DOCSLIB.ORG

Sankaku Baccyo Area ～ 99 Minute Walking Course Guide (From Shimosuwa Station) ～

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sankaku Baccyo Area ～ 99 Minute Walking Course Guide (From Shimosuwa Station) ～ Sankaku Baccyo Area ～ 99 Minute Walking Course Guide (From Shimosuwa Station) ～ ① Manji-no-sekibutsu（"Manji era" Stone Buddhist image） This statue is called Manji-no-sekibutsu, because it is Buddha’s body engraved into stone "Namu Amida Butsu Manji 3 (1660) November 1". This Buddha’s head has features similar to the Moai statues of Easter Island. The head was carved from a fieldstone more than an armful in size, and it sits serenely on a native rock. The rock that forms the body is about the size of a van. One of the interesting features of Manji-no-sekibutsu is that the expression on its face is different from different vantage points. The statue appears to sit with its hands folded in front of its body, and gives a heartwarming feeling. As noted when Taro Okamoto praised it highly "I walked in the world, but had not seen so interesting a thing", it has a great deal of charm. ② Suwataisha-Shimosha-Harumiya shrine In Suwataisha (the Grand Shrine of Suwa), there are Kamisha (the Upper Shrine) and Shimosha (the Lower Shrine). In Kamisha, there are Honmiya and Maemiya, and in Shimosha, there are Akimiya (Autumn shrine) and Harumiya (Spring shrine). In Shimosha, the idol containing the spirit of the God changes the place in which it is enshrined semiannually. It is enshrined at Harumiya from February to July, and at Akimiya from August to January of the following year. A ceremony to commemorate the transfer of the god is performed on February 1 (the beginning of spring by the old calendar). During the ceremony, the idol moves from Akimiya to this shrine. This ceremony is very old and was a ritual to summon the god of spring planting. There is a structure called Tsutsugayu-den in Harumiya's precinct. In this structure, Tsutsugayu-shinji (a shrine ritual done with straws and porridge) is performed from the evening of January 14 to the morning of January 15. This ritual predicts whether the year’s harvest will be good or bad. It is said to often be correct. In addition, there is a small island called Ukishima in the Togawa river near Harumiya. At Ukishima, an event called Chinowa-kuguri is held to preserve people’s health. This is done by evading a ring that is 2m in diameter made from reed grass. ③ Jiun-ji Temple Jiun-ji Temple was built in 1300 (during the Kamakura period) by the Kanasashi clan of Shimosya, and was founded by the high-ranking priest Issan Ichinei. He came all the way from Kamakura to Shimosuwa for this purpose. In addition, he was someone who came from China, and was recognized by the Kamakura Shogunate for his prowess. On the temple grounds, there are many features. These include the main gate of the temple which was built in 1776, an approach to a shrine on the avenue of cryptomerias, the temple bell which was installed in 1368, the stone garden, Tenkei-no-matsu (Pine of priest Keika) said to have been 400 years old, Yayoke-no-ishi (Stone with the magical power to keep arrows out), Ryu-no-kuchi (Mouth of the dragon) and others as well. Truly, it is an historic old temple with many highlights. The traces of a close relation with the famous soldier Shingen Takeda can also be seen. ④ Geba-bashi（Dismount bridge） This bridge is also called "the arched bridge". It was built in 1578 and it is said that it was repaired around 1736. It was called the Dismount Bridge because if a noble person was approaching the holy zone of the Shinto shrine on horseback they dismounted at this bridge. After dismounting, they then washed their hands and rinsed their mouths in the Mitarashi river, which at that time flowed under this bridge. After cleansing themselves, they would have proceeded to the shrine to worship. The idol containing the spirit of the God is enshrined at Harumiya shrine in February, and is moved to Akimiya shrine in August. During this transport the idol is carried across this bridge. ⑤ Kyu-Hushimi-ya-tei（Old Fushimi-ya Residence） Kyu-Hushimi-ya-tei is a private house from the Edo period that has been mostly preserved in its original form. Fushimi-ya was built as a merchant's house along the Nakasendo highway at the end of the Edo period (1864) by the Nakamura, which was an old local family. In this house, Shimosuwa’s first silk reeling industry was begun in 1873. In later years, businesses began to treat such materials as raw silk, fabric for kimonos, and cotton textiles. Kyu-Hushimi-ya-tei was reconstructed and repaired in 2010, and an old statue was restored. Now it has become a free rest station and volunteers invite visitors inside with