SHRINE - Sarutahiko

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. Shinto Shrine (jinja　神社) - Introduction .
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Sarutahiko densetsu 猿田彦伝説 Sarutahiko Legends
Sarutahiko no Ookami 猿田彦大神 the Great Deity Sarutahiko
Sarutahiko no Kami 猿田毘古神



猿田彦は天狗の祖と言われている.
Sarutahiko サルタヒコ is the ancestor of the Tengu.

He is considered the ancestor of the Ujitoko clan in Ise, and the central object of worship at the Sarutahiko Shrine located in Ise.

. 猿田彦大神 the Great Deity Sarutahiko - Introduction .

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. Doosojin 道祖神 Dosojin, Dososhin - Wayside Gods .

Chimatagami 岐神, the Gods of the Crossroads, is said to represent the legendary gods of Old Japan, especially
Sarutahiko no Mikoto 猿田彦神 and his fair maiden,
Ame no Uzume no Mikoto 天鈿女 / 天宇受売命 Amenouzume. Amanouzume .
(Ame-no-Uzume 天鈿女命 / アメノウズメ)

. Ame-no-Uzume-no-mikoto 天宇受売命, 天鈿女命 .
and O-Tafuku, Okame, O-Kame, Okamesan おかめ【お亀／阿亀】

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. Shōmen Kongō 青面金剛 Shomen Kongo .
and the Koshin Cult
. Kōshin shinkō 庚申信仰 .
Yamazaki Ansai,
drawing on the association of shin with the monkey (saru), advocated a Shintoistic kōshin cult, in which the primary object of worship was Sarutahiko. Within the Shugendō tradition as well, a unique form of the kōshin cult was propagated, so that there were three varieties of the faith: Buddhist, Shintō, and Shugendō.

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. Legends and Tales from Japan　伝説 - Introduction .

. Tengu 天狗と伝説 Tengu legends "Long-nosed Goblin" .

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Aomori 青森県

At many entrances to villages with three roads crossing and cemeteries there are stone memorials of Koshin and
猿田彦命青面金剛 Sarutahiko Shomen Kongo
to protect the village from evil influence.



. Prayer groups for 庚申講 Koshin in Aomori .

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Fukui 福井県 福井市 Fukui town

shishigashira 獅子頭 lion head mask
During winter time, a Shishigashira is offered to the Sarutahiko shrine.
At the 今市 Imaichi district of Fukui town, once upon a time, chilren had been picking up dried wood and whilst playing around put the lion head mask on and danced around. But then one could not get his head out any more. The head priest came to help and perform ritals, but it did not have any effect. So they called a 仏師 Buddhist Master Carver, who cut it off with his 鑿 chisel. But the child developed a high fever and died soon afterwards.

. Shishigashira 獅子頭 lion head mask .


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猿田彦神社の春祭り Spring Festival at Sarutahiko Shrine
猿田彦神社の春祭りは毎年恒例４月１５日に執り行われる。前日に冬野町城山の中腹にある猿田彦御神の宝物として安置してある天狗の面、獅子の頭、鉾が春祭りに神社より下りてきて宿の役割の家にお泊りになる。宿は二軒の家が一年おきにお世話し、一晩中灯火の光をつけ、数百年前の御膳には甘酒、赤飯、ぼたもちなどをお供えする。
翌日の午後には氏子民総出で、「お獅子、鼻長な亦来年ござれの」と声たからかに叫びながら、鉾、獅子頭、天狗の面の順にお帰えりになるという一連の儀式が今も続いている。
- source : -
福井県福井市冬野町29-2 - Sarutahiko Jinja 猿田彦神社

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Mie 三重県 二見町 Futami

Amenouzume no Mikoto 天宇受売命
The deities in residence at 興玉神社 Okitama Jinja are Sarutahiko and Amenouzume no Mikoto.
Sarutahiko once caught the aura of tenson koorin (tenson kōrin 天孫降臨 tenson orin, descent of Ninigi to Ashihara no Nakatsukuni), so he went up to heaven to meet Ninigi half-way. At that time Tenson (Ninigi) introduced him to Amenouzume. At that point Sarutahiko became a Tengu and Amenouzume became O-Kame.
To pray to these two deities at the shrine will bring good fortune and a long family line.

Shrine Futami Okitama Jinja 二見興玉神社
三重県伊勢市二見町江575
- - - More in the WIKIPEDIA !

- - - - - Enshrined kami:
Sarutahiko no okami, Uganomitama no okami (Ama no iwato), and Watatsumi no okami (in the Ryugusha).
The main deity enshrined here is Sarutahiko no okami, who guided Ninigi no mikoto in his descent from heaven to Mount Takachiho in Kyushu. Sarutahiko no okami is thought by many scholars to be originally a local kami of the region around Ise.
The most important physical feature of the shrine is located a short distance offshore. The meoto iwa 夫婦岩　("husband and wife rocks," or "wedded rocks") are two famous large rocks, said to be husband and wife. The larger (male) o-iwa rock is about 30 feet tall by 131 feet around, while the smaller (female) me-iwa rock is about 13 feet tall by 30 feet around. The distance between the rocks is also about 30 feet at the base, which is traversed by thick straw ropes (shimenawa) hung around the peaks of both rocks.
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The kami Sarutahiko is considered by some scholars to come from the toyoko no kuni or the ne no kuni, both believed to be lands across or under the sea, and the okimitama is said to be the place he first alighted. Sarutahiko is also thought by some to be a solar deity. Okitama was thought to be the gate to the palace of the sea god and a kind of yorishiro, or place for the sun kami to enter the world. Scholars have speculated that the original location of Ise Jingu was near the beach and that Okitama served as a yorishiro for Amaterasu's descent, when the first saigu (shrine princess) Yamatohime no mikoto came looking for a place to enshrine the sacred mirror. It is recorded that she found the land here so beautiful that she had to "look back twice" (futami ura).
- source : shintoshrinesofjapanblogguide.blogspot -

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蛤のふたみにわかれ行く秋ぞ
hamaguri no futami ni wakare yuku aki zo

FUTAMI interpreted as a place name in Ise, 伊勢の二見.
. Matsuo Basho and Futami .

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Niigata 新潟県, Sado, 相川町 Aikawa

Happyaku Bikuni 八百比丘尼 / ハッピャクビクニ nun for 800 years
A poor grandfather's home had become the seasonal quarters of the 庚申講 Koshin Prayer Group and all members came to his house.
When they peeked into the kitchen, they saw a young girl cutting the fish. Only grandmother had eaten the fish, and she was a "young nun for 800 years".
Grandfather was in fact Sarutahiko - they say.

. yao bikuni 八百比丘尼（やおびくに）nun for 800 years .

At 南魚沼郡 Minami Uonuma people make sure to offer fish for the Sarutahiko festival.

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Niigata 能生町 Noo town

Tenguyama 天狗山 Mount Tenguyama
At the shrine at the top Sarutahiko is worshipped, at the shrine at the bottom of the mountain the deity 此花咲爺姫 / コノハナノサクヤビメ Konohana Sakuyabime is worshipped.
She is seen as a deity to get pregnant and provide easy childbirth. When women from 藤崎 Tozaki village come here to pray, they will give birth to a boy.

. Konohanasakuyahime / Konoha Sakuyabime 咲耶姫 .


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Shizuoka 静岡県

Konjinsama 金神様 Konjin sama
金神様は荒い神様で様々な祟りを為す。屋敷や畑地の土を動かす場合には、必ず禰宜を頼んで拝んでもらう。金神除けは庚申の日に行なう。金神様を確かめずに不用意に杭を打ったりすると、歯痛や病気になったりする。そういうときは御嶽行者に頼む。伊勢猿田彦神社のお砂は金神除けに効果がある。

. Konjin, Konjin Sama 　金神, 金神様 deity of metal .

