From Kiyomori’s Era Through the Medieval Period

The First Great Torii (Around 1168)

Itsukushima Shrine took its current form as a shrine built over the sea in 1168, during the Heian period. With financial backing from Taira no Kiyomori—the most powerful samurai of his era—the local administrator Saeki Kagehiro constructed the grand shrine complex, including the first torii standing in the tidal flats.

According to historical records, the original plaques were calligraphed by two legendary figures: Ono no Michikaze on the front and Kobo Daishi (Kukai) on the reverse. This torii represented cutting-edge architecture for its time and became a powerful symbol of the Taira clan’s devotion to their guardian deity.

The Overlooked Second Generation (1223–1240)

A significant discovery emerged during research conducted before the recent Reiwa-era restoration. Examining historical construction records, researchers found a report from 1240 mentioning the great torii as “already completed”—indicating a rebuilding had occurred sometime between 1223 and 1240.

Previously, historians believed the 1286 rebuilding was the second generation. This finding pushed back the timeline by one generation, confirming that today’s torii is the 9th, not the 8th as long assumed.

Third and Fourth Generations (1286 and 1371)

The third great torii was rebuilt in October 1286. This structure appears in the famous Ippen Hijiri-e scroll paintings, depicted as a vermilion-painted myojin-style torii. However, it collapsed during a severe storm on June 25, 1325.

The fourth generation was completed in April 1371. Timber for this construction came from areas now known as Saeki Ward’s Toshimatsu district and Hatsukaichi City’s Miyauchi area. Unfortunately, no records survive to tell us when or how this torii was lost.

Rebuildings from the Warring States Through Edo Period

The Shift to Ryobu-Style Torii (1547)

The fifth great torii, rebuilt on November 18, 1547 under the patronage of the warlord Ouchi Yoshitaka, marked a major architectural turning point. The design changed from a simple myojin-style torii to the distinctive ryobu style still seen today.

A ryobu torii features auxiliary supporting pillars in front of and behind the two main columns, creating a six-pillar structure. The name comes from Buddhist terminology—”ryobu” refers to the “two realms” of Shingon esoteric Buddhism, reflecting the deep syncretism of Shinto and Buddhism at Miyajima during this period. Lord Ouchi also presented to the shrine a plaque bearing calligraphy by Emperor Go-Nara, at the request of the priest Sonkai of Daiganji Temple.

Mori Clan Reconstruction (1561)

In October 1561, the powerful Mori clan, led by Mori Takamoto, sponsored the sixth great torii. Timber was brought from what is now Noumi Island, Nihojima, and Iwakuni in Yamaguchi Prefecture.

This structure stood for approximately 155 years before collapsing naturally in 1716. The combination of seawater immersion, salt air, and typhoon damage eventually took its toll on the wooden structure.

Asano Yoshinaga’s Rebuilding (1739)

In September 1739, Asano Yoshinaga, the 5th lord of Hiroshima Domain and one of the “Seven Wise Lords of Edo,” sponsored the seventh great torii. Camphor wood for the pillars was sourced from areas including present-day Hirose in Naka Ward, Funakoshi in Aki Ward, Fuchu Town, and Shimokamagari in Kure.

Tragically, a lightning strike destroyed this torii on July 7, 1776. The scholar Kan Chazan, visiting Miyajima in 1788, recorded in his travel diary that the great torii remained unrepaired, standing as a ruined marker in the sea for over a decade.

From Late Edo to the Meiji Transformation

Asano Nariyoshi’s Rebuilding (1801)

On March 27, 1801, Asano Nariyoshi, the 8th lord of Hiroshima Domain, completed the eighth great torii. Camphor timber was gathered from locations including Muro District in Wakayama Prefecture, Ujina and Takehara in Hiroshima, and Kure.

Some researchers believe an enormous camphor tree—3.5 meters in diameter and 5 meters tall—may have been felled from Ujina Island for this construction. The torii met its end on August 7, 1850, when a powerful typhoon and storm surge destroyed it. Records note that the plaque drifted as far as the waters near Atadjima Island.

The Unpainted Era and Return to Vermilion

In the early Meiji period (1868 onward), the government’s shinbutsu bunri policy—the forced separation of Shinto and Buddhism—brought dramatic changes. The vermilion-painted torii was deemed too Buddhist in character. Under government orders, the torii was stripped of its paint and left as bare, unpainted wood, considered more appropriate for “pure” Shinto architecture.

After Itsukushima Shrine’s designation as a National Important Cultural Property in 1899, major repairs began in 1909 and lasted two years. During this restoration, the torii was repainted in its traditional vermilion and the roof was re-shingled—returning the structure to the appearance visitors recognize today.

The Current Great Torii (9th Generation)

The 1875 Rebuilding

On July 18, 1875, the current great torii was completed through the efforts of Koizumi Jinemon (of the Koizumi Honten merchant house) and other donors. Though long classified as the 8th generation, recent historical research has confirmed it is actually the 9th.

Standing approximately 16.6 meters tall and weighing about 60 tons, it ranks among Japan’s largest wooden torii gates. The main pillars are natural camphor trees estimated at around 500 years old—the east pillar from Miyazaki Prefecture and the west pillar from Kagawa Prefecture.

Showa and Heisei Era Repairs

In 1925, reinforced concrete was wrapped around the base of the pillars for structural support. However, an inspection in 1950 revealed an unintended consequence: the concrete was actually accelerating damage from shipworms and marine borers by trapping moisture.

That year, damaged sections of the pillars were cut away and replaced with grafted camphor wood from Fukuoka and Saga Prefectures. The pillars were repainted and the roof re-shingled. The Showa Grand Restoration of Itsukushima Shrine was completed in 1957, followed by a Second Showa Grand Restoration beginning in 1969.

The Reiwa Restoration (2019–2022)

From June 2019 through late 2022, the great torii underwent its first major restoration in approximately 70 years. Workers filled cavities in the main pillars—hollowed out by termite damage—with fitted wooden inserts, then reinforced the structure with stainless steel bands and carbon fiber wrapping.

To combat UV fading, a new coating was applied using durable chemical pigments mixed with acrylic resin. The result is a noticeably deeper, more vibrant vermilion than before—a deliberate choice to help the color endure longer against sun and salt exposure. The restoration was completed in December 2022, and the torii now welcomes visitors in its renewed brilliance.

FAQ

How old is the current Miyajima torii gate?

The current great torii was built in 1875, making it approximately 150 years old. It is the 9th-generation torii—a fact confirmed through research conducted during the 2019–2022 restoration, which uncovered evidence of a previously unknown rebuilding in the 1220s–1240s.

Why does the Miyajima torii have six pillars instead of two?

The six-pillar design is called ryobu style, introduced during the 1547 rebuilding. The four auxiliary pillars brace the two main columns, providing stability in the tidal flats. The name “ryobu” (two realms) comes from Shingon Buddhist terminology, reflecting the historic blending of Shinto and Buddhist practices at Miyajima.

Was the great torii always painted vermilion?

No. For about 30 years during the Meiji period (roughly 1875–1909), the torii was left unpainted as bare wood. The government’s policy separating Shinto from Buddhism deemed vermilion paint too “Buddhist.” The traditional red color was restored during repairs completed in 1911.

How often has the great torii been rebuilt?

The torii has been rebuilt nine times over approximately 900 years, averaging roughly 100 years per generation. However, the timing varied greatly—some were destroyed unexpectedly by typhoons or lightning, while others stood for over 150 years. The current torii has now surpassed that average lifespan.

What was done during the 2019–2022 restoration?

The major restoration addressed termite damage by filling hollowed sections of the main pillars, reinforced the structure with stainless steel bands and carbon fiber, replaced the cypress bark roof shingles, and applied a new UV-resistant vermilion coating. This was the first comprehensive restoration in about 70 years.

Can I walk out to the torii gate at low tide?

Yes, during low tide visitors can walk across the tidal flats to the base of the torii. This is one of Miyajima’s most popular experiences. Check tide schedules in advance—the tidal range varies significantly, and optimal low tides for walking may occur at different times each day.

Why is the current torii brighter red than before?

The 2022 restoration used a new paint formulation with chemical pigments and acrylic resin specifically designed to resist UV fading. While the deeper vermilion may look different from what longtime visitors remember, it was chosen to maintain its vivid color longer against the harsh seaside environment.

Summary

The Great Torii of Itsukushima Shrine has witnessed nine centuries of Japanese history, rebuilt nine times through the support of samurai lords, feudal domains, and modern conservation efforts. From Taira no Kiyomori’s original vision to the 2022 restoration using carbon fiber reinforcement, each generation has contributed to preserving this sacred boundary marker between the earthly and divine realms.

Recent research has rewritten part of this history, confirming the current torii as the 9th generation rather than the 8th. Strengthened with modern technology yet faithful to its traditional appearance, the great torii continues to stand in the Seto Inland Sea—greeting travelers just as it has since the days of the Heian court, now ready to endure for generations to come.

References

1. Itsukushima Shrine Great Torii – Wikipedia (Japanese)
2. Miyajima’s Great Torii Returns After 3.5 Years – Chugoku Shimbun
3. History and Significance of the Great Torii – Japan Stroll
4. “Actually the 9th Generation” – Nippon.com
5. Great Torii – Miyajima Tourism Association

The post History of Itsukushima Shrine’s Great Torii | 9 Generations Rebuilt first appeared on Miyajima Stroll.

This article traces how these structures came to be, examining their evolution from an architectural history perspective. We’ll explore both the engineering ingenuity required for building over the sea and the cultural significance of these spaces as venues for sacred performances.

The Corridors’ Origins: Taira no Kiyomori’s Vision

The corridors of Itsukushima Shrine were central to the complex that Taira no Kiyomori completed in 1168. Kiyomori applied the elegant shinden-zukuri style—the residential architecture of Heian aristocrats—to shrine design, reimagining the Seto Inland Sea as a garden pond and the shrine buildings as the main hall of a noble residence.

In traditional shinden-zukuri estates, the main residence (shinden) sat at the center, flanked by smaller structures (tainoya) connected by covered corridors called watadono. Itsukushima Shrine follows this layout: corridors link the Honden (main shrine) and Marōdo Shrine, recreating the graceful spatial composition of a Heian mansion over the sea.

Kiyomori’s original corridors were destroyed in major fires in 1207 and 1223. The reconstruction during the Ninjin era (1240–1243) faithfully preserved his original layout and architectural style. Today’s corridors retain this Kamakura-period framework, with additional work completed during the late Muromachi and Momoyama periods.

Corridor Architecture: Engineering for the Tides

Scale and Structure

The east and west corridors stretch a combined 275 meters (900 feet) across the tidal flats. The east corridor spans 45 bays, the west corridor 62 bays, each about 4 meters (13 feet) wide—broad enough for processions and visitors. Pillars are spaced at regular intervals of approximately 2.4 meters (8 feet), with eight floorboards laid between each pair.

Unlike mainland shrines where corridors define rectangular precincts, these corridors function as elevated walkways connecting buildings over water with the shore. The west corridor begins on land, turns at right angles four times to encircle the Noh stage, and terminates at the west side of the Haraiden (purification hall). The east corridor passes through Marōdo Shrine’s halls, turns three times, and reaches the east side of the Haraiden.

Building Over Water

The floorboards feature deliberate gaps between them—a critical engineering choice. During typhoons or king tides, seawater floods the corridors. These gaps prevent hydraulic pressure from lifting the boards off their supports and allow water to flow through rather than building up force against the structure.

The pillars rest on foundation stones set into the seabed, supporting wooden posts (tsuka) that carry the floor above. Because these posts are submerged at high tide, saltwater causes gradual decay. Shrine carpenters inspect them regularly and replace rotted sections using a traditional technique called netsugi (root-grafting). If you notice pillars with different-colored wood at the base, you’re looking at evidence of this ongoing maintenance—a visible reminder of what it takes to preserve wooden architecture in the sea.

The corridor roofs are covered with hiwadabuki (cypress bark shingles), a distinctly Japanese roofing method using bark stripped from live cypress trees at least 70 years old. Considered the most prestigious roofing technique since the Heian period, cypress bark creates graceful curves and deep eaves that complement the shrine’s elegant silhouette against sky and sea.

Birth of the Noh Stage

Sengoku-Period Origins

Noh performances at Itsukushima Shrine began in 1568, during Japan’s Warring States period. The powerful warlord Mōri Motonari arranged for a master performer of the Kanze school to present Noh at the shrine. Historical records describe a temporary stage set up over the water for nine plays, followed by eleven more performances at a nearby residence. This first Noh stage was not permanent—it was assembled specifically for these sacred offerings.

Motonari had won the pivotal Battle of Miyajima in 1555, defeating the Sugi clan on the island. Afterward, he expressed regret at having used sacred ground as a battlefield and sponsored the reconstruction of the Great Torii gate and shrine buildings. The Noh performances were part of this broader effort to honor the shrine and its deities.

Fukushima Masanori’s Permanent Stage

The first permanent Noh stage was donated in 1605 by Fukushima Masanori, the daimyō who governed the region after the Battle of Sekigahara. This initial stage was built primarily from pine trees felled on Miyajima itself.

Masanori supported various cultural projects on the island, including the preservation of the Heike Nōkyō (sutras offered by the Taira clan). Often remembered as a fierce warrior, he was also a capable administrator with genuine cultural interests.

The Asano Reconstruction

Pine wood proved poorly suited to the harsh marine environment, and within about 50 years the original stage had deteriorated significantly. In 1680, Asano Tsunanaga, the daimyō of Hiroshima Domain, built the current Noh stage along with its connecting bridge (hashigakari) and backstage building.

The stage has endured typhoons and storm surges over the centuries. Typhoon Mireille in 1991 caused it to collapse, but careful reconstruction completed in 1994 faithfully restored its original form. The Noh stage was designated an Important Cultural Property in 1899—one of only five Noh stages in Japan to hold this status.

Noh Stage Architecture: Sound Over Water

Japan’s Only Ocean-Built Noh Stage

Itsukushima Shrine’s Noh stage is the only one in Japan built directly over the sea. Visible from the west corridor, it measures approximately 5 meters (16 feet) per side. The main stage has a cypress-bark roof, while the bridge corridor and backstage building use kokerabuki (thin wooden shingle) roofing.

The structure must withstand both storm surge flooding and the buoyancy forces of rising tides. The hashigakari bridge, lined with a low railing (kōran), connects the stage to the dressing room, providing the traditional entrance path for performers. The backdrop panel (kagamiita) displays a painted pine tree—the standard design for all traditional Noh stages.

Unique Acoustics

Most Noh stages amplify the sound of foot-stamping (ashi-byōshi) using large ceramic jars placed beneath the floor. These jars act as resonating chambers. At Itsukushima Shrine, the ocean beneath the stage makes this impossible—there’s nowhere to place the jars.

Instead, the builders gave the floorboards extra flexibility to create resonance. Even more remarkable, the acoustic quality changes with the tides. At high tide, when seawater fills the space below, foot-stamps produce a different tone than at low tide when the area is largely air-filled. This ever-changing acoustic character makes the stage truly one of a kind.

Living Performance Traditions

Itsukushima Shrine hosts approximately ten festivals annually that include bugaku court dance performances. These dances, said to have been introduced from Osaka’s Shitennō-ji Temple by Taira no Kiyomori himself, include “Ranryōō” (Prince of Lanling) and “Nasori.” Performed against the backdrop of the Great Torii and open sea, dancers in brilliant costumes evoke the elegance of the Heian court.

The Tōka-sai Shin-Nō (Peach Blossom Festival Noh) from April 15–18 offers visitors the chance to watch Noh and Kyōgen comedy. Temporary seating is erected between the Noh stage and west corridor for performances in the formal five-program format. On the first two days, the sacred “Okina” dance opens the program, with Kyōgen interludes between Noh plays—a structure unchanged since the Edo period.

Each autumn, the Itsukushima Kangetsu-Nō (Moon-Viewing Noh) features performances as the tide rises under moonlight. With the sea as its stage backdrop and the landscape shifting with the tides, this event offers an experience of Japanese performing arts found nowhere else.

FAQ

How long are the corridors at Itsukushima Shrine?

The east and west corridors together stretch approximately 275 meters (900 feet). The east corridor has 45 bays, the west corridor 62 bays, with consistent 2.4-meter (8-foot) spacing between pillars. Each corridor is about 4 meters (13 feet) wide.

When was the Noh stage built?