a heart of hospitality. ⑥ Imai Kuniko Bungaku-kan （Kuniko Imai literary museum） This building is the house where Kuniko Imai (1890-1948) spent her girlhood and later years. It is also the birthplace of her father. In this building, documents related to Kuniko are displayed. The house operated as the tea dealer of the post town called Matsuya in the Edo period. Kuniko was a female poet on behalf of Japan of the early days of the Showa era. From her childhood, she wanted to compose literature, and let her talent bloom in a tanka (a literary group) after meeting Akahiko Shimaki, the representative poet of the Araragi School, who was born in Shimosuwa Town. Then she formed a tanka society for women only called Asuka Corporation (is Asuka a name or a description?). She also published a Tanka magazine called Asuka, and she was active as a classic researcher, a critical writer, an essayist and others. ⑦ Suwataisya-Shimosya-Akimiya Shrine Akimiya (Autumn shrine) is the place where idol containing the spirit of the god is enshrined from August until January of the following year. A ceremony to commemorate the transfer of the idol is performed on August 1 every year. By the old calendar, this date was the beginning of autumn, so the idol is moved from Harumiya (Spring shrine) to this shrine. In Akimiya, Ofune-biki (literally: boat pull) is held in August. It is a ceremony similar to one held in February at Harumiya. Ofune-biki is also part a festival to thank the god for a good harvest. In the festival, ceremonial floats shaped like boats are pulled by parishioners back along the same path used earlier to move the portable shrine to Harumiya. The boats are approximately 10m in length, are made from green grass and feature a decorative curtain which is hung from the bottom of their hulls. This series of events, called Ofune-matsuri (Honourable Boat Festival), is limited to Shimosuwa Town as "the Imperial capital of Shimosya". Also, ceremonies to commemorate the transfer of the Shinto shrine appear to have once been held on January 1 and July 1 (based on the lunar calendar). Because in the Meiji era the solar calendar was enforced, the date of the transfer of the Shinto shrine to Akimiya was performed on July 1, as well. However, there was a proposal from parishioners and inhabitants called “We want to change the festival day, because we are so busy we'll take any help we can get around July 1.” Therefore, it seems that the festival day was postponed for one month, and came to be celebrated on August 1 (by the solar calendar). It is an anecdote that shows that in those days the sericulture business and silk-spinning industry were prosperous. ⑧ Onbashira ground park Onbashira Festival is the grand festival of Suwataisya performed in the year of the Tiger and the year of the Monkey. There is a monument space dedicated to the images of the Onbashira Festival. The monument’s design features bundled ropes which are used in the Onbashira Festival. These imitate the Oduna (men’s rope) and the Meduna (women’s rope). There is also a hot spring, which is appropriate for "The town of the hot spring," gushing out abundantly at the bottom. In the Edo Period, this spot was the approach to Akimiya and the Nakasendo highway junction. At that time, there was a placard spot that posted instructions from the shogunate and the local feudal government, or Ban-ya, and was the equivalent of a present-day guard house. A Ban-ya was put at the entrance of all post towns. This spot was where the road coming from Kyoto entered the Shimosuwa post town. ⑨ Gisyo-do （Theme museum of the clock） Gisyo-do is a theme museum that displays a 12m model of Suiun-gisyo-dai in the courtyard of its main building. Suiun-gisyo-dai is an astronomical observation clock tower that worked by waterpower. That which the model represents really existed in the early 11th century in China. Apparently, it was completely restored from a book; a process taking over 4 years. In the Suwa area, the precision machinery industry was prosperous, and Suwa was called "the Oriental Switzerland." In particular, the clock making industry came to represent the area. In Gisyo-do, the history and the structure of the clock (clocks in general perhaps?), as well as the latest clock making techniques, are displayed clearly. Other than viewing clocks made by Suwa clockmakers, visitors can have the experience of making a clock themselves (reservation required). There is also a free footbath called "Onbashira Kamiyu" at the entrance. ⑩ Otoro（Big stone lantern） Otoro was made in 1829, and it stands 6m in height. In those days, the edge of Lake Suwa was near this point, and tradition says that when this lantern was lit, fishermen on the lake could see it clearly.
