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Koyasan Pilgrimage: Exploring Japan's Holiest Buddhist Sanctuary

Koyasan Pilgrimage: Exploring Japan's Holiest Buddhist Sanctuary

Tokyo Weekender5 days ago

This article appeared in Tokyo Weekender Vol. 2, 2025.
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Almost 1,200 years ago, one of the most famous Japanese monks, Kukai, entered his eternal meditation on the eastern peak of Mount Koya. The monk, known posthumously as Kobo Daishi, slipped into death mid-prayer.
Shingon belief states that though his physical body perished, his spirit still remains on Mount Koya, awaiting Miroku Nyorai, Buddha of the Future, and watching over one of Japan's holiest mountains. To this day, two shojin ryori (traditional Buddhist vegetarian cuisine) meals are brought to Kobo Daishi's mausoleum every day to sustain the monk's spirit.
In the late summer of 2023, along with my mother and grandmother, I visited Mount Koya — or Koyasan in Japanese, which is how I prefer to refer to it. My grandmother had walked the Shikoku pilgrimage, a route connecting 88 temples said to have been visited by Kobo Daishi in the ninth century. Although not officially part of the circuit, Koyasan is considered its spiritual beginning and end, as it's the revered monk's final resting place. She wanted to complete the journey while her legs were still strong enough to make the trek.
Holy Pilgrimage
Koyasan refers to a mountain basin and its surrounding peaks, as well as the temple complex that spans the area. Found in Kansai's Wakayama Prefecture, it's a tremendously important site in Japanese Buddhism. The birthplace and spiritual center of Shingon Buddhism, the mountainous area was home to over 2,000 temples in the Edo period, 117 of which remain.
These 117 temples are still open to visitors today. It's possible to take a cable car or bus to the top, but the spiritually or athletically inclined can ascend to the peak using ancient pilgrimage trails. Among these is Choishi Michi, the original main trail, a 23.5-kilometer hike that winds through the forest.
'After climbing a steep mountain path, a religious city suddenly appears, lined with temples and monastic lodgings. The air is clear, and a solemn atmosphere filled with tradition surrounds you,' Nobuhiro Tamura, the former chief administrator of a temple on Koyasan and current head operator of a Koyasan tour company, explains. 'It is a place where you can get a glimpse into the original landscape of Japan, where many people with deep faith in Kobo Daishi still live.'
It might have simply been the temperature drop and the misty weather, but Koyasan's ambience left me feeling chilled and mystified on my journey there. Visitors enter the complex through Daimon, a 25-meter-tall gate flanked by guardian statues, marking the symbolic threshold between the secular world and the sacred mountain temple town. As we passed through, our guide pointed out the route that would lead to Fudozaka-guchi Nyonin-do, the only surviving women's hall of the seven that once stood on the perimeter of the temple complex. Women weren't allowed to enter the holy grounds until 1872, and even then, they faced strict restrictions and resistance. It wasn't until the early 20th century that they received full and equal access.
Instead, female pilgrims would hike the perimeter of Koyasan and go to surrounding sanctuaries with direct ties to Kobo Daishi in order to experience a fraction of the area's holy energy. The difficult and even dangerous route became known as Nyonin Michi, now a symbol of devout, resilient female worship.
I looked to my grandmother and mother, the three of us comprising three generations of women, casually visiting a mountain we would have once been barred from. I suddenly felt a rush of pride and appreciation. I stood a little taller and tilted my head up, beckoning the energy around me.
Kobo Daishi's Resting Place
Some of Koyasan's main highlights include the Danjo Garan, the central temple complex; the Tokugawa mausoleum enshrining Ieyasu and his son Hidetada; and, of course, Okunoin, the site of the mausoleum of Kobo Daishi and the largest cemetery in Japan. The cemetery is home to over 200,000 tombstones, including a rocket-shaped tombstone modeled after Apollo 11 and a Yakult-shaped tombstone.
To enter the site of Kobo Daishi's mausoleum, visitors must cross Gobyobashi Bridge, beyond which food and photography are not allowed and talking must be kept to a minimum. The tour guide asked us to bow to Kobo Daishi and meditatively cross the bridge, one wooden plank at a time. My gaze zeroed in on the planks as if one misstep would reveal me to be careless or disrespectful.
On the other side of the bridge awaits Torodo Hall, a sanctuary illuminated by 20,000 lanterns. Guests aren't permitted to enter the mausoleum itself, but may instead pay respect from outside of the monk's eternal meditative place. As soon as I crossed the bridge, a whole-body shudder coursed through me. I held my breath instinctively and felt an all-encompassing presence around me, understanding me, protecting me. I looked over to my mother, and she returned a quick, wide-eyed nod. 'Iru ne,' she said.
He's here
.
Temple Lodgings at Koysasan
For those looking to deepen their spiritual experience even further, Koyasan also presents guests with the opportunity to stay at a temple lodging, called shukubo. 'There are around 50 shukubo, and many of them can be booked easily online,' Tamura notes. For visitors coming between March and November, he advises booking far in advance. 'On the other hand, if you prefer a quieter experience, winter is a peaceful season with crisp, clear air — just make sure to come prepared for the cold.'
Staying at a temple makes for a wholly new level of immersion in the culture of Koyasan. Shukubo experiences offer spiritual understanding through lived experience and actual religious practice, allowing guests to eat, pray and sleep like a monk on temple grounds.
A shukubo experience provides the chance to slow down and find profound meaning in quiet, everyday moments: walking through the temple's impeccably polished wooden corridors, trying thoughtfully prepared shojin ryori meals, engaging in rituals such as gongyo (daily sutra chanting) and goma (a fire ritual prayer) and admiring carefully maintained gardens. Staying at a shukubo also allows guests to explore Koyasan at night; the red temple buildings of Danjo Garan have a completely different ambience when illuminated in the evening.
There's something to be said for experiencing the entire 24-hour cycle in Koyasan, watching the sun dip in the evening and welcoming the sunrise the next day, practicing gratitude and reflection for the things we take for granted, guided by the spirit of Kobo Daishi.
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Stay in style: Art hotels and creative lodging in Kyoto
Stay in style: Art hotels and creative lodging in Kyoto

