Pix4Japan: October 2024

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

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Forest Bathing

Forest Bathing in Hakone: A Peaceful Moment with Dale-chan

「箱根で森林浴：愛犬との穏やかなひととき」

Growing up in landscapes of natural beauty—ranging from snowcapped mountains towering above the treeline to vast desert plains of sand and sagebrush, and canyons carved deep into the Earth’s crust—I took the calm serenity of nature for granted.

As I’ve grown older, however, the need to escape the sprawling concrete maze of Tokyo’s metropolitan area has become an essential prescription for my physical, mental, and spiritual well-being.

I recently learned there’s a term for this rejuvenating experience: “Forest Bathing,” or Shinrin-yoku (森林浴) in Japanese. This concept, embraced for decades, encourages immersion in nature to restore balance and harmony. To my surprise, it’s not just a Japanese practice—it’s recognized as a form of therapy and preventative care in countries like the U.S., Finland, South Korea, France, and the U.K.

In this photo, Dale-chan seems to capture the very essence of Forest Bathing. Resting contentedly on a rustic wooden bench along a nature trail near the Pola Museum of Art in Hakone, Japan, she is surrounded by lush greenery and dappled sunlight. Her peaceful expression reflects the serenity and joy that these natural surroundings provide—a reminder of the simple yet profound healing power of nature.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 09:34・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

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Blessed Dogs by Niu

Two black sculptures of frolicking dogs silhouetted against a bright, sunny morning. The sculptures are installed outdoors near a modern museum of concrete, glass, and steel, with large glass windows reflecting the artwork. Photographed in black and white.

Blessed Dogs by Niu: A Celebration of Joyful Motifs
ＮＩＵの世界観：箱根の作品『しあわせな犬』

The black sculpture, “Blessed Dogs,” by Niu, depicts two playful dogs leaping joyfully, their forms silhouetted against the sunlight. Installed at the Pola Museum in Hakone, Kanagawa Prefecture, Japan, this artwork reflects the artist's focus on creating motifs that celebrate the happiness of animals, while the dogs' lively poses evoke a sense of freedom and connection with nature.

The artist Niu, born in 1972 in Morioka, Iwate Prefecture, Japan, spent her early years in both Iwate and Saudi Arabia. At the age of 10, her family relocated to Tokyo, where she has lived ever since. She credits her grandmother, an accomplished artist, for nurturing her appreciation of painting and folk art during her childhood.

In 1994, Niu began a successful modeling career, appearing in magazines, advertisements, and on runways in fashion hubs such as Paris, Tokyo, and other Asian cities. Since 2002, she has showcased her talents as a multidisciplinary artist, presenting paintings, sculptures, installations, and photography. Her works often explore themes of nature, incorporating motifs of animals and plants.

Among her notable creations is the 2016 sculpture Blessed Dogs, which is displayed at the Pola Museum in Hakone, Kanagawa Prefecture, Japan. Accompanying this sculpture, Niu shares the following message:

“I hope that as many living things as possible can find freedom of mind and body and spend happy times—dogs, cats, wild animals, and humans alike.”

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 09:17・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 500 for 1/250 sec. at ƒ/8
Acros film simulation

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Sequoyah Aono, Dexter Head, 2019

A Fusion of Traditions: Sequoyah Aono’s Marble Self-Portrait「青野セクウォイアの自己肖像彫刻『デクスターヘッド』：ミケランジェロに触発された美」

Sequoyah Aono, a New York-based sculptor, has a unique multicultural background that deeply influences his work. Born in Naples, Italy, to an American father and Japanese mother, Aono was raised in Japan, where he cultivated an appreciation for both Western and Eastern artistic traditions.

The marble sculpture, Dexter Head, featured here is a striking self-portrait of Aono, inspired by Michelangelo’s David. This 3-meter-tall masterpiece (9.8 feet) blends classical and contemporary styles. From the right, its minimalist flat side reveals a silhouette of Michelangelo’s renowned work. From the left, however, the sculpture transitions into a lifelike, three-dimensional depiction, incorporating Aono’s own facial features. This juxtaposition highlights the artist's creative exploration of identity and form.

Carved from white marble, the sculpture is a harmonious blend of clean, minimalist geometry and the graceful, flowing lines of traditional techniques. Its dimensions—3 meters high, 1 meter wide, and 2 meters deep (9.8 ft x 3.2 ft x 6.5 ft)—command attention while maintaining a sense of elegance.

