text:
User:Immanuelle/sandbox/Atsuta Faith

The Atsuta Faith is a bit hard to follow because it involves both Atsuta Taisha, but in this context also the more Owari clan limited Oagata Shrine and Tagata Shrine

Hinomisaki Shrine is related but with a different clan association

title: User:Immanuelle/sandbox/Atsuta Faith


text:
User:Immanuelle/sandbox/Konpira Faith

Konpira might be the same Kami as Okuninushi, but this is taken less seriously than the identification with Susanoo and Gozu Tenno. Nonetheless due to Sea Shugendo this association does exist and did exist even before Shinbutsu Bunri

Konpira Gongen
Konpira Gongen (金毘羅権現) is a Japanese god of the Shugendō sect originating in the mountain Kotohira of Kagawa Prefecture. He is the god of merchant sailors. He is worshipped at Kotohira Shrines

According to legend Konpira Gongen came into existence when a priest at Matsuo Temple (Kagawa Prefecture Kotohira Town) summoned the Ganges deity Kumbhīra.

Kumbhīra was said to have been present at the preaching of the Mahāsamaya Sutta. He is a Ganges crocodile god.

He is identified with the first of the twelve spirit messengers emanating from Bhaisajyaguru.

Alongside many other water deities like Watatsumi, Sumiyoshi, Munakata-sanjojin, Ebisu, and Gozu Tennō his cult became very significant in medieval times.

Overview
Yoshida Kanetomo said that Susanoo, the Shinto god of sea and storms, is the same as the Indian god Khumbīra. This god watches over Vulture Peak, a place in Buddhist mythology...

As time passed, people in Japan began to see Konpira as a guardian of their Buddhist religion. They placed Konpira in a shrine on Zōzusan mountain in Shikoku. This mountain was very important for Shugendō followers by the end of the Heian period. Shugendō is a Japanese belief that combines mountain living, Shinto, and Buddhism. On this mountain, Konpira was given a new name, Konpira Gongen...

Associations
Konpira is connected to gods of water, like dragons and nāga kings. These connections make him a protector of people at sea and the paths they take over the water. This is especially true for the waters inside Japan's coast. In a special part of Buddhism, people honor Konpira as one of twelve powerful spirit leaders. These leaders are linked to twelve directions and twelve animals from the Chinese calendar. Different stories match Konpira to different directions. But most often, he is linked to the north...

Sometimes Konpira is identified with gods like Ōkuninushi or Shinra Myōjin. ... But the most recent identification is with Ōmononushi. His identification with Ōmononushi may seem strange at first since Ōmononushi is a deity of mountains and snakes, while he is a water and navigatonal deity, but the logic behind it is that mountains are often used for navigation in the sea, so mountain deities help sailors..

In Literature
A Buddhist text "Sange yōryakki" talks about Buddha placing twelve gods on Eagle Peak. One of these gods is Konpira. Here, Konpira is seen as a very important god in Japan. He is thought to be the divine child of Susanoo no Mikoto. People believed that a monk named Saichō came back safely from China because he prayed to Susanoo...

In later books, like "Jindai no maki kaden kikigaki" by Koretari, there are more stories. They say Susanoo visited not just Japan but also China and India. These stories suggest that the Japanese gods could be versions of Indian gods. This idea turns the usual story around, with Japanese gods being seen in other countries' stories...

Kotohira Shrines
Kotohira Shrines are a kind of shinto shrine in Japan. They were originally dedicated to the syncretic deity Konpira Gongen, but in the Meiji restorration due to Shinbutsu bunri they were dedicated to Ōmononushi. Their head shrine is Kotohira-gū.. They are dedicated to seafaring and protecting sailors.

They are part of the famous Inahachikonten Shrines (稲八金天神社) of the Shrine Consolidation Policy alongside Inari Shrine, Hachiman Shrine, Kotohira Shrines, and Tenmangu Shrine.

History
According to legend Konpira Gongen came into existence when a priest at Matsuo Temple (Kagawa Prefecture Kotohira Town) summoned the Ganges deity Kumbhīra. styarting as a hostile sea monster the deity was placated and became a god of navigation. The deity is perceived as perhaps being a deification of a sea serpent called a wani.

Kotohira-gū is located close to and strongly historically associated with Matsuo Temple (Kagawa Prefecture Kotohira Town)

In 1889 due to the Meiji Restoration the head temple was renamed from Konpira temple to Kotohira-gu..

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Immanuelle/sandbox/Konpira Faith


text:
User:Immanuelle/sandbox/Ise Faith

The Ise Faith refers to the Faith of Ise Jingu, and in this book we will include that of the two second ranked jingu

 * Katori Jingu
 * Futsunushi
 * Kashima Jingu
 * Takemikazuchi

title: User:Immanuelle/sandbox/Ise Faith


text:
User:Immanuelle/sandbox/Kasuga Faith

Faith of Kasuga Taisha, strongly associated with elites

title: User:Immanuelle/sandbox/Kasuga Faith


text: User:Immanuelle/sandbox/Ebisu Faith

title: User:Immanuelle/sandbox/Ebisu Faith


text:
User talk:TimBorgNetzWerk/sandbox/Thesis Writing Guide

This is an example discussion
By Pressing on "Add topic", you can add your own comments, thoughts, or just leave a link you think might be helpful. Any bit of information helps :)

Best regards, TimBorgNetzWerk (discuss • contribs) 11:56, 23 May 2024 (UTC)


text: Template:TOC limit

title: Template:TOC limit


text:
Template:TOC limit/styles.css

/*    Allow limiting of which header levels are shown in a TOC; , for instance, will limit to  showing ==headings== and ===headings=== but no further (as long as there are no =headings= on the page, which  there shouldn't be according to the MoS). */ .toclimit-2 .toclevel-1 ul, .toclimit-3 .toclevel-2 ul, .toclimit-4 .toclevel-3 ul, .toclimit-5 .toclevel-4 ul, .toclimit-6 .toclevel-5 ul, .toclimit-7 .toclevel-6 ul { display: none; }

title: Template:TOC limit/styles.css


text:
User:Apenguinlover/sandbox

scanf
scanf is a function that reads data with specified format from, originated from C programming language, likely standing for "scan format"

The  function prototype is:

The function returns the total number of items successfully matched, which can be less than the number requested. If the input stream is exhausted or reading from it otherwise fails before any items are matched, EOF is returned.

Usage
The  function is found in C, in which it reads input for numbers and other datatypes from standard input (often a command line interface or similar kind of a text user interface).

The following shows code in C that reads a variable number of unformatted decimal integers from the standard input and prints out each of them on a separate line:

After being processed by the program above, a messy list of integers such as

456 123 789    456 12 456 1       2378

will appear neatly as: 456 123 789 456 12 456 1 2378

To print out a word:

No matter what the datatype the programmer wants the program to read, the arguments (such as  above) must be pointers pointing to memory. Otherwise, the function will not perform correctly because it will be attempting to overwrite the wrong sections of memory, rather than pointing to the memory location of the variable you are attempting to get input for.

As  is designated to read only from standard input, some programming languages with interfaces, such as PHP, have derivatives such as   and   but not   itself.

Derivatives
Depending on the actual source of input, programmers can use different derivatives of. Two common examples are  and.

fscanf
The fscanf derivative reads input from a specified file stream. The prototypes are as follows:

(C or C++)

The  derivative works like the original   function - parts of the input, once read, will not be read again until the file is closed and reopened.

sscanf
The sscanf derivative reads input from a character string passed as the first argument. One important different from fscanf is that the string is read from the beginning every time the function is called. There is no 'pointer' that is incremented upon a successful read operation. The prototypes are as follows:

(C or C++)

vscanf, vsscanf, and vfscanf
These are like the same functions without the  prefix, except they take their arguments from a. (See stdarg.h.) These variants may be used in variable-argument functions.

Format string specifications
The formatting placeholders in  are more or less the same as that in , its reverse function.

There are rarely constants (i.e. characters that are not formatting placeholders) in a format string, mainly because a program is usually not designed to read known data. The exception is one or more whitespace characters, which discards all whitespace characters in the input.

Some of the most commonly used placeholders follow:
 * : Scan an integer as a signed decimal number.
 * : Scan an integer as a signed number. Similar to , but interprets the number as hexadecimal when preceded by   and octal when preceded by  .  For example, the string   would be read as 31 using  , and 25 using  . The flag   in   indicates conversion to a   and   conversion to a.
 * : Scan for decimal  (Note that in the C99 standard the input value minus sign is optional, so if a negative number is read, no errors will arise and the result will be the two's complement. See  .) Correspondingly,   scans for an   and   for an.
 * : Scan a floating-point number in normal (fixed-point) notation.
 * ,  : Scan a floating-point number in either normal or exponential notation.   uses lower-case letters and   uses upper-case.
 * ,  : Scan an integer as an unsigned hexadecimal number.
 * : Scan an integer as an octal number.
 * : Scan a character string. The scan terminates at whitespace. A null character is stored at the end of the string, which means that the buffer supplied must be at least one character longer than the specified input length.
 * : Scan a character (char). No null character is added.
 * : Space scans for whitespace characters.
 * : Scan as a double floating-point number.
 * : Scan as a long double floating-point number.

The above can be used in compound with numeric modifiers and the,   modifiers which stand for "long" in between the percent symbol and the letter. There can also be numeric values between the percent symbol and the letters, preceding the  modifiers if any, that specifies the number of characters to be scanned. An optional asterisk right after the percent symbol denotes that the datum read by this format specifier is not to be stored in a variable. No argument behind the format string should be included for this dropped variable.

The  modifier in printf is not present in scanf, causing differences between modes of input and output. The  and   modifiers are not present in the C90 standard, but are present in the C99 standard.

An example of a format string is

The above format string scans the first seven characters as a decimal integer, then reads the remaining as a string until a space, new line or tab is found, then scans the first non-whitespace character following and a double-precision floating-point number afterwards.

Error handling
is usually used in situations when the program cannot guarantee that the input is in the expected format. Therefore a robust program must check whether the  call succeeded and take appropriate action. If the input was not in the correct format, the erroneous data will still be on the input stream and must be read and discarded before new input can be read. An alternative method of reading input, which avoids this, is to use  and then examine the string read in. The last step can be done by, for example.