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Tochigi 栃木県 足利市 Ashikaga

Kannon 観音
猿田彦が唐の力持ちのところへ力比べに行ったが、敵いそうになく、やっとの事で日本に逃げ帰ってきた。唐の男は日本まで追いかけてきたので猿田彦は観音さんにすがって唐の男を殺した。
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神社の祭礼で、天狗の面をつけた人が、猿田彦の面をつけた人に案内されて行列を組んで歩く。この行列を見下ろすことは絶対に許されない。

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Tokushima 徳島県 三好市 Miyoshi

yama no kami 山の神
木地屋が山の神を祀っている場所に、一般人が手を出したり、火をかけたりすると若死するという。しかも、山の神は猿田彦なので、山にいくと「サル」という言葉をいってはならないという。

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Tokyo 東京都

Toogesama トウゲサマ
昭和30年頃、土木工事をしていた人が道路工事の際に猿田彦のトウゲサマの土手を崩し、祠を動かした。家に帰り風呂から上がると彼は急に気がおかしくなり、部屋中を飛び跳ねたりした。翌朝トウゲサマを動かしたためと気付き三嶋神社の神主にお祓いをしてもらい、トウゲサマを元通りにしたところ、すぐに良くなったという。

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Tottori 島根県 知夫村 Chibu

猿田彦は６１日目の庚申の夜に、人の寝ている間に天に上り、人民の善悪を全て天に告げ、鶏が鳴くと下ってくるという神である。

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Yamanashi 山梨県 千代田村 Chiyoda

Tengu 天狗
Once a roof is finished thatching, Tengu is invited and worshipped. He is seen as a deity of water and should help to protect the home from fires.
The roof makers 屋根屋 have since olden times prayed to Sarutahiko as the deity of their profession.

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- source : nichibun yokai database -
15 to explore (10)

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Sarutahiko Jinja 猿田彦神社 Sarutahiko Shrines

There are various shrines with this name in Japan.

- reference - 猿田彦神社 -

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Monkey Year 2016 (Sarutahiko Jinja)
The small shrine of Sarutahiko Jinja is not very well known and its set in the north-west in an unprepossessing part of Kyoto, sadly surrounded by some of the city's uglier urban conglomeration. Nonetheless it possesses one of the most striking features in this year of the monkey, namely a statue of a white monkey carved in 1989 from a branch of the shrine's sacred tree (shinboku).



. . . . . The shrine's ema shows the three wise monkeys - – speak no evil, see no evil, hear no evil.
- source : greenshinto.com -


. Saru　申 /　猿　monkey talismans .

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Ise Sarutahiko Jinja 伊勢猿田彦神社
Sarutahiko Ōkami is seen as a symbol of Misogi, strength and guidance, which is why he is the patron of martial arts such as aikido. He enshrined at Tsubaki Grand Shrine in Mie Prefecture, first among the 2000 shrines of Sarutahiko Ōkami, Sarutahiko Jinja in Ise, Mie and Ōasahiko Shrine in Tokushima Prefecture.
Sarume no Kimi (猿女の君) clan

2-1-10 Ujiurata, Ise, Mie Prefecture 516-0026
- source : sarutahiko shrine ise -

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猿田彦珈琲 Sarutahiko Coffee



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- Reference : 猿田彦 / サルタヒコ
- Reference : English


. Shrine, Shinto Shrine (jinja　神社) - Introduction .

. kami　神　Shinto deities - ABC-LIST - .

- #sarutahiko -
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枯杉の上にしばらく猿田彦
karesugi no ue ni shibaraku Sarutahiko

for a short time
above the withered cedar tree
Sarutahiko
Tr. Gabi Greve

Hirai Shoobin 平井照敏 Hirai Shobin (1931- 2003)

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祠より代田見張れる猿田彦
原裕

神還るその大股は猿田彦
今瀬剛一

猿田彦大神がこぼす椎の花
久米正雄

この綱や猿田彦神引きし綱
広江八重桜

猿女舞ひ猿田彦酌む島の初春
文挾夫佐恵

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Posted By Gabi Greve to Japan - Shrines and Temples on 1/18/2016 09:46:00 am

SHRINES Aoso Jinja Sendai

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Shinto Shrine (jinja　神社) - Introduction .
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Aoso Jinja　青麻神社 "Green Hemp Shrine", Miyagi, Sendai
宮城県仙台市宮城野区岩切青麻山 / Aosozawa-32 Iwakiri, Miyagino Ward, Sendai



the headquarters of Aoso shrines all over the country. It was founded in 852 by Hozumi Yasumasa 穂積保昌, the ancestor of the current shrine priest’s family, who came to this area from Kyoto. He enshrined
Amaterasu Omikami 天照大御神 (the sun goddess),
Ame no Minakanushi no Kami 天之御中主神 (the god of the universe), and
Tsukuyomi no Kami 月読神 (the god of the moon)
in the cave where holy water sprang out; hereby the shrine is famous as the place where the sun, the stars and the moon are enshrined together.

Yasumasa taught the villagers how to grow hemp plants.
It is said that the shrine name “Aoso,” which literally means Green Hemp, was derived from this episode. The shrine has been known for its divine power to cure and prevent palsy, and it is said that if you visit this shrine three times, you will never be stricken with palsy for the rest of your life.

As the Hozumi clan was involved in maritime industry, the shrine is also worshipped as the deity of navigation safety.
The famous fine water “Osuzu” springs out in the precinct. A lot of visitors come to take a drink of this holy water.
- quote by Nipponkichi -

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Eidai Kagura of the Sakaki School in Tomiya town　富谷町
handed down in Ohgame, is characterized by dancing in ancient ceremonial court costumes derived from a myth, and with drum and flute music. It was originally transmitted from the Shinto commissioner to the 32nd priest of Aoso Shrine in Sendai, and then started to be performed in Kashima Amatariwake Shrine in 1848. Since then it has been continuously transmitted from generation to generation for more than 1500 years. It is now being performed by many citizens as an intangible cultural property of the town. It is recognized as a very rare Kagura that still observes an ancient style of performing only by actions without words or lyrics. Today, this Kagura is performed every year in April in dedication to the god of the shrine.
- source : town.tomiya.miyagi.jp -

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Sakakiryuu Aosa Kagura 榊流青麻神楽 Aoso Kagura


Hinokawa Kami no Mai 肥川上舞（ひのかわかみのまい）

文化四年(西暦1807年）京都神祇伯白川家より伝習。
仙台市無形民俗文化財平成三年十月一日指定全十四座で、神話を題材に一座が二節の所作で成り、発声歌曲は用いず、笛太鼓の曲と舞のみ。調節を尊び、姿整を重んじ、乱舞に流れず、笑曲に失せず、相伝以来の荘重と中庸とを保っている。
春祭の初日と三日に奉納され、境内は森の若葉と相俟て古雅な風情にあふれる。従来湯立神事もあったと伝えるが明治期に廃止、現在に至る。
- source : www12.plala.or.jp/aosojin/kagura-

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shuin　朱印 stamp



omamori　お守り amulet



ema　絵馬 votive tables

- - - - - HP of the shrine
- source : www12.plala.or.jp/aosojin -

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Yearly Festivals　年中行事

歳旦祭 -- １月1日 -- 新年特別祈祷斎行
松納焚上祭 -- １月１４日 -- 午後六時焚上
厄祓 -- １月～２月節分 　
春季例大祭 -- ５月１日～３日 -- 例祭・春祭特別祈祷斎行
榊流青麻神楽奉納 - Kagura
（明治の改暦により旧暦４月１日を新暦5月１日と改める）
春祭中は岩切駅よりバスの便あり。
夏越茅輪くぐり -- ６月晦日 　
七五三 -- 11月上～中旬 　
秋祭 -- 11月23日 -- 新嘗祭斎行
月次祭 -- 毎月１日

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. Minamoto no Yoshitsune 源の義経 and Aoso Shrine .


. Hitachibo Kaison Sennin 常陸坊海尊仙人 .
Retainer of 源の義経 Yoshitsune
He is venerated at Aoso Jinja as a deity to heal eye diseases 眼病の神.

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. Amaterasu Omikami 天照大神 .

. Ame no Minakanushi no Kami 天之御中主神 .

