VOL. 149 OCTOBER 2020

THE COLORS OF 6 12 Dyeing by Natural Color The Golden Rice Fields of An interview with Shimura Yoko, a dyeing Owarabi and weaving artist who creates textiles In autumn, the iconic rice terraces using only plant-based dyes. of Owarabi in Yamanobe, Yamagata Prefecture take on the appearance of a golden-colored carpet. 8 The Colors of Fall Captured in Waka Poetry The colors of the autumn leaves is a popu- lar theme in the classical poetry of Japan known as “waka.” 14 Gold, Silver, Platinum and Black: The Timeless Art of Makie Features Makie is a technique in which traditional themes of natural beauty are created by sprinkling gold, silver or platinum powder over jet-black lacquer. 10 The Light of the Moon “Instead of being called the ‘Land of the Rising Sun,’ Japan should be called the ‘Land of the Beautiful Moon.’” —Peter MacMillan

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PRIME MINISTER’S POLICY-RELATED NEWS SCIENCE & TECHNOLOGY DIARY Preparing for Disasters High-Precision, Full-Color

Also Together Printing without Ink

COPYRIGHT © 2020 CABINET OFFICE OF JAPAN WHERE TO FIND US The views expressed in this magazine by the interviewees Narita Airport terminals 1 ● JR East Travel Service Center (Tokyo Narita Airport) ● JR Tokyo Station Tourist and contributors do not necessarily represent the views of Information Center ● Tokyo Tourist Information Center (Haneda Airport, Tokyo Metropolitan Government the Cabinet Office or the Government of Japan. No article Building, Keisei Ueno Station) ● Niigata Airport ● Chubu Centrair International Airport Tourist Information & or any part thereof may be reproduced without the express Service ● Kansai Tourist Information Center (Kansai Int’l Airport) ● Fukuoka Airport Tourist Information permission of the Cabinet Office. Copyright inquiries should be made through a form available at: www.gov-online.go.jp/eng/mailform/inquiry.html

2 | highlighting japan ISSUE 149, OCTOBER 2020

Theme for October: THE COLORS OF JAPAN

he colors that exist in nature stir a variety of 16 emotions in Japanese Kimono Combinations: The people. In this month’s Feature, Seasons in Layers of Silk T we introduce some of the “Layer color combination” charts were once quintessential colors of Japan essential reference tools in the court for dressing appropriately and elegantly. and look at some of the ways in which natural colors and the emotions they engender are 20 used and expressed in the arts. A Candy-Colored Residence An apartment complex on the outskirts of Tokyo doubles as a work of art.

18 Vermilion Tunnels of Thanks Vermilion-colored torii gates in their thousands form tunnels on the grounds of Fushimi Inari Taisha Shrine in Kyoto.

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MY WAY ENJOY DRINKING ARCHITECTURAL TREASURES Hungarian Embroidery and Made the Old- The Shizutani School Proves Its Japanese Indigo Dyeing in fashioned Way—in Hokkaido Durability Over 350 Years Harmony

PRODUCTION The Japan Journal ON THE COVER MANAGING EDITOR Sawaji Osamu The Colors of Japan EDITORS Alex Hendy, Chiba Hitoshi, Fujita Mao EDITORIAL SUPPORT Kiura Eriko CONTRIBUTORS Kato Kyoko, Sano Kentaro, Sasaki Takashi, Sato Kumiko, Umezawa Akira, Uno Masaki, Yanagisawa Miho EDITORS’ NOTE DESIGN Imai Mei, Okadome Hirofumi Japanese names in this publication are written in Japanese order: PHOTOS Itabashi Yuichi family name first, personal name last.

October 2020 | 3 Prime Minister’s Diary

COURTESY CALL ON PRIME MINISTER SUGA BY AUSTRALIAN FOREIGN MINISTER, INDIAN EXTERNAL AFFAIRS MINISTER AND U.S. SECRETARY OF STATE

n October 6, Mr. Suga Yoshihide, Prime Min- Oister of Japan, received a courtesy call from Senator the Hon Marise Payne, Minister for Foreign Affairs of the Common- wealth of Australia, H.E. Dr. Sub- rahmanyam Jaishankar, External Affairs Minister of India, and The Honorable Mike Pompeo, Secre- tary of State of the United States, who are visiting Japan to attend the Japan-Australia-India-U.S. Foreign Ministers’ Meeting. The overview of the courtesy call is as follows. Mr. Motegi Toshimitsu, Minis- ter for Foreign Affairs, Mr. Sakai Manabu, Deputy Chief Cabinet Secretary, Mr. Adachi Masashi, Special Advisor to the Prime Minister and others attended the courtesy call. Photographs of the Prime Minister receiving the courtesy call After welcoming the visit by foreign ministers from the three concrete cooperation with them. ing fundamental values. They countries, Prime Minister Suga Foreign ministers from the confirmed further collaboration stated that various challenges three countries congratulated among the four nations for the facing the international society Prime Minister Suga on his peace and stability in the region. after the outbreak and spread of appointment and agreed to the In addition, Prime Minister COVID-19 make it all the more importance of reinforcing a rules- Suga expressed his expectation necessary to further deepen ties based, free and open international for the four ministers to have free with many more countries which order through cooperation among and candid discussions at the share the vision of “Free and Japan, Australia, India and the Japan-Australia-India-U.S. Foreign Open Indo-Pacific” and build up United States as partners shar- Ministers’ Meeting.

Photographs and text courtesy of the Ministry of Foreign Affairs of Japan and the Cabinet Public Relations Office of the Government of Japan

4 | highlighting japan Feature THE COLORS OF JAPAN

The Colors of Japan

The colors that exist in nature and which change with the passing seasons stir a variety of emotions in Japanese people. In this month’s Feature, we introduce some of the quintessential colors of Japan—indigo, the reds and yellows of maples in autumn, the light of the moon, makie lacquerware and more. We also look at some of the ways in which the feelings such colors engender have been and continue to be expressed in arts, crafts and literature, as traditions are protected and handed down.

A sixteenth-century makie screen restored using original techniques by Shimode Yutaro Photo: Courtesy of Shimode Yutaro

October 2020 | 5 Feature THE COLORS OF JAPAN Dyeing by Natural Color

For our plant-based dye work, thread is taken from silkworm cocoons and immersed in a dye extracted from plants. These threads are then submerged in water mixed with lye made from the ash of burned wood or other materials to set the color. We can experience the mysteries and beauty of nature through plant-based dyes made only from natural materials. All the colors created by this process are excellent. My mother, Fukumi, expresses this by saying that we, “humbly receive color from plants.” It is said that the allure of plant-based dyes is the fact that the life taken from living plants is reclaimed as a beautiful color. I think that nowadays, there are fewer and fewer countries around the world where textiles dyed with plant-based dyes are still passed on as traditional techniques as in Japan. Upon seeing the brilliantly colored kimono when coming to tour our atelier, the CEO of a famous European clothing brand asked how we printed the designs on our textiles. It seems he didn’t believe it was Shimura Yoko (left) and mother Fukumi possible to express detailed kasuriii (ikat) patterns © Fukumi Shimura Inc., by Takashima Katsuo with plant-based dyes. himura Fukumi is a dyeing and weaving artist who dyes silk thread with natural What color do you particularly treasure? Splant materials to create hand-woven kimo- Indigo. Indigo is one of the colors that represents nos, tapestries and other works. In addition to Japan, and has been loved by Japanese people being recognized as a holder of Important Intan- since ancient times. My grandmother says that gible Cultural Properties, also known as a Living there is nothing that makes a Japanese woman National Treasure, she has received numerous more beautiful than an indigo-dyed kimono, and awards, including the Order of Culturei. We spoke she always wore a kimono with an indigo kasuri with her daughter, Shimura Yoko, who has inher- pattern. The reason I came to enter the dyeing ited her mother’s techniques and ideas. world is that I was fascinated by the indigo dye that my mother had worked with for many years. You create textiles using threads made from It is possible also to create a green color from plant-based dyes. Can you tell us about their indigo. In fact, it is not possible to dye fabric with allure? a beautiful green color from the green leaves of

