Kagoshima’s Unique Cat Shrine

Decades before Europeans started using pocket watches, Shimadzu Yoshihiro relied on a different, more cuddly timepiece. This valorous samurai was the 17th head of the Shimadzu family, feudal lords of all of southern Kyushu since 1185.

By Yoshihiro’s time in the late 16th century, Toyotomi Hideyoshi had succeeded in unifying Japan, but his ambitions did not stop there. Flushed with success, he set his sights on China and, in 1592, sent Japanese armies across the sea to Korea to clear the way.

At the behest of Hideyoshi, Shimadzu Yoshihiro set off to battle in Korea, bringing along his treasured katana, tanegashima machlock gun, kemari ball—and seven cats to help him keep track of the time, and one would suppose, to keep him company.

Fighting on the Korean peninsula was fierce. Japanese forces faced off against the armies of the Joseon Kingdom, reinforced by the vast and seemingly inexhaustible troops of Ming China. The samurai fought valiantly, and none moreso than Yoshihiro, who distinguished himself to such a degree that Ming soldiers nicknamed him “The Demon Shimadzu.”

Nevertheless, Hideyoshi’s dream of becoming emperor of China ended in tremendous losses. After his death at his lavish Kyoto residence, the weary samurai finally retreated, bringing with them slaves, apothecaries, master potters—and, in Yoshihiro’s case, his two surviving cats, Yachi and Take.

On his return to Kagoshima, Yoshihiro had a shrine built on the grounds of Kagoshima Castle next to the toki no kane, the bell used to mark the hours for the town. There, his loyal cats were enshrined as Shinto deities and christened the Kami (Shinto god) of Time.

After the Meiji Restoration in 1868 ended the feudal system in Japan, the Shimadzu family left the castle grounds and moved to their seaside villa, Senganen, bringing the Cat Shrine with them. Today, it remains on a quiet hill behind the Shimadzu estate, one of the very few cat shrines in Japan—and the only one dedicated to the keeping of time.

Memorial Services

Each year on “Cat Day,” February 22, the shrine holds the Aibyō Chōju Kigan-sai, a ceremony to pray for the health and longevity of beloved cats.

Another ceremony is held on the little-known Toki no Hi, or “Time Day,” which commemorates the day in 671 AD when Emperor Tenji installed Japan’s first water clock in his capital at Otsu, in what is now Shiga Prefecture. Because Yoshihiro’s cats were instrumental in timekeeping—so much so that Yachi and Take came to be revered as Kami of Time—the shrine holds a Memorial Service for Cats, Aibyo Kuyo-sai, on that day. Clockmakers and cat-lovers alike flock to the shrine to honor Yoshihiro’s trusted “time cats” and the military precision he achieved during the Korean campaigns, thanks to their help.

The shrine’s ema depict Yoshihiro’s two cats. Visitors write their prayers and wishes on these wooden votive tablets and hang them at the shrine. Some ask for the return of a missing cat, others for healing, but most simply pray for long, healthy lives for their furry friends.

How to tell time with a cat

In the mid-17th century, the scholar Tanigawa Shisei penned this catchy poem to explain how to tell time by observing a cat’s eyes. As is typical of Japanese, the subject is understood.

Translated from the Edo-era time terminology, the poem reads:

At sunrise and sunset, they are round.

At 8 am and 4 pm, they are egg-shaped.

At 10 am and 2 pm, they are melon-seed shaped*

At noon, like a needle.

*Melon-seed was a common descriptive shape back in the day, probably more familiar to us as the shape of a persimmon seed.

Anyone who has spent time around cats will have noticed this. Their pupils widen into dark circles at night and narrow to thin slits in bright daylight. By learning these changes and keeping a cooperative cat handy, it’s possible to make a rough, but practical, estimate of the time.

If you ever find yourself in Kagoshima, consider visiting Senganen and seeking out the Cat Shrine dedicated to the Kami of Time—the only one of its kind in Japan.

I don’t think I’ll ever look at a cat the same way again.

The post Cats—From Battlefield Timekeepers to Unexpected Shinto Deities first appeared on More Than Tokyo and is written by Diane Tincher.

The Maeda Clan’s Legacy, Kenrokuen Garden, and Translucent Gold Leaf

Kanazawa is the capital of Ishikawa Prefecture, about midway up the western coast of Honshu. The name Kanazawa, meaning “marsh of gold,” is said to have come from a story of a man who washed gold dust from freshly dug potatoes into a well. Today, the Kinjo Reitaku well, where those gold-dusted potatoes were rinsed, is located on the grounds of Kenrokuen Garden and stands as a reminder of the city’s golden legacy.

Kanazawa’s history dates back approximately 500 years to the Kaga Ikkō-ikki, a 15th-century conflict between the ruling samurai class and the Ikkō, militant followers of Jōdo Shinshū (True Pure Land Buddhism). This diverse group, which included monks, priests, townspeople, and farmers, emerged victorious and established Kanazawa as “The Peasants’ Kingdom.” Free from samurai rule, the government of Japan’s sole Buddhist fiefdom was based at Kanazawa Mido, a temple complex built in the mid-16th century on what is now the grounds of Kanazawa Castle.

“The Peasants’ Kingdom” came to a sudden end in 1580 when Oda Nobunaga’s forces, led by Shibata Katsuie and Sakuma Morimasa, stormed into the city. Following the conquest, Nobunaga gave Morimasa control of Kaga Province.

However, after Nobunaga’s death in 1582, Toyotomi Hideyoshi reassigned the province to Maeda Toshiie, a wise and accomplished samurai general. Toshiie’s ceremonial entry into Kanazawa on June 14, 1583, marked the start of the modern development of Kanazawa. The Maeda clan built Kanazawa Castle on the former site of the Mido temple, and they transformed the surrounding temple town into a new castle town.

For 285 years, the Maeda clan governed Kaga Province, present-day Ishikawa and Toyama Prefectures. One of the largest domains of the Edo period, Kaga had a rice yield of approximately 1.2 million koku—enough to support an army of 1.2 million men, as one koku (150 kilograms/331 pounds) was considered the amount needed to feed one man for a year. This vast yield made the Maedas the wealthiest feudal lords of the Edo period after the Tokugawa shoguns. Under the Maeda clan’s benevolent rule, Kanazawa flourished as their political, economic, and cultural center, and became one of Japan’s leading castle towns.

The third lord of Kaga, Maeda Toshie’s son Toshitsune, was the first to transport his rice taxes, 100 koku, by ship southwest around Honshu and up to Osaka, laying the foundation for what was to become the Kitamaebune trade route. He also led the largest contingent to support Tokugawa Ieyasu during the siege of Osaka in 1615. Following their victory over the Hideyoshi clan, Ieyasu offered Toshitsune the island of Shikoku in exchange for his Kaga domain. Toshitsune declined, and we can be glad he did.

The city developed around Kanazawa Castle, which shaped the layout of its streets, neighborhoods, gardens, and sophisticated water systems. Many Buddhist temples were relocated to the city’s outskirts to act as defensive perimeters, while Ikkō temples—historically linked to rebellious activities—were moved within the town for closer supervision. To mitigate the risk of uprisings, non-Ikkō temples were strategically placed to oversee the Ikkō sect temples.

The Maeda lords prioritized culture and education over military strength. They invited scholars and master artisans from across Japan, fostering the development of Kutani ware ceramics, lacquerware, metal casting, tea ceremony, Noh theater, and the geisha arts. This cultural patronage extended beyond the samurai elite, touching the lives of townspeople and granting them access to a level of sophistication rarely available in other regions.

By the late 19th century, Kanazawa had become Japan’s fourth-largest city, following Tokyo, Osaka, and Kyoto. However, the Meiji Restoration of 1868 shifted the political landscape, stripping the Maeda clan of power and centralizing authority in Tokyo. As Japan modernized, attention and resources were increasingly focused on the growing metropolises of Tokyo, Osaka, and Nagoya. As Kanazawa was left behind, its economy declined, threatening the continuation of its once-flourishing traditional crafts and cultural practices. Yet, its craftsmen and artisans carried on.

During the 20th century, Kanazawa was spared the devastation of World War II largely due to its limited industrial and military importance and its somewhat isolated position on Japan’s west coast. This fortunate outcome, combined with the city’s peaceful history under the Maeda clan during the Edo Period and its relative lack of natural disasters, has allowed entire districts of Edo-era architecture to survive intact.

In the post-war era, as Japan underwent rapid economic growth and globalization, Kanazawa drew on its rich cultural and intellectual heritage to merge its traditional crafts with contemporary art, nurturing a new creative cultural industry. This dedication to preserving and evolving its artistic legacy earned Kanazawa recognition as a UNESCO City of Crafts and Folk Art in 2009. The relocation of the National Crafts Museum from Tokyo to Kanazawa in 2020 further underscored this status. 

