Latest news with #TokyoWeekender
Tokyo Weekender
5 days ago
- Entertainment
- Tokyo Weekender
The Beauty of Broken Things: The Artist Using Kintsugi To Heal Emotional Wounds
This article appeared in Tokyo Weekender Vol. 2, 2025. To read the entire issue, click here . On a quiet side street in Tokyo's Ogikubo neighborhood, sunlight streams through the windows of a small antique studio filled with ceramic fragments, brushes, powdered gold and bowls in various stages of repair. The air carries the earthy scent of lacquer while the yellow and silver trains of the Chuo-Sobu Line occasionally rumble by. This is the workplace and studio of kintsugi artist and teacher Yuki Otani. If you're even slightly interested in Japanese culture, you're likely familiar with the concept of kintsugi: the practice of repairing broken pottery with lacquer and gold, highlighting cracks rather than hiding them. Despite being a centuries-old practice, it resonates strongly with many people today, both within and outside Japan. It's easy to understand why; kintsugi offers a potent visual metaphor, an acknowledgment and honoring of fractures, an understanding that healing has its own unique beauty. Otani, who goes by the name 'Kintsugi Lady' online, uses ceramic repair as a conduit for emotional renewal. Her students, she notes, are often not just mending broken pottery, but healing parts of themselves. List of Contents: Golden Scars Fixing More Than Objects A Reverence for Imperfection A Future Melded Together Related Posts Golden Scars The word 'kintsugi' came into Otani's life during a period of recovery and reflection. Amid the stillness that followed a major surgery, she came across a simple phrase that resonated deeply: 'All my scars are golden.' The phrase is from 'Kintsugi,' a song by British singer-songwriter Gabrielle Aplin. The words gave shape to feelings she hadn't yet been able to fully face — the quiet ache of a body changed and the sense that the future she had once imagined was beginning to slip away. Her physical scars were healing little by little, but she didn't yet know how to tend to the wounds in her heart. The words worked like a quiet remedy — something she hadn't known she needed. That realization drew her to try kintsugi for herself. In learning to mend ceramics with gold, she began to see how care and beauty can emerge from change. For Otani, it became its own remedy — reminding her not to strive to erase her pain, but rather to live alongside it with grace. 'To me,' she says, 'kintsugi is a way of letting time become part of the beauty.' As her understanding of kintsugi deepened, Otani — who splits her time between Japan and the United Kingdom — began to notice its quiet echoes in her own cross-cultural life. 'My life itself feels like kintsugi,' she says. 'Not fully one thing or another, but a space in-between where different values meet and something new is created.' Otani's works often blend materials from both Japan and the UK. One notable piece is a Japanese teacup fused with a shard of British ceramic she found at a London flea market. It fit perfectly, as if by fate. This form of kintsugi is called yobitsugi, or 'call-and-join,' where a missing piece is replaced not by the original but by something wholly different. 'It's about finding harmony through what's been carried forward,' she says. 'It's also about gently honoring what something has been while listening closely to what it might become.' Fixing More Than Objects Kintsugi Lady's workshops, held in Tokyo, London and occasionally elsewhere, are about far more than technique. Participants come from all over the world, bringing with them not only broken bowls and cups but sometimes also fractured pieces of themselves. A woman attending her first workshop in Japan remained quiet through the session, silently concentrating. She returned a few days later and began to share her story, telling Otani that her home country was in the midst of war. Something about the process of kintsugi had spoken to her — not in words, but in the quiet, attentive rhythm of repair. 'My country is now in the middle of conflict, but one day, when things are stable, I want you to come teach kintsugi there,' she told Otani. That parting promise — 'Let's meet again' — felt like kintsugi itself. 'It felt like we were both trying to tend to our hibi — a Japanese word that means both 'daily life' and 'cracks' — with care, and carry them toward a better future,' Otani says. In another session, a British woman painstakingly repaired a vase that belonged to a shop she once ran with her late husband; a honeymooning couple mended a mug full of memories; a mother and daughter from Taiwan laughed about the plate their cat had broken, now transformed into a 'collaborative art piece.' Even an office worker in a business suit, emotionally drained from her work, left a workshop saying, 'Kintsugi blew all my stress away.' These moments, Otani says, are proof that kintsugi isn't just about objects — it's a way of being. 