East Asian hip-and-gable roof
In East Asian architecture, the hip-and-gable roof consists of a hip roof that slopes down on all four sides and integrates a gable on two opposing sides. It is constructed with two large sloping roof sections in the front and back while each of the two sides is constructed with a smaller roof section; the style has spread across East Asia. The original style and similar styles are found in the traditional architecture of Japan, Vietnam, Tibet, Sri Lanka and Kalmykia, it influenced the style of the bahay na bato of the Philippines. It is known as xiēshān in Chinese, irimoya in Japanese, paljakjibung in Korean. Irimoya arrived from China to Japan in the 6th century; the style was used in the main and lecture halls of a Buddhist temple compound. It started to be used for the honden at shrines during the Japanese Middle Ages, its gable is right above the moya, or core, while the hip covers the hisashi, a veranda-like aisle surrounding the core on one or more sides. It is still in wide use in Buddhist temples and Shinto shrines in Japan, in palaces and folk dwellings.
In the last case, it is called moya-zukuri. In Sri Lanka, a style known as the Kandyan roof bears many similarities to the original East Asian hip-and-gable roof; the Kandyan roof is used for religious, royal buildings. Its roots however lie in the traditions of the "Sri Lankan village". Gablet roof
Japanese architecture has traditionally been typified by wooden structures, elevated off the ground, with tiled or thatched roofs. Sliding doors were used in place of walls, allowing the internal configuration of a space to be customized for different occasions. People sat on cushions or otherwise on the floor, traditionally. Since the 19th century, Japan has incorporated much of Western and post-modern architecture into construction and design, is today a leader in cutting-edge architectural design and technology; the earliest Japanese architecture was seen in prehistoric times in simple pit-houses and stores adapted to the needs of a hunter-gatherer population. Influence from Han Dynasty China via Korea saw the introduction of more complex grain stores and ceremonial burial chambers; the introduction of Buddhism in Japan during the sixth century was a catalyst for large-scale temple building using complicated techniques in wood. Influence from the Chinese Tang and Sui Dynasties led to the foundation of the first permanent capital in Nara.
Its checkerboard street layout used the Chinese capital of Chang'an as a template for its design. A gradual increase in the size of buildings led to standard units of measurement as well as refinements in layout and garden design; the introduction of the tea ceremony emphasised simplicity and modest design as a counterpoint to the excesses of the aristocracy. During the Meiji Restoration of 1868 the history of Japanese architecture was radically changed by two important events; the first was the Kami and Buddhas Separation Act of 1868, which formally separated Buddhism from Shinto and Buddhist temples from Shinto shrines, breaking an association between the two which had lasted well over a thousand years. Second, it was that Japan underwent a period of intense Westernization in order to compete with other developed countries. Architects and styles from abroad were imported to Japan but the country taught its own architects and began to express its own style. Architects returning from study with western architects introduced the International Style of modernism into Japan.
However, it was not until after the Second World War that Japanese architects made an impression on the international scene, firstly with the work of architects like Kenzo Tange and with theoretical movements like Metabolism. Much in the traditional architecture of Japan is not native, but was imported from China and other Asian cultures over the centuries. Japanese traditional architecture and its history are as a consequence dominated by Chinese and Asian techniques and styles on one side, by Japanese original variations on those themes on the other. Due to the variety of climates in Japan and the millennium encompassed between the first cultural import and the last, the result is heterogeneous, but several universal features can nonetheless be found. First of all is the choice of materials, always wood in various forms for all structures. Unlike both Western and some Chinese architecture, the use of stone is avoided except for certain specific uses, for example temple podia and pagoda foundations.
The general structure is always the same: posts and lintels support a large and curved roof, while the walls are paper-thin movable and never load-bearing. Arches and barrel roofs are absent. Gable and eave curves are gentler than in columnar entasis limited; the roof is the most visually impressive component constituting half the size of the whole edifice. The curved eaves extend far beyond the walls, covering verandas, their weight must therefore be supported by complex bracket systems called tokyō, in the case of temples and shrines. Simpler solutions are adopted in domestic structures; the oversize eaves give the interior a characteristic dimness, which contributes to the building's atmosphere. The interior of the building consists of a single room at the center called moya, from which depart any other less important spaces. Inner space divisions are fluid, room size can be modified through the use of screens or movable paper walls; the large, single space offered by the main hall can therefore be divided according to the need.
