Shinden-zukuri

Japanese: 寝殿造 - しんでんづくり

This is a style of residence for aristocrats that was perfected in the mid-Heian period. Along with Shoin-zukuri, it is considered one of the most representative Japanese residential styles.

[Kudou Yoshiaki]

Placement

The layout of the buildings in a shinden-zukuri house was such that the main building in the center faced south, with two tanyoya buildings facing east and west, and a tanyoya building facing north. The shinden and tanyoya buildings were connected by a corridor called a watadono. Meanwhile, a central gate corridor extended south from the east and west tanyoya buildings. The front garden of the shinden was covered with white sand, and was sometimes used for events such as toriawase. A pond with an island was dug to the south of the front garden, and a water supply was drawn into it. A bridge was built over the island, allowing people to wander around the garden or go boating. A fishing hall was set up at the end of the central gate corridor, facing the pond. The homes of aristocrats of third rank or higher had land measuring one cho square. The compound is surrounded by a tsuijibei (earthen wall), and the main gate is a four-legged gate facing the central corridor and opening into the tsuijibei (earthen wall) on either the east or west side.

[Kudou Yoshiaki]

Original form

The original form of shinden-zukuri can be seen in the layout of the buildings at Shinsen-en, the imperial court's entertainment grounds that were built along with the Daidairi during the construction of Heian-kyo, Reizei-in, the villa of Emperor Saga, and Suzaku-in, the villa of Emperor Uda that later became Sento. The buildings of these gardens and inns had the main hall in the center, just like the Dairi, with the other buildings arranged symmetrically on the left and right. A pond garden with an island was created to the south of the building, and a fishing platform was built on the edge of the pond. Therefore, it can be interpreted that shinden-zukuri mansions were modeled after the Dairi, but were simplified to include a pond garden.

[Kudou Yoshiaki]

Bedroom

In shinden-zukuri, the main building, or shinden, was made of plain wood with round pillars, surrounded by a veranda with a balustrade, a wooden floor in the center of the front, and a hidden porch. The floor was entirely made of wooden boards, and tatami mats, matting mats, and round cushions were used for seating. Blinds were hung from the main building and eaves, and wall support was hung behind the blinds, with folding screens installed to separate the seats. A closed-off nurigome, partitioned off by a wall, was set up in part of the main building, and this was the master's bedroom. The name "shinden" comes from the Chinese word "seishin" (sleeping directly), and does not mean a place to sleep. At the end of the Heian period, the master's bedroom in the shinden moved from the lacquer wall to the north eaves of the shinden, and eventually this became the living room.

[Kudou Yoshiaki]

Facing house

The taiya corresponding to the shinden is oriented north-south, while the ridge of the shinden is oriented east-west. The taiya is called east taiya or west taiya depending on its location. In mansions with a main gate in the east, the east taiya, and in mansions with a main gate in the west, the west taiya was used as a place for ceremonies together with the shinden, and the buildings were used asymmetrically, without requiring a symmetrical layout. Therefore, taiya that were used less often became taishiro (a taisho) with only the main building, with the eaves omitted, and further changed into taisho-ro (a taisho corridor). The ideal form of shinden-zukuri was to have east and west taiya and east and west central gate corridors on a site of one cho, but in reality the symmetry was lost and an asymmetrical layout was used. The north taiya was used as a living space facing the back of the family. The veranda connecting the shinden and the taiya was a so-called corridor, and was also called watarou (a corridor) or hosodono (a narrow corridor). When this corridor had two beams, it was also called futamune-ro (a two-building corridor). The spaces between the pillars of the corridors were open and had no fixtures, so they were called Suiwatadono or Suiro. The corridor extending south from the Taiya was called Chumon-ro because, in the middle of the corridor, there was a Chumon gate, which served as a passageway leading to the front of the Shinden, corresponding to the Shikyakumon gate of the main gate. The Taiya and corridors were made of plain wood, just like the Shinden, and all of the roofs were thatched with cypress bark. Other buildings constructed on the premises included the Zuijin-dokoro, Kurumayadori, Daibandokoro, and Samuraidokoro. No Shinden-zukuri mansions from that time remain, but the outline can be seen from Kayain, depicted in the Komakurabegyoko Emaki, and Higashisanjodono, depicted in the Nenjūgyōji Emaki. The interior layout of the building is also known from the Tale of Genji Illustrated Scroll.

