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The Four Protective Dragons (Shiho no Ryū 四方の龍)

The carvings throughout the shrine were created by master sculptor Iida Sennosuke, who was especially known for his detailed “Dragon” motifs. Even today, more than a hundred dragon carvings from the late Edo period (1603–1868) can be found “dwelling” in the shrine, creating a mysterious and spiritual atmosphere.

One of the most impressive sights is the ceiling of the worship hall (Haiden 拝殿), where around 50 dragon heads (Ryūzu 龍頭) are depicted. These dragons are believed to ward off plagues and protect the worshippers.

Additionally, under the eaves of the main sanctuary (Honden 本殿), at all four directions—northeast (Ushitora 艮), southeast (Tatsumi 巽), southwest (Hitsujisaru 坤), and northwest (Inui 乾)—you will find dragon carvings positioned to protect the enshrined deity from disasters. These dragons are essential spiritual guardians within the shrine’s architecture.

Dragons of the Katōmado (Katōmado no Ryū 花頭窓の龍) — The Carved Dragons of the Decorative Windows

On the north and south sides of the main sanctuary (Honden 本殿), you will find decorative windows called Katōmado (花頭窓), or “flower-shaped windows.” Each of these unique architectural elements features a carved dragon (Ryū 龍).

The design shows two dragons with their tails intertwined and a sacred jewel (Hōju 宝珠) placed above them. This composition is reminiscent of the legendary Chinese deities “Fuxi and Nüwa (Fukki 伏羲 and Joka 女媧)” , representing harmony and cosmic balance.

Dragon carvings on Katōmado are rare throughout Japan, making these particular sculptures especially valuable from both artistic and cultural perspectives.

The Dáryū (鼉竜) — Mythical Rain-Bringing Dragon Beneath the Veranda

Among the many carvings adorning the shrine buildings, you can find mythical beasts and creatures associated with water. One notable example is the Dáryū (鼉竜), carved beneath the veranda (En no Shita 縁の下) of the main sanctuary (Honden 本殿).

The Dáryū is described in “The Wakan Sansai Zue (和漢三才図会)” , an encyclopedic text published during the Edo period. According to this text, the Dáryū exhales mist that forms rain clouds, thereby summoning rainfall—a divine creature revered for its ability to influence weather.

Even among Edo-period shrine carvings, depictions of the Dáryū are considered highly rare and precious, showcasing the creativity and belief systems of the time.

The Shachihoko (魚虎) — Guardian of the Shrine from Fire

Like “The Dáryū (鼉竜)” , the mythical creature “The Shachihoko (魚虎)” is also featured in “‘The Wakan Sansai Zue (和漢三才図会)’, under the section titled Yūrin-gyo (有隣魚) or ‘neighboring fish of the sea’.”

The carving beneath the main sanctuary (Honden 本殿) shows a creature with the head of a dragon and the body of a fish—this is the Shachihoko. Traditionally, it is believed to protect structures from fire, as it is said to have the power to summon water.

Although it differs greatly from the famous “Golden Shachihoko（Kin no Shachihoko 金の鯱）” atop Nagoya Castle, this carving serves a similar role. It is a symbolic guardian placed beneath the eaves (En no Shita 縁の下), silently protecting the shrine from calamity.

The Immortals’ Game of Go and the Rotten Axe Handle（仙人の烏鷺と腐斧）

Uro (烏鷺) is a poetic term for the game of Go, where black and white stones are likened to a crow (烏) and a heron (鷺). This intricate carving depicts a scene in which a woodcutter stumbles upon two immortals deeply engrossed in a game of Go.

Captivated by the match, the woodcutter watches for so long that he forgets time itself—so long, in fact, that the wooden handle of his axe begins to rot. This tale symbolizes how completely one can be absorbed in something timeless and profound.

Created in the late Edo period, a time marked by natural disasters and hardship, this carving may be conveying a deeper message: even in difficult times, embracing a playful or reflective mindset can make time pass more gently. It reminds us to find calm and spaciousness in our hearts, especially during hardship.