'It's a lens for how we see the beauty in the world, and how we choose to live in it.' A Reverence for Imperfection In a world driven by disposability and constant consumption, kintsugi asks us not only to consider what we throw away but to reflect on why we do so. 'People often think it makes sense to replace what's broken,' Otani says. 'But kintsugi invites us to pause, to touch the flaw and to listen to the story it carries.' Often, she adds, the pieces that undergo kintsugi aren't antiques or art objects but rather everyday things like bowls, plates and cups — items with quiet histories and personal significance. In this way, kintsugi becomes not only a sustainable practice but a form of emotional ecology — a way of reimagining how we define care, worth and connection. Otani has also begun incorporating materials that reflect this way of thinking into her artistic practice. Through a kintsugi volunteer initiative in the earthquake-affected Noto Peninsula, she met people who harvest and refine urushi — the natural lacquer essential to the craft. 'Many of the people I've met there, who harvest and refine urushi, are not only the foundation of this tradition, but also survivors. Despite the hardship, they continue working to protect what's been passed down.' She now uses some of that lacquer in her workshops, allowing participants to connect with Noto not just through stories but through the material itself — letting their hands encounter a place and its people through the act of mending. This experience also led her to begin planting her own lacquer trees, nurturing a future in which people, craft and nature grow together. A Future Melded Together Otani is currently developing workshops in collaboration with overseas museums and educational institutions, and she hopes to publish a book that captures her reflections and experiences through the lens of kintsugi. Her approach is not about instruction, but about creating open spaces where people can explore and respond to the practice in their own way — through the textures of their personal stories and cultural backgrounds. 'Kintsugi is about fixing — but it's never fixed,' she says. 'It takes many forms. It's simply a quiet way to care for something loved. For some, it's art. For others, a path to healing. What matters is that each person can find their own way into it.' More Info At Gallery Rokujigen in Ogikubo, Otani offers a simplified, one-day version of her kintsugi sessions. To book, DM her on Instagram . Related Posts Yuri Horie's Glittering, Technicolor, Maximalist World An Experiment in Dye: Buiasou's Ingenious, Modern Indigo Creations Daisuke Shimura: One Of Japan's Most Inventive Plant Artists
Tokyo Weekender
5 days ago
- Tokyo Weekender
Koyasan Pilgrimage: Exploring Japan's Holiest Buddhist Sanctuary
This article appeared in Tokyo Weekender Vol. 2, 2025. To read the entire issue, click here . 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. More Info Book your own trip to Koyasan here . Related Posts Nachi Falls: Where Nature Meets Spirituality in Wakayama Staying Overnight in a Japanese Temple: A Day at Tokei-in Temple The World of Japanese Buddhism: The Major Schools and Sects
Tokyo Weekender
5 days ago
- Automotive
- Tokyo Weekender
How The Clutch Kickback Became Tokyo's Biggest Car Event
This article appeared in Tokyo Weekender Vol. 2, 2025. To read the entire issue, click here . My first full-time job straight out of high school was as a mechanic. Since then, I've spent a lot of time around cars, in cars and under them. Naturally, I've also attended my fair share of car meets and automotive events. From vintage club cruises that ended overlooking Paris from the steps of Sacré-Cœur, to impromptu meets masterminded by local hoons taking over McDonald's parking lots in the rural suburbs of Australia, I'd wager that I've seen most of car culture and the spectrum of community that exists within it. But one thing I always felt during these gatherings was a sense of transience. Even in cases where the organizers receive prior permission, if a large number of cars gather in a public space, it's not uncommon for authorities to shut it down after one too many engines gets revved. This means it's often only a matter of time until people have to move on, taking their high-octane chariots with them and leaving spectators with little to look at besides one another. Utilizing a grassroots approach, The Clutch Kickback Motor Series — an international event series that blends car culture with music and nightlife — is well on the way to changing this. Small Team, Big Dream You'd be forgiven for thinking that large-scale operations involving hundreds of cars and even more spectators would take an army to organize. But at its core, Clutch Kickback is the work of just three people: founder and CEO Cameron Hurd, executive producer Katerina Grusheva and brand director Shion Shibuya. The trio, each with their own event management experience and love of cars, met organically in Tokyo, and the rest, as they say, is history. 