Sustainable Daisen is a Non-Profit Organisation (NPO) promoting sustainable practices to help ensure the survival of the endemic Japanese Giant Salamander, Andrias japonicas. This rare species is threatened by habitat destruction/modification, population fragmentation, hybridisation and climate change and listed as ‘vulnerable’ in the Red Data Book (published by the Japanese Ministry of the Environment). The heartland of Sustainable Daisen is the Nawa River Basin, on the foothills of Mt Daisen, close to the Sea of Japan. The unique breeding population of the Japanese Giant Salamander (JGS) found in the basin is facing extinction if business-as-usual continues. Water, and its cycling through land, air and sea, is the element most critical to the conservation of this aquatic species. It is also the key element in the long history of worship of Mt Daisen. Within this rich cultural setting a holistic approach to managing salamander habitat is being implemented, focusing on rivers, forests, farmland and villages. Sustainable Daisen has built an impressive team, website, and many productive collaborations including with the research community. This and other initiatives to save the JGS in the region have received national and international attention. It was my pleasure to meet Richard Pearce, the CEO of Sustainable Daisen, in Tottori Prefecture in May 2018. Since then our lives have been intertwined through our shared enthusiasm for nature, Shugendo and forging a sustainable future for our planet.
The pentagram (J. gobosei) is a powerful symbol over 5000 years old, primarily associated with Europe and the Middle East. In contemporary Japan the pentagram is closely connected to Abe no Seimei, the Heian-era Onmyodo practitioner popularly known as the ‘Wizard or Master of YinYang‘. Depending on the source, Seimei is credited with having either independently created the pentagram around 1000 years ago or adapted/borrowed it from Daoist charts in currency at that time. Elsewhere I’ve read that the symbol was introduced to Onmyodo through Tantric Buddhism, with the original source going way back to the Pythagoreans. My principal interest in the pentagram is its representation of the five elements/phases (J. gogyo) of Wood, Earth, Water, Fire and Metal. As well as exploring the connection with Seimei, this brings Kampo (a form of traditional Japanese medicine) and fusui (the Japanese way of Feng Shui) into the mix. The challenge to research, describe and interpret the origin, history and symbolism of the pentagram in Japan has been great and is ongoing. The purpose of this exploratory post is to share progress with the intriguing and mysterious puzzle so far and discover if readers can contribute additional pieces.
Five years ago today I hit the ‘Publish’ button on my first post about Elemental Japan. Titled ‘A story waiting to be told‘ the post introduced and set the context for my upcoming travels to and within Japan where the prime focus would be on the elements. With my travel companion Suki (a soft toy dog) by my side, and a mind map and copious notes at hand, an incredible and life-changing journey was about to begin. Reflecting on the last half decade – the places visited in Japan, the friendships made, the experiences experienced, the blog posts written – provides an opportunity to share the lessons learnt and look to the future. It is a milestone worth celebrating and contemplating. There is a lot to cover, so find your favourite reading spot, grab a drink if you so desire, and enjoy this story about Elemental Japan…so far.
Tasmania and Japan are the two elemental places I have the strongest connection with. They come together in the most recent blog on Fire Up Water Down:
For those who exclusively follow Elemental Japan I wanted to share the post with you. For those who follow both blogs please excuse the cross posting. And for those who are new to this blog, welcome!
To make amends for cross-posting, and share some more Shinto Moments, the images below from the Three Capes Track only appear in this post.
Another Tasmanian walking adventure on the Overland Track – that also includes references to Japan – can be found here.
When things come in threes you sit up and pay attention. So when the famous Japanese Ukiyo-e artist Katsushika Hokusai (1760–1849) unexpectedly popped up three times in the last two days, my interest was reawakened. Something was telling me that it was time to write about this remarkable man, an artist I have admired for many years. My delight in his art, which captures nature and the elements so vividly, has led me to visit the Hokusai Museums in Tokyo and Obose, Japan and travel to a major exhibition of his work in Melbourne, Australia. Yet it was only when searching online for an unrelated item that I discovered another fundamental connection between Hokusai and the elements – one that was quite an eye-opener.