[Kudou Yoshiaki]

Transition

Compared to the mansions of high-ranking aristocrats, the shinden-zukuri style of the main building for those of middle-ranking or lower status was simpler, with fewer bays between the pillars, with the former having a width of seven or more bays and the latter having a width of five bays. Towards the end of the Heian period, as the economic capabilities of the aristocracy declined, fewer large mansions were built in the formal shinden-zukuri style, and even in the mansions of high-ranking aristocrats, the number of buildings, such as the shinden, north gate, corridor, double corridor, and central gate corridor, was reduced, and the shinden was also reduced in width to only five bays. In the Middle Ages, this simplified shinden-zukuri style was adopted not only for the residences of aristocrats but also for the residences of samurai. The mansion of Uruma no Tokikuni, a local samurai from Mimasaka Province (Okayama Prefecture), depicted in the "Honen Shonin Eden," has a thatched roof for the main building, but the surrounding eaves are thatched with boards, and the chumon-ro (intermediate gate corridor) is also thatched with boards, showing that the influence of shinden-zukuri spread to the provinces as well. From the Middle Ages onwards, shindens were used not only for the residences of aristocrats, but also for samurai and Buddhist families, and were also written as shinden or shinden, and retained their character as the main building of a mansion and a place for ceremonies. Although small, the chumon-ro was also built as an attachment to the shinden, carrying on the tradition, and eventually developed into the chumon of the main hall.

[Kudou Yoshiaki]

Shinden-zukuri (plan of restored Higashisanjo Palace)
©Shogakukan ">

Shinden-zukuri (plan of restored Higashisanjo Palace)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

平安時代中期に完成した貴族の住宅様式。書院造と並んで、日本の住宅様式の代表とされる。

［工藤圭章］

配置

寝殿造の住宅の建物配置は、中央に主屋(しゅおく)として南面する寝殿を建て、その東西には寝殿に向き合うように東対(ひがしのたい)あるいは西対(にしのたい)の対屋(たいのや)、北には北対(きたのたい)を置き、寝殿と対屋は渡殿(わたどの)とよばれる廊(ろう)でつながれる。一方、東西の対屋から南には中門廊が突出した。寝殿の前庭は白砂が敷かれ、ときには鶏合(とりあわせ)などの行事も行われた。前庭の南には中島のある池が掘られ、遣水(やりみず)が引かれ、中島には橋が架けられて庭内回遊や舟遊びも可能であった。中門廊の先端の池に臨む場所には釣殿(つりどの)が設けられた。三位(さんみ)以上の貴族の住宅は方1町の敷地をもつ。周囲には築地塀(ついじべい)が巡らされ、正門は四脚門で中門廊に対面して、東面または西面の築地塀に開かれた。

［工藤圭章］

原形

寝殿造の原形は、平安京の造営の際に大内裏(だいだいり)とともにつくられた宮廷の遊宴地の神泉苑(しんせんえん)や、嵯峨(さが)天皇の離宮の冷然院(れいぜいいん)、宇多(うだ)天皇の離宮でのち仙洞(せんとう)となった朱雀院(すざくいん)の殿舎配置に求められる。これらの苑・院の建物は内裏と同じように中央に正殿を置き、他の殿舎は左右対称に配されていた。建物の南には中島のある池庭がつくられており、池畔には釣台が建てられていた。したがって、寝殿造の邸宅は内裏を志向するものであったが、それを簡略化して池庭を付属させたものと解釈できる。