'We kept running into each other in various contexts,' the team explains. 'We all have our car friends and our nightlife or fashion friends, but rarely do you meet cross-communal people who you'll see at a Verdy event on Saturday and a drift event on Sunday. Like-mindedness brought us together, and since then, friendship has kept us going.' And kept going they have. Since its inception in 2022, Clutch Kickback has curated events across nearly every automotive format imaginable. The collective has hosted high-octane drift days at racetracks, where spectators can watch modified cars slide by at breakneck speeds, smoke streaming from screeching tires. It also puts on more low-key gatherings at popular Tokyo spots, using online RSVPs to release last-minute location details. The brand hasn't missed a beat since it took off — and its most recent offerings, set across a single weekend in April 2025, were its most ambitious to date. From Streets to Stadiums When I arrived at the location of the Friday night activation, I was sure Google Maps had led me astray. I was standing outside a stadium in Kawasaki typically used for soccer matches and athletics meets. In the distance, I heard the low rumble of engines and the murmur of voices. Perhaps this was the place after all. As I got closer, I saw a line of cars pulling into the parking lot beside the stadium and noticed they weren't stopping. Instead, they were heading into the stadium along with other spectators. I followed. Hundreds of cars, ranging from street-driven domestic models to battle-hardened drift machines, lined the track. The Jumbotrons atop the bleachers at either end of the stadium glowed with highlights from previous Clutch Kickback events and music videos as a laid-back mix of hip-hop and electronic music drifted from the speakers tucked up in the rafters. The Clutch Queens, a subgroup of young women within the organization headed by members Lani Schaaf and Dani Amaya, mingled with the crowd, all in awe of the cars on display. The transience that I was so used to experiencing in these moments — waiting for the lights to shut off or the police to arrive — never came. Hosted in conjunction with lifestyle brands Car Service and HUF, this was the real thing, where anyone, regardless of their knowledge or involvement with the scene, could come and hang out for an evening. A Bayside Block Party Two days later, I found myself in the middle of Kiranah Garden, a luxury resort-style space overlooking Tokyo Bay and the iconic Rainbow Bridge. In addition to a typical scene of pools, palm trees and open-air cabanas, the garden had been transformed, ornamented with an array of highly modified classic Porsches, a diamante-encrusted Lamborghini and numerous other one-of-a-kind cars that looked incredible against the waterfront backdrop. This was the Clutch Kickback Block Party. Throughout the day, spectators came and relaxed amid the vibrant festival atmosphere, which included pop-up fashion and food stores, DJs by the pool and a live demonstration by Japanese rope artist Beni Shibari, who applied her craft to a mainstay of Japanese automotive royalty, the Honda NSX. American rapper Xavier Wulf was in attendance with his own car, soaking up the vibes with other like-minded enthusiasts, while professional choreographer Lily Yurika performed live at sunset. That evening, as the sun disappeared beyond the Tokyo skyline and the cars departed for their respective garages across the city, my only question was: What's next? After the weekend that was, seeing these cars in settings typically unrealized in the automotive scene, it was hard to imagine what more there was to do. Shortly after, as the trio behind the kickback wound down the event and saw everybody off, I got my answer. 'Bigger and better events and activations across the globe!' Hurd explained. 'We'll always find inspiration through Tokyo's culture, and as we scale, the vision will remain the same: curating moments through music and motorsports.' More Info To learn more about Clutch Kickback and to keep track of its upcoming events, download the Clutch Kickback app or follow the brand on Instagram . Related Posts 5 Carmakers & Their Tokyo Cafés Tokyo's Street Dance Scene Comes Alive After Hours The Obsessed: The People Behind Japan's Extreme Subcultures
