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【Chichibu Jinja Shrine】

Chichibu Jinja Shrine is one of Japan’s oldest shrines, and it celebrated its 2100th year in 2014. The shrine is known for its lovely gongen-zukuri architecture, the striking wood carvings of its eaves, and for its central role in the Chichibu Night Festival. Visiting the shrine is said to grant a number of blessings, including academic success, familial safety, and prosperity for one’s descendants.

Chichibu Jinja Shrine was founded during the reign of Emperor Sujin, the legendary tenth emperor of Japan. At the time, Chichibu was considered part of Musashi Province (now the areas of Saitama and Tokyo). The shrine was established by the provincial administrator to honor his ancestral Shinto deity, Yagokoro Omoikane. Later, the administrator himself was enshrined as Chichibu Hiko. During the Kamakura period (1185–1333), the area was controlled by the Taira, one of the great military families of Japanese history. They incorporated the Buddhist deity Myōken (Sanskrit: Sudarśana) into the shrine, and renamed it the “Shrine to Myōken” (Myōkengū). Combined worship of both Shinto and Buddhist deities continued until 1868, when it was outlawed by the Meiji government, and Myōken was replaced with the Shinto deity Ame no Minakanushi no Kami. In 1984, Prince Chichibu (1902–1953), the younger brother of Emperor Shōwa (1901–1989) was enshrined as Chichibu no Miya Yasuhito Shin’ō. These four deities are known as the “four pillars” of Chichibu Jinja Shrine.

The current shrine building was constructed on the orders of Tokugawa Ieyasu (1543–1616), a powerful warlord who united Japan under a single government. After it was burnt down during the Battle of Mimase Tōge (1569), Ieyasu ordered the shrine rebuilt. In 1956, it was designated a national Tangible Cultural Property.

The eaves on each of the shrine building’s four sides bear impressive wood carvings. These were supposedly carved by the legendary artist Hidari Jingorō (fl. 1624–1644), a virtuoso who is also credited with the famous “Sleeping Cat” (nemurineko) carving at Tōshōgū Shrine. According to legend, Jingorō’s right arm was chopped off by jealous rivals, forcing him to carve with his left hand. Afterward, he adopted the name “Hidari,” which means “left.”

The front (south) side of the shrine is decorated with myriad colorful carvings. Of particular note are the tigers just under the eaves on either side. These tigers, called the “child-rearing tigers” (kosodate no tora), were included in recognition of Tokugawa Ieyasu’s patronage. Supposedly, the warlord was born in the year, day, and hour of the tiger. Oddly, a leopard is portrayed among the tiger cubs. Tigers are not native to Japan, and by the early seventeenth century, when the carving was made, it was still not known exactly what female tigers looked like. Evidently, Jingorō saw a leopard and assumed it was a female tiger, and this became the reference for his carving.

The west side of the shrine building is decorated with a carving of a trio of monkeys who lounge just below the eaves. Unlike the traditional three wise monkeys (sanzaru) who “hear no evil,” “see no evil,” and “speak no evil”—a common motif in Japanese Buddhist art—Jingorō has carved the “three rowdy monkeys” (ogenki sanzaru) who “listen closely,” “look intently,” and “speak clearly.” Whether rowdy or wise, the monkeys are generally thought to be wards against evil and misfortune.

The north side of the shrine building is carved with the “North Star Owl” (hokushin no fukurō), who ceaselessly guards the main sanctuary. Rather than rudely point his backside toward the deities enshrined within, he looks over his own shoulder while dutifully facing inward. It is from the name of the hokushin no fukurō that the shrine is said to bestow academic success “without grueling effort” (fu-kurō).

The east side of the shrine building is carved with another of Jingorō’s masterpieces, the “chained dragon” (tsunagi no ryū). According to legend, the carving was once a dragon that lived at the bottom of Tengaike Pond near Shorinji Temple (#15). Whenever the dragon became rowdy, a puddle would form below the carving, and so chains were added to keep him from thrashing.

秩父神社

秩父神社是日本最古老的神社之一，已於2014年慶祝創建2100週年紀念。神社以其華美的「權現造」式建築及精巧的額枋雕樑遠近聞名，並因其在秩父夜祭中的核心地位而廣為人知。據稱在此祈福多有福報，可保佑學業順遂、家庭安康、世代繁榮等。

秩父神社建於日本傳說中第十代天皇——崇神天皇時代。當時，秩父被認為是武藏國（現埼玉和東京）的一部分，國造（地方官）為供奉自家先祖「八意思兼命」而建造了神社。之後，國造本人作為「知知夫彥命」被供奉於神社內。鎌倉時代（1185-1333），日本史上最偉大的武士家族之一平氏統治了秩父地區，將佛教的妙見菩薩請進神社，並將神社更名為「妙見宮」。1868年，同時崇拜神道教與佛教兩者的「神佛習合」風俗被明治政府嚴令禁止，妙見菩薩就此被神道之神「天之御中主神」所取而代之。1953年，昭和天皇（1901-1989）的皇弟秩父宮雍仁親王（1902-1953）被供奉於此。至此，上述四位神靈便組成了秩父神社赫赫有名的「御四柱」。

現今的神社建築是奉一統日本、驍勇善戰的幕府將軍——德川家康（1543-1616）之命而建。1569年的三增峠之戰中，原先的神社付之一炬，德川家康下令重建。1956年，秩父神社被列為日本國家「有形文化財」。