The legacy of the Maedas’ investment in the arts remains evident today. Kanazawa is well-known for its traditional crafts, including gold and silver leaf work, lacquerware, ceramics, and silk production, as well as its performing arts, such as Noh theater and geisha.

Kenrokuen, One of Japan’s Three Great Gardens

Japan has a well-known affection for “Three Greats,” a cultural quirk I’ve written about before. Tracing back to at least 1899, a beautiful example is the Three Great Gardens—Kairakuen in Mito, Kōrakuen in Okayama, and Kenrokuen in Kanazawa.

Each of these Three Greats is a strolling garden created by feudal lords near their castles in the early Edo era. One theory as to why those gardens were chosen is linked to the classic imagery of “snow, moon, and flowers” (雪月花). Kairakuen (偕楽園), famed for its 3,000 plum trees, evokes flowers (花). The stillness of the pond in Kōrakuen (後楽園) mirrors the moon (月). And Kenrokuen (兼六園) dazzles with the snow-draped beauty of its trees supported by yukitsuri (雪).

Kenrokuen, the jewel of Kanazawa, covers 114,436 square meters and has been open to the public since 1874. Its story began in 1676 when Maeda Tsunanori, the 5th lord of the Kaga Domain, laid the foundations with a landscape garden called Renchitei. A fire destroyed it in 1759, but the family restored it by 1774. In 1822, its name was changed to Kenrokuen, meaning “Garden of Six Elements,” a nod to a classical Chinese poem that elucidates the six contrasting qualities of an ideal garden: vast space, quiet seclusion, human artistry, timeless elegance, flowing water, and sweeping vistas. The poem suggests that uniting all six is nearly impossible—yet a walk through Kenrokuen proves otherwise.

As you wander its paths, these elements unfold naturally. The garden’s oldest fountain, Japan’s first powered by natural water pressure, marries human ingenuity with the rush of flowing water, its height rising and falling with the level of the nearby pond from which its stream flows. The terrain shifts subtly from secluded resting spots to sudden, expansive views, like the Kasumigaike pond that reflects the surrounding greenery and sky.

When the haiku poet Matsuo Basho visited Kanazawa in 1689 he left the following, now inscribed in stone:

あかあかと、日はつれなくも、秋の風

bright red burning
bitter sun…
but autumn in the wind

A small war memorial in the park, the Meiji Memorial, was erected in 1880 to honor 400 soldiers from Ishikawa Prefecture who lost their lives quelling a rebellion in southern Kyushu. The statue is cast in the form of the mythical hero Yamato Takeru, who, according to ancient legend, also suppressed a rebellion in Kyushu.

Gold Leaf

Gold leaf production in Kanazawa began in the late 16th century under the rule of the Maeda clan. While the Maeda actively promoted this art, their ambitions were curtailed by the Shogunate, which confined gold leaf production to designated regions like Edo and Kyoto. It wasn’t until these restrictions were lifted following the Meiji Restoration in the late 19th century that Kanazawa’s gold leaf industry blossomed into a public art form.

The process of creating gold leaf is both intricate and labor-intensive. It begins with a gold alloy—blended with traces of silver and copper—rolled into thin sheets by a mill. These sheets are then placed between layers of hakuuchi-gami, a handmade washi paper essential to the process. To make this paper, white washi is soaked in a brew of straw-ash lye, hot water, egg white, and persimmon tannin, then dried and pounded for three months until it becomes a smooth, durable, brownish sheet. The paper’s quality determines how thinly and uniformly the gold can be stretched.

The gold alloy is sandwiched between sheets of bound hakuuchi-gami, and machine-pounded for three days until it reaches an astonishing thinness of 0.0001 millimeters—so thin the gold leaf becomes translucent. Kanazawa produces 99% of Japan’s gold leaf and all of its silver and platinum leaf. Known collectively as Kanazawa haku, these delicate sheets are a shining example of the city’s traditional handicrafts.

I could go on about the wonders of Kanazawa—three geisha districts where working geiko bring history to life; the breathtaking garden behind Oyama Shrine and another in the Nomura Samurai House; the world-class museums; the Noh theater; and the bustling Omicho Market running over with fresh seafood and energetic merchants. It’s no wonder that Kanazawa is one of my favorite cities. The lingering influence of the Maeda clan radiates through its prosperity, timeless traditions, and continually evolving arts. I hope you will one day have the chance to experience this beautiful city.

The post Kanazawa’s Impressive Golden Culture first appeared on More Than Tokyo and is written by Diane Tincher.

Once served to emperors, this traditional fermented fish is quietly making a comeback

From the late 7th century, Wakasa was one of three Miketsukuni, areas designated by law to provide seafood to the emperor and imperial court. The port of Obama, nestled between mountains and the sheltered waters of Wakasa Bay on the Sea of Japan, was Wakasa’s center of supply. 

From this closest seaport to the capital, porters would carry salt, seaweed, and salted fish in baskets tied to their backs directly across the rugged mountains to Nara and Kyoto. This route, known as the Saba Kaidō, or Mackerel Highway, owes its name to the abundance of mackerel in Wakasa Bay. This bounty was due to the bay’s ideal environment, created by the convergence of the warm Tsushima Current from the south and the cool Liman Current from the north.

The 72-kilometer journey from Obama to Kyoto along the Mackerel Highway took just enough time for the preserved fish to reach its optimal flavor. Seafood from Obama was highly valued in Kyoto as “Wakasa food,” and one popular dish, saba-zushi—sushi rice pressed with a fillet of salted and pickled mackerel—is still a popular washoku today and a feature of Kyoto’s annual Gion festival.

Among the foods sent to Kyoto in bygone days, one stand-out is a unique type of preserved mackerel known as Heshiko.

Heshiko

Inland along the northern section of Obama lies the hamlet of Tagarasu, meaning “crows in the rice paddies.” In one of its quiet valleys, surrounded by green mountains and picturesque rice terraces, stands a disused elementary school. Once alive with the laughter and chatter of energetic children, its classrooms fell silent more than a decade ago. Today, its schoolyard is occasionally used by elderly locals who gather for a leisurely game of gateball.

But in recent years, the school building has gained a new purpose. Its once lively classrooms are now home to hundreds, yea, thousands, of silent inhabitants—mackerel.

Tagarasu is where I was fortunate to learn about Heshiko, an ancient technique that uses salt and fermentation to preserve fish. Born out of necessity, this method helped Obama fulfill its role as a Miketsukuni, furnishing high-quality seafood from Wakasa Bay to the imperial cities of Nara and Kyoto along the “Mackerel Highway.” It also provided a vital source of protein for people living in the mountains, ensuring they had healthy food to carry them through the harsh winter months when deep snow made fresh supplies scarce.

Today, heshiko remains a local delicacy, rich in umami. Its preservation process involves salting and fermenting fish — usually mackerel, sometimes herring — for over a year.

The process begins in autumn with a fresh catch of mackerel. The fish are gutted and cleaned, their cavities filled with salt, and then they are packed into large cedar barrels.

Once a barrel is full, the fish are covered, and a two-kilogram weight is placed on top. A day or two later, the fish are removed, packed in fresh barrels, and pressed with a heavier weight. This process continues, with the weight gradually increasing, until excess liquids are removed from the fish.

When the fish are sufficiently moisture-free, they are repacked into barrels—this time filled and layered with rice bran instead of salt. Togarashi peppers are added to deter insects, and sturdy straw ropes are tied tightly around the barrel rims to seal the containers. 

Left undisturbed for about a year, the mackerel undergoes slow fermentation. The following winter, the fish have transformed into heshiko and are ready to be eaten.

Heshiko is packed with nutrition and is a rich source of protein, calcium, iron, dietary fiber, EPA, DHA, beneficial enzymes, and vitamins B and D. The family of heshiko producers I met hope that one day, heshiko will be recognized as the superfood it is and that Tagarasu’s heshiko will become a household name.

Heshiko goes well with a cup of dry sake or beer. It can be served in all kinds of ways—thinly sliced atop a wedge of daikon radish, grilled, as sushi, or in chazuke — topping on a bowl of rice with green tea poured over it.

Narezushi

Some heshiko are fermented further and made into narezushi—the earliest form of sushi. To make this, the fish are first rinsed to remove the rice bran, then skinned and soaked in water to draw out excess salt. Next, they are filled with rice and koji mold — Aspergillus oryzae, the same spores used to make sake, soy sauce, and miso paste — and packed back into barrels with more rice and koji.

A weight is placed on top, and the mixture is left to ferment for a couple of weeks. After this, the narezushi is ready to eat.

Like many fermented foods, narezushi is an acquired taste and is best served in small portions. It is not nearly as salty as heshiko, and I can see how it would be a popular snack to nibble on with sake or beer.

If you’re in Japan but can’t make it up to Obama, you can order heshiko online from https://www.kadono-heshiko.com/. Unfortunately, Kadono-san cannot ship internationally.