The current stage dates to 1680, constructed under the patronage of Hiroshima Domain lord Asano Tsunanaga. The first permanent stage was donated by Fukushima Masanori in 1605 but deteriorated within 50 years due to unsuitable materials. After typhoon damage in 1991, the stage was faithfully reconstructed in 1994.

Why do the corridor floorboards have gaps between them?

The gaps allow water to flow through during storm surges and king tides, relieving hydraulic pressure that could otherwise lift the boards from their supports. This intentional design is essential for the corridor’s survival as a structure built over tidal waters.

What makes the Itsukushima Noh stage special?

It’s Japan’s only Noh stage built over the ocean, designated as an Important Cultural Property. Because builders couldn’t install the traditional resonating jars beneath an ocean-based structure, they engineered the floorboards for extra flexibility. The acoustic quality also shifts with the tides—a characteristic found nowhere else.

Can visitors watch performances on the Noh stage?

Yes. The Tōka-sai Shin-Nō festival (April 15–18) features Noh and Kyōgen with temporary seating set up for spectators. The autumn Kangetsu-Nō offers moonlit performances as the tide comes in. Check the Miyajima Tourism Association website for current schedules and ticketing details.

What is bugaku and when can I see it?

Bugaku is ancient court dance accompanied by gagaku music, performed in elaborate costumes. At Itsukushima Shrine, bugaku follows approximately ten annual festivals throughout the year, with major performances during New Year celebrations and spring festivals.

Why do some corridor pillars have different-colored wood at the base?

This indicates repairs using netsugi, a traditional technique where decayed wood is cut away and replaced with new timber. Because the pillar bases are submerged at high tide, saltwater causes ongoing deterioration that requires regular maintenance.

Summary

The corridors and Noh stage of Itsukushima Shrine represent centuries of architectural and cultural development—from Taira no Kiyomori’s Heian-inspired vision to the performance traditions established by Sengoku warlords and Edo-period lords. The corridors embody Kiyomori’s concept of aristocratic elegance realized over the sea, while the Noh stage reflects the cultural patronage of the Mōri, Fukushima, and Asano clans.

The technical innovations required for ocean-based construction and the spiritual purpose of these spaces as venues for sacred performance combine to create something unique in Japanese architecture. When you walk the corridors or watch the stage during high tide, you’re experiencing structures that have balanced artistic beauty with engineering necessity for over 800 years.

References

1. Itsukushima Shrine – Wikipedia (Japanese)
2. Itsukushima Shrine – World Heritage Sites of Japan
3. Itsukushima Shrine – Discover Japan
4. Exploring Itsukushima Shrine – Dive Hiroshima
5. Itsukushima Shrine Corridors – Cultural Heritage Online
6. Itsukushima Shrine Noh Stage – Cultural Heritage Online
7. Noh at Miyajima – Miyajima Tourism Association

The post Itsukushima Shrine Corridors & Noh Stage: Architectural History first appeared on Miyajima Stroll.

This article explores the evolution of restoration methods that have kept Itsukushima Shrine intact through the centuries. From major repairs during the Meiji, Taisho, Showa, and Reiwa eras to the specialized skills of palace carpenters and bark roofers, you’ll discover how ancient wisdom continues to preserve this UNESCO World Heritage Site.

Engineering Wisdom for a Sea-Based Structure

Understanding Itsukushima Shrine’s restoration technology begins with a revolutionary concept: the entire structure was designed with repair in mind. Built in a harsh marine environment, the shrine cannot escape damage from typhoons and high tides. However, by strategically combining fragile and resilient elements, builders minimized the impact of major disasters.

A Flexible Design Philosophy

The corridor floorboards are laid with small gaps between them, allowing seawater to pass through during high tides rather than forcing the structure to resist the water’s power. The wooden pillars supporting the elevated floors feature a jointing system called netsugi, allowing damaged sections to be replaced without disturbing the entire pillar. During severe storms, removable floor sections can be taken up to release water pressure.

This philosophy of working with nature rather than against it has enabled Itsukushima Shrine to survive through regular, targeted repairs over eight centuries—a testament to the foresight of its original designers.

Major Restoration Projects Through History

Since its founding, Itsukushima Shrine has undergone numerous large-scale restoration projects. The major repairs of the Meiji, Taisho, Showa, and Reiwa eras each brought together the best techniques and knowledge of their time.

Meiji-Taisho Major Repairs (1901-1919)

Following the Meiji Restoration, Itsukushima Shrine faced an existential crisis. Under government policies separating Shinto and Buddhism, the shrine buildings were deemed “Buddhist” and scheduled for destruction. Only through the direct appeal of Tanamori Nosaka Motonobu—the shrine’s guardian equivalent to today’s chief priest—were the structures spared from burning. However, all decorative paint considered Buddhist was stripped away, leaving the buildings in unpainted wood.

After the shrine’s designation as a National Treasure in the late Meiji period, major repairs were conducted from 1901 to 1919. This restoration corrected errors from the religious separation era, including the removal of incorrectly installed chigi (forked finials) and katsuogi (cylindrical logs), returning the shrine closer to its original appearance.

Showa Major Repairs (1948-1957)

In September 1946, the Makurazaki Typhoon devastated Miyajima. Landslides from the mountains behind the shrine buried the western floor sections under approximately 15,000 cubic meters of debris. Soil removal continued until 1948, followed by major repairs lasting until 1957.

Beyond disaster recovery, this restoration strengthened the entire shrine structure. Despite the urgent nature of the work, craftsmen applied traditional techniques with meticulous care, establishing the foundation for the shrine’s current appearance.

Ongoing Repairs Since the Heisei Era

Typhoon 19 in 1991 caused severe damage to the Left Music Pavilion, Noh stage, dressing rooms, and bridge corridor, requiring extensive restoration. Since 1991, the Hiroshima-based construction company Masuokagumi has continuously handled restoration work at Itsukushima Shrine, including recovery from Typhoon 18 damage in 2004 and preservation of various subsidiary shrines.

Tracing these major repairs reveals the challenges each era faced and how craftsmen responded. The religious separation of the Meiji period and the Makurazaki Typhoon of the Showa era stand as crucial turning points in the preservation of restoration techniques—experiences that form the foundation of modern conservation methods.

2025.12.21

The Great Torii Gate: A History of 8 Reconstructions

The iconic great torii gate of Itsukushima Shrine has stood in the sea for approximately 900 years since the era of Taira no Kiyomori, rebuilt multiple times throughout its history…

Traditional Techniques of Palace Carpenters

At the heart of Itsukushima Shrine’s restoration work are the miyadaiku—palace carpenters who specialize in the construction and repair of shrines and temples. These craftsmen possess advanced skills and knowledge quite different from those required for ordinary building construction.

The Art of Wood Joinery

The signature technique of palace carpenters is kigumi, or wood joinery. Using almost no nails or metal hardware, craftsmen assemble structures by interlocking wooden pieces cut with precisely fitted protrusions and cavities. This method requires calculating the strength and direction of forces acting on the building, selecting appropriate wood, and applying suitable processing.

Even within a single tree, wood strength varies depending on which section is cut. Carpenters must read the wood’s natural characteristics and anticipate how it will change over decades. Such knowledge cannot be learned from textbooks alone—it requires years of hands-on experience touching and observing wood.

The Shrine’s Dedicated Master Carpenter

Itsukushima Shrine maintains dedicated palace carpenters on site. Master carpenters like Shingo Mifune, who lived on Miyajima for 18 years as chief carpenter, hold the prestigious certification of “Cultural Property Wooden Construction Chief Technician”—a qualification possessed by only about 200 people nationwide. These skilled craftsmen handle daily maintenance and restoration work.

Becoming a fully qualified palace carpenter requires a minimum of ten years, with mastery demanding even longer. Beyond architecture, the profession requires broad knowledge spanning religious studies and history. This high level of specialization makes training successors a significant challenge.

Preserving Hinoki Bark Roofing

The beautiful roofs that characterize Itsukushima Shrine’s buildings are created through hiwadabuki—a uniquely Japanese traditional roofing technique using hinoki cypress bark. In 2020, this craft was registered as a UNESCO Intangible Cultural Heritage under “Traditional skills, techniques and knowledge for the conservation and transmission of wooden architecture in Japan.”

Bark Harvesting by Motokawashi Specialists

Hinoki bark is harvested from living cypress trees at least 70 to 80 years old. Specialists called motokawashi use a special spatula to peel away the bark while carefully avoiding damage to the tree’s growth layer. Once harvested, the bark regenerates in 8 to 10 years. The “black bark” from second and subsequent harvests is considered higher quality than the initial “rough bark.”

Motokawashi climb trees over 20 meters tall using ropes to perform this dangerous work. Mastering these skills requires extreme dedication—currently only about 25 registered motokawashi actively practice this craft nationwide. Only about 20% of those who begin training achieve professional-level competency.

Roof Installation by Hiwadabuki Craftsmen

Harvested bark is processed by hiwadabuki craftsmen into roofing materials through a preparation process called koshirae, which accounts for about three-quarters of their work. The bark is shaped into dozens of different forms depending on where it will be used on the roof.

When installing the roof, work begins at the eaves and proceeds upward, securing the bark with bamboo nails. The standard overlap between layers is 1.2 centimeters, with bamboo nails driven in every five layers. A completed roof reaches approximately 10 centimeters thick and lasts 30 to 40 years.

The Challenge of Material Supply

Approximately 700 buildings designated as Important Cultural Properties feature hinoki bark roofing, requiring about 3,500 square meters of bark annually for maintenance. However, actual supply reaches only about 1,740 square meters per year—less than half the necessary amount.

Contributing factors include declining numbers of large-diameter hinoki trees suitable for bark harvesting, fewer forest owners permitting harvesting, and the shortage of trained motokawashi. The Kinki-Chugoku Regional Forest Office and other national forest agencies have designated “Hinoki Bark Harvesting Forests” to provide stable supply and training grounds for new bark harvesters.

The Reiwa Great Torii Restoration (2019-2022)

The large-scale restoration of the great torii gate from June 2019 to December 2022 attracted widespread attention as the first major repair in approximately 70 years. This project demonstrated the cutting edge of cultural property restoration, combining traditional techniques with modern technology.

Discovering Unexpected Deterioration

The current torii gate (the 9th generation), rebuilt in 1875, stands approximately 16.6 meters tall and weighs about 60 tons—making it one of Japan’s largest wooden torii. Initial plans estimated 18 months for completion. However, surveys revealed severe damage from termites and decay-causing fungi invisible from the outside. Cavities measuring 40 to 50 centimeters in diameter and approximately 4 meters deep were discovered inside the main pillars, extending the project to three and a half years.

Blending Traditional and Modern Methods

Master carpenter Yoshiyuki Murase, who led the palace carpenter team, reflected that “the damage was greater than anyone imagined.” Yet approximately 10,000 craftsmen gathered from across Japan over the project’s duration, applying their collective wisdom and experience. Work included removing unusable materials, cutting away weakened sections, and filling gaps with fitted wood pieces.

The restoration involved completely re-roofing with hinoki bark, repairing the lacquered plaques, reapplying vermillion paint, and addressing modern concerns through seismic reinforcement. Traditional techniques were honored while incorporating the latest earthquake-resistant technology.

Training Ground for Young Craftsmen

The restoration site served as an invaluable training opportunity. Twenty-six-year-old Yui Ichinomiya was entrusted with vermillion painting and led younger colleagues as site leader. Despite the physically demanding and painstaking nature of the work, young craftsmen found pride in “carrying forward structures inherited from the past to future generations.”

During construction, scaffolding was covered with wide-mesh netting (10-centimeter squares) allowing visibility during daylight hours. Evening illumination of the scaffolding created what visitors called a “mystical construction site”—demonstrating thoughtful consideration for tourists and worshippers throughout the project.

Modern Challenges and Future Preservation

Itsukushima Shrine’s restoration techniques face various challenges in the modern era. Overcoming these obstacles and passing skills to the next generation remains the responsibility of our time.

The Serious Problem of Successor Shortage

Both palace carpenters and bark harvesters require lengthy training periods. A palace carpenter needs a minimum of ten years to become fully qualified; a bark harvester requires ten years for basic competency and over twenty years to achieve mastery. With fewer young people willing to endure such extended apprenticeships, the shortage of skilled successors grows increasingly critical.

Difficulties in Securing Materials

The declining availability of large hinoki trees suitable for bark harvesting and fewer forest owners permitting harvesting create significant material supply challenges. Initiatives like the “Hinoki Bark Harvesting Forests” in national forests and forest management agreements aim to ensure stable supply, but these efforts still fall short of meeting demand.

Renewed Recognition of Traditional Crafts

Modern society tends to favor fast, cost-efficient construction methods, placing traditional techniques at an economic disadvantage. However, the 2020 UNESCO Intangible Cultural Heritage registration provided an opportunity to internationally recognize the value of these skills.

Cultural properties like Itsukushima Shrine serve as venues where palace carpenters, bark roofers, and decorative painters transmit their techniques to the next generation through regular restoration projects. Beyond simple building maintenance, these projects represent crucial opportunities to protect and pass on Japan’s traditional craftsmanship.

FAQ

How often is Itsukushima Shrine restored?

The hinoki bark roofing has a lifespan of 30 to 40 years and is replaced on this cycle. Emergency repairs follow natural disasters such as typhoons. Daily maintenance is performed by dedicated palace carpenters who live and work on Miyajima year-round.

How can someone become a palace carpenter?

There are two main paths: attending a specialized school with a traditional architecture program (3 to 4 years) or apprenticing directly with a palace carpenter workshop. Becoming fully qualified takes a minimum of ten years, with mastery requiring even longer. The profession demands patience, physical stamina, flexibility, and a genuine commitment to preserving tradition.

Where does the hinoki bark come from?

Bark is harvested from living hinoki cypress trees at least 70 to 80 years old. Supply comes from designated “Hinoki Bark Harvesting Forests” in national forests such as those managed by the Kinki-Chugoku Regional Forest Office, as well as from private forests. However, current supply falls significantly short of demand.

What was the biggest challenge during the 2019-2022 torii restoration?

The discovery of termite and fungal damage far exceeding initial expectations proved most challenging. Cavities measuring 40 to 50 centimeters in diameter and approximately 4 meters deep were found inside the main pillars—invisible from external inspection. Craftsmen had to remove compromised materials and fill gaps with fitted wood while maintaining traditional methods and adding modern seismic reinforcement.

Can visitors watch restoration work in progress?

During the great torii restoration (2019-2022), scaffolding was covered with wide-mesh netting that allowed daytime visibility. Evening illumination created memorable views. For future projects, check the official Itsukushima Shrine website for current construction status and viewing opportunities.

Why are these traditional techniques considered UNESCO heritage?

In 2020, “Traditional skills, techniques and knowledge for the conservation and transmission of wooden architecture in Japan” was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage. This recognition encompasses hinoki bark roofing, wood joinery, and other specialized crafts essential for maintaining Japan’s historic wooden structures—acknowledging both their technical excellence and their role in cultural continuity.

How can these traditional skills be preserved for the future?

Current preservation efforts include training programs coordinated between forest management bureaus and craft preservation associations, observation tours for students at forestry schools and local schools, and using major restoration projects as hands-on training opportunities for young craftsmen. International recognition through UNESCO has also raised awareness and support for preservation initiatives.

Summary

The restoration techniques of Itsukushima Shrine represent the crystallization of Japanese traditional craftsmanship passed down for over 800 years. Behind the remarkable preservation of these sea-based shrine buildings lies a design philosophy of coexisting with nature, palace carpenters’ wood joinery expertise, bark roofers’ specialized skills, and the distinctive concept of “architecture built with repair in mind.”

The major restorations spanning the Meiji, Taisho, Showa, and Reiwa eras document how craftsmen of each generation overcame disasters and challenges while simultaneously transmitting their techniques to successors. The 2019-2022 great torii restoration particularly demonstrated how traditional and modern technologies can work together at the forefront of cultural property conservation.

Today, challenges including successor shortages and material supply difficulties threaten the continuity of these traditional techniques. Recognizing these challenges across society and providing support is essential to preserving irreplaceable cultural heritage for the future. The restoration techniques of Itsukushima Shrine represent more than construction methods—they embody the Japanese relationship with nature, aesthetic sensibilities, and the ongoing commitment to protecting and transmitting cultural heritage.

