Thursday, July 20, 2017
Shin Godzilla is a weird meditation on the problems with Japanese bureaucracy | Ars Technica
Shin Godzilla is a weird meditation on the problems with Japanese bureaucracy | Ars Technica
When Godzilla finally does hit the shoreline, there's a major shock in
Soon, we discover that the major human conflict in this story isn't
One of the really creative parts of this film is the way writer/director Hideaki Anno (creator of Evangelion) has given Godzilla the power of rapid evolution. The kaiju may be more powerful in some ways, but this Godzilla also
Tuesday, July 18, 2017
Kinema : : A Journal for Film and Audiovisual Media
Kinema : : A Journal for Film and Audiovisual Media
SISYPHUS IN THE SAND PIT: ON THE ICONIC CHARACTER OF SAND, AND HOW THE "ANTI-NATURAL MAN" CATCHES WATER IN WOMAN IN THE DUNES
While filming Woman in the Dunes (WITD), director Hiroshi
Teshigahara repeated that this adaptation of the acclaimed Kobo Abe
novel had three main characters: not just a man and a woman but also the
sand. Decades later he would remark: "The sand has its own identity."(1)
My study examines how this sand with an autonomous character attracts water, and thereby redeems the anti-natural man. I have three principal, interconnected objectives as a focus:
SISYPHUS IN THE SAND PIT: ON THE ICONIC CHARACTER OF SAND, AND HOW THE "ANTI-NATURAL MAN" CATCHES WATER IN WOMAN IN THE DUNES
While filming Woman in the Dunes (WITD), director Hiroshi
Teshigahara repeated that this adaptation of the acclaimed Kobo Abe
novel had three main characters: not just a man and a woman but also the
sand. Decades later he would remark: "The sand has its own identity."(1)
 |
1) Locate Woman in the Dunes as a key text in the emergent
genre of environmental film, i.e. audio-visual narratives that represent
or revision the human-nature relationship;
2) Read the film as an allegory about human freedom and community that
is both Japanese and archetypal in its revising of the myth of Sisyphus,
and in its treatment of gender;
3) Contribute to a theory of visual narrative by exploring how
Teshigahara constructs both the literal narrative (entrapment), and the
metanarratives of human-nature relationships and existential dilemmas,
primarily through visual means.
The Frontier Within - Essays by Abe Kobo | Columbia University Press
The Frontier Within - Essays by Abe Kobo | Columbia University Press: Richard F. Calichman is professor of Japanese studies at the City College of New York, CUNY. His Columbia University Press books include Overcoming Modernity: Cultural Identity in Wartime Japan (2008); Contemporary Japanese Thought (2005); and What is Modernity? Writings of Takeuchi Yoshimi (2005).
Wednesday, July 12, 2017
Shinbashira: central pillar of a pagoda
The shinbashira (心柱, also 真柱 or 刹/擦 satsu)[1] refers to a central pillar at the core of a pagoda or similar structure. The shinbashira has long been thought[2] to be the key to the Japanese pagoda's exceptional earthquake resistance
Pursuant studies of the shinbashira structure, and its utility in quake-resistance has made it to be used anew in structures including the Tokyo Skytree. A central feature of the tower is a system to control swaying used for the first time, has been dubbed "shinbashira" after the central pillar found in traditional five-story pagodas. The 375-meter-long, steel-reinforced concrete shinbashira is not directly connected to the tower itself and is designed to cancel out the swaying of the needle-like tower during an earthquake.[2]
https://en.wikipedia.org/wiki/Shinbashira
During our visit, I had the opportunity to observe numerous of the distinctively Japanese five-story pagodas. They appear across Asia and seem to have been imported to Japan, along with Buddhism, from China in the 6th century. We saw them at the Bannaji Buddhist temple in Ashikaga, at the temple complex at Nikko, at Asakusa and again at the Toshogu temple in Ueno Park. At once solid, yet delicate, these structures soar to great heights, yet seem unsupported and top heavy. How have they endured for centuries in a land prone to earthquakes?*
There is a secret at the heart of the pagoda that explains their endurance and even provides a useful modern innovation. It is called the shinbashira, the central pillar at the core of a pagoda. The shinbashira is made from the straight trunk of the Japanese Cypress tree (hinoki), a tree so strong it is referred to as 'ironwood' locally. The central pillar extends beyond the roof of the pagoda becoming the finial and is usually buried three meters into the foundation of the structure. Since it is one organic piece, it provides incredible strength and stability to the whole structure. Instead of building progressive stories each supported by the one underneath, all of the five stories essentially are hanging off the central pillar. Because they are not entirely dependent on the structure beneath, they are to an extent free floating and have tremendous flexibility to sway or move independently in the event of an earthquake (jishin).
This idea was even incorporated in the construction of the Tokyo Skytree. A 375 meter long steel reinforced concrete shinabashira is suspended inside the tower as a counterbalance to reduce swaying throughout the structure during earthquakes. It is 8 meters across and weighs 11,000 metric tons.**
Although this is an interesting application of ancient technology to a modern problem, I was more intrigued by the shinbashira as a metaphor. Japan and its people have been subjected to numerous hardships and disasters over the years. Countless earthquakes and fires have afflicted its cities. Kyoto was said to have burned to the ground 49 times in the first hundred years of its founding. The great Kanto earthquake of 1923 leveled Tokyo. I saw some of the evidence of this in the temples at Ueno Park. Hiroshima and Nagasaki are still the only two cities in the world to have been destroyed by nuclear weapons. Many other cities were burned during the war. Recently the Tohoku earthquake of 2011, and the subsequent meltdown of nuclear reactors added to the list of devastating disasters to hit Japan. Yet, despite of these, Japan has a reputation of resilience, of a determination to overcome adversity and to stand firm. I wonder if there is some sort of cultural shinbashira, that provides Japan with a sense of calm acceptance of impermanence, coupled with an undaunted spirit. Whatever it may be, their perseverance and success in the face of adversity is a lesson to us all.
* Research shows that there are only records of two pagodas that have collapsed due to earthquake in the last 1,400 years! Unfortunately, being built entirely of wood, many more have succumbed to fire. (Some of the temples I saw had wave patterns and motifs carved under the eaves as a warding against fire.)
** Measurements cited in http://www.nippon.com/en/views/b01101/
Pursuant studies of the shinbashira structure, and its utility in quake-resistance has made it to be used anew in structures including the Tokyo Skytree. A central feature of the tower is a system to control swaying used for the first time, has been dubbed "shinbashira" after the central pillar found in traditional five-story pagodas. The 375-meter-long, steel-reinforced concrete shinbashira is not directly connected to the tower itself and is designed to cancel out the swaying of the needle-like tower during an earthquake.[2]
https://en.wikipedia.org/wiki/Shinbashira
During our visit, I had the opportunity to observe numerous of the distinctively Japanese five-story pagodas. They appear across Asia and seem to have been imported to Japan, along with Buddhism, from China in the 6th century. We saw them at the Bannaji Buddhist temple in Ashikaga, at the temple complex at Nikko, at Asakusa and again at the Toshogu temple in Ueno Park. At once solid, yet delicate, these structures soar to great heights, yet seem unsupported and top heavy. How have they endured for centuries in a land prone to earthquakes?*
There is a secret at the heart of the pagoda that explains their endurance and even provides a useful modern innovation. It is called the shinbashira, the central pillar at the core of a pagoda. The shinbashira is made from the straight trunk of the Japanese Cypress tree (hinoki), a tree so strong it is referred to as 'ironwood' locally. The central pillar extends beyond the roof of the pagoda becoming the finial and is usually buried three meters into the foundation of the structure. Since it is one organic piece, it provides incredible strength and stability to the whole structure. Instead of building progressive stories each supported by the one underneath, all of the five stories essentially are hanging off the central pillar. Because they are not entirely dependent on the structure beneath, they are to an extent free floating and have tremendous flexibility to sway or move independently in the event of an earthquake (jishin).
This idea was even incorporated in the construction of the Tokyo Skytree. A 375 meter long steel reinforced concrete shinabashira is suspended inside the tower as a counterbalance to reduce swaying throughout the structure during earthquakes. It is 8 meters across and weighs 11,000 metric tons.**
Although this is an interesting application of ancient technology to a modern problem, I was more intrigued by the shinbashira as a metaphor. Japan and its people have been subjected to numerous hardships and disasters over the years. Countless earthquakes and fires have afflicted its cities. Kyoto was said to have burned to the ground 49 times in the first hundred years of its founding. The great Kanto earthquake of 1923 leveled Tokyo. I saw some of the evidence of this in the temples at Ueno Park. Hiroshima and Nagasaki are still the only two cities in the world to have been destroyed by nuclear weapons. Many other cities were burned during the war. Recently the Tohoku earthquake of 2011, and the subsequent meltdown of nuclear reactors added to the list of devastating disasters to hit Japan. Yet, despite of these, Japan has a reputation of resilience, of a determination to overcome adversity and to stand firm. I wonder if there is some sort of cultural shinbashira, that provides Japan with a sense of calm acceptance of impermanence, coupled with an undaunted spirit. Whatever it may be, their perseverance and success in the face of adversity is a lesson to us all.
* Research shows that there are only records of two pagodas that have collapsed due to earthquake in the last 1,400 years! Unfortunately, being built entirely of wood, many more have succumbed to fire. (Some of the temples I saw had wave patterns and motifs carved under the eaves as a warding against fire.)
** Measurements cited in http://www.nippon.com/en/views/b01101/
Small worlds
The Japanese art of models
AIT architecture department
Tobu World
models at the Ashikaga museum, Gakkou, Matsumura house, etc.
makes me think of Calvino's Invisible Cities, building tony models of many cities not seen
"This model pleased me. It was closer to the Golden Temple of my dreams. Observing this perfect little image of the Golden Temple within the great temple itself, I was reminded of the endless series of correspondences that arise when a small universe is placed in a large universe and a smaller one is in turn placed inside the small universe. For the first time I could dream: of the small, but perfect Golden Temple which was even smaller than this model; and of the Golden Temple which was infinitely greater than the real building-so great, indeed, that it almost enveloped the world."
The Temple of the Golden Pavilion, Yukio Mishima
Many of the places we visited had small architectural models in glass cases located inside them. To be fair, many of the places we visited were historic buildings of architectural interest, so this was not unexpected. Yet, it was such a repeated observation that I began to think about what purpose these models served.
The Japanese are known for many things, but not least among them is a skill at miniaturization. This coupled with an exacting precision with tools and parts yields some beautiful architectural models. An early high point of the trip was a visit to an Architecture workshop at A.I.T. There we saw hundreds of models built by students using their own designs for towns, villages, malls, shopping centers, ski resorts. Most of these models displayed not only an almost inhuman level of detail and precision, but also spectacularly innovative and interesting designs. (I have worked in capital finance alongside construction for more than 15 years and I can tell a good design from a mediocre one.) The plans, all hand drawn, were so perfect that they looked as if they had been done on a computer.
