Shinto Iconography 1: Amaterasu Ohmikami

 

Amaterasu takes center surrounded by a halo of sunrays

 

In this modern era of instant photography, we rarely give any true thought to the composition and symbols of our portraits. We consider photographs and paints as a source at most a small record of a memory. But through most history, the objects and composition of a portait (depicted or photographic) served the very important purpose of not only identifying the figure in the portrait, but telling us the most vital information about that figure. This use of objects and composition in portraits in called iconography.

While Shinto is not iconoclastic, neither does Shinto really produce much art. Shinto was largely associated with simple folkways and the provinces while Buddhism was the inspiration for the “fine art” of the sophisticated culture of the elites. However, portraits of the various kami of the Kojiki and Nihongi were painted from a historical point of view (since kami are generally historical/legendary figures) and especially became popular in the Meiji period.

In this Shinto Iconography series, I am going to point out of some iconographic elements often scene in various portraits of kami. And who better to begin with than the beloved ancestress of the Imperial House, Amaterasu Ohmikami.

Name: Amaterasu Omikami
Main Shrine: Ise Jingu
Dominion: Sun, Japan, All Life
Iconography: A sundisk crown, a sundisk halo, a large mirror, the three Sacred Treasures, female

Note the sundisk crowning Amaterasu in this 1960s film

In this painting from 1899, Amaterasu carrys a large mirror and is surrounded with a halo of sun rays.

A life-size float figure of Amaterasu, crowned with a sundish and carrying a mirror and a sun wand.

 

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