, plants, and geometric designs. The human figurai motifs, which are all Chinese, 59
include mythical and historical beings. The majority of animals depicted are mythical, with the Chinese

lion (karojishi) represented most often, and birds and dragons a close second. leyasu was born in the
year of the tiger, and lemitsu in the year of the dragon, both of which were important symbols of rule in
China. Thus tigers and dragons appear often in the monument as personal symbols for the shogun. The
plentiful bird depictions feature the mythical phoenix and the crane and hawk, which were symbols of
the samurai. Images of plants, mostly of Chinese derivation, include various forms of especially peonies
and camellias. The largest category of ornament used in the Tóshógú, however, consists of geometric
fig. I patterning, which covers most of the pillars and subsidiary spaces and forms the ground for most other
Carved ornament on a column
in the Nikkô Tóshógü, motifs (fig. i). A wide array of geometric designs is employed, but most are banded and include stylized
showing the nyoi-head pattern floral repeats, Chinese grass scrolls (karakusa), nyoi heads (a Buddhist instruction wand), or latticework.
in the background
and a roundel enclosing a The pervasive use of geometric designs reveals the time and expense lavished on its placement
stylized crane
and suggests its talismanic importance. Banded patterns on the entrance gates seem to assume a similar
symbolic value. Twelve pillars support the middle gate (yômeimon) en route to the inner sanctum, each

cat. 8
large sake ewer with Chinese
lions and peony design,
c. 16405, Hizen ware porcelain,
Kokutani style,
5
19.4 (7 /8) high,
Agency for Cultural Affairs,
Tokyo,
Important Cultural Property