Pix4Japan: 2024

2024-11-26

Japanese Kura

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Old Money Architecture: Glimpse into a Traditional Japanese Storehouse
古い蔵—祖先の富の象徴

A traditional white Japanese kura, or storehouse, stands with its characteristic earthen walls, designed for fire prevention. The back proudly displays a decorative crest, visible to hikers on the Toke Trail, indicating the heritage of the family, who likely reside in the adjacent house. This charming scene is set deep in a serene mountain village in the westernmost part of Tokyo Prefecture, Japan.

A kura is a type of traditional storehouse built to protect valuables from fire, a significant risk for traditional Japanese wooden houses. The structure typically features a wooden frame covered with 20 to 30 cm thick mud daub, finished with a smooth coat of white or black plaster. The roof’s extended eaves protect the plaster from heavy rains.

Openings are minimal, with only a few small windows for security. Today, spotting a kura still in use is a testament to a family's ancesteral wealth, as it not only signified the need to protect valuables but also the resources to build and maintain such a robust structure.

Beyond valuables, the thick earthen walls helped maintain a stable internal temperature, making the kura ideal for storing rice, wine, sake, soy sauce, and similar goods.

The decorative crest on the back of the storehouse in my photo most likely reads "Yamada" (山田), translating to "mountain" + "rice paddy/field." I appreciate how the kanji for "yama" (山・mountain) is replaced with two mountain peaks above the character for "da" (田・rice paddy/field). Written vertically, it evokes an image of fields nestled below mountain peaks, reflecting the actual landscape along this part of the Toke Trail.

The surrounding land is farmland, suggesting that the Yamada family has deep roots in this mountain village, possibly deriving their name from ancestors who farmed these mountain slopes centuries ago.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 14:59・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 320 for 1/480 sec. at ƒ/2.8
Astia/Soft film simulation

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O-Jizo-Sama and Tsukimachi

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Jizo Bodhisattva & “23rd Night” Stone Tablet
地蔵尊と「二十三夜塔」

Leaving the Toke Trail, I climbed down from the nearby mountain into a small mountain farming village before traversing one more peak to reach the parking lot. It was here that I came across this very typical rural scene.

※ Bodhisattva Seishi (Tsukuyomi-no-Mikoto)

On the far left and right are stone engravings of Bodhisattva Seishi, a Buddhist deity believed to be the incarnation of the moon. It is said that the light of wisdom Bodhisattva Seishi possesses illuminates everything, freeing people from suffering and giving them strength.

In the Shinto tradition, this deity is also known as Tsukuyomi-no-Mikoto (月読尊) who is the god of the moon in Japanese mythology, and is also revered as the god of agriculture and fishing.

Second from the right is a stone lantern with an engraving I couldn’t decipher.

※ Jizo Bodhisattva (O-Jizō-sama)

In the middle are two Jizo Bodhisattva statues with red hoods. Affectionately known in Japan as O-Jizō-sama (お地蔵様) or Jizō-san, this beloved Japanese divinity is the patron of children, expectant mothers, firemen, travelers, and pilgrims.

O-Jizō-sama represents the Buddhist Bodhisattva who has vowed to delay his own Buddha-hood until all suffering souls are freed from the underworld. He is often depicted as a humble monk.

Throughout Japan, you can see these statues near cemeteries, roadsides, and hiking trails. They are frequently adorned with red caps and bibs, symbolizing prayers for the safety and well-being of children.

※ 23rd Night Monument

The primary object at this site is the stone tablet with the engraving of 「二十三夜塔」 (23rd Night Monument). This phrase references Tsukimachi (月待ち), a folk tradition where local villagers would gather to eat and drink while waiting for the moon to rise on the 23rd day of the lunar month to pray for a bountiful harvest.

Since the location was used for the village gathering of Tsukimachi, it became clear to me why there were two Bodhisattva Seishi and two O-Jizo-sama statues.

Tsukimachi was actively practiced from the Edo period (1603-1868) to the early Showa period (1926-1989), but it has almost completely disappeared in modern times.

