Pix4Japan: 2025

2025-07-16

Takanawa Gateway Station Part 2

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Timestamp: 2025/07/16・17:34

Fujifilm X100V with 5% diffusion filter

ISO 1000 for 1/250 sec. at ƒ/2

Velvia/Vivid film simulation

100 Colors at Takanawa Gateway
エマニュエル・ムホーが描く「１００色の道」

Just outside Takanawa Gateway Station in Tokyo’s Minato Ward, French-born, Tokyo-based artist and architect Emmanuelle Moureaux’s ｢100 Colors No. 53｣ bursts into view the moment you step out of the South Exit.

This installation features vertical slats painted in 100 distinct hues, each engraved with a year from 2025 to 2125 covering 100 years of 100 hues of the rainbow.

Moureaux’s choice of layered slats echoes a point she made in a Japan Times interview earlier this year, where she explained how Tokyo’s urban landscape inspires her work:

“Moureaux uses the term ‘layers’ to describe the way Tokyo is built, where various different elements are layered one on top of the other in any given space. She says she draws inspiration from this abundance of colors and layers.”

--Ran Kawai, Japan Times, January 31, 2025

Before visiting Takanawa Gateway Station and exploring the emerging Takanawa Gateway City development, I knew nothing about this artwork nor the artist herself. So it was a pleasant surprise to come upon this installment, and learning about Moureaux.

I often travel to cities from Aichi Prefecture to Nagano Prefecture, but almost always for work, either accompanying a client or photographing a property for real estate listings.

This time was different, as I left the pro gear, suit, and tie at home and set out with no agenda other than to explore. Wandering familiar streets with a fresh perspective is always rewarding.

Inevitably, I stumble upon something new: a tiny Shinto shrine, a Buddhist temple tucked between two high-rise condos, a new public artwork, or perhaps a cozy coffee shop run by a couple in their 80s.

Sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-100colors-53

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Timestamp: 2025/07/16・17:45

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ISO 250 for 1/250 sec. at ƒ/2

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Timestamp: 2025/07/16・17:47

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ISO 3200 for 1/40 sec. at ƒ/8

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Timestamp: 2025/07/16・17:47

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ISO 3200 for 1/60 sec. at ƒ/8

Velvia/Vivid film simulation

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Timestamp: 2025/07/16・18:38

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Takanawa Gateway Station - Part 1

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“100 Colors No. 53” art installation just outside the South Exit of Takanawa Gateway Station in Tokyo, Japan

Timestamp: 2025/07/16・17:33
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/210 sec. at ƒ/9
Velvia/Vivid film simulation

A Century in 100 Colors: Emmanuelle Moureaux’s Takanawa Gateway Installation
エマニュエル・ムホーによる高輪ゲートウェイのアート作品「100色の道」で描く100年の時の流れ

The French artist and architect Emmanuelle Moureaux created this vibrant rainbow installation, 100 Colors No. 53, just outside the North Exit of Takanawa Gateway Station on Tokyo’s Yamanote and Keihin-Tohoku Lines, which is just one stop north of Shinagawa Station.

Moureaux, who has lived in Tokyo since 1996, based the 100 Colors Series on a concept called shikiri (色切), which means "dividing and creating space through colors." This piece, displayed in Gateway Park, is the 53rd work in the series. Previous installations have appeared in locations worldwide, including São Paulo (Brazil, 2021), Downtown Dubai (UAE, 2018), Brussels (Belgium, 2017), and Carnegie Mellon University in Pittsburgh (US, 2015), as well as sites across Japan.

True to its name, each piece in the series incorporates 100 colors. For No. 53, each vertical slat is engraved with a year from 2025 to 2125, symbolizing “the passage of time in 100 colors.”

This area was once home to the Tamachi Depot. Old satellite images from November 2014 show the depot in its final days before the massive Takanawa Gateway City redevelopment began. The project is transforming the rail yard into a modern urban district with a new train station, four high-rise towers, office and retail space, luxury residences, schools, and entertainment facilities.

When I visited, my plan was simply to check out the new station, explore the high-rises, and maybe capture a few street shots. I hadn’t expected to find this striking artwork at the base of two gleaming steel-and-glass towers, so stumbling upon it was a welcome surprise.

There’s something refreshing about visiting Tokyo as a tourist with my small, lightweight camera, rather than as a my normal salaryman carrying a briefcase and wearing a necktie. It changes the pace, the perspective, and the way I see the city.