Japan Today

time5 hours ago

  • Japan Today

Stay in style: Art hotels and creative lodging in Kyoto

Quirky art awaits at the Hotel Anteroom Kyoto throughout the entirety of its grounds. By Kimberly Hughes As with other highly-traveled destinations, Japan has no shortage of unique accommodation options. These include numerous inns incorporating explicitly artistic touches, such as one styled around a treehouse in Okinawa and another that's a denim-themed guesthouse in the Kojima district of Kurashiki, Okayama (known as Japan's 'jeans capital'). This article introduces two artistically themed inns in Kyoto to keep on your radar for future getaways. While differing from the more traditional accommodation experience in Japan's ancient capital, such as a stay in a ryokan (traditional Japanese inn) or a machiya (townhouse), both of these options offer an opportunity to experience Kyoto's local culture through the unique lens of innovative modern art and design. Ace Hotel Kyoto: Portland cool meets Kyoto craftsmanship Featuring a copper donut-shaped front desk, with unique overhead lighting and wooden beams, Ace Hotel Kyoto is infused with art on every level. Image: Kimberly Hughes Established in 2020, this hotel is part of the global Ace Hotel network, whose first location was repurposed in 1999 from a fisherman's inn in the U.S. city of Portland, Oregon — setting the tone for the brand's ethos of craftsmanship and community. Ace Hotel Kyoto similarly represents a restoration project, featuring two legendary architects working one century apart. It is housed in the atmospheric Shinpuhkan complex, which was designed in the 1920s as the Kyoto Central Telephone Office by leading modernist Yoshida Tetsuro. The present-day structure features the work of Kengo Kuma — including a majestic kigumi (wood joinery) timber ceiling — with additional collaboration from Atelier Ace and Commune Design. Equal parts cozy and chic, the Ace Hotel Kyoto's lobby area invites lounging with friends while gazing at onsite art installations. Image: Kimberly Hughes The hotel grounds brim with the works of local and far-flung artists and designers alike. Lobby accents include copper light fixtures, works from famed katazome (stencil dyeing) artist Yunoki Samiro and verdant foliage homed in earthy, chunky pots created by artist and fisherman Kazunori Hamana. The first-floor exhibition space features artworks from guest creators, which include a rotating lineup of international, multigenre artists-in-residence. A long working table and comfy couch area serve as a community hub — perfect for enjoying a seasonal latte from the adjacent Stumptown Coffee Roasters, a Portland classic. The chilled-out playlist features everything from ambient jazz to funk, with live DJs often spinning for events. Artworks also dot its three onsite restaurants: Kosa, featuring impeccably-presented seasonal local cuisine; Mr. Maurice's Italian, whose specialties include wood-fired pizzas and rooftop cocktails; and Piopiko, an uber-stylish bar and taco lounge. Even the food is an artful affair at the Ace Hotel — including this matcha-dusted, vegan black sesame panna cotta at its stylish Kosa restaurant. Image: Kimberly Hughes While visitors are welcome to enjoy this veritable festival of art in the hotel's restaurant and common spaces, in-room features are of course available exclusively to overnight guests. These include soaking tubs, vinyl turntables, Tivoli radios and Gibson guitars; along with exclusively-designed fabrics, furniture inspired by Charlotte Perriand's work during her World War II-era Japan sojourn, and in-room artworks from Japan's Mingei folk artist movement. 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Image: Kimberly Hughes In one recent exhibition, titled 'The Box of Memories', the first-floor main space and wall corridor were lined with works that recounted the history of Kumagusuku — another local art hostel, with roots in the Setouchi Art Triennale event, which closed its doors earlier in 2025. All featured artists have a close connection to Kyoto, so between the deeply local exhibitions and the informational clearinghouse-style space filled with racks of pamphlets covering the city's artistic happenings, a stay at the Hotel Anteroom Kyoto affords an intimate window into Kyoto's artistic scene. Since the hotel also has locations in Naha, Okinawa and Seoul, Korea that feature a similar vibe, the next time you visit those cities you can take the opportunity to get artsy there, as well. Find more information on these art-oriented Kyoto hotels here: Ace Hotel Kyoto 245-2 Kurumayacho, Nakagyo-ku, Kyoto, Kyoto 604-8185, Japan Tel: 075 229 9000 Website: Ace Hotel Kyoto Hotel Anteroom Kyoto 7 Aketa-cho, Higashi-Kujo, Minami-ku, Kyoto, 601-8044 Japan Tel: 075 681 5656 Website: Hotel Anteroom Kyoto © Japan Today

