2024-12-10

Intersection of Motion

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Layers of Motion: Tokyo’s Urban Flow from Above
交差する歴史:東山道から国道4号線へ


This intersection is a typical example of how multiple two-lane streets converge from three or more angles in Tokyo. It’s quite different from cities like Sapporo in Hokkaido or Nagoya in Aichi Prefecture, where most streets that I have driven on follow a grid layout with clean 90-degree intersections.

Driving through central Tokyo—especially on a rainy night—can be daunting for the uninitiated. Navigating these multi-street intersections, where three or even five roads merge at a single point, requires careful attention.

In this photo, northbound traffic is zipping by on National Route 4, a toll-free highway that originates in Nihonbashi, Tokyo’s historic commercial district, and stretches 738.5 kilometers (458.9 miles) to the northern tip of Honshu. This makes it Japan’s longest national toll-free highway. Roughly half of Route 4 follows the path of the much older Tōsandō, a historic road dating back to the Asuka period (538–710).

Nihonbashi itself is named after a bridge located just a few blocks from the Imperial Palace. In 1604, the Tokugawa shogunate designated it as the starting point for major transportation routes. Later, during the Meiji era (1868–1912), it was officially recognized as the reference point for measuring distances on all national highways. Even today, when driving along these highways, you’ll notice slender signposts marking how far you are from the center of Nihonbashi Bridge.

Beneath the asphalt in this scene, Ueno Station’s Tokyo Metro Hibiya Line runs underground. In Tokyo and my home city of Yokohama, it’s common for stretches of subway lines to follow the same routes as surface-level streets, weaving through the dense metropolitan landscape.

Above me, where I took this shot, the Ueno Route of the Shuto Expressway runs overhead. This elevated toll road is part of a vast network of expressways looping around Tokyo, consisting mostly of overpasses that wind between high-rise office towers and apartment buildings, with occasional underpasses and tunnels.

I still remember my first drive on the Shuto Expressway in 1985, just after its circular loop was connected to the Joban Expressway in Saitama Prefecture. That night, five or six of my car-enthusiast friends and I took our tuned sports coupes and sedans onto the freshly paved expressway, enjoying the thrill of driving under a starry summer sky.

Even now, I find myself amazed by the ingenuity of the engineers who designed and built these transportation networks—stacking them high above the ground, threading them through the urban core at street level, and tunneling deep underground, all within the space constraints and astronomical costs of a city like Tokyo.

  • Location: Ueno Station, Taito-ku, Tokyo
  • Timestamp: 14:57・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1.0 sec. at ƒ/16
  • Pro Negative High film simulation

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© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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Pachinko Symbol

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Urban Geometry: The Lines and Curves of Pachinko
東上野:パチンコ玉を象ったモニュメント


After a long meeting with a colleague near Ueno Station in Tokyo, Japan, I took a short break before heading back to my office in Yokohama. As I made my way back to the station, I took the opportunity to capture some street photography, documenting scenes around Ueno Station.

In this shot, standing at over 7 meters tall (more than 24 feet), is a striking stainless steel "U"-shaped sculpture crowned with a reflective steel sphere.

The "U" represents Ueno, a well-known district in Tokyo’s Taito Ward. The sphere on top? It’s designed to resemble a pachinko ball, a nod to one of Japan’s most popular mechanical arcade-style games. Pachinko involves launching small steel balls into a machine, with the goal of winning as many as possible. These balls can be exchanged for prizes, which—through a legal loophole—can then be exchanged for cash at offsite locations, sidestepping Japan’s strict gambling laws.

This sculpture isn’t just a random artistic installation—it reflects the deep-rooted connection between Higashi-Ueno and the pachinko industry. This area is home to a high concentration of pachinko machine manufacturers, many of whom have offices and showrooms here. Given that Ueno Station serves five bullet train lines, the location is ideal for industry professionals commuting between Tokyo and manufacturing hubs in other prefectures.

As a result, Higashi-Ueno has earned the nickname "Pachinko Village" among enthusiasts. The massive pachinko ball atop the "U" serves as a tribute to an industry that employs many in this neighborhood and attracts pachinko parlor owners looking to test and evaluate the latest gaming machines in nearby showrooms.
  • Location: Ueno Station, Taito-ku, Tokyo
  • Timestamp: 14:54・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/7.1
  • Classic Chrome film simulation
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Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
Visit www.pix4japan.com to learn more.



Higashi-Ueno

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Urban Geometry: Lines and Shapes Beneath an Overpass

交差する線と形:上野の歩道橋の下で


After a long meeting with a colleague near Ueno Station in Tokyo, Japan, I took a short break before heading back to my office in Yokohama. As I made my way back to the station, I enjoyed some street photography, capturing scenes in the surrounding neighborhoods.

