Oyada Shrine has long been revered as the “Inner Shrine of Mino” and is particularly famous as a destination for autumn foliage. Its main hall and worship hall, rebuilt in the early Edo period (1603–1868), are designated Important Cultural Properties of Japan. The shrine enshrines Takehayasusanoo-no-Mikoto and Amenowakahiko-no-Mikoto.
Approximately 3,000 wild Japanese maple trees grow naturally within the shrine grounds. In autumn, their leaves turn brilliant shades of red, creating a spectacular landscape that attracts many visitors.
The shrine is believed to have been founded during the reign of Emperor Kōrei. According to its traditional account, a vicious dragon once settled in the mountains and troubled the local villagers. Seeking divine protection, they prayed at the burial site of Amenowakahiko on Mount Mogari, now associated with Mogari Tenjin Shrine. They then received a divine message in a dream instructing them to worship Takehayasusanoo-no-Mikoto.
Takehayasusanoo-no-Mikoto subsequently appeared and defeated the evil dragon. In gratitude, the villagers built a small shrine to enshrine both Takehayasusanoo-no-Mikoto and Amenowakahiko-no-Mikoto.
In 716, during the Yōrō era, the Buddhist monk Taichō established a religious center in the Mount Tennō area and named it Tennōzan Zenjōji Temple. The temple was destroyed by fire during warfare in 1556. Only two sub-temples, Gokurakubō and Jōsenbō, were subsequently restored.
In 1870, during the Meiji-era separation of Shinto and Buddhism and the movement to eliminate Buddhism, the deity Gozu Tennō was once again enshrined under the name Takehayasusanoo-no-Mikoto, and the shrine was renamed Oyada Shrine. The tower gate, formerly the Niōmon gate, survived as the only remaining gate in a Buddhist architectural style.
Momiji Valley, located within the shrine grounds, is a popular destination featuring a natural woodland of approximately 3,000 Japanese maple trees. Visitors can enjoy the contrast between fresh green maple leaves and white fringed iris flowers in spring, while autumn transforms the valley into a carpet of brilliant crimson foliage.
Early mornings on weekdays are particularly peaceful, with fewer visitors and excellent opportunities to photograph the vivid autumn leaves.
Some of the trees are more than 1,000 years old. In 1930, the maple woodland in Kaedani Valley was designated a National Natural Monument of Japan.
Oyada Shrine Shrine preserves a number of important buildings, artworks, and historical objects that reflect the area’s religious and cultural heritage.
Main Hall: Built in the Kanbun era, designated an Important Cultural Property of Japan.
Worship Hall: Built in the 11th year of the Kanbun era, designated an Important Cultural Property of Japan.
Kaedani Valley Japanese Maple Woodland: Covering approximately 90.3 ares, this woodland is designated a National Natural Monument.
Silk Painting of Shakyamuni and the Sixteen Benevolent Deities: A work dating from the Muromachi period (1336–1573).
Zenjōji Temple Bell: Cast in 1494.
Aoyanagi Shrine Bell: Cast in 1523.
Tower Gate (Former Niōmon): Built in 1728.
Seated Statue of Amida Buddha: Dating from the Muromachi period.
Seated Statue of Kōbō Daishi: Dating from the Muromachi period.
Hand-Copied Daihannya Sutras: Dating from the Muromachi period.
Helmet: Dating from the Muromachi period.
The traditional folk performance known as Oyadano Hinkoko is also recognized nationally as an intangible folk cultural property requiring measures for documentation and preservation.
Oyadano Hinkoko is a traditional folk performing art passed down in Mino City, Gifu Prefecture. It is presented by local parishioners as part of the shrine’s annual festival and takes the form of a puppet performance. It is also known as the Hinkoko Festival, Oyada Hinkoko, or Oyada Hinkoko Festival.
The performance is recognized as an Important Intangible Folk Cultural Property of Gifu Prefecture and has also been selected by the national government for documentation and preservation.