6 | highlighting japan Autumn haze (1958) (made by plants. The color green is created by combining Shimura Fukumi) indigo with a yellow color. Thread is dyed with Dye: indigo © Fukumi Shimura Inc., by Shikata a brilliant green color by immersing thread dyed Kunihiro yellow by a type of grass called kariyasu (Miscan- thus tinctorius) in an indigo dye vat. Purple is another one of my favorite colors. Purple has had noble connotations since ancient times, reflected in the name Murasaki Shikibu (Murasaki means “purple”), the author of The Tale of Genji, which was written in the eleventh cen- tury. Purple color is made by using a dye extracted from the root (shikon) of the murasaki plant (litho- spermum purpurocaeruleum), which blooms with lovely white flowers. I think that people appear more elegant when wearing a kimono dyed from shikon. Dream of Zenmyoiii (2009) Colors dyed from plant-based dyes do not fade, (made by Shimura Yoko) Dyes: shikon, indigo, but rather change as time passes. The colors sub- and kariyasu tly increase in depth and the kimono begins to © Fukumi Shimura Inc., by Takayama Hiroshi show a distinct character. It is as if the colors are living. about philosophy, literature, and by getting in Tell us about the expressions characteristic of touch with nature. At the graduation ceremony, plant-based dyes and how they have been handed everyone wears a kimono that they wove them- down. selves using thread that they dyed themselves. We were once requested to make a kimono Since 2016, we have been teaching classes four dyed using a cherry blossom tree cherished by a times a year to fourth year students in a primary deceased relative that had to be cut down from school in Kyoto where we dye fabric using sea- the garden. Cherry blossom pink dye is extracted sonal plants, such as cherry blossoms and chest- not from the cherry blossom petals, but from the nuts. In addition to dyeing, we have the children trunk and branches that have been finely cut. The give the colors a name of their own. We will con- life of the cherry blossom tree was resurrected tinue to pass on the traditions and spirit of plant- by being made into a pale rose color kimono, and based dyes to the next generation through these has been passed down in the family along with kinds of activities. its memories. Being able to see this circle of life through color is precisely because of plant-based Interview by SAWAJI OSAMU dyes. In 2013, we established an arts school in Kyoto. i The Order of Culture is awarded to individuals who have made outstanding We offer education that fosters the sensibilities contributions to Japanese culture. ii Kasuri are textiles that show patterns through weaving with threads that have necessary to express oneself through textile arts been separately dyed beforehand by having students acquire not just the techniques iii Zenmyo is the name of a woman transformed into a dragon who appears in the thirteenth-century Buddhist (Kegon) story and picture scroll Legends of the of dyeing and weaving, but also through learning Kegon Sect.

October 2020 | 7 Feature THE COLORS OF JAPAN The Colors of Fall Captured in Waka Poetry

The colors of the autumn leaves and the moon are typical subjects in the classi- cal poetry of Japan known as “waka.”

SANO KENTARO

Colors of autumn leaves: Image from the scene of Harumichi no Tsuraki’s waka

aka is a form of Japanese classical the seventh century, and contains a wide assortment poetry in which the poems generally of waka, ranging from poems composed by emperors consist of 31 syllables, divided into to those composed by common people. Waka poetry five parts with five, seven, five, seven spans over 1,300 years. andW seven (5-7-5-7-7) syllables in each. The oldest In the introduction to the Kokin wakashu (“Col- anthology of waka poems—the Manyoshu (“Collec- lection of Ancient and Modern Poetry”), which was tion of Myriad [Ten Thousand] Leaves”)—is said to compiled at the beginning of the tenth century, it have been compiled from around the second half of says that “the seeds in people’s minds grow into

8 | highlighting japan tens of thousands of leafy words, and that is the Peter MacMillan, who wrote the English transla- essence of waka.” i The distinctive character of waka tion featured here, explains his interpretation of the is that they express the beauty of nature as it changes appeal of this poem as follows: with the seasons, combined with the feelings of the “From ancient times the Japanese have loved poets. The poems handle topics such as the emo- the reds and yellows of the autumn maples. In the tions experienced in life and love, employing various One Hundred Poets, One Poem Each, one of the most motifs from the natural world—what the Japanese famous poems is poem 17. This poem begins with the call kacho-fugetsu (literally, “flowers, birds, wind, word chihayafuruii which gave the title to a famous moon”)—to express their emotions. In particular, manga of the same name. The word chihayafuru is a many waka are composed on the subtle changes in pillow word used in tandem with the word ‘god’ or the colors of the leaves and the moon, both of which ‘gods.’ It is thought to mean ‘awe-inspiring’ or ‘rag- are symbols of autumn. Here, we introduce two waka ing.’ I have translated it as ‘the raging gods.’ The poems that describe the colors of autumn leaves poem depicts the maple leaves tie-dying the water and the light of the moon (pages 10–11), taken from in autumnal colors and states that nothing as beauti- Hyakunin Isshu (see the framed article on page 11). ful has been seen since the age of the raging gods of ancient times. The maples are not only beautiful but Yamagawa ni are also often associated with the gods. kaze no kaketaru “In another poemiii the poet states that as he has shigarami wa nothing to offer the gods he will offer the beautiful nagaremo aenu brocade of the maples. Such is the sublime beauty momiji narikeri of the maple leaves of autumn—they are a fitting —Harumichi no Tsuraki [?-920], Hyakunin gift even for the gods! In the poem by Harumichi no Isshu 32 Tsuraki, the poet plays on the great beauty of the maples to end with a marvelous surprise: The weir The weir that the wind that we believed the poet to be writing about in fact has flung across turns out to be made of the beautiful and much-loved the mountain brook maple leaves of autumn. There are many poems is made of autumn’s about the maples, so I sometimes change the word- richly colored leaves. ing. Sometimes I translate the maples of autumn as —Trans. by Peter MacMillan, One Hundred ‘brocade’ and sometimes, as here, as ‘richly colored Poets, One Poem Each leaves.’” The kotobagaki, or foreword, to this poem in the Yamagawa (mountain river) is a type of fast- Kokin wakashu says that the poet composed the flowing river or brook found in the valleys between waka on his way along a mountain road heading mountains. Shigarami (weir) is a kind of fence- from Kyoto to a neighboring province. (Omi Prov- shaped barrier that is installed across a river by driv- ince, present day Shiga Prefecture). ing in stakes between the banks and then joining them horizontally using the tied-together branches i The kana preface to the Kokin wakashu, the translation from the Japanese-English of trees or bamboo. The premise of the poem is that Bilingual Corpus of Wikipedia's Kyoto Articles/the National Institute of Information and Communications Technology (NICT) https://alaginrc.nict.go.jp/WikiCorpus/ what the poet at first took to be a colorful weir built index_E.html across the mountain brook was actually a collection ii Such beauty unheard of/even in the age of the raging gods—/the Tatsuta River/ tie-dyeing its waters/in autumnal colors. of richly colored autumn leaves gathered across the Translation by Peter MacMillan, One Hundred Poets, One Poem Each river by the autumn wind. The source of this poem is iii On this journey/I have no streamers to offer up./Instead, dear gods, if it pleases you,/may you take this maple brocade/of Mount Tamuke’s colors. the Kokin wakashu. Translation by Peter MacMillan, One Hundred Poets, One Poem Each

