Hirosaki Park is known as one of the premier cherry blossom viewing spots in the Tohoku region, with many saying, “When it comes to Aomori Prefecture’s most famous cherry blossom spots, Hirosaki Park is the place to go.” The park is also known as Ouyouen and stands on the site of Hirosaki Castle, the seat of the Tsugaru clan, which ruled over a domain of 100,000 koku. Spanning a total area of approximately 50 hectares, the park features remnants of the castle, including the main keep, moats, watchtowers, and castle gates. During cherry blossom season, some 2,600 cherry trees bloom in spectacular fashion.

The History of Hirosaki Castle

The main keep of Hirosaki Castle is one of 12 keeps built during the Edo period and is the only surviving keep in the Tohoku and Hokkaido regions.

The castle ruins are designated as a National Historic Site, and the surviving main keep, turrets, and castle gates are also designated as Important Cultural Properties. Hirosaki Park is located in the center of Hirosaki City. It covers a vast area of approximately 600 meters east to west and 1,000 meters north to south, with a total area of about 50 hectares. Within the park, in addition to the castle keep (the Tatsumi Yagura in the Honmaru), six bailey areas surrounded by moats and earthen ramparts, three turrets, and five castle gates remain.

“I believe it’s rare even nationwide to find such a large-scale castle complex open to the public as a park while retaining its original appearance,” said Kokoro Shōji, Chief of the Hirosaki Castle Maintenance and Utilization Promotion Office in the Hirosaki City Parks and Green Spaces Division.

The History Leading Up to the Construction of Hirosaki Castle

By 1590, Tsugaru Tamenobu had secured confirmation of his lands in Tsugaru from Toyotomi Hideyoshi, and in 1603, he decided to build a new castle, selecting the site at Takaoka. However, progress on the project was slow, and Tsugaru Tamenobu died of illness in Kyoto in 1607 without ever seeing the castle completed. He was 58 years old. Subsequently, his third son, Nobuhira, who became the second lord of the domain, completed Takaoka Castle (now Hirosaki Castle) in 1611.

Why Hirosaki Castle Was Reduced from Five Stories to Three

“The castle tower originally had five stories and was located in the southwest corner of the inner bailey when the castle was first built, but it was destroyed by a lightning strike in 1627,” says Mr. Shōji. “After the castle tower burned down, there was a strong movement to rebuild it, but the plans stalled midway. Later, when the Hirosaki domain’s rice yield reached 100,000 koku, the 9th lord, Yasuchika, rebuilt it in 1810 under the pretext of constructing the Tatsumi Turret of the Honmaru; this structure remains as the castle tower today.” The town’s name was changed from “Takaoka” to the current “Hirosaki” the year after the fire, reportedly as a way to ward off misfortune.

From the turmoil of the Shogunate’s fall to a symbol of the people of Hirosaki

Eventually, the Meiji Restoration led to the dissolution of the Hirosaki Domain. Hirosaki Castle came under the control of the Ministry of the Army, and during the war, it was used as a branch of the Army Ordnance Depot—a regional office responsible for the supply, storage, and management of weapons and ammunition. Although some facilities, such as the Honmaru Palace and the Treasure House, were dismantled, the castle keep, gates, and turrets were preserved. Furthermore, because many of the ruins escaped damage during the Pacific War and remain in their original state, the site has been designated a valuable National Historic Site.

Amidst these developments, the area excluding the Sannomaru—which had been used as an Army powder magazine—was opened to the public as Hirosaki Park in 1895. The three-story main keep stands approximately 15 meters tall, offering a magnificent view that takes in the entire park and Mount Iwaki, known as “Tsugaru Fuji.”

This historic site has evolved from the “Kan’ōkai” cherry blossom viewing party to the “Hirosaki Cherry Blossom Festival”

Just as people begin to feel the weight of winter lift, some 2,600 cherry trees of 52 varieties—including Somei-Yoshino, double-flowered cherry, and weeping cherry—bloom beautifully across the park’s expansive 50-hectare grounds. Within the park, which offers views of snow-capped Mount Iwaki, countless circles of people gathered for drinking parties—those who have longed for spring—spread out, and the sounds of Tsugaru folk songs can be heard from all around. Even now, more than 400 years after its construction, Hirosaki Park, home to Hirosaki Castle, continues to be cherished by the citizens as the first place that comes to mind when they think of a place to relax.

The post “Hirosaki Park,” overlooking the ruins of Hirosaki Castle—the only surviving castle keep in the Tohoku region / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

Oya Stone, quarried in the Oya district of Utsunomiya City. Known for its fire resistance and softness, making it easy to work with, it is widely used as a building material. The Oya Stone Museum allows visitors to explore the former quarry sites. Its breathtaking, massive underground space, reaching 30 meters below ground, captivates all who see it.

Oya, the Stone Town: Where Stone and Nature Weave a Unique Landscape

About a 25-minute drive from central Utsunomiya City. The scenery of dense buildings suddenly changes, arriving in an area surrounded by greenery and mountains. Though called mountains, it’s a unique landscape resembling rocky hills. This is the major production area for Utsunomiya City’s specialty, “Oya Stone,” known as the “Stone Town of Oya.”

What is “Oya Stone”?

Oya Stone is a tuff rock formed by volcanic eruptions 20 million years ago. It is named after the Oya district in Utsunomiya City, where it is primarily quarried.

Its softness and workability have made it a long-used building material; many stone walls and old storehouses in the prefecture are built with Oya Stone. It also offers fire resistance and humidity-regulating properties, and its natural texture is highly popular. In recent years, it’s increasingly used as interior material in homes and shops. For those living in Tochigi Prefecture, “Oya Stone” is a very familiar stone, known to almost everyone.

Oya Stone Used in the Former Imperial Hotel

Full-scale quarrying of Oya Stone is said to have begun around the middle of the Edo period. At that time, without machinery, miners used pickaxes and manually extracted the heavy stones by hand. While it was primarily used for shrines, temples, Utsunomiya Castle, and private home walls within the prefecture, the quarrying industry grew significantly after the Meiji period with the development of transportation methods like railways. Shipments increased substantially to areas like Tokyo and Kanagawa.

In 1922 (Taisho 11), Frank Lloyd Wright, an American architect known as one of the “Three Great Masters of Modern Architecture,” utilized Oya Stone in the main building (the Wright Building) of the former Imperial Hotel in Hibiya.It is said that Oya Stone was chosen because sufficient quantities for the construction could be secured and because of its softness, which made it easy to carve intricate details. Shortly after the Imperial Hotel opened, the Great Kanto Earthquake struck. The hotel suffered minimal damage during the quake, demonstrating the stone’s excellent seismic and fire resistance. This led to the widespread recognition of the name “Oya Stone.”

Subsequently, the introduction of mining machinery and increased construction demand during Japan’s period of rapid economic growth combined to bring the industry to its peak in the 1960s. Annual shipments reached approximately 890,000 tons, with mining operations conducted at about 120 sites.

The Oya Stone Museum: The Core of Tourism in the Oya District

Parallel to the development of the Oya Stone industry, the Oya district also grew as a tourist destination. In 1956, a massive 27-meter-tall “Peace Kannon” statue was carved into the wall of a quarry south of Oya Temple, where Japan’s oldest stone Buddha is carved into a rock face. This attracted many visitors to Oya, leading to an increase in souvenir shops, restaurants, and drive-ins in the surrounding area.This further accelerated its transformation into a tourist destination. Meanwhile, however, demand for Oya Stone gradually declined, influenced by factors like the diversification of building materials. Amidst this, the Oya Stone Museum emerged as a privately run facility opening the former quarry site to tourists. This was back in 1978, over 45 years ago.

A breathtaking underground space created by human hands

Our guide through the Oya Stone Museum was its director, Mr. Yasutoshi Okubo.