Tokyo Weekender
5 days ago
- Entertainment
- Tokyo Weekender
Alan Takahashi on Love, Labels and Life After The Boyfriend
This article appeared in Tokyo Weekender Vol. 2, 2025. To read the entire issue, click here . When Netflix released The Boyfriend , Japan's first same-sex dating program, it became an overnight sensation, praised for its honesty, slow-burn romances and lovable cast. One of its breakout stars was Alan Takahashi, a Brazilian-Japanese IT worker with an infectiously positive personality and a 1,000-watt smile. Although he joined the cast later in the season — in the third episode, to be precise — Takahashi's presence immediately became a focal point of the show, thanks to his ice-breaking extroversion and willingness to wear his heart on his sleeve. With The Boyfriend 's sudden success, the cast members have seen themselves catapulted into the spotlight, put in the lofty yet precarious position of representing the LGBTQ community in a country where that representation lags behind. Takahashi's life has changed significantly — on social media, he can be seen dancing with his co-star, the jet-setting go-go dancer Usak; attending fashion events; modeling for various brands; and even MCing at Japan's national qualifier for Miss International Queen, the world's largest transgender beauty pageant. And he's moved to Tokyo from Nagoya. Despite his sudden shift into the limelight, the 30-year-old remains as warm, open and engaging as he appears on TV. As his stint on The Boyfriend revealed, remarkable emotional depth lies underneath Takahashi's blinding charm, the result of a life spent not quite fitting in yet continuously finding the strength to be himself. A Childhood Between Cultures Takahashi was born in Brazil and moved to Japan at the age of 2, raised mostly by his single mother, a Nikkei Brazilian (a Brazilian of Japanese descent). They lived in Nagoya, part of a community of dekasegi — a term often used to refer to Nikkei people, especially those from Brazil or Peru, who migrate to Japan for work. So, despite living most of his life in Japan, Takahashi grew up surrounded by Brazilian culture and language, using Japanese only in school. 'I really feel like half-Japanese, half-Brazilian is the best way to describe myself,' he says. 'The values of both cultures that I treasure are very much alive inside of me.' Takahashi has had a bubbly personality and a slight mischievous streak his whole life, traits that weren't always accepted by the conformist society of Japan. 'I liked running around outside and climbing trees. I was called the Tarzan of Higashiura-cho [my neighborhood],' Takahashi recalls. He continues, still smiling, 'I overheard my classmates' parents telling their kids to stay away from me because I was different, and some teachers didn't like me, even though I never felt like I was doing anything wrong. I was excluded and bullied for how I looked and talked, and there were times when being raised by two cultures was tough. But I was always guided by my love for expressing myself, my love for music and dance, my love for Brazil.' In hindsight, Takahashi realizes much of his community was rooting for him as well. 'A lot of Brazilian parents from my neighborhood really supported me. The Nikkei kids in my school didn't want to be bullied and adapted to the Japanese lifestyle, but a lot of adults around me appreciated how I stuck with my heritage. There were times when I felt lonely, but as an adult, I realized I was never alone.' The Alan Effect Takahashi continued living in Nagoya, close to his mom and his younger sister, into adulthood. When he was cast in The Boyfriend at age 28, he was a full-time office worker. Joining a reality show — especially one that focused so closely on intimate relationships — was far out of his comfort zone, but it was a challenge he wanted to try. The Boyfriend follows nine men between the ages of 22 and 36 as they share a house and go on dates. They have a modest daily allowance, which they can augment with money they earn at a coffee truck they operate together. As in many dating shows, the cast lived in their own bubble for the duration of filming. 'Living isolated with a group of strangers for a month with the intention of wanting romance, that'll be broadcast on Netflix for the whole world … I was quite nervous, and I got in my head a lot.' The Boyfriend is mild and wholesome compared to its Western counterparts — the relationships generally progress slowly and cautiously, and the men mainly get to know each other through a series of polite conversations and shared moments working alongside each other in the coffee truck. Takahashi's entrance stirred things up; from the moment he appeared, the atmosphere changed. In contrast to his castmates, he vocalized his feelings quickly and pursued his love interest in a very direct way. He was immediately interested in Kazuto, a mild-mannered chef who was particularly popular among the show's participants, going so far as to describe his attraction as 'love at first sight.' 