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:
Shinto Moments on the Three Capes Track, Tasmania
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, these images from the Three Capes Track only appear in this post.
The new Spring growth exuded a great life-force and energy during the four day trek.
From the finest details to the grandest views, the Three Capes Track was a magical experience. Tasman Island is viewed here from ‘The Blade’, a spectacular, narrow and elevated rock outcrop on Cape Pillar.
One of the Tasmanian Aboriginal elements on the Three Capes track is a 2 km boardwalk in the shape of a serpent. Snakes are important in Shinto, representing renewal and a practical reminder of the benefits of coexisting with other creatures.
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.
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.
Gogyo is the Japanese term for the five Chinese phases/elements (Wuxing), a concept that was introduced to Japan around 1500 years ago. Since arriving in Kyoto in early December 2018 I have come across a number of contemporary examples utilising gogyo. In describing these I return to the original intent of my posts in Elemental Japan. That was, to record my impressions as I travelled Japan to experience the elements in person. Beginning in May 2016, the posts were designed to be informal, a way to share ideas that would be refined at a later stage. As I learnt more about the elements in Japan I’ve found myself spending much more time on my posts to try and capture the nuances of this complex and fascinating topic. That is the research scientist coming out in me. As a consequence the frequency of my posts dropped dramatically. My plan to address that is to be less concerned with the detail and get back to spontaneously sharing the elemental expressions that have caught my eye along the way. This is my first ‘rough and ready’ installment .
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.
Japan is a land of forests. Sixty seven percent of the country is covered with trees, only second behind Finland when ‘developed’ nations are compared. Currently the forests are vibrant and green, you can’t help but notice them on the mountains and in the Shrine and Temple forests as you travel around. Both mountains and trees are worshipped in Japan to varying degrees. Given the abundance of forests it is not surprising that wood and related materials play such an important cultural role. This is the element that has particularly caught my attention during late June and early July 2016. Here are my impressions, once again a diverse mix. The many connections between wood and fire demonstrates the inter-relatedness of the elements. As always with these informal posts, it is only part of the story.
One of the most ubiquitous elements I have noticed as I walk around the streets of Kyoto is fire. It is expressed in many forms. There are ways and means to avoid, dampen and fight fire if it breaks out. The use of fire in purification rituals and festivals is also a feature. One of the more well known is the spectacular display in August when six large kanji on the hills of Kyoto are set ablaze. From the red fire buckets and extinguishers in the streets, to the ‘Fire’ brand of coffee sold by Kirin, reference to the powerful force of fire is seemingly everywhere in Japan’s ancient capital.
The subtitle of the book that I’m writing on elemental Japan was originally ‘the energy of a nation’. I chose these extra explanatory words carefully, words that would best portray the essence of the elemental story of Japan. From the energy of the powerful natural forces that have literally shaped the island nation, to expressions of ‘ki’ (the life-force or flow of energy that sustains living beings) – I feel that understanding energy is key to understanding the elements in Japan. In November 2016 I changed the subtitle of the book to ‘Feel the energy’, the title of this post. On reflection it sits better with the intent of my explorations, inviting readers to engage personally with the elements.