Visitors can walk through the vast underground quarry ruins, located 30 meters below ground and spanning an area of 20,000 square meters. The interior remains cool and refreshing, even in midsummer, with an average annual temperature of around 8°C (51°F). The towering rock walls are etched with numerous fine, line-like marks, which are the traces left from cutting the stone.

The Oya Stone Museum operated as an actual quarry for approximately 70 years, from 1919 (Taisho 8) to 1986 (Showa 61) (quarrying is no longer conducted). Until around 1960 (Showa 35), workers used pickaxes to extract stone, sometimes carrying heavy stones weighing nearly 120kg out on their backs using a “shoiko” (backpack).Later, mining machinery like chainsaws was introduced, enabling more efficient extraction of larger quantities of stone. Observing the rock face from top to bottom, the upper section appears uniformly pitted and uneven, transitioning to a flatter surface with sharp, knife-like cuts in the middle to lower sections.

Looking further up, the ceiling appears sooty black. Mr. Okubo believes this is likely due to stonemasons burning fires to keep warm in the cold underground caverns.

It is not a modern, large-scale structure reflecting the latest technology. Yet it is also distinct from a natural limestone cave. The Otani Museum allows visitors to experience a unique space and history born from the fusion of natural rock and human effort.

More than just sightseeing: Utilization as a wedding and event venue

Since opening in 1978, the Oya Stone Museum has remained a core tourist attraction in the Oya district. Its convenient location along the route to Nikko made it a popular stop for field trips and school excursions for students both within and outside the prefecture.

Its fame also grew through being used as a filming location for movies, TV shows, and music videos. Oya Stone’s fire resistance has made it suitable for filming scenes involving fire. Numerous photos documenting these productions are displayed inside the quarry, often drawing curious visitors who exclaim, “So that movie was filmed here?”

Many companies also seek to utilize this mysterious underground space for product promotions and events. It has been used for receptions for cars, watches, and global luxury liquor brands.

Furthermore, it is possible to hold weddings by specially opening non-public areas. Natural light streaming through an opening above and candlelight alone create a fantastical and solemn atmosphere, making for unforgettable memories. By responding to diverse needs beyond just sightseeing, it has become a representative spot of Oya.

Declining Tourist Numbers, Closure Due to the Earthquake. The Decline of the Ōtani District

The “Oya Stone Museum” established its unique presence as a tourist facility. However, this success was limited to the museum itself. For the Oya district as a whole, a rapid decline began in the early Heisei era.

One cause was the ground collapse accident in 1989. Shocking footage of the large sinkhole left people with the impression that “Oya is dangerous,” tarnishing the entire region’s unique beauty—where one could normally enjoy abundant nature and mountains revealing Oya stone rock faces. Furthermore, demand for Oya stone as a building material declined year by year due to cheaper foreign alternatives, and the number of quarry operators steadily decreased.Surrounding restaurants and lodging facilities also withdrew, and it was inevitable that tourists would stay away from an area with fewer attractions and activities. The sight of numerous tour buses and people walking the streets diminished, making the former bustle seem like a distant memory.

Even so, the Otani Museum managed to continue operating as a tourist facility, thanks to its uniqueness and the impact of being able to tour the vast underground spaces.

Amidst this situation, the Great East Japan Earthquake struck in 2011.

Utsunomiya City, where the Oya Museum is located, recorded a seismic intensity of 6 upper, and the damage to the area was extensive. This unprecedented disaster led to the decision to close the Oya Museum.

Many people misunderstood the reason for this closure, assuming it was due to physical damage from the earthquake. However, that was not the case. The interior of the Otani Museum was exceptionally sturdy, having been used as an underground military aircraft factory during the war, and suffered no physical damage from the quake. The then-director decided to close the museum to prevent visitors from being startled by aftershocks, potentially causing injuries or anxiety.

Regardless of the reason, the closure of this representative tourist facility in the Oya district accelerated the area’s decline. With no prospect of reopening and the owner at the time considering selling the business, it was Mr. Okubo’s father, Keiichi, who took over management to reopen the museum and preserve it for future generations.

The Path to Revival as a Tourist Spot

Keichi, who had previously run a civil engineering and stone business in the Oya district, took on this unfamiliar venture in a visibly declining area. It seemed a reckless move. Yet, Keichi was driven by a strong desire: “I want to bring back the Oya of the past, bustling with people.” He was spurred on by his own earnest wish to see once again the vibrant scene of the area where he grew up.

Mr. Okubo, who was working outside the prefecture at the time, also resonated with his father’s vision. To help his increasingly busy father, he decided to return to Ōtani, the place where he was born and raised.

Thus began days of trial and error for father and son. They explored various initiatives. Among them, an exhibition of works by flower arrangement artist Shogo Kariyazaki drew significant attention. Combined with events like collaborations with popular anime, these efforts increased awareness of the museum. Furthermore, allowing photography—previously prohibited—made the museum a popular photogenic spot. (※Photography exceeding two hours without permission, and the use of tripods, selfie sticks, or other photography equipment is prohibited.)

Parallel to these efforts, the entire Otani area saw a gradual recovery in visitor numbers. Driven by people wanting to “bring back the old bustle,” events were held and new shops opened. Today, annual attendance exceeds 450,000, and the area has regained its vibrancy, with buses carrying overseas tourists visiting daily.

To ensure visitors feel safe exploring this unique underground environment

Mr. Okubo explains that managing this unique underground environment presents many challenges.

Humidity inside is extremely high, consistently around 80%. Electrical systems are prone to corrosion, requiring meticulous attention to prevent leaks. During typhoons or heavy rains, massive amounts of water flood in, sometimes requiring three full days of pumping to remove it.

Additionally, when bringing vehicles in for events, they must be vigilant about carbon monoxide poisoning.

In recent years, to alleviate concerns about crowding underground, they introduced a machine at the entrance that counts the number of visitors. They also installed infection control equipment that displays the number of people inside in real time.

Amidst these efforts, the utmost focus remains on ensuring safety. Oya stone is lightweight and prone to cracking, so skilled craftsmen conduct monthly inspections to check for any new cracks. They also regularly monitor the width of existing cracks in the non-public underground areas to ensure visitors can enjoy their tour with peace of mind.

Today, not only have tourist numbers increased, but companies and organizations nationwide are continuously proposing events and projects. “We allow the use of fire, but we ask them to refrain from explosions,” says Mr. Okubo with a slightly troubled smile. Yet, he clearly takes pleasure in seeing the museum bustling with visitors once more.

Moving forward with Oya

“I believe this place is truly unique, even on a global scale,” says Mr. Okubo. While many visitors come to see locations from their favorite films, he adds, “I’d be happy if children also learned about the history of how people used their minds and hands to mine here in the past.”

In the past, many visitors to the Oya district would leave after seeing the Oya Stone Museum. Over the last decade or so, stylish restaurants and shops have opened up around the area, revitalizing the entire Oya district into an enjoyable destination. This transformation was driven by people like Mr. Okubo and his son – individuals who remembered Oya’s former vibrancy, believed in its potential for revival, and dedicated themselves to making it happen.

Mr. Okubo’s life in tourism began when his father raised his hand. It was something he never expected, but now he finds daily joy in meeting all kinds of people.

“I’d like to expand the tour routes, but safety considerations make it difficult. Still, the scenery above ground is beautiful in every season, not just underground. After visiting the museum, I hope people will explore the entire Oya area,” says Mr. Okubo.

It’s not just about the “Oya Museum”; it’s about many people visiting the Oya district and the entire area thriving. That is surely the wish of the people who have witnessed the rise and fall of this land.

The post A massive underground space, 30 meters below ground, created by human hands throughout history. The Oya Stone Quarry Site “Oya Stone Museum” / Utsunomiya City, Tochigi Prefecture first appeared on NIHONMONO.