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- - - - - Tsukiyomi 月読 / 月夜見 (つきよみ) - - - - -
Tsukuyomi no Kami 月読神 , Tsukuyomi-no-Mikoto - Deity of the moon
Tsukiyomi no Mikoto 月夜見尊(つきよみのみこと) 月読命
Tsukiyomi no Mikoto Aramitama 月夜見尊荒御魂(つきよみのみことのあらみたま)
Tsukiyumi no Mikoto月弓命


Amulet from Ise Shrine

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Tsukuyomi no mikoto
Other names: Tsuki no kami (Nihongi), Tsukiyumi no mikoto (Nihongi).
The second of Izanagi and Izanami's "three noble children," and usually considered a male kami with rule over the night. The name tsuku-yomi is thought to be originally related to the lunar calendar, and refers to the "reading" (yomu) of the phases of the "moon" (tsuki). According to Kojiki and an "alternate writing" in Nihongi, Tsukuyomi came into being when Izanagi washed his right eye as he was undergoing ablution. Tsukuyomi was entrusted by Izanagi with rule variously over the sea (Nihongi) or over the realm of night (Kojiki). In the main account of Nihongi, Tsukuyomi is produced jointly from Izanagi and Izanami, and is entrusted to the sky as a complement to the sun kami.
In another "alternate writing" related by Nihongi, Tsukuyomi comes into being from the white copper mirror held in Izanagi's right hand. These accounts of the kami's genesis, involving the juxtaposition of left eye to right eye, left hand to right hand, and sun to moon, tend to agree with the interpretation of Tsukuyomi as a male counterpart to Amaterasu, who is commonly considered female.
In Kojiki,
Tsukuyomi does not appear again after the anecdote regarding his birth, but an "alternate writing" in Nihongi relates that Tsukuyomi originally resided together with Amaterasu in heaven, but after killing the kami of foods Ukemochi, he was condemned by Amaterasu as an "evil kami" and forced to live apart from the sun, resulting in the separation of day and night.
Nihongi's record of Emperor Kensō
includes an episode in which a human medium delivers an oracle of the moon kami stating that land should be offered to the kami Takamimusuhi. The fact that the aforementioned "alternate writing" transmitted by Nihongi describes Tsukuyomi as ruler of the sea and killer of the food deity Ukemochi gives him characteristics in common with the kami Susanoo; in consideration of the theme of the killing of the food deity and the relation of the moon to harvest in the lunar calendar, Tsukuyomi can be considered a tutelary of agriculture.
Tsukuyomi
is the object of worship (saijin) at the detached shrine (betsugū) Tsukuyomi no Miya of the Grand Shrines of Ise (Ise Jingū), as well as at several shrines listed in the Engishiki (see shikinaisha) in the Yamashiro and Ise areas.
- source : Mori Mizue, Kokugakuin 2005 -

Tsukiyomi-no-miya 月夜見宮 Shrine for Tsukiyomi
. gekuu, gekū 外宮 Geku Outer shrine complex of Ise .

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Tsukuyomi or Tsukiyomi (月読, also known as Tsukiyomi-no-mikoto),
is the moon god in Shinto and Japanese mythology. The -no-mikoto ending is a common honorific suffix for the names of gods, of similar meaning to "the grand, the great, the exalted". The name "Tsukuyomi" is a compound of the Old Japanese words tsuku (月, "moon, month", becoming modern Japanese tsuki) and yomi (読み, "reading, counting").
The Nihon Shoki mentions this name spelled as Tsukuyumi (月弓, "moon bow"), but this yumi is likely a variation in pronunciation of yomi (読み, "reading, counting").
An alternate interpretation is that his name is a combination of tsukiyo (月夜, "moonlit night") and mi (見, "looking, watching").
"Yomi" may also refer to the Japanese underworld, though this interpretation is unlikely.

Unlike the myths of ancient Greece or Rome, the Japanese moon deity is male. This is clear in the earliest mentions in sources such as the Kojiki and the Man'yōshū, where Tsukuyomi's name is sometimes rendered as Tsukuyomi Otoko (月讀壮士, "moon reading man") or as Tsukihito Otoko (月人壮士, "moon person man").

Tsukuyomi was the second of the "three noble children" (三貴子, みはしらのうずのみこ, Mihashira-no-uzunomiko) born when Izanagi-no-Mikoto, the god who created the first land of Onogoro-shima, was cleansing himself of his sins while bathing after escaping the underworld and the clutches of his enraged dead wife, Izanami-no-Mikoto. Tsukuyomi was born when he washed out of Izanagi's right eye. However, in an alternate story, Tsukuyomi was born from a mirror made of white copper in Izanagi's right hand.

After climbing a celestial ladder, Tsukuyomi lived in the heavens, also known as Takamagahara, with his sister Amaterasu Ōmikami, the sun goddess who also later became his wife.

Tsukuyomi angered Amaterasu when he killed Uke Mochi, the goddess of food. Amaterasu once sent Tsukuyomi to represent her at a feast presented by Uke Mochi. The goddess made the food by turning to the ocean and spitting out a fish, then facing the forest and game came out of her mouth, and finally turned to a rice paddy and coughed up a bowl of rice. Tsukuyomi was utterly disgusted by the fact that, although it looked exquisite, the meal was made in a disgusting manner, and so he killed her.
Soon, Amaterasu learned what happened and she was so angry that she refused to ever look at Tsukuyomi again, forever moving to another part of the sky. This is the reason that day and night are never together.
In later versions of this myth, Uke Mochi is killed by Susanoo instead.
- source : wikipedia -


- quote -
. . . . . Another kami identified with Inari is Uke-mochi, the Shinto goddess of food. According to a myth recorded in the Nihongoki,
Uke vomited rice and fish to give to Tsukiyomi, the Moon Kami, at a banquet. (This may have symbolized the eternal recycling of food from one life form to another.) In any case, Tsukiyomi apparently did not appreciate the gesture, for he killed Uke instantly. Her dead body then produced all the foods and animals that are related to agriculture.
. . . . . According to the legend recounted in the Nihon Shoki (“Chronicles of Japan”), the moon god, Tsukiyomi, was dispatched to earth by his sister, the sun goddess Amaterasu, to visit Ukemochi no Kami. (According to the Kojiki, “Records of Ancient Matters,” it was another brother, the storm god Susanoo, who was sent on the mission.) The food goddess welcomed him by facing the land and disgorging from her mouth boiled rice, turning toward the sea and spewing out all kinds of fishes, and turning toward the land and disgorging game. She presented these foods to him at a banquet, but he was displeased at being offered the goddess’s vomit and drew his sword and killed her. When he returned to heaven and informed his sister of what he had done, she became angry and said, “Henceforth I shall not meet you face to face,” which is said to explain why the Sun and Moon are never seen together.
- source : Mark Schumacher -


- Reference : 月夜見尊
- Reference : Tsukiyomi

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. Legends and Tales from Japan　伝説 - Introduction .

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Chiba 千葉県 長生郡 Chosei district

Aoso sama 青麻様 - 天狗 Aoso Sama and Tengu
The 鹿間家の屋敷神 Deity of the House of Shikama is called Aoso Sama. It is Tengu.
On the first day of the fourht and ninth month he is welcomed as the deity of 中風 illness and 赤飯 red festival rice is offered. Since he does not likeカボチャとネギ pumpkin and leek, this family does not prepare them at all.



Tengu from Aoso Jinja 天狗様 青麻神社

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Miyagi, Sendai, 宮城野区 Miyagino Ku

Sobakomezaka 蕎麦米坂 and Aoso Kaido 青麻街道

The Aoso Kaido road passes the slight slope up to 高森城跡 the remains of Takamori Castle.

伊達政宗がこの城の今市某を攻めた時、山城で井戸がなく、水は利府の神谷沢から運んでいるのを知って水の手を絶った。城方は寄せ手を欺き、白米と蕎麦粉を高いところから落として馬の脚を洗うふりをしたが、鴉がとまったので計略がばれて落城する。城の西側、青麻道の辺りに蕎麦米坂というところがあって白い米粒のような砂と蕎麦粉のような砂が見られる。落城した後、米と蕎麦が砂に化したという。

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- source : nichibun yokai database -

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. asa 麻 (あさ) hemp in Japan .

. Shrine, Shinto Shrine (jinja　神社) - Introduction .