In our day and age, smartphones and cameras are used to take commemorative photos when friends and communities gather to record tangible memories. However, during the heyday of Tsukimachi, instead of taking a photo, building a stone tablet was the way to commemorate such gatherings.

23rd Night Stone Tablet・二十三夜塔

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 14:50・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 320 for 1/250 sec. at ƒ/2
Astia/Soft film simulation

O-Jizō-sama Statue・地蔵尊

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 14:52・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 320 for 1/300 sec. at ƒ/2.2
Astia/Soft film simulation

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Red and Orange

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Autumn Splendor: Vibrant Reds and Oranges on the Toke Trail

奥多摩の登計トレイル：鮮やかな赤とオレンジの紅葉

This intimate shot of a small canopy of vibrant reds and oranges in full autumn splendor frames a narrow footpath along the Toke Trail, which winds through the lush forest of Hikawa Gorge in Tokyo Prefecture, Japan.

The trail spans about 1.3 km, with a gentle elevation change of 50 meters, making it accessible for elderly visitors and children. Additionally, approximately 420 meters of the trail is barrier-free, allowing easy access for visitors using wheelchairs or young mothers with baby strollers.

The Toke Trail holds the distinction of being Japan's first therapy-only trail, thoughtfully designed with small facilities to support various wellness activities such as yoga, zazen, self-counseling, and hydrotherapy. Sections of the trail are adorned with freshly scattered fragrant hinoki wood chips, their soothing aroma filling the air and enhancing the tranquil experience.

The trail also features small open-roofed shelters, initially intended for bird watching, which double as shaded rest spots offering scenic views.

Throughout Hikawa Gorge, most slopes are blanketed by dense sugi forests, with only occasional patches of autumn color dotting the landscape. In this particular shot, a cluster of shrubs with vibrant reds and oranges stood out strikingly. By filling my frame with these eye-catching hues, I aimed to convey the intensity of the beautiful colors I encountered during this photowalk.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 13:51・2024/11/26
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
40 mm ISO 100 for 1/10 sec. at ƒ/11

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Lone Yellow Ginkgo Tree

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Golden Solitude: The Splendor of a Lone Ginkgo
奥多摩の秋風景：輝くひとりイチョウ

After completing my photowalk along the Nippara and Tama Rivers through Hikawa Gorge, I emerged from the mountain trail and stumbled upon a small village. There, I discovered a large athletic park where locals gathered to play baseball and soccer.

From the park, I had a clear view of a lone ginkgo tree, its vibrant autumn colors standing out against a backdrop of lush evergreens on the opposite hillside. This picturesque scene was set in the quaint mountain town of Okutama, nestled in Tokyo Prefecture, Japan.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 13:09・2024/11/26
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP + 2-stop graduated ND filter
80 mm ISO 100 for 1/20 sec. at ƒ/8

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Tama River

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Autumn Hues and Emerald Greens in Hikawa Gorge
氷川渓谷の紅葉と印象的なエメラルドグリーン

In the crisp autumn air, the upper reaches of the Tama River wind through Hikawa Gorge in the northwesternmost part of Tokyo Prefecture, Japan. Unlike the lower reaches of the river, where decades of industrial pollution necessitated extensive restoration, the headwaters here remain pristine—a haven for fishing, camping, and hiking.

As I crossed the Hikawa-Kobashi pedestrian suspension bridge, my eyes were immediately drawn to the lazily flowing emerald waters below. The vibrant green river, framed by a verdant shoreline, rugged wet stones, and slopes adorned with bright autumn leaves, created a captivating scene. The tranquility of the gorge, coupled with the stunning autumn colors, made this afternoon photowalk an experience to savor—a perfect reminder of nature's enduring beauty.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 12:35・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/250 sec. at ƒ/11
Astia/Soft film simulation

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Hikawa Kobashi Bridge

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Tranquil Autumn Stroll in Hikawa Gorge
氷川渓谷の静かな秋散歩

Located in the Hikawa Gorge, the Hikawa-Kobashi Bridge (氷川小橋; Hikawa-Kobashi) is a pedestrian suspension bridge just a short walk from Oku-Tama Station on the Ome Line. It offers unobstructed views of the emerald green waters of the Nippara River (日原川; Nippara-Kawa) and the lush slopes of the ravine, blanketed in evergreen trees and vibrant autumn foliage.