A 250-year project to create a village of cherry trees as far as the eye can see

Let’s fill our hometown with 99,000 cherry trees and leave them to our children. An incredibly grand project is currently underway in Iwaki City. The project is called the ” Iwaki Mambonzakura Project. We visited the stage of the project, which has attracted the participation of world-renowned artists.

The “Iwaki Manbonzakura Project” was launched two months after the Great East Japan Earthquake, with the sincere wishes of the people of Iwaki gathered together. Mr. Tadashige Shiga plays a central role in the project. In the book “The Giant Who Walks in the Sky” by Kawauchi Ario, who won the Ken Kaiko Nonfiction Prize this year, he appears as “Iwaki’s amazing old man.

The place we were aiming for was on a hill overlooking rice paddies. The wooden corridor, 160 meters long, stretches upward like a dragon from there. The sign at the entrance read “Iwaki Corridor Art Museum. Hidetoshi Nakata, who was looking at the exhibits on the wall, stopped in front of a photo.
Is this another of Mr. Tsai’s works?” Mr. Shiga nodded yes.
It is a work called “Gift from Iwaki,” which has been exhibited around the world. For every exhibition, we, the Iwaki team, go there to help assemble it. Mr. Tsai may just want to play along, though.
With a mischievous smile, Mr. Shiga told us how he and his ally, Cai Guo-Qiang, created the museum here.

Cai Guo-Qiang is a contemporary artist from Fujian, China. He describes Iwaki as his second hometown, and is currently based in New York and continues his creative activities around the world. Thirty years ago. As a student at Tsukuba University and a fledgling artist, Cai had a chance to hold a solo exhibition at an art gallery in Iwaki. At that time, Mr. Shiga purchased a painting, and the two became friends. Their friendship continued even after Ms. Tsai left for the world.
When the earthquake struck seven years ago, Mr. Tsai immediately rushed to Iwaki. Hearing about the “10,000 Cherry Blossoms Project,” he suggested that we create an art museum

Painting the Cherry Blossom Landscape of the Future.

Before the earthquake, the original trees had to be cut down to plant cherry trees. Before the earthquake, thinned wood sold for 50,000-60,000 yen per hectare, but after the earthquake, the price collapsed. When I told them that we were in the red, they said, “Then let’s build with the timber. I told them it would be easy to maintain, so we decided on a corridor style.
Based on Mr. Tsai’s sketches, a total of 400 volunteers worked for six months to construct the building. Currently, four of Tsai’s works are on display on the site, surrounded by an outdoor stage, tree house, swings, and other structures built by Shiga and other volunteers. A café space, library, and other facilities are currently under construction.

They plant 400 to 500 cherry trees a year, and have reached a total of 4,000 trees to date. At this rate, it will take about 200 to 250 years to reach the goal, Shiga says with a laugh.
In the future,” he says with a laugh. In the future, I would like to fill the rice paddies in front of us with cherry trees.
Looking where Shiga-san is pointing, Nakata-san says, “It’s a great view.
It would be interesting to have a museum that is constantly evolving, and since so many people have put so much thought into this place, why don’t we come up with a system to make it known to even more people?”
The rice fields are beautiful here, so why not hold a harvest festival in the fall?
Their strategy meeting around the hearth continued until the sun went down.

Reference links

Iwaki Corridor Museum of Art
7 Sosaku, Taira Nakagamiyaji, Iwaki City, Fukushima Prefecture

Iwaki Manbonsakura Project
https://www.mansaku99.com/home

Iwaki Manbonzakura info (X: former twitter)
https://twitter.com/99000_sakura

The post Cherry blossom village as far as the eye can see “Iwaki Manbonsakura Project” by Mr. Tadashige Shiga / Iwaki City, Fukushima Prefecture first appeared on NIHONMONO.

There is the sea, and there are the mountains. In Saga, people’s lives are closely connected to nature. One symbol of this is Mifuneyama Rakuen, a garden in Takeo City, which took three years to create in 1845 as a villa garden for Shigeyoshi Nabeshima, the 28th lord of Takeo in the Saga domain at the time.

Mifuneyama Rakuen is attractive both day and night

When most people think of Japanese gardens, they think of small ponds, artificial mountains, and manicured plants, but the scenery of this Mifuneyama Rakuen is much wilder. Towering before you is the 210-meter-high Mt. As if covering the rugged, undulating rock surface, cherry blossoms bloom in March, azaleas from April, and autumn leaves add color in the fall.
The grounds cover an area of about 150,000 tsubo. A leisurely stroll through the park in the daytime is fine, but at night, when the lights are turned on, the scenery becomes even more magical. The lights are not glittering. Rather, as you stand amid the subdued lights, you are enveloped by the smells of the plants and flowers, and your mood is relaxed and calm.

Mysterious world created by Team Lab

For an even more magical experience, visit the Mifuneyama Rakuen Hotel on the grounds. After passing through the automatic entrance door, you will find yourself in a magical world of countless colorful Venetian lamps shimmering and shining. Surrounded by mirrors, the space seems to spread out forever. What should have been a rich natural setting was instantly transformed into a space of art. The dramatic change is so dramatic that it is almost impossible to keep up with it, and it is easy to lose track of where you are.

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A new challenge to bring a breath of fresh air to the sake industry has quietly begun in Kyoto. At the heart of this is Mr. Hideo Matsumoto, the representative of Hibi Brewing Co. Mr. Matsumoto was the toji (master brewer) at his family’s sake brewery, Matsumoto Shuzo, until 2020, but in order to make the sake he envisioned, he retired from this position together with his father, Yasuhiro, who was the head of the brewery, and established a new sake brewery.

Retirement, training as a warrior, and a new beginning

Hibi-jozo, which was established in 2021, is located in Fushimi, Kyoto. It is a small-scale sake brewery consisting of a renovated warehouse that used to store coal and a newly built brewery next to it. Despite its small size, it was completed in less than a year after Matsumoto retired from his previous job, so we can’t help but be impressed by the smoothness of the arrangements made to set up the new base, and also by Matsumoto’s strong passion and desire to make sake.

This desire is symbolized by the sake brewing pilgrimage that Mr. Matsumoto calls his “samurai training”. Soon after leaving his previous job, he was invited by five sake breweries that he considers to be his peers and with whom he is working to develop the sake industry, to participate in the brewing at each brewery in succession, and he brewed sake at each brewery while borrowing their facilities. Starting with Tomita Shuzo in Shiga Prefecture, he visited each brewery in turn, including Shiraito Shuzo in Fukuoka Prefecture, Hananoka Shuzo in Kumamoto Prefecture, Senkin in Tochigi Prefecture, and Shinsei Shuzo in Akita Prefecture, and by brewing sake there, he was able to gain a clearer understanding of the details of each brewery that he had not been able to see from the outside, such as the individual methods used to make the most of the local environment and climate, and the way in which the local water and rice are used to bring out the unique characteristics of the area, and he also gained new insights. Each of these five breweries has established its own originality in sake brewing, and the sake they brew is highly regarded throughout the country. This is why there was probably a lot to learn through the experience of working at these breweries.

A fusion of tradition and innovation

After completing his training, he returned to Kyoto and quickly began to realize the rough draft of the ideal brewery he had been imagining in his head. He completed the brewery in just three months.

In this new environment, Mr. Matsumoto is challenging himself to take the traditional Japanese sake brewing method of “kimoto-zukuri” to the next level, and to open up new possibilities for sake by adding the essence of the knowledge, insights and know-how he has cultivated up to this point.

This is linked to the “Shuhari” spirit that he has held since he first started making sake.

“Ultimately, sake making won’t be good unless you have a clear goal or destination in mind. That’s why I started by combining things that I thought made sense,” says Mr. Matsumoto. His words show his sincere attitude towards sake making.

