Pix4Japan: 2024

2024-04-09

Homareyashuho Wine and Liquor Shop

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Sip the Essence of Spring: Discovering Gumyoji Sakura Beer at Homareyashuho

Location: Gumyoji, Minami Ward, Yokohama, Japan

Timestamp: 17:16・2024/04/09

Fujifilm X100V with 5% diffusion filter

ISO 800 for 1/250 sec. at ƒ/2

Classic Negative film simulation

The Homareyashuho Wine & Liquor Shop, established in 1932, is renowned for its signature Gumyoji Sakura Beer. Brewed locally since 2010, this unfiltered beer derives its distinctive flavor from yeast sourced from cherry blossoms grown in the nearby Gumyoji Temple grounds. Known for its fruity and robust flavor, the Sakura Beer continues to captivate beer enthusiasts to this day.

As depicted in my photo, the shop's décor mirrors the vibrant ambiance of Japan's cherry blossom festivals, featuring pink displays and lantern shades that celebrate the famous Sakura Beer. These decorations, reminiscent of those found across Japan during the cherry blossom viewing season, contribute to the shop's quaint charm.

In addition to the Sakura Beer, the shop boasts a diverse selection of locally sourced sake, authentic shochu, and awamori. Visitors can indulge in a variety of flavors, all sourced directly from breweries spanning the breadth of Japan. The shop also offers unique non-alcoholic flavored cider drinks for other customers including children.

Whether you're a connoisseur or a casual enthusiast, a visit to Homareyashuho Wine & Liquor Shop promises a delightful experience steeped in Japanese tradition and flavor.

Glossary:

桜・sakura: This term typically refers to cherry blossoms (flowers) but can also refer to the actual cherry trees. In Japanese culture, sakura holds deep symbolic meaning, representing the beauty and transient nature of life.
酒・sake: This term can refer to all alcoholic drinks in general, but in the above context, it specifically refers to Japanese rice wine, which is brewed through a fermentation process using rice, water, yeast, and koji mold.
焼酎・shochu: Shochu is a Japanese liquor distilled from various ingredients such as sweet potatoes, barley, or rice. It typically has a higher alcohol content than sake and is enjoyed in various ways, including straight, on the rocks, or mixed with water or other beverages.
泡盛・awamori: Awamori is a type of shochu that is a specialty of Okinawa, a region in Japan. It is made from Thai-style indica rice and is aged in traditional clay pots. Awamori has a unique flavor profile and is often consumed as a straight drink or mixed with water or ice.

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Sekizushi Sushi Shop

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Capturing Nostalgia: Sekizushi Sushi Shop at Gumyoji Shotengai

Location: Gumyoji, Minami Ward, Yokohama, Japan

Timestamp: 17:14・2024/04/09

Fujifilm X100V with 5% diffusion filter

ISO 1250 for 1/250 sec. at ƒ/2

Classic Negative film simulation

Nestled within the charming streets of the Gumyoji Shotengai in Minami Ward, Yokohama, Japan, lies a hidden gem of tradition and flavor: Sekizushi.

As a street photographer, I often find myself drawn to the Showa-esque allure of places like this where history mingles with the aroma of fresh cuisine.

Established in 1980, Sekizushi beckons the locals with its modest facade and welcoming noren curtain, adorned with elegant strokes of the shop's name in white kanji characters on a traditional Japanese indigo blue background.

I didn’t ask permission to shoot the interior, but learned that the restaurant has tatami mat seating for up to 12 patrons and counter seating for up to 11 patrons. The popular 5-piece sashimi platter priced at 2,000 yen seems to strike a balance between quality and affordability, particularly for overseas travelers benefiting from the favorable exchange rate.

What truly captivates me, however, are the subtle details that remind me of bygone days. When you open the wooden-framed glass sliding doors, they make a distinct rattle as the old metal rollers pass over the worn metal railings on the floor.

The rattling sound evokes memories from my late teens of visits to friends' homes that had the same style of sliding doors at the entrance. That “gata-gata” rattling sound of the window panes shaking in their wooden frames takes me back to a nostalgic time of my youth and Japan's economic heyday during the late Showa period.

Glossary:

暖簾 / noren: A traditional Japanese hanging cloth typically suspended from the eaves or doorways of buildings, serving as protection from sunlight or wind. Originating from the late Kamakura period, noren became closely associated with their use as shop signs, often adorned with designs representing the shop's name, trademark, or the owner's family crest.
昭和ガラス引戸 / Shōwa garasu hikido: A type of wooden sliding door commonly found in Japan during the Shōwa period. These doors feature panels made of clear, patterned, or glazed glass set within wooden frames. The frames are equipped with rollers that slide along metal railings installed at the top and bottom of the door frame, allowing for smooth and effortless opening and closing.

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Komeido Bookstore at Gumyoji Shotengai

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Komeido Bookstore at Gumyoji Shotengai

Location: Gumyoji, Minami Ward, Yokohama, Japan

Timestamp: 17:12・2024/04/09

Fujifilm X100V with 5% diffusion filter

ISO 3200 for 1/140 sec. at ƒ/13

Classic Negative film simulation

Located at the eastern entrance to the Gumyoji Kannon Street Shopping Arcade (Gumyoji Shotengai), just a minute's walk from Gumyoji Station on the municipal Blue Line subway, lies the Komeido Shoten bookstore.