Load more

Recommended publications
  • Representations of Pleasure and Worship in Sankei Mandara Talia J
    Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively).
    [Show full text]
  • The Origins of Japanese Culture Uncovered Using DNA ―What Happens When We Cut Into the World of the Kojiki Myths Using the Latest Science
    The Origins of Japanese Culture Uncovered Using DNA ―What happens when we cut into the world of the Kojiki myths using the latest science Miura Sukeyuki – Professor, Rissho University & Shinoda Kenichi – Director, Department of Anthropology, Japanese National Museum of Nature and Science MIURA Sukeyuki: The Kojiki (Records of Ancient Matters) has one distinguishing feature in the fact it includes a mixture of both Southern and Northern style myths. This is proof that Japanese culture was originally not only one culture, but rather came into existence while being influenced by its various surroundings; but when it comes to trying to seek out the origins of that culture, as we would expect, there are limits to how far we can get using only an arts and humanities-based approach. That’s where your (Professor Shinoda’s) area of expertise— molecular anthropology—comes in and corroborates things scientifically for us. Miura Sukeyuki , Professor, Rissho By analyzing the DNA remaining in ancient human skeletal remains, University your research closing in on the origins of the Japanese people is beginning to unravel when the Jomon and Yayoi peoples and so on came to the Japanese archipelago, where they came from, and the course of their movements, isn’t it? In recent times we’ve come to look forward to the possibility that, by watching the latest developments in scientific research, we may be able to newly uncover the origins of Japanese culture. SHINODA Kenichi: Speaking of the Kojiki , during my time as a student my mentor examined the bones of O-no-Yasumaro, who is regarded as being the person who compiled and edited it.
    [Show full text]
  • Illustration and the Visual Imagination in Modern Japanese Literature By
    Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work.
    [Show full text]
  • Watanabe, Tokyo, E
    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed.
    [Show full text]
  • The Goddesses' Shrine Family: the Munakata Through The
    THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA by BRENDAN ARKELL MORLEY A THESIS Presented to the Interdisciplinary Studies Program: Asian Studies and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts June 2009 11 "The Goddesses' Shrine Family: The Munakata through the Kamakura Era," a thesis prepared by Brendan Morley in partial fulfillment ofthe requirements for the Master of Arts degree in the Interdisciplinary Studies Program: Asian Studies. This thesis has been approved and accepted by: e, Chair ofthe Examining Committee ~_ ..., ,;J,.." \\ e,. (.) I Date Committee in Charge: Andrew Edmund Goble, Chair Ina Asim Jason P. Webb Accepted by: Dean ofthe Graduate School III © 2009 Brendan Arkell Morley IV An Abstract ofthe Thesis of Brendan A. Morley for the degree of Master ofArts in the Interdisciplinary Studies Program: Asian Studies to be taken June 2009 Title: THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA This thesis presents an historical study ofthe Kyushu shrine family known as the Munakata, beginning in the fourth century and ending with the onset ofJapan's medieval age in the fourteenth century. The tutelary deities ofthe Munakata Shrine are held to be the progeny ofthe Sun Goddess, the most powerful deity in the Shinto pantheon; this fact speaks to the long-standing historical relationship the Munakata enjoyed with Japan's ruling elites. Traditional tropes ofJapanese history have generally cast Kyushu as the periphery ofJapanese civilization, but in light ofrecent scholarship, this view has become untenable. Drawing upon extensive primary source material, this thesis will provide a detailed narrative ofMunakata family history while also building upon current trends in Japanese historiography that locate Kyushu within a broader East Asian cultural matrix and reveal it to be a central locus of cultural production on the Japanese archipelago.