Retracing the steps of Japanese literary scholar Keene along 'The Narrow Road to Oku'
Retracing the steps of Japanese literary scholar Keene along 'The Narrow Road to Oku'

The Mainichi

time9 hours ago

  • The Mainichi

Retracing the steps of Japanese literary scholar Keene along 'The Narrow Road to Oku'

It was in the late spring of 1955 that Japanese literature scholar Donald Keene first traveled to northeastern Japan's Tohoku region to follow the steps of Edo period poet Matsuo Basho (1644-1694) in his masterwork "Oku no Hoshimichi," which Keene later translated as "The Narrow Road to Oku." Seventy years later, in April 2025, admirers of Keene including this reporter undertook the same journey. We called it "a journey following the young Keene, who followed Basho." The first leg of the trip took us to the town of Matsushima in Miyagi Prefecture, the town of Hiraizumi in neighboring Iwate Prefecture, and Yamadera temple in Yamagata Prefecture, where we were greeted by cherry blossoms in each location. Keene's initial journey took place near the end of his two years of study at Kyoto University from 1953. In an autobiography, he wrote, "For a time, I had considered actually walking the entire distance. ... In any case, unlike Basho, I could spend only a few weeks on these travels." He also wrote that "at every spot the cherry blossoms had just reached their peak," meaning that he likely traveled there between mid and late April. Details of this journey were published in the June 1955 issue of the literary magazine Chuo Koron under the title "Komo Oku no Hosomichi" (loosely translating as "Westerner's narrow road to Oku). Below, we draw on this travelogue, originally written in Japanese, and Keene's translation of "The Narrow Road to Oku." Shiogama After passing through Nikko and Shirakawa Barrier, Keene arrived in Sendai. At that time, the occupying forces were still stationed in the city, likely reminding him of his past role as a Japanese language interpreter for the military. On arriving at Shiogama Shrine in the evening, he first sought out the "lantern presented by Izumi no Saburo in the third year of Bunji [1187]," and wrote, that he was thrilled to realize that Basho had seen the same lantern. The lantern still stands as it did then, to the right of the main hall. Let's read Keene's translation of "The Narrow Road to Oku." Shiogama Early the next morning we visited the Myojin Shrine in Shiogama. As rebuilt by the governor of the province, the shrine has imposing pillars, colorfully painted rafters, and flight upon flight of stone steps. The morning sun was shining brightly on the vermilion lacquered fence around the shrine. I was profoundly impressed to think that it was typical of our country for the miraculous manifestation of the gods to have occurred in so distant a place, at the very end of the world. Before the shrine is an old lantern. A metal door bears the inscription, "Presented by Izumi no Saburo in the third year of Bunji [1187]." It was strange how these words evoked scenes of five hundred years ago. Izumi was a brave and loyal warrior whose fame has lasted to the present; there is no one who does not hold him in esteem. It has been truly said: "A man should practice the way and maintain his righteousness. Fame will follow of itself." It was already close to noon. We hired a boat and crossed to Matsushima. After another five miles on the water we arrived at the beach of the island of Ojima. Matsushima Keene entered Matsushima, one of Japan's three most scenic spots, via Tagajo, traveling by train. Having heard negative comments like "Matsushima is a dirty place" from people along the way, he boarded the sightseeing boat "preparing to be disappointed." However, a woman's voice came over the loudspeaker carefully explaining the names of the islands, and though it was raining, he said, "I was neither disappointed nor impressed." Furthermore, the twilight view from his inn was magnificent, leading him to conclude, "I was moved no less than Basho was. If 'the finest scenery in the land' exists in Japan, I believe it is in Matsushima." Perhaps this was