Lanterns, the obi sash & more people & tales

Temple chochin lanterns in Kyoto

On the Japan travel news front we have a new global warming record. This year, 2024, is the latest date without a snowcap since records were first kept 130 years ago! There were late late snow dates for Mount Fuji also in 1955 and 2016.

Usually by early Oct you can see some snow at the peak of Mount Fuji but so far this year not a flake! And this means maple leaves changed color much later than normal . . . Every year is different but the trend is clear: maple leaves are later and cherry blossoms are earlier. And ume plum blossoms are also early!

And not surprising, according to Japan's Meteorological Agency September statement, Japan's hottest summer ever was 2024!

I am a very optimistic person but I do feel that humans have a lot of adapting to do in the coming decades!

And before we get into today's post, never forget that Mount Fuji is a gigantic female Shinto entity. I am often a bit sad that people want to stand on a goddess. It's better to admire Lady Fuji from afar . . . Everest too . . . Unfortunatley, humans + hubris = madness!

This blog post is devoted to:

Toro stone garden & chochin paper lanterns
The obi sash and it's importance in Japan
Great Japanese people & old tales.

Content by Ian Martin Ropke, owner of Your Japan Private Tours (est. 1990). I have been planning, designing, and making custom Japan private tours on all five Japanese islands since the early 1990s. I work closely with Japan private tour clients and have worked for all kinds of families, companies, and individuals since 1990. Clients find me mostly via organic search, and I advertise my custom Japan private tours & travel services on www.japan-guide.com, which has the best all-Japan English content & maps in Japan! If you are going to Japan and you understand the advantages of private travel, consider my services for your next trip. And thank you for reading my content. I, Ian Martin Ropke (unique on Google Search), am also a serious nonfiction and fiction writer, a startup founder (NexussPlus.com), and a spiritual wood sculptor. Learn more!

Toro stone garden & chochin paper lanterns

In many traditional Japanese gardens part of the magic is the moss. And in autumn, the green of moss covered in bright red maple leaves is a picture perfect sight. Saiho-ji Temple, “Moss Temple,” has 120 varieties of moss, and all of them grow there naturally! Near Matsuo, between Arashiyama and Katsura, on the Hankyu Railway line. For admission details call TIC in English (371-5649). Rokuo-in Temple’s authentic Zen garden, covered in moss, with the scarlet Arashiyama hills in the background, is a must see! Near Keifuku Rokuo-in Station. At Tenju-an Temple the contrast between the white gravel, green moss and the maples is exquisite. In Nanzen-ji Temple. The garden at Zuiho-in Temple is a fine example of a Zen landscape garden, that is both simple and elegant. In Daitoku-ji Temple. Of Ryogen-in Temple’s 5 gardens, the north one, designed around 9 stones set on a rolling surface of lush moss, is stunning. In Daitoku-ji Temple. Tofuku-ji Temple, one of the Japan’s largest Rinzai Zen centers, has four or five gardens, several of which use moss, and some of the finest maples in Kyoto. Southeast of Tofuku-ji Station. Rozan-ji Temple’s garden creates a mystical scene of mossy islands that seem to flow over an ocean of clouds. On Teramachi, south of Imadegawa.

Stone lanterns, known as toro, and tsukubai water basins are two essential features of a traditional Japanese garden. Toro originated as votive lamps in Buddhist temples, but were introduced to teahouse gardens in the 16th century by Sen no Rikyu (1521-91), founder of the Japanese tea ceremony. Of the three basic lantern designs, perhaps the most interesting is the Oribe or “Christian” lantern, so named because Japanese Christians secretly used them for worship after Christianity was banned in 1612. The two other most frequently seen lanterns are snow-viewing lanterns, which have large roofs specially designed to look attractive covered in snow, and the fairytale-like, almost primitive, giant floppy-hat Kasuga lantern design, which can be seen all over the grounds of Kasuga Grand Shrine in Nara.

Tsukubai water basins are traditionally set in a gravelled drainage area, with a flat stone in front and a “mirror” stone behind. Two other stones stand on either side, the left one for belongings, and the right one for a candle at night and a pitcher of hot water in winter. As you wander through Kyoto’s famous gardens, keep an eye open for these subtle but essential elements of Japanese garden design.

The chochin lantern was an essential part of everyday Japanese life throughout Japan until the turn of the century, when electricity came into widespread, sudden use. In the beginning chochin were made simply by covering a mesh of interwoven thin bamboo slivers with rice paper. The folding style, which is in common use today, dates from the early Edo Period (1603-1868). These highly portable lanterns were revolutionary in major urban areas because they enabled the common people to freely walk around at night. Commonly Used Chochin Styles: Rossoku: Used for wedding ceremonies (late Edo); Sokugen Chochin: Used on kago palanquins (mid Edo); Bajo Chochin: Used as signal lights for horse traffic (Edo); Kaichochin: Used for night time travel (Mid Edo); Komatsuri: Used for ceremonial occasions in Osaka merchant families (Early Edo to Early Showa).