It’s impossible to make sake without using the traditional kimoto method

The “Namamoto” brewing method that Mr. Matsumoto works with is a traditional method that sets itself apart from the mass-production style of sake brewing that developed after the Meiji era. This method uses natural lactic acid bacteria to slowly ferment at low temperatures, creating a unique flavor. Due to the time and effort involved, there are very few sake breweries that use the Namamoto method compared to the quick-fermenting method that allows for mass production.

However, Mr. Matsumoto asserts, “The sake that I want to make is impossible to make without using natural yeast starter. Furthermore, I think that it has to be natural yeast starter that surpasses natural yeast starter.” As he says, in general, natural yeast starter brewing is carried out at a temperature of 5-9℃, but in the daily brewing, fermentation is carried out at an astonishingly low temperature of 0.2℃.

This ultimate low-temperature fermentation has succeeded in producing a sake that has a rich flavor while keeping the alcohol content at around 11% in its original state.

This is much lower than normal sake, which is 17-20% in its original state and 13-16% when diluted.

Not one cup, but one bottle. Making a thin, delicious flavor

At the root of Mr. Matsumoto’s sake brewing is a spirit of inquiry: “What is the taste of good sake that people can continue to drink? The best answer to this question at the moment is ‘usuuma’. By reducing the alcohol content, he has arrived at a taste that combines ease of drinking with deliciousness, expressing a refreshing, watery texture while also allowing the umami of lactic acid fermentation to be felt in the depths of the palate. ”Two or three people can comfortably drink a bottle. When I imagined the scene of drinking sake in a restaurant, I didn’t have that kind of image yet. Sipping a small amount of sake from a beautiful sake cup is the standard for sake drinking nowadays. He says, “I’m not trying to pander to wine drinkers, but after all, it’s hard to drink a whole bottle if it’s too heavy, isn’t it? I want to make sake that people want to order by the bottle, not by the cup, and I want to make it a role model for that.” To achieve this, he is determined to pursue a “thin, delicious taste” that is just on the line of being too thin for some drinkers, by making sure to bring out the umami without relying on alcohol, aroma or sweetness. While it may seem like a niche approach to suppressing the aroma and sweetness that are the hallmarks of sake, he says he has no hesitation in pursuing this policy. He aims to create a taste that is so solid that people who drink it will be able to associate it with the taste of Matsumoto Hizuhiko, just like a wine from a famous wine-producing region.

Making the most of the characteristics of rice

Rice is an important factor in the taste of sake. Mr. Matsumoto believes that in order to pursue the ideal taste, it is also important to delve deeper into the approach to the ingredients. In daily brewing, he mainly uses Yamadanishiki, but he places particular importance on the region of production, and he uses Yamadanishiki from the Akitsu area and from the Yoneda village in Hyogo Prefecture, trying to reflect the individuality of each region in the taste.

In addition, he is also working on making sake using small amounts of sake rice from the region that the sake brewer he trained with uses. He says that he started this because he wanted to make sake from the rice he met during his training, and to express the individuality and excellence of the sake rice from all over Japan from his own perspective.

From this attitude, you can feel his deep respect and inquisitiveness towards rice and human relationships.

Technological innovation in sake brewing has come from the hands of

One thing that is particularly notable about Mr. Matsumoto’s sake brewing is that he avoids using machines as much as possible, and insists on doing everything by hand.

“When I built this brewery, I completely abandoned the idea of relying on machines to make sake. Nowadays, almost all of the processes are done by hand.” This policy has enabled more delicate and careful sake brewing in exchange for productivity and working hours.

Even the rice washing process is done by hand, without using a machine.

He says, “Using a rice washing machine isn’t a bad idea, but it washes the rice at the same power all the time. The condition of the rice changes every year, and it differs depending on the region and the person who makes it. These characteristics can only be felt by hand.”

This commitment to manual labor is not just to preserve tradition, but also a strategic choice to create higher quality sake.

Facing the challenges of the industry

In this way, the sake that encapsulated Matsumoto-san’s ideals was completed. He named it “Nichinichi”. The fact that it bears the name of his store shows Matsumoto-san’s confidence, but the price is in the 2,000 yen range, making it relatively easy to obtain for the time and effort that went into making it. As a reason for this, Mr. Matsumoto gives a specific figure, saying, “If we can make about 300 koku (about 55,000 liters* or about 76,000 bottles of 4-go bottles) of sake at 2,000 yen per bottle, we can feed our staff and pay off our debts.”

However, if we look at the sake industry as a whole, there are still many cases where the old distribution and pricing systems are being followed, and in order to break out of this situation, it is first necessary to reform the mindset of the market as a whole. For example, if sake costing around 3,000 yen per 720ml bottle could be consumed as everyday sake rather than as a gift or luxury item, it would be possible to protect not only the sake breweries, but also the sake rice farmers. For this reason, they believe that it is essential to produce sake that meets the needs of the market.

Perhaps because of this, Matsumoto-san’s quest for “sake that can be enjoyed over and over again” reveals not only his own company’s interests, but also a deep consideration for the sustainability of the sake industry as a whole, and a management philosophy that takes into account the healthy development of the industry as a whole.

Opening up new horizons for sake

Matsumoto’s sake brewing takes into account changes in the infrastructure of consumption that could become the new standard for sake. While following traditional Namamoto brewing methods, his pursuit of a flavor that meets the needs of modern consumers is one path that could open up the future of sake.

In addition, by sticking to manual labor, he pursues a quality and individuality that cannot be achieved through mass production, and this is in line with trends in other alcoholic beverage industries, such as the rise of craft beer and natural wine.

These things are possible thanks to Matsumoto-san’s innate sense. Even just looking at the brewery building, you can see that the old-fashioned image of a sake brewery has been swept away, with the turntable and sound system installed in the atrium on the second floor, and the tasting counter that looks like a coffee stand.

It is precisely because of Mr. Matsumoto’s challenge that we can feel the great potential for sake to evolve in line with modern food culture and lifestyles, rather than just being a traditional drink. It will be interesting to see how Mr. Matsumoto’s every move will affect the sake industry as a whole.

The post Matsumoto Hizuhiko of Hibi Brewing Co., Ltd. takes on a new challenge: making nihon-shu using a method that goes beyond the traditional koji-moto method, and opens up a new future for nihon-shu. Kyoto City, Kyoto Prefecture first appeared on NIHONMONO.

In Okinawa, there are still sacred places called “Utaki” where people have offered prayers since ancient times in various places. Among them, “Sefa Utaki” is known as the most sacred place in the Ryukyu Kingdom. The primitive space that tells the spirit of “nature worship” that gods reside in nature itself such as rocks and trees attracts visitors.

Utaki tells the story of Okinawa’s history, where nature worship is deeply rooted

Sefa Utaki is located in Nanjo City, in the southern part of the main island of Okinawa. Since being registered as a UNESCO World Heritage Site in 2000 as “Gusuku Sites and Related Properties of the Kingdom of the Ryukyus,” it has become widely known both in Japan and overseas, and is now one of Okinawa’s leading tourist destinations, with over 400,000 visitors per year. However, the first thing that confuses first-time visitors is how to read the name.

“Since it is generally read as saijo (funeral hall), some people think that they are visiting a crematorium. The origin of the name is that “sai” means pure, so it was named saijo because it is a sacred place. Another theory is that the place name “Saihabaru” here was corrupted to “Se-fa” and became saijo as a phonetic spelling.” This is what Hideaki Ishida of “Amamikiyo Romantic Association,” a tour guide at Sefa Utaki, explained. Okinawa is an island where nature worship is deeply rooted, worshiping nature such as trees, springs, rocks, and wells. Since it is believed that gods descend to such natural formations, there are no gods or worship halls like shrines in Honshu. However, important history and the spirit that our ancestors have cherished and passed down reside in parts of nature that we would pass by if we were to pass them by. Ishida has been a guide at Sefa Utaki for many years, wanting to convey the importance of such utaki to many people.