Security
Like,   is vulnerable to format string attacks. Great care should be taken to ensure that the formatting string includes limitations for string and array sizes. In most cases the input string size from a user is arbitrary; it can not be determined before the  function is executed. This means that uses of  placeholders without length specifiers are inherently insecure and exploitable for buffer overflows. Another potential problem is to allow dynamic formatting strings, for example formatting strings stored in configuration files or other user controlled files. In this case the allowed input length of string sizes can not be specified unless the formatting string is checked beforehand and limitations are enforced. Related to this are additional or mismatched formatting placeholders which do not match the actual vararg list. These placeholders might be partially extracted from the stack, contain undesirable or even insecure pointers depending on the particular implementation of varargs.

title: User:Apenguinlover/sandbox


text:
User:Immanuelle/familytree.js

// // Wiki user script to help maintain, or // boxes-and-lines diagrams, by allowing you to edit the diagram // in a simpler and more standard ASCII art format. // Greg Ubben, 1 Dec 2008 // User:PBS, 31 Jan 2020 added code to parse "family tree" and "tree chart" // // To install, add:  importScript("User:Daduxing/familytree.js"); // to your common.js page. This adds an option [Templates → Art] // to the toolbox menu when editing familytrees. // // It is a two pass operation. // 1. Press [Templates → Art] -- the template code is changed into an intermediate //                              format and the menu option changes to [Art → Templates] // 2. Press Art → Templates] -- converts the "Art" back in to cleaned up temlate code // // // IE may work better than Firefox since it supports typeover mode. // // TODO: // - Anything we can do to improve WP:ACCESSIBILITY // - Some smarts with border/boxstyle // // Advanced ideas: // - Draw line between start and end of selection // - Cut/copy/paste rectangular selections (no existing library??) //  - include overwrite/typeover mode emulation for Firefox // - Java GUI version where you drag boxes and lines on a grid

$ (function {     // wraps entire script

var Summary = "Edited  using familytree.js"; var Special = [ "border", "boxstyle", "colspan", "rowspan" ]; var Template;           // family *tree, chart or tree chart? var Style   = null; var Center  = 40;       // center small diagrams on this column var Maxwidth = 80; var Picky   = 0;        // complain instead of self-correct? var rows; var boxes;

//--- // New code 2020-01-31 // This function returns the possible template names // It is in the form of a regular expression match. // The parenethasis represents "select" // The bar character ("|") represents "or" // so (Foo|Bar) means true if the string contains either Foo or Bar // and (Foo|Bar|Chart) means true if the string contains either Foo or Bar or Chart. // In this case there is a fourth option represented by a " *" which means 0 or more // spaces. In this case it covers "familytree" and "family tree". // The case of the first letter (is covered by another function so there is no need // to add cases to these options. //--- function template_names {   return "(family *tree|chart|tree chart)"; }

//--- // New code 2020-01-31 // This function returns a pattern for the whole of a family tree. // Because the string is passed into another function for processing it is necessary to double // escape the escape character "\", The first one is stripped in this creation leaving // the second one for the patter match ie "\\{\\{" becomes "\{\{" //--- function tree_pattern {   return "\\{\\{" + template_names + "\\/start[\\S\\s]*?\\{\\{" + template_names + "\\/end\\}\\}"; }

// Add/replace convert option at top of toolbox menu on sidebar. // function update_menu (item) {   var node = document.getElementById("t-diagram"); if (node) node.parentNode.removeChild(node);

node = document.getElementById("t-whatlinkshere");

if (item == "wiki2art") addPortletLink ("p-tb", "javascript:wiki2art",                       "Templates → Art", "t-diagram",           "Convert ... to ASCII art", "", node);

if (item == "art2wiki") addPortletLink ("p-tb", "javascript:art2wiki",                       "Art → Templates", "t-diagram",           "Convert ASCII art back to ...", "", node); }

function wiki2art {   try { Style = null; var textarea = document.editform.wpTextbox1; var scroll_pos = textarea.scrollTop;

var pattern = new RegExp(tree_pattern, "ig");

textarea.value = textarea.value.replace(pattern, wiki2art_replace); textarea.setAttribute("wrap", "off"); // work around problem with Firefox ignoring wrap (bug 302710) textarea.style.display = "block"; textarea.scrollTop = scroll_pos;     // Mozilla only? update_menu ("art2wiki"); document.editform.wpSave.disabled = true; }   catch (e) { alert ("Could not convert to ASCII art because:\n\n" + e); } }

function wiki2art_replace (text, tmpl) {   var rows  = []; var parts = {};

if (text.indexOf("\n") == -1) return text;               // don't convert a 1-line legend

// Sanity check, if non-empty but no lines begin with {{. //   if (text.search(/\n\s*\{\{.*\n/)   == -1 &&        text.search(/\n\s*[^\s<].*\n/) != -1) { toss ("Out of sync; looks like this already is art."); return text; }

Template = tmpl.toLowerCase; Maxwidth = (Template.match(/^(chart|tree chart)/i) ? 50 : 80); Style   = Style || new MarkupStyle(text);

parse_templates (text, rows); var start = "{{" + rows.shift.join("|") + "}}\n"; var end  = "{{" + rows.pop.join("|")   + "}}"; layout_tiles (rows, parts); var art = pad_text( touchup( parts.art ));

var width = art.indexOf("\n") / 2; width = (width > 50 && Maxwidth > 50) ? Maxwidth : 50;

var ruler = Array(11).join("0-1-2-3-4-5-6-7-8-9-") .slice(0, width*2-1);

return start + "\n" + ruler + "\n" + art + "\n" + parts.list + "\n" + end; }

// Remember markup spacing styles based on first occurrences. // So to change the markup style, just change the first one // then toggle twice to "refresh". // function MarkupStyle (text) {   this.initial = ""; this.lead   = " "; this.equal  = "=";

var res; text = text || ""; text = text.replace(/^.*\n/, "");  // strip {{family *tree/start}}

res = text.match(/\w( *)\|/); if (res) { this.initial = res[1];  // space after template name? }   res = text.match(/\|(\s*)\w{2,5}(\s*=\s*)[^\s=|}]/); if (res) { this.lead = res[1];     // params indented on new lines? this.equal = res[2]; }   this.trail = (/\n/.test(this.lead) ? " " : ""); this.trim = (text.search(/\| \| (\|?}}|\|\s*\w+\s*=)/) == -1);

this.param = function(name,value) { return this.lead + name + this.equal + value + this.trail; } }

// Parse textual series of  templates // into a list of parameter lists. The parameters can contain // arbitrarily complex nested wiki syntax like bar and //  but this simple strategy of just // counting double brackets and braces should be good enough. // function parse_templates (text, rows) {   var pattern = /([[\]{}])\1|\||| [\S\s]*?<\/nowiki>/ig;    var level = 0;    var row, start, res;

while ((res = pattern.exec(text)) != null) { if (res[1]) { (res[1]=="[" || res[1]=="{") ? level++ : level--; }       if (res[0] == "" && level == 0) { row.push(text.slice(start, res.index)); rows.push(row); }   }    if (level != 0) throw "Mismatched or ..."; }

function layout_tiles (rows, parts) {   var art     = ""; var params = {}; var order  = []; var specpat = new RegExp("^((" + Special.join("|") + ")_)\\s*(\\S.*)" );

// Tweak name so it is valid (matches namepat from map_boxes    //  and is 2 to 5 characters long) and so it is unique if the // same name is used on several templates with different values. // Then store it in params{} and order[]. //   //  Could remember mappings in another hash, and change // back to original name on output (if original name not    //  already used on line). Probably best not to though. //   function goodname (name, value) {       var res, prefix="", nn;

if (res = name.match(specpat)) { prefix = res[1]; name  = res[3]; }       nn = alias[name]; if (!nn) {            // first encounter on this template nn = name; if (nn.search(/\w.*\w/) == -1 && value.search(/\w.*\w/) > -1) nn = value.toUpperCase; nn = nn.replace( /[^\w.\/&]/g,              "_"); nn = nn.replace( /_*([\W_])[\W_]*/g,       "$1"); nn = nn.replace( /^[\W_]*(.{0,4}[^\W_]).*/, "$1"); nn = nn.replace( /^.?$/,                   "A0001");

var base = nn; var num = 1; while (nn in params && (params[nn] != value || prefix)) { num++; nn = base.slice(0, 5 - String(num).length) + num; }           alias[name] = nn; }       nn = prefix + nn;

if (! (nn in params)) { order.push(nn); params[nn] = value; }       return nn; }

//  FRANKLIN = Benjamin Franklin    FRANK //  FRANKLIN = Frank N. Furter      FRAN2    boxstyle_FRANKLIN = red //  FRANKLIN = Franklin Richards    FRAN3 //  FRANKLIN = Frank N. Furter               boxstyle_FRANKLIN = blue

for (var r=0; r < rows.length; r++) { var row  = rows[r]; var seen = {}; var alias = {};    // mapped to different name on this row?

var pattn = new RegExp("^\\s*" + template_names + "\\s*$", "i");

if (row[0].search(pattn) == -1) throw "Unrecognized template ";

for (var i=0; i < Special.length; i++) alias[Special[i]] = Special[i];   // don't truncate boxstyle

// Pass 1:  Do only the assignments first, because if the // same parameter name is used on a previous row with a        //  different value, then we need to rename this parameter // and its boxes before they are output. //       for (var c=1; c < row.length; c++) {           var cell = row[c]; var i   = cell.indexOf("=");

if (i < 0 || cell == "=") continue;

var name = trim(cell.slice(0,i)); var value = trim(cell.slice(i+1));

if (value.indexOf("\n") >= 0) toss ('Parameter "' + name + '" spans multiple lines.'); value = value.replace(/\n\s*/g, " ");

if (seen[name] && value != seen[name]) throw 'Parameter "' + name + '" has multiple values on template ' + (r+1); seen[name] = value;

goodname(name, value); }

// Pass 2:  Now layout the tiles and boxes. //       for (var c=1; c < row.length; c++) {           var cell = trim(row[c]);

if (istile(cell) && ! (cell in seen)) {               art += pad(cell, 2); }           else if (cell.indexOf("=") == -1)        // it's a BOX {               cell = goodname(cell, cell.replace(/_/g, " ")).slice(0,5);

// Don't adjoin a wide cell if can avoid if (cell.length == 4 && /\w$/.test(art)) cell = " " + cell;

art += (" "+cell+"   ").substr(cell.length/2, 6); }       }        art += "\n"; }