Links to Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-100colors-53

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Lone salaryman passing by the “100 Colors No. 53” art installation at Takanawa Gateway Station in Tokyo, Japan

Timestamp: 2025/07/16・17:54
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/150 sec. at ƒ/2.8
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Local office worker enjoying the splash pad at Takanawa Gateway Station in Tokyo, Japan

Timestamp: 2025/07/16・18:37
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ISO 400 for 1/250 sec. at ƒ/2
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Student walking past the splash pad at Takanawa Gateway Station in Tokyo, Japan

Timestamp: 2025/07/16・18:38
Fujifilm X100V with 5% diffusion filter
ISO 320 for 1/250 sec. at ƒ/2
Velvia/Vivid film simulation

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2025-05-28

Nippon Maru

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The Swan of the Pacific: Yokohama’s Nippon Maru

太平洋の白鳥「日本丸」

Although I usually prefer to photograph Nippon Maru at night, when she’s beautifully illuminated, I decided this time to make an attempt to compose a few shots in the harsh afternoon light.

Nippon Maru is now a permanently docked museum ship at the former Yokohama Dock No. 1, just a four-minute walk from Sakuragicho Station in Yokohama’s Naka Ward, within the Minatomirai waterfront district.

Built in Kobe and launched in January 1930, Nippon Maru was designed to train officers for Japan’s merchant marine. During World War II, her masts and rigging were removed so she could serve as a transport vessel, which was possible thanks to her two 600-horsepower diesel engines.

Her training mission resumed in 1952 after her rigging was reinstalled, and she continued sailing until 1984. Over her 54-year career, Nippon Maru trained 11,500 cadets and covered 1.83 million kilometers; an equivalent to circling the globe 45.5 times.

The reason for building such a large training ship dates back to a tragedy in March 1927, when all 53 crew and cadets aboard the smaller training vessel Kirishima Maru were lost at sea. Authorities recognized the need for larger, safer ships, resulting in the construction of two vessels: Nippon Maru and Kaiwo Maru (the latter now also preserved as a museum ship in Toyama Prefecture).

Nippon Maru is a four-masted barque (also known as a jackass bark), with her tallest mast rising 46 meters (161 feet) above the waterline.

Twelve times a year, volunteers help unfurl her 32 sails, which span a total area of 2,397 square meters (25,800 square feet). I hope to return on one of those days to witness the ship in full sail -- a sight I assume that likely inspired her nickname, the Swan of the Pacific.

Location: Minatomirai, Yokohama, Japan
Timestamp: 2025/05/28・15:12
Fujifilm with 5% diffusion filter
ISO 1000 for 1/125 sec. at ƒ/10
Pro Negative High film simulation

Google Maps links and sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-nipponmaru

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Timber Wharf

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Yokohama Timber Wharf: A New Landmark in Sustainable Design

サステナブル建築の新拠点、「横浜ティンバー・ワーフ」

Set to open in October 2025, Yokohama Timber Wharf features distinctive truss columns made from a hybrid of laminated wood and steel. This combination brings together the warmth and aesthetic appeal of timber with the strength and fire resistance of steel, ensuring both safety and long-term durability.

Designed by TJ Design & Architecture, the building presents a bold, forward-thinking vision grounded in environmental responsibility. The project aims to become a symbol of sustainable urban development, which demonstrates to future architects and developers the immense potential of wood as a primary material in modern city building.

From what I can gather, the facility will house a bakery and café on the ground floor, a restaurant suitable for weddings and events on the second floor, and a lounge, changing rooms, baggage storage, and other amenities designed for runners, walkers, and outdoor enthusiasts. These features align well with local lifestyle habits, especially along the scenic waterfront promenade that stretches from Rinko Park to Yamashita Park.

I am encouraged to see more architectural projects in Yokohama embracing wood in their designs. Another notable example is Port Plus, completed in 2023. This high-rise training and education facility, also located in Naka Ward, uses advanced timber technologies to push the limits of what’s possible in vertical wood construction.

Projects like Port Plus and Yokohama Timber Wharf reflect a growing shift in Yokohama and Tokyo away from carbon-intensive construction materials, which have long been favored for cost-efficiency, earthquake resilience, and fire resistance, towards mass timber solutions. These new technologies make it possible to meet fire codes and seismic requirements while reconnecting with Japan’s deep-rooted tradition of wooden architecture seen in shrines, temples, and homes.