The post Heshiko—Japan’s (Almost) Forgotten Superfood first appeared on More Than Tokyo and is written by Diane Tincher.

Sado Island’s lesser-known treasure

Last month I had the opportunity to visit the fascinating island of Sado, off the coast of Niigata Prefecture in northern Honshu. It felt like a land that time forgot, so charmingly rustic and old-fashioned were its buildings.

Located in the Sea of Japan, Sado was once home to mines that flourished from the early 17th century until the last one closed in 1989. Together, these mines produced an astounding 78 tons of gold and 2,300 tons of silver. That’s a lot of precious metals!

Nevertheless, I was surprised to learn that during those same years, 30% of the island’s wealth was concentrated in the quiet port town of Shukunegi.

Naturally, I had to explore.

Shukunegi

Shukunegi is on the southeast coast of Sado Island, an easy drive from my inn on the southwest coast. During the Edo era (1603–1867), the port bustled with trade. Hundreds of Sengoku-bune, a type of Japanese wooden sailing ship, were either based there or stopped by on their way to and from the port of Sakata, in the north, to Osaka on the far side of Honshu. 

The name, Sengoku-bune, means “1,000 koku ships.” Koku is a Japanese measurement that had long been used for rice. One koku equals 150 kilos. Rather than in currency, taxes were paid in numbers of koku of rice. Samurai received a set number of koku as their yearly wages. And Daimyo lords were judged wealthy by the number of koku of rice their domains produced.

These impressive sailing ships, the Sengoku-bune “1,000 koku ships,” carried 150,000 kilos of rice from the great rice-producing areas of northeastern Japan down to Osaka, stopping at ports along the way. They returned with pottery, various other goods, and remarkably, stones to replace the weight of the rice and provide necessary ballast for the ships.

You can spot these stones around the town, used in roads, foundations for buildings, monuments, and the like. One bridge in Shukunegi is made from stones carried on one of the Sengoku-bune all the way from Onomichi City, in what is today Hiroshima Prefecture.

Shukunegi is situated on a small piece of land surrounded on three sides by hills. In the late Edo era, the town along with the surrounding countryside consisted of 120 households and 500 residents. There were peasants, shipowners, captains, sailors, shipbuilders and carpenters, blacksmiths, and bucket makers. As well, there was a continuous stream of men who came and went on the Sengoku-bune.

People still live there today.

To fit the population in, architects had to be creative, fitting the buildings into small and irregularly shaped patches of land between streams and roads. They also made good use of any leftover wood from shipbuilding and from old, dismantled ships.

Prosperity threatened

In December of 1802, a 6.5 to 7.0 magnitude earthquake occurred that nearly put an end to Shukunegi’s prosperous trade. The land and sea levels along the coast were raised by two meters. The Sengoku-bune could no longer harbor in the small port. The sea had become too shallow.

Thankfully, one resourceful man came up with a solution.

Tarai-bune

Miso making requires fermenting soybeans with saltwater and rice koji — yes, the same koji that is used in making sake — in huge barrels made from cedar and bamboo. 

The story is told that a miso maker was gazing at his big barrels and struck upon an idea. He cut one in half and found that it made a fine shallow-bottomed boat. It was big and stable enough to haul freight to and from the Sengoku-bune anchored offshore.

That innovative miso-maker had made the first han-giri, or “half-cut.” The idea caught on. People started building these boats and adapting them, making them smaller and then oval-shaped. They came to be called tarai-bune, “washbasin boats.” They are controlled by using one long oar.

Fishermen use tarai-bune even today from which they hook abalone and flatfish from the shallow seafloor. Their small size makes them easy to navigate through the narrow waterways and coves of the Sado coast.

After being ferried about in a tarai-bune and seeing a surprising number of baby fugu pufferfish in the crystal-clear water, I headed off to explore the town’s museum.

Ogi Folk Museum

In 1920, an elementary school was built in Shukunegi. Due to population decline, the school was converted into a museum in 1972. 

A faithful reproduction of a Sengoku-bune nearly fills its auditorium, surrounded by a collection of old coins, beautiful ceramics, lacquerware, old chests, and other relics.

Each classroom is dedicated to a different category of objects. They are filled nearly to overflowing, giving me the impression that many grandmothers must have donated the contents of their many storerooms.

I was captivated by this amazing treasure trove of ancient and curious items, from old ema tablets, saddles, toys, shoes…

…to pipes, pottery, masu measuring boxes, toilets, fishing tools, bamboo products, and more. According to the gentleman who works there, who, incidentally, graduated from that elementary school, the building houses more than 30,000 items.

Yet, of all the hundreds of pieces of pottery in the museum, not one was made on Sado. All of it was brought in through trade, including Jomon era (14,000–300 BC) pots from neighboring Niigata.

After nearly being overwhelmed by the huge variety and amount of items to look at, I asked the fellow at the museum about a collection of Buddhist Jizo statues I had heard about. He knew what I meant. 

Since there was no one else at the museum, he left and led me down a long staircase into the heart of Shukunegi Town to a small graveyard. He told me the Jizo were behind a collection of statues.

We gingerly climbed up over the ancient statues and, indeed, the Jizo were there, grown over by grass and weeds. I guess there just aren’t enough people to get everything done in that small town.

This kind man then suggested that I might like to visit a cave nearby. After walking together back to the museum, I thanked him and then followed his directions to a staircase that led up from a narrow road.

Iwaya Cave

What I found up that stone staircase was a large sea cave created hundreds of thousands of years ago. Iwaya Cave is 70 meters above sea level, the rise in elevation is thought to have been caused by the major uplifts in the earth’s crust that occur about every 1,000 years in this area.

In this cave, archeologists have discovered ceramics dating from the Jomon era (14,000–300 BC) clear through to recent years, carvings from the middle ages, coins, ironware, and more. It is still a remarkable place, although questionably looked after.

Buddhist images carved into the cave walls are attributed to Kōbō Daishi, who founded Shingon Buddhism in the early 9th century. 

In the far back of the cave, in pitch dark, is an image of the Eleven-Faced Kannon, goddess of mercy, who sailors prayed to for safekeeping. My camera flash allowed me to capture its image.

In front of the cave are 88 stone Buddhas, representing the 88 sites of the pilgrimage on Shikoku island, established by Kōbō Daishi.

There are small towns like Shukunegi all over Japan, filled with interesting stories and hidden treasures. Fortunately for the people of Shukunegi, their town was declared an “Important Preservation District for Historic Buildings” in 1991. It is one of 126 such areas scattered across Japan that are being preserved, and they are well worth searching out.

Although we tend to think of the past as remote and distant, much of it lives on in rural Japan — in towns like Shukunegi. 

The post Shukunegi, Japan — The Town Where People Fish from Barrels first appeared on More Than Tokyo and is written by Diane Tincher.

Walking Amid Michelin Green Guide Star-Winning Beauty

I recently had the privilege of climbing Mount Haguro in northeastern Japan. The forest walk has been given 3 stars by the Michelin Green Guide, and it did not disappoint. Please allow me to share my journey with you.

Background

Mount Haguro is one of three sacred mountains known as the Dewa Sanzan, 出羽三山, meaning the three mountains of Dewa — the old name for Yamagata and Akita Prefectures. Climbing these mountains has been considered a pilgrimage of spiritual rebirth for centuries.

Each mountain in the Dewa Sanzan represents an aspect of cosmic time that pilgrims face. Mount Gassan is where we ask forgiveness for past wrongs and encounter our ancestors. Mount Haguro is where we overcome the troubles of the present world. And Mount Yudono is where we confront our future selves.

A little history

In the 6th century, Prince Hachiko, the son of the 32nd emperor of Japan, left the capital in Nara. His father, Emperor Sushin, had been assassinated, and his cousin, the influential and powerful Shotoku Taishi, advised him that discretion was the better part of valor. Hachiko accepted this advice and, difficult though it must have been, quietly left the capital.

Legend tells us that Hachiko then traveled the country, healing those wherever he went by magically absorbing their sufferings. The more hardships he took upon himself, the more disfigured he became. Yet Prince Hachiko, without concern for his earthly appearance, kept on.

Eventually, he was led to Mount Haguro by a three-legged crow. 

In a quintessential mix of Buddhism and Shinto, Prince Hachiko set up a monastery to practice Buddhism and to worship the Shinto kami of the three mountains. There he remained, teaching and healing, until his death in 641.

From the time Buddhism reached Japan in the 6th century, there was a peaceful syncretism of Buddhism with Shinto. Buddhist gods were considered manifestations of Shinto kami, and many temples and shrines shared the same grounds — some buildings even served as both Buddhist temples and Shinto shrines.

In 1868, as a means of weakening the wealth and power of Buddhist sects and to bring greater respect to the authority of the newly installed Emperor Meiji, himself a Shinto god, the government ordered the division of Buddhism and Shintoism. Temples, statues, bells, and sutras were destroyed in a frenzy of attack by Shinto nationalists. Many Buddhist priests were forced to leave the priesthood; others chose to become Shinto priests.