// list the parameter values, one per line // TODO: Styles referenced via [1], [2], etc

var param_width = 5; for (var name in params) if (name.length > 8) param_width = 14;      // any boxstyle_FOO ?

var param_list = ""; while (name = order.shift) { param_list += pad(name, param_width) + " = " + (params[name] || "") + "\n"; }

parts.art = art; parts.list = param_list; }

// Make the art more readable by converting some symbols. // Mainly just fills in --- and  horizontal lines for now. // 1.  Fill in a ~ tile followed by a ~ tile or a box // 2.  Fill in a box    followed by a ~ tile // TOM  - v -  SUE    becomes    TOM ---v--- SUE // function touchup (art) {   art = art.replace( /!/g, "|"); art = art.replace( /([,`^)}*+-]|\b[Xadijqrv]) (?=[.'^({*+-]|[acijlqrv]| ?\w\w)/g, "$1-"); art = art.replace( /([~%#\]]|\b[ADFLVfhy]) (?=[~%#[]|[7ACJKVXehy]| ?\w\w)/g,     "$1~"); art = art.replace( /(\w\w ? ?) (?=[.'^({*+-]|[acijlqrv]\b)/g, "$1-");   art = art.replace( /(\w\w ? ?) (?=[~%#[]|[7ACJKVXehy]\b)/g,   "$1~");    art = art.replace( /(\w\w ) (-|~)/g, "$1$2$2");    return art; }

// Trim and pad a multi-line diagram with spaces to its maximum // width, adding a margin on both sides and a 1-line padded // margin above and below. Also tweaks the alignment if most // of the alignment indicators are mis-aligned on odd. // If margin is not given (wiki2art), it depends on the width. // function pad_text (text, margin) {   // trim trailing spaces and leading and trailing lines text = text.replace(/\t/g, "       ");    // just in case text = text.replace(/ *\r*$/mg, ""); text = text.replace(/^\n*/, "\n"); text = text.replace(/\n*$/, "\n");

// trim indentation if not empty while (text.search(/(^|\n).?\S|^\s*$/) == -1) { text = text.replace(/^ /mg, ""); }   var rows  = text.split("\n"); var width = 0; var align = 0; var alignpat = /[^\w\s=~&\/\[\].-]|[A-Z0-9]+([\/&._]?[A-Z0-9])+/ig; var res;

for (var i=0; i < rows.length; i++) { width = Math.max(width, rows[i].length);

// Are majority of alignment indicators on odd or even? //       while ((res = alignpat.exec(rows[i])) != null) { var len = res[0].length; if (len % 2)             // even boxes are ambiguous ((res.index + len/2) & 1) ? align-- : align++; }   }

// If formatting for display, center diagram on column 40, but // at least a 4-cell left margin unless close to max width. // The margin gives room to draw another box on the left, and // you can then toggle view twice to indent another 4 cells. //   if (margin == null) { margin = Center - width / 2; margin = Math.max(margin & ~1, 8); if (width/2 + margin > Maxwidth) margin = 0; }   else if (align < 0) margin++;

margin = pad("", margin); text  = "";

for (var i=0; i < rows.length; i++) { text += margin + pad(rows[i], width) + margin + "\n"; }   return text; }

// Pad str with spaces on right to width len, but don't truncate. // function pad (str, len) {   if (str.length < len) str += Array(len - str.length + 1).join(" "); return str; }

function trim (str) {   return str.replace(/^\s+|\s+$/g, ""); }

function art2wiki {   try { var textarea = document.editform.wpTextbox1; var scroll_pos = textarea.scrollTop; var pattern = new RegExp(tree_pattern, "ig");

textarea.value = textarea.value.replace(pattern, art2wiki_replace); textarea.removeAttribute("wrap"); textarea.style.display = "inline";   // Firefox work-around textarea.scrollTop = scroll_pos;     // Firefox only?

document.editform.wpSave.disabled = false; update_menu ("wiki2art"); if (document.editform.wpSummary.value.search(/^(\/\* .* \*\/)? *$/) == 0)           document.editform.wpSummary.value += Summary.replace("%s", Template); }   catch (e) { alert ("Could not convert ASCII art because:\n\n" + e); } }

function art2wiki_replace (text, tmpl) {   var label      = {}; var param_rows = [];

Template = tmpl.toLowerCase; rows    = []; boxes   = [];

if (text.indexOf("\n") == -1) return text;               // don't convert a 1-line legend

// Sanity check, if any lines begin with ");    else        tag = tag.replace(/\d+(?= (boxes|nodes|individuals))/, count);    return tag; }

function istile (sym) {   return sym.length <= 1 || Template.match(/^(chart|tree chart)/i) && /^[a-z]2$/.test(sym); }

function Tile(r,c) {   var a = get_tile(r,c); this.orig_sym = a[0]; this.sides   = a[1].slice(0,4);   // copy vs ref this.weight  = a[1][4];

// If edge is a line but next tile not same with > weight, change it   // If edge is blank  but next tile is line with >= weight, change it    // this.tweak = function (r,c,dir) {       var neighbor = get_tile(r,c); var specs   = neighbor[1]; var ne_line = specs[dir ^ 2]; var us_line = this.sides[dir];

if (us_line > 0 && ne_line != us_line && specs[4] > this.weight ||            us_line == 0 && ne_line > 0        && specs[4] >= this.weight) this.sides[dir] = ne_line; }

this.symbol = function {       var ch = new_symbol[this.sides]; if (ch == null || /[ :~!-]/.test(ch)) ch = this.orig_sym; return ch; }

function get_tile(r,c) {       if (boxes[r][c]) return ["BOX", [0, 0, 0, 0, 20]]; var ch = rows[r].charAt(c); var ch2 = rows[r].charAt(c+1); if (/[ P_=~-]/.test(ch) && /[^ [\]P_=~-]/.test(ch2))   // mis-aligned? ch = ch2; if (/\w/.test(ch) && ch2 == '2')             //  long symbol? ch += '2'; if (ch == '|' || ch == '1') ch = '!'; if (ch == '_' || ch == '=') ch = '-'; var specs = symbols[ch] || [0, 0, 0, 0, 20];

if (specs.length > 5 && Template.match(/^(chart|tree chart)/i))   // t, T, k, G            specs = specs.slice(5);

return [ch, specs]; } }

// Build reverse lookup table needed by Tile objects. // There is some conflict between the  and  or  symbols. // A few recently-added symbols map to different specs, and some specs // map back to different symbols. Hence the extra logic here depending // on the current Template family. // Tile.invert_symbols = function {   new_symbol = {}; var start = Template.match(/^(chart|tree chart)/i) ? -5 : 0;

for (var sym in symbols) { var nesw = symbols[sym].slice(start,start+4).join; if (! (nesw in new_symbol) || Template.match(/^(chart|tree chart)/i) ) new_symbol[nesw] = sym; } }

function toss (msg)           // Soft throw. {   if (Picky) throw msg; }

// I haven't tuned many of these weights yet. // Hopefully we won't need to go to per-edge weights. // //       Doubt: //       0   space //       1   ^ v //        2   - ! ~ : //       3   + ., ' ` / \ BOX

var new_symbol = {};

var symbols = { //             N, E, S, W, Weight " " : [ 0, 0, 0, 0, 90 ],       "-" : [ 0, 1, 0, 1, 50 ],        "!" : [ 1, 0, 1, 0, 50 ],        "+" : [ 1, 1, 1, 1, 20 ],        "," : [ 0, 1, 1, 0, 20 ],        "." : [ 0, 0, 1, 1, 20 ],        "`" : [ 1, 1, 0, 0, 20 ],        "'" : [ 1, 0, 0, 1, 20 ],        "^" : [ 1, 1, 0, 1, 70 ],        "v" : [ 0, 1, 1, 1, 70 ], "(" : [ 1, 0, 1, 1, 70 ],       ")" : [ 1, 1, 1, 0, 70 ],        "~" : [ 0, 2, 0, 2, 50 ],        ":" : [ 2, 0, 2, 0, 50 ],        "%" : [ 2, 2, 2, 2, 20 ],        "F" : [ 0, 2, 2, 0, 20 ], "7" : [ 0, 0, 2, 2, 20 ],       "L" : [ 2, 2, 0, 0, 20 ], "J" : [ 2, 0, 0, 2, 20 ], "A" : [ 2, 2, 0, 2, 70 ], "V" : [ 0, 2, 2, 2, 70 ], "C" : [ 2, 0, 2, 2, 70 ], "D" : [ 2, 2, 2, 0, 70 ], "*" : [ 2, 1, 2, 1, 51 ],       "#" : [ 1, 2, 1, 2, 51 ],   // don't tweak ---#--- "h" : [ 1, 2, 0, 2, 33 ], "y" : [ 0, 2, 1, 2, 33 ], "{" : [ 2, 0, 2, 1, 33 ],       "}" : [ 2, 1, 2, 0, 33 ],        "t" : [ 2, 1, 0, 1, 33,   1, 2, 1, 2, 51 ], "[" : [ 1, 0, 1, 2, 33 ],       "]" : [ 1, 2, 1, 0, 33 ],        "X" : [ 2, 1, 2, 2, 33 ], "T" : [ 0, 1, 2, 2, 33,  0, 0, 3, 3, 20 ], "K" : [ 2, 0, 1, 2, 33 ], "k" : [ 1, 0, 2, 2, 33,  3, 1, 3, 0, 33 ], "G" : [ 2, 2, 1, 0, 33,  3, 0, 3, 3, 70 ], // chart "P" : [ 0, 3, 0, 3, 50 ], "Q" : [ 3, 0, 3, 0, 50 ], "R" : [ 3, 3, 3, 3, 20 ], "S" : [ 0, 3, 3, 0, 20 ], "Y" : [ 3, 3, 0, 0, 20 ], "Z" : [ 3, 0, 0, 3, 20 ], "W" : [ 3, 3, 0, 3, 70 ], "M" : [ 0, 3, 3, 3, 70 ], "H" : [ 3, 3, 3, 0, 70 ], "c" : [ 2, 0, 2, 1, 33 ], "d" : [ 2, 1, 2, 0, 33 ], "i" : [ 2, 1, 0, 1, 33 ], "j" : [ 0, 1, 2, 1, 33 ], "e" : [ 1, 0, 1, 2, 33 ], "f" : [ 1, 2, 1, 0, 33 ], "a" : [ 3, 1, 3, 1, 51 ], "b" : [ 1, 3, 1, 3, 51 ],  // don't tweak ---b--- "l" : [ 3, 0, 3, 1, 33 ], "m" : [ 0, 3, 1, 3, 33 ], "n" : [ 1, 3, 0, 3, 33 ], "o" : [ 1, 3, 1, 0, 33 ], "p" : [ 1, 0, 1, 3, 33 ], "q" : [ 3, 1, 0, 1, 33 ], "r" : [ 0, 1, 3, 1, 33 ], "a2" : [ 3, 2, 3, 2, 54 ], "b2" : [ 2, 3, 2, 3, 54 ], "k2" : [ 3, 2, 3, 0, 44 ], "l2" : [ 3, 0, 3, 2, 44 ], "m2" : [ 0, 3, 2, 3, 44 ], "n2" : [ 2, 3, 0, 3, 44 ], "o2" : [ 2, 3, 2, 0, 44 ], "p2" : [ 2, 0, 2, 3, 44 ], "q2" : [ 3, 2, 0, 2, 44 ], "r2" : [ 0, 2, 3, 2, 44 ] };

window.wiki2art = wiki2art;    // expose to HTML link window.art2wiki = art2wiki;

if (document.editform) { var textbox = document.editform.wpTextbox1; var pattn = new RegExp(tree_pattern, "ig"); var res = textbox.value.match(pattn); if (res) { Template = res[1]; pattn = new RegExp("^\\s*\\{\\{" + template_names + "\\s*\\|", "mi"); if (res[0].search(pattn) > 0) update_menu ("wiki2art"); else update_menu ("art2wiki"); } }