Situated in the northwesternmost part of Tokyo Prefecture, the Hikawa Gorge (氷川渓谷; Hikawa-Keikoku) is only a 90-minute drive from central Tokyo via the Chuo Expressway.

Visiting on an overcast weekday, my border collie and I enjoyed the serene river scenery and autumn foliage in peaceful solitude, with only the rustling trees, the gentle rambling of the river below, and the sound of our footsteps on the bridge and gravel breaking the calm.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 12:17・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/140 sec. at ƒ/11
Astia/Soft film simulation

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Showa Bridge

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Showa Bridge: A Vermilion Landmark Amidst Autumn's Splendor
昭和橋：紅葉に映える朱色のランドマーク

Located in the Hikawa Gorge, the Showa Bridge is a steel-framed deck arch bridge featuring a braced spandrel design that was built in 1959.

Conveniently located just a 3-minute walk from Oku-Tama Station on the Ome Line or a 2-minute walk from the Choei Hikawa Parking Lot, this bridge offers a stunning vantage point. It spans high above the confluence where the Nippara River meets the Tama River.

Both sides of the bridge are equipped with wide sidewalks, providing breathtaking views of the Hikawa Gorge. Here, the rivers carve their way through the steep, verdant slopes of the Okutama Mountains, situated in the far western reaches of Tokyo Prefecture.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 12:15・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/180 sec. at ƒ/11
Astia/Soft film simulation

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2024-10-15

Ashinoko and Fujisan

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Still Waters, Moving Clouds: Fuji’s Late Afternoon Reveal

雲間に現れた富士山：芦ノ湖での静寂なひととき

All day, Mt. Fuji remained hidden, shrouded in thick clouds as if she were reluctant to reveal herself. Morning and afternoon passed without even a glimpse of the iconic peak during my photowalk.

As I walked back to my car along the southeastern shore, ready to head home, Mt. Fuji finally emerged from behind the clouds—a fleeting but magical moment. Determined not to leave without capturing the famous peak, I quickly set up my gear.

Late afternoon on a partly cloudy day is not my usual choice for landscape photography, especially in such a bustling spot. The lake was alive with hundreds of tourists boarding ships traveling between its southern and northern shores, making it challenging to find a moment of stillness.

After waiting for over an hour, I finally managed to capture a tranquil scene of Lake Ashi (Ashinoko), free of tourist watercraft crisscrossing the view, just before the peak disappeared once more behind the shifting clouds.

Using a 10-stop ND filter combined with a circular polarizer, I aimed to create a serene, minimalist composition. I used a 160-second exposure to soften the lake’s surface and blur the movement of clouds with the hope of drawing the eye directly to Mt. Fuji in the distance, framed by tranquil water and shadowed mountains.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 15:56・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP + 10-stop ND filter
80 mm ISO 100 for 160.0 sec. at ƒ/11

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Google Maps: Lake Ashi (Ashinoko)・芦ノ湖

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Ancient Giants

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Kyū-Tōkaidō: A 17th-Century Path Lined with Ancient Giants
旧東海道：江戸時代に植えられた杉並木の道

The Tokaido “Highway” was a vital part of a network of mountain footpaths that connected the domains of feudal lords to the Shogunate in Edo (modern-day Tokyo). Spanning 492 kilometers, the Tokaido featured 53 designated stations, where weary travelers could find rest at inns, and horses could be fed and watered. These stations also played a crucial role in facilitating mail and courier services between Kyoto and Edo.

Originally established as a military route, the Tokaido evolved into a key thoroughfare by 1601. That year, the Shogunate mandated the construction of inns along the route to accommodate the increased traffic stemming from the alternate attendance system (sankin-kotai). This policy required over 300 feudal lords and their entourages—ranging from 60 to 300 retainers—to travel to and from Edo every year, creating a steady flow of people along the road.

To enhance the journey, the Shogunate ordered the planting of more than 400 cedar trees along both sides of this section of the Tokaido. These majestic trees provided travelers with cool shade during the intense summer heat and shelter from biting winds and snow in winter. In times of heavy snowfall, they also served as essential markers, helping travelers navigate the obscured path.