Location: Rinko Parak, Yokohama, Japan
Timestamp: 2025/05/28・14:09
Fujifilm with 5% diffusion filter
ISO 160 for 1/400 sec. at ƒ/2
Astia/Soft film simulation

Google Maps and references for a deeper dive:

https://www.pix4japan.com/blog/20250528-timber

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King Tower

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The King of Yokohama: A Glimpse into the City’s Art Deco Legacy
横浜三塔「キング」の歴史とアール・デコ建築の魅力

The Art Deco Kanagawa Prefectural Government Building is a striking symbol of Yokohama’s modern history. Seen from Port Opening Square (開港波止場) along historic Nihon-Odori Street, visitors can enjoy views of the harbor and attend open-air events in this cultural hub.

Completed in 1928, the building was designed in the image of a five-story pagoda and is designated a National Important Cultural Property. Its Japanese-style roof, known as Teikan-Yoshiki (Imperial Crown Style), blends traditional Japanese forms with symmetrical Western architecture making it one of the first examples of this hybrid design in Japan.

Geometric patterns in brown tile and marble appear throughout the building, reflecting the influence of Frank Lloyd Wright and the bold lines of the Art Deco movement. The structure is illuminated each night until 10 p.m., making it a dramatic backdrop for various Japanese TV dramas.

Affectionately known as “King’s Tower,” the building is part of the famous Yokohama Three Towers (横浜三塔):

・The King – Kanagawa Prefectural Office

・The Queen – Yokohama Customs Building

・The Jack – Yokohama Port Opening Memorial Hall

Legend has it that foreign sailors arriving in Yokohama first spotted these towers as they entered the port in the early 20th century, when no other tall buildings dotted the skyline. Before departing, many made a wish to return safely in hopes of one day seeing the three towers again.

A more modern version of the legend promises that if you visit all three towers, or stand at one of four designated spots in Yokohama where all three are visible at once, your wish will be granted. Three of these spots are marked by circular metal plaques embedded in the sidewalks and one painted on the roof of Osanbashi Pier.

Over the past four decades, I’ve watched as Yokohama’s skyline has grown ever taller. One day, these beloved towers may disappear behind walls of glass and steel, lost in the shadow of the very progress they once stood for.

Location: Kaiko Hatoba, Yokohama, Japan
Timestamp: 2025/05/28・13:23
Fujifilm with 5% diffusion filter
ISO 160 for 1/30 sec. at ƒ/8
Provia film simulation

Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-king

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Mosaic Tiles

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A Gift of Gratitude: Yokohama’s Indian Memorial Fountain
横浜・山下公園の「インド水塔」：関東大震災に感謝を込めた記念碑

Yokohama began exchanging goods and culture with India in the 19th century, and Indian immigrants played a key role in the local silk trade. The Great Kantō Earthquake of 1923—one of the most devastating natural disasters in Japanese history—claimed over 100,000 lives across the Tokyo and Yokohama regions. Yokohama, a major port city, suffered extensive damage. Among the victims were 28 Indian merchants who had settled in the Yamashita district.

In response, the city provided relief to affected Indian residents, including the construction of emergency housing.

In 1930, Yokohama transformed a former earthquake debris dumping ground into what would become one of its most iconic tourist destinations: Yamashita Park.

To express their gratitude to the Japanese people who assisted them after the disaster—and to honor those who perished—the Indian community built the Indian Memorial Water Fountain in Yamashita Park. The memorial was donated to the city in 1939.

Constructed from reinforced concrete and topped with a copper dome, the fountain reflects architectural influences from the Mughal period (1526–1857), blending Indian, Islamic, and Japanese design elements.

A closer look at the fountain’s ceiling reveals a striking bronze lamp casing framed by a vivid mosaic of floral tiles. The intricate design exemplifies the fusion of Mughal and Japanese aesthetics, with its symmetrical patterns and vibrant colors.

In March 2023, the memorial underwent its first major renovation in 84 years. The restoration addressed typhoon-related damage and included seismic retrofitting to protect the structure against future earthquakes.