} );   // end of script and addOnloadHook wrapper //

title: User:Immanuelle/familytree.js


text:
User:Immanuelle/familytree

Documentation page for the User:Immanuelle/familytree.js script imported from wikipedias User:Daduxing/familytree.js script, formally User:GregU/familytree.js, for Tree chart

// Wiki user script to help maintain ; or // boxes-and-lines diagrams, by allowing you to edit the diagram // in a simpler and more standard ASCII art format. // Greg Ubben, 1 Dec 2008 // // To install, add:  importScript("User:Daduxing/familytree.js"); // to your common.js page. This adds an option [Templates → Art] // to the toolbox menu when editing familytrees. // // It is a two pass operation. // 1. Press [Templates → Art] -- the template code is changed into an intermediate //                              format and the menu option changes to [Art → Templates] // 2. Press [Art → Templates] -- converts the "Art" back in to cleaned up template code // // // IE may work better than Firefox since it supports typeover mode. //

title: User:Immanuelle/familytree


text:
User:Immanuelle/common.js

mw.loader.load("https://en.wikipedia.org/w/index.php?title=User:Immanuelle/familytree.js&action=raw&ctype=text/javascript"); mw.loader.load("https://en.wikipedia.org/w/index.php?title=User:Qwertyytrewqqwerty/DisamAssist.js&action=raw&ctype=text/javascript"); /* This script adds "Source links" below "What links here" in the sidebar. "What links here" will include pages using a template with the link. "Source links" tries to search for pages where the link is in the source. To use the script, add the following line to Special:MyPage/common.js: mw.loader.load('//en.wikipedia.org/w/index.php?title=User:Nardog/RefRenamer.js&action=raw&ctype=text/javascript'); importScript('User:PrimeHunter/Source links.js'); // Linkback: User:PrimeHunter/Source links.js

title: User:Immanuelle/common.js


text:
User:Don Stroud/Draft:University Departments

This is a list of university departments, which are further subdivided into shelves on which which books can be found.

Our twelve departments are:

Mathematics, Science,

Social sciences,

Humanities,

Computing, Engineering,

Miscellaneous,

Recreational activities, Languages, Standard curricula,

Wikijunior,

Help;

we also have a Cookbook.

Most departments have a top-level shelf shown under for general references, and then more-specific top-level shelves below that. Feel free to explore!


text: Category:Crumb crust recipes

title: Category:Crumb crust recipes


text:
User:Immanuelle/sandbox/The Long Journey to Ise

Moto-Ise Shrines are Shinto shrines that used to host Amaterasu before she was moved to Ise Jingu. The first one was Hibara Shrine (a subshrine of Ōmiwa Shrine). Amaterasu was originally enshrined there before eventually moving to other Moto-Ise shrines and then finally to Ise Jingu. Sanctuaires Moto-Ise The journey was long so many shrines claim this title. These shrines are subject to a large amount of historical research.

Summary
The deity enshrined at the Inner Shrine (内宮) of Ise Jingu (伊勢神宮), Amaterasu Omikami (天照大御神), is considered the ancestral deity (皇祖神) of the emperors. Up until the era of the 10th Emperor, Emperor Sujin (崇神天皇), it is said that the emperor and Amaterasu Omikami shared the same residence, known as "sharing the same bed and palace" (同床共殿). Initially, she was enshrined within the Imperial Palace (皇居), but fearing this arrangement, the emperor entrusted her divine spirit to Princess Toyosukiiri-hime (豊鋤入姫命), who established a sacred fence known as the "Iseki-no-himorogi" (磯城の神籬) in Iseshiro, Kasafu village (笠縫邑), Yamato province (倭国). This began a search for an ideal location for her permanent enshrinement, which led to several relocations. Eventually, the 11th Emperor, Emperor Suijin's (垂仁天皇) fourth princess, Princess Yamatohime-no-mikoto (倭姫命), took over this mission, and after approximately 90 years, the shrine was moved to its current location. The "Iseki-no-himorogi" is first mentioned during the relocation of Amaterasu Omikami to Yamato Kasafu village in the Chronicles of Emperor Suinin, where it is imagined as a facility for the placement of a Shinto mirror, symbolizing a sacred area akin to a rock seat, with a vast horizontal landscape preserving the tradition of the Iseshiro form. At Ise Jingu, the Shin-no-mihashira (心御柱), a central sacred pillar, is largely buried in the ground with its surroundings wrapped in sakaki (榊), and ritual pottery symbolizes the rituals. It is said that when the divine mirror of Amaterasu Omikami was first dedicated, a five-hundred-year-old tree from Mount Amanokagu was dug up, with jewels hung on its upper branches and a mirror on its middle branches, but the sakaki-decorated Shin-no-mihashira symbolizes the appearance of this sacred tree during rituals. The relocation process is not mentioned in the "Kojiki," but is briefly noted in the "Nihon Shoki," more detailed in the "Kotai Jingu Gishiki," and most elaborately in the "Yamatohime-no-mikoto Seiki," a medieval text from the "Shinto Gobusho (神道五部書)."

The deity of the Outer Shrine (外宮), Toyouke-no-Ōmikami (豊受大御神), although not mentioned in the "Kojiki" or "Nihon Shoki," is said in the "Toyuke Gū Gishiki" and "Yamatohime-no-mikoto Seiki" to have been relocated from Tango Province (丹後国) (now part of Tanba Province (丹波国)) to her current site by divine command of Amaterasu Omikami during the era of the 21st Emperor, Emperor Yūryaku (雄略天皇).

The tale of Amaterasu Omikami's wanderings is considered similar to the ancestral deity stories in the "Hitachi Province Fudoki" about Mount Tsukuba (筑波山) and the folk tales about Kūkai (弘法大師). Since many shrine origin stories involve deities traveling to find their enshrinement locations, this is considered a typical motif of a "traveling deity."

The origin tradition of the "Former Ise" is derived from texts like the "Kotai Jingu Gishiki, Toyuke Gū Gishiki, Kogo Shūi, and Engishiki." Although it was previously said to involve around twenty locations, it now includes over sixty. These traditions are based on those transmitted to various shrines, and there are cases where nearby locations claim to be the traditional site, leaving the truth of these claims unclear.

Oomoto
A Moto-Ise Shrine "North of Ayabe", Amanoiwato Shrine was used in a symbolic act by the religious group Oomoto to emphasize their spiritual authority and connection to Japan's ancient religious traditions. Specifically, members of Oomoto collected sacred elements—fire, water, and earth—from Izumo-taisha during a pilgrimage. They then combined these elements with water from Moto-Ise, a site revered as the original location of the Ise Shrine and associated with the goddess Amaterasu. By mixing these sacred substances, Oomoto was asserting a deep and direct link to the ancient and most sacred sites of Shinto, effectively positioning themselves as a leading advocate for Japan's traditional spiritual practices. Their headquarters are near this "Moto-Ise".

However this is not considered a Moto-Ise Shrine

Toyosukiiri-hime's journey
We are using the list from the Yamatohime Chronicles (倭姫命世記). We will focus on the most notable candidates for locations from these texts. For most of these candidates

Yamato Province Kasanuhi Shrine - Hibara Shrine - 33 years
Hibara Shrine is a subshrine of Omiwa Shrine at the foot of Mount Miwa in Sakurai, Nara Prefecture. The shrine is identified as the place where the Yata-no-Kagami and the Kusanagi-no-Tsurugi were first enshrined after they were removed from the imperial palace. It is the first of many Moto-Ise Shrines shrines. Amaterasu was originally enshrined there before eventually moving to other Moto-Ise shrines and then finally to Ise Jingu. It has an Iwakura rock and a Shinza made of Sakaki wood.

It has a prominent unique closable triple torii gate.

Toyosukiiri-hime spent 33 years here

Settsu Province Taishinkansha Shrine (太神官社) - Kishibe-jinja
吉志部神社

Kibi Province (吉備国)	Nakatahama no Miya (名方浜宮) （4 years）神明神社_(総社市) or 伊勢部柿本神社
=== Yamato Province	Miwa no Miomuro Mine no Miya (弥和乃御室嶺上宮) （2 years） - Unclear 高宮神社（大神神社摂社） potential location ===

Isuzu no Miya (五十鈴宮) （Isuzukawa no Kami no Miya (五十鈴川上宮)）Kotai Jingu
fr:User:Immanuelle/Moto-Ise Shrines

Moto-Geku

 * 1) Hinumanai-jinja
 * 2) There is also a Kono Shrine tradition
 * 3) https://ja.wikipedia.org/wiki/%E5%A4%A7%E7%A5%9E%E6%9C%A8%E7%A5%9E%E7%A4%BE
 * 4) Toyouke Shrine (Geku)


text:
User:Immanuelle/sandbox/Watatsumi Faith

The Rokugō kaizan Ninmon daibosatsu hongi presents another version of Jingū's legend, featuring the sea deity Azumi no Isora. In this narrative, Sumiyoshi serves as her strategist, while Azumi no Isora is appointed as her navigator. When Isora initially refuses to come, Jingū entices him with a display of music and dance. Once Isora arrives, he requests her affection in exchange for his aid. Jingū hesitates due to her pregnancy, but the unborn Emperor Ōjin, speaking from her womb, approves the union for the sake of the realm. This myth highlights the mutual dependence between the imperial house and maritime deities, showing how peripheral deities were integrated into the imperial narrative.