In Kyoto, with its long historical background as the capital, people were accustomed to a night life scene that was more lively and widespread, than anywhere else in Japan. Kyo-chochin were made to be practical and durable above all else. It is said that Kyo-chochin would last for 50 to 60 years if they were kept dry. Because of Kyoto’s religious significance while it was the capital, another side of the chochin industry soon developed. Chochin quickly became an essential item for all kinds of temple and shrine ceremonies and festivals. Chochin lanterns are strongly connected to Obon festivities. At present, Kyoto’s six downtown chochin makers devote 60% of their chochin production to festival decorations, and 40% for temples and shrines.

The obi sash and it's importance in Japan

Strange as it may seem, until Western clothing dominated men’s wear, all Japanese men (and women) wore kimono and used obi to tie them shut. Five meters of fabric wrapped around the waist and knotted in a bundle in the back, the obi and the way it is tied can reflect the wearer's age, status, and the formality of the occasion. The taiko musubi (drum bow) is perhaps the most familiar style. Devised by Edo period geisha to commemorate the opening of the Taiko-bashi, an arched bridge in Tokyo, it has become so popular that it is worn for both everyday occasions and formal ceremonies.

Originally the kimono or kosode, as it was called until the 18th century, was held in place by a thin braided cord or narrow silk band. The wide silk sash we know as obi did not come into vogue until the mid-18th century, when Kabuki theater was all the rage. Apparently the fashion began when an onna-gata (a male actor playing a female role) tried to downplay his height by tying his obi in a large bow with the tails cascading to the floor. In 1780, after courtesans began knotting their obi in front, the style was likewise imitated by merchant class wives en route to the vegetable market.

While obi can be dyed, embroidered or woven, it is a fashion principle that a dyed kimono looks best with the contrast of a woven obi, while a woven kimono requires a dyed obi. Essentially, the kimono-wearer strives for a color and pattern contrast (sometimes completely out of synch to the Western eye) between obi and kimono. The delicate tie-dyed obi-age and braided or plaited obi-jime cord may complement either obi or kimono in color and so complete the ensemble.

While many obi cost between Yen 120,000 to Yen 300,000, it is not unheard of for a handwoven obi to cost up to 4 million yen (roughly USD 25,000!) and be the most expensive kimono wardrobe item. More than 65% of Japanese obi are produced as cottage industry, woven in kawara, the tile-roofed homes of Nishijin, in northwest Kyoto. Established as a weaving district in the 16th century under the patronage of Hideyoshi Toyotomi, Nishijin has thousands of automatic looms and hand-looms that turn out more millions of rolls of gold brocade and multicolor silk damask every year.

In the Edo Period the traditional loom was the sorabiki-bata. One of its distinctive features was a small boy who sat on top and hummed a weaving song that told him which warp threads to pull up for a particular pattern. It was replaced in 1872 by the French punch-card Jacquard loom. Walking along the narrow streets of the district, one can still occasionally see dyed silk yarns drying in doorways and hear the rhythmic beat of a hand-loom producing golden obi in some obscure, dirt-floored studio.

Note: A Jacquard loom and tsuzure (finger-nail weaving) loom are both demonstrated daily at the Nishijin Textile Center. An hourly kimono show, a display of the entire obi-making process and historical garments, a brochure in English on Nishijin weaving and technology, and also various Nishijin products are on display, daily (9:00-17:00).

Toro stone garden & chochin paper lanterns
The obi sash and it's importance in Japan
Great Japanese people & old tales.

Shoen Uemura, old woman & the monk, Tokkaido highway woodblocks

Shoen Uemura (1875-1949) was the first woman painter to be honored with the Order of Cultural Medal in Japan. She was a born painter from her earliest years, and began her career by spending hours laboriously copying ukiyoe wood block prints from the local book shop. And though she also did things associated with normal children, such as inviting her girlfriends to her house on Sundays to engage in the always popular past time of making up each others hair, Shoen had an ulterior purpose in these innocuous activities. In the case of the hair, she was creating an opportunity to study hair up close so that she could render it better in her drawings.

When Shoen graduated from elementary school, at the age of 12, she joined the painting academy of the famous Japanese artist, Shonen Suzuki. At this time, Shoen's favorite study medium was studying human figure drawings, and she invested countless hours of practice in this skill by drawing her own reflection in a mirror. This became an essential asset in her later career.

But her gifts didn't end here, she was also a highly skilled copyist, and had a deep fascination with old masterpieces. However, it was by no means easy to gain the permissions and time necessary to copy all those masterpieces, and this was particularly true of a woman in the male dominated Buddhist world. But her exceptional diligence and perseverance she managed to make the connections required to get the proper introduction to each temple masterpiece she had her heart set on. In fact, it only took her a few years to cover most of the temples and shrines in Kyoto she was interested in. However, her explorations were not limited to Kyoto alone. On one occasion she stayed in a hotel near the National Museum in Ueno, Tokyo, for 20 days drawing from opening time till closing time without a break. In the end, she suffered a serious bout of fainting fits.