While there were once over 1,000 trees lining the route, modernization in 1904 led to the construction of a new road, which replaced portions of the ancient trail. To fund the construction, many of the cedar and pine trees were felled and sold. Today, approximately 400 trees remain, their towering forms reaching heights of 30 to 40 meters. At roughly 350 years old, these ancient giants stand as living witnesses to history. Sections of the Tokaido where these trees still thrive have been designated as national treasures, ensuring their preservation for generations to come.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 15:34・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 320 for 1/350 sec. at ƒ/2.5
Astia/Soft film simulation

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Smile of Contentment

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A Smile of Contentment: Dale-chan’s Rest in Onshi-Hakone Park
満足げな笑顔：恩賜箱根公園でひと休みするデールちゃん

As our photowalk in Hakone’s Onshi-Hakone Park drew to a close, we stumbled upon a charming wooden bench near the southwestern edge of the park, just about 110 meters from the parking lot. Unlike the heavy-duty plastic benches with their faux wood grain I see at some other parks, this one was made of real wood, blending seamlessly into the park’s natural surroundings.

The presence of these “real” wooden benches with wrought iron frames feels like a nod to the park’s storied history. Once imperial gardens, these grounds were reserved for the exclusive enjoyment of the imperial family and visiting dignitaries during their heyday between 1886 and 1923. It’s heartening to see the prefectural government preserving such details, even if it requires extra effort to maintain them—like replacing moss-covered wooden slats as they deteriorate. Alongside other Meiji Era-inspired touches, such as bamboo fencing and vintage-style gas lamps, these benches evoke a sense of nostalgia and elegance.

Dale-chan, my ever-loyal border collie, has been slowing down a little this past year, needing more frequent breaks during our adventures. The cooler mountain air of October has been a welcome relief after the relentless heat of summer, and this bench provided the perfect spot for a brief rest before the end of our visit.

If you’re planning to explore Onshi-Hakone Park with your furry companion, remember that dogs must be kept on a leash. After ensuring the area was clear of other visitors—some might be uneasy around dogs, or have dogs of their own that could tempt Dale-chan into an impromptu play session—I gently helped her onto the bench. Tucking her leash out of sight, I captured a moment of pure joy and contentment as she rested against the backdrop of this historic park.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 15:18・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
95 mm ISO 800 for 1/125 sec. at ƒ/5.6

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Lakeside Panorama Hall

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Lakeside Panorama Hall: Discover the Hakone Imperial Villa’s Timeless Charm
旧御用邸の面影を訪ねて：恩賜箱根公園の湖畔展望館

Completed in 1886, the Hakone Imperial Villa was a grand retreat designed for the imperial family, blending traditional Japanese architectural elegance with European influences popular in the mid-to-late 1800s. Nestled in the serene hills overlooking Lake Ashinoko, it served as both a peaceful escape and an impressive venue for hosting foreign dignitaries.

For decades, the villa symbolized refined hospitality. German, Russian, Austrian, Romanian, and British royalty, alongside ministers from Italy, the UK, and Siam (modern-day Thailand), were received here with grandeur. I can only imagine the lively banquets and quiet diplomatic exchanges that may have taken place, surrounded by the cool mountain air and the villa's carefully cultivated gardens.

Tragically, the Great Kanto Earthquake of 1923 dealt a devastating blow to this architectural marvel, with further damage following the Kita-Izu Earthquake in 1930. The grandeur of the villa slowly faded as it fell into disrepair during the hardships of World War II. By 1945, what remained of the estate was transformed into Onshi-Hakone Park, an effort to preserve its legacy.

In 1989, restoration efforts began to reimagine the gardens and introduce new structures, including the Lakeside Panorama Hall. Completed in 1992, the hall—crafted from hewn white granite—now houses a cozy café and a museum. Inside, exhibits offer glimpses of the villa's former glory, from intricate architectural details to images of grand receptions held in its halls.