From that time, Buddhist images were removed from Mount Haguro. 

Climbing Mount Haguro

After consulting bus and train schedules, I took an 8:22 train from Niigata City and reached the charming city of Tsuruoka, in Yamagata Prefecture, in plenty of time to catch the 10:41 bus. The next bus was 90 minutes later, so careful planning was essential.

I had a pleasant ride past beautiful countryside with the awesome snow-covered Mount Chokai to the north providing the backdrop. After about 40 minutes, the bus drove through an enormous torii gate, along a narrow road fronting Shukubo shrine lodgings, and arrived at the foot of Mount Haguro.

My lodging for the night was easy to find.

I rang the bell at the shrine where I was going to stay and dropped off my bag. The innkeeper, the Shinto priest’s wife, visibly relaxed when she realized that the foreigner staying with her that night could speak Japanese. I thanked her for keeping my suitcase, bid her goodbye, and headed to the hiking trail.

It was 11:30 and the weather was glorious.

I bowed and passed under the torii gate, symbolizing my entry into the sacred realm of Mount Haguro, a Shinto kami. Then I approached the next gate.

The vermillion Zuishinmon Gate was previously guarded by two Buddhist Nio warriors and had been called the Niomon Gate. These statues were moved to safety and hidden during the anti-Buddhist frenzy. Today, they can be viewed at the Shozen-in Temple, a 15-minute walk from their former home. 

This gate marks the beginning of the 2,446 stone steps that lead to the summit.

In 1648, the 50th chief priest of the Dewa Sanzan, Tenyu Betto, laid the thousands of stones that lead from the vermillion gate to the mountaintop Sanjin Gosaiden shrine. It took him 13 years. Along the way, he carved 33 different Buddhist symbols into the stones. If you can find them all, it is said your prayers will assuredly be answered.

I think I found a few.

The path first leads downhill to a group of simple wooden shrines.

Then it takes us across the red, arched Shinkyo Bridge that had marked the border across which no women could pass until the 19th-century changes. To the right is the 400-year-old, man-made Suga-no-Taki waterfall, also credited to Tenyu Betto.

Soon, I meet the 1,000-year-old cedar tree affectionately called Jiji-sugi, or “Grandfather Cedar.” This majestic tree stands near the 600-year-old Go-jū-no-toh, or Five-Story Pagoda. This amazing work of architecture was originally built by none other than Taira no Masakado in the 930s. You may remember Masakado as one of Japan’s Three Most Infamous Vengeful Ghosts. 

The Go-jū-no-toh was built without using any nails. It features a large earthquake-resistant pendulum in the center which allows the building to gently and loosely sway like a snake during tremors. Its design has inspired modern techniques for constructing earthquake-proof buildings and towers, such as the 634 meter Tokyo Sky Tree. 

The current pagoda dates from 1372 when it was rebuilt by Daihoji Masauji, the chief priest of Mount Haguro. It is all that remains of a temple complex that surrounded it until the 1870s when the buildings were destroyed. Fortunately for us, the Go-jū-no-toh was rechristened as a Shinto shrine before then.

As Yamagata is deep in Japan’s snow country, each winter workers climb up inside the pagoda to sweep off the snow that accumulates on the roofs. 

After taking time to admire these awe-inspiring sights, I head up the long staircase sided by hundreds of 400-year-old cryptomeria cedar trees.

Walking through this beautiful forest, filled with the fragrance of cedar trees and joyous birdsong, I cannot think of a nicer way to spend a day.

I pass many small wooden shrines, then come upon unusual trees wrapped in a shimenawa rope, signifying that they are sacred. 

Originally two trees, through the years they reached out to each other and are now collectively known as Meoto-sugi, “The Couple Tree.” A wooden sign nearby tells us that those who hug this tree will be blessed with children.

There are three slopes along this path, each marked by a stone monument, and I have reached the third. 

I pass a shrine dedicated to the kami, Haniya-Hime no Mikoto, who was created from the feces of the creator goddess, Izanami-no-Mikoto. (I’m not making this up.) Those looking for the divine blessing of lasting relationships come here to pray.

Soon, I reach the top of the mountain, welcomed by another torii gate.

Exploring the mountaintop

I’ve climbed the 2,445 stone steps that lead from the Zuishinmon Gate to the 414 meter-high summit of Mount Haguro. I bow and enter the grounds where all three deities of the Dewa Sanzan are enshrined.

The first thing that catches my eye is a magnificent wooden shrine, a marvel of craftsmanship. It is the Itsukushima Shrine dedicated to the three deities of Munakata (in Fukuoka), and was once shared with Benzaiten, their Buddhist equivalent. These deities are incarnations of the god of water and all that flows, and they are crucial to this island nation as providers of the bounties from the sea. 

Among myriad intricate carvings are two dragons, one adorning each front pillar. Unlike the Western concept of dragons, these are helpful and wingless creatures. One is climbing up the pillar, symbolizing our struggles to attain Buddhahood through the continuous cycle of birth, death, and rebirth.

The other dragon descends, signifying its intention to come to earth and help aid the salvation of all living things.

No one knows when this building was constructed.

I pass the shrine to Prince Hachiko, then go up a few steps to pay my respects at the Sanjin-Gosaiden Shrine. This striking cedar structure was built in 1818, and it has an impressive 2.1 meter thick thatched roof, the thickest in Japan.

The gods of each of the Dewa Sanzan — Mount Haguro, Mount Gassan, and Mount Yudono — are enshrined within. This is the only mountaintop accessible all year round, so pilgrims can pay homage to all three deities here.

In front of the shrine is a pond called Kagami-ike, Mirror Pond. Although it beautifully reflects the shrine, this is not the source of its name.

In the early 20th century, the pond was drained. Over 600 ornate, bronze mirrors were recovered from its muddy bottom. Worshippers are thought to have used the mirrors as vehicles for their prayers and tossed them into the pond. Today, those mirrors have traveled as far as the British Museum and the Smithsonian Institute. Nearly 200 are on display in the nearby Dewa Sanzan Historical Museum, which, unfortunately, was closed when I visited.

Beside the pond is an ancient bell. As Shinto shrines do not usually have bells, this one is clearly a remnant of the days when Buddhism flourished in Dewa Sanzan.

The bronze bell weighs 10 tons, the 3rd largest in Japan. It was donated by the regent Hojo Tokimune as thanks for prayers offered for victory during the Mongol invasions of 1274 and 1281.

The thatched roof belfry was built in 1617, replacing the former structure that was destroyed during a typhoon.

This bell is rung only once a year, on December 31. Imagine the reverberations that echo across the mountains.

Among the other shrines on the mountaintop is Tōshō Shrine, dedicated to the deified first shogun of the Edo era, Tokugawa Ieyasu.

Another is the Reisaiden, a shrine built to house ancestral spirits. There is a spectacular painting of a dragon on the ceiling of its entranceway and a collection of Buddhist sculptural masterpieces in the building beside it. No photography is allowed.

Beside Reisaiden is a small cemetery with some unusual clothed gravestones.

Along the east side of the mountaintop, sits a row of small shrines. One of these stood out because of its collection of footwear. It is the Kensumimi Shrine, dedicated to Kamo-Taketsu-Numi no Mikoto, who, according to legend, is the kami who was incarnated as the three-legged crow.

People visit the shrine and offer footwear imbued with prayers for safe travels and healing and strength for their legs.

The climb down

After paying my respects at the modest imperial grave of Prince Hachiko, I head back to the torii gate to begin my descent.

Along the way is a sign tempting me to explore the Minami-Dani, which means southern valley. Despite the “Watch out for Bears” sign, I brave the unused trail. About 500 meters into the woods I come to a clearing that once held a temple where the great poet, Matsuo Basho, stayed while on his famous “Narrow Road to the Deep North” poetic journey in the 17th century.

There was not much left of the pond or the gazebo, but the walk is beautiful.

Back on the main path, I come across construction at a tea house. I peek into the grounds before one of the workers kindly tells me he would “appreciate me not entering.” I see enough to know that the rebuilt tea house will afford a fantastic view of the vast Shonai plains below.

Shukubo shrine stay

The innkeeper greets me at the door of the shrine lodging and shows me to my room. It is a huge 12 mat room, twice the size of a typical single room.

“Wow, this room is huge!” This is an unexpected surprise.

“You’re a foreigner, so I thought you would like a big room.”

I do!

She takes me down the hall to show me the shared bath and toilets, then back to show me the small room where my meals would be served. We agree on a 6:00 dinner, and she leaves me to wash up and relax.

Innkeepers in Japan prefer to serve dinner early, as the meals are rather elaborate, and they appreciate having plenty of time to clean up before they go to bed.

I bathe, put on the yukata robe the innkeeper provided, and before I know it, dinner is served.