Rooted in its origins dating back to around 1940, Komeido Shoten is presently under the stewardship of its third-generation owner. The bookstore underwent renovation in 2008, expanding its offerings to encompass a diverse range of books within its 49.58 square-meter (533.67 square-foot) premises.

Among its collection, one can find a plethora of comics, magazines, and novels. Notably, the selection leans less towards business-oriented titles and more towards catering to the preferences of its core clientele, which predominantly comprises students, housewives, and retirees from the local community.

A unique feature of the bookstore is its practice of including small gifts and product samples with many of its books, a gesture that resonates particularly well with the cost-conscious women who frequent the establishment. Furthermore, in recognition of the large student population in the vicinity, the store maintains a well-stocked inventory of relevant textbooks to meet their academic needs.

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Gumyoji Shotengai

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Gumyoji Kannon Street Shopping Arcade East Gate

Location: Gumyoji, Minami Ward, Yokohama, Japan

Timestamp: 17:09・2024/04/09

Fujifilm X100V with 5% diffusion filter

ISO 3200 for 1/60 sec. at ƒ/13

Classic Negative film simulation

Gumyoji Kannon Street Shopping Arcade, known locally as Gumyoji Shotengai, lies nestled between Gumyoji Station on the Keihin-Kyuko Line to the east and Gumyoji Station on the Yokohama municipal subway Blue Line to the west.

This covered shopping arcade (typically called a shotengai in Japanese), sits along the path leading to Yokohama's oldest Buddhist temple, established roughly 1,300 years ago during the Nara Period.

The roofing that blankets the shopping street provides protection to visitors, particularly those en route to the temple.

Whether one seeks everyday essentials or indulges in gourmet delights, taking a leisurely stroll down this extensive shotengai is a regularly occurring pastime, especially following a visit to the temple located at the street's far western end.

Glossary:

商店街 shotengai: A section or street in a town or urban neighborhood lined with shops.

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2024-03-20

Kawaguchi Asama Shrine Torii Gate

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A Glimpse into Torii Gate Architecture at Kawaguchi Asama Shrine

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 15:24・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 100 for 1/200 sec. at ƒ/7.1

The large torii gate warmly welcomes visitors to the cedar-tree lined approach to the Kawaguchi Asama Shrine. Many of these trees are 800 years old and have stood tall since the Kamakura Period (1185–1333).

Historical records indicate the original torii gate was built to a height of approximately 13 m (42.65 ft) in 1688, and rebuilt in 1697 to a height of 16.4 m (53.80 ft).

The current torii gate was built of concrete in 1965 and stands approximately 18 m (59.05 ft) high. One of the cornerstones of the original gate remains at the right foot of the current gate.

The inscription in green on the plaque of the torii gate reads "Sangoku Daiichisan,” In medieval Japan, "sangoku" referred to the three kingdoms of India, China, and Japan, which basically meant the entire world. “Daiichisan” means number one mountain or the highest mountain. So, when put together "Sangoku Daiichisan" means the "The World's Highest Mountain."

This particular naming of torii gates can be readily found at shrines surrounding Mt. Fuji. This naming is rather unique in that the name on a torii gate is usually the name of the shrine to which it belongs. Around Mt. Fuji, however, many torii gates belong to Mt. Fuji as it is a deity in its own rights, and are not named after the shrine to which they are physically attached to. In fact, there are historical records that indicate that some torii gates were put up as gates to Mt. Fuji herself, and the actual Shinto shrine followed later.

Regardless of whether the torii was built for a shrine or Mt. Fuji, all torii gates are usually erected at entrances to a hallowed precinct (shrine, mountain, boulder, etc.) to demarcate a sacred place from its earthly surroundings.

The torii gate at Kawaguchi Asama Shrine uses an inari torii or daiwa torii design, which closely takes after the myoujin design that dates back to the 9th Century. Like the myoujin design, the daiwa torii design has top lintels with upward curving ends. The tie beam below the lintels is a straight, rectangular beam that extends beyond the pillars for about 1/5 of the tie beam’s length. Unlike the myoujin design, the daiwa design has a circular plate called the daiwa, which is placed on top of each pillar to prevent the seepage of rainwater into the crosscut of the pillar.

In the middle of the tie beam, there is often a framed inscribed panel or plaque called a gakuzuka. Unlike numerous torii gates around Mt. Fuji, typical inscriptions on the panel or plaque will bear the name of the nearby shrine.