At other venues we saw models of the Ashikaga Gakkou and recreations of the original Ashikaga estate. There was a model of the Matsumura House in a glass case inside the Matsumura House. In Tokyo, the giftshop at the Imperial Palace Gardens sported a miniature model of the Imperial Palace Gardens. But all this was only a prelude to the main feast -- Tobu World Square.
Tobu World Square is a theme park that we visited on our way back from Nikko. It consists of several acres housing more than 100 1:25 scale models of the world's architectural wonders. It has zones for modern Japan, ancient Japan, Asia, Europe, America and Egypt. Each structure is set in its own diorama including landscaping, roads, model automobiles, boats or planes, and hundreds of figures. (The website says there are 140,000 miniature people.) This attraction is so expansive in space and simultaneously so compacted and detailed that it almost defies you to complete it. It is difficult to find focus. Wherever your eye rests, the world's familiar skyline beckons from the near distance while the detail of the immediate setting fights for your attention. Initial delight and enthusiasm eventually gave way to fatigue and then exhaustion.
In America we have land to such an abundance that we have sprawled development to the horizon around every major city. However, land is an incredibly scarce resource in Japan. Most of the terrain is mountainous and prevents easy development, so the entire population is restricted to the coastal plains and competes with agriculture for the available land. Consequently, urban development is almost continuous from the shore to the mountains, with agriculture bracketing all of the major rivers. This was easily apparent from the plane on the way in. I noticed immediately the proximity of rice paddies and farms to the winding rivers. This is very different from the circular irrigation patterns observed across all of the Midwest. Buildings and roads are very compact, even down to the size of living spaces (and hotel rooms!).
The Japanese are used to making use of every available inch of space. Perhaps this attention to space, size and scale lends itself to the making of beautiful models. Perhaps the models represent a realm in which space is simultaneously limited and yet abundant. At Tobu, a massive architectural wonder, like the Great Pyramids of Egypt, fits in an area the size of a backyard patio in America. Notre Dame cathedral fits neatly in an average U.S. parking space. For a people used to living in incredibly compressed environs, these models might represent a microcosm toward which they are striving. Perhaps, they are an attempt, as in Blake's words, "to see a world in a grain of sand...and hold infinity in the palm of your hand."
AIT architecture department
Tobu World
models at the Ashikaga museum, Gakkou, Matsumura house, etc.
makes me think of Calvino's Invisible Cities, building tony models of many cities not seen
The Temple of the Golden Pavilion, Yukio Mishima
Many of the places we visited had small architectural models in glass cases located inside them. To be fair, many of the places we visited were historic buildings of architectural interest, so this was not unexpected. Yet, it was such a repeated observation that I began to think about what purpose these models served.
The Japanese are known for many things, but not least among them is a skill at miniaturization. This coupled with an exacting precision with tools and parts yields some beautiful architectural models. An early high point of the trip was a visit to an Architecture workshop at A.I.T. There we saw hundreds of models built by students using their own designs for towns, villages, malls, shopping centers, ski resorts. Most of these models displayed not only an almost inhuman level of detail and precision, but also spectacularly innovative and interesting designs. (I have worked in capital finance alongside construction for more than 15 years and I can tell a good design from a mediocre one.) The plans, all hand drawn, were so perfect that they looked as if they had been done on a computer.
At other venues we saw models of the Ashikaga Gakkou and recreations of the original Ashikaga estate. There was a model of the Matsumura House in a glass case inside the Matsumura House. In Tokyo, the giftshop at the Imperial Palace Gardens sported a miniature model of the Imperial Palace Gardens. But all this was only a prelude to the main feast -- Tobu World Square.
Tobu World Square is a theme park that we visited on our way back from Nikko. It consists of several acres housing more than 100 1:25 scale models of the world's architectural wonders. It has zones for modern Japan, ancient Japan, Asia, Europe, America and Egypt. Each structure is set in its own diorama including landscaping, roads, model automobiles, boats or planes, and hundreds of figures. (The website says there are 140,000 miniature people.) This attraction is so expansive in space and simultaneously so compacted and detailed that it almost defies you to complete it. It is difficult to find focus. Wherever your eye rests, the world's familiar skyline beckons from the near distance while the detail of the immediate setting fights for your attention. Initial delight and enthusiasm eventually gave way to fatigue and then exhaustion.
In America we have land to such an abundance that we have sprawled development to the horizon around every major city. However, land is an incredibly scarce resource in Japan. Most of the terrain is mountainous and prevents easy development, so the entire population is restricted to the coastal plains and competes with agriculture for the available land. Consequently, urban development is almost continuous from the shore to the mountains, with agriculture bracketing all of the major rivers. This was easily apparent from the plane on the way in. I noticed immediately the proximity of rice paddies and farms to the winding rivers. This is very different from the circular irrigation patterns observed across all of the Midwest. Buildings and roads are very compact, even down to the size of living spaces (and hotel rooms!).
The Japanese are used to making use of every available inch of space. Perhaps this attention to space, size and scale lends itself to the making of beautiful models. Perhaps the models represent a realm in which space is simultaneously limited and yet abundant. At Tobu, a massive architectural wonder, like the Great Pyramids of Egypt, fits in an area the size of a backyard patio in America. Notre Dame cathedral fits neatly in an average U.S. parking space. For a people used to living in incredibly compressed environs, these models might represent a microcosm toward which they are striving. Perhaps, they are an attempt, as in Blake's words, "to see a world in a grain of sand...and hold infinity in the palm of your hand."
Departures
At the conclusion of this trip, I have to ask myself, did it change me. I initially set out hoping that it would. I was not sure exactly what kind of change I was hoping for, but clearly embarking on a trip of this magnitude cannot fail to have some effect. Would it change who I am fundamentally? Would it only change my set of likes and dislikes? Would it alter the way I see the world in a permanent and enduring way? I thought I would experience a profound culture shock, that I would be constantly confronted with that difference in Japan. Surprisingly, after only a day or two, I felt very at home there. Things had an everyday quotidian quality that made the simple act of living one's life seem very easy. I remember remarking on how "doable" everything was. There was a shared script or operating system for going about one's everyday business; going shopping, using credit cards, going to ATMs, exchanging money, getting onto wi-fi, eating in restaurants, doing laundry, etc.
T.S. Eliot has been quoted as saying "We shall not cease from exploration,
and the end of all our exploring will be to arrive where we started and know
the place for the first time." I have heard this quote before and it has always stuck with me as particularly profound. I think this trip did change me, but not fundamentally. I am still pretty much the same person I was when I left. The trip was a wonderful exposure to a new culture and a new place. I met many kind, generous, thoughtful, and interesting people, saw beautiful landscapes and artworks, enjoyed culture, cuisine and camaraderie. I have had my horizons broadened. I even contemplated the possibility of living in Japan as an ex pat, something had had never considered before and that only because I met some ex pats for whom it was a positive decision in their lives.
As Eliot says, the change in oneself from exploring may only become evident after you return home and see your familiar surroundings with new eyes. I felt that keenly as I made my way back to Champaign, Illinois. I immediately saw things in a new and different light. I noticed for example how grimy the Chicago subway and Union Station seemed and how huge the cars and the roads appear to me now. I looked at my fellow passengers on Amtrak as if through a foreigners eyes. I observed our standard offerings of food and beverage and noticed the incessant obtrusions of noise.
It is impossible to see things here the same way ever again. I will always be aware that in another part of the world, things are done very differently. People look, act and speak differently, and they inhabit the landscape differently. They have a different relationship to nature, the environment and world. They have a spirituality and a philosophical outlook that is unlike our own. It is impossible to have this awareness and not think differently about what is or is not possible. I hope that in future, I will harbor my experiences abroad, not simply as the trip of a lifetime, or the celebration of my half century anniversary, but rather as a source of continued inspiration and insight. Viewed through this new lens, my life and my future can be different and hopefully, better. Even as out plane taxied down the runway at Narita, I looked back with a sadness to be leaving and a strong desire to return again. Sayounara, Nihon. Mata aimashō.
Read more at: https://www.brainyquote.com/quotes/quotes/t/tseliot109032.html
We shall not cease from
exploration, and the end of all our exploring will be to arrive where
we started and know the place for the first time.
Read more at: https://www.brainyquote.com/quotes/quotes/t/tseliot109032.html
Read more at: https://www.brainyquote.com/quotes/quotes/t/tseliot109032.html
Monday, July 10, 2017
Nagusaitsukushima Shrine: Sticks and stones
In the novel 1Q84, Haruki Murakami describes a woman who, while stuck in Tokyo traffic in a taxi, "bolts from the cab, walks onto the elevated Tokyo expressway, descends an emergency ladder to the street below, and enters a strange new world." This seemingly simple, prosaic and brief journey, not unlike Alice's down the rabbit hole or through the looking glass, catapults her into a world like our own, but subtly and strangely different; an alternate form of reality.
Murakami, in his novel The Wind Up Bird Chronicle, tells a similar kind of story, about a disaffected Tokyo urbanite who descends to the bottom of a dry well at a vacant property and stays there for three days, the modern equivalent of a vision quest. From forty feet underground, entirely cut off from normal reality and its everyday concerns, he is able to access an alternate form of reality. In this world of spirit, or perhaps intuition, he is able to perceive events in this world differently and gains insight into what things really mean and how seemingly disparate phenomenon are all interconnected.
When one hikes up to the shine at Nagusa one is struck by a similar sense of having left the mundane world of routine everyday existence (admittedly a uniquely Japanese everyday existence that includes such things as ubiquitous conveyor-belt sushi restaurants, city crosswalks that chirp like insistent birds, and Japanese hotels that serve only French cuisine) and enter into an alternate form of reality.
From the moment we passed beneath the enormous Shinto torii gate, which marks the boundary between the realm of the sacred and the everyday, a hush descended upon us. The air seemed laden with moisture and the sky was obscured behind a dense vaulting forest canopy. The trees seemed to extend upward for a hundred feet or more. They were densely packed in a way not usually seen in America and seemed ancient and enormous. They gave the impression of being wild and alive, not cultivated or controlled. (I had a similar feeling at the Meiji Shine in Tokyo which is surrounded by what looks like an old growth forest. But there the effect is artificially produced since that forest was crafted by hand specifically to give that effect. This is another example of the Japanese skill at creating simulacra.)
After an hour or more of walking we reached the shrine. Standing there, one can feel immediately the presence of the timeless and the sacred. One can feel the ordinarily solid boundary between worlds stretched thin. Staring at a jumble of logs arranged in a pile like a giant child's plaything or an enormous granite boulder neatly cleft in two one cannot but be struck with a sense of awe and wonder (and perhaps terror*). Natural beauty exists in such abundance and is observed with such reverence throughout Japan that I often feel as if, like a character in a Murakami novel, I am rubbing shoulders with the divine, the miraculous, the sacred. It is a feeling that is both inspiring and unsettling. The border between worlds has been rubbed thin and if not careful one might slip right through.