The reason why it is said to be the most sacred place in the Ryukyu Kingdom

According to Ishida’s explanation, there are about 900 Utaki in Okinawa. Why is Sefa Utaki said to be the most sacred place in the Ryukyu Kingdom? The reason is that it is a Utaki created by Amamikiyo, the god of the creation of the Ryukyu Kingdom. In Ryukyu mythology, it is said that Amamikiyo created seven Utaki, the Seven Utaki of the Creation of the Ryukyu Kingdom, when he created the nation of Ryukyu. Sefa Utaki is one of them.

There is also a legend that Sefa Utaki was the place where the ceremony “Oaraori” was held, in which “Kikoe Okimi” takes over as the highest priest. Kikoe Okimi is the highest-ranking title for a female priest (Noro) in the Ryukyu faith. It is said that Sefa Utaki was the spiritual protector of the Ryukyu kings and the entire kingdom, and was in charge of the royal ceremonies for over 400 years, from the first king (1470) to the 15th king (1875). With such an important role, the inauguration ceremony of Mikoe Okimi was a significant ritual for the entire nation. This shows just how special Sefa Utaki was in the Ryukyu Kingdom.

A sacred area where only female priests are allowed to enter

There are six places of worship called “Ibi (sacred area)” in Sefa Utaki. It takes about an hour to walk around them all at a leisurely pace. Starting from “Sefa, the Green House,” you will proceed through the mysterious forest where the entire area is considered sacred.

At the beginning of the approach to Utaki, there is the “Kudaka Island Worship Site,” which overlooks Kudaka Island in the sea to the east. Kudaka Island is said to be the first island created when Amamikiyo, the god of the creation of the Ryukyu Islands, descended from heaven to earth, and is also known as the “Island of the Gods.” In Ryukyu, it is believed that Niraikanai, the world where the gods live, lies to the east where the sun rises, and people have offered prayers to Niraikanai. From Sefa Utaki, Kudaka Island is located to the east. For this reason, the “Kudaka Island Worship Site” has also been revered as a passage to Niraikanai.

To the right of that is the entrance to the Utaki, called Ujoguchi. From here onwards, the Utaki was once managed directly by the Shuri Royal Court, and only the king and those who performed religious ceremonies were allowed to enter. During the Ryukyu Kingdom era, only women could become priests, so men were not allowed inside. It is not known for certain, but it is said that even the king had to change into women’s clothing when entering.

“The famous Kikoe Okimi was also a woman, but the reason why there were only women is because of the Onari God faith that was rooted in the Ryukyu Kingdom era. Onari means sisters. In the past, in the Ryukyus, men would go out to work at sea, while women would stay at home and pray for the safety of their men. Eventually, it was believed that sisters had the spiritual power to protect their brothers, and the Onari God faith, which believes in the spiritual power of women, became the foundation of the Ryukyu Kingdom. As a result, women came to be in charge of rituals as priests, and at Sefa Utaki, priestesses (noro) have offered prayers for peace and prosperity for the Ryukyu Kingdom, bountiful harvests, and so on. It wasn’t until 1879, after the Ryukyu Kingdom was destroyed, that anyone was allowed to enter freely.”

There are six stone incense burners at the entrance to the shrine. These represent the six places of worship within the shrine. As mentioned above, not everyone was allowed inside the shrine, so those who were unable to enter offered their prayers here.

Six places of worship within the Utaki where prayers were offered

As you climb through the dense forest from the Gomonguchi entrance, you will see the first place of worship, “Ufugui,” on your left. Ufugui means “large hall” or “first seat.”

There is a huge rock at the back, and in front of it is a prayer space (una) with a raised stone pavement. It is said that the “Oshinagari” ceremony took place here, when Mikoe-no-Okimi was inaugurated as the highest priest.

The second place of worship is “Yuinchi.” Yuinchi is the Ryukyu Kingdom’s term for kitchen. However, cooking was not done here, and it is interpreted as a place where bountiful harvests flowed in from all over the country during the Ryukyu Kingdom era, when trade was thriving. The king and priestesses are said to have prayed for the prosperity of the kingdom and bountiful harvests at Yuinchi, where a large rock juts out above them.

The third and fourth places of worship are the “Amadayuruashikanubi” jar and the “Shikiyodayuruamaganubi” jar. The water that drips from the two stalactites is said to be “sacred water,” and two jars have been placed there to catch it.

“Ryukyu was originally an island formed by the uplift of coral chunks. The rocks at Sefa Utaki are made of Ryukyu limestone, so they have many holes. When it rains, the rainwater seeps into the rocks and accumulates there, and gradually trickles down. It was believed that divine plants grew on top of these rocks, and the water that falls from the rock to nourish the plants is truly divine water. There is a legend that drinking this water will ensure good health.”

A mysterious triangular landscape created by huge rocks

Behind the two jars are the fifth and sixth places of worship, Sangui and Chonohana, which are the highlights of the tour course. The view from in front of these places of worship is a symbolic view of Sefa Utaki and a great spot for taking photos. Two huge rocks support each other, creating a triangular space, creating a mystical landscape created by nature.

Chonohana is a place of worship that is said to have a deep connection with Mikoe-no-Okimi, and is considered the most prestigious place of worship in Sefa Utaki. There are 15 incense burners here, and since Mikoe-no-Okimi was the 15th reign, it is thought that the number of incense burners was prepared for each reign. Currently, it is prohibited to enter beyond the triangular tunnel, and it is not possible to reach these two places of worship, but at the end of the triangle is Sangui, and on the rock to the right of that is Chonohana, so it is a good idea to pray from the outside.

A total of nine magatama (curved beads), including three rare gold magatama (curved beads), have been excavated from the underground of Sangui, and they have been designated as important cultural properties of Japan. Magatama are sacred objects worn by female priestesses, and are said to have been buried here as prayers to appease the anger of the gods.

“Before the magatama was excavated, it was merely a legend, but the fact that such a valuable object was found as physical evidence proves how sacred Sefa Utaki was during the Ryukyu Kingdom era. It can be said that it was truly the most sacred place in the Ryukyu Kingdom.”

Even now, Sefa Utaki is worshiped as a place of prayer, even after the passage of time. Why not surrender yourself to this sacred space, listening to the chirps of the birds, the sounds of the grass and trees rustling in the wind, and the voices of nature, while thinking about the history and spiritual culture that resides in this place?

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One of the most popular tourist spots: Komono Yokoyama Residence Garden

Located in the eastern foothills of the Suzuka Mountains on the border with Shiga Prefecture in northern Mie Prefecture, the town of Komono is one of the most popular tourist spots in Mie Prefecture, where you can enjoy the rich natural scenery of the four seasons, and is home to Yunoyama Hot Springs, known for its 1300 year-old hot springs. In this beautiful town, the Komono Yokoyama Teien, a traditional Japanese residence, is registered as a Tangible Cultural Property of Japan. The Yokoyama teien in Komono-cho, whose architecture is registered as a national tangible cultural property and whose garden is a registered monument, is currently closed to the public but can be viewed by participating in tours that are held several times a year. The history of not only the mansion but also its owner, the Yokoyama family, is long. The Yokoyama family served the Ise-mamoru Kitabatake family in the Muromachi period (1336-1573), the Komono clan in the Edo period (1603-1868), and the headman in the Meiji period (1868-1912). In the Taisho era (1912-1926), the Yokoyama family was a prominent family that even produced a member of the House of Representatives.

