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Gohei

A gohei (御幣) is a traditional Shinto ritual implement consisting of a wooden or bamboo staff adorned with zig-zag cut paper or cloth streamers known as shide, used primarily for purification and offerings to the kami (deities).^[1] It serves as a type of heihaku, or ritual offering, and is wielded by Shinto priests (kannushi) and shrine maidens (miko) during ceremonies to cleanse sacred spaces, sanctify individuals or objects, and invoke divine presence.^[2] The shide streamers, typically white, gold, silver, or multicolored, symbolize purity and are derived from ancient cloth offerings (mitegura) attached to staffs, evolving over time from rectangular paper forms to the distinctive folded or cut styles seen today.^[3] Historically, gohei appear in classical Japanese texts such as the Kojiki and Nihon shoki as early forms of "hei" or "shinpei," initially made from rough cloth like yū (from paper mulberry bark) and later standardized with paper during the Heian period as documented in the Engishiki.^[2] In shrine rituals, gohei function as yorishiro—temporary vessels for kami spirits—or as decorative elements on torii gates, shimenawa ropes, and altars to demarcate sacred boundaries and ward off impurities.^[1] Variations exist across Shinto traditions, such as the Ise, Shirakawa, and Yoshida styles, where shide may be folded in two, four, or eight layers, reflecting regional and ceremonial differences.^[3] Beyond temple use, gohei hold cultural significance in practices like sumo wrestling, where they adorn the yokozuna's ceremonial belt during ring-entrance rituals, and in broader Japanese customs symbolizing spiritual cleansing and divine favor.^[3] Post-Meiji era reforms in 1875 further integrated gohei into formalized shrine protocols, distinguishing them from food offerings (shinsen) while allowing monetary substitutes in some contexts.^[2] As enduring symbols of Shinto's emphasis on purity (harae) and harmony with nature, gohei remain integral to festivals (matsuri), weddings, and exorcisms, embodying the faith's non-dogmatic, ritualistic core.^[1]

Etymology and Terminology

Origin of the Name

The term gohei derives from the Japanese kanji 御幣 (gohei), in which 御 (go) functions as an honorific prefix signifying "august," "honorable," or "divine," while 幣 (hei) originally denoted silk cloth or fabric presented as gifts or offerings to deities and high authorities.^[4] This etymology reflects the object's role as a sacred item in Shinto, evolving from literal cloth tributes to symbolic representations.^[5] References to similar ritual offerings appear in foundational Japanese texts, including the Kojiki (712 CE) and Nihon Shoki (720 CE), where the term hei describes cloth-based gifts symbolizing devotion and purification presented to kami (deities).^[5] These early accounts emphasize hei as tangible tokens of respect in ceremonial contexts, predating the paper forms associated with modern gohei.^[2] The pronunciation and kanji usage of gohei have evolved over centuries, with classical literature employing alternative readings such as mitegura (御手倉) to refer to these offerings, interpreted as "full storehouse" or emblematic gestures of homage.^[2] This variation highlights a shift from substantive cloth items to more abstract, paper-derived symbols while retaining the core connotation of divine tribute. In Shinto practice, the onusa, also known as ōnusa when referring to a larger variant, is a ritual wand employed in purification ceremonies to invoke kami or exorcise impurities such as tsumi (sins) and kegare (pollutions).^[6] Etymologically, "nusa" derives from ancient terms denoting offerings made of silk, paper mulberry bast, or flax fibers, evolving to encompass woven fabrics or paper streamers (shide) attached to sakaki branches or wooden staffs.^[6] These implements historically involved waving the wand in a specific pattern—left, right, left—over persons or objects to transfer or dispel defilements.^[6] The haraegushi serves a similar exorcistic function as a specialized purification wand, typically featuring numerous shide attached to a hexagonal or octagonal unfinished wooden staff.^[6] Priests wave it rhythmically over worshipers during harai rituals to cleanse the body, mind, and surroundings of evil influences, often as part of public ceremonies requiring preparatory purification like bathing and dietary restrictions.^[7] While sharing gohei-like features such as paper streamers, the haraegushi emphasizes exorcism over general offering, with its name's kanji (祓串) highlighting "purification skewer" in contrast to gohei's (御幣) focus on "honorable offering."^[6] Taima represents a variant of onusa, particularly associated with hemp-based constructions and distributed as talismans from major shrines like Ise Jingū, where it functions in rituals praying for agricultural prosperity.^[8] In harvest contexts, such as those at Ise, taima incorporates rice elements alongside hemp and salt as sacred staples offered to kami for bountiful yields, distinguishing it from standard paper onusa.^[9] Key distinctions among these implements lie in their kanji and contextual applications: onusa (幣 or 大幣) denotes broad offerings suitable for communal rites, often larger in scale, whereas gohei maintains a compact, handheld form for versatile priestly use.^[6] Haraegushi (祓串) prioritizes exorcism in formal settings, and taima integrates harvest-specific materials like rice for shrine distributions, underscoring Shinto's emphasis on contextual purity tools.^[8]