Location: Yamashita Park, Yokohama, Japan
Timestamp: 2025/05/28・13:10
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/125 sec. at ƒ/2
Velvia/Vivid film simulation

Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-indian

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Hikawa Maru

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Yamashita Park and the Queen of the Pacific: A Glimpse into Maritime History
山下公園と「太平洋の女王」

Yamashita Park offers one of the most picturesque views of the Port of Yokohama, which is highlighted by the presence of the Yokohama Marine Tower, Yokohama Bay Bridge, and the iconic NYK Hikawa Maru, a retired Japanese ocean liner permanently moored alongside the park.

The Hikawa Maru sailed from 1930 to 1960, primarily as a trans-Pacific liner connecting Yokohama with Vancouver and Seattle. In her prime, she was considered the most luxurious way to cross the Pacific, attracting select passengers including members of the Japanese imperial family, Charlie Chaplin, and Babe Ruth.

Designed to carry 331 passengers with 76 of them enjoying First Class accommodations, she was manned by a crew of 147. First Class travelers were treated to exquisite cuisine prepared by chefs trained in European kitchens, and surrounded by elegant Art Deco interiors. So beloved was the vessel that she earned the nickname “Queen of the Pacific.”

During World War II, the Hikawa Maru was repurposed as a hospital ship and a repatriation vessel for Japanese citizens and soldiers. Remarkably, she survived three mine strikes without sinking, thanks to her thick steel hull.

The ship also played a lesser-known but vital humanitarian role during the war, carrying Jewish refugees escaping Nazi persecution to safety in North America. After the war, from 1945 to 1947, she transported U.S. military personnel between Japan and the United States. In 1953, following a retrofit, she resumed service as a cargo-passenger liner until her retirement in 1960.

Since 1961, the Hikawa Maru has been anchored at Yamashita Park, where she has served as a floating museum, hotel, and restaurant. I first explored her beautifully preserved decks and Art Deco interiors in the mid-1980s.

Now, nearly four decades later, I hope to board her again not only to relive those memories, but to experience her timeless charm with the eye of a slightly more seasoned photographer with the companionship of nostalgia. Dogs are not allowed onboard, so I will have to visit when I’m able to leave my border collie at home.

Location: Yamashita Park, Yokohama, Japan
Timestamp: 2025/05/28・12:53
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/30 sec. at ƒ/8
Classic Chrome film simulation

Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-hikawamaru

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Marine Tower

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A Waterfront Landmark Enjoyed with Spring Flowers
春の花とともに楽しむ港のランドマーク

The Port of Yokohama built this tower in 1961 to commemorate its centennial, making it the tallest lighthouse in the world at the time, standing at 106 meters (348 feet). It held this title until 2008.

I first visited the top of the tower in 1984, when it featured an aviary just below the lantern room. Exotic birds flew freely inside, creating a surprisingly serene atmosphere high above the city. In 2009, the tower underwent major renovations in celebration of the port’s 150th anniversary.

The aviary was replaced with an observation deck, now enhanced by light shows in the evenings. The first through fourth floors house restaurants, gift shops, and even a wedding hall. The tower’s iconic red-and-white stripes were repainted in a sleek silver finish, giving it a more contemporary look. It’s also fitted with LED strips and floodlights capable of illuminating the tower in a palette of 12 colors.

The upper observation deck is roughly equivalent to the 30th floor of a high-rise, offering panoramic views of Yamashita Park, the historic Hikawa Maru ocean liner, and the Minatomirai waterfront district. On clear days, you can even see Mount Fuji’s silhouette about 125 kilometers (76 miles) to the west.

In this shot, I was struck by the visual contrast between the lush flowers in full bloom against the steel and glass of modern Yokohama. Spring is an especially rewarding time to visit Yamashita Park, when the city hosts its annual “Garden Necklace Yokohama” festival. During this event, seasonal flowers bloom across small and large parks throughout the city, making it a paradise for garden lovers and photographers alike.

Location: Yamashita Park, Yokohama, Japan
Timestamp: 2025/05/28・12:25
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/40 sec. at ƒ/11
Classic Chrome film simulation

Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250528-tower

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Giant Leek

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Spring Spheres: Capturing a Giant Leek Amid Yokohama’s Garden Necklace
春のガーデンネックレス横浜：アリウム・ギガンチウムの球状の花の風景

The giant leek (Allium giganteum), a member of the onion family (Alliaceae), is native to central and southwestern Asia but has been cultivated widely around the world as a striking ornamental plant.