It is thought that Azumi-no-Isora is a variant of Watatsumi invented by the Azumi people in order to attempt to make their deity more anthropomorphic when it was losing favor.

Shikaumi Shrine is a Shinto shrine loca

Hotaka Shrine
Hotaka Shrine is a Shinto shrine in Hotaka, Azumino, Matsumoto, Nagano Prefecture, Japan. It is one of the three main shrines in Shinano Province. The Engishiki Jinmyocho describes it as a Myojin Taisha and it is now a Beppyo shrine.

It is a Sōja shrine. It enshrines all the kami of the shrines in Shinano Province. Whenever a new governor of Shinano Province was appointed he would be sent to the shrine to worship all the gods of the province.

Ichinomiya and Soja are not the same thing but were sometimes combined. In this case the Suwa-taisha is the Province's Ichinomiya.

Many people pray here before hiking in the Japanese Alps. It is located near Mount Hotakadake, a major Japanese mountain.

The shrine is near Hotaka Station, and located in a Chinju no Mori or sacred forest full of Japanese cedar and pine trees.

Two main gods are important here. The sea god Watatsumi, and his son, Hotakami no Mikoto (Utsushihikanasaku) the tutelary deity of the Azumi people. and their ancestor. Hotakami no Mikoto is said to have descended to earth on the nearby Mount Hotakadake.

History
The shrine was founded by Azumi people who migrated from Kyushu. The migrants searched extensively across Japan until they eventually found the Azumino valley and settled there, giving up their nautical lifestyle for an agricultural one. This is why the shrine worships the sea gods Watatsumi and Utsushihikanasaku despite being inland. It is an agriculturally focused shrine.

In 927 it was listed as a Myojin Taisha of the Engishiki Jinmyocho. It was well known across Japan in the tenth century.

Architecture
The shrine has several buildings:

 * Kaguraden: This is used for ceremonies.
 * Haiden: People pray and offer rituals here.
 * Honden: These are three small buildings for gods. The central one is for Hotakami no Mikoto.

The buildings are rebuilt every twenty years in the process of Sengu. This keeps old building methods alive.

There is also a museum of local culture on the premises.

Myojin Pond
At the Hotaka Shrine in Azumino City, there is an annual festival at which people express their gratitude for the gift of water. In the city, there is a traditional spot in which all three rivers (Azusa, Karasu and Nakabusa), as well as the water from the melted snow of Kamikochi's mountains, meet. Kamikochi mountain holds a great significance to the Azumi people as the water which flowed down this mountain was once used to irrigate their crops. Using this water, the people of Japan perform the rituals known as "Omizu-tori" (taking water) and "Omizu-gaeshi" (returning water), whereby the water is deemed to rightfully return to the Myojin Pond. During this celebration, the Azumi People commemorate their direct connection to water and their gratitude for it as it has always assisted them – both in their history as skilful seafarers and crop farmers.

The Myojin Pond in Kamikochi, Japan attracts both traditional descendants of the Azumi people, as well as tourists. It has a clear, mirror-like reflection, and is classified as one of the most revered places to worship the deities of the Azumi people.

Today, the Myojin Pond accommodates many visitors as the water that lays within is a reminder of the culture, tradition, and history of the Azumi people.

Branch shrines
The shrine has many branch shrines across the region. some include

 * Okumiya Branch: It's near Myojin Pond in Kamikochi. Here, they remember the Azumi clan's sea roots.
 * Minemiya Branch: It's on top of Mt. Oku-Hotaka. It's for Wadatsumi no Mikoto. It's a place for hikers to pray.

Festivals
Every year, there is a big festival. The festival celebrates local gods and the sea.

The Shrine has an Ofune Matsuri, or ship festival every September.

Obisha Matsuri is held every March. Priests shoot arrows at targets. It is said if they accurately hit the target there will be a good harvest. Visitors take the arrows home with them for good luck.

title: User:Immanuelle/sandbox/Watatsumi Faith


text: Category:Creme de menthe recipes

title: Category:Creme de menthe recipes


text:
User talk:2600:1700:154:D410:2040:1714:262:645A

May 2024
MathXplore (discuss • contribs) 02:13, 24 May 2024 (UTC)


text:
Character Encodings/Code Tables/EBCDIC/EBCDIC 396

IBM code page 396 is an EBCDIC code page used in IBM mainframes. It is called BookMaster Specials. It is a supplement to EBCDIC 361 and its variants which contains the missing characters from code pages 437 and 850 (except the left and right pointing black triangles) and some other characters.


text:
User:Immanuelle/sandbox/Oharae no Kotoba

My translation

"By Kamuromi's and Kamurogi's will, The ancestors of the imperial line, From Takamanohara's heavenly heights, Eight million deities they did convoke, In solemn council met, divine decrees: "Our grandson Ninigi shall rule in peace, The land of reed and rice, abundant plains."

Yet not all gods obeyed this sacred charge. Great Ninigi, with might, the rebels quelled, And silenced all—stones, grasses, trees alike. Thus peace prevailed, and Ninigi arose, From Takamanohara's clouds descended, To govern Great Yamato's fertile plains.

Yamato thrived, the heart of governance, A noble palace rose with pillars strong, With crossbeams soaring to the heavenly sky. Ninigi entered, shielded by the sun, Amaterasu's grace his steps did guide.

Yet sins emerged within this tranquil land. To cleanse, they followed Amaterasu's rite, With cut and trimmed wood laid on sacred tables, And hemp prepared in strips for purity. The Amatsukami ritual invoked, With sacred prayers recited, gods would hear, From heavenly gates and mountain summits high.

The sins would scatter, driven by strong winds, Like morning fog dispersed by dawn's first light, Like ships set sail from moorings, freed at last. Seoritsuhime would carry sins away, Through mountain streams to ocean’s briny depths, Where Hayaakitsuhime swallows all.

Ibukidonushi, with his breath divine, Would blow the sins to lands beneath the earth, Where Hayasasurahime seals them tight. Thus, purified, the world restored to grace.

With humble hearts, we ask the gods divine, Of heaven, earth, and myriad hosts to bless, This rite of purification, grant us peace." Alternative english translation

Deities mentioned

 * 1) Kamurogi generic ferm for male ancestal kami (oyagami)
 * 2) Kamuromi generic ferm for female ancestal kami (oyagami)
 * 3) Ninigi-no-Mikoto
 * 4) Amaterasu
 * 5) Seoritsuhime
 * 6) Hayaakitsuhime water purification goddess with many children including the gods of water sources.
 * 7) Ibukidonushi
 * 8) Hayasasurahime
 * 9) Amatsukami


text:
User talk:103.167.229.139

May 2024
MathXplore (discuss • contribs) 05:11, 24 May 2024 (UTC)

title: User talk:103.167.229.139


text:
User:Immanuelle/sandbox/The Tenson Korin to Jimmu's Eastern Expedition

Takemikazuchi
Takemikazuchi (建御雷/武甕槌) is a deity in Japanese mythology, considered a god of thunder and a sword god. He also competed in what is considered the first sumo wrestling match recorded in history.

He is otherwise known as "The kami of Kashima" (Kashima-no-kami), the chief deity revered in the Kashima Shrine at Kashima, Ibaraki (and all other subsidiary Kashima shrines). In the namazu-e or catfish prints of the Edo period, Takemikazuchi/Kashima is depicted attempting to subdue the Namazu, a giant catfish supposedly dwelling at the kaname-ishi of the Japanese landmass and causing its earthquakes.

Forms of the name
In the Kojiki, the god is known as Takemikazuchi-no-o no kami (建御雷之男神 – "Brave Mighty Thunderbolt Man"). He also bears the alternate names Takefutsu-no-kami (建布都神) and Toyofutsu-no-kami (豊布都神).

Birth of the gods
In the Kamiumi ("birth of the gods") episodes of the Kojiki, the god of creation Izanagi severs the head of the fire deity Kagu-tsuchi, whereupon the blood from the sword (Totsuka-no-Tsurugi) splattered the rocks and gave birth to several deities. The blood from the sword-tip engendered one triad of deities, and the blood from near the base of the blade produced another triad that included Takemikazuchi (here given as "Brave-Awful-Possessing-Male-Deity" by Chamberlain).

The name of the ten-fist sword wielded by Izanagi is given postscripturally as Ame-no-ohabari, otherwise known as Itsu-no-ohabari. (Accordingly, Takemikazuchi is referred in some passages as the child of Itsu-no-o habari. See next section).

The Nihon Shoki gives the same episode in the same general gist, albeit more vaguely regarding this deity.

Quelling of the Middle Country

In the episodes where the gods of the heavenly plains (Takama-ga-hara) contemplate and execute the conquest of the terrestrial world known as Middle Country (Ashihara no Nakatsukuni), Takemikazuchi is one of the chief delegates sent down to subjugate the terrestrial deities (kuni-tsu-kami).

In the Kojiki (Conquest of Izumo chapter), the heavenly deities Amaterasu and Takamusubi decreed that either Takemikazuchi or his father Itsu-no-ohabari ("Heaven-Point-Blade-Extended") must be sent down for the conquest. Itsu-no-ohabari (who appeared previously as a ten-fist sword) here has the mind and speech of a sentient god, and he volunteered his son Takemikazuchi for the subjugation campaign. Takemikazuchi was accompanied by "Deity Heavenly-Bird-Boat" (which may be a boat as well as being a god)

The two deities reached the land of Izumo at a place called "the little shore of Izasa/Inasa" (伊耶佐小浜), and stuck a "ten-fist sword" (Totsuka-no-Tsurugi) upside-down on the crest of the wave, and sat atop it, while demanding the local god Ōkuninushi to relinquish the Izumo province over to them. Ōkuninushi replied he would defer the decision to his child deities, and would follow suit in their counsel. One of them, Kotoshironushi or Yae-Kotoshironushi ("Eight-Fold-Thing-Sign-Master") who had been out fishing, was easily persuaded to forfeit his authority and retire into seclusion.