The park was recognized as a National Registered Monument in 2013, a testament to its enduring cultural and historical significance. Its beautifully preserved landscaping, with meandering paths and sweeping views of Lake Ashinoko, hints at the artistry of the original imperial gardens.

As I stood on the grass lawn in front of the hall, I noticed the weathered foundation stones scattered across the ground—silent witnesses to the history that unfolded here. It was surreal to imagine the palace halls that once stood on these very stones, hosting royalty from across the globe in an era when reaching Japan from Europe took weeks, if not months, of arduous travel.

Yet here I was, standing in the same spot, knowing that in today’s world, a middle-class college student on vacation could leave their home and arrive at this park in less than 24 hours. The accessibility of this once-exclusive retreat now feels like a testament to how much the world has changed—and how connected we’ve become.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 14:20・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 200 for 1/200 sec. at ƒ/6.3

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Onshi-Hakone Park

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From Emperor’s Retreat to Scenic Haven: Onshi-Hakone Park
恩賜箱根公園：皇室の別荘が公共の宝へ

Until 1884, this area was covered in dense bamboo forests. That changed when Erwin Bälz (1849–1913), a German physician hired by the Japanese government to teach medicine at Tokyo University, conducted research and recognized the potential of Hakone as a summer retreat. Bälz believed the area’s therapeutic hot springs could benefit Crown Prince Yoshihito (1879–1926), the sickly son of Emperor Meiji (1852–1912). With his recommendation, Hakone was chosen as the site for an imperial villa.

Perched on the Dogashima Peninsula, the location offered stunning views of Lake Ashi (Ashinoko) and the iconic peak of Mt. Fuji. The peninsula’s natural landscape provided not only beauty but also strategic advantages, making it easier to guard the villa from potential intrusions.

Completed in 1886, the Hakone Imperial Villa was an extensive complex that served as a retreat for the imperial family and a venue to host foreign dignitaries. For decades, it stood as a symbol of elegance and hospitality.

Tragically, the villa was severely damaged by the Great Kanto Earthquake in 1923 and further impacted by the Kita-Izu Earthquake of 1930. In the years that followed, particularly during World War II, the once-majestic grounds and structures fell into disrepair.

In 1945, the Imperial Household Agency transferred the land to Kanagawa Prefecture. It was later transformed into the public park we know today. Fittingly named Onshi Park (恩賜公園), meaning “Gift Park,” the name serves as a reminder that this beautiful space was once an imperial gift—one that continues to delight visitors with its serene views and rich history.

Location: Hakone, Kanagawa Prefecture, Japan

Photo 1

Timestamp: 14:20・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
48 mm ISO 200 for 1/250 sec. at ƒ/7.1

Photo 2

Timestamp: 14:40・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP + 6-stop ND filter
28 mm ISO 100 for 5.0 sec. at ƒ/10

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Heiwa-no-Torii

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Heiwa-no-Torii: A Sacred Gateway Meets the Shores of Lake Ashinoko

芦ノ湖に佇む箱根神社の入口・平和の鳥居

This torii gate serves two significant purposes. First, it marks the entrance from the shore of Lake Ashi to Hakone Shrine, which sits 213 meters (700 feet) up on the hill behind the gate.

Unlike most traditional torii gates, the Heiwa-no-Torii (Gate of Peace) is built directly over the water. Erected in 1952, it commemorates the Treaty of San Francisco, where Japan concluded peace with 48 nations, formally ending World War II.

Torii gates symbolize passage into divine territory, denoting the boundaries of a shrine’s sacred grounds. Proper etiquette includes bowing slightly before passing under the gate. When possible, it’s best to enter through either the right or left side of the pathway, as the center is reserved for the enshrined deities. Avoid walking around the gate altogether whenever possible.

The Heiwa-no-Torii is not easily accessed from the water, so most visitors approach the gate from behind and pose for photos with Lake Ashi as a stunning backdrop. However, as the gate serves as an entrance to an active sacred site, standing slightly to the right or left of the center pathway is the most respectful way to honor Shinto tradition and Japanese culture.