In the eastern section of Yokohama’s Yamashita Park, within the “Rose Garden of the Future” (未来のバラ園・Mirai-no-Baraen), these giant leeks are planted among a vast assortment of rose cultivars. Their spherical purple blooms provide a beautiful contrast to the softer, often layered textures and warmer hues of the surrounding roses, which offers variety in both color and form.

In this shot, I aimed to frame one of the leeks with the historic ocean liner Hikawa Maru, which is permanently docked nearby, in the background. However, I opened the aperture too wide, resulting in the ship becoming almost invisible in the bokeh. A smaller aperture somewhere between ƒ/4 and ƒ/8 would have provided better depth of field making the ship more recognizable while keeping the leek as the main focal point.

Every year from mid-March to mid-June, the city of Yokohama hosts Garden Necklace Yokohama, an annual event that celebrates the beauty of spring. A wide variety of flowers including tulips, roses, cherry blossoms, and more that bloom in succession across parks and flower beds throughout the city, connecting Yokohama’s 18 wards, its people, and the unfolding rhythm of spring.

Location: Yamashita Park, Yokohama, Japan
Timestamp: 2025/05/28・12:17
Fujifilm X100V with 5% diffusion filter
ISO 160 for 1/240 sec. at ƒ/2
Astia/Soft film simulation

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2025-04-08

Weeping Cherry Tree

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Bridging Heaven and Earth: The Weeping Cherry Trees of Japanese Cemeteries
昔のしだれ桜を通じて、魂たちはこの世へ、美しい春の花としてそっと戻ってくる

In the stillness of a rural temple cemetery, a grand old weeping cherry tree (Cerasus itosakura) blooms with branches heavy with soft pink and white blossoms, its roots resting beneath generations of headstones. Petals drift in the breeze, like quiet echoes of lives once lived, reminding us that life, in some form, always continues.

Cherry trees are a common sight in many of the cemeteries I’ve visited across Japan, whether during road trips to remote mountain villages or on daily walks with my dog through the neighborhoods I've called home over the past 40+ years.

One commonly cited reason for this presence is the belief that the cherry tree’s brief bloom symbolizes the fleeting nature of human life. The renowned folklorist Kunio Yanagita (柳田國男, 1875–1962) traced this association between cherry blossoms (sakura) and death back to ancient times, when the deceased were often buried beneath cherry trees. It was believed their souls might briefly return to the living world through the ethereal beauty of spring blossoms.

In one of his writings, Yanagita suggests that weeping cherry trees, in particular, are inherently spiritual. He viewed them as sacred markers of the ground beneath which the dead rest thus deserving of respect and reverence. Their beauty being not merely ornamental but deeply symbolic.

Sakura blossoms are also widely regarded as symbols of rebirth. Ancient Japanese believed that cherry trees were thought to embody mountain deities who later descended to become gods of the rice fields. As such, the sakura marked the beginning of spring; a season of renewal and hope.

Today, their bloom coincides with the start of Japan’s academic and fiscal year which starts on April 1st, offering a sense of optimism as students enter new schools and workers begin new jobs. In this way, cherry blossoms have become intimately tied to some of the most memorable milestones in a person’s life.

Back to older beliefs held in some regions, weeping cherry trees serve as conduits between the worlds of the living and the dead. Yanagita linked this idea to ancient spiritual practices that saw weeping cherry trees as dwellings for spirits. These trees were planted in cemeteries because they were thought to help souls travel between heaven and earth.

As I look at this tree, I can’t help but wonder: did the family who owns this plot plant the weeping cherry to ease the journey of their departed loved ones? And perhaps more personally, I find myself drawn to the idea of forgoing a traditional headstone one day, and instead resting among the roots of a weeping cherry tree, returning each spring in a quiet flurry of petals.

Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250408-weeping-sakura

Location: Ryufuku-ji Temple, Hokuto, Yamanashi, Japan

Timestamp: 2025/04/08・13:28

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

28 mm ISO 100 for 1/800 sec. at ƒ/5.6

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Ryufuku-ji Temple

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Dragons in Japan: Sacred Symbols, Folklore, and Modern Culture
日本の龍：宗教的なシンボル、伝承、そして現代カルチャーへ

In Japan, dragons are not just mythical creatures, but are also symbols of protection, wisdom, and nature’s power. Revered throughout Japanese history, art, and folklore, dragons appear in many forms across the cultural landscape.