Glossary:

三国第一山 Sangoku Daiichisan: In medieval Japan, "sangoku" referred to the three kingdoms of India, China, and Japan, which basically meant the entire world for people at that time. “Daiichisan” means number one mountain or the highest mountain. So, when put together "Sangoku Daiichisan" means the "The World's Highest Mountain."
台輪 daiwa: A circular plate placed at the top of the pillars used for torii gates to prevent the seepage of rainwater into the crosscut of the pillar.
鳥居 torii: A traditional gate-like structure, composed of two pillars with one or two horizontal crosspieces at the top with a tie beam placed below the lintels and often erected at entrances to a Shinto shrine to demarcate a symbolic gateway between the earthly realm and the sacred realm of the spirits.
稲荷鳥居 inari torii / 台輪 daiwa torii: Inari torii and daiwa torii are types of torii gates characterized by a circular plate, known as “daiwa,” placed on top of each pillar. This circular plate serves to prevent rainwater from seeping into the crosscut of the pillar, a feature unique to these designs.
明神鳥居 myoujin torii: The myoujin torii gate, developed around the 9th Century, is the most common type of shrine entrance torii gate. It features upwards curving lintels, a tie beam below, and a framed inscribed plaque connecting the tie beam and the lintel in the middle. Additionally, it is often painted vermilion, adding to its visual prominence.
額束 gakuzuka: Located at the center of the tie beam and connected to the upper lintel, this is a supporting strut that sometimes has a framed plaque attached to it with an inscription of the name of the shrine.

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Futahashira-Sugi Cedars

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Sacred Ancient Trees at Shinto Shrine

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 15:11・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 6400 for 1/125 sec. at ƒ/8

Situated approximately 20 meters (65 ft) to the east of the Kawaguchi Asama-Jinja Shrine stand two ancient trees known as the Futahashira-Sugi (両柱杉) cedars. The cedar on the right reaches a height of approximately 47.5 meters (156 ft), making it the tallest among the renowned seven cedar trees at the shrine.

The cedar on the right is named after Izanagi-no-Mikoto, a male deity from Japanese mythology who, according to legend, fathered Japan, the sun, the moon, and storm gods. On the left stands a cedar named after Izanami-no-Mikoto, a female deity known for giving birth to numerous gods and being the wife of Izanagi-no-Mikoto.

The origin story of the two trees is fused with the belief that the roots of the right tree gradually grew and intertwined with those of the smaller tree on the left, a process said to have begun around 1,200 years ago. This physical and metaphorical union of the two majestic trees symbolizes a sacred bond, transforming them into revered entities worshiped for their association with successful matchmaking, fertility, and safe childbirth.

To symbolize this sacred union, the two trees are bound together by a shimenawa rope, signifying their holiness and serving as protection against malevolent spirits, thus preserving their status as revered landmarks. Adorned with shide paper streamers, the shimenawa rope further delineates the area surrounding the two trees as a consecrated space.

Glossary:

両柱 futahashira: Two (or both) pillars, posts, cylinders, or support. In the above context, the two deities (large cedar trees), one a male and the other a female, are intertwined as one at their roots.
杉 sugi: Japanese cedar (Cryptomeria japonica)
注連縄 shimenawa: A straw rope hung before or around a site to demarcate sacred or pure space.
垂 shide: folded strips of paper suspended from shimenawa ropes to demarcate a sacred or ritual space.
伊耶那岐命 Izanagi-no-Mikoto: A male creator deity (kami) of both creation and life in Japanese mythology.
伊耶那美命 Izanami-no-Mikoto: A female creator deity of both creation and death in Japanese mythology, as well as the Shinto mother goddess.

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Kawaguchi Asama-Jinja Shrine

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Kawaguchi Asama-Jinja Shrine

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 15:09・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 2500 for 1/125 sec. at ƒ/8

Situated just 1.28 km (4,186 ft) from the shores of Lake Kawaguchi, which lies northeast of Mt. Fuji, Kawaguchi Asama Shrine boasts an ancient history dating back to the Jogan Eruption of Mt. Fuji in 864. The shrine is oriented toward the source of the lava flow rather than Mt. Fuji’s peak, to appease the volcano deity known as Asama or Sengen. Establishment of this shrine marked the beginning of the building up of shrines on the northern flank of Mt. Fuji, which centuries later, would welcome thousands of lay pilgrims every year.

After the devastating Jogan Eruption, which wreaked havoc on the Asama/Sengen shrines located on the southern slopes of Mt. Fuji, the imperial court decreed the construction of a new shrine to the north. This decision aimed to appease the angered deities and safeguard the shrine from potential future eruptions.

The architecture of Kawaguchi Asama Shrine follows the wari-haiden ("divided worship hall") style typical of Sengen shrines. This style features two distinct structures connected by an open space beneath a single roof. In my accompanying photo, you can see a prime example of wari-haiden: the expansive main worship hall (haiden) on the left and the sanctuary housing the shrine's central object of veneration (honden) on the right, both unified under the same roof.

The haiden, positioned on the left side, functions as the primary worship hall within the shrine complex. Depending on factors such as the shrine's size and location, the haiden may also double as a platform for ritual performances, ceremonies, and direct worship of the shrine's kami. Typically situated at the forefront of the sanctuary (honden), the haiden is often constructed on a larger scale compared to the honden. Consequently, it tends to be the most noticeable structure by regular worshippers.

The honden, positioned on the right side, holds paramount significance within the shrine's architecture as it houses the essence of the deity, typically represented by a sacred mirror or, less commonly, a statue. The honden is situated at the rear of the shrine complex and is accessible only to shrine priests or, in the case of major shrines, the Emperor.