When she was 15, Shoen entered her first painting contest (the 3rd domestic Kangyo Exposition) with her work, "Beauty in the Four Seasons." It received honorable mention and was eagerly purchased by Prince Connort of England. At the age of 18, she decided to leave her first master and to pursue her artistic career at the school of Bairei Kono. Her master graciously accepted her decision. Two years later, when Bakuryo died, she continued her apprenticeship with his student, Seiho Takeuchi.

Over time, Shoen quickly established herself as one of Japan's most famous women portrait painters. Regarding her work she once remarked precisely, "It is not my style to paint beautiful women in the traditional sense. My ideal is to express the sublime beauty of female purity and spiritual fragrance." Throughout her career, Shoen's biggest supporter was her only parent, her mother, Naka, who support her daughter and her career with undying female strength. Shoen could never have achieved all that she did without her mother's unique blend of love and strength. Her mother would always remember Shoen as her lovely little girl, who always drew in the breaks when she wasn't helping her mother in their tea shop.

The old woman & the monk

Once upon a time, there lived an old lady lived alone near by Shimizu Pond. One evening in a summer of terrible drought, a poor monk knocked at her door and said, "I am a traveller and I'm lost. I need to find a place to stay. Could you help me?" The honest old lady told him that it was impossible for her to help the monk because her household situation had been severely effected by the drought. She told him that she didn't even have water to cook rice. However, the monk asked begged her again to let him stay. Finally, she gave in and agreed to let him stay the night.

Since the old lady decided to accept the monk as her guest she made every effort to show him the best hospitality. She travelled to a remote waterfall to get water, and then prepared an excellent supper. She offered her only mosquito to the monk so that he would sleep in comfort during the night. The next morning, as he was getting ready to leave, the monk felt a great sense of gratitude to the old woman. Before leaving, he said, "Thank you very much for the last night. In return for your warm hospitality, I promise that you will never suffer from droughts ever again. Shimizu Pond will stay full of water, even in the driest summer. And you won't need mosquito net any more. Please take good care of yourself, and enjoy your life." After saying this, he continued on his journey. Ever since then, as he promised, mosquitoes were never again seen in the area, and Shimizu Pond has remained full of water, even in years of little rain. Many people believe that this monk was no other than Kobo-daishi, one of Japan's greatest saints.

The iconic 53 Tokaido highway woodblock prints

The legend of the Tokaido Gojusan-tsugi, a series of fifty-three ukiyoe Tokaido (the old road between Edo and Kyoto) masterpieces, began with a simple commission by the Edo government in 1832. On routine business, the government ordered Ando Hiroshige (1797 - 1858), a low class Edo civil servant and ukiyoe painter, to illustrate the details of a ceremony at the Imperial Palace in Kyoto, during which the shogun would present a horse to the emperor.

In those days, travel was a privilege that was not easily obtained. The trip to Kyoto along the Tokaido Route, a distance of some 500 kilometers which generally took about 10 days, gave Hiroshige, the artist, an unprecedented opportunity to expand his horizons. Ever inspired by the local scenery and constant human commotion along the route, he sketched without pause all the way to Kyoto and all the way back to Edo again. After his return to Edo, based on his sketches, he began publishing, one by one, a series of prints which he entitled the Tokaido Gojusan-tsugi. His works were so lyrically rich, that in a little over a year his name became well known in social circles. The interest in his work was not limited to his Tokaido series. His gently outlined, warmly colored woodblock depictions of snow, the moon, flowers, late spring rain, and fall wind — all expressing the seasonal charms of Japan — were favored by a number of people and his fame was soon firmly established.

Like many artists, Hiroshige’s visual sense was greatly inspired by travel. He often said, "Every time I return to a place, the scenery is different." He was an impulsive traveler and it was not unusual for him to go for a walk and not come back for several days. On one occasion, he went even further and didn't return for three months; on the day he returned to Edo, he told his worried wife he had been in Naruto (the northeastern corner of Shikoku island), to see the famous ocean tide there. Though he had become quite famous, the sale of single work only paid for a few days of travel. To pay for his trip to Awa, he painted on fans and sold them on the way. It was on this trip that he produced one of his best loved nishiki-e (multi-colored wood print), Awa Naruto Moto-fukei. Ukiyoe scenery painting, a style started by Katsushika Hokusai (1760 - 1849), reached its peak in terms of sophistication with Hiroshige’s work and no artist since his time has ever exceeded his exceptional genius in this unique genre.

Toro stone garden & chochin paper lanterns
The obi sash and it's importance in Japan
Great Japanese people & old tales