- #aosojinja #sendaiaososhrine #tsukiyomi -
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SHRINE - Utari Jinja Aichi

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. Shinto Shrine (jinja　神社) - Introduction .
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Utari Jinja　莵足神社
豊川市小坂井町字宮脇２番地の１ / Miyawaki-2-1 Kozakaicho, Toyokawa, Aichi



- - - - - Deity in residence :


Unagami Sukune no Mikoto 菟上足尼命（うながみ　すくねのみこと）
(Unakami （うなかみすくねのみこと）) Unakami-no-miko / 菟上王 Unakami no O


祭神の菟上足尼命（うなかみすくねのみこと）は、孝元天皇の末裔、葛城襲津彦命（かつらぎそつひこのみこと）四世の玄孫にあたり、雄略天皇の治世に穂の国（現在の東三河）国造に任ぜられたという。葛城襲津彦命は、仁徳天皇の皇后磐之姫媛命の父にあたり、大和国葛城の豪族として大きな権力を持っていたとされる。菟上足尼命は、没後、顕著な殖産、治民の功によって、三河国平井の柏木浜に奉斎され、天武天皇の治世、白鳳15年（686年）4月11日に、秦石勝（はたのいしかつ）により、現在地に遷座されたという。
貞観6年（864年）には、
神階が従五位下に進み、延喜式神名帳にもその名が見える。 明治維新の天皇東行の際には、勅使の参向を受けた。明治11年（1878年）には、有栖川宮熾仁親王御宸筆の社号軸を受けた。大正7年（1918年）には、郷社から県社に昇格した。
当初、平井の柏木浜に祀られていたが、天武天皇白鳳１５年４月１１日、現在地へ遷座した。

- Look at photos here:
- reference : wikipedia

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The Shrine crest 神紋 is usagi 兎 the hare.




shuin 朱印 stamp of the shrine


菟足神社志留倍 - 由緒
「昇格碑文」菟足神社は延喜式内の旧社にして祭神菟上足尼命は孝元天皇の御裔葛城襲津彦命（大和朝廷の名族）四世の御孫にませり。雄略天皇の御世穂の国の國造（東三河の国司に当る）に任けられ給ひて治民の功多かりしかば平井なる柏木濱に宮造して斎ひまつりしを天武天皇の白鳳十五年四月十一日（昭和五十二年より千二百九十一年前）神の御おしえのまにまに秦石勝をして今の処に移し祀らしめ給ひしなり。はやく正六位上の神階を授け給ひ貞観六年二月十九日従五位下に進められしが國内神名帳には正三位と記されたり（中略）。
徳川幕府の世となりて家康親しく参拝して神領（九十五石、制礼寄進）を寄せしより累代の将軍も其の例に倣ひ領主藩主等の尊敬の尋常ならざりしこと社記に詳なる所なり。
明治維新の初天皇御東幸のみぎり勅使をして幣帛を捧げしめ給ひしはいとも尊く、かしこき極にこそ（中略）。
斯る由緒ある神社（中略）なりしかば大正七年十一月二十二日県社に列せらるる事となりぬ（中略）。此の事の由を永遠に伝へむと大神に仕へ奉る社司川出直吉ぬしの請へるままに其の大むねを識すになむ。

菟足神社と徐福伝説
今から二千二百年ほど前、戦国の中国を統一した秦の始皇帝は、徐福から東方海上に蓬 莱など三つの神山があり、そこには不老不死の霊薬があるということを聞いた。そこで、 始皇帝はその霊薬を求めて来るよう徐福に命じ、三千人の童男童女と百工（多くの技術者） を連れ、蓬莱の島に向かわせた。しかし、出発してからのその後の徐福一行の動向はわか っていない。
ところが、わが国には徐福一行の渡来地といわれている所が二十余箇所もある。しかも、 わが小坂井町が徐福渡来地の一箇所として挙げられているのである。それは次のような菟 足神社に係わることからいわれるようになったと考えられている。
一 熊野に渡来した徐福一行は、この地方に移り住み、その子孫が秦氏を名乗っている。
・ 豊橋市日色野町には、「秦氏の先祖は、中国から熊野に渡来し、熊野からこの地方に来た」という言い伝えがある。
・ 牛窪記〔元禄十年（一六九七）頃成立〕には、「崇神天皇御宇二紀州手間戸之湊ヨリ徐氏古座侍郎泛舟、此国湊六本松ト云浜ニ来ル。…中略…徐福ガ孫古座郎三州ニ移リ来ル故ニ、本宮山下秦氏者多シ…」とある。
二 菟足神社の創設者は、「秦氏」ともいわれている。
菟足神社県社昇格記念碑（大正十一年十二月二十二日昇格）に、「菟足神社は延喜式内の旧社にして祭神菟上足尼命は…中略…雄略天皇の御世、穂の国造に任けられ給ひて治民の功多かりしかば平井なる柏木浜に宮造して斎ひまつりしを天武の白鳳十五年四月十一日神の御誨のままに秦石勝をして今の処に移し祀らしめ給ひしなり…」と記されている。
三 菟足神社には、昔から中国的な生贄神事が行われている。
古来菟足神社の祭事には、猪の生贄を供えていた。三河国の国司大江定基が、その生贄の残忍なありさまを見て出家し、唐に留学し寂照法師となったことが、「今昔物語」（平安後期）に書かれている。生贄神事には人身御供の伝説もあるが、現在では雀十二羽を供えている。
以上のほか、三河地方が古来から熊野地方とは海路による往来が行われ、熊野信仰の修 験者により熊野に伝わる徐福伝承が伝えられた。また、小坂井町が交通の要地で、東西を 往来する人達のなかからも徐福の故事が伝えられたとも考えられる。





omamori お守り amulets of the Shrine

- - - - - HP of the Shrine
- source : genbu.net/data/mikawa/utari -

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Kazamatsuri 風まつり Wind Festival
On the second Saturday and Sunday in April.



This festival is famous for its hand-held fireworks (手筒花火), normal fireworks and splendid festival floats.



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kazaguruma 風車 wind wheel
Kozakai kazaguruma 小坂井風車






CLICK for more wind wheel photos !

ema 絵馬 votive tablet with the wind wheel

Sold in the shrines as amulets for wind damage, especially at the shrine festivals in April.

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Shooki no men 鍾馗面 Mask of Shoki



The mask of Shoki is an amulet made during the time when famine, loss of the silk worms and other disasters hit the region around 1850.
Some villagers put the mask on and ran around, praying for help - and heaven sent help and a good harvest after all.
Now people wearing the mask take part in the festivals of this and other shrines in Takahashi.

. Shooki, Shōki 鍾馗　Shoki, The Demon Queller .

Other masks sold at this shrine to ward off evil influence are from
Tengu and Uzume (O-Kame).


. Aichi Folk Art - 愛知県　 .

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Utari Jinja Ta Matsuri 菟足神社田祭り - March - 3月12日

Held with prayers for a good harvest.



菟足神社の田祭りは、稲作の過程を模擬的に演じて稲の豊作を願う田遊びである。その起源はわからないが、その中で登場する昼食持（ひるまもち）の装束には「元禄14年（1701）正月調整」とある。
田祭りは、旧正月7日酉の刻（午後6時）からはじまり、拝殿に飾られた蓬莱山（ほうらいさん）飾りの前で宮司が祝詞をあげる。次に、水田に見立てた太鼓を庭に据え、太鼓の上に直径約30cmの丸くて平らな田地餅をのせる。作大将が昇殿して神前に進んで神意をうかがい、庭の作男に伝えると、太鼓を突くなど稲作のしぐさと唱えごとをしながら田打ちがはじまる。このとき長さ約70cmの柳の枝を、鍬や鎌に見立てる。田打ち、籾まき、苗代の鳥追い、苗代の草取り、馬の代かき、代ならし、苗うち、昼食持、田の草取り、稲刈り、稲数え、稲むらと続けて豊年を願う内容である。祢宜が作大将、氏子総代と保存会員が作男や妊婦姿の昼食持を演じる。
- source : pref.aichi.jp/kyoiku/bunka -

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- Reference : 日本語

- Reference : English


. Shrine, Shinto Shrine (jinja　神社) - Introduction .

- #utarijinja -
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Posted By Gabi Greve to Japan - Shrines and Temples on 12/22/2015 01:04:00 pm

SHRINES - temizu hand purification

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temizu, choozu 手水 ritual purification of hands
mitarashi 御手洗

. Shinto purification misogi 禊 and rituals .
temizu 手水 (purification of hands and mouth) performed by a Shinto priest.

At all Shinto shrines, worshippers and casual visitors are asked to purify themselves (Harai 祓い) of impurity before praying to the Shinto deities. The act of cleansing is called Misogi 禊 or Misogi Harai 禊祓い, and the actual washing of hands and mouth with water is called Temizu 手水.
... Misogi Shūhō 禊修法 means to conduct one's own purification ritual by bathing in the sea, the river,
or by standing underneath a waterfall cascading at freezing temperatures.
- source : Mark Schumacher


. torii kuguri 鳥居潜り walking through a Shinto torii gate .
Walk toward the hand-washing basin (手水 choozu) and cleanse hand, mouth and mind.


. Shinto Shrine Composition .

the temizuya 手水舎　purification font, purification trough
hand-washing basin
where worshippers purify heart and body with pure water;　
temizusha てみずしゃ / 手水舎


- source and more photos : wikipedia -

The sprout is often in the form of a dragon, but other animals, venerated in a shrine, can also be found.