The Baku (獏) — Dream-Eating Beast and Symbol of Peace

Within the shrine’s architectural carvings, you can find the legendary creature known as “The Baku (獏)” —a fantastical beast from East Asian folklore.

One particularly clever carving appears beneath the eaves (En no Shita 縁の下). At first glance, it looks like ocean waves—but upon closer inspection, it reveals the form of the Baku, blending artistic illusion with spiritual symbolism.

The Baku is known for devouring nightmares, but also, according to folklore, it eats iron (Tetsu 鉄). This has led to its association with peace and the removal of conflict.

At this shrine, on the night of January 2nd, a special talisman called the “Hatsuyume Takarabune (初夢宝船)” is distributed. This lucky charm, meant to be placed under one’s pillow, invites good dreams for the new year. Uniquely, the sail of the treasure ship doesn’t bear the usual character for “Treasure (Takarabune 宝)” , but instead features the character for “Baku (獏)” , symbolizing protection from bad dreams and a wish for a joyful beginning to the year.

Sima Guang and the Broken Jar（司馬光　甕割りの図）— Kame (甕) and the Lesson of Compassion

This carving depicts a famous story about Sima Guang (司馬光), a renowned scholar and statesman of the Northern Song Dynasty in China, best known for his historical work “Zizhi Tongjian (資治通鑑)” .

As a child, Sima Guang witnessed a friend fall into a large water jar (Kame 甕). Without hesitation, he smashed the jar with a stone, allowing the water to spill out and rescuing his friend from drowning.

The jar, however, was a prized possession of his father. Fearing punishment, Sima braced himself—but instead of scolding him, his father praised his courage and quick thinking. He used the moment to teach an important lesson: life is far more valuable than material things.

This timeless story reminds us that true virtue lies in valuing people above possessions.

The One-Horned Mythical Beast — Ikkaku Reijū (一角霊獣) beneath the Karahafu Roof

On the west side of the main sanctuary (Honden 本殿), the roof features a distinctive curved gable known as a Karahafu (唐破風)—a traditional architectural style often seen in shrines and temples.

According to records from 1982 (Shōwa 昭和 57), the original shrine (Motomiya 元宮) was once enshrined beneath this roof section.

Beneath the Karahafu, there is a remarkable carving of a one-horned mythical beast, or Ikkaku Reijū (一角霊獣). Created in the late Edo period, this carving may have been influenced by the influx of foreign knowledge and imagery at the time—possibly even inspired by Western-style dragons (Doragon ドラゴン).

Interestingly, in “Butsurui Hinshitsu (物類品隲)” , an encyclopedia published in 1763 by Hiraga Gennai, a similar creature called Dáryū (鼉竜) is described—not with the traditional appearance found in “The Wakan Sansai Zue (和漢三才図会)” , but with a form resembling that of an iguana. This illustrates how Edo-period artists began blending Eastern mythology with new, exotic influences from abroad.

The Shin (蜃) — Mirage-Creating Spirit Beast at the Four Corners

Beneath the eaves of the main sanctuary (Honden 本殿), at the four cardinal corners—northeast (Ushitora 艮), southeast (Tatsumi 巽), southwest (Hitsujisaru 坤), and northwest (Inui 乾)—you will find carvings of a mythical creature known as the Shin (蜃).

If you look closely, you’ll notice a smoky mist emerging from the mouths of these creatures. According to legend, the breath exhaled by a Shin spreads like vapor and forms grand illusions of towers and palaces.

This legendary ability is the origin of the word Shinkirō (蜃気楼), meaning “mirage.” The Shin is thus revered as the mythical beast that creates these fantastical visual phenomena.

The Peony and the Chinese Lion — Karajishi Botan (唐獅子牡丹)

The lion (Shishi 獅子), known as the king of all beasts (Hyakujū no Ō 百獣の王), is said to have no enemies. However, legend tells of a single weakness hidden within: a small creature called a Mushi (蟲), or insect, that lives inside the lion’s body.

