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.
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.
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.
The Teshima Art Museum provides an organic setting where water, wind, wood and light are works of art. I learnt about this enticing concept from a French couple I met in Japan in mid 2016. Sibylle and Bernard called it the Raindrop Museum – an evocative description. They were close to the mark. The brief given to the architect Ryue Nishizawa and artist Rei Naito was to create a design of free curves, echoing the shape of a drop of water. Knowing my interest in the elements, my French friends strongly recommended that I make the Museum a priority to visit. So in early October that’s what I did. The Museum has other attractions – its location on an island in the Seto Inland Sea provides an experience of some of the coastline, waterways and islands of Japan, an important part of the elemental story. The Art Museum is also a major draw-card of the Setouchi Trienniale, an art festival designed to reinvigorate local communities that has many lessons to teach us.
‘A destiny drawn by nature‘ is the first chapter of a book titled ‘The Dawns of Tradition‘, published by the Nissan Motor Company in 1983. I knew that this publication was an important discovery when I read the introductory words “Even more than most peoples, the Japanese have been shaped by their environment. From the dawn of their history, close communication and an oftentimes precarious coexistence with nature have dominated almost all aspects of the national character and culture.” Viewing Japanese culture through the lens of the environment (in my case using the elements as a framework) is also the focus of my book and blog on elemental Japan. While the approaches taken differ in many ways, the basic sentiment is the same.
Japan is a land of mountains, the most iconic, recognised and depicted being Mt Fuji. Formed from volcanoes and tectonic activity, the mountains are clothed in forest. They influence the weather and form catchments that provide water for life on the plains. Plains where most Japanese live and rice, the basis of the traditional diet, is grown. Earth, fire, water, wind, wood – the mountains are a significant feature of elemental Japan. It is no wonder that they are considered sacred and are a focus of spiritual activity.
A week has passed since I wrote my first post. Over that period I have come across many expressions of the elements in Japan. The following ten brief examples, all experienced in the last seven days while in Kameoka, Japan, illustrate some of the diverse pieces in the puzzle that constitute Elemental Japan. The exciting challenge will be piecing them together into an engaging story that adds value to the voluminous material available on Japan. As my introductory post noted, I feel that it is a story waiting to be told.