. Water Sprouting Dragon Head 龍の口から水の出る手水鉢 .
shizenseki chouzubachi 自然石手水鉢 lit. natural stone water basin
and
more shapes of natural stone hand-wash basins

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- quote -
mitarashi　御手洗
A place to one side of the approach to a Shinto shrine where visitors perform purification rites, including rinsing the mouth and washing the hands. Often a large rectangular basin or cistern is used to hold the water. A pipe supplies the water with a continual stream at one end. The pipe is sometimes concealed by a dragon's or snake's head.
The mitarashi has a roof but the sides are open.



Varying styles and degrees of elaborateness characterize this type of shelter. If a stream or river flows nearby, as at Ise Jinguu 伊勢神宮, it is used as the place for purification and is called mitarashigawa 御手洗川 (a river for purification rites).
- source : JAANUS -

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. Naiku Inner shrine complex of Ise 伊勢神宮内宮 .



The Isuzu River and the Mitarashi 五十鈴川と御手洗場(みたらし) ,
the place for ritual ablutions before entering the Shrine compound

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Water-spouting statue of cormorant in Temizuya
(手水舎, purification trough) at Uwase Jinja (宇波西神社).

. Shrine Uwase Jinja 宇波西神社 .

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- quote -
Japanese Shrine Etiquette, How to do a Temizu
When entering inside a Shinto shrine, the visitor should perform a symbolic cleansing called temizu (from te "hand" and mizu "water" - water to purify the hands). This purification is considered indispensable before visiting the sacred area and it signifies the removal of evil and pollution. For the ritual, every shrine provides an ablution pavilion - chōzuya or temizuya - usually a stone basin filled with clear water, with wooden ladles.



How to properly perform temizu:
Take the ladle with your right hand, fill it with water and pour some water to rinse your left hand. Then, move the ladle to your left hand and pour water over the right hand.
Now, you take again the ladle into your right hand, cup the left hand, pour some water into it and use it to rinse your mouth.
Finally, repeat the rinsing of the left hand and place the ladle back.
- source : muza-chan.net/japan -

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- Reference : 御手洗

- Reference : temizu


. Shrine, Shinto Shrine (jinja　神社) - Introduction .

- #temizuya #chozubachi #handwashing #mitarashi -
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- - - - -　 H A I K U　 - - - - -


Mitarashi area at Shimogamo Shrine, Kyoto

. mitarashi dango 御手洗団子 rice dumplings after hand-washing .
- - kigo for late summer - -

These dumplings are eaten at the Mitarashi festival (Mitarashi-E 御手洗会) of
Shrine Shimogamo Jinja in Kyoto 京都の下鴨神社.

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There are quite a lot of haiku about the ritual ablutions before visiting a Shrine.


source :　my garden webry

冬ざれや貴船の宮の手水鉢
fuyuzare ya Kifune no miya no choozubachi

withering in winter -
the hand-wash basin
at Kifune Shrine

洛山人 Rakusanjin


. Kifune Shrine 貴船神社 Kibune Jinja .
Kurama, Kyoto

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Masaoka Shiki 正岡子規 has quite a lot during all seasons

choozubachi 手水鉢 basin to wash hands
Often also in a the compound of a tea ceramony house.



手水鉢横にころけて苔の花
choozubachi yoko no korogete koke no hana

beside the hand-wash basin
moss blossoms
in abundance


手水鉢八手の花に位置をとる
手洗へば蚯蚓鳴きやむ手水鉢

うくひすや落花粉々たり手水鉢
二三枚木葉しづみぬ手水鉢
二三枚落葉沈みぬ手水鉢
五月雨や蟹の這ひ出る手水鉢
人に迫る沈丁の香や手水鉢
元日の雀鳴くなり手水鉢
初雪や雀よろこぶ手水鉢
雪ながら竹垂れかゝる手水鉢
古庭の柳散りけり手水鉢
寒椿落て氷るや手水鉢
孑孑や松葉の沈む手水鉢
孑孑や須磨の宿屋の手水鉢

団栗や屋根をころげて手水鉢
春もはや蛙鳴くなり手水鉢
曙や一葉浮いたる手水鉢
真白に李散りけり手水鉢
紫陽花や一ふさ垂るゝ手水鉢
紫陽花や一輪たるゝ手水鉢
蕃椒手水盥の水赤し 唐辛子
銭亀や水ぬるみたる手水鉢
露こぼす秋海棠や手水鉢
鶯や我かげうつす手水鉢


. Masaoka Shiki 正岡子規 .

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Takahama Kyoshi 高浜虚子

傾きて太し梅雨の手水鉢
元朝の氷すてたり手水鉢

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kawatemizu, kawachoozu 川手水 "river to wash the hands"

涼しさや椽の際なる川手水
涼しさや縁の際なる川手水 / 涼しさや縁からすぐに川手水

this coolness -
right by the veranda
a river to wash hands

Issa had spent the night in Suzaka (Nagano) at the rich merchant Tanaka family 田中本家 in 1823 and felt quite refreshed.
The garden with a large pond ant the mountain in the background had been designed by a gardener from Kyoto.



Now there is also a Museum 田中本家博物館.
source :　urawa328/tanakake.html


. Kobayashi Issa 小林一茶 - cultural keywords .

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短夜や同心衆の川手水
mijikayo ya dooshi shuu no kawatemizu / kawachoozu ( かはちょうず kahachoozu)

this short night -
the Edo policemen
wash up in the river

. Yosa Buson 蕪村 and the Edo policemen .

「手水（ちょうず）」は、「テミズ」の音便.


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参道の脇の流れを初手水 長沼三津夫
おぞましの毛虫こそ居れ手水鉢 島田青峰
お岩木の手水の真清水手に痛し 高澤良一
ゆふだちや洗つて酒を手水鉢 泉鏡花
今朝冬の日当りそめし手水鉢 富安風生
仙蓼(千両)や蛙鳴き出す手水鉢 風斤

其儘に萎びし菊や手水鉢 寺田寅彦
冬ざれや貴船の宮の手水鉢 洛山人
囀りの一羽は下りて手水鉢 比叡 野村泊月
夏影や松の下なる手水鉢 清原枴童 枴童句集
懐手水かきありと言つてみよ 平井照敏

手水おつる下にあつまり嵐の蟹 川島彷徨子 榛の木
手水にも温泉ひきあり紅葉宿 大橋櫻坡子 雨月
手水水涼しかりしを金火鉢 曲言 選集「板東太郎」
手水湯や流しそこなふ雪の上 膳所-弩鳥
手水舎に青竹柄杓年用意 平井 梢
手水鉢に蝸牛落ちぬ何とせし 尾崎迷堂 孤輪
手水鉢の氷砕きゐる遠忌かな 銀漢 吉岡禅寺洞
手水鉢底から開き小鳥来る 平井さち子
手水鉢氷らぬ日なし実南天 草村

春の夜のぬつと使はぬ手水鉢 川崎展宏
春の夜や手水のための片戸さし 小杉余子
朝寒や寒水石の手水鉢 寺田寅彦
涅槃会の毬藻沈めて手水鉢 青木重行
病葉や朝ごと替ふる手水鉢 大橋櫻坡子
白露や草の中なる手水鉢 西山泊雲
秋の水湛へて溢る手水鉢 吉屋信子
筧より受ける手水の淑気かな 村井杜子
練行の手水手水と僧走り 阿波野青畝
腹立てて水呑む蜂や手水鉢 太祇
臨済の手水孑孑おのづから 飴山實
芭蕉風吹いて塵浮く手水鉢 西島麥南 金剛纂

花の夜の手水に立ちて湯醒気味 石塚友二
花八つ手水を貰ひに研師来る 森藤千鶴
花八つ手水張つてある四斗樽 池田順子
花泛けて遅々と日めぐる手水鉢 清原枴童

若餅や手水とばしる美濃の滝 言水
蕣に今朝も手水をわすれたり 酔滴
薄氷や山茶花散り込む手水鉢 寺田寅彦
虫の夜の柄杓探りぬ手水鉢 尾崎迷堂 孤輪
逃げ易き手水の草履大石忌 山田弘子 懐
通夜のあしたの手水の水がざぶざぶ溢れ
風寒き流れの音や手水鉢 広瀬惟然
風花や読経の響く手水鉢 中村照子
風邪に臥すや枕に近き手水鉢 雑草 長谷川零餘子
養老の滝壺くめやはつ手水 鳳朗
鶏頭や釘に掛けたる手水樽 尾崎紅葉
source :　HAIKUreikuDB

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. Legends and Tales from Japan　伝説 - Introduction .