OCTOBER 2020 | 9 Feature THE COLORS OF JAPAN The Light of the Moon

Japanese psyche. There are, of course, many SANO KENTARO poems about the full moon, but there are also poems written about the crescent moon Akikaze ni or a playful moon peeking out from a veil tanabiku kumono of clouds, or even the moon that is hidden, taema yori which we must imagine in our hearts. This moreizuru tsukino love of the moon is one of the unique charac- kageno sayakesa teristics of Japanese culture. —Fujiwara no Akisuke (1090–1155), “In this poem, a substantive ending Hyakunin Isshu 79 expresses the joy at suddenly seeing the moon emerge from the clouds; I use a dash Autumn breezes blow to express this in the English translation. It is long trailing clouds. difficult to translate the sense of the Japanese Through a break, word sayakesa into English. I have translated the moonlight— it as “so clear, so bright” but in Japanese it so clear, so bright. has connotations of elegant spiritual purity as —Trans. by Peter MacMillan, well. One Hundred Poets, One Poem Each “Because there are countless descriptions of the moon in classical Japanese literature, I sometimes feel that instead of being called In autumn, the air is clear and the moonlight the “Land of the Rising Sun,” Japan should be (described as “tsukino kage” in waka or Japa- called the ‘Land of the Beautiful Moon.’” nese classical poetry) shines brightly. In writ- ing the Japanese poem above, Fujiwara no Akisuke expresses the purity and crispness of moonlight streaming from a break in the clouds on a breezy autumn night. According to the translator Peter MacMil- lan, “The Japanese have been enamored with the moon since ancient times. They are par- ticularly fond of the autumn moon, which is the subject of this poem. However, the Japa- nese use of waka poetry extended beyond writing about the moon in autumn, taking in love, farewells, and every other aspect of the

10 | highlighting japan An image of the moon appearing from behind the clouds as in the poem by Fujiwara no Akisuke

Hyakunin Isshu (One Hundred Poets, One Poem Each) In his later life, medieval poet Fujiwara no Teika (also known as Fujiwara no Sadaie) selected one poem by each of 100 celebrated poets and compiled the One Hun- dred Poets, One Poem Each (Hyakunin Isshu), the most popular anthology of waka in Japan.* This collection of poems—also referred to as the Ogura Hyakunin Isshu—is said to have been selected by Teika at a retreat at the foot of Mount Ogura in Kyoto. The poems in the collection were turned into a set of karuta play- ing cards that divides the waka into the first part, orkaminoku (the first three lines Hyakunin Isshu karuta: yomifuda with a 5-7-5 syllable pattern), and the second part, or shimonoku (the last two lines card (right) and torifuda card. with a 7-7 syllable pattern). As the first part of the poem (theyomifuda or “reading Photo: The Japan Journal card,” with the whole poem on it) is read aloud, players compete with each other to find the matching ending of the poem torifuda( card). Even today this card game is still played by many people. Peter MacMillan is one of many fascinated by the Hyakunin Isshu. He has published One Hundred Poets, One Poem Each and has also produced an English version of Hyakunin Isshu karuta titled WHACK A WAKA. Based on his strong belief that the Hyakunin Isshu represents the heart of the Japanese people, MacMillan also organizes karuta competi- tions around the world and hopes that the card game will one day become an Olympic event. (See the February 2018 issue of Highlighting JAPAN.) * The Japanese anthologies of waka poetry include the oldest anthology, the Manyoshu, compiled in the middle of the eighth century; the twenty-one Chokusen wakashu, and private collections of waka poems compiled by a single editor (poet). Chokusen wakashu are anthologies of superior waka poems produced at the Japanese court collected by imperial command in a series of compilations such as Kokin wakashu and Shin kokin wakashu, and dating from the early tenth century to the middle of the fifteenth century.

OCTOBER 2020 | 11 Feature THE COLORS OF JAPAN The Golden Rice Fields of Owarabi

Local farmers and volunteers are work- ing together to preserve the iconic rice terraces of Owarabi in Yamanobe, Yamagata Prefecture, which in autumn turn a magnificent, kogane-iro gold.

SASAKI TAKASHI

ohoku is a rice-growing area represen- full-grown rice plants shining in the autumn sun are tative of Japan. Vast plains covered in gratefully and joyfully associated with the phrase fields spread across the countryside, and “kogane-iro.” During harvest, the rice paddies the mountainous areas are dotted with stretching across the plains appear as a kogane-iro- terracedT rice paddies on reclaimed slopes. They colored carpet, and the terraced rice paddies on the shine green in the spring when the rice is planted, mountains move like golden waves in the wind. and turn a golden color in the fall harvest season. The terraced rice paddies in Owarabi in Yamanobe, Kogane-iro is the Japanese word describing a golden Yamagata Prefecture, take on their beautiful golden color (iro means color). Another word for this golden color against the green backdrop of the surrounding color is yamabuki-iro, which is derived from the red- mountains. The paddies are known for their kuigake, dish yellow color of the kerria marigold (yamabuki) rows of piled rice plants drying in the sun along the bushes that blossom all over Japan in spring. For ridges during the fall harvest. example, in the Edo period (1603–1867), the oval “The kogane-iro rice panicles undulating slowly gold coins obani and kobanii were described as being in the wind while the reaped rice plants are piled up “yamabuki-iro.” in layers on the terraced rice paddies is a view that Rice is cultivated throughout Japan, and the epitomizes how fruitful the fall is in Japan,” says

12 | highlighting japan The Golden Rice Fields of Owarabi The Owarabi rice terraces

