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Aki Province: Itsukushima, Depiction of a Festival, from the series Famous Places in the Sixty-odd Provinces (1853) by Utagawa Hiroshige.<\/em><\/p>\n The most recognizable and celebrated feature of the Itsukushima shrine, is its fifty-foot tall vermilion otorii gate (“great gate”), built of decay-resistant camphor wood. The placement of an additional leg in front of and behind each main pillar identifies the torii<\/em> as reflecting the style of Ryobu Shinto<\/em> (dual Shinto), a medieval school of esoteric Japanese Buddhism associated with the Shingon Sect. The torii<\/em> appears to be floating only at high tide. When the tide is low, it is approachable by foot from the island. Gathering shellfish near the gate is also popular at low tide. At night, powerful lights on the shore illuminate the torii<\/em>. Although the gate has been in place since 1168, the current gate dates back only to 1875. [more<\/a>]<\/p><\/blockquote>\n Torii at Itsukushima (1896) by Kobayashi Kiyochika.<\/em><\/p>\n Deer and Torii (1910) by Shoson Ohara.<\/em><\/p>\n Miyajima in Snow (1934) by Tsuchiya Koitsu.<\/em><\/p>\n Snowy Miyajima (1936) by Tsuchiya Koitsu.<\/em><\/p>\n <\/p>\n Miyajima at Itsukushima (1936) by Tsuchiya Koitsu.<\/em><\/p>\n Summer Moon at Miyajima (1936) by Tsuchiya Koitsu.<\/em><\/p>\n Itsukushima Shrine (1980) by Harada Taku.<\/em><\/p>\n Torii at Miyajima (2003) by Paul Binnie.<\/em><\/p>\n Itsukushima (2006) by Morimura Ray.<\/em><\/p>\n Previously on { feuilleton } Aki Province: Itsukushima, Depiction of a Festival, from the series Famous Places in the Sixty-odd Provinces (1853) by Utagawa Hiroshige. The most recognizable and celebrated feature of the Itsukushima shrine, is its fifty-foot tall vermilion otorii gate (“great gate”), built of decay-resistant camphor wood. The placement of an additional leg in front of and behind … Continue reading “Ten views of the Itsukushima Shrine”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Ten views of the Itsukushima Shrine","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,31],"tags":[12037,12034,12039,12038,12035,12036,12033],"class_list":["post-21277","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-religion","tag-harada-taku","tag-kobayashi-kiyochika","tag-morimura-ray","tag-paul-binnie","tag-shoson-ohara","tag-tsuchiya-koitsu","tag-utagawa-hiroshige"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5xb","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/21277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=21277"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/21277\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=21277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=21277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=21277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"itsukushima06.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/itsukushima06.jpg\")
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\n\u2022 Charles Bartlett’s prints<\/a>
\n\u2022 Sixteen views of Meoto Iwa<\/a>
\n\u2022 Waves and clouds<\/a>
\n\u2022 Yoshitoshi\u2019s ghosts<\/a>
\n\u2022 Japanese moons<\/a>
\n\u2022 The Hell Courtesan<\/a>
\n\u2022 Nocturnes<\/a>
\n\u2022 Henri Rivi\u00e8re\u2019s Eiffel Tower<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"