一心寺の観音堂の前にある手水鉢は、潮の干満と対応して湿ったり乾いたりする。

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toori akuma 通り悪魔
自宅庭の手水鉢近くに茂る葉蘭から焔が３尺ほど燃え上がっていたとき、眼光尋常でない大男が隣家より塀を飛び越えて来て、槍を振り回した。目を閉じて１時間ほどすると、焔も大男もいなくなっていた。この正体は邪気とそれに破られて乱心した隣家の主人であった。これが俗にいう通り悪魔であろう。

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愛知県 Aichi

iwabune 岩船
岩船と呼ばれる、石造の長1丈ほどの船があり、ある人が手水鉢にしようと人夫を使い取り寄せようとしたが、途中で三つに割れた。それでは役に立たないと、元の場所へ返したが、その人は禍にあった。

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Hyogo 神戸市 Kobe

Yakushi Shinko 薬水信仰 Belief in Yakushi Nyorai
まや山天上寺にある句碑の上に穴があいて水が溜まっていた。昔から石神や石仏地蔵碑などにあけた穴に溜まった水を目に付けたり、洗ったりすると目の病が治るという。この様な穴は石仏などの前にある水入れや手水鉢など御手洗などの薬水信仰の延長であろう。

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香川県 Kagawa Sanuki

ama no naki-ishi 尼の泣き石
女人禁制の大川山に登りたいという女が尼となって苦行を重ねた後、山に登りはじめたが、社の近くになって足が動かなくなり、持参の手水鉢も動かず、尼は石にしがみついて泣いた。そこは以後尼の泣き石と呼ばれた。


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ryuu tengu 竜，天狗
讃岐国の万能池にすむ竜が小蛇の形になっていた時、比良山の天狗が鵄の形となって持ち帰って洞内に閉じこめた。そこには一滴の水もなかったので竜はどうすることもできず死にかけていた。しかし天狗がまた一人の僧を拉致してきたが、その僧は手水をつかうところで水瓶を持ちながら洞内に入れられたので、竜がその水一滴を得て天上し、僧を元の房に帰したという。

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0-Daishi san お大師さん Kobo Daishi
昔、女の人が機を織っているとお大師さんが来て、お手水てぬぐいにするからくれと言うので、切って分けた。お大師さんは毎日やって来て、女は１機分２丈８尺の布を７日間で全てあげてしまった。お大師さんが望みを聞くと、このまま仏になりたいと言った。女はそのまま端切れのむらさきちりめんに黒しゅすの着物を着たまま仏さんになってしまった。


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Kochi 幡多郡 Hata district

koku son no kami n tatari 黒尊の神の祟り
黒尊様は肉が嫌いだという話がある。愛媛の宇和島から魚の行商にやって来ていた加賀城庫治郎という人が、牛肉を運んできたところ転落した。黒尊の神の祟りと思って昭和7年に手水鉢を奉納した。


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奈良県 Nara

komori gyooja 子守行者
夜中に用足しに起きて、手水を使おうとすると、手水鉢の辺を火玉がフワフワ浮き、水をかけると他所の方へ行ったという。

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月ヶ瀬村 Tsukigase

Tenjin and Kaminari 天神，雷
幕末の頃、代官が天神様の手水鉢の水を馬に飲ませた。やめてくれと言った人は鞭で叩かれた。代官が500メーターくらい行くと、黒い雲が出てきた。急いで急な坂を駆け下りかけたとき、代官に雷が落ちて馬と一緒に谷下に落ちて死んでしまった。その坂は代官坂と呼ばれるようになった。


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大阪府 Osaka

Shitenno-Ji 四天王寺の七不思議
大阪の四天王寺には七不思議がある。龍の井、亀の水、二股竹、梅ケ枝の手水鉢、石橋、虎の門の猫、樋がない、


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Shizuoka 阿津町 賀茂郡 Kamo district

fuka 鱶 shark
海上で大鱶が舵に噛み付き、船が動かなくなる。客の番頭を食べたがっているので、服を身代わりにして逃れる。その夜、番頭が宿に入ると大鱶が描かれた手水鉢がある。かっとなって殴りつけ、手を怪我する。その傷口から腕が腫れだし、番頭は死んでしまう。

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Tokushima 宍喰町 Shiikui

御手水の神様は盲目なので、何も言わずに入ると驚く。「ごめんなさい」とか「お願いします」と言って入ると、下の病気をしないという。

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東京都 Tokyo

増上寺にある手水鉢は名石で、数年経ても水は朽ちなかった。干ばつや梅雨の時にも水は増減しなかったという。

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Wakayama 那賀郡 Nachi

If you pour water from the hand basin over your self, you will make a good career.

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仏様に供えたご飯を食べると手が振るう。彼岸の中日に墓参りをすると墓が壊れる。３人で写真を撮るとそのうちの１人は死ぬ。竈の側で喧しく言うと気違いになる。薬を竈の方に置くと病気が長引く。刃物を竈の肩に置くと手が切れる。大根の鬚をとらずに漬けると難船する。箒で打たれたり、朝埃がかかったり、手水をかけられたり、鏡を仰向けに置いたり、切った爪を畳の上に捨てておくと出世できない。


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Yamanashi 上野原町 Uenohara

gundari san グンダリサン
軍刀利神社の祭神、グンダリサンが顔や刀を洗った、中が窪んだ石があり、グンダリサンの手水鉢と呼ばれる。日照り続きで水に困ると、そこまで登って、中の水をかき回して濁らせて雨乞いをした。すると必ず雨が降った。
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軍刀利神社の祭神、グンダリサンが顔や刀を洗った、中が窪んだ石があり、グンダリサンの手水鉢と呼ばれる。この中の水をグンダリサンの手洗い水と呼び、これを疣につけると、疣がなおる。

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- source : nichibun yokai database -



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Posted By Gabi Greve to Japan - Shrines and Temples on 10/02/2015 09:58:00 a.m.

DARUMA - norito incantations

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norito 神詞　のりと Shinto chants, incantations and prayers
kamigoto, kamugoto 神言 / 神語 / norito 祝詞
shinpaishi, shinpaiji 神拝詞. かむおろがみのことば 神歌詞

- quote
kansha　官社 government-supported Shrines
Shrines registered with the Department of Religious Affairs, jingikan 神祗官, that were the dwelling places of the most important deities, kami 神.
During important festivals, priests performed rituals called norito 神詞, which included reciting prayers of praise and invocations to the kami for protection from disasters feared by an agrarian society.
The rituals were followed by the presentation of offerings to the gods by the government, nobility and chieftains. These included various kinds of cloth, food, white horses, weapons, rice wine and timber for new shrine buildings.
- source : JAANUS

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Shinto Norito: A Book of Prayers
by Ann Llewellyn Evans



This book presents, for the first time, a collection of ancient Japanese Shinto prayers in a format where English speaking readers can both understand the deep meaning of the translated text and can also pronounce the original Japanese words.
Shinto is an ancient spiritual tradition, primarily practiced in Japan, which is now spreading its traditions to the western world. Its primordial rituals and traditions touch a deep chord within one's spiritual self. Shinto's focus on divinity of all beings and of all creation, on living with gratitude and humility, and on purification and lustration of one's self and environment will bring light and joy to any reader.
The purpose of prayer and ritual as practiced in the Shinto tradition, is to reinsert ourselves into a divine state of being, not as a new position, but as an acknowledgement and reinforcement of what already exists. Ritual restores sensitive awareness to our relationship to the universe. Through purification and removal of impurities and blockages, we return to our innate internal brightness and cultivate a demeanor of gratitude and joy.
Shinto rituals and prayers were created by ancient man over 2,000 years ago in a time when mankind was more intuitive about his relationship to this world. Because of this, the rites are archetypal and invoke deep emotion within the participants.
This book of prayers will introduce the western reader to the deep spirituality of Shinto, providing explanation of the spiritual tradition and practice and providing a collection of 22 prayers for use in personal meditation and devotions.
- quote - amazon com -


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shinpaishi しんぱいし


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- quote -
Norito
These are liturgies or incantations, words written in a particular script that are then read by the ritual performer at certain ceremonies or festivals involving the kami. In general the classification norito is widely used to include auspicious words (yogoto) as well as the language for ritual purification (harae no kotoba). There are various theories regarding the meaning and etymology of the word norito, but the belief that nori is the nominalized form of noru "to declare" (announce important words in a mystical way), and the belief that to is a suffix associated with cursing or magical acts, such as kusoto "crime of spreading feces on things or polluting," togohito "cursing or damning (this word is of unclear meaning)," or kotodo "breaking relations with a spouse (also a word of unclear derivation)," is close to becoming the scholarly consensus.