Inamura Kazuyuki, a representative of Group Nofu- The Owarabi rice terraces date back to the early nokai (group of farmers), an association of volun- Edo period, but have suffered from a decrease in the teers committed to the reconstruction of the terraced number of farmers in recent years. With Inamura’s rice paddies and revitalization of the local commu- concern growing, he established Group Nofunokai nity. In winter, the surface of the land is entirely cov- in 2011 and brings in volunteers to preserve the ter- ered with pure white snow. In spring, the water-filled raced rice paddies together with the local farmers. terraced rice paddies, ready for the planting of rice, The kogane-iro colored rice plants grow abun- reflect the blue sky and white clouds like a mirror. dantly right to the top of the terraced fields, where In summer, the rice grows as the greenery on the golden rows of kuigake piled along the ridges shim- mountains thickens. And, in the fall, the rice plants mer against the green backdrop of the mountains. take on their kogane-iro color. The terraced rice pad- Inamura works together with likeminded people to dies please the eye in every season. Nevertheless, it preserve the outstanding beauty of Owarabi. is fall that impresses Inamura the most, since this is when the panicles bow down under the weight of i Oban: large-sized old Japanese gold coin ii Koban: small-sized old Japanese gold coin the full-grown grains of rice, indicating that they are

ready for harvest. Photo: AFLO

OCTOBER 2020 | 13 Feature THE COLORS OF JAPAN Gold, Silver, Platinum and Black The Timeless Art of Makie Makie is a technique developed in Japan in which kacho-fugetsu (tra- ditional themes of natural beauty in Japanese aesthetics) and other scenes of the four seasons are cre- ated by sprinkling gold, silver or platinum powder over jet-black lacquer. The glittering effect con- tinues to fascinate people around the world.

A sixteenth-century makie screen restored using original techniques by Shimode Yutaro YANAGISAWA MIHO

akie is a handicraft that uses lac- Shimode Yutaro is a lacquer craftsman who was queri. The origins of this craft remain born into a family of makie artists in Kyoto and is unknown, but a work made more than known for being the creator of Yukyu no Sasayaki 1,200 years ago still exists todayii, and (“Eternal Whisper”), a decorative stand which is itM shows the unique development of the craft in placed at the Kyoto State Guest House. He says, “New Japan over a long period of time. Christian missionar- value is created by creating a pictorial representation ies from the West who came to Japan in the sixteenth through the combination of materials with com- century were captivated by the beauty of makie, and pletely different properties: lacquer—organic matter makie objects came to be widely known in the West made from sap—and gold or silver—inorganic matter. due to their use in the church. Makie then charmed People are fascinated by the fact that this elaborate the royalty and nobility and they became highly val- expression is created by hand.” ued. This is why makie and other handicrafts that Makie involves decorating deep black and glossy use lacquer were often called “japan” in Europe and lacquer with gold and silver powder, and sometimes the United States. According to one theory, many platinum powder. Using the powder based on the pianos even today are a shiny black color because of shape and roughness of its particles, artists express the black of lacquer. the differences in distances in scenes and even the differences in light shining down from the sun and

i Lacquer is the sap harvested from the trunk of the Japanese lacquer tree or light reflecting off the surface of water. There are something that has been refined from this sap about eighty types each of gold and silver powder ii A decoration created by a technique considered to be the origin of makie is found on the sheath of a tachi sword, stored at Shosoin, made in the eighth century to create something so elaborate. The kacho-fugetsu All photos: Courtesy of Shimode Yutaro

14 | highlighting japan Shimode Yutaro at work and other scenes drawn change based on lighting the beauty of makie.” and viewing angle, endlessly enchanting the eye. A representative work of Shimode, Yukyu no Shimode says, “The black color, which is called Sasa­yaki (“Eternal Whisper”), shows a reflection on ‘jet black,’ is a persistently deep black color, yet it the surface of water and produces harmony using offers not a coldness but a warmth. I think this is 70,000 particles of platinum and gold powder. The because the black of this jet black color contains sparkle that glitters out from among the jet black a variety of reds or greens. The gold used in makie calls to mind a galaxy that exists among the macro- is not simply a ‘gold color,’ but produces a warmth cosm rather than the flow of water on Earth. It is as if through the use of the various eighty types of parti- you can hear a whisper from the eternal cosmos from cles based on shape and size, and it can also produce the glitter of platinum and gold that stand out from profound feelings. I think that this balance leads to the jet black.

Yukyu no Sasayaki (w. 240 cm x h. 60 cm x d. 50 cm), a decorative stand by Shimode on display at the Kyoto State Guest House

OCTOBER 2020 | 15 Feature THE COLORS OF JAPAN Kimono Combinations The Seasons in Layers of Silk

The kimono worn by women of the Heian court were The kasane no irome are most strikingly put to arranged in layers in accordance with a color code use in the itsutsuginu-karaginu-mo set of robes col- that borrows from the changing hues of the passing lectively called junihitoe, the formal court dress for seasons. women worn at ceremonies and on other important occasions. In the junihitoe arrangement, five dif- KATO KYOKO ferent colored robes, called itsutsuginu, are layered on top of the hitoe undergarment. Each of the itsu- lum blossoms heralding the coming of tsuginu layers is only slightly visible at the collar, spring change color gradually, from deep sleeve edges and hemline. At first junihitoe com- red buds to soft pink flowers. Drawing on prised twelve or more layers of kimono, but five lay- such natural seasonal changes of colors, in ers became standard around the end of the Heian theP Heian period (late eighth to end twelfth century) period. Women took pride in the elegance and timely the nobility drew up a set of rules for the color com- beauty of the color combination of the robes they binations of the layers of silk kimono that were worn selected. by women and men in the imperial court. Presented Shoji Reiko, principal of the Kokusai Bunka Tech- in “layer color combination” charts called kasane no nical College of Hairdesign, Tokyo, returns to the irome, more than 100 possible color patterns are enu- plum blossom example. merated. For the nobility of the Heian court, how to “The combination of the colors of plum blossoms dress appropriately and elegantly to match both the that change over time is called kobai no nioi (gra- season and the occasion based on Kasane no irome dation of colors of red plum). In the five layers of was indispensable knowledge. kimono worn in this arrangement, a red layer blends

The kobai no nioi (gradation of color of red plum) combination from the kasane no irome

Photos: Itabashi Yuichi

16 | highlighting japan Color combination examples from the kasane no irome

Example for spring Example for summer Example for autumn Example for winter (cherry blossom) (dianthus) (fallen chestnuts) (Koorigasane or ice in layers) into four layers of lightening shades of pink. This color combination is appropriate for special occa- sions celebrated in early spring.” According to Shoji, safflower and other natu- ral pigments were used to achieve the subtle color gradations. By using layers of silk with a white outer layer and dark colored inner layers, the outer layer of some kimono take on certain shades of color. For example, a kimono with a white outer layer and a red inner layer has a pale red tone, the color of cherry 1 blossoms. Shoji says, “The aristocrats of the Heian period created kasane no irome to treasure the transience of the four seasons. The shades or expressions of the color red, for example, are of great variety. We can say that this is a culture that recognizes and enjoys the beauty of various colors, a natural feature of Japan where the seasons are constantly changing in subtle ways.”

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1, 2 The five layers of the junihitoe are visible at the collar, sleeves and hemline. Pictured, the kurenai no nioi (gradation of scarlet) color combination 3 The kobai no nioi (gradation of color of red plum) combination from the kasane no irome 3

OCTOBER 2020 | 17 Feature THE COLORS OF JAPAN

Vermilion Tunnels of Thanks

Vermilion-colored torii gates in their thousands form tun- nels on the grounds of Fushimi Inari Taisha Shrine in Kyoto.