* Images of an arranged pile of sticks appear frequently in American horror settings as an epitome of an unknown but ancient and malevolent power of nature. The film Blair Witch Project and the first season of the television series True Detective feature similar designs as does the famous horror story by Carl Edward Wagner, "Sticks."
Wednesday, July 5, 2017
Land use, urban planning, use of rivers, city and countryside, agriculture, autocentricity
land scarcity
high density development
low rise
respect for and care of rivers
agriculture in proximity to rivers
roads and parking are limited, cities were not built for cars
extensive public/mass transit
city/countryside divide is not as sharp as Illinois
in Japan mountains are undeveloped, plains are used for everything else
we missed out on seeing the relationship with the sea by being so far inland
high density development
low rise
respect for and care of rivers
agriculture in proximity to rivers
roads and parking are limited, cities were not built for cars
extensive public/mass transit
city/countryside divide is not as sharp as Illinois
in Japan mountains are undeveloped, plains are used for everything else
we missed out on seeing the relationship with the sea by being so far inland
Teshigahara and Kobo Abe - Pitfall, The Woman in the Dunes and Face of Another
Pitfall
organized labor dispute
owner as an agent of annihilation
ghosts as helpless witness to injustice
abandoned child running to the future
Woman in the dunes
conformity to group norms and expectations
exploitation, imprisonment, forced labor
the immiseration of pointless work
someday we will buy a radio
freedom found by taking charge of your own existence and setting its terms
escape as unattainable goal
Face of another
identity and persona
anonymity,
freedom from observation
From Mishima's Golden Pavilion
"I wished that the witness of my disgrace would disappear. If only no witnesses remained, my disgrace would be eradicated from the face of the earth. Other people are all witnesses. If no other people exists, shame could never be born in the world." by Mizoguchi
organized labor dispute
owner as an agent of annihilation
ghosts as helpless witness to injustice
abandoned child running to the future
Woman in the dunes
conformity to group norms and expectations
exploitation, imprisonment, forced labor
the immiseration of pointless work
someday we will buy a radio
freedom found by taking charge of your own existence and setting its terms
escape as unattainable goal
Face of another
identity and persona
anonymity,
freedom from observation
From Mishima's Golden Pavilion
"I wished that the witness of my disgrace would disappear. If only no witnesses remained, my disgrace would be eradicated from the face of the earth. Other people are all witnesses. If no other people exists, shame could never be born in the world." by Mizoguchi
Diversity, change, youth and the future
African students at AIT - renewable energy, African dance
the boys high school teachers, young able, they are no jobs for me here
100 % graduation rate, 100% college acceptance
enrollment declining
people moving to Tokyo
aging population
low immigration
learning English, losing face - Tomo
coming to America -- Nepalis and Chinese
We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time. T. S. Eliot
We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time. T. S. Eliot
Read more at: https://www.brainyquote.com/quotes/quotes/t/tseliot109032.html
Izakaya, Monja okonomiyaki restaurant and Yakitori-kann
Late night, Yakitori-kann
The hotel we stayed at during our time in Ashikaga was in all respects a very nice accommodation. We ate most of our breakfasts and dinners at the hotel restaurant and the fare was consistently excellent. Most of the dinners, if I had enjoyed them in the United States, I would have rated them extremely highly. They did have one notable peculiarity however, they were all exclusively French cuisine. It was an oddly ambiguous experience to be sitting in Japan and eating French cuisine, something that we all remarked upon repeatedly.
To have French food, or Italian or Mexican or Chinese while in the U.S. hardly merits a mention. But to go to Japan seeking Japanese cuisine and be confronted with night after night of French meals approaches the surreal.
Joking aside, I got to sample many different kinds of Japanese fare; miso, gohan, ramen, soba, udon, tonkatsu, gyudon, yakitori, sushi, okonomiyaki, taiyaki, wagashi, matcha, sake, umeshu, biru, kaiseki and hot pot. The food was uniformly excellent across the board. (Well, maybe not the natto.) It was always perfectly prepared with fresh ingredients and served promptly. On a few occasions, I experienced some uniquely Japanese dining experiences.
There was a tiny hole-in-the-wall yakitori restaurant close to the hotel, recognizable from the red paper lanterns and the counter with two stools out front. I had hoped to experience an izakaya, or local pub, while in Japan and this seemed pretty close. Izakayas are known more as drinking establishments that also serve pub-food. Usually it is very basic fare, but sometimes there is a very large menu or small dishes. One evening several of us went there and sampled many of their dishes. The environment was warm and inviting and even if a bit cramped and hot and smokey, was altogether a very enjoyable experience. We ordered plate after plate of meat on skewers and round after round of biru. At one point, the cook came out of the kitchen and sang a melancholy Spanish ballad in Japanese accompanied on the ukelele.
We had a similar experince on our last night in Ashikaga. A friend took us to another humble local establishment, this one serving okonomiyai and monja, sometimes called Japanese pizza or Japanese pancakes, although neither of those terms quite do it justice. The unique characteristic of this restaurant was that you did you own cooking of a hotplate set into the table. We ladled the raw ingredients onto the griddle and started nibbling with chopsticks and spatula as soon as the edges started to turn brown. There was a huge variety of food as well as a huge quantity; kimchi, vegetables, squid, potatoes, chicken, all smothered in batter to form huge crusty blackened pancakes and then smothered again in sauce and Japanese mayo and washed down with biru or shouchou.
There is something about these experiences that makes them truly unique and authentic. There is something to be said for sharing good food with good friends in a quaint homey setting. Again, I noted that there were no tourists in these places, except for us. It felt very much like what real Japanese people eat and where they would go to eat it. Of all the fantastic fare I sampled in Japan, these two stand out to me as maybe the most Japanese.
Hotaru, matsuri and umeshu
the story of the
firefly festival
and drinking homemade 22 year old umeshu - plum wine
Omotenashi
defines Japanese hospitality. But its meaning goes way deeper than the
way of providing hospitality. The noun means “to entertain guests
wholeheartedly”.
Many cultures value hospitality and Japan is no different. Not surprisingly they even have a word for it -- omotenashi. But to the Japanese, omotenashi goes deeper than just hospitality, however, it means "to entertain guests wholeheartedly." I was fortunate that I got to experience omotenashi first hand, and not just once either, but on many occasions.
During the weekend host family stay, I was treated as an honored guest. I was shown many natural treasures including the many beautiful mountains of Gunma Prefecture. I toured temple complexes, Shinto shrines, historical homes, and the UNESCO world heritage site at Tomioko Silk Mill. I was treated to lavish meals including soba, sushi, and a fine kaiseki dining experience. I got to experience an onsen, or natural hot spring, at an exquisite modern style resort hotel. When I left, I was laden with treats, food and spirits. I felt that they truly embodied the spirit of omotenashi and am grateful for the experiences they shared with me.
On a different occasion, I got to experience a more humble form of omotenashi; by visiting a small local firefly watching festival, or matsuri. This was up in the hills outside of Ashikaga and we were driven up there late one evening. When I heard that we were being taken 'firefly watching,' I admit I didn't expect much, but when we arrived I saw immediately how mistaken I was. Although it was a very humble affair, it was a totally authentic experience. There were no tourists in evidence. It was a festival for locals by locals. From the ad hoc parking arrangements, to the local women cooking and serving snacks to the selling of local produce and rustic delicacies, it was entirely unpretentious. We were served yakitori, noodles and green tea and sat on folding chairs under tents. We bought our tickets from friendly women of the local auxilliary club and proceeded into the darkness of the forest trail. All around us were parents and young children, local teenagers, old couples strolling through the darkness on a warm summer evening. The darkness was only punctured by the soft incandescence of huge fireflies, followed by ooohs and aaaahs from the rapt crowd.
Later, we were invited to the home of our guide and he plied us with samples from his cellar of home made umeshu, plum wine. Carefully bottled from local plums, some of the stock had aged 20 years or more. We also sampled an number of other home made delicacies; a sour plum jam and honey from the beehives. This simple act of sharing the bounty of nature that had been cultivated by patient and loving hands, to me is the epitome of omotenashi. It fills ones heart with gratitude and a sense of belonging and togetherness that is hard to come by in today's frenetic world of consumerism and commodification. It was a welcome respite and a sweet memory to cherish for years to come.
What is the Omotenashi?
Many cultures value hospitality and Japan is no different. Not surprisingly they even have a word for it -- omotenashi. But to the Japanese, omotenashi goes deeper than just hospitality, however, it means "to entertain guests wholeheartedly." I was fortunate that I got to experience omotenashi first hand, and not just once either, but on many occasions.
During the weekend host family stay, I was treated as an honored guest. I was shown many natural treasures including the many beautiful mountains of Gunma Prefecture. I toured temple complexes, Shinto shrines, historical homes, and the UNESCO world heritage site at Tomioko Silk Mill. I was treated to lavish meals including soba, sushi, and a fine kaiseki dining experience. I got to experience an onsen, or natural hot spring, at an exquisite modern style resort hotel. When I left, I was laden with treats, food and spirits. I felt that they truly embodied the spirit of omotenashi and am grateful for the experiences they shared with me.
On a different occasion, I got to experience a more humble form of omotenashi; by visiting a small local firefly watching festival, or matsuri. This was up in the hills outside of Ashikaga and we were driven up there late one evening. When I heard that we were being taken 'firefly watching,' I admit I didn't expect much, but when we arrived I saw immediately how mistaken I was. Although it was a very humble affair, it was a totally authentic experience. There were no tourists in evidence. It was a festival for locals by locals. From the ad hoc parking arrangements, to the local women cooking and serving snacks to the selling of local produce and rustic delicacies, it was entirely unpretentious. We were served yakitori, noodles and green tea and sat on folding chairs under tents. We bought our tickets from friendly women of the local auxilliary club and proceeded into the darkness of the forest trail. All around us were parents and young children, local teenagers, old couples strolling through the darkness on a warm summer evening. The darkness was only punctured by the soft incandescence of huge fireflies, followed by ooohs and aaaahs from the rapt crowd.
Later, we were invited to the home of our guide and he plied us with samples from his cellar of home made umeshu, plum wine. Carefully bottled from local plums, some of the stock had aged 20 years or more. We also sampled an number of other home made delicacies; a sour plum jam and honey from the beehives. This simple act of sharing the bounty of nature that had been cultivated by patient and loving hands, to me is the epitome of omotenashi. It fills ones heart with gratitude and a sense of belonging and togetherness that is hard to come by in today's frenetic world of consumerism and commodification. It was a welcome respite and a sweet memory to cherish for years to come.