References and Sources

1. World Heritage “Itsukushima Shrine” Repair and Preservation | Ocean Newsletter | Ocean Policy Research Institute
2. Itsukushima Shrine Great Torii Large-Scale Restoration | Masuokagumi
3. Connecting to Future Generations: The Vermillion Symbol – 3.5-Year Record of Miyajima Great Torii Revival | Television Shin-Hiroshima
4. Raising People, Entrusting Skills, Connecting Heian Era to Future Generations | Cherishing Miyajima for Another 1000 Years
5. Hinoki Bark Roofing – Wikipedia
6. Hinoki Bark Roofing | Tomoi Shrine Architecture
7. Hinoki Bark – Special Forest Products Supporting Cultural Properties | Japan Special Forest Products Promotion Association
8. Hinoki Bark Roofing / Shingle Roofing | Cultural Heritage Online
9. Hinoki Bark Harvesting | Cultural Heritage Online
10. “Hinoki Bark Forest” Forest Management Agreement Initiatives | Chubu Regional Forest Office
11. Itsukushima Shrine – Wikipedia
12. Construction Status and Plans | Itsukushima Shrine Official Site

The post Itsukushima Shrine Restoration: 800 Years of Traditional Craftsmanship first appeared on Miyajima Stroll.

What Is Shinden-zukuri?

Shinden-zukuri is the aristocratic residential architecture style that dominated Heian-period Japan (794–1185). Taira no Kiyomori adapted this palace style—normally reserved for nobility—to create a shrine unlike any other in the country.

The Basic Structure of Shinden-zukuri

This architectural style reached its mature form around the 10th century. A typical shinden-zukuri estate featured a central main hall called the shinden (literally “sleeping hall”) where the master of the house resided. Flanking this central building to the east, west, and sometimes north were subsidiary structures called tainoya. These buildings were connected by covered corridors known as watadono, and south of the main hall lay a landscaped garden with a pond—the ideal setting for boating parties and musical performances.

Inside the shinden, walls were almost nonexistent. Rather than fixed partitions, nobles used movable screens (byōbu), curtain stands (kichō), and bamboo blinds (misu) to divide the open space as needed. This openness wasn’t just aesthetic—it was practical. In Japan’s hot, humid summers, good airflow was essential for comfort. The southern pond garden served as an entertainment space where aristocrats enjoyed boat excursions and gagaku court music while appreciating the beauty of each season.

Shinden-zukuri’s Practical Asymmetry

While the “ideal” shinden-zukuri layout was perfectly symmetrical, reality was different. Site constraints, entrance locations, and practical needs meant most actual aristocratic residences were asymmetrical. Even famous estates like Fujiwara no Michinaga’s Higashi-Sanjō-dono, when reconstructed from historical records, show asymmetrical layouts optimized for real-world use rather than theoretical perfection. This willingness to prioritize function over strict symmetry was a defining characteristic of the style.

Standard Principles of Shrine Architecture

Traditional shrine architecture follows its own distinct rules—rules that Itsukushima Shrine deliberately breaks. Understanding these conventions helps reveal just how unusual Kiyomori’s design choices were.

Symmetry as Sacred Order

For most Shinto shrines, bilateral symmetry is fundamental. At prestigious ancient shrines like Kamigamo Shrine, Shimogamo Shrine, and Kasuga Grand Shrine in Nara, the main halls feature perfectly balanced pillar arrangements, with the widest span typically at the center. This symmetry visually expresses the sacred order and sanctity of the space where the gods dwell. Pillars are placed at regular intervals, or with only the central bay widened—a deliberate architectural statement of divine presence.

Chigi and Katsuogi: The Symbols of Shrines

Walk up to almost any Shinto shrine in Japan and you’ll notice distinctive decorative elements on the roof: chigi (crossed beams extending from the roof’s ridge at both ends) and katsuogi (log-like ornaments placed along the ridge). Originally these served structural purposes, helping to secure the roof, but over time they became purely decorative—visual shorthand that instantly identifies a building as a shrine.

You’ll find these elements at Japan’s most ancient and important shrines: Ise Grand Shrine (shinmei-zukuri style), Izumo Grand Shrine (taisha-zukuri style), and many others. While some large shrines built during the Heian period omitted them, the Edo period’s revival of Shinto traditions brought chigi and katsuogi back into prominence. Their presence—or absence—now serves as a marker of a shrine’s architectural heritage.

Major Shrine Architectural Styles

Japanese shrine architecture encompasses several distinct styles, each associated with different regions and eras. The oldest is shinmei-zukuri, exemplified by Ise Grand Shrine, featuring a simple gabled roof with the entrance on the long side. Taisha-zukuri, seen at Izumo Grand Shrine, also has a gabled roof but with the entrance on the gable end and a massive central pillar. Nagare-zukuri (flowing style), with its extended front eave, is the most common style nationwide.

What unites these traditional shrine styles? Three key features: gabled roofs (not hipped), wooden construction without ceramic tiles, and raised floors. These characteristics deliberately distinguish shrines from Buddhist temples, which typically feature hipped or hipped-gable roofs, tile roofing, and ground-level floors. This architectural differentiation helped maintain Shinto’s distinct identity alongside Buddhism.

How Itsukushima Shrine Applies Shinden-zukuri

When Taira no Kiyomori undertook his major reconstruction of Itsukushima Shrine in 1168, he created something revolutionary: a shrine designed as if it were a nobleman’s seaside palace. The Seto Inland Sea became his “garden pond,” and the shrine complex became his “shinden.”

The Corridors: Connecting Sacred Spaces

The most striking shinden-zukuri element at Itsukushima Shrine is its approximately 275-meter network of covered corridors. These corridors link the main shrine to the subsidiary Marōdo Shrine, encircle the Noh stage and the Hira-butai (flat stage for ritual dances), creating a unified architectural ensemble. They function exactly like the watadono corridors of aristocratic mansions.

In Heian noble estates, corridors weren’t just passageways—they served as seating areas during ceremonies and as viewing galleries for dance performances. Itsukushima Shrine’s corridors serve identical purposes during religious rituals, faithfully reproducing the functional design of shinden-zukuri architecture in a sacred context.

The Asymmetrical Layout

Look carefully at Itsukushima Shrine’s main hall and you’ll notice something unusual for a shrine: it’s not symmetrical. The widest bay between pillars isn’t centered—it’s shifted toward the west. This creates an axis that’s offset from the geometric center of the building. Why? Because that widest bay houses the most sacred space: the treasure hall containing the inner sanctuary of Ichikishimahime-no-mikoto, the principal deity among the three goddesses enshrined here.

This practical approach—adjusting the layout to match the hierarchy of the enshrined deities rather than adhering to geometric symmetry—directly reflects shinden-zukuri’s design philosophy. Kiyomori clearly understood that shinden-zukuri prioritized function and meaning over rigid formalism, and he applied that understanding to shrine architecture.

No Chigi, No Katsuogi

Perhaps the most obvious departure from shrine convention: Itsukushima Shrine’s main hall lacks chigi and katsuogi entirely. This isn’t an oversight—it’s a deliberate choice that preserves the shinden-zukuri aesthetic. Aristocratic residences never featured these shrine-specific ornaments; instead, they had cypress bark roofs with decorative ridges. Itsukushima Shrine maintains this palace-style appearance, creating the unique visual of a shrine that looks like a noble residence.

Interestingly, during the early Meiji period (1868–1912), when the government promoted Shinto and “proper” shrine aesthetics, chigi and katsuogi were actually added to Itsukushima Shrine. However, during major repairs in the late Meiji era, these additions were removed, restoring the shrine to its original shinden-zukuri appearance. This reversal shows how the unique architectural value of Kiyomori’s original design eventually won recognition over standardized expectations.

Ryō-nagare-zukuri: A Rare Roof Style

Itsukushima Shrine’s main hall employs an unusual roof style called ryō-nagare-zukuri (double-flowing style). This design extends the gabled roof outward on both the front and back, creating covered eaves in both directions.

How It Differs from Standard Nagare-zukuri

The common nagare-zukuri (flowing style) extends the roof only on the front side, creating an asymmetrical profile when viewed from the side. Kamigamo Shrine and Shimogamo Shrine in Kyoto are famous examples. Ryō-nagare-zukuri, by contrast, extends the roof both forward and backward, giving the building similar appearances from front and rear.

This style is rare nationwide. Itsukushima Shrine’s main hall and Marōdo Shrine are considered the defining examples. The main hall measures nine bays (the distance between pillars) in width and two bays in depth for the core structure, with covered eaves added front and back. Notably, the front has eight bays while the rear has nine—one pillar is omitted on the front to create the wider bay for the principal deity’s sanctuary.

Cypress Bark Roofing

Every building in the sea-facing portion of Itsukushima Shrine—the main hall, Marōdo Shrine, and all the corridors—is roofed with hiwada-buki (cypress bark shingles). This traditional technique layers strips of Japanese cypress bark to create a waterproof, visually elegant roof surface. Cypress bark roofing was standard for both shrines and aristocratic residences, making it a perfect choice for Kiyomori’s hybrid design. It avoids ceramic tiles (maintaining shrine conventions) while matching palace aesthetics.

Cypress bark roofs require periodic replacement—a demanding process that has helped keep traditional roofing skills alive for centuries. The national forests on Miyajima Island are now designated as a “forest contributing to World Cultural Heritage,” supplying the cypress bark and timber needed for ongoing preservation.

Taira no Kiyomori’s Architectural Vision

Understanding Itsukushima Shrine’s architecture requires understanding the man who created it. Taira no Kiyomori wasn’t just a military commander—he was a cultural powerhouse who reached the highest rank in the imperial court and stood at the center of Heian aristocratic society.

The Sea as a Garden Pond

Kiyomori’s most brilliant insight was recognizing that the Seto Inland Sea could serve the same function as a shinden-zukuri estate’s garden pond. Aristocratic mansions positioned their main halls to overlook landscaped ponds where residents enjoyed boating excursions and musical performances. Kiyomori took this concept and applied it on a massive scale, using the natural bay of Miyajima as his “pond.”

This wasn’t just symbolism—it shaped actual practice. To this day, Itsukushima Shrine holds the Kangensai (Music Festival) on the 17th day of the sixth lunar month, when ritual music is performed from boats on the sea, exactly as Heian nobles would have enjoyed gagaku on their garden ponds. The tradition Kiyomori established has continued for over 850 years, a living connection to his original vision. UNESCO’s evaluation specifically praised this integration of nature, aristocratic culture, and religious belief.

Fusing Shrine and Court Culture

In Kiyomori’s era, the Taira clan occupied a unique position: warriors who had risen to the highest levels of court society. Kiyomori himself eventually became Daijō-daijin (Grand Minister of State), the most prestigious court position. His reconstruction of Itsukushima Shrine was far more than a religious project—it was a statement of Taira power and cultural sophistication.

By housing the gods in what was essentially a floating palace, Kiyomori expressed the ultimate reverence: treating the deities as beings of the highest possible status, equal to or above the greatest nobles. At the same time, the architecture proclaimed Taira dominance over the Seto Inland Sea trade routes. Every merchant ship passing the great torii gate saw visual proof of who controlled these waters.

FAQ

Why did Itsukushima Shrine adopt shinden-zukuri architecture?

Taira no Kiyomori designed the shrine to treat the Seto Inland Sea as a nobleman’s garden pond and the shrine buildings as a palace for the gods. As the most powerful figure in both military and court circles, Kiyomori had deep knowledge of aristocratic architecture. He used this elite residential style to express both divine reverence and Taira clan prestige.

Is Itsukushima Shrine the only shinden-zukuri shrine in Japan?

Yes, it’s unique. While other shrines have corridors, no other shrine applies the complete shinden-zukuri layout—with the sea as a garden pond and buildings arranged like a noble estate. This combination exists only at Itsukushima Shrine.

What is ryō-nagare-zukuri (double-flowing style)?

It’s a rare roof style where the gabled roof extends outward on both the front and back of the building. Standard nagare-zukuri extends only the front, but Itsukushima Shrine’s main hall extends both directions. Only a handful of shrines in Japan use this style, making it one of the shrine’s distinctive features.

Why doesn’t Itsukushima Shrine have chigi and katsuogi?

Because it faithfully follows shinden-zukuri palace aesthetics. Aristocratic residences never had these shrine-specific roof ornaments. By omitting them, Itsukushima Shrine maintains the appearance of a noble palace rather than a conventional shrine—exactly as Kiyomori intended.

Why is symmetry important in Japanese shrine architecture?

Symmetry visually expresses the sacred order and sanctity of the space where gods dwell. It creates a sense of divine solemnity and balance. Itsukushima Shrine’s asymmetry is exceptional precisely because it follows shinden-zukuri’s practical approach—prioritizing function (the hierarchy of enshrined deities) over geometric perfection.

Can visitors see the shinden-zukuri elements today?

Absolutely. When you walk through the corridors connecting the various halls, you’re experiencing the watadono passageways of a Heian palace adapted for shrine use. The open layout, the relationship to the sea, and the absence of typical shrine roof ornaments are all visible. Attending the summer Kangensai festival lets you witness the “pond garden” function in action, with boats and music on the water.

How has the architecture been preserved over centuries?

The shrine has been repeatedly damaged by typhoons and rebuilt using traditional techniques. The cypress bark roofing requires replacement approximately every 20 years, maintaining living craft traditions. Miyajima’s forests provide raw materials, and skilled craftspeople trained in these methods ensure authenticity. Major restorations follow strict cultural heritage protocols to preserve Kiyomori’s original design intent.

Summary

Itsukushima Shrine stands alone in the world of Japanese sacred architecture. By adapting shinden-zukuri—the palace style of Heian aristocrats—to shrine design, Taira no Kiyomori created something unprecedented: a floating palace for the gods. The covered corridors linking the buildings, the deliberately asymmetrical layout, the absence of typical shrine roof ornaments, and the rare ryō-nagare-zukuri roof style all demonstrate how completely this shrine breaks from convention.

Kiyomori’s vision transformed the Seto Inland Sea into a nobleman’s garden pond and the shrine complex into a divine residence worthy of the highest court aristocrats. This integration of natural landscape, aristocratic culture, and religious belief earned recognition when UNESCO inscribed Itsukushima Shrine as a World Heritage Site in 1996, praising it as “a masterpiece of human creative genius.” To understand this architecture is to glimpse the culture and faith of Heian Japan—and to appreciate the extraordinary vision of one of history’s most powerful figures.

References

1. Architectural History of Itsukushima Shrine – Miyajima Sanpo
2. Shinden-zukuri – Wikipedia (Japanese)
3. Itsukushima Shrine – Wikipedia (Japanese)
4. Itsukushima Shrine Main Hall – Cultural Heritage Online
5. Chigi and Katsuogi – Wikipedia (Japanese)
6. About Shrine Buildings – Association of Shinto Shrines
7. Heian Period Interior Design – KYOTO SIDE

The post Itsukushima Shrine Architecture: Shinden-zukuri Palace Style Meets Sacred Design first appeared on Miyajima Stroll.

This article explores Itsukushima Shrine from a unique angle: the relationship between its architecture and sacred treasures. You’ll discover how Heian-period palace design principles were adapted not just for beauty, but to preserve irreplaceable artifacts in one of Japan’s harshest environments—directly over the sea.

Shinden-Zukuri Design: How Palace Architecture Protects Sacred Objects

When Taira no Kiyomori reconstructed Itsukushima Shrine around 1168, he made a revolutionary architectural choice: adapting shinden-zukuri, the residential style of Heian aristocracy, for a Shinto shrine. He envisioned the Seto Inland Sea as a nobleman’s garden pond, with the shrine buildings as the main residence floating above it.

This palace-style layout directly influenced where sacred treasures were stored. Behind the main hall (honden), an azekura-style storehouse was constructed specifically to house the Heike Nokyo scrolls and other precious offerings. Placing the treasure house at the innermost point of the sacred precinct reflected a deliberate spatial philosophy: the most sacred objects belong in the most protected location.

The corridors stretching 275 meters across the complex served a dual purpose. Beyond connecting the various halls, they functioned as processional routes for transporting sacred objects. During annual festivals and important ceremonies, treasures would travel along these covered walkways from storage to the main hall or high stage, becoming part of the ritual performance itself.

Understanding this architectural layout reveals how the entire shrine complex developed over centuries. From Kiyomori’s era to the present day, the basic configuration has survived countless repairs and reconstructions, demonstrating the deep connection between architecture and faith at this sacred site.