For example, some walls can be removed and different rooms joined temporarily to make space for some more guests. The separation between inside and outside is itself in some measure not absolute as entire walls can be removed, opening a residence or temple to visitors. Verandas appear to be part of the building to an outsider, but part of the external world to those in the building. Structures are therefore made to a certain extent part of their environment. Care is taken to blend the edifice into the surrounding natural environment; the use of construction modules keeps proportions between different parts of the edifice constant, preserving its overall harmony.. In cases as that of Nikkō Tōshō-gū, where every available space is decorated, ornamentation tends to follow, therefore emphasize, rather than hide, basic structures. Being shared by both sacred and profane architecture, these features made it easy converting a lay building into a temple or vice versa; this happened for example at Hōryū-ji, where a noblewoman's mansion was transformed into a religious building.
The prehistoric period includes the Jōmon and Kofun periods stretching from 5000 BCE to the beginning of the eighth century CE. During the three phases of the Jōmon
Mon is a generic Japanese term for gate used, either alone or as a suffix, in referring to the many gates used by Buddhist temples, Shinto shrines and traditional-style buildings and castles. Unlike gates of secular buildings, most temple and shrine gates are purely symbolic elements of liminality, as they cannot be closed and just mark the transition between the mundane and the sacred. In many cases, for example that of the sanmon, a temple gate has cleansing properties. Gate size is measured in ken, where a ken is the interval between two pillars of a traditional-style building. A temple's rōmon for example can have dimensions from a maximum of 5x2 ken to a more common 3x2 ken, down to one ken; the word is translated in English as "bay" and is better understood as an indication of proportions than as a unit of measurement. Like the temples they belong to, gates can be in the wayō, daibutsuyō, zen ` setchūyō style, they can be named after: Their location, of the omotemon or the karametemon. The deity they house, as the Niōmon, a gate enshrining two gods called Niō in its outer bays.
Their structure or shape, as the nijūmon and the rōmon. Their function, as the sanmon, the most important gate of a Zen or Jōdo temple. Not all such terms are mutually exclusive and the same gate may be called with different names according to the situation. For example, a Niōmon can be called a nijūmon if it has two stories. Different structurally from the others is the toriimon, a two-legged gate in stone or wood associated with Shinto, but common within Japanese Buddhist temples; as prominent a temple as Osaka's Shitennō-ji, founded in 593 by Shōtoku Taishi and the oldest state-built Buddhist temple in the country, has a torii straddling one of its entrances. The origins of the torii are unknown; because the use of symbolic gates is widespread in Asia—such structures can be found for example in India, Thailand and within Nicobarese and Shompen villages—historians believe it may be an imported tradition. It most symbolically marks the entrance of a Shinto shrine. For this reason, it is never closed.
Hakkyakumon or Yatsuashimon – so called because of its eight secondary pillars, which support four main pillars standing under the gate's ridge. It therefore has twelve pillars altogether. Heijūmon – A gate in a wall consisting in just two square posts. Kabukimon – A gate in a wall formed by two square posts and a horizontal beam. Karamon – A gate characterized by a karahafu, an undulating bargeboard peculiar to Japan. Karamon are used at Buddhist temples and Shinto shrines. Kōraimon – Used at castles and daimyō residences, it consists of a tiled, gabled roof on two pillars, plus two smaller roofs over the secondary pillars on the rear of the gate. Masugata. A defensive structure consisting in a courtyard along the wall of a castle with two gates set at a square angle, one giving access to the castle and one facing the outside; the external gate is a kōraimon, the internal one a yaguramon. The Sakuradamon at Tokyo's Imperial Palace is such a gate. Munamon – A gate formed by two pillars sustaining a gabled roof.
Similar to a kōraimon, but lacking the roofed secondary pillars. Nagayamon lit. nagaya gate – A nagaya a long house, was a row house where low status samurai used to live, the nagayamon was a gate that allowed traffic from one side of the structure to the other. Nijūmon – A two-storied gate with a pent roof between the two stories. Distinguishable from the similar rōmon for having a pent roof between stories. Niōmon – A gate enshrining in its two outer bays the statues of two warden gods, the Niō. Rōmon – A two-storied, single roofed gate where the second story is inaccessible and offers no usable room. Distinguishable from the similar nijūmon for not having a pent roof between stories. Sanmon – The most important gate of a Japanese Zen Buddhist temple. Used by other schools the Jōdo, its importance notwithstanding, the sanmon is not the first gate of the temple, in fact it stands between the sōmon and the butsuden. Sōmon – the gate at the entrance of a temple, it precedes the bigger and more important sanmon.