Shinto, Shrines and natural treasures
saw a wedding at Meiji shrine in Tokyo
saw parents bringing newborn babies to the shrine in Gunma
people are born Shinto and die Buddhist
saw shrines to Tokugawa in Nikko and Ueno Park - enshrining civic political leaership
Orihime Shine was build by industry leaders as a shine to the weaver goddess, supporting Ashikaga's textile industry
shines exist in places of scenic natural beauty and solemn wonder
Nagusa
Haruna Falls
Kegon Falls
Mount Miyogi
these sites were sacred before they were religious
divination (Omikuji fortune telling)
Asakusa Shrine
my fortune - daikichi luck = super good
http://travelience.com/faq2/what-does-daikichimean-in-omikuji-a-fortune-telling/
Buddhist temples associated with graveyards and funerals
Transportation
Observations on driving in Japan
drive on the left
difficult, expensive to be a driver
cautious and courteous drivers
narrow cars, narrower streets
parking??
K cars
Japanese auto makers have separate fleets for export and domestic
Tokyo subway
clean, efficient and on time
the Oeda line uses an electromagnetic motivator to traverse extreme grades, we saw a smaller example at AIT
complex
Industry and craft
labor intensive factory
Tomioka Silk Mill
robots, mechanization
Subaru factory
Fujiwatani Lace factory
artisanal crafting
wagashiya
Noh mask craftsman
Coco Farms winery
sake brewers, tea growers, matcha
“The Japanese word shokunin
is defined by both Japanese and Japanese-English dictionaries as
'craftsman' or 'artisan,' but such a literal description does not fully
express the deeper meaning. ... It means craftsmanship, however it is
much more than that
The literal meaning of Monozukuri is 'production'. 'Mono' is the thing which is made and 'Zukuri' means the act of making but Monozukuri implies more than simply making things. It can be best compared to the word 'craftsmanship' in English.
sake brewers, tea growers, matcha
What is the meaning of Shokunin?
What is the meaning of monozukuri?
Climbing Mount Ryogai
Orihime Shine is visible in the distance, halfway up the near slope. Mt. Ryogai is perhaps one of the more distance peaks.
One the first day in Japan, while exploring the city and environs on foot, we visited the first of many shrines. Often located at the top of rather steep hills, reaching them required some effort, especially given that the weather was often mushiatsui desu. (Muggy or humid). We scaled two nearby hills in quick succession to reach the Boys Shrine and the (much smaller) Girl's Shrine. As we scaled the third high hill that housed the Orihime Shrine, we had the option on the itinerary of continuing further along the mountain ridge to reach the peak of Mount Ryogai. However as we examined the signs, it was difficult to tell exactly how far it was or how long it would take. The map was separated into stages and it seemed like it could be 90 minutes to the summit or more than 8 kilometers. Although I don't doubt we could have done it, it was approaching noon and the sun was blazing, so we decided not to, deferring it to a later unspecified time. Climbing Mount Ryogai became something of a mantra after that. It was referenced many more times. Stories were told of previous delegations that had made the trip and some of the mishaps that befell them, especially with regard to infamous shortcuts. The phrase Climbing Mount Ryogai could be a stand in for a sort of cautionary tale. A warning to avoid underestimating the difficulty and demands of an environment you are unfamiliar with.
Winning at Zen
Zazen and man caves
Kyūdō, Japanese archery
http://www.ikyf.org/mental_attitude.html
Tea ceremony, ikebana and calligraphy
Mai Mai Murasaki
Kata (型 or 形 literally: "form"), a Japanese word, are detailed choreographed patterns of movements practiced either solo or in pairs. The term form is used for the corresponding concept in non-Japanese martial arts in general.[1] Kata are used in many traditional Japanese arts such as theatre forms like kabuki and schools of tea ceremony (chado), but are most commonly known for the presence in the martial arts.
The do of reverse parking?
**********************************
Early one morning, we departed for a session of zazen, seated meditation, at the Jorinji Zen Buddhist temple. We received some instruction in the practice of zazen, including the use of the 'encouragement stick' to clarify one's focus. The monk spoke no English however, which obscured some of the finer points a bit. We sat several sessions of increasing duration in silence, counting our breaths, trying to slow and control our breathing. Zen at the beginner level could be said to be mainly about breathing. It is difficult however not to become distracted by one's own thoughts during a meditation session. The smallest things intrude and disrupt the sense of peaceful serenity that one is trying to achieve. After the session we had a dharma talk in which the monk tried to explain the more advanced aspects of Zen, but it largely boiled down to repeated variations on the theme that 'everything is connected.' Later he took us on a tour of his 'man cave' and showed us his home theater system and newly installed Bose speakers.
We had a number of opportunities to explore facets of Zen during our stay in Japan. Zen is a practice that infuses many of Japan's traditions and activities. During a visit to the girl's high school, we were introduced to the traditional practices of kadō, sadō and shodō. Dō is the Japanese term for Way or a Way, deriving from the Chinese word Dao. Zen is considered to be a synthesis of traditional Buddhism which began in India with the Chinese practice of Daoism. A Way is like a path or practice that leads one toward satori, or Enlightenment. By engaging in a practice that requires mindfulness (or mindlessness), repetition, stillness and reflection one can begin to achieve the state of mind associated with becoming enlightened. Japan has incorporated Zen into many traditional arts and produced many different Ways.
The Japanese Way of tea is called sadō (or chadō). It is a specified practice of ritualized movements and articles associated with the act of preparing and drinking tea. We had the opportunity to see it in a formal setting at the school, but also experienced it in much more relaxed settings at both the Matsumura House museum and the home of the Noh mask craftsman. The tea ceremony is a quintessentially Japanese activity, although like so much of Japanese culture, has its roots in China. I had even partaken of a tea ceremony before departing for Japan at the Japan House, a cultural center on the campus of UIUC. We also experienced kadō, the Japanese art of flower arranging, also known as ikebana. This practice also features mindfulness, deliberation and artfulness to create an expression of peace, balance and composition in a collection of flowers and plants placed in a bowl or vase. The result is a point of contemplation on nature, beauty and impermanence. Lastly, we put our hand to Japanese calligraphy, or shodō. With ink and brush, one attempts to artistically depict a kanji character, in essence a one word poem. Again the point of the practice is to attain a state of mid conducive to enlightenment by achieving a certain kind of perfection in the artfulness of the work. These formal ways require much study and preparation and I felt that my attempts were clumsy at best.
On another day we were introduced to yet another kind of Way, more physical than the previous three; Japanese archery or kyūdō. One is presented with a target and engages in a prescribed set of meticulous moves to place the arrow on the target. A Westerner would immediately assume that the goal it to hit the bulleye and the highest score wins. In fact, hitting the target is of only tangential importance to the practice. In fact, you could hit the target and have very poor form. Like other kinds of Way, it is more about achieving a state of mindfullness and through repeated attempts hone your movements toward a kind of contemplative perfection. Yet I was still pleased that on my first attempt I was able to hit the target close to the center. The mistake of keeping score however became immediately clear, since my mind became clouded and I became so distracted by my early success that all of my subsequent shots were much worse.
Like many other martial arts, kyūdō relies on what is called a kata, or form of movements. These can be practiced over and over to create a sort of muscle memory. This is why athletes and dancers practice there movements in very repetitious cycles. I found an interesting example of a kata in a very unexpected place, the video game arcade that we visited some evenings. One of the students enjoyed playing 'rhythm games' such as the venerable dance, dance revolution. A more recent example of which is Maimai murasaki. I had the opportunity to watch several Japanese teenagers playing this game at an almost superhuman level of proficiently such that even on the hardest levels they were able to achieve perfect scores, they hands exactly mirroring the blazingly fast cues on the screen. I also watched a pair of boys play in 'sync' mode, their movements perfectly synchronized simultaneously across two adjacent machines. It is hard to watch this and not think of a modern equivalent of a martial art or a Way; one in which the perfection of the form and execution is monitored by the machine and immediately scored. One wonders what the state of mind of the players is at that moment. Are they attaining some kind of mindfulness? Is this yet another way to enlightenment?
Kyūdō, Japanese archery
http://www.ikyf.org/mental_attitude.html
Tea ceremony, ikebana and calligraphy
Mai Mai Murasaki
Kata (型 or 形 literally: "form"), a Japanese word, are detailed choreographed patterns of movements practiced either solo or in pairs. The term form is used for the corresponding concept in non-Japanese martial arts in general.[1] Kata are used in many traditional Japanese arts such as theatre forms like kabuki and schools of tea ceremony (chado), but are most commonly known for the presence in the martial arts.
The do of reverse parking?
**********************************
Early one morning, we departed for a session of zazen, seated meditation, at the Jorinji Zen Buddhist temple. We received some instruction in the practice of zazen, including the use of the 'encouragement stick' to clarify one's focus. The monk spoke no English however, which obscured some of the finer points a bit. We sat several sessions of increasing duration in silence, counting our breaths, trying to slow and control our breathing. Zen at the beginner level could be said to be mainly about breathing. It is difficult however not to become distracted by one's own thoughts during a meditation session. The smallest things intrude and disrupt the sense of peaceful serenity that one is trying to achieve. After the session we had a dharma talk in which the monk tried to explain the more advanced aspects of Zen, but it largely boiled down to repeated variations on the theme that 'everything is connected.' Later he took us on a tour of his 'man cave' and showed us his home theater system and newly installed Bose speakers.
We had a number of opportunities to explore facets of Zen during our stay in Japan. Zen is a practice that infuses many of Japan's traditions and activities. During a visit to the girl's high school, we were introduced to the traditional practices of kadō, sadō and shodō. Dō is the Japanese term for Way or a Way, deriving from the Chinese word Dao. Zen is considered to be a synthesis of traditional Buddhism which began in India with the Chinese practice of Daoism. A Way is like a path or practice that leads one toward satori, or Enlightenment. By engaging in a practice that requires mindfulness (or mindlessness), repetition, stillness and reflection one can begin to achieve the state of mind associated with becoming enlightened. Japan has incorporated Zen into many traditional arts and produced many different Ways.
The Japanese Way of tea is called sadō (or chadō). It is a specified practice of ritualized movements and articles associated with the act of preparing and drinking tea. We had the opportunity to see it in a formal setting at the school, but also experienced it in much more relaxed settings at both the Matsumura House museum and the home of the Noh mask craftsman. The tea ceremony is a quintessentially Japanese activity, although like so much of Japanese culture, has its roots in China. I had even partaken of a tea ceremony before departing for Japan at the Japan House, a cultural center on the campus of UIUC. We also experienced kadō, the Japanese art of flower arranging, also known as ikebana. This practice also features mindfulness, deliberation and artfulness to create an expression of peace, balance and composition in a collection of flowers and plants placed in a bowl or vase. The result is a point of contemplation on nature, beauty and impermanence. Lastly, we put our hand to Japanese calligraphy, or shodō. With ink and brush, one attempts to artistically depict a kanji character, in essence a one word poem. Again the point of the practice is to attain a state of mid conducive to enlightenment by achieving a certain kind of perfection in the artfulness of the work. These formal ways require much study and preparation and I felt that my attempts were clumsy at best.