Description

Components

A standard gohei is structured around an upright wooden stick, known as the heigushi, which serves as the main body of the implement. At the tip of this stick, shide—zigzag-folded or cut paper streamers—are attached, typically consisting of two such streamers positioned to hang downward.^[1]^[10] The shide are secured to the heigushi either by binding their ends with a thin cord or string, or by inserting them into a slit carved at the end of the stick. This assembly allows the gohei to be waved effectively during rituals, with the streamers creating a visual and symbolic motion. In some constructions, four shide may be used instead of two, arranged symmetrically around the tip for added emphasis.^[10]^[1] Materials for these components, such as the type of wood or paper, vary but are selected for durability and ritual purity.^[1]

Materials and Construction

The gohei is traditionally constructed from natural, unadorned materials that reflect Shinto principles of purity and simplicity. The central stick, referred to as the heigushi, is typically made from plain bamboo or other undecorated wood, chosen for its straightforward strength and lack of ornamentation to avoid distracting from the ritual purpose.^[1] The defining feature of the gohei, the shide streamers, consists of zigzag-folded strips cut from white, gold, silver, or multicolored washi paper, a traditional Japanese paper produced from the inner bark fibers of the mulberry tree (kozo), which imparts a clean, translucent quality symbolizing ritual purity.^[11]^[1] These shide are formed by first cutting rectangular sheets of washi into narrow strips and then folding them in a continuous rotating or accordion pattern to produce the characteristic zigzag shape, evoking lightning bolts that represent divine energy and purifying forces in Shinto cosmology.^[12] Assembly involves attaching an even number of shide—often two or more pairs—to the top end of the heigushi by binding them securely with undyed cotton or hemp string, materials selected for their natural origins and association with cleanliness in Shinto tradition; hemp fiber, in particular, has long been revered for its ritual significance and durability.^[13] In contemporary practice, adaptations for practical use include substituting synthetic or reinforced papers for the shide in outdoor settings to improve weather resistance and longevity, though such variations prioritize adherence to purity standards by avoiding dyes or impurities.^[14]

Historical Origins

Ancient Roots

A significant indigenous parallel appears in the Ainu tradition of inao (also spelled inau), wooden wands adorned with spiraling shavings from willow or other trees, used as offerings to kamuy (nature spirits) in animistic ceremonies predating the formalized Shinto framework. These inao served dual purposes as both representational fetishes and direct gifts, often clustered to form temporary shrines (nusa), mirroring the gohei's role in invoking and honoring divine presences. Scholar W.G. Aston noted the linguistic and functional overlap, with the Ainu term nusa deriving from ancient Japanese words for offerings, indicating shared roots in pre-Yayoi hunter-gatherer cultures that influenced broader Japanese spiritual tools. This connection underscores gohei's ties to northern indigenous animism, where such implements facilitated communication with unseen forces long before continental influences shaped Shinto.^[15]^[16] The earliest documented evidence of structured paper or cloth offerings akin to gohei appears in the Engishiki, a comprehensive administrative code compiled in 927 CE that details imperial court rituals at Shinto shrines. In its norito (liturgical prayer) sections, the text describes heihaku—offerings encompassing white cloth (yū and nigite made from flax or paper mulberry), alongside weapons, rice wine, and foodstuffs—presented during seasonal and imperial ceremonies to ensure harmony and prosperity. These heihaku were placed on altars or wands as symbolic gifts to kami, evolving from earlier cloth-based practices into the paper streamers (shide) characteristic of gohei, marking a transition toward standardized ritual implements in early medieval Japan.^[2]