神社建築的四方額枋上鐫有令人嘆為觀止的精美雕刻。這些作品被認為是出自傳說中的雕刻名家左甚五郎（1624-1644）之手，他因刻下日光東照宮的「眠貓」而聲名遠播。傳聞左甚五郎的右臂被嫉恨他的同行砍下，而不得已改用左手雕刻。之後，他便改姓為「左」。

神社正面（南側）雕刻著無數色彩斑斕的圖案，兩側額枋下所雕「育子之虎」尤其值得駐足細觀。據傳德川家康為寅年、寅日、寅時出生，這些虎獸則是為紀念德川家康捐建神社而刻。不可思議的是，眾多虎子中竟刻有一頭花豹。虎並非原產日本，直到17世紀初幾乎無人知曉雌虎的確切模樣。或許是甚五郎見到一隻花豹，誤以為是雌虎，於是參照花豹的模樣完成了雕刻。

神殿西側刻有三隻在額枋下愜意閒坐的猴子。與日本佛教美術中傳統的共通主題——「非禮勿視」「非禮勿聽」「非禮勿言」的智慧三猿不同，甚五郎將它們雕刻成「用心聽」「用心看」「用心說」的「活潑三猿」。但無論開朗活潑或聰敏智慧，猴子均為消災驅邪的象徵。

神殿的北側刻著不分晝夜守護正殿的「北辰之梟」。「北辰」意為北極星，而「梟」是貓頭鷹。為避免背對神靈，有所冒犯，貓頭鷹扭頭觀視殿宇前方，身體則忠誠地朝向殿內。據說這座「北辰之梟」便是神社能保佑學業順遂的緣由（「梟」的日語發音與「不苦勞」相同，象徵不費勞苦，成就學業）。

在神社建築物的東側刻有左甚五郎的另一傑作——一條用鐵鍊拴住的龍，名為「鎖之龍」。傳說此龍曾棲息於秩父第十五所觀音寺「少林寺」附近的「天池」之中。每每蛟龍興風作浪，雕刻下必有水窪形成，故以鐵索將其鎖住，以保太平。

秩父神社

秩父神社是日本最古老的神社之一，于2014年迎来其2100周年创建纪念。神社以其华美的“权现造”式建筑及精巧的额枋雕梁远近闻名，又因其在秩父夜祭中的核心作用而广为人知。传言在此祈福多有福报，可保学业顺遂、家人安康、子孙繁荣等。

秩父神社建于日本传说中第十代天皇——崇神天皇时代。当时，秩父被认为是武藏国（现埼玉和东京）的一部分，时任国造（地方官）为供奉自家先祖“八意思兼命”建造了神社。之后，国造本人作为“知知夫彦命”被供奉于神社内。镰仓时代（1185-1333），日本史上最伟大的武士家族之一平氏统治了秩父地区，将佛教的妙见菩萨请进神社，并更神社名为“妙见宫”。1868年，崇拜神道教与佛教两者之神的“神佛习合”被明治政府严令禁止，妙见菩萨就此被神道之神“天之御中主神”取而代之。1953年，昭和天皇（1901-1989）的皇弟秩父宫雍仁亲王（1902-1953）被供奉于此。至此，这四位神灵便组成了秩父神社赫赫有名的“御四柱”。

当今的神社建筑是奉一统日本、骁勇善战的幕府将军——德川家康（1543-1616）之命而建。1569年的三增峠之战中，原先的神社付之一炬，德川家康下令重建。1956年，秩父神社被列为日本国家“有形文化财”。

神社建筑的四方额枋上镌有令人叹为观止的精美雕刻。这些作品被认为是由传说中的雕刻名家左甚五郎（1624-1644）所作，他因刻下日光东照宫建筑上的“眠猫”而声名鹊起。传闻左甚五郎的右臂被嫉恨他的同行砍下，而不得已改用左手雕刻。自此之后，他便改姓为“左”。

神社正面（南侧）雕刻着无数色彩斑斓的纹饰。两侧额枋下所雕“育子之虎”尤其值得驻足细观。据传德川家康为寅年、寅日、寅时生人。这些虎兽则是为纪念德川家康捐建神社而刻。不可思议的是，众多虎崽中竟刻有一头花豹。虎并非原产日本，直到17世纪初几乎无人知晓雌虎的确切模样。或许是甚五郎见到一只花豹，误以为是雌虎，于是参照花豹的模样完成了雕刻。

神殿西侧刻有三只在额枋下惬意闲坐的猴子。与日本佛教美术中传统的共通主题——“非礼勿视”“非礼勿听”“非礼勿言”的智慧三猿不同，甚五郎将它们雕刻成“用心听”“用心看”“用心说”的“活泼三猿”。无论开朗活泼或聪敏智慧，猴子均象征消灾驱邪。

神殿的北侧刻着不分昼夜守护正殿的“北辰之枭”。“北辰”意为北极星，“枭”是猫头鹰。为避免背对神灵，有所冒犯，猫头鹰扭头观视殿宇前方，身体则忠诚地朝向殿内。据说这座“北辰之枭”便是神社能保学业顺遂的缘由（“枭”的日语发音与“不苦劳”相同，象征不费劳苦，成就学业）。

在神社建筑物的东侧刻有左甚五郎的另一杰作——一条用铁链拴住的龙，名为“锁之龙”。传说此龙曾栖息于秩父第十五所观音寺“少林寺”附近的“天池”之中。每每蛟龙兴风作浪，雕刻下必有水洼形成，故施铁索将其锁住，以保太平。