The main festival ceremonies take place on a hillside near the shrine’s temporary resting place for the portable shrine, known as an otabisho. The rituals pray for protection of agriculture and a bountiful harvest.
The program centers on the Hinkoko puppet dance and also includes processions of children and lions, children’s dances, and lion dances. The festival was traditionally held on October 18. Today, performances take place during the spring festival on the second Saturday and Sunday of April, as well as during the autumn maple festival on November 23.
The origin of the name “Hinkoko” is uncertain. One theory suggests that it comes from rhythmic calls heard in the accompanying music, such as “Hinkoko, Chaiikoko, Chaicha Hoi.” The exact origins of the performance are also unknown, although shrine records refer to it in 1462.
Old handwritten copies of festival records dating from 1615 onward have survived, suggesting that the tradition had already been established by the early Edo period.
In 1976, Oyadano Hinkoko was designated an Important Intangible Folk Cultural Property by Gifu Prefecture. In 1999, it was selected as an intangible folk cultural property requiring documentation and preservation measures under the national system.
The performance was originally conducted by the Yamamoto Renchū, a group made up of residents with the surname Yamamoto. The tradition was suspended after the 1965 performance.
From 1966 through 1970, successive shrine officers took responsibility for the performance. From 1971 onward, the parishioners’ representatives organized it. Today, the Oyada Hinkoko Preservation Society carries on the tradition.
The Hinkoko Festival begins early in the morning. At around 3:00 a.m., torches are lit, and the puppets used in the Hinkoko dance proceed along the route accompanied by traditional music played on flutes, drums, and a small gong.
When the portable shrine reaches the otabisho, additional ceremonies and performances take place, including horseback archery, group processions, children’s dances performed on festival floats, and lion dances.
At around 3:00 p.m., the Hinkoko puppet dance is performed on a hillside east of the otabisho. After the performance, the portable shrine returns to the main shrine, bringing the festival to a close.
The Hinkoko dance depicts the myth of Susanoo-no-Mikoto defeating Yamata-no-Orochi, the legendary eight-headed serpent. The performance uses puppets representing a divine figure, farmers, a giant serpent, Shōjō-hime, and a small dragon or serpent.
Divine Figure: Approximately 240 cm tall. The puppet holds a sacred purification wand in its right hand and transforms into Susanoo during the performance.
Farmers: Twelve puppets, each approximately 210 cm tall, carrying various agricultural tools.
Giant Serpent: The serpent is divided into several sections. Its head measures approximately 310 cm long, its two body sections are each approximately 330 cm long, and its tail measures approximately 350 cm. The tail ends in a sword representing the legendary Heavenly Sword, Kusanagi-no-Tsurugi, also known as Ame-no-Murakumo-no-Tsurugi.
Shōjō-hime: Approximately 94 cm tall, holding a fishing rod. The character represents Kushinadahime, the deity associated with Susanoo in Japanese mythology.
Dragon (Small Serpent): Approximately 100 cm long.
The divine figure, acting as a shrine priest, turns left, right, and left again in time with the accompanying music. This movement symbolizes ritual purification.
The divine figure, still acting as a shrine priest, performs a dance celebrating the welcoming of the great deity. The movements resemble those of the welcoming dance but are more vigorous, with energetic leaps.
The twelve farmer puppets enter the stage and circle three times. The divine figure performs the celebration dance at the center of the stage. The giant serpent then appears and defeats the farmers one by one. At this point, the divine figure transforms into Susanoo and defeats the serpent.
Susanoo dances before returning to the form of the shrine priest, bringing this part of the performance to a close.
Shōjō-hime dances while catching a sea bream with her fishing rod, after which the dragon swallows the fish. This sequence is repeated. When Susanoo defeats the giant serpent, the dragon also collapses.
Shōjō-hime catches a sea bream and swings it joyfully from side to side and back and forth, expressing happiness and celebration.