Development in Shinto Tradition

During the Nara (710–794 CE) and Heian (794–1185 CE) periods, gohei were integrated into imperial court rituals as essential elements of kami worship, evolving from ancient cloth offerings to standardized paper-adorned wands used to invoke and honor deities. The Kojiki (712 CE) mentions early offerings known as "hei" in various kami-invoking rituals, including those involving sakaki branches to attract deities like Amaterasu, which later evolved into gohei forms. Similarly, the Nihon Shoki (720 CE) describes rituals involving offerings and divine possession, such as during Emperor Sujin's consultations and Empress Jingū's campaigns, highlighting early practices that contributed to the development of gohei for spirit communication. By the Heian era, gohei had become rectangular paper attachments on wooden staffs (heigushi), serving as temporary embodiments (mishōtai) for kami or decorative elements in sanctuaries, reflecting Shinto's formalization amid growing state rituals. During the Heian period, these evolved from cloth (yū and nigite) to rectangular paper attachments on wooden staffs, as paper production became widespread.^[1] In the medieval period spanning the Kamakura (1185–1333 CE) to Edo (1603–1868 CE) eras, gohei saw widespread adoption in shrine architecture and festivals, adapting to the pervasive Buddhist-Shinto syncretism while preserving their core emphasis on ritual purity. During the Kamakura and Muromachi periods, zigzag paper streamers (shide) were added to the sides of gohei staffs, enhancing their use in purification rites and as vessels for kami descent, even as esoteric Buddhist schools like Ryōbu Shinto incorporated them into blended ceremonies at major shrines such as Ise and Izumo. This evolution maintained gohei's distinct Shinto identity—unassociated with Buddhist icons—allowing their proliferation in local matsuri (festivals) and shrine precincts, where they marked sacred boundaries and offerings amid syncretic practices. By the Edo period, gohei were ubiquitous in both elite and folk rituals, with standardized forms in gold, silver, white, or multicolored paper reinforcing their symbolic role in embodying kami presence without dilution by Buddhist elements.^[1] The Meiji Restoration of 1868 marked a pivotal revival of gohei as a purely Shinto symbol following the shinbutsu bunri policies, which mandated the separation of Shinto from Buddhism to restore indigenous traditions. These reforms prohibited syncretic elements in shrines, such as Buddhist priests (bettō) performing Shinto rites, and reinstated dedicated kannushi (Shinto priests) to handle gohei in rituals, emphasizing their role in purification and kami invocation free from Buddhist overlays. This purification effort elevated gohei's status in state-sponsored shrine practices, aligning with kokugaku (national learning) ideals that positioned them as emblems of Japan's ancient spiritual heritage, solidifying their standardized use across imperial and local ceremonies thereafter.^[17]

Ritual Functions

Purification Ceremonies

In Shinto tradition, the gohei serves as a central implement in harae, the purification rites aimed at dispelling impurities known as kegare from individuals, spaces, or objects. Priests (kannushi) or shrine maidens (miko) wave the gohei rhythmically over the subject to symbolically sweep away negative energies and restore spiritual purity, often while reciting norito chants that invoke the kami's cleansing power. This action is frequently complemented by the sprinkling of salt or water to enhance the ritual's efficacy in removing pollution and preparing participants for communion with the divine.^[18]^[19] The gohei features prominently in misogi, a water-based purification ceremony where participants immerse themselves in natural waters like rivers or waterfalls to cleanse both body and spirit. During these rituals, kannushi or miko employ the gohei to wave over the group or site, invoking the kami to amplify the purifying effects of the water and expel lingering kegare. This practice underscores misogi's role in achieving profound spiritual renewal, particularly before major festivals or personal milestones.^[20]^[18] In oharae, the major annual shrine cleansings held semi-annually—typically in June and December— the gohei is used on a larger scale to purify entire communities or sacred precincts. Performed by head priests (guji) during these communal events, the waving of the gohei accompanies elaborate norito recitations that address national or collective sins, driving out malevolent forces like magatsuhi to harmonize human affairs with the kami. These ceremonies, rooted in ancient Engi-shiki protocols, emphasize the gohei's role in maintaining societal purity.^[19]^[18] Procedurally, the use of the gohei in harae involves specific waving patterns designed to "sweep" impurities comprehensively. The priest typically holds the wand aloft and swings it briskly from left to right and back, with pauses at each side to allow the paper streamers (shide) to rustle and channel purifying energy; this may extend to four directions—front, back, left, and right—for spatial cleansings like shihōbarai, ensuring all quadrants are sanctified. Such motions, performed with a slight bow, symbolize the kami's intervention in banishing kegare and are integral to the ritual's transformative power.^[21]^[18]