After photographing a Buddhist temple and two Shinto shrines, I approached the pedestrian overpass leading directly to Ueno Station.

As I climbed the steps to the pedestrian deck, this intricate scene beneath the overpass came into view—a striking mix of lines, angles, and contrasting round and flat shapes. With the original scene nearly devoid of color, I felt monochrome was the perfect choice to emphasize its geometric complexity.

  • Location: Ueno Station, Taito-ku, Tokyo
  • Timestamp: 14:53・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 1600 for 1/30 sec. at ƒ/7.1
  • Acros film simulation

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Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
Visit www.pix4japan.com to learn more.



Inari Shrine

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Ryueiinari-jinja: A Hidden Inari Shrine in the Heart of Tokyo
隆栄稲荷神社:下谷神社の境内に佇む小さな稲荷社


Ryueiinari-jinja is a small Inari shrine located within the same shrine courtyard and tucked away under some trees of Shitaya Shrine, which I have introduced in recent posts. While Shitaya Shrine is a traditional Shinto shrine, Ryueiinari-jinja is specifically dedicated to Inari, the deity of rice cultivation and harvest.

Inari shrines can exist independently, but they are often found within the grounds of larger Shinto shrines. This made me wonder—why would an Inari shrine be located in this urban neighborhood of Tokyo, a city that has been a major metropolis for over a century?

To answer this, it’s important to remember that not all of Edo (modern-day Tokyo) was fully developed. By the mid-1800s, Edo had a population exceeding one million, making it one of the largest cities in the world at the time. However, some areas still had land dedicated to agriculture.

While researching historical maps, I came across two—one from 1824 and another from 1854. The older map depicted numerous rice paddies north of the imperial palace, along with many Inari shrines concentrated in what is now the Asakusa area of Tokyo. By 1854, the map showed a much more urbanized landscape, with fewer rice paddies and a noticeable decline in the number of Inari shrines.

Yet, despite these changes, both Shitaya Shrine and Ryueiinari-jinja remained, even though the remaining rice fields had shifted farther north, beyond the Sumida River. This suggests that while the immediate area may have transitioned away from agriculture, the shrine continued to serve the community, preserving its historical and spiritual significance.

Standing before the small shrine today, several traditional elements caught my eye. Hanging from the eaves is a thin shimenawa (標縄), a sacred rice straw or hemp rope that marks a ritually pure space. Attached to it are shide (紙垂), zigzag-shaped paper streamers, which further signify the presence of the divine.

In front of the shrine, a thick rope hangs for ringing the suzu (鈴), a round, hollow bell with a jingling sound, used to call upon the deity before offering prayers. Below it sits the saisenbako (賽銭箱), a wooden offering box where visitors leave monetary donations.

Flanking the shrine are two stone fox statues, each adorned with a red bib. In Shinto belief, the kitsune (fox) serves as Inari’s messenger, protecting rice fields and ensuring bountiful harvests. One theory suggests that foxes earned this role by hunting rodents in rice paddies, inadvertently safeguarding the precious crop. The red bibs, commonly seen on Inari shrine foxes, are thought to ward off illness and evil spirits, reinforcing their protective role.

Ryueiinari-jinja may be small, but it offers a fascinating glimpse into Tokyo’s past—one where agriculture and urban life coexisted, and where traditions persist even as the landscape changes.

  • Location: Shitaya Shrine Grounds, Taito-ku, Tokyo
  • Timestamp: 14:38・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 1250 for 1/30 sec. at ƒ/10
  • Astia/Soft film simulation

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Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
Visit www.pix4japan.com to learn more.



Floral Panda

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Floral Panda at Shitaya Shrine’s Water Font
下谷神社の花手水:パンダの彩り


Most Shinto shrines include a small, roof-covered purification font called a temizuya (手水舎; sometimes read chōzuya). This freestanding stone basin provides running water and ladles for shrine visitors to rinse their hands and mouth in symbolic purification.

The name temizuya comes from te (hand) and mizu (water), referring to the act of purifying one's hands under a small covered structure (ya). Bamboo ladles are commonly provided for washing the hands and cleansing the mouth. Regardless of faith, all visitors are welcome to take part in this purification ritual when visiting a shrine.

During the pandemic, many temizuya were temporarily closed to prevent the spread of infection. However, shrine staff had a wonderful idea—they repurposed the font as a flower vessel, filling the water basin with freshly cut flowers. This practice quickly gained popularity, and due to its widespread appeal, many shrines have continued the tradition. The beautifully arranged flowers now attract visitors of all ages, leading to the temizuya being affectionately renamed hanachōzu (花手水; hana meaning flower and chōzu meaning water font).