2025.12.21

How Itsukushima Shrine’s Layout Evolved: Architectural Planning Through the Ages

Itsukushima Shrine’s buildings appear to float on the sea, creating one of Japan’s most iconic landscapes. At high tide the structures hover above water, while low tide reveals the seabed beneath…

The Heike Nokyo Scrolls: A Masterpiece and Its Preservation

Storage in the Azekura Storehouse

The Heike Nokyo (Sutras Dedicated by the Taira Clan) represents the pinnacle of decorated Buddhist scriptures in Japan. Created between 1164 and 1167, these 33 scrolls feature gold and silver leaf, vibrant underpaintings, and intricate patterns that showcase the finest artistic techniques of the era. Kiyomori’s dedication note expresses the intention to “exhaust all virtue and beauty” in their creation.

These irreplaceable treasures were originally stored in an azekura-style storehouse built south of the main hall. Azekura construction uses triangular or trapezoidal logs stacked in a crib pattern to create walls with natural humidity control—a critical feature for preserving paper and silk in a seaside environment.

The wooden walls naturally regulate moisture: during humid seasons, the logs absorb water and expand, while in dry periods they contract. This keeps interior humidity relatively stable—essential for scrolls made of paper and silk. Without this passive climate control, the scrolls could never have survived for over 850 years in such a challenging location.

The Modern Treasure House

The Meiji Restoration brought new threats to Japan’s cultural heritage. The separation of Shinto and Buddhism, along with anti-Buddhist movements, endangered countless temple and shrine treasures. In response, the 1897 Law for the Preservation of Old Shrines and Temples was enacted, and the Heike Nokyo was designated a National Treasure that same year.

A temporary exhibition hall established after the 1895 National Industrial Exposition eventually became inadequate, leading to the construction of a new treasure house in 1934. Architect Oe Shintaro, who also designed the Meiji Shrine Treasure Hall in Tokyo, created a building that balanced modern preservation technology with traditional aesthetics.

The new treasure house uses reinforced concrete construction with a copper-plate roof—earthquake and fire resistant, yet designed to look like traditional wooden architecture. At 570 square meters, the single-story building replicates the appearance of timber construction down to the proportions of its columns and beams. The exterior is lacquered in vermillion to harmonize with the shrine’s color scheme.

Today, this building is a Registered Tangible Cultural Property, recognized as an outstanding example of early Showa-era modern Japanese architecture. Inside, visitors can view meticulously crafted reproductions of the Heike Nokyo, while the original scrolls remain in specialized storage and are occasionally exhibited during special events.

Learning about Taira no Kiyomori’s relationship with Itsukushima Shrine helps explain why such magnificent scrolls were created. For the Taira clan, who controlled Seto Inland Sea shipping routes and grew wealthy from trade with Song Dynasty China, devotion to Itsukushima was both spiritual and strategic.

2025.10.01

2025.10.05

Taira no Kiyomori and Miyajima: The Warrior Who Built the Floating Shrine

In the late Heian period, one warrior dramatically expanded Itsukushima Shrine, setting in motion events that would reshape Japanese history. That warrior was Taira no Kiyomori, the first samurai to rise to…

The High Stage and Bugaku Dance Costumes

The takabutai (high stage) at Itsukushima Shrine is a stunning performance platform featuring a black-lacquered base surrounded by vermillion railings. Positioned in front of the main hall’s worship space, it hosts bugaku court dances that Kiyomori reportedly brought from Osaka’s Shitenno-ji Temple. Built in 1546 by shrine steward Tanamori Fusaaki, this stage ranks among Japan’s three most famous historic stages.

Bugaku performances divide into “left dances” (samai) derived from Chinese traditions and “right dances” (umai) with Korean roots. Each type has its own musicians’ hall positioned beside the stage. Following ancient protocol, left-dance performers wear predominantly red costumes, while right-dance performers dress in blue-green tones—a color coding that has continued for centuries.

Between performances, the elaborate costumes and masks are stored within the musicians’ halls (gakubo). These buildings serve as more than green rooms—they’re specialized storage facilities protecting silk garments and wooden instruments from humidity and salt air. In a seaside environment, proper storage spaces were essential for keeping these precious textiles and instruments in performance condition.

Eight jewel-topped pillars (hobashira) with ornamental finials called giboshi surround the high stage. Two of these pillars survive from the Muromachi period, bearing inscriptions dated 1546 that record the shrine steward’s donation. These details connect today’s visitors directly to the 16th-century patrons who shaped this sacred space.

The hirabutai (flat stage) extends around the high stage, covering approximately 553 square meters. It corresponds to the “garden” area in shinden-zukuri palace design. Historical records indicate that when the Taira clan visited in 1176 with a thousand Buddhist monks for a memorial service, temporary wooden flooring was laid here—the origin of today’s permanent structure. During the Kangen-sai Festival, this flat stage holds the sacred palanquin (horen), transforming into the ritual’s ceremonial center.

2025.12.22

Miyajima’s Corridors and Noh Stage: The Architecture of Sacred Performance

The corridors and Noh stage at Itsukushima Shrine define a unique performing arts space extending over the sea. Influenced by Heian-period palace design, the corridors connect the shrine’s halls…

Armor, Weapons, and Their Place in the Shrine

Itsukushima Shrine preserves an impressive collection of armor and swords donated by the Taira clan and subsequent warrior families. Among the National Treasures are the Kozakuragawa Kigaeshi Odoshi Yoroi (armor with small cherry blossom leather lacing) and the Kon’ito Odoshi Yoroi (armor with dark blue thread lacing)—tangible evidence of samurai devotion offered to the gods.

During ordinary times, these arms and armor were stored in annexes near the main hall or in the treasury. For major ceremonies, selected pieces would be displayed in the main hall and worship spaces as symbols of divine authority. During the Warring States period, military leaders including Mori Motonari dedicated weapons both as prayers for victory and thanksgiving after successful campaigns.

Sword preservation demanded special attention. In a maritime environment, salt corrosion poses a constant threat to steel blades. The treasury stored swords in paulownia wood boxes, themselves placed inside lacquered Chinese-style chests (karabitsu)—a double-protection system against humidity and salt.

The shrine also treasures Noh and bugaku masks, costumes, and musical instruments. These are not merely collection pieces but “living treasures” still used in ceremonial performances today. The treasure house holds approximately 4,500 items, of which about 260 are designated National Treasures or Important Cultural Properties.

Architectural Features That Protect Sacred Objects

Itsukushima Shrine’s builders developed ingenious solutions for protecting treasures in an over-water environment. The floorboards are deliberately spaced with gaps, allowing seawater from storm surges to drain quickly. This design protects not just the buildings but the sacred objects stored within from water damage.

The main hall sits higher than the flat stage—a subtle elevation calculated to keep the floor above normal high-tide levels. This precise height engineering has helped the structure survive typhoons and storm surges for centuries. The spatial hierarchy places the holiest treasures at the physically safest elevation.

The hinoki cypress bark roofing (hiwadabuki) plays an important role in climate control. Multiple layers of bark shed rainwater effectively while maintaining breathability. This stabilizes humidity inside the buildings, creating better preservation conditions for moisture-sensitive scrolls and silk textiles.

The corridor floors feature a distinctive construction technique called “mesukashi”—leaving approximately one-centimeter gaps between boards. This prevents rainwater and seawater from pooling, ensures ventilation, and protects the wood from rot. For treasures carried along these corridors during ceremonies, the design also minimized exposure to damaging humidity.

FAQ

Where are the Heike Nokyo scrolls kept today?

The original Heike Nokyo scrolls remain in Itsukushima Shrine’s possession, stored in a climate-controlled treasury. The on-site treasure house displays high-quality reproductions that visitors can view during regular hours. The originals are occasionally exhibited during special events, typically once every few years.

Can I see the original azekura storehouse?

Yes, the historic azekura-style storehouse still stands on the shrine grounds and is designated an Important Cultural Property. However, the most valuable treasures were relocated to the 1934 treasure house with modern preservation technology. The traditional storehouse remains as a remarkable example of historical storage architecture.

Are the bugaku costumes actually used in performances?

Absolutely. Itsukushima Shrine hosts bugaku performances approximately ten times annually, and traditional costumes and masks are worn during these events. After each performance, the costumes receive careful maintenance before returning to proper storage. Some antique pieces are displayed in the treasure house, while newer costumes are used for actual ceremonies.

Why was the shrine built over water?

Miyajima Island was considered so sacred that even setting foot on its soil was thought to defile it. Building the shrine over water allowed worshippers to approach the gods without touching the sacred land. Some historians also suggest that Taira no Kiyomori wanted to recreate the fashionable shinden-zukuri palace style, where aristocrats floated boats on garden ponds—using the sea itself as the “pond.”

What is special about the 1934 treasure house architecture?

Architect Oe Shintaro designed the treasure house as a hybrid structure: reinforced concrete for earthquake and fire resistance, but with a traditional Japanese appearance. The building replicates wooden architecture in its proportions, column placement, and beam structure, while the vermillion lacquer exterior blends with the shrine’s aesthetic. Now a Registered Tangible Cultural Property, it represents an excellent example of early Showa-era modern Japanese architecture.

When can I see bugaku performances at Itsukushima Shrine?

Bugaku is performed during major festivals throughout the year, including the Momo-te-sai archery ceremony in January, the Kangen-sai Festival in summer (lunar calendar date, usually August), and the Chinka-sai fire festival in December. Check the shrine’s official schedule or the Miyajima Tourist Association website for specific dates during your visit.

How do I visit the treasure house?

The Itsukushima Shrine Treasure House (Homotsukan) is located within the shrine grounds and requires a separate admission fee from the main shrine. It’s open daily except during special closures, and you can see reproductions of the Heike Nokyo scrolls, historic armor, and other cultural properties. Allow about 30-45 minutes for a thorough visit.

Summary

Itsukushima Shrine reveals itself as far more than a beautiful waterside sanctuary—it’s a sophisticated system for protecting and presenting Japan’s cultural heritage. The shinden-zukuri palace layout, azekura storage technology, functional placement of performance halls, and innovative structural solutions all work together as an integrated whole. This architectural intelligence has preserved irreplaceable treasures for over eight centuries in one of Japan’s most challenging environments.

Today, visitors can still experience this living relationship between architecture and artifacts. The bugaku costumes worn in performances, the occasional exhibitions of the Heike Nokyo scrolls, and the carefully maintained buildings all demonstrate how the shrine continues its original mission. On your next visit to Itsukushima Shrine, look beyond the stunning visual beauty to appreciate the wisdom built into every floor gap, storage space, and roof tile—the invisible architecture of preservation.

References

1. Cultural Properties & Architecture – Itsukushima Shrine Official Website
2. Itsukushima Shrine – Wikipedia (Japanese)
3. Itsukushima Shrine Treasure House – Cultural Heritage Online
4. Architecture of Hiroshima – Itsukushima Shrine Treasure House
5. Shrine Museum Encyclopedia – Itsukushima Shrine
6. Heike Nokyo – Wikipedia (Japanese)
7. Itsukushima Shrine – Cultural Heritage Online
8. Itsukushima Shrine Appearing to Float on the Sea – Discover Japan
9. Itsukushima Shrine National Treasures Exhibition – Nara National Museum
10. Itsukushima Shrine Treasure House – Miyajima Kankou
11. Watching Bugaku at Itsukushima Shrine – Nippon Tabi Magazine
12. Itsukushima Shrine – Miyajima Tourist Association

The post Itsukushima Shrine Architecture & Sacred Treasures: Design Secrets first appeared on Miyajima Stroll.

Who Was Taira no Kiyomori?

Taira no Kiyomori (1118–1181) was a warrior who rose from military commander to become the most powerful man in Japan during the late Heian period. He won crucial civil wars that eliminated his rivals, became the first samurai ever appointed to the position of Grand Minister of State (Daijō-daijin), and established the first warrior government in Japanese history.

Kiyomori expanded maritime trade with Song Dynasty China, controlled shipping routes throughout the Seto Inland Sea, and married his daughter into the imperial family. When his grandson became Emperor Antoku, Kiyomori ruled Japan as the power behind the throne.

For Miyajima, Kiyomori’s most lasting contribution was transforming Itsukushima Shrine from a modest provincial sanctuary into the magnificent architectural complex that still stands today. He also donated the Heike Nōkyō sutras, one of the supreme masterpieces of Japanese Buddhist art. Though the Taira clan fell just four years after his death, the shrine and treasures he created have survived for over 850 years.

Rise to Power: From Warrior to Ruler

Family Background and Mysterious Origins

Kiyomori was officially the eldest son of Taira no Tadamori, head of the Ise branch of the Taira clan. However, the medieval war tale Heike Monogatari (The Tale of the Heike) claims he was actually the illegitimate son of the retired Emperor Shirakawa. According to this account, the emperor’s pregnant mistress was given to Tadamori, and the child born was Kiyomori.

Whether or not this story is true, Kiyomori’s father had already elevated the family’s status. Tadamori was the first warrior granted permission to attend court, breaking into aristocratic society. When Tadamori died in 1153, Kiyomori inherited this foundation and the position of clan leader. He had already been appointed governor of Aki Province (modern Hiroshima Prefecture), beginning his deep connection with the Seto Inland Sea region.

Victory in the Hōgen and Heiji Rebellions

The Hōgen Rebellion of 1156 was a succession dispute between retired Emperor Sutoku and Emperor Go-Shirakawa. Kiyomori fought alongside Minamoto no Yoshitomo on Go-Shirakawa’s side, winning decisively. This victory earned him appointment as governor of Harima Province and established his political influence.

Three years later, the Heiji Rebellion of 1159 gave Kiyomori sole dominance. When Fujiwara no Nobuyori and Minamoto no Yoshitomo staged a coup and imprisoned the retired emperor, Kiyomori was away on pilgrimage. Racing back to Kyoto, he defeated his former ally Yoshitomo and crushed the Minamoto clan. The Taira era had begun.

Becoming Grand Minister of State

After the Heiji Rebellion, Kiyomori’s rise was meteoric. In 1167, he became the first samurai ever to hold the position of Grand Minister of State—the highest office in the imperial court. This appointment marked a fundamental shift from aristocratic to warrior political power in Japan.

Kiyomori resigned after just three months and became a Buddhist monk, taking the religious name Jōkai. But monastic status didn’t diminish his power. In 1171, his daughter Tokuko became consort to Emperor Takakura. In 1180, her son was enthroned as Emperor Antoku, making Kiyomori the grandfather of the reigning emperor and the true ruler of Japan.

Understanding Kiyomori’s political and economic strategy helps explain why Itsukushima Shrine was so important to him. His control of Inland Sea shipping routes and promotion of trade with China were directly connected to his religious patronage.

2025.10.01

2025.10.05

Kiyomori and Miyajima: The Great Shrine Reconstruction

In the late Heian period, one samurai’s massive reconstruction of Itsukushima Shrine changed the course of Japanese history. That samurai was the first warrior to become Grand Minister…

Kiyomori’s Transformation of Miyajima

Governor of Aki Province and Growing Devotion

Kiyomori’s connection to Miyajima began in 1146 when he was appointed governor of Aki Province at age 29. As governor, he controlled shipping throughout the Seto Inland Sea and developed deep faith in Itsukushima Shrine, the sacred site dedicated to the goddesses protecting maritime travelers.

According to The Tale of the Heike, Kiyomori once received a mysterious prophecy while visiting Mount Kōya. An elderly monk told him that if he rebuilt Itsukushima Shrine, he would surely rise to the highest position in the land. Whether or not this story is factual, Kiyomori did embrace Itsukushima as the Taira clan’s guardian deity.

Historical records document at least ten pilgrimages by Kiyomori to the shrine, with the actual number likely higher. He developed a close relationship with Saeki Kagehiro, the shrine’s chief priest, and committed himself to expanding and beautifying the sanctuary.

The Great Reconstruction Project

Kiyomori’s greatest contribution was the massive reconstruction he undertook around 1168. Before this project, Itsukushima Shrine was a modest provincial sanctuary. Kiyomori transformed it into the grand architectural complex visitors see today—an entire palace built over the water in the elegant shinden-zukuri style of Heian aristocratic residences.

Kiyomori extended his term as governor specifically to complete this ambitious project. He rebuilt the Great Torii gate standing in the sea, reconstructed the main shrine buildings, and created the extensive covered corridors that connect them—180 bays (approximately 300 meters) of walkways spanning the tidal flats.

This wasn’t purely religious devotion. By establishing Itsukushima Shrine as the spiritual guardian of sea travel, Kiyomori gave religious authority to his control of the Inland Sea. The reconstruction was a strategic project uniting faith, politics, and economics. Safe passage through his waters had the blessing of the gods.