Other Ceremonial Uses

In Shinto blessing rituals, gohei are placed or waved by priests at altars during matsuri festivals to consecrate offerings such as rice, sake, and seasonal produce, thereby invoking the kami's presence and sanctifying the surrounding spaces. This practice ensures that the communal celebrations align with divine harmony, as the zigzag paper streamers (shide) attached to the wand symbolize purity and the kami's descent.^[22]^[1] In jinja weddings and inaugurations, gohei symbolically mark sacred boundaries around the ceremony site, creating a delineated area for the rite while invoking prosperity and protection for the participants. As a mishōtai, or temporary vessel for the kami's spirit, the gohei is presented alongside offerings to bless the marital union or new endeavor, emphasizing continuity and auspicious beginnings in these life-cycle events.^[1]

Variations and Types

Standard Gohei

The standard gohei is the most common form of this Shinto ritual implement, consisting of a simple wooden or bamboo stick to which zigzag-folded white paper streamers known as shide are attached. Typically featuring two shide streamers, the wand measures approximately 20 to 50 centimeters in length, making it suitable for handheld use during ceremonies by shrine maidens (miko) or priests (kannushi).^[23]^[24] The white color of the shide symbolizes purity, a core principle in Shinto practices, and the overall design emphasizes portability and simplicity for routine invocations and purifications.^[23] This form of gohei is ubiquitous in everyday Shinto activities, appearing frequently during shrine visits, at home altars (kamidana), and in minor rituals such as personal prayers or seasonal offerings. It is often waved to invite the presence of kami (deities) or to perform oharai purification, and in some contexts, it is disposable after a single use, left as an offering on the altar to signify the completion of the rite.^[23] Its prevalence stems from its role in accessible, non-elaborate ceremonies that maintain the continuity of Shinto traditions in both public and private settings.

Specialized Forms

One specialized form of the gohei is the haraegushi, a purification wand featuring a longer staff adorned with multiple layers of shide paper streamers attached to a hexagonal or octagonal handle.^[25] This variant is employed in large-scale harai exorcism rituals, often during festivals, where priests wave it over participants or spaces to dispel impurities and evil influences.^[26] Unlike simpler gohei, the haraegushi's extended design and abundant shide enhance its sweeping motion for communal cleansing ceremonies.^[20] In regional adaptations, particularly in Hokkaido's Ainu-Shinto syncretic practices, gohei-like implements draw inspiration from the Ainu inao or inau, which consist of wooden sticks whittled to produce spiraling shavings rather than paper shide.^[16] These inao-inspired forms serve as offerings to spirits in blended rituals, symbolizing natural elements and placed at shrines or household altars to invoke protection and harmony.^[27] The wooden shavings mimic the zigzag pattern of traditional shide, reflecting cultural exchanges between Ainu and Shinto traditions in northern Japan.^[28] These variations in color and folding—such as two-fold in the Ise style, four-fold in the Yoshida style or eight-fold in the Shirakawa style—adapt the gohei for specific ceremonial contexts, enhancing symbolic representation.^[29]^[3] For imperial ceremonies, the onusa represents a material-specialized form, utilizing hemp or silk cloth streamers instead of paper, attached to sakaki branches or staffs to signify purity and divine connection. Hemp, revered in Shinto for its cleansing properties, features prominently in these formal offerings, contrasting with everyday paper-based gohei and underscoring the ritual's elevated status.^[30] Such cloth variants trace back to ancient practices, where they were woven as honorable gifts to the kami during enthronement or major court rites.^[31]