It’s a feast of wild mountain vegetables and various types of tofu, including a house specialty, sesame tofu. This type of cuisine was developed in the Kamakura era by Zen monks and is called shojin-ryori.

Although Dewa Sanzan became Shinto in 1869, shojin-ryori continued to be served and adapted. Enjoying shojin-ryori is an important part of any visit to the Dewa Sanzan.

After a peaceful sleep in that quiet room between comfortable and warm futons, I wake up refreshed.

I again visit the Jiji-sugi “Grandfather Cedar” and the Go-jū-no-toh. I see many people cleaning, and learn that the mountain is cleaned one day each year.

I visit the two shrines between my inn and the Zuishinmon Gate. One is called the Tenchikon Shrine. This iteration was built in 1779 and is decorated with remarkable carvings.

The other shrine is dedicated to “The Tofu Jizō.”

With a name like that, it had to have an interesting backstory.

Before the late 19th century, this Jizō statue held pride of place on temple grounds, bringing prosperity to the worshippers on Mount Haguro and protecting pilgrims.

Sadly, when its temple compound was destroyed, this Jizō statue was cast into a ravine and forgotten.

Many years later, a mason was searching the forest for stone. He came upon the Jizō and mistook it for mere smooth stone. It seemed to him a perfect find to fashion into a stone used in making tofu. It was his lucky day — or so he thought.

The moment he struck the stone, he fell over unconscious. For three days and three nights he lay in a stupor, his mind filled with dreams.

In his dreams, Jizō appeared to him and warned him to repent of his disrespect.

When he awoke, repent, he did!

He moved the Jizō to its current position near the Zuishinmon Gate, built a shrine for him, and gave him the name “Tofu Jizō.” Today, people visit this Jizō to pray for long life, safe childbirth, and for help in raising children.

I go next door to the inn and partake of a wonderful shojin-ryori breakfast. I notice one of the dishes is a triangular chimaki, a type of rice dumpling wrapped and cooked in bamboo leaves and topped with soybean powder. It is a popular dish served on Children’s Day and one of my favorites.

After this delicious meal, I bid farewell to the kind innkeeper.

My time at Mount Haguro is up. I catch the 9:18 bus to Tsuruoka Town, satisfied after a perfect stay and looking forward to new adventures.

Mount Haguro embodies many of the reasons I write about rural Japan. Though off the beaten path, it truly is a treasure trove of culture and beauty for those who take the time to visit.

For what it’s like to stay at a Buddhist Temple, please see my article, “Shukubō — Tranquil Temple Stay in Japan.”

The post Mount Haguro—Experiencing its Rustic Magnificence first appeared on More Than Tokyo and is written by Diane Tincher.

The only double-helix wooden structure in the world

Nestled on a hillside overlooking the small city of Aizuwakamatsu in Fukushima Prefecture is an extraordinary shrine. Constructed in 1796, this architectural marvel bears the official name Entsu Sansōdō, 円通三匝堂, which translates to “the temple of three turns around.”

Above the entrance of this entirely wooden structure, an intricately carved dark wood lintel showcases two lighter-colored dragons entwined as protectors of this sacred space. But that remarkable sight pales in comparison to the building itself.

Sazaedō’s Unique architecture

Upon entering the building, visitors turn left and begin an uphill climb. The interior reveals a continuous ramp winding its way up, before passing over an arched bridge, and then descending back down. This unique double-helix design earned the shrine its popular name, Sazaedō. Sazae means spiral turban shell, and dō refers to temple or shrine.

The windows and eaves follow the incline of the ramps, tracing the spiraling path upwards and downwards. The sloping walkway maintains an unbroken course without any overlaps.

Remarkably, Sazaedō’s design did not come from the genius of an architect but rather from the ingenuity of the head priest of the nearby Shōsōji Temple, Ikudō, whose statue graces the entrance of the shrine. 

The exact source of his inspiration remains a mystery. Yet, it is believed that renewed access to Western books in 1720, thanks to Tokugawa Yoshimune lifting a long-standing ban, provided Ikudō with valuable scientific knowledge that likely influenced his design. Some speculate that he may have seen drawings of Leonardo da Vinci’s double-helix staircase at Château de Chambord in France, but there is no way to know.

One-stop pilgrimage

Sazaedō was built at a time when pilgrims undertook journeys across western Japan to visit 33 temples dedicated to Kannon, the Buddhist goddess of mercy. These pilgrimages required a significant investment in time and money. Nevertheless, people were driven by their piety to visit all the temples, offering prayers and purchasing protective amulets at each one. Sazaedō offered a revolutionary alternative.

Within its walls, all 33 Kannon statues were placed in alcoves along Sazaedō’s one-way spiral hallway, condensing the entire pilgrimage into one temple. This innovative idea made Sazaedō immensely popular, transforming it into a convenient one-stop pilgrimage destination. The success of this design inspired the construction of other spiral temples throughout Japan, although none rivaled the impressive three stories of Sazaedō.

Its official name, Entsu Sansōdō, not only alludes to its “three turns around” design but also refers to the Buddhist etiquette of walking three times clockwise around an image of the Buddha, a practice observed by all pilgrims who visit Sazaedō.

The building’s ceiling and interior walls are covered with thousands of paper stickers called senjafuda, which pilgrims used to affix to mark their visit to shrines and temples. These stickers typically display the person’s name and sometimes their place of residence. The multitude of senjafuda in Sazaedō provides a window into bygone days when visiting temples was not only a spiritual endeavor but also a popular recreational activity.

In 1868, the Meiji government ordered the separation of Buddhism and Shinto. This decree triggered the widespread destruction of Buddhist temples and statuary. During this difficult time, the 33 Kannon statues were removed from Sazaedō, and the building was redefined as a Shinto shrine.

Today, Sazaedō stands as a testament to its rich history and remains the only double-helix wooden structure in the world. Instead of statues of Kannon, the alcoves hold illustrations of moral teachings compiled by Matsudaira Katataka, the 8th lord of the Aizu clan, who ruled the area during the first half of the 19th century.

Although Aizuwakamatsu is quite far off the beaten track, it’s well worth a visit to see the amazing Sazaedō for yourself.

And while you are there, take a moment to visit the nearby shrine to the young samurai who committed seppuku, ritual suicide, during the close of the Boshin civil war in 1868.

References:

http://www.sazaedo.jp/, 朝日新聞1972年11月20日, signs.

The post Sazaedō—The Strikingly Unique Spiral Temple of Aizu, Japan first appeared on More Than Tokyo and is written by Diane Tincher.

The rise and fall of the Northern Fujiwara family

Three generations of glory

Vanished

In the space of a dream

So wrote Japan’s most famous Haiku poet, Matsuo Basho, upon visiting Hiraizumi in 1689.

Located in Iwate Prefecture, Hiraizumi is a place you may never have heard of. But it was once the capital of northern Japan, rivaling Kyoto for size, splendor, and wealth. 

The famed explorer Marco Polo described what he heard about it while in China:

They have gold in the greatest abundance, its sources being inexhaustible… The entire roof [of the sovereign’s palace] is covered with a plating of gold… The ceilings of the halls are of the same precious metal; many of the apartments have small tables of pure gold, of considerable thickness; and the windows also have golden ornaments. So vast, indeed, are the riches of the palace, that it is impossible to convey an idea of them. — The travels of Marco Polo, written 1300

This marvelous city of gold was founded by a member of the powerful Fujiwara clan, whose daughters married emperors and influenced the government in Kyoto for generations. The branch of the family that ruled in Hiraizumi is known as the Northern Fujiwara.

In order to appreciate the magnitude of what Hiraizumi once was, we need a little history.

Setting the stage

During the Heian Era (794–1185), the emperor in Kyoto ruled the area from southern Kyushu to the southern border of what now is Fukushima Prefecture. (Shown in green on the map.) 

Northern Honshu was referred to as Michinoku, “beyond the road.” It was considered wild country, the home of Emishi “barbarians.” 

Understood to have migrated from northeastern Asia, the Emishi were ethnically different from the main population of Japan. Historians theorize the name is a collective term for the various northern tribes who resisted the rule of the Japanese state. Some of the Emishi are likely the ancestors of the Ainu people, today considered the indigenous people of Hokkaido.

During the 12th century, the Emishi of northeastern Honshu were ruled over by a powerful and wealthy family, the Abe. 

Like the Kumaso and Hayato, “barbarian” people of southern Kyushu before them, the Emishi were expected to pay tribute to the court. And just like their southern counterparts, this task became so onerous that they stopped.

Because of this failure to pay tribute, Minamoto no Yoriyoshi, as Chinjufu-shōgun, “Defender of the North,” was tasked with subjugating the Emishi Abe clan. He received reinforcements from Kiyohara no Takehira, the leader of nearby Dewa Province. 

A relative of the Kyoto Fujiwara family, Fujiwara no Tsunekiyo, who had married an Emishi and moved to the hinterland, joined the Abe clan in their defense of Michinoku. 