In 1964, a plaque inscribed with “平和” (Peace) was mounted on the gate to celebrate the 1,200th anniversary of Hakone Shrine and Japan’s hosting of the Tokyo Olympics. The calligraphy was personally written by former Prime Minister Yoshida Shigeru, who signed the peace treaty on Japan’s behalf. Since then, the gate has been affectionately known as the Torii Gate of Peace.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 13:36・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
105 mm ISO 100 for 1/400 sec. at ƒ/10

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Hummin' Bloom

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Hummin' Bloom: Autumn’s Reflections in Titanium
「ハミングブルーム」秋色が踊るチタンの窓

“Keiko + Manabu” is a creative team led by Keiko Uchiyama (内山敬子) and Manabu Sawase (沢瀬学), blending their architectural expertise with artistic flair to craft immersive designs. Based in both Seattle and Tokyo, their work spans urban spaces, public installations, and private residences.

One of their standout creations is Hummin' Bloom, a titanium art piece that harmonizes with its surroundings while reflecting nature’s palette.

Crafted from 5-mm titanium plates, the surface treatment transforms Hummin' Bloom into a living canvas, reflecting light in a spectrum of rainbow hues. Warmer tones at the base echo the earthy woodland floor, transitioning into cooler blues that mirror the sky above Hakone’s mountain peaks.

Its design invites exploration: each crescent-shaped cutout frames a unique view, shifting in color and mood depending on your angle and the light. On sunny days, the hues are bold and vibrant, while overcast skies lend a subdued, dreamlike quality. Mist or fog enhances its surreal presence, as the curved openings transform your perspective with every step.

Personal Tip: The best way to experience Hummin' Bloom is to get up close. Peer through its cutouts, walk around it, and let each angle reveal a fresh connection to the surrounding landscape.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:26・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/40 sec. at ƒ/2.0
Velvia/Vivid film simulation

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Air Burial

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“Air Burial”: Reflections of Tibetan Wisdom in Glass
「鳥葬」：チベット文化の叡智を映すガラス彫刻

American artist Roni Horn, renowned for her contemporary works in painting, photography, sculpture, and drawing, often draws inspiration from nature’s forces and their shifting interplay with our perceptions of objects and landscapes.

My photo captures autumn leaves reflected in a pool of water atop Horn’s glass sculpture, Air Burial. The cylindrical piece, measuring 131.4 cm tall (51 in.) and 142.2 cm in diameter (56 in.), was crafted through a process Horn developed in the 1990s, where molten glass is poured into a cast and set over months. The result is a translucent exterior and a transparent, almost liquid-like interior. The water collected on the surface creates two layers of reflection, merging nature and art.

The title, Air Burial, references the Tibetan funerary ritual commonly known as a “sky burial.” This practice reflects a deep understanding of life’s impermanence, with the body returned to nature to sustain other life—a sustainable tradition shaped by Tibet’s harsh environment. Horn once explained that she envisions her sculpture undergoing a similar organic transformation, gradually breaking down and merging with its surroundings, echoing the essence of the sky burial.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:17・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/800 sec. at ƒ/2.0
Velvia/Vivid film simulation

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Iron Tree

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Ai Weiwei’s “Iron Root”: Art Rooted in the Struggles of Uprooted Lives
アイウェイウェイの『鉄樹根』：根こそぎにされた人生を映し出す芸術

Ai Weiwei has been using trees as a powerful symbol in his art since 2009. His sculptures, often made of wood or iron, are like puzzles—crafted from pieces of trees he gathered from different parts of China. This idea was inspired by a tradition in Jingdezhen, where dried tree sections with intricate forms are sold as decorative pieces for the home, appreciated for their beauty and contemplative nature.

The sculpture in my photo is one of Ai’s iron tree trunks. At first glance, it looks like an old, weathered, dead tree trunk. But if you tap on it, you’ll realize it’s hollow and made of iron—a clever twist that adds an unexpected layer to the experience.

Ai Weiwei’s “Roots” series, which includes works like this, is about more than trees. It speaks to the idea of being “uprooted,” reflecting on global issues like the struggles of refugees, the destruction of Indigenous lands, and even Ai’s own experiences with displacement—both his arrests in China and his life after leaving the country.