The standout feature of this shrine that immediately captivated my attention is its remarkable nagare-zukuri (流造) design, showcased in the roofs of both the worship hall and the sanctuary. Characterized by gently sloping curves that seamlessly extend to the eaves, this style of gabled roof is distinctive for its integrated roof-eave structure. Nagare-zukuri roofs can be crafted from a variety of materials, such as thatch, cypress bark, and copper plating, contributing to the shrine's aesthetic appeal.

I'm also fascinated by the metal fittings positioned at the ends of the rafters, which extend to the edge of the eaves. Typically crafted from iron, copper, or gilt bronze, these fittings serve not only as decorative elements but also play a functional role in safeguarding the structural components from weather-related wear and tear.

Terminology:

割拝殿・wari-haiden: A specific architectural style commonly found in Shinto shrines, characterized by a long structure under a single roof that is divided in the center by a passageway. This passageway connects the haiden, the main worship hall, with the honden, which houses the shrine's central object of veneration. The wari-haiden design allows for a seamless flow between the two essential components of the shrine while maintaining structural integrity and aesthetic unity.
拝殿・haiden: Primary worship hall within a Shinto shrine, typically positioned on the same axis as the main sanctuary (honden). It serves as a space for ritual worship, ceremonies, and offerings to the shrine's deity or deities. The haiden is often the focal point of religious activities and is designed to accommodate worshippers during various religious observances.
本殿・honden: The sanctuary of a Shinto shrine, revered as the most sacred building because it enshrines the deity (kami). This central structure serves as the spiritual heart of the shrine, where worshippers offer prayers and reverence to the divine presence believed to reside within.
神・kami: Divine beings in Shinto belief, encompassing a wide range of entities, including deities, spirits of nature, ancestors, and even revered objects or phenomena. They can be symbolized by various items such as amulets, mirrors, swords, carved statues, as well as natural elements like trees, rocks, and animals. Kami are revered for their power and influence over different aspects of the world, including the elements, natural forces, and human affairs.

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Kayabuki Farmhouse for Silkworms

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From Silk Worms to Scarves: Inside the Historic Farmhouses of Saiko Iyashi-no-Sato Nenba

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 12:24・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 400 for 1/125 sec. at ƒ/11

This farmhouse stands as the epitome of a traditional Japanese rural dwelling, characterized by its iconic thatched roof and adorned with a few unique features tailored for silk production.

A defining trait of many restored farmhouses in the Saiko Iyashi-no-Sato Nenba open-air museum is their incorporation of second-floor windows. These windows play a pivotal role in regulating airflow, light, and temperature, essential for the cultivation of silkworms. This industry was central to the village's existence, tracing back to the Edo Period (1603-1867).

The houses in this village used a distinctive thatched roof design, known as kabuto-zukuri (兜造り), owes its origin to the necessities of sericulture. The name, kabuto-zukuri, translates to "helmet structure,” and derives from the roof's resemblance to the helmet worn by samurai warriors.

Ventilation and ample sunlight were indispensable for successful sericulture, thus these dwellings were crafted to cater to the needs of silk production, reflecting one of the primary livelihoods of the local farmers .

Today, this meticulously restored farmhouse serves a new purpose as the home of Fujisan Silk, a gift shop offering a variety of silk products. From scarves to ties, these items are crafted by Kashiwagi Co., Ltd., a silk textiles manufacturer with a rich history spanning over 300 years in the neighboring town of Fujiyoshida.

Terms:

茅葺屋根 kayabuki yane: thatched roof
民家 minka: rural dwelling or farmhouse
茅葺き民家 kayabuki minka: thatched roof house
兜 kabuto: a type of helmet first used by ancient Japanese warriors and later by the samurai class
造り tsukuri: structure
兜造り kabuto-dzukuri: structure of roof resembling samurai helmet

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Vintage Mailbox and Shoiko Backpacks

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Historic Relics Next to the Watanabe Residence

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 12:06・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

53 mm ISO 100 for 1/50 sec. at ƒ/6.3

Next to the former Watanabe Residence, a Registered Tangible Cultural Property of Japan, sits a quaint shed adorned with charming relics of the past – an older style mailbox and shoiko backpacks.

This particular design of mailbox traces its origins back to 1949, a time when the use of iron for casting durable mailboxes resumed to normal levels as critical materials became once again available for civilian use following the end of World War II.

Seventy-four years have passed since then, yet this particular style of mailbox can still be found in both rural areas and older neighborhoods in urban Japan.

Dating back to the Edo Period (1603-1867), two shoiko backpacks hang on the shed's wall. Crafted from hardwood and straw ropes, these vintage backpacks served as indispensable tools for farmers and their families. They were utilized for transporting charcoal, harvested crops, firewood, and rice bundles. Given the expectation for children to assist with chores, smaller shoiko backpacks tailored for youngsters were also commonplace.