After fighting that spanned 12 long years, the powerful Minamoto and Kiyohara allies defeated the Abe clan and Fujiwara no Tsunekiyo, who, because of his Kyoto roots, was considered a despicable traitor to the emperor.

Minamoto no Yoriyoshi, the Chinjufu-shōgun, personally exacted revenge on Tsunekiyo by publicly decapitating him — using a blunt and rusty sword to prolong the agony.

Fujiwara no Tsunekiyo left behind his Emishi wife and their son, and it is to this son that we now look.

Fujiwara no Kiyohira — the first of the Northern Fujiwara

Fujiwara no Kiyohira’s Emishi mother was taken as a concubine by one of the victors in the war, Kiyohara no Takehira, who had been named the new Chinjufu-shōgun. 

Kiyohira’s grandfather, father, and uncle had all been killed in the war. His mother’s Emishi brothers were banished to Kyushu. He was raised in a strange land in the house of his father’s enemy.

When he was 28, he found himself embroiled in another war, a vicious power struggle among his adopted family as to who would be the next to rule. Kiyohira emerged victorious, although he lost his wife and son who were viciously killed in their home by his younger half-brother.

With a heavy heart at such a tragic loss, this son of a Fujiwara and an Emishi became the next Chinjufu-shōgun, Defender of the North, ruler of the vast northern Michinoku frontiers — a land rich in gold, silver, and fine horses.

Kiyohira, whose entire life had been beset by violence, resolved to use his power to bring peace to Michinoku by turning it into a Buddhist realm.

In 1105 he moved to Hiraizumi and rebuilt Chūson-ji, 中尊寺, a temple that had been established by a Tendai Buddhist monk in 850. He wished for a Buddhist sanctuary where all people could be welcome, and he had Chūson-ji rebuilt as a place for the repose of the spirits of all those lost in the recent wars, regardless of loyalties or status.

He built Daichojuin, 大長寿院, a 15-meter-high temple that housed a 9-meter golden statue of Amida Nyōrai, the Buddha of the Pure Land. Some years later, when Japan’s first shogun, Minamoto no Yoritomo, saw Daichojuin, he was so impressed with its grandeur that he modeled Yofuku-ji temple in his capital of Kamakura after it.

Among the over 40 Buddhist temples and pagodas that Kiyohira had built, only one remains today.

It is the Konjikidō, 金色堂, Golden Hall, which was built to house a gold statue of Amida Nyōrai. Not only are the statue and altar decorations made of gold, but both the temple’s interior and exterior walls are covered with gold leaf. The pillars, altars, and beams are inlaid with jewels and mother-of-pearl, have engraved gold fittings, and are covered with makie — black lacquer sprinkled with powdered gold.

The entire temple is a glorious work of late Heian-era artistry. Today, it is housed within a protective concrete building. No photos are allowed to be taken within its walls.

When Kiyohira died in 1128, he was succeeded by his son Motohira.

Fujiwara no Motohira — the second Northern Fujiwara

As well as continuing his father’s work of expanding the Chūson-ji temple complex, Motohira also built the nearby Mōtsū-ji, 毛越寺, temple and its gardens, said to have even surpassed Chūson-ji for size and splendor.

The main hall was constructed of precious wood overlaid with gold and silver and inlaid with jewels and mother-of-pearl. It held an enormous statue of Yakushi Nyōrai, the Healing Buddha, surrounded by the Twelve Heavenly Generals, protective deities — all realistically carved with crystal eyes, the latest innovation. These statues were created by the master sculptor, Unkei. 

Amid the temples of Mōtsū-ji was a Pure Land Garden — the only part of the once-breathtaking temple complex that remains to this day.

The garden is centered on a pond and was created in the classic Heian style. It includes a magatama jewel-shaped island, peninsulas, rocky coastlines, bridges, mountain-like boulders, and a feeder stream. All these elements are in accord with Japan’s oldest garden manual, the Sakuteiki, 作庭記, “Records of Garden Making,” dating from the 11th century. Its beauty remains unchanged.

Motohira died in 1157 and was succeeded by his son, Fujiwara no Hidehira.

Fujiwara no Hidehira — the third Northern Fujiwara

Hidehira constructed the elaborate Muryōkō-in, 無量光院, modeled after the Phoenix Hall of the Byōdō-in, 平等院, just south of Kyoto. His temple in Hiraizumi, though, was said to be larger and far more grand.

Although things were peaceful in Hiraizumi, it was not the case in Kyoto. The power of the emperor was waning, the Taira and Minamoto samurai clans were growing strong and feuding, and there was great unrest in the capital.

After the first major skirmish, the victorious Taira killed the Minamoto leader and banished his sons. Young Minamoto no Yoshitsune, at age 10, ended up in a temple on Mount Hiei, where he studied Buddhism, swordsmanship, and strategy. His older half-brother, Yoritomo, was exiled to Izu (in Shizuoka). A third brother disappeared from the historical record until many years later.

In 1174, Minamoto no Yoshitsune, age 15, left the temple and traveled to Hiraizumi where he came under the protection of the Chinjufu-shōgun, Fujiwara no Hidehira. 

This seemingly small act of sheltering Yoshitsune turned out to be the spark that would lead to the downfall of the Northern Fujiwara and the eventual destruction of the architectural and artistic treasures of Hiraizumi.

The Genpei War and its aftermath

In 1180, word came that Prince Mochihito, fearing the power of the Taira clan, had asked the Minamoto clan to gather forces against them. Yoshitsune left at once for Kyoto where he joined his older half-brother, Minamoto no Yoritomo, in what came to be called the Genpei War.

This five-year epic war of the Minamoto against the Taira is filled with dramatic tales of tragedy and heroism and has become the subject of countless ballads and kabuki plays. Far too long a story to tell here.

Yoshitsune had become an expert swordsman during his years on Mount Hiei and then excelled in horsemanship in the land of the Northern Fujiwara. With his skills and cunning, Yoshitsune emerged from the Genpei War a victorious general, well-known and loved for his legendary heroics. 

Although Yoshitsune was rewarded with lands and honors by retired Emperor Go-Shirakawa, his jealous and suspicious older half-brother Yoritomo revoked them and instead tried to kill Yoshitsune.

Again, Yoshitsune sought refuge in Hiraizumi, along with his pregnant wife and his valiant friend and protector, the warrior monk, Benkei. 

Two years later, in 1187, Fujiwara no Hidehira died. Before his death, he entrusted Yoshitsune’s protection to his son, Fujiwara no Yasuhira.

Fujiwara no Yasuhira — the final Northern Fujiwara

After his victory in the Genpei War, Yoshitsune’s older half-brother, Minamoto no Yoritomo, became Japan’s first shogun. He established his capital in the natural fortress of Kamakura, just south of present-day Tokyo. 

Although firmly entrenched in power, Yoritomo was still suspicious of his younger brother. He sent word to Fujiwara no Yasuhira to have him killed.

At first, Yasuhira resisted, but his fear of Yoritomo prevailed. His soldiers surrounded Yoshitsune’s estate, his archers killed the noble Benkei, and Yoshitsune, along with his wife and child, chose suicide rather than be captured.

Yoshitsune’s head was sent to Yoritomo, yet his death and that of his household were not enough to appease the shogun. 

For the “crime” of sheltering his younger half-brother, the shogun Minamoto no Yoritomo sent forces after Yasuhira who pursued him all the way to Hokkaido. The shogun’s samurai beheaded Yasuhira, packed his head in sake, and sent it to Kamakura.

Yoritomo had Yasuhira’s head displayed publicly, like that of the worst criminals. Afterward, it was packed in a bucket and returned to Hiraizumi.

Today, Yasuhira’s head, along with the mummies of Kiyohira, Motohira, and Hidehira, are preserved within the golden Konjikidō of the Chūson-ji temple.

Lotus seeds found in the bucket in which Yasuhira’s head was sent have been planted and now bloom each year behind Chūson-ji, a fitting reminder of the glories of the peaceful Buddhist land that Kiyohira had tried to create.

The remains of the magnificent structures built by the Northern Fujiwara, as well as Chūson-ji temple, are included in the UNESCO heritage site, “Hiraizumi — Temples, Gardens and Archaeological Sites Representing the Buddhist Pure Land.”

Although Hiraizumi is off the beaten track, it is well worth a visit to have a glimpse of the fantastic glories of its bygone years.

Sources:

https://www.motsuji.or.jp/, https://hiraizumi.or.jp/index.html, 前九年の役, 前九年・後三年の役, 藤原泰衡, UNESCO website.

The post Hiraizumi — Once a Fabulous City of Gold, Now a Quiet Home of Mummies first appeared on More Than Tokyo and is written by Diane Tincher.