SATO KUMIKO

ushimi Inari Taisha is the head shrine of precinct of the shrine. Along the paths that encircle all the Inari shrines, dedicated to the god the mountain, approximately 10,000 large and small of the harvest, which are said to number torii stand in rows. One path with especially tightly more than 30,000. The paths on the shrine clustered torii forming a tunnel is known as Senbon Fgrounds are lined with vermilion-colored torii gates. Torii, meaning “thousands of torii.” Surrounded by Torii mark the boundary between the temporal the ever-changing beauty of the mountain colors— world where people live and the holy precincts of the greens of spring and summer, the reds and yel- the deities. The tunnels formed by the torii of Inari lows of the autumn leaves and the white of the win- shrines are regarded as sacred places where people ter snow—the shrine attracts many worshippers and can purify themselves as they pass through. visitors throughout the year. Fushimi Inari Taisha, built in 711, is located at Fushimi Inari Taisha enshrines Inari Okami, “a the foot of Mt. Inariyama in Fushimi Ward, south- deity who feeds, clothes and houses us and pro- ern Kyoto. Mt. Inariyama in its entirety forms the tects us so that all of us may live with abundance All photos: Courtesy of Fushimi Inari Taisha

18 | highlighting japan Senbon Torii, the vermilion torii of Fushimi Inari Taisha

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1 The main shrine (Honden) at Fushimi Inari Taisha and pleasure,” according to shrine texts (http://inari. 2 Statues of foxes, the messengers of Inari Okami, stand guard at the Tower gate jp/en/saijin/). In the Edo period (1603–1867), Inari Okami became popular for bringing blessings to tunnels along the paths on the shrine grounds. ordinary people, such as by ensuring the prosper- Tradition dictates that the shrine pavilions and ity of businesses and peace for households. Over torii are painted vermilion. The color is believed to time, Fushimi Inari Taisha came to be known affec- counteract evil forces and has been used in many tionately by the name “O-Inari-san.” People visited palaces, shrines and temples since ancient times. the shrine to wish for many things or pray for help As such, the very color of the shrine and torii itself to overcome misfortune. When their wishes were evokes a powerful sense of spirituality. fulfilled, in return some individuals and compa- The vermilion tunnels of O-Inari-san speak of nies donated a vermilion torii inscribed with their people’s gratitude and honest hopes for good for- name. In this way, the number of torii have steadily tune, prosperity and guidance in overcoming the increased over the years, forming ever-growing torii challenges we face in this mortal world.

OCTOBER 2020 | 19 Feature THE COLORS OF JAPAN

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3 A Candy- Colored Residence 1

An apartment complex on the outskirts of Tokyo continually stimulating those who live in or visit it. doubles as a work of art, stimulating the senses of its The design was inspired by Helen Keller, a deaf-blind residents, short-stay visitors and local people alike. person revered by the artists for the kind of “revers- ible destiny” she achieved through her way of life. SASAKI TAKASHI The complex comprises nine units in three shapes: spherical, cylindrical and cubic. Conventional steel n Mitaka City, a quiet residential area in the beams were not used anywhere in the construction, suburbs of Tokyo, stands a colorful and rather except for the lofts’ connecting hallways and stairs. peculiar-looking building. Called “The Revers- The exterior is painted in fourteen vivid hues. The ible Destiny Lofts Mitaka (In Memory of Helen interior, too, is an organized riot of color. Keller),”I the building was jointly designed by Ara- Matsuda Takeyoshi, Manager of The Reversible kawa Shusaku (1936–2010) and his partner Madeline Destiny Lofts Mitaka, says, “Locals and taxi driv- Gins (1941–2014), artists and architects who were ers call this the ‘colorful house,’ and it has become a active internationally from the 1960s into the early landmark.” 2000s. The Reversible Destiny Lofts Mitaka is a work Completed in 2005, the building is based on of functional art intended to activate the senses Arakawa and Gins’ hallmark concept of “revers- through colors and shapes. Although the color ible destiny.” As such, it is designed “not to die,” by scheme of the interior appears at first glance to be Reversible Destiny Lofts Mitaka -In Memory of Helen Keller- © 2005 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. All photos by Nakano Masataka

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1 The housing complex comprises nine units of different shapes chaotic, in fact it was designed so that at least six dif- 2 Interior of a short-stay loft 3 Children play on a bumpy floor ferent colors are visible at once. The effect is oddly 4 The Reversible Destiny Lofts Mitaka relaxing. Matsuda explains, “Just as in nature, which 5 Six or more colors are visible at any one time 6 Colorfully painted hallways and stairs is teeming with a limitless number of colors, when six or more colors enter our field of vision, we uncon- Five of the nine lofts are rented as homes, while sciously recognize them as color as a whole and not the others can be rented for a short stay of a mini- as individual colors.” mum four days. Guided tours can also be arranged. It is not just through the eyes that the building For Arakawa and Gins, the artwork that is Revers- stimulates the senses. Among the unusual interior ible Destiny Lofts “can only be completed once features are the bumpy floors, which softly force people live in it.” Inspiring by this idea, every year, users to be continually aware of their own feet when around 1,000 people from Japan and around the walking. world visit the lofts.

October 2020 | 21 Series POLICY-RELATED NEWS

Japan is prone to natural disasters, including earthquakes, tsunami, typhoons and floods. The national and local governments, citizens and all other stakeholders are collaborating in measures for disaster risk reduction and management.

SAWAJI OSAMU of emergency. To achieve this, the National Conference for Promot- government led a Disaster Evacua- ing Disaster Risk Reduction, one tion Awareness-raising Campaign of the largest disaster prepared- Public awareness throughout Japan in April and ness events in Japan, in coopera- activity for raising May 2020 in participation with tion with local governments, pri- the disaster many stakeholders. The campaign vate businesses and other entities consciousness of citizens by aimed to raise public awareness that are working to prepare for the Japanese to encourage people to evacuate disasters. The 5th National Confer- Government appropriately and in a timely man- ence for Promoting Disaster Risk ner in the event of a disaster. Reduction was held on October To increase people’s awareness 3, 2020. Due to novel coronavirus of the need to protect their own National (COVID-19), the conference was lives, it is important to ensure on Conference FOR held online. A total of 117 entities a regular basis that each individ- Promoting Disaster participated in the conference, ual recognizes their own disaster Risk Reduction including the national govern- risks and understand what kind of Since 2016, the Japanese govern- ment, local governments, research actions should be taken in the case ment has been holding an annual institutions, private businesses,

Municipal governments have distributed evacuation-related leaflets to households. The evacuation decision flowchart (left) helps each individual decide what actions to take, considering the risks faced in his/her home. The key evacuation information sheet (right) helps individuals understand alert levels and other evacuation information so as to decide when to evacuate.