Torii – This distinctive symbolic gate is associated with Shinto shrines, however it is common at Buddhist temples too, as most have at least one. Uzumimon – Gates opened in a castle wall; because they were used to connect surfaces at different levels, they looked as if they were buried in the ground. Yaguramon – A gate with a yagura on top. Yakuimon – A gate having no pillars under the ridge of its gabled gate, supported by four pillars at its corners. Yakkyakumon or Yotsuashimon – so called because of its four secondary pillars which support two main pillars standing under the gate's ridge, it therefore has six pillars. Media related to Gates in Japan at Wikimedia Commons
Kasuga-zukuri is a traditional Shinto shrine architectural style which takes its name from Kasuga Taisha's honden. It is characterized by the use of a building just 1x1 ken in size with the entrance on the gabled end covered by a veranda. In Kasuga Taisha's case, the honden is just 1.9 m x 2.6 m. Supporting structures are painted vermilion, while the plank walls are white, it has a tsumairi structure. The roof is gabled, decorated with purely ornamental poles called chigi or katsuogi, covered with cypress bark. After the nagare-zukuri style, this is the most common Shinto shrine style. While the first is common all over Japan, shrines with a kasuga-zukuri honden are found in the Kansai region around Nara. If a diagonal rafter is added to support the portico, the style is called sumigi-iri kasugazukuri. While superficially different, the kasuga-zukuri shares an ancestry with the most popular style in Japan, the nagare-zukuri; the two for example share pillars set over a double-cross-shaped foundation and a roof which extends over the main entrance, covering a veranda.
The foundation's configuration is typical not of permanent, but of temporary shrines, built to be periodically moved. This shows that, for example, both the nagare-zukuri Kamo Shrine and Kasuga Taisha used to be dedicated to a mountain cult, that they had to be moved to follow the movements of the kami; the styles both have a veranda in front of the main entrance, a detail which makes it they both evolved from a simple gabled roof
Zen is a school of Mahayana Buddhism that originated in China during the Tang dynasty as the Chan school of Chinese Buddhism and developed into various schools. Chán Buddhism was influenced by Taoist philosophy Neo-Daoist thought. From China, Chán spread south to Vietnam and became Vietnamese Thiền, northeast to Korea to become Seon Buddhism, east to Japan, becoming Japanese Zen; the term Zen is derived from the Japanese pronunciation of the Middle Chinese word 禪, which traces its roots to the Indian practice of dhyāna. Zen emphasizes rigorous self-control, meditation-practice, insight into the nature of things, the personal expression of this insight in daily life for the benefit of others; as such, it de-emphasizes mere knowledge of sutras and doctrine and favors direct understanding through spiritual practice and interaction with an accomplished teacher. The teachings of Zen include various sources of Mahayana thought Yogachara, the Tathāgatagarbha sūtras and the Huayan school, with their emphasis on Buddha-nature and the Bodhisattva-ideal.
The Prajñāpāramitā literature as well as Madhyamaka thought have been influential in the shaping of the apophatic and sometimes iconoclastic nature of Zen rhetoric. The word Zen is derived from the Japanese pronunciation of the Middle Chinese word 禪, which in turn is derived from the Sanskrit word dhyāna, which can be translated as "absorption" or "meditative state"; the actual Chinese term for the "Zen school" is Chánzong, while "Chan" just refers to the practice of meditation itself or the study of meditation though it is used as an abbreviated form of Chánzong. The practice of dhyana or meditation sitting meditation is a central part of Zen Buddhism; the practice of Buddhist meditation first entered China through the translations of An Shigao, Kumārajīva, who both translated Dhyāna sutras, which were influential early meditation texts based on the Yogacara teachings of the Kashmiri Sarvāstivāda circa 1st-4th centuries CE. Among the most influential early Chinese meditation texts include the Anban Shouyi Jing, the Zuochan Sanmei Jing and the Damoduolo Chan Jing.
While dhyāna in a strict sense refers to the four dhyānas, in Chinese Buddhism, dhyāna may refer to various kinds of meditation techniques and their preparatory practices, which are necessary to practice dhyāna. The five main types of meditation in the Dhyāna sutras are ānāpānasmṛti. According to the modern Chan master Sheng Yen, these practices are termed the "five methods for stilling or pacifying the mind" and serve to focus and purify the mind, can lead to the dhyana absorptions. Chan shares the practice of the four foundations of mindfulness and the Three Gates of Liberation with early Buddhism and classic Mahayana. Early Chan texts teach forms of meditation that are unique to Mahayana Buddhism, for example, the Treatise on the Essentials of Cultivating the Mind which depicts the teachings of the 7th-century East Mountain school teaches a visualization of a sun disk, similar to that taught in the Sutra of the Contemplation of the Buddha Amitáyus. Chinese Buddhists developed their own meditation manuals and texts, one of the most influential being the works of the Tiantai patriarch, Zhiyi.