Exploring culinary traditions in Izu and Kochi

While hiking in the Izu Peninsula of Shizuoka, I was lucky enough to visit an unusual shop. Tucked away up a hill in rural Tago, on the western coast, Kanesa Katsuobushi sells bonito. But not just any bonito, they are among a handful of shops that still preserve the fish using the most ancient of methods.

Bonito, sometimes called skipjack tuna, has been a dietary staple in Japan for millennia, evident from the discovery of its bones in Jomon-era (14,000–300 BC) shell middens. And if you’ve ever eaten Japanese food, you’ve likely eaten bonito. It is the foundation of dashi broth, an indispensable ingredient in Japanese cuisine. You might have even seen fish flakes, shaved from dried bonito, dance like an apparition atop tofu, rice, and other dishes.

Katsuo, the Japanese word for bonito, can also be read as “a man who wins,” giving it a favorable connotation. Similarly, the association between the celebratory dish sea bream, called tai, and something happy and auspicious — known as mede-tai — shows how symbolism may contribute to a dish’s enduring popularity.

Because bonito is a seasonal fish, ancient people devised creative ways to preserve it. The earliest documented technique is shiokatsuo, salted and dried bonito, sent from the Izu peninsula as a gift to the Imperial Court during the Nara era (710–794). That is Kanesa Katsuo’s specialty.

To make shiokatsuo, bonito are cleaned, and their cavities are packed with salt. Each fish is then covered in salt and placed in cedar barrels to marinate for two weeks. After marination, the fish are removed, and the salt is rinsed off. The bonito are then hung in the shade and exposed to the cold westerly winds of Izu’s western coast for about three weeks to remove moisture, allowing the fish to dry and mature. As they slowly dry, the proteins in the bonito ferment and mature, concentrating their umami flavor.

Shiokatsuo is produced in early winter in the coastal town of Tago, on the Izu Peninsula, with production peaking in November.

The drying not only preserves but also ferments and ages the fish, concentrating its flavor — not unlike the process used in creating dry-cured ham.

Centuries ago, owners of bonito fishing boats on the western coast of Izu began offering shiokatsuo to Shinto shrines for purification, then serving it to their crews to celebrate the New Year. It was given both as a prayer for bountiful catches and as a guarantee of employment throughout the coming year. If a crew member was not given that gift, he knew he was out of a job.

As part of Shogatsu, or New Year’s celebration, people around Japan place kagami mochi, “mirror rice cakes,” on their house altars to welcome the god of the New Year. Not so in western Izu. Through the centuries, the custom of fishing boat owners offering shiokatsuo morphed into a unique tradition. Here, households and shrines hang shiokatsuo at their entrances to welcome the god of the New Year, as a prayer for bountiful fishing, and in appreciation to the bonito themselves.

This New Year’s tradition has kept alive this ancient method of preserving bonito . Each year in November, the Kanesa shop produces 400–500 shiokatsuo decorated with rice straw to be used during the New Year — called shogatsu-yo. And each year, they quickly sell out.

Kanesa Katsuo’s main product, though, is the most common form of bonito eaten in Japan — katsuobushi. Originating in the 17th century, this rocklike preserved fish is flaked and used as a topping for various dishes and is a key ingredient in dashi broth.

Known as the hardest food in the world, katsuobushi takes six months to prepare. First, the bonito is filleted, deboned, and cleaned before being boiled and left to dry on racks in a hot oven. Then the dried fillets are coated with koji mold — the same koji used in the production of sake, miso, and soy sauce — and left to mature for about four months. 

This process results in blocks of preserved fish that will later be shaved into “fish flakes.” Special heavy-duty planes are needed for shaving the rock-hard katsuobushi. Your mandoline slicer just won’t do. 

Bonito in Kochi

Each year, bonito migrate from the warm waters of southern Okinawa Prefecture along the eastern coasts of Kyushu, Shikoku, and Honshu.

To avail themselves of this bounty of the sea, fishermen in Kochi city on Shikoku island have long used a 400-year-old traditional method called ipponzuri, catching the bonito with a fishing pole. The fishermen first lure a school of these torpedo-shaped, silver-blue fish into a concentrated area and then catch them one by one. A single fish can weigh as much as 5 kilos (11 pounds).

Although fishing using large nets would be easier, this method is avoided to prevent damage to the fish and the unintentional capture of other species.

Seasonal treasures

Bonito are primarily harvested twice a year: from March to May in spring and from September to November in fall. The fish caught during these periods are renowned for their differing yet exceptional flavors.

In the early 17th century, the great haiku poet Yamaguchi Sodo extolled,

The poet was expressing his delight at the harbingers of warmer months — one of which was the first bonito of the season. 

Riding the warm Kuroshio current up from the south, these Hatsukatsuo, first bonito, or Noborikatsuo, up-bound bonito, caught between March and May were historically so valued that they were considered almost worth “pawning your wife and children” to obtain. Celebrated for their mild flavor and lower fat content, these fish are said to be best served as katsuo no tataki, or seared bonito.

Those caught from September to November are Modorikatsuo, returning bonito, or Kudarikatsuo, going back bonito. These fish have eaten heartily during their southward migration, resulting in a higher fat content that contributes to a more delicate taste and texture, making it an excellent choice for sashimi.

Kochi is also famous for its himodori katsuo — bonito eaten the same day it is caught — prized for its luxurious freshness.

Bonito is by far the most popular fish in Kochi, particularly Kochi City, where households consume an average of 5,163 grams (11 pounds, 6 ounces) per year — far more than any other city in Japan. This consumption has fostered a wide array of cooking styles.

How bonito is eaten

Aside from katsuobushi, sashimi is widely popular. But in Kochi, bonito sashimi takes a backseat to the local specialty, katsuo no tataki. 

To prepare this delicacy, the bonito is cleaned and filleted, and all bones are carefully removed. The resulting quarters of the fish are skewered and held over a fire of rice straw until the outside is seared. This rapid grilling eliminates excess moisture and any lingering fishy smell, enhances the flavor, and creates crispy skin. The seared fish is promptly plunged into ice water to halt the cooking process, then drained and sliced. Katsuo no tataki is served with condiments and sauces that vary by region and individual chef.

Shio tataki, another popular dish, features warm grilled bonito lightly sprinkled with salt. Fishermen often eat it with thin slices of fresh garlic. Other condiments include ponzu, a sauce made from soy sauce and local citrus, as well as salt and garlic, myoga (a mild type of Japanese ginger), scallions, shiso (perilla) leaves, and nihaizu, a 50/50 mix of soy sauce and vinegar.

And there are more. Tosa-maki is rolled sushi filled with seared bonito, shiso leaves, and sometimes raw garlic. Another is harambo, broiled bonito belly served with salt. Chichiko, bonito heart, is generally prepared in one of two ways — stewed in a sweet and salty broth of ginger and soy sauce or simply grilled with salt.

For the more adventurous palate, there’s shuto, written with the Japanese characters for “sake” and “theft.” 酒盗 This peculiar name comes from the dish’s perfect pairing with sake, tempting drinkers to steal the tasty dish. Shuto is a paste made from the salted and fermented organs of bonito mixed with sake, mirin, honey, and onions, resulting in, shall we say, a unique and bold flavor.

Although I traveled far to learn about this amazingly versatile fish, the largest number of bonito caught in the country is right in Kagoshima Prefecture, my home.

The post Bonito — Ancient, Essential Basis of Japanese Cuisine first appeared on More Than Tokyo and is written by Diane Tincher.

From Aomori to Kagoshima, here are some of my favorites

Someone recently asked me if I have seen a waterfall. Oh, I have seen waterfalls. I hunt for them like elusive treasures. I scramble over disused and overgrown trails to find them. I venture to say, I collect them.

Here in Japan, waterfalls are so magnificent that some are considered Shinto kami, or deities. Like the country’s tallest, with a drop of 133 meters and one of Japan’s Three Great Waterfalls, the glorious Nachi Falls in Wakayama.

But one needn’t go far to find waterfalls in this country.

In my home prefecture of Kagoshima, there are hundreds. Among them is the hidden Nagano Falls, where water cascades and twists between moss-covered craggy rocks into an open cave.

It is not easy to find. One must follow the few inconspicuous, small Japanese signs that point the way along narrow country roads, passing by age-old farms, rice fields, and vegetable gardens. Then down an even narrower road to a path that leads to the 13-meter-tall Nagano Falls.

Surely, the allure of waterfalls is universal. Being in their presence has an almost enchanting effect — their beauty lifts heavy hearts, the thunder of falling water fills our ears, and our eyes are captivated by the dance of water on stone. The air carries a refreshing coolness. The moss covering the stones is soft and delicate.

Waterfall hunting

A couple of years ago, my quest for waterfalls led me to Aomori Prefecture, in the far north of the island of Honshu. I had read that Oirase Gorge was waterfall heaven.

My journey to get there took a full day.

From my home in southern Kyushu, I flew to Tokyo, then took the Shinkansen bullet train to Hachinohe, a city on the northeastern coast of Honshu. There, I rented a car to drive 90 minutes for the last leg of my journey to Lake Towada.