Gardens in Mie Prefecture designed by Mirei Shigemori

The main gate of the Komono Yokoyama Residence is located at the end of a stone-paved pathway that extends more than 30 meters. After passing through the passageway lined with well-maintained ibuki trees, visitors pass through the main gate and are confronted with the main building, which is an irimoya-style house with a gabled roof. Between the main gate and the main house, there is a garden in front of the entrance, and a path leading from the gate to the main house is arranged in a karesansui (dry landscape garden).
The entrance garden is neatly organized and welcomes visitors with an elegant atmosphere.

These gardens were completed in June 1968, and were created by the famous gardener Mirei Shigemori. Mr. Shigemori is known for his great achievements as a researcher of Japanese garden history, having conducted a survey of Japanese gardens throughout Japan and compiled the basis for the “Pictorial History of Japanese Gardens,” and he has created about 200 gardens in Japan. His representative works include the Honbo Garden of Tofukuji Temple in Higashiyama-ku, Kyoto, and the Sesshu Garden at Jyoeiji Temple in Yamaguchi Prefecture, which is still loved by many garden lovers. The owner of the house at that time, Mr. Hideyoshi Yokoyama, was fascinated by Shigemori’s works and ideas, and visited him in person without any introduction, which led to the creation of the garden. Mr. Shigemori was so enthusiastic that he agreed to create the garden without hesitation.

In addition to the garden in front of the entrance, there are also an Omoteiwa (front garden) and a Uraba (back garden). The main feature of the Omote-niwa is the expression of the character for “heart” by creating an island in the middle of a karesansui (dry landscape garden) with a moss hill. Other Japanese gardens have also expressed the character for “heart,” but usually in the form of a “heart-shaped pond. For this reason, the Komono Yokoyama Teien is also notable as a garden with a central island in the shape of the character for “heart. The garden stones arranged in the garden are made of Horai-style masonry based on the Horai Shinzen philosophy. The garden depicts boateki arranged in a karesansui (dry landscape garden) that resembles a large ocean with a sandy pattern, heading toward tateishi (standing stones) that resemble the towering Mount Horai. This arrangement expresses the journey of the heart on the boating stones toward Mount Horai.
This garden can be enjoyed from various places such as the entrance garden, the main building, the shoin (drawing room), and the tea ceremony room,
One of the charms of this garden is that it can be seen from various places.

The back garden is a complete change of atmosphere from the traditional front garden, with a more modern style.
Also known as the “Red and White Garden,” the space is divided into several layers diagonally to the house, and is covered with white Shirakawa stones and red Tengu stones.
The backyard represents the rural landscape that Mr. Shigemori saw from the train window when he visited the Yokoyama residence. The veranda, from which one can view the backyard, represents the inside of a train car, the diagonal partition represents the movement of the scenery flowing through the train window, and the red and white stones represent the rice paddies. When Mr. Shigemori visited the Yokoyama residence, the backyard on the north side of the house looked dark and heavy, and he came up with the idea of creating a bright and modern backyard, which led to a sudden change in the original design. From this backyard, one can sense the beautiful original landscape of Komono.

Komono Yokoyama Residence Garden: More than just a garden

The Komono Yokoyama Residence Garden preserves not only a garden but also attractive architecture. On the east side of the main house is a building that was used as a clinic at the time. Inside the building, there is a waiting room, an examination room, and an x-ray room, all of which remind us of its former use as a clinic. The building is a parapet structure with a distinctive exterior wall.
The exterior walls are covered with wooden scale-like boards 1.5 meters high, like the scales of a fish. The distinctive appearance of the building attracts people’s attention, and it is registered as a cultural property for its contribution to the historical landscape of the country.

The Komono Yokoyama Residence also has a tea house called Jinjitsu-an. This tea house was built around the middle of the Meiji period (1868-1912), and is said to have been designed by Shokei Yoshida, the second generation of the Yoshida Shofu-an tea house of the Omotesenke school of tea ceremony in Nagoya. It was moved from the Narita family in Nagoya to the Komono Yokoyama family in 1968.
The adjacent open-air space was also designed by Shigemori, but the interior of the tea house is not open to the public.
In addition to the main gate, main building, infirmary, and tea house, the shoin (drawing room), the cross corridor, and the storehouse are also registered as tangible cultural properties.

The Komono Yokoyama Residence is a historic Japanese house with a relaxing garden.
The garden is a place that takes visitors on a spiritual journey from the traditional architecture to the garden.

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Approximately 40 minutes by car from Hakata. Dazaifu City, located in the midwestern part of Fukuoka Prefecture, was the site of Dazaifu, an administrative institution that controlled Kyushu from the late 7th to the late 12th century. Dazaifu Tenmangu Shrine, dedicated to Sugawara no Michizane, known as the god of learning, was established here in 903 and continues to weave its history to this day.

The head shrine of Tenmangu Shrine, which enshrines “Tenjin-sama

Dazaifu Tenmangu Shrine is the head shrine of the approximately 10,000 Tenmangu shrines that exist throughout Japan. Tenmangu” is a shrine dedicated to Sugawara Michizane (the god of heaven), who lived during the Heian period (794-1185). What kind of person was Sugawara Michizane?

A man of learning and politics

Born into a family of scholars on June 25, 845, Sugawara no Michizane became familiar with waka poetry and Chinese poetry at an early age and developed his talents as a scholar in his youth. He was also a foresighted reformer, and was one of the first to foresee world affairs and abolish the Tang Dynasty’s envoys to China.
However, due to a plot by Fujiwara no Tokihira, who was jealous of his talent, he was exiled to Dazaifu, far away from Kyoto. Nevertheless, Michizane never bore a grudge against heaven or man, but prayed for the prosperity of the country and the safety of the emperor until the end of his life, which ended on February 25, 903, at the age of 59. Dazaifu Tenmangu Shrine is the tomb of Sugawara no Michizane, and has since become a place of prayer where he is revered as the god of heaven. The fact that the tomb and shrine are located in the same place is rare in Japan.

Toward the 1125th anniversary

Venerable shrines hold a shinkosai or rebuild their halls every few years or decades. At Dazaifu Tenmangu Shrine, it is every 25 years. The reason for this is that the number 25 is closely associated with Michizane, whose birthday is June 25 and the date of his death is February 25. In fact, it was on January 25th that he was ordered to leave the prefecture. The year 2027 will mark the 1,125th anniversary of Michizane’s death. Dazaifu Tenmangu Shrine is undergoing major renovation of the main shrine, an important cultural property, for the first time in 124 years in preparation for this year’s ceremonial grand festival.

From the nature-rich forests of Dazaifu

Major renovations will begin in 2023 and last approximately three years. During this period, the temporary hall was established as a place to welcome worshippers. The temporary shrine is designed by architect Sousuke Fujimoto, who is active both in Japan and abroad and is also the producer of the venue design for the 2025 Osaka-Kansai World Exposition. He visited Dazaifu many times and was impressed by the forest surrounding Tenmangu Shrine, which helped him to formulate his image for the building.

The Legend of Tobiume at Dazaifu Tenmangu Shrine

The idea was inspired by the “Tobibai Legend” of Dazaifu Tenmangu Shrine. When Michizane left Kyoto, he composed a farewell poem to the plum tree he had loved in the garden of his own residence, saying, “If the east wind blows, bring me a fragrance, plum blossoms, for I will remember spring even if my master is gone. The story goes that the plum blossoms flew to Dazaifu and took root there in just one night. This is where the concept of the temporary shrine, “a vast forest flew in front of the main shrine,” originated.

Incidentally, there are approximately 6,000 ume trees in the precincts of Dazaifu Tenmangu Shrine, which bloom beautifully from late January to early March each year. The ume fruits are harvested by the staff and sold as pickled plums and ume wine at the “Oshaku Omamori (talisman for good luck charms) Awarding Office.

