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.
Taiko drumming fills the air, intense flames shoot out of a multi-chambered climbing kiln, the words ‘Fire, Air, Earth and Water’ appear sequentially on the screen. This is the intense start to the video ‘Elemental‘ featuring the Japanese ceramic artist Ken Matsuzaki. The spirit and energy of the artist is a fifth element that brings the ceramics to life. Locally sourced elements are artfully combined to produce unique ceramic pieces in Japan, a tradition that spans thousands of years. The Way of Tea was a decisive juncture in the evolution of the ceramic arts, adding diversity, vitality and ritualised meaning. To celebrate these compelling creations I invited three friends with a passion for Japanese ceramics to share the pieces they felt embodied the elements. The selections and associated reflections by Robert Yellin, Allen S. Weiss and Tatsuo Tomeoka provide nourishing food for thought about the genesis, function, beauty, spirituality and environmental sustainability of hand-made ceramics in Japan and beyond.
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.
Yakushima is the wettest place in Japan with annual rainfall between 4 metres around the coast of the island and 10 metres in the mountains. It is famous for its ancient moss-covered forests, abundant waterfalls and rivers, island-adapted wildlife and providing inspiration for the Studio Ghibli movie Princess Mononoke. The forests also inspired the artist Yuko Takada to write and illustrate a book called Water Forest (J. 水の森; Mizu no mori). I bought this striking publication, which is entirely in Japanese, when I visited the World Heritage listed Yakushima in 2017. The sublime watercolour illustrations capture the intensity and beauty of life in the forests on the island. It is this celebratory book that I chose as the first to read in my quest to learn the language of Japan. In doing so I felt even closer to these remarkable rainforest ecosystems.
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.
The extraordinary 2018 typhoon season in Japan has been playing on my mind. The frequency, size and trajectories of typhoons this year, and the level of disruption and damage, has drawn the world’s attention as well. It’s not just that I was going to be back in Japan soon after after the destructive Typhoons Jebi (Typhoon number 21) and Trami (Typhoon number 24) made landfall, with another typhoon on the way. Something is different. Two catalysts have led me to delve more deeply into typhoons as one of the elemental forces that have helped shaped Japan and her people: 1) hearing reports from my friends in Japan about living through these Super Typhoons, and 2) seeing Typhoon Trami from space. From the ‘Kamikaze’ typhoons that were crucial in the defeat of two Mongol invasions of Japan over 700 years ago, to modern interpretations of the Gods of Wind and Thunder at Narita Airport, typhoons play a critical role in the history and culture of Japan.
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.
Japan is synonymous with onsen – hot (mineral) springs. As it should be. Volcanoes, which Japan has in abundance, play a key role in the formation of hot springs. Fire (magma) heats water. Earth adds minerals. Nature provides a magical setting with most hot springs originally being in the open air. People traditionally bathed communally. The very hot water provides relief from the humidity in summer and warmth in winter. These characteristics bring many health benefits. It is no wonder that hot springs are such an important part of Japanese culture. Onsen also draw many tourists to Japan with one-third of visitors recently indicating it was one of their main reasons for travelling. I can understand the elemental allure.
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.