Pix4Japan

2024-12-10

Grave Markers

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Location: Ryūkoku-ji Temple, Taito-ku, Tokyo

Timestamp: 14:07・2024/12/10

Fujifilm X100V with 5% diffusion filter

ISO 320 for 1/600 sec. at ƒ/8

Acros film simulation

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Location: Ryūkoku-ji Temple, Taito-ku, Tokyo

Timestamp: 14:09・2024/12/10

Fujifilm X100V with 5% diffusion filter

ISO 320 for 1/1250 sec. at ƒ/8

Classic Negative film simulation

Itatōba: From India to China to Japan
板塔婆の旅路：インドから中国、そして日本へ

While enjoying a short break from a business meeting near Ueno Station in Tokyo, I took a short break to wander through the local area before heading back to Yokohama. My meandering walk brought me to Ryūkoku-ji Temple, a small, nondescript oasis in Taito Ward, Tokyo.

Compared to my family’s cemetery in rural Shizuoka Prefecture, which is surrounded by bamboo groves and rice paddies, this cemetery in central Tokyo struck me as surprisingly similar. Despite being nestled within the urbanscape of high-rise towers made of glass, steel, and concrete, it felt just as calm, quiet, and peaceful as the one back home in Shizuoka minus the croaking frogs.

As is quite common at most Buddhist cemeteries in Japan, wooden grave markers stood upright behind family gravestones or leaned against them. These markers, known as itatōba (板塔婆), hiratōba (平塔婆), or sotōba (卒塔婆), all essentially mean the same thing: flat, wooden grave markers.

Unlike similarly looking markers found at Shinto cemeteries, these markers feature five notches on either side, symbolizing the five elements of Japanese Buddhist thought: sky, wind, fire, water, and earth, from top to bottom. A vertical inscription in Sanskrit further hints at their Buddhist origins.

The history of these markers originated in India from where they made their way to Japan via China. Over the centuries, the symbols and their designs evolved, yet the reference to the five elements has remained a constant connection to the spiritual traditions they represent.

During this late afternoon, the clear, bright sky provided beautiful contrasts, with the dark shadows and bright areas facing the sun creating a dramatic effect. I felt this scene would be good for a monochrome shot, capturing not only the details of the itatōba but also the quiet atmosphere of the cemetery.

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Pendant Tiles

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Engatou: Decorative and Protective Roles of Pendant Tiles in Japanese Temples and Shrines
「台東区にて、炭黒の『龍』と鮮やかな銀杏の葉」

Upon wrapping up a business meeting in Tokyo, I crossed the street from my client’s office and stepped into the courtyard of Ryūkoku-ji Temple (龍谷寺) in Taito Ward, Tokyo.

Originally established in 1616, the temple was relocated to its current site in 1655. However, the original structure was severely damaged during the Great Kanto Earthquake of 1923. The temple we see today was reconstructed after the earthquake—just one of many symbols of Tokyo’s history and resilience.

Adjacent to the temple grounds, I noticed a small pile of round eave-end roof pendant tiles, known as engatou (円瓦当). Each tile features a circular pendant inscribed with the kanji character “Ryū” (龍), the first character of the temple’s name.

Pendant tiles like these are a common feature on the eaves of roofs in Shinto shrines and Buddhist temples throughout Japan. Not only do they serve a decorative purpose by forming a symmetrical finish along the eaves, but they also provide functional protection by preventing rainwater from seeping between and under the roofing tiles and the roof sheathing.

What immediately caught my eye was the striking contrast between the charcoal-black engatou and the vibrant yellow ginkgo leaves scattered around them. Adding to the scene’s charm was the use of “seal script” for the kanji character imprinted on the tiles.

This style of writing, called tensho-tai (篆書体) in Japanese, is akin to a specialized font for kanji. It is widely used in Japan on banknotes, passports, and official seals (known as ginko-in, or bank hanko stamps). Tensho-tai’s elegance and historical significance make it a fitting choice for temple ornamentation.

As I admired the scene, I couldn’t help but wonder about the story behind these tiles. Were they spares, waiting to replace damaged ones? Were they broken, or perhaps removed during a renovation? Where are such tiles manufactured, and how expensive are they to produce? Why was tensho-tai chosen for the inscription, instead of one of the other scripts commonly used in Japan?

These unanswered questions have left me eager for a future visit. Perhaps next time, I’ll have the chance to speak with a monk or the temple’s groundskeeper to learn more about the history and craftsmanship behind these captivating tiles. It’s remarkable that, despite living in Japan for over 40 years and seeing these tiles on roofs everywhere I go, this is the first time I’ve looked at them up close and begun to wonder about their story. Reflecting on this, I can’t help but feel a small twinge of regret for not being more curious about them decades ago.