On another day we were introduced to yet another kind of Way, more physical than the previous three; Japanese archery or kyūdō. One is presented with a target and engages in a prescribed set of meticulous moves to place the arrow on the target. A Westerner would immediately assume that the goal it to hit the bulleye and the highest score wins. In fact, hitting the target is of only tangential importance to the practice. In fact, you could hit the target and have very poor form. Like other kinds of Way, it is more about achieving a state of mindfullness and through repeated attempts hone your movements toward a kind of contemplative perfection. Yet I was still pleased that on my first attempt I was able to hit the target close to the center. The mistake of keeping score however became immediately clear, since my mind became clouded and I became so distracted by my early success that all of my subsequent shots were much worse.
Like many other martial arts, kyūdō relies on what is called a kata, or form of movements. These can be practiced over and over to create a sort of muscle memory. This is why athletes and dancers practice there movements in very repetitious cycles. I found an interesting example of a kata in a very unexpected place, the video game arcade that we visited some evenings. One of the students enjoyed playing 'rhythm games' such as the venerable dance, dance revolution. A more recent example of which is Maimai murasaki. I had the opportunity to watch several Japanese teenagers playing this game at an almost superhuman level of proficiently such that even on the hardest levels they were able to achieve perfect scores, they hands exactly mirroring the blazingly fast cues on the screen. I also watched a pair of boys play in 'sync' mode, their movements perfectly synchronized simultaneously across two adjacent machines. It is hard to watch this and not think of a modern equivalent of a martial art or a Way; one in which the perfection of the form and execution is monitored by the machine and immediately scored. One wonders what the state of mind of the players is at that moment. Are they attaining some kind of mindfulness? Is this yet another way to enlightenment?
1. Welcome to The Japans
"Is this the Japans?" "Have I made it to the Japans?" I remember this line uttered by the amazed English navigator, John Blackthorne, the main character of James Clavell's novel, Shogun. Although I eventually read the book, my first encounter with the work was the 1980 CBS television miniseries of the same name starring Richard Chamberlain as pilot Blackthorne. As a young boy steeped on boy's adventure stories, this had everything one could want; Portuguese pirates, samurai, beautiful maidens, plotting Jesuits, ninjas, warlords, battles, betrayals and triumphs. It is a terrific story and enshrined Japan in my imagination.
In a surprising turn, the director of the CBS miniseries decided to maintain Clavell's insistence on using extensive conversations in Japanese (rendered in the novel by italicized romaji) without subtitles or translations. The idea was that Blackthorne was an alien in the land and did not speak the language. His gradual understanding and the effort it took was a key point in the development of the story, as was his relationship with his interpreter and teacher. Having rewatched the series recently, I was struck by just how much effort they put into making the dialogues clear without ever offering direct translations. The viewer had to infer meaning from a gradually increasing set of expressions. It is a testament to the pacing of the story that this never felt pedantic or burdensome. If it was occasionally frustrating, that was exactly how Blackthorne was feeling.
My chief concern before embarking on my own trip was the issue of language. How much would I need to know? Would we have a translator with us at all times, or would we have to manage on our own? My early investigations indicated that even thought Japanese children are taught some English in school, few adults speak it (or will admit that they speak it) outside of Tokyo. Even then, since their education is mainly focused on reading and writing, it may be difficult to communicate. I began my studies with Rosetta Stone, the online language teaching tool. I spent many hours working through the lessons and practicing speaking using my computer and a microphone. However, in one glaring omission, I was allowed to select from three options how the text would be displayed, hiragana/katakana only, hiragana/katakana and kanji, or romaji (the roman alphabet phonetic renderings that Clavell used). In the interests of expediency, I selected romaji, which I later realized was a big mistake.
No one in Japan uses romaji routinely. It does appear on signs occasionally, but is of little use when trying to communicate with native speakers. In fact, our language classes were all taught using hiragana and katakana, the two syllabaries (not alphabets per se) that are used in Japan to spell out words phonetically. Kanji, a much more complex logographic system, has many more than 1,500 distinct word pictograms and usually presents a significant obstacle to foreigners becoming literate in Japanese. However, by spelling out words phonetically it is possible to be make oneself understood and reading signs or documents becomes at least somewhat possible, since many include at least a bit of hiragana in addition to kanji.
Blackthorne's remark about reaching the Japans reverberated in my memory shortly after I arrived. When entering customs in Narita airport I was presented with signs that said (in English) Welcome to Japan. Westerners often think of Japan in the singular; a single island, a single nation, a single language, a single history. Even the flag with its iconic red spot in a field of white present an image of a stark singularity, a unified totality. There is a Japanese term that captures this idea succinctly; shimaguni - island nation. But is it really? Or is that just a simplification?
In causal conversation, one of the instructors at AIT mentioned "the Japanese archipelago" instead of simply saying Japan. I knew already that Japan was actually made up of four principal islands: Honshu, the main island, Kyushu to the west, Shikoko to the south and Hokkaido to the north. However, if you don't live there it is easy to forget this and think instead of only one island called Japan. (We do the same thing with Hawaii). But things are not even that simple. Okinawa is part of another set of islands located to the southwest. When I inquired further, about how many islands there were in Japan altogether, I was told that there were probably several hundred inhabited ones and many more small rocks. (A quick Google search yielded that there are around 430 inhabited islands out of a total of 6,852 making up the Japanese nation. Archipelago indeed!)
Armed with this knowledge, it should be obvious that it is important to consider Japan not a single monolithic entity, but rather as a diverse and intricate multitude. One should explore with a sense of openness to possibility and jettison any preconceived notions about what Japan is. One should not search for the simplifying abstractions. (This was a principal aim of an entire branch of writing about japan that sought to idetify a single essential trait or characteristic, the nihonjinron that Sugimoto rightly rejects.) If I am prepared to see all of the variations and complexities that make up the society, culture, history, language, demographics and geography of what we call Japan, I may be rewarded with a subtle, deep, rich and varied experience. I will endeavour to keep this at the forefront of my mind as I proceed along my journey. Welcome to The Japans!
836 words
In a surprising turn, the director of the CBS miniseries decided to maintain Clavell's insistence on using extensive conversations in Japanese (rendered in the novel by italicized romaji) without subtitles or translations. The idea was that Blackthorne was an alien in the land and did not speak the language. His gradual understanding and the effort it took was a key point in the development of the story, as was his relationship with his interpreter and teacher. Having rewatched the series recently, I was struck by just how much effort they put into making the dialogues clear without ever offering direct translations. The viewer had to infer meaning from a gradually increasing set of expressions. It is a testament to the pacing of the story that this never felt pedantic or burdensome. If it was occasionally frustrating, that was exactly how Blackthorne was feeling.
My chief concern before embarking on my own trip was the issue of language. How much would I need to know? Would we have a translator with us at all times, or would we have to manage on our own? My early investigations indicated that even thought Japanese children are taught some English in school, few adults speak it (or will admit that they speak it) outside of Tokyo. Even then, since their education is mainly focused on reading and writing, it may be difficult to communicate. I began my studies with Rosetta Stone, the online language teaching tool. I spent many hours working through the lessons and practicing speaking using my computer and a microphone. However, in one glaring omission, I was allowed to select from three options how the text would be displayed, hiragana/katakana only, hiragana/katakana and kanji, or romaji (the roman alphabet phonetic renderings that Clavell used). In the interests of expediency, I selected romaji, which I later realized was a big mistake.
No one in Japan uses romaji routinely. It does appear on signs occasionally, but is of little use when trying to communicate with native speakers. In fact, our language classes were all taught using hiragana and katakana, the two syllabaries (not alphabets per se) that are used in Japan to spell out words phonetically. Kanji, a much more complex logographic system, has many more than 1,500 distinct word pictograms and usually presents a significant obstacle to foreigners becoming literate in Japanese. However, by spelling out words phonetically it is possible to be make oneself understood and reading signs or documents becomes at least somewhat possible, since many include at least a bit of hiragana in addition to kanji.
Blackthorne's remark about reaching the Japans reverberated in my memory shortly after I arrived. When entering customs in Narita airport I was presented with signs that said (in English) Welcome to Japan. Westerners often think of Japan in the singular; a single island, a single nation, a single language, a single history. Even the flag with its iconic red spot in a field of white present an image of a stark singularity, a unified totality. There is a Japanese term that captures this idea succinctly; shimaguni - island nation. But is it really? Or is that just a simplification?
In causal conversation, one of the instructors at AIT mentioned "the Japanese archipelago" instead of simply saying Japan. I knew already that Japan was actually made up of four principal islands: Honshu, the main island, Kyushu to the west, Shikoko to the south and Hokkaido to the north. However, if you don't live there it is easy to forget this and think instead of only one island called Japan. (We do the same thing with Hawaii). But things are not even that simple. Okinawa is part of another set of islands located to the southwest. When I inquired further, about how many islands there were in Japan altogether, I was told that there were probably several hundred inhabited ones and many more small rocks. (A quick Google search yielded that there are around 430 inhabited islands out of a total of 6,852 making up the Japanese nation. Archipelago indeed!)
Armed with this knowledge, it should be obvious that it is important to consider Japan not a single monolithic entity, but rather as a diverse and intricate multitude. One should explore with a sense of openness to possibility and jettison any preconceived notions about what Japan is. One should not search for the simplifying abstractions. (This was a principal aim of an entire branch of writing about japan that sought to idetify a single essential trait or characteristic, the nihonjinron that Sugimoto rightly rejects.) If I am prepared to see all of the variations and complexities that make up the society, culture, history, language, demographics and geography of what we call Japan, I may be rewarded with a subtle, deep, rich and varied experience. I will endeavour to keep this at the forefront of my mind as I proceed along my journey. Welcome to The Japans!
836 words
Tuesday, June 13, 2017
Zuihitsu - Wikipedia
Zuihitsu - Wikipedia:
Zuihitsu (随筆?) is a genre of Japanese literature consisting of loosely connected personal essays and fragmented ideas that typically respond to the author's surroundings.
Zuihitsu (随筆?) is a genre of Japanese literature consisting of loosely connected personal essays and fragmented ideas that typically respond to the author's surroundings.
Tsurezuregusa - Kenko
Tsurezuregusa - Wikipedia:
“Branches about to blossom or gardens strewn with faded flowers are worthier of our admiration. In all things, it is the beginnings and ends that are interesting.” Within his work, Kenko shows the relation of impermanence to the balance of things in life. Beginnings and ends relate to the impermanence of things, and it is because of its impermanence that beginnings and ends are interesting and should be valued. Irregularity and incompleteness of collections and works show the potential for growth and improvement, and the impermanence of its state provides a moving framework towards appreciation towards life.
“Branches about to blossom or gardens strewn with faded flowers are worthier of our admiration. In all things, it is the beginnings and ends that are interesting.” Within his work, Kenko shows the relation of impermanence to the balance of things in life. Beginnings and ends relate to the impermanence of things, and it is because of its impermanence that beginnings and ends are interesting and should be valued. Irregularity and incompleteness of collections and works show the potential for growth and improvement, and the impermanence of its state provides a moving framework towards appreciation towards life.