The Heike Nōkyō Sutras: A National Treasure

In 1164, Kiyomori donated the Heike Nōkyō to Itsukushima Shrine—a set of Buddhist sutras that ranks among the greatest treasures of Japanese art. This offering was a prayer for the continued prosperity of the Taira clan.

The collection comprises 33 scrolls: 28 chapters of the Lotus Sutra plus related texts, along with other sutras and Kiyomori’s own handwritten prayer. The number 33 represents the thirty-three manifestations of Kannon (the bodhisattva Avalokiteśvara), linked to the eleven-faced Kannon that was Itsukushima Shrine’s Buddhist guardian deity.

Thirty-two members of the Taira clan each contributed one scroll. Kiyomori’s eldest son Shigemori, his brothers Yorimori and Tsunemori, and other clan leaders all participated. The finest materials available were used: gold and silver leaf scattered across the paper, brilliant pigments creating elaborate designs, and sophisticated calligraphy throughout.

Kiyomori’s dedication prayer includes the phrase “exhausting all that is good, exhausting all that is beautiful.” The Heike Nōkyō remains at Itsukushima Shrine today as a National Treasure, offering tangible evidence of the Taira clan’s wealth and cultural sophistication at the height of their power.

Final Years and Death

In 1179, Kiyomori clashed with retired Emperor Go-Shirakawa. In a dramatic power play known as the Jishō Coup, he placed the retired emperor under house arrest and seized direct control of the government. But Taira autocracy generated powerful opposition from aristocrats, religious institutions, and other warrior clans.

In 1180, Minamoto no Yoritomo raised an army in Izu Province, and anti-Taira uprisings spread across Japan. While preparing military campaigns against the Minamoto, Kiyomori was suddenly struck by a severe fever on the fourth day of the intercalary second month of 1181.

The Tale of the Heike describes his illness in extraordinary terms: his body burned so intensely that water poured over him turned to steam. Suffering from headaches and breathing difficulties, he died within days at the age of 64.

The cause of death has been attributed to malaria, influenza, streptococcal infection, and other diseases, but cannot be confirmed. According to legend, Kiyomori’s final words were a command to place Yoritomo’s head on his grave.

After Kiyomori’s death, the Taira regime collapsed rapidly. The Minamoto forces pressed their advantage, winning battle after battle. In 1185, just four years later, the Taira were destroyed at the naval Battle of Dan-no-ura. The young Emperor Antoku drowned with his grandmother, and the era of Taira glory ended forever.

FAQ

What were Taira no Kiyomori’s main achievements?

Kiyomori was the first samurai to become Grand Minister of State, establishing Japan’s first warrior government. He promoted trade with Song China, developed the port of Ōwada (modern Kobe), and controlled shipping throughout the Inland Sea. His reconstruction of Itsukushima Shrine and donation of the Heike Nōkyō sutras created cultural treasures that survive today as National Treasures and World Heritage.

Why was Miyajima important to Kiyomori?

As governor of Aki Province, Kiyomori controlled Seto Inland Sea shipping routes. Miyajima, located at a strategic point along these routes, was home to goddesses protecting sea travelers. By making Itsukushima Shrine the Taira clan’s guardian deity, Kiyomori gave religious authority to his maritime dominance while securing divine protection for the profitable China trade.

What are the Heike Nōkyō sutras and why are they valuable?

The Heike Nōkyō is a set of 33 lavishly decorated Buddhist sutra scrolls donated by the Taira clan in 1164. They represent the pinnacle of Heian-period decorative sutra art, featuring gold and silver leaf, brilliant colors, and masterful calligraphy. Now designated a National Treasure, the scrolls remain at Itsukushima Shrine as tangible evidence of Taira wealth and cultural achievement.

How did Kiyomori die?

In 1181, Kiyomori was suddenly struck by an extremely high fever and died within days at age 64. The Tale of the Heike describes symptoms of unbearable heat, headaches, and breathing difficulties. The actual cause—possibly malaria, influenza, or bacterial infection—remains unknown.

What happened to the Taira clan after Kiyomori’s death?

Without Kiyomori’s leadership, the Taira regime quickly weakened. The Minamoto clan, led by Yoritomo and his brother Yoshitsune, won a series of military victories. In 1185, the Taira were finally destroyed at the Battle of Dan-no-ura in the straits between Honshu and Kyushu. Emperor Antoku, Kiyomori’s grandson, died in the battle at age eight.

Can visitors today see anything Kiyomori built at Itsukushima Shrine?

The shrine buildings have been rebuilt multiple times due to fire and typhoon damage, but they maintain the same design, layout, and over-water configuration that Kiyomori established in the 1160s. The Heike Nōkyō sutras are too fragile for regular display but can occasionally be viewed during special exhibitions at the shrine’s Treasure Hall or at museums hosting loan exhibitions.

Where can I learn more about Kiyomori on Miyajima?

The Kiyomori Shrine (Kiyomori Jinja) near Itsukushima Shrine is dedicated to his memory. The Miyajima History and Folklore Museum provides context about the Taira period. Walking the shrine’s corridors and viewing the buildings over the water offers the most direct connection to Kiyomori’s vision for this sacred island.

Summary

Taira no Kiyomori changed Japanese history as the first samurai to rule the country, and he changed Miyajima forever through his transformation of Itsukushima Shrine. His reconstruction project of the 1160s created the magnificent over-water architecture that defines the shrine today, while his donation of the Heike Nōkyō produced one of Japan’s supreme artistic treasures.

Understanding Kiyomori’s story enriches any visit to Miyajima. The shrine’s grand corridors, the torii gate rising from the sea, and the very concept of building a palace for the gods over tidal waters—all originated with this ambitious, devout, and calculating warrior. Though his political power lasted barely two decades, his cultural legacy has endured for more than eight centuries.

When you walk through Itsukushima Shrine, you’re experiencing the vision of a man who believed that honoring these goddesses would bring him power in this world. He was right about the power, if only briefly. But his shrine outlasted his clan, his enemies, and the world he knew—standing today as both a World Heritage Site and a monument to one of medieval Japan’s most fascinating figures.

References

1. Taira no Kiyomori – Wikipedia (Japanese)
2. Itsukushima Shrine – Wikipedia (Japanese)
3. Heike Nōkyō – Wikipedia (Japanese)
4. Kiyomori’s Faith in Miyajima – HISTRIP
5. History of Miyajima and Itsukushima Shrine
6. Taira no Kiyomori – Japan Knowledge Encyclopedia
7. Heike Nōkyō – Japan Knowledge Encyclopedia

The post Taira no Kiyomori: The Samurai Who Built Itsukushima Shrine first appeared on Miyajima Stroll.

Mori Motonari and Itsukushima Shrine: The Warlord Who Saved a Sacred Site

Itsukushima Shrine traces its origins to 593 CE and was transformed into its magnificent floating form by Taira no Kiyomori in the late 12th century. After the Taira clan’s downfall, the shrine gradually declined through the turbulent Sengoku period as Japan fractured into competing domains.

Mori Motonari reversed this decline after his victory in the 1555 Battle of Miyajima. Deeply ashamed of having brought bloodshed to sacred ground, he immediately began extensive restoration work. The dead and wounded from both armies were quickly removed to the mainland. Bloodstained soil was scraped away and cast into the sea. Sections of the shrine’s corridors stained with blood were torn out and replaced with new planks.

In 1571, following an incident where two brothers accused of treason were killed inside the main hall, Motonari completely rebuilt the Honden (main sanctuary). This structure survives today as one of Japan’s largest shrine buildings at approximately 270 square meters (2,900 square feet). Motonari and his eldest son Takamoto also rebuilt the great torii gate, and the stone pillars of the Hirabutai stage platform are attributed to Motonari’s donation.

After the battle, the Mori clan’s devotion to Itsukushima Shrine only deepened. Motonari allocated roughly ten percent of the revenue from the valuable Iwami silver mines to fund shrine maintenance—a remarkable commitment that demonstrated his faith was genuine, not merely political. The shrine that had guided him to victory became venerated as a source of martial fortune. Even Toyotomi Hideyoshi later visited to pray for success before his military campaigns.

Motonari’s relationship with Itsukushima Shrine went far beyond strategic patronage. Most of the shrine buildings visitors see today date from his era of restoration. The beauty of Miyajima as we know it was preserved by this 16th-century warlord.

2025.10.12

History of the Great Torii Gate: Sacred Gateway on the Sea

The great torii gate of Itsukushima Shrine standing in the sea has captivated visitors for centuries. More than a simple entrance marker, it represents…

Battle of Miyajima Historic Sites: Key Locations on the Island

Tsutsumigaura: Where Mori’s Army Landed

Tsutsumigaura is a cove on Miyajima’s northeastern shore where Motonari’s main force of approximately 2,000 soldiers landed on the stormy night of October 15, 1555. They crossed in darkness during a violent typhoon, a desperate gamble that caught the enemy completely off guard. Today the area is part of Tsutsumigaura Nature Park, and a memorial stone marks Motonari’s landing spot.

When Motonari asked what this place was called, he was told “The cove is Tsutsumigaura, and the ridge above is Bakuchi-o.” The word “utsu” (to strike) appears in related words for both drums and gambling, leading Motonari to declare this an omen: “The time has come to strike and win!” He set his army’s passwords as “utsu” (strike) and “katsu” (win). After landing, he ordered all boats sent back—a declaration of do-or-die commitment that left no possibility of retreat.

Bakuchi-o Ridge: The Launch Point for the Surprise Attack

Bakuchi-o is a mountain ridge reached by climbing a steep trail from Tsutsumigaura. Mori’s army ascended this treacherous four-kilometer (2.5-mile) path through darkness and rain, reaching the ridge around 6:00 AM. From here they could look down directly at the enemy’s headquarters on Tō-no-oka hill.

According to tradition, when Motonari heard the name Bakuchi-o (Gambling Ridge), he encouraged his men: “Long ago, Minamoto no Yoshitsune landed at a place called Victory Cove and defeated the Taira. Now we have climbed Gambling Ridge. Gambling also means to strike—we have already won this fight!” This wordplay on auspicious omens lifted his soldiers’ spirits for the attack ahead.

Tō-no-oka: Sue’s Headquarters

Tō-no-oka is the hill east of Itsukushima Shrine where the five-story pagoda and Toyokuni Shrine (Senjōkaku) stand today. Sue Harukata established his headquarters here on October 6, 1555, with a commanding view of Miyao Castle below. This advantageous position would prove to be his undoing.

On the morning of October 16, Mori’s forces came pouring down from Bakuchi-o ridge with a thundering war cry. The surprise attack from behind threw Sue’s headquarters into chaos. Trapped with too many soldiers in too little space, the massive Sue army could neither fight effectively nor retreat, and collapsed into disorder.

Ōmoto-no-ura: Where Sue’s Army Landed

Ōmoto-no-ura is located west of Itsukushima Shrine, near today’s Miyajima Aquarium. On October 6, 1555, Sue Harukata landed here with a fleet of 500 ships and approximately 20,000 soldiers. The Sue forces spread across the island from Daishō-in Temple to Mount Misen, with warships filling the waters offshore.

After his defeat, Sue fled back to Ōmoto-no-ura hoping to escape by ship to Yamaguchi and rebuild his forces. But the Murakami navy had blockaded the harbor, forcing him to flee farther west along the coast.

Ōe-ura and Takayasu-ga-hara: Where Sue Harukata Died

Ōe-ura, a cove on Miyajima’s western coast, is where Sue Harukata met his end. With only a handful of retainers remaining, he reached this shore seeking a boat, but found none—the Murakami navy had sealed off all escape routes. With no options left, he composed a death poem: “What is there to regret, what to resent? From the beginning, this was my fate to meet.” His retainer Ikaga Fusaaki served as his second, and Sue took his own life. He was 35 years old. His head was discovered by Mori forces several days later and buried at Tōun-ji Temple in Hatsukaichi on the mainland.

Miyao Castle: The Decoy Fortress

Miyao Castle was built on the promontory at Ari-no-ura by Motonari specifically to lure Sue Harukata to Miyajima. In May 1555, he stationed 500 soldiers under Kohi Naoyuki and Tsuboi Motomasa in this deliberately vulnerable-looking fortification. Sue’s army attacked the castle repeatedly, but the defenders held out stubbornly, frustrating the overconfident commander and keeping him focused on this single objective while Motonari prepared his trap.

Why the Battle of Miyajima Happened: Historical Background

The Death of Ōuchi Yoshitaka and Motonari’s Decision

In 1551, Ōuchi Yoshitaka—the powerful lord who dominated western Japan and northern Kyushu—was killed in a coup by his own retainer Sue Harukata (the Daineiji Incident). Yoshitaka had devoted himself to culture and temple patronage, alienating his military-minded vassals. Sue installed Ōuchi Yoshinaga (originally a younger son of the Ōtomo clan) as puppet ruler while he controlled the domain.

For Mori Motonari, an ally of Yoshitaka, this crisis presented both danger and opportunity. Initially showing submission to Sue, he quietly expanded his territory throughout Aki and Bingo provinces, building strength for the inevitable confrontation.

The Breaking Point: Battle of Oshikibata

In May 1554, Yoshimi Masayori of Iwami Province raised his banner against the Sue, and Motonari openly broke with his former overlords. He captured Sakurao Castle and three other fortresses, seizing Miyajima itself.

Enraged, Sue ordered Miyagawa Fusanaga to destroy Motonari. At the Battle of Oshikibata near Sakurao Castle, Motonari’s 3,000 soldiers crushed an army of 7,000. This stunning victory established Motonari’s reputation and made war with Sue inevitable.

Why Miyajima Became the Battlefield

Miyajima was not merely a religious site—it was a critical strategic location for controlling maritime trade in the Seto Inland Sea. Taira no Kiyomori had used it as a trading base for commerce with Song China centuries earlier. Whoever held this island dominated the region’s shipping lanes.

Facing an army nearly ten times his size, Motonari knew that conventional warfare on open ground meant certain defeat. He needed to neutralize Sue’s numerical advantage. An island battle would cut Sue off from reinforcements. The rugged terrain would prevent the massive army from deploying effectively. Limited flat ground would turn overwhelming numbers into a liability rather than an asset.

Motonari studied the island’s geography carefully and devised a plan to lure Sue into this natural trap.

The Battle: How Miyajima’s Terrain Decided Victory

Sue’s Landing and Deployment: From Ōmoto-no-ura to Tō-no-oka

On October 6, 1555, Sue Harukata landed at Ōmoto-no-ura (near today’s Miyajima Aquarium) with 500 ships and approximately 20,000 soldiers. Miura Fusakiyo and Yamato Okitake led the vanguard, while Sue established his headquarters on Tō-no-oka hill overlooking Miyao Castle.

The enormous army spread across the island from Daishō-in Temple to Mount Misen, with warships filling every harbor. Yet packing 20,000 men into this small island would prove catastrophic—there was simply no room to maneuver when disaster struck.

Crossing in the Storm: The Landing at Tsutsumigaura

On October 15, Motonari divided his forces into three groups. The first was his main force of roughly 2,000 under himself, his son Takamoto, and his second son Motoharu. The second was approximately 1,500 under his third son Kobayakawa Takakage. The third was the Murakami navy.

As evening approached, a violent storm swept in with thunder and driving rain. Rather than delay, Motonari declared it “an auspicious day” and explained that the storm was heaven’s protection. He launched the crossing at 6:00 PM.

Motonari’s main force sailed with only the commander’s vessel showing a signal fire, slipping quietly around Miyajima’s eastern coast. They landed at Tsutsumigaura around 9:00 PM. After sending all boats back to demonstrate their do-or-die commitment, the army began the treacherous climb toward Bakuchi-o ridge in the darkness, with Kikkawa forces leading the way.

Meanwhile, Kobayakawa Takakage’s detachment boldly sailed directly toward the great torii gate at the front of the enemy position. When challenged, they claimed to be reinforcements from Munakata and Akizuki in Chikuzen—ally territories. The ruse worked, and they waited offshore near the torii for the signal to attack.

The Attack from Bakuchi-o: How Miyajima’s Steep Terrain Changed Everything

Through the storm and darkness, Mori’s forces climbed the brutal four-kilometer trail. The conditions made the march agonizing, but also meant Sue’s sentries never spotted them. By dawn they had reached Bakuchi-o ridge overlooking the enemy headquarters.