The Oirase Gorge traces the course of the Oirase River as it winds its way northward from Lake Towada through a forest of trees and a near-endless variety of moss.

Photos cannot do justice to the glory that is Oirase Gorge. I spent several hours leisurely hiking along the trail, immersed in the splendor of its countless falls and cascades.

After two nights at Lake Towada, I drove back to Hachinohe, returned the car, and again took the Shinkansen. This time, south to Sendai in Miyagi Prefecture. After a good night’s sleep, I boarded a local train to Yamadera in Yamagata Prefecture.

On the way, I noticed a station with the intriguing name, Omoshiroyama Kōgen, “Amusing Mountain Highlands.” As the train whisked past the station, I caught a glimpse of a placard with a map of a hiking trail on the platform.

A new place to explore!

After climbing the 1,015 steps to the top of Yamadera and back down, I had plenty of daylight left to explore the “Amusing Mountain.”

I was glad I did. Walking along the aptly named Kōyō River, I felt I had entered another world. (Kōyō is the Japanese word that describes the changing colors of leaves in autumn.)

The first waterfall I came across took me down a narrow path, over an old, wooden bridge that had seen better days, and across patches of mud and uneven stones. But it was worth it.

Called Arare Falls, meaning “Hail Falls,” this hidden gem is a modest 10 meters tall.

I backtracked, crossed over the railroad tracks, and found the path down to the Kōyō River.

I couldn’t believe my good fortune! I had wandered into paradise. The gorge was a symphony of nature’s best — the colorful trees, the crystal-clear stream, the waterfalls, both small and grand, and even the path itself with its charming bridges — I was in awe.

Enveloped by the crisp autumn air, surrounded by the amazing colors of the leaves, and serenaded by the burbling of flowing water, I once more found myself lost in the wonders of nature.

Then my breath caught when I turned the corner and gazed upon this beauty.

Kinuito Falls, “Silk Thread Falls,” gracefully spreads like threads as it descends 22 meters along a stone face. On that serendipitous day in Omoshiroyama, it was merely one of the many wonders I had the privilege to view.

Another outstanding hike occurred a few years back when I took advantage of the Japanese government’s domestic travel subsidies during the pandemic.

Nikkō, Tochigi Prefecture

Located around two hours by train north of Tokyo, Nikkō is a quaint city where the first shogun of the Edo Era (1603–1867) is deified at the Toshogu Shrine. When I traveled to Nikkō to visit that magnificent masterpiece of a Shinto Shrine, I could not resist taking a bus to the east to hike in the beautiful Senjogahara Highlands to find more waterfalls.

And find them, I did. Tochigi is home to another one of Japan’s 3 Great Waterfalls, Kegon Falls, with an impressive drop of 97 meters.

An easy hike along the shore of Lake Chuzenji, then along the Yu River to the north, lies Ryuzu Falls, “Dragon Head Falls.” It cascades in a graceful dance, crisscrossing 210 meters down to its rocky pool below.

Niagaras of the East

On the southern island of Kyushu, we have not one, but two imposing waterfalls that have claimed the title of “The Niagara of the East.”

In northwest Kagoshima Prefecture, stands the 210 meter wide, 12 meter tall, Sogi Falls:

In Oita, Harajiri Falls spans a width of 120 meters and stands 20 meters tall:

Please let me know in the comments which one of these glorious falls you think is most deserving of the title of “Niagara of the East.”

My favorite

This exploration of waterfalls wouldn’t be complete without mentioning my favorite, although deciding on just one has been difficult.

To see the hidden falls I’ve chosen, you first need to ferry from Kagoshima City over to the peninsula on the Pacific coast side of Kagoshima, called Osumi. From there, drive down nearly to the end, the southernmost point of Japan’s main islands, Cape Sata.

About 30 minutes before reaching Cape Sata, turn left and follow narrow winding roads for about 20 minutes. After parking, you then hike 1.2 kilometers through a forest along a stream of crystal-clear, aquamarine water.

Rounding the last turn, you will behold this marvelous sight. My photo does not come near to capturing its wonder.

Ogawa Falls tumbles down a 46-meter drop and seeps through the jagged 60-meter wide cliff face forming a pool of extraordinarily colored water.

As this journey through Japan’s waterfalls comes to a close, my wish is that you, too, will have the opportunity to explore some of the fabulous falls and diverse natural treasures that this beautiful country holds.

The post Waterfalls in Japan—A Selection of its Most Magnificent first appeared on More Than Tokyo and is written by Diane Tincher.

Maybe both

For over 1,000 years, people in Japan have used paper name tags called senjafuda, to mark their visits to shrines and temples. I have seen these in the most unexpected places — behind the guardian statues at Yamadera, on high ceilings of shrines, and plastered all over the walls the fabulous double-helix shrine, Sazaedō. 

Yet to my ignorant eyes, they looked like ancient graffiti.

How did they get there? Why were they put there? Isn’t it disrespectful to plaster the hallowed halls of holy places with stickers? These are the questions that kept me awake at night. No one I asked about them could provide me with a satisfactory explanation. I had no idea what they were even called.

However, during completely unrelated research, I stumbled upon some answers. 

Senjafuda’s origins

Senjafuda, 千社札, meaning “1,000 Shrine Notes,” are votive slips left at shrines and temples by devout visitors. The practice dates back to the ninth century when people began carrying senjafuda during pilgrimages to the 33 temples dedicated to Kannon, the Buddhist deity of mercy, or while on quests to visit 1,000 Shinto shrines. The 千, literally “one thousand,” in the name is more figuratively used to mean “a lot of.”

Senjafuda are effectively calling cards bearing the names and addresses of the pilgrims. They are generally black on white and written in a distinctive calligraphy style using sumi ink. 

After prayers and offerings, pilgrims would leave senjafuda as proof of their visit to the sacred spot. They would attach them to the pillars, walls, or ceilings. With their names kept safely in the shrine or temple, visitors believed they would continue to receive the blessings of the sacred place even after they had physically departed.

Originally crafted from wood, copper, or brass, by the middle of the Edo era (1603–1867), they were being made from paper — and their popularity surged. The era was plagued by three severe famines, prompting the populace to grow fervent in their supplications to Inari, the Shinto kami associated with grains and prosperity. As a result, leaving your senjafuda at 1,000 Inari Shrines throughout the land became all the rage. 

The more obscure the placement, the better

The placement of these votive stickers evolved into a friendly competition among the faithful, each vying to place their senjafuda in the most obscure places. Even sacred trees were not exempt from being plastered with stickers.

As the years passed, placing the stickers in hard-to-reach spots became a point of pride. Worshippers used their walking sticks or other longer poles as tools. They would attach two brushes and a clip to the end of their sticks, use the brushes to spread the rice-based adhesive, and then affix the note using the clip.

Out of respect for others, pilgrims would refrain from placing their senjafuda on top of someone else’s. As a result, the votive slips are often squeezed together, filling every nook and cranny of the older and more popular shrines and temples. The ceiling of Sazaedō is a perfect example.

As woodblock printing evolved, more intricate and elaborate printed designs replaced traditional handwritten senjafuda.

Modern senjafuda

Towards the end of the 18th century, another type of senjafuda emerged distinct from those used for temples and shrines. Called kokan nosatsu, 交換納札, these name slips were designed exclusively for trading. While senjafuda served as “offering notes,” the trading notes took on a different character, featuring colorful patterns, intricate folds, and detailed etchings. They swiftly evolved into an independent art form, and trading clubs dedicated to kokan nosatsu proliferated — and many continue to thrive.

In the magical realm of Kyoto’s pleasure quarters, geiko (as geisha trained in Kyoto are called) developed their own version of kokan nosatsu. Called hana meishi, “flower calling cards,” these small colorful stickers bear the geiko’s name and are decorated with flowers and drawings of the willow world. Hana meishi are still exchanged and treasured as collectibles.

Today, the traditional form of senjafuda, with woodblock printed paper attached with rice-based adhesive, has been replaced by machine-made stickers. Although convenient, these modern stickers can damage ancient wood leaving unsightly marks when removed.

In recent years, a growing number of temples and shrines have prohibited the placement of senjafuda. Additionally, many of these places of worship have been designated as Important Cultural Properties. Affixing senjafuda to these treasured buildings could result in severe consequences, including imprisonment or fines, according to the 1951 Act on the Protection of Cultural Properties.

Nevertheless, ancient senjafuda still adorn the walls, ceilings, and pillars of innumerable shrines and temples throughout Japan. These votive slips provide a glimpse into bygone centuries when pilgrims traversed the land, leaving behind their “calling cards” as tokens of their devotion and spiritual journeys. 

I will never think of them as ancient graffiti again.

The post Senjafuda—Ancient Japanese Graffiti or Early Calling Cards? first appeared on More Than Tokyo and is written by Diane Tincher.