Aono began work on this piece in his New York studio around May or June of 2019. By September that same year, the completed sculpture was installed at the Pola Museum of Art in Hakone, Japan—a fitting home for a work that bridges cultural and artistic traditions.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 09:12・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/110 sec. at ƒ/2
Provia/Standard film simulation

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Sengokuhara Silver Grass Field

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Morning Light on Sengokuhara: Silver Grass and Tradition at Mt. Hakone
仙石原すすき草原：箱根山北麓に広がる、伝統と美の保護

The vast fields of Sengokuhara, situated at an altitude of approximately 700 meters, are blanketed with tall susuki grass (Japanese silver grass, Miscanthus sinensis). Lush and deep green in summer, the grass transforms in early autumn, sending up glistening mauve seed heads that evolve into silvery tufts by mid-autumn, creating a magical landscape that attracts both domestic and overseas visitors.

A gently climbing path flows straight through the field along the northern slope at the northwest foot of Mt. Daigatake, an inactive lava dome that forms part of the Mt. Hakone volcanic caldera in Kanagawa Prefecture. This dirt path stretches 680 meters (2,228 feet) across the full width of the slope, offering visitors an immersive journey through swaying seas of silver grass.

Designated as one of Kanagawa’s “50 Best Scenic Spots” and among the “Top 100 Flower Viewing Spots in Kanagawa,” Sengokuhara is a favorite for nature lovers. Leaving home at 4:00 a.m., I embarked on a less-than-two-hour drive from Yokohama via the Tomei Expressway, with a few stops for hot drinks and a stretch break for my border collie, Dale-chan.

The grassland’s scenic beauty is preserved through controlled burning, a tradition rooted in practicality dating back to the Edo period (1603–1867). Back then, the grass was harvested for thatching rooftops, an essential material in Japanese architecture. However, as modern building materials replaced traditional thatch, the fields languished for several decades.

In 1989, preservation efforts were reintroduced on a trial basis, and since 2000, annual cutting and burning have been conducted to prevent trees and invasive plants from overtaking the field. This practice has ensured that visitors can continue to appreciate the unique beauty of these fields, as well as the cultural significance of Japanese silver grass.

Today, Miscanthus species are recognized not only for their ornamental value but also as potential resources for biomass energy. Initially valued as grazing and structural materials in China and Japan, these grasses are now found worldwide, naturalized in North and South America, Europe, Africa, and beyond.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 08:05・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/20 sec. at ƒ/11

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Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 08:07・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
95 mm ISO 100 for 1/15 sec. at ƒ/11

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Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 06:49・2024/10/15
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/320 sec. at ƒ/2.2
Astia/Soft film simulation

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Sengokuhara Village

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Sengokuhara Village: Home to a Silver Grass Haven Beneath Mt. Hakone
金時山の麓に広がるススキ草原の町、仙石原

Sengokuhara Silver Grass Fields, nestled at the base of Mt. Hakone’s northern slope in Kanagawa Prefecture, Japan, offer a sweeping view of Mt. Ashigara to the north, quietly overlooking the peaceful resort town of Sengokuhara.

I arrived just before sunrise, just in time to catch the first rays of light spilling over the ridge of Mt. Hakone despite the forecast of heavy clouds.

The history of Sengokuhara stretches back to the early Edo period (1603–1700). Back then, plains of silver grass blanketed the landscape as far as the eye could see, sparking hopes that the land could support grain crops.

However, the volcanic ash soil and high humidity made farming unviable. Instead, the village turned to cultivating Japanese silver grass (Miscanthus sinensis), essential for thatching traditional roofs.

While once vital to daily life, today Sengokuhara is cherished for its scenic beauty and proximity to Hakone’s popular resorts and tourist sites.

Location: Hakone, Kanagawa Prefecture, Japan
Timestamp: 06:46・2024/10/15
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
53 mm ISO 400 for 1/125 sec. at ƒ/8.0

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2024-10-15

Morning Light on Sengokuhara: Silver Grass and Tradition at Mt. Hakone仙石原すすき草原：箱根山北麓に広がる、伝統と美の保護

Sengokuhara Village: Home to a Silver Grass Haven Beneath Mt. Hakone金時山の麓に広がるススキ草原の町、仙石原

Morning Light on Sengokuhara: Silver Grass and Tradition at Mt. Hakone
仙石原すすき草原：箱根山北麓に広がる、伝統と美の保護

Sengokuhara Village: Home to a Silver Grass Haven Beneath Mt. Hakone
金時山の麓に広がるススキ草原の町、仙石原