Shaping Tenmangu in Co-Existence with Nature

The mitobari and kicho (folding screens) inside the temporary hall are also noteworthy. They were made by “Mame Kurogouchi,” a fashion brand that has exhibited at the Paris Collection and other fashion shows. Mr. Kurogouchi visited Dazaifu many times, and while consulting a variety of materials, he put together the concept for this project. The pattern depicted in the book is a scene he saw one rainy day when he took shelter from the rain in a hole in a camphor tree on the shrine’s grounds. The book also looks at the deep relationship between Dazaifu Tenmangu Shrine and nature, and uses threads dyed with plums and grasses from the shrine’s grounds. Using a modern loom, the intersection of the ancient and the modern was also woven into the expression.

To stay the same, keep changing

To reach the temporary shrine, visitors pass through the torii gate from the busy approach and cross three red drum bridges over Shinji-ike, a pond said to have been built by Michizane’s pupils. The bridges represent the past, present, and future from the front, and crossing over the water is said to be a way to purify the body and mind and to bring one closer to Tenjin-sama. After crossing the bridge, the dignified vermilion-lacquered tower gate rises up, and beyond the gate, the temporary shrine building, which is one with nature, is revealed.

When the renovation of the main hall is completed, the temporary hall will be dismantled, but the plants on the roof will return to the forest. The plants on the roof will return to the forest. During these three years, visitors may especially feel the Dazaifu Tenmangu Shrine’s value of “continuing to change in order to stay the same. In addition to worshipping at the shrine, visitors are encouraged to experience the divine virtues of Tenjin-sama through prayers recited by the priests in the temporary shrine.

Encounter art in the precincts of the temple

When you stroll through the shrine grounds after praying and visiting the shrine, you will see the treasure house that holds cultural properties related to Michizane and the access tunnel to the Kyushu National Museum, which was opened after 120 years of efforts by four generations of priests to attract the opening of the museum. Because Michizane excelled not only in learning but also in waka poetry and Chinese poetry, he is also known as a god of culture and the arts, and Dazaifu Tenmangu Shrine has devoted itself to various efforts in this field.

In 2006, the Dazaifu Tenmangu Art Program began, a project in which artists active in Japan and abroad are invited to Dazaifu to experience Shinto, Tenjin, and Dazaifu Tenmangu Shrine, and to incorporate what they feel into artwork that will last for 100 years or even 1,000 years. Some of the works created in the program are installed outdoors and can be viewed while strolling the shrine grounds, hence the name “precincts art museum.

Tour 10 unique works

On the right side of the approach to the shrine, past the torii gate, is an installation of British artist Ryan Gander’s work “Really shiny stuff that doesn’t mean anything ©Ryan Gander, 2011 Courtesy of TARO NASU. Ryan Gander, 2011 Courtesy of TARO NASU” is installed. Gander was struck by the sight of worshippers praying to “invisible things,” and this work represents that “invisible power” with magnetic force.
(The work may not be on display due to shrine events, etc.)

In the plum grove by the Treasure House is another work by Ryan Gander, “Everything is learned, VI Everything is understood VI ©Ryan Gander, 2011 Courtesy of TARO NASU. At first glance, it appears to be a “rock” with the top worn off, but it is an imaginative representation of Rodin’s sculpture “The Thinker,” who contemplated on the stone, got up, said “I understand everything,” and left. Other works include Lawrence Weiner’s “THE CENTER OF A CENTER ©Lawrence Weiner, 2020 Courtesy of TARO NASU,” painted directly on asphalt, and Simon Fujiwara’s “The Problem,” a work that makes us think about the future of children’s handprints. As of April 2024, ten works are on display at the Precinct Museum, including Simon Fujiwara’s “The Problem of Time©Simon Fujiwara, 2013 Courtesy of TARO NASU,” which makes us think about the future of children’s handprints.

What would Tenjin-sama think?

Dazaifu Tenmangu Shrine is promoting this program because of the thought of how Michizane Sugawara, who always looked at the cutting edge of the times, would think if he were alive today. Whenever I have any doubts about the selection of artists or the creation of artwork, I always think, ‘Would Tenjin-sama be pleased with this project? And even after the project has begun, we always try to build a relationship of trust between the shrine and the artists, so that neither side is left to itself,” says Hiroko Takayama, a senior priest in charge of the project.

Those who want to feel the richness of nature, experience Shintoism, and art, and those who want to deepen these experiences. ……
Dazaifu Tenmangu Shrine will continue to move with the times, nurturing the “invisible things” that move the hearts of many people.

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Takahashi City is located in the midwestern part of Okayama Prefecture. Bitchu Matsuyama Castle stands on Gagyuzan Mountain, which rises to the north of the city. The castle is one of the “12 existing castle towers” that were built before the Edo period and have been preserved. The castle is one of the “12 existing castle towers” that were built before the Edo period and is the only mountain castle with a preserved castle tower.

Tracing the History of Bicchu Matsuyama Castle

Bitchu Matsuyama Castle is located at an elevation of 430 meters above sea level. Because of its elevation and topography, a “sea of clouds” can easily form, and can often be seen. The castle tower appears to float in the sea of clouds, which is beautiful and has been described as a “mountain castle in the sky.

According to Mr. Noriaki Miura of the Education Division of the Takahashi City Board of Education, “Takahashi City is characterized by a mortar-shaped basin topography, which makes it easy for the sea of clouds to stay in place. This makes it a place where you can encounter a sea of clouds with a high probability. The best season for cloud seas is considered to be from October to December. The fantastic sight can be seen from the “Sea of Clouds Observatory” located in the northeastern part of the castle.

Castles evolve as their owners change

Gagyuzan, on which Bitchu Matsuyama Castle stands, is named for its shape like a cow lying down, and consists of four peaks: Omatsuyama, Tenjin-no-maru, Komatsuyama, and Maeyama.
In 1240, a fort was built on Omatsuyama by Shigenobu Akiba, a landowner at that time, and this is said to be the beginning of Bitchu Matsuyama Castle. When the castle came under the control of the Tokugawa Shogunate after the Battle of Sekigahara in 1600, Masatsugu Kobori, Masakazu (Enshu) and his son were assigned to this area as magistrates. It is said that they began repairing the palace and castle.

In 1642, Mizunoya Katsutaka became the lord of the castle. His son, Katsumune, spent about three years from 1681 to complete a large-scale renovation of the castle, including the construction of turrets and a major gate, and completed the entire castle as it stands today.
In 1868, the Bicchu-Matsuyama Clan was regarded as a morning enemy in the Boshin War, a conflict between the new Meiji government forces and the old shogunate forces. The castle was opened without bloodshed, thanks to the decision of Yamada Houkoku and others, a scholar of the Yomei school of thought, who were working on reforming the domain government at the time. The castle was thus spared from being destroyed.

From forgotten to town-wide preservation and restoration

Although the castle survived the crisis for a time, in 1873, the “decree for the abolition of castles” was promulgated. Bitchu Matsuyama Castle was put up for auction by the national government, and although it is said that local residents purchased the castle, it was left unattended because it was too expensive to dismantle everything on top of the mountain. Because of its location, the castle has passed through time without being seen by anyone. Before long, the existence of the castle itself was forgotten, and it became a desolate castle.

A major turning point came in 1927. A full-scale investigation of the castle began, led by a teacher at a local junior high school who knew the history of Bitchu Matsuyama Castle and recognized its value. The existence of the castle, which even the local residents did not know, came to light, and momentum for its preservation gradually grew.
From 1939 to 1940, the castle underwent a major Showa-era renovation. In 1939-1940, the castle underwent a major renovation in the Showa period (1926-1989), during which students from local elementary and junior high schools and girls’ schools carried some 20,000 tiles up to the castle at the top of the mountain, as shown in photographs. It seems that the entire town was involved in the restoration of the castle,” said Miura. Since then, the castle has undergone three major renovations, in 1957 and 2000.