22 | highlighting japan Publicity for the Tsunami T S U N A M I P R E P A R E D N E S S D A Y Preparedness Day and World W O R L D T S U N A M I A W A R E N E S S D A Y Tsunami Awareness Day. ON NOVEMBER 5TH November 5th was chosen based on the true story of the present-day town of Hirogawa in Wakayama Prefecture. When a large earthquake in western Japan The painting that won the struck on November 5th, 2019 Disaster Management 1854, one resident in the Poster Contest, Minister of town set fire to rice sheaves State for Disaster Management to lead others escaping in the Award in the division for dark to safe elevated land. sixth grade elementary school students and first year junior high school students. The text NPOs and other entities taking nami preparedness. reads, “Don’t look back. Just up the challenge of disaster risk hurry!” reduction and management. The Evacuation in the conference included a talk with the event of a disaster uate in principle, even if COVID-19 governors of Hiroshima and Mie and COVID-19 has not subsided. However, those Prefectures, discussions among control measures who are in a safe place do not need disaster preparedness experts, and If a disaster occurs while COVID-19 to go to an evacuation shelter, but presentations on themes such as remains a concern, it is necessary should consider evacuating to a Disaster Risk Reduction Education to take measures to thoroughly hotel or a relative’s or acquain- and the use of advanced technol- control COVID-19, such as reducing tance’s home that is safe. The gov- ogy to reduce disaster risk. the density of evacuees at evacua- ernment has taken measures to tion shelters and securing adequate raise residents’ disaster awareness, Tsunami space. The government has advised including the dissemination of Preparedness Day local authorities regarding points leaflets in fourteen languages that The tsunami that followed the that must be addressed regarding describe five points to keep in mind Great East Japan Earthquake in evacuation centers’ COVID-19 con- during an evacuation. March of 2011 took the lives of trol measures, including the layout many people. In Japan, Novem- of the evacuation centers. ber 5th has been designated Tsu- As for if or how to evacuate, peo- nami Preparedness Day, to deepen ple in hazardous places should evac- understanding of and interest in tsunami countermeasures. In 2015, a United Nations resolution declared the day to be World Tsu- nami Awareness Day. During the period before and after Tsunami Preparedness Day, events and evacuation training are held around the nation to raise Evacuation shelters incorporating COVID-19 control measures. Cloth people’s awareness and ability to partitions and cardboard beds are placed apart from each other to take correct actions regarding tsu- ensure social distancing.

All photos and figures: Courtesy of the Cabinet Office OCTOBER 2020 | 23 Series SCIENCE & TECHNOLOGY Butterflies and The Great Wave off Kanagawa produced with OM technology without using ink Photo: Courtesy of Kyoto University

A research team at Kyoto University has developed a new technol- ogy for recreating ukiyo-e prints and other multicolored artworks through high-precision printing without the need for ink. The group is now working to develop the technology for practical use.

UMEZAWA AKIRA

compact disc (CD) surface structure patterns, they sometimes appears to are called “structural colors.” Rep- Vermeer’s Girl with a Pearl have a rainbow-colored resentative examples of structural Earring printed with OM surface, even though colors are the glossy green and red technology Photo: Courtesy of Kyoto University Ait is not actually colored itself. of jewel beetle bodies and the eye This is because the light hits the patterns on peacock feathers. In minute irregularities that have the case of the jewel beetles, the been placed on the CD’s surface surface of their bodies consists of in a well-ordered fashion for the multiple overlapping films that sake of recording data, and the create the appearance of a colored wavelengths of the reflected light surface as the reflected light from “interfere”1 with each other so that the different films interferes. they look like light exhibiting vari- The research group of Profes- ous colors—red, blue and so forth. sor Easan Sivaniah and Program- Cross-section of the multilayered polymer structure that generates Since the colors come from the Specific Assistant Professor Ito the structural colors, made using OM technology Photo: Courtesy of Kyoto University

24 | highlighting japan Masateru at Kyoto University has developed new technology that can artificially create such struc- tural colors and has realized multi- color ultra-high-precision printing that does not use ink. One full-color product that the research group made using the new technology is The Great Wave off Kanagawa by Katsushika Hoku- sai, a world-famous ukiyo-e piece. The original has a bold composi- CD rainbow colors, which are examples of structural color. tion that depicts three small boats Photo: keiphoto / PIXTA on a raging sea expressed in white and blue as well as Mt. Fuji on a The technology, called “OM” of light, so it can realize light and block measuring 25.7 cm x 37.9 cm, (organized microfibrillation), color effects that can’t be done but the research group was able to developed by the research group, with ink, such as color changes recreate this in structural colors causes crazing by radiating LED depending on the angle you’re without ink on a minimal scale light on polymers to form preferred looking from. Also, the colors only 1 mm wide. cracking areas before exposing the won’t fade with time since we’re To create the structural colors, polymers to a solvent. This process not using the chemical substance it is necessary to artificially create creates multilayered fibrils that that is ink, and it can be said to patterns or multiple layers on a generate structural colors, just like be environmentally friendly since material surface to reflect the light the surface of a jewel beetle’s body. we’re keeping down the waste in various colors, just like CDs Using this technology will make it products that come from ink pro- and jewel beetles. It was for this possible to create fibril structures duction and printing.” purpose that the research group that reflect red, blue, or light in At present, the research group developed technology based on other colors in specific locations. is working to develop the technol- the phenomenon of “crazing.” Regular printing creates images ogy for practical use by increasing Crazing refers to the making of a by aggregating small dots. Smaller the capabilities of the device that structure consisting of fibers on a dots and more dots make it pos- radiates the light that causes the nanometer scale (one-millionth sible to achieve higher-precision crazing. The device is currently of a millimeter) called “fibrils” by printing. The pieces recreated by unable to radiate anything big- beginning the cracking process the research group this time are ger than 10 cm2, but if that can inside plastic and other polymers also images that consist of aggre- be expanded to several square through the application of pres- gations of dots that generate struc- meters, then it becomes possible sure. An everyday example of tural colors. to do large-scale high-precision crazing is how a clear plastic folder Ito of the research group printing. According to Ito, “We’re turns white at the crease if you explains, “In order to make aiming for the OM technology to bend it. The white color does not higher-precision images, we have practical applications in the come about because the creased struggled to make the dots security printing field. We think plastic actually turns white, but smaller and smaller. In the end, that it can be used to prevent forg- because the fibrils created by the we achieved an image resolution ery of gift certificates and iden- crazing change the structure of of 14,000 dpi [14,000 dots per tity documents since the fibrils, the creased part so that light is inch]. Structural colors give off which are cracks inside polymers, reflected to look white. color through a delicate control are difficult to copy.”