Location: Ryūkoku-ji Temple, Taito-ku, Tokyo
Timestamp: 14:03・2024/12/10
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/9 sec. at ƒ/8
Classic Chrome film simulation

Location: Ryūkoku-ji Temple, Taito-ku, Tokyo
Timestamp: 14:08・2024/12/10
Fujifilm X100V with 5% diffusion filter
ISO 1000 for 1/250 sec. at ƒ/8
Classic Chrome film simulation

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2024-11-26

Momiji

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Embrace of Autumn: Vibrant Reds and Twisted Arms of Momiji
庭先の紅葉：鮮やかな赤とねじれ曲がった枝

After a long hike across trails weaving over rivers and across the steep slopes of Hikawa Gorge, we finally made our way back towards the parking lot, content from capturing the autumn colors of the gorge from Moegi-bashi Bridge.

As we retraced our steps, I stumbled upon an old Japanese maple tree (紅葉・momiji), its branches twisting skyward from the yard of a house nestled atop a steep slope above the Tama River.

The fortunate residents of this home are able to wake up each day to a a lovely panorama of vibrant, lush forests sprawled across the opposing slopes of the gorge, with the Tama River gently winding far below.

I would love to wake up to such a view every morning, if only building an earthquake-resistant home in this picturesque location were within reach.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 15:47・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 2500 for 1/250 sec. at ƒ/2
Astia/Soft film simulation

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Autumn Ravine

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Autumn Splendor in Hikawa Gorge

氷川渓谷の紅葉風景

The Okutama region features two major steep ravines formed by the Nippara and Tama Rivers. These steep gorges, collectively known as Hikawa Gorge (氷川渝谷), have limited industrial development, preserving much of the natural landscape.

The forests and landscapes of Hikawa Gorge have been further protected from industrial development and large-scale logging by Tokyo Prefecture to maintain the purity of the water, as these headwaters are a primary source of Tokyo’s drinking water.

In 1944, Okutama Station (originally named Hikawa Station) on the JR Ome Line was established to help locals develop a tourist industry focused on the region's rich scenery. For decades after the station’s opening, development of tourist-oriented infrastructure progressed slowly.

In fact, a friend who visited the area as a boy in the 1970s recalled fishing, hiking, and enjoying the outdoors. Back then, there were no developed campsites, large parking lots, and most hiking trails were basic footpaths with little to no safety railings or protections against landslides.

Nowadays, the paths are well-maintained and developed to such a degree that they are easily accessible to both young and old. Numerous suspension bridges allow visitors to safely explore all the trails while enjoying grand views of the gorges, which are especially popular during the autumn season.

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 15:37・2024/11/26
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 200 for 1/15 sec. at ƒ/8

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 15:45・2024/11/26
Fujifilm X100V with 5% diffusion filter
ISO 3200 for 1/220 sec. at ƒ/2
Astia/Soft film simulation

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Moegi Bridge

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Moegi Bridge: A Scenic Crossing to Autumn Splendor
紅葉風景へのもえぎ橋

Located within a short 8-minute walk from Oku-Tama Station, Moegi Bridge, a pedestrian suspension bridge, offers stunning views of Hikawa Gorge, especially during autumn. Although a little late in the autumn season, the landscape of colors along the steep shores of the Tama River headwaters in the rural town of Okutama, Tokyo Prefecture, created a photogenic scene that immediately caught my eye.

Next year, I hope to visit a few weeks earlier in the season to catch the vidid reds and oranges that have mostly faded from this scene.

Moegi Bridge (もえぎ橋・Moegi-bashi), which opened in July 1998, made it easier for local hikers and campers to cross the Tama River and access the popular hot spring resort, Moegi-no-Yu.

This pedestrian bridge is similar to the other suspension bridges I traversed on this photowalk, all lightweight structures with no truss or girders, making them susceptible to strong winds. To counteract strong winds, many of the pedestrian bridges in Hikawa Gorge incorporate stretched cables attached to the deck to help control torsional vibrations.

When bridges sway too much, my border collie gets scared and refuses to cross with me. On this day, she confidently crossed all three suspension bridges without fear!

Location: Hikawa Gorge, Tokyo, Japan
Timestamp: 15:29・2024/11/26
Pentax K-1 II + DFA 28-105mm F3.5-5.6 + CP
28 mm ISO 100 for 1/0.6 sec. at ƒ/8

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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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2024-12-10

Itatōba: From India to China to Japan板塔婆の旅路：インドから中国、そして日本へ

Engatou: Decorative and Protective Roles of Pendant Tiles in Japanese Temples and Shrines「台東区にて、炭黒の『龍』と鮮やかな銀杏の葉」

2024-11-26

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

Itatōba: From India to China to Japan
板塔婆の旅路：インドから中国、そして日本へ

Engatou: Decorative and Protective Roles of Pendant Tiles in Japanese Temples and Shrines
「台東区にて、炭黒の『龍』と鮮やかな銀杏の葉」

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