Miho-jinja

Historical Footprints

According to the Izumo Fudoki, “Miho Shore is 288 meters wide, with a shrine to the west and farm dwellings to the north.” This description still accurately reflects the present-day landscape. The name ‘Miho’ itself has been written using several different sets of characters over time.

The “shrine to the west” refers to Miho Shrine, one of the officially recognized ‘shikinaisha’ shrines listed in ancient records. Although the Fudoki places Miho Shrine at the end of its ranking, this is thought to be an oversight, as its proper status is restored in the Engishiki. Given Miho’s central role in the Kuniyuzuri (Land Relinquishing) myth, it is undoubtedly one of the most important shrines in Izumo Province.

The main shrine building is constructed in the distinctive ‘Miho-zukuri’ style, consisting of two halls standing side by side. The currently enshrined deities are Mihotsuhime-no-Mikoto and Kotoshironushi. It is believed that originally only one deity, Mihosusumi—born of Okuninushi and Nunagaha-hime of the land of Koshi—was worshipped here. The present combination of deities likely developed later, influenced by the versions of the myth found in the Kojiki and Nihon Shoki.

Visitors are also encouraged to explore the many smaller shrines located outside the main precincts but still closely connected to Miho Shrine. Additionally, the well-known rituals Aofushigaki-shinji and Morotabune-shinji are particularly significant for their reenactments of the Kuniyuzuri myth.

Pilgrimage Route Guide

Major annual festivals at Miho Shrine include Aofushigaki-shinji on April 7th, Kamimukae-shinji on May 5th, and Morotabune-shinji on December 3rd.

The Aofushigaki-shinji is closely tied to the Kuniyuzuri myth. According to legend, Kotoshironushi—also known as Ebisu—consulted with Okuninushi (Daikoku) regarding the transfer of the land. After agreeing to the proposal, he overturned his boat and transformed it into a bundle of brushwood, within which he concealed himself. He was later revived as a kami and is said to lead other deities in patrolling the area around Miho Shrine.

This idea of death and rebirth carries a strong philosophical undertone. It also invites the imagination—one might picture a divine guardian, armed and vigilant, watching over the harbor and shrine, though the nature of the threat he protects against remains unknown.

The Kamimukae-shinji, held on May 5th, involves welcoming deities from two offshore islands near Mihonoseki Lighthouse—Oki-no-gozen and Chi-no-gozen—into the main hall of Miho Shrine. This ritual takes place at night, and as filming is not permitted, its full details remain largely unseen.

The Morotabune-shinji, held on December 3rd, reenacts the moment when Kotoshironushi consulted with Okuninushi. Eighteen sailors, divided between two dugout canoes, navigate the rough waters across the harbor to Marodo Shrine on the opposite shore, where Okuninushi is enshrined.

One of the highlights occurs upon arrival, when the chief priest (guji) and participants exchange ritual dialogue, followed by a distinctive sequence of hand claps—one clap followed by three. This gesture is thought to be the origin of the ‘tejime’ hand-clapping custom used in Japan to mark the conclusion of events.

The deities of Miho Shrine are said to have a special affinity for music. The shrine’s treasure repository houses over 850 cultural artifacts, including traditional Izumo koto instruments and other historical musical items. Among these is Japan’s oldest known music box, offered as a votive gift. These treasures are generally not open to public viewing.

English Translation: [ Louisa Morris ]