edo era shinto mirror on intricately carved wood stand with candle holders

Love Japanese Style like We Do

Discover an extraordinary piece of history with this stunning, one-of-a-kind Shinto shrine mirror from the Edo period. This rare treasure, displayed on an exquisitely carved wooden stand, beautifully merges history, spirituality, and artistry. The piece is complete with delicate metal candle holders, making it a perfect addition to any collection or spiritual space.

A revered object in Shinto ritual, the Shinto mirror symbolizes the divine presence of kami, often associated with Amaterasu, the sun goddess. As part of the sacred Three Regalia (sanshu no jingi), these mirrors are considered vessels of divine power—some enshrined within shrine halls, others placed before deities in places of worship. Owning one of these rare mirrors connects you to centuries of rich spiritual tradition.

The mirror’s back is beautifully adorned with chrysanthemum flowers, intricate leaves, and a mon (family crest) at the top. The name of the skilled metal smith who crafted this piece is etched on the left side, a testament to its authenticity and craftsmanship. The front of the mirror bears the soft tarnish of age, adding to its character and historical allure.  The small mirror is housed in a lovely black lacquered case.

The mirror rests on a meticulously carved wooden base, showcasing delicate clouds and wave motifs. In Shinto belief, clouds are considered the dwelling place of kami, signifying blessings and good fortune. Waves symbolize the flow of life and change, while water itself represents the purification of the spirit. These motifs imbue the piece with deep spiritual meaning and beauty.

The base is in good structural condition, with a darkened patina that speaks to its age and heritage. Though there are minor chips at the top projections, they do not detract from its overall charm and appeal.

The two small candle holders, crafted from bronze, are an essential part of the piece's history. They show signs of age and use—rust, dust accumulation, and slight distortion at the tops—all adding to the mirror’s unique and soulful character.

 A must-have for collectors and enthusiasts of ancient religious artifacts, this piece offers a tangible connection to the past while adding a sense of elegance and serenity to any setting.

- stand and mirror measures around 23.5 cm (9.2”) tall x 17 cm (6.7”) wide x 10 cm (4”) deep.
- mirror measures 18 cm (7.1”) tall x 11 cm (4.3”) wide.
- candle holders measure 7 cm (2.8”) tall x 4 cm (1.6”) across.
- weighs 600 gm.

(listing for mirror on wood stand and candle holders)

SHIPPING INFORMATION
- please read our shipping notes in shipping profile.
- 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.

Please message us prior to purchase with any questions you may have about our products.

SHINTO IN BRIEF
Shinto is Japan’s own religion that started with Emperor Gimmu in BC 600s. Shinto is worshipping nature and worshiping ancestors. Everything has a spirit and humans have a good nature. Evil spirits are kept away by praying and giving offerings to the higher level spirits. The most important deity is the Sun-god Amaterasu.
Important values are ritual purity, sincerity, animism (mountains and rivers have spirits, people become spirits, words have spirits), presence (no life after death), the imperial family is sacred, nature should be preserved and worshipped, people with grudges become evil spirits, festivals are important and a must for social harmony and a good harvest.

SHINTO MIRROR (SHINKYO)
The circular mirror of Shinto is a potent symbol. It stands on the altar reresenting the kami (god). It also functions as the ‘spirit-body’ (goshintai) of the kami. It is the object the spirit enters to take physical form. The mirror acts as an interface between the physical and spiritual realms of existence.

Japanese mythology claims that the original ‘spirit-body’ was that of Amaterasu, the Sun Goddess, who gave a circular mirror to her grandson, Ninigi, when he descended to earth.  It had been used previously to lure her out of a cave in which she was hiding.  Her absence had plunged the world into darkness, and to tempt her out she was told that there was another goddess as beautiful as herself.  The mirror was held up so that when she peeked out she was greeted by her own radiance, and the momentary hesitation allowed a rope to be tied across the cave entrance to prevent her from re-entering.  Sunlight was restored to the world.

Later when Amaterasu decreed that a mission be sent down to earth from the High Plains of Heaven, her grandson Ninigi-no-mikoto was chosen to lead it.  Before he departed, she presented him with the very same mirror which had played such an important part in the rock-cave incident.  ‘Take this and revere it as if it were myself,’ she told him.  Within the reflecting surface something of her essence had become ingrained.

Ninigi passed the mirror down to his heirs, who formed the imperial line which continues to this day (the present emperor is the 125th).  For a long time the mirror was kept in the palace of the king of Yamato, the dominant state in ancient Japan, but in the early centuries of the Common Era it was deposited at Ise Jingu.  Since that time it has been kept secluded from human eye, acting as the unseen focus of worship for the millions of pilgrims and worshippers who file before it each year. 

CLOUD AND WAVE SYMBOLOGY
In ancient Shinto religion, the world is believed to be inhabited by a myriad kami (gods or spirits). Clouds play a role as dwelling places or vehicles for these deities. In some legends, clouds act as chariots for the gods, indicating their arrival or departure.

The Ainu have as one of their creation myths, the descent of a deity from heaven upon a five-colored cloud:
“the world was created when oil floating in the ocean rose like a flame and became the sky. What was left turned into land. Vapor gathered over the land and a god was created. From the vapor of the sky, another god was created who descended on five-colored clouds. Out of those clouds, the two gods created the sea, soil, minerals, plants, and animals. The two gods married and produced many gods including two shining gods—the Sun god and the Moon god, who rose to Heaven in order to illuminate the fog-covered dark places of the world.”

Clouds are considered to be lucky. For farmers, the symbols were harbingers of rain and thunder. Clouds were happy signs for the imminent rains needed for watering their crops.

Waves represent life, motion, and change. Water purity signifies the cleansing of the spirit. Waves, an indication of the mighty ocean's restlessness, also represent faith, hope, and joy even in the deepest of troubles.

BRONZE MIRRORS
Bronze mirrors were introduced into Japan from China and Korea during the Yayoi period (about 300 BC - AD 300). At first they had a religious function and were revered as sacred objects representing the gods.

The Japanese soon learnt to make their own mirrors using the lost-wax technique, decorating them with Chinese or native Japanese designs. 

By the Nara period (AD 710 -794) mirrors were being made for everyday use, with the increasing use of Japanese designs, such as native plants and animals symbolizing good fortune. From the Kamakura period (1185-1333) a design showing Hôraizan (the Chinese 'Island of Immortality') became popular. 

Mirrors gradually became more robust. They mostly had a central knob, often in the shape of a tortoise, which was pierced with a hole through which a cord was strung for holding.

The first handled mirrors appeared in the Muromachi period (1333-1568). During the Edo period (1600-1868), mirrors decorated with lucky symbols or Chinese characters were given at weddings. Mirrors became larger as hairstyles became more ornate; some mirrors in Kabuki theatre dressing-rooms were up to fifty centimeters across and were placed on stands. 

The faces of mirrors were highly polished or burnished, with itinerant tanners and polishers specializing in this work. Since the mirror, together with the sword and the jewel, were symbols of Imperial power, mirror-makers were deeply revered and often given honorary titles such as Tenka-Ichi ('First under Heaven'). However, this title was often misused and was officially prohibited in 1682. 

Bronze mirrors were replaced by glass mirrors after the Meiji Restoration (1868).