OCTOBER 2020 | 25 Series MY WAY

Hanga Yoshihara-Horvath Photo: Courtesy of Hanga Yoshihara-Horvath, by Nishimoto Kyoko

Hanga Yoshihara-Horvath, an embroidery artist living in indigo-dyed fabric. The experience Tokushima Prefecture, combines age-old Japanese indigo dyeing inspired her to visit Japan, she techniques with the embroidery techniques of her home country, says. Hanga attended art college Hungary, to create new fabric designs drawing on tradition. in Hungary where she majored in knitting in the textile department. SATO KUMIKO At last, in 2008, she had an oppor- tunity to visit Japan as a scholar- i-zome, or indigo dye- ing in Tokushima City. The fab- ship student. She chose to study ing, has been practiced rics Hanga makes using Awa ai are at Shikoku University to learn the all over Japan for cen- as light as a breeze and soft to the traditional indigo dyeing tech- turies. The plant tade- touch. Depending on the dyeing niques of Tokushima. Aai (leaf indigo), which is the raw method used, the indigo imparts a “We also have indigo dyeing in material for the dye, grows in variety of blues on her fabrics, from many parts of the country. How- light blue to navy blue. Leverag- ever, the indigo plant which grows ing the diverse colors that indigo in Tokushima Prefecture (formerly makes possible and techniques Awa) in Shikoku is held in particu- such as tie-dyeing1 and stencil dye- larly high regard for the vivid blue ing,2 Hanga produces fabrics in of the dye it produces. Known as many different patterns. Awa ai, the dye is made from tade- During a stay in the UK, Hanga ai which benefits from Tokushi- learned about Japanese indigo ma’s mild climate and fertile soil dyeing from a book, and was fed by the Yoshino River. impressed by the rustic beauty of Hanga uses only locally Hungarian native Hanga Yoshi- sashiko,3 a traditional Japanese produced, chemical-free indigo dye in her work hara-Horvath is an embroidery and handicraft in which geometric Photo: Courtesy of Hanga indigo dye artist living and work- patterns are embroidered onto Yoshihara-Horvath, by Peter Orosz

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1 Hungarian embroidery in the Hungary, but it involves the use of In addition to her activities as Kalocsai hímzés style synthetic dye. In the past, imported an artist, Hanga organizes embroi- 2 Sashiko natural indigo (West Indian indigo) dery workshops for adults and chil- 3 Hungarian embroidery in the Irasos hímzés style was used, but that also partly dren. In particular, her Hungarian involved the use of chemicals. In embroidery course is well-received. Photos: Courtesy of Hanga Yoshihara- Japan, a completely chemical-free Classes are held at a facility called Horvath indigo dyeing technique has been “Aiyakazo” adjoining Ai-no-Yakata, preserved. This is wonderful,” says a museum established in the reno- dyeing,” says Hanga. “Months are Hanga, who explains the dyeing vated former home of an indigo- required for the indigo plant to technique as follows. dyeing merchant. grow and then ferment, and then “Cut and dry indigo leaves, wet In Hungary, different regions the used dyes are returned to the and stack them and stir them every have preserved different embroi- soil. This cycle is pleasant.” few days to ensure that they evenly dery cultures. Some of them have ferment. After a few months of nat- been inscribed on the UNESCO ural fermentation, they become the Intangible Cultural Heritage list. indigo dye called sukumo.” Hanga teaches Hungarian embroi- This dye is then further fer- dery techniques in which her own mented by adding lye and sake to grandmother was skilled, such the pot. As the final step, cloth and as Sárköz hímzés,4 Irasos hímzés thread are immersed in the pot and Kalocsai hímzés. Hungar- filled with the finished dye. ian embroidery techniques are Having experienced this entire characterized by the richness of process in a dye studio, Hanga their color, but Hanga uses only wrote her thesis and earned a doc- blue thread dyed with Awa ai. Her torate in Hungary. beautiful embroidery is a magical After graduation, she married a harmony of traditional Hungar- Japanese man who studied indigo ian plant patterns and the indigo at the Tokushima Agriculture, For- dye of Japan, which is similarly estry, and Fisheries Technology steeped in history. Support Center. The family lives “Both dyeing and embroidery in satoyama countryside on the take a lot of effort, but bring hap- Hanga guides students at an embroidery class outskirts of Tokushima City, sur- piness in the process. This is also Photo: Courtesy of Hanga Yoshihara- rounded by nature. true for traditional Japanese indigo Horvath, by Mubariz Khan

OCTOBER 2020 | 27 Series ENJOY DRINKING

Whisky on the rocks (image photo)

In Yoichi, a town nestled in the rich nature of Hokkaido, whisky that has earned high praise around the world for its flavor is made using traditional Scottish distilling techniques. KATO KYOKO

oichi, Japan’s leading eled alone to study abroad at the premium single-malt University of Glasgow in Scotland, whisky1, is made at spending about one year on an internship at several local distill- YCo., Ltd.’s Yoichi Distillery in Yoi- eries,” explains Kiriyama Shuichi, chi, a Hokkaido town often bur- a representative of Asahi Brewer- ied in deep snow facing the Sea ies, Ltd. responsible for the mar- of Japan. Its bold, complex flavor keting of Nikka Whisky. “After has received high praise at the returning to Japan, Taketsuru Nikka Whisky’s first whisky, World Awards (WWA) looked for an ideal place for mak- “NIKKA WHISKY,” launched in 1940 and other spirits competitions ing whisky. His search brought around the world, where it has him to the town of Yoichi.” won many prizes. Yoichi’s cool, humid climate Taketsuru Masataka, the Nikka is very much like Scotland, and Whisky founder known as the it features an abundant water father of , estab- source and clear air. It is also a lished the Yoichi Distillery. place where peat, which gives “Taketsuru Masataka was born whisky its smoky aroma, is in to a sake brewing family in Hiro- plentiful supply2. Nikka Whisky founder Taketsuru shima Prefecture in 1894. He trav- Whiskies become marketable Masataka

28 | highlighting japan The kiln tower at Yoichi Distillery, used to dry barley by smoking it with peat

wood of the new casks that are mainly used for aging whisky at the Yoichi Distillery, which pro- duces its rich, vanilla-like aroma. The casks absorb the winds blow- ing in from the Yoichi bay, and this sea breeze then blends into the whisky over its long aging period. For that reason, Yoichi The direct coal-fired distillation method has been maintained at Yoichi since the Single Malt has a faint briny scent distillery's establishment along with a smoky, peaty aroma which owes to the peat fires used to dry the malted barley. These characteristics enable Yoichi Sin- gle Malt to pair with seafood and smoked foods excellently. There are nine historic build- ings on the distillery premises, which the Japanese government has registered as Tangible Cul- tural Properties. The distillery offers guided tours, and there is also a restaurant where visitors can enjoy popular Hokkaido foods after the distilled, unblended process requires skilled, experi- together with Yoichi Single Malt. whiskies are aged for long periods. enced technicians who continue Pairing this complex whisky and To support the business before the feeding the fire with coal to ensure local foods amid the rich nature first whisky launched, Taketsuru that adequate heat is maintained of Hokkaido where the products established a company producing throughout distillation. It may were nurtured is an experience and selling apple juice in 1934. He be an inefficient technique, but not to be missed when there is an began distilling whisky at the Yoi- it gives Yoichi Single Malt its bold opportunity to visit. chi Distillery two years after this3. and complex character.” The Yoichi Distillery has kept its Wooden casks enable the tradition of direct coal-fired dis- whisky to age over a long period. tillation alive since its establish- Kiriyama says, “The whisky ment. It’s a technique that is rarely aging process, in which water is used today, even in Scotland. lost from the cask through tran- Kiriyama explains, “In direct spiration, is faster in dry, hot con- coal-fired distillation, “moromi” ditions. Yoichi's climate is cold (mash)4 is put in a pot still that all year round so the whisky ages is heated to more than 1,000°C. slowly.” The mash is stirred continually to The whisky thus takes on A lunch set showcasing Hokkaido keep it from getting burned. The many of the characteristics of the produce including salmon

All photos: Courtesy of ASAHI BREWERIES, LTD. OCTOBER 2020 | 29 Series ARCHITECTURAL TREASURES “Special Historic Site: Former Shizutani School” The Shizutani School Proves Its Durability Over 350 Years

The Shizutani School was intentionally built as a sturdy structure in the early Edo period, using the most refined architectural techniques of the day. The building has not lost its luster, 350 years since its construction.