His works seemed to have exerted some influence on the earliest meditation manuals of the Chán school proper, an early work being the imitated and influential Tso-chan-i. During sitting meditation, practitioners assume a position such as the lotus position, half-lotus, Burmese, or seiza using the dhyāna mudrā. A square or round cushion placed on a padded mat is used to sit on. To regulate the mind, Zen students are directed towards counting breaths. Either both exhalations and inhalations are counted; the count can be up to ten, this process is repeated until the mind is calmed. Zen teachers like Omori Sogen teach a series of long and deep exhalations and inhalations as a way to prepare for regular breath meditation. Attention is placed on the energy center below the navel. Zen teachers promote diaphragmatic breathing, stating that the breath must come from the lower abdomen, that this part of the body should expand forward as one breathes. Over time the breathing should become smoother and slower.
When the counting becomes an encumbrance, the practice of following the natural rhythm of breathing with concentrated attention is recommended. Another common form of sitting meditation is called "Silent illumination"; this practice was traditionally promoted by the Caodong school of Chinese Chan and is associated with Hongzhi Zhengjue who wrote various works on the practice. This method derives from the Indian Buddhist practice of the union of śamatha and vipaśyanā. In Hongzhi's practice of "nondual objectless meditation" the mediator strives to be aware of the totality of phenomena instead of focusi
Sumiyoshi-zukuri is an ancient Shinto shrine architectural style which takes its name from Sumiyoshi Taisha's honden in Ōsaka. As in the case of the taisha-zukuri and shinmei-zukuri styles, its birth predates the arrival in Japan of Buddhism. Ancient shrines were constructed according to the style of storehouses; the buildings had gabled roofs, raised floors, plank walls, were thatched with reed or covered with hinoki cypress bark. Such early shrines did not include a space for worship. Three important forms of ancient shrine architectural styles exist: taisha-zukuri, shinmei-zukuri and sumiyoshi-zukuri They are exemplified by Izumo Taisha, Nishina Shinmei Shrine and Sumiyoshi Taisha and date to before 552. According to the tradition of Shikinen sengū-sai, the buildings or shrines were faithfully rebuilt at regular intervals adhering to the original design. In this manner, ancient styles have been replicated through the centuries to the present day; the honden on the grounds at Sumiyoshi Taisha has been designated as a national treasure on the grounds that it is the oldest example of this style of architecture.
The four identical honden buildings that compose it are 4 ken wide and 2 ken deep and have an entrance under one of the gables (a characteristic called tsumairi-zukuri. The roof is simple, doesn't curve upwards at the eaves and is decorated with purely ornamental poles called chigi and katsuogi; the building is surrounded by a fence called mizugaki, in its turn surrounded by another called tamagaki. There is no veranda, a short stairway leads to the door; the interior is divided in two sections, one at the front and one at the back with a single entrance at the front. The structure is simple, but brightly colored: supporting pillars are painted in vermilion and walls in white; this 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. JAANUS, Shinmei-zukuri accessed on December 1, 2009 History and Typology of Shrine Architecture, Encyclopedia of Shinto accessed on November 29, 2009 Kishida, Hideto.
Japanese Architecture. READ BOOKS. ISBN 1-4437-7281-X. Retrieved 2009-11-11. Young, David; the art of Japanese architecture. Architecture and Interior Design. Tuttle Publishing. ISBN 0-8048-3838-0. Retrieved 2009-11-11
Hiyoshi-zukuri or hie-zukuri called shōtei-zukuri / shōtai-zukuri or sannō-zukuri is a rare Shinto shrine architectural style presently found in only three instances, all at Hiyoshi Taisha in Ōtsu, hence the name. They are the Sessha Usa Jingū Honden, it is characterized by a hip-and gable roof with verandas called hisashi on the sides. It has a hirairi structure, that is, the building has its main entrance on the side which runs parallel to the roof's ridge; the building is composed of a 3x2 ken core called moya surrounded on three sides by a 1-ken wide hisashi, totaling 5x3 ken. The three-sided hisashi is typical of this style; the gabled roof extends in small porticos on the two gabled sides. The roof on the back has a characteristic shape