When this insect stirs or thrashes about, the mighty lion writhes in pain, unable to remain calm—despite its strength and majesty.

The only remedy, it is said, is for the lion to absorb the dewdrops from a peony flower (Botan 牡丹). As the moisture soaks into its body, the lion’s agony eases and the turmoil within subsides.

This beautiful legend has long symbolized the idea that the peony represents the power to heal inner distress and emotional pain—a calming force even for the fiercest of spirits.

The Water Rhinoceros and the Sea Horse — Suisai (水犀) and Kaiba (海馬), Mythical Beasts of Protection

The Suisai (水犀), or “Water Rhinoceros,” is a mythical beast unique to Japanese folklore.
Descriptions passed down through oral tradition portray it as having a deer-like body, with a torso protected by shell-like armor, horns on its head, and hooves on its feet.

Since real rhinoceroses (Sai, 犀) did not exist in Japan at the time, this creature was imagined based on second-hand accounts and interpreted through traditional art forms.
Its appearance is realized here in the form of an intricate wooden carving beneath the eaves (En no Shita, 縁の下).

In The Hokusai Manga (北斎漫画) by Katsushika Hokusai, the Suisai appears alongside another mythical creature known as the Kaiba (海馬), or “Sea Horse.”
At this shrine, carvings depict three Suisai accompanied by a single Kaiba, a rare composition that is highly valued both artistically and historically.

These water-associated spirit beasts are believed to bestow the blessings of water and to serve as divine guardians of the shrine, protecting it from disaster and misfortune.

Yakyū Inari Jinja (箭弓稲荷神社) — A Sacred Shrine Preserving Over 1,300 Years of History

Yakyū Inari Shrine (箭弓稲荷神社), one of the oldest in the region, is said to have been founded in Wadō 5 (和銅五年), or 712 CE. In 2013 (Heisei 平成 25), the shrine celebrated its 1,300th anniversary of enshrinement (Gochinza Senbyaku-nen 御鎮座千参百年).

The current shrine buildings were planned during the Bunka era (1804–1818) of the late Edo period.
Construction of the Main Hall (Honden 本殿) and the Hall of Offerings (Heiden 幣殿) was completed in Tenpō (天保) 6 (1835), and by Tenpō 11 (1840), the Worship Hall (Haiden 拝殿) was finished, resulting in the completion of the shrine’s distinctive Gongen-zukuri (権現造り) architectural style.

The inner doors of the main sanctuary, which are normally hidden from public view, feature vibrantly colored openwork carvings. These exquisite decorations serve as enduring examples of the advanced craftsmanship of the late Edo period.

The master carpenter (Tōryō 棟梁) was Iida Izumi-no-Kami Fujiwara Kanenori (飯田和泉守藤原金軌) from Kawara-Aketo in the Ōsato District of Bushū Province.
His younger brother, Iida Sennosuke (飯田仙之助), is said to have been the lead sculptor, along with others.
Sennosuke was a disciple of Ishihara Ginpachi Yoshiaki (石原吟八義明), the second-generation head of the Ishihara school, which originated from the Kurokawa-gō Buddhist sculptor collective (黒川郷彫物仏師集団) in Jōshū (modern-day Gunma).
He inherited the refined carving techniques of this lineage, which traces its roots back to the legendary artisan Hidari Jingorō (左甚五郎).
Ishihara Ginpachi Yoshiaki himself was a direct student of Ishihara Ginpachirō Yoshitake (石原吟八郎義武), the master sculptor responsible for the carvings of Kanki-in Shōtendō (歓喜院聖天堂)—a structure now designated as a National Treasure of Japan.