Terms:

背負子 (shoiko): a vintage style of backpack; wooden rack with shoulder straps for carrying loads on one's back

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Hinomiya and Fire Tower

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From Fire Lookout to Costume Haven: Hinomiya Building in Saiko Iyashi-no-Sato Nenba

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 12:02・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 100 for 1/40 sec. at ƒ/11

The Hinomiya building (火の見屋) is a restored thatched-roof house currently being used as a costume rental shop within the Saiko Iyashi-no-Sato Nenba open-air museum in Yamanashi Prefecture, Japan. Visitors can rent costumes tailored as kimonos, sets of samurai armor, ninja costumes, and more to wear and pose for photos around the museum.

The name "Hinomi" (火の見) translates to “fire lookout,” which explains the presence of a bell at the top of the tower situated in the front yard of this old restored house.

In pre-modern Japan, many villages and cities were constructed from flammable materials such as wood, bamboo, straw, and paper. Due to the proximity of structures, fires could easily spread. In response, the Shogunate mandated the construction of watch towers in 1723. For further insight into this historical context, consider reading “Fire-Fighting and Disaster Prevention in Edo” published by the Journal of Japanese Trade & Industry in November/December 2000, authored by historian Sumiyoshi Yamamoto.

The restored Hinomiya building now serves as a costume rental shop, offering over 100 different types of kimonos and sets of armor for rent. Visitors can enjoy wearing these costumes while exploring the museum grounds and capturing fun photos with the traditional buildings as backdrops. With luck, you might even catch a shot of Mt. Fuji in the background.

Terms:

半鐘 (hanshō): alarm bell
火の見櫓 (hinomi-yagura): fire lookout towers

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Goronekan Rest House

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Rest and Rejuvenation: A Respite Space in Yamanashi

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 11:55・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

31 mm ISO 100 for 1/320 sec. at ƒ/8

The Goronekan (ごろ寝館) is a meticulously restored thatched-roof structure within the Saiko Iyashi-no-Sato Nenba open-air museum, in Yamanashi Prefecture, Japan. This restored house offers visitors a serene retreat, and serves as an intimate venue for small concerts featuring traditional Japanese musical instruments, adding a cultural dimension to its charm.

The name itself, Goronekan, translates to “falling asleep in one's clothes to take a nap" combined with "public building." Essentially, Goronekan serves as a respite for weary visitors, offering a place to rest and rejuvenate on traditional tatami mats or wooden floors after exploring the village's many attractions.

Perched at the highest point of the open-air museum, Goronekan treats visitors to a majestic vista of Mount Fuji, framed by the quaint thatched roofs of neighboring buildings, provided the weather cooperates.

Admission is free, inviting guests to bring along their own food and tea to savor while reclining in the same manner as Japanese families would have done many generations ago. Whether engaging in conversation with fellow visitors, delving into a good book, or simply indulging in a nap ("gorone"), the tranquil ambiance of Goronekan invites relaxation.

Moreover, for those seeking a more private affair, Goronekan can be rented out for a fee, accommodating private parties, gatherings, or local community meetings. Its main hall offers a versatile space, suitable for intimate musical performances or serving as a stage for event hosts.

Terms:

ごろ寝 (gorone): roll over, spread out, and take a nape (in your clothes)
館 (〜kan): mansion; palace; manor house; castle, large building, public building
娯楽室 (gorakushitsu): recreation, amusement, or relaxing room

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Tetsubin, Irori, and Hinamatsuri

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From Doll Displays to Irori Hearths: Discovering the Seseragiya Crafts Museum

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 11:37・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 100 for 2.0 sec. at ƒ/11

Exploring the Saiko Iyashi-no-Sato Nenba open-air museum is like stepping back into a time of traditional Japanese culture.

One of restored thatched roof buildings, Seseragiya (せせらぎ屋), not only showcases traditional Japanese handicrafts but also serves as a hub for workshops where visitors, including local school children, can learn the art of crafting traditional toys from wood or bamboo.

From the melodies of a Japanese warbler whistle (うぐいす笛) to the charm of a cicada spinner whistle (ブンブンセミ), Seseragiya offers a hands-on experience to learn some of the craftsmanship of toys of yesteryears.

In the attached photo, the enchanting Hina-matsuri display steals the show, commemorating the health and happiness of young girls and women during for the Girl’s Day holiday.

Modeled after a Heian Period (794 to 1185) wedding, the display features meticulously arranged tiers, with the Emperor and Empress gracing the uppermost tier, surrounded by court attendants and musicians adorned in traditional attire.

The intricate details of the dolls and tiers can vary widely, from simple folded paper figurines to exquisitely carved three-dimensional masterpieces, depending on one’s budget—unless one is fortunate enough to inherit an exquisite family heirloom from parents or grandparents.

In this shot, we can also see a traditional cast iron kettle hanging from a pothook over a sunken hearth. In a traditional house, the hearth (irori) was used to provide heat, light, and in many cases a place for cooking with the use of a tripod, or suspended from the beams above using a pothook.

Depending on one’s social status, the design of the irori varied significantly. For those of lower classes, an irori might have been a simple pit dug directly into the dirt floor, partially filled with sand and ash, and edged with stones or timber. Conversely, higher-class households boasted irori constructed around a raised floor, adorned with edging crafted from wood, metal, or occasionally stone.