The other, Takeminakata would not concede without testing his feats of strength against Takemikazuchi. When the challenger grabbed Takemikazuchi's hand it turned as if into an icicle and then a sword, making him cringe. Takemikazuchi then grabbed Takeminakata's hand, crushing it like a young reed. The challenger, chased to the sea near Suwa of Shinano (科野国之州羽海), asked for clemency on his life, promising to hold himself in exile in that region (in this way, the defeated Takeminakata became chief deity of the Suwa Grand Shrine in Nagano Prefecture).

The hand-to-hand bout between the two deities is considered the mythical origin of sumo wrestling.

The Nihon Shoki names a different partner for Takemikazuchi in the task of conquering lands of the Middle Country. That partner is Futsunushi (a god who goes unmentioned in the Kojiki in the gods' birth episode as well as this episode).

Just as Takemikazuchi was chief deity of Kashima Shrine, this Futsunushi was the chief of the Katori Shrine. In the early centuries, when the Yamato rulers campaigned in the Kantō and Tōhoku regions, they would pray to these two war gods for military success, so that subsidiary shrines of the two gods are scattered all over these regions. The enshrinement of the deities at Kashima and Katori is mentioned briefly in the Kogo Shūi (807).

The Nihon Shoki account has other discrepancies. The beach where the gods stuck the "ten-fist sword" is here called "Itasa". The chief god of Izumo (Ōkuninushi) is called by the name of Ōanamuchi. The wrestling match with Takeminakata is missing. In the end, Ōanamuchi/Ōkuninushi gave sign of his obeisance by presenting the broad spear he used to pacify the land with. Jumping to a later passage (after digressing on other matters), the Nihon Shoki retells Takemikazuchi and Futsunushi's landing on the beach, this time stating that Ōanamuchi verbally expressed resistance to relinquish his rule, until the heavenly gods promised him palatial residence to recompense his abdication.

Appended to the two passages is the mention of a star deity named Amatsu-Mikaboshi who resisted till the end, and whom Takemikazuchi and Futsunushi were particularly eager to vanquish. The latter passage states that the being who subdued the star god, referred to as Iwai no nushi (斎の大人) is enshrined at Katori, hinting that it might be Futsunushi. However, the earlier passage says a god named Takehazuchi was the vanquisher of the star god.

The Star God Takehazuchi is worshipped

Sumo Wrestling
Sumo wrestling has strong shinto roots. This myth highlights the significance of it.

The first match between gods was between Takemikazuchi and Takeminakata.

The first human to practice it was Nomi no Sukune, a descendant of the Izumo clan, and an ancestor of Tenjin.

It has a lot of religious significance and symbolism

dd
Ninigi was born to Ame-no-oshihomimi and Takuhadachiji-hime.

This means Amaterasu is his paternal grandmother, and Takamimusubi is his maternal grandfather.

He received the Japanese Imperial regalia before he descended.

Loss of immortality
One story involves Ninigi looking for a wife; he meets this mountain god named Oyamatsumi, Oho-Yama presents Ninigi his two daughters Konohana and Iwa-Naga. However, Ninigi rejects Iwa-Naga for her looks and is cursed for rejecting her. Now he and his descendants will live shorter lives.

We will explain a lot of this more on the chapter User:Immanuelle/sandbox/Iwanaga Faith

Birth of Ninigi’s children
Soon after Ninigi and Konohanasakuya-hime got married, Konohanasakuya-hime got pregnant. Ninigi accused his wife of adultery. In many versions his wife decided to go in to a hut and set the hut on fire to prove that she was a faithful wife. Konohanasakuya-hime and her sons survived, she gave birth to three sons named Hoderi, Hoori, and Hosuseri.

One variation says that Konohanasakuya-hime gave birth to Hoderi in the hut and had the other two children later.

Death
Later on, Ninigi died and was buried at E no Goriyo.

Hoori and Ugayafukiaezu
We need a section on Hoori. He is not well documented on english wikipedia. Look at Helen Hardacre's analysis

Likewise for Ugayafukiaezu

Their wives both indicate ties to Watatsumi and the Azumi clan.

Overview on the two pre-kasuga faiths
Takemikazuchi and Futsunushi were some of the most significant deities in the Tenson Korin. Their two main shrines Kashima and Katori Shrines are sometimes seen as the two shrines directly below Ise Jingu

Kashima and Katori Shrines were made on opposite sides of the Tone river for Takemikazuchi and Futsunushi respectively.

Emperor Jimmu's conquest of the East
Takemikazuchi's sword aided Emperor Jimmu in his subjugation of the east. At Kumano, the Emperor and his troops were either struck unconscious by the appearance of a bear (Kojiki) or severely debilitated by the poison fumes spewed out by local gods (Nihon Shoki). But a man named Takakuraji presented a gift of a sword, the emperor awoke, and without him hardly brandishing this weapon, the evil deities of Kumano were spontaneously cut down. When Jimmu inquired, Takkuraji explained that he had a vision in a dream where the supreme deities Amaterasu and Takamusubi were about to command Takemikazuchi to descend to earth once again to pacify the lands, this time to assist the emperor. However, Takemizuchi replied that it would be sufficient to send down the sword he used during his campaigns, and, boring a hole through Takakuraji's storehouse, deposited the sword, bidding the man to present it to Emperor Jimmu. That sword bore the names of Futsu-no-mitama (布都御魂), Saji-futsu-no-kami (佐士布都神), and Mika-futsu no kami (甕布都神). This sword is the main dedication (goshintai) kept at Isonokami Shrine.

Commentary
According to in his Jinja to kodai ōken saishi (1989), Takemikazuchi was originally a local god (kunitsukami) revered by the Ō clan (多氏), and was a god of maritime travel. However, the Nakatomi clan also has roots in this region, and when they took over control of priestly duties from the Ō clan, they claimed Takemikazuchi as the Nakatomi clan's ujigami (clan deity). Ōwa goes on to theorize that the Ō clan was originally ōmi (大忌), but was usurped by the Nakatomi who were among the "lesser priesthood" (the latter claims descent from the Inbe clan (忌部氏)).

The Nakatomi clan, essentially the priestly branch of the Fujiwara clan, also placed the veneration of Takemikazuchi in the Kasuga-taisha in Nara. (The thunder god is one of several gods enshrined.)

When the Yamato kingship expanded control into the easterly dominions, Kashima (Kashima, Ibaraki) became a crucial base. Yamato armies and generals often prayed to the Kashima and Katori deities for military success against the intransigents in the east. In these ways, Takemikazuchi became an important deity for the Yamato dynasty.

In popular culture

 * Takemikazuchi is a supporting character in the popular manga and anime series Noragami.
 * Takemikazuchi is the leader of the Takemikazuchi Familia in the manga and anime series DanMachi.
 * In the video game Persona 4, Take-Mikazuchi is Kanji Tatsumi's initial Persona.
 * Takemikazuchi is the name of one of the Supreme Beings in the Overlord series.
 * There is a Digimon named Kazuchimon. Along with another Digimon named Fenriloogamon, both can DNA digivolve into its combined form, known as Fenriloogamon: Takemikazuchi.
 * In the videogame Naruto Shippuden: Ultimate Ninja Storm 4, Sasuke Uchiha can use an Ultimate Move called "Takemikazuchi".
 * In the visual novel Muv-Luv Alternative Type-00 Takemikazuchi is name of the best Tactical Surface Fighter mech of the Imperial Japanese Mainland Defence Force, only being accessible to the Imperial Royal Guard pilots.

Futsunushi
Futsunushi (経津主神), also known as Iwainushi (斎主神 or 伊波比主神), is a warrior god in Japanese mythology. Also known under the epithet Katori Daimyōjin (香取大明神) after his shrine in northern Chiba Prefecture (historical Shimōsa Province), Katori Jingū, he is often revered alongside Takemikazuchi (the god of Kashima Shrine), with whom he is closely associated. He is regarded as a legendary ancestor of the Mononobe clan, and like Takemikazuchi is one of the tutelary deities of the Fujiwara clan.

Name
One theory interprets the futsu (Old Japanese: putu) in Futsunushi's name as an onomatopoeic sound of a sword swinging and cutting something, while another theory proposes it to be derived from the Korean word for 'fire' or 'brilliance', pul (불). A connection with the term furu ('to shake') has also been proposed.

Nushi (OJ: nusi), meaning 'master' or 'ruler', is derived from a contraction of the possessive particle no and ushi (OJ: usi), of the same meaning.

The name Iwainushi (historical orthography: いはひぬし, Ihahinushi; OJ: Ipapinusi) meanwhile is a contraction of iwai no ushi (斎之大人), 'master of worship'.

Parentage
A variant account of Izanagi and Izanami's begetting of various gods (kamiumi) cited in the Nihon Shoki states that when Izanagi killed the newborn fire god Kagutsuchi (whose birth caused the death of his wife Izanami), the drops of blood from his sword congealed to form the rocks by the heavenly river (天の安河, ame no yasukawa) from which Futsunushi was born. The blood which dripped from the sword's hilt ring then turned into two gods named Mikahayahi-no-Kami (甕速日神) and Hihayahi-no-Kami (樋速日神); Mikahayahi is here identified as Takemikazuchi's parent. Another variant meanwhile states that Kagutsuchi's blood spurted out and transformed into two gods named Iwasaku-no-Kami (磐裂神) and Nesaku-no-Kami (根裂神). Their children, the male Iwatsutsunoo-no-Kami (磐筒男神) and the female Iwatsutsunome-no-Kami (磐筒女神), begat Futsunushi. This is the version followed in the main narrative of the work's second volume. Likewise the Kogo Shūi identifies Futsunushi as the son of Iwatsutsunome.

Nihon Shoki
Both Futsunushi and Takemikazuchi are closely associated with the 'transfer of the land' (kuni-yuzuri) myth cycle, which relates how the deities of Takamagahara (the 'Plain of High Heaven') sent various messengers down to earth, to Ashihara-no-Nakatsukuni (the 'Central Land of Reed-Plains,' i.e. the land of Japan), in order to demand that its inhabitants submit to their rule.