His works at this shrine include rare representations of dragon-like creatures such as the Shin (蜃), Shachihoko (鯱), and Dáryū (鼉竜), as described in “The Wakan Sansai Zue (和漢三才図会)” , an encyclopedic text from the Edo period. These carvings are now considered an important legacy of religious and artistic culture from the Kasei Bunka (化政文化) era.

From that time onward, many pilgrims from Edo (present-day Tokyo) traveled to Bushū Matsuyama (now Higashimatsuyama), as documented in historical sources like “Yūreki Zakki (遊歴雑記)” , “Bukō Nenpyō (武江年表)” , and the “Kawagoe Matsuyama Junran Zushi (川越松山巡覧図誌)” .

One of the treasures preserved by the shrine is a large votive painting (Ōema 大絵馬) titled “Meoto Gitsune (めおとぎつね)” , donated in 1835 (Tenpō 6 天保六年) by a couple from Koamichō, Nihonbashi. Measuring 180 cm by 240 cm, it is a rare and valuable artifact offering insight into the spiritual lives of Edo-period worshippers.

For more about this artwork, please refer to the shrine's website under the section titled “Meoto Gitsune” .

Kabuki and Yakyū Inari Shrine — Danjūrō Inari and the Faith of Edo's Stage Artists.

Historical records also show a strong connection between this shrine and the kabuki actors of the Bunka (文化) and Bunsei (文政) eras (early 1800s).

The 7th generation Ichikawa Danjūrō (七代目市川團十郎), known for establishing the famous “Kabuki Jūhachiban (歌舞伎十八番, “Eighteen Best Plays of Kabuki” )” , was a deeply devoted follower of Yakyū Inari. It is said that he secluded himself at the shrine to pray for artistic mastery and the fulfillment of great wishes.

When his prayers were answered, Danjūrō attributed it to the divine power (Shin'i 御神威) and miraculous blessings (Reigen 御霊験) of the shrine. In gratitude, he donated a stone shrine (Hokora 祠) in the autumn of 1821 (Bunsei 4 文政四年). This shrine is now known as “Danjūrō Inari (團十郎稲荷)” , and was later visited by the 9th and 12th generations of Danjūrō. In 2021 (Reiwa 3 令和三年), it celebrated its 200th anniversary.

The shrine also preserves two works of Ukiyo-e (浮世絵) by Utagawa Kunisada I (初代国貞), one of the most prominent artists of the time.

One of the prints, titled “Matsuyama Yakyū Inari no Zu (松山やきう稲荷の図)” , features well-known kabuki actors such as Ichikawa Somegorō (市川染五郎), Bandō Mitsuemon (坂東三津右衛門), Bandō Minosuke (坂東蓑助), Nishikawa Sōzō (西川宗三), Nakamura Denkūrō (中村伝九郎), Anegawa Daikichi (姉川大吉), and Arashi Kanjurō (嵐勘十郎). It also illustrates the layout of Yakyū Inari Shrine as it appeared in the mid-Edo period.

The other print is titled “Kōjō Kyōgen — Yakyū Inari / Naritasan (口上狂言　箭弓稲荷・成田山)” , produced in 1833 (Tenpō 4 天保四年). It features Onoe Kikugorō (尾上菊五郎) representing Yakyū Inari and Ichikawa Danjūrō for Naritasan Temple—together forming a diptych.

In the text of “Kōjō Kyōgen — Yakyū Inari” , it states:

“Yakyū Inari in Bushū Matsuyama is a shrine of great spiritual power, widely known and visited by countless pilgrims every year.
Especially this year (Tenpō 4), a new shrine building has been completed, and a grand relocation (Miyautsushi 宮うつし) will be held this September.
Furthermore, in the Year of the Monkey (Tenpō 7), a special public viewing (Gokaichō 御開帳) will take place in March.
As a long-time member of this faith community (Kōchū 講中), I share this news with all believers who hold even deeper devotion.”

These records reflect the strong connection between the performing arts and spiritual devotion in Edo-period society, offering a rich cultural heritage preserved at Yakyū Inari Shrine.