Yinyang – an ancient Chinese philosophy of balance, harmony and vital energy – was transmitted to Japan via China and Korea around 1500 years ago. Translated as inyo, onmyo or onyo in Japanese, the philosophy of yinyang, often combined with the five phases/elements (C. wuxing; J. gogyo) of Earth, Water, Fire, Wood and Metal, has permeated Japanese culture. For nearly 1200 years the imperial Bureau of Yinyang (J. Onmyoro) – unique to Japan – practiced divination, astromancy, geomancy (J. fusui), pacification of angry spirits, omenology and more. Renewed popular interest in the ‘Way of Yinyang’ (Onmyodo) focuses on the ‘wizards’ who practiced these magical arts. Yet there is more to yinyang in Japan. Much much more. Using the coronavirus lockdown to delve into the energy of nature and the universe, through the lens of yinyang, has been uplifting and enlightening.
Flanked by bamboo torches, a group of around 50 men carry a portable shrine (mikoshi) on their shoulders. At intervals they stop and shake the temporary home of the kami, then move onwards to their destination – the Kamogawa in Gion, Kyoto where the mikoshi will be purified with sacred water from the river. Following the mikoshi down Shijo-dori I clap and shout ‘hoitto, hoitto‘ along with others in the crowd. The energy in the street is palpable. The Mikoshi Arai, part of the world famous Gion Festival, sets the stage for a series of events in Kyoto over the month of July. The Yamaboko Junko Parade on July 17th, featuring two distinct kinds of enormous wooden floats, is the best known and attended of these events. A week earlier the Mikoshi Arai, which stretches across dusk and darkness, purifies the entire Gion Festival.
Mt Atago is the highest mountain in the ranges that flank Kyoto. It has been a place of Shugendo practice and worship for over 1300 years. Ever since learning that a deity that provided protection from fire was enshrined there, my heart was set on climbing the mountain. The first opportunity to ascend Mt Atago arose on the 21st of May 2017 when a friend and I hiked the 3.7 km trail to Atago Jinja at the summit. The second ascent took place on the 7th of October 2018 as part of a Shugendo pilgrimage with Wani-ontakesan. Both visits to Mt Atago, with their different seasons and different circumstances, were compelling in their own way. Both were connected to the element of fire and in October 2018 to the phenomenal power of typhoons. The energy of the mountain and the long history of veneration at Mt Atago was palpable.
Mt Ontake is a sacred mountain 100 km northeast of Nagoya on the border of Nagano and Gifu Prefectures. At 3067 m it is the second highest volcano in Japan, after Mt Fuji. Pilgrimages to worship Mt Ontake and seek spiritual enlightenment have been made for centuries and continue today. On 23-24 January 2018 I joined a winter pilgrimage on Ontakesan with the Wani-ontakesan community, led by three Shugendo masters. Undertaking ascetic practices on the mountain in extreme conditions reinforced that we are part of nature and the universe. Sharing this experience with others and hearing the word of Gods and ancestors through a medium – a hallmark of Mt Ontake worship – was profound and empowering. The rituals and prayers associated with the pilgrimage were a sign of deep respect and reverence for Mt Ontake and its Gods, and the ancestors memorialised on its volcanic slopes. This transformative experience deepened my understanding and appreciation of the elements in Japan and Japanese culture. It is a pleasure to share my impressions of the two days spent with this remarkable community of faith.
Feng shui has become a phenomenon in the west over the last few decades, as discussed here. To cover the wide range of subjects and styles associated with the approach, there are now over 50 feng shui books sitting in my bookshelf. All are based on the ancient Chinese art of placement used to create harmony in our environment through the manipulation of energy. In Japan feng shui is called fusui (wind-water). Fusui has had a long history and wielded considerable influence from ancient to contemporary times. Like other practices that incorporate the five Chinese elements in Japan, such as traditional Japanese medicine, the art of fusui has had limited exposure outside of the country. Based on the information I’ve been able to find in English, a summary follows of what I have learnt so far. It represents the first steps in an ongoing journey of discovery.