At around 6:00 AM on October 16, war cries erupted from the ridge as Mori’s main force charged down the mountain into Sue’s rear. At the same moment, Kobayakawa’s force attacked from the torii gate while the garrison of Miyao Castle sallied forth. Sue found himself surrounded.

The Murakami navy struck the Sue fleet offshore, burning ships and cutting off escape. Sue’s forces, caught off guard after a sleepless night in the storm, were too tightly packed to move. Contemporary accounts describe how “Sue and Hironaka retreated toward the western mountains without loosing a single arrow”—the army simply collapsed without organized resistance. Miyajima’s confined terrain had completely negated Sue’s overwhelming numbers.

The Death of Sue Harukata: Suicide at Ōe-ura

After losing his headquarters on Tō-no-oka, Sue fled toward the shrine and then west to Ōmoto-no-ura. Hoping to escape by ship to Yamaguchi, he found the harbor blocked by Murakami warships. With only a handful of retainers remaining, he continued west along the coast to Ōe-ura, where he found no escape.

He composed his final poem: “What is there to regret, what to resent? From the beginning, this was my fate to meet.” With his retainer Ikaga Fusaaki as his second, Sue took his own life at age 35. His head was found several days later and taken to Tōun-ji Temple in Hatsukaichi for burial.

Meanwhile, Hironaka Takakane, who had fought Kikkawa forces near Daishō-in before retreating up Mount Misen with 100-300 men, made a final stand at a rocky area called Ryūgababa on Komagabayashi peak. Surrounded by Kikkawa forces, he fought fiercely until falling on October 18. The total number of enemy dead reportedly reached 4,785.

After the Battle: Purifying Sacred Ground and Rebuilding the Shrine

The battle began at dawn on October 16 and was essentially over by 2:00 PM the same day. But for Motonari, more important work remained—making amends for having defiled sacred ground.

Filled with remorse for the violence done to Miyajima, Motonari immediately began restoring the island’s sanctity. The dead and wounded from both armies were transported to the mainland as quickly as possible. Soil stained with blood was scraped up and thrown into the sea. Blood-soaked sections of the shrine corridors were torn out and replaced with fresh planks. Everything else was washed clean with seawater to restore the shrine to its pre-battle condition.

After this victory, the Mori clan’s standing in western Japan rose dramatically, and their devotion to Itsukushima Shrine deepened with each passing year. Motonari undertook major restoration work, and in 1571 he completely rebuilt the main sanctuary. Together with his son Takamoto, he also reconstructed the great torii gate.

The shrine that had granted Motonari victory came to be revered as a source of martial fortune by samurai across Japan. Toyotomi Hideyoshi visited during his Kyushu campaign to pray for military success and commissioned construction of the Daiky dō (today’s Senjōkaku, or “Hall of a Thousand Tatami Mats”). Following Taira no Kiyomori’s earlier patronage and Motonari’s dramatic triumph, Itsukushima Shrine entered a new era of prosperity that would continue into the early modern period.

FAQ

What was the relationship between Mori Motonari and Itsukushima Shrine?

After winning the Battle of Miyajima in 1555, Motonari was deeply troubled by having brought warfare to sacred ground. He ordered immediate cleanup of all bloodstained soil and damaged shrine buildings, then undertook major restoration work. In 1571 he completely rebuilt the main sanctuary (Honden), which survives today as one of Japan’s largest shrine halls. He and his son also rebuilt the great torii gate. Motonari’s genuine faith in the shrine—demonstrated by allocating roughly 10% of silver mine revenues to its maintenance—transformed Miyajima from a declining religious site into a flourishing pilgrimage destination.

Where can I visit Battle of Miyajima historic sites?

Key locations include Tsutsumigaura (Mori’s landing site, with a memorial stone), Bakuchi-o ridge (the mountain path used for the surprise attack), Tō-no-oka (Sue’s headquarters, now the location of the five-story pagoda and Senjōkaku), Ōmoto-no-ura (Sue’s landing site, near Miyajima Aquarium), Ōe-ura (where Sue committed suicide), and the site of Miyao Castle. The approximately four-kilometer mountain trail from Tsutsumigaura over Bakuchi-o ridge is hikeable today, allowing visitors to trace Motonari’s overnight march.

How did the Battle of Miyajima unfold?

Sue landed on October 6, 1555 with about 20,000 troops and set up headquarters on Tō-no-oka hill. On the stormy night of October 15, Motonari’s 2,000-man main force landed secretly at Tsutsumigaura and climbed through darkness to Bakuchi-o ridge. At dawn on October 16, they attacked downhill from behind while a second force attacked from the sea near the torii gate. Caught in a pincer movement with no room to maneuver, Sue’s massive army collapsed within hours.

Why did Mori Motonari win the Battle of Miyajima?

Motonari’s victory came from masterful use of terrain. By luring Sue’s 20,000 soldiers onto a small island with limited flat ground, he nullified their numerical advantage. The storm provided cover for his secret landing. The steep mountain approach allowed his smaller force to attack from an unexpected direction. The Murakami navy blocked any escape. Every element—the weather, the timing, the geography—worked together in a carefully calculated plan that turned overwhelming odds into a decisive victory.

What happened to Mori Motonari after the Battle of Miyajima?

The victory at Miyajima became the foundation for Motonari’s conquest of western Japan. He invaded Suō Province and destroyed the Ōuchi clan in 1557 by forcing Ōuchi Yoshinaga to commit suicide. In 1566 he eliminated the Amago clan. From a minor local lord, Motonari rose to control six provinces—Aki, Bingo, Suō, Nagato, Iwami, and Izumo—becoming the dominant power in the Chūgoku region with territory worth approximately 1.2 million koku (a measure of rice production indicating domain wealth).

Can I walk the same route Mori’s army took during the battle?

Yes, the mountain trail from Tsutsumigaura to Bakuchi-o ridge is accessible as a hiking path. The roughly four-kilometer route takes you through the same steep terrain that Motonari’s soldiers climbed in darkness during a storm. It’s a moderately challenging hike that offers impressive views and a tangible connection to the 1555 battle. Start from Tsutsumigaura and allow 2-3 hours for the climb.

Is this battle related to the samurai history I might have heard about?

The Battle of Miyajima is considered one of the three great surprise attacks in samurai warfare (alongside Okehazama and Kawanakajima). It demonstrates classic elements of Japanese military strategy: using terrain to offset numerical disadvantage, employing deception and psychological warfare, coordinating land and naval forces, and exploiting weather conditions. For anyone interested in samurai history, Miyajima offers a rare opportunity to walk an actual battlefield that remains largely unchanged after nearly 500 years.

Summary

The relationship between Mori Motonari and Miyajima was forged through one of Japan’s most dramatic battles. Using a brilliant strategy that exploited the island’s steep terrain, Motonari landed secretly at Tsutsumigaura, climbed through a storm to Bakuchi-o ridge, and launched a devastating surprise attack that destroyed an army nearly ten times his size.

After his victory, Motonari’s remorse at having defiled sacred ground led him to undertake extensive restoration of Itsukushima Shrine. He replaced bloodstained soil and building materials, rebuilt the main sanctuary in 1571, and reconstructed the great torii gate. Most of the shrine complex visitors see today dates from Motonari’s era of patronage. The beauty of Miyajima as we know it was preserved—and in many ways created—by this 16th-century warlord.

The Battle of Miyajima launched Motonari’s rise to become the supreme power in western Japan, while Itsukushima Shrine gained renown as a source of martial fortune that attracted pilgrimage from warriors across the country. The story of Miyajima and Mori Motonari preserves a remarkable chapter in samurai history—a tale of strategy, devotion, and the deep bond between a warrior and a sacred island that continues to resonate today.

References

1. Battle of Miyajima – Wikipedia (Japanese)
2. Itsukushima Shrine – Wikipedia (Japanese)
3. Mori Motonari’s Battle of Miyajima – Iwaso Ryokan
4. Battle of Miyajima – Miyajima Tourist Association
5. Battle of Miyajima Historic Site Markers – Hatsukaichi City
6. Understanding Itsukushima Shrine – Dive Hiroshima
7. Battle of Miyajima Battlefield – Touken World

The post Mori Motonari & the Battle of Miyajima: Samurai History Guide first appeared on Miyajima Stroll.

Ito Hirobumi’s Deep Devotion to Miyajima

Ito Hirobumi (1841-1909), who became Japan’s first Prime Minister, was one of the most influential figures in Miyajima’s modern history. While he’s remembered as the statesman who shaped modern Japan, few know about his personal devotion to Miyajima—particularly to Mount Misen. This wasn’t mere political interest; it was genuine faith that led him to fund major projects from his own pocket.

Faith in the Sankidaigongen Mountain Deity

Ito especially revered Sankidaigongen, the guardian deity of Mount Misen. This deity consists of three powerful spirits—Jibikijin, Tsuichokijin, and Marakijin—whose true forms are said to be the Buddhist figures Dainichi Nyorai, Fudo Myoo, and Kokuzo Bosatsu. The Sankidaigongen represented the essence of shinbutsu-shugo, the fusion of Shinto and Buddhism that had defined Japanese spirituality for centuries.

Ito left calligraphic tablets at Sankido Hall and Daiganji Temple, and his handwriting can still be seen today at the Miyajima History and Folklore Museum. The tablet at Misen Hondo (the main hall atop Mount Misen) is also known to be Ito’s personal brushwork.

Building Mountain Trails with Personal Funds

Ito’s greatest contribution to Miyajima came in 1906 when he funded the construction of hiking trails up Mount Misen—not with government money, but from his personal fortune. He invested 7,000 yen, equivalent to roughly ¥25 million (about $170,000 USD) today.

After reaching the summit, Ito was so moved by the panoramic views that he declared: “The true value of this, one of Japan’s Three Most Scenic Views, lies in the view from the summit.” These words are carved into a large natural stone monument at Daisho-in Temple, preserving his passion for Mount Misen to this day.

Ito believed the magnificence of Mount Misen should be shared with people from Japan and abroad, and the new trails made this possible. His investment helped transform Miyajima from an isolated pilgrimage site into an accessible destination for modern travelers. In an era focused on Western-style modernization, Ito found a way to preserve traditional sacred spaces while opening them to the world—a remarkable achievement that shaped Miyajima’s identity as a modern tourist destination.

The mountain trails Ito funded still carry hikers to the summit today. Understanding the spiritual history of Mount Misen transforms a simple hike into a journey through time. Before planning your climb, learning what made this mountain sacred adds depth to the experience.

2025.11.09

2025.11.27

Mount Misen Faith & Nature | 1,200 Years Since Kobo Daishi

Do you know about Mount Misen, the sacred peak rising behind Miyajima? While Itsukushima Shrine floating on the sea captures most attention, Mount Misen is actually the spiritual heart of Miyajima…

How the Shinbutsu Bunri Decree Nearly Destroyed Miyajima

In 1868, the new Meiji government issued the shinbutsu bunri (separation of Shinto and Buddhism) decree. For Miyajima, which had practiced the fusion of these religions for over a thousand years, the order came as a devastating blow. Government officials examined Itsukushima Shrine and declared its architecture “Buddhist in style.” The verdict: the sacred buildings should be burned to the ground.

The Shrine Keeper Who Saved the Buildings

The hero who prevented this catastrophe was Nosaka Motonobu, the tanamori (shrine keeper) of Itsukushima Shrine—a position equivalent to today’s chief priest. Nosaka traveled to Tokyo and appealed directly to the Meiji government, successfully halting the destruction order.

However, the shrine didn’t escape unscathed. Officials stripped away all the colorful painted decorations, deeming them “too Buddhist,” and left the buildings as bare, unpainted wood. They then added chigi (forked finials) and katsuogi (log-shaped ornaments) to the rooflines—features typically found on Shinto shrines—in an attempt to make the buildings look more “properly Shinto.” These drastic changes transformed the shrine’s appearance in the name of “restoration.”

Temples Abolished and Buildings Renamed

Senjokaku, the massive wooden hall known as “Pavilion of a Thousand Tatami Mats,” suffered its own fate. Workers cut off the decorative wooden nose-pieces (kibana) from its interior and removed all Buddhist statues. The hall was then renamed Toyokuni Shrine and designated a subordinate shrine. Across the island, temple after temple was abolished—only seven major temples survived the purge. Buddhist statues from Itsukushima Shrine, Senjokaku, and the Five-Story Pagoda were relocated to the surviving temples.

Daisho-in and Daiganji, which had served as betto-ji (administrative temples) managing shrine affairs for centuries, became independent temples. But the intimate relationship they had maintained with Itsukushima Shrine for generations was severed overnight.

The Modern Shrine Ranking System and Itsukushima’s Status

The Meiji government positioned Shinto shrines as state institutions and introduced the modern shakaku (shrine ranking) system, classifying all shrines nationwide by grade. This was part of a broader policy to establish Shinto as the national religion and bring all shrines under government control. For Miyajima, this new system became another turning point in its transformation.

From Kokuhei-chusha to Kanpei-chusha

In 1871, Itsukushima Shrine was designated as a kokuhei-chusha (middle-rank national shrine). This classification meant the shrine received offerings from the national treasury during the Kinensai and Niinamesai harvest festivals.

Then in 1911, the shrine was elevated to kanpei-chusha (middle-rank imperial shrine). Imperial shrines held higher prestige than national shrines, receiving offerings directly from the Imperial Household during annual festivals. This promotion officially recognized Itsukushima Shrine’s historical and cultural significance at the national level, formally establishing Miyajima’s value within the framework of the modern Japanese state.

The Beginning of Cultural Heritage Protection

In the late Meiji period, the shrine buildings were designated as National Treasures. This triggered a major restoration project from the late Meiji through Taisho periods, reversing the damage caused by the shinbutsu bunri decree. Workers restored the colorful painted decorations that had been stripped away, and removed the chigi and katsuogi that had been added during the religious separation. This is why photographs of Itsukushima Shrine from the Meiji era show these Shinto architectural features—while today’s shrine does not.

This restoration represented an effort to protect cultural heritage value while recovering the shrine’s original appearance. The buildings that had been forcibly altered during modernization gradually regained their historical form. It stands as an important example of how Japanese society came to value cultural preservation during the modernization process—evidence that people of that era seriously confronted the challenge of balancing tradition with progress.

Rebuilding the Great Torii Gate in the Modern Era

In 1875, the deteriorating Great Torii gate was reconstructed. This eighth-generation torii is the same iconic structure visitors see today, the very symbol of Itsukushima Shrine. Even as modernization swept through Japan, the torii was rebuilt using traditional construction methods—a testament to the skill and dedication of Miyajima’s craftspeople.

Finding suitable camphor trees for the main pillars took years. Eventually, the natural timber was sourced from Saito City in Miyazaki Prefecture and Marugame City in Kagawa Prefecture. Other materials came from Hiroshima City and Miyajima itself.

Building such a massive structure—approximately 16 meters tall with main pillars measuring about 10 meters in circumference—from natural timber required techniques passed down from the Edo period. The Meiji-era reconstruction embodied the challenge Japan faced: adopting Western technology while preserving traditional craftsmanship. This spirit of balancing innovation with heritage was shared by all those who guided Miyajima through its modernization.

Understanding why the torii stands in the sea—and the engineering genius behind its construction—reveals the wisdom of generations past. Tracing the history from Taira no Kiyomori’s era to today changes how you see this landscape. Knowing the background before your visit makes the shrine buildings and torii gate come alive with meaning.

2025.10.12

History & Significance of the Great Torii | Sacred Marker in the Sea

The Great Torii of Itsukushima Shrine, rising from the sea, continues to captivate visitors as one of Japan’s most iconic cultural treasures. This magnificent structure represents more than just a shrine entrance…

How the Meiji Restoration Transformed Miyajima

The Meiji Restoration brought sweeping changes to Miyajima: the chaos of religious separation, state control through the shrine ranking system, the birth of cultural heritage protection, and development as a tourist destination. These transformations created tension between the island’s ancient identity as a place of pilgrimage and the demands of modernization.

Through it all, individuals rose to the challenge: Ito Hirobumi investing ¥25 million to build Mount Misen’s trails; Nosaka Motonobu saving the shrine from destruction; and the craftspeople and officials who carried out the late Meiji restoration. Their efforts preserved Miyajima’s cultural value through turbulent times while working toward a balance between progress and tradition.

