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- theme of predatory birds has been used in China for centuries as a symbol of authority. The motif is also frequently encountered in Japanese art, mainly in paintings. The powerful scene on the left side of the shrine shows a falcon or hawk in a pine tree with the head turned to one side. The peony, which is carved on the other side, is associated with regal power. It was a favourite subject of Chinese artists, and was adopted bythe Japanese. A pair of elegantly curved beams, sometimes called shrimp-like rainbow beams, connect the porch to the main building. They are also decorated with incised floral sprigs. The beam- ends or �nosings,� the armpit struts, frog-legged struts and bracketing are all nicely molded and add to the beautifully finished appearance of the structure.
Most prominent of all the carvings are those on the beam nosings, at the front side of the porch. They consist of a pair of exquisitely carved lion-heads and upper torsoes. Both creatures give an impression of extraordinary tension and vigour, and are depicted with curly manes and bulging eyes, one with open mouth, the other with mouth closed. This characteristic is also seen on the stone guardian lions called koma-inu (Korean dog) often found in front of shrines for protection and decoration. This practice of placing stone lions at entrances seem to have been borrowed from Buddhist temples. Lions were not native to Japan, but were the sacred guardians of Buddhism. Even more intriguing are the mythical animals on the crossbeam nosings, which possess equal anima�tion and show powerful craftsmanship. These creatures are known as baku a mythical animal who feeds on the nightmares of men, and is invoked by the words �devour o baku,� and thus promotes slumber. It appears to be a composite animal, with a hairy head, long elephant trunk-like nose, two tusks, small cow-like ears, spiny backbone, and is said to have a spotted hide and an ox tail.
The carvings of a dragon, guardian lions and the creatures known as baku on the Victoria shrine are very similar in style to the teeming sculptures found on the Edo period Tosho-gu shrine in Nikko, which may have to some extent inspired the carvers of the Victoria shrine.
Rather than being purely ornamental, however, the lavish carvings unham�pered by colour are an integral part of the overall design. Such sculptural adornments are sometimes saved when shrines are rebuilt, but it is a great rarity for a complete example of shrine architecture to find a home outside of Japan. Now an opportunity exists to view this exquisite example of Meiji period Shinto shrine carpentry in the Japanese garden of the Art Gallery of Greater Victoria.
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