'I think the way I get close to people was different from some of my castmates, and I'm sure my castmates at first didn't know how to interact with me. I learned a lot about paying attention to the people around me and being careful with the timing in which I tell people my feelings,' he reflects. He wasn't just straightforward in his romantic efforts; he also discussed, openly and candidly, the struggles he faced growing up in Japan with a single mother. In one scene, he describes his father's arrest when he was 6 years old, recounting that he was tasked with taking care of his younger sister. 'That's all I have,' he says, smiling sadly. 'That promise is the only connection I have with my dad.' Takahashi has found the public's response to his arc on the show to be overwhelmingly positive, which has helped him feel understood. 'I realized there are a lot of people like me in the world. I received a lot of warm comments about how people found a new perspective on life or how they could relate to my actions on the show,' he says. A Lesson in Kindness Although Takahashi didn't leave with a new boyfriend, the experience helped him see himself in a new light. Given his confidence and ease in approaching others, he often became a sounding board or confidante for other members — for instance, college student Dai, who came to him with frustrations about his relationship with the mysterious artist Shun. In the scene, Takahashi advises him to speak directly to his love interest, without worrying about what might happen or fretting about others' opinions, and to be kind and forgiving, both to himself and to Shun. 'Kindness truly has magical powers,' he says, wiping away a tear. 'Grab Shun's hand and go talk to him right now. I think it's an important time.' This scene left commentators on the show struck by Takahashi's empathy and warmth. 'Watching the show back, I realized the words I gave people were things I needed to hear myself,' he muses. 'It makes me happy that those kind words are documented forever on Netflix, and it was a reminder that I should give myself the kindness that I give easily to other people.' He continues, 'I feel like I've been looking for allies my whole life, trying to improve myself so I can be surrounded by people who understand me. But now, I learned how to simply appreciate the people who accept me for exactly who I am. I think it's taken a lot of pressure off of me, and it's a kinder world to live in.' Evident from his unapologetic persona on the show, Takahashi has always had a knack for expressing himself completely, without trying to conform to expectations. At the root of this is a desire to be seen — and understood — fully. His queerness has been very public since his time on The Boyfriend , but he doesn't always appreciate the hyperfixation on his sexuality. 'Why do I have to be identified by the people I like? I don't like labels and being put into a box. I'm just a human trying to be happy.' It's clear Takahashi has spent a lot of time thinking about Japanese society, where his open-minded and flexible nature doesn't always conform to the societal norm of rule-following and respecting tradition. 'I want Japan to nurture the strengths it already has while looking at the world more. Japanese leaders can learn a lot from other cultures, and I think it would make Japan less fixed in its ways,' he affirms. 'Whether it's more freedom in education, clothing or self-expression, I think it's important to teach Japanese kids it's alright to be themselves. I want Japanese education to not make ideas black and white, but show the whole rainbow between.' More Info Follow Alan Takahashi on Instagram . Related Posts Why Netflix's The Boyfriend Is a Must-Watch The Infectious Absurdity of Atsuko Okatsuka Yuka Kouri: Shogun's Rising Star
Tokyo Weekender
5 days ago
- Tokyo Weekender
6 Temples in Kyoto and Nara Famous for Their Seasonal Flowers