an example of the large difference between hearing and actually seeing. Below is Keene's translation of Basho's description of Matsushima in "The Narrow Road to Oku." Matsushima No matter how often it has been said, it is nonetheless true that the scenery at Matsushima is the finest in Japan, in no way inferior to Tung-t'ing or the Western Lake in China. The sea flows in from the southeast forming a bay seven miles across, and the incoming tide surges in massively, just as in Che-chiang. There are countless islands. Some rise up and point at the sky; the low-lying ones crawl into the waves. There are islands piled double or even stacked three high. To the left the islands stand apart; to the right they are linked together. Some look as if they carried little islands on their backs, others as if they held the islands in their arms, evoking a mother's love of her children. The green of the pines is of a wonderful darkness, and their branches are constantly bent by winds from the sea, so that their crookedness seems to belong to the nature of the trees. The scene has the mysterious charm of the face of a beautiful woman. I wonder if Matsushima was created by the God of the Mountains in the Age of the Gods? What man could capture in a painting or a poem the wonder of this masterpiece of nature? On Ojima, an island connected to the mainland that thrusts out into the sea, are the remains of the Zen master Ungo's hut, and the rock upon which he used to meditate. I caught glimpses here and there under the pines of priests who had abandoned the world. They live quietly in thatched huts from which even at that moment smoke from the fallen pine needles and cones they use as fuel was rising. I did not know what manner of men they might be, but I felt drawn to them. As I walked in their direction I could see the moon shining on the sea, and the scenery of Matsushima quite unlike what it had been during the day. I returned to the shore and took a room at an inn, a two-story building with open windows looking out over the bay. When I lay down to sleep in the breeze and the clouds, I experienced a feeling of strange pleasure. Matsushima ya / tsuru ni mi wo kare / hototogisu (Sora) At Matsushima / Borrow your plumes from the crane / O nightingales! I lay down without composing a poem, but was too excited to sleep. I recalled that when I left my old cottage I was presented by Sodo with a poem in Chinese about Matsushima, and with a tanka by Hara Anteki on Matsugaura Island. I opened my knapsack and made these poems my companions for the night. There were also hokku by Sanpu and Jokushi. On the eleventh we visited the Zuigan-ji. Many years ago, thirty-two generations before the present abbot, Makabe no Heishiro entered Buddhist orders, went to China for study, and founded this temple after his return to Japan. Later, the seven halls of the temple were rebuilt as the result of the virtuous efforts of the Zen monk Ungo. Now the temple has become a great hall of worship, the golden walls shining with a splendor worthy of Buddha's paradise. I wondered where the temple of the Holy Man Kenbutsu might be. Keene himself visited Zuiganji temple, and was moved, writing, "Having been repulsed by the gaudiness of Toshogu Shrine (in Nikko), I was impressed by the solemn beauty of Zuiganji." This was a typical reaction for Keene who preferred simplicity over extravagance. The row of cedar trees that once stood in front of the temple's gate fell to the tsunami following the March 2011 Great East Japan Earthquake and young trees now grow in their place -- a lone display of the passage of time. Keene noted that he enjoyed the famous "Koren senbei" rice crackers at a nearby teahouse saying they were delicious, so we stopped by as well. Although the building had been newly rebuilt, the delicately flavored senbei remained unchanged. Hiraizumi Keene proceeded to Hiraizumi via Ichinoseki. The persisting rain amazingly cleared, and he visited the local temple Chuson-ji amid the full bloom of cherry blossoms. He wrote, "Until I embarked on the journey of 'The Narrow Road to Oku' I couldn't understand the Japanese