Among the lower classes, the irony served as the focal point of everyday life, where meals were shared and informal visitors entertained. In contrast, upper-class households might have boasted multiple irori, including some in kitchens or tea houses attached to the main residence.

Whether marveling at the elegance of Heian Period dolls or relaxing to the rustic charm of a traditional hearth, Saiko Iyashi-no-Sato Nenba allows you to immerse yourself in a few of the timeless traditions of Japan's cultural heritage.

Terms:

ブンブンセミ (bunbun-semi): Cicada spinner whistle
うぐいす笛 (uguisu-fue): Japanese warbler whistle
雛祭り (Hinamatsuri): Doll's Day or Girls' Day
鉄瓶 (tetsubin): Japanese cast iron kettle
囲炉裏, 居炉裏 (irori): a traditional Japanese sunken hearth fired with charcoal
自在鉤 (jizaikagi): pothook—an iron rod within a bamboo tube – used for raising or lowering a suspended pot or kettle by means of an attached lever which is often decoratively designed in the shape of a fish.

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Seiryutei Tea House

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Nenba Village: Where Tragedy Led to Cultural Renewal

Location: Fujikawaguchiko, Yamanashi Pref., Japan

Timestamp: 11:29・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

63 mm ISO 100 for 1/20 sec. at ƒ/8

Nenba Village, also known as "Saiko Iyashi-no-Sato Nenba," stands as a testament to resilience, nestled in Minamitsuru Village on the western shores of Saiko Lake in Yamanashi Prefecture.

Originally known as Ashiwada Village, it flourished as a center for the silkworm industry, with the distinctive feature of glass windows on the second floors of its thatched-roof homes, where silkworms were diligently raised for their silk.

Tragedy struck on September 25, 1966, when a devastating mudslide, triggered by the relentless rains of Typhoon No. 26, cascaded down the mountain, engulfing the entire village in a sea of mud.

The magnitude of the catastrophe prompted a massive rescue operation, with over 16,000 personnel from the Self-Defense Forces tirelessly searching for survivors until October 7th.

Despite their efforts, the toll was grim: 94 lives lost, with 13 souls never to be found. The grim aftermath saw Lake Saiko become an unexpected resting place for both human and animal victims, with many cows tragically buried in the mud.

Decades later, amidst the distant echoes of tragedy, the villagers rallied to resurrect their once-thriving community. In 2006, the transformation began with the establishment of an open-air museum, initially comprising a handful of restored structures.

Today, visitors can wander through approximately 20 meticulously reconstructed thatched-roof houses, each serving a unique purpose as souvenir shops, restaurants, sweet shops, craft exhibits, and museums. Notably, in 2011, the former main house of the Watanabe family which is nestled in the northwest corner of the village, earned recognition as a national registered Tangible Cultural Property, anchoring the village's historical significance.

One such enchanting spot within the village is the traditional Seiryutei Tea House (see photo). Seiryutei Tea House, once a humble abode from the Edo Period, now invites visitors to savor the essence of Japanese hospitality with a tantalizing array of delicacies. From Japanese matcha sweets to homemade soy milk pudding and sweet rice dumplings (dango), the menu offers a delectable journey through local flavors. Additionally, guests can indulge in light meals, featuring seasonal vegetable curries crafted from freshly harvested produce sourced from nearby fields.

Entry to the museum is affordably priced at 500 yen, with ample free parking nearby. The museum's allure transcends borders, drawing a diverse array of tourists, with over 80% hailing from overseas, according to a local shop owner.

In conclusion, Nanba Village stands as a testament to the resilience of the human spirit, where tragedy has been transformed into triumph through community effort and preservation. As you traverse the stone and dirt paths and explore the quaint thatched-roof houses, you're not just witnessing history—you're becoming a part of it.

- 茶処: chadokoro > tea house

- 青龍亭: Seiryutei > Name of shop

- 旧渡辺家住宅主屋: Kyu-Watanabe-ke Jutaku Shuoku

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Ryugu Cave

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From Desolation to Renewal: The Resilience of Nature in the Dragon Cave and Aokigahara-Jukai Forest

Location: Fujikawaguchiko, Yamanashi, Japan

Timestamp: 10:48・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 100 for 0.4 sec. at ƒ/10

Exploring the wide gaping mouth of the Dragon Cave (竜宮洞穴・Ryugu-Doketsu) provided me with an opportunity for intimate observation of the lava rock texture, evoking a profound appreciation for the awesome power of Mother Nature. Centuries-old hardened lava slowly eroded by the elements offers a vivid glimpse into the geological history of the region. The colors and textures of the rock bear witness to the complex interplay of minerals, gasses, and temperatures during the Jogan eruption of Mt. Fuji in 864 CE.

In stark contrast to the purplish-black and dark gray tones of the lava rock, which once symbolized a smoldering apocalypse, the landscape now teems with life. Varied tones of green moss and lichen adorn the rocky terrain, their presence signaling the gradual transformation from desolation to renewal. The once-barren land has given rise to the lush expanse of the Aokigahara-Jukai Forest, a testament to nature's resilience and capacity for regeneration.