    [Show full text]
  • Keys to the Flesh Flies of Japan, with the Description of a New Genus And
    〔Med. Entomol. Zool. Vol. 66 No. 4 p. 167‒200 2015〕 167 reference DOI: 10.7601/mez.66.167 Keys to the esh ies of Japan, with the description of a new genus and species from Honshu (Diptera: Sarcophagidae) Hiromu Kurahashi*, 1) and Susumu Kakinuma2) * Corresponding author: [email protected] 1) Department of Medical Entomology, National Institute of Infectious Diseases, Toyama 1‒23‒1, Shinjuku-ku, Tokyo 162‒8640 Japan 2) IDD Yamaguchi Lab., Aobadai 11‒22, Yamaguchi-shi, Yamaguchi 753‒0012 Japan (Received: 9 June 2015; Accepted: 2 October 2015) Abstract: A new genus and species of the Japanese Sarcophagidae, Papesarcophaga kisarazuensis gen. & sp. nov. is described and illustrated from Honshu, Japan. Practical keys to the Japanese 43 genera and 122 species are provided including this new species. A check list and data of specimens examined are also provided. Key words: Diptera, flesh flies, new species, new genus, Sarcophagidae, Japan INTRODUCTION The collection of Sarcophagidae made by the first author was studied during the course of the taxonomical studies on the calypterate muscoid flies from Japan since 1970 (Kurahashi, 1970). This was a revision of the subfamily Miltogramatinae dealing with seven genera and 14 species. Before this, Takano (1950) recorded seven genera and nine species of Japanese Sarcophagidae. Many investigation on the Japanese flesh flies made by Drs. K. Hori, R. Kano and S. Shinonaga beside the present authors. The results of these authors were published in the part of Sacophagidae, Fauna Japanica (Insecta: Diptera) and treated 23 genera and 65 species of the subfamilies of Sarcophaginae and Agriinae (=Paramacronychiinae), but the subfamily Miltogrammatinae was not included (Kano et al., 1967).
    [Show full text]
  • The Making of an American Shinto Community
    THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7
    [Show full text]
  • By Municipality) (As of March 31, 2020)
    The fiber optic broadband service coverage rate in Japan as of March 2020 (by municipality) (As of March 31, 2020) Municipal Coverage rate of fiber optic Prefecture Municipality broadband service code for households (%) 11011 Hokkaido Chuo Ward, Sapporo City 100.00 11029 Hokkaido Kita Ward, Sapporo City 100.00 11037 Hokkaido Higashi Ward, Sapporo City 100.00 11045 Hokkaido Shiraishi Ward, Sapporo City 100.00 11053 Hokkaido Toyohira Ward, Sapporo City 100.00 11061 Hokkaido Minami Ward, Sapporo City 99.94 11070 Hokkaido Nishi Ward, Sapporo City 100.00 11088 Hokkaido Atsubetsu Ward, Sapporo City 100.00 11096 Hokkaido Teine Ward, Sapporo City 100.00 11100 Hokkaido Kiyota Ward, Sapporo City 100.00 12025 Hokkaido Hakodate City 99.62 12033 Hokkaido Otaru City 100.00 12041 Hokkaido Asahikawa City 99.96 12050 Hokkaido Muroran City 100.00 12068 Hokkaido Kushiro City 99.31 12076 Hokkaido Obihiro City 99.47 12084 Hokkaido Kitami City 98.84 12092 Hokkaido Yubari City 90.24 12106 Hokkaido Iwamizawa City 93.24 12114 Hokkaido Abashiri City 97.29 12122 Hokkaido Rumoi City 97.57 12131 Hokkaido Tomakomai City 100.00 12149 Hokkaido Wakkanai City 99.99 12157 Hokkaido Bibai City 97.86 12165 Hokkaido Ashibetsu City 91.41 12173 Hokkaido Ebetsu City 100.00 12181 Hokkaido Akabira City 97.97 12190 Hokkaido Monbetsu City 94.60 12203 Hokkaido Shibetsu City 90.22 12211 Hokkaido Nayoro City 95.76 12220 Hokkaido Mikasa City 97.08 12238 Hokkaido Nemuro City 100.00 12246 Hokkaido Chitose City 99.32 12254 Hokkaido Takikawa City 100.00 12262 Hokkaido Sunagawa City 99.13
