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, 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.
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.
The Japanese five-storied pagoda (gojunoto) is a remarkable piece of Buddhist architecture that represents the five elements of earth, water, fire, wind and space/void. It has played a significant role in Japanese culture for over 1400 years and continues to do so. Built to enshrine Buddhist relics and as a focus of devotion, the towering form of the gojunoto captures and captivates the imagination. Their layered wooden grooves ascending in stages towards the sky evoke a spiritual connection. The metal spire at the top completes the structure and symbolism. The sophisticated wooden architecture of the pagoda provides resistance to the elemental forces of earthquakes and strong winds, a design that has informed modern multi-story architecture. With it’s origin in India, and influences from Chinese architecture, the Japanese pagoda has developed into a distinctive form. My search for gojunoto and the way they are represented has opened up a new and exciting dimension of Elemental Japan.
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.
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 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.
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.