The building has never been damaged by war or natural disasters, and has remained as it was in the past.

To reach the keep, visitors walk for about 20 minutes along a steep mountain path from the Fuigotoge parking lot at the 8th station. As you approach, you will see stone walls piled on top of natural rocks. Some of the stone walls were built to incorporate the 10-meter-high towering bedrock, and the power of the walls is overwhelming. The stonewalls that take advantage of the mountain terrain are another highlight of the castle.
The castle tower is a two-story, two-tiered building with a wooden tile roof. At approximately 11 meters high, it is the lowest of the 12 existing keepers, but boasts a distinctive appearance with a karahafu (Chinese gable) on the front of the keep.

On the first floor, there is a sunken hearth, which is rare for a castle tower, and the “Syozoku-no-Ma,” which served as the living quarters of the castle’s lord and his family. It is thought that he intended to have the town of Takahashi protected from the highest point of the castle.

Miura says, “We believe that the castle tower has survived to the present day because the area was not subjected to air raids during the war and was not prone to earthquakes or other natural disasters.

Welcoming the cat castle owner, Sanjuro, the castle is now equipped with a new charm.

Bicchu Matsuyama Castle has a history of changing owners as time goes by. The current lord of the castle is a cat!　

The cat, which was originally kept in Takahashi City, left its owner’s home after the heavy rains in western Japan in 2008 and came to live at the castle. Rumors spread that “there is a cute cat in the castle,” and it quickly became popular after being introduced on local TV and in newspapers. The cat was protected by the Takahashi City Tourist Association and named “Sanjuro” after Tani Sanjuro, a samurai from the Bitchu Matsuyama domain who was a Shinsengumi commander of the 7th Squadron, and because the first place he was found was in the San-no-maru area. He was to live in the “Five Flat Tower,” where the castle’s administrative offices are located.

Due to his popularity, on December 16, 2018, he was appointed as the owner of the cat castle. Depending on his condition and mood, Sanjuro can be seen twice a day during his walks around the castle.
In March 2024, a memorial hall “Ashiato Kan (Ashiato Museum for Cat Lord Sanju-roo)” opened in the former Haniwara family residence in Ishibiya-cho, located at the southern foot of Gagyu Mountain, where Bitchu Matsuyama Castle is built. Its popularity knows no bounds.

Bitchu Matsuyama Castle” is the only mountain castle in Japan where the Edo period castle tower still exists as it was in those days. The view of the castle tower floating in the sea of clouds attracts visitors as it has done since the old days. Thinking about the history of this castle and the fantastic scenery that the people of that time must have seen, we hope to continue to protect it as a scenic spot that Okayama Prefecture should be proud of in the future.

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In a small town with a population of about 10,000 in Kamitakai County, Nagano Prefecture, there is a temple that is well worth a visit. It is Ganshoin, a Soto Zen temple located in Obuse Town, famous for its chestnut confections. This temple, where you can see masterpieces by the famous ukiyo-e artist Katsushika Hokusai, who was all the rage during the Edo period, attracts many tourists throughout the year.

Obuse Town is popular for sightseeing and confectioneries made with chestnuts.

Obuse Town, home to Gansho-in Temple, is located in the northern part of Nagano Prefecture, the same region as Hakuba Village, famous for skiing. Despite being the smallest municipality in the prefecture in terms of area, it preserves a rich history and traditional culture. The town is known for its picturesque streets and popular confectionery shops that specialize in chestnut-based sweets, making it one of the top tourist destinations in the prefecture. Gansho-in Temple is one of Obuse Town’s tourist attractions, attracting a steady stream of sightseeing buses during the season.

The stage where Kobayashi Issa recited a poem about himself, “Gansho-in”

“Skinny frog, don’t give up, Issa, here I am.” This is a poem by Kobayashi Issa, a poet from Shinano Province (now Nagano Prefecture) who, along with Matsuo Basho and Yosa Buson, is considered one of the leading haiku poets of the Edo period. It describes a small, thin frog fighting with a larger frog over a female frog. It is said that Ichiyō composed this haiku to encourage himself, drawing parallels between his own circumstances and those of the frogs. The pond where this scene took place is located at Gansho-in Temple.

The History of Gansho-in Temple

Founded in 1472, this temple has undergone many changes, including two fires, before reaching its current form. It is also famous as the family temple of Fukushima Masanori, a warlord known as one of the “Seven Spears of Shizugatake” and a close confidant of Toyotomi Hideyoshi.

Originally a vassal of the Toyotomi clan, Fukushima Masanori switched allegiance to the Tokugawa clan. In 1619, he was accused of violating the military regulations and had his lands in Hiroshima, which he was then governing, confiscated. He was exiled to the Shinetsu region, a punishment similar to demotion. At that time, Fukushima Masateru, who was a devout follower of Zen Buddhism, is said to have designated the temple as his family temple in his new domain.

The main attraction for tourists is Katsushika Hokusai’s masterpiece.

The main attraction for tourists visiting here is the “Hachiman Phoenix Painting” depicted on the ceiling of Oma. This is the work of Katsushika Hokusai, a ukiyo-e artist who left behind many masterpieces such as “Thirty-six Views of Mount Fuji.” Hokusai created this work during his later years while staying in Obuse Town. At the age of 88, Hokusai, with the full support of Takai Kōzan, a wealthy merchant from Obuse whom he had known in Edo, enlisted the help of his daughter, Katsushika Ōi, a ukiyo-e artist, and other craftsmen to complete this painting over the course of about a year.

The enormous phoenix painting covering the entire ceiling is said to be the largest of Hokusai’s works. Its powerful brushwork, which seems to leap off the canvas, and its vivid colors, which remain as vibrant as ever despite never having been repainted, captivate viewers. However, when it comes to sacred beasts painted on temple ceilings, the image of a dragon is probably more familiar nationwide.

So why a phoenix at Gansho-in Temple?

The head priest of Gansho-in Temple, Watanabe Masami, explains his interpretation of the “Eight-Direction Gazing Phoenix Painting.”

According to the head priest, Watanabe Masami, while there are no records in literature, he suggests that the inspiration for this work may lie in the thoughts of Takai Kōzan, who encouraged Hokusai to create it and was the project’s greatest collaborator. Takai Kōzan strongly felt the Buddhist concept of “impermanence” (mujō), which means “nothing in the world is permanent; everything is constantly changing,” in the world at that time. Hokusai, who understood this, may have depicted the “phoenix,” which represents the opposite of “impermanence,” or “eternity.” While this is merely Watanabe’s speculation, if it were true, it would be a touching story of the strong trust built between Hokusai and Takai Kōzan, who were nearly a generation apart, and the dramatic legacy they left behind in Nagano Prefecture with this masterpiece of the century.

Head priest Masami Watanabe and Gansho-in Temple

This year marks Mr. Watanabe’s eighth year as head priest. Before becoming a priest, he worked as a salaryman for 14 years. He graduated from the economics department of university, but did not major in Buddhism. However, his mother’s family home was Gansho-in Temple, so he had been familiar with Zen since childhood and was interested in it.

His interest deepened during his backpacking travels as a salaryman. Visiting Christian and Islamic regions, he encountered various religions, which prompted him to reflect anew on Buddhism and his own roots in Zen. Now, as the head priest of Gansho-in Temple, he draws on his experiences as a salaryman before entering the Buddhist order, as well as his diverse experiences as a traveler, to deliver sermons that follow the centuries-old Zen tradition while adding his own interpretations.

The post Gazing upon the masterpiece of Katsushika Hokusai, Gansho-in Temple in Obuse Town, Nagano Prefecture, known for its chestnuts / Obuse Town, Nagano Prefecture first appeared on NIHONMONO.