Monday, June 12, 2017
How to be funny in “JaPunese”: 10 Original Japanese Puns! | Japan Info
How to be funny in “JaPunese”: 10 Original Japanese Puns! | Japan Info
Dajare is a kind of comic Japanese wordplay, which can be best
compared to Western puns. It relies on similarities in the pronunciation
of words in a short sentence to create a joke.
There are a great number of famous dajare that should be known by
every child in Japan. Such kind of classic dajare, however, might not
necessarily guarantee laughs. Dajare in general are often referred to as
oyaji gyagu (“Old person’s jokes”).
Nonetheless, dajare serve as excellent icebreakers, for instance, when
trying to flirt with a beautiful Japanese girl (or boy!). Even when you
use a well-tried dajare, you might get a smile, and perhaps even a
compliment on your sensational Japanese skills. If, however, you should
get a less excited reaction, you might want to try one of the following –
a little more creative – dajare next time.
Dajare is a kind of comic Japanese wordplay, which can be best
compared to Western puns. It relies on similarities in the pronunciation
of words in a short sentence to create a joke.
There are a great number of famous dajare that should be known by
every child in Japan. Such kind of classic dajare, however, might not
necessarily guarantee laughs. Dajare in general are often referred to as
oyaji gyagu (“Old person’s jokes”).
Nonetheless, dajare serve as excellent icebreakers, for instance, when
trying to flirt with a beautiful Japanese girl (or boy!). Even when you
use a well-tried dajare, you might get a smile, and perhaps even a
compliment on your sensational Japanese skills. If, however, you should
get a less excited reaction, you might want to try one of the following –
a little more creative – dajare next time.
Pilgrimage to the Seven Gods of Fortune in Ashikaga | Tochigi Prefecture
Pilgrimage to the Seven Gods of Fortune in Ashikaga | Tochigi Prefecture:
stimulated by the “Shichifukujin” boom since the late 1970 's. The
“Shichifukujin” are the seven deities of Indian, Chinese and Japanese
origin. The six gods and one goddess are depicted on a treasure ship.
They are thought to bring wealth and fortune.
stimulated by the “Shichifukujin” boom since the late 1970 's. The
“Shichifukujin” are the seven deities of Indian, Chinese and Japanese
origin. The six gods and one goddess are depicted on a treasure ship.
They are thought to bring wealth and fortune.
Daikokuten (Bannaji Temple)
The grace of rich harvest and getting all wishes.Akashibenten (Honjoitsukushima Shrine)
The grace of happiness, prosperity and family harmony.Jurojin (Shintsuin Temple)
The grace of longevity, wealth and happinessEbisujin (Nishinomiya Shrine)
The grace of happiness and commercial success.Fukurokujuson (Chorinji Temple)
The grace of happiness, wealth and longevity.Nagaobenten (6chomeitsukushima Shrine)
The grace of happiness, prosperity and family well-being.Hoteison (Fukugonji Temple)
The grace of happiness, prosperity and family well-being.Bishamonten (Jonenji Temple)
The grace of fortune and study fulfillment.Ashikaga City | Page - 2
Ashikaga City | Page - 2
Ashikaga is very proud of its nature and history. Ashikaga is
surrounded by green mountains and the city is divided by the Watarase
River. Ashikaga, with great pride, offers you many historical and
cultural heritages including Ashikaga Gakko (Ashikaga school), the
oldest school in Japan and Bannaji temple which is closely connected to
the Ashikaga shogunate. More...
Over 1,100 years ago, this temple was opened by Joeshonin(a
Buddhist priest of Todaiji Temple in Nara Pref.) and is the main temple
of Singon Esoteric Buddhism.
At first, the name was Sesonji Temple (Shakyamuni Temple). During the
Tengyo-no-Ran(Tengyo War)(939-940), Hidesato Fujiwara(the head of a
powerful family of the Heian period) overthrew Masakado Taira(a...
The "Bishamonten" are dedicated to the God of war. Oiwa
Bishamonten is one of the three famous Bishamonten in Japan. The other
two are located on Kurama mountain in Kyoto Pref. and on Shigi Mountain
in Nara Pref.
The main hall was rebuilt in 1762(Houreki 12nen) and in 1993 it was
widely repaired. The principal image is 1.8inches tall and is made of
pure gold. It is...
Tokuzoji temple is said to have been founded at the end of
Heiancho period, But the certain age is unknown. There are three famous
Gohyaku Rakanson (500 statury of Buddhist monk who has attained Nirvana)
in Japan. One is in this temple, one is in Kenchoji temple in Kamakura
and the other is in Rakanji temple in Kyushu. Gohyaku Rakan of this
temple was designated as...
The vermilion lacquered Orihime Shrine
"When you come to Ashikaga, put a mark on the vermilion Orihime Shrine,
Karariko-ton-ton, Karariko-ton, Ashikaga is as beautiful a city as a
picture, a textile city." The Orihime Shrine appeared in the Ashikaga
Ondo(chorus) like this. Orihime Shrine is Weaving Goddess of Ashikaga.
The present shrine was re-built through the...
Ashikaga International Association was established in 1992 and the
international exchange has been supported and operated thanks to the
free co-operation and commitment of the members of the association.
The purpose of this association is to raise the awareness of every
citizen by encouraging their participation in various international
exchange activities. You are...
This hiking course is about 3 miles long. You can look over
beautiful Watarase river and Kanto plain far beyond. The course is about
900 feet above sea level but it does not mean easy to go because ups
and downs are tough.
Ropes for climbing is stretched on a steep slope. There is a cave in the
course. The course is so exciting that tickle children's adventure.
On...
In 8.8 miles long course from JR Ashikaga station to Izuruhara
Bentenike Pond in Sano city, Mansaku flowers can be seen in mountainous
land centering Kabasakicho. In the middle of the course, you can see
Kabasaki Hachimangu (shrine), where the second generation of Ashikaga
clan, Yoshikane was enshrined.
In the early spring, you can see yellow Mansaku flower blooming...
Daibosan hiking course, whose top is 934.4 feet in height, is a
low hill Course suitable for beginners and families. The departure and
arrival spot for This course is the temple named Chorinji, which has the
legend of ' Tengu ' (a long-nosed goblin) and the seven wonders. And
its garden is one of the Merits.
The Oyamazumi jinja shrine, which is one of the spots for...
Senningatake, 2173 feet high , is the highest mountain in
Ashikaga. The hiking course has a total length of 5.9 miles and it takes
5hours 40 minutes to walk the whole course. There is a dangerous spot
in this Course, called "Inugaeri". It's a cliff, 32.8 feet high. If you
are not a good Climber, we recommend you to take another route, a secret
path "kando". This...
Shinkosan hiking course is from the crossroads of Matsuda 4-chome
to Omata Station ( JR-line ) or the bus stop of Omata naka-cho, a total
length of About 5.6 miles, and it takes 4hours 30minutes to walk the
whole course.
While hiking, you can enjoy a fine view of a chain of mountains of
Nikko, the mountains of Akagi and the plains of Kanto. This course has
charm of...
Ashikaga Prefectural Nature Preserve hiking course is a low hill
course with elevation from 656ft. to 1,311ft. above sea level. Hikers
can enjoy the change in geographical features and the wonderful seasonal
changes in the scenery. From the ridge, hikers have a view of Mt.
Akagi, Mt. Fuji, and the Kanto Plains along the Watarase river. It takes
about one day from...
Ashikaga Flower Park , whose area is 20.3 acres, is well-known
that the transplantation of Ofuji , wisteria, over 100 years old
succeeded for the first time in Japan. There are remarkable four spots
with big wisteria trellis besides 160 wisterias over sixty years old,
1500 azaleas over sixty years old, more than 1000 hydrangeas,
10,000,calamis, etc.
The park buried...
This museum has a fine collection of both "Imari" and "Nabeshima"
porcelains which were the first kinds of pottery made by the Nabeshima
clan in Japan during the "Edo" period ( 1603-1867 ).
It is the largest porcelain museum in the world with a collection of
over 10,000 pieces. It has an area of 24.5Acres, is located on the top
of the hill, surrounded by red pine...
Yamamae park is a regional park covering an area of 19.8A in
Omae-cho, located in the western part of Ashikaga. In the park municipal
owned groves are arranged in passes and gardens which make the most of
the plentiful natural environment. In the northern part of the park, the
urban greenery botanical gardens include over 100kinds of trees that
flower through all of...
The Ashikaga Park opened in 1883, is a regional park covering an
area of 11.1A on the southern side of the hill, located in the western
side of the central city area. Since its beginning, this park has been
famous for its cherry blossoms and azaleas. Besides the Ashikaga
citizens, people come from the northern Kanto region to visit the park.
In this park, there are...
Around the year 1964, about 1,500 Japanese apricot trees with
white blossoms and red ones were planted on the west slope at
Orihimeyama (Orihime Mountain) hill. Though the trees decreased to about
1,200, you can enjoy flower carpet when in full bloom. You can reach
there from Tochigi prefectural hiking course in Ashikaga. Blooming
season is from mid-March to the end...
This house was built by Hanbei Matsumura the fourth, in 1925. It
is wooden structure that is two stories high. There is a Warehouse
attached to the main house, and a basement. The house exhibits the
furniture and commodities which the Matsumura's used from Edo era
through Meiji, Taisho, to Showa, and materials on Ashikaga born former
Minister of Justice Sennosuke...
Kauzouchin-no-kan collects over two thousand rubbings from Chinese
monuments. Each rubbing was taken directly from local monuments. They
are a rare item. The collections are the works by masters and experts of
calligraphy in old China from the Han to Chin era.
Kauzouchin-no-kan - Chinese Rubbings Collection
907-6 Tanaka-cho, Ashikaga City (Ashikaga-shi), Tochigi...
In Shodenkyo Art Museum the works of Hasegawa Shodenkyo（1905 -
1983）,the blind painter, are exhibited. He has showed a gift for art
since he was in a prewar elementary school. At 15 years old, he became
the of pupil boarding with Makishima Kanun who was a painter of the
Southern School and a scholar of Chinese classics to learn the base of
Japanese painting.
At 26...
The Watarase river has its headwaters in the mountains in Ashio
and flows through Kiryu, Ashikaga, and Sano, and the joins with the Tone
river.
Water transportation on the Watarase River was frequently used among
these cities. The river was useful in our local economy.One of the 12
bridges is named "Watarasebashi" (bashi means bridge). The Japanese pop
singer Chisato...
Matsudagawa river dam is the first multiporpose dam in the south
area of Tochigi prefecture and its important purpose is to adjust the
quantity of water and to ensure a supply of city water.
Matsudagawa-karyu Fureai hiroba is one of the resort development project
in the north area, constructed the multipurpose open space, the
barbecue area, the promenade, the arbor...