UNO MASAKI

The stone fence sals of local lords) in the various More than 300 years since its con- domains across Japan. However, struction, the stones show almost the feudal lord of the time, Ikeda no irregularity or deviation, with Mitsumasa (1609–1682), thought not even a single plant growing that the domain could develop by in-between the stones. The stone educating children of the common fence has retained its beautiful people in addition to samurai chil- shape and has avoided sinking due dren and so he ordered his retainer to its weight because stones have Tsuda Nagatada to establish an also been buried beneath to match n the mountains of Bizen City open school for the common peo- the height above ground. If you in eastern Okayama Prefec- ple. That was the start of the Shi- go through the school gate (Kaku- ture stand the buildings of the zutani School, Japan’s first public meimon: the gate of the crane “Former School for the Com- school for children of common crying) that leads into the school, monI People.” This is the Shizutani people. The name Shizutani comes you are met by buildings that look School, which was built by com- from its location in a quiet valley. as they did when they were first bining the most refined architec- Tsuda Nagatada spent about built, including the Seibyo (Sacred tural techniques of the Edo period thirty years completing a building Hall, dedicated to Confucius) and (1603–1867). At present, the build- that was sturdy and looked splen- the Lecture Hall. Starting with the ings, which include the Lecture did. The grounds, covering some Lecture Hall, which was desig- Hall, are preserved as the “Special 38,000 square meters, were mostly nated a national treasure in 1953, Historic Site, Former Shizutani cordoned off by a 765-meters long almost all the buildings have been School” just as they were built stone fence that was completed in registered as important cultural some 350 years ago. Most public 1701. The stone fence has a smooth property or registered tangible cul- schools in the Edo period were curvature that comes from the tural property. “clan schools” that taught the chil- precise matching of stones with Surprisingly, the Lecture Hall dren of the samurai retainers (vas- different shapes by stonemasons. and other buildings were used as

30 | highlighting japan The Kakumeimon entrance gate

Interior of the Lecture Hall

part of the (then) Okayama Prefec- nese zelkova. There are katomado techniques to build a robust struc- tural Wake High School Shizutani (windows with a rounded design on ture that would not collapse owing Branch until 1964. That means the upper frame) on all four sides, to rain, wind or earthquakes.” this school built in the Edo period ensuring that light shines in during The Lecture Hall remains a had functioned as an actual school lectures. Tsuda was most afraid of space for various events even today up until half-a-century ago. In fires and so did his best to take in and is sometimes used for classi- other words, the high schools of natural light so that there would be cal music concerts. More than 150 the time were studying inside a no need to use fire for illumination, years have passed since the disap- national treasure. Moreover, cur- such as paper-enclosed lanterns pearance of the feudal system, but rent students of Shizutani School’s for indoor use. The fireplace in the still protected and vitalized by the Youth Education Center are study- Inshitsu room, where teachers and local community, this year the for- ing the Analects inside the national students took breaks, was also only mer Shizutani School celebrated its treasure Lecture Hall. for charcoal fires while it was strictly 350-year anniversary. The Lecture Hall that stands at forbidden to burn wood. the center of the Shizutani School The lacquered floor of the Lec- buildings demonstrates the firm ture Hall has been polished by peo- architectural thought of Tsuda ple gathering there for hundreds of Nagatada, who was the one lead- years and now reflects light like a ing the construction. mirror. It is said that the floor has The foundation uses Japanese not been relacquered and the boards cement mixed with red clay, lime not replaced even once since the from burning seashells, pine resin, original building was completed. and alcohol to prevent corrosion Kiyama Junrou from the Preser- by water and supports the mas- vation Association in Honor of the Locally made Bizen ware roof tiles sive irimoya-zukuri (hip-and-gable “Special Historic Spot: Former Shi- roof).1 Bizen ware produced in the zutani School” describes Tsuda’s Bizen area of architectural thought as follows. was used for the roof tiles. Normal “In charge of the construction tiles are said to last sixty years, but was Tsuda Nagatada, who looked the durable and waterproof Bizen ahead to the future when the ware is still intact, is enduring the finances of may rain and wind, and shows little deteriorate and it may become dif- wear and tear even after 300 years. ficult to run the school, and made The Lecture Hall is supported by sure to use what we would now call ten round pillars made from Japa- maintenance-free materials and View from the Lecture Hall

All photos: Courtesy of the Preservation Association in Honor of the “Special Historic Spot: Former Shizutani School” OCTOBER 2020 | 31 okkaido is the northernmost of Japan’s main islands and Hrenowned for its majestic JAPAN mountains, stunning national parks, and wide-open spaces. Due to its relative HERITAGE remoteness, the island was only settled by Japanese from the mainland in the 16th century. Before that, it belonged to the indigenousJAPAN Ainu, whose traditional culture can still be experienced here. In The Daisetsuzan particular, theHERITAGE culture of Ainu from the Mountains and Kamikawa region has been designated as a . Kamikawa Region The Kamikawa region lies at the heart of Hokkaido and is dominated by the tow- ering Daisetsuzan Volcanic Group. This range—which is also part of a national park of the same name—includes many peaks over 2,000 meters in height and is home to many rare flora and fauna, includ- ing over 250 species of alpine plants. It is a place of spiritual importance to the Ainu, who believe that deities (or kamuy) reside in animals and natural phenomena. Long ago, the Ainu of Kamikawa named this beautiful area Kamuy Mintara, or “The Playground of the Gods.” Mountain Deities and Kamikawa’s rich Ainu heritage can be seen in the many districts, rivers, cities, the Sacred Land of the and towns with Ainu names. Until about 150 years ago, many Ainu lived in settle- Indigenous Ainu ments along the upper stretches of the Ishikari River, and many of their descen- dants still live in the Kamikawa region today. The Ishikari River, which has its source in the Daisetsuzan mountains, was a key transport route for the Kamikawa Ainu. They used it to interact with other Ainu and to acquire both goods and infor- mation. Even in the 19th century, it was not unusual to see Ainu canoes loaded with goods on its waters. Although large numbers of people from the mainland only came to Kamikawa in the 19th century, recent research has revealed vigorous trade between north and south before that. Leather goods in particular were an important export for the Ainu. Another was salmon, which the Ainu would catch in autumn as they migrated upstream. Some they preserved for themselves and others they sold to their mainland trading partners. With the money they received, they bought lacquerware and foodstuffs such as rice. Visit the Japan Heritage Official Site athttps://www.japan.travel/japan-heritage/

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