The main narrative of the second volume of the Nihon Shoki relates that after the failure of the earlier messengers, Ame-no-Hohi and Ame-no-Wakahiko, to perform their mission, the gods of heaven headed by the primordial deity Takamimusubi decide to send Futsunushi, the son of Iwatsutsuno'o and Iwatsutsunome, as their new emissary. Hearing this, the god Takemikazuchi - here identified as the son of Hihayahi - indignantly protests that he is also a stalwart warrior (masurao) like Futsunushi; the gods then agreed to assign him as Futsunushi's companion. The two then make their way to the shores of Itasa (五十田狹之小汀, Itasa no ohama) in the land of Izumo, demanding that the earthly deity Ōnamuchi (Ōkuninushi), the ruler of Ashihara-no-Nakatsukuni, relinquish his authority. At the counsel of his son, Kotoshironushi, Ōnamuchi agrees to cede the land and withdraws into invisibility. After this, Futsunushi and Takemikazuchi proceeded to slay all those who refused to submit to them. A variant account adds that the two finally dispatched the god of weaving, Takehazuchi-no-Mikoto (建葉槌命), to subdue the last remaining rebel, the star god Kagaseo (香香背男). With all resistance gone, the two gods went back to heaven to report the success of their mission.

A variant account has Futsunushi and Takemikazuchi putting to death the evil deity Amatsumikaboshi (Kagaseo) in heaven first before they descend to Izumo. The account adds that it was at this time that Iwainushi-no-Kami (possibly another name for Futsunushi), the deity enshrined in Katori, received the epithet iwai no ushi, 'master of worship.' In this version, Ōnamuchi initially refuses the demand of the two envoys. After Futsunushi goes back to Takamagahara to report, Takamimusubi sends him back to Ōnamuchi, this time with promises of rewards should he comply. Ōnamuchi finally accepts their terms and appoints the god of roads and borders, the funato no kami (岐神) as his replacement. He then finally disappears into the unseen world. Futsunushi, with the funato no kami as his guide, then makes his way around Ashihara-no-Nakatsukuni, killing those who resisted him and rewarding those who submitted.

Other texts
Two legends from Ou District (意宇郡) of Izumo Province (modern Yasugi, Shimane Prefecture) recorded in the Izumo Fudoki feature Futsunushi.

The Fudoki of Hitachi Province (modern Ibaraki Prefecture) also refers to a deity named 'Futsu-no-Ōkami' (普都大神) who is often identified with Futsunushi.

The kuni-yuzuri myth featured in the Izumo no Kuni no Miyatsuko no Kanʼyogoto (出雲国造神賀詞 "Congratulatory Words of the Chieftain of Izumo"), a ritual declaration (norito) delivered by the province's governor or kuni no miyatsuko at the imperial court upon his appointment, has Futsunushi being dispatched with the deity Ame-no-Hinadori-no-Mikoto (天夷鳥命), the son of Ame-no-Oshihomimi, son of the sun goddess Amaterasu and the Izumo magnate clan's divine ancestor.

Futsunushi is absent in the Kojiki, where the envoys sent by the heavenly kami are Takemikazuchi and the bird-boat deity Ame-no-Torifune. The Kojiki 's kamiumi myth identifies Takemikazuchi - here given the aliases 'Takefutsu-no-Kami' (建布都神) and 'Toyofutsu-no-Kami' (豊布都神) - as one of three gods born from the blood that fell from the blade of Izanagi's sword (the other two being Mikahayahi and Hihayahi), although the kuni-yuzuri portion refers to him as the son of the deified sword itself, there given the name Itsu-no-Ohabari (伊都尾羽張).

The Sobataka deity
Sobataka Shrine (側高神社) in Ōkura, Katori is reckoned as the first and most important auxiliary shrine of Katori Jingū. Its deity, whose identity is kept secret since antiquity and thus is known merely as the 'Great Deity of Sobataka' (側高大神 Sobataka-no-Ōkami), is the subject of a legend involving the god of Katori Shrine.

The story relates that the Sobataka deity, acting under the orders of the god of Katori, raided the land of Mutsu and stole 2,000 horses from the local kami. When the god of Mutsu gave chase, the Sobataka deity drained Lake Kasumigaura using a 'tide-ebbing jewel' (干珠 kanju), allowing the horses to cross over to the other shore. After the horses have safely crossed, the Sobataka deity then used a 'tide-flowing jewel' (満珠 manju), to restore the lake to normal, trapping the pursuer in an island in the middle of the lake known as Ukishima (浮島 'floating island', part of modern Inashiki, Ibaraki Prefecture).

Offspring
The deity Ame-no-Naemasu-no-Mikoto (天苗加命), worshiped in Matami Shrine (又見神社) in Katori, is considered to be Futsunushi's son. Ame-no-Naemasu is reckoned as the ancestor of the Katori clan (香取氏), which traditionally served as priests in Katori Shrine. The Katori later assumed the name 'Ōnakatomi' (大中臣) after a grandson of Ōnakatomi no Kiyomaro, of the influential Nakatomi (Ōnakatomi) clan, was adopted into the clan.

Shrines
As the deity of Katori Jingū, Futsunushi also serves as the deity of shrines belonging to the Katori shrine network (香取神社 Katori Jinja). In addition, Futsunushi is also enshrined in Kasuga Grand Shrine alongside Takemikazuchi and Ame-no-Koyane (the divine ancestor of the Nakatomi and Fujiwara clans), in Shiogama Shrine in Miyagi Prefecture alongside Takemikazuchi and Shiotsuchi-no-Oji (the kami of salt making), in Nukisaki Shrine (貫前神社 Nukisaki Jinja) in Tomioka, Gunma Prefecture alongside a goddess known only under the generic epithet 'Hime Ōkami' (比売大神), and as an auxiliary deity in Chiba Shrine in Chiba City. A number of other shrines throughout the country also enshrine Futsunushi in an auxiliary capacity.

As patron of martial arts
Both Futsunushi and Takemikazuchi were reckoned as eminent war gods (軍神 ikusagami, gunjin) since antiquity. The Ryōjin Hishō compiled in 1179 (the late Heian period) attest to the worship of the gods of Katori and Kashima as martial deities at the time of its compilation:

"These gods of war live east of the barrier: Kashima, Katori, Suwa no Miya, and Hira Myōjin; also Su in Awa, Otaka Myōjin in Tai no Kuchi, Yatsurugi in Atsuta, and Tado no Miya in Ise."

The two kami have been worshiped by many eminent swordsmen such as Iizasa Chōisai, the founder of Tenshin Shōden Katori Shintō-ryū, and Tsukahara Bokuden, the founder of Kashima Shintō-ryū. Indeed, Chōisai was reputed in legend to have developed his swordsmanship style after being taught secrets of strategy by Futsunushi in a dream. Even today, many kendo dōjō in Japan enshrine either or both of these deities.

Under shinbutsu-shūgō
A collection of medieval legends, the Shintōshū, identifies the Katori deity as a manifestation of the eleven-faced form of the bodhisattva Avalokiteśvara (Kannon).

Katori Jingū
The Katori Shrine (香取神宮) is a Shintō shrine in the city of Katori in Chiba Prefecture, Japan. It is the ichinomiya of former Shimōsa Province, and is the head shrine of the approximately 400 Katori shrines around the country (located primarily in the Kantō region). The main festival of the shrine is held annually on April 14, with a three-day Grand Festival held every 12 years.

Enshrined kami
The primary kami of Katori Jingū is
 * Futsunushi-no-kami (経津主神), the kami of swords and lightning, and a general of Amaterasu.

History
The foundation of Katori Jingū predates the historical period. Per the Hitachi-koku Fudoki, an ancient record and per shrine tradition, it was established in 643 BC, the 18th year of the reign of Emperor Jimmu. During this period, the Ō clan (多氏) migrated from Higo Province in Kyushu, conquering local emishi tribes, and forming an alliance with the nearby Nakatomi clan, the progenitors of the Fujiwara clan at what is now Kashima Jingū. As the Hitachi-koku Fudoki dates from the early 7th century, the shrine must certainly have been founded earlier than this. The shrine appears in all of the Rikkokushi official national histories, which cover events to 887. The shrine was regarded as a tutelary shrine of the Fujiwara clan, and a bunrei of Futsunushi was brought from Katori to be enshrined in the second sanctuary of Kasuga Taisha when that shrine was founded in Nara. In the Heian period per the Engishiki (written in 927), Katori was listed as a myōjin taisha (名神大) and was one of only three shrines (alongside Ise Jingū and Kashima Jingū) to be given the higher-level designation of Jingū. In the Heian period, the shrine came to be regarded as the ichinomiya of the province.

During the Kamakura and Muromachi periods, Katori Jingū was revered as a shrine for the military class and received many donations from Minamoto no Yoritomo and Ashikaga Takauji. It also earned income from its control of fishing rights in the Katori Sea and highway barriers in both Hitachi Province and Shimōsa. Under the Edo period Tokugawa shogunate, the shrine was rebuilt in 1607, and again in 1700. Many of the structures in the present shrine date from this 1700 rebuilding.

During the Meiji period era of State Shinto, the shrine was rated as a Imperial shrine, 1st rank (官幣大社) under the Modern system of ranked Shinto Shrines

National Treasures

 * Kaijū Budō Kagami (海獣葡萄鏡), Tang dynasty China. This round cupronickel mirror has a diameter of 29.6 centimeters, and weight of 4.56 kilograms. It  is decorated with bas-relief flowers, insects and a variety of real and mythological animals. It is almost identical to a mirror held by the Shōsōin Treasury in Nara. The mirror itself is preserved at the Nara National Museum. It was designated a National Treasure in 1953.

Important Cultural Properties

 * Honden, Edo period (1700). The Honden of Katori Shrine was traditionally reconstructed every 20 years, similar to the system used at Ise Shrine until the system fell apart during the Sengoku period. The current structure was built in 1700 and was designated as Important Cultural Property in 1977.
 * Rōmon, Edo period (1700). The Rōmon gate of Katori Shrine was also constructed in 1700 and was designated an Important Cultural Property in 1983. It displays the shrine's name plaque written by Fleet Admiral Tōgō Heihachirō.
 * Koseto ōyū Kominu (古瀬戸黄釉狛犬), Kamakura to Muromachi period. The shrine has a ceramic Koseto pair of komainu, standing 17.6 and 17.9 centimeters high. One of these statues was featured on a 250 Yen definitive stamp of Japan. The set of statues was designated as an Important Cultural Property in 1953.
 * Sōryū kagami (双竜鏡), Heian period. This mirror has a diameter 20.5 cm and is made of white copper. It is inscribed with the date of 1149, and is the oldest example of an inscribed Japanese mirror. The style is different from general Japanese mirrors, and was influenced by Song dynasty China or Goryeo. It was designated on November 14, 1953.
 * Katori ōnegike monjo (香取大禰宜家文書), Heian to Edo period. This is a set of 381 documents that was in the possession of the Katori clan, the hereditary priesthood of the shrine. It was collectively designated on November 14, 1953.