Ashikaga Sunfield is on the way to the Ashikaga Prefectural Nature
Preserve hiking course. In this area of 14.3A, there are athletic
stations and a rest house.
There are 37 athletic stations which are related to proverbs and maxims
that visitors can experience. It also has BBQ equipment. After enjoying
the athletics activities, visitors can take a shower (for free)...
Ashikaga is famous for its traditional textiles and ancient
textile dyings. Ashikaga was written about in "Tsurezuregusa" an old
back written in 1311 by Kenko Yoshida.
In 1968 the Ashikaga Textile Tradition House was opened and has
designated to hall to outline Ashikaga's Here,visitors can textiles,
take history of dying.
To show the practice of dying, lessons on...
Soun Museum is located in Ashikaga city. Soun Tazaki worked as a
loyal artist in the last years of the Edo Shogunate.
Soun Museum exhibits his posthumously collected works and articles. It
is located in the southern part of Ashikaga park , that is famous for
its cherry blossoms and maples. There is also Hakuseki Sanbo , Soun's
doubles as atelier and his home.
Soun...
It has been said that “Shichifukujin Meguri” ,apilgrimage to the 7
Gods of fortune, began in Kyoto in the Muromachi era ( 1392 - 1573 ).In
Ashikaga the pilgrimage began as a wish for Ashikaga' s prosperity, and
the fortune and good health of each family in 1942.
Although it halt during World WarⅡ, it revived in the New Year in 1987,
stimulated by the “Shichifukujin”...
Ashikaga Upside Down River is formally called “Yanagihara
irrigation Canal”, which was made for farmers in the beginning of the
Edo era (the 17th c. ). Usually the rivers in this area flow from the
north to the south ,but the canal still now flows in the counter
direction for agricultural use. Ashikaga Upside Down River walking trail
is approx. 12.3 km length.
Yakumo...
Ashikaga is the home of the Ashikaga clan that became the
mainstream of Seiwagensei family. Ashikaga has many shrines and temples
with the Ashikaga clan connections. We recommend this course including
other traditional sites in the Kamakura era and the Muromachi era ( the
14th c. - the 17th c.).
Bannaji Temple
Bannaji, a Temple known for its association with the...
Kokoromi Gakuen is a rehabilitation center for handicapped people
which was founded in 1969. In 1958, the people living there started
cultivating vines.
They worked very hard to clear the mountain step by step without
machines and cultivated about 600 young vine plants. After many years,
the plants grew and now every autumn, vine trees give off the scent of
wine....
“Yagibushi” is a traditional local song which came from Ashikaga.
Its predecessor had been“Kudokibushi”,a slow song ,sung by young girl at
Yagijuku（a posting station）along Reiheijikaido Road from the end of the
Edo era to the beginning of the Meiji era the latter half of the 19th
c. After that the first singer, Genta Horigome （ his real name : Gentaro
Watanabe）...
Ashikaga City
Ashikaga City (Ashikaga-shi) Tourist Information Centers
Ashikaga is very proud of its nature and history. Ashikaga is
surrounded by green mountains and the city is divided by the Watarase
River. Ashikaga, with great pride, offers you many historical and
cultural heritages including Ashikaga Gakko (Ashikaga school), the
oldest school in Japan and Bannaji temple which is closely connected to
the Ashikaga shogunate. More...
Keisokuji Temple
Over 1,100 years ago, this temple was opened by Joeshonin(a
Buddhist priest of Todaiji Temple in Nara Pref.) and is the main temple
of Singon Esoteric Buddhism.
At first, the name was Sesonji Temple (Shakyamuni Temple). During the
Tengyo-no-Ran(Tengyo War)(939-940), Hidesato Fujiwara(the head of a
powerful family of the Heian period) overthrew Masakado Taira(a...
Oiwa Bishamonten (Saishoji Temple), Akutai & Tainagashi no Shiki Festival
The "Bishamonten" are dedicated to the God of war. Oiwa
Bishamonten is one of the three famous Bishamonten in Japan. The other
two are located on Kurama mountain in Kyoto Pref. and on Shigi Mountain
in Nara Pref.
The main hall was rebuilt in 1762(Houreki 12nen) and in 1993 it was
widely repaired. The principal image is 1.8inches tall and is made of
pure gold. It is...
Tokuzoji Temple
Tokuzoji temple is said to have been founded at the end of
Heiancho period, But the certain age is unknown. There are three famous
Gohyaku Rakanson (500 statury of Buddhist monk who has attained Nirvana)
in Japan. One is in this temple, one is in Kenchoji temple in Kamakura
and the other is in Rakanji temple in Kyushu. Gohyaku Rakan of this
temple was designated as...
Orihime Shrine and Orihime Park
The vermilion lacquered Orihime Shrine
"When you come to Ashikaga, put a mark on the vermilion Orihime Shrine,
Karariko-ton-ton, Karariko-ton, Ashikaga is as beautiful a city as a
picture, a textile city." The Orihime Shrine appeared in the Ashikaga
Ondo(chorus) like this. Orihime Shrine is Weaving Goddess of Ashikaga.
The present shrine was re-built through the...
Ashikaga International Association
Ashikaga International Association was established in 1992 and the
international exchange has been supported and operated thanks to the
free co-operation and commitment of the members of the association.
The purpose of this association is to raise the awareness of every
citizen by encouraging their participation in various international
exchange activities. You are...
Daishoyama mountain hiking course of Ashikaga
This hiking course is about 3 miles long. You can look over
beautiful Watarase river and Kanto plain far beyond. The course is about
900 feet above sea level but it does not mean easy to go because ups
and downs are tough.
Ropes for climbing is stretched on a steep slope. There is a cave in the
course. The course is so exciting that tickle children's adventure.
On...
Metropolitan Natural Walkway where Mansaku bloom of Ashikaga
In 8.8 miles long course from JR Ashikaga station to Izuruhara Bentenike Pond in Sano city, Mansaku flowers can be seen in mountainous
land centering Kabasakicho. In the middle of the course, you can see
Kabasaki Hachimangu (shrine), where the second generation of Ashikaga
clan, Yoshikane was enshrined.
In the early spring, you can see yellow Mansaku flower blooming...
Daibosan hiking course of Ashikaga
Daibosan hiking course, whose top is 934.4 feet in height, is a
low hill Course suitable for beginners and families. The departure and
arrival spot for This course is the temple named Chorinji, which has the
legend of ' Tengu ' (a long-nosed goblin) and the seven wonders. And
its garden is one of the Merits.
The Oyamazumi jinja shrine, which is one of the spots for...
Mt. Senningatake hiking course of Ashikaga
Senningatake, 2173 feet high , is the highest mountain in
Ashikaga. The hiking course has a total length of 5.9 miles and it takes
5hours 40 minutes to walk the whole course. There is a dangerous spot
in this Course, called "Inugaeri". It's a cliff, 32.8 feet high. If you
are not a good Climber, we recommend you to take another route, a secret
path "kando". This...
Ashikaga Alpine Hiking Trails
Shinkosan hiking course is from the crossroads of Matsuda 4-chome
to Omata Station ( JR-line ) or the bus stop of Omata naka-cho, a total
length of About 5.6 miles, and it takes 4hours 30minutes to walk the
whole course.
While hiking, you can enjoy a fine view of a chain of mountains of
Nikko, the mountains of Akagi and the plains of Kanto. This course has
charm of...
Ashikaga Prefectural Natural Park hiking course
Ashikaga Prefectural Nature Preserve hiking course is a low hill
course with elevation from 656ft. to 1,311ft. above sea level. Hikers
can enjoy the change in geographical features and the wonderful seasonal
changes in the scenery. From the ridge, hikers have a view of Mt.
Akagi, Mt. Fuji, and the Kanto Plains along the Watarase river. It takes
about one day from...
Ashikaga Flower Park
Ashikaga Flower Park , whose area is 20.3 acres, is well-known
that the transplantation of Ofuji , wisteria, over 100 years old
succeeded for the first time in Japan. There are remarkable four spots
with big wisteria trellis besides 160 wisterias over sixty years old,
1500 azaleas over sixty years old, more than 1000 hydrangeas,
10,000,calamis, etc.
The park buried...
Kurita Bijutsukan (Kurita Museum) in Ashikaga
This museum has a fine collection of both "Imari" and "Nabeshima"
porcelains which were the first kinds of pottery made by the Nabeshima
clan in Japan during the "Edo" period ( 1603-1867 ).
It is the largest porcelain museum in the world with a collection of
over 10,000 pieces. It has an area of 24.5Acres, is located on the top
of the hill, surrounded by red pine...
Yamamae Park in Ashikaga
Yamamae park is a regional park covering an area of 19.8A in
Omae-cho, located in the western part of Ashikaga. In the park municipal
owned groves are arranged in passes and gardens which make the most of
the plentiful natural environment. In the northern part of the park, the
urban greenery botanical gardens include over 100kinds of trees that
flower through all of...
Ashikaga City
Ashikaga Park
The Ashikaga Park opened in 1883, is a regional park covering an
area of 11.1A on the southern side of the hill, located in the western
side of the central city area. Since its beginning, this park has been
famous for its cherry blossoms and azaleas. Besides the Ashikaga
citizens, people come from the northern Kanto region to visit the park.
In this park, there are...
Seikei-en Garden at Orihime Mountain
Around the year 1964, about 1,500 Japanese apricot trees with
white blossoms and red ones were planted on the west slope at
Orihimeyama (Orihime Mountain) hill. Though the trees decreased to about
1,200, you can enjoy flower carpet when in full bloom. You can reach
there from Tochigi prefectural hiking course in Ashikaga. Blooming
season is from mid-March to the end...
Matsumura Memorial House in Ashikaga
This house was built by Hanbei Matsumura the fourth, in 1925. It
is wooden structure that is two stories high. There is a Warehouse
attached to the main house, and a basement. The house exhibits the
furniture and commodities which the Matsumura's used from Edo era
through Meiji, Taisho, to Showa, and materials on Ashikaga born former
Minister of Justice Sennosuke...
Kauzouchin-no-kan - Chinese Rubbings Collection
Kauzouchin-no-kan collects over two thousand rubbings from Chinese
monuments. Each rubbing was taken directly from local monuments. They
are a rare item. The collections are the works by masters and experts of
calligraphy in old China from the Han to Chin era.
Kauzouchin-no-kan - Chinese Rubbings Collection
907-6 Tanaka-cho, Ashikaga City (Ashikaga-shi), Tochigi...
Hasegawa Shodenkyo Art Museum in Ashikaga
In Shodenkyo Art Museum the works of Hasegawa Shodenkyo（1905 -
1983）,the blind painter, are exhibited. He has showed a gift for art
since he was in a prewar elementary school. At 15 years old, he became
the of pupil boarding with Makishima Kanun who was a painter of the
Southern School and a scholar of Chinese classics to learn the base of
Japanese painting.