Additionally, other explanations concerning the etymology of this word exist such as one suggesting that norito comes from noritabegoto "declare and present words" (by Kamo no Mabuchi) or from noritokigoto "words declared and expounded" (by Motoori Norinaga), but these theories are not seriously considered today. The original form of the word is norito, but later koto "word" was affixed, and in the late Heian period a contraction in pronunciation resulted in the noritogoto being pronounced as notto .
In ancient times the word norito was written in various ways such as 祝詞 or 詔戸言 (in the first book of Kojiki), or 詔刀言 (in the Nakatomi words of celebration), or 諄辞 (in Nihon shoki's portion on the Age of the Kami), or 告刀 (in Kōtai jingū gishikichō), or 法刀言 (in Ryō no shūge). When used as a legal term in proclamations, legal codes or ceremonies, the spelling was standardized as 祝詞. These characters were used in imitation of the Chinese term 祝文 "words read to the gods," with the character 詞 "utterances" exchanged for the original character 文 "written words."

Origins
The origins of norito are believed to be extremely old and the fact that magical words were indispensable in the performances of rituals from antiquity can be witnessed in rituals found in Kojiki and Nihon shoki including the myth of the Heavenly cave (where the Sun goddess hides) wherein Amenokoyane no mikoto makes use of noritogoto. Also, in the legend depicting Ōkuninushi no mikoto's transfer of authority (kuniyuzuri) as seen in Kojiki, auspicious words (jushi) are used to start the divine fire used to cook food to be presented as divine offerings (shinsen). A great number of Norito have been produced since there appearance in documents dating to the ancient period and they are treated as Shintō classics and considered a template for the creation of norito in modern times but the main corpus of norito consists of a set of twenty-seven included in Book Eight of Engishiki which was compiled in the twelfth month of 927. These norito were employed at various ceremonies and rituals at the court which have been read and handed down and are referred to as Engishiki norito or Engi norito shiki.

First there are the customary rituals held at court, and these norito are listed in order with which they were performed:
1) Toshigoi ceremony,
2) Kasuga Festival,
3) The Hirose Great Taboo Festival,
4) Tatsuta Festival to the kami of the wind,
5) Hirano Festival,
6) Festival for the kami Kudo and Furuseki,
7) The "Monthly" (Tsukinami) Festival of the Sixth Month,
8) The Festival (Ensuring the Safety) of the Imperial Palace,
9) The Festival of (the Purification of) the Palace Gates,

10) The Great Purification on the Last Day of the Sixth Month,
11) The mystical words employed during Yamato Fumi Imiki's presentation of the sword,
12) The Pacifying of the Fire Festival,
13) Purification of the Thoroughfares of the Capital,
14) Great Harvest Festival,
15) Festival for the Pacification of the Imperial Spirit. Following these norito, the norito of the Ise Shrines are collected and complied as follows:
16) Ceremonies for the Toshigoi Festival of the Second Month and the Tsukinami Festival of the Sixth and Twelfth Months,
17) the Festival at the Toyouke Shrine,
18) Ceremonial Changing of the Kami's clothing in the Fourth Month,
19) The "Monthly" (Tsukinami) Festival of the Sixth and Twelfth Months,

20) The Offering of the Harvest to the Kami in the Ninth Month,
21) The Offering of the Harvest at Toyouke Shrine,
22) The Offering of the Harvest to the Kami,
23) Ceremony for the Installation of the Consecrated Imperial Princess at the Ise Shrines, 24) The norito necessary for the movement of the Great Kami of the Ise Shrines. The preceding rituals are regular, annual rituals listed in order and,
in addition to those rituals, a few rituals employed under special or extraordinary circumstances are listed:
25) Rituals for use to dispel the violent manifestations of kami (tatarigami ),
26) The offerings made at the time an envoy is dispatched to Tang China,
27) Words of Praise Offered to the Kami by the Provincial Administrator of Izumo (Izumo kuni no miyatsuko).

It is assumed that the twenty-seven types of norito mentioned above are preserved in a form that remains largely unchanged from the time they were presented to the court as a portion of the sixth book of Kōnin shiki, compiled in the fourth month of 820. Numbers 1, 7, 14 are liturgies offered in prayer for the longevity of the emperor's reign and a prosperous harvest of the five grains. Numbers 8 and 9 are liturgies offered in prayer for the tranquility of the emperor's palace, while 10 is the great purification that was offered twice a year to expiate transgressions and prevent disasters throughout the realm. These exquisite compositions were, along with the "age of the kami" section of Nihon shoki, considered to be essential works in the formation of Shintō thought and came to be regarded as sacred. Beginning in the medieval period norito came to be recited widely by among onmyōji (masters of Chinese yin-yang), individuals associated with shrines and even common individuals and, of these recitations, many continue to be used today. Number 27 is unique among and has characteristics that are not necessarily consistent with the other norito listed.
In the case of number 27, the governor of Izumo (Izumo no kuni no miyatsuko), having been recently appointment to his post, would remain abstinent (kessai) for the period of one year while performing rites for the kami of Izumo. Subsequently, the governor would journey to the capital and present the jinpō (divine treasures) and the first fruits of the harvest to the court. These offerings would be received during a ceremony for the longevity of the imperial reign and the norito offered took the form poetry and consisted of a pledge of loyalty on the behalf of the governor of Izumo to the emperor and represents the height of development for these auspicious utterances (yogoto).

Although they are not included among the norito found in Norito shiki, there are a number of other norito that are serve as historically important works from the ancient period. Notably, among these norito exists the auspicious utterances (yogoto) of the Nakatomi which were recited on the day the emperor ascended the throne and also recited at the great festival of the tasting of the first fruits (daijōsai, the norito is called amatsukami noyogoto, or "auspicious words for the heavenly kami"). These norito are contained in Taiki bekki, the journal of Fujiwara Yorinaga (1120-1156), under the entry for the first year of Emperor Konoe (1142) as words presented by Ōnakatomi Kiyochika, and in a text recited by Ōnakatomi Chikasada in the first year of Emperor Toba (1108) two reigns prior to Emperor Konoe (this norito is published in Nishida Nagao's Shintō-shi no kenkyū , volume 2 where he introduces a text copied by a shintō priest [negi ] of the Ise Shrine named Arakida Moritoki who produced a copied dated 1506-1516).

Variously, these norito are also introduced in Nakatomi hissho copied in 1401 by someone in the Fujinami family, descendants of the Ōnakatomi, and can be found in Komatsu Kaoru's "Shin hakken no Fujinamike shozō: Nakatomi hissho (tenjin yogoto) no shōkai to kōsatsu" (Newly Discovered Documents of the Fujinami Family: An Introduction to and Consideration of the 'Nakatomi hissho tenjin yogoto' ). Furthermore, in the sixteenth volume of Engishiki under the entry for the Bureau of Divination (Onmyōrō) in the entry "Items for the Na Festival" there is a text (saimon) containing the lines recited for a ritual by onmyōji (masters of Chinese yin-yang) at this same festival on the last day of the twelfth month.

There is some chronological breadth to the composition of the norito that appear in Engishiki, and it is also believed that certain liturgies like numbers 1), 7), and 10), have passed through several stages before reaching their present form. On the other hand, some liturgies such as numbers 3) and 4) first appear in festivals in 675, and number 27) was first presented in 716, and the place names found in these norito correspond to the historical period of Asuka and Fujiwara Capitals. By gathering clues such as these and comparing them with evidence such as is found in number 2) which was used in the festival of Kasuga shrine which was established in 768, or as in numbers 5) and 6) which were used in festivals established in the during the Enryaku era (782—806), assumptions can be made as to when these norito were first composed. There are also some who argue that the use of words like amatsu yashiro, kunitsu yashiro "shrine of heaven, shrine of the land" as found in numbers 1), 4), 7), 14), and in the Nakatomi yogoto have their origins in the Ōmi Code which was in force from 671 to 689.