    [Show full text]
  • Diss Master Draft-Pdf
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Visual and Material Culture at Hokyoji Imperial Convent: The Significance of "Women's Art" in Early Modern Japan Permalink https://escholarship.org/uc/item/8fq6n1qb Author Yamamoto, Sharon Mitsuko Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Gregory P. A. Levine, Chair Professor Patricia Berger Professor H. Mack Horton Fall 2010 Copyright by Sharon Mitsuko Yamamoto 2010. All rights reserved. Abstract Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto Doctor of Philosophy in History of Art University of California, Berkeley Professor Gregory Levine, Chair This dissertation focuses on the visual and material culture of Hōkyōji Imperial Buddhist Convent (Hōkyōji ama monzeki jiin) during the Edo period (1600-1868). Situated in Kyoto and in operation since the mid-fourteenth century, Hōkyōji has been the home for women from the highest echelons of society—the nobility and military aristocracy—since its foundation. The objects associated with women in the rarefied position of princess-nun offer an invaluable look into the role of visual and material culture in the lives of elite women in early modern Japan.
    [Show full text]
  • Lake Suwa Mystery and Inspired the World-Renowned Avant-Garde Artist Taro Okamoto
    142 Ueda, Saku Manji no sekibutsuSekibutsu Dokuzawa Kōsen (2km) (lit. Buddhist stone statue of Manji) A stone statue of Kiotoshizaka Slope (2.4km) Amitabha Buddha made in the Manji era (1658-1661). Discover Shimosuwa Yashima Wetland (18km) Minute The artist is said to be the same as the torii gate of Suigetsu Park Walking Map ( ) = transit time Harumiya. It's distinct facial feature is still largely a Enjoy the view of Lake Suwa mystery and inspired the world-renowned avant-garde artist Taro Okamoto. Jiun-ji Temple Dokuzawa Kōsen Ukishima-sha shrine A temple protected was known as Stone Monument of Taro Okamoto by the warlord Visit Suwa Grand Shrines (lit. shrine on the floating island) Tenkei no Matsu “Shingen’s secret Shingen Takeda. 99min The shrine on a sandbar that never sink, (lit. Tenkei's pine tree) hot spring”, where Sankaku Batchō one of the seven mysteries of Shimosuwa. A Pine tree planted by injured soldiers A standard course full of the town's historic sights. Sankaku Batchō is the the 16th century Zen bathed to heal Hot Springs monk Tenkei. their wounds. SHIMOSUWA triangle formed by Akimiya, Harumiya and Ōtōrō with the side length 872.72m. The baths of Shimosuwa’s quaint ryokan and Akimiya (15 min) → Fushimiya-tei (10 min) → Harumiya / Manji no Sekibutsu its many enjoyable public bathhouses are Enjoy the atmosphere walking around the ancient seat of the shrines of Suwa Taisha! (9 min) → Gebabashi / Ōtōrō (15min) → Sagara-zuka (25 min) → Akimiya (20min) Ochadokoro sourced from local natural hot springs! Hanamusubi Suwa-taishaSuwa Taisha Stone Stairway Welcoming merchants, travellers and visitors to the shrines of Suwa Taisha, Shimosuwa lourished in the Edo period Café Mind Soothing Harumiya 126 steps as the only post town with hot spring in Nakasendo, a highway which connects Edo (Tokyo) and Kyoto.