At 26...
Watarase Bridge in Ashikaga
The Watarase river has its headwaters in the mountains in Ashio
and flows through Kiryu, Ashikaga, and Sano, and the joins with the Tone
river.
Water transportation on the Watarase River was frequently used among
these cities. The river was useful in our local economy.One of the 12
bridges is named "Watarasebashi" (bashi means bridge). The Japanese pop
singer Chisato...
Matsudagawa river dam in Ashikaga
Matsudagawa river dam is the first multiporpose dam in the south
area of Tochigi prefecture and its important purpose is to adjust the
quantity of water and to ensure a supply of city water.
Matsudagawa-karyu Fureai hiroba is one of the resort development project
in the north area, constructed the multipurpose open space, the
barbecue area, the promenade, the arbor...
Ashikaga Sunfield
Ashikaga Sunfield is on the way to the Ashikaga Prefectural Nature
Preserve hiking course. In this area of 14.3A, there are athletic
stations and a rest house.
There are 37 athletic stations which are related to proverbs and maxims
that visitors can experience. It also has BBQ equipment. After enjoying
the athletics activities, visitors can take a shower (for free)...
Ashikaga Textile Tradition House
Ashikaga is famous for its traditional textiles and ancient
textile dyings. Ashikaga was written about in "Tsurezuregusa" an old
back written in 1311 by Kenko Yoshida.
In 1968 the Ashikaga Textile Tradition House was opened and has
designated to hall to outline Ashikaga's Here,visitors can textiles,
take history of dying.
To show the practice of dying, lessons on...
Soun Museum of Art in Ashikaga
Soun Museum is located in Ashikaga city. Soun Tazaki worked as a
loyal artist in the last years of the Edo Shogunate.
Soun Museum exhibits his posthumously collected works and articles. It
is located in the southern part of Ashikaga park , that is famous for
its cherry blossoms and maples. There is also Hakuseki Sanbo , Soun's
doubles as atelier and his home.
Soun...
Pilgrimage to the Seven Gods of Fortune in Ashikaga
It has been said that “Shichifukujin Meguri” ,apilgrimage to the 7Gods of fortune, began in Kyoto in the Muromachi era ( 1392 - 1573 ).In
Ashikaga the pilgrimage began as a wish for Ashikaga' s prosperity, and
the fortune and good health of each family in 1942.
Although it halt during World WarⅡ, it revived in the New Year in 1987,
stimulated by the “Shichifukujin”...
Ashikaga Upside Down River Walking Course
Ashikaga Upside Down River is formally called “Yanagihara irrigation Canal”, which was made for farmers in the beginning of the
Edo era (the 17th c. ). Usually the rivers in this area flow from the
north to the south ,but the canal still now flows in the counter
direction for agricultural use. Ashikaga Upside Down River walking trail
is approx. 12.3 km length.
Yakumo...
Visiting Shrines and Temples of the Ashikaga Clan
Ashikaga is the home of the Ashikaga clan that became the
mainstream of Seiwagensei family. Ashikaga has many shrines and temples
with the Ashikaga clan connections. We recommend this course including
other traditional sites in the Kamakura era and the Muromachi era ( the
14th c. - the 17th c.).
Bannaji Temple
Bannaji, a Temple known for its association with the...
COCO Farm & Winery's Harvest Festival (Kokoromi Gakuen) in Ashikaga
Kokoromi Gakuen is a rehabilitation center for handicapped people
which was founded in 1969. In 1958, the people living there started
cultivating vines.
They worked very hard to clear the mountain step by step without
machines and cultivated about 600 young vine plants. After many years,
the plants grew and now every autumn, vine trees give off the scent of
wine....
“Yagibushi”Song in Ashikaga
“Yagibushi” is a traditional local song which came from Ashikaga.
Its predecessor had been“Kudokibushi”,a slow song ,sung by young girl at
Yagijuku（a posting station）along Reiheijikaido Road from the end of the
Edo era to the beginning of the Meiji era the latter half of the 19th
c. After that the first singer, Genta Horigome （ his real name : Gentaro
Watanabe）...
Friday, June 9, 2017
Japanese topics
Japanese concepts and values
https://en.wikipedia.org/wiki/Japanese_values
What is wabi sabi
https://en.wikipedia.org/wiki/Wabi-sabi
Characteristics of the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.
On 16 March 2009, Marcel Theroux presented "In Search of Wabi Sabi" on BBC Four as part of the channel's Hidden Japan season of programming.
" Let us dream of evanescence, and linger in the beautiful foolishness of things."
The Book of Tea by Kakuzo Okakura
wabi-cha
Sen no Rikyu
Do - a Way
See also Kintsugi ( also known as Kintsukuroi )
https://en.wikipedia.org/wiki/Kintsugi
What is shimaguni/nihonjinron?
https://en.wikipedia.org/wiki/Nihonjinron
Isshin-denshin
https://en.wikipedia.org/wiki/Ishin-denshin
What is mono no aware?
British novelist Kazuo Ishiguro (author of 1989's The Remains of the Day, which was awarded the Booker Prize for Fiction) ends many of his novels without any sense of resolution. The issues his characters confront are buried in the past and remain unresolved. Thus Ishiguro ends many of his novels on a note of melancholic resignation. His characters accept their past and who they have become, typically discovering that this realization brings comfort and an ending to mental anguish. This can be seen as a literary reflection of the Japanese idea of mono no aware.
Films like Alain Resnais' Hiroshima Mon Amour, Shohei Imamura's Black Rain and Akira Kurosawa's I Live in Fear have all been associated with the term.
What is mottaini?
https://en.wikipedia.org/wiki/Mottainai
What are Yojijukugo?
Yojijukugo in the broad sense simply means any Japanese compound words consisting of four kanji characters. In the narrow or strict sense, however, the term refers only to four-kanji compounds that have a particular (idiomatic) meaning that cannot be inferred from the meanings of the components that make them up.
Meaning: Experience the beauties of nature, and in doing so learn about yourself.
Hiroshi Teshigahara and Kobo Abe collaborated on four films: Pitfall (1962), Woman in the Dunes (1964), The Face of Another (1966) and Man Without a Map (1968). What are some of the themes presented in their collaboration? Teshigahara is the first person of Asian descent to be nominated for the Academy Award for Best Director, accomplishing this in 1966 for his work on Woman in the Dunes.
Yasunari Kawabata
a Japanese novelist and short story writer whose spare, lyrical, subtly-shaded prose works won him the Nobel Prize for Literature in 1968, the first Japanese author to receive the award.
The book that he himself considered his finest work, The Master of Go (1951), is in severe contrast to his other works. It is a semi-fictional recounting of a major Go match in 1938, on which Kawabata had actually reported for the Mainichi newspaper chain. It was the last game of the master Shūsai's career and he lost to his younger challenger, only to die a little over a year later. Although the novel is moving on the surface as a retelling of a climactic struggle, some readers consider it a symbolic parallel to the defeat of Japan in World War II.
Kenzaburō Ōe
awarded the Nobel Prize in Literature in 1994 for creating "an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today".
Nip the Buds, Shoot the Kids (芽むしり仔撃ち Memushiri kouchi; also known as "Pluck the Bud and Destroy the Offspring") is a 1958 novel by Japanese author Kenzaburō Ōe. It is Ōe's first novel, written when he was 23 years old.
It was originally published in 1958. The English version was translated in 1995.[
https://en.wikipedia.org/wiki/Japanese_values
What is wabi sabi
https://en.wikipedia.org/wiki/Wabi-sabi
Characteristics of the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.
On 16 March 2009, Marcel Theroux presented "In Search of Wabi Sabi" on BBC Four as part of the channel's Hidden Japan season of programming.
" Let us dream of evanescence, and linger in the beautiful foolishness of things."
The Book of Tea by Kakuzo Okakura
wabi-cha
Sen no Rikyu
Do - a Way
See also Kintsugi ( also known as Kintsukuroi )
https://en.wikipedia.org/wiki/Kintsugi
What is shimaguni/nihonjinron?
https://en.wikipedia.org/wiki/Nihonjinron
Isshin-denshin
https://en.wikipedia.org/wiki/Ishin-denshin
What is mono no aware?
British novelist Kazuo Ishiguro (author of 1989's The Remains of the Day, which was awarded the Booker Prize for Fiction) ends many of his novels without any sense of resolution. The issues his characters confront are buried in the past and remain unresolved. Thus Ishiguro ends many of his novels on a note of melancholic resignation. His characters accept their past and who they have become, typically discovering that this realization brings comfort and an ending to mental anguish. This can be seen as a literary reflection of the Japanese idea of mono no aware.
Films like Alain Resnais' Hiroshima Mon Amour, Shohei Imamura's Black Rain and Akira Kurosawa's I Live in Fear have all been associated with the term.
What is mottaini?
https://en.wikipedia.org/wiki/Mottainai
What are Yojijukugo?
Yojijukugo in the broad sense simply means any Japanese compound words consisting of four kanji characters. In the narrow or strict sense, however, the term refers only to four-kanji compounds that have a particular (idiomatic) meaning that cannot be inferred from the meanings of the components that make them up.
- 一日一歩 ichinichiippo' (ichi one + nichi day + ichi' one + po step)
- one step each day
- 一期一会 ichigoichie (ichi one + go life + ichi one + e encounter)
- (Every encounter is a) once-in-a-lifetime encounter (Origin: Japanese tea ceremony)
- "151a"
Meaning: Experience the beauties of nature, and in doing so learn about yourself.
Hiroshi Teshigahara and Kobo Abe collaborated on four films: Pitfall (1962), Woman in the Dunes (1964), The Face of Another (1966) and Man Without a Map (1968). What are some of the themes presented in their collaboration? Teshigahara is the first person of Asian descent to be nominated for the Academy Award for Best Director, accomplishing this in 1966 for his work on Woman in the Dunes.
Yasunari Kawabata
a Japanese novelist and short story writer whose spare, lyrical, subtly-shaded prose works won him the Nobel Prize for Literature in 1968, the first Japanese author to receive the award.
The book that he himself considered his finest work, The Master of Go (1951), is in severe contrast to his other works. It is a semi-fictional recounting of a major Go match in 1938, on which Kawabata had actually reported for the Mainichi newspaper chain. It was the last game of the master Shūsai's career and he lost to his younger challenger, only to die a little over a year later. Although the novel is moving on the surface as a retelling of a climactic struggle, some readers consider it a symbolic parallel to the defeat of Japan in World War II.
Kenzaburō Ōe
awarded the Nobel Prize in Literature in 1994 for creating "an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today".
Nip the Buds, Shoot the Kids (芽むしり仔撃ち Memushiri kouchi; also known as "Pluck the Bud and Destroy the Offspring") is a 1958 novel by Japanese author Kenzaburō Ōe. It is Ōe's first novel, written when he was 23 years old.
It was originally published in 1958. The English version was translated in 1995.[
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