One of the most common places to encounter a dragon in everyday life is at a purification fountain (手水屋; chozuya or temizuya) found at Shinto shrines and Buddhist temples. Visitors use these fountains to wash their hands before approaching the sacred grounds to offer prayers or pay their respects. While not always the case, it is often at these fountains that we find a water spout in the shape of a dragon’s upper body.

This connection between dragons and water is no coincidence. In Japanese mythology, dragons are strongly associated with watery realms such as oceans, lakes, and rivers. This symbolism is vividly demonstrated at the Nine-Headed Dragon Shrine in Hakone, where a purification fountain features nine dragon heads overlooking Lake Ashi (Ashinoko). Another example is the legend of the golden dragon of Tanuki Shrine, which gazes out over Lake Tanuki in Shizuoka Prefecture.

In Buddhist tradition as well, dragons hold deep significance. By the 9th century, Chinese Buddhism had incorporated dragons as protectors of Buddha and guardians of Buddhist law, which had an influence on Buddhism that spread to Japan. This Buddhist association is reflected in the frequent use of the character for "dragon" (龍; ryū) in the names of many Japanese Buddhist temples, including Ryūfuku-ji (龍福寺), where I took this photo.

Of course, dragons in Japan are not confined to religious contexts. In the modern era, they have also found a place in Japanese popular culture. Today, dragons appear in tattoo art adopted by a small number of contemporary young people (though still more commonly associated with the Yakuza) as well as in manga, video games, fashion, and many other forms of post-modern Japanese expression.

Personally, I had always pictured dragons as fearsome creatures of terror. That is why I find it fascinating to encounter an alternate view of these beings as revered and protective figures. In Japan, we see this perspective reflected in dragons carved into the beams of Shinto shrines, painted on temple ceilings, and gracefully adorning purification fountains. It is a beautiful reminder of the many layers of meaning that mythological creatures can hold regardless of cultural boundaries.

Location: Ryufuku-ji Temple, Hokuto, Yamanashi, Japan
Timestamp: 2025/04/08・12:43
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
63 mm ISO 100 for 1/50 sec. at ƒ/5.6

Google Maps and sources for a deeper dive:

https://www.pix4japan.com/blog/20250408-ryufukuji

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Koinobori and Sakura

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Koinobori & Sakura: Carp Streamers and Cherry Blossoms at Firefly Waterway Park
春爛漫のほたる親水公園で泳ぐ鯉のぼり

Carp streamers (鯉のぼり, koinobori) have long been a colorful symbol of celebration in Japan, traditionally flown on the fifth day of the fifth month for Boys’ Day. Originally, a streamer was flown for each male child in the family. This tradition dates back to the Kamakura period (12th century), when Tango-no-Sekku was recognized as an official holiday by the shogunate. The practice continued until 1872, when the holiday lost its official status following the start of the Meiji Period.

From the Meiji Period until World War II, koinobori became increasingly popular among commoners as part of Boys’ Day celebrations. In 1948, the holiday was renamed Children’s Day (Kodomo-no-Hi) and became a national holiday to celebrate the happiness and healthy growth of all children, regardless of gender. Today, koinobori are typically flown from late April through early May to honor children across the country.

Koinobori are windsocks shaped like koi fish, with open mouths attached to a pole or rope so their tails flutter freely in the spring breeze. These poles are often topped with two arrow-shaped wheels (矢車, yaguruma) and a spinning ball-shaped vane, believed to attract the attention of the gods.

While not a strict rule, some of my friends’ and relatives’ families in rural areas still decorate their poles with a five-colored streamer representing the five elements of Chinese philosophy. Below that, they hang a large black or dark-colored koi to represent the father, a red koi for the mother, and smaller, colorful koi for each child.

But why koi fish? These freshwater fish are admired for their strength and perseverance, known for swimming upstream against swift currents. Because of this, koinobori have come to symbolize courage, determination, and success.

In modern Japan, koinobori can be seen flying from homes, schools, and public parks, especially during Golden Week. In cities where private yards are rare, communities often display large installations in open spaces, drawing young families, grandparents, and tourists alike. Whether in the countryside or urban parks, these vibrant streamers continue to inspire hope that children will grow up strong and resilient—and they make for a wonderful photographic subject on a warm spring afternoon.

As a fitting backdrop for seasonal celebrations, Hotaru Shinsui Kōen (ほたる親水公園, literally "Firefly Waterway Park") adds another layer of meaning to the koinobori display. Developed in 2014 by volunteers from three surrounding villages in Hokuto Town, the park was designed to harmonize with nature.