    [Show full text]
  • Nagano SUWA Visitors Guide Tourism Section of the Economic Department of Suwa City 1-22-30 Takashima, Suwa City, Nagano Pref
    Cover: Suwa Takashima Castle, View of Suwa Lake from Tateishi Park 2019. 9. 600 Nagano SUWA Visitors Guide Tourism Section of the Economic Department of Suwa City 1-22-30 Takashima, Suwa City, Nagano Pref. TEL +81-266-52-4141 FAX +81-266-58-1844 http://www.city.suwa.lg.jp/ Suwa Tourist Association 1-1-18 Suwa, Suwa City, Nagano Pref. (inside JR Kamisuwa station) TEL +81-266-52-2111 FAX +81-266-53-4126 https://www.suwakanko.jp/en/ Suwa Tourist Information 1-1-18 Suwa, Suwa City, Nagano Pref. (inside JR Kamisuwa station) SUWA TEL +81-266-58-0120 FAX +81-266-53-4126 Suwa Lake Hot-spring Hotel Association 1-1662 Kamigawa, Suwa City, Nagano Pref. TEL +81-266-52-7155 FAX +81-266-58-9613 http://www.suwako-onsen.com/en/ ■Transportation 《Highway express buses》 Chuo Highway Express Bus Reservation Center …………… TEL +81-266-75-0017 Keio Telephone Reservation Center ……………………… TEL +81-3-5376-2222 Osaka Reservation Center ………………………………… TEL +81-6-6866-3147 《Taxies》 Suwa Kotsu …………………………………………………… TEL +81-266-52-1190 Daiichi Kotsu …………………………………………………… TEL +81-266-52-5151 ALPICO Taxi, Suwa …………………………………………… TEL +81-266-54-0181 《Fixed-route buses》 ALPICO Kotsu, Suwa Branch Office, Chino Service Office … TEL +81-266-72-7141 Karinchan bus (City round bus) ……………………… TEL +81-266-72-7141(ALPICO Kotsu, Suwa Branch Office) Swan bus (Lake Suwa round bus) ……………………… TEL +81-266-72-7141(ALPICO Kotsu, Suwa Branch Office) Suwa Lake Fireworks Festival Transportation Guide Map Kamisuwa Onsen open-air hot spring Quince Flower JAPAN Nagano Suwa Pref. City Dusk approaching Suwa Lake Kirigamine Heights in early summer The place where you can play with the waves, play with the wind, and relax in a hot spring.
    [Show full text]
  • Signature Redacted
    The critical spirit in everyday object design: A study of Maywa Denki's creative method by Tingyun Yin B.A. Achitecture (2013) Tsinghua University Submitted to the Integrated Design and Management Program in Partial Fulfillment of the Requirements for the Degree of Master of Science in Engineering and Management at the Massachusetts Institute of Technology June 2018 2018 Tingyun Yin All rights reserved The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature redacted Signature of Author_ Tingyun Yin Integrated Design and Management Program May 11, 2018 Signature redacted Certified by Maria Yang Associate Professor of Mechanical Engineering Thesis Supervisor Signature redacted Accepted by MASSA TT INSTITUTE Matthew S. K OFTE-CHNOLOGY essy Dir ctor JMAUSNc2 0 ?0 1 Executive Integrated Design and Management Program ARARIES 1 ARCHIVES 2 The critical spirit in everyday object design: A study of Maywa Denki's creative method by Tingyun Yin Thesis Submitted to the Integrated Design & Management Program on May 25, 2018, in Partial Fulfillment of the Requirements for the Degree of Master of Science in Engineering and Management Abstract Maywa Denki is a Japanese crossover creative company. It is an art studio as well as a toy design company. Maywa Denki saw the value of the meaning expressed in art works, and managed to turn such expression into the attractiveness of products. The possible connection of art and product design is to provide meaning for the public with skillful expression.
    [Show full text]