As the forest flourished, so too did its inhabitants. Asian black bears, deer, foxes, boars, Japanese minks, and an array of bird and insect species now call this sanctuary home. Thanks to restrictions on tourist access and limited development, the forest remains a haven for biodiversity, attracting nature enthusiasts and researchers alike.

For those inspired to explore this remarkable landscape, Google Maps links and additional resources in English are available for further reading and planning (see below). The Dragon Cave and its surrounding environs stand as a testament to the enduring power and beauty of the natural world, inviting visitors to immerse themselves in its wonders.

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Senoumi Shrine

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Journey into Myth and Legend: Discovering Senoumi Shrine at Ryugu Cave

Location: Fujikawaguchiko, Yamanashi, Japan

Timestamp: 10:36・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 100 for 2.0 sec. at ƒ/10

Located at the mouth of Ryugu Cave, the Senoumi Shrine is just one example of ancient reverence for nature and mythology in Japanese culture. Enshrined within the shrine is Toyotamhime-no-Mikoto, revered as both a goddess of rain and safe childbirth.

The name "Ryugu," translating to "dragon palace," is steeped in local legends portraying it as the abode of a water deity manifested in the form of a dragon. Historical records, dating back to 907 CE, recount a time of famine where prayers were offered at the cave's entrance, beseeching for favorable weather to ensure a bountiful harvest.

Stretching approximately 96 meters (315 feet) into the earth, the lava-formed cavern is believed to reach Lake Sako. Note that entry beyond the shrine is strictly prohibited due to the risk of collapse.

Nestled within the lush Aokigahara-Jukai Forest, reaching the cave from Tokyo is a journey of less than three hours via the Chuo Expressway, although travel times may vary depending on traffic. Alternatively, visitors can opt for a scenic bus ride, disembarking at the Ryugu-Doketsu Iriguchi Bus Stop, a mere 6-minute walk from the shrine.

Touted in Japanese media as a "power spot," Senoumi Shrine is believed to be a focal point of spiritual energy and healing properties, its significance intertwined with the surrounding natural landscape and historical context.

Despite the shrine’s physical size and being off the beaten path of most tourists, the shrine hosts the annual Ryugu Festival on August 2nd, a vibrant celebration featuring floating lanterns and a spectacular fireworks display over the tranquil waters of nearby Lake Saiko.

竜宮洞穴・Ryugu-Doketsu: Dragon Cave

剗海神社・Senoumi-Jinja: Senoumi Shrine

豊玉姫命・Toyotamahime-no-Mikoto: goddess of rain, water, and safe birth

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Dragon Cave

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Dragon Cave: A Place of Reverence, Pilgrimage, and Sacred Tradition

Location: Fujikawaguchiko, Yamanashi, Japan

Timestamp: 10:32・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

28 mm ISO 100 for 0.6 sec. at ƒ/10

Ryugu-Doketsu, or “Dragon Cave” in English, stands as a testament to the awe-inspiring forces of nature. Designated as a nationally recognized natural monument, its origins trace back to the Jogan eruption of Mt. Fuji in 864 CE. During this cataclysmic event, lava flows engulfed the region, cooling and solidifying over time to form intricate natural caverns through the process of erosion.

Dragon Cave, and several others located throughout the Aokigahara-Jukai Forest are greeted by a display of nature's craftsmanship. Ice caves, where icicles stubbornly refuse to melt even under the summer sun, and rozen lava flows, captured in time, serve as a silent testament to the tremendous power unleashed by the volcano centuries ago.

The mystique of Ryugu-Doketsu Cave, a lesser-known gem, is waiting to be discovered. Nestled amidst moss-covered rocks, this intimate cavern offers a passage to another realm, connecting to a tranquil lake beyond its depths. At its entrance stands a modest shrine, home to Toyotamahime, the Goddess of Water, revered by locals for generations.

Senoumi Shrine, as the shrine is known, holds a special place in the hearts of worshipers who make pilgrimages to this location. Officially registered with the Shrine Agency, its name pays homage to an ancient legend of a dragon god dwelling within the cave. In times of drought, villagers would gather here, seeking divine intervention in the form of rain.

For adherents of the Fujiko sect, dedicated to the worship of Mount Fuji, Senoumi Shrine is more than just a place of worship—it is a sacred sanctuary steeped in history. With roots stretching back to the Edo Period, pilgrims flock to its hallowed grounds, offering prayers and reverence to the mountain that looms majestically nearby.

As visitors, it is our privilege to share in this sacred space. When visiting Dragon Cave and Senoumi Shrine, let us honor the traditions of those who came before us. Show respect to pilgrims in prayer, observing their rituals with quiet reverence. And as they depart, may we pause to reflect on the timeless bond between humanity and the natural world—a bond that finds its truest expression in places like Dragon Cave.