Fresh water from the nearby Ojira River is channeled into a series of slow-flowing, meandering creeks, creating an ideal environment for fireflies to thrive. Each spring, a local children’s club releases firefly larvae into the park, helping sustain a population that dazzles visitors with glowing displays from June to July. The combination of carp streamers fluttering above and fireflies dancing below highlights the deep connection between seasonal traditions and the natural rhythms of this rural community.

① Koinobori and Sakura

Timestamp: 2025/04/08・12:26
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
31 mm ISO 100 for 1/640 sec. at ƒ/4

② Koinobori and Mountains

Timestamp: 2025/04/08・12:28
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
63 mm ISO 100 for 1/250 sec. at ƒ/5.6

③ Koinobori and Village

Timestamp: 2025/04/08・12:47
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
105 mm ISO 100 for 1/400 sec. at ƒ/5.6

Google Maps links and sources for a deeper dive:

https://www.pix4japan.com/blog/20250408-koinobori

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Suwa Hachiman Shrine

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Tranquil Morning Light at Suwa Hachiman Shrine
朝の光に包まれた諏訪八幡神社の静けさ

Tucked away in the rural town of Hokuto in Yamanashi Prefecture, Suwa Hachiman Shrine (諏訪八幡神社) stands quietly behind two historic school buildings—the Taisho-era Tsugane Elementary School (built in 1924) and the original Old Tsugane School from 1875, both of which I featured in a recent post here: https://www.pix4japan.com/blog/20250408-schools

Though the exact founding date of the shrine remains unknown, Suwa Hachiman Jinja was officially registered as a "village shrine" in May 1872.

Among the quiet cedar and pine trees, you’ll find traditional Shinto architectural details and spiritual markers that tell stories of the area’s cultural roots. One prominent stone monument features a carving of a deity associated with sericulture, holding a branch of mulberry leaves—a vital plant in the cultivation of silkworms, which were once essential to the region’s silk industry.

Suwa Hachiman Shrine

Timestamp: 2025/04/08・10:20
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/60 sec. at ƒ/11

Stone Monuments

Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・10:23
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
34 mm ISO 800 for 1/400 sec. at ƒ/5

Goddess of Sericulture

Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・10:25
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
34 mm ISO 200 for 1/400 sec. at ƒ/4

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Historic Schools

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Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・09:36
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/320 sec. at ƒ/8

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Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・09:59
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
40 mm ISO 100 for 1/100 sec. at ƒ/11

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Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・10:03
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/100 sec. at ƒ/11

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Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・10:07
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
45 mm ISO 100 for 1/100 sec. at ƒ/11

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Location: Hokuto, Yamanashi Prefecture, Japan
Timestamp: 2025/04/08・10:10
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/50 sec. at ƒ/11

Historic Meiji and Taisho Era Schoolhouses in Rural Japan
明治と大正時代の歴史的木造校舎―旧津金学校と大正校舎（山梨県北杜市）

These photographs capture two historically significant school buildings in Hokuto City, Yamanashi Prefecture, nestled in the mountains at the southern foot of Mt. Yatsugatake. The building on the left is the Taisho Era School (大正校舎, Taishō-Kōsha), originally constructed in 1924. To the right stands the Old Tsugane School (旧津金学校, Kyū-Tsugane-Gakkō), built in 1875 and in continuous use until 1985.

Together, these schools illustrate Japan’s architectural and educational transformation during the late 19th and early 20th centuries.

The 1875 Tsugane School reflects the Meiji-era movement to modernize education, blending traditional Japanese wooden construction with Western influences such as glass-paneled windows, gabled entrances, and symmetrical layouts inspired by European schoolhouses. The 1924 Taisho Era School, built to serve a growing student population, continued this hybrid style while incorporating updated materials and spatial arrangements suited to Japan’s rapidly evolving social and educational systems.

Although the original Taisho building was demolished in 1997, it was faithfully reconstructed using original blueprints and now functions as a community cultural center. The Old Tsugane School has been thoughtfully repurposed to house a retro-themed café and the Sutama History Museum, preserving both its atmosphere and architectural integrity.

Together, these structures stand as enduring symbols of Japan’s transition from feudal governance under the Tokugawa shogunate to a modern constitutional monarchy, embodying a national education system influenced by both global innovation and Japanese tradition.