Shitaya Shrine, where this photo was taken, often incorporates a panda motif in its floral arrangements. This is a nod to the twin pandas, Xiao Xiao and Lei Lei, who reside at the nearby Ueno Zoo. The shrine’s Instagram feed regularly showcases its latest flower displays, delighting visitors with each new creation.

This particular arrangement caught my eye due to the striking contrast between the dark stone water font and the bright, delicate flower petals floating on the water. In the background, deep vermilion torii gates and flags add an additional layer of visual depth. While the scene is cluttered with lines, patterns, and colors—much like the energy of a Tokyo neighborhood—narrowing my focus to just the flowers brings a sense of calmness and joy. It’s heartwarming to think that someone carefully arranges these flowers simply for the enjoyment of shrine visitors.

  • Location: Shitaya Shrine, Taito-ku, Tokyo
  • Timestamp: 14:37・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 500 for 1/30 sec. at ƒ/10
  • Astia/Soft film simulation

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Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
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Shitaya Shrine Craftsmanship

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Bring this scene home, share it as a gift, or license it for your project:

Subtle Craftsmanship of Shitaya Shrine
下谷神社の唐破風と飾金具・小口金物


The Shitaya Shrine in Higashi-Ueno, Tokyo’s Taito Ward, caught my eye with its use of a curved gable called karahafu. This elegant architectural feature has been used on the roofs of Shinto shrines, Buddhist temples, and even Japanese castles since the late Heian period (794–1185), originally signifying prestige and importance.

Shitaya Shrine follows a more traditional design, using unpainted wood that is lightly decorated with bright metal fittings. These fittings, placed at the ends of rafters extending to the eaves and at the base of pillars, not only add visual interest but also help protect the structure from weathering.

I was particularly drawn to the long, narrow ornamental fittings nailed horizontally along the frame members. The golden accents contrast beautifully with the dark, aged wood, creating a harmonious balance between decoration and simplicity. Unlike more elaborate shrine embellishments, the metalwork here is used sparingly—enhancing the shrine’s elegance without feeling excessive.

Such fittings are often made of iron, copper, or gilt bronze. While they serve a decorative purpose, they also reinforce and protect structural elements, ensuring the longevity of the shrine’s intricate craftsmanship.

1. Timestamp: 14:32・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/10
  • Classic Chrome film simulation

2. Timestamp: 14:44・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/3.6
  • Astia/Soft film simulation

3. Timestamp: 14:45・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/3.6
  • Provia/Standard film simulation

References:

Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
Visit www.pix4japan.com to learn more.



Shitaya Shrine

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Large Torii Gate Nestled Within the Urbanscape
下谷神社の大鳥居:町内の景観に溶け込む歴史の象徴


The large vermilion torii gate is one of two such gates marking the entrance to Shitaya-jinja—a local Shinto shrine with origins tracing back to the year 730, making it one of the oldest inari shrines in Tokyo. This rich historical legacy stands in stark contrast to the surrounding urban environment.

Today, two buildings, each over six stories high, occupy the street corners near the torii gate. The gate has likely stood here since the shrine's reconstruction in 1934, following its destruction in the 1923 Great Kanto Earthquake.

The building on the western side of the torii is astonishingly close to the tip of the top lintel (the horizontal beam). My immediate thought was: how has the building avoided damaging the gate during Tokyo's frequent earthquakes?

The vermilion gate may appear slightly out of place amid the modern urbanscape, yet this juxtaposition feels quintessentially Tokyo—a city where centuries-old traditions coexist seamlessly with cutting-edge infrastructure.

  • Location: Shitaya Shrine, Taito-ku, Tokyo
  • Timestamp: 14:23・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 1000 for 1/250 sec. at ƒ/9
  • Provia/Standard film simulation

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Shinto Shrine Nestled Within the Urbanscape
下谷神社:町内の景観に溶け込む歴史の象徴


Shitaya-jinja—a local Shinto shrine with origins tracing back to the year 730, is one of the oldest inari shrines in Tokyo. This rich historical legacy stands in stark contrast to the surrounding urban environment.

  • Location: Shitaya Shrine, Taito-ku, Tokyo
  • Timestamp: 14:32・2024/12/10
  • Fujifilm X100V with 5% diffusion filter
  • ISO 160 for 1/30 sec. at ƒ/10
  • classic Chrome film simulation

References:

Copyright Notice for All Images:
© 2011-2025 Pix4Japan. All rights reserved.
Unauthorized use for AI training is strictly prohibited.
Visit www.pix4japan.com to learn more.