japanese antique kamidana shinto shrine with ebisu and daikoku - spiritual folk art

Love Japanese Style Like We Do

Infuse your space with spiritual charm and cultural depth with this early 1900s Shinto folk faith shrine -  a beautiful piece once used to honor the gods on a traditional kamidana (god shelf). Ideal for collectors, spiritual seekers, or lovers of Japanese folk art, this antique shrine features two beloved deities: Ebisu and Daikoku, symbols of prosperity and good fortune.

At the heart of every kamidana was a kamifuda - an enshrined sacred paper representing a deity, often received from a national Shinto shrine -  placed for daily worship. In rural homes, where fishing, farming, and craftsmanship sustained life, families often placed shrines with additional gods. Ebisu, the god of fishermen, and Daikoku, patron of farmers, were especially favored. Some homes even kept a second altar, an engidana or “lucky god shelf,” to ensure abundance in all aspects of life.

This rustic shrine is handcrafted from light Japanese hinoki (cypress) wood and designed in an open box style with a flat roof. A hole in the upper back panel once allowed it to be secured to the wall above a tall kitchen kamidana, traditionally placed high to bring it closer to the heavens and divine.

The figures of Ebisu and Daikoku are classic ittobori carvings  -  sculpted with a single chisel from solid blocks of wood, leaving behind expressive, angular marks. Time has gently darkened the wood, enhancing their folk art appeal. Ebisu wears a peaked hat, holding a fishing rod and a large red snapper  -  a symbol of luck. Beside him stands the cheerful, chubby Daikoku atop two rice bales, his magic mallet in hand and a sack of gold slung over his shoulder.

The shrine shows lovely signs of age, with irregularities and hand-worked imperfections that speak to its humble, homemade origins. For many rural families, such shrines were personal creations  -  heartfelt expressions of faith made when professionally carved pieces were too costly.

This rare and soulful blend of mingei (folk art) and devotion is more than decor  -  it’s a meaningful artifact of everyday spirituality from 19th-century Japan. A unique addition to any sacred space or collector’s shelf, it brings history, craftsmanship, and a touch of divine blessing into your home.

- measures around 25 cm (9.8”) tall x 29 cm (11.4”) across x 15 cm (6”) deep.
- gods measure 13 cm (5.1”) ) tall x 8 cm (3.1”) across x 6 cm (2.4”) deep.
- weighs 800 gm.

(listing for god house with two gods only)

SHIPPING INFORMATION
- please read our shipping notes in shipping policy.
- we use recycle packaging and wrap for safety, rather than appearance.

ABOUT OUR VINTAGE, ANTIQUE AND OTHER ITEMS
We list pieces we feel are worthy of display. There may be scratches, dents, fading and signs of wear and tear. We try to explain the condition of each item exactly, but may miss something.

Information regarding the item and it’s age is obtained from dealers and our personal research. We do our best to give you the correct information but please be aware that we cannot guarantee this information.

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KAMIDANA
Kamidana, literally god (kami) shelf (dana) are miniature household altars used to place an enshrined Shinto kami (god). The enshrined kamifuda (board or paper, representing the god) was that of a clan deity or came from one of the major national shrines. Kamidana became popular in traditional country style minka houses.

Small shrines for tutelary deities, inside a residence, go back to ancient times among the aristocracy. The  emergence of the kamidana  was closely connected with the development of the domestic Buddhist altar or butsudan,  which started the movement of conducting religious rituals in each household. 

Kamidana were initially set up to keep Jingu Onusa, charms of the Grand Shrine of Ise, when they began to be widely distributed at the end of the Muromachi period. The Jingu Onusa symbolized Amaterasu Omikami and were considered objects of worship. A special domestic shelf, to respect these charms, was installed and was called Jingu no tana, or shelf of the Grand Shrine. By the  mid-Edo era, the institution of the kamidana had spread to most homes as a result of the spread of this Ise cult.

The  most common style of kamidana was a plain board forming a shelf,  supported by cantilevered brackets from beneath, or stabilized with timber hangers, suspended from the beams above. On this shelf a miniature Shinto shrine was installed to contain the kamifuda. This shrine could be  elaborate in design, but unlike the miniature shrine cabinet, or zushi, of the Buddhist altar, the timber was unlacquered. In days gone by, shrines for the kamidana were very expensive for common country people and they were often hand made, by the owner, giving them a lovely rough, simple and rustic appeal.

Kamidana were most often located in a high place, thought to be closest to the heavens and gods, in an area close to an earth floor.  As old country kitchens had an earth floor and were a place where many people gathered, they were perfect for the kamidana and prayer. Candles were lit and offerings of rice, fruit, fish, rice and wine were made daily. 

Particularly in the homes of farmers, fishermen, merchants and other craftsmen, additional deities with combined Shinto and Buddhist identities found their way to the kamidana. Ebisu and Daikoku-dana were popular.  Ebisu, the god of fishing and Daikoku, the god of farming, were particular favorites amongst country folk,  whose livelihood depended on agriculture and the ocean. Ebisu and Daikoku were often housed together in a special shrine with a rounded roof, and came to be known as the kitchen gods. Kojin-dana was another popular choice. Kojin was the god of domestic tranquility and good fortune. Inari-dana were also seen. Inari is the Japanese Shinto god who watches over and protects the rice harvest. A temporary toshitoku-dana was set up in almost all homes at the end of the year to welcome and worship the kami of the New Year.

Old Kamidana shrines are a wonderful example of Japanese mingei; a spiritual tool that reminds  us of culture and customs of the past.

KITCHEN GODS - EBISU AND DAIKOKU
Ebisu and Daikoku are known as the lucky kitchen gods. They were placed on a shelf high up in the kitchen and given daily offerings to bring good fortune into the home.

Ebisu is known as the God of commerce and prosperity, the ocean and fishing. He is the guardian of all occupations. He holds a fishing rod in one hand and a big snapper under the other arm. A red snapper is eaten at all happy events in Japan. Ebisu will make sure you always have plenty of money, success and food.

Daikoku is the God of wealth and good fortune, and of farmers and food. He is a cheerful, chubby God, standing on bales of rice. He has a sack of treasure slung over one shoulder and a magic mallet, that fulfills all wishes, in the other hand. Put him in your home and you will always have good fortune, money and lots of food.

UCHIDE NO KOZUCHI (MAGIC MALLET)
According to legend, the ‘Uchide no Kozuchi’ is a magic hammer that can grant someone anything they wish for when struck on the ground. When shaken coins will also magically fall out of the hammer.  In English, it is often called the lucky hammer or magic wishing hammer.  It is believed that the hammer contains a wish fulfilling jewel called a ‘Houju.’ The Houju in Buddhism is said to grant wishes, bring peace, and an understanding of Dharma or Buddhism teachings.

The Uchide no Kozuchi is usually held by the deity "Daikoku" who is one of the Japanese seven lucky gods.  

MINGEI
Mingei are the tools and utensils that were used daily by the common people in Japan. They were inexpensive, simple and functional. Usually produced by hand, in large quantities, their artists were anonymous. They became representative of the local area where they were produced.

The word Mingei combines “min” meaning common people and “gei” meaning art - the art of the common people. It was coined by the Japanese philosopher  Sōetsu Yanagi. He found beauty in ordinary crafts for daily use and argued that true beauty could be found only in the objects made by unknown people, in a spirit of selfless innocence and in close harmony with nature.