I discovered these schools by accident while exploring the local area near the Waterwheel Village Park and I'm genuinely glad I took the time to check. The moment felt like stumbling across a time capsule in the foothills of Mt. Yatsugatake — a reminder of how much history is quietly waiting to be found in Japan’s rural heartlands.

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https://www.pix4japan.com/blog/20250408-schools

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2025-07-16

100 Colors at Takanawa Gatewayエマニュエル・ムホーが描く「１００色の道」

A Century in 100 Colors: Emmanuelle Moureaux’s Takanawa Gateway Installationエマニュエル・ムホーによる高輪ゲートウェイのアート作品「100色の道」で描く100年の時の流れ

2025-05-28

The Swan of the Pacific: Yokohama’s Nippon Maru

太平洋の白鳥「日本丸」

Yokohama Timber Wharf: A New Landmark in Sustainable Design

サステナブル建築の新拠点、「横浜ティンバー・ワーフ」

The King of Yokohama: A Glimpse into the City’s Art Deco Legacy横浜三塔「キング」の歴史とアール・デコ建築の魅力

A Gift of Gratitude: Yokohama’s Indian Memorial Fountain横浜・山下公園の「インド水塔」：関東大震災に感謝を込めた記念碑

Yamashita Park and the Queen of the Pacific: A Glimpse into Maritime History山下公園と「太平洋の女王」

A Waterfront Landmark Enjoyed with Spring Flowers春の花とともに楽しむ港のランドマーク

Spring Spheres: Capturing a Giant Leek Amid Yokohama’s Garden Necklace春のガーデンネックレス横浜：アリウム・ギガンチウムの球状の花の風景

2025-04-08

Bridging Heaven and Earth: The Weeping Cherry Trees of Japanese Cemeteries昔のしだれ桜を通じて、魂たちはこの世へ、美しい春の花としてそっと戻ってくる

Dragons in Japan: Sacred Symbols, Folklore, and Modern Culture日本の龍：宗教的なシンボル、伝承、そして現代カルチャーへ

Koinobori & Sakura: Carp Streamers and Cherry Blossoms at Firefly Waterway Park春爛漫のほたる親水公園で泳ぐ鯉のぼり

Tranquil Morning Light at Suwa Hachiman Shrine朝の光に包まれた諏訪八幡神社の静けさ

Historic Meiji and Taisho Era Schoolhouses in Rural Japan明治と大正時代の歴史的木造校舎―旧津金学校と大正校舎（山梨県北杜市）

100 Colors at Takanawa Gateway
エマニュエル・ムホーが描く「１００色の道」

A Century in 100 Colors: Emmanuelle Moureaux’s Takanawa Gateway Installation
エマニュエル・ムホーによる高輪ゲートウェイのアート作品「100色の道」で描く100年の時の流れ

The King of Yokohama: A Glimpse into the City’s Art Deco Legacy
横浜三塔「キング」の歴史とアール・デコ建築の魅力

A Gift of Gratitude: Yokohama’s Indian Memorial Fountain
横浜・山下公園の「インド水塔」：関東大震災に感謝を込めた記念碑

Yamashita Park and the Queen of the Pacific: A Glimpse into Maritime History
山下公園と「太平洋の女王」

A Waterfront Landmark Enjoyed with Spring Flowers
春の花とともに楽しむ港のランドマーク

Spring Spheres: Capturing a Giant Leek Amid Yokohama’s Garden Necklace
春のガーデンネックレス横浜：アリウム・ギガンチウムの球状の花の風景

Bridging Heaven and Earth: The Weeping Cherry Trees of Japanese Cemeteries
昔のしだれ桜を通じて、魂たちはこの世へ、美しい春の花としてそっと戻ってくる

Dragons in Japan: Sacred Symbols, Folklore, and Modern Culture
日本の龍：宗教的なシンボル、伝承、そして現代カルチャーへ

Koinobori & Sakura: Carp Streamers and Cherry Blossoms at Firefly Waterway Park
春爛漫のほたる親水公園で泳ぐ鯉のぼり

Tranquil Morning Light at Suwa Hachiman Shrine
朝の光に包まれた諏訪八幡神社の静けさ

Historic Meiji and Taisho Era Schoolhouses in Rural Japan
明治と大正時代の歴史的木造校舎―旧津金学校と大正校舎（山梨県北杜市）