The Miyajima we see today was shaped by the transformations of the Meiji era. The landscape retains traces of the old shinbutsu-shugo tradition while being protected under modern cultural heritage laws—all built upon the decisions and actions of those who navigated the island through a time of crisis. Thanks to Ito Hirobumi and others who dedicated themselves to Miyajima during the Meiji period, the island survived the waves of modernization and continues to welcome visitors today.

FAQ

What happened to Itsukushima Shrine during the Shinbutsu Bunri religious separation?

Government officials declared the shrine buildings “Buddhist in style” and ordered them burned. Shrine keeper Nosaka Motonobu traveled to Tokyo and successfully appealed to stop the destruction. However, workers stripped away all painted decorations, leaving bare wood, and added Shinto architectural features like chigi and katsuogi. These changes were later reversed during Meiji-era restorations.

How did Ito Hirobumi contribute to Miyajima?

Japan’s first Prime Minister was a devoted believer in the Sankidaigongen deity of Mount Misen. In 1906, he personally funded construction of mountain hiking trails at a cost of ¥7,000 (approximately ¥25 million or $170,000 USD today). His famous quote—”The true value of this scenic wonder lies in the view from the summit”—is carved on a stone monument at Daisho-in Temple.

When was the current Great Torii gate built?

The torii you see today is the eighth generation, rebuilt in 1875. The massive camphor wood pillars were sourced from Miyazaki and Kagawa prefectures after a years-long search. Standing about 16 meters tall with pillars measuring 10 meters in circumference, it was constructed using traditional techniques passed down from the Edo period.

What is the difference between the Meiji-era shrine photos and today’s shrine?

Photographs from the Meiji period show Itsukushima Shrine with chigi (forked finials) and katsuogi (log ornaments) on the roofline—features that don’t appear today. These were added during the shinbutsu bunri period to make the shrine look more “properly Shinto” but were removed during the late Meiji restoration when the shrine was designated a National Treasure.

How many temples survived the Meiji religious separation on Miyajima?

Only seven major temples survived the abolition orders. Daisho-in and Daiganji, which had managed shrine affairs for centuries, became independent temples. Buddhist statues from the shrine, Senjokaku, and the Five-Story Pagoda were relocated to these surviving temples.

What was Itsukushima Shrine’s rank in the modern shrine system?

The shrine was initially ranked as kokuhei-chusha (middle-rank national shrine) in 1871, then elevated to kanpei-chusha (middle-rank imperial shrine) in 1911. The higher imperial ranking meant the shrine received offerings directly from the Imperial Household during festivals, officially recognizing its national importance.

Can I still see evidence of Ito Hirobumi’s connection to Miyajima?

Yes. His calligraphic tablets remain at Sankido Hall, Daiganji Temple, and Misen Hondo on the mountaintop. His handwriting is also displayed at the Miyajima History and Folklore Museum. The stone monument at Daisho-in Temple preserves his famous quote about Mount Misen’s summit views.

Summary

The Meiji Restoration brought dramatic upheaval to Miyajima. Japan’s first Prime Minister Ito Hirobumi invested approximately ¥25 million of his personal fortune to build Mount Misen’s hiking trails. Shrine keeper Nosaka Motonobu saved Itsukushima Shrine from government orders to burn the buildings. The modern shrine ranking system elevated the shrine to imperial status in 1911. Through the dedication of these individuals, Miyajima weathered the storms of modernization and emerged as a protected cultural treasure that continues to flourish today. The island we experience now stands on the foundation laid by those who defended and shaped Miyajima during one of Japan’s most transformative eras.

References

1. Itsukushima Shrine – Wikipedia (Japanese)
2. History of Miyajima | Miyajima Tourist Association
3. Ito Hirobumi’s Connection to Miyajima | Miyajima Tourist Association
4. Restoration and Preservation of World Heritage “Itsukushima Shrine” | Ocean Policy Research Institute
5. Modern Shrine Ranking System – Wikipedia (Japanese)
6. Shinbutsu Bunri – Wikipedia (Japanese)
7. About Mount Misen | Daisho-in Temple

The post Ito Hirobumi & the Heroes Who Saved Miyajima in the Meiji Era first appeared on Miyajima Stroll.

Itsukushima Shrine is uniquely built in the style of a Heian-period aristocratic residence — a design concept called shinden-zukuri — applied to a sacred site in a way found nowhere else in the world. Founded in 593 CE, substantially rebuilt by the powerful warlord Taira no Kiyomori in 1168, and reconstructed again following two catastrophic fires during the Kamakura period, the shrine complex as it stands today is primarily the result of rebuilding completed between 1240 and 1243. Six of its buildings have been designated National Treasures, fourteen more are Important Cultural Properties, and in 1996 the entire site was inscribed as a UNESCO World Heritage Site.

The History of Itsukushima Shrine’s Architecture

The Founding: A Shrine Built Over the Sea

According to tradition, Itsukushima Shrine was founded in 593 CE — the first year of Empress Suiko’s reign — by a local chieftain named Saeki no Kuramoto, who is said to have received a divine message directing him to build a sanctuary on the tidal flats of the present site. From its earliest days, Miyajima Island was venerated as sacred ground: the name “Itsukushima” itself means “island where the gods are enshrined.” To avoid defiling the island’s sacred soil, the original worshippers conceived of building their shrine over the water rather than on the land itself — an idea that would eventually give rise to one of the world’s most iconic architectural compositions.

The earliest buildings were almost certainly modest in scale compared to what stands today. But the core spiritual concept — the island as a divine body, with Mount Misen (535 meters) rising behind and the sea laid out before — was already in place. That relationship between the natural landscape and the sacred site has never changed in the fourteen centuries since.

The Heian Period Transformation: Taira no Kiyomori and the Shinden-Zukuri Style

The single most important turning point in Itsukushima Shrine’s architectural history came in 1168, when the powerful military commander Taira no Kiyomori undertook a sweeping rebuilding of the entire complex. As the governor of Aki Province, Kiyomori controlled the Seto Inland Sea and relied on Itsukushima as his spiritual patron. He wanted a shrine worthy of that role — and he commissioned a design of extraordinary ambition.

What Kiyomori introduced was shinden-zukuri, the architectural style of the Heian court aristocracy. In a traditional noble residence of this style, a central hall called the shinden served as the main living space, with subsidiary wings — the tai-no-ya — arranged to the east and west and connected by covered walkways. The whole composition was deliberately asymmetrical, designed to flow naturally with the landscape rather than impose rigid symmetry on it. Aristocratic families would float pleasure boats on the ornamental pond in the garden and host music parties there — a tradition that survives at the shrine today in the form of the annual Kangen-sai music festival, where boats bearing court musicians drift across the tidal waters before the shrine.

Kiyomori’s stroke of genius was to translate this residential aesthetic directly into a sacred context. He treated the Seto Inland Sea as the “pond,” and the shrine halls as the “residence.” The result was a building that looked, in its day, like the aristocratic paradise of Pure Land Buddhism made real — a quality that contemporaries described as representing the Western Paradise itself. This basic layout and architectural language, established in the twelfth century, remains the foundation of the shrine as visitors see it today.

The Kamakura Period: Fire, Rebuilding, and the Shrine We See Today

Kiyomori’s original buildings did not survive. Two major fires — in 1207 and again in 1223 — destroyed the entire complex. Yet faith in Itsukushima never wavered, even after the Taira clan itself had been destroyed in the wars of the late twelfth century. The successor Minamoto government and the ruling powers that followed continued to patronize the shrine, and a full reconstruction was carried out after both fires.

The main structures that survive today date primarily from the rebuilding of 1240–1243 and the decades that followed. The architects of the reconstruction were careful to replicate Kiyomori’s arrangement and design vocabulary faithfully. The main hall of the Massha Kyakujinja, for example, dates from 1241 and survives as a direct physical link to the Kamakura-period craftsmen who rebuilt the shrine.

Later generations of powerful patrons continued to maintain the complex. The warlord Mori Motonari — who famously used Miyajima as the setting for his decisive military victory at the Battle of Itsukushima in 1555 — subsequently invested in major restoration work on the shrine and the Great Torii gate, reportedly in atonement for turning a sacred island into a battlefield. The five-story pagoda visible from the shrine grounds was added in 1407, during the Muromachi period, and the Edo-period Asano clan also contributed significantly to the shrine’s upkeep.

The Architectural Features of Itsukushima Shrine

The Shinden-Zukuri Influence: Intentional Asymmetry

One of the most distinctive — and easily overlooked — features of Itsukushima Shrine’s architecture is its deliberate lack of left-right symmetry. Most Japanese shrines are organized around a strict central axis. Itsukushima departs from this convention, inheriting instead the more fluid, naturalistic aesthetic of shinden-zukuri residential design.

In the main hall complex, the inner sanctuary (honden), offering hall (haiden), and purification hall (haraiden) are arranged in a line from back to front — but they do not sit on a perfectly centered axis. The central pillar bay in front of the principal deity, Ichikishimahime no Mikoto, is set wider than the bays on either side, shifting the shrine’s visual center slightly to the west. This kind of asymmetry is extremely rare in shrine architecture and reflects the shinden-zukuri designer’s preference for natural beauty over rigid geometry.

The roof form of the main hall — called ryōnagare-zukuri — also reflects the aristocratic residential influence. Rather than featuring the decorative forked finials (chigi) and log ornaments (katsuogi) that are standard on most Shinto shrines, the roof here is clad entirely in cypress bark, topped with an ornamental ridge of layered roof tiles. It looks more like a palace than a conventional shrine — because, architecturally speaking, that is largely what it is.

The Corridors and the Floor Gap System

The covered walkways — the higashi (east) and nishi (west) corridors — that link the shrine’s buildings are one of its most recognizable features, stretching a combined total of approximately 275 meters over the water. The east corridor spans 45 bays; the west corridor, 62 bays. Each is roughly four meters wide, broad enough to walk comfortably even when the shrine is busy.

The most important structural feature of these corridors is one that most visitors never notice: the intentional gaps between the floorboards, known in Japanese as mekurashi. Rather than being laid flush, each set of eight boards per bay is spaced with narrow slits between them. During typhoons or unusually high tides, seawater rises beneath the floors, and these gaps allow the pressure to dissipate upward through the boards — much like a slatted dock rather than a solid platform. Without this design, the hydraulic force of a storm surge could shear the floors from their supports. With it, the energy simply escapes.

The boards themselves are not fixed with nails, and the corridor now features a double-floor layer — the original boards below, and a protective walking surface added in modern times so that visitors in shoes can walk without damaging the historic structure. In earlier centuries, worshippers removed their footwear before ascending to the shrine. The bronze lanterns hanging from the corridor eaves are said to have been donated by the Mori clan, though the current ones date from the Taisho period.

Cypress-Bark Roofing: A Uniquely Japanese Craft

Every building in the over-water section of Itsukushima Shrine — the main halls, the Massha Kyakujinja, and the corridors — is roofed in hiwadabuki, or cypress-bark thatching. This is a roofing technique unique to Japan, with no equivalent in any other architectural tradition in the world.

The process involves carefully harvesting strips of bark from living hinoki cypress trees at least 70 to 80 years old, then layering those strips in precise overlapping rows to create a roof that is both waterproof and visually striking. Because the material comes from living trees without felling them, a single tree can be harvested multiple times over its lifetime. The result is a roof with a deep, soft texture — organic-looking and capable of forming the sweeping, deeply eaved curves that give the shrine’s roofline its distinctive elegance.

From the Heian period onward, hiwadabuki was considered the highest-status roofing material available, replacing ceramic tiles in the most formal settings of the imperial court. The cypress-bark roof of the Shishin-den — the main ceremonial hall of the Kyoto Imperial Palace — is perhaps the most famous example outside of Miyajima. At Itsukushima, the bark roofs need to be completely replaced every 30 to 40 years, requiring skilled craftspeople to maintain the technique across generations. This tradition was formally recognized in 2020, when UNESCO inscribed “Traditional skills of building wooden architecture in Japan” — including hiwadabuki — on its Intangible Cultural Heritage list. The Great Torii gate, which underwent its first major restoration in about 70 years between 2019 and 2022, also had its cypress-bark roof completely replaced during that project.

How the Shrine Has Stayed Above Water for Over 850 Years

Perhaps the question visitors ask most often is simply: why hasn’t it sunk? The answer involves both careful site selection and ingenious structural engineering.

Architectural historians believe that the area beneath the shrine was originally dry land that was excavated to create the tidal flat effect — and that the foundations rest on a massive bedrock formation connected to the same geological core as Mount Misen. The shrine buildings stand on flat foundation stones set on this bedrock, with 108 columns placed on top. Crucially, the columns are not anchored to their bases — they simply rest on them. In an earthquake, this allows the columns to shift slightly, absorbing energy rather than transmitting it rigidly through the structure. The principle is similar to base isolation in modern engineering, achieved here with stone and wood.

The positioning of the main structures also reflects careful observation of the tides over centuries. The primary halls, including the inner sanctuary, are said to have been sited at a height that would remain above water even in a storm surge expected only once every 200 years — and in fact, the inner sanctuary has never flooded in the 850-plus years since Kiyomori’s reconstruction. When typhoons do cause damage, it tends to be to the smaller, later-added structures like the noh stage and subsidiary shrines — which were built after Kiyomori’s original design and to a less rigorous standard. The main halls, including during a major typhoon in 1991, have consistently escaped serious damage.

The Architectural Legacy and UNESCO World Heritage Status

Itsukushima Shrine occupies a singular place in the history of world architecture. The idea of adapting an aristocratic residential style — one defined by asymmetry, natural harmony, and garden-like spatial flow — to a sacred site, and doing so in a tidal marine environment, was an act of creative invention with no precedent and no real successor. When the Seto Inland Sea becomes the garden pond, and the shrine halls become the residence, the whole composition reads less like a building added to a landscape and more like a landscape that was always a building.

When UNESCO inscribed Itsukushima Shrine on the World Heritage list in 1996, the evaluation cited three of the four possible significance criteria: the shrine was recognized as a masterpiece of human creative genius; as a demonstration of important exchanges of human values across time; and as an outstanding example of a building type that illustrates a significant stage in human history. All three assessments point directly to the architectural achievement that Kiyomori and his designers realized here in the twelfth century.

The shrine’s engineering solutions — the mekurashi gap floors, the unfixed column bases, the cypress-bark roofing, the bedrock-anchored foundations — have continued to attract the attention of structural engineers and architectural historians. Each is a response to a specific challenge posed by the environment, arrived at through empirical observation and refined over centuries of repair and reconstruction. Together, they represent a coherent system of building in harmony with the sea rather than against it.

A Living Tradition: How the Shrine Is Maintained Today

One of the most important things to understand about Itsukushima Shrine is that it is not a museum piece. It is a functioning sacred site — with regular worship, seasonal festivals, and an ongoing cycle of maintenance that keeps traditional craft techniques alive.

The 30-to-40-year replacement cycle for the cypress-bark roofs means that hiwadabuki craftspeople must be continuously trained and working. The same is true for the miyaiku (shrine carpenters) and the specialists who apply the shrine’s characteristic vermilion lacquer. The restoration of the Great Torii gate, completed in 2022 after three years of scaffolding work, involved repairing damage from wood-boring insects and rot fungi, relacquering the entire structure, and replacing the cypress-bark roof crowning the gate — a project that drew on the full range of traditional skills associated with the site.

In this sense, the shrine’s value is not only historical. It is a living demonstration of what happens when a community chooses, generation after generation, to invest in preserving something difficult and beautiful. Over 1,400 years, through fires, wars, typhoons, and the upheavals of multiple historical eras, the essential design that Kiyomori’s architects created has been rebuilt, repaired, and handed forward. That continuity — as much as the architecture itself — is what makes Itsukushima Shrine worth traveling to see.

FAQ

What makes Itsukushima Shrine’s architecture so unusual?

Itsukushima Shrine is unique in applying the shinden-zukuri style — the residential architecture of Heian-period court aristocrats — to a Shinto sacred site. Where most Japanese shrines use strict bilateral symmetry, Itsukushima is deliberately asymmetrical, and the entire complex is built over tidal water with the Seto Inland Sea treated as an ornamental garden “pond.” This combination of architectural style, site concept, and marine engineering has no equivalent anywhere else in the world.

When were the current shrine buildings constructed?

The majority of the main structures date from the Kamakura period, primarily the rebuilding of 1240–1243 CE, after two major fires destroyed Taira no Kiyomori’s original 1168 complex. The main sanctuary (honden) was rebuilt by Mori Motonari in 1571, but the main hall of the Massha Kyakujinja retains its 1241 Kamakura-period fabric. All reconstructions closely followed Kiyomori’s original layout and design language.

