A Tradition of Change metropolisjapan.com
There is little doubt that Tokyo is one of the world's great urban experiments. The city's aesthetic appeal seems to forever move back and forth through classical building designs and suburban sprawls to revitalization projects and ultra-modern experiments that dazzle as architectural expressions of change. Not bad for a nation famous for tradition.
Now, if Tokyo is a great urban project, its rail system is one of the many tools that opened it up for its citizens. Take the Toei Asakusa subway line, for example. The first to offer through-services connecting Narita and Haneda airports without requiring a train change, the pink line whisks well over a million passengers daily between Nishi-magome and Oshiage stations. And sitting along its twenty stations are numerous design wonders that reveal the extraordinary commitment to change that traditional Japan embodies. Photo Credit: Toshihiro Gamo
The Old Shimbashi Station—a classic Meiji period design
Tokyo's famed modernity extends to recreating its past. Located a short walk from the current Shimbashi Station, the original Old Shimbashi Station was built in 1872, locomoting Japan into the modern world. Designed by the U.S. architect Richard Bridgens, the exact details of his Meiji Period design have since been lost. After having been thumped out of existence by the Great Kanto Earthquake in 1923, a reconstruction had to wait until 2004. It used a 3D technological analysis of photographs and artworks featuring the former Meiji-period station. The result is a memorial merging of Japan's historical and modern tracks.
Kabuki-za Theater—an ever-revitalizing tradition
Higashi-Ginza Station is home to the kabuki theater, Kabuki-za. Recognized by UNESCO, Japan's classic theatrical art has its roots in the seventeenth century. The irony is that, though seen as a bastion of tradition, Kabuki-za has undergone constant change in the pursuit of keeping its tradition alive. Reborn several times due to natural and human disasters, the current building design by renowned architect Kengo Kuma is its fifth iteration. Kuma was tasked to work with the then baroque Japanese revivalist style, leading to a building design that combines classic architecture with modern accessibility, a uniquely clear cultural standout amidst its modern neighbors.
Kyu-Shiba Rikyu Gardens—reclaimed classical Edo beauty
Never merely a collection of buildings, the historical space of Tokyo (formerly known as Edo) also featured elegantly landscaped gardens, many of which have endured the transformations of the city to this day. Kyu-Shiba Rikyu, easily accessible from Daimon Station, is an extraordinarily beautiful expression of this open design. Created on reclaimed land from Tokyo Bay, the gardens were originally part of the residences of Edo period feudal lords. Opened to the public in 1924, the garden's 4.3 hectares now act as an ornamental retreat for the public. In search of solace, local salarymen and visitors from across the city are drawn to reflect on the seasonal meanings embedded in the garden's hills, ponds and rock design elements.
Tokyo Skytree—a modern giant reaching for the skies
The final stop of the line is Oshiage Station and it is here that Tokyo's ultimate architectural experiment finds its home. The tallest structure in Japan and the third tallest in the world, Tokyo Skytree is an eye-raising 634 meters high of monster engineering. Built as a broadcast tower with restaurants, shopping complexes, a planetarium and an observation deck, Tokyo Skytree's neofuturistic template combines the power of technology with unconventional design. The inspiration behind the tower's shape is said to derive from the curve of a samurai's katana blade as well as Japan's traditional pagoda designs. The result is an awesome display of tradition and future that is exacerbated by its truly massive presence and position within Tokyo's traditional downtown Sumida district.
It doesn't take all that much to find change within Japan's long-standing traditions. Its architectural and urban designs have a history of adapting to the times, all while bringing forth that unique sensibility so associated with the country. Through the Toei Asakusa Line, one of the capital's many subway routes, a discovery of Meiji period recreations, Edo era landscape experiences and future-driven design are all part of the appeal.
Explore the Toei Asakusa Line using a One-Day Pass (¥700), or with a combined Toei & Metro Two-Day Pass (¥1,200) or Three-Day Pass (¥1,500).