For those unfamiliar, Ai Weiwei (b. 1957) is a world-renowned Chinese artist and activist. He’s known for creating sculptures, installations, films, and photographs that spark conversation and sometimes contention. His work often challenges authority, which has made him a controversial figure in China. After leaving the country in 2015, he’s lived in places like Germany, Portugal, and the UK.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:08・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/20 sec. at ƒ/4.5
Velvia/Vivid film simulation

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Adamo e Eva

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Adamo e Eva: Masaru Bando’s Bronze Compassion in Hakone
アダモとエヴァ：箱根に響く板東優の青銅の共感

This bronze sculpture, titled “Adamo e Eva” (Adam and Eve), was commissioned by the Pola Museum of Art in Hakone, Japan, in 1994. The artist, Masaru Bando (板東優), often begins his creative process by exploring the human condition and its emotional expressions.

The Pola Museum features 13 of Bando’s bronze sculptures, which range from abstract to figurative. These works vary significantly in size, from pieces small enough to fit in the palm of a hand to monumental installations requiring transportation by crane and truck.

On his website, Bando explains, “Many of my sculptures contain an underlying social-political concern. With traditional materials and timeless themes, I wish to portray the universal nature of contemporary situations.”

The sculpture I photographed, “Adamo e Eva,” reflects Bando’s deep compassion for those who suffered during the Siege of Sarajevo, a harrowing event that occurred during the Bosnian War (1992–1995).

Born in 1952 in Hokkaido, Japan, Bando began studying sculpture in Tokyo before pursuing further education in Rome, Italy, at the age of 22. His talent quickly gained recognition, and he started exhibiting his work in Italy and Paris. By the 1980s, Bando was creating commissioned pieces for museums, parks, and corporate facilities in Japan, the United States, and Korea.

Today, Bando divides his time between studios in New York and Japan. At the Pola Museum in Hakone, most of his larger works lean towards abstract figures, while others charm viewers with playful motifs of children or dogs.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 10:03・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/70 sec. at ƒ/4.5
Velvia/Vivid film simulation

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Light Odyssey

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Light Odyssey: Reflections in Glass and Nature
《Light Odyssey》: 光学ガラスが織りなす森の光と影

"Light Odyssey," created by SHIMURAbros, is a permanent installation at the Pola Art Museum in Hakone, Japan. This striking artwork, crafted from copper, stainless steel, and optical glass, offers a captivating interplay of light and reflection.

SHIMURAbros (シムラブロス) is an artistic duo comprised of Yuka Shimura (b. 1976) and her brother Kentaro Shimura (b. 1979), who hail from Yokohama—a city I now call home. They have gained recognition from Japan’s Agency for Cultural Affairs and have exhibited their works in cities across the globe, including Tokyo, Singapore, Taipei, New York, Perth, and Vienna.

Regardless of the weather—whether it’s a bright, sunny day or an ethereal, foggy afternoon—Light Odyssey transforms its surroundings. The glass surfaces reflect brilliant patterns of light or cast moody, shadowy frames, offering an ever-changing and deeply satisfying visual experience.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 09:58・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/20 sec. at ƒ/4.5
Velvia/Vivid film simulation

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Japanese Cobra Lily

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Vibrant Reds of the Japanese Cobra Lily in Hakone’s Woodlands
「箱根の森で見つけたカントウマムシグサ（関東蝮草）」

The natural trail winding through the woodlands around the Pola Museum of Art in Hakone, Japan, offers visitors not only stunning outdoor sculptures but also a variety of fascinating flowering plants that thrive alongside the artworks.

In this shot, I captured the vibrant seed pod of a Japanese cobra lily (Arisaema serratum・関東蝮草). This woodland perennial, known for its striking appearance, is a hermaphroditic flowering plant that produces these vivid red berries between mid- and late summer.

One intriguing fact I learned about this plant is that its roots are highly toxic—and it relies on flies for pollination! As someone with little knowledge of botany, I was genuinely surprised to discover that even the much-maligned fly plays a vital role as a pollinator. Am I the only one who didn’t know this?

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 09:40・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/250 sec. at ƒ/2.0
Velvia/Vivid film simulation