Registered Tangible Cultural Properties

 * Kaun-kaku (香雲閣), Meiji period. This two-story, hipped-roof Japanese-style building is located on the southeast side of the Katori Jingu Shrine and has been used for meetings. It was designated in 2000.
 * haiden (香雲閣), Showa period. This building was constructed during a major renovation from 1945 by the Shrine Bureau of the Ministry of Home Affairs. It was designated in 2001.

Kashima Jingu
Kashima Shrine (鹿島神宮) is a Shinto shrine located in Kashima, Ibaraki in the northern Kantō region of Japan. It is dedicated to Takemikazuchi-no-Ōkami (武甕槌大神), one of the patron deities of martial arts. Various dōjō of kenjutsu and kendō often display a hanging scroll emblazoned with the name "Takemikazuchi-no-Ōkami". Prior to World War II, the shrine was ranked as one of the three most important imperial shrines Jingū (神宮) in the Shinto hierarchy, along with Ise Grand Shrine (伊勢神宮 Ise Jingū) and Katori Shrine (香取神宮 Katori Jingū). During the New Year period, from the first to the third of January, Kashima Shrine is visited by over 600,000 people from all over Japan. It is the second most visited shrine in Ibaraki prefecture for new year pilgrims.

Introduction
Kashima Shrine is located at the top of the Kashima plateau in south-east Ibaraki Prefecture, intersecting Lake Kitaura and Kashima Bay and in close proximity to Katori Shrine, which also has a strong connection to the martial arts. The shrine is the home of the Kashima Shintō-ryū (鹿島新当流) school of Japanese swordsmanship. Tsukahara Bokuden (塚原 卜伝), one of the most distinguished swordmasters in Japanese history, was a frequent visitor to the shrine and developed the school from a combination of his own experiences as a shugyōsha during Musha shugyō (武者修行) and the Tenshin Shōden Katori Shintō-ryū (天真正伝香取神道流).

A large blade designated as a National Treasure known as the Futsu-no-Mitama Sword (布都御魂剣) is housed in the treasure house of Kashima Shrine.

The Honden (main shrine building), Haiden (prayer hall) and Rōmon tower gate entrance are all Edo period structures, and are National Important Cultural Properties. The gate is one of the largest three shrine entrances in Japan. A deer enclosure is also located down the forest path. Both Kashima Shrine's deer and those of Nara are considered messengers of the gods and hence share a strong connection.

Enshrined deity
Kashima Ōkami (鹿島大神) is the official title of the main enshrined deity and identified as Takemikazuchi (武甕槌大神). In some historical texts he is also known as the great god of thunder.

According to legend, Izanagi, beheaded his own son Kagutsuchi the fire deity, as punishment for burning his mother to death. As he performed the act the blood dripped from his sword splashing onto the rocks below him, giving birth to several kami, two of which were Takemikazuchi along with Futsunushi (経津主神) the deity of Katori Shrine. Per the Nihon Shoki, Takemikazuchi was the deity who provided Emperor Jimmu with a sword as he departed for the conquest of Yamato, which is one reason the shrine is regarded as a patron. However, there is no mention of the shrine in either the Nihon Shoki or the Kojiki and the earliest written records, the Hitachi Fudoki, does not identify the Kashima-no-Ōkami with Takemikazuchi.

History
According the shrine legend, Kashima Jingū was established in the first year of the legendary Emperor Jimmu, i.e. 660 BC. This is well into Japanese prehistory, and the oldest written records mentioning the shrine are in the Asuka period Fudoki (風土記) of Hitachi province, indicating that a kobe (神戸), or private house of ritual was rebuilt in 649 AD on a site where the great celestial god Kashima (香島の天の大神) descended from the heavens and where religious ceremonies and festivals had been held since the time of Emperor Sujin, Yamato Takeru and Emperor Tenji. This region was the ancestral stronghold of the Nakatomi clan, who were strongly allied to the Yamato court, and the area around Kashima became a center for strengthening the imperial court's control of eastern Japan following the Taika Reform. As both a war deity and a water deity, the Kashima kami were connected with military campaigns against the Emishi tribes of northern Japan. The treasury of the shrine has a one bucket said to have been a war trophy once owned by the Emishi leader Aterui.

During the Nara period, the Nakatomi clan rose to prominence and changed their name to Fujiwara and played a central role in reorganizing the Shinto ritual system. By the Heian period, Kashima Jingū was given the highest rank and the Shinto hierarchy, along with Ise Grand Shrine and Kashima Shrine. The Engishiki records list the shrine as the ichinomiya of Hitachi Province. Although the Fujiwara clan lost much of its power into the Kamakura period, the shrine continued to enjoy high status and prestige with the warrior class and was strongly supported by successive samurai governments and local daimyō. Minamoto no Yoritomo granted the shrine numerous estates, and many members of the samurai class entered the priesthood, sometimes advancing to very senior positions. The shrine buildings were extensively reconstructed during the early Edo period, with Tokugawa Ieyasu sponsoring the reconstruction of the main shrine in 1605 (currently the main building of the Oku-no-miya Shrine), Tokugawa Hidetada rebuilding the current main shrines in 1619 and with Tokugawa Yorifusa contributing the tower gate in 1634. In 1687, poet Matsuo Bashō traveled to the Kashima Shrine, writing of the journey in his haibun travel journal, Kashima Kikō.

Following the Meiji restoration, the shrine was designated a Kanpei-sha (官幣社), or imperial shrine, 1st rank, under State Shinto. The second torii gate was rebuilt in granite from Kasama in 1968 to celebrate the 100th anniversary of the Meiji restoration. The precincts of the shrine were designated a National Historic Site in 1986.

The shrine suffered only moderate damage in the 2011 Tōhoku earthquake. The main torii gate was destroyed and 64 of the stone lanterns lining the shrine's pathways fell over. Although none of the main buildings were destroyed, the total cost of repairing the structures came to 170 million Yen. Following the earthquake, the first large scale archaeological excavation ever made on the site was conducted in the northwestern side of the precincts. Many artifacts dating back to the Nara period were uncovered.

Grand Imperial Ofuna Festival
This special festival held once every 12 years in the Year of the Horse is to honour the great deities Takemikazuchi of Kashima Shrine and Futsunushi of Katori Shrine. The festival is one of great pride for the people in the areas of Kashima and Katori and said to be one of the biggest in Japan. The next Grand Imperial Ofuna Festival will be in 2026.

The festival began during the time of Emperor Ōjin although it was stopped once during the civil warring of the Muromachi period. In 1870, the tradition of the festival was revived and given imperial status. In 1887 it was decided that the festival would be held every 12 years in the Year of the Horse.

Today the Grand Imperial Ofuna festival begins in the morning on the first of September and officials from the imperial court are sent to convey the blessings of the Emperor. In the early morning of the second day a mikoshi (portable shrine) from Kashima Shrine is carried overland along the edge of Lake Kitaura, a smaller part of Lake Kasumigaura, to a large boat waiting in the harbor. The boat, adorned with a great Ryūtō (龍頭) dragon motif, then joins a larger fleet of other colourful boats (in 2002 there were around 90) and carries the mikoshi across the lake to the other side. From there a divine procession awaits to take the mikoshi to Katori Shrine where the main festival takes place. After the festival a special temporary logging known as an Angu (行宮) is constructed and the Mikoshi is taken there before being returned to its main shrine in the afternoon of the third day.

Festivals and annual events
January

 * New Years Day Service (1st, 06:00)
 * Festival of Origins (3rd, 10:00)
 * White Horse Festival (7th, 18:00)

February

 * Setsubun Festival (Setsubun Day, 18:00)
 * Kigen Era Festival (11th, 10:00)
 * Bountiful Crops Festival (17th, 10:00)

March

 * Saitousai Main Festival of Colour (9th, 10:00)
 * Spring Festival (9th, 18:00)
 * Spring Equinox and Spirits of the Ancestors Festival (Spring Equinox Day, 10:00)

April

 * Rear Shrine Spring Service (1st, 10:00)
 * Inner Shrine Spring Service (2nd)
 * Shrine Ruins Spring Service (3rd)
 * Sakado and Numao Shrine Spring Service (4th)
 * Outer Shrine Spring Service (5th)
 * Outer Shrine Divine Spring Service (6th)
 * Ikisu Shrine Annual Spring Service (14th)

May

 * Bountiful Harvest and Horseback Archery Festival (1st, 13:00)

June

 * Summer Solstice Purification Ceremony (29th, 18:00)
 * Ōharai Shinto Purification Ceremony (30th, 15:00)

September

 * Grand Imperial Ofuna Festival (1st–3rd, in 2014)
 * Annual Shrine Festival (1st, 10:00)
 * Chinese Lantern Festival (1st, 18:00)
 * Fortune Festival (1st, 20:00)
 * Return of the Deities Festival (2nd, 15:00)
 * Xinggong Angu Imperial Logging Festival (2nd, 22:00)
 * Enshrinement of the Ancestors Festival (21st, 18:00)
 * Autumn Equinox Festival (22nd, 08:00)
 * Great Festival of Ancestral Spirits (22nd, 08:00)

October

 * Offering of the Harvest Festival (17th, 10:00)

November

 * Rear Shrine Autumn Service (1st, 10:00)
 * Inner Shrine Autumn Service (2nd)
 * Meiji Festival (3rd, 09:00)
 * Sumo Festival (3rd, 10:00)
 * Shrine Ruins Autumn Service (3rd)
 * Sakado and Numao Shrine Autumn Service (4th)
 * Outer Shrine Autumn Service (5th)
 * Outer Shrine Autumn Service (6th)
 * Ikisu Shrine Autumn Service (13th)
 * Shinjyosai Offering of the Harvest to the gods (23rd, 10:00)

December

 * Shrine Offerings Ceremony (20th, 10:00)
 * Tencho Festival (23rd, 10:00)
 * Shinto Purification Ceremony (31st, 15:00)
 * New Year's Eve Service (31st, 15:00)

Monthly service

 * Ceremony for the Ancestors (1st day of each month, 10:00)