This article appeared in Tokyo Weekender Vol. 2, 2025. To read the entire issue, click here . As old capitals of Japan, Kyoto and Nara have long been centers of faith and tradition, the mountains around them revered as sacred spaces bridging the natural and the divine. Scattered throughout this topography are isolated temples and shrines, each with its own deep history and profound beauty. Among these secluded mountain temples, a few are known among locals for the way they come alive when flowers bloom — cherry blossom petals drifting through the air in spring, hydrangeas blooming in quiet clusters come early summer or spider lilies and cosmos carpeting the ground as autumn approaches. Though these places are a wonder to visit year-round, they take on an even more otherworldly feeling when their signature flowers bloom. Tsubosaka-dera: Takatori, Nara Tucked in the mountains of Nara Prefecture, not far from Mount Yoshino, sits Tsubosaka-dera . Though it's not as well known as Yoshino for its cherry blossoms, anyone who visits during this season can witness the temple's large seated Buddha statue floating in a cloud of sakura — a quiet spectacle all its own. The temple is also beloved for its pale pink pagoda, which makes for stunning springtime photos. The name 'Tsubosaka-dera' means 'jar on a hillside temple.' According to legend, the temple was founded in 703 by the monk Benki, who apparently had a beloved glass jar. While practicing asceticism on the mountain, a vision of Kannon, the goddess of mercy, appeared inside it, and so he placed the jar in a hermitage on top of the mountain. This is said to be the temple's origin. A few centuries later, Sei Shonagon mentioned Tsubosaka-dera in The Pillow Book , where it's included in her list of temples with miraculous powers. Gansenji: Kizugawa, Kyoto Deep in the forested mountains of southern Kyoto Prefecture, an isolated pagoda rises from the greenery. This three-story wooden pagoda is part of Gansenji , which, according to the temple's documents, was founded in 729 by the celebrated Buddhist priest Gyoki. Mystically serene in every season, Gansenji is a great spot for viewing both cherry blossoms and autumn colors, but early summer is when Gansenji really comes alive. Every June, when the hydrangeas bloom, the temple grounds are filled with white, pink, blue and purple tiny clouds against the lush green of the surrounding forest, and lotus flowers fill the pond. Hasedera: Sakurai, Nara Nestled in the mountains near the ancient town of Sakurai in Nara Prefecture lies the sprawling temple complex of Hasedera . Founded in 686, Hasedera is the center of the Bunzan school of Shingon Buddhism, and the temple complex consists of 30 buildings dotted around the hillside. Leading up to the main hall is the temple's famous covered wooden staircase of 399 steps, which is lined with peonies in the early spring and leads to an outdoor staircase decorated with hydrangeas in early summer. The main hall at the top offers a spectacular view of the temple complex and its surroundings, particularly during the cherry blossom season and when the leaves change in the autumn. Shojuin: Ujitawara, Kyoto During the summer, more than 2,000 wind chimes adorn this remote temple in southern Kyoto. The soft clinking of the decorated wind chimes, heard from the beginning of July until mid-September, is the origin of Shojuin's nickname, Furinji — the Wind Chime Temple . Though the Wind Chime Festival is a summer event, the temple offers seasonal beauty year-round, best viewed through the reception hall's heart-shaped window looking out onto the garden. The hall's ceiling is also decorated with 160 colorful paintings of flowers and other Japanese art, creating a splendid scene overhead. Butsuryu-ji: Uda, Nara Situated in Nara Prefecture, Butsuryu-ji has become well known for the spider lilies that turn the temple grounds into a carpet of vibrant red every year in early autumn. The temple is also popular locally as a sakura viewing spot due to its famous 900-year-old resident, Sennen-Zakura, a huge cherry tree that greets visitors along the entrance path. Butsuryu-ji was founded in 850 by the monk Kenne, a disciple of Kobo Daishi. Behind the main temple buildings, carved into the mountainside, is an ancient-looking stone chamber, which is generally accepted to be Kenne's grave. Hannya-ji: Nara City, Nara Every year in early autumn, a meadow of cosmos blooms around this temple on the outskirts of Nara city. The 'Hannya' of the temple's name is a transliteration of the Sanskrit word for 'wisdom,' but today, Hannya-ji is more often associated with these flowers, and is nicknamed the Cosmos Temple. Hannya-ji is rumored to have been founded in 629 by the monk Ekan, who came to Japan from one of the three kingdoms of ancient Korea. Many of the buildings and artifacts at the temple have been designated Important Cultural Properties, in particular the gate entrance, a National Treasure dating to the 13th century. Related Posts Stunning Flower Festivals in Japan To Visit This Spring Ashikaga Flower Park: A Dreamy Destination in Any Season List of 7: Recommended Japanese Flower Parks
