Five highlights of Sanjusangen-do
First, let’s start by understanding the overall appeal of the architecture and what makes it a national treasure
Commissioned by Emperor Go-Shirakawa (後白河)’s wishes and constructed by Taira no Kiyomori (平清盛) in 1164, the original structure was lost to fire about 80 years later. It was rebuilt in 1266. The current structure showcases the fusion of Wayo (和様, traditional Japanese style) from the Heian period and construction techniques of the Kamakura period. Let’s explore its architectural highlights, categorised for clarity.
Profile
Yagasaki Zentaro (矢ヶ崎善太郎) (Professor, Faculty of Architecture and Design, Osaka Electro-Communication University)
An architectural historian specialising in Japanese architectural history, garden history, traditional building techniques, cultural heritage preservation, and sukiya (数寄屋) -style tea rooms. Known for his clear and accessible explanations, he is also involved in the research, preservation, and utilisation planning of cultural properties. Author and editor of numerous works on Japanese architecture.
Highlight 1: “Its astonishing length is like nothing else!”
The most striking feature of Sanjusangen-do is undoubtedly its extraordinary length. At around 120 metres, it’s approximately the length of 4.8 Shinkansen (新幹線) carriages—truly remarkable! “What’s more,” says Professor Yagasaki, “it’s not just long and large. Despite the vastness of the space, there’s a palpable spiritual tension befitting a religious setting. Yet it never feels oppressive—that balance reflects the refined aesthetic sense of the Heian aristocracy.”
Highlight 2: “The layout cleverly separates sacred and human spaces”
The naijin (内陣, inner sanctuary), where the principal image and Kannon statues stand, is distinct from the gejin (外陣, outer sanctuary), where visitors worship. Although the space is expansive, the boundary is made clear. “A good example is the ceiling,” says Professor Yagasaki. “Above the central Kannon sits a refined lattice ceiling, while the gejin has an exposed ceiling structure known as a kesho-yaneura (化粧屋根裏, see the photo under Highlight4).” The way this separation is achieved without a physical wall is quite masterful.
Highlight 3: “Wayo (和様) architecture enhanced by new techniques—A milestone in Japanese architectural evolution”
Although the original hall was built in the late Heian period, it was reconstructed during the mid-Kamakura era. “While the overall style remains Wayo, characteristic of the Heian period,” explains Professor Yagasaki, “you can see the introduction of newer techniques from China in the reconstruction. For example, the koryo (虹梁, arched tie beams) connecting the pillars, and the decorative kibana (木鼻, protruding wooden end details) are evidence of this evolution.” It was a period when craftsmanship began to shine not only in structure but also in aesthetic expression.
Highlight 4: “Traces of the original vivid colours can still be found”
The striking contrast between the glowing golden statues and the subdued wooden interior is memorable. But originally, Sanjusangen-do was painted in vivid vermilion. The interior was also said to be adorned with richly coloured floral and cloud motifs, and traces of these decorations still remain. “At the time, the hall was illuminated only by limited light filtering through renji-mado (連子窓, latticed windows) and the glow of candles. The Kannon statues would have looked quite different under such lighting—imagining this can add a deeper dimension to your appreciation.”
Highlight 5: “Awe-inspiring devotion: the unparalleled ambition to enshrine 1,000 statues”
In the Heian period, creating many statues was seen as a way of accumulating spiritual merit and performing good deeds. The concept of enshrining 1,000 Thousand-Armed Kannon statues reflects Emperor Go-Shirakawa’s profound faith. “While there had been precedents for enshrining multiple deities, a thousand was an entirely different scale. It was a bold and unprecedented challenge—one that undoubtedly spurred the development of architectural practices.”
A Kamakura-Era structure still standing in the heart of the city! Why Sanjusangen-do is a miraculous National Treasure
“As leadership shifted from the court nobility to monks and then to the samurai class, the nature of architecture changed with it. Kyoto’s charm lies in how many such transitions are still visible in the city today,” explains Professor Yagasaki. “Among them, Sanjusangen-do stands out as a religious space born of the aristocracy’s devout faith. It wasn’t a typical Buddhist temple but a place of worship for the imperial family and nobles, created to represent the Pure Land. That’s what gives it such a graceful and elegant atmosphere—something truly unique.”
He continues, “Kyoto, having long been at the heart of political and cultural life, has also suffered frequent disasters, including many fires. So for a building from the Kamakura period—and such a vast one at that—to have survived in the city is nothing short of miraculous. In terms of site area alone, it’s the fourth largest wooden building in Japan.”
Perhaps, he muses, there were once even more magnificent buildings nearby. “But for some reason, only this one was spared. I can’t help but feel it possesses a mysterious kind of life force,” says Professor Yagasaki. “No matter how remarkable a building may be, once it’s deemed unnecessary, it disappears. Yet some buildings remain simply because they’re meant to. That’s something I’ve come to believe through my years of study.” Since its Kamakura-era reconstruction, Sanjusangen-do has undergone four major repairs—in the Muromachi, Momoyama, Edo, and Showa periods—and has been preserved for over 750 years. It may be that it holds a timeless power that continues to captivate people across generations.
Professor Yagasaki also encourages visitors to enjoy the surrounding area.
“The site was originally part of the Hojuji-dono (法住寺殿), a detached palace built by Emperor Go-Shirakawa. In the Heian period, the eastern side of the Kamo River (鴨川) was considered the outskirts of the city. The emperors built temple complexes out here, and you can still sense that atmosphere of the historical suburbs. The presence of large public institutions like the Kyoto National Museum nearby is a remnant of that past. The views of the Kamo River and Higashiyama (東山) haven’t changed—take your time to walk around and absorb the layers of history embedded in the landscape.”
National Treasure – Rengeo-in Sanjusangen-do (国宝 蓮華王院 三十三間堂)
Address: 657 Sanjusangendo-mawari-cho, Higashiyama-ku, Kyoto, Japan
Tel: 075-561-0467
Opening Hours: 8:30am–5:00pm (9:00am–4:00pm from 16 Nov to 31 Mar; last entry 30 minutes before closing)
Admission: ¥600; Open year-round
Website: www.sanjusangendo.jp
This article was originally published in the April–May 2025 issue of WARAKU Magazine.
Text: Yuguchi Kaori | Photography: Ito Makoto
This article is translated from https://intojapanwaraku.com/culture/267004/