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The Mainichi
12 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:
Tokyo Weekender
4 days ago
- Tokyo Weekender
What To Do in Kyoto on a Rainy Day
If you're traveling to Japan during the rainy season, checking the weather app can be mildly upsetting — popular areas like Kyoto and Tokyo may display a continuous streak of drizzly cloud icons. But a little rain in Kyoto can actually be a blessing in disguise, offering a unique opportunity to delve deeper into the city's rich culture and hidden gems, away from the usual crowds. From ancient temples to hands-on traditional crafts, Kyoto has a plethora of captivating indoor activities. Here are a few. List of Contents: Explore World-Class Museums Engage in Traditional Japanese Experiences Indoor Shopping and Culinary Gems Temples and Shrines with Indoor Appeal Practical Tips for a Rainy Day in Kyoto Related Posts Explore World-Class Museums As the nation's cultural capital, Kyoto is home to some of Japan's most impressive museums and art galleries. From the vast collection of Japanese art in Kyoto National Museum to the treasure troves at the Kyoto International Manga Museum, there is no shortage of wonders to admire indoors. Below are some great options: Kyoto National Museum One of Japan's most well-known museums, Kyoto National Museum showcases traditional Japanese art and artifacts across various eras. Its vast collections provide an excellent overview of the nation's artistic heritage. Boasting an extensive collection of over 12,000 items, including sculptures, paintings, calligraphy, pottery, fabrics, lacquerware, metalworks and archaeology, the museum is a must-visit landmark. Kyoto City Kyocera Museum of Art Opened in 1933 and recently renovated, Kyocera Museum is a landmark for modern and contemporary art in Kyoto. It houses a diverse collection of around 4,400 pieces of Kyoto art from various eras and genres, including Japanese paintings, Western paintings, sculptures, prints, crafts and calligraphy. Its new wing, Higashiyama Cube, focuses on contemporary art. The museum is known for its excellently curated special exhibitions. Fukuda Art Museum Perfect for those visiting Arashiyama, Fukuda Art Museum offers picturesque views of the river and a more peaceful atmosphere than some of Kyoto's larger museums. It boasts a collection of approximately 2,000 works by Japanese painters from the Edo period to the modern era, including rare pieces. Kyoto International Manga Museum Housed in a former elementary school, this museum is a must-visit for manga enthusiasts. It features a vast collection of over 300,000 manga volumes (many available for reading), exhibits on the history and evolution of manga, interactive experiences and even opportunities to get a personalized portrait drawn by a manga artist. Kyoto Railway Museum Perfect for train lovers of all ages, this museum delves into Japan's railway history with interactive exhibits and impressive train displays, including steam locomotives and bullet trains. Raku Museum Dedicated to the esteemed Raku family of potters, this museum provides a deep dive into their unique style of tea ceremony ceramics, which have been produced since the 16th century. It features an impressive collection of handmade Raku ceramics and seasonal exhibitions. Engage in Traditional Japanese Experiences Tea Ceremony A quintessential Kyoto experience, traditional tea ceremonies provide people with the opportunity to learn the art of matcha preparation and appreciate Japanese hospitality in a serene indoor setting. Many tea houses, like those in Kiyomizu, offer English-friendly sessions, some even with kimono rental options. Traditional Crafts Workshops Get hands-on with Kyoto's heritage. Options include: Pottery workshops , such as making Kyo-yaki. Wagashi-making classes using ingredients like red bean paste, rice flour and agar. Origami and calligraphy classes with easy steps and guidance. Woodblock printing ( Karakami ) , which involves carving an image in reverse onto a wooden block, inking it and then pressing it onto paper or fabric. The Samurai Ninja Museum with Experience: Located near Nishiki Market, this interactive museum offers insights into Japan's warrior culture with engaging exhibits and opportunities to try ninja tools or samurai sword performances. Cooking classes: From sushi and ramen to bento boxes and traditional Kyoto dishes, you can learn to recreate your favorite Japanese flavors. Many classes also include a trip to Nishiki Market for ingredient sourcing. Nishiki Market Indoor Shopping and Culinary Gems Rainy days are perfect for exploring Kyoto's vibrant covered shopping arcades and cozy cafés, offering a chance to discover souvenirs and local flavors. Browse Shopping Arcades Nishiki