Why are there gaps in the corridor floorboards?

The gaps — called mekurashi — are a deliberate structural feature. When typhoons or storm surges push seawater up beneath the corridors, the slatted gaps allow the pressure to escape upward through the floor rather than pushing the structure sideways. Without them, the hydraulic force of a high-tide surge could cause serious structural damage. The boards are not nailed down, adding further flexibility. A modern walking surface has been laid over the original boards to protect them and accommodate shod visitors.

What is hiwadabuki roofing, and why is it significant?

Hiwadabuki (cypress-bark thatching) is a roofing technique unique to Japan, used on all the over-water buildings at Itsukushima Shrine. Bark is carefully harvested from living cypress trees 70–80 years old and layered to form a roof with a distinctive soft texture and deep curved eaves. It has been considered the most prestigious roofing material in Japanese architecture since the Heian period. The technique requires specialized craftspeople and a full roof replacement every 30–40 years. In 2020, it was inscribed on UNESCO’s Intangible Cultural Heritage list.

How has the shrine survived over the water for more than 850 years?

The main structures are built over solid bedrock connected to the geological core of Mount Misen — the area may originally have been excavated to create the tidal effect. The 108 columns rest on flat foundation stones but are not fixed to them, allowing slight movement during earthquakes to absorb seismic energy. The primary halls were sited at a height calculated to stay above even a once-in-200-years storm surge, and the inner sanctuary has never flooded in recorded history. Typhoon damage, when it occurs, tends to affect only smaller subsidiary structures added after the original Kiyomori-era design.

Which buildings at Itsukushima Shrine are National Treasures?

Six buildings are designated National Treasures: the two main structures of the Hon-sha complex (the inner sanctuary, offering hall, and worship hall; and the purification hall), the two corresponding structures of the Massha Kyakujinja, and the two corridor sections (east and west). An additional fourteen structures are designated Important Cultural Properties, including the Great Torii gate, the noh stage, the arched bridge (sori-bashi), the five-story pagoda, and the two-story pagoda. In total, approximately 260 items at the shrine — including art objects such as the Heike Nokyo sutra scrolls — hold National Treasure or Important Cultural Property status.

Is Itsukushima Shrine free to enter, and how long should I plan to spend there?

There is an admission fee to enter the main shrine complex. Most visitors spend between 30 minutes and an hour exploring the shrine itself, though the experience varies significantly depending on the tide — at high tide, the buildings appear to float dramatically over the water, while at low tide you can walk out to the base of the Great Torii gate. Checking a tide table for Miyajima before your visit is highly recommended, as timing your arrival around high tide is one of the best ways to appreciate the architecture as it was designed to be seen.

Note: Opening hours, admission fees, and access details are subject to change. Please verify current information with the shrine or a reliable local source before your visit.

The post Itsukushima Shrine Architecture: History & Design Guide first appeared on Miyajima Stroll.

The protected area encompasses 431.2 hectares, including the shrine complex, the sea in front of it, and the ancient primeval forest on Mount Misen behind it. That’s roughly 14 percent of the entire island of Miyajima, recognized as a shared treasure of all humanity. This article explores the story behind that recognition: how it happened, what values UNESCO evaluated, and how the site is protected and preserved today.

The Road to World Heritage Status

From Japan Joining the Convention to the Tentative List

The UNESCO World Heritage Convention was adopted at the UNESCO General Assembly in 1972. Its purpose was straightforward but profound: to identify cultural and natural sites of outstanding global value and ensure that if those sites ever faced the threat of damage or loss, the international community could work together to protect them.

Japan ratified the convention in 1992, and in that very same year, Itsukushima Shrine was placed on Japan’s tentative list of World Heritage candidates. The move was supported by the shrine’s long history of protection as a National Treasure and Important Cultural Property, as well as its status as one of Japan’s Three Views — a cultural designation that had made Miyajima famous across the country for centuries.

From Nomination to Official Inscription: Four Years of Evaluation

Three years after entering the tentative list, in September 1995, the Japanese government formally nominated Itsukushima Shrine for World Heritage inscription. The nomination dossier presented detailed research on the originality of the over-water shrine architecture, the historical significance of its Heian-period design, and the remarkable harmony it achieves between human construction and natural landscape.

The UNESCO World Heritage Committee carefully evaluates each nominated site, granting inscription only when a property demonstrates what the convention calls “Outstanding Universal Value.” For Itsukushima Shrine, that moment came in December 1996, at the 20th session of the World Heritage Committee, when the shrine was officially inscribed as a cultural heritage site under four evaluation criteria. It became Japan’s eighth World Heritage Site — and notably, the Hiroshima Peace Memorial (Atomic Bomb Dome) received the same recognition that same year.

If you’d like to explore the broader historical context behind the shrine’s significance, these related guides may be helpful.

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The Four UNESCO Criteria Behind the Designation

Criterion (i): A Masterpiece of Human Creative Genius

Itsukushima Shrine is unlike any other religious site in the world. Its designers applied the elegant architectural vocabulary of shinden-zukuri — the aristocratic palace style of the Heian period — to a Shinto shrine, and then placed that shrine directly over the sea. The result, conceived under the patronage of the powerful twelfth-century nobleman Taira no Kiyomori, creates a visual composition where vermilion structures appear to float against the deep green of Mount Misen.

What makes this particularly remarkable is the deliberate integration of tidal movement into the design itself. At high tide, the shrine halls seem to float on water; at low tide, the seabed is exposed and visitors can walk across the sand all the way to the Great Torii Gate. This interplay between architecture and nature — planned, not accidental — is what UNESCO recognized as a masterpiece of human creative genius.

Criterion (ii): Influence on the Development of Shrine Architecture

The design of Itsukushima Shrine represents a fusion between Heian aristocratic culture and Shinto religious practice that proved deeply influential on Japanese architecture for centuries. By adapting the residential spaces of Heian palace design to express the relationship between human worshippers and the divine, the shrine established a new architectural language for sacred space.

The shrine also served as a crossroads of cultural exchange. During the era when Taira no Kiyomori controlled maritime traffic across the Seto Inland Sea, aristocrats and courtiers traveled from the capital in Kyoto to visit Miyajima, bringing with them refined court arts including bugaku ceremonial dance and kangen court music — traditions that are still performed at the shrine today.

Criterion (iv): A Rare Surviving Example of 12th-Century Architecture

Most of the shrine buildings that stand today were reconstructed in 1241, following two fires that destroyed the original structures — first in 1207 and again in 1223. Crucially, each reconstruction was carried out in faithful accordance with the original 12th-century design. As a result, the shrine as it exists today preserves the architectural style of the late Heian and early Kamakura periods with remarkable fidelity.

The fact that these structures have survived for more than 800 years in a marine environment — exposed to seawater, salt, wind, and the constant movement of tides — while maintaining their original architectural form is considered extraordinary by global standards. Very few sites in the world can claim both this age and this degree of preservation under such challenging natural conditions.

Criterion (vi): A Window into Japanese Religious Belief

Miyajima has been considered a sacred island since ancient times. The island as a whole — and especially its highest peak, Mount Misen at 535 meters — was an object of nature worship long before any shrine was built. According to tradition, the shrine was constructed over the sea specifically to avoid placing sacred buildings directly on land that was itself considered divine.

The island also represents the long coexistence of Shinto and Buddhism that characterized Japanese religious life for most of its recorded history. Until the government-mandated separation of the two religions during the Meiji period, Buddhist temples including Daisho-in operated in close relationship with the shrine, together forming the spiritual heart of Miyajima. This layered religious heritage — nature worship, Shinto practice, and Buddhist tradition woven together — is part of what UNESCO recognized under this criterion as a site of universal significance to the understanding of Japanese religious values.

What the World Heritage Designation Actually Protects

431.2 Hectares: More Than Just the Shrine Buildings

It is worth understanding the full scope of what is protected. The World Heritage designation does not cover only the shrine halls and torii gate — it encompasses 431.2 hectares, including the marine area in front of the shrine and the primeval forest of Mount Misen behind it. This represents approximately 14 percent of the total area of Miyajima Island.

Within this protected zone, six structures are designated National Treasures: the main shrine hall (honden), the offerings hall (heiden) and worship hall (haiden), the purification hall (haraeden), the main hall and associated structures of the auxiliary Kyakujinja Shrine, and the east and west covered corridors. An additional eleven structures and three objects hold Important Cultural Property status, among them the Great Torii Gate, the Five-Story Pagoda, and the Tahoto Pagoda. The primeval forest of Mount Misen, itself a National Natural Monument, accounts for roughly 160 hectares — about 5.3 percent of the island’s total area — and remains largely untouched.

The Buffer Zone: An Entire Island Under Protection

World Heritage sites are typically surrounded by a buffer zone — a protected area that acts as a safeguard for the core heritage property. At Miyajima, the buffer zone extends to cover the entire island of Miyajima and the surrounding sea area inside the Great Torii Gate, totaling approximately 2,634 hectares.

In practical terms, this means that the whole of Miyajima Island is subject to strict restrictions on development and landscape change. Buildings cannot be constructed in ways that would detract from the heritage values; natural scenery cannot be altered carelessly. This framework has been instrumental in preventing the kind of commercial encroachment that has damaged the surroundings of other major tourist sites in Japan.

How Itsukushima Shrine Is Protected and Preserved

Japan’s Law for the Protection of Cultural Properties

Even before UNESCO recognized it, Itsukushima Shrine was already among the most strictly protected sites in Japan. Following the enactment of the Law for the Protection of Cultural Properties in 1950, the shrine’s principal buildings were designated National Treasures or Important Cultural Properties, and the island and the sea in front of it were designated Special Historic Sites and Special Places of Scenic Beauty.

Under this framework, any alteration to the buildings requires authorization from the Commissioner for Cultural Affairs, and all repair and restoration work must use traditional methods and materials. Since the UNESCO designation in 1996, Japan’s domestic legal protections have been supplemented by international monitoring under the World Heritage Convention, creating a two-layer system of oversight.

Community and Government Working Together

Protecting a World Heritage Site is not something governments can do alone. On Miyajima, the island’s residents have historically played a central role in maintaining the sacred character of the island, and that tradition of community stewardship continues today. Since the Kamakura period, the entire island has been treated as shrine property, with development historically kept to a minimum.

Today, Hiroshima Prefecture, the city of Hatsukaichi, Itsukushima Shrine, the Miyajima Tourism Association, and local residents work together on a range of preservation efforts: regular cleaning activities, architectural controls to protect the landscape, and visitor education programs to help the millions of tourists who come each year understand the importance of what they are seeing.

Ongoing Restoration: Keeping Ancient Structures Alive

The shrine buildings face a constant battle against the sea. Wooden structural elements submerged at high tide are vulnerable to rot, and regular inspection is essential. When deterioration is found, craftspeople apply a traditional repair technique called netsugui, in which the damaged base section of a wooden pillar is carefully spliced and replaced without removing the entire structure.

Between 2019 and 2022, the Great Torii Gate underwent a major restoration project — the most comprehensive in many decades. The work required careful research to ensure that traditional materials and construction methods were used wherever possible, and the scaffolding-wrapped torii became a familiar sight for Miyajima visitors during those years. Separately, the national forest on Miyajima has been designated a “Heritage-Contributing Forest,” ensuring a sustainable supply of hinoki cypress bark and timber for future repairs to the shrine’s traditional roof structures.

Miyajima Today: Balancing Tourism and Heritage

Nearly three decades after UNESCO inscription, Miyajima draws more than four million visitors a year, making it one of the most internationally recognized destinations in Japan. The World Heritage designation has played a significant role in that growth, particularly in drawing travelers from abroad who might not otherwise have made the journey to Hiroshima.

But high visitor numbers also bring pressure. The sheer volume of tourists can affect the shrine buildings and surrounding natural environment, and there is constant commercial demand for development that could compromise the landscape. In 2014, the Miyajima Town Planning Guidelines were established specifically to address these tensions. The plan sets concrete standards for building height, exterior colors and materials, and outdoor signage, all designed to maintain the visual character that makes Miyajima a World Heritage Site rather than just a popular resort.

The underlying challenge is one that every major heritage destination faces: how to keep a living cultural site genuinely alive — economically, socially, and spiritually — while ensuring that the qualities that make it irreplaceable are not slowly eroded. At Miyajima, that challenge is being met through a combination of legal frameworks, community commitment, and the kind of skilled craftsmanship that has been keeping these buildings standing since the twelfth century.

FAQ

When was Itsukushima Shrine designated a UNESCO World Heritage Site?

Itsukushima Shrine was officially inscribed on the UNESCO World Cultural Heritage List in December 1996, at the 20th session of the World Heritage Committee. It became Japan’s eighth World Heritage Site, and was inscribed in the same year as the Hiroshima Peace Memorial (Atomic Bomb Dome).

Does the World Heritage designation cover just the shrine buildings?

No — the protected area is much larger than the shrine itself. It encompasses 431.2 hectares, including the sea in front of the shrine and the primeval forest of Mount Misen behind it. This represents approximately 14 percent of the entire island of Miyajima. The whole island also falls within a buffer zone that restricts development and landscape changes.

Why specifically is Itsukushima Shrine considered a World Heritage Site?

UNESCO evaluated the shrine under four criteria: (i) the over-water shrine design is recognized as a masterpiece of human creative genius; (ii) it influenced the development of Japanese shrine architecture; (iv) it preserves 12th-century architectural styles with exceptional fidelity; and (vi) it represents universal values in Japanese religious belief, including the long interweaving of Shinto and Buddhist practice.

What is the buffer zone around Miyajima, and what does it mean for visitors?

The buffer zone is a protected area surrounding the core World Heritage site. For Miyajima, it covers the entire island and surrounding sea areas — roughly 2,634 additional hectares. Practically speaking, this means development on the island is strictly controlled, which is why the natural and cultural landscape of Miyajima remains largely intact compared to other heavily visited Japanese destinations.

Has the Great Torii Gate been restored recently?

Yes. From 2019 to 2022, the Great Torii Gate underwent a major restoration project. The work was carried out using traditional materials and construction methods where possible, and involved detailed investigation of the structure before any repairs were made. The torii is now fully restored and accessible to visitors.

How many visitors does Miyajima receive each year?

Before the COVID-19 pandemic, Miyajima was receiving more than four million visitors annually. The World Heritage designation has been a significant factor in that growth, contributing to strong international tourism to the Hiroshima region as a whole.

What can I do as a visitor to help protect this World Heritage Site?

Respect the basic rules that apply to all visitors: do not touch or lean against the shrine structures, carry out any waste you bring, stay within designated areas, and do not feed the deer. Beyond those basics, simply taking time to understand the history and significance of what you are seeing — rather than treating the site as just a backdrop for photos — is itself a meaningful form of engagement with its heritage.

Summary

The UNESCO World Heritage inscription of Itsukushima Shrine is a recognition of several distinct achievements layered on top of each other: the architectural originality of a shrine built over the sea, the historical significance of Heian-period design preserved across eight centuries, and the deeper cultural importance of an island that has been considered sacred in Japan since long before any buildings stood there. From Japan’s ratification of the World Heritage Convention in 1992 to the formal inscription in 1996, years of careful research and advocacy brought that recognition to fruition.

In the decades since, a multi-layered system of protection — combining Japan’s domestic cultural property laws, UNESCO’s international framework, traditional restoration craftsmanship, and active community stewardship — has kept both the physical structures and the surrounding landscape intact. The 431.2-hectare protected zone and island-wide buffer zone ensure that what is preserved is not just a collection of historic buildings but a complete cultural landscape: sea, shrine, forest, and the mountain that has always been at the heart of it all.

Visiting Itsukushima Shrine with some understanding of why it matters — not just visually, but historically and spiritually — transforms the experience. You are not simply looking at a beautiful building. You are standing in a place that has represented the sacred to Japanese people for well over a thousand years, and that the international community has agreed belongs to all of humanity.

References

1. Cultural Heritage Online: Itsukushima Shrine (Agency for Cultural Affairs, Japan)
2. Miyajima Tourism Association: World Cultural Heritage Registration
3. Japan’s World Heritage Sites: Itsukushima Shrine
4. okeikoJapan: Miyajima as a World Heritage Site
5. World Heritage Navi: Itsukushima Shrine
6. Miyajima Town History, General Edition. Miyajima Town History Editorial Committee, 1992.
7. UNESCO World Heritage Centre: Itsukushima Shinto Shrine

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