［工藤圭章］

寝殿

寝殿造では、主屋である寝殿は素木造(しらきづくり)で、柱は丸柱とし、周囲には高欄(こうらん)を巡らした縁が回り、正面中央には木階(もくかい)がつけられ、階隠(はしかくし)の向拝(こうはい)が設けられた。床(ゆか)はすべて板敷きで、座の敷物として置畳(おきたたみ)、上莚(うえむしろ)、茵(しとね)、円座(えんざ)を用いた。母屋(もや)や庇(ひさし)には御簾(みす)をかけ、御簾裏には壁代(かべしろ)を垂れ、座のくぎりとして几帳(きちょう)が据えられた。母屋の一部には壁で仕切られた閉鎖的な塗籠(ぬりごめ)が設けられ、ここが主人の寝所となった。寝殿の名は中国の正寝(せいしん)に由来したもので、寝所を意味したものではない。寝殿における主人の寝所は、平安時代末になると、塗籠から寝殿の北庇(きたびさし)に移ってゆき、やがてここが居間となった。

［工藤圭章］

対屋

寝殿に対応する対屋は、寝殿の棟が東西方向であるのに比べ、南北方向となる。対屋はその場所によって東対・西対とよばれる。正門が東にある邸宅では東対が、西にある邸宅では西対が寝殿とともに儀式の場になり、建物の利用法は左右対称の建物配置を必要とせず、むしろ非対称の使われ方をした。したがって、利用の少ない対屋は、庇が省略されて母屋だけの対代(たいしろ)となり、さらに対代廊へと変化してゆく。寝殿造の理想形は1町の敷地に東西の対屋と東西の中門廊のあることだったが、現実には対称性が崩れ非対称の配置になった。なお、北対は家族の奥向きの居住空間として利用された。寝殿と対屋を結ぶ渡殿はいわゆる廊下であって、渡廊(わたろう)あるいは細殿(ほそどの)ともよばれた。この廊が梁間(はりま)2間の場合は二棟(ふたむね)廊ともよばれた。また、廊の柱間は建具がなく開放的であったので透渡殿(すいわたどの)あるいは透廊(すいろう)の名がある。対屋から南に延びる廊に中門廊の名があるのは、正門の四脚門に対応してこの廊の中間に、寝殿前面に至る通路としての中門があったためである。対屋や廊も寝殿と同様に素木造で、屋根はすべて檜皮葺(ひわだぶ)きであった。このほか、敷地内に建てられた建物には、随身所(ずいじんどころ)、車宿(くるまやどり)、台盤所(だいばんどころ)、侍所(さむらいどころ)があった。当時の寝殿造の邸宅で現存するものはないが、『駒競行幸絵巻(こまくらべぎょうこうえまき)』に描かれる高陽院(かやいん)や『年中行事絵巻』に描かれる東三条殿(ひがしさんじょうどの)をみることによって概要が知られる。建物内の舗設(しつらい)は『源氏物語絵巻』からも知られよう。

［工藤圭章］

変遷

高級貴族の邸宅に比べ、中級以下の身分の者の寝殿造は、主屋の寝殿が前者は間口7間以上、後者は間口5間と柱間数も少なくなり簡素化されていた。平安時代末になると、貴族の経済的能力が衰退するに及んで、正規の寝殿造の大邸宅が建てられることが少なくなり、高級貴族の邸宅でも、寝殿、北対、渡殿、対代廊、中門廊と建物の数が少なくなり、寝殿も間口5間と縮小されるような状態であった。このような簡素化された寝殿造は、中世になると、貴族住宅のみならず武家住宅にも取り入れられており、『法然上人絵伝(ほうねんしょうにんえでん)』に描かれる美作(みまさか)国（岡山県）の地方武士である漆間時国(うるまのときくに)の屋敷は、主屋が草葺きであるが、周囲の庇は板葺きで、さらに中門廊も板葺きであり、寝殿造の影響が地方にも伝播(でんぱ)したことがわかる。寝殿は中世以降になって、貴族住宅だけでなく、武家、釈家の住宅にも利用され、震殿あるいは宸殿とも記されて、邸宅における主屋として儀式の場としての性格を保つ。また、中門廊も小規模ながら寝殿に付属してつくられて伝統を受け継ぎ、やがて主殿の中門に発展する。

［工藤圭章］

寝殿造（東三条殿復原平面図）

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