attachment to cherry blossoms." He drew a comparison with his visit to Yoshino in Nara Prefecture the previous year (1954). The fact that Yoshino was renowned as one of the best cherry blossom spots in the Kansai region may have raised his expectations, but he was left disenchanted with the cherry blossoms in the tourist area, which had become secularized, writing, "I noticed the lunch boxes, drunks, and vulgar music blaring from loudspeakers." Hiraizumi, on the other hand, offered a different experience. "After the long Tohoku winter, the cherry blossoms blooming in the black forest show their true beauty," he wrote. It was here that his ideal cherry blossom landscape stretched out. Among this, the brilliance of the temple's Golden Hall (Konjikido) was even more stunning. Keene praised it, saying, "Since coming to Japan, I've been captivated by wonderful Buddhist statues, feeling they embody absolute beauty. ... However, it was when I saw the inner sanctum of Chuson-ji that I was struck by beauty to the point of trembling, losing myself and entering a world beyond this one. ... I believe it is one of the finest expressions of paradise created by humans in the world." Later, Hiraizumi would be registered as a cultural World Heritage site, but Keene had already sensed its value. Incidentally, Basho visited Hiraizumi in the fifth month of the second year of Genroku (1689) according to the old lunar calendar, which would have been during the rainy season. How did Basho evaluate Hiraizumi? Let's read the original text translated by Keene. Hiraizumi The three generations of glory of the Fujiwara of Hiraizumi vanished in the space of a dream. The ruins of their Great Gate are two miles this side of the castle. Where once Hidehira's mansion stood there are now fields, and only Golden Cockerel Mountain retains its old appearance. We first climbed up to Palace-on-the-Heights, from where we could see the Kitakami, a big river that flows down from Nambu. The Koromo River circles Izumi Saburo's castle, then flows into the big river below Palace-on-the-Heights. The ruins of Yasuhira's time are on the other side of the Koromo Barrier, seemingly to protect the Nambu gateway from intrusion by the Ainu. It was at Palace-on-the-Heights that Yoshitsune and his picked retainers fortified themselves, but his glory turned in a moment into this wilderness of grass. "Countries may fall, but their rivers and mountains remain; when spring comes to the ruined castle, the grass is green again." These lines went through my head as I sat on the ground, my bamboo hat spread under me. There I sat weeping, unaware of the passage of time. natsukusa ya / tsuwamono domo ga / yume no ato The summer grasses -- / Of brave soldiers' dreams / The aftermath. unohana ni / Kanefusa miyuru / shiraga kana (Sora) In the verbena / I seem to see Kanefusa-- / Behold his white hair! The two halls of the Chuson-ji, whose wonders I had heard of and marvelled at, were both open. The Sutra Hall contains statues of the three generals of Hiraizumi; the Golden Hall has their coffins and an enshrined Buddhist trinity. The "seven precious things" were scattered and lost, the gem-inlaid doors broken by the wind, and the pillars fretted with gold were flaked by the frost and snow. The temple would surely have crumbled and turned into an empty expanse of grass had it not been recently strengthened on all sides and the roof tiled to withstand the wind and rain. A monument of a thousand years has been preserved a while longer. samidare no / furinokoshite ya / Hikari-do Have the rains of spring / Spared you from their onslaught, / Shining Hall of Gold? (Japanese original by Tadahiko Mori, The Mainichi Staff Writer and Donald Keene Memorial Foundation director) This is a spinoff article related to a 60-part Mainichi Shimbun series about Donald Keene, exploring the near-century of the Japanologist's life along with his own writings. Spinoff articles are posted irregularly. The original text of Donald Keene's autobiographies is used with permission from the Donald Keene Memorial Foundation. The foundation's website can be reached at:

FEATURE: Cruise boom buoys Japan's post-pandemic tourism
FEATURE: Cruise boom buoys Japan's post-pandemic tourism

Kyodo News

time10 hours ago

  • Kyodo News

FEATURE: Cruise boom buoys Japan's post-pandemic tourism

By Keiichiro Otsuka, KYODO NEWS - 19 hours ago - 10:42 | Feature, All, Japan, Travel/Tourism When the Diamond Princess was quarantined off Yokohama in the early stages of the COVID-19 pandemic in 2020, Japan's cruise industry ground to a halt, its future clouded by fear and uncertainty. Today, that industry is roaring back. Demand for maritime journeys with swimming pools among a host of luxury amenities and entertainment has surged due to pent-up wanderlust and a wave of new investments. Japanese ports are seeing record domestic passenger numbers, signaling not just a revival in leisure travel, but a broader boost to local economies that rely on tourism. Japan, an archipelago of over 14,000 islands and one of the largest economies in the world, has a relatively small cruise industry and modest vessels compared to the U.S., home of giants like Carnival Cruise Line. According to the Ministry of Land, Infrastructure, Transport and Tourism, however, the Japanese cruise market grew significantly in 2024, increasing by 14.2 percent year-on-year to 224,100 passengers. The number of international visitors entering Japan by cruise ship quadrupled to 1.4 million, nearly 60 percent of the record set in 2017. Kentaro Matsuura, president of cruise travel agency Yutaka Club (Tokyo), estimates domestic passengers will exceed 250,000 in 2025 and may approach the 2019 record high of 356,600 next year. With their core cargo business hit hard by U.S. President Donald Trump's import tariffs, Japanese shipping giants are developing cruise ships into thriving businesses that can produce stable income streams. Due to tariffs, shipping companies NYK Line and Mitsui O.S.K Lines Ltd. (MOL) forecast 47.7 percent and 60.0 percent year-on-year declines in net profits, respectively, in their consolidated financial accounts for fiscal 2025. NYK Cruises will launch the Asuka III on July 20, expanding its fleet to two ships, while Mitsui Ocean Cruises will add a third ship in the latter half of next year. On the evening of May 5, the Mitsui Ocean Fuji, which MOL began operating in December 2024, passed under Yokohama Bay Bridge. Nearby, in the Port of Yokohama, Mitsui's Nippon Maru was awaiting departure. Also docked was the Cunard luxury liner Queen Elizabeth. "I look forward to seeing the Asuka III," said a man viewing the ships. At 52,265 gross tons and 230 meters long, the Yokohama-based Asuka III will be the largest passenger ship in the Japanese fleet. It will be decorated with frescoes by Japanese painter Hiroshi Senju, giving it the feel of a floating art gallery, and all 381 cabins will have private seaside balconies. Her maiden voyage from July 20 to 26 will be from Yokohama to Hakodate and Otaru in Hokkaido. The costs per passenger will be between 984,000 yen ($6,800) and around 4.80 million yen. In February, NYK Line and its subsidiary Yusen Cruises reached a basic agreement on a business alliance in which Oriental Land, which operates Tokyo Disney Resort, will take over the operation and management of cruise ships scheduled to enter service in fiscal 2028. The main departure and arrival port will be Tokyo Bay, and shows featuring Mickey Mouse and other Disney characters will be held on board. A second vessel is also being considered for service. To keep up with its rival, Mitsui O.S.K. Lines in March announced that it had also bought an additional sister ship (32,477 gross tons) from the U.S.-based Seabourn Cruise Line, the seller of the Mitsui Ocean Fuji hull, to begin operations in the latter half of next year. "Mitsui Ocean Fuji has received a very positive response from customers due to the fact that they can enjoy the expansive ocean views from their cabin verandas," said MOL President Tsunemichi Mukai, adding that the addition of a sister ship will only strengthen the company's ability to attract customers. The company plans to build two passenger ships at a European shipyard and launch them in the near future. Related coverage: Former Diamond Princess passengers mark 5 yrs since COVID outbreak Disney Cruise Line makes Singapore its 1st home port in Asia

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