Market (Kyoto's Kitchen): While often bustling, the majority of Nishiki Market is covered, making it an ideal rainy-day destination. Explore over 100 stalls selling fresh produce, seafood, traditional Kyoto delicacies and souvenirs. Teramachi and Shinkyogoku Shopping Streets : These two interconnected, covered shopping arcades run parallel to each other and offer a fantastic mix of traditional and modern shops. You'll find everything from clothing, cosmetics and souvenirs to quirky anime goods and delicious street food. They're also home to several small temples and shrines. Department Stores : For a more modern shopping experience, Kyoto's department stores offer multiple floors of fashion, homewares and exquisite food halls that are a feast for the senses. Cozy Cafés Cafés with a View : Seek out cafés that offer serene garden views, even on a rainy day. Many traditional machiya (townhouses) have been converted into charming cafés with inner courtyards. Nittodo Kyoto Cafe and Inoda Coffee are some beautiful options. Local Coffee Shops : Kyoto has a thriving coffee scene. Check out places like Weekenders Coffee or Walden Woods Kyoto for a relaxing brew. Kenninji Temple Temples and Shrines with Indoor Appeal While many temples are known for their outdoor gardens, several in Kyoto offer significant indoor areas for contemplation, art appreciation, or to simply to enjoy the tranquil atmosphere. The Thousand-Armed Kannon at Sanjusangen-do. Sanjusangendo Temple An impressive temple that is home to 1,001 life-sized statues of Kannon, all housed in a magnificent wooden hall. Kenninji Temple Located in Gion, Kyoto's oldest Zen temple offers beautiful dry gardens visible from inside its main halls. You can also experience sutra copying or zazen meditation here. Higashi Honganji Temple This vast temple complex near Kyoto Station features immense halls that provide a peaceful and uncrowded indoor experience. Tofukuji Temple Known for its stunning autumn foliage, Tofukuji also has impressive indoor areas, including its main hall and various sub-temples, offering serene spaces for reflection. Nijo Castle While the castle grounds are outdoors, the Ninomaru Palace offers a fantastic indoor exploration with ornate sliding doors, 'nightingale floors,' which chirp to warn of intruders, and historical exhibits. Practical Tips for a Rainy Day in Kyoto Wear Appropriate Footwear Comfortable, waterproof shoes are recommended. Carry an Umbrella While most accommodations offer umbrellas, having your own is convenient. You can also purchase affordable umbrellas at convenience stores, or purchase one of Japan's famously high-quality and quirky designs. Consider Public Transportation Buses and subways are excellent for navigating Kyoto on a rainy day, keeping you dry between destinations. Embrace the Atmosphere Rain can add a slower-paced beauty to Kyoto's sights, especially around temples and gardens, highlighting the lush greens and damp stone. Check Opening Hours Always verify the operating hours of attractions, as some may have reduced hours or specific closing days. Related Posts Alternative, Less Crowded Temples and Shrines in Kyoto Rainy Season Style: How To Stay Both Dry and Fashionable During Tsuyu The Best Indoor Things To Do in Tokyo When It's Raining
Yomiuri Shimbun
6 days ago
- Yomiuri Shimbun
Mountain Tourist Season Opened with Traditional Festival in Gifu Prefecture
The Yomiuri Shimbun A traditional dance called torigei is performed at the Banryu Festival in Takayama on May 10. TAKAYAMA, Gifu — An event marking the start of tourist season in the Gifu Prefecture part of the Northern Japanese Alps was held at Murakami Shrine in Takayama in the prefecture. The Northern Japanese Alps lie within the Chubusangaku National Park straddling Toyama, Niigata, Nagano and Gifu prefectures, and the shrine is located in the Okuhida Onsengo onsen hot spring resort area. At the Banryu Festival held on May 10, about 100 people prayed in a Shinto ritual for safety on the mountains during the tourist season. The event is held in memory of Banryu, a priest from the Edo period (1603-1867) who enshrined Buddhist statues on the 3,180-meter-high Mt. Yarigatake and the 2,897-meter-high Mt. Kasagatake. Following the ritual, a traditional dance called torigei was performed. Dancers wearing crowns made of chicken feathers and vibrant costumes danced boldly while beating gongs and drums. 'We will continue to strive to protect the natural environment and revitalize the local region to attract even more visitors from around the world,' Keisuke Okimoto, chairperson of the Okuhida Onsengo Tourism Association, said at the ceremony. The number of people who climbed the Japanese Northern Alps on the Gifu Prefecture side was 46,966 in fiscal 2024, almost the same as fiscal 2023.