Regarding who had the authority to present norito to the court, in the myths contained in Kojiki, Nihon shoki and Kogo shūi, there is the tradition that Futodama, the founding deity (sojin) of the Inbe, was in charge of making offerings, and Amenokoyane, the founding deity of the Nakatomi, was in charge of reciting the norito (though some traditions state that Futodama also was in charge of recitation). Jingiryōmentions the recitation of Norito by the Nakatomi during the Kinensai and Tsukinamisai and preparation and distribution of paper offerings by the Inbe was the established practice. The foreword of Engi norito shiki states that of norito contained therein are to be recited by the Inbe in instances such as the Ōtonosai and Mikadosai, and Nakatomi perform the recitations for those not contained therein (naturally the Nakatomi do not read anything for numbers 11) and 27). Also, because the Nakatomi were primarily in charge of recitation of the Ōharae no kotoba, this later was called Nakatomi no harae.

Style and contents
Providing a categorization of the styles of the norito as they appear in the Engishiki, there would be two large divisions based on how the norito ended. One group of norito would finish with statements such as "I announce: 'Give ear everyone to these words'"; "I announce that this concludes the presentation of this statement and words of praise"; and the other group's norito end with the statements such as "I state with great humility that this concludes the presentation of these statements of praise"; "With great humility I have presented these statements." The former take the form of a public pronouncement to people gathered together at the place of a festival and this is called senmyō(senge)-tai norito (edict style norito), while the latter is are statements presented directly to the kami called presentation-style norito.

In the composition of norito, there exists a basic format in which the name of the kami to be worshipped or origin of the festival as it is derived from myth is given and followed thereby with statements praising the virtue of kami, the presentation of paper offerings and, lastly, entreaties are made of the kami. There are instances where norito from more recent time periods are lacking the portion concerning mythic origins. Although the means of expression is generally rather simplistic, amidst this simplicity one can witness the use of metaphors, enumerations, and reiterations, as well as rhetorical devices such as antonyms and antitheses. These norito formed the apex of virtuous and beautiful expression and epitomized cordiality and respect lending a solemn air to the recitation.

Concerning the way in which norito were orthographically rendered, in order to ensure that norito would be pronounced correctly at ritual occasions, they were written entirely in Chinese characters but the word order itself was Japanese with nouns and pronouns as well as the stems of verbs and adjectival verbs written in Chinese characters of a slightly larger size and suffixes and particles as well as the inflecting parts of verbs are written in man'yōgana in a smaller size. In other words, these norito were written in the senmyōstyle. This style of orthography was frequently used in the ancient period because it was markedly easier to ensure correct pronunciation during recitation than classical Chinese or Japanese-modified Chinese. Even after the general Japanese orthography had changed to a mixture of kanji and kana, the orthography of the norito still preserved the tradition of writing in the senmyōstyle. The paper these liturgies were written on was white washi (Japanese style paper), like torinokogami (Japanese vellum), hōshogami (a stout white paper), and sugiharagami (a lighter, thinner paper), and this paper was then folded generally in seven and one half folds. Even to this day, the paper used for imperial edicts that were presented to imperial shrines, shrines, and imperial mausolea by imperial messengers (chokushi ) follows the specifications established in Engishiki with the norito of Ise being presented on light blue paper and those of Kamo on crimson paper while other edicts are written on yellow paper.

Transitions and research
After the compilation of the Engishiki norito there have been various compilations of norito recited at specific shrines, especially in the middle ages, such as "Nenjū gyōji norito fumi (Kōtai jingū ) [Texts of liturgies recited at yearly events [Ise Shrine]," "Notsuto shidai " (Wakasa Hiko jinja), "Sumiyoshi Daijingū norito," "Hiesha norito kudensho." There are also norito recorded in Suwasha nennai shidai kyūki . Additionally, there are also records that contain fragmentary norito such as the "Miyanome saimon" fragment found in Shūkaisho and Shissei shoshō , as well as various norito from the Ise Shrines, Kamo, Iwashimizu, Hirano, Gion, Kitano, Kasuga and other shrines, known from works like Kōtai jingū nenjū gyōji, Taiki, Shōyūki, Chūshishō, Ruijū daibunin, Azuma kagami, Chōya gunsai, Kanchūki, Entairyaku, Yasutomiki, and Honchō seiki. Some of these medieval norito were simplified over time and became formalized, while others came to be used in conjunction with Chinese and Buddhist terminology. Also, while the Engishikinorito were recited at court by the Jingikan (Bureau of Divinities), it appears that these later norito were actually recited various popular shrine festivals. Even though we refer collectively to "norito" with one word, these recitations and utterances have undergone historical transformations, which made evident by the shear variety of norito that exist throughout Japan. Given this diversity, members of the Kokugaku (National Learning) movement sought to revive the older liturgies. It is at the hands of kokugaku scholars that the entire compilation of norito contained in Engishikibecame the object of study, and research and because of this initial efforts the study of norito experiences dramatic advances. The court, various shrines, and numerous households began writing liturgies based on the old precedent. Norito produced from the Meiji era on have been written in the same spirit of this restoration that characterized kokugaku.

Among the extant copies of Book Eight of Engishiki, the Kujōke manuscript is recognized as the oldest surviving text, having been copied near the end of the Heian period. This manuscript does not contain the revisions that appear in later texts and the interlinear readings preserve the ancient style of kana. Next is the Urabe Kanenaga text from the Muromachi period, copied in 1523, which preserves an even older form of man'yōgana than exits in the Kujōke manuscript. Also, there is the Urabe Kanemigi text, copied in 1542, which is a manuscript belonging to a different branch of the Urabe. Concerning the production of commentaries and research regarding norito, from the Kamakura period, a number of Shintō scholars produced commentaries on the great purification liturgy, and these are contained in the three-volume work Ōharae kotoba chūshaku taisei. The comprehensive investigation into the complete commentaries of Engishiki began with Kamo no Mabuchi's Engishiki norito kai, a work based largely up the research conducted by Kada no Azumamaro and Kada no Arimaro. Mabuchi also put together a standard reference titled Norito kō. Additionally, there are also works such as Motoori Norinaga's Izumo no miyatsuko no kamuyogoto goshaku and Ōharae no kotoba kōshaku, and Suzuki Shigetane's Engishiki norito kōgi.

- source : kokugakuin, Motosawa Masafumi -

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Norito
by Donald L. Philippi, Joseph Mitsuo Kitagawa



This volume presents the only English translation of the prayers of Japan's indigenous religious tradition, Shinto. These prayers, norito, are works of religious literature that are basic to our understanding of Japanese religious history. Locating Donald Philippi as one of a small number of scholars who have developed a perceptive approach to the problem of "hermeneutical distance" in dealing with ancient or foreign texts, Joseph M. Kitagawa recalls Mircea Eliade's observation that "most of the time [our] encounters and comparisons with non-Western cultures have not made all the `strangeness' of these cultures evident. . . . We may say that the Western world has not yet, or not generally, met with authentic representatives of the `real' non-Western traditions." Composed in the stately ritual language of the ancient Japanese and presented as a "performing text," these prayers are, Kitagawa tells us, "one of the authentic foreign representatives in Eliade's sense."
In the preface Kitagawa elucidates their significance, discusses Philippi's methods of encountering the "strangeness" of Japan, and comments astutely on aspects of the encounter of East and West.
- quote - amazon com -

"A welcome republication . . . of a group of important norito brought out by the Institute for Japanese Culture and Classics . . . The new Preface supplied by Kitagawa is . . .a subtantial essay worthy of attention in its own right. It scetches the cultural, historical, and religious contexts in which the earliest written collection of norito emerged"
--Monumenta Nipponica

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- Reference : 神詞

- Reference : English


. Shrine, Shinto Shrine (jinja　神社) - Introduction .

- #shintonorito #noritochants #norito -
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. WKD : Summer Purification Ceremony (nagoshi 名越) .

In Shinto, not only are the sins, pollutions, and misfortunes of the individual removed, but also evil and misfortune can be removed from a whole nation, life renewed, and the blessings of the gods brought down. The norito prayers used at the 大祓 Ôharae is called Ôbarae no kotoba. It was the duty of the Nakatomi clan to recite it, and so it is also called by the name Nakatomi no harae.
Ôharae today is performed on the last days of June and December of each year.


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Posted By Gabi Greve to Japan - Shrines and Temples on 9/07/2015 10:05:00 a.m.