Cultural and Symbolic Importance

Symbolism

The zigzag folds of the shide attached to the gohei mimic lightning, symbolizing the purifying power of the kami and serving as a conduit for divine energy in Shinto rituals.^[32] These folds also represent the boundary between the sacred realm, free from kegare (impurity), and the profane world, demarcating spaces where the divine can manifest.^[33] In this role, the gohei embodies ma, the sacred interstitial space that fosters connection with the kami, while aligning with harae principles of exorcising defilement to restore harmony with nature.^[33] The white color of the shide primarily signifies purity, essential to Shinto cosmology where ritual cleanliness enables communion with the divine.^[1] This hue also carries connotations of mourning in Japanese tradition, reflecting the transient nature of life and the soul's return to purity beyond death, though in gohei usage it prioritizes ceremonial sanctity over funerary contexts.^[34] When waved during ceremonies, the gohei's motion invokes the descent of heavenly kami, temporarily housing their presence as a yorishiro (temporary vessel for kami spirits) and echoing mythological narratives of divine emergence into the world.^[33] Philosophically, the gohei integrates these elements into Shinto's emphasis on natural equilibrium, where purification through its use reaffirms humanity's alignment with cosmic forces and the kami's benevolent influence.^[1] This symbolism underscores the object's role not merely as a tool, but as a profound emblem of spiritual renewal and the sacred-profane divide central to Shinto worldview.^[33]

Contemporary Relevance

In contemporary Shinto practice, gohei continues to play a central role in daily rituals across Japan's extensive network of shrines, where priests and shrine maidens wave them to purify spaces, participants, and offerings during morning services and routine ceremonies. As of 2022, the Agency for Cultural Affairs reported 80,608 Shinto shrines nationwide, many of which incorporate gohei in these ongoing activities to invoke and honor the kami. This traditional use extends into broader cultural events, particularly the annual hatsumode, Japan's first shrine visits of the New Year, which draw millions of participants seeking blessings for health, prosperity, and family well-being; during these crowded gatherings, gohei features prominently in priest-led purification rites that enhance the spiritual atmosphere amid tourism-driven crowds.^[35]^[36]^[37] Following World War II and the 1945 constitutional separation of Shinto from state control, gohei's application has evolved to include secular and commercial contexts, reflecting Shinto's adaptation as a cultural institution rather than solely a religious one. Shrines now routinely perform gohei-involved blessings for businesses, new vehicles, and corporate milestones, such as groundbreakings or annual prosperity prayers, blending ritual purity with modern economic life; for instance, companies visit sites like Kanda Myojin Shrine during hatsumode to secure kami protection for stable operations and growth. This revival underscores Shinto's resilience post-State Shinto's decline, with gohei symbolizing continuity in Japan's hybrid religious-secular landscape. Additionally, gohei has permeated popular media, most notably as the signature staff wielded by Reimu Hakurei, the protagonist shrine maiden in the long-running Touhou Project series, where it serves as both a ritual tool and combat weapon in video games, anime adaptations, and fan works, exposing the item to international audiences.^[38]^[39] Gohei's influence has spread globally through Japanese diaspora communities, particularly in the United States and Brazil, where it sustains cultural ties amid assimilation. In the US, Japanese American groups maintain Shinto traditions at established sites like Tsubaki Grand Shrine in Washington state, one of the oldest overseas shrines, using gohei in purification ceremonies for community events and ancestor veneration to preserve ethnic identity. Brazil, hosting the world's largest Japanese-descended population of over 2 million, sees gohei integrated into transplanted Shinto practices via nikkei associations and local shrines, such as those in São Paulo's Liberdade district, where rituals blend with Brazilian festivals to foster intergenerational continuity. These diaspora uses occasionally inform interfaith dialogues, as Shinto priests discuss gohei's purification motifs with Christian and other leaders to explore universal themes of spiritual cleansing and harmony.^[40]^[41]

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Summary of each segment:
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None
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