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Aokigahara Twisted Flora

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Twists of Nature: Discovering Aokigahara-Jukai's Beauty

Location: Fujikawaguchiko, Yamanashi, Japan

Timestamp: 09:39・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

88 mm ISO 100 for 0.3 sec. at ƒ/6.3

Nestled on the northwestern flank of Mount Fuji lies the Aokigahara-Jukai Forest, also known as the "Sea of Trees," standing at an elevation of 1,014 meters (3,327 feet). This remarkable forestscape is renowned for its extraordinary display of trees, which twist and contort themselves as they strive to find purchase in the shallow soil covering ancient lava flows.

The challenge for these trees is evident: the thin layer of soil above the hardened lava makes it difficult for their roots to penetrate deeply, leading to unique adaptations. While many trees manage to grow upright, external forces such as wind and snow often twist their trunks or cause them to lean under their own weight.

Adding to the mystique of this landscape is the abundance of moss and lichen, which blanket the jagged edges of the lava rock and soften its contours. These vibrant green accents lend a mystical aura to the forest, enhancing its natural beauty.

The origins of this captivating forest date back to the Jogan eruption of 864 CE, which blanketed the region in lava flows that eventually cooled and solidified, forming the foundation for what would become the Sea of Trees. Despite the thin layer of soil—only about 10 centimeters thick—life found a way. Lichens were among the first organisms to colonize the barren landscape, followed by moss and grasses, gradually building up the soil over time.

What makes Aokigahara-Jukai truly exceptional is its ability to support the growth of trees despite the challenging conditions. The nearby Pacific Ocean plays a crucial role, with ocean winds carrying moisture inland, providing the necessary hydration for moss and, ultimately, the trees themselves.

Predominantly populated by hinoki cypress and southern Japanese hemlock, both evergreen species, the forest presents a spectacle of intertwined roots spreading laterally across the rocky terrain. As trees reach a certain height, their precarious root systems can no longer bear their weight, leading to a fascinating landscape of fallen giants.

This forest, shaped by the direct influence of Mount Fuji, offers a glimpse into nature's resilience and creativity. Even as visitors traverse its designated trails, they are treated to the splendor of an ancient growth forest, where each twist of a tree trunk and each patch of moss tells a story of adaptation and survival.

Increasingly, Aokigahara-Jukai is drawing the attention of nature photographers and fine artists, drawn to its otherworldly charm and the myriad shapes formed by tree roots and moss intermingling with volcanic rock.

In the heart of Aokigahara-Jukai, nature's handiwork unfolds in myriad forms, inviting explorers to uncover the hidden wonders of this enchanting forest.

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Aokigahara-Jukai Forest

Faithful Companion Deep in Moss-Covered Sea of Trees

Location: Fujikawaguchiko, Yamanashi, Japan

Timestamp: 09:06・2024/03/20

Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP

45 mm ISO 25,600 for 1/200 sec. at ƒ/6.3

I explored Aokigahara Forest (elevation 1,014 m / 3,327 ft) nestled on the northwestern flank of Mount Fuji in Yamanashi Prefecture, Japan, accompanied by my border collie for an early morning photo session, evading the crowds that typically flock to the hiking trails later in the day.

Access to the forest is convenient, just a short 2-hour drive via the Chuo Expressway from central Tokyo (depending on traffic). The trailhead boasts ample free parking and is also accessible by bus for those opting for public transportation.

Adjacent to the forest lie the Fugaku Wind Cave and the Narusawa Ice Cave. However, since these attractions charge a fee, prohibit pets, and open later at 9:00 a.m., they were not feasible options for me, considering my early arrival with my border collie.

Formed by the Aokigahara Lava Flow originating from Mount Fuji in 864 CE, the forest floor spans approximately 30 square kilometers (12 sq mi). Over 1,100 years, the lava cooled and solidified, enabling the growth of lichen and moss, creating a unique ecosystem.

The terrain, characterized by thick layers of uneven lava rock, presents a challenge for trees to establish deep roots, leading them to spread outward across the rock's surface, relying on the sparse topsoil available.

A notable feature of the forest is its porous lava bedrock, which absorbs sound, enhancing the solitude experienced within this pristine wilderness.

Locals refer to Aokigahara as Jukai (樹海), or “Sea of Trees” in Japanese, which aptly describes the lush, untouched landscape, fostering diverse flora and fauna. The forest hosts a plethora of mammals, birds, insects, conifers, broadleaf trees, and shrubs, as detailed in its Wikipedia entry.

Beyond its natural allure, the Sea of Trees has captivated folklore and popular culture, inspiring numerous novels, TV shows, and films in Japan. According to local legends, yurei, tormented ghosts, are said to haunt the area.

Regrettably, the forest's association with suicide has attracted sensationalism from traditional and social media, spurring a surge in dark tourism. Such visitors, who typically go off trail and trample the plants and litter the forest with trash, have prompted calls among some locals to close the forest to the public in an effort to preserve the sacredness of the forest.

Fortunately, the forest remains open to the public, inviting exploration of its cultural heritage and appreciation of its natural beauty, a testament to the awe-inspiring forces of Mother Nature.

Visitors are urged to adhere to designated trails, as the forest's landscape makes navigation challenging should you get lost. Moreover, as a national natural monument, the Aokigahara Sea of Trees is safeguarded by the Cultural Properties Protection Act, mandating respect for its preservation and conservation.